In the heart of old Cebuano culture lies a tradition that has nearly vanished from memory: the Kulilising Hari. This unique practice, a blend of poetic jousting, playful games, and community bonding, was once a vibrant part of the nine-night wake, or "pagbilar." Based on a personal account from 1956 in Barangay Zapatera, Cebu City, this ritual offers a glimpse into a rich, participatory pastime that has been overshadowed by modern distractions.
The Ritual and the King
The Kulilisi was a form of entertainment held during the wake of a deceased person, lasting from the first night of prayers until the ninth. At its center was a Hari (King), chosen from the community. This honor typically fell to a man known for his eloquence, wit, and mastery of the ritual's rules, often a local poet or a respected elder who could offer good counsel.
The ceremony would commence with a game called "Lupad Panyong Palaran" (Fly, Lucky Handkerchief). The King would begin by reciting verses to set the rules, emphasizing the use of proper, unsullied words. He would then toss a handkerchief towards the area where the young women were seated, across from the young men.
The woman upon whom the handkerchief landed would pick it up and respond with her own verse, often about seeking her fate in a "valley of tears." She would then throw it toward the men's side. The chosen young man would stand, deliver a poetic reply, and toss the handkerchief back, initiating a beautiful, improvised exchange of garay (recited verses) between the sexes.
Games, Penalties, and the Grand Embassy
Participants who failed in their poetic delivery, perhaps by using humorous or nonsensical lines, faced penalties from the King. Another remembered game was the "juego de anillo" (game of the ring), where a ring was passed among participants while they sang. The one caught holding the ring at the song's end would be punished, perhaps by being made to sing or fetch tuba (coconut wine) for the King.
The most spectacular part of the Kulilisi was the unexpected arrival of the "embahada" (embassy) of the Bagamundo (wanderers). From the darkness of the night, a group of strangers would approach, announcing their presence with beautifully crafted verses, asking permission to join the gathering. Groups from areas like Pardo were renowned for this.
One recalled example began: "Mahal nga Hari ning masadya nga balangay..." (Dear King of this joyful village...). After a gracious welcome from the King, the ambassadors would introduce themselves with grand tales of their origins and quests, often searching for a beautiful princess or boasting of great deeds, all delivered in rhythmic poetry.
A Fading Echo in the Modern Age
While the Kulilising Hari unfolded over nine nights, other neighbors at the wake would entertain themselves with mahjong, card games like tong-its and pusoy, and later, Scrabble and chess. However, the author laments that this intricate poetic tradition is now a forgotten fragment of Cebuano culture.
Today, the community's attention during wakes has shifted to smartphones, tablets, video games, and television. Games like sungka, dominoes, and dama have also faded. The collective knowledge and skill required for the Kulilising Hari are disappearing as older generations pass on, with younger ones engrossed in high-tech gadgets.
There is a poignant suggestion to preserve this heritage: staging the Kulilising Hari in schools as part of cultural activities. This revival could serve as a vital bridge, connecting new generations to the poetic soul and communal spirit of their Cebuano ancestors before it vanishes completely into silence.
