1991 – The Unpublished Dances of the Philippine – Series 2

1.IDUDO-

2. PAGAPER

The Maranao fan dance, Pagaper (fan popularized as part of the Singkil and as a solo dance using intricately decorated fans to emphasize apeculiar walk called Kakini-kini found it’s way to other Maranao dances. Next to Singkil, PAGA-PER maybe one of the most popular dances probably because the fans are easy to use and thereare many ways to manipulate them. Maranao’s repressive society dictates that women do not show their emotions openly and should maintain proper dequorum at all times. Faced with this restriction, the women uses the aper or fan as a tool to convey hidden emotions toward admirers. By dancing the Pagaper, she expresses her erstwhile repressed feelings using masterful manipulation of the aper. She ‘transforms’ them into a flirty butterfly, windows from where she peeps to have a glimpse of her lover, prop to convey love messages or simply to assist in emphasizing her hippy “kini-kini” walk. A noted Maranao anthropologist conjects that the kini kini from where the pagaper is based might have been influenced by an episode in the Maranao epic, Darangan, where, to detect good upbringing, women were made to walk the kini kini between 2 threads laid on the floor. To fail would be a great disgrace.Today’s Maranao Pagaper dancers just floats through the dance with great ease and limberness, fluttering their fans with such dexterity blending beautifully with their graceful kini-kini walk.

3. BAYLUHAN

Annually Obando town in Bulacan honors 3 saints. Santa Clara, (the more famous of the three), La Birhen de Salambao and San Pascual Baylon (the Patron Saint of the Franciscans). Each saint has a feast day set aside where they are moved in a procession accompanied by dancing through the narrow streets of the town. The women devotee-dancers are dressed in bright baro’t-saya or balintawak with matching flowered hat, waving buri fans whichare similarly decorated with flowers and colorful ribbons. Men sports camisa de chinos of old, while others use contemporary flowered shirts. Each saintis prayed to for one favor or another; Santa Clara for a female mate, San Pascual for a male and the Birhen de Salambao for a child. Different saints for different favors cause devotees to pray to a different saint for a different favor in merry mix-up confusion. The sure-fire solution was to pray to all three in one kneeling. In fact, Santa Clara is always misadvertently approached by barren couples for a child . The Obando triumvirate holds such strong swey on their devotees that dances of fertility and for other intentions were popularized. People from far and near come to pray, dance, make merry and get high.This feeling of highness is what is brought back home and shared with families and townmates. In Malabon and Navotas devotees who missed performing their annual pilgrimage to Obando await with great eagerness the return of their townmates from Obando. A brass band or the unique musikong bungbong (bamboo orchestra) provide welcome music playing the familiar “Santa Clarang Pinung-pino” tune and other popular 3/4 time pieces to which the devotees swing and swey lining up in a procession while carrying standartes or large cloth frames with pictures of saints. Their intention is to duplicate Obando’s magical enchantment and the high that the devotees achieve. Dance for San Pascual Baylon…..Mag-BAYLUHAN tayo.”

4. DUGSO

Because of the animo-deist followings of many Philippine tribes, rituals of various purposes ranging from very simple to extremely complex dominate their lives. One among these communities is the Talaandig of Bukidnon living in the headwaters of the Talaan river. They are surrounded by heavy rain forest from

which they depend on for subsistence. The forests are filled with spirits, good and bad to whom suplication and offerings come in the form of rituals. Every nook,stream, large rock, tree is the abode of one or many diwatas (deities). Daily survival activities are punctuated with rituals related to thanksgiving, appeacement, suplication and consultation. Fear of the unknown, punishment for transgressing the holy abode of the diwatas and other demi-gods make up the Talaandigs ever conscious obligation to unseen protectors or detractors.These rituals effectively bridge the mortals with their gods, the former usually satisfied, sometimes temporarily.

