CORDILLERAN SYMBOLS, ARCHETYPES, AND MEANINGS AS TOOLS/

REFERENCES IN TEACHING LITERATURE AND PROMOTING

CULTURAL AWARENESS

Jezyl P. Caison
Kevin Jones D. Cawid
Michelle Ann P. Chomayag
Darwin L. Manawis
Judylyne W. Pacna

ABSTRACT

This study focuses on the identification of the inherent symbols and archetypes distinct from the
different provinces of the Cordillera and their relevance in the teaching of literature and in the
promotion of cultural awareness among the Cordilleran people. This study reveals that the folk
narratives of the different provinces of Cordillera incorporate an amalgamation of symbols and
archetypes that holds significant information on the tradition, culture, beliefs, and lifeways of the
people. The researchers consider this study significant in supplementing the teaching of
literature and in promoting cultural heritage. This research uses contextual analysis in gathering
data from the folk narratives with the supplementation of library techniques and obtains
information through interviews of key informants. The findings of this study disclose that the
symbols and archetypes found in the Cordilleran narratives are authentic tools in the pedagogical
approach bound for school and community. On this basis, the study recommends the collection
of Cordilleran folk narratives and the undertaking of further research concerning indigenous
knowledge; the folklore of the Cordillera should be explored, written down, and compiled not
only for the promotion of cultural awareness but most importantly for the purpose of
documenting educational resources to be incorporated in the K-12 curriculum.

Keywords: Folk Narratives, Symbols, Archetypes, Teaching literature, Cultural Awareness

INTRODUCTION
Background of the Study
The Cordillera region is a vast and mountainous territory in northern Luzon. It comprises
the provinces of Abra, Apayao, Benguet, Ifugao, Kalinga, and Mountain Province. The
indigenous ethnolinguistic and ethnocultural Igorot people inhabit this rugged terrain. These
people are rich in cultural heritage not only because of the mineral resources found in the area
but also because of the existing folk literature that mirrors their unique practices, beliefs,
traditions, and cultures. All the six provinces that constitute this demesne have their own sets of
folk literature. These folk narratives include riddles, proverbs, folk ballads, lullabies, myths,
legends, folktales, and folk epics which according to Piluden (2015), reveals the cultural
idiosyncrasies that for each group has become distinctly known. Thus, the folk literature of these
people has its cultural connotation and ethical meaning that projects their cultural identity.

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 Their folk literature also contains profuse symbols and archetypes. In Carl Jung`s (1964)
book "Man and his Symbols," he defined the symbol as a term or even a picture that may be
common in daily life, yet that possesses specific connotations in addition to its conventional and
obvious meaning. On the other hand, Adamski (2011) defined archetypes as "the original, main
idea, and a certain pattern determining human development. These are the means of action and
may take the form of images, dreams, or they are a stimulus to a specific action". The folklorist
Alan Dundes (2007) attested the existence of symbols and archetypes in folk literature by stating,
folklore holds psychological and cultural significance because, as an often momentary and a
socially sanctioned outlet of expression, it uses symbols in elaborated narratives and in rituals to
encapsulate (or intensify) experience and provide a release from reality. Indeed, the recurrence of
these elements enriches the Igorot culture through their existence in the corresponding literary
narratives found in the Cordilleran folklore.
While it is true that the Cordilleran culture is rich in a sense that it has a panoply of
literary treasures, the mere fact that the native elders who knew these legends, epics, folktales,
and stories are now dying foreshadows the imminent loss of oral traditions. There is a possibility
that even the identity and culture of the Igorot people would also go extinct if no action is done.
The worst is the next generation who never had the chance to take a glimpse of what Cordillera
is today might become an alien to their native land.
Also, the teaching of literature in the educational field is significantly initiated in the K-
12 national curriculum. Along with this is the implementation of the RM No. 394, s. 2018 or also
known as the Indigenous Peoples Education Roadmap Policy Directions of IPED in CAR for
2018 to 2021in the Cordillera region. In this memorandum, Dep-Ed- CAR (2018) advocates the
use of local, contextualized human and material resources as both the providers and the content
of quality education. This memorandum agrees with the principle of the teaching of Salandanan
& Corpuz (2015) who reiterate the importance of contextual teaching regardless of the subject as
it helps students in comprehending the lessons. The use of Cordilleran folk narratives as the
springboard in the teaching of literature is undoubtedly a significant step towards successful
learning of the students.
However, Dieterich (1972) claimed that teachers should help their students develop their
appreciation and understanding of their own culture. It is not enough that educational
stakeholders will only allow the students to read or listen to folk narratives. Teachers should
initiate students to apply an analysis on the content of the original tales particularly the symbols
and archetypes embedded in the stories. Also, Ohio State University (2019), emphasized the
importance of narratives of all kinds including oral narratives as a practical and relevant material
in understanding human experiences and expounding phenomena in a specific culture.
For these reasons, the researchers conducted this study of symbols and archetypes
inherent in the selected Cordilleran folk narratives to become the primal catalyst of appreciation
and promotion of cultural awareness. As language-major students and bona fide Igorots, the
researchers acknowledge the responsibility to support and initiate this study of their very own
Cordilleran folk narratives.

Review of Related Literature

Studying the Cordilleran folk narratives is one of the best ways of understanding and
preserving cordilleran culture. The collection of cordilleran folk narratives can be a useful
material to provide significant information in decoding meanings from a particular object,

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situation or behavior. The researchers had gone over books, articles, thesis and dissertation and
other publications for research data and information related to the study.

Understanding and Preservation of Culture

According to Dundes (2009), "folklore is a form of sublimation" (p.3). He explained that
one could assert and express his thoughts, beliefs, or opinions in folkloric form. He even
concluded that the perusal of folklore leads to the discovery of "general patterns in culture" and
promotes cultural awareness among people. He also affirmed that folklore is necessary for
making the unconscious conscious and that "an outside eye is necessary to recognize the inside
or hidden codes of meaning" (Dundes, 2009) embedded in folk narratives.
Akpinar & Ozturk ( 2009) claimed that both culture and folktales are interrelated. Folk
narratives provide ample information about one's identity, and it also serves as a channel for an
individual to know more about the culture of other people. They further explained that the study
of these folktales helps learners compare their own culture with that of the world's culture.
Guzman (2013) found out that Kalinga folk literature "possesses wealthy thoughts, universal
emotions, behaviors, and folkways" (Guzman, 2013). He concluded that reading these folk
narratives is tantamount to preserving them; thus, the government should also support researches
in folk literature to conserve and protect them.
Piluden (2015) imparted that all ethnic groups in the Cordillera have their motifs as
revealed in their folk stories. Knowing these motifs is viewed as the starting point in
understanding the different culture of the various tribes residing in the region.
National Newsletter of the National Commission for Culture and the Arts (Nov- Dec
2016) conveyed that to bolster national identity and promote pride of place teaching should be in
localized culture context or culture focused.
National Council of Teacher of English (2018) declared that emphasizing the local
context of a particular place in the teaching-learning process promotes tribal nationhood.

Tools/reference in Teaching Language & Literature

Fagsao (n.d) mentioned that there are numerous unstudied folktales in Mountain
Province. However, the technological change where the use of electronic gadgets became
prevalent instigates the subtle extinction of these folk narratives. He then suggested that there
should be a compilation and documentation of these folk narratives to serve as valuable literary
resources in education.
Banda &Morgan (2013) concluded that folklore which includes myths, legends, folktales,
riddles, and different folk narratives are useful instruments in education. In their study, they also
suggested that the inclusion of the indigenous knowledge in the school's curriculum will enhance
and enrich the students' learnings.
The Igorot Global Organization (2011) contended that it is of extreme importance to
initiate, sustain, and develop the language of the Igorot people and indigenize the educational
system for the preservation of the oral traditions, literature, cultures, and world views.
Bentadan, Dulipus, Gabaen, & Octaviano (2014) recommended in their research that
more studies on Cordilleran ethnic literature should be undertaken for the Cordilleran people and
that ethnic literature should be forwarded to the academe as a tool in inculcating the values of

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cultural preservation. They further added that Cordilleran literature should also be included a
fundamental subject in school.
Cordillera Studies Center (2001) attested that learners have more potential in their study
if the teacher will integrate situations and examples that are indigenized.
Dilek & Serkan (2009) stated that folktales are vital in language learning because the
direct relationship of culture and folktales help learners understand their cultural identity.

