Cordilleran Symbol & Archetypes Research-paper.pdf

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 K12 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 Output CODILLERAN FOLK NARRATIVES: Abra: Aponibolinayen and the Sun Benguet: The origin of rice Ifugao: Abuwab Tales

PROCESS

Process

1. Textual Analysis Focusing on Symbols and Archetypes 2. Content Analysis

Output OUTPUT SYMBOLS, ARCHETYPES AND MEANINGS AS TOOLS/REFERENCE IN TEACHING LITERATURE AND PROMOTING CULTURAL 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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2.

3.

4.

5.

her radiant beauty, and he later married her. Their son Kanag was born from Aponibolinayen's little finger when she scratched an itchy spot. 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. 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. 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. 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, Aponibolinayenthe 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 Iniinit 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 betelnut 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 betelnuts departed to do as they were bidden." From the story, one of the strangest powers of these people is their ability to send betelnuts 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 Nakhabanan 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 Nakhabanan 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 syzygythe 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 Christlike-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 Chicken

Futog/ ba’buy Manok

Culture/ Tradition Culture/ Tradition

-transcendence -fertility

Other Symbols Betel quids

Mo’ma

Acceptance/ Friendship/ritual

___________

Bekhas, Pad’jo

Prosperity/ abundance Wealth & livelihood Cordilleran identity

___________

Rice & Rice field

Archetypes

Archetypes in Selected Cordilleran Folk Narratives Symbolism according to Meaning according to Carl Jung Context

Human Transformation

Physical Transformation:

Stone to a person

Trickster

From reeds to a person Placenta to a person

Distribution of ethnicity creation

Character’s physical appearances changes for either the better or worse. It is caused by magic, natural cause and etc.

Tears of a woman became Anguish waterfalls

The character suffers an unhealable wound, sometimes an emotional or spiritual wound

Precocious infant faster in Growth and development every bath

When a boy is keen to learn about 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

Banna travelled to search The search for love for a wife. Sun

Light

search of some truth that will help save the kingdom. Fulfilment 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

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(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.

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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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