Part 1: Songs of Freedom

AKLANON SONGS Part 1: Songs of Freedom from Batan, ca. 1930

Batan town of Aklan had “twin artists” who composed “panghuning-huningons” (ballads) inspired by the Aklanon revolution. They were Ramon L. Concepcion Sr. and Miguel Lauz. Concepcion wrote the poems/verses while Lauz set them to music. These songs of freedom were composed before the Second World War, in about 1930s (Concepcion, Interview, 1996). Like the early writers, Peping Tansingko Manyas and Manuel Laserna, their message is love of country. The songs deal with the beauty of the land and the indigenous culture.

The Aklanon panghuning-huningon has a melody similar to that of a “composo” but has an original melody and lyrics (a composo usually has an original lyrics but a copied melody). Below are the first stanzas and choruses of the two out of seven surviving ballads of Concepcion and Lauz. “Simoy sa Kabukiran” (Breeze on the Fields) was sung by Crisalinda and Raquel Concepcion on Nov. 3, 1996 while “Sa Ungto it Bukid” (At the Top of the Mountain) was sung by Almyra Cortes on Oct. 27, 1996.

SIMOY SA KABUKIRAN [Excerpts]

Simoy sa kabukiran sa banwa kong natawohan,

Ro a kaeamig ginhawa it kaeag nga nahidlaw;

Banaag it kapawa kung masinadyahong adlaw,

Nagadueot it kalipay sa kabuhing tugub mingaw.

Mamatay man ay matam-is kon tungod sa banwang ginaeupig,

Pagkabuhi ay eunsay mapait kon rong banwa mo nagatiis;

Buot ko pa nga pumabukid ag humimunong sa mga eungib,

Siin nga owa it maeueuib ag tawo nga mababangis.

BREEZE ON THE FIELDS

Breeze on the fields, on the land of my birth,

Its coldness is the breathing life of a sorrowful soul;

It is the symbol of peace and the cheerful sun,

It brings joy to the lonely life.

To die is sweet if it’s for the land which is oppressed,

To live is bitter if your land suffers;

I would even choose to dwell in the mountains and caves,

Where there are no greedy people and oppressors.

____________________

SA UNGTO IT BUKID [Excerpts]

Sa ungto it bukid ro akong hilimongnan,

Igto rong adlaw, dagway it Filipinhon;

Sa ana nga kasilaw nasusueat ro ang baeatyagon,

Ag sa anang kaeakaea igto napipinta ro akong handum.

Sa mabugnaw nga eandong it mga kakahuyan,

Ag sa silong it eangit ro akong hilimongnan;

Nagahimunong rong kaeag it mga katawohan,

Kaeag nga ginauhaw kung katibawasan....

AT THE TOP OF THE MOUNTAIN

At the top of the mountain lies my dwelling,

The sun is there, the picture of a Filipino;

In its brightness is written my feelings,

And in its hotness is painted my dreams.

Under the cool shade of the trees,

And under the heavens lie my dwelling;

There rest the souls of humanity,

Souls who thirst for freedom....

(To be continued...)




*Excerpts from De Juan, Alexander C. “The Tongue and the Pen versus the Spanish Rule in Aklan”. In Palayag: Selected Papers from the Proceedings of the 7th Conference on West Visayan History and Culture (pp. 80-95). Iloilo City: Center for West Visayan Studies, University of the Philippines in the Visayas, 1999.




REFERENCES: 


Books, Published and Unpublished Printed Materials

Barrios, John, Melchor Cichon and Dominador Ilio. The Katipunan in Aklan. A research presented to the Sub-commission for Cultural Dissemination, National Commission for Culture and the Arts, 1993. (Later published in 1997)

De la Cruz, Beato A. Contributions of the Aklan Mind to Philippine Literature. Rizal: Kalantiao Press, 1958.

Magos, Alicia, Henry Funtecha and Emmeline Cabalum. “Culture, Mass Media and National Development.” In Danyag, Journal of Studies in the Humanities, Education and the Sciences. Iloilo City: U.P. in the Visayas, June 1989.

Manyas, Peping Tansinko. Tagipuson nga Hueowaran. Kalibo: Limbagan nay G. Francisco J. Albar, 1926.

Perla-Imson, Ma. Elnora. “Philippine Literature in Spanish: Evolving a National Literature.” Celebrating the Word/Pagdiwang ng Salita. Efren Abueg, et al. (eds.). Manila: Linangan ng Literatura ng Pilipinas (Literary League of the Philippines), n.d.