Theoretical and Conceptual Framework

This study on symbols and archetypes requires theory and psychological perspective
since it intends to give meanings from the recognized symbols and archetypes as presented in the
literary selection to be studied. This study considers it essential to view this from the perspective
of archetypes and analytical psychology and theories on psychoanalysis as proposed by Carl
Jung (1964) because the subject of this research contains "innumerable things beyond the range
of human understanding, whereas it uses symbolic terms to represent concepts that humans
cannot define or fully comprehend.
Archetypes and Analytical Psychology is exploring the realm of Carl Jung's (1964)
collective unconscious and the archetypes that live within it. "Unconscious processes that cross
the threshold of consciousness are divided into the personal unconscious, comprised of material
of an individual origin, and the collective unconscious, comprised of archetypes of mythological
character that belong to all of mankind, reflect the history of the human brain, and can become
active in social groups" (Princeton University Press, 1976). The collective unconscious is
significant to Jung's theories of the mind as it contains the archetype. Jung (1964) noted that
within the collective unconscious there exist many archetypes which we can all recognize. An
archetype is the pattern of a person or role and includes the mother figure, father, wise old man
and clown/joker, amongst others.

The paradigm of the study is as follows:

INPUTIN
INPUT Input PROCESS Process Output
OUTPUT
Output
CODILLERAN FOLK 1. Textual Analysis SYMBOLS,
NARRATIVES: Focusing on Symbols ARCHETYPES AND
and Archetypes MEANINGS AS
Abra: Aponibolinayen and
TOOLS/REFERENCE
the Sun 2. Content Analysis IN TEACHING
Benguet: The origin of LITERATURE AND
rice PROMOTING
CULTURAL
Ifugao: Abuwab Tales AWARENESS
Kalinga: Sleeping Beauty
Mt. Province: Bontoc
Creation of Man
2. Data from Interview

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Significance of the Study
An examination of the symbols and archetypes of the selected Cordilleran folk narratives
will be the first step in the promotion of cultural awareness. Hence, this study can provide
significant information about the culture and tradition of the Igorots which will enlighten the
mind of every reader. Moreover, the results in this study can be of great help for literature
teachers in teaching Cordilleran narratives because of the cultural background that this study
provides concerning symbols and archetypes. This research can also serve as a relevant source or
reference on future studies on Cordillera indigenous socio-cultural ways of life, which could lead
to deeper understanding on the socio-cultural ways of life of the different ethnolinguistic groups
in the Cordillera region. Lastly, in this age of modernization, this study helps promote cultural
preservation which helps the Igorot people uphold their dignity as a Cordilleran and live
competitively in a global world.

Objectives of the Study

The researchers were guided with the following research objectives to promote their goal
of using Cordilleran folk narratives as the foundation in teaching literature :
1. to determine the dominant symbols and archetypes inherent in some selected
Cordilleran folk narratives,
2. to endeavor a textual analysis on the identified symbols and archetypes inherent in
the Cordillera region
3. to analyze and to document the importance of folk literature to come up with
supplementary materials or practical text in teaching both language and literature
and in promoting cultural awareness.

DESIGN AND METHODOLOGY

Research Design and Data Gathering Technique
This research made use of qualitative approach as the main design of the study. The
research methodology and basis for the descriptive analysis of the Cordilleran folk literature
concerning its symbols and archetypes is textual analysis on selected folk literature. The first
problem of this research which is involved with the symbols and archetypes inherent in the
Cordilleran folk narratives was answered through the data gathered from the selected folk
narratives written in the vernacular language. The second problem was addressed through
interviews with selected key informants who are from Cordillera and has in-depth knowledge on
the subject of the research.

Sample/Population of the study

This study sought to gather data from the Cordilleran folk narratives represented from the
six(6) provinces of the region namely: Abra, Benguet, Ifugao, Kalinga, and Mountain Province.
However, Apayao was not included because the researchers had a hard time translating the
vernacular language of the said province. The following are the selected folk narratives:

1. ABRA: Aponibolinayen ken Ini-init (Aponibolinayen and the Sun)

This is a tale about a mortal woman who was carried to the heavens by a vine that
coiled itself around her waist. There, she secretly tried to enter the place where
Aponitolau, the Sun, sleeps at night. Upon seeing her, Aponitolau was mesmerized by

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 her radiant beauty, and he later married her. Their son Kanag was born from
Aponibolinayen's little finger when she scratched an itchy spot.
2. BENGUET: The Origin of Rice
This is a story of an old man named Labangan, who went searching for food. In
his quest, he encountered Kabunian who gave him a bad grain of rice; however,
Labangan stole a good one. He planted these until all his people had enough.
3. IFUGAO: Abuwab Tale
This tale is recited during ritual cycles of funerals among the Ifugaos. It tells the
story of Bugan and Wigan who dreamt about a worm afflicting their possessions. It
narrates how Wigan travelled from place to place in order to seek the chief of the
prayer men who could destroy the enemies that caused the worm to afflict their
valuables.
4. KALINGA: Masusujop gwe Magkit (Sleeping Beauty)
This legend features the tragic love story of Banna and Edonsan who were
victims of tribal wars. The latter part of the story relates how the grieving Edonsan
who waited for her husband until her death became the renowned sleeping beauty of
the Kalinga people.
5. MT. PROVINCE: San Nakhab-anan nan Takho (The Origin of Man)
This is a creation story that narrates how man was created and how they became
the ruler of the different places in Bontoc, Mt. Province. It also highlights the
existence of the Supreme God named Lumawig who became the mentor of the first
man and woman.

Selected teachers and indigenous people's leader and elders were also part in the
gathering of information. Four (4) key informants have interviewed: two elders, one retired
teacher at the same time Indigenous People leader (IPMR), and one Junior High School teacher.

Data Gathering Tool

In gathering the data, interview with key informants was undertaken. The key informants
were chosen based on their knowledge of the subject. The key informants include literature
teachers, elders, and indigenous leaders. The interview included six (6) questions related to the
importance of these symbols and archetypes in teaching literature and the promotion of cultural
awareness.

Data Gathering Procedure

The researchers did library works to gather data regarding Cordilleran folk narratives
written in the vernacular language. The symbols and archetypes that repeatedly recur in all of the
selected narratives were collected and examined through content analysis. Letters and consent
forms were sent for the interview of key informants. Key informants who responded in the letter
were the ones the researchers interviewed. The interview was recorded and analyzed.
The key informants were chosen following this inclusion criteria:

For elders:
1. Elders who know the story being discussed
2. Elderly from the province where the story originates

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For teachers:
1. Literature teachers from elementary to high school
2. Cordilleran
3. 5-year experience in teaching literature (any province of Cordillera)

Treatment of Data
The common elements that appeared in all the selections were analyzed and coded
presented through a table. The answers obtained from the interview were used primarily to
address the question on the relevance of incorporating the symbols and archetypes inherent the
Cordilleran literature in teaching literature and in promoting cultural awareness. The suggestions
and ideas of the interviewees were also used to bolster the conclusion presented in the findings of
this research.

The collected folk literature was textually analyzed concerning its symbols and
archetypes.
(Figure 2: Textual/Content Analysis Model)
Cordilleran Folk Literature

Prose Type

Folk Narratives

Symbols Archetypes

Ethical Consideration
The main ethical issue in this research was seen in the manner of documenting the
interview, but the consideration and consent from the key informants reduced this problem.
Aside from that, there were no other ethical issues because the researchers sent letters and form
of informed- consent to the key informants who positively responded and voluntarily approved.
After the interview, the answers were transcribed and sent back to the interviewees for
validation. The researchers also underwent the process of ethical review through the Research
and Development Center (R & DC).

