American Research Journal of Humanities and Social Sciences

ISSN (Online) : 2378-7031

Volume 4, 2018, 9 pages

Research Article Open Access

“Kuglong” and “Salureĵ”: An Ethnographic Study of the

atigsalug Tribe
Edgar R. Eslit
St. Michael’s College, Iligan City, Philippines
[email protected]
Abstract: “Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribeexplores a complex
relationship in the local sphere of ethnic people. In concept, there need not be a conflict between literary and
cultural studies. This study is not committed to a conception of the literary object that folk cultural studies must
disavow. Folk and cultural studies arose as the application of techniques of literary analysis to other cultural
materials presented in all media. It delights Folk and cultural items as real ‘texts’ to be read rather than as
objects that are simply there to be counted as in cases with many folk and cultural studies. Hence, contrariwise,
good folk and cultural study must gain better impact when it is studied as a particular social practice and works
are related to other discourses as pointed out in this study.
Keywords:“Kuglong”, “Salureĵ”, Ethnography, Matigsalug Tribe
Introduction

A Datu playing the Kuglong A Matigsalug family

Dr. Damiana Eugenio, a renowned Filipina folklorist, said that there is still no universally accepted definition of
the word “folklore”. But any bit of knowledge handed down from generation to generation, which describes or
depicts the beliefs and lifestyle of the ancestors of a chosen ethnic group, is rendered unique to that group, and
is respected as folklore.
Folklore is usually transmitted by word of mouth. Oral traditions are very common among the indigenous tribes
still existent in the Philippines. What most students of folk literature do, basically, is transcribe and interpret
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what is related to them by the storytellers of a tribe. The preservation of the knowledge of our elders can be
carried out in many ways, and they are not inaccessible to anyone who would seek them.
Recently, interest in folklore seems to have diminished. With the swift pace of modern living, looking back at
our roots through spyglasses such as the study of folklore seems more and more difficult, if not pointless. The
Filipino youth, especially, are more concerned with looking forward as the rest of the world hastens toward
a technological future. We do not want to be left behind, after all. But if we were never meant to look back,
why does the ancient saying “Ang dimarononglumingonsapinanggalingan ay di makararatingsaparoroonan
(Whoever does not look back at a starting point, will not arrive at a destination)” remain in our lips? Why do we
remind ourselves of the necessity of stopping to pay respect to our forebears and the advice they could still give?
This paper is dedicated to the presentation – or, should I say, representation – of native Filipino folklore. It aims
to favor the lore of the Matigsalugpeople (I prefer not to call them tribe, for like the word ethnic, it may create
negative connotation), as everyone is aware of the diversity of tribal affiliations still present in our everyday
lives. It means to declare that the tales spun during one tribe’s journey through life and timeis no longer for the
enjoyment and convenience of the members of that tribe alone, but for the whole world. Hence, in this paper,
I’ll be discussing my two days or 3-day encounter with the Bukidnon’sMatigsalugpeople.
Methodology
Conducting a study in Folk Literature pushed me into a higher plane of inquiry as I confronted “literature, culture
and language” with my own limited cognition for sensing -- making me aware that my “serious” topic about
the Matigsalug Chants as part of their lore is being highlighted. Here, other than observing theMatigsalug’s
chants, their culture, utterances, and expressions, their way of behaving and doing in a certain place are also
considered. Another focusis made by observing their Datus and chanters perform their chants. Since I don’t
have the luxury of time and for pragmatic reasons such as immediate respondents, I decided to explore the world
of the Matigsalug-Manubos in Sinuda, Kitaotao, Bukidnon on July 12-15, 2013 in a verylimited perspective.
Together with my Professor Dr. Christine G. Ortega, her son Rex, her staff and my two other Ph.D. classmates,
Hydee Villanueva and EstrellaAlfabeto, we were able to conduct our objectives successfully. Who would want
to discuss an encounter with a tribe to discuss about “lore” and “chants” in the open without feeling the eerie
mode and negative reaction for a first timer like me? Yes, the topic would sound unusual and even disregarded
by some as strenuous in terms of scholarly pursuit in the local setting because of its nature, yet, given the beauty
of its existence, it tickles my nerve as well as the edges of my bones. I believeit deserves special attention.
Well, together with the whole team, in the conduct of my observation and interview, what I found tough was
the subdual use of the flashy personal pronoun “I” and the possessive pronoun “my” in the presentation of my
discussion and in the informal talks with the local folks I have
interviewed because I was with them for three (3) days and some of them became my close acquaintance.
Anyway, to avoid the inclusion of personal biases in this paper, my approach selected the impersonal and objective
view for the necessary narrative depiction of their responses which I used in my discussion. Considering
that language and culture orientation is just one of the many ways to viewing reality, this study adopted the
narrative-descriptive construct. I normally believe that what people know and believe to be true about the
world is “constructed or created and reinforced and supported as people interact with one another over time in
specific social settings” (Guba and Lincoln, 1994).
For my data gathering procedure, I utilize the combination of information from my library readings, observations,
interviews, and pictures to show the significance of theMatigsalug’s culture as depicted in their chants and
other practices which I found significant in the conduct of my study.
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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe

Objectives of the study

I admit an assimilation of multiple objectives sunk into my mind while doing this paper. I was confronted with
the question(s)on how to answer my assignment in LS 312 (Malayo Polynesian Linguistics) under Dr. L. De
la Cruz which my classmates and I were given task to do the comparison of cognates that can be found in the
Matigsalug dialect to that of the Sebuano language. Second, the intention to comply my other project in LS 315
(Semiotics) under Dr. N. Balgoa about Visual Semiotics of which can be observed in the use of signs and symbols
among the Matigsalug People. Such assimilation though did not hamper my mind to redirect my attention to
discuss my narrative insights about my encounter with the Matigsalug people.
Overall, our main objective though was to listen to Matigsalugchanters, gather the narrative, and observe the
evaluation of the aesthetic responses and validations of the audience over the chanting during a focused group
discussion (FGD).
I affirm the relative truth of my description is based on my objective understanding of my sources and the
respondent’s dynamism our interviews. My style of describing the respondents however, is hoped to capture
some sense of objectivity for the sake of academic presentation.
Theoretical background
This paper is anchored on three theories. First is on Oral tradition.While folklore can contain religious or mythic
elements, it equally concerns itself with the sometimes mundane traditions of everyday life. Folklore frequently
ties the practical and the esoteric into one narrative package. It has often been conflated with mythology, and
vice versa, because it has been assumed that any figurative story that does not pertain to the dominant beliefs
of the time is not of the same status as those dominant beliefs.Thus, Roman religion is called “myth” by today’s
dominant religions. In that way, both “myth” and “folklore” have become catch-all terms for all figurative narra-
tives which do not correspond with the dominant belief structure
“Folktales” is a general term for different varieties of traditional narrative. The telling of stories appears to be
a cultural universal, common to basic and complex societies alike. Even the forms folktales take are certainly
similar from culture to culture, and comparative studies of themes and narrative ways have been successful in
showing these relationships. Also it is considered to be an oral tale to be told for everybody (Boscom, 1981).
Vladimir Propp’s classic study Morphology of the Folktale (1928) became the basis of research into the structure
of folklore texts. Propp discovered a uniform structure in Russian fairy tales. His book has been translated into
English, Italian, Polish and other languages. The English translation was issued in USA in 1958, some 30 years
after the publication of the original. It was met by approving reviews and significantly influenced later research
on folklore and, more generally, structural semantics. Though his work was based on syntagmatic structure, it
gave the scope to understand the structure of folktales, of which he discovered thirty one functions. Derrida’s
concept of archewriting does not obey the distinction between writing and speaking(Boscom, 1981).
Second is Cultural. Folklorist William Bascom states that folklore has many cultural aspects, such as allow-
ing for escape from societal consequences. In addition, folklore can also serve to validate a culture (romantic
nationalism), as well as transmit a culture’s morals and values. Folklore can also be the root of many cultural
types of music. Country, blues, and bluegrass all originate from American folklore. Examples of artists which
have used folkloric themes in their music would be: Bill Monroe, Flatt and Scruggs, Old Crow Medicine Show,
Jim Croce, and many others. Folklore can also be used to assert social pressures, or relieve them, for example in
the case of humor and carnival.
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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe
Thirdly, is Rituals.Many rituals can sometimes be considered folklore, whether formalized in a cultural or
religious system (e.g., weddings, baptisms, harvest and festivals) or practiced within a family or secular context.
For example, in certain parts of the United States (as well as other countries) one places a knife, or a pair of
scissors, under the mattress to “cut the birth pains” after giving birth. Additionally, children’s counting-out
games can be defined as behavioral folklore. For the Matigsalug people, they used chickens for the Pamuhat
(rutual).
Looking at these theoretical premises, one can deduce that the Matigsalog people in Sinuda, Kitaotao, Bukidnon
were bonded in terms of culture and folk practices based on the above theoretical background, hence, they are
material springboard in my discussion.
Discussion
The Matigsalugpeople are group of people who are found in the Tigwa-Salug Valley in Bukidnon. “Matigsalug
“ is a term, which means “people along the River Salug”. The Matigsalug men wear short tight-fitting pants that
are of knee length and are hem and turbans for the head decorated with beads and fringed with goat’s/horse’s
hair. They are the respondents in this study.
The respondents
To hasten my data gathering procedure, the research team and I only topped two groups of chanters (couples),
two translators/interpreter (DatusKiram and Brigs), and twenty audience (all coming from the same tribe).
Heydee Villanueva, EstrellaAlfabito and I served as facilitators during the discussions. See the map below for
their location.

