Introduction to ambahan Essay

Ambahans engraved on a bamboo brace The ambahan is an artistic item and graceful articulation of the Southern Mangyans of Mindoro, Philippines. Despite the fact that there are around seven diverse ethnic gatherings living in Mindoro, all in all called the Mangyans, these gatherings are very particular from one another as to language, customs, and method of living. Just the ethnic gathering living in the south of Mindoro, generally containing the zones inside the regions of Bulalacao (San Pedro), Mansalay, Oriental Mindoro and San Jose, Occidental Mindoro, asserts the name Mangyan as the distinct title of their clan. To emphasize their point, they may include the epiteth: â€Å"Hanunuo† Mangyan, that is, a â€Å"truly, genuine, genuine† Manygan. Along with their northern neighbors, the Buhids, they have a pre-Spanish composing framework, viewed as of Indic cause, with characters communicating the open syllables of the language. Two particular syllabaries are still in pragmatic use among the ethnic gatherin gs in Mindoro, viz. the northern Buhid on one hand and the southern Buhid with the Hanunuo-Mangyans on the other. The presence of a composing framework among these clans unquestionably accounts to a great extent for the abundance of writing pervasive among them. One of the abstract items, the one recorded most as often as possible on bamboo-cylinders or supports, is the ambahan. For better understanding and energy about the ambahans introduced here, a short blueprint on the character and utilization of the ambahan will be given here. As a definition, it very well may be expressed that the ambahan is: A. A cadenced lovely articulation with a meter of seven syllable lines and having musical end-syllables. B. It is frequently introduced as a serenade without a decided melodic pitch or joining by instruments. C. Its motivation is to communicate in a symbolic manner, generously utilizing beautiful language, certain circumstances or certain attributes alluded to by the one recounting the sonnet. The meter of seven syllables in a single line is the attribute of the ambahan which most clearly recognizes it from different sorts of Hanunuo-Mangyan verse. Be that as it may, there are special cases to the standard. For example, in excess of seven syllables might be found toward the start of the ambahan, particularly when it begins with the standard articulation magkunkuno (talks, says) in light of the fact that the person who â€Å"speaks† here may have a long name containing more than the typical seven syllables. As a matter of fact, these first lines ought not be considered as a com ponent of the sonnet legitimate, but instead as a prologue to or a clarification of the conditions which offered ascend to the ambahan itself. Now and again, there might be in excess of seven syllables in light of the fact that the utilized word or words can't be abbreviated and no other mix of words is accessible. Then again, a line may contain under seven syllables so as to safeguard the significance of the line itself which may be upset if more syllables were included. In any case, the last special case once in a while happens. With an end goal to fit in with the standard of having just seven syllables in each line, the writer attempts to accommodate his words inside the pre-decided amount of syllables. This records for the numerous elisions and contactions of words that make the perusing of the ambahan in the Hanunuo-Mangyan content so troublesome and angering to the interpreter. Accordingly nirwasan originates from niruwasan; nilkasan from nilukasan; the mono-syllables gin from ginan; u from una. On the other hand, the words might be expanded, for example syllables might be included request to have the necessary seven syllables. By and large, the typical methodology includes the utilization of appends and postfixes, the two of which are widely utilized in the Philippine dialects. The most widely recognized one in the Hanunuo-Mangyan language is the addition - an. Manok becomes manukan, balunos becomes balunusan, without an adjustment in importance. Inside the word, â€Å"extensions† may likewise be discovered which may be old infixes, not, at this point normal. So dayap becomes dalayap, layaw becomes lugayaw. Another method of extending a word is by rehashing the word itsel f, less to make it standout in importance (for example in Tagalog: laking-laki), but instead to finish the seven syllable necessity. While it isn't my goal to be specialized on this point, as a linguist’s examination of morphological wonders would be, the previous delineations exhibit that the recommended plan of seven syllables in ambahan section gives abundant open door for lexical workout, an activity which may intrigue numerous understudies. The rhyming end-syllables are a fundamental component of the ambahan. The most widely recognized rhyming syllable is - a, being a standard addition for action words and nouns in the Hanunuo-Mangyan language. Be that as it may, different mixes with the vowel an are somewhat normal as well, for example, in lines having the end-syllables: an, ak, ag, ang, as, aw, ay. Here the vowel an is joined with about all the consonants in the Philippine letters in order. Similarly, the vowels I (or e) and o (or u) can be found as the rhyming syllables, either alone or in mix, e.g.: I, id, ing, ip, it, and