RESULTS AND DISCUSSION

The folk narratives of the different provinces of Cordillera incorporate an amalgamation

of symbols and archetypes that holds significant information on the tradition, culture, beliefs, and
lifeways of the people. This chapter examines these symbolisms and archetypal figures as
manifested in the selected narratives of the Cordilleran literature. It confirms the meaning of
these symbols with that of the proposed theory of Carl Jung. It also undertakes an investigation
and analysis of the significance of these elements in the teaching of literature as well as in the

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promotion of cultural awareness among the Igorots. It uses information derived from interviews,
documentaries, articles, journals, and previous researches as its foundation in expounding the
cultural concepts held within these objects that seemed to be just average at first encounter.

Symbols and Archetypes Inherent in Selected Cordilleran Folk Narratives

Symbols
These symbols were the top five (5) elements that had appeared in either two (2) or three (3)
of the five stories.

A. Fire
The symbol of fire is ubiquitous in all culture. It appears not only on secular stories but
also on Biblical narratives (Protas, n.d.). It holds different meanings according to the context in
which it emerges. In the Cordilleran context, the symbol of the fire was found in the three stories
namely: Aponibolinayen ken Ini-init, Abuwab Tale, San Nakhab-anan Nan Takho. However,
despite its constant recurrence, it still revealed different meanings as manifested in the
aforementioned literary pieces. For example, in the story of Aponibolinayen ken Ini-init of Abra,
the fire was used in two different contexts, yet the meanings disclosed by the two separate events
were still interconnected.
The following excerpt of the story written in the English language lifted from the
compilation of Cole (1916) narrates:
"While he sat on the bank cleaning his catch, he happened to look up toward his house
and was startled to see that it appeared to be on fire. He hurried home, but when he
reached the house he saw that it was not burning at all, and he entered. On his bed, he
beheld what looked like a flame of fire, but upon going closer, he found that it was a
beautiful woman fast asleep (pg. 9)."
In this given context, the fire in the house of the male protagonist- Ini-init refers to
something that seems undiscernible at first. Meanwhile, in the succeeding lines, Aponibolinayen-
the female protagonist initially appeared as a "flame of fire." However, as Ini-init drew closer, he
came to realize that the "flame of fire" is, in reality, a beautiful woman. This "flame of fire" was
used as a symbol for beauty which captivated the heart of Ini-init. The latter part of the story
where Ini-init spent the night thinking who the lovely woman was and his resolution where he
states, "Perhaps it is done by the lovely woman who looks like a flame of fire…….If she comes
again, I will try to catch her" (Cole, 1916, pg. 9) shows that Ini-init was emotionally affected by
Aponibolinayen. The comparison of Aponibolinayen with that of the "flame of fire" holds an
essential meaning in the story as it implicitly discloses the physical attraction that Ini-init has felt
towards the woman. The next event where Ini-init once again saw his house seemingly on fire
lends credence to the assumption that the fire he just saw symbolizes his consciousness of the
existence of the female protagonist.
On the other hand, the Abuwab Tale of Ifugao features a different symbolism for fire. In
the story, as Wigan traveled to Hananga, he saw a fire in the Pangapang mountain. At first, he
believed that the fire is an omen presaging a wrong turn of future events. Thus, the fire, in this
case, was used as a sign for bad luck. However, when Wigan talked to Wigan son of the Star of
the Skyworld, it dawned on him that the fire which he just saw is just nothing but an ordinary fire

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owned by the deity. In the book 106 Ifugao Abu'wab Tales Documented by Frans Lambrecht, C.
I. C. M. from 1932 to 1957, Medina (2001) explains:
"Wigan thought that the fire he saw in the mountain was a bad omen. The Star says that
it is just their ordinary fire that Wigan should not fear. The Star then gives him good
advice to avert the curses that threaten him (pg. 231)."
This excerpt elucidates the mind of the reader that although the hero in the story believed
that the fire is a sign of bad luck, it is later assured to him that the fire he saw do not hold such
superstitious meaning as it is the fire owned by Wigan, son of the Star of the Skyworld. It is clear
then that fire in Ifugao does not merely mean bad luck. Considering the explanation of Medina
(2001), the reader should primarily examine the owner or origin of the fire to recognize whether
or not the element symbolizes bad luck or otherwise.
The last story that also features the symbol of fire is the narrative of Bontoc entitled San
Nakhab-anan Nan Takho. The symbolism of fire among the Bontoc people is entirely different
from the previous stories. In the story, the couple who were both cold and wet saw a fire burning
in the distance. Due to their pitiful condition, the couple viewed the presence of fire as their
hope. In the opposite vantage point, Lumawig – the supreme deity of the Bontoc people and the
great provider of the fire considered the element as his gift towards the couples. Bacwaden
(1997) states:
"Fire was an appropriate gift to bring since it is the symbol of culture. Fire is a gift that
reduces the power that fate and chance have over humans who now have the power to
determine their destiny. Lumawig, as a culture hero, thus led them out of ignorant,
innocent state, and gave them the knowledge and awareness of the responsibility of
civilization (pg.6)."
This statement attests the use of the fire as symbolism for both hope and consciousness.
In the case of the couple, fire as a symbol for hope is evident because its existence can be of
crucial importance to them. The fire in this scenario brings the warmth that can help them
withstand the challenge of being the only survivor of the flood. Similarly, fire as a symbol for
culture and as the material representation of the idea of consciousness led to the concept of
marriage as shown in the myth. As expounded by Bacwaden (1997), the fire figuratively aids
their innocence as mere humans in a sense that they discovered that their union as husband and
wife despite their blood relation is acceptable in the eyes of Lumawig. Thus, the enlightenment
of their consciousness with regards to their responsibility as the only man and only woman left
on earth is all encapsulated in the symbol of fire.
These identified events from the Cordilleran narratives concerning fire as a symbol is of
crucial significance in the examination of the stories using Carl Jung's theory on symbolism.
According to Stevens (1998) and Cirlot (1971), fire in the Jungian symbols has multiple
meanings namely: "Dual aspect: dangerous power; sex or fury, also, the light of consciousness,
keeps unconscious fears at bay" (pg.2). Additionally, Sigmund Freud, the renowned teacher of
Carl Jung considered fire as an "aspect of libido" (Protas, n.d.). With the story Aponibolinayen
ken Ini-init, the "fire" and "flame of fire" mentioned in the story were closely intertwined. The
former signifies the consciousness of the man on the existence of the woman, and the latter
signifies the "beauty" of the woman which eventually drove the man to divert his interest and
attention towards her. According to Edinger (1968), "Interest, attention and drive are all

