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The Iluko term Rumsua (pronounced “room-swa”) is also known as tummaud and agburayok. The name is rich with symbolic significance. Its analogy represents “manifestation” (the process of materialization or making something evident); “revelation” (the act of revealing or disclosing something); “morphogenesis” (giving rise to form and variety); “abiogenesis” (spontaneous generation of life); and “to spring forth.” As found in one Iluko dictionary[i], rumsua is also defined as: “to happen, to occur, to come about, to appear, to come in sight, to become visible, to show itself, and to reveal itself.” The Rumsua icon was born through inspiration from the meaning of this word and the need for the expression of innate ideas, creativity, and manifestation thereof. The creviced stone on the left symbolizes the feminine while the elongated stone on the right symbolizes the masculine – both placed together to represent the union and interplay of dual forces. Altar of Michael Saiz and Katie Fisher, founders of Hawaii Health Guide and the Hawaii Healing Garden Festivals. Photo Copyright © 2008 | Virgil Apostol.
The Rumsua icon revolves around the archaic gold linglingo, an earring or pendant still currently worn by several highland ethnic groups of northern Luzon. Apart from its ornamental beauty, the linglingo also has esoteric and metaphysical use ranging from a symbol of status to healing. It symbolizes fertility, creative powers, and a merging of dual forces: lalaki (male) with babai (female).
Within the central space of the linglingo is the seat of lau-ang (universe or cosmos), a fertile womb of infinite possibilities that extends its spiritual energy and light to create the formation of a hand with five fingers representing the following:
Five elements: spirit (ether), air, fire,
water, and earth; and
Five senses: auditory, tactile, visual,
gustatory, and olfactory
This spiritual energy and light, which also symbolizes the brain (utek), in turn, represents the anito, our ancestral spirits from which our mind or soul consciousness (nakem) evolves. In ancient, as well as tribal cultures of today, it was and still believed that the head which houses our soul consciousness, represented by the brain, is home to our personal anito. It is this soul consciousness that utilizes the physical body to lead us into experiencing higher awareness known as the “Sixth Sense.”
Part of the physical brain is the pineal gland that corresponds with the metaphysical “Third Eye” – the Sixth Chakra that nurtures the Sixth Sense in esoteric teachings. Proper development of the Third Eye enables the individual to be gifted as a manangsirmata (visionary, intuitive, psychic, or clairvoyant).
Pinangpanga-type linglingo with stylized deer heads.
The Third Eye reveals its neutrality through its balance between black – destruction (pannakrakrak), and white – creation (pannakaparsua). Both branch out from the same origin but only to merge once again. Through duality, they are separate, yet one in the same through a state of nonduality. Human nature requires that we have an awareness of these creative and destructive forces, while our soul consciousness seeks balance and harmony with nature. Because we have aspects of both the black and the white, it is ultimately our intention that determines how this gift of power over creation and destruction is revealed.
The water buffalo (Bubalus bubalis) is terrestrial but heavily dependent on water to cool down since they have no sweat glands.
The nuang or carabao (water buffalo) is designated as the Philippine national animal rich with spiritual symbolism. It is the “beast of burden” which continues to give strength in cultivating the land. Some refer to this animal as the backbone of our culture. It symbolizes power, persistence, and determination, revealing the psyche and character of the people. It is a peaceful animal, but if aggravated, it will charge with a fury. Among certain groups, the nuang is the ultimate sacrifice during indigenous ceremonies.
The hand rides on the nuang symbolized by its horn (sara). The horn, when converted into an instrument (tangguyob), is used to signal the need for attention. It is blown by the holder of the tangguyob, such as a panglakayan (head leader) to summon the community to certain events. When the horn is converted into a tandok, it is used to suck out poisons left by animal bites. After a special processing procedure, it is also used to absorb poisons left by those animal bites.
The parts of the hand (ima) are as follows:
Tangan Thumb or pollex
Tammudo Index or forefinger
Pattungagan Middle finger (pangando)
Pasariw-at Ring finger (pangansi)
Kikit Auricular or little finger
Dakulap Palm
Ramay Finger
Since the hand is a major body part used for expression, whether it is in healing, music, art, dance, self-defense, or literary arts, it is only fitting that it be representative as the Rumsua icon.
Rumsua: Ancestral Traditions, represented by the Rumsua icon, is an entity dedicated to the preservation and practice of cultural and healing traditions of the Philippines, with emphasis on the amianan (northern) cultures.
* Icon concept and design by Virgil J. Mayor Apostol. Graphics by Rumsua and Benni Abiog of KulEye™ Productions.
[i] Rev. George P. Geladé, CICM, Ilokano-English Dictionary, (Quezon City, 1993).
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