Bathala or Meykapal?

 Bathala or Meykapal?

“Others,” continues Morga, “worshipped the sun and the moon, holding feasts and drunken revelries during conjunctions. And some worshipped a bird in the mountains painted yellow (1), which they called Bátala. Commonly, they also revered crocodiles; when they saw one, they knelt and worshipped it in order to appease it. There were no temples, and each person kept and made his anitos in his own house, without fixed ceremonies or priests only old men and women called Catalonas, who were great sorcerers and witches, made prayers and ceremonies for the sick. They believed in another life with rewards for the brave, though they did not know how or where this would be (2). They buried their dead in their own houses, keeping the bodies and skulls as if they were still alive and present.”

According to the Jesuit Quirino, the Filipinos did not use their writing to preserve their religion, but only for correspondence. Thus nothing was found written on religious matters, and all that could be known was based on oral tradition, passed from parents to children, preserved in usage, and in songs they memorized. These songs they repeated during voyages to the rhythm of rowing, and in their celebrations, funerals, and even in their labors when many worked together. In these chants they recounted the fabulous genealogies and various deeds of their gods.

“Among their gods,” he writes, “there was one principal and superior to all, whom the Tagalogs called Bathala Meykapal, which means the Maker or Creator God, and the Visayans Laon, which denotes antiquity. Concerning the creation of the world, the origin of humankind, the flood, glory, punishment, and other invisible things, they told a thousand tales, often varying some in one way, others in another. One of their fables was that the first man and woman came out of a bamboo tube that split open. Afterwards arose disputes about whether they could marry, because of the prohibition against close kinship, which was inviolable among them and only permitted that first time out of necessity for the propagation of mankind.”

The Jesuit Colin (in his Labor Evangélica, Madrid 1663) admits that he took his reports from Quirino, and indeed he copies almost literally this whole part. However, he expands this cosmogony, adding his own details, which to us seems a falsification. What is lamentable is that others Gaspar de San Agustín, Francisco de San Antonio, Moya, Marsden (History of Sumatra), Lubbock, and others copied him literally and even expanded it in turn.

Fr. Colin, perhaps in order to invent a Filipino cosmogony that would support the credibility of Genesis, and mistakenly believing that the blue bird (called also Badhala as an omen) was the Bathala Meykapal, the Creator God of the Filipinos, distorted Quirino’s simple and plausible cosmogony, saying: The world began with only sky and water, and between them a kite bird (the Holy Spirit dove of the Romanists) flew about searching for a place to perch. Finding none, it stirred the waters. The water grew angry, raising waves. The sky, to calm it, covered it with islands on which the bird landed. Then the waves threw up at its feet a piece of bamboo with two nodes. It pecked it open, and from one end came out a man, and from the other a woman. Difficulties arose because of their kinship, but by the counsel of fish and birds (1), one of their gods, the Earthquake (2)—called linog in Tagalog and limog in Tiruray dispensed with the prohibition and married them, and they had many children. Tired of feeding them to no purpose, the father took a stick and pretended to chastise them for their mischief so they would earn their own living. The children fled and hid: some inside the chambers of the house, and these became the nobles; others outside, who became freemen; those in the kitchen became servants; and those who went far away became foreigners. And Moya invented further, saying that those who penetrated into the earth to the region of fire became the Negritos.

“The Tagalogs,” says Quirino, “worshipped a blue bird the size of a thrush, and they called it Baihala, which among them was a divine name.” (4)

In Pampango traditions, Bátala also appears as the name of a bird taken as an omen.

The word Bathara in Sanskrit (the sacred language of the Hindus) means “Lord.” The Bataks of Sumatra, the Bugis, and the Makassarese call their god Bathara (Lord) Guru (Master), which is an epithet of Shiva, the third person of the Brahmanic Trimurti.

A Hebrew, on hearing the word Bathala, told us it was the same as Bethel—House of God, or God of the Semites, by another name Allah so that Bathala would mean house or incarnation of Allah (Genesis XII, 8; XIII, 3–4).

According to the 1572 Relation, the Christians’ God was also called Batala. We believe that the true name of the Creator God among the Tagalogs was Meykapal (as it is now), and not Bathala. In fact, until six years ago the latter was not even used, until Filipinos revived it after learning from those hastily written chronicles that the Filipino God was called Bathala.

Moreover, the Tagalogs no longer even remembered the word Bathala or Bátala, but only Badhala, which is probably the true form keeping in mind that Spaniards always pronounce d as l at the end of a syllable. In the old Tagalog dictionary of Fr. Noceda (1754), Meykapal is the same as Meygawa: “the one who made or created.”

The ancient Filipino religion is mixed with Brahmanism, Buddhism, and Islam.

 The ancient Filipino religion is mixed with Brahmanism, Buddhism, and Islam.