Within the rituals are varied activities, such as the preparation of altar offerings and ritual paraphernalia, making known to villagers about ritual details, the ritual proper, sounding the gongs and drums and

dancing . Most prominent of all Talaandig dances (equally prominent amongst the Bukidnon) are versions of the DUGSO. Each sitio or village has developed a version based on similar basic footwork but

vary in formations, body movements, costumes, and the use of ritual props ranging from a bowl of fire to anahaw leaves, to wide scarves. Similar in the use of colorful feathered combs, ankle-length skirts, bellsleeved blouses and singkil or brass bells tied to their upper legs. These bells believed to be the best sound to the ears of the diwatas, serve the only music of some dugso, others have a 2-faced drum as accompaniment

5. PIGAGAWAN

Bride swapping and men grabbing are not confined to the complex societies of a metropolis. These situations also happen in simple societies such as that of the Talaandig or, the Bukidnons of Bukidnon Province. One probable reason is the smaller ratio of men to women (1 is to 3) in the Talaandig village where women fight to be the better half of a lucky man. Or still there is the probability that our lover’s Don Juan reputation preceeds him. Whatever it is, this phenomenon has developed into a dance aptly called PIGAGAWAN which to the Talaandig means to grab. Grabbing, fighting, insulting, pushing, hurting, crying is what Pigagawan is all about. Our hero plays it cool with three maidens, who for this occasion, dress in their finest attire, donning the familiar feather combs and bead accessories covering their hair, neck and breasts. Each of the three protagonists try to attract the man of their heart either by showing physical attributes, gyrating to danceable music or by laying on the floor a beautifully embroidered scarf, on which they expect our lover’s kris (bolo) to be laid. The symbolism of using the scarf and the kris may not be known to the Talaandigs but it’s sex message is very clear. Don Juan himself, like a flirty butterfly move from maiden to maiden then leaving each one either crying or angrily disappointed as he proudly moves away. Imagine a man’s joy of being fought over by several women. On the other hand the 3 women resort to grabbing their man from another’s arms, hitting and pushing the weaker of the 3 who resort to crying. Finally one is chosen to the great disappointment of the other two

6. PATTONG

Headhunting is Kalinga’s most reveared tradition, outdating pre-historical accounts of the other village traditions. To maintain peaceful relations and security amongst several kalinga “ili” or village clusters, a peacepact or bodong between villages is consummated. To break the pact by causing blood to flow accidentally of otherwise will inevitably result in headhunting. The disadvantaged village has the right to raid their enemy village and take as many heads they can, men, women, anybody, including children may have their heads taken as trophies. This practice allows revenge for any misgiving committed against the peace-pact that binds two villages.

To the neophyte who might not understand the real essence of the headhunting tradition, such dreadful practice is frowned upon as the activity of some barbaric tribes in the uplands. There should be a stop to this, he may say. But to the Kalingas headhunting is the deterent of violence and directly connects to the “pagta” or by-laws of the peace pact that keeps all the Kalingas at peace with one other. A peace pact (Bodong) is resorted to, to deminish the incidence of tribal wars and it’s headhunting consequence. Long standing feuds are settled quickly to end the unnecessary loss of lives. Peace-makers or “pangats” of each village together with adviers, warriors, cooks and food servers, congregate to talk peace. Coming to terms means much eating, singing and dancing. Music from the ganzas signals the end of atrocities and the start of friendly relations again.

But before a peace pact is ever planned, successful headtakers called Mingers, together with less fortunate Bodans (those who came home empty handed) are welcomed back to their village with joyful shouts and singing from the village women. Each of them carrying gift prices, particularly the prestigious “lawi” or head feathers made of rooster tails. The lawi when put on the head of a minger distinguishes him as a celebrated head chopper, thus gaining the hero status. The PATTONG is danced by the Mingers, the Bodans and village maidens who move around the cut head laid in the middle of the square,

7. JOTA ISABELA

Isabela, a booming province noted for it’s rain-forests and sturdy people is Northeastern Luzon’s melting pot. Traders and travelers came to the valley centuries ago and settled here bringing with them their folkways, beliefs, traditions, new ideas and crafts which unknowingly blended into the mainstream of the new settlements. Years later the same traditions, now deeply imprinted into the valley’s culture, are lovingly preserved by traditionalists and contemporary people as well. Sentimental about their yesterday’s jewels the Isabelans proudly guard what were handed down to them.

Among these great treasures are the performing arts like songs and dances which came to fore during celebrations. Plenty are the dances which came to fore during celebrations. Plenty are the dances of Isabela, and equally plenty are the occasions to dance. A birth, a wedding, a fiesta, a bountiful harvest and even a death are celebrated with feasting and it’s accompanying music and dance. The Isabelans also lyric their work-a-day activities like planting, clearing, harvesting, fishing, hunting and keeping house with festive breaks that include dances, Jota Isabela being the favorite. Others are Balamban (flying fish), Jota Cabagan, La Vota, Ala Jota, Jota Echangueña, etc.

