A K D A : I S S U E O N E — PA G E S 8 1 - 9 2

ABSTRACT. This essay, delivered as a keynote at the second national conference on the sugidanon (epics) of Panay at the
University of the Philippines Visayas (Iloilo campus) in December of 2015, inquires into the broadly creative affordances
offered by mythological material to artists in general, and to writers in particular. It uses as examples the first few volumes
of the Panay Bukidnon’s epic series, whose insights into non-dualistic thinking and transcendence echo the paradoxical
procedures of poetic creativity on one hand, and urge translations into present-day national narrativities on the other, in light
of the country’s increasingly cloven and agonized realities. Finally, as a way of fortifying its central argument, it discusses
recent mythopoeic works by Filipino writers, that demonstrate in a variety of ways the generativity—and the usefulness—of
this kind of creative project.

Myth and the Creative

Imagination 1 81

Keywords: myth and writing, functions of myth, sugidanon of Panay, Tikum Kadlum, Amburukay, Derikaryong Pada, myth and pedagogy,
mythopoeia, myth and science, mythopoetic retellings

J. Neil C. Garcia teaches creative writing and comparative
literature in the University of the Philippines-Diliman, where
he serves as Director of the university press and a fellow for
poetry in the Institute of Creative Writing. He is the author
of numerous poetry collections and works in literary and
cultural criticism, including The Sorrows of Water (2000),
Kaluluwa (2001), Performing the Self: Occasional Prose
(2003), The Garden of Wordlessness (2005), Misterios and
Other Poems (2005), and Postcolonialism and Filipino Poetics:
Essays and Critiques (2003). In 2009, Hong Kong University
Press published its own international edition of his Philippine
Gay Culture (1996). Between 1994 and 2014, he coedited
the famous Ladlad series of Philippine gay writing. Another
important anthology that he edited is Aura: the Gay Theme
in Philippine Fiction in English, published in 2012. His most
recent books are The Postcolonial Perverse: Critiques of
Contemporary Philippine Culture, Homeless in Unhomeliness:
Postcolonial Critiques of Philippine Literature, and Myth and
Writing: Occasional Prose. He is currently at work on “Likha,”
his seventh poetry book.
 MY TH AND THE CREATIVE IMAGINATION

University
University administrators,
administrators, fellowfellow teachers
teachers written word. While
Our people’s epics are,theof course,
technologizing
forms of
and cultural workers, students, friends, lovers of the spoken word can’t help but reify and
and cultural workers, students, friends, lovers native mythological knowledge, and it would do
of literature, ladies and gentlemen: a pleasant transform it—away from the provisionality
of literature, ladies and gentlemen: a pleasant us well as a nation to preserve and cherish them
morning to you all. of performance into the stasis of print—these
morning
With tomuch you all.trepidation I took over as in the hopefully
books modern medium document of something
the writtenofword. the
With ofmuch
Director trepidationof Ithe
the University took over as
Philippines While the
original technologizing
experience of the community’s
of this native spoken word
Director
Press backofin the
July University
of 2011. AsofI countthe Philippines
down my cannot help
primeval and but reify world.
mythic and transform
Needlessit—away to say,
Press backmonths
remaining in July in of this
2011.office
As II count
find myselfdown from the provisionality
mythology of performance
is a form of spiritual orature,intowhich the
looking back on months
my remaining the past four
in thisyearsoffice
and the one
I find has provided
stasis human books
of print—these beingshopefully
one of the oldest
document
hundred and sixtyback
myself looking excellent
on the titles
pastthatfour we years
have paths to theofdivine.
something Myth represents
the original experiencein of ritual,
this
thus far published—in creative
and the 160 excellent titles that we have writing and narrative, and symbolic forms
native community’s primeval and mythic world.intuitions of the
scholarship, both. spiritual realm, and it has done so from the
thus far published—in creative writing and Needless to say, mythology is a form of spiritual
Without a doubt among the titles that earliest times.
scholarship, both. orature, which has provided human beings one of
I’m proudest of are the books that we are The basic theme of all myths is that
Without
featuring herea doubt
today. among the titlesofthat
The product I am
decades thereoldest
the is an paths to the
invisible divine.
reality thatMyth represents
supports the
proudest
of of areresearch
painstaking the books andthat we are featuring
translation work by in ritual,world.
visible narrative, and symbolic
Mythology, in forms intuitions
this sense, is
here today. The product of decades
a team of researchers from the UP Visayas— of painstaking of the spiritual realm, and it
fundamentally mystical in character, renderinghas done so from
research andheaded
admirably translation work by a Emeritus
by Professor team of the earliest
into imagestimes. the amorphous essence of all
Alicia P. Magos—this
researchers from the UPepic series marks a
Visayas—admirably things,
The through
basic theme which of itallcanmythsbe experienced
is that there
singular
headed by moment
Professor inEmeritus
the historyAlicia of P.Philippine
Magos— and
is anknown.
invisibleWe maythat
reality then see myth
supports as a
the visible
publishing, for it presents in
this epic series marks a singular moment textual form the
in the creative and “imaginal” field whose
world. Mythology, in this sense, is fundamentally referent,
irreplaceable wisdom and communal lore of the in the ultimate sense, is transcendent. Its
history of Philippine publishing, for it presents mystical in character, rendering into images the
Panay Bukidnon people. This is the first time purpose is to enable us to experience the world
in textual form the irreplaceable wisdom and amorphous essence of all things, through which 82
that such a substantive oral corpus has been that opens to us the spiritual dimension that
communal transcribed,
recovered, lore of the Panay Bukidnon
translated intopeople.
three it can beit.experienced
enfolds Myths make andusknown.
realize We the may
mysticalthen
This is the and
languages, first time that such published,
subsequently a substantive in oral
our see myth in
presence as aevery
creative
oneand
and“imaginal”
in every fieldthing, whose
for
corpus
country. has been recovered, transcribed, translated referent, in the ultimate sense, is
according to their deepest insight, we have all transcendent. Its
intoI’m
three
verylanguages,
happy toand be subsequently
with you today, published,
as you purpose
been pouredis to out
enable us tocreator’s
of the experience the world
eternal Self;
hold
in ourthis Second National Conference on the
country. we
thatareopens
all manifestations
to us the spiritual of the dimension
one divinity. 2
that
Sugidanon
I am veryof Panay.
happy to I am particularly
be with you today, enthused
as you Hence,
enfolds mythology
it. Myths make elicits
us realize in usthe amystical
sense
to
hold this Second National Conference on first
celebrate and acclaim with you the the of
presence in every one and in every thing,the
wonder and awe: we come to realize for
three volumes of this landmark series: Tikum mystery of our selves, and of the universe we
Sugidanon of Panay. I am particularly enthused according to their deepest insight, we have all
Kadlum, Amburukay, and Derikaryong Pada, live in—the mystery implicit in all the forms of
to celebrate and acclaim with you the first been poured out of the creator’s eternal Self; we
which we had the pleasure of launching at the creation. Reading and experiencing myths, we
three volumesFestival
Performatura of thisinlandmark
the Cultural series: Tikum
Center of are all manifestations of the one
come to see that our actual situations, like the divinity. 2

