Monday, February 11, 2013

Bultong: Ifugao Traditional Wrestling of Northern Philippines



Bultong is what the Ifugaos call their ancient and timeless traditional wrestling form. It is often played during town and provincial fiestas and is always the most popular event in these occasions. Bultong falls under the international classification of "belt wrestling" forms.*

Like most traditional wrestling forms all over the world, no one can tell exactly how ancient and when exactly the Ifugao ancestors started engaging in bultong. Arguably it is as old, or even older, than the Banaue Rice Terraces.



(2009 and 2011 Southeast Asian Games wrestling gold medalist and former bultong champion Jason Balabal (right) of Ifugao demonstrating a bultong throw, with Philippine wrestling teammate Robertson Tubosa (left). (Photo by Wrestling Association of the Philippines photographer Melvin Sia.)

How it is played
  • Participants: Able bodied male teenagers and adults.
  • Attire: Traditionally, each wrestler wears a loin cloth and nothing else. Nowadays, it is allowed to wear
a t-shirt and pants underneath the loin cloth.
  • Competition venue: Before it was played outdoors on a grassy field, and the participants wrestled on the soil. Now, for safety considerations a modern wrestling mat is preferred, placed atop an open or covered basketball court.
  • Competition format: Bultong is played by single elimination system, one on one per match. Winner of the final match is declared the champion.
  • Rules: There are no weight classes. Both wrestlers start holding the “belt” of the other's loin cloth. When the referee signals the start of the bout, each wrestler attempts to takedown the other. He who takes down and pins his opponent's shoulders/ upper back on the ground wins. In international wrestling terminology, it is winning by “one fall.”



(Wiki Loves Monuments 2012 Third place Winner Batad Rice Terraces by Cid Jacobo (User:Captaincid) / Wikimedia Commons / CC-BY-SA 3.0)

Role of bultong in Ifugao society
Aside from the widely recognized positive roles that sports play in society, e.g. fostering camaraderie, perpetuation of social values, fostering individual and group confidence, etc., bultong is unique in that it was also used in the dispensation of social justice - and was therefore also instrumental in peace–keeping - among the Ifugaos.
Until the early part of the 20th century, bultong was used in the settlement of land disputes, especially in the rice terraces which were subjected to erosion and thus obfuscating prior accepted boundaries. When there were conflicts regarding ownership of land, particularly on the demarcation of the boundary of two adjacent lots, rice paddies or terraces between two different land owners, the contending parties resorted to finally settling their disagreement by the way of bultong. The contending parties may contest between themselves or field their chosen representatives, to approximately even up differences in weight and reputed strength, for the important match.
Bultong also played a religious role, as the wrestling match involved an elaborate and religious ceremony participated in by the relatives and family priests of the contesting parties. Ancestral spirits were invoked to ensure that the one who had the rightful claim would win the match. Indeed, both conflicting parties along with their kin believed that the eventual winner was really the just owner of the piece of land he claimed all along, as duly determined and favored by the spirits. This was the main reason why the protagonists and those in attendance were generally in a friendly mood, assured of a just outcome regardless of the winner.
With the selected person, who was usually a mutual relative of both parties, acting out as a kind of referee, the two disputing male land owners or their proxies engaged in the wrestling match. He who managed to throw his opponent down on the spot that he claimed was the rightful boundary of his lot - the farther the better for him - won the right to that spot as the demarcation of his land's boundary.
Afterward, the two parties and the referee cordially hung out for a betel chewing session.

*This is an updated article of the entry that I wrote on the same subject, Bultong, for WikiPilipinas.org (January 21, 2011).

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Contact Number:             0910-440-8035                  0907-302-0384      ;            0927-703-6912      

Sunday, January 6, 2013

The old wrestler's "spirit is willing, but the flesh is weak"

Jesus Christ might as well had ageing athletes in mind when he said, “The spirit is willing, but the flesh is weak.”

At this age, late 30’s, and (still) playing one of the world’s most physically—and, yes, mentally—demanding sports, you just don’t know how much of the athlete is left in you.