LA JOTA ISABELA is a fine example of a filipinized Spanish jota. But unlike most jotas this dance does not use elongated bamboo castanets to take the place of the traditional Spanish castanets. This Ilocano import with unique steps accompanied by a lilthy tune was first danced by the first llocano settlers of the wild woodlands of old Isabela. Lately, La Jota Isabela was chosen as the provincial dance representative that bespeak the musical sentiment of Isabela Province.

8. PANGALAY

A people noted to tame the wild seas as well as conquerors who dared trample their shores are also the gentle people who take time out to watch fish and coral denizens swim about in endless search for food, or marvel at their birds that swoop and glide over their friendly skies. They are the Tausogs (tao-people , sug-current), aptly called for their ability to lord over their wattery surrounding.

The Tausogs may be forever engaged in fishing, pearl diving, mat making, boatbuilding or training men to be brave warriors, for which they are famous, but the other side of him emmerges soon as he casts all cares aside and become the artistic Tausog. In moments of merriment and gatherings where version upon version of the Pangalay is danced he is either a fish or a bird. Unlike the northern highland dances that may have certain movements that appear less studied or “trained” and more instructive, the Sulu dances have the Middle Eastern movements, which concentrate on exacting physical forms.

The PANGALAY, like many other Muslim dances is a classification far removed from the western idiom. Inner intensity and absorption, mysticism, languid, flowing movements of the arms as they change from posture to posture, the curling of the fingers, the flexed elbow, the shifting of body weight from one bent knee to the other, and the use of extended metal nails bespeak the oriental style.

Improvisation is allowed and the dancer performs according to mood. Ms. Ligaya Amilbangsa who has spent the best part of her life in Sulu studying the varied forms of the Pangalay assisted the ROFG members to understand and analize, while learning, the rudiments of Pangalay particularly the versions that have to do with imitating bird, the salaksak or kingfisher, the Linggisan or sea gulls and the sand pipers. Three versions, 3 interpretations, 3 sets of music from one expert – Ms. Amilbangsa.

9. PAYPAYTO

The Ifugaos who stunned the world with their achievement, the marvelous famous rice-terraces the 8th wonder of the world – also excel in other wonders including the preservation of extraordinary and exotic village traditions. One among these is the renewal of one’s social status in the village.Prestige feasts like the “hagabi”, “canao'” where a person’s and social class is further strengthened by proving that he can invite the the entire village to a music dance-food-wine filled celebrationare the most attended ones. In this occasion the musician and dancers are given the chance to show off the village’s best music and dance there is. Hundreds of chickens, dozens pigs and 2 or 3 carabaos are butchered for food for all who may come. It is the obligation for all who partake of food to dance during the 3 or 4 days celebration. Aside from the traditional Bumajah, Uyaoy and Dinuya which are danced during the festivals of the same name, usually to thank the gods for a good harvest or for the health of the villagers or for the well-being of a newly wed, (to jump) dance is performed as a unique exhibition of skill and dexterity by powerfully built Ifugao braves who dart in and out of sticks struck in musical syncopation. The PAYPAY TO represents a happy break from the farmers busy everyday work. At the end of the day while they sip fermented tapoy wine they play their ganza and dance the PAYPAYTO which represents high-flying birds disturbed by hunters from their perch and flutter away to safety. Since this is an all-male dance, each dancer displays his skill in jumping in and out striking sticks. Such is fun when a dancer gets caught or falls out of balance. Oftentimes the dance-game last till the wee hours of the night.

10. PANDAMGO

The delight ful Matigsalugs living in wedges of v sloppy mountains blanketed with the thick forests of Bukidnon got their tribal name from the Salug river from where they depend for survival. Though small in physique, the men have proven their prowess and skill in battle defeating adver- saries who usually creep into the village while it sleeps. The women on the other hand, became dependable farm hands and protector of their homes when the male is out hunting or engaging in combat. During peaceful times, however, the couple work hand in hand tilling their fields of palay or fishing in the Salug river or hunting for small game. The clannishness of the Matigsalugs have produced strong family ties with children considered the greatest wealth a family could ever acquire. The birth of baby girls are times to celebrate. Great is the parents delight to think of the many goodies their daughter would get as dowries on her wedding day. Even on the first day she is born, parents of male babies start to come and offer their child to be the future husband of this baby girl. All are turned down except the except the one whose parents promise to give the most gifts come wedding time. PANDAMGO is a dance-drama of a barren mother who dreampt that she bore a baby girl, whom she reared to maidenhood. Her beauty was such that many suitors came to offer their love and display their material wealth, The story has it that the maiden fell for a simple but sincere warrior who could not offer much. This the mother resented and in her fit of anger encouraged another suitor to count her daughter. He was bullish, wild and ugly but rich. His last qualification suited the mother very well. The daughter for the dictate of her heart, the mother for the wealth dangled infront of her face and the 2 protagonists in a fight to the finish, makes Pandamgo a dance-drama thick with conflict