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expressions of libido." Thus, the universal meaning of fire as "libido" and "light of
consciousness" were all in harmony with the manifested symbolisms in the said narratives.
In the context of the Abu'wab Tale, the initial usage of fire as an omen for bad luck
coincides with the "dangerous power" identified by Carl Jung. The research conducted by Jiang
(2016) proves the existence of such power in the Ifugao belief. In his documented interview with
one of the natives, a son of a late mumbaki quoted, "one personality of God is buluhan, meaning
snake and one of the personalities of God is the dayaban, meaning the flying fire during the
night. Those are dangerous devils. According to the belief, they can eat a person. If they chant
upon you, you die." (Jiang, 2016). Similarly, an elder from Sadangga also attested the negative
meaning attached to this symbol when he stated, "no makitam dagiyay apoy kasla nga madi jay
dalan, mayat jay dalan ngem no magna ka ket ada mapasamak." [If you see fire it means that the
road is risky; the road is good to travel at, but when you persist traveling, something bad will
likely happen to you] (J. Potennec, personal communication, November 26, 2018)." Indeed, fire
as depicted in the tale and as mentioned by the interviewee holds a negative connotation which is
in harmony with that of Carl Jung's.
Similarly, in the Bontoc myth, fire as a symbol not only for hope but also for
consciousness still follows its identified universal meaning. The narratives of Apinibolinayen
ken Ini-init and San Nakhab-anan Nan Takho both highlight the symbolism of fire as
consciousness. Although it appeared in two different circumstances, the concept is still the same.
The similarity on the series of changes in both stories such as the innocence of the main
characters followed by their sudden awareness and enlightenment caused by the appearance of
the fire is not a mere coincidence. The symbol of fire is not only distinct to one particular place
in the Cordillera, but it appears in the multiple narratives found in the different provinces. This
statement then implies that fire as an original symbol among the Igorots corresponds with its
standard meaning as proposed by the famous psychologist- Carl Jung.
B. Pig and Chicken
Animals are also essential symbols in a particular culture and such is the case among the
Cordilleran people. Hannah (2006) states, "…..animals represents [various aspects of] instinct,"
thus, their existence is of vital importance in the promotion of the identity of certain groups of
individuals. Furthermore, Norrgard (2013) quoted, "Animals might show us the path through the
phases of life and the passages from one phase to the next." This idea proves that by analyzing
the meanings embedded in them, a new understanding of the implications of their existence can
be uncovered.
In the Abu'wab tale narrative, Bugan and Wigan were described as a couple having many
pigs and chickens. The tale did not elaborate as to why they have such kind of animals, but it was
repeatedly narrated that after a while, their animals particularly the pig and the chicken increased
in number. The reason why these two animals always go together is attributed to the traditional
rituals that the Cordilleran adheres. Just like chicken, pigs are essential among the Ifugao people
as they are used during rituals or any sacred ceremony (Dumlao, 2018). Their traditional practice
involves offering pigs and chicken wherein elders usually examine the animals' vile (Beyer,
n.d.). This practice of consulting the vile of the animal is also common among the different
provinces. According to Chomayag (Personal communication, November 22, 2018), the fortune
depends on how healthy or unhealthy the vile of the animal is. He further explained that if the
vile is healthy, the person who held a feast will receive good fortune. On the other hand, if the

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vile is unhealthy, the person has to butcher another animal which is either pig or chicken to avoid
bad luck. Only the elders can determine and interpret the condition of the vile.
In the narratives Aponibolinayen ken Ini-init and San Nakhab-anan Nan Takho, either
one of these two animals had also appeared. Thus, the existence of these animals since time
immemorial proves that they have essential roles in the lives of the natives. For example, these
pigs and chickens are used when performing religious rituals or when celebrating sacred feast or
ceremonies. Even up to these times, this tradition is still being practiced hence the demand for
these sacrificial animals. Domoguen (2018) also claims, "Besides foods, pigs and small livestock
are important to traditional rituals and observances." All in all, these culture-rooted extant
practices accredit the important message regarding traditions that these animal symbols hold.
However, the universal symbolism of these animals is entirely different from that of the
given contextual interpretation. These complementary symbols are only peculiar among the
Igorots. In the Jungian symbols, these symbols are to be individually interpreted whereas pig is
an animal that is used as a symbol for transcendence (Jung, 1964) and chicken symbolizes
fertility. Despite the stark difference on the presented interpretation, Alinao who is a retired high
school English teacher and the current IPMR leader of Paracelis, Mountain Province(personal
communication, November 25, 2018) clarifies, "Ti talaga nga sacrificial animals tayo ket manok
ken baboy- [Our acceptable sacrificial animals are chicken and pig]." Even Pottenec (personal
communication, November 26, 2018) asserts, "…Baboy, manok maususar da nga pagdaton;
Haan nga mabalin ti aso-[Pigs and chickens are the ones to be used when we offer; dogs are not
possible]." Indeed, these domestic animals signify culture and tradition because by examining
the words of the elders which are "sacrificial" and "pagdaton" (offering), it clearly shows that
during traditional ceremonies or rituals, the butchering of pigs and chickens is a must.

C. Betel Quid/ Betel Nut

If entities like elements or animals are capable of embodying symbolism, so do plants.
Eynden (2010) asserts, "Cultural values can be found in many daily activities involving plants."
This confirms that plants can evoke or reveal the zeitgeist of past eras since they are attached to
some significant cultural aspect of a particular society. In the Cordillera, the symbolic plant that
had been thriving in this place is the betel nut. The Igorot people have been chewing betel nuts as
part of their social practice. According to the Alcohol and Drug Foundation, chewing betel quid
is a cultural practice prevalent in the regions in South and South East Asia including the Asia
Pacific. This practice is also subliminally intertwined with the folk's customs and religious
practices (2018). The main ingredient of the betel quid which is the betel-nut palm seed thrives
only in tropical and sub-tropical regions, and this gives a plausible explanation as to why this
symbol is not familiar in the western culture. Nonetheless, its inclusion in the narratives as part
of the identified symbols is deemed critical in understanding the Cordilleran people.
It appeared in the narrative Aponibolinayen ken Ini-init. The story narrates that when Ini-
init caught Aponibolinayen, the latter became furious. However, when she was given a betel-nut
to chew, she accepted it then they later introduced their names. In the Abu'wab tale, it was also
described as a critical possession of the couple Bugan and Wigan. When they dreamed of the
worms attacking these along with their other possessions, Wigan went on a quest to seek the
chief prayer who could rectify their dire situation. Indeed, the usage of betel nuts implies a more
profound meaning on the beliefs and practices of the people.
As an example, the scenario where Aponibolinayen had accepted and chewed the betel-
nut offered by Ini-init manifests that behind the habit of chewing and spitting "moma" or betel

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quid is the message of acceptance or friendship. This hidden meaning is confirmed by Alinao
(Personal communication, November 25, 2018) when he explained, "Nu ikkam ti moma in good
relation kayo. Dagiyay agar-arem nga lalaki idi iyaramidan na ti moma jay babae, no inala na
mayaten, a sign of acceptance. Uray met ti daduma nga luglugar ket kasjay. [If you offer a
"moma" to someone, it means you are in good terms. During courtship, the olden people before
used to make a "moma" for the lady that they are courting. If the woman accepted it, it is
tantamount to saying that she also recognized the love of the man, so it is a sign of acceptance.]
Additionally, the natives also considered these betel-nut packages as an essential
possession; wherever they go, they always see to it that they bring with them the complete
"moma" ingredients. Therefore, chewing betel-nut among the Igorot is not only a mere activity of
stocking betel nut, betel- leaves, and slime in one's pocket. Instead, it communicates a symbolic
meaning of strong bond among the different tribes of the Cordillera.

D. Rice Field
The topography of the Cordillera Administrative Region had an immense impact on the
social and economic life of the people. Despite its steep sloping landscape, the early inhabitants
of this place had maximized the land to support their living. Hunting in dense forests, fishing in
the long-winding rivers, tilling flat areas for rice cultivation are just a few examples of the
sources of livelihood of the people. To have sufficient supply for their everyday needs, they have
to think of a better way to produce ample stocks of these productions. However, due to the
geographical condition of the region where rugged terrains dominated the entire place, they had
experienced difficulty in thinking what should be done to maximize the land resources. Then, the
people finally came upon a solution-following the contours of the mountains, they created
terraces of rice fields/ paddies that later became extant up to this era. Thus, these rice fields/
terraces according to Malingan had become the symbol of identity for the people of Cordillera
(2008).
The recurrence of rice & rice field as the source of livelihood and sacred possessions of
Igorots in the stories is already an evidence that these are the legacies of the early ancestors of
the people. However, apart from it is a symbol for identity, rice field is also held as a symbol for
wealth in the economic and social status of the masses (Lozny, 2013). Alinao (Personal
communication, November 25, 2018) emphasized the importance of rice field in the
identification of the social standing of an Igorot individual in the society when he stated, "……
diyay addu ti payao na idi iso ti kuna da nga babaknang idi. Isu ti kuna da nga kadangyan.
Sakop na met ketdi jay pangat jay kasla inala na ti bravery, wealth, power and then dignity. Han
ka agbalin nga pangat no mabisbisin ta; ada ti social classes na [Those who possessed many
rice fields before are considered rich. They are called "Kadangyan." It also symbolizes
leadership which includes bravery, wealth, power, and dignity. You cannot stand as a leader if
you suffer from hunger; thus, the rice field as a symbol is associated with social classes as well.].
Consequently, the absence of a rice field in the list of Jungian symbols and archetypes qualify it
as an original symbol distinct in the region.

