What is bayok?

Is it true that Michael bangura love Martha bayok for sure?

yes he does love her for sure.

What is the history of Philippine theatre?

PHILIPPINE THEATERTheater in the Philippines is as varied as the cultural traditions and the historicalinfluences that shaped it through the centuries. The dramatic forms thatflourished and continue to flourish among the different peoples of the archipelagoinclude: the indigenous theater, mainly Malay in character, which is seen in rituals,mimetic dances, and mimetic customs; the plays with Spanish influence, amongwhich are the komedya, the sinakulo, the playlets, the sarswela, and the drama;and the theater with Anglo-American influence, which encompasses bodabil andthe plays in English, and the modern or original plays by Fihpinos, which employrepresentational and presentational styles drawn from contemporary moderntheater, or revitalize traditional forms from within or outside the country.The Indigenous TheaterThe rituals, dances, and customs which are still performed with urgency andvitality by the different cultural communities that comprise about five percent ofthe country’s population are held or performed, together or separately, on theoccasions of a person’s birth, baptism, circumcision, initial menstruation,courtship, wedding, sickness, and death; or for the celebration of tribal activities,like hunting, fishing, rice planting and harvesting, and going to war.In most rituals, a native priest/priestess, variously called mandadawak, catalonan,bayok, or babalyan, goes into a trance as the spirit he/she is calling uponpossesses him/her. While entranced, the shaman partakes of the sacrificialoffering, which may be a chicken, a pig, a carabao (depending on the gravity of thespirit’s anger) or simply rice uncooked or in cakes, rice wine, and betel nut. Thisact, which represents the death of the supplicant at the hands of the spirit, adaptsitself to the occasion for which the ritual is held.Among the Tagbanua of Palawan in southern Philippines, the ritual of the diwata,which crowns a series of activities addressed to the spirits of ancestors, is heldafter the rice harvest on the last three days of the last moon, to ask the supremedeity Mangindusa, the other gods, and the spirits of ancestors for a bountifulharvest and for the well-being of the supplicants. For this most significantsocioeconomic and religious event, the interior of the home of the babalyan isdecorated with stripped palm leaves and bamboo slats with Tagbanua writing anddesigns. In the center of the large room, the ritual offerings are carefully arranged:a small wooden boat hanging from the ceiling (on this the ancestors “ride”); a maton which are spread the bowls or plates of uncooked rice, jewelry, betel nuts, ricecakes (which are later consumed by the people), ginger, onions; a ritual bambooswing which the babalyan rides or chants on; a stool on which are arranged morefood offerings; and the all-important wine jars set in a line in front of the swingand provided with oil-rubbed straws through which the spirits will sip the ricewine (wine is not found in the spirit world so it is the one item that best attracts spirits to the celebration).To the heady music of gongs and drums, the babalyan’s assistant, dressed in asarong skirt, tight blouse, and sash from which the wavy long knife called karishangs, opens the ritual by performing several dances and shaking in both hands theugsang (stripped palm leaves) with bells, in honor of Mangindusa who issupposed to be perched on the roof of the house. This part ends with thebabalyan letting out a scream and pulling the ceremonial staff attached to theceiling to denote that Mangindusa has departed. Soon after, the babalyan herself,also in a similar skirt and blouse, but with a black hood covering her face, worksherself into a trance, as she sips wine and swings herself in the middle of the room.Then she dances, balancing on her head a bowl with rice or a bowl with candles ora karis, while brandishing the palm leaves or two porcelain bowls or a piece ofcloth in her two hands, as she is followed by an assistant. To the continuedbeating of the gongs, the babalyan may then shake the palm leaves violently andstrike the sides of the wine jar angrily and sip wine, denoting that a spirit hascome down. As other spirits take turns possessing her, the babalyan’smovements may change—one spirit may prompt her to sip wine or softdrinks orwater; another may want to smoke cigarettes with those participating in the ritual;others may dance with a long knife or bolo on their heads; or oil the women’s hair;or lead the singing of the spirit song. The series of possessions is capped withthose present drinking and smoking and participating in the activities of the ritual(Fox 1982).Interestingly, these animistic rituals survive today even among ChristianizedFilipinos. In Isabela, the atang-atang ritual of the Ibanag features a gailydecorated small bamboo raft with offerings of rice, oil, eggs, cigarettes, rice cakes,and a little chick representing the soul of the sick person. Around this raftsituated on the ground, two women dance, drink, and chant Christian prayers tocure the sick. Later, the women take oil from the raft and rub it on the face, legs orhands of the sick.Aside from rituals, tribal dances which were more often than not mimetic may alsobe considered as proto-dramas. A majority of these dances, which markimportant events like baptism, courtship, marriage and even death, depictimportant tribal activities.The tribes of the Cordillera have dances that reenact the hunt for and the killing ofa boar, as well as the practice and ways of headtaking; the Aeta of Zambalesperform dances which show the techniques of gathering wild honey in the forestas well as hunting for fish; the Tausug of Sulu boast of dances that represent howoranges are picked or how not to catch a mudfish. The most important dance,however, among most Philippine tribes is the war dance. The war dance of theMansaka of Davao del Norte imitates the movements of model warriors calledbagani, as the latter fight with spears, bolo, and shields.Other tribal dances which may be considered proto-dramas as well are the danceswhich are playful imitations of animal movements, like the monkey, fish, and flydances of the Aeta of Zambales in Luzon; the hawk dances of the Higaonon inMindanao; and the butterfly, monkey, and bird dances of the Tausug and Sama inSulu.Mimetic too are some of the customs associated with courtship, marriage, anddeath among the ethnic communities. Of the courtship customs, the mostcommon is the debate between a male and a female, which may employ verse,song, and dance. The Maranao panonoroon has a boy and a girl chantingmetaphorical verses to each other, with the boy offering his love to the girl and thelatter warding off his verbal advances. The Cebuano balitaw features antiphonalsongs performed by male and female, which talks not only of love, but of theproblems of married couples and rural workers. Among the Tagalog, the debate insong and dance becomes an exchange of spoken verses in the duplo, where poetscalled bilyako use proverbs, riddles, the pasyon, and the awit as well ascontemporary events to advance their suits to the bilyaka of their choice. In the1920s, the duplo became a formal debate on an issue, and was called thebalagtasan.Mimetic customs related to weddings include: the Tagalog pamanhikan, whererepresentatives of the families of both the boy and the girl speak in metaphoricallanguage to settle the dowry or bridal price; and the Bilaan samsung, where, afterthe bride-price is paid, the bride and the groom are “forced” to sit beside eachother, and their hair “tied together” even if the bride “objects.”Finally, mimetic customs related to death are, exemplified by the baraning usa ofthe Aeta of Camarines, where a deer made of banana stalk and twigs “hunteddown” and offered to the dead to take to the next life.As a whole, indigenous dramas are well integrated into the lives of tribal Filipinos.These rituals, dances, and customs express their very beliefs and depict theiractivities and material culture. Furthermore, they help fulfill the basic needs of thetribe for a good harvest and victory in war, as well as the physical and spiritualwell-being of the sick, the newly born, the youth, and the newly wed members ofthe tribe. Finally, these plays bind the members of the tribe in a stronger bond forthe common good. Rituals of baptism, circumcision, marriage, as well as thedances that instruct children on the techniques of looking for honey or fishing orfighting in war, clearly work for the collective good. A good harvest and plentifulhoney and fish obviously benefit the tribe, while the display of war dancesteaches the young boys the primary duty of manhood, namely, fighting to ensuresurvival of the tribe against all aggressors. Similarly, the customs associated withcourtship, marriage, and death provide a way of expressing personal emotions in asocially accepted way, and of informing all of bonds that will have to be respectedby everyone, so that harmony may reign in society.The Spanish Colonial TraditionIn the three centuries of Spanish rule from 1565 to 1898, the Spanish colonizers,specifically the friars, showed a keen awareness of the power of theater both as atool for the Christianization of the natives and as a magnet to attract the latter tothe pueblo or town which constituted the foundation of Spain’s empire in thearchipelago. Consequently, the Spanish regime gave rise to and popularized thevarious types of secular and religious plays, the former usually staged to celebratetown fiestas, and the latter, to highlight important Catholic liturgical feasts orseasons like Christmas, Lent, or Easter. Many of these plays and playletscontinue to be popular among the Christianized folk who live in the rural areas andcompose the majority of the total population.Of the plays, the most important is the komedya, also known as moro-moro,linambay, arakyo, which is a play in verse introduced into the country from Spainin the 16th century and institutionalized in the 19th century. This theatricalspectacle takes from 3 to 15 hours and several sessions to perform. It has twoprincipal types: the secular, which concentrates on epic stories of love andvengeance; and the religious, which narrates the lives of patron saints. Elaboratemarches, lengthy choreographed fighting between individuals and/or armies, andmagical artifices wrought by heaven to save saints or Christians in distress ensurethe popularity of the komedya as principal entertainment during town fiestas.Deriving stories from native versions of European metrical romances, the orihinal(script) of the secular komedya usually depicts the conflict between Christianprinces and princesses and their Moorish counterparts. Typical of the stories ofthe secular komedya is the arakyo still performed in several towns of Nueva Ecija,which revolves around the search by Elena and Constantino for the Cross ofChrist and the obstacles they encounter in that search. As performed inPeñaranda, Nueva Ecija in 1987, the story of the arakyo remains basically what itwas at the turn of the century when this play, also known as tibag, first becamepopular.After his father, King Constancio of Rome and Constantipole, is killed by theTurks, the young Constantino sits on the throne and brings war to the Emperadorof Turquia to avenge his father’s death. Worried about the outcome of the war,Elena is assured by a voice from heaven that victory would be given toConstantino, but that he and Elena should in turn look for the cross on whichChrist died. Constantino wins the war and kills the Emperador of Turquia.Meanwhile, Queen Elena has left for the Holy Land to look for the Redeemer’scross. Princess Ordelisa of Turquia now bids farewell to her father, EmperadorCostroas, and leads a mission to the Christian court. She demands Constantino’ssurrender and exacts vengeance on Constantino’s general, Lucero (with whom sheis secretly in love), who with his companions made trouble when they joined the tournament in Turquia some years back. Meanwhile, Queen Elena has found thecross, but loses it to the Moors who intercept and attack her. Informed of this,Constantino sends Lucero on a mission to Turquia to demand that Costroas giveback the cross. The mission fails to retrieve the cross, but it brings Lucero face toface with Ordelisa once again. The general pledges his undying love for theMoorish princess and proves it by laying down his arms. But the other Moorspounce on, imprison, and sentence him to death by beheading. Ordelisa, who isnow convinced of Lucero’s love, decides to free him. In the end, a big battle iswaged between the Christians led by Constantino and Elena, and the Moors underCostroas and Ordelisa. Elena is about to kill Ordelisa when Lucero intervenes andbegs for her life. Defeated, the Moors agree to be baptized “so that the dirt oftheir souls may be washed away.”Traditional are the arakyo’s sets and costumes, its stylized gestures and rhetoricaldelivery of verses, its marcha (slow march) and paso doble (fast march),accompanied by band music, as well as its scenes of love between Moorishprincess and Christian general, of the embahada (mission) between kingdoms, ofdances to relieve long stretches of monotonous dialogue, of theatrical artifices.Supported by hermanos mayores (sponsors) and by donations from individuals,the arakyo, like many traditional komedya today, is cherished by the townspeopleas a form of dance-prayer or an extended dramatic devotional to the Santa Cruz sothat it may shower favors and blessings on both kin and community.Not as entertaining as the secular komedya, the religious komedya called komedyade santo, hardly survives to our day. Typical of these didactic komedya whichwere used by Spanish friars to teach Christianity and inculcate Christian colonialvalues is one still staged in Iligan City—the Comedia de San Miguel (Play of SanMiguel), written circa 1890. Also called Yawa-Yawa (literally, Devil-Devil), thiskomedya tells the story of how Lusbel rebelled against God, and how God,through the Seraphim, ordered San Miguel Arcangel (Iligan City’s patron saint) toquell the heavenly revolts and drive Lusbel, his cohorts and the Seven Capital Sinsrepresented by a huge sevenheaded monster, to hell where they are punishedforever for their pride and rebelliousness.Of the Philippine religious plays, the most outstanding and enduring has been thesinakulo — also known as the pasion y muerte (passion and death), tanggal(literally, to remove) or centurion— which probably saw light in the mid-18thcentury. Staged commercially or as community activity during Lent and often foreight consecutive nights during Holy Week, the sinakulo started as thedramatization of the Pasyong Genesis, the most popular verse narrative on the lifeand sufferings of Jesus Christ, and later augmented by apocryphal stories fromother pasyon and religious books like the Martir sa Golgota (The Martyr ofGolgotha) and popular reading materials like Liwayway.In Tambo, Buhi, Camarines Sur, the passion play known as tanggal is a folk interpretation of events of the passion that is distinguished both by its charm andnaivete as by its faith and fervor. For almost three whole days and with financialsupport from the barrio, older members of an itinerant group of tanggalista(members of the tanggal group) chant the Bicol pasyon and other episodes fromthe Creation of the World to the Search for the Holy Cross by Elena andConstantino, while the younger members of the group dramatize the actionsnarrated by the chant. Most popular are the following: doleful scenes like Christsaying farewell to his mother before he goes to his martyrdom; comic scenesfeaturing the antics of Judas Iscariot, the great comedian in any passion play;scenes of spectacle like the storm at sea where the Apostles take a little boat rideon Lake Buhi (sometimes with an escort of carabaos); colorful scenes like thedescent of the Holy Spirit on Mary and the Apostles; and finally, dramatic sceneslike the Assumption and Coronation of the Virgin in heaven.In urbanized towns like Cainta, Rizal, the sinakulo has reached heights of technicalsophistication in terms of sets which are more “realistic,” costumes which aremore historically accurate, dialogue which approaches colloquial prose, andlighting which produces effects of night and day, darkness and lightning. In spiteof all these, the sinakulo’s world view, whether in Buhi or Cainta, and like thoseof other religious plays, remains as simple as that of a medieval morality playwhere absolute and certain is the victory of good over all forces of evil.As popular but more numerous than the komedya and sinakulo are the playlets,which attest to the importance placed by the Spanish friars and the local priestsafter them on teaching Catholicism. Many religious playlets in the Philippinesmerely embellish the Catholic liturgy or dramatize more fully the feasts narratedby that liturgy, especially the events of Christ’s birth, passion, death, andresurrection. Others are performed to honor saints on their feast days.Some of the most important playlets are associated with the Christmas season.The Tagalog panunuluyan (seeking entry) and Bicol kagharong (going from houseto house) dramatize through a street procession the search by the Virgin Mary andSaint Joseph for an inn in Bethlehem on Christmas eve. The pastores (shepherds)may be a playlet depicting the journey of the shepherds, their encounter withSatan, and their adoration of the Christ Child, as may be seen in Cebu and Leyte;or simply a group of males and females in colorful costumes dancing and singingSpanish and native Christmas songs in front of different houses, as practiced incertain towns of Bicol. The niños inocentes found in the Tagalog areas, may be ashort play showing the beheading of babies below two years of age as ordered byHerod, as was the custom in some towns of Rizal; or a parade of higante (giants)as in Gasan, Marinduque. Lastly, the tatlong hari (three kings) may be a simpleprocession highlighting three males costumed as kings, as in Floridablanca,Pampanga, and Mabitac, Laguna, or a short play reenacting episodes in the searchfor and adoration of the Infant Jesus by the Three Kings, as in Gasan,Marinduque.The Lenten season, specifically the Holy Week, has many more playletsassociated with it. The osana (hosanna) found in almost all Christian areas,features the blessing of the palms and reenacts Christ’s triumphal entry intoJerusalem on Palm Sunday. The via crucis (way of the cross), observed in mostCatholic parishes, is a procession of the image of the Nazareno or Christ carryingthe cross, which meditates at 14 altars where the Stations of the Cross areenshrined. In Paete, Laguna, the stations on the meeting of Christ and his mother,and Christ and Veronica are dramatized with chanted dialogue and moving images.The paghuhugas (washing), performed in almost all Catholic and Aglipayanchurches, dramatizes the washing of the feet of the Apostles by Jesus on MaundyThursday. The huling hapunan or ultima cena (last supper), staged in someTagalog and Bicol provinces, reenacts the Last Supper in an actual dinner eaten bythe priest and 12 men playing the apostles. The siete palabras (seven words)observed in many Catholic parishes features a lifesize image of Christ hanging onthe cross, which moves its head each time one of the seven last words is spoken(with accompanying “thunder and lightning”) during the three hours beforeChrist’s death at 3 P.M. on Good Friday. The soledad (solitude), still done inBicol and Pangasinan, is a procession of the image of the grieving Mater Dolorosaafter the “burial” of her son on Good Friday or Black Saturday. This stops atdesignated houses where songs are performed to lighten Mary’s sorrow. Thepagkabuhay (resurrection) of Lubao, Pampanga, reenacts with special effects theResurrection of Christ in the early hours of Easter Sunday. The salubong(meeting), also known as sugat, encuentro, sabet, Alleluya, and padafung inCatholic and Aglipayan parishes all over the country, dramatizes the meeting ofthe Risen Christ and the Virgin on Easter Sunday morning in dance and song. Thisis climaxed by the removal of the Virgin’s black veil by a little angel, who descendsfrom the “heaven” of the four-posted galilea to sing “Regina Coeli, Laetare”(Queen of Heaven, Rejoice). The hudas, found in Pampanga and Bulacan towns,shows the burning of the effigy of the traitor Iscariot. The moriones (helmets) ofthe Marinduque parishes dramatizes the story of the Roman soldier, Longino,who while guarding