I Higaonon Analysis - Literary devices and Poetic devices

I you called pagan,
you say pagan is bad people.
You say you is Christian
and Christian is good people.

You laugh I kneel on big rock
or I pray before big tree.
You angry I call Migbaya,
you say my God is devil.

I not laugh you kneel on dead tree
or you pray to hanging God there.
I not angry you call your God,
and I not call Him devil.

I angry you get my lands,
I angry you get my golds,
I angry you burn my wood books,
but you say I should love enemy.

You say love enemy
but you killed grandpa baylan,
you killed grandma bae,
you killed uncle bagani,
you killed even dog talamuod.

II.

I you called savage
you say savage is bad people.
You say you is civilized
and civilized is good people.

You laugh I speak wrong your tongue
or I not knowing you say.
You angry I speak my tongue,
you say I silent I not speak your tongue.

I not laugh you speak in your noses
or you kalamura speak my tongue.
I not angry you speak your tongue,
I not say you silent you not speak my tongue.

I angry you kill my datus,
I angry you burn my house,
I angry you get my honey,
I angry you get my sakop,
but you say I should know democracy.

You say know democracy
but you commanding all
you telling I not speak
you forcing I live near plantations
You making all us sakop
you killing my brothers not liking you.

III.

I you called brother
you say brother skin also brown.
You say you is my brother
and brother is good people.

You laugh I kneel on big rock
or I pray before big tree.
You laugh I speak wrong your tongue
or I not knowing you say.
You angry I call Migbaya,
you say my God is devil.
You angry I speak my tongue,
you say I silent I not speak your tongue.

I not laugh you kneel on dead tree
or you pray to hanging God there.
I not angry you call your God,
and I not call Him devil.

I not laugh you speak in your teeth
or you kalamura speak my tongue.
I not angry you speak your tongue,
I not say you silent you not speak my tongue.

I angry you get my lands,
I angry you get my golds,
I angry you dishonor my sisters,
but you say I should love brother, skin also brown.

You say love brother, skin also brown
but you help kill grandpa baylan,
you help kill grandma bae,
you help kill uncle bagani,
you help kill dog talamuod,
you help kill even my balangkawitan rooster.

I angry you help kill my datus,
I angry you help burn my house,
I angry you help steal my honey,
I angry you paying cheap my abaka, coffee, coconut, banana, etc.
but you say I should know government.

You say know government
but you commanding all
you telling I not speak
you forcing I live near plantations
you making us all sakop
you killing us not liking you.

IV.

I pagan?
I savage?
I brother?

V.

I knowing gooder, I knowing bad.
I knowing badder, I knowing good.
I knowing brother, I knowing stranger.
I knowing things yesterday, today, tomorrow.

I ancient.

I Higaonon.

Welcome, language explorers, to a journey into the heart of a truly remarkable poem, “I Higaonon” by Telesfore Sungki Jr. This powerful work, penned by a Higaonon tribal poet, stands as a testament to resilience, identity, and the enduring spirit of indigenous cultures. First appearing in the journal Dagmay around 2013 and later included in the Peace Anthology, “I Higaonon” has captivated readers with its unique voice and profound message. Through its deliberate use of pidgin English, the poem invites us to confront uncomfortable truths about colonization, prejudice, and the unwavering strength found in self-affirmation. Prepare to uncover the layers of meaning, the striking literary devices, and the unforgettable impact of this essential piece of literature.

I Higaonon Summary: Unpacking the Central Idea

The poem “I Higaonon” presents a compelling dialogue from the perspective of a Higaonon individual confronting a colonizer, or perhaps a representative of the dominant culture. The central idea revolves around the profound hypocrisy and injustice experienced by indigenous peoples at the hands of those who claim moral, cultural, or religious superiority. The speaker meticulously contrasts the colonizer’s judgmental attitudes and destructive actions with the Higaonon’s own respectful and tolerant nature. The poem asserts that the Higaonon’s anger does not stem from differences in appearance, faith, or practices, but rather from the colonizer’s contempt for their way of life, the dispossession of their ancestral lands, the destruction of their culture, and the violence inflicted upon their community. Despite facing accusations of being “pagan,” “savage,” or even a false “brother,” the speaker maintains a powerful sense of identity, wisdom, and historical consciousness, culminating in the defiant and self-affirming declaration, “I Higaonon.” This poem serves as a poignant critique of colonial narratives and a powerful affirmation of indigenous identity and knowledge.

