Pandi ning Indung Kapampangan (Flag of the Pampanga Nation)

Pampanga had been a nation long before the Philippine Archipelago has been a ‘nation.’ It has its own culture, language, mythology, philosophy, political structure and a flag. A flag symbolizes a distinct country or nation (Wikipedia.org). It represents the belief, the history and the people of the country.

Salagintu
Courtesy of Siuala.com

Pampanga’s flag has the color of kundiman (red), aluntian (green) and dilo (yellow). The meaning has varied depending to the perspective of your source.

Maniago's Military Flag
Courtesy of Watawat.net

Based on historical accounts, Francisco Maniago has used the color red, yellow (golden) and green during the Kapampangan uprising of 1660. The salagintu (red, yellow and green) or sometimes called golden beetle was the color used by the Kapampangan nobility during the Spanish time. The color of salagintu was also used by the secular clergy in Pampanga way back then.  Even the Christianized festival i.e Apung Iru Libad in Apalit uses the three colors.

Moreover there were allegations that the clan of Baluyut, who were in priesthood back then, used the three colours in their insignia. They also use the salagintu color to decorate the churches, streets and festivals. Also, the Pamintuan family used also the salagintu color to represent their clan whether in the army or in the political arena. Meanwhile in 1950, the Archdiocese of Pampanga adopted the salagintu color in its insignia.

 

Annual Libad Ilug of Apalit
Courtesy of Apalit FB Page

At the present, the seal of Pampanga still bear the color of salagintu. Also, the town of Apalit, Mexico, Sto. Tomas (to name few) has also added the salagintu color in their official seal.

Official Seal of Pampanga

The Significance of the Salagintu Color

The following relevance and meaning of the salagintu came from various sources.

Terms: Kundiman – red; Aluntian – green; dilo/gintu – yellow

(1) Paroba, Pangulu ampong Bunduk Alaya

The color kundiman represents the Pangulu (upper Pampanga); the color aluntian represents the Paroba (lower Pampanga) and the color dilo represents Mt. Arayat.

(2) Alti, Danum ampong Aldo

According to local historian and Kapampangan Culture advocate Mike Pangilinan, the kundiman of the Kapampangan flag represents the alti (lightning). ‘Alti’ is the authority/punishment/energy of Bapung Aldo (Apung Suku). Kundiman represents the color of destruction. Meanwhile aluntian represents the ‘uran’ (rain) and ‘sibul’ (spring of water) which comes after ‘Alti.’ Aluntian represents the water which heals the land and the people. Dilo represents Bapung Suku/Apung Suku, the golden sun. Apung Suku is the one who mediates ‘alti’ and ‘danum.’

Libad Ilug Dela Pas
Courtesy of LOI Photography

(3) Katapangan, Kasipagan and Kasugian

In addition to the meaning stated above salagintu color also represents Katapangan, Kasipagan, Kasugian. These meanings were defined by the Catholic Church when they adopted the Kapampangan Colors. Kundiman represents Katapangan (bravery), Gintung Dilo represents Kasugian (nobility). And Aluntian represents Kasipagan (Industriousness).

(4) Babo Pampanga, Lalam Pampanga ampong I Yesukristu

In the website watawat.net, the salagintu color represents Pampanga and Jesus Christ. Kundiman is the color of Upper Pampanga. Aluntian is the color of Lower Pampanga and Dilo is the color of Christ.

(5) Alta Pampanga, Bajo Del Pampanga ampo deng Dayatan

The colors’ of the Flag of Pampanga has another meaning. Kundiman is the color of the Alta Pampanga (Upper Pampanga). Red was given to Alta Pampanga due to the color of the soil and their product – sugar. On the other hand, Aluntian represents Bajo Del Pampanga. Aluntia is Bajo Del Pampanga’s color due to the abundance of rice fields. And Dilo again represents Kasugian (nobility).

 

Kapampangan FB Cover Page
Created by Alwyn Balingit

On the personal communication of Pineda and Pangilinan, Pangilinan mentioned that there are other colors/flags that represent Pampanga and its culture. There is the flag with Maputi (white), Kundiman (red) and Matuling (black). Maputi is the color of Ugtung Aldo, Bayang, Apung Sinukuan a Manlasak (Apung Suku who destroys) and Apung Manalaksan. Kundiman represents Apung Maliari and Apung Mangkukuran. Lastly, Matuling is the color of Tau (people).