the tomb of Christ witnesses the Resurrection, becomes aChristian, proclaims Christ’s divinity, and is beheaded by Pilate’s soldiers.The major genre of playlets performed in honor of patron saints is the moros ycristianos popular in Manila and many towns all over the archipelago in the 19thcentury. Today, this dance drama survives in a few isolated towns. Known bydifferent appellations, these playlets still dramatize the conflict betweenChristians and Moors/non-Christians. Notable examples of this genre are thekinabayo of Dapitan, Zamboanga del Norte, which depicts the conflict of theMoors and Christians in the Battle of Covadonga; the palo-palo of Ivana, Batanes,which survives as a dance with sticks between Moors and Christians; and thesayaw of Ibajay, Aklan, which underscores the defeat of the Moors in the handsof the Bisaya. A form of moros y cristianos, too, is the bakahan (battle) of SanAntonio, Laguna, which reenacts the fight between San Miguel Arcangel and theHudyo (Jews) on Good Friday.The secular and religious plays and playlets are drastically different in content andfunction from the indigenous plays. While the latter depict the life and activitiesof the tribe, the dramas with Spanish influence either showcase alien stories ofprinces and princesses from ideal worlds peopled by the “beautiful” white race ornarrate the life and sufferings of Jesus Christ and the saints of the CatholicChurch, which were introduced into the country by the Spanish friars. Moreover,the komedya propagated and continues to propagate a colonial mentality thatlooks up to the European as superior in race and religion, even as the plays andplaylets on the life and sufferings of Jesus Christ and the saints discourage selfinitiative, a critical attitude, and decisiveness, preferring to forge a passive will thatbows to autocracy and its hierarchy of authority. It is not difficult to see howthese plays contributed to the shaping of the native Filipino as colonial during theSpanish period and how they continue to discourage the development of personsand citizens in contemporary Philippine society.Introduced into the country by Spanish artists in 1878 or 1879, the sarswela hadits heyday from 1900 to 1940 in Manila and the provinces. Original sarswelawere created in Tagalog by writers like Severino Reyes, Hermogenes Ilagan,Patricio Mariano, Julian Cruz Balmaseda, Servando de los Angeles, and composerslike Fulgencio Tolentino, Juan S. Hernandez, Leon Ignacio, Alejo Carluen, andBonifacio Abdon; in Cebu, by writers like Vicente Sotto, Buenaventura Rodriguez,Piux Kabahar, and Fernando Buyser; in Pampanga, by writers like JuanCrisostomo Soto, Aurelio V. Tolentino, Felix Galura, and Urbano Macapagal; inBicol, by writers like Asisclo Jimenez, Jose Figueroa, and Valerio Zuñiga; in Iloilo,by writers like Valente Cristobal, Jimeno Damaso, Angel Magahum, and Jose Ma.Ingalla; in the Ilocos, by writers like Mena Pecson Crisologo, Mariano Gaerlan,Leon Pichay, Isaias Lazo, and Barbaro Paat; and in Pangasinan, by writers likeCatalino Palisoc and Pablo Mejia.Usually in three acts with music and dancing interspersed within the prosedialogue, the sarswela focuses on a love story between members of the upperclasses, which is spiced up with comic love episodes between servants, and mademore relevant with satirical attacks on usurers, corrupt politicians, oppressivelandlords, lazy husbands whose husbandry is wasted on cockfighting and othervices and, lately, students hooked on drugs and “Saudi” recruiters who takeadvantage of naive workers.One of the most popular sarswela of all time is Dalagang Bukid (CountryMaiden), 1919, which tells of the love between a pretty young flower girl,Angelita, and a young handsome law student, Cipriano. Principal obstacle to theirlove is a rich old man, Don Silvestre, who frequents the kabaret where thedalagang bukid sells flowers, determined to get the girl for himself. Takingadvantage of their addiction to cockfighting and cardgames, Don Silvestre lendsAngelita’s parents all the gambling money they want, certain that they would theneasily agree to deliver the girl to him as payment for their debts. Moreover, DonSilvestre uses his money to make sure that Angelita wins the beauty contest that means so much to Angelita’s parents. In the end, after a series of romanticmisunderstandings and comic misinterpretations, Angelita is crowned queen, butsidesteps Don Silvestre’s trap by eloping with Cipriano, who has just finished hislaw studies.The traditional sarswela now survives only in the Ilocos, from where about half adozen commercial troupes fan out to other Ilocano-speaking provinces forperformances during town fiestas. In Bantay, llocos Sur, veteran sarswelistaBarbaro Paat continues to put up his sarswela in May. Typical of Paat’s storiesis one which depicts the plight of a wife, who has been sent away by her husbandand mother-in-law, and the sufferings of their young daughter under the father’snew wife. Although its costumes are contemporary, Paat’s sarswela has all theingredients of popular traditional sarswela—namely, the love songs, the scenes ofmelodrama, and, most of all, the comic scenes which the audience loves above all.Introduced from Spain in the 19th century, the drama (to be distinguished fromthe generic English term “drama”) is a play in verse and/or prose and usually inone act. As written by Filipinos at the turn of the century, it often revolves on anaspect of Filipino contemporary life, e.g. divorce, gambling, and other social vices,usually in the framework of a love story. During its golden age from 1900 to1940, the drama was performed in a series of three-in-one performance, or byitself before a sarswela. Like the sarswela, it could be presented commercially oras a community activity, on a proscenium stage in a teatro or on an open-air ruralentablado, using telon (theater curtain or backdrop) and appropriate props todenote setting. Although the drama is hardly ever staged today, it still enjoysimmense popularity on radio, television or film, either as tear-jerking, sala-setmelodrama popularly known as soap opera, or as comedies with a lot of slapstickor toilet humor.The drama as a Philippine form could be one of three types, depending on itsemphasis: melodrama, comedy, or drama simboliko. The pre-World War IImelodrama which aims to make people cry is typified by Veronidia, 1919, byCirio H. Panganiban, which depicts the tragic death of a divorcee who only wantsto visit her dying (first) husband. The comedy which entertains with laughter isexemplified by Julian Cruz Balmaseda’s Sino Ba Kayo? (Who Are You?), 1943,which weaves its hilarious situations around the mistaken identities of the maincharacters—a widower and his pretty daughter, a widow (the widower’s newwife) and her handsome son (who turns out to be the boyfriend of the widower’sdaughter), the male and female servants. The drama simboliko (allegorical drama),popular in Manila and environs from 1898 to 1910 as a vehicle of politicalprotest, is exemplified by Juan Abad ’s Tanikalang Guinto (Golden Chain),1902, and Aurelio V. Tolentino’s Kahapon, Ngayon at Bukas (Yesterday, Todayand Tomorrow), 1903.Kahapon, Ngayon at Bukas chronicles the struggle of the Filipinos, hererepresented by Inangbayan (Mother Country), under the leadership of Taga-ilog (patriotic Filipino) to overcome the oppressors in the country’s history: theChinese, the Spanish, and the Americans. Act I opens with Inangbayanreprimanding Asalhayop (Filipino collaborators) and his friends for feasting on thetombs of those who perished when Balintawak fell to the Chinese. Taga-ilogexhorts everyone to rise against Haring Bata, the Chinese King. For a fee,Asalhayop informs Haring Bata of the planned revolt, but is exposed byInangbayan and burned alive by Taga-ilog for his treachery. The Filipinos launchthe revolt against the Chinese and win a signal victory. But another power comesto the Islands, represented by Dilatnabulag (Spain) and Matanglawin (Spanishcolonial government), who make a blood compact with Taga-ilog. In Act II theHalimau (Spanish friar) strips the natives of their little wealth. Taga-ilog defieshim and is imprisoned. Ignoring Matanglawin’s orders to release Taga-ilog,Halimau forces Inangbayan to surrender all her riches in exchange for Taga-ilog’sfreedom. Dahumpalay (Filipino collaborator) wants Taga-ilog shot, but instead iskilled by Taga-ilog, who burns the traitor’s face and uses his clothes to escapefrom prison. Halimau orders Inangbayan buried alive, but the latter is liberated bythe forces of Taga-ilog who finally overthrow the Spanish colonizers, even as thethird colonial power, represented by Bagonsibol (America) and Malaynatin (theAmerican insular government) arrive to pledge friendship with the Filipinos. ActIII opens with women sewing the Philippine flag which will be raised when thenew moon rises. Taga-ilog persuades Malaynatin to give the Filipinos theirindependence, but the latter is reluctant to do so. Malaynatin then falls asleep andin a dream sees Taga-ilog and his army preparing to fight America with cannons,air ships, and tanklike vehicles. In the end, Inangbayan begs for the country’sindependence but is refused. But when young children kneel before Bagonsibol insupport of Inangbayan, Bagonsibol’s heart softens and he grants the peoplefreedom.In general, the drama and the sarswela represent a significant development inPhilippine theater history, if only because they pioneered in a more realisticportrayal of Filipino life and culture, showcasing not only Filipino costumes andsets, but typical Filipino characters, dialogue, and situations as well. Moreover,unlike the colonial plays, these forms trained their sights on current issues ofPhilippine society, launching diatribes against those they perceived as social“offenders.” If these plays can be faulted, it would be for the simplistic way inwhich they solve the very real problems they present. Coincidences, accidents,and other dei ex machina are used to eliminate all obstacles and to come to acorrect (not necessarily happy) ending for all concerned. By a stroke of the pen,the villains all mend their evil ways and become model members of theestablishment church and community.The “seditious” dramas, however, are an exception because they dared to paint thebloody struggle of Filipinos against the American colonizers, hoping thus toenlighten and exhort the Filipino masses to support the revolutionary movementbased in the mountains, and thus prevent colonization by another Western power.The American Colonial and Contemporary TraditionsShort as it was, the American colonial regime from 1901 to 1946 had a profoundeffect on 20th century Philippine theater, first in form and later in philosophy.This influence is seen in the Philippine bodabil (vaudeville), the Western playspresented in English or in Filipino translation/adapatation, and the original modernplays written by contemporary playwrights.Introduced in the 1920s from the United States, bodabil is not a play per se, but apotpourri of songs, dances, and comedy skits which showcase what is popular inthe United States. As may be expected, the Filipinos who perform in bodabilcannot help but imitate, and naturally end up as the “local versions” of theAmerican “originals.” During the Japanese Occupation, the bodabil began toinclude a short melodrama at the end, to accommodate the popular prewar filmactors and actresses who could no longer appear in films since the Japanese hadconfiscated all film equipment. This expanded bodabil, which reigned supreme asentertainment during the Occupation, was known as the stage show. After thewar, the return to popularity of the movies drove the stage show into small, cheaptheaters or to open-air stages in the provinces.Through the Westernized educational system established by the Americans allover the archipelago, Filipinos were introduced to the first examples of“legitimate” theater in the Philippines, i.e., plays which have so-called “artisticmerit.” Exclusive schools for the rich, which were steeped in “good” Westerneducation, led in the production of Shakespearean tragedies and comedies in the1930s, until other groups presented contemporary Western classics in the originalEnglish or in English translation. Later, a few groups presented Broadway plays,especially Neil Simon comedies and grand musicals like Annie and Evita, whileothers continued to perform translations of “classics” of the Western stage(Sophocles, Plautus, Shakespeare, Goldoni, Moliere, Ibsen, Chekhov, Shaw,Wilde, Miller, Williams, Beckett, Arbuzov, Fugard) into Filipino. Finally, othercompanies adapted Western plays like Clifford Odets’ Waiting for Lefty andBertoit Brecht’s Caucasian Chalk Circle and Life of Galileo Galilei because oftheir social or political messages.Needless to say, the bodabil and the Western plays presented in the country byFilipinos contain very little of Philippine life and culture in them. The bodabil hasFilipinos twisting their tongues, belting/mellowing their voices to approximateAmerican singers, and gyrating like Elvis Presley or flexing their limbs in the aira la Fred Astaire. In the same manner the Western plays have Filipinos imitatingLaurence Olivier’s accent to be convincing as Macbeth or adopting a New Yorkaccent to do justice to Neil Simon.Furthermore, these shows transport audiences into the American dreamlandthrough the songs, dances, comedy skits, and production numbers on stage, whilericher Filipinos try to get their catharsis from empathy with the characters of aWilliams play, an endeavor which does not always succeed since Filipino audiences tend to situate these plays within the context of colonial culture in thePhilippines, often to the detriment of the reality they present. Finally, because oftheir proven effectivity in Americanizing Filipinos, bodabil and Western playscertainly help to make more acceptable to the Filipino America’s continuingpresence in the Philippines.On the other hand, although the Filipinos were Americanized in thought, taste,and temper by these plays, so were they equipped with many dramatic theoriesand styles that opened new avenues for growth and expanded the horizons fortheatrical expression of Filipino playwrights, directors, actors, designers, and stagemanagers. Even as foreign plays strengthened the colonial bias, they alsointroduced many styles of Western theater and the theater of Asia, Africa, andSouth America that eventually enabled the Filipino to write and stage plays thatrepresent Philippine realities with greater fidelity.Raised in the Anglo-American tradition, theater artists have created original playsusing the literary styles and tendencies of the West—both the representationalstyle which seeks to create an illusion of reality through three-dimensionalcharacterization, and the presentational style, which uses the play as a vehicle forthe exposition and promotion of social issues and ideas. As these artists learnedmore and more about the folk dramatic traditions of their country and of Asia,they likewise also began to experiment with traditional Filipino dramatic forms,like the sarswela, komedya, and sinakulo as well as with Asian styles like the Nohand the kyogen.Most of the original plays of today were written for literary contests or evolvedthrough workshops or created for semiprofessional companies, student dramaorganizations, and numerous community theater groups all over the country.Outstanding directors who have contributed to the development of modernPhilippine theater are Lamberto V. Avellana, Henry Lee Irwin SJ, SeverinoMontano, Wilfrido Ma.Guerrero, Onofre Pagsanghan, Rolando S. Tinio, ZeneidaAmador, Antonio Mabesa, Behn Cervantes, Nonon Padilla, Anton Juan Jr.,Lutgardo Labad, Soxy Topacio, Joel Lamangan, and Tony Espejo, all Manilabased; and Leo Rimando, Joonee Gamboa, Nestor Horfilla, Steven PatrickFernandez, Frank Rivera, Rodulfo Galenzoga, Karl Gaspar, Edward Defensor, andOrlando Magno, who are based in the regions.Of the representational types, it was Western realism, which seeks to move anaudience through empathy with well-rounded, flesh-and-blood characters, thatwas adopted and adapted by Filipino playwrights. Realism in the contemporarymodern theater follows two tendencies: the psychological which focuses on theproblems of individuals; and the social which situates and roots individualproblems within the larger framework of a class society.Outstanding psychological studies of character are first found in some Englishplays, such as Wilfrido Ma. Guerrero’s Three Rats, 1948, which is about the affair between a woman and her husband’s best friend, and Nick Joaquin ’s A Portrait ofthe Artist as Filipino, 1955, which depicts the tragedy of two unmarried sisters inthe Spanish City of Intramuros, who are slowly being devoured by the new,growing commercialism and pragmatism under America, but who stubbornly clingto the genteel, albeit impractical, world of hispanized culture.From these seeds grew and blossomed the dramas of psychological realism in thelast two decades, among them: Orlando Nadres ’ Paraisong Parisukat (A SquarePiece of Paradise), 1974, which shows how a young girl decides to sacrifice loveand idealism to the banality of a stockroom assistant’s life; Bienvenido Noriega Jr. ’sBayan-bayanan (Little Country), 1975, which exposes the personal dreamsand heartaches of Filipino expatriates in Switzerland; Rene O. Villanueva ’sHiblang Abo (Strands of Gray), 1980, which portrays four tragic characters in ahome for the aged; Isagani R. Cruz ’s Kuwadro (Portrait), 1980, where an agingsarswela star pathetically “relives” the glory days of the sarswela; Tony Perez ’sBiyaheng Timog (Trip to the South), 1984, which shows how an autocraticpatriarch meddles in and destroys the lives of his children and how after his death,his children finally become whole as persons; and Elsa Martinez-Coscoluella ’s InMy Father’s House, 1987, which depicts the slow destruction of an Ilongo familyand the personal disintegration of its members during the Japanese Occupation ofNegros island in the 1940s.Social realism on the modern Philippine stage was pioneered by Alberto Florentino ’splays in the early 1950s, such as The World is an Apple, 1954, which shows how apoor man steals to buy medicine for his child. Plays such as this, however, becamemore popular only in the 1970s and 1980s. Reuel Molina Aguila ’s In Dis Korner(In This Corner), 1978, tells of a boxer who sacrifices his personal and familyinterests in order to buck the system of “fixing” which exploits boxers like him.Paul Dumol ’s historical play, Francisco Maniago, 1987, presents the painfulrealization of Francisco Maniago that absolute and unquestioning fidelity to theKing of Spain is possible only with his betrayal of his own community, family,and self. Jose Y. Dalisay Jr. ’s Sugatang Lawin (Wounded Hawk), 1978,explores the meaning of “heroism” during the Japanese Occupation and hisgradual realization of the meaning of true heroism. Finally, Chris Millado ’sBuwan at Baril sa Eb Major (Moon and Gun in Eb Major), 1985, shows inmonologue or dialogue the politicization of two brothers (a farmer and worker),a socialite, a priest and a tribal woman, a student activist, and a teacher.The presentational style on the contemporary Philippine stage, which emphasizesthe discussion of social ideas derives principally from Brecht’s Theater ofInstruction and later from Augusto Boal’s Theater of the Oppressed. Proliferatingespecially during the Marcos regime which censored realistic portrayals ofpoverty and oppression in media, many forms in the presentational style pointout and discuss social ideas in a less realistic but no less effective manner,consciously destroying the illusion of theatrical reality and employing symbols,mime, dance, songs, stylized sets, costumes, props and almost anything that would clarify and intensify social/political/economic ideas for their audiences.The documentary style was employed by some playwrights in order to relatehistorical events or persons to the present. Using narrators and slides ofnewspaper clippings, Al Santos ’ Mayo A-Beinte Uno atbp. Kabanata (May 21and Other Chapters), 1977, traces the life of Valentin de los Santos through threeperiods of struggle against colonial rule to explain why “Tatang” was obsessedwith freedom and why he founded the Lapiang Malaya.The Brechtian style with touches of absurdism is evident in Paul Dumol’sAng Paglilitis ni Mang Serapio (The Trial of Old Serapio), 1968, one of the mostperformed modern plays of the last two decades, which shows how a syndicaterigs the trial of a beggar, Mang Serapio, who “wastes” the earnings of thesyndicate by loving