Kadlum,
the Amburukay,
Philippines early lastand Derikaryong Pada,
month. Hence,
different mythology
situations elicits
of the in us a of
characters sense
these of
which
Ourwepeople’s
had theepics pleasure
are,ofoflaunching
course, at the
forms wonder and
stories, are awe: we come tobyrealize
underpinned the mystery
a transcendent
Performatura
of Festival at theknowledge,
native mythological Cultural Center and ofit of our selves, and of the universe we live in—
truth.
would do us well
the Philippines as last
early a nation
month.to preserve and theBut
mystery mythology
implicit in all also evinces
the forms other
of creation.
cherish them in the modern medium of the functions. Like science, myth describes for

11 Keynote given at the

Keynote Second
given at theNational
Second Conference on the Sugidanon
National Conference of Panay, December
on the Sugidanon 10, 2015, University
of Panay, December of the Philippines
10, 2015, University Visayas,
of the Philippines
Iloilo City.
2 Visayas,
I sourceIloilo City.
this definition of myth—as well as its functions—from the numerous books of Joseph Campbell, most especially the following:
2 The Hero with a Thousand
I source Faces (New
this definition York: Pantheon
of myth—as Books,
well as 1949); The Power
its functions—from the of Myth (New
numerous York:ofAnchor
books JosephBooks, 1991);
Campbell, and especially
most Thou Art the
That: Transforming
following: The HeroReligious MetaphorFaces;
with a Thousand (Novato,
TheCA: NewofWorld
Power Myth;Library,
and Thou2001).
Art That: Transforming Religious Metaphor.

AKDA
 J. NEIL GARCIA

us the various
Reading shapes and myths,
and experiencing texturesweofcome reality;to not onlythey
is that recognizes
remain duality,
expressive but of
also—and more
this people’s
unlike
see thatscience,
our actual however, it more
situations, likeeasily accedes
the different importantly—yearns
profound aspirations, to which
transcend it. the vision
include
to the realization that what is real
situations of the characters of these stories, are is ultimately thatIndeed,
not only in recognizes
these stories, duality, but also—and
the “sky-world” and
unknowable.by
underpinned And then, we may
a transcendent also say that
truth. more
the importantly—yearns
“earth-world” are not divided,to transcend it.
but actually
myths serve a didactic or pedagogical purpose, Indeed, in these stories, the “sky-world”
But mythology also evinces other functions. interpenetrate one another, their creatures freely
as well: they provide individuals residing in and the “earth-world” are not divided, but
Like trafficking across the non-absolute and proximal
their science,
specific myth describesguides
communities for usorthe various
“manuals” actually interpenetrate one another, their
shapes
on howand to textures
live under of reality;
whatever unlike science,
conditions. realms—of the present and the non-present
creatures freely trafficking across the non-
however,
Finally, myth it morealso easilyserves
accedes totolegitimate
the realization the (either
absolute theand pastproximal
or the yet-to-be),
realms—ofasthe wellpresent
as the
that what is real is ultimately unknowable.
social order, as it exists. It’s in this sense that And abodes
and theofnon-present
the deities (either and supernatural
the past or forces
the
mythsweare
then, may culturally
also say thatbound mythsas serve
well as place-
a didactic and of ordinary people. Resurrection
yet-to-be), as well as the abodes of the deities bridges
specific:
or they arepurpose,
pedagogical entirelyas thewell:
productsthey of their
provide the
andchasm betweenforces
supernatural the living
and ofand the dead,
ordinary and
people.
own time and circumstance.
individuals residing in their specific communities The problem Resurrection
because time in bridges
this worldthe chasm between asthea
is experienced
of literalism,
guides or “manuals” which on is whathow the to livescientistic
under living and
cyclical the dead,
seasonality, and because
it happens over andtimeagain
in this in
dismissal of myths typically enacts, is precisely world is experienced as a cyclical seasonality,
whatever conditions. Finally, myth also serves to these heroic tales. Even the distinctions of gender
its reduction of these age-old tales to this literal it happens over and again in these heroic tales.
legitimate and “enmity” prove to be typically mutable:
level, this the socialdescriptive
specific order, as it exists. It is in this
or “sociological” Even the distinctions of gender and “enmity”
sense
function,that tomyths are culturally
the neglect bound aselse.
of everything well as femaleness shifts into maleness if it must, and
prove to be typically mutable: femaleness
place-specific:
By contrast, theythearemoment
entirely we the understand
products of the enemy
shifts into or the “other”
maleness if it ismust,
actually
and inextricably
the enemy
their
that our own stories
time and circumstance.
about God are The problem
myths—the part
or theof the “same”—is
“other” is actuallyeven,inextricably
shockingly, itspart bloodof
moment
of literalism weis precisely
see that itsour religions
reduction proffer
of myths to relation—if only you allow
the “same”—is even, shockingly, its blood yourself to look more
not literal
this literallevel,
truths thisbut rather function,
sociological symbolicto and the closely
relation—if(these onlyplot “twists”
you allow happen in these
yourself to epics
look
spiritual ones—then
neglect of everything else. our faith can be set free more
to closely
precisely (these and
confound plot finally
“twists” happen
collapse thesein 83

from By the culturaltheprisons

contrast, moment of fundamentalist
we understand these epics
onerous to precisely
binaries). Finally, confound
evil can beand finally
good, too,
ethnocentrism and literal-mindedness. The collapse these onerous binaries).
that our stories about God are myths—the once you intuit past the surface of the apparent
comparative study of myth makes us see that Finally, evil can be good, too, once you
moment wemyths—actually,
see that our all religions proffer into the hidden and implicit depth. We may, for
the various religions—are intuit past the surface of the apparent into
not
at once literal
falsetruths
and true. butFalserather
becausesymbolic
what they and example, consider of the villain, the monster-
the hidden and implicit depth. We may, for
spiritual
give us are ones—then
mere symbolic our faith
images canor be set free
metaphors woman
example,Amburukay,
think of thewhose villain,actions emerge
the monster-
from
(whichthe by cultural
definition prisons
cannotofbefundamentalist
facts, cannot entirely
woman out of her maternal
Amburukay, whose benevolence.
actions emerge In like
be literally true),
ethnocentrism andbutliteral-mindedness.
true precisely because The manner,
entirely thereout ofis her really no conflict
maternal between the
benevolence. In
these very same
comparative study metaphors
of myth gesturemakes us toward the
see that body and the there’s
like manner, spirit, as can be
really no intuited
conflict frombetween the
one transcendent mystery.
the various myths—actually, all religions—are the body
way these and storiestheperceive
spirit, asand canpresent
be intuited from
the “truth”
All these
at once false insights
and true.areFalsein full and splendorous
because what they thehuman
of way these sexuality:stories perceive
namely, that it andis present
nature’s
evidence in the sugidanon, whose epic and the “truth” of human sexuality: namely, that
give us are mere symbolic images or metaphors entirely beautiful—indeed, its preciously fleecy
mostly coastal and oceanic world stands in it is nature’s entirely beautiful—indeed, its
(which and altogether golden—gift. Astonishingly, this
contrastbytodefinition
the Panay cannot be facts, cannot
Bukidnon’s everyday be
preciously fleecy and altogether golden—
literally
physical true),reality: but atrue
clear precisely
reminder becausethat these
like “sex-positivity” is an insight that we may glean
gift. Astonishingly, this “sex-positivity” is
very same metaphors gesture
most other indigenous peoples in our country, toward the one from the story
an insight thatofwe themaytheftgleanof thefrom
luminous
the storyand
transcendent
they must have mystery.
been seaside inhabitants once beloved
of the strandtheft of of grisly hirsuteness—a
the luminous and violation
beloved
upon Allathese
time,insights
who were are in displaced and driven
full and splendorous that actually gives this villain
strand of grisly hirsuteness—a violation that her own memorable
up- and inland
evidence in by thesuccessive
sugindanon, waves of conquest
which are “hero’s
actuallyjourney”
gives this (consisting
villain her of own
a ritualistic
memorable and
and Christianization. This may
descriptive not so much of the Panay Bukidnon’s be the most “hero’s journey”
genitally (consistingquest
“self-flagellating” of a ritualistic
to regain and her
obvious reference
everyday physical realityto something
as expressive empirically
of their genitally
sacred “self-flagellating”
treasure), as well as inaugurates quest the to journey
regain
descriptive about these myths, whose value her sacred treasure), as well as inaugurates
aspirations, chiefest of which is the vision that of one of the sugidanon’s primary protagonists.

