Submitted by Tito Young
on
November 22, 2016 - 08:57 AM

INTRODUCTION:

Federico Sulapas Dominguez aka Ociredef Zeugnimod (name spelled backwards) or boyD was born in the municipality of Maluko, Province of Bukidnon in Mindanao. He descended from the Tagalogs of Bulacan province in Luzon from his father’s side, to the Mandaya of Davao Oriental from his grandmother’s side, and natives of Surigao Del Norte from his mother’s side. He studied Architecture at the University of Mindanao and Fine Arts major in Visual Communication at the University of the Philippines, Diliman. He currently works as a freelance graphic designer and art director, painter, illustrator and a member of the Concerned Artists of the Philippines (CAP). He is married to Maria Teresa Cheng, an anthropologist and Community Development worker with three children, Rio Amir (Tsino), Montana Amir (Bubay) and Brisa Amir (Kimod). He currently resides in Krus na Ligas, Quezon City. He is also a recipient of the Asian Public Intellectual (API) Fellowship 2013-2014.

 


cry of Kangkaput 25 microcadd 700

"The Cry of Kangkuput"

BODY:

 
The Cry of Kangkaput
 
  
As the story goes: long ago there lived a bird named “Kangkaput". This bird loved to fly all over the forests. As it flew, it implored the Spirit of Fruit Season to bless the trees. As Kangkaput passed, the fruit trees blossomed and bore fruits which brought benefits to the animals and people living in the forests. One day, the forests were devastated by floods. The only people who survived were those who managed to hold on to the floating logs or
trunks of the trees. When the floods subsided, the surviving people and animals were hungry. Suddenly, Kangkaput arrived and called upon the Spirit of Fruit Season to make the trees bloom and bear fruits again. The people and animals were able to survive their hunger and misery. Thus, the Penan people believed that if the fruit season happens twice a year its because Kangkaput always reminding the Spirit of the Fruit Season to make the trees bear fruits.
 
One day in one of the flights of Kangkaput around the forests, a baby monkey sleeping on a tree was frightened by its loud calls. The baby monkey cried relentlessly. This incident made the mother monkey angry at Kangkaput because she could not go far to gather their food. She became afraid that they would go hungry so she caught the bird and tied its neck with a vine for several days. Then the mother monkey summoned all the monkeys to seek their advice and sympathy.  To resolve the issue, they had to give Kangkaput a fair trial.  They were able to look for a squirrel judge. The majority of the monkeys did not like the bird to be punished
because they were afraid that they might all end up hungry as the omen bird was the only one which could summon the good blessings of the Spirit of Fruit Season. Finally, the squirrel judge gave the verdict to forgive and release the bird.
 
 
The Penan people now belong to the commonly called Orang Ulo, the nomads in the eastern and western part of
Sarawak, Malaysia. They are the remaining group that still practice hunter-gatherer culture in their forest areas, as well as the “Kabitkanen” or the Law of the Forest. They also practice barter trade. In the forests, they are still guided by egalitarian living or sharing attitude. Although majority of them are already engaged in shifting cultivation, some of them still manage to practice their traditions as forest hunters and gatherers. They practice their traditional culture along with Christian beliefs. Majority of them are now living in permanent places due to their conversion to Christian beliefs and the government’s efforts to settle them. External influences have discouraged them to continue the practice of their traditional lifestyle. The presence of resource-based extraction industries and activities in their traditional forests areas such as logging, mining, mono-crop plantations, hydro-electric dam projects and proposed oil pipe lines have further hastened the process of assimilation and continued dislocation of the Penan people.
 

 

1. This is the second of series for Boy's work.

2. Its purchases benefits to enhancing villages, and benefits to local artists

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CONCLUSION:

 
 
I chose this story because aside from its similarity with a story in my own tribe, the Mandaya people, the plot and characters in the story can be related with the contemporary issues of indigenous peoples, particularly the Penang people. In my painting, the Kangkaput and his calls symbolize the people’s struggles or the pursuit to preserve indigenous knowledge and culture. The bearing of fruits represents the indigenous culture and human rights of the people. The tantrum of the baby monkey and the mother monkey’s fear of being unable to gather food for her baby and herself symbolize the contemporary consumerist’s lifestyle that is forcibly introduced on them. This new lifestyle compels the mother monkey to work and produce surplus to be able to survive in a capitalist system. The mother monkey also symbolizes the penetration of modern life that is realized in the form of authorities and corporations that degrade the environment and bring miseries to the people. The monkeys that   sympathized with the omen bird symbolize the people who organized themselves to protect their traditional culture and indigenous rights.
 
 
Digital Print Artist's Price in US Dollar to assigned size in landscape and in centimeter
 
The Cry of Kangkaput
Tempera on 300 gms 84 x 184 cm Britannia watercolor
paper- boyD Kuching,2014

Digital Print Artist's Price in US Dollar to assigned size in landscape and in centimeter

20 x 9.74 cm = $50.00
30 x 14.61 = $120.00
60 x 29.21 cm = $300.00
90 x 44 cm = $500.00
120 x 58.43 cm = $700.00
174 x 84.72 cm = $900.00 (original size)

Original Painting of the Artist's price at $7,500.00

 

 



 

Artist Ociredef Zeugnimod 

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