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July 2014 M T W T F S S « Jun 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
- "Oh. Um. Well you know when you're holding a hot cup of coffee and you realize you're going to sneeze? That's how I feel." ~ Ella (Imagine Me & You, 2005)
MGA HALIMBAWA NG KATUTUBONG LARONG PILIPINO:
1. Luksong Tinik – gamit ang mga paa at kamay ng dalawang manlalaro, pagdudugtung-dugtungin nila ang mga ito na para bang gagawa ng bakod na siya namang lulundagin ng isa pa nilang kalaro. Kailangang hindi sasabit ang kahit anong parte ng katawan ng lulundag dahil kung hindi ay magiging taya siya. Maaari rin namang gumulong siya kapag nagkamali ng lundag. Susubsob ang mukha sa lupa at sisirit ang dugo. Ang saya!
2. Luksong Baka – ang taya ay siyang yuyuko na gagayahin ang itsura ng baka. Lulundagan naman siya ng mga nang-aatsoy sa kanya. Kailangang matibay ang mga buto ng siyang magiging baka dahil iba-iba ang pisikal na anyo ng mga tatalon sa kanya. Suwerte mo kung singbigat lang ng tissue paper ang tatalon sa yo dala na rin ng kakulangan sa nutrisyon pero kung singtaba ni Dabyana ang tatalon sa yo, siguraduhing may nakahandang ambulansya o hindi namay’y albularyo na syang manghihilot sa posibleng maging pilay mo.
3. Langit Lupa – habulang laro na kung saan, para makaligtas ka sa taya na siyang huhuli sa yo, kailangan mong maghanap ng isang mataas na bagay na siyang magsisilbin’g “langit”. Pero di ka pwedeng manatili habang buhay sa “langit” mo dahil kailangan mo ring humanap ng pwesto pagkatapos. At ang taya naman, bawal ang bantay sarado dahil tiyak na kakantahan ka ng “Bantay Suka, Doble Taya!”
4. Tumbang Preso – isang lata ang ipupwesto ng taya na siya nyang babantayan para hindi mapatumba ng mga nagbabalagoong sa kanya. Kapag nakatayo ang lata, maaari syang manaya ng mga manlalarong wala sa base. Pero sa oras na mapatumba ang lata gamit ang mga tsinelas na syang hinahagis ng mga manlalaro, kailangan nya itong itayo bago sya manaya. Iwasan lamang ang lata dahil maari itong tumama sa iyong pagmumukha at pagsimula ng pamamaga.
5. Patintero – tinatawag ding “harang-harang” dahil wala kang ibang gagawin kundi harangin ang mga magnanais makapasok. Maaring laruin ng tatlo hanggang limang manlalaro sa bawat koponan. Kailangan munang gumuhit ng dalawa o apat na parisukat dipende sa dami ng manlalaro sa bawat kuponan bago simulan ang laro. Ang bawat kalahok ng isang kupunan ay tatayo sa likod ng mga linyang ginuhit. Ang taya na nakatayo sa linya sa gitna ay maaring tumawid sa mga iba pang linyang ginuhit kaya’t napapadali ang pagkakataon na mahuhuli ang kalahok ng kabilang grupo. Dapat makatawid at makabalik ang mga kalahok ng kabilang grupo na hindi nahuhuli ng tayang grupo. Kapag mayroong nakatawid at nakabalik sa kupunan na hindi nahuhuli ng mga taya ay madaragdagan ng puntos ang kanyang kupunan. Ang mga tumatakbo naman ang magiging tayakung sakaling mayroon isa sa kanila ang mahuli ng kabilang kupunan. Ang unang kupunan na makakuha sa pinagusapang dami ng puntos ay siyang magwawagi.
Akala ng marami, naglaho na ang mga Larong Pinoy sa panahong ito. Ngunit alam nyo ba na buhay na buhay ang mga Larong Pinoy sa buong Pilipinas? At naglaho lang pala ito sa paningin ng iilan?