A. The map of Mindanao B. Bukidnon map C. Sinuda, Kitaotao, Bukidnon map

The Matigsalug People
Based on my readings, the Matigsalugpeople are the Bukidnon groups who are found in the Tigwa-Salug Valley
in San Fernando, Bukidnon. “Matigsalug “ is a term, which means “people along the River Salug”. Oral tradition
has said that their original settlement was at the mouth of Salug River, which is now Davao City. They are the
splinter group of the Manobo immigrants (Malayo-Polynesian origin) whose last jump off area to the mainland
is the Sulu archipelago.
Pressures from inland pirates caused the Matigsalug to move further up the Salug River, and even further inland
also when the Muslims and others of Indonesian origin came and harassed them in their lowland and mid-latitude
habitation. At present, the Matigsalug are around 100 kilometers from their original coastal location.
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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe

Their Way of Life

The Matigsalug, in earlier years, practiced a hunting-and-gathering lifestyle with minimal agriculture efforts.
Very recently, by the influence of migrant farmers and businessmen from northern Philippines and the island
provinces, the Matigsalug shifted to sedentary land cultivation with more or less permanent villages.

What remains of their earlier lifestyle is now found in their cultural and artistic expression. This is evidenced
by their costume of bright colored mid-rib blouses and short skirt, and with skillful hunting and gathering
techniques. This early lifestyle is also shown in their music, songs, dances, poetry, epic, spiritual expressions
and chants.

Their Clothing and language

The Matigsalug men wear short tight-fitting pants that are of knee length and are hem and turbans for the head
decorated with beads and fringed with goat’s/horse’s hair.Although often classified under the Manobo tribe,
the Matigsalug is a distinct sub-group of indigenous people from the Manobos. They speak the Matigsalug dia-
lect which is different from the Sebuano language.

VI. Narrative discussion

What follows are the activities transpired during the 3-day field trip in Sinuda, Kitaotao, Bukidnon.
A. First day (Saturday, July 13, 2013)

DatuTalingting performs the “Pamuhat”ritual.With him is DatuLambu-lambu. I later learned from him that the
ritual was done to ask permission from the spirits for the success of our activities. Early on, we were informed
by my classmate and guide, EstrellaAlfabeto, to bring three chickens (color white, red and black). These three
colors are very significant among the Matigsalug people for they imply spiritual and cultural significance in all
their undertakings. In the case of the ritual, the red colored chicken signifies strength and bravery, black for
benevolence and invincibility, and the white for peace. This, of course, associated with the different spirits to
where the three chickens are offered.

