FRED’S BAYBAYIN RESEARCH Excerpts from various web pages about the Baybayin Script (43 pages)
TABLE OF CONTENTS page
1.) What is Baybayin? ……………………………………………………….……….. 2 2.) From Baybayin to Alibata ……………………………………………….…….. 3 3.) Origin of the Baybayin …………………………………………………….…….. 3 4.) Baybayin Symbols …………………………………………………………….……. 7 - How to Write the Ancient Script of the Philippines ………….……. 9 - Spanish Modified Baybayin ………………………………………………….… 15 5.) Extinction of the Baybayin …………………………………………………….. 16 6.) The Three Surviving Baybayins …………………………………………….. 19 - Buhid alphabet ………………………………………………………………………. 20 - Hanuno’o script ……………………………………………………………………… 21 - Tagbanwa alphabet ……………………………………………………………….. 22 Alibata Comparative Syllabaries Chart ………………………………….…... 29 - Variants of the Alibata Script ……………………………………………….. 30 7.) Historical Samples ……………………………………………………………..…… 34 8.) Related Links …………………………………………………………………………… 41 1
1.) What is Baybayin? Baybayin is the name of the former Filipino writing system. It comes from the word baybáy which means spelling. According to David Diringer, the renowned expert on ancient scripts, the baybayin possibly came directly from the ancient Kavi script of Java, Indonesia. Or, it may have its roots in Kavi but was introduced to the Philippines by way of the ancient script used by the Buginese people of Sulawesi, Indonesia. Another name for the Baybayin is Alibata. This term was just invented in 1914 by Dean Paul Versoza of the University of Manila. it comes form alif, ba and t a, the first letters in the Arabic dialect of Maguindanao. Versoza did not explain why he chose that particular language; it has absolutely no relationship to the baybayin. http://www.christusrex.org/www1/pater/JPN-ilocano-baybayin.html Prior to the coming of the Spaniards, the peoples of the Philippine Islands wrote in their languages using a syllabary (writing system in which each symbol represents a syllable). The Ilocanos, Tagalogs, Pangasinenses, Visayans, and Kapampangans shared a similar syllabary, composed of 16 characters (including three vowels, a, e/i and o/u). In the Tagalog script, syllable final (coda) consonants were not reflected in the orthography, so the three syllable word pagdating would be written “pa-dati”. The Ilocano script, however, was innovated to reflect coda consonants as they often contrast: asok = my dog, asom = your dog. Most scholars are reluctant to give an origin for the scripts, but they have been compared to the Indic writings in the Edicts of Asoka (500BC), the Batak scripts in Sumatra, and the Buginese scripts in Celebes—all remarkably different from the Philippine scripts. http://iloko.tripod.com/scripts.html
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2.) From Baybayin to Alibata Though it is more commonly known as “Alibata”, “Baybayin” is its proper name. The term “Alibata” was introduced in the early 1900s by Dean Paul Versoza of the University of Manila. He claims the term comes from “alif,” “ba,” and “ta,” the first three letters of the Maguindanao arrangement of the Arabic letters. So now that we know the truth, let’s use the proper term, shall we? http://www.eaglescorner.com/baybayin/intro.html The term Alibata The script is often referred to as alibata, a term coined inexplicably to mimic the first two letters of the alphabet of the Maguindanao, used in the southern Philippines, which is derived from Arabic. (The term refers to the first two letters, alif and bet.) It is also called baybayin, which means “to spell” in Tagalog. http://fatoprofugus.net/alibata/origin.html from http://fatoprofugus.net/alibata/
3.) Origin of the Baybayin The word baybayin is a very old Tagalog term that refers to all the letters used in writing a language, that is to say, an “alphabet.” It is from the root baybáy meaning, “spell.” Baybayin became the specific name for the ancient writing of the Philippines at some time before the early 20th century. Perdro Serrano Laktaw recorded this newer sense of the word in his Diccionario tagálog-hispano in 1914 and he used it in this sense throughout the introductory essay of the dictionary. Early Spanish accounts usually called the baybayin “Tagalog letters” or “Tagalog writing.” And, as mentioned earlier, the Visayans called it “Moro writing” because it was imported from Manila, which was one of the ports where many products from Muslim traders entered what are now known as the Philippine islands. The Bikolanos called the script basahan and the letters, guhit. Another common name for the baybayin is alibata, which is a word that was invented just in the 20th century by a member of the old National Language Institute, Paul Versoza. As he explained in Pangbansang Titik nang Pilipinas in 1939, In 1921 I returned from the United States to give public lectures on Tagalog philology, calligraphy, and linguistics. I introduced the word alibata, which found its way into newsprints and often mentioned by many authors in their writings. I coined this word in 1914 in the New York Public Library, Manuscript Research Division, basing it on the Maguindanao (Moro) arrangement of letters of the alphabet after the Arabic: alif, ba, ta (alibata), “f” having been eliminated for euphony’s sake. 3
Versoza’s reasoning for creating this word was unfounded because no evidence of the baybayin was ever found in that part of the Philippines and it has absolutely no relationship to the Arabic language. Furthermore, no ancient script native to Southeast Asia followed the Arabic arrangement of letters, and regardless of Versoza’s connection to the word alibata, its absence from all historical records indicates that it is a totally modern creation. The present author does not use this word in reference to any ancient Philippine script. Many of the writing systems of Southeast Asia descended from ancient scripts used in India over 2000 years ago. Although the baybayin shares some important features with these scripts, such as all the consonants being pronounced with the vowel a and the use of special marks to change this sound, there is no evidence that it is so old. The shapes of the baybayin characters bear a slight resemblance to the ancient Kavi script of Java, Indonesia, which fell into disuse in the 1400s. However, as mentioned earlier in the Spanish accounts, the advent of the baybayin in the Philippines was considered a fairly recent event in the 16th century and the Filipinos at that time believed that their baybayin came from Borneo. This theory is supported by the fact that the baybayin script could not show syllable final consonants, which are very common in most Philippine languages. This indicates that the script was recently acquired and had not yet been modified to suit the needs of its new users. Also, this same shortcoming in the baybayin was a normal trait of the script and language of the Bugis people of Sulawesi, which is directly south of the Philippines and directly east of Borneo. Thus most scholars believe that the baybayin may have descended from the Buginese script or, more likely, a related lost script from the island of Sulawesi. Whatever route the baybayin travelled, it probably arrived in Luzon in the 13th or 14th century. (see indomalayscripts.gif ) http://www.mts.net/~pmorrow/bayeng1.htm