If the flag is hang horizontal, Kundiman is on the top of Dilo; Aluntian is on the bottom. However if the Kapampangan Flag is vertically oriented, most of the flags seen have Aluntian near the Pole, Dilo at the Middle and Kundiman at the right of Dilo. There has been no concrete and structured guideline as to the orientation of Kapampang Flag.

Kapampangan Flag at Candaba
Courtesy of Fr. Greg Vega FB account

A flag can be just a flag. But let us dig dipper on what it represents especially the Pandi ning Pampanga. Let us hang our Flag and be proud that we have this flag (older than the Philippine Flag) which represents our Kapampangan identity!

Sources:

http://www.watawat.net/the_maniago_revolt.html

http://en.wikipedia.org/wiki/Pampanga

http://en.wikipedia.org/wiki/Flag

http://siuala.com/

https://www.facebook.com/groups/kapampangan.capampangan/

Pineda L. & Pangilinan M. Personal Communication. May 16 2014.

Pineda L. & Aboyme J. Personal Communication. April 12 2014.

Facebook Page of Apo Iru

Facebook Page of Apalit

Facebook Page of Pampanga

For corrections and additional information, kindly send your information at lester.pineda78@yahoo.com

Siuálâ ning Pámangulait: Nínu na Íng Kapampángan King Baiung Panaun?

Isúlat ke iti king amánu da reng dáiû (English). Masakit man para káku na alî king Amánung Sisuan ia misúlat iti.

Atin Ku Pung Singsing

Metung Iang Timpukan

Amana Ke iti King Indung Ibatan

Sangkan Keng Sininup

King Metung a Kaban

Me-alaya iti e ku Amalayan

Pampanga, but it is better to say Indung Kapampangan, has long been established even before the colonizers grabbed our lands, branded us with foreign surnames, baptized us with water, introduce occidental religion, philosophy and life style. Kapampangans are proud race for their arts, culture, language and beliefs. But that is the thing in the past. That was the time when our culture is flourishing, when we were proud to say we are Kapampangans and not Filipinos and when we were still aware of our own identity. But now where are the Kapampangans? Where is the once proud race of this archipelago? Where are we now? Where will we be?

Indung Kapampangan
Photo Courtesy of Kapampangan (Capampangan) Facebook Group

Modernization, colonization, commercialization, veneration has drifted away our inner core. Even our very essence of being Kapampangan has been vanishing. This observation is not a product of a deranged mind but a product of the bitter reality. At present we are very proud to shout and show to the world that we are Filipinos.  Can we take a moment to pause and think what we are doing? Kapampangans are not Filipinos! We were and will never be Filipinos! We are Kapampangans! Kapampangan is our nationality not the foreign word which came from the name of the Spanish King! We are Kapampangans! And Indung Kapampangan is our nation. Colonizers acknowledge that Pampanga is Nacion Pampanga. How about us have we acknowledge that Pampanga is a nation? Have we acknowledged that we are indeed Kapampangans not Filipinos?

Mapa ning Pampanga
Photo Courtesy of Jayvie Aboyme (UrbanKapampangan)

In addition to what has been said, another bitter pill of reality that we are seeing now is the death of our language, our dalit, our basultu, our songs and many more! Let us consider Atin Ku Pung Singsing – the most sacred song of the Kapampangans. When I was a kid my maternal grandmother always sang that to me before I play at Gatpanapun. I can still recall the lyrics taught to me by my grandmother not by the Manila-centric books. Although I know how to sing it back then and I know the lyrics I do not know the meaning of it. At present, children do not know this song! They recognize the hymn because schools require or ask them to dance Atin Ku Pung Singsing. But when I asked if they can sing it to me they cannot do it. They can sing ‘Let it Go’, ‘Pusung Bato’ and many foreign songs but not Atin Ku Pung Singsing. This is disturbing. If they cannot sing Atin Ku Pung Singsing, can they still sing Himno Kapampangan?

Kapampángan, sále ning legwan

Kapampángan, sandalan ning katimawan

Kílub ning púsu mi atin kang dambana

Luid ka! Luid ka!

Palsintan ming Kapampángan!

Another point of concern which I can visibly see is that parents do not teach their children the Kapampangan Language. They teach their children how to speak English and Filipino. These languages of death and slavery are not for us! They will never be for us. There are a lot of Kapampangans who know how to speak Kapampangan but do not speak it. They say that the language is too kanto-like and too ghastly. They prefer the languages of slavery and death rather than the Language of their Soul! Meanwhile, the MLT (Mother Language Tongue) which is being implemented by the DepEd is not effective and will not be effective. Most of the teachers who are in this MLT still use Tagalog!