11. BULING-BULING

Endless attentions is showered upon the Christian church by Christians with varied degrees of devotion and belief. This is specially so to the church-goers of Guiniangan, Quezon Province whose devotion to their patron saint, goes beyond just meeting him in church. The BULING-BULING dance (meaning soot or stain) comes from the soot or ash marked in the form of a cross on a devotee’s forehead by the parish priest after the Miercules de Cenisa (Ash Wednesday) mass. According to church doctrines the marking of the ash-cross should remind people that from ash they came to ash they shall return. After the blessing with the ash, the Guiniangan church-goers leave the church carrying flowers and plates which they use to encourage passers-by to contribute cash for the patron Saint. Moving in groups, the Buling-buling dancers (as they are called) move from street to street, stopping infront of houses and performing the Buling-buling dance to the accompaniment of the brass band. There are 2 parts of the dance, the first is performend by young girls brandishing 2 flower boughs as they waltz to the hearts of prospective donors. Every twist of the dance, the ladies prod people to dole out some cash. The second is composed of middle-aged couples (usually 6 pairs) who, while waltzing hold out sartin plates, and execute gestures of soliciting alms. It is not uncommon to have several groups roaming the streets on Ash Wednesday, the more there are the merrier. This is an unusual way of begging for alms without feeling they are lowly mendicants. Music played by a brass band or a big rondalla group lend a festive air to the otherwise melancholy Wednesday, after all it signals the start of Lent.

12. BANOG-BANOG

As Magellan’s expedition went past the island of Panay in the 16th century, on the way to Cebu, his chronicler Fr. Pigafetta took notice of “painted” people standing on the shores prompting him to call them “pintados”. Probably what he saw were the natives, whose bodies and faces were tattoed (tattoing being the fad then). Four hundred years later the same ‘pintados’ now known also Sulod, Montecas, Mundo, Bukidnon and Bukil inhabit the mountains of Tapaz, the apex where the provinces of Ilo-ilo, Aklan and Capiz meet. Few have survived the onslaught of modernism and those who did still continue to practice long revered traditions which include planting, weaving, black smithing, hunting and enjoy the fat of the land by music and dance.

In 1986 several Mundo tribesmen were invited to Roxas City, Capiz to join in one of the city’s annual

celebrations. The women were impressive in their piña blouse (an Aklan contribution), plaid cotton skirtsan Ilo-ilo influence) and a scarf which proved to be a very important prop in the dance they presented. Strands of silver-coin necklaces (of Queen Isabel and Alfonso XII(vintages) decorated their breasts cascading down their waists. The men were simple in a hand span g-string with no body ornaments. They also used a scarf.Ancient brass gongs and drums lent music to the exotic dance called BANOG-BANOG which imitate the menacing bird of prey – the hawk. Banog-banog’s extraordinary body contursions, contractions, pulls and stretches, in the opinion of some modern dancers, may blend perfectly into Martha Graham’s dance movements.

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13. KINABAYO

September each year brings out into the streets of Dapitan, Zamboanga del Norte hundreds of “horsemen” dressed in resplen- dent costumes riding almost life size papier-mache horses who roam the plaza and grounds for two days. This is the KINABAYO festival (kabayo is horse to the Visayans and Tagalogs), a unique Moro- moro or comedia version commemorating the search for the Holy Cross by Christian crusaders and their numerous fights with Moros. The KINABAYO, starts with a grand parade around town participated in by large groups of “Moorish horsemen” and “Christian crusaders” in distinct costumes, each engenously put together by matching textile and drapes pulled out from mother’s baol or aparador. Medieval times, and adventures and romances are relieved. Pretty princesses, charming princes, staunt Moorish sultants and brave horsemen come alive while martial music and dances cast their spell on everyone. Unlike better known versions of the comedia or Moro-moro which is usually staged on a raised platform, the Kinabayo is better performed and appreciated where horses gallop freely during joists, tournaments and fights. The school ground best suit this need Though showing great skill in battle, the predictable end ofthis Kinabayo Moro-moro is the defeat of the Moorish horsemen led by the prince who shaprly acts out his role. Like his horsemen the Moro principe is dressed resplendently in stunningly bright brocades and silk. Swords, shields and standards complete their get-up. Their horses are equally drapped with rich materials. On the other hand the Christian crusaders also led by a charming principe, carrying the colors of the Christian church, which they gallantly defend to the end, dispaly the discipline of an army. Men and horses are equally simple costumed, distinguishing them from their Moro protagonists. The Kinabayo formally ends when the contested cross transfer hands from the Moros to the Christians.