and caring for a “child.” Serapio’s eyes are gouged out—apunishment considered “humane” because it will make him a “better” beggar.A similar style is used in Al Santos’ Ang Sistema ni Propesor Tuko (ProfessorGecko’s Way), 1980, which pokes fun at the authoritarian rule of a fascisticprofessor to comment on Philippine society under the Marcos regime; andRolando S. Tinio’s May Katwiran ang Katwiran (Reason Has Its Reason), 1972,which shows how a landlord manipulates a peasant’s simple mind to accept thelandlords “superiority.”Typical of the inexpensive, portable, and short plays called dula-tula (dramapoem), which were evolved for symposia or rallies, is Jose F. Lacaba’s Ang MgaKagilagilalas na Pakikipagsapalaran ni Juan de la Cruz (The FantasticAdventures of Juan de la Cruz), 1976, a poem which narrates one day in the life ofan ordinary Filipino, who realizes that wherever he may go he has no real rights;and Richie Valencia’s Iskolar ng Bayan (Scholar of the People), 1976, whichnarrates one day in the life of a University of the Philippines student.Brechtian techniques have also been used for full-blown musicals, which may be:rock or pop musicals on contemporary themes, like Nukleyar! (Nuclear!), BienAligtad, and Magsimula Ka (Make a Start), 1983; “ethnic” musicals, likeMaranatha (Make Haste, Lord), 1974, Halik sa Kampilan (Kiss the Sword),1978, Ranaw: Isang Alamat (Ranaw: A Legend), 1985, and Sinalimba (MagicBoat), 1986; or ethnic dance dramas, like Diablos (Demons), 1989; andHinilawod, 1992. Featuring a band of rock singers and musicians on a separateplatform and a group of dancer-actor-singers on stage, Al Santos and Joey Ayala ’sNukleyar!, 1983, strings together songs, dances, and slides that explain nuclearreaction, exposes the horrors unleashed by the bombs on Hiroshima and Nagasaki,and finally attacks the establishment of nuclear plants in the Philippines. Anotherimportant musical is Dong de los Reyes ’ Bien Aligtad, which describes the“necessary” evolution of a simple slum dweller into a notorious “criminal”because of police corruption and military violence. One of the most popularmusicals of our decade is Gines Tan’s Magsimula Ka, which focuses on the decisions made by individual young graduates to be themselves by pursuingcareers of their choice above their parents’ objections.Important achievements in the successful use of ethnic performing, visual, andliterary arts to convey the problems of Mindanao, like the insurgency,militarization, landlordism, exploitation of the ethnic communities, andlandgrabbing, are: Rodulfo Galenzoga’s Maranatha, which uses an old Lanao taleabout a big, black, predatory bird, to expose corruption of politicians and thegrowing militarization in Mindanao; Halik sa Kampilan which uses the bayok(debate in chant) tradition, the kapamalong-malong (dance with the tubular skirtcalled malong) and the Pilandok character of Maranao culture among others;Ranaw: Isang Alamat which creatively combines the pangalay, ethnic martial artsmovements and chants with contemporary musical idioms; and Fe Remotigue andDon Pagusara ’s Sinalimba which brilliantly uses Bagobo musical materials andinstruments for contemporary artistic expression.Dance dramas which use the ethnic music and movements in order to dramatizeboth traditional folklore and contemporary myths are the most recentdevelopments of the presentational style. Examples are Denisa Reyes ’ Diablos,which uses a Bagobo tale about the evil bird Minokawa in order to comment onthe violence of nuclear arms; and Edwin Duero-Agnes Locsin ’s Hinilawod, whichnarrates the epic of Labaw Donggon and his brothers Humadapnon andDumalapdap.Some plays successfully blend realistic and nonrealistic styles. Juan Tamban,1978, focuses on an upper middle-class social worker, who gets politicized whilestudying her thesis subject, the street urchin Juan Tamban, who eats roaches andlizards. In this play, Malou Jacob uses a chorus as narrator and commentator totie together a series of highly realistic and moving episodes. Tony Perez ’s SaNorth Diversion Road (On North Diversion Road), 1988, has two actors actingout the roles of different married couples and their various reactions to theproblem of marital infidelity. Anton Juan Jr.’s Death in the Form of a Rose,1992, intersperses realistic scenes with choral passages using masks and symbols,in order to dramatize the “execution” of Paolo Pasolini at the hands of the“establishment.” Floy Quintos ’ Fili, 1991, “deconstructs” Rizal’s novel, Elfilibusterismo (Subversion), and creates a fictitious Rizal friend whose frivolitybecomes a parallel to the apathy of the Fili’s protagonist, Simoun.With the recent realization among theater scholars and critics that traditional formsof drama still popular among the masses should not only be studied but be imbuedas well with positive contemporary messages, urban playwrights have“revitalized” traditional forms to comment on contemporary issues and concerns.Virgilio Vitug ’s Sinakulo ning Balen (Passion Play of the Nation), 1983, aspresented in Lubao, Pampanga, unveils a new Christ, Jesus Makabalen, whocondemns fiscals who accept bribes, fake recruiters who victimize haplesspeasants, candle sellers who commercialize the blessing of the pope, and government officials who are insensitive to the needs of the people. Althoughhis enemies succeed in crucifying him, Jesus “rises again” because the ordinarypeople decide to continue his struggle.The traditional komedya in San Dionisio, Parañaque found its first innovator inMax Allanigue, who wrote Prinsipe Rodante (Prince Rodante), 1962, which usesall the conventions of the komedya but rejects its divisive anti-Muslim message,and instead argues that a person’s respect for justice, not his religion, should bethe basis for judging that person.Because of its enduring popularity among Filipinos, the sarswela has beensuccessfully updated by Amelia Lapeña-Bonifacio in her Ang Bundok (TheMountain), 1976, which shows the harassment of the Igorot by foreignspeculators digging for gold in the Cordilleras and the unity the mountain peopleforged to fight their oppressors.The “seditious” drama of nationalist playwright Aurelio V. Tolentino, Kahapon,Ngayon at Bukas (also known as KNB), has been revived and reinterpretedseveral times in the last two decades. One of the most successful productions ofKNB was that of Chris Millado, 1990, which reinterpreted the main protagonistTaga-ilog as a tattooed native datu, a Bonifacio-type revolutionary, and acontemporary New People’s Army fighter.Finally, the oldest of all traditional drama, the mass, was given new meaning in oneof the most popular protest plays of the 1970s. Pagsambang Bayan (People’sWorship), 1977, by Bonifacio Ilagan reinterprets Christ’s sacrifice, the parables ofthe New Testament and the priesthood itself, according to the problems of thepeasants and workers in our time.Because of the growing awareness among Filipino playwrights of other Asiantheater traditions, a few of them have experimented with Asian forms. AmeliaLapeña-Bonifacio’s Ang Paglalakbay ni Sisa (Sisa’s Quest), 1976, calls backfrom the dead the madwoman in Rizal ’s Noli me tangere (Touch Me Not), so thatshe may narrate in the ancient incantatory style of the Japanese Noh, the travailsshe underwent in life; while her Ang Madyik na Sombrero (The Magic Hat),1976, takes a picaresque Filipino character for a kyogen-style farce in Tondo,Manila. Bonifacio has likewise pioneered in the use of local folktales and variousAsian puppet traditions for her children’s plays.

What are the traditions of the iranun tribe?

Iranun was one of the oldest existing nations in the world during the ancient times with definite integral territory wherein the sovereign power and authority was exercised over it by the ligimate ruler. Iranun as a nation inhabited mainly the Crab Gulf (Moro Gulf). Its villages were established and concentrated in the Iranun Bay (Illana Bay). The origin was attributed to the people of the Uranen Kingdom of the primitive past inhabited in the Tbok (Malabang). Iranun was the first people who entered into a marriage affinity with Shariff Aulia and Shariff Kabunsuan. Bai sa Pandan (Princess Pagunguwan, daughter of Rajah Urangguwan) and Bai Angintabu respectively. Some of the Iranun genealogists identified her as Rinalaut. Their wedlocks where Sultan Kudarat has directly got his line of descent. Iranun was a breed nation between the Karibang-Karingke Line of descent and last wave of Malay migrants. The decendants of this marraige affinity sprang the Iranun nation whose first leader was King Urangguwan. The name of their place (state) was Uranen. During the advent of the Sharriffs, this nation was intermarraige with the Shariffs. The ancient Muslim civilization started and originated from the coastal area of the Uranen. Genealogists say that later in the succeding decades it was spread and extended to the Ranaw areas and the Upper Pulangi areas. The Biwang-Kawanan Tinday A Batal O Pagilidan (Two Huge Coastal Principalities) was the first organized and established political group headed by Rajah Makaapen after the death of Rajah Urangguwan, semoultaneously with Slangan Principality and Buayan. Later on sultanate system of government was established patterned from the system of government introduced by the Shariffs. The political system of the Iranun during Rajah Urangguwan was patterned from Sri Vishaya and Majapahit Empires. The society of the Iranun was a muslim. Its social class was classified into: Uripin (slave), Kadaklan (Dumato) and Pindatu (Ruling class). Iranun is a very hospitable and principled group of people. It is good and friendly contrary to the description of the western writers. Western writers described Iranun as pirates. This description is not true. As a matter of fact Iranun is the champion of hospitability and helpfulness. The Sultan of Brunie was being reinforced by Sultan Kudarat. The fleet was composed of Iranun warriors. The Sultan of Brunie was able to defend his sovereign state against invaders through the assistance of the Iranuns led by Sultan Kudarat. Tradition says that it inhabited the coastal areas of the Iranun Bay. It was said that Tbok, a place near the present site of Malabang was the center and seat of government of the ancient Iranun. It was headed by Rajah Urangguwan, the ruler of the Uranen Kingdom. The modern authorities in history have cited the fact that the ancient territory of the Uranen was the areas where Sultan Kudarat exerciced his sovereign authority and influence. It stressed from Punta de Flechas of Sibugay down to Tagalook (Davaw Gulf). These areas were recognized by the Spaniards. In the later decades, the Iranun as a group of people was covered. Most of the writers and historians did not mention Iranun in their writings. It is interesting to mention and include here that Iranun was the original tribe where other tribes sprang out, the mother of other native tribes in the Island. Let me discuss in the following paragraph. Modern historians made mention of Shariff Aulia. It is right that there was a Shariff Aulia who sometimes arrived in the Island. Shariff Aulia landed at the coast of Tbok and welcomed by Rajah Urangguwan, the ruler of the ancient Uranen Kingdom, a Kingdom situated and located at the Iranun Bay, Layagan Gulf (Moro Gulf). Shariff Aulia married Princess Pagunguwan( Princess Rinalaut in some version), a beloved and adored princess of her time, and a daughter of Rajah Urangguwan. They begot the four rajas: Rajah Makaapen, Rajah Dungklang, Rajah Maraguia, and Rajah Budtol. These four rajas explored and adventured the Island (Mindanaw). The first two (Makaapen and Dungklang) remained in the capital of the Kingdom. The other two ( Maraguia and Budtol) went south. Maraguia established his own community at the present Tantawan (PC Hill) in the present site of Cotabato City. Budtol went east through Pulangi River. He established his community in the present Buayan. It is interesting to include here and mention that Tantawan was once an island like Bunged (Bungo) and Timako. The Iranun tarsila has described that Tantawan was a military base during the ancient Uranen Kingdom. The huge biruar ( tower) was established in Tantawan to oversee the enemy which may come from south, north, east, and west portion of the Kingdom. It was a military naval base of the ancient Uranen Kingdom. Later as decades passed by and it becomes a century, it becomes as its present geographical view. According to the oral tradition, liitle by little a landmarsh was developed. Modern science explains the episode as a result of residual remains and sedimentary formation and process. In one of the lyrics of the darangan, it was mentioned that there were three islands which served as a guard islands of the Turugan (Palace) of the Ayunan Pangadapan O Inayunan O Kampong Sa Iliyan A Bembaran. Most of the Iranun experts and commentators in ancient/prehistorical facts are unanimous in findings that the three (3) islands mentioned in one of the darangan lyrics were the same and identical with Tantawan, Bunged (Bongo) and Timako. Therefore, these three islands are historic and considered as tourist spots of the Island. The relation between Bembaran and Uranen Kingdom was quite interesting to mention and discuss here. Some of the Iranun genealogists say that Bembaran and Uranen Kingdom were identical. Some says that Bembaran and its people was a legendary and it was one of the most narrated legends during the Uranen Kingdom. Some says that Bembaran which was the setting of the Darangen constituted the heights of the Uranen Kingdom. Out of these views, it is safe to say that Bembaran, the setting of the Darangan period occured during the Uranen Kingdom, and was one of the civilizations of the Kingdom. Going back to the issue on decendancy, Makaapen and Dungklang were the forefathers of the Iranun of the coastal areas of the Iranun Bay. Maraguia was the forefather of the Iranun in the City of Cotabato and near adjacent places. Budtol was the forefather of the Iranun of the Upper Stream. This stage of civilization was reinforced again when Shariff Kabunsuan arrived. Shariff Kabunsuan married Princess Angintabu, a daughter of Makaapen, begot Makaalang. Makaalang married his first cousin, a daughter of Rajah Dungklang named Princess Pidsarawdan begot Rajah Bangkaya. Rajah Bangkaya married a lady from Lupah Suog name Pangyan Mampay begot Kapitan Laut Buisan, the father of the strongest among the sultans of Mindanaw named Sultan Dipatuan Kudarat. Intermarriages among the offspring of the four rajas in the later decades were observed. Their intermarriage established a royal line of descent. This was the stage of civilization of the Iranun when whitemen came ( Spaniards in 1521). Iranun was a great warrior. Iranun were good navigator and sailor. Their skills and knowledge in navigation and of being a sailor is comparable to the skills of the whitemen ( Spaniards, Portugese and other westerners). During the counter offensive of Sultan Kudarat against the Spain Royal Armed Forces, mostly of the captains of the different vessels of Sultan Kudarat were Iranuns. Iranuns are champion of freedom. The Iranun defended the sovereign territory and authority of the present Moro Nation from aggression and invasion of the Spaniards. Iranun are jealous people as far as sovereign is concern. It is a fact that Iranun was the people whom the the Spaniards met during their invasion. The Spaniards described them as moro (moores in western version) because they portrayed the same quality in terms of field combat and fighting of the Moores people whom they fought in Northern Africa. This was the origin and beginning of using the term moro which referred to and described the Iranun people whom the Spaniards met in this Island particulrly Mactan, the recorded first bloodiest battle between the Spaniards and the native inhabitants. Thus the Moro is a colonial term introduced by the Spaniards replacing Iranun ( the original inhabitants).It was presented in the preceeding paragraphs that Iranun was the people whom the Spaniards met during invasion. The Spaniards introduced some strategies and techniques in order to reinforce and establish their colonial mission. It was their first priority to dismantle the original tribe for them to implement their mission effectively. The strategy was little by little leading to creation of other tribe within the Island. There are identified colonial terms which make Iranun tribe put into ash and ruined by colonialism. With due respect to other scholars, Iranun had been subdivided into different tribes. These tribes are: Maguindanawon, Mranaw, and Mragat (Islamized); Tiduray, Subanen, Kalagan, Manobo, Blaan, Bagobo, and other highlanders (Unislamized). The first three (3) sub Iranun tribes accepted the Ideology introduced by Shariff Aulia and Shariff Kabunsuan. Tiduray, and others did not accept the Ideology introduced by the two Shariffs. This is the reason of Moro (Iranun) has two groups of people in relation to belief: Islamized and Unislamized. Later on in the succeeding decades, Spaniards more and more intensify their colonial mission. On the other hand, the Dutch had the same mission with that of the Spaniards. The Dutch was expanding its sovereign in the Island. A rivalry between the two world super powers began in the Island. The rivalry between the Spaniards and the Dutch colonialists were contribute much in the ruinity of the Iranun as a people/nation. Factions were observed. Colonial concepts came in. With due respect to other scholars in history, the term Maguindanao although a native term connoting specific place is a colonialism sponsored term to destroy the original which is Slangan, which is the correct. Slangan was a confederated state of Tbok and Buayan after the death of Rajah Uranguwan. Slangan was led by Rajah Maraguia. Iranun tribe expanded in land of the Island until villages were established in the Unayan area (Ranaw). Iranun oral tradtion say that the first Iranun datu who explored the Ranaw area was Penduma. He was a descendant of Rajah Dungklang. He explored going in- land part of the Uranen Kingdom until finally he discovered Butig which became the seat of the Unayan. The established village in Butig (Unayan) flourished and developed into a center of trade, commerce and education of the time. Later on it expanded into other places around the Ranaw( Masio, Bayabaw, Baloi). Thus the creation and establishment of the Pat a Pangampungan Ko Ranaw (Four Lake-Based Principalities). Iranun nomenclature in relation to names of majors tribes were attributed to its geographical connotation. The people who remain in the coastal areas of the Uranen Kingdom is called Mragat, which means people of the seacoast (Ipagilidanen in Iranun version). The people who established villages around the ranaw (lake) is called Mranaw, which means people of the lake. The people who established villages in the inner part of the island in relation to its coastal areas is called Idalemen. The people who established villages beyond the dalem (inner part) limit is called Isbanganen. The people who established villages and reject the Ideology introduced by the Shariffs, in the inner part of the Island in relation to Slangan is generally called Tiduray. The people who established villages in the Upper Stream of the Pulangi River is called Irayaan (Taw sa Raya in some version). The people who established villages in the inner part of the Island in relation to the first seat of Uranen Kingdom at Tbok is generally called Subanen. Tiduray was the mother of all highlander tribes in the Cotabato areas. Subanen was the mother of all the highlanders tribes in Zamboanga areas. Kalagan was the mother of all highlander tribes of Davao areas. There are Iranuns in some kampongs (communities) in Sabah, Malaysia. Their existence in the Malaysian Archepilago specifically Sabah was attributed to the request of the Sultan of Brunie from Sultan Kudarat of reinforcement to augment his forces to defend his sovereign against invaders. The reinforcement was composed of Iranun warriors. After the defeat of the invaders, the Sultan of Brunie offered them a portion of his sovereign sultanate for them to live as an expression of friendship and gift for them. The warriors got their their families and transfer their residence and citizenship to Brunie Darussalam. They lived there. Their descendants are the identified Iranuns in Sabah. Uranen Kingdom whose seat of government was in Tbok had foreign contacts with the Sri Vishaya and Majapahet Empires. According to the oral tradition of the Iranun, their relationship