SUNGKA
Sungka is an important means for creating identity,
particularly for Philippine migrants. This can be seen in
sungka competitions, which are organized in the Philippines,
and in the representation of Philippine culture at cultural
festivals through Sungka demonstrations. The identity
forming function of the game is also a central theme in
Sungka and Smiling Irish Eyes, A Boy discovers what it
means to be Half-Irish and Half-Filipino by Natalie
Gonzales-Sullaway. The feminist poet and communication
scientist Alison M. De La Cruz wrote in 1999 a one-woman
performance called Sungka, which analyses the societal
and family-related expectations in regard to gender-
specific behavior and sexuality, race and ethnic affiliation,
by comparing it to a game of Sungka. De La Cruz also reflects
in her performance how she has come to terms with her
lesbian coming-out. Her poem That Age, which was part of
the performance, has become well-known in the America.
Moreover, sungka is still used by fortunetellers and prophets,
which are called on the Philippines bailan or maghuhula, for
divinatory purposes. Older people hope to find out with their help
whether the journey of a youth is favorable at a certain day,
and girls, whether they will marry one day, and, in case they will,
when this will be. The game is usually played outdoors because
there is a Filipino superstition about a house will burn down if it's
played indoors.
In past times sungka boards were also used for mathematical
calculations, which were researched by Indian
ethnomathematicians.
Although the sungka rules are not much different from
those of congkak, sungka is perceived as a genuinely Philippine
game by native players.
Rules
The oblong game board (sungka(h)an), which is usually carved in wood (e.g. mahagany), consists of two rows of seven small pits each. In addition, there are at either end a large store (bahay) for the captured stones. Each player owns the store to his right.
In each small pit are initially seven counters (sigay), usually cowrie shells.'