AKDA
 MY TH AND THE CREATIVE IMAGINATION

the Moreover,
journey ofinone Tikum of the sugidanon’s
Kadlum primary
and Amburukay, which that
except abide theyfullyhaveinside their natural
the tendency to standcontexts
apart
protagonists.
we can see the mythical motif of the “one even as
from they come
creation, which to embody
is not the realities
case with thatthese
refer
Moreover,
forbidden thing,”in that Tikum
resonates Kadlum
with the story and to truths glimmering beyond
natural and meaning-endowed objects, which their shapes.
Amburukay, we can see the mythical motif abideGiven
fully this
inside formtheir of natural
“mystical mnemonics,”
contexts even as
of the Edenic garden and its mortally fateful
of the “one forbidden thing,” that resonates we are reminded of the psychodynamics
tree. In the first book the datu’s enchanted black they come to embody realities that refer to truths
with the story of the Edenic garden and its of oral consciousness, which is situational,
dog warnsfateful
mortally his mastertree.against
In thecutting down the
first book the glimmering
sympathetic,beyond and their shapes. rather than
participatory,
sacred enchanted
datu’s bamboo inblack the middle
dog warns of thehis magical
master Givenand
abstract this form of “mystical
individualistic. Moreover,mnemonics,”
evident
forest. In the second, Labaw Donggon’s
against cutting down the sacred bamboo in the parents we are reminded of the psychodynamics
in the language of these epics is the fact of that
oral
warn their
middle of son
the not to carry
magical out his
forest. In plan to steal
the second, consciousness,
oral thinking is—in which the is situational,
words of the sympathetic,
historian,
Labaw Donggon’s
the forest parents
hag’s glittery pubicwarnhairtheir son as
(to use nota Walter
and J. Ong—immediate,
participatory, rather than practical,
abstract“close
and
to carry outfor
replacement histhe
plan to steal
broken stringthe forest
of his hag’s
heirloom to the life-world,”
individualistic. Moreover,and at once in“copious”
evident the languageand
glittery pubic hair (to use as a replacement
guitar), for such an act would surely bring about for voluble. 3
Which is to say: the
of these epics is the fact that oral thinking is— plenitude of
the broken string of his heirloom guitar), for their
in theadjectives,
words of epithets,
the historian, and thought-pictures
Walter J. Ong—
disaster. Of course, the moment something is
such an act would surely bring about disaster. helps keep the listener focused and attentive,
explicitly forbidden in a myth, we can expect immediate, practical, “close to the life-world,”
Of course, the moment something is explicitly on one hand; and on the other, the structure of
it to be transgressed,
forbidden in a myth, for we this
can isexpect
precisely
it tohowbe and at once “copious” and voluble.
their epic utterance, as with the other examples
3
Which is to
the plot of powerful
transgressed, for this isstories—ancient
precisely how the as well as
plot of say: the plenitude
of folklore, restsof their adjectives,and
on additive epithets, and
iterative
modern—may
powerful be said to unfold.
stories—ancient as wellThen as now, a
as modern— thought-pictures
sentence patterns helps keep the these
(obviously, listenerexist
focused
for
perfect
may be paradise has littleThen
said to unfold. or no as narrative
now, a interest.
perfect and attentive,ofoneasier
the purpose one hand; recall,and on the other,
represented best
paradise
The stasishasandlittle or no narrative
equanimity interest.world
of the ordinary The in the
the sugidanon’s
structure of their ritualistic formula:
epic utterance, “Where
as with the
stasis andtoequanimity
will need be disturbed, of ifthe
theordinary world
heroic journey we ended/
other examples Wasofwhere folklore, we paused”). Of course,
rests on additive and
will need to
should commence. be disturbed, if the heroic journey what these self-same qualities
iterative sentence patterns (obviously, these exist finally tell us 84

should commence. is that oral cultures are living and dynamic

Perhaps the most interesting idea in these for the purpose of easier recall, represented best
Perhaps the most interesting idea in social formations, in their own right. Despite
epics is that of the tuos or sacred pact, embodied in the sugidanon’s ritualistic formula: “Where
these epics is that of the tuos or sacred pact, being pre-analytical, orality is a mode of
in this pre-literate
embodied world not inworld
in this pre-literate any written
not in we ended/ Wasthat
consciousness whereis we paused”). capable
eminently Of course,of
contract
any but rather
written in actual
contract buttangible
rather things, that
in actual what these self-same
generating—as well qualities finally tell us
as nurturing—its own is
are thereby
tangible invested
things, that with spiritualinvested
are thereby potencywith and that oral cultures
profound forms ofare living and dynamic social
thought.
incalculable
spiritual worth. In
potency andtheincalculable
absence of writing,
worth.this In formations,
In fact,in their the own ideas right.ofDespite
harmony being pre-
and
the absence
ancient and oralof people
writing, this aancient
found and oral
way of indicating unification—between
analytical, orality is a mode humanity and nature,
of consciousness that
people founddown
and pinning a way of indicating
memory: throughand thepinning
worldly or eminently
is the worldly and the
capable divine, on onewell
of generating—as hand;as
down
objects that signified beyond their physicalobjects
memory: through the worldly forms, nurturing—its own profound forms of thought.of
and between the conflicting interests
that signified beyond their
and whose radiance suffused their everyday physical forms, different groups of human beings on the
In fact, the ideas of harmony and
and whose radiance suffused their everyday other—are priceless bequests that these stories
existence. Most certainly, the act of investing unification—between humanity and nature, or
existence. Most certainly, the act of investing would seem to particularly wish to offer us,
meaning into
meaning into their
their world
world waswas of of aa piece
piece with
with the worldlynow
especially andthat thetheydivine,
haveon onetranscribed,
been hand; and
this people’s
this people’s reverential
reverential attitude
attitude toward
toward nature,
nature, between
textualized, theand conflicting
translated, interests of different
and therefore made
that they knew was animatedanimated by the same same Spirit
Spirit groups of human beings
newly abstract and categorical. In the face on the other—are
dwelling inside themselves.
dwelling themselves. It’s important to
It’s important priceless bequests
of a fractious andthat these stories
divided country, would
theseseem
are
remember
remember that that written words are signs as well,
written words insights
to that Filipinos
particularly wish to all offerneed
us,toespecially
embrace now and
except that they have the tendency to stand to champion, more and more.
apart from creation, which isn’t the case with This is especially true now, when so many
these natural and meaning-endowed objects, of our lumad brothers and sisters in Mindanao