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Alibata Family Tree Alibata Languages written with this script: • • •
Ilokano Pangasinan Tagalog language
More information Article: Article: Discussion forum: Site about: Site about:
http://www.bibingka.com/d ahon/tagalog/tagalog.htm http://www.mts.net/~pmorr ow/bayeng1.htm http://groups.yahoo.com/gr oup/Alibata/ http://www.eaglescorner.co m/baybayin/ http://home.earthlink.net/~a swang/alibata/
http://www.ontopia.net/i18n/script.jsp?id=alibata from http://www.ontopia.net/i18n/scripts.jsp
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Theory: Originated in Celebes One of the most common explanations, given by David Diringer, states that the Philippine scripts were derived from Kavi script or Old Javanese, perhaps indirectly through the Buginese.4 The Buginese origin of the Philippine scripts best accounts for the fact that the Philippine scripts cannot represent the final consonants of syllables, since Buginese has the same limitation. In Buginese, however, this limitation is not as noticeable, since fewer words in the language have these final consonants.5 Theory: Directly from India Fletcher Gardner suggests that the writing system was directly transmitted to the Philippines by Indian priests who were familiar with Brahmi scripts. 6 Isaac Taylor states that the writing system was derived from scripts used on the Eastern coast of India, such as Vengi, Chalukya, or Assam, originally transmitted in the 8th century AD. In this case, the Philippine scripts would actually be the sources for the Bugis and Makassar scripts of Celebes instead of the other way around.7 Map of putative sites of origin
FIGURE 1
Map derived from http://www.lib.utexas.edu/Libs/PCL/Map_collection/middle_east_and_asia/Asia_pol_97.jpg http://fatoprofugus.net/alibata/origin.html from http://fatoprofugus.net/alibata/
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4.) Baybayin Symbols
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- From: Another Look at Tagalog by Norlito Ison Cervo, page 15.
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How to Write the Ancient Script of the Philippines by Paul Morrow One Letter Equals One Syllable In our modern alphabet, each letter is a basic sound or phoneme, either a vowel or a consonant. We combine these letters to make syllables, and combine the syllables to make words. In a syllabic writing system, such as the baybayin, each letter is already a syllable. It may be a combination of sounds or just a vowel, but usually it cannot be reduced to a single consonant. So, a good way to check your baybayin spelling is to make sure that the number of letters in a word always equals the number of syllables. The Baybayin Characters
These are all the letters of the baybayin “alphabet”. There are many ways to draw each letter (See Baybayin Styles). This example is my own modern composite of many old forms and the letters are arranged in the old abakada sequence. (See the original sequence in the main article.) The Consonants Each consonant letter is one syllable that is pronounced with the a vowel. This means, for example, that the letter just a b, it is actually the syllable ba. If we write the word basa (to read), we only need two letters:
is not
and not four letters:
Here are a few more examples: (really, important, and able to do)
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The Kudlít So, what do we do if we want to write something that doesn’t rhyme with a? In other syllabaries, like the Katakana or Hiragana of Japan, this would require learning a whole other set of letters for each vowel sound. However, the baybayin is a cross between a syllabary and an alphabet, or what is known as an abugida. We use the same consonant letters shown in the list above and simply combine them with a special mark, called a kudlít, to change the sound of the vowel a. The word kudlit means a small cut or incision, which is exactly what it was back in the days when Filipinos wrote on bamboo. Since we now write with pen and paper, or a computer, the kudlit mark can be any shape. Usually it is a dot or tick, or sometimes it is shaped like a v or an arrowhead >. The sound of a letter is not changed in any way by the shape of the kudlit; it is changed by the position of the kudlit. The kudlit is placed above a letter to signify the sound of I or E. As in the words: (self, miss as in unmarried woman, and tickle)
And to change the sound of a letter to U or O, the kudlit is placed below. As in the words: (island, trouble, and opinion)
The Vowel Characters Although the kudlits do most of the work representing the vowels, the baybayin also has three special vowel letters:
Naturally, if a syllable doesn’t have a consonant, there is no place to put the kudlit. This is when the vowel characters must be used. For example:(mercy, to bring with, head, and possible) 10
There are only three vowels in the baybayin because ancient Filipinos of many linguistic groups did not distinguish between the pronunciations of I and E, and U and O before Spanish words entered their languages. Even today these sounds are interchangeable in words such as lalaki/lalake (man), babae (woman) and kababaihan (women in general), uód/oód (worm), punò (tree trunk) and punung-kahoy (tree), and oyaye/oyayi/uyayi (lullaby). The situation is similar in English; there are only five vowel letters but each one represents several different vowel sounds. (See the main article for more information.) Final Consonants Lone vowels have special characters but what about the consonants that have no vowel sound? These are the syllable final consonants and they are the reason why it is much more difficult to read the baybayin than it is to write it. There is no way to write syllable final consonants. For example, in a word like bundok (mountain) we cannot write the letters n and k because they are not followed by a vowel and the baybayin consonants always contain a vowel sound. If we did write the n and the k, the word would be pronounced bu-na-do-ka. So, we simply don’t write those letters. The meaning of the word and its pronunciation must be guessed by reading it in context. Bundok is written:
not:
Here are a few more examples: (peak, riddle, ask)
Special Consonants The letters d and ng were not special to the ancient Filipinos but they deserve special attention here to avoid confusion. The Letter for Da and Ra 11
There is only one character for both d and r in the baybayin, the . The pronunciation of this letter in Tagalog changes depending on its location within a word. It follows the same Filipino grammatical rule that we have today; when a d is between two vowels, it becomes an r. There are many exceptions to this rule today, but it was more consistent in pre-Hispanic times. For example, the word dangal (honour) becomes marangal (honourable) and the word dunong (knowledge) becomes marunong (knowledgeable), but the baybayin letter, does not change. But the Bikolanos have a special character for Ra.