Sa tutoo lang, di naman talaga nawala ang mga larong Pinoy, gaya ng madalas na sinasabi ng iba na “Nawala” na raw ang mga laro. Maniwala kayo… Buhay na buhay ang mga laro sa maraming lugar na pinuntahan ng Magna Kultura.
“Namatay” lang naman ito sa iilan — doon sa mga nasa “upper class” na sa ngayon ay puro malls at computer ang libangan. Pero doon sa mga lugar na kung saan ay walang computer ang mga mamamayan — buhay ang mga laro — Larong Kalye ang libangan ng mga bata. Yung mga lugar na pag nagawi ka sa mga kalye nila, ang hirap dumaan dahil parang may “factory ng mga bata doon”. Anong ginagawa ng mga bata? Aba, e di naglalaro sa kalye. Yun bang akala mo ay tila may fiesta —araw araw!
Kaya sa mga nagsasabing napag-iwanan na daw ang larong Pinoy… di totoo yun. Ang totoo ay iniwan na nila ang mga laro dahil sa mga magkabagong laruan nila — gaya ng computer, high tech na laruan, at mga DVD. At di na rin sila lumalabas sa mga bahay nila dahil doon. Bihira na sila nakikipag-laro sa mga bata sa kapit-bahay. Wala na rin silang “kababata” — ang mayroon na lang ay “Friendster” at “Pet Society” — puro virtual.
Ang isang dahilan din kaya medyo nawawala ang mga laro ay dahilang walang mga nagtatatag ng mga palaro sa eskuwela man o sa barangay. Pagkatapos ng sampung taong gulang, ang mga kabataan ay walang choice kungdi sumasali na sa mga liga na ino-organisa sa paaralan at barangay. At kadalasan, ang mga sports na ino-organisa ay basketball o volleyball. Kaya pag lumaki na ang bata, ang larong Pinoy ay napapag-iwanan sa kalye.
Ok lang naman mag-Western sports, gaya ng basketball, volleyball… o kahit na skateboard o touch ball… pero, ituro din natin ang mga laro ng lahi sa bagong kabataan. Pag natutunan nila yan, at minsan nilang laruin — tiyak na habang buhay na nila tataglayin ang alaala nila. At kahit papaano’y masasabi nilang, “nilaro ko rin yan”.
Ituro natin ang mga Larong Pinoy sa bagong kabataan. Maganda itong gamiting paraan upang ipamahagi sa kanilang katauhan kung papaano maging tunay na Pinoy. Maganda rin ito paraan upang magkaroon sila ng “bonding” sa kanilang mga tito at tita, lolo at lola — mapapag-kuwentuhan nila ito. At lalo namang magandang paraan ito para magkaroon sila ng “physical activity” at mga kababata sa kapit-bahay — sisigla na sila, mabubuhay pa ang komunidad sa kasiyahan ng mga naglalarong bata.
Buhayin natin ang mga Larong Pinoy. Ito ay kayamanan ng ating lahi.
Ang Magna Kultura ay patuloy na nagtatatag ng mga “sports clinic” ng Larong Pinoy sa mga paaralan at sa mga Barangay.
Para makita ang mga larong Pinoy na nagaganap sa mga barangay, bisitahin ang LARONG PINOY HOMEPAGE @http://palarongpinoy.multiply.com.
“Eskwelaro” kung tawagin ang sports training. Tinuturo ang lahat ng mga laro sa mga bata, mula parintero, tumbang preso, siyato, luksong tnik, piko, sipa, trumpo, holen, saranggola —- at may mahigit apat-na-pung (40) uri ng mga laro. Ang dami! At kasing husay din ng mga pandaigdigang (Olympics) na palaro.