o, od, alright, on, ong, os, ot, oy. The rhyming in the ambahan is subsequent, for example once began with - an, all lines will end in - an. This gives off an impression of being as opposed to the rhyming plan of a Tagalog sonnet, where toward the finish of a line a vowel rhyme may remember any consonant for blend with this vowel. The ambahan is stricter in this regard, however it is fascinating t o take note of that to a great extent consonants, if having a place with the equivalent phonetic class, might be incorporated as the rhyming consonant in mix with the rhyming vowel. Subsequently, the word inwag rhymes with mama ayad in light of the fact that both g and d have a place with the phonetic class of voiced stops. The word humbak rhymes with dagat in light of the fact that both k and t have a place with the phonetic class of voiceless stops. The word sundong, lumon and tayutom are the end-syllables of one ambahan in light of the fact that ng, n, and m have a place with the phonetic class of voiced sonorants. Obviously, it isn't on the grounds that the Hanunuo-Mangyan knows the slightest bit about phonetics that these examples happen, yet the exchanges of these consonants are not viewed as infringement of the unwritten standards of the ambahan, given that the vowel continues as before. The ambahan is a recited stanza, yet it is changed obviously or nearly recounted. The rendering of the ambahan with melodic pitch may vary from individual to individual. Some may articulate the words like in like manner discussion; others may utilize it a monotone recitation; or still others may sing it with a particular song. In any case, by and large, it very well may be said that when an ambahan is â€Å"sung,† there is just a slight melodic pitch discernable, with the exception of perhaps towards the end, when the last syllables are attracted out a piece to show that the serenade is going to end. Besides, it is well significant that the ambahan, is â€Å"sung† without the backup of instruments, as separated from another sort of Mangyan refrain, the urukay, which is ideally recited to the backup of the natively constructed guitar. One who has an information on the language of the Hanunuo-Mangyans as it is utilized in their day by day discussion, will have the option to see almost no of the language that is utilized in the ambahan. The language utilized in the ambahan contrasts from the communicated in language, however numerous a word utilized broadly in the every day Hanunuo-Mangyan language is likewise utilized in the ambahan-jargon. It is very conceivable to assemble an extensive rundown of words (in the long run a total word reference) that are utilized distinctly in the ambahan stanza, however, with the end goal of this book, just a couple of words should be referenced. Conversational language| Ambahan language| English| amang| bansay| father| inang| suyong| mother| danom| kagnan| water| balay| labag| house| niyog| bu-anay| coconut| bagaw| duyan| talk| mata| pamidkan| eye| That the expressions of the ambahan jargon are found not just in the ambahan of the Hanunuo-Mangyans yet additionally in the artistic results of the neighboring Mangyan clans, is by all accounts a huge fortuitous event worth researching, particularly on the off chance that it is recalled that these different clans utilize a conversational language not quite the same as the Hanunuo-Mangyan language. A few inquiries that would stand up to the agent are the accompanying: Where do these ambahan words originated from? Are there different vernaculars in the Philippines from which they may have been determined? Or on the other hand do we need to direct our concentration toward different nations like Indonesia or India to get a clarification? Here is a possible field of examination that should give a language specialist enough material to take a shot at. In a portion of the ambahans here introduced, it will be seen that the topic is about a winged creature, a blossom, a tree, or a creepy cra wly. Different ambahans, however not nature sonnets in the severe feeling of the term, manage the sun, the moon, the stars, the downpour and the breeze. At the point when a Mangyan writer composes of a bloom, he composes of itnot to commend its magnificence or aroma however to make it a purposeful anecdote or an image of human life, it’s issues, and its difficulties. Now and again the imagery of a fowl or bloom might be sufficiently clear, as when a kid converses with his young lady about â€Å"a excellent blossom that he might want to bring home.† Very regularly, in any case, one image may allude to various conditions or conditions and, consequently, turns into a different image. An assessment of ambahan no. 114 will help explain this point. What does the sonnet mean? In the first place, it implies essentially what it says: â€Å"Be cautious, or you will be stung by a honey bee. Play it safe in getting honey.† This would be the exacting translation of the sonne t. The additional significance of figurative translation would depend, obviously, on the event and conditions, for example, ascending a mountain, going to the ocean, getting down to business, taking part in a challenge with someone else, or setting off to the guardians to request the hand of their girl. The perplexing arrangement of implications subsequently woven into an ambahan are gradua