Other Philippine languages had different ways to write the r sound. Some used the d/ra character while others used the la character or both. See the main article for more information. The Letter for Nga The ng is considered a single letter in the modern Filipino alphabet but it requires two characters to write it, n and g. In the baybayin the ng really is a single character, , and it must be written that way. For example, if the word hanga (admiration) were spelled with n and g, it would be pronounced ha-na-ga. It should be written like this:
not:
Punctuation The only punctuation for the baybayin is a pair of vertical bars, || or a single vertical bar, | depending on the writer’s taste. The vertical bar is used like a comma and a full stop (period). In fact, it can be used like any punctuation mark we have today. The ancient Filipinos usually wrote their words with no spaces between them but sometimes they would separate a single word between a set of bars. However, most of the time the bars were used in a random manner, dividing the sentences into word groups of various sizes.
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The Spanish Kudlit + To solve the problem of writing final consonants, a Spanish Friar named Francisco Lopez invented a new kind of kudlit in 1620. It was shaped like a cross (which should be no surprise) and it was meant to be placed below a baybayin consonant letter in order to cancel its vowel sound. For example: (mountain, peak, riddle, ask)
Filipinos never accepted this way of writing because it was too cumbersome and they were perfectly comfortable reading the old way. However, it is popular today among people who have rediscovered the baybayin and who are not aware of the origin of the Spanish kudlit. (See the main article for more about the Spanish kudlit.) Here’s a verse from a modern song. On the left, the Spanish kudlit is used and the words have been separated to make it easier to read. The pre-Hispanic Filipino method of writing is on the right.
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Numbers Filipinos in the pre-Hispanic era mainly used the baybayin for writing poetry and short messages to each other. It was never used for recording history or scientific data, so numerals were never developed. Numbers were spelled out the same as words. There is a document with numbers on the page entitled Baybayin Handwriting of the 1600s.
Pre-Hispanic Writing Techniques – writing tools etc. The pre-Hispanic Filipinos wrote on many different materials; leaves, palm fronds, tree bark and fruit rinds, but the most common material was bamboo. The writing tools or panulat were the points of daggers or small pieces of iron. Among the manuscripts in Charles R. Boxer’s collection, known as the Boxer Codex, there is an anonymous report from 1590 that described their method of writing, which is still used today by the tribes of Mindoro and Palawan to write their own script: When they write, it is on some tablets made of the bamboos which they have in those islands, on the bark. In using such a tablet, which is four fingers wide, they do not write with ink, but with some scribers with which they cut the surface and bark of the bamboo, and make the letters. Once the letters were carved into the bamboo, it was wiped with ash to make the characters stand out more. Sharpened splits of bamboo were used with coloured plant saps to write on more delicate materials such as leaves. But since the ancient Filipinos did not keep long-term written records, more durable materials, such as stone, clay or metal, were not used. After the Spaniards arrived Filipinos adopted the use of paper, pen and ink.
The bamboo document and the dagger used to write it. From The Alphabet: A Key to the History of Mankind by David Diringer. 1948, p. 300. http://www.mts.net/~pmorrow/bayeng1.htm
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Spanish Modified Baybayin The Spaniards had a hard time trying to read in the original Baybayin script because the Filipinos dropped any trailing consonants from syllables in the VC or CVC form To simplify things, they introduced the “+” mark that was added at the bottom of the Baybayin symbols to mute the “a” sound. = “ba”
= “b” “Bahay” Original Baybayin
With Spanish Modifications
ba-ha
ba-ha-y
http://www.eaglescorner.com/baybayin/faqt.html#Q3 from http://www.eaglescorner.com/baybayin/faqt.html from http://www.eaglescorner.com/baybayin/baybayin.html
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5.) Extinction of the Baybayin Baybayin Lost Although the baybayin had spread so swiftly throughout the Philippines in the 1500s, it began to decline in the 1600s despite the Spanish clergy’s attempts to use it for evangelization. Filipinos continued to sign their names with baybayin letters throughout the 17th, and even into the 18th century, though most of the documents were written in Spanish. Gaspar de San Agustín still found the baybayin useful in 1703. In his Compendio de la lengua Tagala he wrote, “It helps to know the Tagalog characters in distinguishing accents.” And he mentioned that the baybayin was still being used to write poetry in Batangas at that time. But in 1745 Sebastián Totanes claimed in his Arte de la lengua Tagala that, Rare is the indio who still knows how to read [the baybayin letters], much less write them. All of them read and write our Castilian letters now. However, Totanes held a rather low opinion of Philippine culture and other writers of the period gave a more balanced view. Thomas Ortiz felt it was still necessary to describe the Tagalog characters in his Arte y Reglas de la lengua Tagala of 1729 and as late as 1792 a pact between Christians and Mangyans on the island of Mindoro was signed with baybayin letters, which is not surprising because the Mangyans never stopped using their script. Many people today, both ordinary Filipinos and some historians not acquainted with the Philippines, are surprised when they learn that the ancient Filipinos actually had a writing system of their own. The complete absence of truly pre-Hispanic specimens of the baybayin script is puzzling and it has lead to a common misconception that fanatical Spanish priests must have burned or otherwise destroyed massive amounts of native documents as they did so ruthlessly in Central America. Even the prominent Dr. H. Otley Beyer wrote in The Philippines before Magellan (1921) that, “one Spanish priest in Southern Luzon boasted of having destroyed more than three hundred scrolls written in the native character.” Historians have searched for the source of Beyer’s claim, but until now none have even learned the name of that zealous priest. Furthermore, there has never been a recorded instance of ancient Filipinos writing on scrolls. The fact that they wrote on such perishable materials as leaves and bamboo is probably the reason why no pre-Hispanic documents have survived.