Ang kulang lang naman talaga ay “infrastractura” —- mga tournament, sports clinic, at pati paninda ng laruang Pinoy. Ito ang ino-organisa ng Magna Kultura: mga palaro, Eskwelaro, at pati livelihood upang ibenta ng mga sari-sari store ulit ang mga laruang Pinoy.
Buhay na buhay ang mga Larong Pinoy sa masang Pinoy. Sa mga lugar na walang kompyuter ang kapit-bahayan. Simpleng paraan, na di magastos, nakakapaglaro pa rin silang lahat.
LARO NG LAHI (Filipino Indigenous Games)
The term �Laro ng Lahi� (Filipino Indigenous Games) had been popularized by the Samahang Makasining(Artist Club), Inc. The word “Laro ng Lahi” was conceptualized by the group and it was the first act to preserve the Filipino indigenous games like (syatong, patintero or harangtaga, taguan pong, dama, lusalos, holen butas, tumbang preso and others).
In 2001, the Samahang Makasining(Artist Club), Inc. made a proposal to National Commission for Culture and the Arts (NCCA) entitled �Laro ng Lahi� to support and subsidize the three day- actual playing of selected Filipino games. Actual playing of it, is one of the strategies of SM(AC)I to preserve these indigenous games.
Now, �Laro ng Lahi� is popular with the help of NCCA and being used by the other Philippine Local Government Unit, other organizations and other institution. Imparting of these Filipino games to the youth is one of the main objectives of the organization.
LARO NG LAHI
|LISTAHAN NG MGA LARO|
|Play Now online|
|SULYAP SA SINING 2003
Funded by National Commission for Culture and the Arts (NCCA)
Ang sagot sa ilang problemang paglalaho ng kulturang Pilipino ay ang paggunita at aktong paggawa ng mga ito. Ang katutubong laro ay maituturing na palatandaan ng isang lahi, kung kaya�t dapat na balikan, pangalagaan sa pamamagitan ng aktong paglalaro, pagpipinta at pagsusulat.
Ang ilang katutubong laro ay halos hindi na alam sa kasalukuyang panahon. Ilan dito ay ang Piko, Tansing, Putupong, Sundutan sa puno, Siring bulding, Lupa�t langit, Tumbang preso, Harantagang bilog, Siyatong, Holen Butas at Lusalos. Isinama rin ang ilang kilalang mga laro tulad ng Patintero at Dama upang mas maging masaya at makayang laruin ng ilan na hindi alam ang mga lumang laro.
Ang laro ng bawat lipi ay pagkakakilanlan ng isang pagkatao at pagkabansa. Humuhubog rin ito ng isang masining na kaisipan at masining na damdamin. Paghubog sa pag-uugali at paghahanda sa mga susunod pang mga karanasan ng pagiging propesyonal ay dulot rin ng kabataang paglalaro.
Ang proyekto ay pinamahalaan ng mga masisipag na pamunuan at miyembro ng Samahang Makasining (Artist Club) Inc., sa tulong na rin ng iba�t ibang sangay ng samahan. Ang mga namahala sa gayong gawain ay may sapat na kakayahan at kasanayan upang mapagtagumpayan ang layunin ng proyekto at ng samahan base na rin sa tagal na nila itong ginagawa na walang suporta sa ano mang ahensiya ng gobyerno o pribadong grupo.
Mas naging tagumpay pa itong nakaraang proyekto at nabigyang pansin pa ang ilang aspetong gawain sa sining sa dahilang ang gobyerno sa pamamagitan ng National Commission for Culture and the Arts (NCCA) ay naggawad ng pinansyal na suporta upang gamitin sa ilang pangangailangan ng samahan.
This is a game used by older persons to amuse small children, exactly as our game of the “Five Little Pigs.”
The child is grasped by the wrist with the left hand of the elder, who repeats “Ang áma, ang ína, ang káka, ang áli, ang nóno, tóloy, os-os sa kíli-kíli mo.” That is, “The father (thumb), the mother (forefinger), the elder brother (middle finger), the elder sister (ring finger), the grandparent (little finger) straight up to your armpit.” The armpit is then tickled. Os-os is a verb meaning “to go up stream.” This is a common game among the Tagalogs of Mindoro Island.
