Memories of Mindanao, Part 8

By Conrad J. Benedicto

The Maguindanao people inhabit a flood plain nourished by great rivers, chief among them, the Masla Pulangi (literally “Big River”). Indeed that soil has grown a culture as rich and epic in its cosmology as any I have encountered in books. In Cotabato we encountered two mighty rivers of a different sort, that bring not water and sediment but song and dance, nourishing the landscape within: the storied Mohamad family and Salamindanao Dance Company led by the inimitable legend, Faisal Monal.

Down a side street in the heart of Cotabato, we called upon the Mohamad family. The slight drizzle did little to dampen the blazing conflagration of artistry that greeted us when we entered the small sheltered outdoor space outside their house, which serves as their rehearsal room. The family are champion musicians and Sagayan dancers led by 85 year old matriarch Kagi Kadiguia Mohamad, who literally yawned after electrifying us with multi-layered songs from the old, established style (kamamtuan) and new rhythmic style (kangungudan). She was equal to the gents from Mamayug Sa Maguindanao in technical brilliance but seemed to draw her notes from a deeper well. She was like a librarian, picking and choosing from a grand collection what books she would like to read to us. The Sagayan dancers of the family are current and past champions who are the Roger Federers and Rafa Nadals of the current Sagayan scene.

“I said in Tagalog that their music and dance were as beautiful and enthralling as any being witnessed in the great concert halls of the world. ”

After a brief communal celebration in which KULARTS dancers donned and wielded the regalia of Sagayan while the musicians tried out the agong and the tambul, we all sat down and had a tearful exchange of appreciations. I said in Tagalog that their music and dance were as beautiful and enthralling as any being witnessed in the great concert halls of the world.

One of the daughters, a twelve year old named Laika, is a rarity who dances the Sagayan warrior dance with great skill, even though traditionally only boys are allowed. She became emotional as she was showered with praise for being a trailblazer. The Mohamads are so accomplished that they are able to afford Laika the opportunity to break barriers. They have earned the credibility to change tradition in this significant way.

In the U.S. I am a part of a kulintang family of sorts. All of Danny’s students have an instant connection when we meet. The familiar songs we play are portraits of our shared experiences, nostalgic family photographs. We play them and say “here we are, together in this experience.” But our family is diasporic—loose, fragmented, holding on to memory in the throes of a fevered American Dream. Laika’s family is like the Pulangi—undammed and one with its headwaters and tributaries, celebrating the fullness of its inexhaustible outflow without apology.

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