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Although many Spaniards didn’t hide their disdain for Filipino culture, the only documents they burned were probably the occasional curse or incantation that offended their beliefs. There simply were no “dangerous” documents to burn because the pre-Hispanic Filipinos did not write at length about such things as their own beliefs, mythology, or history. These were the subjects of their oral record, which, indeed, the Spanish priests tried to eradicate through relentless indoctrination. But, in regard to writing, it can be argued that the Spanish friars actually helped to preserve the baybayin by continuing to use it and write about it even after it fell out of use among most Filipinos. It is more likely that mere practicality was the main reason that the baybayin went out of style. Although it was adequate for the relatively light requirements of pre-Hispanic writing, it could not bear the burdens of the new sounds from the Spanish language and that culture’s demand for an accurate written representation of the spoken word. The baybayin could not distinguish between the vowels i and e, or u and o, or the consonants d and r. It lacked other consonants too, but more important, it had no way to cancel the vowel sound that was inherent in each consonant. Thus consonants could not be combined and syllable final consonants could not be written at all. Without these elements the meanings of many Spanish words were confused or lost completely. Social expediency was another reason for Filipinos to abandon the baybayin in favour of the alphabet. They found the alphabet easy to learn and it was a skill that helped them to get ahead in life under the Spanish regime, working in relatively prestigious jobs as clerks, scribes and secretaries. With his usual touch of exaggeration, Fr. Pedro Chirino made an observation in 1604 that shows how easily Filipinos took to the new alphabet. They have learned our language and pronunciation and write it as well as we do, and even better, because they are so clever that they learn everything very quickly... In Tigbauan [Panay] I had a small boy in school who in three months, by copying letters that I received in good script, learned to write much better than I, and translated important papers for me most accurately, without errors or falsehoods. But if reasons of practicality were behind the demise of the baybayin, why did it not survive as more than a curiosity? Why was it not retained for at least ceremonial purposes such as inscriptions on buildings and monuments, or practiced as a traditional art like calligraphy in other Asian countries? The sad fact is that most forms of indigenous art in the Philippines were abandoned wherever the Spanish influence was strong and only exist today in the regions that were out of reach of the Spanish empire. Hector Santos, a researcher 17
living in California, suggested that obligations to the Spanish conquerors prevented Filipinos from maintaining their traditions. Tributes were imposed on the native population. Having to produce more than they used to, they had less time to pass on traditional skills to their children, resulting in a tightening spiral of illiteracy in their ancient script. http://www.mts.net/~pmorrow/bayeng1.htm#lost from http://www.mts.net/~pmorrow/bayeng1.htm
Revival of the dead or conservation of the living? Today, there are frequent calls for the revival of the Tagalog script as a symbol of national pride and identity. Unfortunately, the Tagalog script died a long time ago while the spoken language continued to evolve and they are very much out of step with each other today. On the other hand, we have living scripts in the Philippines today that have been in continuous use for almost a millennium. The same people who call for the revival of the Tagalog script have not shown any interest in propagating and maintaining the living Philippine scripts used by our "second-class" citizens. These scripts are in danger of disappearing because of cultural contamination. This is a sad but accurate commentary on the divisions within Philippine society today: lowlanders vs. highlanders, Christians vs. non-Christians, urban vs. taga-bundok, western vs. traditional, pants vs. bahags, blouses vs. bare breasts, and so on. Could it be that the disappearance of the Tagalog script marked that point in history when the Filipinos' cultural will was finally broken? Are we now forever fragmented as a nation grasping for empty symbols when there are so many real things that we should be proud of? http://www.bibingka.com/dahon/living/living.htm from http://www.bibingka.com/dahon/default.htm
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6.) The Three Surviving Baybayins: Buhid, Hanunoo & Tagbanwa Two Philippine scripts which remarkably differed from the scripts employed by the Ilocanos and Tagalogs on Luzon Island, were those of the Mangyans (of Mindoro Island) and the Tagbanuas (of Palawan Island). Because of the relative isolation of these ethnic groups, their scripts have fluorished. The Mangyan script is still used to this day. http://iloko.tripod.com/scripts.html Although the Tagalog script quickly faded from the Philippine scene after the Spaniards arrived, three related scripts survived. They are the scripts of the Hanunóos and Buhids of Mindoro and the Tagbanwas of Palawan. http://www.bibingka.com/dahon/living/living.htm from http://www.bibingka.com/dahon/tagalog/tagalog.htm In some parts of the Philippines the baybayin was never lost but developed into distinct styles. The Tagbanuwa people of Palawan still remember their script today but they rarely use it. The Buhid and especially the Hanunóo people of Mindoro still use their scripts as the ancient Filipinos did 500 years ago, for communication and poetry. Dr. Harold Conklin described Hanunóo literature in 1949: Hanunóo inscriptions are never of magical import, nor are they on mythological or historical topics. Written messages (love letters, requests etc.,) are occasionally sent by means of inscribed bamboos, but by far the most common use of this script is for recording ambáhan [Hanunóo] and urúkai [Buhid] chants. Both of these types consist largely of metaphorical love songs. http://www.mts.net/~pmorrow/bayeng1.htm
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Buhid Alphabet Origin The Buhid or Mangyan alphabet is thought to have descended from the Kawi script of Java, Bali and Sumatra, which in turn descended from the Pallava script, one of the southern Indian scripts derived from Brahmi. The Buhid alphabet is still used in the Philipines by the Buhid people of Mindoro. Notable features •
This is a syllabic alphabet in which each consonant has an inherent vowel [a]. Other vowels are indicated by separate letter or by diacritics.
