What Do You Think Is The Main Conflict Of The Story Tungkung Langit And Alunsina

[Flaviano Bada]

Throughoutmythology around the world, higher beings are often shown to possess human weaknesses in terms of their character despite having supernatural powers. They are able to control the forces of nature at will, yet they lose control rather than showcasing superior foresight. These supposedly idealized characters that have served as a foundation of human belief systems also reflect human weaknesses, and this allows us to see ourselves in these characters. Recognizing these weaknesses may also help us understand the purpose of these characters in the story as the relationship dynamics of certain partnerships may add depth to each other.

Others may read the conflict between Tungkung Langit and Alunsina as unbecoming of a benevolent god. However, part of wanting the best for Alunsina would require intolerance to unacceptable behavior, even if it hurt her.

All that is required for the world to become a picture is when man bases his life as reference for that picture to be formed. Man no longer needs to be connected with a higher being as well as others to gain a world picture from them. Man assigns meaning to things, the result of which has become a cultural shift from community and religion to individualism.

The play has served as the main inspiration for my two adaptations. The first is a pop-up book, which plays with the concept of free will. Here chaos is depicted by personifying what little might have existed of the primordial world. Time, Space, and Light take on the form of animate entities with minds of their own. Rather than asserting her own independence by leaving, Alunsina is portrayed as an equally active character.

In this version, Alunsina foreshadows that the primordial chaos is not the only thing they must face, but they must be strong for one another in order not to let the chaos come between them. Instead of sending the breeze to spy on Tungkung Langit, she goes after him herself and together they bring back order in the cosmos, and create the universe side by side as a monument of their love.

As the driving force for the creation of the universe in the story was love, the world that resulted was full of beauty, but also suffering. I was then faced with the challenge to incorporate these two contrasting elements in the artwork, as well as turn a rather serious story with a sad ending into something that would appeal to children ages seven to nine and leave a positive and memorable message. One of the first things children asked as I presented this to them was why the man was crying, but they were also attracted by the color and interactive elements.

Yet despite this phenomenon of life, stories like this offer hope. Despite all odds, the world is restored to order. Despite the loss or separation from a loved one, the conviction to make the world a better place, does not die or disappear along with the loved one.

A graduate of Fine Arts major in Painting at the University of Santo Tomas, Nicole Lasquety is a visual artist and writer with a passion for media exploration where big ideas are commonplace. Her broad range of artworks include surreal, kinetic, wearable, and abstract art.

This go-between could either be the spirit of their dead relative or any of the lower-ranking deities. Ancient gods were usually worshiped in adobe carvings called likha, while the dead ancestors were revered by offering foods or gold adornments to wooden images known as anito.

On the other hand, the early people of Zambales named their highest-ranking deity Malayari. Like the Bathala of the Tagalogs, this creator god rewarded his worshipers with good health and harvest and punished the unbelievers with disease and famine.

If Bathala was the boss, the other lesser deities who lived with him in the sky were his assistants. Each of these lower-ranking gods and goddesses had specific responsibilities. One was Idianale (Idiyanale or Idianali in other sources), the goddess of labor and good deeds.

There are varying accounts as to what specific field Idianale was worshiped for. Historian Gregorio Zaide said that Idianale was the god of agriculture, while other sources suggest that she was the patron of animal husbandry, a branch of agriculture.

Kalasakas hastened the ripening of the rice stalks, while Kalasokus was responsible for turning the grains yellow. Lastly, the deity Damulag protected the flowers of the rice plants from destructive hurricanes.

In Zambales, this goddess was known as Aniton Tauo, one of the lesser deities assisting their chief god, Malayari. Legend has it that Aniton Tauo was once considered superior to other Zambales deities. She became so full of herself that Malayari reduced her rank as a punishment.

Dumakulem was the son of Idianale and Dumangan, and brother of wind goddess Anitun Tabu. The ancient Tagalogs revered him as the guardian of the mountains. He is often depicted as a strong and skillful hunter.

This Tagalog sky god later tied the knot with another principal deity, Anagolay, known as the goddess of lost things. The marriage produced two children: Apolaki, the sun god, and Dian Masalanta, the goddess of lovers.

Being the kindest among the lesser deities of Bathala, Lakapati was loved and respected by the people. She married the god of seasons, Mapulon, and became the mother of Anagolay, the goddess of lost things.

