 Our next speaker is Geraldine Villaluz from the University of San Carlos School of Education in Cebu City. And her talk today is on Talahandig Conflict, Settlers Peace Traditions. Let's welcome Geraldine. Yeah, of course. Yeah. You might want your PowerPoint presentation. And also, is it insert? Yeah. Okay. So it's there. Do you need my help with the slideshow? You want me to stay here? Thank you, Trixie. My presentation will be a product of my dissertation on the peace processes, I mean the conflict settlers who are mothers in the Talahandig tribe in Malay-Balay-Bukid, not north of Mindana. I am a teacher in music, Philippine music, and peace and global education. And as a teacher of that, those subjects, I have observed the lack of resources on indigenous music and peace theories from indigenous perspectives in our libraries and even in bookstores. And so I sought for resources among performing bands of playing indigenous music around malls in Cebu City. Happily, it was in one group of young artists who introduced me to the Talahandig community from whom I learned about mothers who are conflict settlers and their spirituality. Before I introduce the Talahandig, I would like to introduce some terms which I will be using in the presentation. One is soil painting. Soil paintings are images from Talahandig culture illustrated using soil as pigment. And so here are mothers pounding some samples of their soil around in the environment and putting a little water and glue and using it as pigment. And a sample of that is this one. And another word is the word ba'i. Ba'i is a title given to an individual whose contribution to communities such as skill, talent or knowledge, such as winemaking, conflict settling, places her in a position of high respect. It is an honorific title. What I will share this afternoon are ethnographic presentations of Talahandig mother's definition of peace. So now I'm going to present to you perspectives of mothers on what they mean about peace and how they sustain it and identification of values that can shape the future agendas of research in education. The Talahandig community is in the north of Mindanao in Malay-Balay, Bukidnon. And specifically in one of the barangays or districts named Tsungko, this one, where the Talahandig Cultural Center is situated. The Talahandig is one of the seven tribes in Bukidnon. So this is a traditional map of the Talahandig Bukidnon, Higaonon, and Manovo territories. And the chief administrator, Victorino Sawai, affirms that there are 100 individuals, 100,000 individuals who populate around the heritage park of Mount Kitanglad and have spread out around Mindanao through intermarriage. These are the community of elders and cultural masters. So we notice that most of the cultural masters and elders are women. And I'm happy with the presentation of Sir Patricia Abinales, who mentioned that there is a silent voice among the conflict settlers in Mindanao, and those are the women voices. Talahandig women live a tradition of peacemaking in Bukidnon. They are garden farmers, mothers, and conflict settlers in the community and among tribal groups in local government units in Bukidnon until now. When there are conflicts, re-do, tribal conflicts, the local government units would call on these women to help them in the settling or implementation of the customary laws. Oral tradition narrates of highly respected women in the community, Baigawa Hanan, known to be a popular conflict settler during her time, Baimayabeg and Sa'opak, were princesses who settled conflicts between tribes through marriage. This jar of oil is a symbol reminding each Talahandig of their role as conflict settler. A sacred history narrates of the Maranao, Magindanao, Manobo, and Talahandig as brothers and sisters. They belong to one family. Their parents are Apo Gawa Hanan, Apo Ginamayeng, and the father. The Talahandig being the eldest child was chosen to keep the jar of oil, symbol of the responsibility and authority to initiate the customary kinship laws when conflict occurs. Through soil painting, five mothers illustrate their images and definitions of peace. So one mother, Ba'i Adelfasa Waikinuyo. She is a teacher of the School for Living Traditions, a conflict settler and a storyteller. She paints her image of peace as a young woman holding a jar of oil, which is the symbol of the Talahandig identity, a conflict settler. She says, quote, this is the image of a young Talahandig who lives out our culture. She holds the symbol of peace, the jar of oil. A young person who lives out the culture of peace in her or his life will always follow the Talahandig culture. There is peace when we live out our identity and code. As a teacher of the School for Living Traditions, Adelfa and the other mothers with her sustained the culture of peace by passing on the values and traditions of the young through music. This is the rhythm produced by, from drum and kalatong, bamboo, with bamboo sticks. They play it to dance, to accompany the dance called banana, which is a hawk dance, music. I am dance. This is the dance, duksu harvest dance, and for them, when they harvest, it is peace for them to give, to thank, to pay their respects to the spirit keeper of harvest. And so, because we are not the only users of land, so they would like to thank the owner, the owner of land, the spirit keeper of soil and land through dance and rituals. And this is one, you will see the cultural master, the dance expert teaching these young women in the School for Living Tradition about the duksu dance. That's the master. Another mother, a conflict settler herself by Ildur Desawai, explains her definition of peace, quote, as a mother, peace is achieved when no one is hungry or sick in the family and in the community. As a conflict settler, it is very important that before I go to settle a conflict, I pray and listen attentively to the spirit keeper of peace who guides me through dreams, unquote. Another young mother, Salima Sawai Agraan, a mother of two future artists, illustrated the Talaandig framework for justice and peace. The weighing scale here, we call Timbangan, the measuring cup we call Gantangan, and the model discerner here, Agpangan. In this work, she has placed