After the pamuhat ritual, DatuTalingting requested us to introduce ourselves. Our professor, Dr. Christine
G.Ortega introduced the team members to them while EstrellaAlfabeto explained the objectives of our visit.
After that, DatuTalintingrecounted some of their tales. The elders or should I say Datuspieced together stories
passed down through generations aboutDatuGawilan,their supreme leader, their legends and the different spir-
its that guarded their place. I regret that I could not understand the original language they used, but it was fasci-
nating to hear their stories got into mymind.The Datu in attendance were DatusBrigidoLacaran, Martin Duma-
con, Benito Lumilang, Leo EneranLacaran and Manuel Lacaran. Later, I have known from DatuMekeeyam(Brigs)
that the Datus themselves can be classified according to the following categories: “Bagani” the warrior, “Po-
tongno (next to Bagani) and “Soloyno” the local setio leader. We had it done inside the Federation of Matigsalug-
Manubo Tribal Councils, Inc. (FEMMATRICS) hall.
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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe
In the afternoon, it proved to be more exciting. At around 3 O’clock, we had the chance to listen to the first
group of Matigsalug chanters, Datu Antonio Tandangan and his wife BaeLaunaTandangan. They presented 3
chants. The first one was about the “pamuhat”, followed by the adventure of DatuGawilan, and the “Eroplano”
airplane Chant. What is notable about the three chants is that they don’t have definite titles—only descrip-
tions. The titles were given by Brigido D. Lacaran or DatuMekeeyam (means attractive in English) who served
as our translator. He made mention that the audience are more knowledgeable than the chanters in regards to
naming the kind of chants presented by the chanter; hence, they are entitled and more capable in naming the
chants than the chanters themselves. I got mental reservations about his explanation though. Other than the
translations made by DatuMekeeyam, what is more alluring isthe way how the chanters made use of the two
ethnic musical instruments, the Kuglong and Salureĵ (see pictures next page). The chanters used them while
they chant. They blended so well with the voices and words of the chanters while chanting. I got the chance to
photograph and record their chants.

DatuAntonio Tandangan with his Kuglong and BaeLauna Tandanagan with her Salureĵ during the chanting.

As observed, since they have to relate or commune with the spirits, indigenous peoples have evolved worship
rituals. “Traditional knowledge is transferred through these rituals,” said one of the young Matigsalug elder or
DatuKiram. Through listening and participating in the rituals, young community members get to learn these
rituals and appreciate their significance.

These rituals include prayers to the spirits. Interestingly, their chants contain bits of their epics, legends and
stories, which embody a community’s whole belief and knowledge systems and history. Validating the audi-
ence’s feelings, thoughts, and appreciations about the chants were also conducted by having the FGD after the
chanting. Their responses were all spontaneous that even the other Datus present during the event openly
cooperated.

On the aside comment, for these chant rituals and belief systems to continue to be transmitted, indigenous ter-
ritories, according to DatuKiram, should remain under indigenous peoples’ full control.

Unfortunately, these belief and knowledge systems are under threat from various factors. “The whole Matigsa-
lug ancestral domain (which covers Davao City, Bukidnon and Cotabato) is sacred,” said DatuKiram. “But our
ancestral domain has been and continues to be threatened by logging, mining, politics, and religion.”

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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe
Second day (Sunday, July 14, 2013)
The second day is full of hope and excitement. We need to listen to the second group of chanters. That day, we
hadDatu Jesus Uban and His wife BaeUban. They performed the following chants: “Pagsabuka” to mean invita-
tion. Its meaning has the contention of inviting all Matigsalog people to unite all the time and the second chant
is called “Panogontogon”. The “Panogontogon” is about a servant bidding goodbye. Please see the
pictures next page.

Datu and Bae Uban with theit Kuglong and Saluray prsenting their chants.
As divulged by DatuMekeeyam “Brigs”, as to why their chanters come in pairs, he said that they’re actually
couples. They’re bonded through an ethnic marriage rite. For them to stay together as couple, they should pos-
ses the same “hiyas” or talent in chanting to stay longer, otherwise, one of them may be tempted to have a “duay” or
second wife. This right, however, is intended for the male only and not for the female especially among the Datus.
That same day, we were able to watch some of the traditional dances performed by the children dressed in
costumes, who had been choreographed by a teacher at Sinuda National High School. She’s Maribel A. Ugsimar.
A baffle box was attached to a player which provided the music during the dance practice but it kept on getting
disconnected because of the wiring. One tribal elder was also visibly coaching the children during the dance,
as some of them forgot their moves. For awhile, it gave us instant amusement. But the good thing about this
observation is the consistency of what they were doing. The Matigsalug people, be it young or old, were united
in preserving their culture through their activities. Here are some of the photographs:

