Clark's study in 2022 delves into Palawan's rich cultural heritage, highlighting one of

its sixty-three epics, the Kudaman, locally known as tultul. Notably, Nicole
Revel-MacDonald was the first to record and translate it into French, publishing it in
1983 in both Palawan language and French. The epic, learned by the singer Usuy
from his nephew Buntäli, is a significant part of Palawan culture.

In the highlands, a unique observation emerges: while all babaylans are also bards,
the reverse isn't true; not all bards are babaylans. There exists a performance-based
linkage between chanting epics (tultul) and shamanic voyages (ulit). The epic
comprises six songs, requiring seven nights for a complete performance, each night
dedicated to one of the songs, starting with the introduction on the first night
featuring the hero Kudaman.

A notable characteristic is that epics are exclusively chanted at night, concluding at

dawn. Singing is strictly prohibited during the day or in the presence of the sun,
establishing a connection between the epic, night, and a sacred realm. The chanting
is a serious endeavour, devoid of lightheartedness or casual enjoyment.

Highlanders' lengthy chanted stories are akin to moral murals, depicting institutional
and natural settings, and serving as testaments to a unique cosmogony, ethic, way
of life, and worldview specific to highland civilization. While initially appearing sparse
in mythical components, these narratives, reaching their pinnacle in epic art, are
abundant in mythological recollections. They go beyond mere etiological reports,
presenting natural, celestial, atmospheric, cosmogonic, visible, and unseen events in
an allusive manner, with subtle legendary references.

Notably distinctive among Palawan epics is the use of kids, and at times, even
newborns, as protagonists, adding a unique flavor to these cultural narratives.

Kudaman: An Oral Epic in the Palawan Highlands

(Prelude)

The narrative unfolds with two cousins embarking on a fishing expedition by the river.
In the midst of this adventure, the central character, the heroine in the tale of Tuwan
Putliq, mysteriously vanishes. Distraught, her father, Mutaq-Mutaq, implores her
husband to locate her, but his efforts prove futile. Consequently, a message is
dispatched to the Young Man of the Cumulus Clouds, Känakän ät Inarak.

In response to the plea, Känakän ät Inarak retrieves a crocodile scale and a tiny nail
belonging to the missing girl. In exchange for his daring efforts, the father,
Mutaq-Mutaq, pledges to give the girl to Känakän ät Inarak. Tragically, the girl meets
a grim fate, suffocating in a betel-nut box. However, her story takes a mystical turn
as she reappears transformed into bamboo, radiating a gleam reminiscent of the
rising sun. The tale weaves a captivating narrative of love, loss, and magical
transformations.

(Chant I)

Tuwan Putliq, now the wife of the Young Man of the Clouds, owes her life to his
heroic actions. However, complications arise as the Lady of the Spirits of the Sea
seduces the Young Man of the Clouds, who is already married to Kudaman. Tuwan
Putliq, facing the betrayal, decides to leave him due to the adulterous affair.

In response to the marital discord, Kudaman takes decisive action by sending

Linamin ät Säqitan Dagat to Tuwan Putliq's father, Surutan Tamparan, the Sultan of
the Shore, without offering any comments—a clear repudiation. However, fate
intervenes as Kudaman encounters Tuwan Putliq on his journey and extends an
offering of betel to chew. Surprisingly, she accepts the betel, marking her acceptance
to become Kudaman's first wife.

Surutan Tamparan discovers his daughter's transgressions and threatens her with a
severe punishment—decapitation with the Scissors of the World. Despite this, Tuwan
Putliq emerges from the ordeal even more radiant than before.

A new chapter unfolds as Mutaq-Mutaq visits Kudaman, proposing a blood pact

between them. They exchange gifts and begin cohabiting. Kudaman, in an attempt to
reconcile, arranges a rice-wine drinking feast, during which the Sultan of the Shore
passes judgement on the abduction of his daughter.

Driven by a quest for beautiful attire, Kudaman departs for new lands and entrusts
his wife to Mutaq Mutaq, Tuwan Putliq's former husband. In his travels, Kudaman
purchases clothing from the Sultan of the Shore and encounters the Lady of the
Emerald Dove. Upon his return, he learns that the Lady of the Good Spirits of the
Sea has come back and becomes his sister. The three women, including Tuwan
Putliq, become sisters through an exchange of rings.

The hero further complicates his relationships by entrusting his new wife, Duwäy, to
his first wife, Puqun. Another woman enters the picture, becoming his fourth wife,
and they all interact with each other as "sisters." The narrative unfolds with intricate
layers of relationships, judgments, and exchanges in this captivating epic.

(Chant II)

The hero Kudaman orchestrates a grand ritual feast and decides to erect a spacious
meeting house for the upcoming rice-wine drinking ceremony. The festive ambiance
is set with the resonating sounds of gongs, and invitations are extended to all in the
vicinity. However, the celebration is abruptly interrupted by a foreboding dream that
unveils ominous visitors scheming to capture and take away Kudaman's four wives.

Demonstrating wisdom, the hero Mutaq-Mutaq navigates the situation with tact,
avoiding unnecessary violence. His household epitomizes courtesy and refined
peace. The narrative unfolds into a skirmish between Mutaq-Mutaq and the valiant
Känakän ät Inarak, who ultimately emerges victorious, saving Kudaman's wives. The
clash concludes with Kudaman triumphing and Ilanän meeting his demise. Order is
restored to the world, and life resumes its course.

On their journey back, the group visits Limbuhanän, Kudaman's first cousin, now
married to the Lady of the Pine Trees. The reception is warm, with Limbuhanän's
four wives exhibiting calm, dignity, and tenderness.