The old chronicles of Jesuits and Spanish friars show that, at the arrival of the first Spaniards, the coasts of the Visayan islands and even Manila were already almost converted to Mohammedanism, especially Sulu and Mindanao, by the gacises and morabitos (holy men) coming from Borneo. Thus, the place where the Filipino religion was preserved in its purest form was in the North, in the Ilocano provinces. By distinguishing the primitive elements from the later Hindu, Muslim, and Christian influences, the original Filipino religion can still be found intact not only among the Itnegs (Tinguians), but also in the legends, tales, and superstitions of the Tagalogs, Visayans, Bikolanos, Pampangos, Sambals, Pangasinenses, and other civilized Filipino peoples. This primitive religion was the same from Mindanao to the northern tip of Luzon. It was Anitism, or the worship of the Anitos the souls of ancestors and we have discovered that it is the underlying foundation of the worship of animals, mountains, and natural forces.

The first notice about this religion is found in the account of the Lombard Antonio Pigafetta, companion of Magellan when he discovered our Archipelago in 1521. Pigafetta relates that the natives of Limasawa, an island between Surigao and Butuan, called their God Abba; that in Cebu there were wooden idols, hollow at the back, with arms and legs extended, raised feet, wide faces, and open mouths showing four long tusk-like teeth; that along the coasts of that island there were many temples, probably small huts where food was offered to the diwatas (souls of the ancestors); that in cases of serious illness they sacrificed a pig (which he mistakenly called “the consecration of the pig”); and that they feared a large black bird which, according to them, perched on rooftops at night, cawed loudly, and caused dogs to howl until dawn. This was probably the fabulous tawá, which, according to the Visayans, was an aswang transformed in prehistoric times. This bird was purely mythical, like the Ilocano kinnaw; but Quirino interpreted it as a crow, even adding that it was considered the owner of the land though there is no memory of the crow ever being worshiped by Filipinos.

According to a report by Governor Legazpi sent to the King of Spain in 1570, even before arriving in Manila, the Visayans supposedly had neither idol nor image (which is incorrect), nor temples, but only a small chapel called Olangú. The name of their god was Diwata, and their priestesses were called babaylans. In their sacrifices (maganitos) the priestesses wore long yellow wigs (over which, according to others, they displayed a golden ornament with an image of an Anito), and in their hands they held a cane. The chronicler notes that when a Visayan fell ill, the babaylan would begin to dance, making strange gestures, muttering words from time to time, pretending to see visions and speak with spirits, until she fell to the ground as if lifeless, with a diabolical pallor. After a while she would recover and recount a thousand things which she claimed the spirit had told her things the people believed with great faith, since most could not be disproven. If an animal such as a pig was to be sacrificed, it was stabbed while the priestess danced, and the onlookers collected its blood to anoint the sick person, while the meat was shared among them all.

The Relation of 1572 likewise says: “As for the sacrifices, as far as I have seen, each one of them has in his house many idols which they worship. They call God Bathala, and the main idol they have they call by this name, or sometimes Diobata (Diwata). At least among the painted Visayans, they call him thus; the natives of this island of Luzon commonly call him Bathala and consider him the God of all creation. And so, after the missionaries came to this land and began to preach the faith of Jesus Christ and to baptize, they could find no better word in the natives’ language to call God Our Lord than Bathala. These people convert easily to the faith, and in a short time the missionaries baptized many.”

When a chieftain was sick, he would gather his relatives, prepare much food, fish, meat, and wine, and set the meal on dishes upon the ground for all the guests.

And is it strange that those simple people believed the Anito spoke through the mouths of their priestesses, when even the Romans with their sibyls, the spiritualists with their mediums, the magistrate and governor Morga, and the missionaries Grijalva, Chirino, Colín, Gaspar de San Agustín, and all the friars and Jesuits of that time unanimously affirmed that, indeed, the Anito spoke through the mouths of its priestesses and even appeared to them frequently? They say those oracles had foretold, three years before the Spaniards’ arrival, that their final intentions would be different from the attractions they first offered.

— Isabelo de los Reyes

At home, they sit on the ground to eat, and in the middle of the feast which in their language they call manganito, and by another name baylan they bring out the idol they call Bathala. Certain old women, whom they regard as priestesses, and old men as well, offer to the idol some of the food they are eating and pray in their language for the health of the sick person for whom the feast is being held. The natives of these islands have neither altars nor temples. Once the manganito, or rather drunken feast, which usually lasts seven or eight days, is finished, they take the idols and place them in the corners of the house, keeping them without any reverence. (2)

According to González de Mendoza (History of the Things of China, Madrid 1586), the Filipinos kept idols of men and women. He writes: “Among these, they held in greatest veneration an idol whose name was Bathala. This reverence they had inherited by tradition, and so they could not say why it was greater than the others or why it deserved higher esteem. They also worshipped the sun and the moon, whose eclipses they celebrated with feasting and drunkenness, festivities they called Magaduras.”