the important symbols of Talaandig peace and what it means to be a Talaandig mother. She says, quote, this is the symbol of the Talaandig peace and justice. There is purity, patience, and always listening before one makes a decision. On his back is Bagiasan, a Talaandig symbol of balance. In his hand, he holds the traditional law. It is the golden rule, which means that there should always be balance, patience and listening, proper process in giving judgment. On his shirt, one can see the star, Tala, the moon. He carries the eye both in the morning and in the evening. The measuring cup is a reminder that anything extra should be shared to the one who is in need. And the bird image at the black of the arbiter is a symbol that as human beings, we are models of peace, and that we should be listening to the spirit keeper of peace, that is Salima Sawai. Another mother, Ba'i Nanapnai Lisa Sawai, she's the leader of the Talaandig mother. So if you're interested to visit them, you communicate with her through messenger or Facebook. She's the leader of the Talaandig mothers, actively sustaining the peace culture and explains peace as Kalinandang, Kalinandang balance. Peace is balance. In a community, the role of each one is significant. There has to be balance. The balance means that there should be the presence of the young and the old, the man and the woman. The loss of one does not give peace to a society." And the last mother, Ba'i Elanita Pangan is a garden farmer. She talks of peace as one who listens and discerns by reading the position of stars in the sky. Ba'i Elanita painted the position of the stars as guide for farmers to plant at the appropriate time. She explains, quote, As a farmer, we pay attention to the position of stars in the sky. I have illustrated peace in the position of these stars we call Migbangal. These stars change positions in the sky depending on the season. When this star is formed this way, it signifies the time for us farmers to plant and use the land. When the season changes, the Migbangal star turns its position into a question mark in the sky, so this one. This indicates that this is not the season to plant. It will be very hot. Nothing will grow because this is the time for insects and animals to use the land. If we risk to plant at this time, our resources and efforts will be put to waste because the insects and animals will eat them all. End quote. Ba'i Elanita emphasizes that as creatures of this planet, we all have the right time to cultivate the earth and the time to allow other creatures in our planet to use the land. The values from Thalaandikbis traditions that I have gathered are these. One is a dialogic relationship between, this is according to the mothers themselves, the relationship, a dialogic relationship between the self and family and community, the self and the environment and the spirit keepers, the self and the provider, the greatest provider whom we call God. Second is a listening attitude discern, we religious call it discernment. It's a listening attitude between the self and the family and community, the self and the environment, the spirit keepers, the self and the great provider. And the next value is a deep sense and spirit of prayer which they feel, one has to feel it from here, not from here. So it has to be from dinhawa, breath, that they go to settle a conflict. In summary, the mother's definition of peace lead us to the values of knowledge of one's identity, of knowing oneself, the value of prayer, discernment and listening. The peace cannot be attained when there is security of food and health. When we seek to attain balance in our life and in our choices and when we recognize our place and role in this planet and respect that. The Datu, the chief administrator of the community said that he has been working to unite the seven tribes in Bukidnon and for a long time, for several years, he felt that he was a failure and through food security, he chose a particular, is that my time? No. That's a program. I see. Through using taro, taro plant, we call luchia. It's a small root crop and it's an indigenous food. He was able to organize and unite the tribes. He said without food, fight for integration and identity is useless because the tribes are hungry. But because there is one Unifruti producer for export, the Parine is the owner of Unifruti and he dialogued with Datu Victorinasawa and he bought this from the produce of the seven tribes of taro, taro plant and he produces this and they all make it into chipi, like chipi. Then we buy some junk food and this crispies, so they produce that and because of that, he was able to unite the seven tribes. Soil painting of the tala and dig is symbolic of the dialogue between tradition and the global economy in our world today. The colors of Bukidnon soil, which is used as pigment, representing ancestral lands and indigenous knowledge, and the artist's brush, which is a tool of western art, are symbols of dialogue that can propose answers to questions of sustainability today. The mother's perspective on the tala and dig piece tradition illustrates that their claim for identity is one of inclusivity and sustainability. This circular way of looking at and relating with the environment presents a challenge to our current research and educational agenda. Anthropologist Arjun Apadurai in 1990 has asserted that our global culture has created landscapes of disjunctures and new spaces in technology, media, finance, ideology and ethnic migrations. Presented Duwara in 2015, a Raffles professor of humanities further asserts that human activity has reached an irreparable state of our planet. We need new paradigms of moving forward. Duwara argues that we need to listen to groups or communities who are still committed to living out the spiritual relationship of the sacred and the secular. To save our planet, we have to move from linear ways of decision making to a circular way, from individualistic to an inclusive one. The mother's tala and dig piece traditions claim for identities through art and culture, therefore is a claim not only for the integrity of the tala and dig peoples, but the integrity of our planet's sustainable existence as well. Thank you. Thank you. Thank you.