Carmela E.

Bojos
Grade 8- WISDOM

Legend of Barangay Malao-a

Once upon a time, after Tayabas have given birth from the word
(PUEBLO de TAYABAS) the ALCALDE de PUEBLO gave a command
to his councilor that they should research the names of the balangay
that surrounded the pueblo. One group reaches a secluded place where
there is a creek with clear water and fishes. They saw a child who caught
a fish and shrimp, they approached the child and ask the name of that
creek, the child was shocked and he ran out loud Nay, inay hes
shouting and he climb in the dampa that is near the creek.
The group followed him and they saw a women who is sewing a
salawal for men and they ask the name of that balangay, but the girl
thought that the group is asking the name of the salawal so she
answered MALAWLAW because that was the real name of the
salawal on that time and the time passed by and it was already called
malawig.
The group returned at the pueblo and they proudly report that they
discovered a BALANGAY and that is the malawlaw and there is a
creek that is called NAYNAY. Time passes by MALAWA is changed to
MALAOA.
And the time passes by again and the word is changed again. It is
transformed by MALAO-A until now but the ( NAYNAY CREEK) is
never changed until the present.

HISTORY

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that
wayang existed before the first century CE, after Hinduism and Buddhism were brought
to Southeast Asia. This leads to the hypothesis that the art was imported from either India or
China, both of which have a long tradition of shadow puppetry and theatre in general. Jivan Pani
has argued that wayang developed from two arts of Odisha in Eastern India, theRavana
Chhaya puppet theatre and the Chhau dance.[3] However, there very well may have been
indigenous storytelling traditions that had a profound impact on the development of the
traditional puppet theatre.
The first record of a wayang performance is from an inscription dated 930 CE which says si
Galigi mawayang, or "Sir Galigi played wayang". From that time till today it seems certain
features of traditional puppet theatre have remained. Galigi was an itinerant performer who was
requested to perform for a special royal occasion. At that event he performed a story about the
hero Bhima from the Mahabharata. The kakawin Arjunawiwaha composed by Mpu Kanwa, the
poet of Airlangga's court of Kahuripan kingdom, in 1035 CE describessantohltan klir sira
sakng sang hyang Jagatkraa, which means "He is steadfast and just a wayang screen away
from the 'Mover of the World'." Kelir is Javanese word for wayang screen, the verse eloquently
comparing actual life to a wayang performance where the almighty Jagatkraa (the mover of
the world) as the ultimate dalang (puppet master) is just a thin screen away from us mortals.
This reference to wayang as shadow plays suggested that wayang performance is already
familiar in Airlangga's court and wayang tradition has been established in Java, perhaps earlier.
An inscription from this period also mentioned some occupations as awayang and aringgit.[4]
Wayang kulit is a unique form of theatre employing light and shadow. The puppets are crafted
from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth,
with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The
plays are invariably based on romantic tales, especially adaptations of the classic Indian epics,
the Mahabharata and the Ramayana. Some of the plays are also based on local happening or
other local secular stories. It is up to the conductor or dalang or master puppeteer to decide his
direction.

THE VANITY OF THE RAT

In Korea, it was formerly the custom for parents to arrange their
childrens marriages.Mr. and Mrs. Rat were anxious for their
darling daughter Rena to marry into a respectable family.From
the first, They had thought that Mr. Sun was the most highstationed and well-descended person they knew. But when they
are ask a marriage to Mr. Sun, he refused the offer and
recommended Mr. Cloud. When Mr. Cloud heard about their
offer, he too was not eager to choose as his a wife from the House
of Rats. And as Mr. and Mrs. Rat heard about Mr. Wind, they
offered again the marriage, but Mr. Wind was not anxious to be
Mr. Rat's son-in-law so he then suggested Mr. Wall. Mr. Rat
offered the marriage again for his daughter but, as likewise, he
refused and apologized. Until they realized that the only man who
can marry Rena is another rat; Roger Rat. And so Roger Rat
agreed about having the marriage offer by Mr. Rat.
Mr. and Mrs. Rat were very bit as pleased as Rena and Roger were
about the arrangement. And Mr. Rat was convinced that he had
made the best possible match for his darling daughter.