Used to write Tagalog, the national language of the Philippines which is spoken by about 10.5 million people.
http://www.omniglot.com/writing/buhid.htm from http://www.omniglot.com/
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Hanuno'o script Origin The Hanuno'o or Mangyan script is one of a number of closely related scripts used in the Philippines until the 17th Century. It is thought to have descended from the Kawi script of Java, Bali and Sumatra, which in turn descended from the Pallava script, one of the southern Indian scripts derived from Brahmi. Notable features •
Hanuno'o is a syllabic alphabet in which each consonant has an inherent vowel [a]. Other vowels are indicated by diacritics.
•
Hanuno'o is traditionally written on bamboo in vertical columns from bottom to top and left to right.
Used to write Hanuno'o, a Austronesian language spoken in the southern part of the Philippine island of Mindoro by about 10,000 to 12,000 people.
http://www.omniglot.com/writing/hanunuo.htm from http://www.omniglot.com/
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Tagbanwa alphabet Origin The Tagbanwa alphabet is one of a number of closely related scripts used in the Philippines until the 17th Century AD. It is thought to have descended from the Kawi script of Java, Bali and Sumatra, which in turn descended from the Pallava script, one of the southern Indian scripts derived from Brahmi. Notable features •
Tagbanwa is a syllabic alphabet in which each consonant has an inherent vowel /a/. Other vowels are indicated either by separate letters, or by diacritics. When vowels appear at the beginning of words or one they own, they are represented by separate letters.
•
Tagbanwa is traditionally written on bamboo in vertical columns from bottom to top and left to right.
Used to write Tagbanwa (a.k.a. Apurahuano), an Austronesian language with about 8,000 speakers in the central and northern regions of the Philippine island of Palawan.
http://www.omniglot.com/writing/tagbanwa.htm from http://www.omniglot.com/ 22
Other Links Paul Morrow's excellent site about Philippine history, language, writing, etc http://www.mts.net/~pmorrow A fascinating introduction to the alphabets of the Philippines by Hector Santos http://www.bibingka.com/dahon
Our Living Scripts by Hector Santos © 1995-96 by Hector Santos All rights reserved. Although the Tagalog script quickly faded from the Philippine scene after the Spaniards arrived, three related scripts survived. They are the scripts of the Hanunóos and Buhids of Mindoro and the Tagbanwas of Palawan. Three surviving scripts These three cultural groups originally lived on coastal shores along the ancient trade and migration route between Borneo and Manila on the western flanks of Mindoro and Palawan. They were incessantly forced to move inland by raiders until they occupied only the highlands of their respective islands. By fleeing and refusing to give up their way of life, they were able to preserve their knowledge of the ancient scripts. Not much was known about them until recently. Knowledge that they had writing systems only came about at the end of the 19th century. Their scripts’ similarity to the Tagalog script was not only in the shapes of their symbols. They had the same kudlits, had the same orthographic rule about dropping the final consonant in a CVC syllable, and had the same uses for their scripts: writing poetry and personal communication. These facts reinforce and verify earlier accounts of friar-historians regarding features of the Tagalog script. Before we proceed further, let us enjoy some actual literature from these people some lowlanders consider “primitive.” I especially enjoy poems from the Mangyans: urukay from the Buhids and ambahan from the 23
Hanunóos. Their imagery is quite contemporary and the ambahan spoken by a stillborn child reminds me of the poems of Robert Herrick. Buhid urukays from The Mangyans of Mindoro by Violeta B. Lopez. Kahoy-kahoy kot malago Kabuyong-buyong sing ulo Kaduyan-duyan sing damgu, Dalikaw sa pagromedyu Singhanmu kag sa balay barku Anay umabut ka nimu. Like a tree overgrown with branches My mind is full of turmoil Though loaded with pain and grief My dreams continually seek for an end, Let it be known that I am on my way Perchance you’ll catch up with me.
Gusto ko lamang kag si Inambay sa dalan Kag managun latay Sa batang kag managaytay Pag-uli kaw sa balay kita ga araway Gaamigos kita anay I want Inambay to stay only on the pathway So we can roam freely in the woods And when I reach home, you and I Will not quarrel And we could remain together
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Hanunóo ambahans from Treasure of a Minority by Antoon Postma Magkunkuno ti anak lunas Anong suyong muyuan Anong bansay kayasan Kang di way sa bilugan Ako kanmo nga amban Ako kan bansay huywan Pagka ngap ak nirwasan Pag idnas sa salsagan Ud binabaw sa pupwan Ud linilang sa duyan Ti lumilang bay aban Uyayi bansanayan Sud-an sa bagunbunan Ako inaghon diman Tinakip dagaynaan Dapat bay una kunman Aba hulin lumbadan Kanta nga aldaw masdan Hinton di nguna aban Girangon yi rug-usan Ti may pa-oy linyawan Kang hulin talisigan
Says the baby, lifeless born: My beloved mother dear, Father, oh, my father dear! When I was resting in your womb, Closely united with you, I was my father’s favorite. Taken from my safe abode, plac’d upon the bamboo floor, no one put me on your lap, no one rock’d me in a crib. What became my crib at last, was a hammock strongly built: as a bed, a burial hill! Discarded I was, unlov’d. Cov’ring me was the cold earth and the weeping sky above. But although it be like this, a happier day will come. Maybe it’ll be coming soon! And what will be happ’ning then? The old people weeping, sad, in a dark’ning, mourning sky: I will fin’lly leave behind!
Kawayan sa tumalo Kawo no kang itudlo Kawo balaw dumayo Hurok nakaburino Ga panabasan panyo
Bamboo bush along the stream; If I could show it to you, you would like the glossy gleam. Beautiful the young shoots too, like a headdress cut supreme!
Tagbanwan accounts from Indic Writings of the Mindoro-Palawan Axis by Fletcher Gardner and Ildefonso Maliwanag
Marriage Custom
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Adatit magpangasawa sito amon magsorogidon. Imagkasawa na moganait bandi ama. Iirog mi na mangasawa ako na. Imangasawa ono ari pangasawaan mo nga duwan pulo may lima, mapanisan ni lana kaiyani. Adat namon. The custom of marriage among us will be discussed. The man about to marry gives money, (tells) father, "I wish to marry now." If you marry, (give) whom you will marry twenty and five pesos, wipe on hands oil. That's our custom.
Kinship solsog / nagtasan / nagduwa / si ina / si ama / inao ko / amayan / apo ko / aka ko / ali ko / kamana ko / anak ko
sibling / cousin / second cousin / the mother / the father / my aunt / uncle / my grandchild / my older sibling / my younger sibling / my relative / my child
http://www.bibingka.com/dahon/living/living.htm from http://www.bibingka.com/dahon/default.htm
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http://iloko.tripod.com/Hanunoo.html from http://iloko.tripod.com/scripts.html
There may have been a time long ago when these people were culturally close to the Tagalogs. Isolation and different influences could have made the Tagalogs, Buhids, Hanunóos, and Tagbanwas develop along divergent cultural paths. There is new evidence (the Laguna Copperplate Inscription) that ancient Philippines may have been more politically united than was the case when the Spaniards came, that linked settlements rather than independent barangays were the norm, and that material culture was at a higher level than at the time of contact with the West. But like Mycenaean Greece which degenerated into independent city-states, some unknown event caused the breakup of the older Philippine civilization into independent barangays. Greece eventually bounced back and reinvented most of her material culture, developing into the classical Greece that we know of. The Philippines was on its way to new levels of cultural development when Western civilization intervened. http://www.bibingka.com/dahon/living/living.htm from http://www.bibingka.com/dahon/default.htm
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Computer Fonts, Living Scripts Fonts for the Buhid, Hanunóo, and Tagbanwa scripts still used in the Philippines are available. They come in two styles each based on actual historical and stylistic samples.
http://www.bibingka.com/dahon/misc/livfonts.htm from http://www.bibingka.com/dahon/living/living.htm from http://www.bibingka.com/dahon/literacy/literacy.htm from http://www.bibingka.com/dahon/default.htm ( The Philippine Leaf )
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Variants of the Alibata Script Baybayin Lopez (1620) This font is based on the typeface of the Ilkoano book, Libro a naisurátan amin ti bagás ti Doctrina Cristiana… written by Francisco Lopez in 1620 but bearing the publishing date of 1621. It also appeared in two earlier Tagalog books, Arte y reglas de la lengua Tagala (1610) by Francisco Blancas de San Jose and Vocabulario de lengua Tagala (1613) by Pedro de San Buenaventura. Lopez also used this font in his Arte de la lengua yloca of 1627. There are at least two versions of this typeface. This version was most likely hand-traced. The 1895 reprint of the Ilokano Doctrina shows a more compact version with exaggerated curves and loops. Lopez introduced his “reformed” spelling with this typeface in 1621 but it did not succeed. This was the only typeface to include his + kudlit while the baybayin script was still in common use among Filipinos. http://www.mts.net/~pmorrow/fonts.htm and http://www.mts.net/~pmorrow/baychart.htm Bikol Mintz (1835) Bikol Mintz is modelled after the cover art on the Bikol-English Dictionary (1985) by Malcolm Warren Mintz & José Del Rosario Britanico. It’s source was an 1835 table of “Ancient characters with which these natives of the Tagalogs and Camarines used to write” (Carácteres antíguos con los que escribian estos Naturales del Tagalog y Camarínes), from the Pascual Enrile collection 18 of the Biblioteca del Museo Naval in Madrid. (ms. 2287, doc. 32:214-214v.) Many thanks go to Dr. Mintz for providing the source information for this font. Ancient Bikolanos called the baybayin basahan and the characters were called guhit. The V shaped vowel kudlíts were called kaholowan and they were placed beside the letters (to the left for the e and i vowels and 30
to the right for o and u) instead of above and below. According to Marcos de Lisboa (1628), the people of Bikol wrote vertically from the bottom upwards but the 1835 document showed horizontal writing that flowed from left to right. This font only allows for placing the kudlits above or below the characters but they can be moved to other positions in a drawing programme. Notice that there is a special character for Ra, and the Spanish + shaped kudlít has been added to this font. http://www.mts.net/~pmorrow/fonts.htm and http://www.mts.net/~pmorrow/baychart.htm Bisaya Hervás (1787) Bisaya Hervás is based on a typeface that appeared in 1787 in an Italian work by Lorenzo Hervás y Pandura, Saggio prattico delle lingue… (Practical examples of languages with prologues and a collection of the Lord’s prayer in over 300 languages and dialects). Because this book was not written specifically about the Philippines or Philippine languages, I believe that the type style is taken from an earlier source. It most closely resembles Ezguerra’s typeface of 1663 in his Arte de la lengua Bisaya en la provincia de Leyte. The samples used to create this font are from