Interviewees

Concepcion, Crisalinda, 64 years old, resident of Batan, Aklan, interviewed in Batan, November 3, 1996.

Cortes, Editha, 69 years old, resident of Batan, Aklan, interviewed in Batan, November 3, 1996.

Cortes, Almyra, 52 years old, resident of Batan, Aklan, interviewed in Batan, October 27, 1996.

Recidoro, Efren, 71 years old, resident of Balete, Aklan, interviewed in Balete, August 15, 1995.

Solano, Florencia Franco Silva, 76 years old, resident of Ondoy, Ibajay, Aklan, interviewed in Ondoy, June 20, 1999.

Part 5: “Pagbugtaw Ko’t Aga-Aga”

In earlier times, Aklanon folk songs were popularly used in schools as part of the daily activities of students. The Aklanon schoolchildren before were singing the folk song “Pagbugtaw it Aga-Aga” (When I Wake Up in the Morning). The song stresses the virtue of respect for elders, diligence in studies, and being friendly and cheerful.

FB Photo

Pagbugtaw Ko’t Aga-Aga

Pagbugtaw ko’t aga-aga 

Ro pispis gakaeaeanta, 

Nageaong ako kay Lola, 

Masueod sa iskuyla. 

Bue-on ko rang tueon-an, 

Hapiton rang kaibahan; 

Kon owa kami it klase, 

Mahampang it liksi-liksi. 

(Source: Almyra Cortes of Batan, Aklan, 1995)



When I Wake Up in the Morning 

When I wake up in the morning,
The birds were singing;
I said goodbye to my grandmother
Before going to school.

I brought my books
And walked with my classmates;
If we don’t have classes,
We play jumping games.

Part 3: “Mamumugon”

A pitiful experience of a motherless child laborer is told in the folk song “Mamumugon” (Laborer). The virtue of industry is extolled as well as the value of family and the love of a mother to her child. On the other hand, the unfair labor practices were criticized in the song.

Photo by Ap Murillo, from Buhay Pinoy-Filipino Life in Picture, Philippines
http://farm1.static.flickr.com/123/416179389_c439ab2f86.jpg

Mamumugon

Mamugon ako, mamugon,

sa tawo nga manggaranon;

alas-dos ako pakan-on, ay, ay,

orasyon ako paulion.

Pag-abot ko man sa baeay,

mangayo ako it humay;

tinuro ako ni Tatay, ay, ay,

una sa eusong ro paeay.

Alinon ko man ro paeay,

eawas ko karon ginabudlay;

kon buhi kunta si Nanay, ay, ay,

makaon ako, mapahuway.

Mamumugon

Trabahor ako sa bukid,

sa isang taong mayaman;

alas-dos na ko pakakainin, ay, ay

alas-sais na ko pauuwiin.

Pagdating ko naman sa bahay,

hihingi ako ng kanin;

tinuro ako ni Tatay, ay, ay, 

andu’n sa lusong ang palay.

Aanhin ko naman ang palay,

ang katawan ko ngayon ay lupay-pay;

kung buhay sana, si Nanay, ay, ay,

kakain lang at hihilay-hilay.

Laborer

I am a laborer, a laborer

To a wealthy master;

I eat my lunch at 2 o’clock,

I go home at angelus.

But when I arrive at home

And ask for rice,

My father would tell me,

“Go and pound the palay at the rice pounder.”

What would I do with the palay

When my body is so tired?

If only mother is alive,

I will just eat and rest.

(Source: Piologo Tabernilla of Makato, Aklan, 1995)




(To be continued...)


Excerpts from “Virtues and Vices in Aklanon Proverbs, Idiomatic Expressions and Folk Songs” by Alexander de Juan. Paper read during the 23rd Conference on West Visayan History and Culture, sponsored by the U.P. Visayas Center for West Visayan Studies, held on Nov. 15-16, 2012 at Camiña Bahay na Bato, Arevalo, Iloilo City.