Atin Ku Pung Singsing in Kulitan
Kulit courtesy of Aljon Medina (Aguman Sulat Kapampangan)

In terms of folklore, mythology and the like, most if not all of the Kapampangans are fascinated by the Greek, Roman and Norse Mythologies. They know Zeus, Hercules, Athena, Jupiter, Mercury, Thor and Loki. But do Kapampangan know Galura the bird sent by Apung Suku to clean the land? Do Kapampangans know Gatpanapun? Do they know Apung Suku?

Apûng Sukû mátas ya pin,

Aslag na mapálî mú rin,

Lub ding táu maláut pin,

Ginung Aldo núnû dá rin.

Dalit ng Sinukuan 6:2

There are a lot more to say but the bottomline will still be the same. Where are we now? Where are the Kapampangans now? Are we like the Jews who are lost and longing for the Promised Land? Where are we headed? Are we taking the path of extinction and after such we will just be the lost people who will be written in the Manila-centric books? We are running out of time to save our identity and our nation Indung Kapampangan. The time for us to act like Kapampangan is now.

Pákantadánan támu  ábe

Alâng masias a tinápe king mapálîng kape!

Ing Amánu at Ing Alâ

King alâ menibat ing egana gana.

Kaya megumpisa kaya mapúpus. 

Ing alâ ing penibatan ning siuálâ.

Dápot ing siuálâ mámúnga iang amánu

Kareting amánu mibait la reng dalit.

Lumábung la reting dalit at mítúbud la reng kanta...

Kantang mamie bie king alâ...

Pámanintun king Siuálâ:

Pilan lang indûng súlat  'a' ing ákákit mu king kulitan king bábo?
Metung iá mu ba? O adduâ la? Pakalauen meng masalese.
King pánga-pánganak ning amánu menibat king alâ adduâng 'a' reng mítúbud.
Ing indû menganak ia at tinúbud ne ing anak na.
Panalukian me nung nukarin ia pa ing pangadduâng 'a'!

Luid Ka Indûng Kapampángan!

Kúle ning Indûng Kapampángan

Kapampángan, sále ning legwan

Kapampángan, sandalan ning katimawan

Kílub ning púsu mi atin kang dambana

Luid ka! Luid ka!

Palsintan ming Kapampángan!

Pále

Pále a kakanan ta

Bápûng Tálâ tírû na

Keti iátu neng mítúbud ia

Pára king kapaldanan ning egana gana

Siuala ning Pamanangis

Alaya ing kamumulan… Alang anggang penibatan… Alang anggang kapupusan…Alaya ing kauakasan

The alaya is the beginning, the end and everything. Everything is Alaya even our own existence, identity… everything.

Kapampangans or the true Kapampangans know the alaya. But in the sands of time we, Kapampangans, are being drifted away from the core of alaya. We are losing our identity, our language, our culture, our heritage. We are losing everything. And when we lose everything we lose the alaya.

Mababating ne ing panga-ala!

Kapampangans pride themselves as the best cook in the Philippine archipelago. Kapampangans are one of the biggest ‘ethnic’ groups in the Philippine nation. Kapampangans are one of the biggest chunks whose existence is at the brink of death. Death caused by modernization, commercialization, veneration without understanding for others, etc. But the very root cause of the death of the Kapampangans is the Kapampangans themselves. We are embracing others which is an act of a self-flaggelation.

Language defines one very own culture and identity. From the time when we were incepted in the womb of our mothers we have language in our core. Even in the last second of our life we have language in our core. However, this language may progress and it can regress depending on how we act. Kapampangans boast to the world that they have the ‘amanung sisuan’. This act of self-fulfillment is nothing but an empty act of the people who have a rotting core. How can we pride the amanung sisuan if we ourselves are killing and shaving it off from the very core of our identity? Kapampangans do not use Kapampangan; rather, they use the Filipino/Tagalog which is not the language they sucked! They are on the perception that this language will unite them but this is not the reality. The language which they perceived to be the language of unity is the language of slavery and the language of death.

Atiu ku Sampernandu bat king kakung kaluguran malapit St. Jude

            Aku: Bayad pu pakiabut nap u.

            Drayber: Saan to?

            Aku: *Mepali balugbug* Keng duloris. Sakayan SM. Balu ie pu?

            Drayber: Oo.

              *Naydanang draiber nini nanung pamaniabian na?!*

Kabang magbiai sinake la reng mi-inda.

            Inda: Anak, eme pupulutan ian. Dirty ia an. Eia good.