was focused on education based on the system of their time. The type/system of education was more on mystical and rituals. Iranun during that civilization was experts in the languages of the two Malayan Empires. Some of the reading materials of those remote past are still preserved. Some of the Iranun genealogists stated that the mother of Princess Pagunguwan, the daughter of Rajah Urangguwan was one of the daughters of the last Emperor of the Sri Visahya Emperor. The two Royal Sovereigns shared technical skills especially on warriorship. Out of this program the Uranen Royal Warriors (armed forces) had been strengthened. Their skill in field combats and marine skills had improved. It is possible that the skill which was saw and encountered by the Spaniards attributed to this program.It is interesting to include in this script the inhabitants of Liusong (Luzon), Aninipay (Panay), Mactan and other ancient Kingdoms and sovereigns of the primitive past. What is the relation of Iranun with of the native inhabitants of Liusong, Aninipay, Mactan, and others ancient sovereigns? With due respect to other authorities in history, oral tradition of the Iranun says that all existing sovereigns during the ancient period in this country (now Philippines) were Iranuns. The inhabitants of the Sovereign Maynilad, Tondo, Mactan, Aninipay (Panay) and the Uranen were all Iranun. Thus Iranun was the original nationality of the people of the ancient these Islands. They were confederated to each other. Historians only stated that only the four Sovereigh districts of Aninipay were confederated. The truth was that all existing Sovereign places during the ancient past were confederated. Their national identity was Irarun. The early contacts of the Iranuns with foreign nations (Kingdoms) became the bridge in improving the way of life of the Uranen Kingdom. Social relationships were established especially on marriage. The present time tells and shows the existence of the Iranun.Iranun was the first identified native inhabitants of Mindanaw, which was historians and scholars failed to mentioned their written works. This perhaps the result of colonization. Their villages were established along the coastal areas of the present Moro Gulf especifically Iranun Bay. In some cases, they established their vilages along the river banks (Maynilad and Tondo as an example; and Katidtuan as in Kutawato area). The present ethnic tribes in Mindanaw were originated from the Iranun. Iranun as a nationality was destroyed and put into ruinity because of colonialism. Colonialism dismantled Iranun as a nationality and introduced words although they were native in implication but they were used as instrument for colonization. Iranun is co-existence of the Aetas (Pygmies) or Negritos of Liusong (Luzon). According to the oral tradition of the Iranun the size of the typical Iranun was between four (4) feet and five (5) feet height, an average of 4.5 feet in height. They were originally brown, and moderately flat nose. Iranun genealogists say that Iranun was a cross breed between the migrants from the two big ancient kingdoms (Sri Vishaya and Majapahit)and the karibang line and karengke line. It was again breed with Arabs during the advent of the Shariffs. Iranun like other ancient nations had early contacts with other foreign nation. It had established a contacts with Sri Vishaya and Madjapahit Empires. It was a sovereign nation. At present time still considered a major tribe among the ethnic tribes in the Island Iranun had foreign contacts and relations with China (Ming Dynasty). The Uranen Kingdom sent four (4) of its rajahs, namely; Rajah Batarabuwasan, Rajah Pagarabuwasan, Maharabuwasan, and Rajah Yuwaharabuwasan. Dr. Sonia Zaide (1985) identified them as King Prabu, King Mahalchilim, and King Pahala. The four (4) rajahs had been welcomed by the Emperor Yung Lo of the Ming Dynasty. The civilization of the Chinese was introduced in the Kingdom through them. Most of the things which were seen by them in the China beneficial and advantageous to the Kingdom and its people were adopted and it became a part of the culture of the Iranun. Dresses, ladies style and ornaments (pandara), Brass wares, costume(loose trouser for women) and other social patterns were adopted from the chinese people. In warriorship, Iranun had learnt a lot from the chinese. The skill in using bow and arrow, using kampilan, kris and other ancient weapons were improved. In household likewise a lot of things had been learnt from the chinese (cooking, embroidery and others) were also learnt from the chinese. Iranun had also foreign contacts and relations with India. Iranun learnt more languages in India including their mystical knowledge. Oral tradition says that many of the medical and magical knowledges of the Iranun were learnt from the Indian. The ancient formula of computing the one year days. The ancient Iranun astronomers had computed one year 354 year (leaf year) and 355 days ( common year). They arranged the 12 months by 30 days and 29 days; fifteen days (sbang) and fifteen days (delem). In short astronomical knowledge of the Iranun were learnt from Indian. This formula was confirmed by the modern science. Thus the astronomical knowledge of the Iranun during ancient time was accurate because it survived and rearched the modern era. Medical knowledge ( Katabibtabib) using oration and medicinal plants were learnt from the Indian people. The civilization of the Iranun had been improved through foreign contacts and relations (Chinese, Indians, Malays and Arabs)Rajah Marikudo (Merkat Ado in some version), ruler of Aninipay(Panay) Island wherein the ten Borneans datus met was an Iranun. Western and Filipino writers (historians) failed to identify the true identity of the datu. Rajah Merkat Ado was one of the ancient sovereigns who ruled the island especially Aninipay. As it was described that Iranun was a hospitable people, Rajah Merkat Ado welcomed them (Borneans) in his sovereign kingdom. Actually a portion of Aninipay (Panay) probably coastal area was offered by the Rajah for the Bornean datus to live and establish their villages. Historians said that it was sold to the Bornean datus. It is contrary to the literature of the Iranun tarsila that the place was not sold but offered as a sign of friendship and hospitability. To recognize the hospitability of the Iranun in Aninipay led by Rajah Merkat Ado; Datu Puti, the leader of the Borneans offered marriage with the daughter of Rajah Merkat Ado. A marriage contract was entered into between the natives and the Borneans. A dowry was offered and given in terms of one(1) set of golden nicklace and gold sayap (salakot in some version). After the marriage ceremony, Rajah Merkat Ado asked an opinion from his Council of Elders the best action in order to reinforce the established relationship between his realm and the Borneans. The Council of Elders categorically said: Give the low portion (coastal area) of your territory to your daughter as her part in your ancestral domain. You transfer and establish your capital and Palace (Turugan) to the inner part of your territory. Oral tradition says that about one kilometer from sea coast going upper stream of the Aninipay river the location of the new capital and palace of the Rajah. Datu Puti and the Princess live harmony with other Borneans (11th century). The intermarriage between the two Sovereigns (Borneo and Iranun) prospered and expanded going north direction. Batangas was the first village (community) established. Intermarraige in the later decades were observed between the native aetas and the breed people. Later on as decades passed through, the Kingdom of Maynilad and Tondo were established. The socio-political interactions of the major Asian ancient sovereigns (Majapahit, Sri Vishaya Empires, Chinese Dysnasties, Indian Kingdom and the Ancient Uranen Kingdom) sprang out a well breed Iranun which constitutes the Last Uranen Kingdom under Rajah Urangguwan. Generally, Iranun was the first identified people who live in the ancient past of the civilization in this part of the globe. They were the people of the Uranen Kingdom. They established their villages along the coastal areas of the Iranun Bay and river banks. They were the people whom the Shariffs met in this Island. The origin of the Iranun people was from four feet to five feet in height. Their civilization belonged to the primitive civilization. However they had established contacts and relationship with foreign sovereigns and kingdoms. The first stage of breed of the Iranun with Shariff Aulia was the breed of Iranun whom Shariff Kabunsuan was met and later on arranged with them a marriage affinity. This is the first line of generation among the Iranun where native blood was breed with arab blood. They called it kia saripan. Iranun as a People Iranun was the aborigin and original inhabitants of Mindanaw. They were belonged to the primitive and prehistory people. They were identified by the Iranun tradition as Karibang and Karingki line of descent. These people were analogous with that of the Aetas (Negritoes) of Luzon and other places. They were breed with the foreign people ( Indonesian, Malays, Arabs, Indians, and Chinese). Iranun tarsila stated that they were the rapo people (foreigners) who migrated to the Island thousands of years ago who married the daughters of the different rajahs in the Island (11th-12th century). These marriage affinal ties sprung the modern (present) Iranun in the Island. Government and Succession of Authority The government of the ancient (prehistory) Iranun was simple but effective. They (rulers) had one hundred pre cent control over their sovereign. Each engged (community) had its ruler. They were exercising the Obsolute Monarchial System. Usually, patriarchal line or type adopted as a procedure of succession. After the father death or resignation, the son automatically replaces and sits the throne. In some cases, the daughter replaces the father in the throne. The system was family succession. The ruler was assisted by mantris (cabinets in the modern times). The legislation was vested in the Council of Elders ( in the mainland the luwaran or radawan in some version was the example, and Ruma Bitchara in the Lupa Soog). Thus the government was monarchy and the succession of authority was hereditary. Relationship With other VillagesThe ancient political relations among Iranun villages and principalities was confederation. Each Iranun village was independent to each other. However they were confederated. There was no central government. However, their socio-political relationship was very strong. They had established the so called allied warriors for defense purposes against any foreign attempts and invasion. Original Establishment and Location of Iranun Villages The ancient Iranun erstablished their vilages and communities along the seacoast of the Iranun Bay in the Moro Gulf (Crab Gulf). In some instances, the ancient Iranun lived along river banks. These villages expanded in the course of time. Until whitemen came for invasion and colonization. The villages of the ancient Iranun served at the same time as kuta. The turugan has a biruar (tower in the modern time) as watch house or guard house. Usually the biruar was built on the top of a tree or any tall object. The purpose was to oversee the coming enemy(s). In a hilly places, biruar was built on the top of the hill.Source of Living and Livelihood The ancient Iranun were good farmers and fishermen. They were living in the fertile vast land and sea. They supplement farming and fishing by hunting deers and other wild animals for their daily needs and consumption. Other source of livelihood was black and gold smith industry. Ancient Iranun were good blacksmither and gold smither. For women, Iranun were good waver of mats and malong. The ancient Iranun used barter trading (among themselves and intervillages). The fishermen exchanged fish to rice/corn/ube and other agriculture products/crops for their daily consumption. The farmer did the same. Therefore their medium of exchange in the absence of money was bartering in order to acquire a property or anything for them to survive. Costumes and Dresses Ancent Iranun man were using samping (vernacular for bahag) and sablay (Tsaliko in modern time), and tubaw. However, ancient Iranun were shoesless. They were not using shoes due to absence of knowledge on shoemaking. They were footbbeares peeople. For the women, ancient Iranun were using loose blouses in the primitive style. Later, it was improved when foreign contacts with the chinese.Characteristics /Quality(s)/Habits Ancient Iranun possessed a very hospitable, courteous, respectfull, obedience and other good qualities. They were brave and good combatant (warrior). They were champion of freedom and defense. They usually considered their lawfull leaders as second to prophets. All orders of their leaders were faithfully followed. They were peace-maker and loving people. They were good friend but magnificient enemy in time of war. System of Education The ancient Iranun system of education was very simple. There was no school building and other materials. They used their individual houses as school building and classrooms. The father was the teacher of the boy children. The father taught his male children on manhood responsibilities and obligations such as farming, hunting, carpentry, and other manhood works. Skill on warriorship was the most important training among boy children. For the girl children, ancient Iranun taught their girl children on motherhood responsibilities and obligations such as cooking, waving, sewing, embroidery, washing clothes and kitchen utensils, rearing of children and motherhood works. Kapaningit sa engged ( Love and jealous of country was inculcated in the minds and hearts of each Iranun minors) by their teacher (mother).Each Iranun minor was trained to love the country. Love of country was the noblest act. They emphasized that country emanates all aspects of humanity. Iranun people were good nation makers. Both man and woman were required to study nationalism and patriotism. Thus the system of education of the ancient Iranun was simple. The emphasis was focus on love of country and humanity. Literature Ancient Iranun was identical with that of the Darangan Period. Some Iranun geneanologists say that Darangan Period was one of the periods of the ancient Iranun. The hero of the Darangan was Rajah Bantugen. The seat of the government was in Benbaran (situated in the north west of Bukidnon) near Wao. It was a name of a civilization of people during ancient time. The civilization was more on mystic and rituals activities. The Darangan was composed of decades with different episodes. It described most the characteritics of the Iranun as people. The true meaning of love and wisdom, leadership, livelihood (economics and industry) socio-political, humanity and other good quality and characteristics were described in the episodes of Darangen. Iranun oral tradition say that Darangan as a civilization was composed of six (6) federal states which Bembaran was the capital. These federal states were: Da Madiar a Linog, Sawlaya A Salg, Daguwatan sa Oray, Pindulunan sa Ragat, Sadurog ko Marandang, and Bembran. Their rulers were Batara Mangadka, Batara Mapalala Makaug, Batara Bakuludan sa Waki, Batara Lumuday sa Barat, Batara Tundugen, Batara Rinawraw Tubpaan, and Batara Bantugen respectively. The cabinets were: Daranda, Mabaning, and Lumbatan. The adore and beloved princess was Princess Lawanen.Iranun has many bayoks. Usually the oldfolks/elders during those times were using bayok in their communication. Examples of these bayoks are: Biwang Kawanan Tinday o Pagilidan Pipandaraan, Iranun Pipparasan, Ranaw Gilanggumilang, Maguindanao rawaten, Slangan da marimbang which connotes nobility and maharlika. Others like: Pidzan pagzir so ganding na so kapanganonen bo na maliwanag den sa dar which means hospitability and courteousness. Benar e rinaw so ragat na sisirungen a barat so karante o alongan which means problems and sorrows. The principal village ( principality) was Benbaran, the capital of the Darangan civilization, wherein the Turugan (royal house) was established. Turugan was the official residence and court of the Ayunan Pangadapen O Inayunan O Kampong sa Ilian a Benbaran ( Official Royal Court of the Most Respected and Honored Leader of Benbaran), His Majesty Ayunan Pangadapen Pasandalan A Murog, the great ruler. All important matters either personal or non personal business transactions were done in the Turugan. Other villages (principalities) were Bugabong A Kumara, the village of Her Majesty Paramata Gandingan. Bugabong A Kumara was civilized as Benbaran. Iranun experts in Darangan say that Benbaran and Bugabong A Kumara were equal and parallell. Sarbaka Kilaten, Gamaniyog were states of Bugabong a Kumara. Music, Musical Instrument and Plays Darangen as a song was the most popular name or title of a song during the Darangan Period. Darangen as a title of a song described the entire civilization. Man and woman knew very well to perform/sing darangen. Darangen as a song was usually sang at night. Bayok was another name of a song which usually performed by two or three performers. The Mranaw sometimes called Kambayoka. The performers were called Unur. Mamayog was another name of a song, performed by one gentleman and one lady. The mamayog described the loyalty and courteousness of a husband to his wife during the ancient Iranun (Darangen Period). Some Iranun folks identified another song entitled Darangen a Babay (Most Beloved and Adored Lady) was commonly sang/ performed in the Slangan Principality. Princess Tinabon was the star who was being described in the song. The kulintang, agong, gandingan, pamindira, and dibakan were usually and commonly used as musical instrument. It was called in the Iranun as Lima A mamagenesupa (Lima Ka Daragia in Ranaw). This musical instruments were usually used during fiest day or durangna (wedding ceremony). During the ancient time, Lima Ka Mamagenesupa was used also during rituals. Kutyapi (Kudyapi in some version), palendag, suling, kubing were among the musical instruments during the ancient time in the Iranun civilization. Generally, all the person who reach the maturity stage of human development knew to use and play these instruments. Sagayan was a stage play which usually performed by young man describing the skill and bravery of the Iranun warriors. The sagayan was usually performed during rituals. Sagayan was usually performed by two young men. Minors can do it. In some Iranun wedding fiest/ceremony, sagayan was being performed in the kakuyog sa damak (damak is a cooked sweet foods deliver to the house of the bride from groom house) and in the procession ( kuyog) of the groom. It was usually put ahead of the parade. Sagayan during wedding ceremony is accompanied by an unta (it is look like a camel played and manipulated by a youngman to move). Kulintang (Lima A Mamagenesupa) was being play as a music of the procession. Sinulog was a kulintang tune usually used as a music in the procession. Wedding Fiest/CeremonyDuring the ancient Iranun, wedding fiest/ceremony was a long process. Parental system was the usual practice. Iranun usually practice maharlika system. The man who was belonged to the ruling family of the village marries the daughter of the ruling family of other village (Prince is for Princess Principle).Iranun wedding process undergoes four stages. These stages were: panunuriman (observation), pangingidong (Whispering) from the kakamaman side (groom side), sarangguni (actual negotiation of the two parties facilitiated by other group, usually the Council of Elders of the bride family), and gurangna (wedding ceremony). In some cases, sarangguni and gurangna were fused into one. It depends on the negotiation. During the ancient Iranun, dowry (sunggodan/btang/btad sa adat) was term of material not money, for example: land/lot, bulawan (gold), and other valuable materials (animals). In some cases uripin (slaves were accepted as dowry or even the entire sovereign of the groom father served as dowry in case of a single child). After signing of contract between the two parties, the groom was granted to court and talked/'invite the bride to ocassion with one chaperon. The groom was granted to sleep in the house of the bride. Wedding ceremony among maharlika (ruling family) was full of decors (pandara). There were activity (siapa sa manggis, kulintang contest, and other wedding activities were observed) to give honor and respect to the royal wedding.The common class (kadakelan) used