The feast becomes a symbol of peace and harmony, culminating in a dance

performed by the ladies. After three nights, they follow the "Custom of the Jar,"
symbolizing shared communal practices. The Sultan of the Shore is the first to
partake, and Kudaman is the last, attended by the Lady of Hooks. Kudaman plans to
make her his elder wife, and Ilanän is miraculously brought back to life through the
act of spitting betel nut. A blood pact is made, signifying the laying down of arms.

Following a judgement by the Supreme Judge, Tuwan Putliq undergoes a seemingly

harsh punishment, being cut into two halves. Yet, she emerges from this ordeal as
beautiful as ever. The Radja, Känakän ät Inarak, and other guests depart,
expressing hope for another feast in the near future. The tale unfolds as a rich
tapestry of conflict, resolution, and the enduring spirit of peace.

(Chant III)

In an otherworldly spectacle, the Sultan of Another World extends hospitality by

hosting a lavish feast. Kudaman, accompanied by his wives, embarks on a celestial
journey mounted on Linggisan. During their ethereal travels, they encounter the
Ilanän, beings devoid of hostile intentions. The gathering succumbs to the
intoxicating effects of revelry, and amidst the merriment, Limbuhanän requests a
pause in the resonating tones of the gongs.

Seizing a shamanistic opportunity, Kudaman initiates the ulit, a mystical voyage

connecting him with the Weaver of the World, Nägsalad. In this transcendent
experience, jars are offered, symbolizing spiritual communion, but a caution against
violence echoes in the cosmic realms. Following their mystical sojourn, they return to
their earthly abodes, marking the end of this extraordinary episode, where the
boundaries between worlds blur, and the ethereal and the tangible coalesce in a
harmonious tale of spiritual connection.
(Chant IV)

In a poignant narrative, Kudaman, a heroic figure, makes a profound decision,

entrusting his secondary wives to his first wife, Tuwan Putliq. Filled with sorrow,
Tuwan Putliq implores him not to depart, but despite the opposition from
Mutaq-Mutaq, Kudaman remains resolute and embarks on a journey that spans
seven years. As a symbolic representation of his presence, he leaves behind a basil
flower pot.

On his travels, Kudaman is welcomed by a wealthy merchant and gifted gold rings
adorned with delicate flower motifs. Despite the invitation to stay, he declines and
returns home, visibly fatigued. The four wives, now searching for him, project
themselves into the celestial expanse, blending with the stars. The Lady of the
Ginuqu Tree unveils Kudaman's magical powers, leading all four wives to approach
him and successfully bring him back home.

With Kudaman's return, plans for another grand feast unfold, featuring invitations
extended to the Sultan and Säwragar. A flying mount is dispatched to fetch them.
During the fourth night of the rice wine celebration, Kudaman manages to elude the
vigilance of his wives and consumes a staggering 180 jars of sugar cane. Assisted
by Limbuhanän, he embarks on a journey that leads him to the center of the earth.

In a miraculous turn of events, the Lady of the Young Men seizes Kudaman, curing
him and wiping his face with a scarf. Kudaman, deeply moved, resolves to bring her
back. The departure of all visitors leaves the once lively house in silence, marking
the culmination of this intricate tale of love, departure, and the mystical forces that
shape the hero's destiny.

(Chant V)

In a society where polygamy is the norm, Kudaman embarks on a seven-year quest,

seeking exquisite ornaments for his multiple spouses. During this time, he engages
in the traditional practice of agaw ät tumang, seducing the Lady of the Sandbar,
Linamin ät Balintang, and making her his seventh spouse, establishing a bond akin
to that of a "sister."

The union is celebrated with a marriage ceremony and a rice wine feast. Amidst the
festivities, the Lady of Anduwanän, the Abode of Ampuq, becomes enamored with
both the bird and his master. As the feast unfolds, Kudaman and his first cousin,
Limbuhanän, refrain from partaking in the rice wine.

In a significant role, Kudaman entrusts his first cousin with the task of replenishing
the jars, ensuring the continued observance of rituals dedicated to the Master of
Rice. This act highlights the importance of continuity in the cultural and ceremonial
practices that surround Kudaman's role as a revered figure in his society.
(Chant VI)

Mutaq-Mutaq is dispatched to Limbuhanän's domain with a mission to organize the

upcoming feast, diligently preparing yeast and jars for the occasion. The highly
anticipated event sees the attendance of distinguished figures, including the
Supreme Judge and the Sultan. However, in a mysterious turn of events, Kudaman
departs for an unknown world.

In this uncharted realm, Kudaman captures the affection of Linamin ät Mälana and
the Lady of the Void, forging a sisterly bond between them. Following these unions,
the stage is set for the grand rice-wine feast.

Amidst the revelry, Kudaman, in a state of inebriation, is attended to by the Lady of

the Hawks, and in his intoxicated state, he expresses the desire for her to become
his tenth wife.

Meanwhile, the narrative takes a parallel turn as Känakän ät Inarak enters

matrimony with the seventh daughter of the Sultan. This union proves to be fruitful
for the Sultan, who is gifted with a river flowing down from the sky to his residence,
along with the planting of a syzygum tree and a grapefruit tree, ensuring the bearing
of beautiful fruit throughout the year. The tale unfolds with a rich tapestry of
relationships, mystical encounters, and the continuation of life's ever-evolving
journey.

References

Revel, Nicole (1996), Kudaman: An Oral Epic in the Palawan Highlands, Journal,
Oral Tradition, 11/1 (1996): 108-132

https://journal.oraltradition.org/wp-content/uploads/files/articles/11i/11_revel.pdf

Clark, J. (2022, November 14). Kudaman: Summary of the Oral Epic from the
Palawan Highlands.

https://www.aswangproject.com/kudaman-summary/