3 See Ong, Orality and Literacy: The Technologizing of the Word.

3 Walter J. Ong, Orality and Literacy: The Technologizing of the Word (New York: Methuen & Co. Ltd., 1982)

AKDA
 J. NEIL GARCIA

are beinghave
that they imperiled by militarization
been transcribed, textualized, and story,
course for instance,about
is ostensibly we might nowofconsider
the activity reading
armed
translated,insurgency—the
and therefore made mineral
newlyresources
abstract and of taking our students through
and understanding literary texts, we may wish the process of
their ancestral domains becoming
categorical. In the face of a fractious and dividedthe object story telling, by not simply enumerating
to consider how we, as literature teachers, can its
of corporate avarice and state-sponsored elements, but by letting them experience these
country, these are insights that Filipinos all need best instill the love of reading in our students.
capitalist exploitation. By becoming more on their own: with our guidance, they can make
to embrace and to champion, more and more. Whatever the language of instruction, in teaching
deeply aware of the rich oral traditions of our up plots, think up characters and dialogue,
This is especially
indigenous peoples, and truebynow, whenabout
learning so many
and the short story,
imagine for instance,
settings, play around we may withnowpoints
consider of
of our lumadtheir
actualizing brothers and sisters
mystical in Mindanao
realizations about takingcontemplate
view, our studentsideas through the process
or themes. of story
In teaching
are spiritual
our being imperiled
Oneness asbya nation,
militarization
Filipinosand in telling, by
poems, onnotthesimply
other enumerating
hand, the teacher its elements,
might
armed insurgency—the
general mineral resources
will be able to recognize and respect of but bytoletting
wish end or them experience
emphasize these on
certain their own:
lessons with
the “difference” of our indigenous
their ancestral domains becoming the object of brethren, awithpoetic exercise that may or may
our guidance, they can make up plots, thinknot eventuate
whose
corporate well-being
avarice andand state-sponsored
interest we will capitalist
now see in the writing and
up characters of a poem,
dialogue, but imagine
at least presents
settings,
as being ultimately inseparable
exploitation. By becoming more deeply aware from our own, aplay
demonstration of certain poetic
around with points of view, contemplate skills: poetic
and whose identity coincides with the vital description or metaphor-making, for instance,
of the rich oral traditions of our indigenous ideas or themes. In teaching poems, on the other
otherness living inside ourselves. the correct use of other figures of speech, or
peoples, and by learning about and actualizing hand, the teacher may wish to end or emphasize
These epics remind us that we were even an illustration of certain rudiments of
their mystical
all lumad, oncerealizations
upon a about time. ourBecausespiritual
of certain lessons with a poetic exercise that may
versification.
Oneness
their as a value
enduring nation,as Filipinos
gifts of the in creative
general or may not eventuate
In short, we can inencourage
the writing of a to
them poem,
tell
will be able to recognize
imagination—through which and empathy
respect the or but at least presents
stories—for yes, poems a demonstration
also tell stories, of bycertain
way
“difference”becomes
solidarity of our indigenous
possible andbrethren,
may finallywhosebe poetic
of skills:and
imagery poetic description
figurative or meta¬phor
expression. Rather
realized as a collective truth—the
well-being and interest we will now see as sugidanon than alienate them from literature,
making, for instance, the correct use of other we can
also
beingtellultimately
us that right in the from
inseparable marrow ourofown,our enjoin
figures ofour students
speech, or evento an
actively participate
illustration of certainin
mythic bones, despite the epistemic
and whose identity coincides with the vital violence its production by writing
rudiments of versification. texts, and not merely 85

and ruptures of our history, the luminous chant passively reading them. After all, creation is
otherness living inside ourselves. In short, we can encourage them to tell
still croons that we are lumad, still and all… the highest form of literary appreciation.
These epics remind us that we were all lumad, stories—for yes, poems also tell stories, by way of
A particular activity we may deploy
once upon a time. Because * * *of their enduring value imagery and figurative
in our classroom expression.
is what literaryRather than
scholars
as gifts of the creative imagination—through alienate
call them from
mythopoeia. literature,
This word we isn’tcanasenjoin
scary ouras
which empathy
Allow me, oratsolidarity
this point,becomes possible
to share and
some students
it sounds, to actively
becauseparticipate
it simplyin refersits production
to the
may finally be
thoughts onrealized
the aspossible
a collectivepedagogical
truth—the by writingappropriation
creative texts, and not merely passivelymaterial,
of folkloric reading
affordances of these myths, in relation
sugidanon also tell us that right in the marrow to the
of for whatever purpose in whichever
them. After all, creation is the highest form genre.
of
teaching of literature in our schools,
our mythic bones, despite the epistemic violence especially The Philippines
literary appreciation. abounds in folkloric sources,
in
andview of recent
ruptures of ourcurricular
history, the revisions
luminous andchant
the originally oral, although
A particular activity we a number of them
may deploy in
wholesale structural shift into the K to 12 have already been transcribed. There exists an
still croons that we are lumad, still and all… our classroom is what literary scholars call
System. abiding interest in these materials among local
Allow me, at this point, to share some thoughts mythopoeia. This word is not as scary as it
I am thinking, in particular, of the readers, as evidenced in the fact that folklore
on the possible
deployment of pedagogical
creative writingaffordances of these
strategies in sounds, because myths,
anthologies—of it simply
legends,referstales, to the
riddles,
myths,
the in relation
teaching to the teaching
of literature of literature
courses, especiallyin creative appropriation
proverbs, epics and songs—are of folkloric
still, formaterial,
decades
ourthe
in schools,
Highespecially
School in andview of recent
early College curricular
levels. for whatever
now, the bestsellingpurposetitlesinof thewhichever
UP Press. genre.
revisionsasand
Insofar the wholesale
a literature coursestructural
is ostensibly shiftabout
into TheWhyPhilippines
we are abounds
seeing ainpreponderance
folkloric sources, of
the Kactivity of
to 12 System. reading and understanding mythopoeia in contemporary
originally oral, although a number of them Philippine
literary
I am texts, we in
thinking, might wish of
particular, tothe
consider
deploymenthow culture—from
have already been films, TV shows,
transcribed. There theatrical
exists an
we,
of creative writing strategies in the teachingthe
as literature teachers, can best instill of productions, to books—can
abiding interest in these materials among local partially be
love of reading in our students. Whatever the explained by the “cultural simultaneity” of
literature courses, especially in the High School readers, as evidenced in the fact that folklore
language of instruction, in teaching the short Philippine society, where oral and textual,
and early College levels. Insofar as a literature anthologies—of myths, legends, tales, riddles,

