National Living Treasures: Uwang Ahadas

Mortal beings, like the animals and birds of the earth, are believed to be subject to the whims of gods and spirits. This belief is reflected in the story of Uwang Ahadas, a Yakan musician whose near-blindness is thought to be the result of offending nature spirits during his childhood. As a young boy, Uwang often played near Bohe Libaken, a brook near his birthplace, unknowingly angering the spirits. His father recalls that Uwang endured eye pain for a month before telling his parents, and the community believes this condition was a form of retribution.

Music became Uwang’s solace and lifelong companion. The Yakan people hold instrumental music in high regard, as it is deeply tied to their agricultural and social traditions. One such tradition involves the kwintangan kayu, a wooden instrument played to serenade rice plants after planting, believed to encourage growth and a bountiful harvest. Growing up in this rich musical heritage, Uwang eagerly embraced the discipline of his art. He learned by observing older musicians and received guidance from his musically gifted family. Unlike many Yakan children, Uwang had the privilege of learning various instruments, despite the high cost of maintaining them and the threat of losing them to antique collectors.

Starting with the gabbang (bamboo xylophone), Uwang mastered the agung, kwintangan kayu, and other instruments, defying the tradition that reserved the kwintangan for women and the agung for men. By age 20, he had become a master of Yakan music. Yet, Uwang’s mission extends beyond his own skill. He dreams of passing on his knowledge to others, believing that training should begin in childhood when interest and physical flexibility are at their peak. His daughter, Darna, has followed in his footsteps, becoming proficient and teaching others.

Uwang travels beyond his hometown of Lamitan to teach in other Basilan communities, where he is warmly welcomed. His students, many of whom have gained renown, often perform at community rituals and festivals. Uwang’s teaching method is hands-on, guiding students’ hands to create music from bamboo blades and brass gongs. His gentle encouragement and patience have made him a beloved mentor.

His younger brother, Rohas, is working to preserve Uwang’s techniques by developing a notation system to simplify instruction. While promising, this effort is still in its early stages, and much work remains to ensure the survival of Yakan musical traditions.

Uwang’s declining eyesight and mobility pose challenges to his mission. He admits to feeling wary about traveling, as it makes him dependent on others. However, when asked about undergoing treatment to improve his condition, he smiles and expresses a willingness to endure whatever is necessary. Despite his struggles, a glimmer of hope shines through, reflecting his enduring dedication to preserving the music and culture of his people.