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 ENCYCLOPEDIA OF PHILIPPINE
FOLK BELIEFS AND CUSTOMS
COMPILED AND EDITIED BY FRANCISCO R. DEMETRIO, S.J., PHD

Status: author’s proofing

Jesuit Father Francisco Demetrio is an

internationally acclaimed scholar in Philippine
folk beliefs and customs. The two volumes
comprise almost eight thousand topic entries
grouped into twenty-five chapters.
The chapters indicate wide range of folk beliefs,
giving glimpses of Filipinos’ consciousness and
worldview. It is a worldview steeped in ancient
animism and rituals as practiced by our
indigenous forebears, and characterized by
cultural layers and spiritual traditions brought
about by colonization and globalization.
Expressed in topics ranging from birth to death,
and encompassing a wide range of realities in
between, some of the beliefs take the form of
light-hearted riddles and axioms; others
represent taboos and social rules.

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 MAD CROW
& OTHER POEMS
BY SHEILFA B. ALOJAMIENTO

Status: book design

This little book of poems is an attempt to keep

abreast with the fast-paced 21st century or what
others call the post-modern times. As the modern
Filipino poet Cirilo Bautista said, today’s generation
does not appreciate poetry: millennials do not have
time to thank and rethink what they had read.
Poetry becomes more incisive only after several
readings. In this thin volume, the author tried to
accommodate both prose and poetry. Whether she
would be successful or not is up to her critics and
the reading public to judge.
In her other long poem, the title bearer Mad Crow,
she tells of her exasperation with the mundane
concerns of humanity.
The poem A Survivor Reports speaks of the
violation of women by savage men. Her other
poems also show that savage men and women do
not exist in forests alone.

Although her poems make use of figurative language and there is the presence of rhyme and rhythm, I
still want to see stanzaic poetry and paragraph-form prose.
Nevertheless, like in Shakespeare’s case, let time do the judging.

- Introduction by Eulogia Royeras-Salalima

Ms Alojamiento began writing short stories in Filipino for National Midweek. She took up A.B. Political Science
at Mindanao State University in Marawi City, dropped out.
 BLIND ALLEYS
BY SHEILFA B. ALOJAMIENTO

Status: book design

It sometimes appalls me that since I began

writing stories, say, in my early twenties when
there was only National Midweek and Moro
Kurier to accommodate what I was writing, I
have not, up to this time, put together my life’s
works.
I went to the southwest to do research and
documentation and that was it. In the next
decade Life and journalese just took over. The
rest, as the cliché goes, is silence.
My last conversation with the poet Tita
Lacambra Ayala went like this: How do you
write? I said I had been living well, eating well
lately, so I have none to show her.

No. What I actually said was, I guess I have to go hungry, then I can write.

About this time I was also beginning to be deeply interested in psycholinguistic conditions such
as neurodivergence which to my mind is not a disorder but a distinction. The story at close read
is really more a treatise on class love—perhaps, communal love—rather than anything
psychosomatic. It’s not even about lesbian sex: more about a kind of harking back to the past
that was once looked forward to as the utopian future.
 SO: MGA BAI SA RANAO
BY ARIFAH MACACUA JAMIL

Status: book design

Writing soothes me and so I write when I am

happy or when forlorn only. The emotions
invoked in the pieces I write over the years
heavily circulate on love, marriage, family, and
expectations from all sources.
The collection of fiction, poetry, and non-fiction
in this book is divided into two parts.
Part I are the stories written when I was 15 to
18 years old. Admittedly, the sentiments therein
strongly sprang from the enthusiasm of youth.
During this stage of my life, I wanted to criticize
and at the same time appreciate my Meranaw
culture. I spoke of girls and young and old
women from memory and familiarity.

Part II is made up of works in my late 20s to the present. In these words and sentences I reflect
on how I dealt with different versions of loss, how I worked around desires, and the realization to
surrender to previously repressed feelings.
My personal insights and views have changed the longer I lived on my own. Some things that I
was unwilling to compromise before have now become bridges to bargain with culture.
If you ask me where I am headed to, I will say—where my comfort takes me.

Arifah Macacua Jamil is a Meranaw. She was born in Quezon City and at 4, returned with her parents to
Lanao del Sur where she was raised and educated until high school. She holds a Juris Doctor degree from Xavier
University Ateneo de Cagayan and currently taking up Master of Laws at the Pamantasan ng Lungsod ng
Maynila. Arifah is a believer. She is loyal to a fault. She sees herself situated on both extreme ends of the
spectrum. Writing soothes her on most days. She loves deeply.
 TOUCHING OUR ROOTS:
A CONVERGENCE OF THE TRI-PEOPLES
OF MINDANAW AND SULU
IN QUESTION AND ANSWER

BY RUDY BUHAY RODIL

Status: editing

I was born and grew up in Mindanaw. My roots

are deeply entrenched here. At home among
the tri-peoples and the land beneath.
The Mindanaw that I saw and discovered and
experienced in the last seventy-nine years is
contained in this book, in one flowing story.
It is the story of the mess we had been driven
into when we allowed ourselves to be victims of
the colonizers’ divide and rule tactics.
It is the story of how Mindanawons in their
diversity have been drawn together by history;
this was how the tri-peoples emerged.
It is the story of how Mindanawons have learned
that they must design their own future, as they
are presently doing, guided by the lessons of
the past, not living in the past. Not as separate
distinct entities, but together.