AKDA
 MY TH AND THE CREATIVE IMAGINATION

pre-rational
proverbs, epics andandrational
songs—are forms of for
still, knowledge
decades the sexwriters.
young lives ofWhile
elementals
some and aswangs
of these works (who
are
blissfully coexist. The persistence
now, the bestselling titles of the UP Press. of folkloric— are frantically searching for the
ironic—for instance, in this year’s batch, a campy “last male
alsoWhy
calledwe“superstitious”—beliefs
are seeing a preponderance in an age of of virgin”).
novel aboutAlso,theWill
lost P.
andOrtiz’s prospective
somewhat inept sonseries
of
global digital information is probably one of of young-adult novels, in Filipino as well,
5
mythopoeia in contemporary Philippine culture— two superheroes, a magical transgender shokoy,
the areas in which the syncretism of our local about Aya Aquiling, an awkward twelve-year-
from films, TV shows, theatrical productions, to and a cast of colorful characters drawn from
cultures is most obvious. And indeed, young old girl who discovers that she is, in truth, the
books—can
Filipino partially
writers seem be particularly
explained by receptive
the “culturalto both contemporary
reincarnation of the and ancient mythological
well-known and beloved
simultaneity”
this dissonance, of andPhilippine society, where
are thematizing oral
it in their references—the
nature goddess,bulk wouldMakiling.
Mariang still be of the serious
and textual,horror,
works—in pre-rational
fantasy,andandrational forms of
the “speculative” or even
Because poetic sort. are
myths Offhand I can bring
metaphorical up
figures
knowledge blissfully coexist. The persistence of
sub-genres. Mayette M. Bayuga’smysteries,
for transcendent novel, Sa my Aminsuggestion
sa Dagat-
There are, called
folkloric—also to my mind, two kinds in
“superstitious”—beliefs of to writers who 4 wish to undertake their own
dagatang Apoy, about the sex lives of elementals
mythopoetic
an age of global projects—really,
digital informationaesthetic modes.
is probably respective
and aswangsmythopoetic projects searching
(who are frantically is, first and for
We
one of the areas in which the syncretism of this
may refer to the first mode as ironic, and our foremost, to bear in mind that
the “last male virgin”). Also, Will P. Ortiz’s a metaphor,
treatment is typically exemplified by parodic being a figure of speech about resemblance
local cultures is most obvious. And indeed, young prospective series of young-adult novels,5 in
narratives involving mythological heroes (as and paradoxical unity, is composed of two
Filipino writers seem particularly receptive to Filipino as well, about Aya Aquiling, an awkward
well as villains). An example that immediately elements: a vehicle and a tenor. While the
this dissonance,
comes to mind isand Carloare Vergara’s
thematizing it in their
uproariously 12-year-old
former is easy girl enough
who discovers that she
to identify, we is,mustin
works—in
funny horror,
graphic novel,fantasy,
ZsazsaandZaturnnah,
the “speculative”
whose truth,
remember the reincarnation
that the latter, of being
the well-known
the very heart and
sub-genres.
story implicates both the native belief in beloved
or message nature of goddess,
the myth, Mariang
is always Makiling.
a matter of
There and
amulets are,theto modern
my mind, mythostwo ofkinds comic-of Because myths are metaphorical figures for
interpretation.
book-generated big-breasted
mythopoetic projects—really, aesthetic modes. superheroines. It is in thismysteries,
transcendent sense thatmy mythopoetic
suggestion retellings
to writers
On
We the
mayother
refer hand,
to theready first examples of earnest
mode as ironic, and will always be subjective:
who wish to undertake their own respective the message or
mythopoetic work are commonly seen
this treatment is typically exemplified by parodic in the mythopoetic projects is, first and foremost, in
“truth” of the myth being utilized is always, to 86

fantaseryes on primetime television or the fact, an intimate and personal one. It’s crucial,
narratives involving mythological heroes (as well bear in mind that a metaphor, being a figure
heroic fantasy films—mostly historical, but however, for the writer to also realize that it
as villains). An example that immediately comes of speech about resemblance and paradoxical
sometimes also futuristic. is precisely this message that ultimately takes
to mind
As a is Carlopanelist
regular Vergara’sinuproariously
the University funny
of unity, is composed
precedence over theofcontingent
two elements: vehicle, a vehicle
which
graphic
the novel, Zsazsa
Philippines National Zaturnnah,
Writerswhose Workshopstory and
indeeda tenor.
can be While the former
adapted, revised,is easy enoughand
rewritten, to
implicates
for a couple bothofthe native belief
decades now, Iincan amulets and
say that identify,
transformed.we must remember
Thus, that the in
for example, latter,
thebeing
case
the modern works,
mythopoetic mythostypically
of comic-book-generated
as fiction or verse, the very heart
of Ortiz, or message
because of the myth,
the Makiling myth is always
is (to
are
big-breasted superheroines. On and
being carried out by more the more
other of our
hand, her) really about
a matter of interpretation. the importance of human
young writers. ofWhile
ready examples earnestsome of these
mythopoetic workworks
are accountability in thethat
It is in this sense facemythopoetic
of nature’s imperiled
retellings
are ironic—for instance, in this
commonly seen in the fantaseryes on primetime year’s batch, will always be subjective: the message or indeed
beauty, keeping this firmly in mind she “truth”
a campy novel about the lost and somewhat could elect to transfer the setting of the gentle
television or the heroic fantasy films—mostly of the myth being utilized is always, in fact, an
inept son of two superheroes, a magical and nature-caring native goddess away from
historical, but sometimes also futuristic. intimate and personal one. It’s crucial, however,
transgender shokoy, and a cast of colorful the mountainous fastness of Laguna to the
As a regular
characters drawnpanelist
from in the contemporary
both University of for the writer tocityscape,
contemporary also realize andthatevenit is
to precisely
portray
the ancient
and Philippines National references—the
mythological Writers Workshop bulk this
her notmessage
as a that ultimately
self-assured takes precedence
maiden, but rather
for a couple
would still be of thedecades
serious now, I can
or even say sort.
poetic that over
as a the contingent
confused vehicle,
pubescent which
girl, whoindeed
will growcan
mythopoetic
Offhand works,
I can bringtypically as fiction
up Mayette or verse,
M. Bayuga’s be
intoadapted,
her own revised,
“goddessrewritten,
self ” andandhave
transformed.
a heroic
novel, Sa Amin sa Dagat-dagatang
are being carried out by more and more 4of Apoy, about
our adventure in the present-day urban
Thus, for example, in the case of Ortiz, because world.

4 Mayette M. Bayuga, Sa Amin, Sa Dagat-Dagtang Apoy (Quezon City: University of the Philippines Press, 2014).
5
4 The first of
Seethese books
Bayuga, Sawas
Amin,launched last monthApoy.
Sa Dagat-Dagtang in UP Diliman. See Will P. Ortiz, Ang Pagbabalik ni Mariang Makiling (Quezon City:
University of the Philippines, Diliman, Quezon City, 2015).
5 The first of these books was launched last month in UP Diliman. See Ortiz, Ang Pagbabalik ni Mariang Makiling.