            Anak: Opu mommy.

            Inda: Seat ka keni. Behave ka mu ne.   

            Anak: Opu mommy.

Those who know their own history are on their way to progress. Chinese did it. Japanese are living it. Japanese in every aspect of their life they have integrated their rich history. For example their anime, tv shows, novels etc. How about the Kapampangans? Do they know their own history? Do they know the Tarik Suliman? Do they know Francisco Maniago? Do they know that Pampanga was once an independent nation in this archipelago? They study other culture’s history. They venerate other nations’ stories. But have they read and enrich their mind with their own history, arts and culture? Honestly no. Kapampangans are lost. They are losing. They will lose. And they will die.

            Ing sukal ning lub ku susukdul king banua!

            Mangurus kung gamat babo ning la mesa.

            Ninu mang menakit king singsing kung mana.

            Kalulung pusu ku manginu ia keka!

Kapampangans are on their way to the path of extinction. They can blame but they don’t have anyone to blame except themselves. The alaya is dying and not all Kapampangans are trying to revive it. Pampanga is no longer the Pampanga the way it was before. Pampanga and the Kapampangans have long lost their identity. They have lost the alaya. They have lost everything. Mate la at mete la!

           

            Dapot pete de ing Siuala

            Ing Siuala eia dapat mauala    

            Ing siuala ing mamie sala

            Uling ing siuala menibat ia king Ala!

           

PS: Pasensiya na nung ala lang diacritical marks...

The Image of Nuestra Señora Virgen Del Pilar (San Simon)

The town of San Simon has its parish church under the Nuestra Senora Virgen Del Pilar. Although the town was named San Simon the titular patroness still differs. One will be curious of the fact that Bario Del Pilar had already existed (to some extent) even before the San Simon Town was established on November 15, 1771. It impose a question to people who digs the history of the town whether or not Mariano Del Pilar did really exist.

Facade of the current Parish

Virgen Del Pilar courtesy of Facebook

According to the heir of the Guevara Family (one of the founding families of San Simon) Nuestra Señora Virgen del Pilar’s antique image dates back even before the founding of San Simon. It was speculated that the Image was approximately 300+ years old. (Although one needs the aid of modern dating technology to prove the exact age of the image.) In a personal conversation between Pineda and Sally Guevara (caretaker of the image), Sally narrated that the image was brought by one priest who eventually became one of the parish priests. Reverend Father Juan Guevera. Sally Guevara further mentioned that the image was speculated to have originated from Spain before Father Guevara brought it to the town.

The monetary aspect of acquisition still remain in question as the Guevara Family does not know exactly how much the image was acquired.

Virgen Del Pilar on a regular day

A closer inspection of the image reveals that  the de bulto (movable parts) is wood while the heads and hands of Mary and the child she is carrying is allegedly made from Ivory. Unlike antique images in Indung Kapampangan, the image does not have any gold or valuable accessories except for the antique earings that She is wearing during the town fiesta. The gowns that the Guevara Family use to dress the image came from donations and sometimes from the Parish Pastoral Council. The family, currently, does not shed any amount in the gowns of the image. The image currently is still the original appearance. The image did not undergo the process of ‘encarna’ or the process of preserving and restoring the beauty of an image. Sally Guevara also mentioned that even the current parish priest of San Simon, Fr. Homer Policarpio, does not want the image to undergo the process of ‘encarna.’ They want to preserve the original appearance of the image. The same appearance when it was acquired 300+ years ago. The image is approximatelt 5’6’’ in height. 

The PILLAR

During the personal conversation of Pineda and Guevara, Guevara mentioned that her grandfather, Teodolo Guevara, used to put the image near the window of their house everytime that there is heavy downpour of rain and the Pampanga river is almost overflowing. Guevara narrated that Teodolo would say, “Apung Pilar patuknangan iu na pu ing uran. Malunus kaiu keka mi. Ena sana lulbug.” (Apung Pilar make the rain stop. Have Mercy on us. Do not make our place be flooded.) After Teodolo uttered those words the rain would stop and the the barangays near the river banks will not overflow. This is one of the ‘graces’ of Nuestra Senora Del Pilar as narrated by the Guevara Family.

The image of Nuestra Señora Virgen del Pilar has constantly been invited by other Parishes in Indung Kapampangan. Last December 2013, the image was invited in San Guillermo Parish Church in Bacolor for the Marian Festival. As a token of gratitude, a gown for the image was given to the caretaker (L. Pineda & M. Guevara, Personal Communication, Apr 19, 2014).