It is the story of how Mindanaw, the land, has become a shared territory where each group
must enjoy a decent social space, where each group must live with the other in peace and in the spirit of mutual
respect and acceptance as magkapatid and managsuon do. Throughout the land, we have a tradition of
sandugo or dyandi, a pact accomplished through sacred ritual wherein non-relatives become brothers and
sisters for peace and harmony in the community. We can relive the spirit once again.
The materials used here were drawn from all sources I could lay my hands on, including my own experiences,
deliberately put together in one volume so that one may sit, discover, feel and experience Mindanaw. And live on
from there to continue the story.

Rudy B. Rodil is a Historian, Professor of History, Department of History, in MSU-Iligan Institute of

Technology, Iligan City.
 A COLLECTION OF PRELIMINARY MATERIALS
ON THE LUMAD BELIEF SYSTEM IN MINDANAO

EDITED BY RUDY B. RODIL & EDIVILLA TALAROC, PHD

Status: editing

This volume is largely a collection of twelve

research training outputs from three batches of
the Research Training on the Lumad Belief
System, all in Cebuano Bisaya and one
Tagalog. (English translations, for non-Bisayan
speakers, were done by Dr. Talaroc and this
editor.)
Jointly sponsored by the Episcopal Commission
on Inter-religious Dialogue (ECID) and the
Presidential Adviser on the Peace Process
(OPAPP), the research Training on the Lumad
Belief System was conducted in three sessions.
The original plan was merely to train the
participants how to gather data and put them
together into a readable piece in Cebuano
Bisaya. But then as the training evolved, many
welcome developments surfaced, among them,

that Lumad participants were excellent sources of data and the other participants themselves
were willing to train in actual interviews, taking down notes, and consolidating the data
gathered -- all in three short days.
The outputs far exceeded the training team’s expectations. Though preliminary, incomplete,
uneven in quality, and needing further validation, they may nonetheless serve as a very good
beginning for deeper studies.
The arrangement of the materials is by training batch in their order of appearance. First,
Pagadian. second Cagayan de Oro, and third Samal Island. The appendices contain the
contents of the common kit that was used in the three training sessions, and the Peace Credo
of Kalinaw Mindanaw with all the fourteen translations.
 HOW MY CAT BECAME A REAL PET
BY CHRISTINE F. GODINEZ ORTEGA

Status: editing

A touching story that traces the journey of a

nameless cat to becoming a cherished
companion. The protagonist's love for the cat is
unwavering, despite its lack of a name.
The narrative unfolds with the protagonist's
parents urging them to give the cat a name to
qualify as a proper pet. The story takes a
nostalgic turn as the protagonist recalls the day
their father rescued the cat from a stormy river.
Throughout the tale, the cat's actions mirror the
beauty of nature, offering moments of joy and
reflection. The narrative captures the essence of
the bond between the protagonist and Strom,
depicting the cat as a source of comfort and
companionship.

"How My Cat Became a Real Pet" is a poignant celebration of the simple yet profound bond
between a child and their feline friend.

CHRISTINE F. GODINEZ ORTEGA is a distinguished writer and educator, holding degrees in English and
Creative Writing. She earned a rare distinction with a Doctor of Fine Arts degree in Creative Writing from De
La Salle University Taft Manila. Ortega taught at Silliman University and MSU-IIT, where she held various
administrative positions.
 THE SEA HORSE
AND AHMAD THE FISHERMAN

BY CHRISTINE F. GODINEZ ORTEGA

Status: illustrating

In the quiet village where the river whispered its

stories to the fishermen, and the sun painted
shimmering strokes on the water's surface, a
singular tale unfolded—an extraordinary
narrative that danced on the edges of reality.
Meet Ahmad, a jovial fisherman whose love for
the simplicity of casting his line would lead him
to the uncharted territories of enchantment.
As Ahmad embraced the tranquil rhythms of
riverside life, an unexpected cry for help rippled
through the air, pulling him into a fantastical
odyssey. "The Sea Horse and Ahmad the
Fisherman" invites us to step into Ahmad's
world, where the boundaries between the
mundane and the mystical blur, revealing a
realm beneath the waves—the Sea Kingdom.

