Summary List and Fast-facts on new entries in the inventory of Marinduque's Local Cultural Property.
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1* |
PANGALAN NG ELEMENTO (Name
of Cultural Element) |
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35. MORYONAN PENITENTIAL
RITE |
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The origin of the festival is traced to Mogpog in the 1880’s when Fr. Dionisio Santiago, the parish priest of said town, organized it for the first time.
In the 1960’s when the outside world came to learn about Moryonan, the late National Artist for Literature Alejandro Roces who made it popular through the media, stated that in accounts of Philippine folk culture there has been no mention of the use of masks except through this practice in Marinduque.
In the distinctive penitential rite moryonan or pagmomoryon, the townspeople of Marinduque wear masks and costumes and roam the streets in the oppressive of summer during Holy Week as penitence, vow, expression of gratitude, and request for something. They are called moryon. The practice also involves the re-enactment of the story of the Roman soldier Longinus, locally called Longhino, who is said to have stabbed Jesus Christ with his spear during His crucifixion.
Every town in Marinduque now practices the moryonan but the Lenten ritual originated in Mogpog, where the most traditional form of the practice still exists and still is a part of the local church rituals.
The moryonan has become a main tourist attraction in the province, as well as its stronger cultural marker and identity.
Traditional “Bulaklakan” moryons in the municipality of Mogpog are
unique and more colourful than the modern-day mask and costumes of moryons found elsewhere in the island-province.
Years ago, “Bulaklakan” morions were given pecuniary benefits whenever they get invited to other towns or places in the big city to perform. This practice has been stopped through local legislation. To safeguard the religious tradition Moryons in this town can no longer accept those invitations, Holy Week or not.
The tubong or putong, is a ceremony
indigenous to the island of Marinduque, Philippines. Literally, the word “putong” means to crown, is a song of
thanksgiving, hope and prayer for a long, blessed life. According to beliefs, the patron saint
rejoices at this kind of celebrations and intercedes for the honoree in his
wish for long life, happiness and safety from accidents and bad luck. Commonly
performed to welcome guests and to wish them good life, health and luck. It is also done during birthdays,
anniversaries, graduations or any special events that a person is thankful of
and praying for a blessed path in life.
All around the island of Marinduque, the performance is relatively the same. The “mamumutong” (performers of tubong) wear costumes such as kimona and saya for ladies (like pictured below) and barong for men. They bring with them baskets of fresh flowers, palm leaves and coins. They will sing and dance accompanied by a guitarman.
The ceremony begins as the “mamumutong” or the “manunubong,” gather around the host’s home. As they enter the house, they will explain their purpose and request for host’s hospitality.
The first part is known as the “pananayawan.” The verses are sung slowly until everybody is in the receiving room. Next, the honoree is seated on a chair (supposedly the throne) at the center of the room or stage and with two family members beside the honoree, each holding a lighted candle.
Pag-akyat namin sa mahal mong baitang, may dalawang anghel ang aming nadatnan. Tig-isang kandila ang kanilang tangan, sa tamang umaakyat ay tinatanglaw (As we enter your home, there are two angels waiting for us. They have candles to guide us).
The song’s tempo picks up, as celebration reaches its climax when the crown is placed on the honoree’s head.
Nang kami ay dumating sa loob ng
Herusalem, ang palma ay sa kamay, korona’y sa ulo. Kahimanawari’y magkapantay
ito, sambahi’t igalang nitong buong mundo (When we arrived at Jerusalem, palms
in our hands, crowns on heads. Hoping that the world will praise and respect
them).
The performers shower the honoree with flowers and coins, symbolizing affection and wishes of good luck and prosperity. During this moment too, the host and other guests throw candies, coins and paper bills to the honoree, as children and adults alike rush in for the bounty. The room will be filled with laughter and scream of happy attendees. It is said that the crown and the coins must be kept for good luck.
The ceremony ends by everybody screaming “Mabuhay!” (long lived!) and with shared meal and drinks offered by the host. It is said that Marinduqueños are the most hospitable people in the Philippines, and the putong/tubong ceremony justifies it more. A religious and popular ceremony giving identity to the people: The Tubong or Putong.
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OPISYAL NA PANGALAN (Official Name): 37. SIMBAHAN NG
STA. CRUZ / CHURCH OF THE HOLY CROSS |
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KARANIWANG PANGALAN (Common Name): SIMBAHAN NG
STA. CRUZ |
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LOKAL NA PANGALAN (Local name): SIMBAHAN NG
STA. CRUZ |
The church has undergone rehabilitation through the years but its retablos, pulpit and ceiling have been kept intact. A brief description of the church appeared in the Filipinas Heritage Library website as follows:
"A careful scrutiny of the Sta. Cruz church leaves an impression that the church was in fact once a fort. The church is laid out using a Latin cross plan with another nave parallel to the gospel flank. The walls of church are of uneven thickness, getting thinner at the upright shaft of the Latin cross plan. The impression then is that the longer shaft was added later. The apse is neither flat nor arched but rather pointed, so too the transept ends. Pillars support the walls but the pillars do not resemble any known classical orders.
"They
have no capitals, and their bases are half-octagons laid one on top of the
other. These supports are best described as shafts stuck to a heavy base. Two
sets of corbels, one on top of the other, are found at the ceiling line. Today,
the upper corbels support a ceiling, while the lower corbels a blind
balustrade. At the epistle transept near the pulpit, we find a door now covered
up with mortar. The squarish church windows are built high, though today these
are being made bigger and longer. The windows flare outward, reminiscent of
openings of fortifications, rather than inwards as in most churches.
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OPISYAL NA PANGALAN (Official Name): 38. BALUARTE DE STA.