The aforementioned Grijalva said: “Their ancient idolatry and superstitions were not deeply rooted, for by nature they were not very religious. Although they worshipped idols and reverenced a supreme deity, they confessed to the immortality of souls. But they believed the souls always remained in mortal bodies. Thus they held as certain the transmigration from one body to another, and only in this did they believe that the gods rewarded or punished them by imprisoning souls in beautiful or ugly bodies, in poverty or wealth, with good or bad fortune.” (This was Brahmanism.)

Morga says: “The demon ordinarily deceived them with a thousand errors and blindness; he appeared to them in different horrible and terrifying forms, often as wild animals, so that they feared and trembled before him, and most often they worshipped him, making figures of those forms, which they kept in caves and private houses, where they offered perfumes, fragrances, food, and fruits to what they called Anitos.” From Deuteronomy, XXXII, 17, we record the selfish assertion that only one’s own god is the true God, and the foreign one is the Demon even though we are all equally children of one Heavenly Father. The truth is: there is no such Demon. Scripture does not say that God created him, so who created him? It is unthinkable that the Lord created a being so perverse, destined only to ruin humankind; and if that was not his destiny, then the Creator must have erred. The idea of Satan (Shaitan) is exotic, of Arabic origin; only the Idumean Saint Job (Job I, 7) speaks of him, imitated by the prophet Zechariah (III, 1). The chapters XXVIII of Ezekiel and XIV of Isaiah, arbitrarily applied to Lucifer, refer plainly and undoubtedly to the kings of Tyre and Babylon, respectively. You may confirm this in the Bible. Vermes (Latin for “worm”). — The Two Babylons, p. 466.

All peoples depict foreign gods as imaginary evil spirits or demons, often in the shapes of fierce and terrifying animals. Thus it is not surprising that the Filipinos portrayed the gods of enemy tribes—whom they considered harmful anitos in such forms. And if even their own idols were not perfect, surely it was because they were not yet skilled artists; but they claimed, and still claim, that their Anitos were paragons of beauty.

The Bible, and especially the novenas of Romanists, bring us accounts of such apparitions.

There are no such apparitions. These are phenomena of fantasy or memory, if not of optical illusion. Just as we remember certain people, so by hallucination they appear to our imagination, as we see them in dreams. The image of a person once seen is imprinted more or less on memory, like on a cinematic reel, and when imagination stirs, that image appears again as remembrance. But sometimes, due to a mental disturbance not necessarily madness but simply hysteria, nerves, deep sadness, nostalgia, love, or even from thinking too much about that person we may seem to see them, by a mere optical or imaginary illusion.

The famous French astronomer Camille Flammarion, in an article published in 1899 in Revue des Revues, invited the public to send him accounts of apparitions seen by sane and honest people, in order to test his suspicion that such apparitions might be not hallucinations but real effects of the transmission of brain vibrations or telepathy. He cited one or two cases in which, when a person concentrated their thought on another absent person, the latter saw the one thinking of them at that very moment. But these cases common in the imagination of lovers are mere coincidences, easily explained, since passionate people think of nothing but each other, and vice versa.

The only case we know worth mentioning is that of a beautiful young woman, sister of the wealthy Manila resident Mr. Faustino Lichauco, who, being in Hong Kong and separated from her mother for the first time, thought so much about her that she believed she saw her for an instant, even though she was in Manila. Distressed, she firmly believed her mother had died, and they had to cable Manila, only to learn she was alive and well.

The other cases of apparitions we know of were tricks of nocturnal seducers or thieves.

People who fast and keep their imagination excited by the tales of apparitions told in the Romanist novenas are predisposed to see visions through hallucination. And this must also have happened, without doubt, to the babaylanes (priests and priestesses of our primitive religion) and to the friars who testified to the supposed truth of those apparitions.

From hearing too many stories of apparitions, one often becomes so fearful that one mistakes a stain on the wall, a piece of clothing, or any rag for a vision; the rustle of one’s own starched garment for the presence of a ghost; or the squealing of piglets nursing from their mothers in the dark and empty village plazas, for other noises…

The English Romanists worship Satan (Shaitan) under the name of Saint Swithin; and in Poitiers (France), they worship him in the form of a dragon, under the name of Siffin.

— Isabelo de los Reyes

ano ang animismo?

 Animismo (mula sa Latin: anima na nangangahulugang 'hininga, espiritu, buhay') ay ang paniniwala na ang lahat ng bagay, lugar, at nilalang ay may natatanging espiritwal na esensya. Tinitingnan ng pananaw na ito ang lahat—mula sa mga hayop, halaman, bato, ilog, at pati na rin ang mga nilikhang gawa ng tao—bilang may buhay, may ahensiya, at may kalayaan sa pagpapasya. Sa pananaw na ito, hindi lamang ang mga buhay na nilalang ang may espiritu kundi pati na rin ang mga bagay na hindi buhay at mga natural na katangian tulad ng mga bundok at sistema ng panahon.