two Austrian books that reproduced Cebuano text in this baybayin style, Illustrirte Geschichte der Schrift (The Illustrated History of Writing) by Karl Faulman, 1880 and Sprachenhalle (Hall of Languages) by Alois Auer, 1847. Although the Spanish + shaped kudlít was not used in these documents, it is available in this font. There was also no letter for Wa; the U/O character was used instead. The R sound was represented by the letter Da in Bisayan words and the La character was used for Spanish words. Many thanks go to Mr. Wolfgang Kuhl for providing scans of these documents and some source infromation. http://www.mts.net/~pmorrow/fonts.htm and http://www.mts.net/~pmorrow/baychart.htm Ilocano Paterno (see “Cuadro Paleografico de las Islas Filipinas” ) http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant Kapampangan Paterno (see “Cuadro Paleografico de las Islas Filipinas”) http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant
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Panggasinan Paterno (see “Cuadro Paleografico de las Islas Filipinas”) http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant Tagalog Paterno (see “Cuadro Paleografico de las Islas Filipinas”) http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant Tagalog Stylized (1992) Tagalog Stylized is a modern composite of many examples from the past. It is based primarily, though loosely, on what was my first acquaintance with the baybayin, an excerpt from Lope K. Santos’ Balarilà, 1946. His script resembles one found in Fr. Gaspar de San Agustin’s Compendio de la Lengua tagala, 1703. This present font should not be considered a historically accurate example of the baybayin. The characters’ shapes, sizes and weights have been made uniform in order to present a neat and elegant printed appearance. http://www.mts.net/~pmorrow/fonts.htm
OTHER BAYBAYIN VARIANTS Batangas (Comintang) - see “Cuadro Paleografico de las Islas Filipinas” http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant (?) Riedel’s – the language used for this variant is still unknown. http://alibataatpandesal.com/pilipino.html from http://alibataatpandesal.com/examples.html
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Variants of the Bisaya Script Hervás (1787) Bisaya Hervás is based on a typeface that appeared in 1787 in an Italian work by Lorenzo Hervás y Pandura, Saggio prattico delle lingue…http://www.mts.net/~pmorrow/fonts.htm and http://www.mts.net/~pmorrow/baychart.htm Méntrida (1637) From Alonso de Méntrida’s Arte de la lengua Bisaya-Hiligayna de la isla de Panay, 1637. Méntrida’s font has been listed in some charts as the Visayan alphabet. However, like other early Spanish writers, Méntrida considered all the variant letter shapes to be part of one Philippine script. He wrote the following about his typeface: It is to be noted that our Bisayans have some letters with different shapes, which I place here; but even they themselves do not agree on the shapes of their letters; for this reason, and because of the limited types available, I have shown the characters according to the Tagalogs. This sample was taken from the web site Promotora Española de Lingüistica. It was probably based on a chart by Juan R. Francisco in his work “Philippine Palaeography” in the Philippine Journal of Linguistics, special monograph 3, 1973. His chart, in turn, was based on examples in a book by Pardo de Tavera, Contribución para el estudio de los antiguos alfabetos filipinos. (1884) http://www.mts.net/~pmorrow/baychart.htm Bisaya Paterno (see “Cuadro Paleografico de las Islas Filipinas”) http://www.mts.net/~pmorrow/paterno.htm from http://www.mts.net/~pmorrow/bayeng1.htm#variant
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8.) Baybayin Historical Samples Paterno’s Chart
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About Paterno’s Chart: Paterno’s Cuadro Paleografico de las Islas Filipinas This is an example of the kind of charts that were assembled in the late 1800s and early 1900s. It shows various samples of the baybayin from earlier sources. The Tagalog (en general) is from Pedro Chirino’s Relación de las islas Filipinas of 1604. The other samples from Luzon were collected by Sinibaldo de Mas from handwritten sources and published in Informe sobre el estado de las islas Filipinas en 1842 (1843). (See Baybayin Styles.) However, these samples of baybayin writing are listed here under the heading Alfabeto de..., implying that each sample is a distinct alphabet belonging to a certain region or people. The chart further reinforces this misinterpretation by comparing the baybayin samples to scripts from nearby islands and other totally unrelated alphabets such as Hebrew and Arabic. Unfortunately, later historians reproduced these charts in their books without questioning the original source of each sample. The early Spanish writers are unanimous in reporting that there was only one “alphabet” in the Philippines when they arrived. (See Baybayin Variants.) This particular chart by Pedro Paterno was scanned from Philippine Saga: a pictorial history of the archipelago by H. Otley Beyer and Jaime C. de Veyra (1947). It was translated and reproduced in Eufronio M. Alip’s high school textbook entitled Political and Cultural History of the Philippines (Vol. 1, 1950). It is probably the most copied source for examples of supposedly regional Philippine “alphabets”. This image was provided by Charity Beyer Bagatsing. http://www.mts.net/~pmorrow/paterno.htm
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Baybayin Styles & Their Sources
http://www.mts.net/~pmorrow/baychart.htm from http://www.mts.net/~pmorrow/bayeng1.htm
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Baybayin Lopez
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The Lord’s Prayer from the Doctrina Christiana, 1593 The first book printed in the Philippines.