CRUZ |
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KARANIWANG PANGALAN (Common Name): Baluwarte |
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LOKAL NA PANGALAN (Local name): Baluwarte |
The only stand-alone watchtower still remaining in Marinduque.
Baluarte photos: Santino Latorena
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OPISYAL NA PANGALAN (Official Name): 39. LABANAN SA PULANG
LUPA |
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KARANIWANG PANGALAN (Common Name): Pulang Lupa |
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LOKAL NA PANGALAN (Local name): Pulang Lupa |
Victory of Filipino soldiers over U.S. Forces during the Philippine-American War.
On September 13, 2000 the National Historical Institute (NHI) installed a National Historical Landmark (Level I), with legal basis: Resolution No. 6, s. 1991, at the present site in Brgy. Bolo, Torrijos, Marinduque. Marker text:
ANG LABANAN SA PULANG LUPA
DITO NAGANAP ANG MADUGONG LABANAN NG HUKBONG
PILIPINO SA PAMUMUNO NI TENYENTE-KORONEL MAXIMO ABAD AT HUKBONG AMERIKANO SA
PAMUMUNO NI KAPITAN DEVEREUX SHIELDS NOONG SETYEMBRE 13, 1900. NAGTAGUMPAY ANG
MGA PILIPINO SA LABANANG ITO.
"After ordering that a message be passed to the senior NCO, Sergeant James A. Gwynne, to lead the command out of the closing trap, Shields raised a white flag to surrender himself and the other wounded. The insurgents thought the flag meant that the command was surrendering. So too did Gwynne, who later claimed never to have received the escape order, and thus the entire force lay down its arms. All told, the Insurgents killed four Americans and captured fifty, six of whom, including Shields, were wounded. Shields later claimed that the Filipinos lost thirty dead, though this number was never confirmed.
Labanan sa Pulang Lupa commemoration on September 3, 2020.
With Provincial Administrator Mike Velasco, Gov. Presbitero Velasco Jr.,
Philippine National Police (PNP) chief, Lt. Gen. Camilo Pancratius Cascolan,
(Guest of Honor), Speaker Lord Allan Velasco, Torrijos Mayor Lorna Q. Velasco
and Vice-Gov. Romulo Bacorro, Jr.
Marinduque Revolutionary Force
Location: Pulang Lupa Historical Site, Brgy. Bolo, Torrijos, Marinduque
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OPISYAL NA PANGALAN (Official Name): 40 MARINDUQUE
REVOLUTIONARY FORCE |
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KARANIWANG PANGALAN (Common Name): Pulang Lupa |
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LOKAL NA PANGALAN (Local name): Pulang Lupa |
Historical marker text:
MARINDUQUE REVOLUTIONARY FORCE
After the outbreak of hostilities between the Filipinos and
Americans on February 4, 1899, the Marinduque Revolutionary Force, composed of
Infantry and Militia Battalions, was organized by Gov. Martin Lardizabal
pursuant to the order of Gen. Mariano Trias of the Southern Command. On May 6,
1900, the Infantry Battalion was converted into four Guerilla Units.
When Gov. Lardizabal became ill, the appointed Capt. Maximo
Abad as Chief of the Narinduque Revolutionary Force. They defeated the American
Forces in the Battle of Paye in Boac on July 31, 1900 and in the Battle of
Pulang Lupa in Torrijos on September 13, 1900. On March 1901, Gov. Lardizabal,
Capt. Pedro Madrigal and Lt. Gumersindo dela Santa were captured and taken to
Manila where they were incarcerated at Fort Bonifacio. This event was followed
by the treacherous capture of Gen. Emilio Aguinaldo in Palanan, Isabela on
March 23, 1901. On April 15, 1901, Col. Abad and the remaining Revolutionary
Force of Marinduque surrendered to the American Forces in Boac.
Sculptural Mural of Labanan sa Pulang Lupa
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PANGALAN NG ARI-ARIANG KULTURAL (Name
of Cultural Property) |
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OPISYAL NA PANGALAN (Official Name): 40 SCULPTURAL MURAL OF
LABANAN SA PULANG LUPA |
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KARANIWANG PANGALAN (Common Name): Mural |
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LOKAL NA PANGALAN (Local name): Mural |
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The Pulang Lupa sculptural mural was
created by Apolinario Bulaong of Bulacan. He also did the Gregorio del Pilar
bigger-than-life equestrian sculpture that guards the Battle of Tirad Pass
historical site, and another mural on the heroism of del Pilar that now stands
at the plaza of Bulacan, Bulacan where the national hero came from.
The Battle of Pulang Lupa sculptural
mural was conceptualized by Bulaong with
the help of researchers from the National Historical Institute. It is composed
of sixty concrete blocks joined together conveying images of the bloody battle
that appears to carry a political point of view, as art depicting historical
events often does.
Divided into five sets of twelve
frames, the first set shows men appearing to be engaged in stockpiling supplies
with the use of a carabao-drawn cart as the beast of burden rests under a
coconut tree. A sailboat is seen in the background. All these appear to suggest
the men's occupation.
The second set of frames shows
American soldiers walking right into an ambush with one barefoot Filipino
soldier appearing to throw a rock into an enemy riding on horseback while his
comrades aim their rifle towards the intruders.
The next frame shows the battle developing into a man-to-man combat with Filipino soldiers gaining the upper hand. The next set shows an American down on his knees with his right arm surrendering his rifle, as local soldiers are seen in the background raising their arms in glee. Half naked men are shown with hands tied up and huddled below a church tower in what looks like artistic license applied profusely.
The last set shows a pile of captured
firearms with a Filipino soldier pointing to the items with his bolo. As the
captives are led away an eagle spreads his wings to fly and the narrative of
imagined images ends there
Photos: CTTO