Mga Sugilanon ni Payo (Part 2)

Photo: “Spolarium” by Juan Luna
http://ajpoliquit.files.wordpress.com/2011/03/p1150413.jpg

“RO MGA TAE SA TINAPAY” 

(Dung on the Bread)

Pero bisan ano kaluko-luko si Payo indi man mabatas it gobernadorcillo nga imaw hay paeaason. May utak pa man kuno imaw nga nabilin. Isaeang adlaw, gindaea imaw it anang agaeon para mangayam. Owa pa man sanda nakapanaw it maeayo-eayo, ginpapundo it gobernadorcillo ro anang kabayo ag ginpangutana si Payo kon may napan-uhan imaw nga kwako, ag basi nawigit sa daean. “Huo, Señor,” sabat si Payo, “pero wa ko’t a ginpueot ay eaom ko’t a hay ginpilak mo ma’t a.” Bangud kara hinambaean lang imaw it gobernadorcillo nga “Sa sunod, kon may makita ka nga mahueog halin sa ang kabayo, pueota gid, ay kinahangean ta naton ron sa atong pamanawon.” “Huo, Senor,” sabat ni Payo. Owa nagbuhay hay tumae ro kabayo it gobernadorcillo, ag nagkaealat ra sa daean. Insigida man nga nanaog si Payo sa anang kabayo ag pinueot tanan nga tae ag sinueod sa anang bag. Kat truadlaw eon hay nagpuhaw anay sanda sa idaeop puno ay ginutom ro gobernadorcillo. “Abi, Payo, paguw-a eon ro atong mga tinapay una ag haron atong ilabson.” Dinawat ni Payo ro bag sa gobernadorcillo, ag kinuot it agaeon ro bag, ag kibot ta imaw ay tae ta’t kabayo ra hakuot. “Hay nano ta ra ag may tae ta?” Gulpi’t akig ro gobernadorcillo, pero gulpi ma’t sabat si Payo, “Hay nagbilin ka gid nga pueoton tanan nga mahueog sa ing kabayo ag.” Ag humipos eon lang ro gobernadorcillo.

(Foolish as Payo was, the gobernadorcillo could not dismiss him just like that. He has also some sense. One day, his master went on a hunting trip and brought him along with him. Before they had gone some way, the gobernadorcillo stopped his horse and asked Payo whether he saw the tobacco pipe which was lost in the way. Payo said he did but did not pick it up for he thought his master was throwing it away. So the gobernadorcillo told Payo, “Next time if you see that something drops from my horse, do pick it up for we shall need it later.” “Yes, Señor,” said Payo. Sometime after, the horse of the gobernadorcillo scattered its dung on the road. Hurriedly, Payo got off from his horse and gathered up all the dung that fell and dropped it into the bag. By noon, they rested under a tree. The gobernadorcillo became hungry and so asked Payo for their bread for they would eat their lunch there. When Payo brought the bag, his master dipped his hand into it but found the dung on the bread. He fumed and asked Payo why there was dung on the bread. Payo answered, “Did you not tell me to pick all that dropped from your horse because they will be of some use to you later?” Again, the gobernadorcillo kept quiet.)[English version by Beato A. de la Cruz, 1958]
ANALYSIS: The gobernadorcillo, commanding Payo to pick everything that fell from his horse, is symbolic of the colonizers’ imposition to Aklanons to follow everything they order them to do: from the hard and unjust labor on tobacco plantations as symbolized by the gobernadorcillo’s tobacco pipe, to the dirty habits, vices, abuses and atrocities. Payo’s putting the horse’s filth inside the bag with bread is symbolic of the Aklanons’ desire to show the colonial masters the “dirt” they scatter all over Aklan, and for them to eat their own filth.

(To be continued...)*Excerpts from De Juan, Alexander C. “The Tongue and the Pen versus the Spanish Rule in Aklan”. In Palayag: Selected Papers from the Proceedings of the 7th Conference on West Visayan History and Culture (pp. 80-95). Iloilo City: Center for West Visayan Studies, University of the Philippines in the Visayas, 1999.

Part 2: “Tukad Ako’y Bukid”

Another “kaeantahon” (folk song) describes a courtship and a pamaeayi (marriage proposal). In the song, the man endures the rain and the slippery terrain just to formally ask the hand of the woman he loves:

Photo of Madyaas by Val Dugcal

TUKAD AKO’Y BUKID 

Tukad ako’y bukid,

Sa anday Kulas bagyo; 

Madanlog ro daean, 

Uean pilang bato.

Tukad akoy bukid, 

Eankoy namaeayi; 

Batunon it sa indi, 

Daea pilit ro babayi. 

I CLIMBED UP THE MOUNTAIN

I climbed up the mountain

In the place of Kulas Bagyo;

The road is slippery

And it was raining hard.