Archetypes
The archetypes were stratified accordingly to Human Transformation, Quests, and Sun.

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A. Human Transformation
In this archetype, the character changes appearance and personality, usually for good.
These changes can either be in a physical or mental state that will have a significant effect in the
story.' In the tale Apobolinayen ken Ini-init, the archetype of human transformation can be seen
in the following paragraph lifted from the story:
“So Ini-init came to the ceremony, and as soon as Aponibolinayen and the baby saw him,
they were delighted and ran to meet him. Then the people knew that this was the husband
of Aponibolinayen, and they eagerly waited for him to come up to them. As he drew near,
however, they saw that he did not walk, for he was round, and then they perceived that he
was not a man but a large stone. All her relatives were furious to find that
Aponibolinayen had married a stone; and they compelled her to take off her beads and
her good clothes, for, they said, she must now dress in old clothes and go again to live
with the stone."
"When they reached the town, they were greatly surprised to find that the stone had
become a man, and they chewed the magic betel-nuts to see who he might be."
In this story, a change from a physical state was seen when the protagonist Ini-init
transformed from a stone to a person during their wedding. This can be perceived as something
to do with deception, basing from the story the people adjudge Ini-init as a stone until they
chewed the magic betel nut. The story narrates,
"They sent for the betel-nuts that were covered with gold, and when they had oiled them,
they commanded them to go to all the towns and compel the people to come to the
ceremony. "If anyone refuses to come, grow on his knee," said the people, and the betel-
nuts departed to do as they were bidden."
From the story, one of the strangest powers of these people is their ability to send betel-
nuts on various missions. Whenever there is a ceremony or celebration, nuts covered with gold
are oiled and sent out. These betel nuts go to the intended guest, state their errand, and, if
refused, faced with consequences such as to grow on knee, forehead, or pet pig, until pain or pity
compels the person to accept. The people long ago use thaumaturgy; they communicate with jars,
created human beings with betel nuts and could change their self into other forms (Cole, 1916).
Enough has been said mentioned to show the significance of magic and magical practices as a
part of their lives.
The tale gives a constant sanction to the birth of a child, a woman of these times is
generally preceded by an itching between the fingers, and when this spot is pricked the child
pops out. This is evident from the following lines of the story,
"So they began to prepare for the ceremony, and while they were pounding rice,
Aponibolinayen asked her mother to prick her little finger where it itched, and as she did
so, a beautiful baby boy popped out. The people were very much surprised at this, and
they noticed that every time he was bathed the baby grew very fast so that, in a short
time, he was able to walk."
The motif is on the growth and development of the child who is always magical, for at
each bath its stature increases. In just a few days, the baby tremendously grows and then begins
to wonder and ask about the outside world worthy of the most renowned warriors.

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 In literature, mythology is one of the oldest and profound records used to trace the origin
of humanity's essential spirit and nature. It is the primary language through which a man could
relate to life's mystery based on his/her experiences. The world of myth has its law and reality.
Aside from facts and logical reasoning, a pattern of irrational imagery must be discerned or
studied thoroughly to construct meaning. These patterns are what Carl Jung meant by the
symbolical approaches to myth. Jung describes these archetypes as patterns which embody
powerful images and dynamic behavior that are considered as one of the essential elements to
track the origin of humanity.
Under mythology is the creation where it revolves around the origin of all things in the
world. One example is the creation of a human being that is evident in the story of "San Nakhab-
anan Nan Takho" from the Mt. Province. In this story, archetypes under the category of creation
specifically in Human transformation were identified. First is from a reed to a human being.
Based on the story, Lumawig created human beings out of reeds and ordered these objects to
speak different languages. These reeds who became human beings become the people of
different places in the Mt. Province. This is evident through the following lines of the story:
"Lumawig picked up two pieces of reeds and ordered them to speak. When these two
reeds became human beings and spoke, Lumawig declared them to be the people
ogGuinaang. Another two pieces of reeds were ordered by Lumawig to speak, and they
became the people of Maligcong."
This human transformation archetype is similar to the creation story of Africa which is
entitled "Unkulunkulu; The Amazulo and the other tribes of South Africa." An excerpt is lifted
from the story and narrates:
"Unkulunkulu, Ancient One, is the creator of all that there is. Unkulunkulu was created in
Uhlanga, a huge swamp of reeds. Unkulunkulu is also Umvelinqangi (He who was in the
very beginning, god of thunder and earthquakes). Unkulunkulu came from the reeds and
them he brought forth the people and the cattle. He created everything that is: mountains,
streams, snakes, and cattle. He taught Amazulo how to hunt, how to make fire, and how
to grow food."
The human transformation archetype is also exhibited in the same story. "San Nakhab-
anan Nan Takho" narrates the creation of the human being out of the placenta. In the story, after
the first woman gave birth to her child, Lumawig came and kept the placenta inside a jar and
blew it afterward. Upon doing this process, the placenta eventually became a man. The lines
from the story support the existence of such transformation in the Bontoc context:
"When Lumawig descends on the couple on Mt. Pokis, the woman is already pregnant,
although she has not been with a man. It is the same with Fanayan, the woman who
survives on Mt. Kalawitan. When the woman on Mt. Pokis gives birth, Lumawig turns the
placenta into a baby girl. And when Fanayan gives birth to a baby girl, he turns the
placenta into a baby boy."
These archetypes are recurrent and familiar with creation since people at the beginning of
the world are believed that they originated from different things. Oral traditions and mythologies
have some creation story. It is like humans to wonder about the unknown and look for answers.
At the foundation of every culture is a creation myth that explains the origin of particular

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wonders of the earth, and how they came to be. These myths have an immense influence on
people's frame of reference. They influence how the way people think about the world and
concerning their surroundings by numerous geographical barriers many cultures have developed
creation myths with the same essential elements.
Another narrative that presents the archetype of human transformation is seen in the
story, "Masusujop Gwe Magkit." This folkloric have been passed on for several generations. The
tale is one of the most popular stories sang in the native ballad called Ullalim. Legend tells that
the sleeping beauty is the image of a woman who died while waiting for her husband caught in a
tribal war. The tale has different versions depending on the tribe it came from, the name of the
protagonists are different, but with only slight variation in the story. From the story, the human
transformation can be seen in the succeeding lines:
"Edonsan, on the other hand, waited and waited...and waited. But there was no Banna to
take her home. She was weak from weariness and heartache. She had no desire to live
without her Banna.
When it was evident that Banna was not coming for her, she slowly crumpled to the grass
matted forest and wept uncontrollably. Tears flowed down from her cheeks as she grew
weaker and weaker and the tears flowed more and more copiously.
Night came, and Banna had not returned yet, and Edonsan had grown weak with grief
and fatigue, her breath slowly coming out in gasps until she closed her eyes and breathed
her last.
On the spot where her body was laid to rest, sprang two waterfalls which are believed to
be the tears of Edonsan."
In the story, human transformation can be seen when the tears of the female protagonist,
Edonsan, became waterfalls. Quite as easy as the creation of other things is the causing of death.
According to Buchholtz (2002), there is a healing power of tears. In the fairy tale, "Tangled,"
Rapunzel's salty tears wash over her husband`s blinded eyes, curing him, restoring his sight.
However, in the story of Banna and Edonsan, tears were not used as healing powers instead of a
creation of ‘nothing to something.' The tear of Edonsan is due to loss and sadness and on their
connection to the neglected, dark wellspring of emotions in their arid lives.
B. Quest
Next to the archetypes of human transformation is the archetype on the quest. According
to Carl Jung (1917), this archetype is where the hero/ character must accomplish to bring fertility
back to wasteland, usually a search for some talisman, which will restore peace, order, and
normalcy to a troubled land. An additional thing to include in this archetype is the quest or
journey to search for love. In the folk narrative of Ifugao entitled, ‘Abuwab Tale,' the protagonist
Wigan went to search for the chief of prayer men:
"The next day, Wigan says: "I am going to gather our saviors." Wigan goes to the grass
places, to the house of Matep, and asks: "Where is he who knows powerful
prayers?"Matep says: "He is not here."Wigan says: "Let me just find him. Wigan goes to
Bunyihan and asks: "Where is he who knows powerful prayers?"Galunugon of Bunyihan
says: "No one here knows powerful prayers." Wigan goes to Hakmal to the house of

