Lake S'bu: the world of water and glass | SunStar

Lake S'bu: the world of water and glass

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Lake S'bu: the world of water and glass

Wednesday, January 04, 2017

Beginning. The writer starts her trek at Hikong Alo, or the first of the seven falls.

“LABINDALAWANG kabayo,” my Skylab driver assesses. This was the value in livestock, the T’boli’s accepted currency, if he bought me as wife. I would be his sixth; the latest in a collection he hopes will equal that of his father’s, who had 39.

As a joke, I demand the herd to be all white. Pure, ethereal bodies that cross between dream and wake, the line of which dims with the fog surrounding S’bu, where a man could accumulate six life partners in the same time frame that I have accumulated none.

“Walang problema!” he replies, and proceeds to tally every white stallion we pass in the next days.

Mark nudges to a concrete house where several studs are grazing in overgrown grass. A sign. The more horses a man has in his front yard, the more wives.

“Pero sa linya ko, una ka na hindi taga-dito,” he says in seriousness, a foreigner, and college graduate at that. More expensive than his other wives, whom he bought for only six, but well worth it.

Stumped, I ask him why.

“Kasi pwede mo ako dalhin sa labas.”

A week ago, I choose Mark from the mass of motorcycle drivers in Seloton’s market. He boasts he is the favorite among foreigners.

Mark talks about the “outside” as if it might as well have been an alternate universe, a glass house to be broken into, even while it is a mere ride away.

All of what I describe to him of my everydays in Cebu - the coffee shops, grocery shopping, yoga sessions- seem like a drunkard’s dream. And whatever details that support them - the traffic, the lack of time, of sleep - I find myself exaggerating, describing a world more bold, or more chaotic, than it is.

In the end, he clarifies, did everyone look like the characters from On The Wings of Love, like you described, or prettier?

For him, the outside meant he didn’t have the load of 15 mouths to feed. No sacks of rice to portion. No wives to rotate his weekends around. No squabbles to moderate among his constituents in Sitio Laodanay, Bakdulong.

Like fellow Skylab drivers, he entertains the notion of a foreigner whisking him away to the better side. There, the T’boli would return to their lost practice of men staying at home, while the women work, uncomplaining at the role the gods hand them.

Mark has hazel brown eyes speckled with gold, and framed with the blackest of lashes that stand out from his bearded face. Between us, he looks like the foreign one. A full T’boli.

I make the mistake of telling him how striking they are. Deep-set and defined. Enough to draw a woman’s envy. It was a flippant comment. An accidental flirtation.

“Alam nyo ba anong ibig sabihin ng Skylab?” Mark asks with a voice that teased and taunted since then.

“What?” I answer, as we approach a waterfront bungalow on wooden stilts. The element in the lake, the same Dwata that shows herself in a weaver’s dream, has already taken me.

Skylab

I cup a water lily in my palm, purposely detaching, half listening. But Mark insists on delivering the punchline.

“Skylab. Short for Sakay na, Lab.”

A splash, as if from someone falling, wakes me. Last night, an Argentinian and some fishermen staged an all-night drinking session on my doorstep. They are still there when I leave at dawn.

Life starts early in S’bu. Spotlights from fish plots turn off at the first sign of daylight. Boat motors purr from around the bend.

On one side is a mosque that stands between the shrubbery and the small-stilted houses so close, its residents use the patio to cast and collect nets.

On the other side is a chapel, its wooden exterior taken by an overgrowth of gotu kola. The day before, a bell rang from across the lake, signaling the Angelus.

There is a solemnity in how this world works. I sit on my veranda, looking at the outlines of mountains that surround S’bu, the very ones Mark mentions protects them from insurgents.

The lake has a manifold of purposes: ice box, bathtub, washing machine, fish bowl, dream catcher. The water that connects all of these, all of them, cannot be owned. But there’s no stopping those in its peripheries from setting fences to make the lake part of their frontage.

They cage S’bu’s biggest export, the cultured tilapia, a timorous creature that appears only on my plate. And it was when picking on their bones cooked in vinegar, paksiw style, that Mark locates me.

He assesses the scene, amber bottles, murky broth, a centimeter left of Tanduay on the table, and raises a brow in question.

“Naubusan ba ng tubig yung ilog kagabi?”

Steed and stage

The motorcycle is Mark’s steed, and stage.

He sings every chance he gets, timing the highs and lows of his lines to match the Cotabato landscape. He sings to congratulate himself for conquering an incline in T’daan Kini Springs. He sings when we pass through the rice fields of Hasiman, his baritone cutting through the strain of cicadas carried by wind.

“Iyan, T’boli yan.” Mark points out in between, to a man leaving a general merchandise store. And him, and him.

The full breeds, and half-breeds. The B’laan, and Igorot. The ones from datu ancestry, and the nouveau riche. He lets go of the accelerator in order to point out to them.

He corrects my pronunciation of his tribe’s name as if to not know is a rub on their status as minority. T’boli, he repeats, is said with a soft roll on the second syllable. When on the first, it refers to their language, a language he refuses to sing in.

How powerful it would be, I prod, to have his voice as medium for a chant, an oral story of mountain and light. Sometimes I catch myself wanting Mark to fulfill the caricature of the T’boli in my mind. The one I came to South Cotabato for, to find whatever answer that lies in their simplicity.

Is that what he is afraid of? His T’boli identity oversimplified, or used as entertainment? My inquiries to him come out as judgment. He lets it go by singing the first lines of Journey’s Faithfully.

We make a game out of spotting full-blooded T’bolis, his guesses strategic, mine trivial, relying on the color of skin, the only common denominator I spot in all his targets.

“Iyan Ilonggo.” he points to a fair man just off the sidewalk.

The Ilonggos are overtaking S’bu, he says with a grimace. The population is now 70 residents for every 30 immigrants. The rich Ilonggos open stores, and buy land in the poblacion. They bring with them skinny jeans, batchoy, and a dangerous dilution to a people that have too many issues with modernization as is. Adding a different culture, religion, and language to the mix seems like a step closer to extinction.

Mark shrugs it off though. They have also brought with them his prized videoke set. P5 a song. P5 for temporary release.

His magnus opus, Kahit Isang Saglit, becomes the soundtrack to tilapia and Tanduay meals. It will be his winning number in Tawag ng Tanghalan, the record of his escape, one that will take him out of this place if his wheels cannot.

Common ground

Tagalog, a language we both do not own, is the language we slip into as common ground to each other’s novelty. It is new land. With it, we are both outsiders.

“Kahit sandali/Kahit isang saglit/Mayakap ka...” he sings at Aguilar’s, a restaurant specializing in, what else, tilapia, for what seemed like the 20th time. The owner lets him be. He is good for business.

He takes my hand as he holds on to the last line. I don’t have the heart to tell him his masterpiece reminds me, not of romance, but funerals.

(first of two parts)

Published in the Sun.Star Cebu newspaper on January 05, 2017.

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