I climbed up the mountain

To propose for marriage;

Accepted or not,

I’ll bring home my maiden.

(Source: Beato A. de la Cuz, 1958)


Another folk song on the pamaeayi, with an accompanying wedding ceremony is:

KUTI-KUTI SA BANDI

Kuti-kuti sa bandi, 

Kuti sa bararayan; 

Bukon inyo baray dya, 

Rugto inyo sa pangpang. 

Dingdingan it pilak, 

Atupan it burawan; 

Burawan, pinya-pinya, 

Gamot it sampaliya. 

Sampaliya, malunggay, 

Gamot it gaway-gaway; 

Gaway-gaway, marugtog, 

Gamot it niyog-niyog. 

Hurugi ko’t sambilog, 

Tuman ko ikabusog. 

(Source: Sumra I. de la Cruz-Rojo, 1995,
as sung to her by an Ati house-help from Malay.)

SCRUTINIZE THE DOWRY

(Woman) “Scrutinize the dowry.”

(Man) “Scrutinize the house.”

(Woman) “This is not your house!

You live across the river.”

(Man: “If you will marry me,

I will build you a house)

With walls made of silver,

Roof made of gold,

As golden as the pineapple,

And the root of the bitter melon.

Bitter melon, malunggay,

The root of gaway-gaway;

Beat the drums now

And let’s start the feast!

Drop me some coconuts,

For I am thirsty and hungry.”

It is obvious in the Ati song that the man and the woman are just acting out from an established script of an Ati marriage proposal and wedding ceremony. The woman pretends to scrutinize the bride price and the man will reciprocate by scrutinizing the house of the woman. The woman then pretends to hate the man’s action, then the man will appease the woman by promising her a house made of gold and silver. The wedding ceremony then follows, with feasting and merrymaking.
The Ati song highlights the native customs and traditions of the pamaeayi and the “tambi-paead” (wedding ceremony). It is notable that the man’s promise to the woman of a house made of gold and silver is still part of today’s pick-up lines: “Mahalin mo lang ako at ibibigay ko sa’yo ang buwan at mga bituin!” (Love me and I’ll bring you the moon and the stars!). The virtue of respect to elders is evident also in the Ati song, as the groom-to-be formally asks the hand of the woman from her parents. Nowadays, courtships simply happen at a mall and some men have no intension of paying the women’s parents a visit.



(To be continued...)




Excerpts from “Virtues and Vices in Aklanon Proverbs, Idiomatic Expressions and Folk Songs” by Alexander de Juan. Paper read during the 23rd Conference on West Visayan History and Culture, sponsored by the U.P. Visayas Center for West Visayan Studies, held on Nov. 15-16, 2012 at Camiña Bahay na Bato, Arevalo, Iloilo City.

____________________


PHOTO by Val Dugcal.

“Madyaas” or “Sarok” (The “Salakot-Shaped Mountain” in Central Panay.)

According to legend, the ten “datus” (chieftains) from Bornea, led by Datu Puti, purchased the Island of Panay from the Ati people with a golden “sarok” (native hat). It is known today as “The Barter of Panay”, and is believed to be the origin of the Ati-Atihan Festival in Kalibo, Aklan. The “Ati-Ati” of Ibajay, a town in the western part of Aklan, has another version of the story, but that will be part of another Photo-Note.

Part 1: “Si Inday Mapuea-puea”

The Aklanon “kaeantahon” or folk songs exalt the Aklanon ideals and values, like the ideal beauty, respect for elders and native customs, hard work, patience, fortitude, patriotism and the sense of community.

One Aklanon folk song tells of an ideal beauty:

Photo from Makatang Ligaw’s Profile Pictures.

SI INDAY MAPUEA-PUEA

Si Inday mapuea-puea, 

Angay gid sa baeay nga tabla, 

Tumindog, humiya-hiya, 

Ma’t bueak it katueanga.

Si Inday maputi-puti,

Angay gid sa baeay nga tapi;

Tumindog, kumiri-kiri, 

Ma’t bueak it kamantigi. 

Si Inday maitom-itom, 

Angay gid sa baeay nga butong;

Tumindog, maghiyom-hiyom, 

Ma’t bueak it katsubong.

OH INDAY SO FAIR, SO FAIR

Oh Inday so fair, so fair,

Fit for a house made of hard wood;

When she stands and laughs,

She looks like a hibiscus flower.