In-Depth I Higaonon Analysis: Exploring Major Themes

The poem “I Higaonon” masterfully weaves together several significant themes, each contributing to its profound impact and enduring relevance. Understanding these themes is key to a comprehensive I Higaonon analysis.

Colonization and Dispossession

At its core, “I Higaonon” is a searing indictment of colonization and its devastating effects. The poem vividly portrays the systematic taking of land, resources, and lives. The speaker’s repeated grievances highlight the material and cultural losses suffered by the Higaonon people:

I angry you get my lands,
I angry you get my golds,
I angry you burn my wood books,

These lines, echoed throughout the poem, underscore the physical theft of territory and wealth, but also the destruction of cultural heritage, symbolized by the “wood books.” The colonizer’s actions extend beyond mere acquisition to the violent suppression of the indigenous population:

you killed grandpa baylan,
you killed grandma bae,
you killed uncle bagani,

This direct accusation of murder reveals the brutal reality of colonial expansion, where traditional leaders and community members are systematically eliminated. The forced relocation and economic exploitation are also evident:

you forcing I live near plantations
you making all us sakop
you killing my brothers not liking you.

Here, the poem exposes the economic motives behind colonization, turning indigenous people into subservient laborers (“sakop”) and punishing dissent with violence. The theme of dispossession is not just about physical territory but also about the loss of autonomy, culture, and life itself.

Hypocrisy and Moral Superiority

A central theme in “I Higaonon” is the glaring hypocrisy of the colonizer. The poem meticulously exposes how the colonizer preaches virtues like love and democracy while simultaneously engaging in acts of violence, theft, and oppression. The speaker directly challenges these double standards:

but you say I should love enemy.
You say love enemy
but you killed grandpa baylan,

This stark contrast between the colonizer’s words and deeds reveals a profound moral bankruptcy. The colonizer labels the Higaonon as “pagan” and “savage” while claiming to be “Christian” and “civilized,” yet their actions betray these self-proclaimed virtues. The colonizer’s religious intolerance is evident:

You angry I call Migbaya,
you say my God is devil.

Yet, the Higaonon speaker demonstrates a far greater tolerance:

I not angry you call your God,
and I not call Him devil.

Similarly, the colonizer champions “democracy” but practices authoritarian control:

You say know democracy
but you commanding all
you telling I not speak
you forcing I live near plantations

The poem effectively dismantles the colonizer’s claims of moral and cultural superiority by highlighting the vast chasm between their professed ideals and their brutal realities.

Cultural Identity and Resistance

Despite the relentless assault on their culture and identity, the Higaonon speaker in the poem maintains an unwavering sense of self. The poem itself is an act of resistance, asserting the validity and richness of Higaonon culture against colonial attempts to erase it. The speaker’s pride in their spiritual practices and language is clear:

You laugh I kneel on big rock
or I pray before big tree.
You angry I speak my tongue,

The speaker’s refusal to be silenced or assimilated is a powerful statement of cultural resilience. The poem culminates in a profound declaration of self-knowledge and ancient heritage:

I knowing gooder, I knowing bad.
I knowing badder, I knowing good.
I knowing brother, I knowing stranger.
I knowing things yesterday, today, tomorrow.

I ancient.

I Higaonon.

These lines affirm the speaker’s deep understanding of the world, transcending the colonizer’s simplistic labels. The declaration “I ancient” connects the speaker to a long and unbroken lineage, emphasizing that Higaonon identity is not new or inferior, but deeply rooted in history. The final, resonant “I Higaonon” is a powerful act of self-naming and cultural reclamation, asserting an identity that cannot be diminished or destroyed by external forces.

Literary Devices in I Higaonon

Telesfore Sungki Jr. employs a range of literary devices in “I Higaonon” to enhance its meaning, emotional impact, and thematic depth. Understanding these elements is crucial for a thorough I Higaonon analysis.

Allusion

The poem utilizes allusions to cultural elements and figures specific to the Higaonon people, enriching its context and inviting readers to understand the Higaonon worldview. These references are not explained within the poem, demanding that the reader acknowledge the existence and significance of Higaonon culture. Examples include:

“Migbaya”: Refers to the Higaonon supreme deity or creator, highlighting their distinct spiritual beliefs.
“baylan”: A traditional spiritual leader or shaman, whose murder signifies the destruction of spiritual guidance.
“bae”: A respected elder woman or chieftainess, representing the loss of matriarchal wisdom.
“bagani”: A warrior or protector of the community, whose death symbolizes the loss of defense.
“talamuod”: A specific breed of dog, possibly revered or integral to Higaonon life, emphasizing the extent of the violence.
“balangkawitan rooster”: A fighting rooster, often a symbol of pride, strength, or livelihood, indicating the complete devastation of their way of life.

