Loren Legarda surveys the backstories of our nation
Filipinos are so enamored with esoteric, exotic, indigenous lands in pop culture, but what we have in our own neck of the woods is as intriguing and spellbinding as any of these green-screened, fan-favorite fictive places. Reality and relative proximity make these places all the more special: they are just a bus ride or an hour’s trek away, but since we are all glued to hex-flix or social media, they tend to remain “undiscovered.”
What we have, though, is beyond belief. A stun of riches, even. This is what Loren Legarda — the three-term senator and now Deputy Speaker of the House of Representatives — found out through the course of making the award-winning Dayaw, now in its 11th season on ANC, a show that continues to champion Filipino heritage.
Dayaw — a production of the ABS-CBN News Channel and the National Commission for Culture and the Arts (NCCA) — has been documenting the life-ways, traditions, practices and culture of the different Indigenous Peoples (IP) groups since 2015.
An episode in Season 9 centers on Bai Yabing Masalon Dulo of Cotabato, a Blaan weaver and matriarch of the clan, who, at that time, had just been awarded the GAMABA (Gawad sa Manlilikha ng Bayan). Legarda and her team wanted to document how our living culture bearers pass on their skills to the younger generation, how the old magic gives way to the new magic. But, like in the tales told by streaming service Homers and bards, there was a rift in the family. Both Bai Yabing and her favorite grandson, Jao, wanted the best for the Blaan weaving tradition but had different approaches in doing so. Tension was being woven into the fabric of family. Thankfully, the two reconciled before the matriarch’s death early this year.
In another episode, the Dayaw team visited Marawi in time for Eid’l Fitr, as the city rises from the ashes of strife.
Featured in Season 5 is the Buklog, the grandest and most complex, rarely performed ritual of the Subanens of Mindanao that reaffirms their profound gratitude for the blessings that they received. It usually involves invoking the spirits of water and land, the spirits of the departed.
Viewers get to meet the last binukot of Calinog in Iloilo, Rosita Caballero, who was interviewed by the team before she passed away in 2017, as well as the two indigenous groups in Balut Island: the Blaan and the Sangir and their school of living traditions. How the blood, fire and stories of a community live on in the young.
In between meetings and memories are the journeys: an 18-kilometer trek from the nearest barangay, a nine-hour boat ride from Saranggani port to Balut Island, long drives and even longer waits before finally advancing to alternate realities outside of conventional cities. Imposing mountains here, majestic waterfalls there, Nature’s own set design everywhere.
Loren points out, “When we get to the villages, we find that people have their own perception of time, that rituals and practices would not be ‘performed’ for the camera according to our schedule. We have learned to go along with their flow and, more importantly, to be truly respectful and sensitive to the communities.”
But the rewards are magical, such as the chance to experience firsthand off-the-radar rituals, chants, weaves and dances. It was right here, it was all there, and most of us did not have any clue or care.
Thank the heavens for the vanguards of culture.
“This show started as a passion project and now it is a legacy project,” says Legarda. “Through this documentary series, I hope Filipinos will appreciate our indigenous communities and embrace our unique culture and traditions.”
All of the seasons have distinct themes and Legarda and her team try to find stories that will build on those particular topics. “Our Season 10 is a good example. With the theme, ‘Sagisag: The Symbols of our Race,’ we talked about various elements of our culture that can help us understand and build a concept of nationhood. Elements like the flag and its symbols, the anting-anting, the dekalogos of our national heroes. We went further into pre-history as we also featured the discovery of the Homo luzonensis, the Boxer Codex, the Laguna Copperplate, the Manunggul Jar. All seem distant and unrelated. But put them together in one season and you have a collection of symbols that tell our story.”
We tend to forensically study the props of foreshadowing on Squid Game or Stranger Things and the Easter eggs in any of the ever-replenishing flicks in the Marvel Universe. But the dramas, epics, the gifts right here in our own cultural backyard? Very few appreciate or even acknowledge them. Except for academics, scholars and people with a thirst for knowledge.
Legarda explains, “When I hear of disrespect for our indigenous culture or the knowledge of our indigenous peoples, or when I see historical places or precious artifacts destroyed, disregarded or not preserved properly, I cannot help but become emotional.”
She says these people, places and artifacts have so many rich stories and lessons to teach us about our history and culture. Once we lose them (because of factors such as urbanization, industrialization and general neglect), we should think about the corpus of knowledge that has been lost in the process. How it all could have helped us understand who we are just a little bit more. This is crucial, since these backstories form the backbone of our nation.
“It also makes me sad when I hear about the passing of a cultural master or when these cultural masters are unfairly treated. Their loss is a loss to our culture. They enrich Filipinos from all walks of life, whether they were aware of it or not.”
Legarda had long wanted to do a television program focused on indigenous culture. Her late mother, Bessie Gella Bautista, has greatly influenced her love for hand-woven textiles. And, during Loren’s days as a journalist, she would visit indigenous communities and buy their weaves. She has always supported local artisans.
What a long, enthralling journey it has been for Loren and her Dayaw team. Miles upon miles still left to traverse to begin to understand the lovely, rich and deep heritage we Filipinos possess but generally don’t really care for or even comprehend.
Leave it to the cultural advocate to give us a jolt.
“I think we are quite blessed that our culture is just so vast and rich that we could have many more seasons of Dayaw in the next decade,” concludes Legarda. (Season 12 of the series is already in the works.) “For me, the most memorable experiences are the moments when we have to accept that people we interview and feature are not mere subjects, not just ‘talents’ and, certainly, not just ‘content.’ Every episode of Dayaw, written by and under the creative direction of Floy Quintos, puts a spotlight on an important aspect of our culture — not only the people but also the tangible and intangible heritage. Dayaw must live on in every Filipino’s heart. The word ‘dayaw’ has a positive meaning. It means ‘bigyan ng parangal’ (give honor to) or ‘ipagmalaki’ (be proud of). Everybody in our team clearly understands the importance of presenting indigenous culture in mainstream television as a way to show our pride and national identity.”
Somewhere, in some part of our homeland, a ritual is being performed, the elders are stirring, and the children in the community are singing a song unheard outside of their village. With Dayaw, we get to hear the music; we get to live the magic.
* * *
To view previous Dayaw episodes, visit channel/senatorlorenlegarda on YouTube.
