By Noel Galon de Leon
One wonders if Mia Reyes and John Ray Parreno ever considered writing Tulogmatian in Hiligaynon. If they had, its impact on Ilonggo readers might have been even deeper, strengthening its cultural and literary significance. Yet beyond the choice of language, what truly matters is their bold initiative, one that bridges literature and visual art while making a vital contribution to Philippine publishing. Their work highlights the urgent need to revisit, reinterpret, and revitalize Panay’s rich epic traditions through graphic novels, an artistic and cultural endeavor that must be taken seriously in the years ahead.
According to Reyes’ afterword, adapting Hinilawod into a comic was a long-cherished dream finally realized. The journey began with an early encounter with Hinilawod during a stage play in a school auditorium, where the spectacle of costumes, clothing, and music left a lasting impression. At the time, access to information about the epic was scarce, as the internet was not yet widely available. It was only briefly mentioned in Hekasi classes as the longest epic in the Philippines. Unlike Lam-ang, which was extensively covered, Hinilawod was rarely discussed in depth. What little information was available was fragmented, and deeper knowledge was often said to be restricted to researchers. As a result, the idea of adapting Hinilawod was set aside for some time.
Years later, as a faculty member at a fine arts university, Reyes was introduced to Sugidanon, a body of oral literature that, while sharing similarities with Hinilawod, possessed its own distinct lore. Whereas Hinilawod primarily follows the adventures of the demi-gods Labaw Donggon and Humadapnon, Sugidanon presents a far more expansive narrative, encompassing a broader range of characters and stories. The opportunity to work on a Sugidanon manga adaptation arose through the Thrive Project and the Japan Foundation, an experience that deepened Reyes’ appreciation for Indigenous storytelling. However, Reyes emphasizes the importance of respecting these traditions, underscoring the necessity of obtaining Free, Prior, and Informed Consent (FPIC) from the National Commission on Indigenous Peoples (NCIP). To realize the Sugidanon manga, the Thrive team navigated the necessary processes, filing permits and organizing a town meeting to present the proposal to the Panay Bukidnon community in Calinog.
Following the completion of the Sugidanon manga project, the desire to initiate on a similar endeavor remained strong. A timely opportunity arose when the Cultural Center of the Philippines (CCP) launched the Animation, Comics, and Games Development Initiative grant, aimed at supporting creative projects inspired by Philippine folklore and mythology. Without hesitation, Reyes submitted a pitch deck for a Hinilawod graphic novel adaptation. The selection process required presenting the pitch deck to a panel of judges, and after some time, a long-awaited email arrived, Reyes had been chosen as one of the grantees. The joy of receiving the grant, however, was tempered by personal difficulties brought on by economic challenges, creating a complex mix of excitement and apprehension. Despite these hurdles, the project reached completion, and now, the book has found its way into the hands of readers.
It is crucial that projects of this nature continue to be pursued and expanded, ensuring that literary and artistic traditions are not only preserved but also reimagined for contemporary audiences. One can only hope that Reyes and Parreno, along with institutions such as the Cultural Center of the Philippines, will sustain and deepen their commitment to initiatives that breathe new life into our cultural narratives. The path being carved by these visionary artists is of immense significance, as it affirms the transformative power of adaptation in keeping our literary heritage alive. By revitalizing classic stories from Panay, such as the Sugidanon epics and other canonical novels and narratives housed in our libraries, these adaptations do more than just retell old tales; they reinvigorate characters and worlds that once shaped our historical and literary consciousness, allowing them to connect with new generations of readers.
This endeavor is not merely an artistic pursuit but a necessary act of cultural preservation and innovation. The work of artists like Reyes and Parreno challenges the traditional boundaries of literary engagement, proving that storytelling is not confined to the written word alone. By merging literature with visual artistry, they open new dimensions of narrative expression, demonstrating that the act of storytelling is dynamic, evolving, and ever-responsive to the ways in which audiences experience art and culture. Their work highlights the potential of interdisciplinary storytelling to expand our understanding of literature and underscores the vital role of graphic novels and other visual media in broadening access to Indigenous and regional narratives.
For this reason, we express profound gratitude for the courage and dedication of artists like Reyes and Parreno. Their bold artistic vision not only challenges conventional notions of literary production but also paves the way for a future where Philippine storytelling flourishes across multiple creative platforms. Their work is a representation to the boundless possibilities of artistic reinvention and a reminder that literature, when given the space to evolve beyond text, possesses the extraordinary power to endure, inspire, and captivate across generations. Their efforts are not just acts of creativity but declarations of cultural agency, ensuring that the stories of our past remain not as relics, but as living, breathing testaments to the richness of our collective imagination.
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Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.