On the left is the prayer as it was written in 1593. On the right, it has been transcribed into the modern alphabet. The blue letters show the consonants that were not written on the left. http://www.mts.net/~pmorrow/lordpray.htm from http://www.mts.net/~pmorrow/transcrp.htm from http://www.mts.net/~pmorrow/bayeng1.htm
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A Fragment of the Ilocano Lord’s Prayer, 1620, including an Introduction of the 1621 Dotrina Cristiana. Courtesy of Paul Morrow - E-mail
[email protected] http://www.escape.ca/~pmorrow Contributed by Wolfgang Kuhl - E-mail
[email protected] Main source: http://www.christusrex.org/www1/pater/JPNilocano-baybayin.html
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The Lord’s Prayer in Sugbuhanon a.k.a. Cebuano
Transcription Text 1 Amahan namu nga itotat ka sa langit | ipapagdayag ang 2 imong ngalan | moanhi kanamun ang imong pagkahadi | tumanun ang 3 imong huot dinhi sa huta (yuta) maingun sa langit | Ihatagmo damun ang 4 kanun namun sa matag adlao | ug pauadunmo kami san manga-sala namu 5 maingun ginuara namun sa manga nakasala damun ngan gira (dili) imo 6 tugotan kama (kami) maholog sa manga panulai sa amun manga kaauai | 7 apan bauiun mo kami sa manga maraut ngatanan. Amin
Source: Karl Faulmann, Illustrirte Geschichte der Schrift, Wien 1880 ”Illustrated History of Writing”, Vienna 1880. (Line numbers added by the author of this web page.) This book shares its source with an earlier work by Lorenzo Hervás y Pandura, Saggio prattico delle lingue con prolegomeni e una raccolta di Orazioni Domincale in più di trecento 40
lingue e dialetti (Practical examples of languages with prologues and a collection of the Lord’s prayer in over 300 languages and dialects), 1787. The ultimate source is unknown to the author of this web page. Contributed by Wolfgang Kuhl http://www.mts.net/~pmorrow/amahan.htm from http://www.mts.net/~pmorrow/transcrp.htm from http://www.mts.net/~pmorrow/bayeng1.htm
9.) Related Links A Philippine Leaf by Hector Santos. The first web site about the baybayin on the Internet. It also covers the Living scripts of Mindoro and Palawan, the Laguna Copperplate Inscription of 900 C.E. and many other areas of ancient Philippine history. Ating Baybayin - Our Filipino Script by Victor Quimson. A really clever site with Victor's own Baybayin Online Translator. You just type in a word and the programme will transcribe and display the word in either the original baybayin or the modified Spanish baybayin. Incidentally, my Tagalog Stylized font is used throughout Victor's site. Baybayin.com. A great website by Christian Cabuay with lots of information about the current state of baybayin usage in Filipino culture. He also offers his own online baybayin transcriber. Pinoy Tattoos.com Another web site by Christian Cabuay devoted to, you guessed it, Pinoy Tattoos! Malaya Designs is Ray Haguisan's company. He makes beautiful and wearable baybayin art. Suku Art. by Christine Balza makes baybayin art in stone, silver, glass and ceramics. Filipino Tattoos.com is tattoo artist Aleks Figueroa's web site. It has a large gallery of baybayin and other Filipino tattoo art as well as advice for people who want to get a tattoo. Nordenx. Norman del Santos is a digital artist, font designer and game programmer. Explore all his projects and websites from his blog page. Doctrina Christiana, 1593. The Project Gutenburg online edition of the first book ever printed in the Philippines. It contains the oldest known example of baybayin writing in existence. 41
Reflections of Asia sells some books about the baybayin. If you are really interested in the baybayin, the best deal is the facsimile of the entire Doctrina Christiana of 1593. This is the earliest surviving example of baybayin writing. You will learn a lot and the book is very reasonably priced. Urduja.com by Mary Ann Ubaldo, sells beautiful custom made Baybayin jewellery on-line. Read about her in a Philippine Daily Inquirer article and check out her Flash presentation called Baybayin and the Atom Alan Wood’s Unicode Resources. Unicode and Multilingual Support in HTML, Fonts, Web Browsers and Other Applications. Omniglot is fascinating site by Simon Ager about scripts from all over the world. Travel Phrases by David Mc Creedy is a site devoted to four basic phrases that every traveller should know. David is collecting these phrases in every possible language and written script. Unicode fonts are also available at this site. Ancient Philippine Scripts by Dr. Carl Rubino, a linguist and author of Tagalog and Ilokano dictionaries. Here the baybayin is viewed from an Ilokano's point of view. Alfabetos de Ayer y de Hoy at PROEL is a Spanish web page with many examples of the baybayin. The Travelling Tattoo Artist is an article by Elz Cuya about Aleks Figueroa's baybayin tattoo creations. Teaching ABCs the alibata way is an article by Tina G. Santos that was published in the Philippine Daily Inquirer in which she interviewed Raymond M. Cosare of Far Eastern University. In the article Cosare provided many insights about baybayin writing – most of them were copied directly from my web article, Baybayin, The Ancient Script of the Philippines. See this alternate link if the first link is dead: Teaching alibata Missing attributions a disservice to scholarship is my letter to the editor of the Philippine Daily Inquirer concerning the plagiarism in the PDI article listed above. Baybayin, The Ancient Script of the Philippines is the main baybayin article. It covers the history and describes the script. In English and Filipino How to write the Ancient Script of the Philippines is also in English and Filipino.
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How do I write my name in baybayin? This page offers strategies for writing difficult non-Filipino words and names in the baybayin script. Baybayin Styles & Their Sources shows many different forms of the baybayin and tells where they originated. The Baybayin as Written by Filipinos is a chart by William Henry Scott that shows the wide variety of Tagalog handwriting styles in the 1600s. Cuadro Paleografico is a chart drawn up in 1892 (?) by Pedro Paterno. It has been misinterpreted in several books as a chart of distinct alphabets instead of just variations in handwriting. Baybayin Transcriptions Examples of 16th and 17th century baybayin documents from the three major language groups of the Philippines are transcribed into the modern alphabet. Down Load Baybayin Fonts Free! Four baybayin typefaces available in TrueType format for both IBM and Macintosh computers and in PostScript Type 1 format. They are all free.
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