only sambulayang with no flag and pamanay. The uripin has no wedding ceremony. The ruling family used the complete set of pandara (pasandalan, sambulayang with flag at the top of the pole, ubor-ubor, and pamanay). Usually bright colors were used (red,green and yellow). Among the ancient Iranun red means bravery, green means sovereign, and yellow means ruling family. These colors were only used and attributed to the ruling family. Properties and InheritanceThe whole sovereign (integral territory) of each village (kampong) belonged to the Datu. The property would be inherited by the legitimate heir(s) including rulership. The kadakilan(commoner) can possessed properties subject to bues (tax in the modern time). The uripin (slave) cannot possessed properties because themselves were the property of the datu. The property(s) of the kadakilan (commoner) would be inherited by their heirs.Laws The ancient Iranun used customary laws. Usually the council of elders were the drafter of the customary laws. The draft was presented in the followers during fiest days. In ancient Aninipay the Code of Kalantiaw was formulated and adopted. In the ancient Iranun radawan (Code of Models) was formulated. The Radawan defined and described socio-political, family relations, religious/spiritual, and others which would be observed and followed. There were process involved in the implementation of laws especially in court: baina, amad, karina, matakapala (clarity, justification, suspect and testified respectively). Religion The religion of the ancient Iranun was greatly influenced by the state religion of Sri Vishaya and Madjapahit Empires. The arrival of Shariff Aulia gave a significant effect to the religion. Sufism as a belief was introduced. Thus they became a Muslim-Sufie.Supertitious Belief The ancient Iranun had many supertitious beliefs. The examples were: eclipse, black butterfly, snakes enters the house and others. There were about hundreds of supertitious beliefs of the Iranun. Tunung was identified to be a powerful spirit. Language The ancient language of the Iranun was originated from the Malayo-Polynesian Language of the Pacifics. In course of time most of the original language of the Iranun were modified due influence of other language. The original language used in the Darangan was an Iranun language. The original language had been modified due to: conquest, intermarriage with foreign nation, adoption, and duplication. Out these factors the present language evolved. The present Iranun language is generally accepted as medium of communication in Mindanaw except Lupah Suog. The present Muslim can understand Iranun. Thus Iranun is the mother language of the Muslims in Mindanao. Writing The ancient alphabets of the Iranun were patterned in India. The system of writing was one of the good achievements of the Iranun during its foreign contacts with the Indian people. Although it was primitive, the Iranun have their own system of writing. This system of writing was influenced and gradually changed to the present system patterned from the arabs. They called it kirim. The kirim was looked like sometimes a bird, a tree, a roof, and cloud-shape.Arts The ancient Iranun has its own arts. The most popular one until the present time is the ukir ( engraving naga). The ukir is used almost furnitures and fixtures of the Iranun including houses. The bawor (cabenit or apparador now a days) has an ukir differrent forms and patterned. Sarimanok is another type of ukir during the ancient Iranun which was passed generation to generation. Most of the museums and libraries now a days have these arts displayed. Science and Math The ancient Iranun were good scientists of their time. They were astronomers. They name heavenly bodies as: makabangis, sulo a mangangayaw, manok, madakel, laya. They arranged the twelve months (12) to 30 days and 29 days. Therefore there are three hundred fifty four (354) day in one year (common year) and three hundred fifty five (355) leaf year. They divided one month into two groups: Sbang and delem. They used heavenly bodies as compass. They can determine west, east, south, north by the used of the heavenly bodies at night. Their knowledge in astronomy and navigation was older than the knowledge of the western people (Spanish, Portuguese, Dutch and others). There were eight (8) tahons, five (5) kutika, and eight (8) bintang. All these are instruments of the ancient Iranun in compution. Even they were in the mid of the forest, they can calculate low or high tide through this knowledge in science. In Mathematics/arithmetic, gibo (thousand), laksa (one hundred thousand), pandang (million of thousasands). They had also a system of counting. They used riray system. Some of the mathematical terminology were: laksa, salaksa, laksalaksa, yuta, sayuta,sayutayuta. All these were few among their mathematical terminologies. Arabic numerals and system of counting including mathematical nomenclature were introduced and adopted during the Shariffs period. Thus a modification was observed. Territorial Defense The ancient Iranun were good defenders of their territory and freedom. They consider any individual or group who do not signifying its interest to enter the Iranun territory (both sea and land) as enemy. Coordination (Pagtaw) was very important to them. To them (Iranun) when you enter the territory of the other sovereign without coordination was considered sin and unlawful. The invasion and other marine activity of the Spaniards and its allied forces/group/tribe were considered unlawful. Out of this concept, Iranun warriors were forced to drive out through drastic action (by force) all groups or individuals who attempt to enter their territory without prior notice of friendship. Their defense tactics and mechanisms were misconceptualized and misunderstood by filipino and western authors. Filipino and foreign writers described Iranun as pirates. They were not pirates. They only defend their territories against invasion of foreigners. Iranun in the Shariffs PeriodUranen Kingdom was the first kingdom ever had in the ancient period (prehistory). It was the mother of all kingdoms established after decades or centuries. Shariff Aulia was the first arab muslim with missionary works who stepped-foot and landed in the Uranen Kingdom (Tbok was the seat of government). He married the native princess named Bai Pagunguwan (Iranun tradition identified her as Bai sa Pandan). Out of their wedlock, they begot the four rajahs (Makaapen, Dungklang, Maraguia, and Budtol). The introduction of the belief brought into the Kingdom through Shariff Aulia was the first stage of the Iranun civilization recorded in history. The old belief was gradually changed to what is present belief of the Muslims in the world. The system of government, socio-economic, trade and industry and other walks of life were improved and strengthened. The primitive system of government was changed to more structurized system. The Caliphate was introduced described as Sultanate System. Iranun tarsila say that Makaapen married Lingayen, a daughter of the property custodian of Rajah Urangguwan begot Princess Angintabu. The Princess was married by Shariff Kabunsuan (1475). Out of their wedlock, they begot Saripada Makaalang. Saripada Makaalang married his first cousin name Princess Pidsarawdan, a daughter of Rajah Dungklang, begot Saripada Bankaya. Saripada Bankaya married a lady of Lupah Suog named Princess Sri Pangyan Mampay Laila begot Saripada Raut (laut in some version) Buisan begot Sultan Dipatuan Kudarat, the strongest and has a longest term of realm among the Iranun sultans. It is interesting to note that the term saripada was used as prefix three times before the given names: Makaalang, Bankaya, and Raut. The term has a Malayan origin probably a term existing and used during the two big empires (Sri Vishaya and Madjapahit). It connotes ruler or nobility. Thus it was a royalty title used during the ancient period of political structure which is equivalent to Sultan (Surutan in Iranun version). The introduction of sultanate system gradually changed the rajahship (primitive system patterned from ancient (prehistory system of government) to more advanced political system. Iranun as a people with distinct nationality entered into a neolistic civilization called Shariff Period. The Iranun accepted the Ideology introduced by the Shariffs. Iranun During Sultanate SystemIt was presented in the preceeding paragraphs that the two identified Shariffs (Aulia and Kabunsuan) intermarraige with the Iranun Rajah families ( Rajah Urangguwan and Rajah Makaapen respectively). Out of this social relationship, the new socio-political practices was merged and developed. The offspring of Shariff Aulia-Princess Pagunguwan was intermarriage in the later decades with the offspring of Shariff Kabunsuan-Princess Angintabu. Out of this mixed and interwaved bloodline of descent sprang a royalty lineage of decendant. Sultan Kudarat, the first native ruler used Sultan as a royal political title and authority eas of Iranun-Shariff line of descent with a blood sprang from the Karibang-Karingke line of descen. Out of these facts, it is safe to say that the first Sultan of the native breed from the Iranun-Shariff line belonged to the Uranen Kingdom which exercised its sovereign authority and power over the Crab Gulf (Moro Gulf) with concentration in the Iranun Bay. Thus Rajah Urangguwan of the ancient past (prehistory) and Sultan Kudarat of the Shariff period (Sultanate System)were the fathers of the royal line of descent among the native inhabitants. Out of these facts all claimants of royalty line of descent are all descended from Iranun-Shariff marriage affinal ties Sultan Kudarat realm was a continuation of the ancient political system spearheaded by Rajah Urangguwan. The seat of the former government was in Ramitan (Lamitan in the Filipino authors). It is one of the barangays of the municipality of Sultan Gumander, Lanao del Sur in the present geographical political division. Ramitan was the first seat of government led by Sultan Kudarat. The seat of government of the latter was in Tbok. Tbok is one of the barangays of the municipality of Malabang, Lanao del Sur in the present geographical political division. It is interesting to note that the two capitals (seat of governments) are neigbors. Sultan Gumander and Malabang are only separated by Picong River and both situated and located along the sea coast of the Iranun Bay of the Crab Gulf ( LayaganGulf). Iranun During Spaniah InvasionThe first recorded Spanish invasion in the Mindanao (Uranen) was on 1596. This was led by Capt. Figueroa. Figueroa was killed during the fight. The gesture and action of the Spaniards was considered by the native Iranuns as aggression and and invasion. The Council of Elders unanimously agreed to adopt a technique for effective defense against the Spaniards. The top executives namely Rajah Raut Buisan, Rajah, Sirungan, and Rajah Tagal suggested to the Council to launch a counter offensive. The proposal was approved. They attacked Visayas islands, Mindoro, Bicolandia, and Southern Tagalog. The counter offensive of the natives was misconceptualized by the Spanish and Filipino historians. They described it as piratic activity. This is not true and uncorrect. The natives had just adopt an effective technique for defense purposes. They only defended their sovereign state and nation against foreign invasion. he counter attacked were launched in 1599, 1600, and 1602. Change of System From Kingdomship to Sultanate Meanwhile, in the year 1617, Kingdomship was officially changed to Sultanate System. The first ruler of the new system was Kudarat, the son of Rajah Raut Buisan. His renal name was His Majesty Sultan Mohammad Dipatuan Kabunsuan Urangguwan. He established his seat of government at Ramitan (now a barangay of Sultan Gumander, Lanao del Sur). Invasion Continued On March 13, 1637 (Zaide), Governor Corcuera invaded Ramitan. The native inhabitants fearlessly defended their territory against the Superpower Spain. The Sultan retreated in the inner portion of Ramitan. He moved to Dapaw Lake for a week. The Council of Elders agreed to the proposal of the Sultan to transfer his Court (capital) at Magulaling, Balabagan, Lanao del Sur. In this seat of government, the Sultan was able to expand his sovereign powers and authority. The villages and communities within the Crab Gulf (Moro Gulf) and the inner parts of the Island, except Surigao and Agusan. He established socio-political alliances with the local (kampong) leaders and foreign nations like Brunie Darussalam, Java, Makassar, Sumatra, Lahore, Singapore, China, and India. He was able to mobilize all sectors of the Uranen Sultanate. In 1647 he transfered his capital (seat of government) to Simuay Seashore, Sultan Mastura, Shariff Kabunsuan (now a days). Iranun in the Height of the Divide-and-Rule Technique After the death of Sultan Mohammad Dipatuan Kudarat Kabunsuan Urangguwan, the Divide-and-Rule Technique was applied by the colonizers (Spaniards and Dutch). Sultan Tahiruddin Malinog was supported by the Dutch. On the other side, Sultan Manamir was supported by the Spaniards for supremacy. Rivalry in the succession issue was the gate to divide the native Iranuns. The whole Sultanate was divided into two groups (Malinog group and Manamir group). This was the beginning of the subdivisioon of the native inhabitants. This also leads to some corrupt use of words, and colonial terms although native but it implied destructions. Here are some examples of corrupt use of terms and words: Luzon (Liusong), Panay (Aninipay), Visayas (Vishaya), Tagalog (Taga- ilog), Illana (Iranun), Zamboanga (Samboangan), Lanao (Ranaw), and many others. Iranun During American Regime It was described that more than three centuries, the native Iranun fought for defense of freedom and homeland. They were not conquered until the time of signing of the Treaty of Paris on December 10, 1898 which ended the Spanish-American War for Supremacy. The Royal Government of Spain ceded all the controlled territories and exercised its power and authority to United States of America.The present Mindanaw, Palawan, and Sulu were not included in the Treaty because they were not conquered. The Americans amplified and use the same technique (Divide-and-Rule). They only improved and strengthened the technique used by the Spaniards. They used words which connotes places in order to deceive the native. With due respect to some historians, Maguindanao as a name of a place which connotes a traditional name implying sovereignty is not correct. It is used and amplified by the Americans to destroy the original place which implies sovereignty the SLANGAN DA MARIMBANG which means Slangan the original and has no equal.Cotabato, Lanao, Zamboanga, Davao are all colonial term used, applied and amplified by the colonizers (Americans) to destroy the tradition of the native. The original was Slangan, Ranaw, Samboangan, Tagalook respectively. Effect of Colonization The most destructive effect of the colonization to the Iranun and Uranen as a nation and state respectively was deception to the next generation. Spanish writers and historians (Pigafetta) wrote a wrong information and data. He described the native inhabitants whom Magellan met as Moores (a nation whom they encountered in war in Africa). This people has the same quality and ability in combat with the native inhabitants of the Island. Thus Pigaffeta baptized the Iranuns as Moores. Later the term Moores was corruptly used by other writers- the present form Moro. The usage of the term Moro to refer the native inhabitants in the Island was amplified by the American writers. Thus the original nation and state - Iranun and Uranen respectively were forgotten in the annal of history of the Island.The colonization has contributed much to the introduction of western culture, belief, customs, practices, and others aspects of life which were harmful and destructive to the culture, tradition, belief, practices of the Iranun as a native inhabitants. The political system was introduced which caused to the gradual modification of the political system of the natives. The socio-political system of the Iranun was totally destroyed during the American regime. The Americans organized the Moro province for the purpose of total elimination of the residues and remains of the past civilization enjoyed by the native inhabitants from the ancient Uranen Kingdom down to Uranen Sultanate led by His Majesty Sultan Mohammad Dipatuan Kudarat Kabunsuan Urangguwan. Thus introduction of Cotabato, Lanao, Davao, Zamboanga, and Sulu was a strategy of the colonizer to eliminate the truth. Cotabato, Lanao, Davao, Zamboanga, and Sulu were native in connotation but colonization by intention. Many terms and words which were corruptly introduced and used for colonization purposes. The examples of these words are: Dagiangas, later it becomes Dadiangas later on it was changed to General Santos. Tacudong was modified to Tacurong, Kutawato, later on was modified to Cotabato. Lupah Suog, later on was modofied to Sulu, Aninipay, later on was modified to Panay. Irong-irong, later on was modified to Iloilo. Antik, later on was modofied to Antique. Tukudan, later on was modified to Tucuran, Pangagian, later on was modified to Pagadian. Marges a ig, later on was modified to Margosatubig, Kumaladang, later on was modified to Kumalarang. Padampadang, later on was modified to Parang and many others. All of these are colonization strategy. The foremost effect of the colonization to the Iranun natives was the so called colonial mentality. The mental or intellectual skill of the native becomes dependent and submissive to the western and americans. The Iranun natives become nothing and mentally slave of the foreign education. Therefore, conquest and colonization were the root caused of the problem in the Island (Palawan, Sulu, and Mindanao: Pandawan, Lupah Suog, Uranen of the ancient past respectively). Therefore the colonization wiped out everything.SUMMARY What is Iranun?Iranun as a word/term is composed two words which were joined together to form a word with distinct interpretation and description. The word/term IRA means remains, residue, or silt. These word/term may refer to a place or area which was formed out of a long process evolved from remains or residual process that caused a formation of a place. NUN means people with distinct culture, government and laws, belief, and tradition. In the course of time, established its villages and communities along the coastal areas and shores of the Iranun Bay (Illana Bay). Some were established in river banks. These villages were expanded. It reached Ranaw, Upper Stream, and other parts of the Island. Geographycally, Iranun was a group of people who established their communities along the coastal areas of the Iranun Bay and some river banks. Iranun as a nation sprang from the Karinke-karibang clan and the shariff (Shariff Aulia). Iranun is not a tribe of any nation of the world. It is a nation distinct from other nations with defined territory and sphere of influenced, political structure/system, socio-economic, educational system. It is one of the oldest nations of the world. This nation was destroyed and ruined by colonization. Iranun has its own culture, custom and tradition. The name of the state was Uranen Kingdom, its people was Iranun. The ancient Uranen state is the Mindanao of the present time. The terrotiry of the Kingdom stretched from Sibugay Peninsula to Tagalook Gulf with all in-lands areas. Most practically, the present Mindanaw is the Uranen Kingdom. Its sphere of influenced reached as far as Singapore and Borneo. The seat of government and center of civilization was in Tbok now a barangay of Malabang, Lanao sel Sur. Therefore the civilization in the Island started from the coastal area of the Iranun Bay (Illana Bay). Iranun tarsila named, called, and identified it as Biwang-Kawanan Tinday A Batal O Pagilidan (literarily translated as Left and Right Huge Coastal Principalities), in political interpretation the traditional name is translated as Kingdom of the Sea Coast, which refer to Uranen Kingdom, the official name. It had established foreign relations and contacts with India, China, and Arab. Its relation to these nations were focused on socio-political, economic and trade, and education. Iranun was the group of people whom the Spaniards met and fought led by Sultan Kudarat. References: Datu Kali sa Balabagan, Notes on the Origin of the Iranun, 1179H (translated). Iranun Tarsila Oral Tradition of Iranun

What are the traditions of the iranun tribes?