Ang terminong "animismo" ay ginagamit sa antropolohiya upang ilarawan ang mga paniniwala ng maraming katutubong tao, bilang kaibahan sa mga organisadong relihiyon. Gayunpaman, ang animismo ay hindi palaging itinuturing na isang pormal na relihiyon ng mga tao na nagsasagawa nito. Sa halip, ito ay kadalasang tinitingnan bilang isang espiritwal o metapisikal na paniniwala na binibigyang-diin ang pagkakaroon ng isang supernatural na uniberso, partikular ang konsepto ng imateriyal na kaluluwa o espiritu na sumasaklaw sa lahat ng buhay at hindi buhay na bagay.

Sa animismo, ang lakas ng isang espiritu o diyos ay karaniwang nakaayon sa kahalagahan, laki, at impluwensiya ng bagay na kanilang sinasakatawan. Ang paniniwalang ito ay sumasalamin sa koneksyon ng mga likas na phenomena at ang kanilang epekto sa buhay ng tao. Mas malalaki o mas makabuluhang nilalang ay karaniwang iniuugnay sa mas makapangyarihang mga espiritu o diyos

Kultural at Antropolohikal na Konteksto

Ang animismo ay isang pundamental na pananaw para sa maraming katutubong kultura sa buong mundo. Ipinapakita nito na ang hangganan sa pagitan ng espiritwal at pisikal na mundo ay hindi mahigpit, at ang lahat ng bagay, pati na rin ang mga abstraktong konsepto tulad ng mga salita o metapora, ay maaaring magkaroon ng isang buhay na puwersa o espiritwal na esensya. Sa maraming katutubong wika, maaaring walang tiyak na salita para sa "animismo" o "relihiyon," dahil ang ideya nito ay madalas na nakatanim sa araw-araw na buhay at hindi kinakailangang ituring na isang hiwalay na kategorya. Dahil dito, ang animismo ay maaaring ituring na isang pananaw sa mundo kaysa isang relihiyon, kung saan ang lahat ng bagay ay magkakaugnay sa pamamagitan ng espiritwal na dimensyon.

Ang terminong "animismo" ay ipinakilala noong ika-19 na siglo ng antropologong si Edward Tylor noong 1871. Bagamat naging isang pundamental na konsepto sa antropolohiya ng relihiyon, ito ay isang antropolohikal na konstrukt, at hindi isang terminong ginagamit ng mga tao na nagsasagawa ng mga paniniwalang ito.

Pangunahing Paniniwala ng Animismo

Ipinapakita ng animismo na ang lahat ng materyal na phenomena ay may ahensiya—ibig sabihin, ang lahat ng bagay ay may kakayahang kumilos, makaimpluwensya, o maapektohan. Walang malinaw na pagkakaiba sa pagitan ng espiritwal at pisikal na mundo. Ang kaluluwa, espiritu, o sentyensya ay naniniwala na umiiral hindi lamang sa mga tao kundi pati na rin sa ibang hayop, halaman, bato, ilog, bundok, at iba pang likas na bagay. Sa ilang kultura, maging ang mga abstraktong bagay, tulad ng mga salita o tunay na pangalan, ay itinuturing na may espiritwal na kapangyarihan o esensya.

Sa mga animistikong sistema ng paniniwala, karaniwan nang makikita ang mga espiritu o diyos na nauugnay sa mga likas na elemento tulad ng mga water sprite, mga diyos ng halaman, o mga espiritu ng puno. Madalas iniisip na ang mga espiritu na ito ay may kakayahang magbigay ng proteksyon o magdulot ng panganib, kaya't marami sa kanilang mga ritwal o handog ay isinagawa upang magbigay galang o mag-apruba mula sa kanila. Sa ganitong paraan, ang animismo ay nagsasama ng paniniwala sa espiritwal na relasyon sa pagitan ng tao at ng kalikasan—ang mga gawain ng tao at ang kalagayan ng kapaligiran ay madalas na nakaugnay sa isa't isa.

Mga diyos, espiritu ng kalikasan at mga bagay

Mas Malaking Epekto sa Buhay: Ang mas malalaking nilalang tulad ng buwan o karagatan ay may napakalaking epekto sa kapaligiran at sa mga aktibidad ng tao. Ang buwan ay may kontrol sa pagtaas at pagbaba ng tubig-dagat, mga siklo ng agrikultura, at liwanag sa gabi, habang ang karagatan ay nagbibigay ng pagkain, nagpapanatili ng panahon, at nagsisilbing pinagkukunan ng buhay at panganib. Ang ganitong malalim na impluwensiya ay nagpapalakas sa pananaw na ang mga espiritu o diyos na kaugnay ng mga nilalang na ito ay mas makapangyarihan.

Mas Malawak na Saklaw: Ang buwan ay nakikita ng lahat, saanman naroroon, at ang mga yugto nito ay pangkalahatan, hindi tulad ng isang burol o puno na may limitadong impluwensiya sa kalapit na lugar lamang. Ang ganitong pagiging pangkalahatan ay nagpapataas ng paggalang sa mga celestial bodies.

