Igorot Dance Video - Maryland

Sunday, November 15, 2009

igorot dance videoThere is an Igorot Dance video taken during the 18th anniversary of the Philippine International Bible Church of Montgomery County, in Maryland last month. What's special about the video is that it had my sister and my brother-in-law amongst the dancers. While my brother-in-law is a natural dancer, I haven't seen my sister dance that much. And, this is the second time I saw them dance together (though with other dancers) since they got married more than 8 years ago. Check this video from the Igorot Video Collection website.

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Igorot Dances - Pictures

igorot dances 1I am slowly transferring all my webpages from the sagada-igorot.com website into this blog. I just copied over 2 articles on Igorot Dances; and I have some left-over pictures. I can't remember where I got these 12-year old photographs. If some kind soul out there can let me know, I'd appreciate it very much.


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IGOROT Ethnic Groups

Friday, November 13, 2009

igorot man - masferreThe Cordillera region of Northern Philippines is the ancestral domain of the Igorots. It is comprised of the six provinces of Abra, Apayao, Benguet, Ifugao, Kalinga, and Mountain Province plus the lone city of Baguio. The Igorots are grouped into six ethno-linguistic groups, the Bontoc, Ibaloi, Ifugao, Isneg (or Apayao), Kalinga, and the Kankana-ey. Below are brief descriptions of these Igorot ethnic groups.

the BONTOC

Alternative/Associated Names: Bontok, Bontoc
LOCATION: Central Mountain Province
DIALECT: Bontok

The Bontocs live in the banks of the Chico River. It used to be a group that was known because of its head-hunting practices. Present day Bontocs are a peaceful agricultural people who have, by choice, retained most of their traditional culture despite frequent contacts with other groups.

The pre-Christian Bontoc belief system centers around a hierarchy of spirits, the highest being a supreme deity called "Lumawig". Lumawig "personifies the forces of nature and is the legendary creator, friend, and teacher of the Bontoc". A hereditary class of priests hold various monthly ceremonies for this deity for their crops, the weather, and for healing. In addition the Bontoc believe in the "anito" -- spirits of the dead who must be consulted before anything important is done. Ancestral anitos are invited to family feasts when a death occurs to ensure the well-being of the deceased's soul.

The Bontoc social structure used to be centered around village wards ("ato"), containing about 14 to 50 homes. Traditionally, young men and women lived in dormitories and ate meals with their families. This gradually changed as with the advent of Christianity. In general, however, it can be said that all Bontocs are very aware of their own way of life and are not overly eager to change.


the IBALOI

Alternative/Associated Names: Ibaloi/Nabaloi
LOCATION: Southern Benguet
DIALECT: Ibaloi

The Ibaloi live mostly in the southern part of Benguet. An agricultural people cultivating rice in terraced fields, they have some affinity in language with Pangasinan, its southern neighbor. Baguio City, the Cordilleras lone city and dubbed as the “Summer Capital of the Philippines” is also situated in Ibaloi country.

The Ibaloi’s major feast is the Pesshet, a public prestige feast of the wealthy, that could last for weeks and involving the butchering and sacrifice of dozens of animals. One of their more popular dances is the Bendiyan Dance that could be participated in by as many as a hundred men and women dancers.

the IFUGAO

Alternative/Associated Names: Ifugao, Amganad, Ayangan, Kiangan, Gilipanes, Quiangan, Tuwali Ifugao, Mayoyao (Mayoyao, Mayaoyaw)
LOCATION: Ifugao Province
DIALECT: Four distinct Ifugao dialects

The country of the Ifugao in the southern part of the Cordillera region is best known for its famous rice terraces, which in modern times have become one of the big tourist attractions of the Philippines. The Ifugaos build their typical houses at the edge of their fields. As distinctive aspect of these house post just below the floor beams to keep rats from climbing into the house.

Aside from their rice terraces, the Ifugaos are known for their literary traditions of the 'hudhud' and the 'alim' . The term "Ifugao" is derived from "ipugo" which means earth people or mortals or humans, as distinguished from spirits and deities. It also means "from the hill", as "pugo" means hill. The Ifugaos’ highest prestige feasts are the "hagabi", for the most wealthy; and the "uyauy", a feast for those immediately below the wealthiest.

the ISNEG

Alternative/Associated Names: Isnag, Dibagat-Kabugao-Isneg, Apayao
LOCATION: Northern Apayao
DIALECT: Isnag

The Isneg (or Apayao) inhabits the banks of the Apayao River and its tributaries in Northern Luzon. Like most erstwhile head-hunters, they are slash-and-burn farmers who have recently, under the influence of their neighbors, begun to practice wet-rice agriculture.

