Darangen

The term Darangen literally means "that which is narrated by song or chant" in the Maranao language, from the verb darang ("to narrate in the form of songs or chants").[8]

The Darangen was originally a purely oral tradition. Its importance was first recognized by Frank Charles Laubach, an American missionary and teacher then living in the Lanao Province. He first encountered it in February 1930 on a return trip to Lanao by boat after he had attended the Manila Carnival. He was accompanied by 35 Maranao leaders, two of them sang darangen (epics) of Bantugan for the two-day journey.[9][10]

After hearing parts of the Darangen, Laubach was so impressed by the "sustained beauty and dignity" of the songs that he immediately contacted Maranao people who could recite various parts of it. He transcribed them phonetically by typewriter. His best source was the nobleman Panggaga Mohammad, who also helped Laubach transcribe the epics. Laubach described Mohammad as a man who "knew more Maranao songs than any other living man." Laubach published part of the Darangen in November 1930 in the journal Philippine Public Schools. This was the first time the oral epics have ever been recorded in print, and it was also the first instance of the Maranao language being published in the Latin script.[9][11][12]

When you pass by the houses of the Maranaws at night, you can hear them singing folk songs or reciting poems that are beautiful and strange. Yet on account of the absence of a Maranaw writer, Maranaw literature has remained in the dark for other people. It has become something of a tale that other Filipino tribes hear only from visitors to Lanao

— Frank Charles Laubach, [13]

Laubach's version, however, was incomplete. A more complete version was later compiled by modern scholars from the Folklore Division of the Mindanao State University Research Center (now the Mamitua Saber Research Center) under the sponsorship of the Toyota Foundation. They collected, transcribed, and translated various parts and versions of the Darangen from Maranao elders and from kirim (handwritten Maranao songbooks written in the Jawi alphabet) over a period of ten years. The entire epic was published from 1986 to 1988 in eight volumes, in both original Maranao and their English translations.[1][14][15][16]

The Darangen does not have a single author, but is rather a collection of tales passed down orally from generation to generation. It has 72,000 lines divided into 17 cycles (also called books or episodes) in iambic tetrameter or catalectic trochaic tetrameter. Each of the cycles can be treated as an independent story, but they are all connected sequentially. The epic is also recorded in the archaic Maranao language, which differs significantly from the modern colloquial version of Maranao.[1]

Darangen was memorized by their performers. Skilled chanters were known as onor. The epic were most commonly sung at night time, during weddings (kawing) and other celebrations. But it can also be used as a lullabye for children.[1]

A full performance of the entire epic usually takes about a week. In modern times, however, it is more common to only perform parts of the epic, which usually lasts for a few hours. The chanting or singing is commonly accompanied by dances and musical performances using traditional Maranao instruments like kulintang gong ensembles, tambor drums, and kudyapi stringed instruments.[1]

The Darangen originates from before the conversion of the Maranao people to Islam, and thus details the traditional pre-Islamic anito religions of the Maranao. The heroes in the epic worship and interact with various ancestor and guardian spirits (tonong) and nature spirits (diwata). An example is Batara-sa-Marudo,[note 1] a nature spirit capable of bringing down floods and storms.[2][1][16]

The Darangen features several locales, but the principal setting is the grand city of Bembaran (also spelled Bumbaran or Bembran),[note 2] the seat of the Kingdom of Bembaran, which was described as being near a great river. It supposedly does not exist anymore as it was enchanted and sank to the bottom of the sea. In the epic, Bembaran is described as being founded by Diwata Ndaw Gibon, the grandfather of Prince Bantugan.[2][8]

The epic also illuminates the inter-ethnic relationships of the Maranao people. They mention the Manobo, the mountain-dwellers, and the "Samar" (Sama-Bajau), the sea people, many times.[16]