Koneksyon sa Kosmos: Ang malalaki at grandyosong nilalang tulad ng buwan, araw, o karagatan ay mas malapit sa konsepto ng banal at ng cosmic order. Sila ay kumakatawan sa napakalawak at di-mapigilang pwersa na nagbibigay ng takot at paggalang, hindi tulad ng maliliit na nilalang tulad ng burol o puno na mas kilala at hindi gaanong nakakagulat.

Mas Malaking Epekto sa Kaligtasan: Ang buwan at karagatan ay direktang nakakaapekto sa pangunahing aspeto ng kaligtasan ng tao tulad ng agrikultura, nabigasyon, at panahon. Ang mga espiritu na kaugnay ng mga puwersang ito ay mas nakikita bilang mahalaga at nararapat bigyan ng mataas na paggalang.

Kapangyarihan sa Buhay at Kamatayan: Halimbawa, ang karagatan ay maaaring magbigay ng pagkain o magdulot ng pagkawasak sa pamamagitan ng bagyo. Ang ganitong dualidad ng pag-aalaga at pagkawasak ay nagpapalakas sa pananaw ng kapangyarihan ng diyos nito.

Mas Malalaking Nilalang bilang Mga Pinuno: Sa maraming paniniwalang animistiko, ang mga grandyosong nilalang tulad ng bulkan, karagatan o buwan ay itinuturing na tagapamahala ng mas maliliit na espiritu. Ang espiritu ng isang puno ay maaaring malakas sa lokal na antas, ngunit ito ay nasa ilalim ng dominyo ng diyos na namamahala sa kagubatan o kalikasan bilang kabuuan.

Magkakaugnay na Ugnayan: Ang mga espiritu ng mas maliliit na nilalang ay madalas na kumukuha ng kanilang lakas mula sa koneksyon nila sa mas grandyosong espiritu o diyos. Halimbawa, ang espiritu ng ilog ay maaaring nasa ilalim ng kapangyarihan ng diyos ng karagatan.

Animismo at mga Makabagong Pananaw

Bagamat ang animismo ay karaniwang inuugnay sa mga katutubong tao, may mga miyembro rin ng hindi-katutubong mundo na tinuturing ang kanilang sarili bilang mga animista, kinikilala ang espiritwal na esensya sa kalikasan at nakikita ang isang malalim na koneksyon sa pagitan ng sangkatauhan at ng kapaligiran. Ang espiritwal na pananaw na ito ay madalas na isinasagawa sa pamamagitan ng mga ritwal, handog, o dasal na nagbibigay-galang sa mga espiritu ng likas na mundo, at kadalasan ay isinasama sa iba pang mga sistema ng paniniwala.

Sa pangkalahatan, ang animismo ay nagbibigay ng isang pananaw sa mundo kung saan ang kalikasan, kapaligiran, at buhay ng tao ay hindi mapaghihiwalay sa pamamagitan ng espiritwal na presensya, na binibigyang-diin ang isang malalim na ugnayan at pag-unawa sa uniberso.

Philippine Mythology Should Not Be Taken Literally

Philippine mythology and stories are rich with symbolism and metaphors that reflect the culture, values, and worldview of the Filipino people. These stories were passed down through generations, often through oral tradition, and their purpose is to convey deeper meanings, not to be understood as literal truths or historical facts. This symbolic nature of Philippine mythology is important to grasp, as it shapes how these stories should be interpreted and appreciated.

Understanding Philippine Mythology Symbolically

Philippine mythology should be viewed not as a literal history or a strict religious doctrine but as a rich treasury of symbolic narratives that provide insight into Filipino values, beliefs, and the human experience. These stories are alive because they continue to be told and retold, evolving to fit the times while retaining their symbolic core. Whether they’re used to explain the forces of nature, convey moral lessons, or explore the complexities of human emotions, these myths serve as powerful metaphors, connecting the past with the present and guiding the future.

In modern times, while these stories may not always be seen as literal truths, they continue to influence Filipino culture through art, literature, and everyday life. They remain an essential part of Filipino identity, reminding us that the stories we tell are often more about what they represent than what actually happened.

Explaining Natural Phenomena and the Unseen World Many myths were created to explain the mysteries of nature and the forces of the universe that early Filipinos could not easily understand. For example:

• Volcanoes, such as Mount Mayon, are often explained in mythological stories as being the homes of gods or mythical creatures. These stories aren't meant to be taken literally, but instead to represent the power and mystery of the natural world. They symbolize the unpredictability of nature and the need to respect natural forces.
• The stories of the sun and moon or the shifting seasons are symbolic of the cycles of life and the interconnectedness of humans with nature. These myths allow people to understand the cycles of the earth in a way that resonates with cultural and spiritual beliefs.

