“”The themes often go beyond beauty to highlight the ‘adventurous spirit’ and ‘historical interest’ of the Ilokanos, blending romanticism with cultural pride”
ON APRIL 5, the Gregorian Easter, many Ilokanos from northern Philippines and Metro Manila, will flock to Vigan City for this year’s edition of GUMIL Dan-ay, aptly titled Aldaw ti Daniw Kailokuan (Day of Ilokano Poetry).
In a sense the two-hour event, hosted by the local government of the provincial capital city headed by Mayor Randy Singson, will memorialize the birth of Pedro Bucaneg (March 1592-c. 1630) and Leona Florentino (April 19, 1849-Oct. 4, 1884) and usher in April as The Ilokano Literature month.
Bucaneg, sometimes spelled out Bukaneg, was a blind Filipino poet widely regarded by Ilokano writers as the “Father of Ilokano Literature,” credited with authoring the epic Biag ni Lam-ang while Florentino was a pioneering Filipina poet and playwright from Vigan, known as the “Mother of Philippine Women’s Literature.”
April is recognized as Ilokano Literature Month primarily by virtue of Proclamation 26, s. 2001, signed by then President Gloria Macapagal-Arroyo, which declares the month of April 2001 and every year thereafter as “Iluko Literature Month.”
The proclamation recognized that the development of Iluko literature and the preservation of Ilokano culture are vital facets of Filipino cultural heritage.
The April 5 event thus signifies a homecoming, pride, and the centralization of Ilokano culture, acting for many Ilokanos as a metaphor for returning to their cultural roots, identity, and historical heartland in Vigan which highlights Vigan’s significance as the premier, well-preserved UNESCO World Heritage site in the region, with nearly five million population.
GUMIL Filipinas, the umbrella organization of Ilokano writers, clustered into more than a dozen chapters at home and abroad, was established in 1968 with founding president Arturo M. Padua of Sison, Pangasinan during its convention in october in Baguio City.
It has had 15 presidents since 1968: Padua (1968-1971); Leonardo Q. Belen, Ilocos Sur (1971-1976); Dr. Godofredo S. Reyes, Ilocos Sur (1976-1989); Jose A. Bragado, Ilocos Sur (1989-1991); Reynaldo A. Duque, Ilocos Sur (1991-1993); Pelagio A. Alcantara, Ilocos Sur (1993-1995);
Honor Blanco Cabie, Ilocos Norte (1995-1999) [first to be re-elected directly by members];
Jose A. Bragado, Ilocos Sur (1999-2003) [first to be returned to the same post after eight years]; Dionisio S. Bulong, Cagayan (2003-2007); Baldovino AB. Valdez, Isabela (2007-2009);
Elizabeth M. Raquel, Ilocos Norte (2009-2011) [first woman president]; RTC Judge Vivencio S. Baclig, Ilocos Sur (2011-2013); Arthur P. Urata, Cagayan (2013-2015); Vilmer Viloria, Cagayan, (2015-2017); Remy Albano, Apayao (2017-2023) [no election during the pandemic].
It is currently headed by Quezon City-based fictionist/ publisher Ariel Sotelo Tabag of Sta. Teresita, Cagayan.
This year’s edition of Dan-ay, which indicates, in GUMIL lingo, a gathering or weaving together of poems, stories, or essays from different authors like a shared thread or a “braided” literary compendium, is expected to highlight the communal nature of performing Ilokano writers and their dedication to “weaving” their cultural heritage together through spoken literature.
GUMIL Filipinas writers will showcase Coronation poetry, referred to as dandaniw ti pannakabalangat), a formal, highly stylized poetic form delivered in the Ilokano language during the coronation ceremony of a fiesta queen or muse in the Ilocos region.
It is a, celebratory address, often recited as a spoken-word performance that praises the beauty, character, and grace of the queen while offering advice and honoring the community’s cultural traditions.
They will lso exhibit a Bukanegan, a traditional Ilokano literary verbal joust or poetic debate, named in honor of Bukaneg, the Ilokano equivalent of the Tagalog Balagtasan and the Kapampangan Crisotan.
Its performance by two or more poets is characterized by spontaneity, wit, humor, and a command of the Ilokano language, often performed during festivities or gatherings.
Other writers will display Tapat (accent second syllable), a traditional Ilokano courtship practice involving a formal, musical serenade, often described as a musical exchange of poems and songs between a suitor and his lady love, similar to the Tagalog harana.
Literally meaning “in front of” or “facing” the woman’s home, tapat serves as an intimate venue for a man to declare his affection and for both parties to engage in a poetic dialogue.
Then they will also present Dallot, a traditional form of improvised, versified, and impromptu long poem delivered in a chant, often featuring a musical exchange of wit between a man and a woman, particularly during courtship and wedding rituals.
Scholars and linguists call this a cornerstone of Ilokano oral tradition that blends poetry, song, and dance, originating from pre-Hispanic times.
The Dallot is considered a “golden treasure” inherited from ancestors, representing the deep-seated Ilocano values of family, community, and respect for elders.
The themes often go beyond beauty to highlight the “adventurous spirit” and “historical interest” of the Ilokanos, blending romanticism with cultural pride.
