Introduction to ambahan Essay

Ambahans recorded on a bamboo support The ambahan is a scholarly item and beautiful articulation of the Southern Mangyans of Mindoro, Philippines. In spite of 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 including the zones inside the districts 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 inception, with characters communicating the open syllables of the language. Two unmistakable syllabaries are still in handy use among the ethnic gatherings 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 positively accounts generally for the abundance of writing pervasive among them. One of the scholarly 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 layout on the character and utilization of the ambahan will be given here. As a definition, it tends to be expressed that the ambahan is: A. A cadenced beautiful 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 idyllic language, certain circumstances or certain qualities alluded to by the one recounting the sonnet. The meter of seven syllables in a single line is the quality 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. In reality, these first lines ought not be considered as a major aspect o f the sonnet legitimate, but instead as a prologue to or a clarification of the conditions which offered ascend to the ambahan itself. In some cases, 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 blend of words is accessible. Then again, a line may contain under seven syllables so as to protect the significance of the line itself which may be upset if more syllables were included. In any case, the last exemption once in a while happens. With an end goal to fit in with the standard of having just seven syllables in each line, the arranger 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 maddening to the interpreter. Hence nirwasan originates from niruwasan; nilkasan from nilukasan; the mono-syllables gin from ginan; u from una. Alternately, the words might be expanded, for example syllables might be included request to have the necessary seven syllables. As a rule, the typical technique includes the utilization of joins and additions, the two of which are broadly 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 significance. 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 stretching a word is by rehashing the word itself, less to mak e it standout in significance (for example in Tagalog: laking-laki), but instead to finish the seven syllable necessity. While it isn't my aim to be specialized on this point, as a linguist’s examination of morphological marvels would be, the prior representations 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 basic component of the ambahan. The most widely recognized rhyming syllable is - a, being a normal addition for action words and nouns in the Hanunuo-Mangyan language. Be that as it may, different mixes with the vowel an are somewhat regular 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 letter set. 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 ensuing, for example once began with - an, all lines will end in - an. This gives off an impression of being rather than 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 intriguing to 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 on the grounds that both g and d have a place with the phonetic class of voiced stops. The word humbak rhymes with dagat on the grounds 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 on the grounds 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 occasions happen, however the exchanges of these consonants are not viewed as infringement of the unwritten guidelines of the ambahan, given that the vowel continues as before. The ambahan is a recited section, however it is changed clearly or nearly presented. 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 an unmistakable tune. Be that as it may, for the most part, it very well may be said that when an ambahan is â€Å"sung,† there is just a slight melodic pitch discernable, aside from possibly towards the end, when the last syl lables are attracted out a piece to show that the serenade is going to end. Besides, it is well important that the ambahan, is â€Å"sung† without the backup of instruments, as separated from another sort of Mangyan section, the urukay, which is ideally recited to the backup of the custom made guitar. One who has an information on the language of the Hanunuo-Mangyans as it is utilized in their every day discussion, will have the option to see next to 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 generally in the every day Hanunuo-Mangyan language is additionally utilized in the ambahan-jargon. It is very conceivable to accumulate a considerable rundown of words (in the long run a total word reference) that are utilized distinctly in the ambahan stanza, at the same time, 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 in addition in the artistic results of the neighboring Mangyan clans, is by all accounts a noteworthy fortuitous event worth exploring, 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 go up against the specialist are the accompanying: Where do these ambahan words originated from? Are there different vernaculars in the Philippines from which they may have been inferred? Or then again do we need to direct our concentration toward different nations like Indonesia or India to get a clarification? Here is a likely field of exploration that should give a language specialist enough material to deal with. In a portion of the ambahans here introduced, it will be seen that the topic is about a flying creature, a bloom, a tree, or a creepy crawly. Dif ferent ambahans, however not nature sonnets in the exacting feeling of the term, manage the sun, the moon, the stars, the downpour and the breeze. At the point when a Mangyan artist composes of a bloom, he composes of itnot to praise its magnificence or aroma yet to make it a moral story or an image of human life, it’s issues, and its difficulties. At times the imagery of a winged creature or bloom might be sufficiently clear, as when a kid converses with his young lady about â€Å"a lovely blossom that he might want to bring home.† Very regularly, notwithstanding, one image may allude to various conditions or conditions and, in this way, turns into a different image. An assessment of ambahan no. 114 will help explain this point. What does the sonnet mean? To begin with, it implies basically what it says: â€Å"Be cautious, or you will be stung by a honey bee. Avoid potential risk in getting honey.† This would be the exacting translation of the sonnet. The addit ional 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 heading off to the guardians to request the hand of their little girl. The intricate arrangement of implications therefore woven into an ambahan are gradua