Oral Tradition and Fluidity Philippine mythology has always been part of oral tradition, meaning the stories evolve and adapt as they are passed from one generation to the next. This fluidity makes them even more symbolic, as each teller adds their own interpretations and embellishments based on their experiences. This is why there are multiple versions of the same story across different regions or communities, with each version carrying its own symbolic nuances.

• This adaptability of myths underscores the living nature of Philippine mythology, where the symbolic meanings behind the stories evolve to reflect changing times, challenges, and cultural values. For example, the way an aswang is depicted may vary between regions, but it always symbolizes societal fears or dangers, whether those be literal or metaphorical. 

Philippine Myths and the Absence of a Single, Fixed Narrative Unlike Western mythologies, which often have a structured, fixed canon, Philippine mythology is more fluid and diverse. The myths are less concerned with historical fact and more with explaining the world, teaching lessons, and preserving cultural values. Each version of the story, while different, shares common themes and symbolism that reflect the worldview of the Filipino people

PHILIPPINE MYTHOLOGY SHOULD BE RECORDED NOT FROZEN

Philippine mythology continues to evolve and can only be documented, not fixed in place. Efforts to freeze or dictate its form—often by outsiders—echo the Spanish impositions of the past, which aimed to suppress indigenous culture. Such actions disregard the rich diversity of local voices and the many variations of these stories that have developed over time, each reflecting the unique perspectives of different communities.

MYTHOLOGY IS NOT SCIENCE IS NOT RELIGION 

Philippine mythology is symbolic, not literal. The myths and stories reflect Filipino values, culture, and the natural world through symbols and metaphors, rather than being true accounts of history. For example, gods, spirits, and mythical creatures like diwata or aswang represent forces of nature, societal fears, and moral lessons. These stories were passed down orally and have evolved over time, with different versions that reflect local beliefs and experiences. Philippine mythology isn't meant to be taken as factual but as a way to understand human experiences, nature, and the mysteries of the world.

Philippine mythology is not a religion

 Philippine mythology and folk religion are (two different things)  often confused by foreigners and even some Filipinos abroad, but they are actually distinct aspects of the country’s cultural and spiritual landscape. Philippine mythology refers to a collection of numerous traditional stories, legends, and characters such as gods, goddesses, heroes, and spirits from various ethnic groups across the Philippines. These ancient and modern myths vary greatly from one region to another, with each community having its own set of deities, creation stories, and mythical beings. Philippine mythology serves as a cultural heritage, preserving the values, beliefs, and moral lessons of indigenous societies and modern Filipino.

what is mythology ?

what is religion ? 

Mythology is a collection of traditional stories, often involving gods, spirits, and heroes, that express the beliefs, values, and worldviews of a particular culture. These stories explain natural phenomena, life events, or moral lessons and are often passed down through generations. Mythologies are symbolic and interpretive rather than literal, using metaphors and characters to explore universal themes. In Philippine mythology, for example, the stories of gods, creatures, and spirits reflect how ancient Filipinos viewed nature, life, and their place in the world.

Religion, on the other hand, is a formal system of beliefs and practices centered around worship, moral guidance, and often a relationship with the divine or sacred. Religion typically includes doctrines, rituals, and ethics to guide the behavior of its followers. It provides a framework for understanding life's purpose and often promises an afterlife or enlightenment.

While mythology and religion can overlap—myths sometimes serve as a foundation for religious beliefs—they are not the same. Religion is usually an organized system with a community of followers, specific teachings, and practices. Mythology, however, is broader, more fluid, and doesn't require belief or worship.

Philippine mythology, for instance, was never an organized religion. Instead, it consists of stories and symbols that reflect the Filipino cultural identity, rather than prescriptive beliefs or practices. Unlike religion, which seeks commitment from its followers, mythology is more interpretive, evolving with time and often existing as a cultural heritage rather than a spiritual obligation.

The Origins and Purpose of Philippine Mythology

Philippine mythology is a diverse body of traditional stories, legends, and mythical characters passed down through generations. These myths explain the origins of the world, the forces of nature, and the roles of supernatural beings, like gods, diwata (nature spirits,fairies ect), and ancestral spirits called anito. Many stories feature fantastical beings such as kapre (tree giants), tikbalang (horse-like spirits), sirena (mermaids), and duende (dwarves). These narratives help explain the mysteries of nature, human emotions, or the existence of supernatural forces and often carry important moral lessons.

these stories are entertaining, they also serve a cultural function, providing symbolic explanations (not literal) for natural phenomena and reflecting the values, beliefs, and experiences of Filipino communities. However, mythology is not practiced as a religion; instead, it is a cultural inheritance preserved through storytelling.

Philippine Folk Religion: Living Spiritual Practices

In contrast, Philippine folk religion encompasses the spiritual practices and rituals traditionally performed by indigenous Filipinos to engage with the spirit world. This form of animism reveres the spirits of nature and ancestors, believing that all things, from mountains to rivers, possess a spirit. Folk religion is practical and interactive, focused on appeasing spirits, seeking blessings, or asking for protection, especially through rituals conducted by spiritual leaders such as the babaylan or catalonan (shamans and priests).