NSDP Church 1974

Meanwhile in San Simon, the image is only being paraded regularly during its Feast Day, October 12. However last December 2014, Fr. Policarpio requested that the image be processioned on Christmas Eve and New Year’s Eve. This is a new tradition being pushed by the new parish priest.

In terms of conservation, the family Guevara will continue to protect and conserve the image as this is valuable and priceless heirloom to their family and to the people of San Simon. The Parish Pastoral Council continues to coordinate with the Guevara Family in this heritage of the town.

The Original House of Virgen Del Pilar

Currently, the image is housed behind the former house of Father Juan Guevara. Although the house of Fr. Juan Guevara was the original house of the image.

Sources:

Nuestra Senora Virgen Del Pilar Facebook Fan Page

Views from the Pampang

AndroKapampangan

AK 10 Research Paper J. Gregorio et.al

L. Pineda & S. Guevara, Apr 2014, Personal Communication

L. Pineda & M. Guevara, Apr 2014, Personal Communication

L. Pineda & R. Guevara, Apr 2014, Personal Communication

Singsing (publication of JDP Center for Kapampangan Studies)

Bariu San Pedro Makuiad A Kasalesayan (Barangay San Pedro – Brief History)

Rio de Grande Pampanga at San Pedro

San Pedro is the largest and one of the most populated barangay in town of San Simon.

Barangay San Pedro is situated East of Apalit and West of San Luis. Relative to the town proper, Barangay San Pedro is located east of the Municipal Plaza.

Barangay San Pedro was founded in the year 1853. It was just a new barrio if one will compare it to San Jose and San Juan. San Jose and San Juan were one of the earliest barrios/barangays of San Simon since the town's founding in the year 1771. It could be assumed that San Jose was once part of Apalit and San Juan was once part of San Luis. Given the location of San Pedro, one can assumed that this landmass was once belonged to San Luis.

Brgy San Pedro Map (C) Emerito Viray

Before 1853, San Pedro is just a sitio. And the original name of Brgy. San Pedro was Kutkut- literally means to bury; The other meaning Kutkut was a cemetery. Brgy San Pedro was called Kutkut because the sitio was once the burial place of the dead bodies of the people who were infected of the epidemic which struck the town during the 18^th century. After it became a barrio, San Pedro (most barrio folks would call Apung Iru) was the patron saint.

Kuraldal after the 9am Mass

The chapel of Bario San Pedro used to be located somewhere on the present site of San Pedro Elementary School. However turn of events happened. 50 years later, approximately 1903, a chineseman names Isik Jose advised the residents to move the location of the chapel. He convinced the barrio folks that the place of the chapel had been the root cause of the misfortunes of the barrio. Residents believed what he had said since at the inception of the construction of the chapel most of the children got various sickness and others died. Moreover, most of the children died even without getting the Catholic Ritual of Baptism; most of those who passed away were the smart and intelligent ones.

San Pedro Elementary School SY 1967

With the strong resolve to move the chapel, the residents moved the chapel 200 meters south of the original site (the current place where the chapel is situated today). The land were the chapel was erected was donated by the Santillan and Pineda Family. Constructing on the present site, the chapel was finished with a rough wood and a galvanized iron roofing.

Kuraldal in front of the Chapel

With the assistance and leadership of ‘Apung Pepang’, the construction of the chapel was competed. Seeing that the population was getting bigger and the land mass of the barrio was the biggest in the town, residents of the barrio decided the make the chapel bigger and more modern. The existing chapel which we can see today was the product of the collective efforts of Hermano/Hermana Mayors since 1952. Mr. Numeriano S. Meneses (Hermano Mayor), Mr. Casimiro Maglaqui, Mr. Francisco Macapagal and Mr. Luis Mangune started the initial efforts of the construction.

To continue his initial efforts, Mr. Meneses retained his post as Hermano Mayor in the year 1953. He admitted Messrs. Matias Salas, Mariano Garcia, Modesto Paguio and Domingo Anicete in his team. In the year 1954, Mr. Monico Santillan took the helm succeeded by Bienvenido Vergara in the year 1955. The chapel was finished in the year 1958.

Facade of the Modern Chapel

‘100 Strong’ committee idea was introduced in the year 1959 by Mr. Jesus Maninang. On the 100 Strong, “the barrio was divided into four groups each group took turn every four years as Comite De Festejos. With this idea of leadership, the finishing touches of the chapel were accomplished i.e. iron grills for the upper windows were donated by SPYC, altas was finished thru the generosity of the heirs of Mr. Crispulo Santillan, Misses Elena Balbina and Lourdes. Mr Leon Guevarra also contributed for the completion. 1983 Comiti De Festejos, under the helm of Mr. Antolin Torres, did the marmolized center aisle.