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 Bangibang and asks: "Where is he who knows powerful prayers?"Bangibang says: "No
one here knows powerful prayers."
In the story, Wigan and Bugan dreamed about worms attacking the rice wine, the
betelnuts, the chewing leaves, the lime and hapag of the people. These worms were caused to be
brought by their enemies- the Liyangs, the Pulaws, the Hagaols, and the Amakiws. When
examining various cultural myths, one archetype keeps recurring- the image of the quest. This
archetype functions with different mythologies as a method of learning about the world. A
similar event also happened in the book of Daniel in the bible. Dreams were thought to be the
visions of future events. Those dreams are the representation of omen coming- either good or
bad. As explained by Klein (2011), insects are diverse, resourceful, and resilient, serving as
symbols of everything from pestilence and evil. He further added that these insects pollinate or
devour crops, contribute to, obliterate or vector disease. As proposed by Revonsuo (2000),
dreams might affect the simulate threats and allow us to rehearse threat avoidance. In the case of
the story the character quest for a journey hoping to find the chief of prayers- seeking maybe for
advice or how to solve the dilemma. According to Horne (1988), dreams may help to organize
our thoughts, solve emotional or intellectual problems, or to act as a "cinema of the mind," which
then can be perceived as the search for the function of dreaming and the meaning of dreams
occupy traditional beliefs.
The same quest archetype can be seen from the Kalinga story of "Masusujop Gwe
Magkit." As the story narrates:
"Ullalim was the official means of communication then, so they sang as they talked.
Banna too had a strong, masculine voice and it was apparent he could sing well. In his
ullalim, Banna revealed his search for a wife. Dongdongan introduced him to her
daughter, Edonsan, who readily accepted Banna's handshake."
In books like “The Hero with a Thousand Faces,” The Power of Myth,” and “The Inner
Reaches of Outer Space,” Campbell (2004) reported on the digests he found while comparing the
myths and legends of many cultures. The same metaphor on the hero`s journey can be seen on
the story “Masusujop Gwe Magkit” which calls on the all-embracing the inner journey of
transformation that heroes on every time and place seem to share. After the path that leads in the
great movements of separation comes the call or the search for love that pays off the tests and
ordeals.
C. Sun
The archetypal symbol for sun can be found in all cultures throughout history. It is
considered by most people as a cosmic power which emblazes upon countless artifacts and
writings. In ancient Chinese culture, they recognized the sun as the great male principle. Also, it
is personified as a cosmic eye viewing out upon its dominion during the day. Similar to Hindu
mythology, the sun resonates with male energy in most of their culture. These symbols for the
sun are shared with the underlying archetypal meaning of sun in the cordilleran story entitled
"Aponibolinayen ken Ini-init" from the province of Abra. In the story, the sun is the male
protagonist named "Ini-init" who has to shine bright and give light to the world during the
daytime. As the story narrates,

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 "Now the owner of this house was Ini-init, the Sun, but he was never at home in the
daylight, for it was his duty to shine in the sky and give light to all the world. At the close
of the day when the Big Star took his place in the sky to shine through the night, Ini-init
returned to his house, but early the next morning he was always off again."
In here, one can derive that the sun portrays a masculine figure for it was played by a
male character in the story. It symbolizes power and the domineering attitude of a man. In most
of the patriarchal cultures, the sun's purposeful energy is valued above all other archetypes. Its
radiant outpouring can shrivel and scorch delicate earthly life.
Archetypes were a concept that models people, behaviors, or personalities. These
archetypes represent universal patterns and images that are part of the collective unconscious.
Carl Jung meant here witnessing the transformation archetype, which is the rite of passage, of a
stone to a person in a ceremony such as a wedding. This archetype is a symbolic enchantment
timed with significant life changes for both individuals' entire groups. The person must first be
taken out of the familiar environment, directed through an often traumatic situation of trials and
challenges and then brought back to be incorporated into the social group with a new, more
mature role, with a psyche- physical or mental- that has been formed. According to Carl Jung
(1917), this archetype is a deposit of the continuously recurring experiences of humankind which
are grounded in the peculiarities of the living organism itself and therefore expresses a nature of
life.
There are also certain images that recur in myths and other genres of literature. They
often have ordinary meaning tend to elicit comparable psychological responses and to serve
similar cultural functions. As explained by Boeree (1997), one recurrent archetype is the child
who is being represented in mythology and art. He also added that the child archetype often
blends with other archetypes to form the child-god or the child-hero. This archetype sometimes
symbolizes the cycle- death, and rebirth- and in different cultures signifies future. Jung has
opened the eyes to the differences between child development and adult development. The
precocious infant clearly emphasizes differentiation- separating one thing to form another.
The dominant archetype in Jung is the ‘Self,' the image of wholeness on individuation.
Since the goal of this archetype is harmony, it undertakes the archetypal quest to achieve syzygy-
the fulfillment of unity and balance. Jung comprehends that the myths of other culture highlight
the Self's quest for completeness. As explained by Campbell (2004) in “The Hero with a
Thousand Faces,” this is the monomyth- the departure, initiation, and return of the hero who
finds completeness and wholeness during the quest. All stories consist of common structural
elements of stages found universally in myths, fairy tales, dreams, and movies. In the storyline of
“Abuwab Tales” and “Masusujop Gwe Magkit,” it allows the spectator to take shared
expectations and get a better sense of the story and focus on the values of the hero`s journey.
On the other hand, Christian culture considered the sun as a symbol of Christ or Christ-
like-attributes. As a comparison, from the Abra folktale "Aponibolinayen and the Sun," Ini-init
shines brightly and provides light for his people, as the same with Christ. In addition to this,
some other culture, view the sun as their gods and goddesses since the sun was the first thing that
the people praise before the moon. According to Carl Jung (1979), archetypes reside in the level
of our unconscious state of mind that is familiar to all human beings known as the collective
unconscious. These archetypes are recurrent in all of these stories that are supported by the
culture existence and the study of literature.

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 Below are the tables summarizing the symbols and archetypes that repeatedly recur in the
five selected narratives that the researchers had chosen to study:
(Figure 3: Symbols and archetypes)
Symbols in Selected Cordilleran Folk Narratives
Symbols Vernacular Symbolism Symbolism according
Language according to context to Carl Jung
Element Symbols Apey -bad luck (Ifugao) -Libido
Fire -beauty (Abra) -Dangerous power
- hope (Mt. Province) -Light of consciousness

Animal Symbols
Pig Futog/ ba’buy Culture/ Tradition -transcendence
Chicken Manok Culture/ Tradition -fertility

Other Symbols
Betel quids Mo’ma Acceptance/ ___________
Friendship/ritual

Rice & Rice field Bekhas, Pad’jo Prosperity/ abundance ___________

Wealth & livelihood
Cordilleran identity

Archetypes in Selected Cordilleran Folk Narratives

Archetypes Symbolism according to Meaning according to Carl Jung
Context
Human Transformation Physical Transformation:

Stone to a person Trickster Character’s physical appearances

changes for either the better or
worse.
From reeds to a person Distribution of ethnicity It is caused by magic, natural cause
Placenta to a person creation and etc.

