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Hudhud ni Aliguyon
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Hudhud ni Aliguyon
Hudhud ni Aliguyon is an epic originating from the province of Ifugao, located in the Philippines. It chronicles the heroic exploits of a figure named Aliguyon. The epic is performed during harvesting season.
Though the precise time when alim and the hudhud started to be chanted is not known, according to research the hudhud likely originated before the 7th century CE. A study by a scholar of the hudhud indicates that this might have pre-dated the construction of the rice terraces. The earliest dated terraces are found in Bunghalian municipality with a Carbon-14 determination of 610 AD., although the earliest human occupation of the municipality of Banaue is between 1545 and 825 BC. Both forms are virtual anthropological documents that orally record through time the changes that took place in Ifugao social organization, structure, and tradition. The infusion of modern elements in the text indicates the relative time of change. For instance, the mention of a gun in one of the stories suggests an influence that could only have come from the West, although the fact that the gun caused the conflagration of an entire village to indicate the idea of a gun was still a bit confused and was therefore still something novel.
In general, the Hudhud of the Ifugao is chanted only on four occasions—harvesting of rice, weeding of rice, funeral wakes, and bone-washing rituals. Hudhud ni Aliguyon is specifically included in the genre called Hudhud di Page or Hudhud di Ani, meaning Hudhud for Harvest in the Fields.
Typically, the rendition of this chant finds expression through a female ensemble, presided over by a soloist, often a proficient vocalist who may have assumed the role voluntarily. The ensemble comprises approximately ten to twelve women, forming the chorus. It is noteworthy that the entire chant need not be committed to memory by the chorus members.
The lead singer, referred to as the "munhaw-e," initiates the performance by articulating the title of the chant. Subsequently, the assembled group, known as the "mun-hudhud" or "mun-abbuy," becomes actively engaged in the recitation. This involvement transpires upon the invocation of cue words strategically incorporated into the chant. These cue words serve to introduce elements such as character names, village references, geographical features, and familial connections within the narrative.
The Hudhud comprises more than 200 chants, with each divided into 40 episodes. A complete recitation may last three to four days. The language of the stories abounds in figurative expressions and repetitions and employs metonymy, metaphor and onomatopoeia.
In the village of Hannanga, a notable figure by the name of Aliguyon emerged. Born as the son of the village leader, Amtalao, and his spouse Dumulao, Aliguyon showed intelligence from a young age. Notably, Aliguyon acquired proficiency in combat techniques and was familiarized with magical spells and chants.
In his adolescence, he started a conflict with the adversary of his father, Pangaiwan, who was the leader of the neighboring village of Daligdigan. Pangaiwan avoided direct combat and instead delegated it to his son, Pumbakhayon, who had rivaling warfare skills with Aliguyon.
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Hudhud ni Aliguyon
Hudhud ni Aliguyon is an epic originating from the province of Ifugao, located in the Philippines. It chronicles the heroic exploits of a figure named Aliguyon. The epic is performed during harvesting season.
Though the precise time when alim and the hudhud started to be chanted is not known, according to research the hudhud likely originated before the 7th century CE. A study by a scholar of the hudhud indicates that this might have pre-dated the construction of the rice terraces. The earliest dated terraces are found in Bunghalian municipality with a Carbon-14 determination of 610 AD., although the earliest human occupation of the municipality of Banaue is between 1545 and 825 BC. Both forms are virtual anthropological documents that orally record through time the changes that took place in Ifugao social organization, structure, and tradition. The infusion of modern elements in the text indicates the relative time of change. For instance, the mention of a gun in one of the stories suggests an influence that could only have come from the West, although the fact that the gun caused the conflagration of an entire village to indicate the idea of a gun was still a bit confused and was therefore still something novel.
In general, the Hudhud of the Ifugao is chanted only on four occasions—harvesting of rice, weeding of rice, funeral wakes, and bone-washing rituals. Hudhud ni Aliguyon is specifically included in the genre called Hudhud di Page or Hudhud di Ani, meaning Hudhud for Harvest in the Fields.
Typically, the rendition of this chant finds expression through a female ensemble, presided over by a soloist, often a proficient vocalist who may have assumed the role voluntarily. The ensemble comprises approximately ten to twelve women, forming the chorus. It is noteworthy that the entire chant need not be committed to memory by the chorus members.
The lead singer, referred to as the "munhaw-e," initiates the performance by articulating the title of the chant. Subsequently, the assembled group, known as the "mun-hudhud" or "mun-abbuy," becomes actively engaged in the recitation. This involvement transpires upon the invocation of cue words strategically incorporated into the chant. These cue words serve to introduce elements such as character names, village references, geographical features, and familial connections within the narrative.
The Hudhud comprises more than 200 chants, with each divided into 40 episodes. A complete recitation may last three to four days. The language of the stories abounds in figurative expressions and repetitions and employs metonymy, metaphor and onomatopoeia.
In the village of Hannanga, a notable figure by the name of Aliguyon emerged. Born as the son of the village leader, Amtalao, and his spouse Dumulao, Aliguyon showed intelligence from a young age. Notably, Aliguyon acquired proficiency in combat techniques and was familiarized with magical spells and chants.
In his adolescence, he started a conflict with the adversary of his father, Pangaiwan, who was the leader of the neighboring village of Daligdigan. Pangaiwan avoided direct combat and instead delegated it to his son, Pumbakhayon, who had rivaling warfare skills with Aliguyon.