14. SAYANA

 The Near and Middle East in- fluences, brought to our shores in the early 12th century consisted not only of religion, trade and commerce but also traditions of food, housing, dressing, music, dance and values. The Maranaos of the Lanao lake areas who have embraced Islam for hundreds of years patiently cling to wondrous religious traditions clearly evident in their culture today. They celebrate Ramadan, Hariraya, Hajji, Ed ul Fitre, Kariala and observe the month of fasting called Hariraya Puosa. Another day to celebrate is the annual observance of Prophet Mohammed’s birthday (Maulidan Nabi) where men and women dressed in white, recite passages from the holy Koran, chant songs of praise, play music in their kulintang ensemble and perform exotic dances. One among these is the precise-to-the-last-butt-of-the-eye dance called SAYANA. The way the Sayana is performed reveals it’s far off origin, the Middle East Islamic centers. It is one of the rare Maranao dances that does not use the kulintang or Kapagonor accompaniment. Instead theperformers sing an Arabic chant while accompanied by a mouth organ and flutes. This all-girl dance is unique in that the performers execute precise hand and head movements while sitting or kneeling. Ma. chine-precise movements appropriately describe the SAYANA, because one wrong throw of the hand or one miscalculated twist of the head makes the dance rough and ugly. Although very few Maranaos recognize, much more dance the Sayana (probably because of it’s highly religious nature and have been kept in the confines of the home), it is presumed that it traveled from the Middle East, passing through Indonesia then to the Philippines where it found it’s new home amongst the Maranaos.

15. BUMBUAK –

 In 1987, a relatively small tribal community was stumbled upon by traders, introducing the Gaddangs to this busy world and the world to them. Before their “discovery” they happily tilled their fields, cared for their children, cured their sick, wove and embroidered their textile. All these have changed. In one of their wonderings into the metro- polis while peddling their precious beads and items of antiquity, they accidentally roamed into the Ramon Obusan Folkloric Center. That was a pleasant meeting. It introduced us to the magni- ficent material and social culture of the Gaddangs. They proved to be live specimen of people and things past, pictures-come-to-life from a history book, a tribal group we thought have been lost decades ago. There they were parading before our eyes. When the spell, they cast on us broke we gently run our fingers through their magnificent costumes, fingering their precious body ornaments, their necklaces, combs, headbands, bracelets, neckpieces, chokers, earings and rings of fine glass beads. We realized that their incredibly rare and beautiful toppers, skirts , g-strings belts, capes and scarves emblished with fine embroidery and traced with even finer sand beads (which are their daily wear) are long sought after items by collectors. We are told that to join one of their celebrations was to feast on more exotic festive wear displayed purposely for dancing. Although the Gadddangs do not have plenty to celebrate for, they have time to dance and make merry. Most of their dances accompanied by bamboo resonators, stumpers and brass ganzas are gentle and almost stationary. One of the more traditional dances is BUMBUAK where three ‘ tobacco” trees attract three gaddang “birds”, 2 females and a male. These “birds’ fly and glide through the trees. When exhausted they perch.

16. MAZURKA DE CUYO

Spain discovered and conquered not only to augment the wealth of the empire, but also to bring Christianity to the rest of the world. But before Spain could Christianize the Philippine native, she had to interfere with life in the islands, it’s political, social, religious aspects, in the process imposing on them her culture. It is fortunate that the Spa- nish missionaries realized that the natives could not live with out dance and song, and did not seek to obliterate them as they did, or tried to do, with other aspects of life which they considered as “heathen”. They tried, however, to give them new dances and songs far removed from the old non-Christian ones, to a large degree of su ccess. Today, a majority of the Filipinos are Christians and many of their dances reflect the European influence of four centuries. The local calendar is still peppered with fiestas, celebrating feast days of saints. These fiestas became the stage for teaching of new types of music and dance. The folk and formal dances of Spain, Europe and Mexico came to be danced at these “Filipinized” festivities. Such were the Mazurka, as in MAZURKA DE CUYO, which honors Palawan’s old capital, Cuyo island, and other dance form like the jota, pandango, habanera, etc. The party-going Cuyunin displayed gowns and suits imported from the fashion capitals of the world tracing silhou ttes of the vogue of the time, while those who were not that affluent contented themselves with capuing their cousins gowns in local materials. The Mazurka de Cuyo ladies are in Sayang de cola (gowns with tails), with tails they purposely raise high, all through the dance to show off an even delicate inagua or underskirt with fine embroidered senefa. The men are either in coats of fine-materialed cam isa de chino and plaid or striped dark pants