This tale unfolds as Ahmad navigates the unexplored depths, encountering extraordinary
beings and vibrant landscapes that defy the imagination. Yet, within the enchantment lies a
narrative that transcends mere fantasy—an exploration of the transformative power of
compassion, the allure of the unknown, and the repercussions of choices made in the face of
wonders beyond comprehension.
Join Ahmad as he unravels the secrets of the sea, where selflessness dances with curiosity,
and ordinary moments become extraordinary adventures. "The Sea Horse and Ahmad the
Fisherman" beckons readers to dive deep into a story that resonates with the delicate balance
between our deeds and desires, offering timeless wisdom wrapped in the guise of a humble
fisherman's journey.
 THE STORY OF INSAYON CAY MANAHOD, THE
WORLD’S FIRST BABAYLAN
RETOLD

BY CHRISTINE F. GODINEZ ORTEGA

Status: illustrating

This is a retelling of the Ulahingan epic from the

Livunganen Arumanen-Manobo of Northern
Mindanao, the focus is on Mungan, the world's
first babaylan. The Livunganen-Manobo refer to
the epic as bendingan, deriving from the word
ulahing, which means to chant.
Mungan is the wife of Vanlak, the younger
brother of the heroic Agyu. The primary narrative
is drawn from Abraham Saliling's version, one of
four presented in "Ulahingan, An Epic of
Southern Philippines Series 1" by Elena G.
Maquiso, published by Silliman University in
1977. Another version, collected from Talaandig
Manobo chanter Nana Loreng Saway, refers to
Mungan as Insayon Cay Manahod.

In this retelling, which originated in the Philippines Yearbook (Fookien Times), the name
Insayon Cay Manahod is used instead of Mungan, and additional details not present in
Maquiso's version are incorporated.
This present rendition of the tale delves into the themes of rebirth and spiritual renewal,
commencing with Agyu assuming leadership from his older brother Pemulew. The community
prepares for their transformation into galibongan, seeking immortality to board the
sarimbar/salimbar, a golden conveyance with a golden chain destined for the heavenly abode
of Newili'an—the place of joy and thrill.
 THE CHURNING OF THE SEA OF MILK
AND OTHER ESSAYS
BY ELIO GARCIA

Status: editing

This is a book of nonfiction that has seven

essays which are studies of the long form as
well as of a refracted persona grappling with
growing up, writing, remembering, breaking, and
all sorts of stuff that happen to us in the writing
life.

“I walk without turning for a glance, hoping for

someone to call me sir, excuse me, sir. I understand
this town’s mystery now. I wish that everything
will pack up like a studio and I am an actor, doing
well in this cruel role that I play, in a movie that
meanders and meanders...
I see Shiva and Shiva Lingam constantly bathing;
Brahma, Vishnu, veiled by moonlight glinting on
streams.

When the water touches the gods, it flows with divinity, blesses the city, blesses the land, blesses
everything it touches with its rapids, maelstrom, or calm.”

Elio Garcia is an essayist, film scholar, translator, actor, dramaturg, and playwright. Elio has taught nonfiction
at Johns Hopkins University and currently teaches film theory and political economy of media at University of
the Philippines Film Institute. In 2020, he won the Southeast Asian Studies Award from the UO Center for Asian
and Pacific Studies and a fellowship at the Oregon Humanities Center.
 PAGSANTOP HAN WINARAY
UNDERSTANDING WARAY GRAMMAR

BY VOLTAIRE Q. OYZON & THOMAS E. PAYNE

Status: editing

This is a bilingual textbook on Waray grammar

designed to be used by teachers in preparation
in the Eastern Visayas. It is also a reference
work that will be useful to linguists and others
interested in learning to speak Waray, or
learning about the technical aspects of Waray
grammar.
It is based on a “communicative” approach to
grammar. In other words, it treats Waray
grammar on its own terms, as a tool used for
communication in a particular cultural context.
Previous grammars have tended to view
Philippine languages through the lens of
European languages.
This work gives voice to the categories and
patterns that Waray speaking children already
have within them when they enter school.

The book is the result of long and intense discussions among Waray native speakers, including University faculty
and students, as well as intellectual leaders throughout the Waray speaking region. Preliminary drafts have also
been “beta tested” with Dr. Oyzon’s students at Leyte Normal University.
The Waray grammar is part of a larger movement to promote Mother Language Based Multi-lingual Education
throughout the Philippines. We hope that the published book will be a kind of “template” for similar works in other
Mother Languages in various regions. Perhaps you know Dr. Ricardo Nolasco, emeritus faculty at UP, who is a
major advocate for this movement, and who has committed to writing a foreword to this book.

Voltaire Q. Oyzon is an associate professor at Leyte Normal University in Tacloban City. He obtained his Doctor
of Arts in Language Teaching degree in 2021 from Leyte Normal University-Graduate School. He teaches Waray
language and social science courses. His first poetry collection, An Maupay ha mga Waray, was published in
2008 by the Philippines National Commission for Culture and the Arts. This year, the University of the
Philippines Tacloban College invites him to teach the courses Waray I (Introduction to Waray Language) and
Waray II (Understanding Waray Grammar).
 15

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