The asteroid was named after the ancient Tagalog goddess of lost things. The name, submitted by Filipino student Mohammad Abqary Alon, bested more than a thousand entries in a contest held by the Space Generation Advisory Council (SGAC).

Arguably the Filipino counterpart of the Roman god Mars, Apolaki appeared in several ancient myths. The Tagalogs revered Apolaki as the sun god and patron of the warriors. He shares almost the same qualities with the Kapampangan sun god of war and death, Aring Sinukuan.

If the Greeks had Aphrodite, our Tagalog ancestors had Dian Masalanta. The patron goddess of lovers and childbirth, this deity was the sister of the sun god Apolaki to parents Anagolay and Dumakulem.

In the book Barangay by William Henry Scott and the 1936 Encyclopedia of the Philippines by Zoilo Galang, Amanikabli was identified as the Tagalog anito of hunters who rewarded his worshipers with good game.

Before long, these three demigods were given specific roles: Mayari, Hana (or Hanan in other references), and Tala became the Tagalog goddesses of the moon, morning, and star, respectively.

Among the ancient Kapampangans, Lakandanum was known as the water god depicted as a serpent-like mermaid (naga). Before the Spaniards arrived, they often threw livestock into the river as a peace offering for Lakandanum. Failure to do so resulted in long periods of drought.

Every year during the dry season, the natives would sacrifice for the water god to give them rain. And when the rain started pouring, they would take it as a cue that Lakandanum had returned, and everyone would be in a festive mood.

Legend has it that the world used to be illuminated by seven moons. The gigantic sea serpent called bakunawa, a mythical creature found in the early Bicolano and Hiligaynon culture, devoured all but one of these moons.

Believing that an eclipse was a bakunawa attempting to swallow the moon, ancient Visayans tried to ward off the monster by creating sounds. They did this by striking the floors of their houses or by beating cans, drums, and the like.

In a way, our Tagalog ancestors already believed in the afterlife even before the colonizers introduced us to their Bible. One proof is the pre-colonial custom of burying the dead with a pabaon, which could be jewelry, food, or even slaves.

Mansisilat was the homewrecker of Philippine mythology. As the goddess of broken homes, she accepted it as her mission to destroy relationships. She did this by disguising herself as an old beggar or healer who would enter the homes of unsuspecting couples. Using her charms, Mansisilat could magically turn husbands and wives against each other, ending in separation.

Deities also ruled Pagtung-an (middle world) and the Idadalmunun (underworld). The underworld was under the jurisdiction of its highest-ranking deity, Panlinugon, who also happened to be the god of earthquakes.

The couple Paiburong and Bulawanon led other deities in keeping the middle world in perfect order. Their five children helped them; among them were Layang Sukla, goddess of beauty; Surangaun, god of the sea; and Tugang Tubig, god of rivers, streams, and lakes.

An origin myth from Panay suggests that Tungkung Langit and Alunsina, the chief gods of the upper world, were married and settled down in heaven. The story, part of the old myths and legends compiled by anthropologist F. Landa Jocano in 1971, traced the origin of the world and celestial bodies.

One day, as Tungkung Langit left their home in the sky world to perform his duties, Alunsina ordered the breeze to follow and spy on her husband. When Tungkung Langit found out about it, an extended argument ensued. The fight became so severe and hurtful that Alunsina decided to leave her husband, never to be seen again.

According to an ancient origin myth recorded by Miguel de Loarca from the coastal people of Panay (possibly in Oton, Iloilo), Kaptan married a goddess named Magwayen, and together they ruled the sky world.

And just like what happened to Tungkung Langit and Alunsina, the two argued, ending up with Magwayen leaving her husband. To cope with his sorrow, Kaptan went to his garden called kabilyawan and there he planted a bamboo tube. As the plant grew by leaps and bounds, Kaptan thought of creating a man and a woman who could care for the bamboo.

Another version of the Visayan origin myth suggests that Kaptan and Magwayen were not a couple. Instead, they were both guys, with Kaptan ruling over the sky world and Magwayen lording over the water.

In the 1904 book, Philippine Folklore Stories by John Maurice Miller, Kaptan is said to be the father of Lihangin, the god of the wind, while Magwayen sired the goddess of the sea, Lidagat.

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