17. SOTEN-

The people of the Philippines re- main obviously Malay and Indonesian in origin, possessing characteristics of the same type as may be seen physically in their features or observed through their ways of life. In the Southern part of the islands remain many cu Iture traits, as is easily noticed in the dances that are traceable to very early periods in the country’s history. Long before any Westerner arrived, the Suba non of Zamboanga del Sur were already deep in trade with the Arabs, Persians, Hindu and Chinese sea going merchants as well as those from Siam and Cambodia and the rest of Indonesia. Today the Subanons make up one of the biggest cu ltu ral communities living in the Lapuyan district. History claims that this study people once lived and dominated both Zamboangas, Norte and Sur holding Swey on economics, society, poli tics and trades. The mad onslaught of modernism has harsh ly driven the Subanons to the hinterlands where they are found today. An anthropologist’s conso lation is that they have selfishly brou ght with them their traditions which today constitu tes the very essence of their being Subanons These traditions have flowered into a very important part of Philippine legacy, they are very oriental, exotic, and maybe described, especially their dances as mystic and finely stylized. SOTEN, an all-male dance dramatize the strength and stoic character of the Subanon male. Holding a shield on his left, and shaking dired palm leaves on his right, merits him the attention of his gods. In a manner of suplication he calls the attention of the diwatas (deities) with the sound of the leaves, the most beautiful sound to their ears. Making sure that the divinities are present the Subanon warrior continues to dance by shaking his shield, manipulating it as though he was at odds with unseen adversar ies. Similarly unique is the music that come from several blue and white Ming dynasty bowls played in syncopation by village maidens, Bowls, gongs, drums, costume, bespeak of influences that cut through the social and cultural lives of the Subanons.

18. KARASAGUYON –

 No other tribal group could be more exotic than the Tiboli or Tabali living around lake Sebu of South Cotabato. Every- day to the Tibolis, is always a special day and therefore special attention is given to the way they dress. The Tiboli women prefer to appear in a merry mix of colors. To start with, she has a long sleeved blouse of blue cotton meticulously em- broidered with geometric designs, flowers, figures of man with vari-colored threads. Her skirt a tye- dyed tinalak cloth (woven fine abaca fiber) with snake or crocodile designs. She frames her face with strands after stands of glass beads, and accen- tuates her thick bangs with more beads and several brass or wooden combs with dangling strands of beads. Fine horsehair chains decorate her under- chin, the ends of which reach up to her earlobes and dangle as earings. Wide chokers and at least 10 necklaces complete the pieces. The list of her body accessories starts with plenty of brass armbands, a wide brass belt (similar to a coat-of-mail) with hundreds of brass bells dangling on each end, 10 to 20 singkil piled one each leg up to the knees, and all her fingers and toes wrapped with wound brass to pass as multi-coiled rings. What better specimen could there be of a living tribal beauty. In this fanciful get-up Tiboli women performs the KARASAGUYON, one of the many gay Tiboli dances to welcome visitors. The Karasaguyon weaves around a polygamous man in the process of choosing his 5th wife. Tiboli men are allowed to marry as many wives so long as they find the need and the ability to support them. Many wives means many hands for the fields and for household chores. A man, however, cannot re-marry without the consent of the first wife whose usual preferences are her sisters or cousins. The Karasaguyon shows how the girls endlessly preen themselves to get the attention of their man. Need- less to say not one of them would let go without a fight. Tiboli girls marry at 10 or 11.

19. TAGEM –

In the Northern highlands of Quirino and Nueva Viscaya provinces are dances that are described as indigenous. The Ilongot or Bungalot groups who posseses these are relatively un- touched by either foreign or other Filipino influence. Loosely speaking, these dances seem to be emotionally oriented. A trait which appears com- mon to the groups living in the Cordillera mountain range is the attention given to agriculture, understandably considering that from the land they till comes their means of survival. Their lives conform to the cycles of the field and this clearly reflected in the llongot tradition. Their need to dance arises from the communal rites to conciliate the gods, to solicit blessings, to seek deliverance from pestilence, or for special needs that mark such diverse events as weddings, births, deaths, and the preparation for war, for victory, or simply to lighten such everyday tasks as planting, harvesting, pounding, or winnowing rice, fishing and the gathering of such things as betel, tobacco, honey or wine.

