(The first part of this post appeared on May 13, last month.)
Something was telling Santiago not to walk straight ahead into the darkness. He groped at the wall of the cave and treaded on the muddy slope. He climbed down for about thirty meters before his flashlight shone on even ground. He stared back at where he had come from, and was horrified at the sight of a steep cliff a dozen times his height. If he did not keep close to the wall, he would be digging his grave instead of gold. The cave was a fully enclosed cathedral. It did not have a huge doorway in front. The only opening it had was a small window on top of the bell tower.
He continued exploring the cave. In a short while, the beam of light from his flashlight hit something lightly colored. He examined it closely. It was an oddly shaped column that stood taller than he. It looked like a very tall coral, but its surface was smooth and as white as milk. It looked soft and even edible, but when Santiago touched it, his finger curled at the hardness of the stone. It felt much more compact than concrete.
Santiago wondered if he could sell the thing, if it would fetch as high as the price of gold. He thought right away, though, that cutting the oddly shaped column is much more difficult than digging a hole. He walked on—and found hundreds of similar stone formations, competing with one another in size and grandeur and strangeness. Santiago trembled in awe. God seemed to have coated the whole interior of the cave with thick, divine white paint. It was his secret playground. Santiago fell to his knees. At last, he found the treasure he had been looking for. It was not in the form of gold, and it was something he would not want to sell.
Now, eight years since, Santiago visits the cave regularly, taking along with him tourists, spelunkers, and speleologists. The tourists usually whine on the long and torturous trip. Santiago assists them with their needs and just smiles to himself. He witnesses such a situation often. He knows that when the visitors reach the cave, they will utter one pleasant interjection after another and say all the hardship is worth it. He receives a modest commission from the fee that visitors pay the local government. It's just enough to get by, but he's not complaining. He's happy. He's got something more precious than gold, something priceless. In the cave, people tell him they have not seen anything more beautiful.
A Guide to Kulaman Plateau and Its Manobo People, Lost Burial Jars, and Hundred Caves
Monday, June 24, 2013
The Hidden Treasure of Kulaman (Part 2 of 2)
Labels:
caves,
Kuden,
Lagbasan Cave,
tourist spots,
White Cave
Monday, June 10, 2013
Kulaman Burial Jars in Paris Exhibit
From Kulaman Plateau, the limestone burial jars have been taken to Cebu, Dumaguete, Manila, and San Francisco. Now the jars have also reached Europe, particularly the famous city of Paris.
The jars are included in an exhibit entitled "Philippines: Archipel des échanges (An Archipelago of Exchange)" in Quai Branly Museum. The exhibit opened on April 9 and runs until July 14, 2013.
I learned of the event through an article in the Philippine Daily Inquirer. When I found out that the items on display were pre-Hispanic artifacts from all over the country, I thought right away that burial jars from Kulaman must be part of the collection. Alas, there was no mention or photo of the jars in the article.
I searched for more online articles about the exhibit, and I found one at the website of the embassy of France in Manila and another in the Philippine Star. To my dismay, only the more famous objects are featured in these sites. I remained undaunted, though, and continued googling. Finally, I stumbled upon an article in a French website. I cannot understand most of the text, but I nearly leaped in delight upon seeing the photo at the bottom of the page.
Upon further googling, I found another wonderful write-up. This time, it's from the national TV station GMA. I'm glad to discover that the limestone burial jars, like the rice-god figures of Ifugao and Maranao brass musical instruments, are catching the eyes of some photographers.
Both photos from the French website and GMA indicate that the jars belong to the collection of the Ayala Museum. If you want to know more about the exhibit, you may check out the short and beautiful video the Quai Branly Museum posted in Youtube. The video, however, is in French and does not mention or show the Kulaman burial jars.
The jars are included in an exhibit entitled "Philippines: Archipel des échanges (An Archipelago of Exchange)" in Quai Branly Museum. The exhibit opened on April 9 and runs until July 14, 2013.
I learned of the event through an article in the Philippine Daily Inquirer. When I found out that the items on display were pre-Hispanic artifacts from all over the country, I thought right away that burial jars from Kulaman must be part of the collection. Alas, there was no mention or photo of the jars in the article.
I searched for more online articles about the exhibit, and I found one at the website of the embassy of France in Manila and another in the Philippine Star. To my dismay, only the more famous objects are featured in these sites. I remained undaunted, though, and continued googling. Finally, I stumbled upon an article in a French website. I cannot understand most of the text, but I nearly leaped in delight upon seeing the photo at the bottom of the page.
A screenshot of a French website |
Upon further googling, I found another wonderful write-up. This time, it's from the national TV station GMA. I'm glad to discover that the limestone burial jars, like the rice-god figures of Ifugao and Maranao brass musical instruments, are catching the eyes of some photographers.
Both photos from the French website and GMA indicate that the jars belong to the collection of the Ayala Museum. If you want to know more about the exhibit, you may check out the short and beautiful video the Quai Branly Museum posted in Youtube. The video, however, is in French and does not mention or show the Kulaman burial jars.
Cropped screenshot from GMA Network |
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