Tears of a woman became Anguish The character suffers an unhealable

waterfalls wound, sometimes an emotional or
spiritual wound

Precocious infant faster in Growth and development When a boy is keen to learn about
every bath the world
Curiosity and wonder
Quest
Wigan search for the chief The journey sends the character in

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of the prayer men Trial search of some truth that will help
save the kingdom.
Banna travelled to search The search for love
for a wife. Fulfilment

Sun Light Enlightenment, creativity, energy,

spiritual wisdom, and passage of
time or life

Light usually suggests hope,

renewal, or intellectual, illumination

The relevance of Incorporating Cordilleran Symbols and Archetypes in Teaching

Literature
Transports abstract cultural concept to something concrete
Panayo, a Junior high school teacher (Personal Communication, November 26, 2018)
explains, "The symbols and archetypes represent the collective hopes, dreams, anxieties, and
fears of the Cordillerans. Some symbols and archetypes are born out of the people's habits,
practices, and traditions." Considering that symbols and archetypes are the agents that transport
the cultural concepts and the abstract thoughts of the people, incorporating them in the teaching
of literature will lead to the recognition of the Cordilleran significant traditions and practices.
According to Alinao(Personal communication, November 24, 2018), the inclusion of these
elements will benefit both the natives and the non-natives. He explained that when teachers
continuously use them as they teach literature subjects, the Cordilleran culture and practices will
be retained. On the other hand, the non-natives can also benefit from it because as they encounter
them in their daily study, they will become accustomed to the lifeways of the Cordilleran people
(Personal communication, November 27, 2018). In other words, the incorporation of these
typical patterns and symbolical elements can be a great way to introduce and even accentuate the
customs and beliefs of the people.
Besides, when the Cordilleran symbols such as the betel nuts, pigs, chickens, and rice
field will be introduced as essential concepts in a particular story, Alinao (Personal
communication, November 24, 2018) confirmed that the students would readily understand the
literature being discussed. He quoted, "….no adda ti prior knowledge na ijay, kasla marecall na
jay maisuro" (if the student has prior knowledge on the Cordilleran symbols and archetypes, he
can recall the symbolism and connect it to what is being taught). This is as per the "collective
unconscious" of the Jungian theory wherein if a student had encountered such symbols and
archetypes; they will experience the feeling of déjà vu. Thus, they can easily make a connection
on what they read (Texas Education Agency, n.d.). To illustrate, if the student encounters the
word gong while reading the story of Sleeping Beauty, the image of events where a gong has
been played sometime in his past might appear in his memory. He will then analyze the situation
as to why the gong was used in the story and not the other symbols. At this point already, he
becomes involved in critical thinking where he will try to recall and even search as to how and
when gongs were used during the olden times. In this case, another relevance of using symbols

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and archetypes in teaching literature is it instigates them to think critically, and it will spark their
interest in learning (Texas Education Agency, n.d.).
A vehicle in discovering the unknown
Lu (2012) views archetypes as the carrier of the cumulative history of the humankind.
Meanwhile, Pietikainen (1998) argues that symbols are the manifestation of the social context in
which they emerge. These assertions emphasize that symbols and archetypes also lead to the
discovery of a lost history. Panayo (Personal communication, November 26, 2018) certified the
veracity of these claims when she explained that understanding the Cordilleran literature through
its symbols and archetypes is also tantamount to unpacking the psyche of the Cordilleran people.
The history of the Cordilleran people is not comprehensively discussed in most history books
(Florendo, 2001); if there is any, it is usually incomplete and even distorted. However, through
the study of the Cordilleran symbols and archetypes, both the unknown and subdued history of
the Igorot people will be brought to light. Thus, since these symbols and archetypes hold the
zeitgeist of the ancient past, the history of the people will never fade into oblivion. As people
examine them, they will become cognizant not only of their past and but also of the events in
bygone days.
On a different perspective, Alinao (Personal communication, November 24, 2018)
expounds the significance of these elements in the discovery of the interesting unknown facts.
He reiterates that some people are not privileged enough to travel to different places because
they probably do not have the means to travel and widen their horizons. In this case, the study of
the Cordilleran literature and the examination of the literary elements embedded in their lines
will bring hope to these people. He states, “It pays nga maamuan da met laeng dagijay what is
unknown to them nga within the Cordillerans.” [It pays that the people will become
knowledgeable on the unknown facts regarding the Cordillerans.] He further agrees that since
students study Afro-Asian literature, Philippine literature, and other Western literature, they
should also study Cordilleran literature. This is indeed true because as Pottenec (Personal
communication, November 25, 2018) have asserted, the Cordillera region is comprised of the
different province, and the people have different practices, beliefs, and lifeways. It is only
through the study of the various Cordilleran narratives that one can understand the hopes and
dreams of their neighboring tribes.
Without a doubt, the Cordilleran indigenous narratives were enriched with multiple
symbols and archetypes. The moods and feelings attached to these can only be understood
through an educational inquisition of the identified elements of stories. As claimed by Potennec
who states, "Han mo maamuan no awan mangibaga" [You will never know unless someone will
inform you], the students will never comprehend any implicit theme of cultural knowledge if
teachers will not present a thorough analysis on these symbols. Nevertheless, the incorporation
of these elements in the classroom requires utmost care. This is because as the Poet Laureate
Stanley Kunitz has stated, " Old myths, old gods, old heroes have never died. They are only
sleeping at the bottom of our mind, waiting for our call. We have need for them. They represent
the wisdom of our race." This connotes that because the symbols and archetypes are
representations of the identity of the people, teachers should see to it that they will teach the
precise meanings of the symbols and archetypes. Thus, as Alinao has suggested, "……Usually,
dapat the teacher is from that place. At least ladta ket nearest to perfection jay meaning na.”
(The teacher must be from that place so that at least the meanings that they will relate to the
students are the explanations that are nearest to perfection if not, accurate.]

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The relevance of Incorporating Cordilleran Symbols and Archetypes in Promoting
Cultural Awareness
Helps retain a dying culture
The Union of International Associations (2001) identifies cultural invasion as an
international problem that is already widespread. It explains that the colonization and political
domination of powerful countries instigates the impingement of the cultural heritage of the
dominated country. This condition is undoubtedly linked with the current status of the Cordillera
region. For the elders, the extinction of the Cordilleran culture is their greatest fear. Alinao
(personal communication, November 25, 2018) comments, "Habang maiyap apan ti tiyempo ket
maiyaw awan ti kaugalian tayo pati uubing tatta ket kayat da western culture. Isu nga dakami
tatta nga elders agparigat kami mang-isuro ken dagitoy uubing nga mang iretain kadagitoy nga
practices." [Over time, our traditional practices slowly fade because kids nowadays are more
inclined or responsive to western culture. Hence, elders like us are having a hard time to teach
these kids to retain our practices.] Therefore, the inclination of the young generation towards
foreign culture such as K-Pop impedes the desire of the elders to teach them their cultural
heritage.
Also, Panayo (Personal communication, November 26, 2018) agreed that even
contemporary Cordilleran authors do not even incorporate the traditional symbols and archetypes
in their writings. She narrates, "Some Cordilleran authors I stumble upon do not talk about these
archetypes. They focus more on the modern landscape and the Cordilleran place in the urban
scene." Thus, she concluded that in this 21st century where cosmopolitan beliefs are gaining
traction, the challenge for the local and indigenous is to defy the test of time.
The deviation of the people from their traditional beliefs to universal belief is attributed
to the spread of Christianity. Pottenec (Personal communication, November 26, 2018) expresses,
"Idi gamin, awan ti simbaan, Kabunian lang, tatta nga ada simbaan nadadael en ti ug-ugali."
[Churches do not exist during the olden times; we only worship Kabunian. With the spread of
Christianity, our traditional beliefs and practices became doomed.] It is clear then that with the
penetration and dominance of Christian culture, ancient culture is also destined to fade into
oblivion. Nonetheless, hope still glimmers despite this impending doom. Ramya (2012) affirms:
"The people's indigenous religious practices is coherently and comprehensively expressed in
their oral traditions in the form of myths, legends, folklore, folktales and performing arts that is
passed on from generation to generation by word of mouth by priests and shamans."
This shows that even if the ancient culture, beliefs, and practices of the Cordillerans are
becoming extinct, it can still be retained. The Cordilleran folklore serves as the storehouse of
Cordilleran culture. The symbols and archetypes found in the folklore also help as the DNA that
identifies the indigenous beliefs, practices, and values of the old Igorots at the same time they
serve as a bridge that connects the millennials to their ancestors. The link between the folklore
and the symbols and archetypes implies that schools play a vital role in promoting cultural
awareness. Since symbols and archetypes provoke or stimulate the emotions of the reader, the
constant incorporation of these elements in the study of literature will eventually allow the
students to become familiar with the meanings that these elements enfold. Alinao (Personal
communication, November 24, 2018) stresses that the mere discussion of the implications of
these literary devices will create a cultural context in the mind of the students. As teachers
continue to expose the students to cultural narratives through the Indigenous Peoples Education
(IPED) program mandated by the Department of Education-Cordillera Administrative Region
(Dep-Ed- CAR), they will become aware of the Cordilleran culture.