Religion, economics, geography, and social conditions play a big role in the shaping of traditions of the people which in turn are reflected in many aspec ts or tneir lite, particularly in their music and dance. TAGEM is the llongots post-.headhunt dance which evolves around a head or several cut heads which a lover brings home as a gitt of love to the lady of his desire. Music played on the ‘”kuliseng'” bamboo guitar by women provide the accompaniment to the Tagem which renders the warriors almost in a trance. Bolo on one hand and narrow shield on another, he tilts his hand upward, eyed following the sun and execute the most streneous body movements, typical only to the llongots. The womenfolk as well jump up to dance with the men and show equal stress in their outstretched arms and back bends.

20. SAYAW SA LAMBAY

In an island where the main liveli- hood is eked from the sea, ob- viously their other activities are related to fishing and the sea. Take the case of their form of merriment, their music and their dances. All these would have, in one form or another reference to their life at sea and the probably their daily catch. SAYAW SA LAMBAY or the dance of the blue crab (lambay, alima sag) is one such exam ple. this dance Sources say that started as innocent gestures by some fishermen and their wives, who when asked to perform during a gathering in Tubigo, a fishing village outside Tagbilaran, playfully imitated the lambay. Their rough invitation were appreciated and were 1iked by other fisherfolks who taught they did well in imitating the lambay. Later the dance was picked up by a dance afficionado from a nearby town for a stage presentation. So it started the popular ity of the crab dance. The ROFG version has a female lambay swimming about attracting a male lambay who happens to swim by but alas there are 3 others, Rows of background pertormers acting as waves adds to the dances’ proper ambience. Sinking and floating int he wave’s crest and through the 4 lovers endlessly cluster, pinch, bite, claw and fight.

21. KINUGSIK-KUGSIK –

Squirrel are sparingly found in some selected islands. But in Palawan and Agu san provinces the squirrels have made noise enough to be given notice and honored with a dance. Kugsik is Manubo for squirrels. The mimetic dance of the Agusan Manubos was first record- ed in 1968 in sitio Sta. Maria, Butuan where a handful of Ma- nubo families dependent on log ging activities, have clustered branches gave the Manubos a lesson on carefreeness, an atti tude by chanting the “dasang'” (musical narrative) and peforming dances that imitate birds, monkeys, squirrels and other animals seen in the wild. Like many tribal grou ps found in thick forest recesses, the Manu bos have learned to be one amongst nature, blending with the forest and it’s animals. To know their dances is to know the wild life surrounding them. Since the squirrel is such a rare and extraordinary animal in the Philippines, it’s antics as inter preted in dance are unique and truly unusual. The KINUGSIK-KUGSIK is a love triangle involving two males in pursuit of the same female for whom they fight to the finish The sensous and truly interesting squirrels” in Kinugsik-kugsik reflect how the original performers patiently watched wild squirrels playfully scamper up and down trees chasing each other.

22. TALIK BARAK –

Small hidden groups that escaped the attention of the Christian forces were allowed to grow on their own, keeping their traditions of old. The Spaniards tried to remove all things they considered “pagan”. Religion, language and script were affected, and many of the old nature ways were lost, some dance styles among them. The short statured Negritos or Agta or Baluga of Zambales who featured recently in the Mt. Pinatubo disaster would not have been noticed by the world, and even the Filipinos, had it not been for this calamity. They have, before the eruption, been dancing the most colorful, vigorous and authentic tribal dances of the Philippines. In the early 60’s, the Mt. Pinatubo area was one of my first research areas. It was then that I got introduced to these simple, friendly and happy bunch of humans. From then on I visited them on and off for many years, learning their simple ways, their love for the open space, and their love for singing, dancing and making merry. I recorded 24 dances from the Pinatubo Negritos, dances they danced in pre-Spanish days which still exist. today. Many are mimetic in nature in imitation of animals and fowls they encounter in the wild like the Barak (monitor lizard), Bake (monkey), Puyo (quail) and manok (chicken). Accompaniment is largely by a native guitar called “gitada” or simply banging on a can, or a bamboo tube or striking stones together. TALIK BARAK (dance of the monitor lizard) is a unique immitation of two lizards slithering over bamboo poles, trelisess and fences, skillfully clinging to trees, rocks and finally they rest after a day’s hunt for food.

23. PALU-PALO –

Almost gone are the “Amorsolo-scenes” of women washing clothes in fast- running clear brooks, and making colorful mosaics of clothes spread on large stones to dry. Also, al- most gone are the noisy children splattering water as they bath. Al- most gone are the uncomparable happy washing days once enjoyed before the adventof the swimming pool and the washing machine. Yesterday’s washerwomen or “labanderas” always looked for ward to the time she was to go to the brook where friendly and not. so-friendly co-labanderas pick up the days gossip and update themselves on the lives of others other than theirs. What a delightful sight to see bare-shouldered women chatter insessantly in time with the beating of their “palu-palo” or clubs against their dirty laundry. Theirs is the joy of talking about other’s lives, others love affair and other business not pertaining to hemselves. This brook is the counterpart of the male barber shop. Take the case ot that woman o innocently has an admirer walk her to the brook. Did not eyes pop out from their sockets and tongues wagged till they hurt? What’s more listen to how the gossip change for the worse as it passes from one mouth to another, and listen to the noise of wooden clubs (palu-palo) as they are used against other clubs, the result of gappy mou ths. Instead of enjoying the rhythmic pounding of the palu-pa lo against wet clothes, you suddenly hear club against club, wood against wood and women scampering through river stones trying to evade the advance of another, clubs swinging hither yarder. Tin basins “batya'” make good shields. Fun, fun, fun, is what the Laguna washerwomen has as she dances the Palu-palo.

24. KURADANG –

The enchanting island of Bohol holds no secrets. It is the dancingest, merriest musical people under the Visayan sun. To visit Bohol is to visit music-land where people just can’t pass a day without dancing, Singing or strumm ing the gu itar. In the small village of Lubak which boasts of the biggest stone church in the whole of Bohol, Iive a people who at one tip of the hat sing-dance the Balitaw, svwey to the Kuratsa and boisterously leap to the Sinulog. Their favorite is he KURADANG where several couples dance and gyrate sensously in imitation of hen and rooster in love play. The couples exert every means to out do each other in creating many movements as they can to impress their audience. This contest-like attitude carries on through the dance. In a wedding the bride and groom performs the Kuradang, they are expected to have practiced and mastered unique steps so as not to fall short of people’s expectations. From the start to the finish this high-spirited dance sees the groom chasing the elusive bride eliciting laughter and teasing especially when the groom lifts the bridal gown in a teasing manner. Kiss steal ing adds more laughter and fun. An important part of the Kuradang is where attending relatives and friends pin money bills on the newlyweds, groom relatives to the bride and bride relatives to the groom. The Kuradang goes on for as long as there are money bills and coins coming. This is the crowd’s gesture of leading the newlyweds into a prosperous life.

25. GALA –

 Any wedding in a city or a village is always a welcome treat to work-burdened friends and relatives. Everyday life drugery is broken, long lost friends and relatives meet, catching up on news and past events, people out of circulation appear and most of all members of the bride’s family is in- troduced to the groom’s family for the first time and vise versa. The wedding becomes a grand re- union. In Alburquerque, Bohol, a wedding is not just feasting, dining and drinking. It is an occasion to display wealth, influence and closeness to one’s relatives, particularly the groom to his blood rela- tions Several days before the wedding day, the “tag-lalaki” (literally meaning family members of the groom) bring paraphernalia, cooking utensils, raw food, drinks, etc, to the bride’s house where the wedding feast is to take place. Each is assigned to oversee activities most of which are confined in food preparation, table setting and serving and kitchen trafficking As in any wedding, it is the laughter, jokes, teasing, drinking and milling about that brings in the joy. Like a busy street, the house needs a traffic cop to direct movements of guests, helpers, children, kibitzchers, neighbors, food trays and dirty dishes. A blaring brass band or a 20 piece rondalla playing somewhere in the yard add to the occasion’s pandemonium. With the last guest served and the last morsel of food swept off the table, a space is provided for in the sala, chairs pulled to the sides. The best part of the wedding commences, the GALA. The GALA is a voisterous contribution of the taglalaki group to the merriment of the occasion. Kitchen utensils, plates, basins, chopping boards, kettles, ladels, etc. are banged together or finacifully displayed. They also sing familiar Boholano tunes, accompanied by the rondalla, thanking everyone for coming to their groom-relative’s wedding,