The game of marbles is played with conical shells, propelled by laying on the ground and striking with the ulnar side of the index finger, which is snapped from the thumb against it. The goal is a hole in the ground, in which the stakes, usually consisting of other shells of the same kind, are deposited. The “taw” is a straight line some six or eight feet away. If a shell is struck, the owner of the striking shell has another shot, and the owner of the shell struck shoots from where he lies. He seems to incur no penalty.
This is a common game on Mindoro, and is played usually at the beginning of the dry season.
Translated, the name means, “Play at hiding.” It is played exactly as “I spy” and the counting out beforehand is similar. There is a considerable number of counting-out rhymes to be heard, only one of which I am able to give entire. It is in Filipino Spanish. “Pim, pim, serapim, agua, ronda, San Miguel, arcángel.”
In English, “Phim, phim, seraphim, water, the night patrol,
St. Michael, the archangel.”
This game is played by marking out in the dust or sand a parallelogram, which is subdivided into a varying number of compartments. A small stone is put into the first subdivision, and the player, standing on one foot, kicks it into each in turn. If it goes out of bounds he is allowed to kick it back, so long as the other foot does not reach the ground. A failure to complete the circuit entails a loss of turn, and on the next round the player begins again at the first compartment.
Is played with pebbles or shells. I am unable to give the special movements, which resemble very much our own game. I suspect that it is of Spanish origin.
One day a Monkey met a Turtle on the road, and asked, “Where are you going?”
“I am going to find something to eat, for I have had no food for three whole days,” said the Turtle.
“I too am hungry,” said the Monkey; “and since we are both hungry, let us go together and hunt food for our stomachs’ sake.”
They soon became good friends and chatted along the way, so that the time passed quickly. Before they had gone far, the Monkey saw a large bunch of yellow bananas on a tree at a distance.
“Oh, what a good sight that is!” cried he. “Don’t you see the bananas hanging on that banana-tree? [pointing with his first finger toward the tree]. They are fine! I can taste them already.”
But the Turtle was short-sighted and could not see them. By and by they came near the tree, and then he saw them. The two friends were very glad. The mere sight of the ripe, yellow fruit seemed to assuage their hunger.
But the Turtle could not climb the tree, so he agreed that the Monkey should go up alone and should throw some of the fruit down to him. The Monkey was up in a flash; and, seating himself comfortably, he began to eat the finest of the fruit, and forgot to drop any down to the Turtle waiting below. The Turtle called for some, but the Monkey pretended not to hear. He ate even the peelings, and refused to drop a bit to his friend, who was patiently begging under the tree.
At last the Turtle became angry, very angry indeed: “so he thought he would revenge” (as my informant puts it). While the Monkey was having a good time, and filling his stomach, the Turtle gathered sharp, broken pieces of glass, and stuck them, one by one, all around the banana-tree. Then he hid himself under a cocoanut-shell not far away. This shell had a hole in the top to allow the air to enter. That was why the Turtle chose it for his hiding-place.
The Monkey could not eat all the bananas, for there were enough to last a good-sized family several days; “but he ate all what he can,” and by and by came down the tree with great difficulty, for the glass was so sharp that it cut even the tough hand of the Monkey. He had a hard time, and his hands were cut in many places. The Turtle thought he had his revenge, and was not so angry as before.
But the Monkey was now very angry at the trick that had been played upon him, and began looking for the Turtle, intending to kill him. For some time he could not find his foe, and, being very tired, he sat down on the cocoanut-shell near by. His weariness increased his anger at the Turtle very much.