In the late 1990s, approximately 1997 – 1999, reconstruction and strengthening of the chapel was undertaken. The image of Apung Iru in the façade of the chapel was done in the early 2000s and 2001. The beautification of the altar thru erecting Corinthian Columns were done 2005. And the rest was history.

Apung Iru After Libad 2009

The remaining questions now are (1) Where did we get the image of Apung Iru and (2) Why do we celebrate the feast day on the 1^st of May?

Souvenir Program 1985 Chairman Tom Meneses

Sources:

Comiti De Festejos 1985 .Souvenir Program 85 p 7-8. 1985

L. Pineda, A. Pineda & E. Pineda Jr. May 4 2014. Personal Communication

L. Pineda & C. Cacho. April 29 2014. Personal Communication
http://www.andropampanga.com/history_sansimon.htm

Apung Iru San Pedro San Simon Official Facebook Fanpage

For corrections and additional information/pictures please leave a comment below or email lester.pineda78@yahoo.com. 

Ing Kákung Pantunan

Pilan lang yátâng sísimbul 

manibat king makapabúsal? 

Dápot dumúgang alî ya 

nung alî mu king aláya! 

"ALAYA" in Kulitan

Bale Batu ning Indung Kapampangan!

Bale Batu king Dakeng Gulut

On the side of the mysterious Mount Arayat lies a structure which at a glimpse would resemble a pyramid similar to the Mayans of Central America. This structure also resemble an Indian/Hindu structure with its intricate and elaborative design. But this structure is not built by foreigners but by a pure blood Kapampangan Artist Jesus Padilla or most commonly known Apung Susing. The Bale Batu (Stone House) can be found on your way to Gintung Pakpak. The landmark that will signal that you are there is the Baliti tree on top of a stone gate.

Bale Batu was built for about 40 years. According to Apung Sitang, wife of Apung Susing, the construction of the Bale Batu commenced on 1960’s. It took them 40 years to erect it because they would only work three months per year usually during the dry season. They would stop when the rainy season is about to engulfed the archipelago.

Bale Batu was constructed from Apung Susing’s own money. With his one-hectare land, the Padilla Family would plant crops and fruits. During the harvesting season, they would sell their crops to towns folk. The revenue that they would get out from their crops will be the money they would use to buy construction materials.

Different stories also stem when you will visit the grandiose stone house. According to Apung Sitang, Apung Susing is still there in Bale Batu. Sometimes when a traveler tries to capture photos inside and outside the Bale Batu they would get none but a white blank slate of image. Apung Sitang advised me that in order to capture photos you would have to seek permission from Apung Susing. It can be in a way, “Apung Susing malyari ku pu bang kumang litratu keti Bale Batu?” (Apung Susing can I take pictures in the Bale Batu?) The tricycle driver also mentioned that he always get goose bumps whenever he passed by the Bale Batu. It seems that a cold air passes by and this cold air was caused by the presence of Apung Susing.

On other hand, there had been stories that the design of Bale Batu was not from the imagination of Apung Susing. Some stories tell that Apung Susing when out missing and allegedly was in the kingdom of Apung Suku (Apung Sinukuan; the God who resides in Mount Arayat). After a long time, Apung Susing returned from Apung Suku’s kingdom with an idea to build a structure similar to the castle/house of Apung Suku. And the product of this ide was the Bale Batu. However this theory was being rebutted by the wife of Apung Susing. Apung Susing did not go missing. The Bale Batu was just a product of the artistic mind of Apung Susing … nothing more. Bale Batu was not patterned to any whatsoever Apung Suku’s castle.

With the death of Apung Susing six years ago the questions of what was the inspiration of constructing the Bale Batu will remained unanswered and will be washed away in the sands of time. But the legacy of Apung Susing, the Bale Batu, will continue to live on. A structure which was created by the artistic mind of the son of Indung Kapampangan. A structure which could be patterned after Apung Suku’s castle. It can be the living stone structure for Apung Suku…

Sources:

Pineda & Padilla. April 29 2014. Personal Communication

Pineda & Medina. April 14 2014. Personal Communication

Pineda & Pangilinan. April 16 2014. Personal Communication

Lente (April 2014). Retrieved from  http://www.headlinegl.com/bale-batu-an-artists-burial-temple/