Last Saturday, still fresh from a recently-healed shoulder injury, I had the better of a Philippine Team athlete in ground sparring—exchanges in the gut wrench, mostly.

But the athlete weighs only 55 kilos; I weigh around 80 kilos. So my great weight advantage really spelled the difference. And, for a small man, he had my torso red all over from his vice-like grip. (Though, his painful grip notwithstanding, he managed to roll and score against me only once; I was able to turn him over four times: two gut wrenches, one pancake and one half-nelson. But, again, I had an enormous weight advantage.)

Now I’m starting to think, “Maybe I’ll do as well against a top, well-conditioned wrestler of my same weight class. Maybe, in the next nationals…,” and so on.

“Maybe” raises its ugly head again, repeatedly, in my head. It resurrects hope…or inflicts delusions.

Anyway, till the next nationals. So, to the other senior 74-kg wrestlers out there, consider this a warning…or an empty threat.




And here's my previous personal sports story: Milo doesn't lose, as long as he's having fun.


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Contact Number:             0910-440-8035                  0907-302-0384      ;            0927-703-6912      






Thursday, December 6, 2012

How A UP Diliman Landmark Got Its Shape



This barely-a-minute film is my late contribution to World AIDS Day. Or to the passage of the Reproductive Health Bill. Or to the tourism of my alma mater. Or, or, or.


Originally titled "Ring My Bell," this video was conceived and directed by yours truly, Karlo Silverio L. Sevilla III, in 1997 for that year's Basic Video Production Workshop I of the UP Film Center. In my original VHS copy, most middle parts of this video is already erased, so my deepest gratitude goes to my tukayo and UP film major Carlo Cielo for reediting this recently. Originally a five-minute film, Carlo -- my co-worker in the Culture, Arts Film and Sports (CAFS) Division of the Quezon City Office of the Vice Mayor -- shortened this to 56 seconds and changed the background songs.

The shooting locations were the U.P. Lagoon and the U.P. Carillon grounds.

Historical facts (  source: http://iskwiki.upd.edu.ph/index.php/Carillon  ):

Standing stiff along Osmeña avenue in U.P. Diliman, QC, the University of the Philippines Memorial Campanille (or Carillon) is a tower which top houses a set of stationary bells for playing music.

Erected in 1952, it was originally envisioned by U.P. Conservatory director Ramon Tapales, U.P. President Bienvenido Gonzalez and National Artist for Architecture Prof. Juan Nakpil -- with the latter designing it and supervising its construction.

"With the possible exception of the Oblation statue, nothing symbolizes the University of the Philippines more than the 130-foot Carillon Tower - a structure unlike any other in Diliman, a ringing echo of the University's glorious past." -Jose Dalisay Jr., PhD.

From the credits of the original video:

The University of the Philippines Film Center
in cooperation with
The National Commission for Culture and the Arts
and
Provi
Presents
Basic Video Production
Workshop I
1997

Lecturers/Facilitators
Ricky Lee
Fruto Corre
Joseph Fortin
Nonoy Dadivas
Ditsi Carolino
Wayie Canoy
Cito Fernandez

Workshop Director
Fruto Corre
NCAA Coordinator
Elvert Bañares
Finance Officer
Dolores Basilan
Technical Director
Cito Fernandez
Post Production Coordinator
Carlo Maniquiz
Workshop Coordinator
Ava Ricci Salvador
Asst. Workshop Coordinators
Fernando Mando
Cheryl Corre
Regie Duran
Teodora Sobrepeña
Placida Sulleza

U.P. Film Center's
Basic Video Production
Workshop '97

Group 2, Session I presents

"Ring My Bell"

D' erector: Karlo Sevilla
Asst. De-xerex-tor: Maria Lourdes Ortega  
Sexnematographer: Ramoncito Redoble
Edi-toro: Burton Agabao
Reproduction Manager: Cleofe Luangco
Production Asextants: Frances Morillo
                                 Cheryl Corre

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3rd floor JN Building, 657 EDSA corner Monte De Piedad Street, Barangay Immaculate Concepcion, Cubao, Quezon City

Contact Number:             0910-440-8035                  0907-302-0384      ;            0927-703-6912