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 Modernization also plays a role in the obscurity of the Cordilleran culture. Botangen,
Vodanovich, & Yu (2017) claimed that assimilation into the current and premier culture,
exposure to the mass media culture, and inclination to modern technologies challenge the
perpetuation of indigenous culture. They explained that these conditions replace, bury, or
overwhelm the traditional practices and beliefs of the people. Moreover, Panayo (Personal
Communication, November 26, 2018) comments, “Some Cordilleran rituals have evolved in a
way that is Christian and modern- perhaps due to practicality (e.g. reduction of number of pigs
butchered in a particular festivity), acceptability (due to religion), and loss of older men and
women who initiate certain rituals (Some younger ones pursue education in urban communities
which may lead to each of interest in the culture.).” Nevertheless, this challenge of modernity
can be contended with the modernity itself.
Panayo (Personal Communication, November 26, 2018) addresses the issue of
modernization when she states, “The media-especially social media- is a powerful tool on
informing the younger generations about these cultural archetypes. Some of my relatives in the
province of cultural practices (including artifacts) back home and I think these videos are
important in catching millennials, post-millennials if the videos are viral.” Even Alinao (Personal
communication, November, 24, 2018) explains that modern technologies such as the internet,
cellphones, can serve as tool in communicating the Cordilleran indigenous knowledge. For
example, a person may feature the Cordilleran folk narratives through video blogs (vlog); others
may also present the symbols and archetypes found in these narratives through personal
websites. Therefore, these socially sanctioned outlets of expression such as YouTube and
Facebook can leverage the revival of the Cordilleran culture.

Allows youth to make a sound decision as to what belief or practice to adhere

The symbols and archetypes in Cordilleran folk narratives are the papers where the
ancient indigenous cultures of the people were all carved. Potennec (Personal communication,
November 25, 2018) stresses, "No awan ti simbolo awan ti tradisyon, no awan tradisyon awan ti
simbolo" [There's no symbol without tradition, there's no tradition without a symbol.]. As a
result, Chomayag (Personal communication, November 25, 2018) concludes, "Masapul nga
maisuru dagitoy kadagiti ubbing tapnu tun-tunen da ti nagapuan da ken tapnu ammo da ti suruten
da." [The symbols and archetypes should be taught to the younger generations so that they can
also trace their origin and they can choose which practices to adhere.]. The word "nagapuan"
which means "origin" is an ambiguous word that holds multiple meanings. In the given context,
it does not necessarily mean the ancestral bloodline; rather it refers to the ancient cultural
practices of the Igorot people. When asked on the importance of symbols and archetypes in
promoting cultural awareness, Alinao (personal communication, November 24, 2018) testifies,
"Agree ak met piman ta dagitoy ket importante, when there is a sound of gong there is a sound of
meat. Ada ti kayat na nga i-emphasize kadagitoy practices tayo." [I agree that the Cordilleran
symbols and archetypes are essential. For example, when there is a sound of a gong, there is a
sound of meat. In short, these symbols and archetypes are emphasizing something with regards
to our practices.]. In this regard, cultural awareness of the Igorot values, beliefs, and perception
can be realized if the basic Cordilleran symbols and archetypes will be incorporated in the
education of the students.
The Cordilleran symbols and archetypes also feature the ancient belief and practices of
the people. Each province has distinct practices that are different from the other. Alinao

Page | 22
(Personal communication, November 24, 2018) exemplifies, “…..kasla kuma ti Kalinga ken ti
practices da,adayu a nu i-compare mu kadatayu. Kasla iti panag-entertain iti bisita: ditoy ayan
tayu, haan da nga kayat nga nu bumisita da ti tao, haan da nga kayat nga inka makipangan ti
sabali nga balay ta kasla disrespect kadatayu dijay. Ngem nu iti Kalinga, apan ka
makipangapangan ti sabali nga balay ta tanu manen haan mu nga ramanan ti i-offer da, madi
manen kanyada isu nga nu panggep ijay nga banag, adayu ti diferensiya da. Iti met ketdi
practice ti Cordillerans nga respect to visitors, masapul nga nu binisitam ti tao ket bastante ti
isangum kanyada, nu mabalin haan nga mabitin. Then, nu mabalin, adda ti give away tayu
numagawid da.” [The practice of Kalinga is very different from us. When it comes to
entertaining of visitors, we don’t want our visitors to eat in the other houses because this is like
disrespect to us. However, in Kalinga, you also have to go and eat the food offered in all the
houses because if you refuse, your action has a negative connotation for them. When it comes to
our Cordilleran practice of respecting our visitors, we have similarities. We need to be generous
to them. They should be well- provided with everything. Also, if they go home, we have to give
them give away.]
When it comes to cultural belief, the selected folk narratives also manifest the distinct
views of each province. For example in the legend San Nakhab-anan nan takho, the people are
monotheistic as shown by their faith to their God Lumawig. On the other hand, the Abuwab tale
of Ifugao features the existence of multiple Gods and Goddesses such as the “Earthquake of the
Underworld,” “Thunderer of the Skyworld” “Diety Giving- Growth of the Underworld” and
many more. The study on the significant differences both in Cordilleran beliefs and practices will
allow the students to compare and contrast and even weigh the advantages and disadvantages of
these thus giving them the opportunity to use their critical thinking in deciding which practice of
belief they are going to follow.

CONCLUSION AND RECOMMENDATION

This chapter presents research work undertaken, the conclusions drawn and the
recommendation made as an outgrowth of this study.
Conclusions:
Based on the results of the study, the following conclusions are drawn:

1. The symbols and archetypes inherent in the selected Cordilleran folk narratives hold a
significant meaning that reveal the norms, cultures, and beliefs of the Igorot people.
Behind these symbols and archetypes is an etiological explanation that describes and
reflects the origin and history of the Igorots concerning their culture and tradition.

2. These symbols and archetypes are authentic tools and instruments that help enlighten the
21st-century individuals to understand the context behind Cordilleran stories by making it
a part of schools curriculum.

3. The different folk narratives examined exhibit the hopes, project the individuality and
sensitivity of the ancient people; thus, these folk narratives can be a great start to preserve,
appreciate and utilize these materials with regards to Cordilleran culture.

Page | 23
Recommendations
Based on the aforementioned findings and conclusions, the researchers suggest the
following recommendations:

1. The folk narratives of the different provinces in the Cordilleran should be collated and
compiled to be used in the educational field.

2. The schools specifically the institutions with the Cordillera region should include the
Cordilleran literature as supplementary materials in teaching literature in the Junior High
School order to raise awareness on the Cordilleran culture, practices, and traditions.

3. A tremendous research focusing on Cordilleran folk narratives should be undertaken to

explore not only the inherent symbols and archetypes but also the other themes and
images distinct to each province.

4. Further research should be initiated to bring limelight to the other symbols and archetypes
inherent in other folk narratives that were not explored.

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