Iranun was one of the oldest existing nations in the world during the ancient times with definite integral territory wherein the sovereign power and authority was exercised over it by the ligimate ruler. Iranun as a nation inhabited mainly the Crab Gulf (Moro Gulf). Its villages were established and concentrated in the Iranun Bay (Illana Bay). The origin was attributed to the people of the Uranen Kingdom of the primitive past inhabited in the Tbok (Malabang). Iranun was the first people who entered into a marriage affinity with Shariff Aulia and Shariff Kabunsuan. Bai sa Pandan (Princess Pagunguwan, daughter of Rajah Urangguwan) and Bai Angintabu respectively. Some of the Iranun genealogists identified her as Rinalaut. Their wedlocks where Sultan Kudarat has directly got his line of descent. Iranun was a breed nation between the Karibang-Karingke Line of descent and last wave of Malay migrants. The decendants of this marraige affinity sprang the Iranun nation whose first leader was King Urangguwan. The name of their place (state) was Uranen. During the advent of the Sharriffs, this nation was intermarraige with the Shariffs. The ancient Muslim civilization started and originated from the coastal area of the Uranen. Genealogists say that later in the succeding decades it was spread and extended to the Ranaw areas and the Upper Pulangi areas. The Biwang-Kawanan Tinday A Batal O Pagilidan (Two Huge Coastal Principalities) was the first organized and established political group headed by Rajah Makaapen after the death of Rajah Urangguwan, semoultaneously with Slangan Principality and Buayan. Later on sultanate system of government was established patterned from the system of government introduced by the Shariffs. The political system of the Iranun during Rajah Urangguwan was patterned from Sri Vishaya and Majapahit Empires. The society of the Iranun was a muslim. Its social class was classified into: Uripin (slave), Kadaklan (Dumato) and Pindatu (Ruling class). Iranun is a very hospitable and principled group of people. It is good and friendly contrary to the description of the western writers. Western writers described Iranun as pirates. This description is not true. As a matter of fact Iranun is the champion of hospitability and helpfulness. The Sultan of Brunie was being reinforced by Sultan Kudarat. The fleet was composed of Iranun warriors. The Sultan of Brunie was able to defend his sovereign state against invaders through the assistance of the Iranuns led by Sultan Kudarat. Tradition says that it inhabited the coastal areas of the Iranun Bay. It was said that Tbok, a place near the present site of Malabang was the center and seat of government of the ancient Iranun. It was headed by Rajah Urangguwan, the ruler of the Uranen Kingdom. The modern authorities in history have cited the fact that the ancient territory of the Uranen was the areas where Sultan Kudarat exerciced his sovereign authority and influence. It stressed from Punta de Flechas of Sibugay down to Tagalook (Davaw Gulf). These areas were recognized by the Spaniards. In the later decades, the Iranun as a group of people was covered. Most of the writers and historians did not mention Iranun in their writings. It is interesting to mention and include here that Iranun was the original tribe where other tribes sprang out, the mother of other native tribes in the Island. Let me discuss in the following paragraph. Modern historians made mention of Shariff Aulia. It is right that there was a Shariff Aulia who sometimes arrived in the Island. Shariff Aulia landed at the coast of Tbok and welcomed by Rajah Urangguwan, the ruler of the ancient Uranen Kingdom, a Kingdom situated and located at the Iranun Bay, Layagan Gulf (Moro Gulf). Shariff Aulia married Princess Pagunguwan( Princess Rinalaut in some version), a beloved and adored princess of her time, and a daughter of Rajah Urangguwan. They begot the four rajas: Rajah Makaapen, Rajah Dungklang, Rajah Maraguia, and Rajah Budtol. These four rajas explored and adventured the Island (Mindanaw). The first two (Makaapen and Dungklang) remained in the capital of the Kingdom. The other two ( Maraguia and Budtol) went south. Maraguia established his own community at the present Tantawan (PC Hill) in the present site of Cotabato City. Budtol went east through Pulangi River. He established his community in the present Buayan. It is interesting to include here and mention that Tantawan was once an island like Bunged (Bungo) and Timako. The Iranun tarsila has described that Tantawan was a military base during the ancient Uranen Kingdom. The huge biruar ( tower) was established in Tantawan to oversee the enemy which may come from south, north, east, and west portion of the Kingdom. It was a military naval base of the ancient Uranen Kingdom. Later as decades passed by and it becomes a century, it becomes as its present geographical view. According to the oral tradition, liitle by little a landmarsh was developed. Modern science explains the episode as a result of residual remains and sedimentary formation and process. In one of the lyrics of the darangan, it was mentioned that there were three islands which served as a guard islands of the Turugan (Palace) of the Ayunan Pangadapan O Inayunan O Kampong Sa Iliyan A Bembaran. Most of the Iranun experts and commentators in ancient/prehistorical facts are unanimous in findings that the three (3) islands mentioned in one of the darangan lyrics were the same and identical with Tantawan, Bunged (Bongo) and Timako. Therefore, these three islands are historic and considered as tourist spots of the Island. The relation between Bembaran and Uranen Kingdom was quite interesting to mention and discuss here. Some of the Iranun genealogists say that Bembaran and Uranen Kingdom were identical. Some says that Bembaran and its people was a legendary and it was one of the most narrated legends during the Uranen Kingdom. Some says that Bembaran which was the setting of the Darangen constituted the heights of the Uranen Kingdom. Out of these views, it is safe to say that Bembaran, the setting of the Darangan period occured during the Uranen Kingdom, and was one of the civilizations of the Kingdom. Going back to the issue on decendancy, Makaapen and Dungklang were the forefathers of the Iranun of the coastal areas of the Iranun Bay. Maraguia was the forefather of the Iranun in the City of Cotabato and near adjacent places. Budtol was the forefather of the Iranun of the Upper Stream. This stage of civilization was reinforced again when Shariff Kabunsuan arrived. Shariff Kabunsuan married Princess Angintabu, a daughter of Makaapen, begot Makaalang. Makaalang married his first cousin, a daughter of Rajah Dungklang named Princess Pidsarawdan begot Rajah Bangkaya. Rajah Bangkaya married a lady from Lupah Suog name Pangyan Mampay begot Kapitan Laut Buisan, the father of the strongest among the sultans of Mindanaw named Sultan Dipatuan Kudarat. Intermarriages among the offspring of the four rajas in the later decades were observed. Their intermarriage established a royal line of descent. This was the stage of civilization of the Iranun when whitemen came ( Spaniards in 1521). Iranun was a great warrior. Iranun were good navigator and sailor. Their skills and knowledge in navigation and of being a sailor is comparable to the skills of the whitemen ( Spaniards, Portugese and other westerners). During the counter offensive of Sultan Kudarat against the Spain Royal Armed Forces, mostly of the captains of the different vessels of Sultan Kudarat were Iranuns. Iranuns are champion of freedom. The Iranun defended the sovereign territory and authority of the present Moro Nation from aggression and invasion of the Spaniards. Iranun are jealous people as far as sovereign is concern. It is a fact that Iranun was the people whom the the Spaniards met during their invasion. The Spaniards described them as moro (moores in western version) because they portrayed the same quality in terms of field combat and fighting of the Moores people whom they fought in Northern Africa. This was the origin and beginning of using the term moro which referred to and described the Iranun people whom the Spaniards met in this Island particulrly Mactan, the recorded first bloodiest battle between the Spaniards and the native inhabitants. Thus the Moro is a colonial term introduced by the Spaniards replacing Iranun ( the original inhabitants).It was presented in the preceeding paragraphs that Iranun was the people whom the Spaniards met during invasion. The Spaniards introduced some strategies and techniques in order to reinforce and establish their colonial mission. It was their first priority to dismantle the original tribe for them to implement their mission effectively. The strategy was little by little leading to creation of other tribe within the Island. There are identified colonial terms which make Iranun tribe put into ash and ruined by colonialism. With due respect to other scholars, Iranun had been subdivided into different tribes. These tribes are: Maguindanawon, Mranaw, and Mragat (Islamized); Tiduray, Subanen, Kalagan, Manobo, Blaan, Bagobo, and other highlanders (Unislamized). The first three (3) sub Iranun tribes accepted the Ideology introduced by Shariff Aulia and Shariff Kabunsuan. Tiduray, and others did not accept the Ideology introduced by the two Shariffs. This is the reason of Moro (Iranun) has two groups of people in relation to belief: Islamized and Unislamized. Later on in the succeeding decades, Spaniards more and more intensify their colonial mission. On the other hand, the Dutch had the same mission with that of the Spaniards. The Dutch was expanding its sovereign in the Island. A rivalry between the two world super powers began in the Island. The rivalry between the Spaniards and the Dutch colonialists were contribute much in the ruinity of the Iranun as a people/nation. Factions were observed. Colonial concepts came in. With due respect to other scholars in history, the term Maguindanao although a native term connoting specific place is a colonialism sponsored term to destroy the original which is Slangan, which is the correct. Slangan was a confederated state of Tbok and Buayan after the death of Rajah Uranguwan. Slangan was led by Rajah Maraguia. Iranun tribe expanded in land of the Island until villages were established in the Unayan area (Ranaw). Iranun oral tradtion say that the first Iranun datu who explored the Ranaw area was Penduma. He was a descendant of Rajah Dungklang. He explored going in- land part of the Uranen Kingdom until finally he discovered Butig which became the seat of the Unayan. The established village in Butig (Unayan) flourished and developed into a center of trade, commerce and education of the time. Later on it expanded into other places around the Ranaw( Masio, Bayabaw, Baloi). Thus the creation and establishment of the Pat a Pangampungan Ko Ranaw (Four Lake-Based Principalities). Iranun nomenclature in relation to names of majors tribes were attributed to its geographical connotation. The people who remain in the coastal areas of the Uranen Kingdom is called Mragat, which means people of the seacoast (Ipagilidanen in Iranun version). The people who established villages around the ranaw (lake) is called Mranaw, which means people of the lake. The people who established villages in the inner part of the island in relation to its coastal areas is called Idalemen. The people who established villages beyond the dalem (inner part) limit is called Isbanganen. The people who established villages and reject the Ideology introduced by the Shariffs, in the inner part of the Island in relation to Slangan is generally called Tiduray. The people who established villages in the Upper Stream of the Pulangi River is called Irayaan (Taw sa Raya in some version). The people who established villages in the inner part of the Island in relation to the first seat of Uranen Kingdom at Tbok is generally called Subanen. Tiduray was the mother of all highlander tribes in the Cotabato areas. Subanen was the mother of all the highlanders tribes in Zamboanga areas. Kalagan was the mother of all highlander tribes of Davao areas. There are Iranuns in some kampongs (communities) in Sabah, Malaysia. Their existence in the Malaysian Archepilago specifically Sabah was attributed to the request of the Sultan of Brunie from Sultan Kudarat of reinforcement to augment his forces to defend his sovereign against invaders. The reinforcement was composed of Iranun warriors. After the defeat of the invaders, the Sultan of Brunie offered them a portion of his sovereign sultanate for them to live as an expression of friendship and gift for them. The warriors got their their families and transfer their residence and citizenship to Brunie Darussalam. They lived there. Their descendants are the identified Iranuns in Sabah. Uranen Kingdom whose seat of government was in Tbok had foreign contacts with the Sri Vishaya and Majapahet Empires. According to the oral tradition of the Iranun, their relationship was focused on education based on the system of their time. The type/system of education was more on mystical and rituals. Iranun during that civilization was experts in the languages of the two Malayan Empires. Some of the reading materials of those remote past are still preserved. Some of the Iranun genealogists stated that the mother of Princess Pagunguwan, the daughter of Rajah Urangguwan was one of the daughters of the last Emperor of the Sri Visahya Emperor. The two Royal Sovereigns shared technical skills especially on warriorship. Out of this program the Uranen Royal Warriors (armed forces) had been strengthened. Their skill in field combats and marine skills had improved. It is possible that the skill which was saw and encountered by the Spaniards attributed to this program.It is interesting to include in this script the inhabitants of Liusong (Luzon), Aninipay (Panay), Mactan and other ancient Kingdoms and sovereigns of the primitive past. What is the relation of Iranun with of the native inhabitants of Liusong, Aninipay, Mactan, and others ancient sovereigns? With due respect to other authorities in history, oral tradition of the Iranun says that all existing sovereigns during the ancient period in this country (now Philippines) were Iranuns. The inhabitants of the Sovereign Maynilad, Tondo, Mactan, Aninipay (Panay) and the Uranen were all Iranun. Thus Iranun was the original nationality of the people of the ancient these Islands. They were confederated to each other. Historians only stated that only the four Sovereigh districts of Aninipay were confederated. The truth was that all existing Sovereign places during the ancient past were confederated. Their national identity was Irarun. The early contacts of the Iranuns with foreign nations (Kingdoms) became the bridge in improving the way of life of the Uranen Kingdom. Social relationships were established especially on marriage. The present time tells and shows the existence of the Iranun.Iranun was the first identified native inhabitants of Mindanaw, which was historians and scholars failed to mentioned their written works. This perhaps the result of colonization. Their villages were established along the coastal areas of the present Moro Gulf especifically Iranun Bay. In some cases, they established their vilages along the river banks (Maynilad and Tondo as an example; and Katidtuan as in Kutawato area). The present ethnic tribes in Mindanaw were originated from the Iranun. Iranun as a nationality was destroyed and put into ruinity because of colonialism. Colonialism dismantled Iranun as a nationality and introduced words although they were native in implication but they were used as instrument for colonization. Iranun is co-existence of the Aetas (Pygmies) or Negritos of Liusong (Luzon). According to the oral tradition of the Iranun the size of the typical Iranun was between four (4) feet and five (5) feet height, an average of 4.5 feet in height. They were originally brown, and moderately flat nose. Iranun genealogists say that Iranun was a cross breed between the migrants from the two big ancient kingdoms (Sri Vishaya and Majapahit)and the karibang line and karengke line. It was again breed with Arabs during the advent of the Shariffs. Iranun like other ancient nations had early contacts with other foreign nation. It had established a contacts with Sri Vishaya and Madjapahit Empires. It was a sovereign nation. At present time still considered a major tribe among the ethnic tribes in the Island Iranun had foreign contacts and relations with China (Ming Dynasty). The Uranen Kingdom sent four (4) of its rajahs, namely; Rajah Batarabuwasan, Rajah Pagarabuwasan, Maharabuwasan, and Rajah Yuwaharabuwasan. Dr. Sonia Zaide (1985) identified them as King Prabu, King Mahalchilim, and King Pahala. The four (4) rajahs had been welcomed by the Emperor Yung Lo of the Ming Dynasty. The civilization of the Chinese was introduced in the Kingdom through them. Most of the things which were seen by them in the China beneficial and advantageous to the Kingdom and its people were adopted and it became a part of the culture of the Iranun. Dresses, ladies style and ornaments (pandara), Brass wares, costume(loose trouser for women) and other social patterns were adopted from the chinese people. In warriorship, Iranun had learnt a lot from the chinese. The skill in using bow and arrow, using kampilan, kris and other ancient weapons were improved. In household likewise a lot of things had been learnt from the chinese (cooking, embroidery and others) were also learnt from the chinese. Iranun had also foreign contacts and relations with India. Iranun learnt more languages in India including their mystical knowledge. Oral tradition says that many of the medical and magical knowledges of the Iranun were learnt from the Indian. The ancient formula of computing the one year days. The ancient Iranun astronomers had computed one year 354 year (leaf year) and 355 days ( common year). They arranged the 12 months by 30 days and 29 days; fifteen days (sbang) and fifteen days (delem). In short astronomical knowledge of the Iranun were learnt from Indian. This formula was confirmed by the modern science. Thus the astronomical knowledge of the Iranun during ancient time was accurate because it survived and rearched the modern era. Medical knowledge ( Katabibtabib) using oration and medicinal plants were learnt from the Indian people. The civilization of the Iranun had been improved through foreign contacts and relations (Chinese, Indians, Malays and Arabs)Rajah Marikudo (Merkat Ado in some version), ruler of Aninipay(Panay) Island wherein the ten Borneans datus met was an Iranun. Western and Filipino writers (historians) failed to identify the true identity of the datu. Rajah Merkat Ado was one of the ancient sovereigns who ruled the island especially Aninipay. As it was described that Iranun was a hospitable people, Rajah Merkat Ado welcomed them (Borneans) in his sovereign kingdom. Actually a portion of Aninipay (Panay) probably coastal area was offered by the Rajah for the Bornean datus to live and establish their villages. Historians said that it was sold to the Bornean datus. It is contrary to the literature of the Iranun tarsila that the place was not sold but offered as a sign of friendship and hospitability. To recognize the hospitability of the Iranun in Aninipay led by Rajah Merkat Ado; Datu Puti, the leader of the Borneans offered marriage with the daughter of Rajah Merkat Ado. A marriage contract was entered into between the natives and the Borneans. A dowry was offered and given in terms of one(1) set of golden nicklace and gold sayap (salakot in some version). After the marriage ceremony, Rajah Merkat Ado asked an opinion from his Council of Elders the best action in order to reinforce the established relationship between his realm and the Borneans. The Council of Elders categorically said: Give the low portion (coastal area) of your territory to your daughter as her part in your ancestral domain. You transfer and establish your capital and Palace (Turugan) to the inner part of your territory. Oral tradition says that about one kilometer from sea coast going upper stream of the Aninipay river the location of the new capital and palace of the Rajah. Datu Puti and the Princess live harmony with other Borneans (11th century). The intermarriage between the two Sovereigns (Borneo and Iranun) prospered and expanded going north direction. Batangas was the first village (community) established. Intermarraige in the later decades were observed between the native aetas and the breed people. Later on as decades passed through, the Kingdom of Maynilad and Tondo were established. The socio-political interactions of the major Asian ancient sovereigns (Majapahit, Sri Vishaya Empires, Chinese Dysnasties, Indian Kingdom and the Ancient Uranen Kingdom) sprang out a well breed Iranun which constitutes the Last Uranen Kingdom under Rajah Urangguwan. Generally, Iranun was the first identified people who live in the ancient past of the civilization in this part of the globe. They were the people of the Uranen Kingdom. They established their villages along the coastal areas of the Iranun Bay and river banks. They were the people whom the Shariffs met in this Island. The origin of the Iranun people was from four feet to five feet in height. Their civilization belonged to the primitive civilization. However they had established contacts and relationship with foreign sovereigns and kingdoms. The first stage of breed of the Iranun with Shariff Aulia was the breed of Iranun whom Shariff Kabunsuan was met and later on arranged with them a marriage affinity. This is the first line of generation among the Iranun where native blood was breed with arab blood. They called it kia saripan. Iranun as a People Iranun was the aborigin and original inhabitants of Mindanaw. They were belonged to the primitive and prehistory people. They were identified by the Iranun tradition as Karibang and Karingki line of descent. These people were analogous with that of the Aetas (Negritoes) of Luzon and other places. They were breed with the foreign people ( Indonesian, Malays, Arabs, Indians, and Chinese). Iranun tarsila stated that they were the rapo people (foreigners) who migrated to the Island thousands of years ago who married the daughters of the different rajahs in the Island (11th-12th century). These marriage affinal ties sprung the modern (present) Iranun in the Island. Government and Succession of Authority The government of the ancient (prehistory) Iranun was simple but effective. They (rulers) had one hundred pre cent control over their sovereign. Each engged (community) had its ruler. They were exercising the Obsolute Monarchial System. Usually, patriarchal line or type adopted as a procedure of succession. After the father death or resignation, the son automatically replaces and sits the throne. In some cases, the daughter replaces the father in the throne. The system was family succession. The ruler was assisted by mantris (cabinets in the modern times). The legislation was vested in the Council of Elders ( in the mainland the luwaran or radawan in some version was the example, and Ruma Bitchara in the Lupa Soog). Thus the government was monarchy and the succession of authority was hereditary. Relationship With other VillagesThe ancient political relations among Iranun villages and principalities was confederation. Each Iranun village was independent to each other. However they were confederated. There was no central government. However, their socio-political relationship was very strong. They had established the so called allied warriors for defense purposes against any foreign attempts and invasion. Original Establishment and Location of Iranun Villages The ancient Iranun erstablished their vilages and communities along the seacoast of the Iranun Bay in the Moro Gulf (Crab Gulf). In some instances, the ancient Iranun lived along river banks. These villages expanded in the course of time. Until whitemen came for invasion and colonization. The villages of the ancient Iranun served at the same time as kuta. The turugan has a biruar (tower in the modern time) as watch house or guard house. Usually the biruar was built on the top of a tree or any tall object. The purpose was to oversee the coming enemy(s). In a hilly places, biruar was built on the top of the hill.Source of Living and Livelihood The ancient Iranun were good farmers and fishermen. They were living in the fertile vast land and sea. They supplement farming and fishing by hunting deers and other wild animals for their daily needs and consumption. Other source of livelihood was black and gold smith industry. Ancient Iranun were good blacksmither and gold smither. For women, Iranun were good waver of mats and malong. The ancient Iranun used barter trading (among themselves and intervillages). The fishermen exchanged fish to rice/corn/ube and other agriculture products/crops for their daily consumption. The farmer did the same. Therefore their medium of exchange in the absence of money was bartering in order to acquire a property or anything for them to survive. Costumes and Dresses Ancent Iranun man were using samping (vernacular for bahag) and sablay (Tsaliko in modern time), and tubaw. However, ancient Iranun were shoesless. They were not using shoes due to absence of knowledge on shoemaking. They were footbbeares peeople. For the women, ancient Iranun were using loose blouses in the primitive style. Later, it was improved when foreign contacts with the chinese.Characteristics /Quality(s)/Habits Ancient Iranun possessed a very hospitable, courteous, respectfull, obedience and other good qualities. They were brave and good combatant (warrior). They were champion of freedom and defense. They usually considered their lawfull leaders as second to prophets. All orders of their leaders were faithfully followed. They were peace-maker and loving people. They were good friend but magnificient enemy in time of war. System of Education The ancient Iranun system of education was very simple. There was no school building and other materials. They used their individual houses as school building and classrooms. The father was the teacher of the boy children. The father taught his male children on manhood responsibilities and obligations such as farming, hunting, carpentry, and other manhood works. Skill on warriorship was the most important training among boy children. For the girl children, ancient Iranun taught their girl children on motherhood responsibilities and obligations such as cooking, waving, sewing, embroidery, washing clothes and kitchen utensils, rearing of children and motherhood works. Kapaningit sa engged ( Love and jealous of country was inculcated in the minds and hearts of each Iranun minors) by their teacher (mother).Each Iranun minor was trained to love the country. Love of country was the noblest act. They emphasized that country emanates all aspects of humanity. Iranun people were good nation makers. Both man and woman were required to study nationalism and patriotism. Thus the system of education of the ancient Iranun was simple. The emphasis was focus on love of country and humanity. Literature Ancient Iranun was identical with that of the Darangan Period. Some Iranun geneanologists say that Darangan Period was one of the periods of the ancient Iranun. The hero of the Darangan was Rajah Bantugen. The seat of the government was in Benbaran (situated in the north west of Bukidnon) near Wao. It was a name of a civilization of people during ancient time. The civilization was more on mystic and rituals activities. The Darangan was composed of decades with different episodes. It described most the characteritics of the Iranun as people. The true meaning of love and wisdom, leadership, livelihood (economics and industry) socio-political, humanity and other good quality and characteristics were described in the episodes of Darangen. Iranun oral tradition say that Darangan as a civilization was composed of six (6) federal states which Bembaran was the capital. These federal states were: Da Madiar a Linog, Sawlaya A Salg, Daguwatan sa Oray, Pindulunan sa Ragat, Sadurog ko Marandang, and Bembran. Their rulers were Batara Mangadka, Batara Mapalala Makaug, Batara Bakuludan sa Waki, Batara Lumuday sa Barat, Batara Tundugen, Batara Rinawraw Tubpaan, and Batara Bantugen respectively. The cabinets were: Daranda, Mabaning, and Lumbatan. The adore and beloved princess was Princess Lawanen.Iranun has many bayoks. Usually the oldfolks/elders during those times were using bayok in their communication. Examples of these bayoks are: Biwang Kawanan Tinday o Pagilidan Pipandaraan, Iranun Pipparasan, Ranaw Gilanggumilang, Maguindanao rawaten, Slangan da marimbang which connotes nobility and maharlika. Others like: Pidzan pagzir so ganding na so kapanganonen bo na maliwanag den sa dar which means hospitability and courteousness. Benar e rinaw so ragat na sisirungen a barat so karante o alongan which means problems and sorrows. The principal village ( principality) was Benbaran, the capital of the Darangan civilization, wherein the Turugan (royal house) was established. Turugan was the official residence and court of the Ayunan Pangadapen O Inayunan O Kampong sa Ilian a Benbaran ( Official Royal Court of the Most Respected and Honored Leader of Benbaran), His Majesty Ayunan Pangadapen Pasandalan A Murog, the great ruler. All important matters either personal or non personal business transactions were done in the Turugan. Other villages (principalities) were Bugabong A Kumara, the village of Her Majesty Paramata Gandingan. Bugabong A Kumara was civilized as Benbaran. Iranun experts in Darangan say that Benbaran and Bugabong A Kumara were equal and parallell. Sarbaka Kilaten, Gamaniyog were states of Bugabong a Kumara. Music, Musical Instrument and Plays Darangen as a song was the most popular name or title of a song during the Darangan Period. Darangen as a title of a song described the entire civilization. Man and woman knew very well to perform/sing darangen. Darangen as a song was usually sang at night. Bayok was another name of a song which usually performed by two or three performers. The Mranaw sometimes called Kambayoka. The performers were called Unur. Mamayog was another name of a song, performed by one gentleman and one lady. The mamayog described the loyalty and courteousness of a husband to his wife during the ancient Iranun (Darangen Period). Some Iranun folks identified another song entitled Darangen a Babay (Most Beloved and Adored Lady) was commonly sang/ performed in the Slangan Principality. Princess Tinabon was the star who was being described in the song. The kulintang, agong, gandingan, pamindira, and dibakan were usually and commonly used as musical instrument. It was called in the Iranun as Lima A mamagenesupa (Lima Ka Daragia in Ranaw). This musical instruments were usually used during fiest day or durangna (wedding ceremony). During the ancient time, Lima Ka Mamagenesupa was used also during rituals. Kutyapi (Kudyapi in some version), palendag, suling, kubing were among the musical instruments during the ancient time in the Iranun civilization. Generally, all the person who reach the maturity stage of human development knew to use and play these instruments. Sagayan was a stage play which usually performed by young man describing the skill and bravery of the Iranun warriors. The sagayan was usually performed during rituals. Sagayan was usually performed by two young men. Minors can do it. In some Iranun wedding fiest/ceremony, sagayan was being performed in the kakuyog sa damak (damak is a cooked sweet foods deliver to the house of the bride from groom house) and in the procession ( kuyog) of the groom. It was usually put ahead of the parade. Sagayan during wedding ceremony is accompanied by an unta (it is look like a camel played and manipulated by a youngman to move). Kulintang (Lima A Mamagenesupa) was being play as a music of the procession. Sinulog was a kulintang tune usually used as a music in the procession. Wedding Fiest/CeremonyDuring the ancient Iranun, wedding fiest/ceremony was a long process. Parental system was the usual practice. Iranun usually practice maharlika system. The man who was belonged to the ruling family of the village marries the daughter of the ruling family of other village (Prince is for Princess Principle).Iranun wedding process undergoes four stages. These stages were: panunuriman (observation), pangingidong (Whispering) from the kakamaman side (groom side), sarangguni (actual negotiation of the two parties facilitiated by other group, usually the Council of Elders of the bride family), and gurangna (wedding ceremony). In some cases, sarangguni and gurangna were fused into one. It depends on the negotiation. During the ancient Iranun, dowry (sunggodan/btang/btad sa adat) was term of material not money, for example: land/lot, bulawan (gold), and other valuable materials (animals). In some cases uripin (slaves were accepted as dowry or even the entire sovereign of the groom father served as dowry in case of a single child). After signing of contract between the two parties, the groom was granted to court and talked/'invite the bride to ocassion with one chaperon. The groom was granted to sleep in the house of the bride. Wedding ceremony among maharlika (ruling family) was full of decors (pandara). There were activity (siapa sa manggis, kulintang contest, and other wedding activities were observed) to give honor and respect to the royal wedding.The common class (kadakelan) used only sambulayang with no flag and pamanay. The uripin has no wedding ceremony. The ruling family used the complete set of pandara (pasandalan, sambulayang with flag at the top of the pole, ubor-ubor, and pamanay). Usually bright colors were used (red,green and yellow). Among the ancient Iranun red means bravery, green means sovereign, and yellow means ruling family. These colors were only used and attributed to the ruling family. Properties and InheritanceThe whole sovereign (integral territory) of each village (kampong) belonged to the Datu. The property would be inherited by the legitimate heir(s) including rulership. The kadakilan(commoner) can possessed properties subject to bues (tax in the modern time). The uripin (slave) cannot possessed properties because themselves were the property of the datu. The property(s) of the kadakilan (commoner) would be inherited by their heirs.Laws The ancient Iranun used customary laws. Usually the council of elders were the drafter of the customary laws. The draft was presented in the followers during fiest days. In ancient Aninipay the Code of Kalantiaw was formulated and adopted. In the ancient Iranun radawan (Code of Models) was formulated. The Radawan defined and described socio-political, family relations, religious/spiritual, and others which would be observed and followed. There were process involved in the implementation of laws especially in court: baina, amad, karina, matakapala (clarity, justification, suspect and testified respectively). Religion The religion of the ancient Iranun was greatly influenced by the state religion of Sri Vishaya and Madjapahit Empires. The arrival of Shariff Aulia gave a significant effect to the religion. Sufism as a belief was introduced. Thus they became a Muslim-Sufie.Supertitious Belief The ancient Iranun had many supertitious beliefs. The examples were: eclipse, black butterfly, snakes enters the house and others. There were about hundreds of supertitious beliefs of the Iranun. Tunung was identified to be a powerful spirit. Language The ancient language of the Iranun was originated from the Malayo-Polynesian Language of the Pacifics. In course of time most of the original language of the Iranun were modified due influence of other language. The original language used in the Darangan was an Iranun language. The original language had been modified due to: conquest, intermarriage with foreign nation, adoption, and duplication. Out these factors the present language evolved. The present Iranun language is generally accepted as medium of communication in Mindanaw except Lupah Suog. The present Muslim can understand Iranun. Thus Iranun is the mother language of the Muslims in Mindanao. Writing The ancient alphabets of the Iranun were patterned in India. The system of writing was one of the good achievements of the Iranun during its foreign contacts with the Indian people. Although it was primitive, the Iranun have their own system of writing. This system of writing was influenced and gradually changed to the present system patterned from the arabs. They called it kirim. The kirim was looked like sometimes a bird, a tree, a roof, and cloud-shape.Arts The ancient Iranun has its own arts. The most popular one until the present time is the ukir ( engraving naga). The ukir is used almost furnitures and fixtures of the Iranun including houses. The bawor (cabenit or apparador now a days) has an ukir differrent forms and patterned. Sarimanok is another type of ukir during the ancient Iranun which was passed generation to generation. Most of the museums and libraries now a days have these arts displayed. Science and Math The ancient Iranun were good scientists of their time. They were astronomers. They name heavenly bodies as: makabangis, sulo a mangangayaw, manok, madakel, laya. They arranged the twelve months (12) to 30 days and 29 days. Therefore there are three hundred fifty four (354) day in one year (common year) and three hundred fifty five (355) leaf year. They divided one month into two groups: Sbang and delem. They used heavenly bodies as compass. They can determine west, east, south, north by the used of the heavenly bodies at night. Their knowledge in astronomy and navigation was older than the knowledge of the western people (Spanish, Portuguese, Dutch and others). There were eight (8) tahons, five (5) kutika, and eight (8) bintang. All these are instruments of the ancient Iranun in compution. Even they were in the mid of the forest, they can calculate low or high tide through this knowledge in science. In Mathematics/arithmetic, gibo (thousand), laksa (one hundred thousand), pandang (million of thousasands). They had also a system of counting. They used riray system. Some of the mathematical terminology were: laksa, salaksa, laksalaksa, yuta, sayuta,sayutayuta. All these were few among their mathematical terminologies. Arabic numerals and system of counting including mathematical nomenclature were introduced and adopted during the Shariffs period. Thus a modification was observed. Territorial Defense The ancient Iranun were good defenders of their territory and freedom. They consider any individual or group who do not signifying its interest to enter the Iranun territory (both sea and land) as enemy. Coordination (Pagtaw) was very important to them. To them (Iranun) when you enter the territory of the other sovereign without coordination was considered sin and unlawful. The invasion and other marine activity of the Spaniards and its allied forces/group/tribe were considered unlawful. Out of this concept, Iranun warriors were forced to drive out through drastic action (by force) all groups or individuals who attempt to enter their territory without prior notice of friendship. Their defense tactics and mechanisms were misconceptualized and misunderstood by filipino and western authors. Filipino and foreign writers described Iranun as pirates. They were not pirates. They only defend their territories against invasion of foreigners. Iranun in the Shariffs PeriodUranen Kingdom was the first kingdom ever had in the ancient period (prehistory). It was the mother of all kingdoms established after decades or centuries. Shariff Aulia was the first arab muslim with missionary works who stepped-foot and landed in the Uranen Kingdom (Tbok was the seat of government). He married the native princess named Bai Pagunguwan (Iranun tradition identified her as Bai sa Pandan). Out of their wedlock, they begot the four rajahs (Makaapen, Dungklang, Maraguia, and Budtol). The introduction of the belief brought into the Kingdom through Shariff Aulia was the first stage of the Iranun civilization recorded in history. The old belief was gradually changed to what is present belief of the Muslims in the world. The system of government, socio-economic, trade and industry and other walks of life were improved and strengthened. The primitive system of government was changed to more structurized system. The Caliphate was introduced described as Sultanate System. Iranun tarsila say that Makaapen married Lingayen, a daughter of the property custodian of Rajah Urangguwan begot Princess Angintabu. The Princess was married by Shariff Kabunsuan (1475). Out of their wedlock, they begot Saripada Makaalang. Saripada Makaalang married his first cousin name Princess Pidsarawdan, a daughter of Rajah Dungklang, begot Saripada Bankaya. Saripada Bankaya married a lady of Lupah Suog named Princess Sri Pangyan Mampay Laila begot Saripada Raut (laut in some version) Buisan begot Sultan Dipatuan Kudarat, the strongest and has a longest term of realm among the Iranun sultans. It is interesting to note that the term saripada was used as prefix three times before the given names: Makaalang, Bankaya, and Raut. The term has a Malayan origin probably a term existing and used during the two big empires (Sri Vishaya and Madjapahit). It connotes ruler or nobility. Thus it was a royalty title used during the ancient period of political structure which is equivalent to Sultan (Surutan in Iranun version). The introduction of sultanate system gradually changed the rajahship (primitive system patterned from ancient (prehistory system of government) to more advanced political system. Iranun as a people with distinct nationality entered into a neolistic civilization called Shariff Period. The Iranun accepted the Ideology introduced by the Shariffs. Iranun During Sultanate SystemIt was presented in the preceeding paragraphs that the two identified Shariffs (Aulia and Kabunsuan) intermarraige with the Iranun Rajah families ( Rajah Urangguwan and Rajah Makaapen respectively). Out of this social relationship, the new socio-political practices was merged and developed. The offspring of Shariff Aulia-Princess Pagunguwan was intermarriage in the later decades with the offspring of Shariff Kabunsuan-Princess Angintabu. Out of this mixed and interwaved bloodline of descent sprang a royalty lineage of decendant. Sultan Kudarat, the first native ruler used Sultan as a royal political title and authority eas of Iranun-Shariff line of descent with a blood sprang from the Karibang-Karingke line of descen. Out of these facts, it is safe to say that the first Sultan of the native breed from the Iranun-Shariff line belonged to the Uranen Kingdom which exercised its sovereign authority and power over the Crab Gulf (Moro Gulf) with concentration in the Iranun Bay. Thus Rajah Urangguwan of the ancient past (prehistory) and Sultan Kudarat of the Shariff period (Sultanate System)were the fathers of the royal line of descent among the native inhabitants. Out of these facts all claimants of royalty line of descent are all descended from Iranun-Shariff marriage affinal ties Sultan Kudarat realm was a continuation of the ancient political system spearheaded by Rajah Urangguwan. The seat of the former government was in Ramitan (Lamitan in the Filipino authors). It is one of the barangays of the municipality of Sultan Gumander, Lanao del Sur in the present geographical political division. Ramitan was the first seat of government led by Sultan Kudarat. The seat of government of the latter was in Tbok. Tbok is one of the barangays of the municipality of Malabang, Lanao del Sur in the present geographical political division. It is interesting to note that the two capitals (seat of governments) are neigbors. Sultan Gumander and Malabang are only separated by Picong River and both situated and located along the sea coast of the Iranun Bay of the Crab Gulf ( LayaganGulf). Iranun During Spaniah InvasionThe first recorded Spanish invasion in the Mindanao (Uranen) was on 1596. This was led by Capt. Figueroa. Figueroa was killed during the fight. The gesture and action of the Spaniards was considered by the native Iranuns as aggression and and invasion. The Council of Elders unanimously agreed to adopt a technique for effective defense against the Spaniards. The top executives namely Rajah Raut Buisan, Rajah, Sirungan, and Rajah Tagal suggested to the Council to launch a counter offensive. The proposal was approved. They attacked Visayas islands, Mindoro, Bicolandia, and Southern Tagalog. The counter offensive of the natives was misconceptualized by the Spanish and Filipino historians. They described it as piratic activity. This is not true and uncorrect. The natives had just adopt an effective technique for defense purposes. They only defended their sovereign state and nation against foreign invasion. he counter attacked were launched in 1599, 1600, and 1602. Change of System From Kingdomship to Sultanate Meanwhile, in the year 1617, Kingdomship was officially changed to Sultanate System. The first ruler of the new system was Kudarat, the son of Rajah Raut Buisan. His renal name was His Majesty Sultan Mohammad Dipatuan Kabunsuan Urangguwan. He established his seat of government at Ramitan (now a barangay of Sultan Gumander, Lanao del Sur). Invasion Continued On March 13, 1637 (Zaide), Governor Corcuera invaded Ramitan. The native inhabitants fearlessly defended their territory against the Superpower Spain. The Sultan retreated in the inner portion of Ramitan. He moved to Dapaw Lake for a week. The Council of Elders agreed to the proposal of the Sultan to transfer his Court (capital) at Magulaling, Balabagan, Lanao del Sur. In this seat of government, the Sultan was able to expand his sovereign powers and authority. The villages and communities within the Crab Gulf (Moro Gulf) and the inner parts of the Island, except Surigao and Agusan. He established socio-political alliances with the local (kampong) leaders and foreign nations like Brunie Darussalam, Java, Makassar, Sumatra, Lahore, Singapore, China, and India. He was able to mobilize all sectors of the Uranen Sultanate. In 1647 he transfered his capital (seat of government) to Simuay Seashore, Sultan Mastura, Shariff Kabunsuan (now a days). Iranun in the Height of the Divide-and-Rule Technique After the death of Sultan Mohammad Dipatuan Kudarat Kabunsuan Urangguwan, the Divide-and-Rule Technique was applied by the colonizers (Spaniards and Dutch). Sultan Tahiruddin Malinog was supported by the Dutch. On the other side, Sultan Manamir was supported by the Spaniards for supremacy. Rivalry in the succession issue was the gate to divide the native Iranuns. The whole Sultanate was divided into two groups (Malinog group and Manamir group). This was the beginning of the subdivisioon of the native inhabitants. This also leads to some corrupt use of words, and colonial terms although native but it implied destructions. Here are some examples of corrupt use of terms and words: Luzon (Liusong), Panay (Aninipay), Visayas (Vishaya), Tagalog (Taga- ilog), Illana (Iranun), Zamboanga (Samboangan), Lanao (Ranaw), and many others. Iranun During American Regime It was described that more than three centuries, the native Iranun fought for defense of freedom and homeland. They were not conquered until the time of signing of the Treaty of Paris on December 10, 1898 which ended the Spanish-American War for Supremacy. The Royal Government of Spain ceded all the controlled territories and exercised its power and authority to United States of America.The present Mindanaw, Palawan, and Sulu were not included in the Treaty because they were not conquered. The Americans amplified and use the same technique (Divide-and-Rule). They only improved and strengthened the technique used by the Spaniards. They used words which connotes places in order to deceive the native. With due respect to some historians, Maguindanao as a name of a place which connotes a traditional name implying sovereignty is not correct. It is used and amplified by the Americans to destroy the original place which implies sovereignty the SLANGAN DA MARIMBANG which means Slangan the original and has no equal.Cotabato, Lanao, Zamboanga, Davao are all colonial term used, applied and amplified by the colonizers (Americans) to destroy the tradition of the native. The original was Slangan, Ranaw, Samboangan, Tagalook respectively. Effect of Colonization The most destructive effect of the colonization to the Iranun and Uranen as a nation and state respectively was deception to the next generation. Spanish writers and historians (Pigafetta) wrote a wrong information and data. He described the native inhabitants whom Magellan met as Moores (a nation whom they encountered in war in Africa). This people has the same quality and ability in combat with the native inhabitants of the Island. Thus Pigaffeta baptized the Iranuns as Moores. Later the term Moores was corruptly used by other writers- the present form Moro. The usage of the term Moro to refer the native inhabitants in the Island was amplified by the American writers. Thus the original nation and state - Iranun and Uranen respectively were forgotten in the annal of history of the Island.The colonization has contributed much to the introduction of western culture, belief, customs, practices, and others aspects of life which were harmful and destructive to the culture, tradition, belief, practices of the Iranun as a native inhabitants. The political system was introduced which caused to the gradual modification of the political system of the natives. The socio-political system of the Iranun was totally destroyed during the American regime. The Americans organized the Moro province for the purpose of total elimination of the residues and remains of the past civilization enjoyed by the native inhabitants from the ancient Uranen Kingdom down to Uranen Sultanate led by His Majesty Sultan Mohammad Dipatuan Kudarat Kabunsuan Urangguwan. Thus introduction of Cotabato, Lanao, Davao, Zamboanga, and Sulu was a strategy of the colonizer to eliminate the truth. Cotabato, Lanao, Davao, Zamboanga, and Sulu were native in connotation but colonization by intention. Many terms and words which were corruptly introduced and used for colonization purposes. The examples of these words are: Dagiangas, later it becomes Dadiangas later on it was changed to General Santos. Tacudong was modified to Tacurong, Kutawato, later on was modified to Cotabato. Lupah Suog, later on was modofied to Sulu, Aninipay, later on was modified to Panay. Irong-irong, later on was modified to Iloilo. Antik, later on was modofied to Antique. Tukudan, later on was modified to Tucuran, Pangagian, later on was modified to Pagadian. Marges a ig, later on was modified to Margosatubig, Kumaladang, later on was modified to Kumalarang. Padampadang, later on was modified to Parang and many others. All of these are colonization strategy. The foremost effect of the colonization to the Iranun natives was the so called colonial mentality. The mental or intellectual skill of the native becomes dependent and submissive to the western and americans. The Iranun natives become nothing and mentally slave of the foreign education. Therefore, conquest and colonization were the root caused of the problem in the Island (Palawan, Sulu, and Mindanao: Pandawan, Lupah Suog, Uranen of the ancient past respectively). Therefore the colonization wiped out everything.SUMMARY What is Iranun?Iranun as a word/term is composed two words which were joined together to form a word with distinct interpretation and description. The word/term IRA means remains, residue, or silt. These word/term may refer to a place or area which was formed out of a long process evolved from remains or residual process that caused a formation of a place. NUN means people with distinct culture, government and laws, belief, and tradition. In the course of time, established its villages and communities along the coastal areas and shores of the Iranun Bay (Illana Bay). Some were established in river banks. These villages were expanded. It reached Ranaw, Upper Stream, and other parts of the Island. Geographycally, Iranun was a group of people who established their communities along the coastal areas of the Iranun Bay and some river banks. Iranun as a nation sprang from the Karinke-karibang clan and the shariff (Shariff Aulia). Iranun is not a tribe of any nation of the world. It is a nation distinct from other nations with defined territory and sphere of influenced, political structure/system, socio-economic, educational system. It is one of the oldest nations of the world. This nation was destroyed and ruined by colonization. Iranun has its own culture, custom and tradition. The name of the state was Uranen Kingdom, its people was Iranun. The ancient Uranen state is the Mindanao of the present time. The terrotiry of the Kingdom stretched from Sibugay Peninsula to Tagalook Gulf with all in-lands areas. Most practically, the present Mindanaw is the Uranen Kingdom. Its sphere of influenced reached as far as Singapore and Borneo. The seat of government and center of civilization was in Tbok now a barangay of Malabang, Lanao sel Sur. Therefore the civilization in the Island started from the coastal area of the Iranun Bay (Illana Bay). Iranun tarsila named, called, and identified it as Biwang-Kawanan Tinday A Batal O Pagilidan (literarily translated as Left and Right Huge Coastal Principalities), in political interpretation the traditional name is translated as Kingdom of the Sea Coast, which refer to Uranen Kingdom, the official name. It had established foreign relations and contacts with India, China, and Arab. Its relation to these nations were focused on socio-political, economic and trade, and education. Iranun was the group of people whom the Spaniards met and fought led by Sultan Kudarat. References: Datu Kali sa Balabagan, Notes on the Origin of the Iranun, 1179H (translated). Iranun Tarsila Oral Tradition of Iranun

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