The SNHS dance troupe together with Haydee, Estrella and Edgar during their practice.
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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe

Concluding Insights
The Matigsalug Chants travel with great ease from one storyteller to another. Since a particular story is charac-
terized by its basic pattern and by narrative motifs rather than by its verbal form, it passes language boundaries
without difficulty. The spread of a folktale through chants is determined rather by large culture areas like that
of the Matigsalug’s.

Getting back into my theoretical framework, I have seen that the oral traditions, culture, and rituals are evident
and alive among the Matigsalug people. Their chants show them all. And with this realization, it made me
recheck Bascom’s four functions of folklore to reconcile some of my misconceptions and reervations. Boscom
postulated that: 1. Folklore lets people escape from repressions imposed upon them by society; 2. Folklore
validates culture, justifying its rituals and institutions to those who perform and observe them; 3. Folklore is
a pedagogic device which reinforces morals and values and builds wit; and 4. Folklore is a means of applying
social pressure and exercising social control. In a way, the chants that I’ve heard, echo the in-depth aspiration
of the Matigsalug people in Bukidnon for peace and harmony. The messages from the chanter’s voice were so
vivid and that their oral tradition speak not only of the repression imposed upon them by the society, reinforce
moral values, and exercising social control but also validate their culture.

Here, their oral tale, is practically true both in time and place. Certain people tell very simple stories and others
tales tell of great complexity, but the basic pattern of tale-teller, chanting and their audience are found every-
where in Sinuda, Kitaotaao, Bukidnon. Differing from legend or tradition, which is usually believed, the Matig-
salugchants give the storyteller absolute freedom and credibility so long as they stay within the limits of local
taboos and they tell tales that please their audience even if others believe that they’re just but folklore.

Finally, as long as theirKuglong and Salureĵ go on playing, their cultural heritage will remain alive in everybody’s
heart (in our hearts—LS 305 students). Their music and chants will tell us and the whole world of their being
friendly, gentle, and peace-loving people.

The research team headed by Dr. Christine Ortega getting ready for our departure going back to Iligan.

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“Kuglong” and “Salureĵ”: An Ethnographic Study of theMatigsalug Tribe

References
Bascom, William R. (1912–1981) American folklorist, anthropologist, and museum director.
Eslit, E. (2014). https://www.academia.edu/27353534/Computer-aided_
Cross-cultural_Communication_Theory
Georges, Robert A., Michael Owens Jones, “Folkloristics: An Introduction,” Indiana University Press, 1995.
L. V. Propp, Morphology of the Folktale, Second Edition, revised and edited with a Preface of Louis A. Wagner,
University of Texas Press, 1968.
DebaprasadBandyopahyay (March 7, 2001). “Folklore: Searching for Logistics by DebaprasadBandyopadhyay”.
SSRN.Retrieved 2012-10-03.
Kenneth S. Goldstein, “Strategy in Counting Out: An Ethnographic Folklore Field Study,” in Elliott M. Avedon and
Brian Sutton-Smith, eds., The Study of Games. New York: John Wiley & Sons, 1971.
Robert Georges & Michael Owen Jones, Folkloristics: An Introduction, Indiana University Press, 1995, pp. 171–
192.
Daniel Crowley and Alan Dundes, “Obituary: William Russel Bascom,” Journal of American Folklore 95 (1982):
465-7.
Online references
Phoebe A. Hearst Museum of Anthropology website - History page
www. mindanaotribes.webs.com/aboutus.htm
www.beunstoppable.us/tribes

Citation: Edgar R. Eslit. “Kuglong” and “Salureĵ”: An Ethnographic Study of the Matigsalug Tribe” American
Research Journal of Humanities and Social Sciences, vol 4, no. 1, 2018, pp. 1-9.
Copyright © 2018 Edgar R. Eslit. This is an open access article distributed under the Creative Commons
Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the
original work is properly cited.

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