• CYCLE 1: Paganay Kiyandató ("The First Ruler") - deals with the founding of the city (iliyan) of Bembaran by Diwata Ndaw Gibon (also spelled Diwatandao Gibon), a powerful hero born with the twin-spirit (tonong) Pinatolá a Tonong.[17]
• CYCLE 2: Kambembaran ("The Story of Bembaran")[17]
• CYCLE 3: Kapmadali ("The Story of Madali") - deals with the conquest of Danalima a Rogong by Prince Madali of Bembaran[17][16]
• CYCLE 4: Kapaesandalan a Morog sa Iliyan a Bembaran ("The Story of Pasandalan a Morog in Iliyan a Bembaran")
• CYCLE 5:

• Kapagondoga ("The Story of Hurt Feelings")[18][19]
• Kaplombayawan a Lena ("The Story of Lombayawan a Lena")[19]

• CYCLE 6:[20]

• Paramata Gandingan ("The Story of Paramata Gandingan") - deals with the courtship of Paramata Gandingan of Komara by Prince Bantugan of Bembaran[16]
• Alongan Pisaeyanan ("The Story of Alongan Pisaeyanan")

• CYCLE 7:[21]

• Kaplomna - also known as Kiyasugo a Ki Lomna
• Kormatan Borodan
• Minirigi a Rogong
• Kaploboway
• Kiyatidawa i Lomna go so Ikadaraan

• CYCLE 8: So Kiyaprawa'a Ko Lawanen ("The Abduction of Lawanen") - also known as Kapmabaning ("The Story of Mabaning")[20]
• CYCLE 9:

• Saolaya'a
• Paramata Selegen

• CYCLE 10: Pangensayan a Rogong
• CYCLE 11: Bagombayan a Lena
• CYCLE 12: Taratakan a Oray
• CYCLE 13:

• Sandalinayan Sirig sa Minilalansay Lena
• Kangginaasan a Oray

• CYCLE 14: Kap Minango'aw a Rogong
• CYCLE 15:

• Kapmaginar
• Kapnataengkoban a Ragat

• CYCLE 16: Kaprinandang
• CYCLE 17: Kiyandató i Sayana sa Kormara

A man performing Sagayan at the 14th Annual Fil-Am Friendship Celebration at Daly City, California

Dances associated with the Darangen include the following:

• Kaganat sa Darangen - A dance illustrating the journey of Prince Lomna to Gindolongan, to propose marriage on his father's behalf. It means "To stand from the Darangen" and involves graceful movements of the fingers and hips with fans.[6][22][23]
• Sagayan - A war dance reenacting Prince Bantugan's preparation for battle. Also known as Kasagyan.[13][6]
• Singkil - A dance involving two pairs of clashing bamboos. The name of the dance derives from the ankle rings worn by the lead female dancer. It illustrates the abduction of Princess Gandingan and her rescue by Prince Bantugan. Also known as Kasingkil or Kasayaw sa Singkil.[24]

The Bantugan cycle of the Darangen has been adapted into the ballet performance Darangen ni Bantugan by the Philippine Ballet Theatre.[25][15]

The conservation of the Darangen faces several challenges. Some modern Maranao Islamic religious leaders object to the non-Islamic themes of the Darangen. Some modern revisions have omitted mentions of the tonong and diwata entirely. Some older Darangen singers have refused to sing these versions as they are deemed inauthentic.[15][1][16] The use of archaic Maranao in the Darangen also makes it less readily accessible to modern Maranao speakers, leading to decreasing interest among modern Maranao youth. Some versions are so old only the chanters can understand the words used.[16] The number of people able to play instruments like the kulintang and kudyapi are also declining.[3]

• Philippine epic poetry
• Maharadia Lawana
• Biag ni Lam-Ang
• Hinilawod

• The Darangen Epic of the Maranao People of Lake Lanao, UNESCO
• Paganay Kiyandatu Cycle, chanted by Sinar Capal in the Epikong-Bayan Conference 2018
• Kapagondoga Cycle, National Commission for Culture and the Arts of the Philippines