These allusions ground the poem in a specific cultural reality, making the grievances deeply personal and culturally resonant.

Assonance

The repetition of vowel sounds within close proximity contributes to the poem’s musicality and emphasizes certain phrases. This subtle device adds a rhythmic quality to the speaker’s voice. For instance:

You say you is Christian
and Christian is good people.

The repeated short “i” sound creates a sense of internal rhyme, drawing attention to the colonizer’s self-proclaimed identity. Another example can be found in:

You laugh I kneel on big rock
or I pray before big tree.

Here, the long “e” sound in “kneel,” “tree,” and “before” creates a soft, flowing effect, contrasting with the harshness of the colonizer’s laughter.

Anaphora

The repeated phrase at the beginning of successive clauses or lines is a powerful rhetorical device used to build emphasis and create a rhythmic, insistent tone. The poem frequently employs anaphora to underscore the speaker’s grievances:

I angry you get my lands,
I angry you get my golds,
I angry you burn my wood books,

This repetition of “I angry you” powerfully conveys the depth and breadth of the speaker’s resentment. Similarly, the repeated “you killed” highlights the systematic violence:

you killed grandpa baylan,
you killed grandma bae,
you killed uncle bagani,

This insistent repetition creates a cumulative effect, making the accusations feel relentless and undeniable.

Consonance

The repetition of consonant sounds within words in close proximity adds texture and emphasizes certain words or ideas. This device can create a sense of force or connection between words. Consider the line:

I angry you get my golds,

The repetition of the hard “g” sound creates a forceful, almost guttural declaration, emphasizing the speaker’s anger and the tangible loss of wealth. Another instance is:

You say savage is bad people.
You say you is civilized

The repeated “s” and “z” sounds create a sibilant quality, subtly highlighting the colonizer’s judgmental pronouncements.

Enjambment

Enjambment occurs when a line of poetry continues onto the next line without a pause or punctuation mark. This technique creates a sense of continuity, flow, and urgency, mirroring the ongoing nature of the grievances and the speaker’s thoughts. An example is found in Part III:

I you called brother
you say brother skin also brown.
You say you is my brother
and brother is good people.

The lines flow seamlessly, reflecting the colonizer’s smooth, yet ultimately deceptive, rhetoric of brotherhood. The lack of a strong stop at the end of each line pulls the reader forward, mimicking the relentless pressure exerted by the colonizer.

Imagery

The poem evokes vivid imagery that appeals to the reader’s senses, creating strong impressions of the Higaonon way of life and the colonizer’s destructive actions. These sensory details make the abstract themes more concrete and relatable. Examples include:

“kneel on big rock” and “pray before big tree”: These images evoke a deep connection to nature and traditional spiritual practices, contrasting with the colonizer’s “dead tree” and “hanging God.”
“burn my wood books”: This powerful image signifies the destruction of written history, knowledge, and cultural heritage, appealing to both sight and the sense of loss.
“kill my datus” and “burn my house”: These direct and violent images convey the brutal reality of colonial oppression and the physical devastation inflicted upon the community.

The imagery helps readers visualize the cultural clash and the profound impact of colonization.

Metaphor

While not always explicitly stated, the poem employs implicit metaphors where one thing is understood in terms of another, enriching its symbolic meaning. For instance:

“wood books”: This phrase serves as a metaphor for the Higaonon’s traditional knowledge, history, and cultural records, which are not necessarily paper-based but perhaps carved or orally transmitted. Their burning represents the destruction of an entire intellectual and cultural heritage.
“lands” and “golds”: Beyond their literal meaning, these can be seen as metaphors for the Higaonon’s entire way of life, their sovereignty, and their inherent worth, which are being stolen.
“tongue”: The speaker’s “tongue” is a metaphor for their language, culture, and right to self-expression. The colonizer’s attempt to silence it is an attempt to erase their identity.

These implicit comparisons deepen the understanding of the losses suffered by the Higaonon people.