Oh Inday so white, so white,

Fit for a house made of fly wood;

When she stands and dances,

She looks likes the fair touch-me-nots.

Oh Inday so brown, so brown,

Fit for a house made of bamboo;

When she stands and smiles,

She looks likes the katsubong blossom.

(Source: Beato A. de la Cruz, 1958)



In the folk song, the woman’s desirable characteristics are described with the thought of making a house suited for her kind of beauty, which means the man is courting the woman with the intention of marrying her and making a house for both of them. Nowadays, courtship does not necessarily mean marriage in the near future, or that the man will make a house for the woman he is courting.


(To be continued...)



Excerpts from “Virtues and Vices in Aklanon Proverbs, Idiomatic Expressions and Folk Songs” by Alexander de Juan. Paper read during the 23rd Conference on West Visayan History and Culture, sponsored by the U.P. Visayas Center for West Visayan Studies, held on Nov. 15-16, 2012 at Camiña Bahay na Bato, Arevalo, Iloilo City.

AKLANON FOLKTALES: Mga Sugilanon ni Payo (Part 1)

(Photo by Roy G. Escalona)

INTRODUCTION

Bonifacio “Payo” Bautista, who popularized the oral satire “Mga Sugilanon ni Payo”, once lived in Western Aklan. No one knows his birth and lineage. He was once a lackey to a squeamish peninsular (Spaniard) who “reflected the idiosyncrasies of a spoiled and vicious people”, according to Beato A. de la Cruz (1958) who first compiled these tales. Payo’s experiences with his master were woven into what is now known as the “Tales of Payo”. This is a series of “humorous tales bursting with native wit and humor which made even the objects of his subtle tirades chuckle” (De la Cruz, 1958:40). The gobernadorcillo (town head) of Ibajay town in Aklan is the center of mockery in these tales. The English version of the tales below were all taken from De la Cruz's “Contributions of the Aklan Mind to Philippine Literature” (1958). The Aklanon texts were written with the assistance of Mr. John Barrios and were verified with Mrs. Florencia Franco Silva vda. de Solano, eldest daughter of Pia Franco who had narrated the tales to De la Cruz almost 50 years ago. Mrs. Solano remembers all the tales except the one entitled “Ro Santikan” (The Flintlock). Her mother used to narrate the “Tales of Payo” during drinking sprees, and she would tell those who talk or argue like a “pilosopo” these words: “Makay Payo ka gid ing.” (You are really like Payo.) or “Ikaw gid a ro nakabuoe sa mga linahi ni Payo.” (You are really the one who inherited the characteristics of a Payo descendant.).

Here is the first of the “Tales of Payo”.

SI PAYO AG RO BAROTO (Payo and the Boat)

Isaeang adlaw, ginsugo si Payo it gobernadorcillo nga mag-usoy it baroto para sakyan it mga bisita nga magahalin sa tabok it suba. Nag-agto si Payo sa suba ag igto hay nakakita imaw it mabahoe nga baroto. Ginuyod nana ra paeapit sa pangpang ag ginpakueob para magmaea ag igto rayon imaw sa idaeom it baroto nageubog hasta hay imaw hay hakatueogan. Pag-abot it mga bisita hay gintawag nanda si Payo pero owa sanda habatii it nagakatueog nga si Payo. Nagpaeupok it baril ro mga bisita pero owa man gihapon habugtaw si Payo. Nagkaeagulo eon sa banwa bangud sa linupok nga habatian halin sa tabok it suba. Ngani, nag-usisa ro gobernadorcillo. Nakita nana ro anang mga bisita sa tabok it suba ag ro nagakueob nga baroto ag si Payo nga nagakatueog sa idaeom kara. Gulpi nana nga binugtaw si Payo ag ginpangisgan, pero ginsabat imaw it anang sueoguon nga, “Indi baea nga ginhambaean mo ako nga mag-usoy it baroto ag bantayan ra para sa imong mga bisita? Owa mo man ako ginhambaean nga pasakyon sanda patabok it suba a?” Ag dikato eang rayon nagtawhay ro gobernadorcillo dahil narealisar nana nga bukon it kumpleto ro anang sugo.

