Manuel’s sengedurug focuses on Agyu’s son, Tanagyaw. Agyu’s men fight on the seashore of the bay of Linayangon.As they are losing men, Agyu’s young son, a mere boy, volunteers to meet the enemies; he slays them on the fourth day.The ulahingon, in turn, consists of two parts: a kepu- unpu-un and a sengedurug.The kepu-unpu-un is a standard narrative, although slightly different versions of it exist, about the history of Agyu’s family and how they fled to Nalandangan and became immortal. The sengedurug, the part that is chanted, continues the history and deals with the continuing adventures of Agyu and his relatives in Nalandangan, a paradise on earth.It is closely related to the Ulahingan of the Livunganen-Arumanen, with both epics having identical characters, because the two groups used to be one, called Arumanen.Agyu is, as described by Melendrez-Cruz (Castro et al.
The Agyu is divided into two parts: the pemahra/ pamara or an invocation and the ulahingon or narrative proper.But Tanagyaw boasts that he has defeated the leader.Upon hearing this, the leader’s son fights him, using a bar of gold.His principal source was Blagtas Pandakan, then living in Luirnut, Kallinan, Davao City.He was about 42 when, covering himself with a white blanket, he chanted the epic on the night of .Buy-anon, the daughter, invites him to sit on her lap, but the boy refuses, saying he is merely a boy. He is well received and is offered the young daughter of the datu, named Paniguan. Then he fights the invaders by the seashore; the deaths are innumerable.