AKDA
 J. NEIL GARCIA

the Allow
Makiling memythat this
is (topoint to pose
her) really abouta fewthe remotelyfor
suppose, reduced
me, I will tohave
the to brain’s
begingray matter),
by reminding
of the questions
importance of human that I believe our
accountability in the myth-
face the singularity
myself that lies
that as a source at the heart
of knowledge of the
mythology
inclined writers should ponder.
of nature’s imperiled beauty, keeping this firmly These are Big Bang, the finely tuned universe,
remains valid, despite the ascendancy of science, black
also opportunities for them to make more holes and
which itself their
can only eventofferhorizons,
provisional dark andmatter
“self-
in mind she indeed could elect to transfer the
purposive decisions about their use of this and dark energy, quantum superpositions and
setting of the gentle and nature-caring native rectifying” explanatory narratives for the nature
type of allusion. entanglements, the Planck scale, and all the
goddess
Whatawayshould from the themountainous
Filipino fastness
writer’s of reality.
other As we may that
imponderables have scientists
heard, thehave bestbeenand
of Laguna to attitude
fundamental the contemporary cityscape, and
toward mythology be? most honest
conjuring practitioners
forth, of late. of science as a method
even to portray her not as a self-assured
Is it simply material, or is it rather a distinct maiden, of inquiry acknowledge reality as essentially
but
frameratherof as a confused
mind pubescentthat
or perspective, girl,bids
who onewill mysterious, still and *all. * * We may think, for
to seeinto
grow andheracquiesce
own “goddessto theself uncertain
” and have anda example, of the “hard problem” of consciousness
the numinous
heroic adventure in ourpresent-day
in the midst, theurban mysterium
world. (theMythqualiadoes not really
or inner compete
experience with
that science,
cannot be
tremendum et fascinans? Related
Allow me at this point to pose a few of to this is the
the for its function isn’t primarily
remotely reduced to the brain’s gray matter), the explanatory
question of whether the stance of thorough- or even descriptive
singularity that lies at of thetheheartphysical
of the Big universe.
Bang,
questions that I believe our myth-inclined writers
going irony is even appropriate in our case, We can compare the “value” of myth to the
should ponder. These are also opportunities for the finely tuned universe, black holes and their
when it’s quite possible that the multo- experience of watching a film, which we know
them
fearing, to make more purposive decisions
tabi-tabi-po-murmuring, about
horoscope- event horizons, dark matter
to be make-believe—a and dark
production that’senergy,
been
their use of this
consulting, type of allusion. and church-
feng-shui-abiding, quantum
captured superpositions
in a medium, and and replayed.
entanglements, And yet, the
goingWhat should Filipino
present-day the is Filipino
still verywriter’s
much Planck scale, andelicits
the experience all theanother imponderables
affective response
fundamental attitude toward
living in mythological times? mythology
And then: might be? Is that
and scientists
encourages haveour been conjuring
“playing forth,with
along” of late.
its
there
it simply be material,
an ethical or isdimension to the frame
it rather a distinct issue depictions,
Myth does thereby eliciting
not really our semi-credulity,
compete with science,
of mind
of center-based
or perspective,writers appropriating
that bids one to see and the a provisional
for its function“suspension
is not primarily of disbelief ” and
explanatory
ancestral stories of cultural minorities,
acquiesce to the uncertain and the numinous in many acceptance of the illusion
or even descriptive of the physical universe. that the movie 87

of whom
our midst, the havemysterium
been literally
tremendumdispossessed
et fascinans? by offers,
We canwhile
compare it lasts. Myths of
the “value” provide
myth guidesto the
the cruel inflictions of the national reality to—rather than depictions of—the world. As
Related to this is the question of whether experience of watching a film, which we know
that blatantly privileges their status as urban such they express hopes and aspirations rather
the stance
artists? Andof lastly,
thorough-going
why must irony is even
we promote to
thanbedirect
make-believe—a
representations production
of reality. that has
appropriate
the “fantastical” in our case,
modewhen it is quitewhen
of writing, possible it beenFinally,
captured in a medium,
mythology remains andrelevant
replayed.inAnd our
that the multo-fearing, tabi-tabi-po-murmuring,
possibly amounts to little more than escapism, yet, the experience elicits an affective
time because it is intertwined with creativity response
horoscope-consulting,
especially in the face offeng-shui-abiding,
the urgent realitiesand of and
itself,encourages
so much so our that
“playing along” is
the former with its
really
our everyday lives?
church-going present-day Filipino is still very the loftiestthereby
depictions, that the latter our
eliciting can semi-credulity,
ever wish to
much The answers
living to these questions
in mythological times? And are many,
then: abecome. In other
provisional words, allofliterature,
“suspension disbeliefall art,
” and
and different—from one writer
might there be an ethical dimension to the to the next— finally aspires to turn into myth,
acceptance of the illusion that the movie offers, for myth is
but I ofsuppose,
issue center-basedfor me, I will
writers have to begin
appropriating the nothing
while if not
it lasts. Myths narration
providewielding powerful
guides to—rather
by reminding myself that as a source of and transfigurative magic over the communal
ancestral stories of cultural minorities, many than depictions of—the world. As such they
knowledge mythology remains valid, despite psyche that invents it, providing not so much
of
thewhomascendancyhave been literallywhich
of science, dispossessed
itself can by express hopes as
explanations andexperiences
aspirations ratherof its than direct
innermost
the
onlycrueloffer inflictions of theand
provisional national reality that
“self-rectifying” representations
depths, its uppermost of reality.visions, its intuition of
blatantly
explanatory privileges theirfor
narratives status as urban
the nature of artists?
reality. the Finally, mythology
transcendental, remains
without whichrelevant
it would in ourbe
And
As we lastly,
may whyhavemustheard,
we promote the “fantastical”
the best and most time
quitebecause
impossibleit is intertwined
for any us with creativity
to grieve, itself,
to judge,
honestofpractitioners
mode writing, whenof itscience possiblyasamounts
a method to to much
so love, and be fully
so that a person
the former is in thisthe
really world.
loftiest
of inquiry
little more than acknowledge
escapism, reality
especiallyas inessentially
the face thatThe vital place
the latter can ever andwishenduring
to become. relevance
In other of
of the urgent realities of our everyday lives? for
mysterious, still and all. We may think, such “intuitions of the transcendental”
words, all literature, all art finally aspires to turn have
example, of the “hard
The answers problem”
to these questions of consciousness
are many, and beenmyth,
into acknowledged
for myth isbynothing thinkers andnarration
if not writers
(the qualia or inner experience that cannot be across the millennia, even by critical theorists
different—from one writer to the next—but I wielding powerful and transfigurative magic over

AKDA
 MY TH AND THE CREATIVE IMAGINATION

like Gayatri Chakravorty

the communal psyche that invents Spivak. Indeed,
it, 6providing people who have fashioned
of his unfathomable sense ofthem
sadnessoutandof their
loss,
recognizing
not so muchthe value of mythological
explanations as experiences thinking
of its communal
what we now imaginations.
recognizeWe as must
the believe
living that
and
does not mean denying or
innermost depths, its uppermost visions, its even remotely this continues
limpid world. to be the case, even as this very
overlooking the hard and gritty realities of same people recognize that these are stories
intuition of the transcendental, without which it According to this myth, we came out of
the literal, of the “here and now.” Even as we that come from what is already an increasingly
would be quite impossible for any us to grieve, to a god’s mourning for his lost love. In my
gather here today to celebrate the sugidanon superseded past: the simple truth is, since the
judge, to love, and
as exemplary worksbe fully a person in
of ancestral this world.
imagination, mythopoetic
arrival of AMretelling,
radio—and I wanted to say
its soap something
operas—epic
thisTodoesconclude,
not in Iany wouldwaylikemean to that
read we one are
of else, and have
chantings maybe it is this:
practically Alunsina
vanished amongis the
the
my mythopoetic
denying the Panayretellings—in
Bukidnon thethis rightcase, of
to tell implicit, fluid, and dark principle
tumandok (another, more localized name for in all of
a “cosmogony
their story” coming
own contemporary fromabout
stories, the Panay
their creation,
this without
people) whomPanay.
of Central nothing vital would
7

