Biag ni Lam-ang
Biag ni Lam-ang () is an epic story of the Ilocano people from the Ilocos region of the Philippines. It is notable for being the first Philippine folk epic to be recorded in written form, and was one of only two folk epics documented during the Philippines' Spanish Colonial period, along with the Bicolano epic of Handiong. It is also noted for being a folk epic from a "Christianized" lowland people group (the Ilocano people), with elements incorporated into the storytelling. As oral literature, the poem is believed to have originated in pre-colonial times, evolving  as it is passed on from poet to poet and generation to generation. The poem's first transcription is sometimes attributed to the blind Ilocano poet-preacher Pedro Bucaneg, but historian E. Arsenio Manuel instead attributes its first written documentation to Fr. Blanco of Narvacan, working with the publicist and folklorist Isabelo de los Reyes. Historiography. As oral literature, the poem is believed to have originated in pre-colonial times, evolving as it is passed on from poet to poet and generation to generation. Pedro Bucaneg, who supposedly dictated it so that it could be written down. However, it is  unclear whether this "transcription" refers to an extant copy of the Biag ni Lam-ang text. Some texts, such as Celedonio Aguilar's "Readings in Philippine Literature" even state that this transcription occurred in 1640—long after Bukaneg is believed to have died. Instead, historian E. Arsenio Manuel attributes the first written documentation of Biag Ni Lam-ang to the parish priest of the municipality Narvacan Fr. Gerardo Blanco and to publicist and folklorist Isabelo de los Reyes. It was Fr. Blanco who sent the text of the poem to De Los Reyes, who then published the text, in Ilocano , along with a Spanish prose translation, in his paper, the El Ilocano, 1889 to 1890. Narrative. Lam-ang's extraordinary birth. Lam-ang is an extraordinary being, manifesting when he begins to speak in his early years, thus enabling him to choose his own name. The quest for Lam-Ang's father. His adventures begin when his father, Don Juan, set out for a battle but never returned. At barely nine months, Lam-ang goes to search for Don Juan in the highlands where the latter was said to have gone. Aware that her child was a blessed, exceptional creature , his mother Namongan allows him to go. Lam-ang then goes off in search of his father, leaving his grieving mother behind. He sees his father beheaded and the head put on a spike. While the headhunters are celebrating, in his anger, he challenges all of them to a duel. The headhunters throw spears at him, but he just catches it and throws it back to them. He defeats the headhunters, kills them all and takes his father's head down to the plains. After he went down the plains, he decided to bath in the Amburayan River, which the  local gals helped him bathe. The dirt is so gross that fishes and animals died upon contact of the water. The pursuit of Ines Kannoyan. Upon arriving home, Lam-ang decides to court his love interest, Ines Kannoyan who lives in Calanutian (Kanluit). Lam-ang's death and magical resurrection. After his death due to being eaten by a huge fish, Lam-ang's bones are recovered and he is resurrected with the help of his magical pets. Ines is ordered by the rooster to wrap the bones with her "tapis" while the hen flapped its wings and the dog  growled. In an instant, Lam-ang is happily reunited with his wife. Notable themes and storytelling elements. Comedic elements. "Biag ni Lam-ang", though dominated by action and tragedy, nonetheless contained some comedic points. A prominent example is the scene in which Lam-ang was on his way home. He passes by the Amburayan River (identified by some as the biggest river in Ilocos) and decides to bathe. The dirt and blood that fell from his body then causes the death of the river's fish, crabs, and shrimp. As he is bathing, some maidens who were present at the  river gladly attend to him. Roman Catholic elements. The tale of Lam-ang, as a story passed on for generations as oral literature and recorded well into the Spanish colonial period, is notable for incorporating Roman Catholic elements into the story, such as references by the characters of Lam-ang and Ines Kannoyan to marriage as a sacrament. Folklorist Mellie Leandicho Lopez notes that ""later versions of the epic differ from the early texts due to the addition of more Christian and Spanish elements in the adventures of the Culture hero Lam-Ang"." Influences from Hindu epics. Although most of  the thematic scholarship regarding the Biag ni Lam-ang have focused on the evolving Roman Catholic influences on the epic, some Philippine textbooks have suggested that it may have been influenced by the "Mahabharata" and the "Ramayana". Philippine anthropologists and historiographers such as F. Landa Jocano suggest that such Hindu influences probably arrived in the Philippines through the extensive trade that local cultures had with the Majapahit Empire during the 14th through 16th centuries, although earlier scholars such as Juan R. Francisco and Josephine Acosta Pasricha had suggested earlier dates for this influence, during the ninth to the tenth century  AD. Adaptations. In 2012, a film adaptation of the story of Lam-ang was made. Called "Lam-Ang", the film starred Rocco Nacino and Rochelle Pangilinan. It was originally intended to be a TV series, but it was later decided to turn it into a film adaptation by Gabriel Lorenzo Quizon instead. In 2018, "Biag ni Lam-Ang" was illustrated as a single-panel narrative by Jill Arwen Posadas for the Ang Ilustrador ng Kabataan exhibition, "Enchantment". In 2021, episode 3 of the revival of "Legends of the Hidden Temple" told the story of Lam-Ang and based its challenges  off of different parts of that legend.