Symbolism

The poem employs various symbols to represent broader concepts, making the narrative more resonant and universal. These symbols often carry significant cultural weight. Key symbols include:

“Big rock” and “big tree”: These symbolize the Higaonon’s reverence for nature and their indigenous spirituality, which is deeply connected to the natural world.
“Dead tree” and “hanging God”: These symbolize the colonizer’s Christian faith, presented from the Higaonon perspective as something lifeless or associated with suffering, contrasting sharply with their own vibrant, nature-based spirituality.
“Lands” and “golds”: These symbolize not just material wealth but also ancestral heritage, sovereignty, and the very foundation of Higaonon existence. Their theft represents the complete dismantling of their society.
“Wood books”: As mentioned, these symbolize the Higaonon’s unique cultural knowledge, history, and traditions, which are being systematically destroyed.
“Tongue” (language): This symbolizes cultural identity, self-expression, and the right to exist on one’s own terms. The suppression of the Higaonon tongue is an attack on their very being.

These symbols allow the poem to explore complex ideas about cultural clash and identity in a concise yet powerful manner.

Poetic Devices in I Higaonon

Beyond literary devices, the structural and linguistic choices made by Telesfore Sungki Jr. are equally significant in shaping the poem’s impact. These poetic devices in I Higaonon are fundamental to its unique voice.

Free Verse

The poem does not adhere to a traditional rhyme scheme, meter, or fixed stanza length. This free verse structure allows the poet to prioritize natural language, direct expression, and a conversational, yet deeply serious, tone. The absence of rigid poetic forms mirrors the speaker’s desire for authenticity and freedom from imposed structures. It gives the poem a raw, unfiltered quality, making the speaker’s voice feel immediate and genuine, as if speaking directly to the reader without the constraints of formal verse. This choice enhances the poem’s accessibility and its powerful, unadorned message.

Pidgin English

The deliberate and consistent use of pidgin English is arguably the most significant poetic device in “I Higaonon.” It is not merely a linguistic choice but a profound statement about cultural identity, resistance, and the complexities of communication in a post-colonial context. The use of non-standard English serves multiple purposes:

Authenticity and Voice: It gives the Higaonon speaker an authentic, distinct voice, challenging the dominance of standard English and asserting a unique cultural perspective. It reflects the linguistic reality of many indigenous communities interacting with colonizers.
Disruption of Power Dynamics: By using a language often dismissed as “broken” or “inferior,” the poem subverts the colonizer’s linguistic authority. It forces the reader to engage with the language on its own terms, disrupting expectations and highlighting the colonizer’s own linguistic arrogance.
Emphasis on Communication Barriers: The pidgin English subtly underscores the communication gap and misunderstanding between the Higaonon and the colonizer, not just linguistically but culturally and morally. The colonizer “laugh I speak wrong your tongue” while the Higaonon understands the colonizer’s actions perfectly.
Symbol of Resistance: The refusal to adopt the colonizer’s “correct” language can be seen as an act of resistance, a way of maintaining cultural integrity in the face of assimilationist pressures. It is a powerful affirmation of identity.

This linguistic choice transforms the poem from a simple narrative into a complex commentary on language, power, and identity.

Stanza

The poem is divided into stanzas of varying lengths, creating a visual and rhythmic structure that guides the reader through the speaker’s arguments and emotions. The consistent four-line stanzas in the initial parts establish a pattern, making the deviations more impactful. For example, the longer stanzas detailing the colonizer’s violent actions in Parts I, II, and III build a sense of accumulating injustice. The abrupt, single-line questions in Part IV:

I pagan?
I savage?
I brother?

create a stark, interrogative pause, forcing reflection. Finally, the short, declarative stanzas in Part V emphasize the speaker’s concluding pronouncements, giving them weight and finality:

I ancient.

I Higaonon.

The strategic use of stanza breaks helps to organize the speaker’s thoughts, build emotional intensity, and highlight key moments of questioning and self-affirmation.

The Enduring Wisdom of I Higaonon

“I Higaonon” is more than just a poem; it is a profound declaration of identity, a powerful critique of injustice, and a testament to the enduring spirit of indigenous peoples. Through its unique voice, compelling themes, and masterful use of literary and poetic devices, Telesfore Sungki Jr. crafts an unforgettable experience for the reader. The poem challenges us to look beyond superficial labels and to recognize the deep wisdom and resilience that can be found in cultures often marginalized. The speaker’s final lines resonate with timeless truth, encapsulating a profound understanding of existence that transcends colonial narratives: