LITERATURE IN REGION X(Northern Mindanao) Designated as Region X of thePhilippines, Northern Mindanao (Filipino: Hilagang Mindanao ) iscomposed of five provinces

andtwo cities classified as highly-urbanized, all occupying the north-central part of Mindanao island,and the island-province of Camiguin. The regional center isCagayan De Oro City, where thenational governmen t's regionaloffices and other bigestablishments are located. Cultural groups Majority of the region's inhabitantsare migrants from Cebu and Iloilo. There are also inhabitants of Waray, Tagalog and Maranaodescent. Component cities Bu idnon Malaybalay City Valencia City Misamis Occidental Oroquieta City Ozamiz City Tangub City Misamis Oriental Gingoog City Literary piece The Flood Story Bu idnon (Mindanao) A long time ago there was avery big crab which crawled into the sea.And when he went in he crowded thewater out so that it ran all over the earthand covered al l the land.Now about one moon before thishappened, a wise man had told the peopl ethat they must build a large raft. They didas he commanded and cut many largetr ees, until they had enough to ma ethree layers. These they bound tightlytogether , and when it was done theyfastened the raft with a long rattan cord toa big pol e in the earth.Soon after this the floods came.White water poured out of the hil ls, andthe sea rose and covered even the highestmountains. The people and animal s on theraft were safe, but all the others drowned.When the waters went down and the raft was again on the ground, it wasnear their old home, for the rattan cord had held.But these were the only people left onthe whole earth. Authors and their Wor s Short stories The Battle at Tagoloan Dus in Capillahan

The Cemetery Keeper A Day in the Lives of CoalMinersRegino L Gonzales, Jr. The guman of dumalinao(suban-on) Damiana L. Eugenio(misamisoccidental) Manobo Lydia Mary De Leon(camiguin) Pagpagayu Mahiwagang Ibon NgKatutubong Bu idnon (The Magical Bird of Bu idnon) Piya Constantino Batbat Hi Udan (The Story of Udan)-Bu idnons 1st epic Novel Telesforo S. Sung it, J rOther Authors The guman of dumalinao (suban-on) Damiana L. Eugenio(misamisoccidental) Vocal Music in General The most important means of musical expression of the Bu idnonis vocal music. As a rule, a male or female solo singer performswithout the accompaniment of anymusical instrument. T he onlyexception is the collective singingof women called tab during the alig ceremonies. The mostimportant types of vocal music arethe epic chants collective ly called ulagng and the chants and prayersconnected with the alig ceremonies. Also widely used arethe improvised songs limbay andthe song-speeches dasang of theBanwaon, Bu idnon and Higaunensubgroups, the improvised sal of the Talaandig and, to a certainextent, the ballads idangdang. Other song types are only of minoror of merely regional importance. At this point, it has to bestressed that the names of songtypes as given by the Bu idnonactually refer to categories of function based on text content andless t o categories based on musicalcharacteristics. It might, forexample, happen that a alig or ulagng melody is used for a sal performance. But even thesecategories of function are onlyvaguely defined, and a bstract orgeneral terms li e music,musical instrument, song, etc.,are lac ing in the Binu id language. The word which comesclosest in meaning to the wordmelody is

lageng ([sound of the]voice). In most song performances,the same pentatonic melody isrepeated over and over ag ain withsome variations, sometimesalternating with one or twoadditional melodies . Theperformances often start with atypical melismatic phrase sung ona very high pitch and at highestpossible volume. There aremelodies in a rubato style as wel las strictly metered ones. Themelodic patterns vary in length.Some of them are c learly divided intwo distinct parts often separatedby a breathing brea . All important singingperformances start with a specialintroductory part called pamad(pamar) , in which the singerinvo es his guiding spirits(collectively called Tumanud or Dengan ; singers are usually guidedby Mulin-ulin) and also as s hisvoice ( lageng ) for cooperation andassistance. In fact, to sing intraditional Bu idnon style i s adifficult tas because it requiresthe use of an archaic form of the Binu id language which modern Binu id spea ers cannotunderstand and, therefore, have tolearn before being able to sing . Thepoetic form is composed of verses,whereby the statement of everyline has to be repeated with otherwords, preferably with synonyms,in a second line. This po etic deviceis called sambal (doubling lines,verb form pasmbal) , the poeticform sangen-sangen . The Epic Chants The ulagng epic, which recalls theadventures of the main hero Agyu and his brothers and sisters, issung at night time for at leastsome hours, in so me cases up toseveral nights. In performing the ulagng , the Talaandig use threedifferent singing styles which areall influenced by spe cific guidingspirits: the aggressive, syllabic ulagng or umanen style, the morecontemplative, melismatic nnangen style, and the ilangiten style (from the word langit ,highest heaven) with sustained,high-pitched tones. In the Talaandig area, a secondsinger, sometimes the epic singerhimself or herse lf, will interspersethe ulagng

with performances of another song type called sal which, in a contemplative way,usually deals with philosophicconsiderations. Besi des itsconnection with the ulagng , the sal is an important vocal genre inits own right. In the Talaandig area, a secondsinger, sometimes the epic singerhimself or herse lf, will interspersethe ulagng with performances of another song type called sal which, in a contemplative way, usually deals with philosophicconsiderations. Besides itsconnection with the ulagng , the sal is an important vocal genre inits own right. Philippine Literature By: Julius F. Garcia AR31FA1 Dr. Amparo Ellar (Professor