3 Stories of Filipino Folklore

Above, I’m painting the candles on a new piece inspired by a memory. When we first moved into our new family home in 2004ish, my ma had a pastor come bless the house. But after he left we were surprised when my ma gave my little sister and I each a handful of coins.

”Hide this around the house,” she said.

We asked why and she responded, “it’s for the spirits so that they don’t play tricks on us.”

My sister and I stalked the house successfully hiding coins in crevices and corners all over the house. We hid them so successfully that we still find coins today, but we always remember to leave them alone, otherwise something *weird might happen.

Fall is just around the corner, and here are three paintings of Filipino Folklore to inspire the seasonal spirit…

 

“Ang White Lady.”

“Ang White Lady.”
18 x 24 in
Acrylic and spray paint on wood panel

One of the most well known aswang in the Philippines is the beautiful White Lady.

White Ladies are ghosts who have died tragically near the road. Also known as Kaperosa, they received their english name by their long white dress with beautiful long black hair.

It is said that if you are driving late at night and see a beautiful woman by the road looking for a ride, do not pick her up. Although… that might not save you.

Many late night car accidents are attributed to apparitions of the White Lady appearing in the car’s backseat.

My mother and auntie tell a story of a beautiful woman that would ride the bus into the countryside. Every night, she would get on the bus. And every night at her same spot, she would get off and quickly evaporate into the humid night air.

 

“The Ninth, Before Ang Longon.”

“The Ninth, Before Ang Longon.”
36 x 12 in
Acrylic on wood panel

There are many tellings and variations of how the spirit arrives in Saad, the final resting place.

The old Bisaya believed that our spirits were reincarnated nine times. But why nine times and what happens each time you are reincarnated?

You have nine times to be recognized by your ancestors in the spirit world. The main way to do this is through your markings, or tattoos, which identify your accomplishments and unique journey in life. These markings are essential, along with your burial gifts, as they are the only things that travel with you after death.

Si Buranen, who rules over Saad, will open the lid to your longon (coffin). If your skin is naked of markings when you arrive to the afterworld, you are unrecognizable and therefore cast out to be reincarnated.

Each time you reincarnate your soul becomes smaller, so small that by the ninth time it is the size of a grain of rice.

If by the ninth death you are unrecognizable to your ancestors, the giants who guard Saad will eat your grain-of-rice-sized soul.

 

“Magwayen ug Kaptan, the beginning of the stars, the sun, the moon.”

“Magwayen ug Kaptan, the beginning of the stars, the sun, the moon.”
24 x 18 in
Acrylic and spray paint on wood panel

There are many tellings and variations of the beginning of the world.

The beginning of the world was only sky and sea. The sea was ruled by who the Bisaya call Magwayen, and the sky ruled by Kaptan.

Magwayen and Kaptan were always at war with one another, causing many storms. But one day they decided to make peace with each other. Magwayen’s daughter Lidagat, goddess of sealife, would marry Kaptan’s son Lihangin, god of wind.

Lidagat and Lihangin gave birth to four children, three sons and one daughter:

Likalibutan, who had a body of rock was strong and brave.

Libulan, who was made of copper was weak and timid.

Liadlaw, who was formed of gold was always happy.

and Lisuga, who had a body of pure silver was sweet and gentle.

Growing old and eventually passing away, Lihangin passed his power of the wind to his eldest son Likalibutan.

Through sorrow for her lover’s death, Lidagat soon passed away.

Grieving the death of her daughter, Magwayen retreated deep into the sea.

Proud of his new power and hungry for more, Likalibutan plotted to overthrow his grandfather Kaptan. At first his brothers refused to help him, but eventually Likalibutan convinced Liadlaw and Libulan to aid in the attack on their grandfather in the sky above.

Ready for the attack, the three brothers charged the gates of the kingdom in the sky, but they could not break down the heavy steel. Likalibutan flaunted a grin to his brothers and used his new powers of wind to blast down the gate.

Quick and blinded by anger at the assault, Kaptan sent three lightening bolts to smite his three grandsons.

He first hit the shy and timid Libulan, who melted into a ball of copper.

Second, he hit Liadlaw who was melted into a ball of gold.

Third, he hit Likalibutan who’s body broke into many rocks that fell into the sea.

Lisuga who was missing her brothers began to look for them. Unknowing of recent events, she began making her way to her grandfather Kaptan to inquire of their whereabouts. But Kaptan, still angry and assuming his granddaughter to be an ally in the plot against him, sent another bolt of lighting and struck her down.

Lisuga’s body broke into thousands of little pieces.

Lihangin and Lidagat who watched from the spirit world, wept for the death of their children.

Kaptan angry and quick to blame, stormed into the sea accusing Magwayen of ordering the attack on the sky. Shocked, Magwayen began weeping for the death of her grandchildren and Kaptan overwhelmed with regret and sorrow for his temper joined her in weeping.

Together with all of their powers combined, they tried to bring back Likalibutan, Liadlaw, Libulan, and Lisuga, but not even they could bring back their grandchildren. Instead they would give them a beautiful light that would shine forever.

Liadlaw became the sun.

Libulan became the moon.

Lisuga became the stars.

But to the prideful and power hungry Likalibutan, they gave no light. Instead his body of rocks became the land that would bring life to a race of people.

 

All 3 Paintings

Coming October 2nd.

April Werle

I am the first born child of an immigrant. My mother immigrated to Montana in the 1990’s after having an arranged marriage with my father. As their mixed-race child, I reflect on my upbringing by visualizing memories and shared family stories through the subtle and effective body language of hands. I am interested in capturing the seemingly-mundane moments of how culture persists and is practiced through generations in the diaspora.

https://www.aprilwerle.com
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