Common practices in folk religion include:

• Offerings made to the diwata or anito to ensure good health, harvest, or protection.
• Healing ceremonies led by babaylan to communicate with spirits or ancestors, invoking their aid or blessings.

Though influenced by centuries of colonialism, elements of folk religion continue to survive, often blending with Catholic practices. For example, offerings made to spirits during local festivals echo these ancient practices. This shows that while mythology provides stories and explanations, folk religion provides a framework for how people engaged with spiritual forces in daily life.

Mythology and Religion are different though they are in sometimes sync 

In contrast, folk religion in the Philippines involves practices, rituals, and beliefs centered around daily life and the spirit world that influence how people interact with supernatural forces. Folk religion incorporates elements like ancestor veneration, nature worship, and rituals for protection, health, or good fortune. It is more closely related to spiritual practices intended to connect with the spirits of ancestors (anitos), land spirits (diwata), and other unseen entities. While these practices sometimes involve mythological figures, folk religion is more practical and rooted in the everyday spiritual needs of people.

The Greek mythology fanatic turned Philippine mythology expert ???

Remember Philippine mythology is not a religion 

Sadly hyper Westernized and Colonial minded people that are used to fixed narratives tend to reject and try to antagonize the numerous different versions of stories in Philippine mythology. Often forcing Greek narratives and A common misconception is that Philippine mythology functions as an organized religion, with structured worship of deities as seen in classical religions like Greek or Norse mythology. However, the reality is different: Philippine mythology, though rich with deities and stories, lacks a formalized system of worship or organized sacred texts. It is the people that are the living bearers of these stories. all which are mostly oral stories passed down and ever evolving. Philippine mythology is alive and ever changing and told and retold to this day. 

Philippine folk religion, on the other hand, is alive and practiced, especially in rural communities where people continue rituals to honor spirits or call on them for guidance. But even these practices are blended with Christian traditions and are not organized into a separate religious system.

Recording and Documenting rather then freezing. Philippines is a very unique country one of this intangible treasures is its Living mythology, travels orally from person to person from tribes to modern story tellers on podcast and YouTube. 

Distinguishing Mythology from Folk Religion

Western audiences often conflate Philippine mythology with folk religion, assuming both are parts of a singular religious system. However, in the Philippines:

• Mythology is a collection of stories about supernatural figures and events, akin to cultural folklore, not a system of worship.
• Folk religion is a living practice that involves rituals, offerings, and ceremonies, with actual interactions with spirits and ancestors.

While both mythology and folk religion have spiritual dimensions, mythology focuses on storytelling and cultural identity, while folk religion addresses practical spiritual needs.

Many Westerners and foreigners often assume that mythology and folk religion are one and the same in the Philippines because, in many Western contexts, the word "mythology" is used interchangeably with religious practices of ancient cultures, where myths were integral to organized religion. In the Philippines, however, mythology and folk religion coexist but serve different functions. Myths are cultural narratives that shape identity and tradition, while folk religion is an active set of practices aimed at addressing spiritual needs in daily life. This distinction allows Filipinos to cherish their mythology as part of their heritage, while their folk beliefs adapt alongside modern religion, creating a unique, layered spiritual tradition.

Philippine Mythology and Folk Religion: Alive and Evolving Today

Both Philippine mythology and folk religion remain significant aspects of Filipino cultural heritage, existing in contemporary life through storytelling, traditions, and spiritual practices. Although folk religion is practiced by a minority today, and Philippine mythology is not a religion itself, both are alive, evolving, and shaping Filipino identity.

Why Philippine Mythology is a Living Tradition

Philippine mythology is unique because it has remained dynamic and adaptive, passed down primarily through oral traditions. Unlike many Western mythologies that became fixed in written form, Filipino myths have continuously evolved with each storyteller, adapting to the changing beliefs and values of Filipino communities. This flexibility explains why there are multiple versions of myths across regions, as each community adds its own variations, reflecting local values, experiences, and interpretations.

Regional Variations and Oral Tradition

The archipelagic nature of the Philippines, with its diverse languages and ethnic groups, has given rise to countless versions of myths. This diversity is not seen as a flaw but as a strength, showing how each story adapts to local cultural contexts. For example:

• The diwata may be worshipped as protectors of forests in some areas, while elsewhere, they are viewed as mountain deities or even fairies.
• Stories of the aswang (a shapeshifting creature) have multiple versions, each suited to the particular fears, values, or customs of the communities that tell them.

Many Filipinos cherish this variation, understanding that mythology is not "fixed" but alive. Unfortunately, colonial influence led some to believe that Philippine mythology should mimic Western, written forms, which has created challenges for acceptance. However, Philippine mythology’s vitality lies precisely in its oral tradition, where stories grow, adapt, and reflect current realities.