He sat on the shell for a long time, suffering from his wounds, and wondering where to find the Turtle,—his former friend, but now his enemy. Because of the disturbance of the shell, the Turtle inside could not help making a noise. This the Monkey heard; and he was surprised, for he could not determine whence the sound came. At last he lifted his stool, and there found his foe the Turtle.
“Ha! Here you are!” he cried. “Pray now, for it is the end of your life.”
He picked up the Turtle by the neck and carried him near the riverbank, where he meant to kill him. He took a mortar and pestle, and built a big fire, intending to pound him to powder or burn him to death. When everything was ready, he told the Turtle to choose whether he should die in the fire or be “grounded” in the mortar. The Turtle begged for his life; but when he found it was in vain, he prayed to be thrown into the fire or ground in the mortar,—anything except be thrown into the water. On hearing this, the Monkey picked the Turtle up in his bleeding fingers, and with all his might threw him into the middle of the stream.
Then the Turtle was very glad. He chuckled at his own wit, and laughed at the foolishness of the Monkey. He came up to the surface of the water and mocked at the Monkey, saying, “This is my home. The water is my home.”
This made the Monkey so angry that he lost his self-possession entirely. He jumped into the middle of the river after the Turtle, and was drowned.
Since that day monkeys and turtles have been bitter enemies.
The Monkey and the Turtle
How the Farmer Deceived the Demon
Benito, the Faithful Servant
How Jackyo Became Rich.
Truth and Falsehood.
Camanla and Parotpot.
Juan, the Student.
The Two Wives and the Witch.
The Living Head.
The Enchanted Ring.
The Enchanted Shell.
The Three Brothers.
The Datto Somacuel.
Why Dogs Wag Their Tails.
The Eagle and the Hen.
The Spider and the Fly.
The Battle of the Crabs.
The Meeting of the Plants.
Who Brings the Cholera?
Masoy and the Ape.
Arnomongo and Iput-Iput.
The Snail and the Deer.
Story of Ca Matsin and Ca Boo-Ug.
Juan Gathers Guavas.
Juan Makes Gulay of his own Child.
Juan Wins a Wager for the Governor.
Juan Hides the Salt.
The Man in the Shroud.
The Adventures of Juan.
The Aderna Bird.
The Story of Juan and the Monkey.
Juan the Drunkard who Visited Heaven.
The Juan who Visited Heaven.
The Sad Story of Juan and Maria.
The Fifty-one Thieves.
The Covetous King and the Three Children.
The Silent Lover.
The Priest, the Servant Boy, and the Child Jesus.
The Story of Juan del Mundo de Austria and the Princess Maria.
The Artificial Earthquake.
The Queen and the Aeta Woman.
The Child Saint.
Tagalog Babes in the Woods.
The King, the Princess, and the Poor Boy.
The Battle of the Enchanters.
A Filipino (Tagalog) Version of Aladdin
Myths Associated with Natural Phenomena
In the Days of the Mona
Why the Sky Went Up
Why the Sky Went Up
The Sun and the Moon
Origin of the Stars
The Fate of the Moon’s Baby
The Black Men at the Door of the Sun
Story of the Eclipse
The “Ulit:” Adventures of Mythical Bagobo at the Dawn of Tradition
Lumabat and Mebu’yan
Story of Lumabat and Wari
How Man Turned into a Monkey
The Tuglibung and the Tuglay
Adventures of the Tuglay
The Tuglay and the Bia
The Malaki’s Sister and the Basolo
Folk-Lore of the Buso
How to See the Buso
Buso and the Woman
The Buso’s Basket
How the Moon Tricks the Buso
The Buso and the Cat
How a Dog Scared the Buso
Story of Duling and the Tagamaling
How Iro Met the S’iring
Animal Stories: Metamorphosis, Explanatory Tales, Etc.
The Kingfisher and the Malaki
The Woman and the Squirrel
Why the Bagobo Likes the Cat
How the Lizards got their Markings
The Monkey and the Tortoise
The Crow and the Golden Trees