own contemporary
Bukidnon themselves, realities,
as the whatever form or
anthropologist Moreover,
exist. According we to this must
myth,remember
absence is that
also
shape
Felipe these
Landastories
Jocanomay firsttake.
recorded and adapted the
a formPanay Bukidnon,
of presence, and including
creation is evennothingtheir
if
6 Let me be univocally clear, hence: in elderly epic chanters, have for many decades
it. It features the interesting characters of not the restless “filling” and “healing” of the
discussing the mythic virtues of these ancient now almostGap
Elemental all sighing
of theminsidebeen all Christians—
of us—a
Tungkung Langit and Alunsina (in the
oral works, I am not remotely suggesting evangelical, even. The story I personally heard,
sugidanon, her name is probably the older yawning and infinitely cavernous Gap whose
that they are to be taken as the only possible of Professor Magos’s interesting exchange
Laon Sina), the primordial
representation, the only conjugal possiblecouple in
source other them
with name8 isabout
Desire. the “One True God,” just
thisknowledge
of primordial we Visayan
shouldworld.ever haveIn revisiting
of this now comes to mind: asked about what they
and revisioning their story, I
increasingly imperiled community. Inspired decided to keen thought of their remote ancestors’ animistic
inward
by the into
workitsofmetaphysical depth, wheremyI
folklore comparatists, and polytheistic faith (as revealed in the epics),
insistence
discovered its on astonishing
valuing these insight ancient
regarding stories’
the the chanters expressed their belief that their
spiritual insights—their
proliferative power of grief and longing.mythological forbears must’ve intuited the truth of the
“nature”—comes
Before I could set out to begin that
out of a recognition my Supreme Being, or the Ultimate Principle, 88

scientific7 materialism has all but effectively only that “their imaginations could only reach
retelling, I needed to recall the original version
displaced and delegitimized the empirical value so far…” It is interesting, hence, to learn that
of this tale, which I realized tends to discredit
of myths, which indeed means they cannot be these chanters recognize the transcendent
Alunsina to
expected altogether,
tell literalthinking
stories (ofher a frivolous
dispossession, tenor of the sugidanon, for which their various
andwhatever
or jealous else)
wife anymore,
who doesgiven nothing to help
precisely the adventures and characters are but temporal
Tungkung Langit put order
ascendancy of science in our time. into the chaos of vehicles—and as such, as they themselves have
the In
firstcentralizing
universe. Butthewhat this original
allegorical story
approach realized, must finally fall short.
to the entirely
leaves reading to of the
theselistener
tales, toI am therefore
contemplate As Spivak’s recent interventions urge us,
insisting
is just how on it their “relevancy”:
is Alunsina herselfdespite
who sets or there is certainly theoretical room to discuss
precisely because they are now
the inexorable wheels of creation turning, by considered transcendence in the various fora of liberative
“limited” or downright “false” as descriptions of discourse—for instance, the postcolonial
disappearing from Tungkung Langit’s life.
reality—being about the magical adventures of or even the decolonial—precisely because
Because of this wise goddess’s brave and bold
heroes and heroines, sorceresses and monsters, the respect of faith and “spiritualities” is an
decision,
gods andtheduendes,
otherwise setself-absorbed
in the fantasticalCreator integral and unavoidable part of any discussion
is made to and
landscapes forswear his own
seascapes of the ego primordial
and look of human dignity, equality and justice. In
outside
and himself—inpast—these
mythological the process epics begetting, out
continue this regard, we need to remember that in
to embody the dreams and aspirations of the many locations in the Global South, colonial

6 GayatriThis version was

Chakravorty included
Spivak, in the compendium
The Post-Colonial edited byStrategies,
Critic: Interviews, the late Professor
Dialogues,Emeritus,
ed. Sara Damiana L. Eugenio.
Harasym (London: See Eugenio,
Routledge, 1990),ed.,
12.
7 TikumFolk
Philippine Kadlum, Federico
Literature: The Caballero
Myths. (Chanter), Teresita Caballero (Chanter), Alicia P. Magos (Translator), Quezon City: University of the
Philippines Press, 2014 s, 23.
7
8 From aI first recounted
personal the genesis
conversation of this poem
with Professor in my
Alicia essay, December
P. Magos, “Of Legends9, and Poetry.”
2015, It was
University republished
of the in my
Philippines Postcolonialism
Iloilo City campus. and
Filipino Poetics: Essays and Critiques (322-58).

AKDA
 J. NEIL GARCIA

violence
the Makiling had disrespected
myth is (to and her)displaced
really about nativethe suppose,into
inward for me,itsI metaphysical
will have to begin depth,by reminding
where I
mythological systems, after
importance of human accountability in the face all. On the other myself thatits
discovered as astonishing
a source of knowledge mythology
insight regarding the
hand, in my own recent interventions,
of nature’s imperiled beauty, keeping this firmly I have proliferative power of grief and
remains valid, despite the ascendancy of science, longing.
been insisting on reclaiming
in mind she indeed could elect to transfer the universalism whichBefore
itselfI could
can onlyset out
offertoprovisional
begin my retelling,
and “self-
11

as a postcolonial “good,” for it is in granting Irectifying”

needed explanatory
to recall the original
setting of the gentle and nature-caring native narratives for version
the nature of
subalterns and minoritized peoples the this tale, which I realized tends to discredit
goddess(nay, away of reality. As we may have heard, the best and
ability thefromright)theto mountainous
aspire to it—and fastnessto Alunsina altogether, thinking her a frivolous
of Laguna
escape the to the contemporary
ethnographic prison cityscape,
of empirical and most honest practitioners of science as a method
and jealous wife who does nothing to help
even to portray her not
particularity—that we canas a self-assured
properly begin maiden,
the of inquiry Langit
Tungkung acknowledge
put order reality
into astheessentially
chaos of
but rather
task as a confused
of imagining a morepubescent
livablegirl, and who will
more mysterious, still and all. We
the first universe. But what this original story may think, for
equal world. 9
grow into her own “goddess self ” and have a example,
leaves of the to
entirely “hardtheproblem”
listener of to consciousness
contemplate
Finally, it needs to be said:
heroic adventure in the present-day urban world. reducing the (the
is just qualia
howoritinner experience
is Alunsina that cannot
herself who sets be
question of indigenous people’s
Allow me at this point to pose a few of the suffering to the inexorable wheels of creation
remotely reduced to the brain’s gray matter), the turning, by
talk of their material need alone
questions that I believe our myth-inclined writers is levelling disappearing
singularity thatfrom lies at Tungkung
the heart of Langit’s
the Big Bang, life.
at them the ultimate insult. Like all the Because
should ponder. These are also opportunities for the finelyoftuned this wise goddess’s
universe, black brave
holes andand their
bold
world’s disenfranchised and downtrodden decision, the otherwise self-absorbed Creator
them indigenous
to make more purposive decisions event horizons, dark matter and dark energy,
poor, communities do not about only is made to forswear his own ego and look
their needs.
have use of thisThey type
canofand allusion.
do also desire. Like quantum superpositions and entanglements, the
outside himself—in the process begetting, out
Whatelse,should
everyone the tumandok the can Filipino
look upwriter’s
at the Planck
of scale, and all sense
his unfathomable the other imponderables
of sadness and loss,
fundamental attitude
imponderable vastnesstoward of themythology
night sky,be? and Is what we now recognize as the living andof
that scientists have been conjuring forth, late.
limpid
ask ineffable and existential questions.
it simply material, or is it rather a distinct frame world.Myth does not really compete with science,
And so, yes: as their ancestral
of mind or perspective, that bids one to see and stories still for According
its functiontois this not myth,
primarily we explanatory
came out
have the power to remind them
acquiesce to the uncertain and the numinous in (and, hopefully, of
or a god’s
even mourning
descriptive offor thehis lost
physical love. In my
universe. 89
87