The Role of YouTube in Reviving Oral Mythology

Today, platforms like YouTube have become powerful vehicles for oral mythology, enabling Filipinos to retell their myths, share personal encounters with supernatural beings, and educate others on folklore and folk religion. Through storytelling channels, modern-day storytellers preserve Philippine mythology by narrating classic stories and even creating new ones based on personal experiences, helping the mythology remain relevant for new generations.

This modern oral tradition allows real Filipinos to contribute to the growing mythology, with each retelling shaped by the storyteller’s individual insights. YouTube has thus democratized storytelling, offering an accessible platform where traditional stories and folk beliefs can flourish, continue to evolve, and connect with audiences globally.

Oral Stories told and retold by Filipinos in the Philippines 

Mythology as a Reflection of Filipino Identity

Philippine mythology and folk religion offer unique windows into Filipino identity, values, and worldview. While mythology is a creative expression of cultural stories and supernatural figures, folk religion is a more intimate aspect of Filipino life that remains deeply embedded in certain communities. These myths and practices coexist, supporting and shaping each other while preserving the spirit of a culture that remains resilient, adaptive, and vibrant.

Through the continued retelling of myths and the enduring practice of folk rituals, Filipino culture lives on, teaching both Filipinos and the world that mythology is not just about gods and heroes of the past but a dynamic, living heritage that reflects the people’s present and future as well.

PHILIPPINE MYTHOLOGY IS INCLUSIVE, FOR EVERYONE, FILIPINOS, FILIPINIX AND EVEN FOREIGNERS. IT IS DYNAMIC AND EVOLVING WITH NUMEROUS VERSIONS OF STORIES. INTAGIBLE TREASURES

Philippine mythology alive and ever evolving

 Philippine mythology are stories told and retold by Filipinos in the Philippines. It is alive to this day compared to the dead, fixed and  copy paste only mythologies of the West. Philippine Mythology is NOT A RELIGION. 

Philippine mythology has a unique resilience and vibrancy, kept alive across centuries through the powerful tradition of oral storytelling. Originally passed down from generation to generation, these tales of gods, creatures, and mythical places formed a living mythology that evolved with each retelling. Because mythology in the Philippines was largely oral rather than written, stories adapted to the perspectives and beliefs of each storyteller and region. This flexibility allowed mythological characters like the Tikbalang, Aswang, and Bathala to be reinterpreted by each generation, giving rise to numerous versions of the same myth across the many islands and cultures of the Philippines.

Each ethnic group, whether Tagalog, Cebuano, Ilocano, or Tausug, had its own way of understanding and interpreting the supernatural, resulting in rich and numerous versions of mythological variations. This variation made Philippine folklore especially rich because each story adapted itself to the local landscape, culture, and needs of the community. For example, a tale of a guardian spirit might protect the rice fields in one region but the sea in another, depending on the environment.

In the modern age, new media like YouTube has become an important platform for reviving and sharing these stories. Filipino creators, historians, and enthusiasts now use digital media to record, reinterpret, and preserve oral myths, making them accessible not only to Filipinos but also to global audiences. YouTube videos, podcasts, and social media posts serve as digital storytellers, bringing ancient tales to life through animation, re-enactment, or discussion. This digital storytelling honors the oral roots of Philippine mythology by continuing the tradition of spoken word but makes it more accessible to people who may have never heard these stories otherwise.

Philippine mythology is non stagnant and not set in stone, its not fixed because its told and retold in the Philippines by Filipinos. Its something Westernized and colonial minded people seem to dislike and antagonize, that there are numerous versions of stories and are not set in stone.

YouTube and social media have also encouraged people to explore regional variations, adding layers to the mythology as people contribute their local stories and perspectives. Comments sections become spaces for sharing personal experiences, family tales, or regional twists, thus allowing viewers to engage directly with the myths and build on them in real-time. By keeping these myths active and adaptable, Filipino storytellers on YouTube are helping maintain a "living mythology" that continues to evolve and remain relevant in the modern world.

Ultimately, Philippine mythology’s survival today is due to its adaptability and the collective effort to keep storytelling alive. Through oral traditions and now through digital platforms, these myths have remained a vital part of Filipino culture, connecting people to their history and giving them a sense of identity across generations and across the globe.

Philippine mythology evolve and change over time, still told and retold to this day by Filipinos in the Philippines

Mythology is meant to bring people closer not to divide

 Mythology and stories are meant to connect people, not divide them. Filipino mythology, with its rich diversity, is meant to be shared by all and for all. The various versions of these stories, shaped by the archipelago's many languages and cultures, are interwoven and evolve through oral tradition. As these myths are passed down, they naturally change, reflecting the unique experiences of each region. Just like the Philippines itself, an archipelago of different yet interconnected islands, Filipino mythology showcases a tapestry of tales that are diverse, distinct, and beautifully interwoven.

Filipino mythology belongs to everyone—Filipinos, Filipinix, and even foreigners. These stories are meant to unite, inspire hope, and empower. They are for all, ever-evolving yet forever a cultural treasure.