(One day, the gobernadorcillo of Ibajay asked Payo to find a boat for some visitors who were coming from across the river that day. Payo went to the river and found a big boat. This he hauled to the bank and turned it upside down to dry, and lay down under it where he fell asleep. When the visitors came, they called for a boat but Payo did not mind them. The visitors fired their guns as they called again but Payo slept on. There were already some consternation in the town because of the firing across the river. So the gobernadorcillo went to see what the matter was. He found his expected guests on the other side of the river while the boat was upside down on the bank with Payo sleeping beneath it. He woke Payo rudely and reprimanded him for his act but the servant answered, “Did you not tell me to find a boat and watch it only for your guests? Whoever told me to ferry them across?” The gobernadorcillo calmed down when he realized the incompleteness of his order.)

ANALYSIS

This particular tale shows defiance of order. This is shown in the subtle defiance of Payo which represents the Aklanon’s disobedience to orders of the Spanish colonial masters represented by the gobernadorcillo. To defy a colonial master’s order is to refuse to submit oneself to the Spanish rule; to defy the gobernadorcillo and his guest is to show contempt and disrespect to the government he serves. Not treating the guests as VIP’s is a way of showing them that they are not as important as they think they are and that Payo or any Aklanon is their equal or even their superior. Payo’s way of making the gobernadorcillo realize the lack of foresight in his order is a way of pointing out that the people they call indios could be smarter than they are.

(To be continued...)

THE AKLANON FOLKTALES SERIES:

A. MGA SUGILANON NI PAYO
1. Si Payo ag ro Baroto (Payo and the Boat)
2. Ro mga Tae sa Tinapay (Dung on the Bread)
3. Ro Santikan (The Flintlock)
4. Ro mga Alimango (The Crabs)
5. Ro Kurae (The Fence)

B. OTHER AKLANON FOLKTALES
1. Ro Pag-abu it mga Tawo sa Kalibutan (The Peopling of the Earth)
2. Ro Amo ag ro Buaya (The Monkey and the Crodile)
3. Ro Kuring nga Nag-usoy it Mananod (The Cat Who Looked for a Midwife)
4. Si Tungkuang Langit ag Alunsina (Tungkuang Langit and Alunsina)
5. Si Juan ag ro Hari (John and the King) [as told by the Ati in Brgy. Cubay, Malay]



*Excerpts from De Juan, Alexander C. “The Tongue and the Pen versus the Spanish Rule in Aklan”. In Palayag: Selected Papers from the Proceedings of the 7th Conference on West Visayan History and Culture (pp. 80-95). Iloilo City: Center for West Visayan Studies, University of the Philippines in the Visayas, 1999.

A paper read during the 7th Conference on West Visayan History and Culture, held in Corcordia, Nueva Valencia, Guimaras on Nov. 21-22, 1996, with the theme “Folk History and Philippine Revolution”.




REFERENCES: 


Books, Published and Unpublished Printed Materials

Barrios, John, Melchor Cichon and Dominador Ilio. The Katipunan in Aklan. A research presented to the Sub-commission for Cultural Dissemination, National Commission for Culture and the Arts, 1993. (Later published in 1997)

De la Cruz, Beato A. Contributions of the Aklan Mind to Philippine Literature. Rizal: Kalantiao Press, 1958.

Magos, Alicia, Henry Funtecha and Emmeline Cabalum. “Culture, Mass Media and National Development.” In Danyag, Journal of Studies in the Humanities, Education and the Sciences. Iloilo City: U.P. in the Visayas, June 1989.

Manyas, Peping Tansinko. Tagipuson nga Hueowaran. Kalibo: Limbagan nay G. Francisco J. Albar, 1926.

Perla-Imson, Ma. Elnora. “Philippine Literature in Spanish: Evolving a National Literature.” Celebrating the Word/Pagdiwang ng Salita. Efren Abueg, et al. (eds.). Manila: Linangan ng Literatura ng Pilipinas (Literary League of the Philippines), n.d.


Interviewees

Concepcion, Crisalinda, 64 years old, resident of Batan, Aklan, interviewed in Batan, November 3, 1996.

Cortes, Editha, 69 years old, resident of Batan, Aklan, interviewed in Batan, November 3, 1996.

Cortes, Almyra, 52 years old, resident of Batan, Aklan, interviewed in Batan, October 27, 1996.

Recidoro, Efren, 71 years old, resident of Balete, Aklan, interviewed in Balete, August 15, 1995.


Solano, Florencia Franco Silva, 76 years old, resident of Ondoy, Ibajay, Aklan, interviewed in Ondoy, June 20, 1999.