us): we all can dream of transcendence…

our midst, the mysterium tremendum et fascinans? mythopoetic
We can compare retelling, theI wanted
“value” to ofsay something
myth to the
Related to this is the question of whether else, and maybe
experience of watching it is athis:film,Alunsina
which we isknow the
*** implicit, fluid, and dark principle in all of
the stance of thorough-going irony is even to be make-believe—a production that has
creation, without whom nothing vital would
appropriate
To conclude, in ourIcase, would when likeit to
is quite
read possible
one of been captured in a medium, and replayed. And
exist. According to this myth, absence is also
that mythopoetic
my the multo-fearing, tabi-tabi-po-murmuring,
retellings—in this case, of ayet,
formthe ofexperience
presence,elicits an affective
and creation response
is nothing if
ahoroscope-consulting,
“cosmogony story” coming feng-shui-abiding,
from the Panay and and encourages our “playing
not the restless “filling” and “healing” of the along” with its
Bukidnon
church-going themselves,
present-day as theFilipinoanthropologist
is still very depictions, thereby
Elemental Gap sighing elicitinginside
our semi-credulity,
all of us—a
Felipe Landa Jocano first recorded
much living in mythological times? And then: and adapted yawning and infinitely cavernous Gap ”whose
a provisional “suspension of disbelief and
it. 10
might It therefeatures be an theethical
interesting
dimension characters
to the other nameof
acceptance is the
Desire.illusion that the movie offers,
of Tungkung Langit and
issue of center-based writers appropriating the Alunsina (in the while it lasts. Myths provide guides to—rather
sugidanon, her name is probably the older
ancestral stories of cultural minorities, many than depictions of—the world. As such they
Laon Sina), the primordial conjugal couple in
of whom have Visayan
been literally express hopes and aspirations rather than direct
this primordial world.dispossessed
In revisiting by
the cruel
and revisioninginflictionstheirofstory,
the national
I decided reality
to keenthat representations of reality.
blatantly privileges their status as urban artists? Finally, mythology remains relevant in our
And lastly, why must we promote the “fantastical” time because it is intertwined with creativity itself,
9mode of J.writing,
Garcia, when itthepossibly
Neil C. “Reclaiming amounts Readings
Universal: Postcolonial to so much
of Selected so that
Anglophone thebyformer
Poems is really
Filipino Poets,” the loftiest
Humanities Diliman
(July-December
littleThismore 2014) 11:2, 1-30.
than escapism, especially in the face that the latter can ever wish to become. In other
10 version was included in the compendium edited by the late Professor Emeritus, Damiana L. Eugenio. See Damiana L. Eugenio, ed.,
ofPhilippine
the urgent realities
Folk Literature: Theof ourQuezon
Myths, everyday words,
lives? of the Philippines
City: University Press,all literature, all art finally aspires to turn
1994.
11 I first recounted the genesis of this poem in my essay, “Of Legends and Poetry.” It was republished in my Postcolonialism and Filipino
The answers
Poetics: Essays and to these(Quezon
Critiques questions are many,
City: University and
of the into2003),
Philippines Press, myth, for myth is nothing if not narration
322-58.
different—from one writer to the next—but I wielding powerful and transfigurative magic over

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 J. NEIL GARCIA

Legend of the Seafoam

In the beginning there was always mist

shrouding and blurring the edges of things:
untouched by clovenness, water and sky
knew nothing of horizons; land and air
lay languidly, caught in the grip of shared
rootlessness and sleep. In the beginning
the void stirred awake from itself, remembering
all it could of its mist-borne soul as it began
to dream of difference. Out of this wish
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89
two beings churned loose, and arose:
Tungkung Langit, omnipotent lord of the sky,
and his wife, Alunsina. She was his lilting
consolation as he was her all: at sunrise,
he returned from his labors at creation
to find her singing beside a pond
which had been her desire turned into water.
He loved her enough to bequeath her
this one power: a gift of crystal grief
and pain that grew lucent in her breast
and flowed shimmering to her lips. As she sang,
she strummed the water’s anxious skin
with her fingers, and he felt the cool touch
of ripples spreading faintly from his brow
to his mind’s very bottom. But still,
Tungkung Langit alone wielded heaven’s
towering staff, for he was lord over all
that cowered in its shadow. Alunsina
thought little of the massiveness that was
his shape, but of what hid there:
while he was not looking, she had mastered

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 MY TH AND THE CREATIVE IMAGINATION

the trick of seeing the space between his stares

as he searched for more emptiness to fill, more
black regions to banish from his sight
that craved light and more light. She had felt
the doubt in his limbs as they tore apart
ancient waters from their springs, had heard
the muffled sigh in his breath as it blew out
heaving mist like a candle whose flame
was darkness. And so, when he told her
in the brilliant clasp of sunlight how her songs
tired him so, how darkly woeful he found them
as depths that lurked wanton under
the formless worlds that he despised,
she knew more than he did of the folly
inside his heart. While Tungkung Langit
was stern-eyed blowing fire into the sun’s
roaring furnace, Alunsina disappeared
from the sky which had been her home.
At first he thought it refreshing
not to listen to her songs, not to find her lying
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90
on her side by crystal ponds that cooled
the air of celestial places. But soon,
he was weary of the heat sputtering
from within his fervent imaginings. Soon he craved
her fingers to put out the flame on his brow,
to heal the gap leering at him from within
the blinding magnificence of his mind.
In his solitude her absence spoke to him
more loudly than any creation
he could ordain! Fired frantic by her loss
he sought her from the bottom to the surface
of things he had caused: from sunrise
to sunrise, from order to order,
light to more light in the universe
of his own proud invention. She was not there.
And so he remembered who she was:
Alunsina who haunted everything
he had shaped as shadow haunted light.
He threw the pall of his sorrow
over half of the sky, leaving only a hole
through which he might see her, and the glint

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 J. NEIL GARCIA

of countless pinpricks to guide her home.

But she remained lost to him the way dew
was lost to the newly formed earth in the haze
of the very first sunset. And then,
he gathered her liquid sadness from all
the ponds she had orphaned in her wake,
and cast it into the hollows down below.
Perched on the crest of a rainbow,
Tungkung Langit wept a rain full of life
that took root everywhere it fell:
on land it crept, through air it flew,
and across the ocean it swam, all in the same
fitful rhythm of loss. He pressed
his mouth to the soil where quivered
flowers sighing their mottled fragrance
into his face. For all this he only grew
more forlorn: she was nowhere in the exuberance
for which he was everywhere called Almighty
by the progeny he had enfleshed. If only
they knew the formless grief enwombing him,
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91
the pain whence they themselves had throbbed
within his heart’s seething mist!
After staying in a fire-lit cave,
where his longing had moved the fingers
of an upright creature across a wall,
Tungkung Langit lifted himself up
to the evening. He would have thought
the moonlit sky beautiful had he not
noticed the glimmer of ripples
over the surface of a breeze-blown sea.
For a moment he could see her lying
across the horizon, her head resting
on a hand while the other strummed the water’s
trembling skin. She would seem to be singing
to waves that rushed headlong to shore as if
desiring seamlessness. From across the sea
he called her name an eternity of times
into the rising wind, Alunsina,
Alunsina. But no sooner had he spoken
than she vanished as the foam swirling
lucent among storm-swept rocks.

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