As dry rice farmers, the male head of a household annually clears a fresh section of tropical forest where his wife will plant and harvest their rice. Isneg women also cook the meals, gather wild vegetables, and weave bamboo mats and baskets, while the men cut timber, build houses, and take extended hunting and fishing trips. Often when a wild pig or deer is killed, its meat is skewered on bamboo and distributed to neighbors and relatives. Nearly all Isneg households also harvest a small grove of coffee trees since the main cash crop grown is coffee.

the KALINGA

Alternative/Associated Names: Linimos, Limos; Limos-Liwan Kalinga
LOCATION: Kalinga Province
DIALECT: Kalinga, Limos

Inhabiting the drainage areas of the middle Chico River, the Kalingas are noted for their strong sense of tribal awareness and the peace pacts they have made among themselves. They practice both wet and dry rice farming and they have developed an institution of peace pacts which has minimized traditional warfare and head hunting and serves as a mechanism for the initiation, maintenance, renewal and re-enforcement of kinship and social ties. The Kalinga are divided into Southern and Northern groups; the latter is considered the most heavily ornamented people of the northern Philippines.

The Kalinga society is very kinship oriented and relatives are held responsible for avenging any injury to a member. Disputes are usually settled by the regional leaders, who listen to all sides and then impose fines on the guilty party. These are not formal council meetings but carry a good deal of authority.

the KANKANA-EY

Alternative/Associated Names: Northern Kankana-ey; Sagada/Besao Igorot, Western Bontoc, Applai
LOCATION: Western Mountain Province, Southeastern Ilocos Sur Province, Northern Benguet
DIALECT: Northern Kankana-ey

The Kankana-ey’s domain includes Western Mountain Province, Northern Benguet and Southeastern Ilocos Sur. Like most Igorot ethnic groups, the Kankana-ey built sloping terraces to maximize farm space in the rugged terrain of the Cordilleras. Two famous institutions of the Kankana-ey of Mountain Province are the dap-ay, the men’s dormitory and civic center, and the ebgan, the girl’s dormitory where courtship between young men and women took place.

Kankana-ey’s major dances include takik, a wedding dance and ballangbang.


References

1. "PHILIPPINE ETHNIC MOTIFS Vol. 3" as part of the Okir project by the Product Development and Design Center of the Philippines and the Philippine National Museum)
2. UNREACHED PEOPLES `81 -- David C. Cook Publishing Company
3. Cordillera Philippines
4. BIBAK NE Homepage

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Igorot Dances, 2 of 2 Posts

igorot dancesHere is the second set of Igorot Dances. This set includes the Kayaw, Lumagen, Manerwap, Manmanok, Palakis, Ragragsakan, Sakpaya, Salip and Takik. The list of dances mentioned are from the Bontoc, Bago, Kalinga and Ifugao tribes.

Kayaw (kah-YAHW)

Kalingas of yore considered headhunting a revered tradition. A budong or peace pact is made between ili or village clusters to maintain peaceful relations and security. Breaking this pact by causing blood to flow will inevitably result in kayaw or headhunting. The offended village has the right to raid their transgressors and indiscriminately taking as many heads as they can as trophies. Mangayaw or listening to Idao, a mysterious bird, is supposed to lead a group to a successful head hunt.

Lumagen (looh-MAH-gehn)

This is a dance performed at Kalinga festivals to celebrate Thanksgiving.

Manerwap (MAH-nehr-wahp)

In times of severe drought, the Bontoc Igorots performed rituals imploring Kabunian (God) to open the sky and allow raindrops to water the rice terraces and the mountains. Participants in the Manerwap climb the mountain to reach a sacred place called fawi where they offer a piece of meat and some rice wine to God. Tribal folk rule that participants in the Manerwap must be physically strong to withstand the fast required during the rites, when they're allowed only water and no food. Senior members of the tribe perform the rain dance for two days and two nights, incessantly beating gongs throughout the vigil.

Manmanok (mahn-mah-NOHK)

Three Bago Tribe roosters compete against each other for the attention of Lady Love. They use blankets depicting colorful plumes to attract her.

Palakis (pah-LAH-keehs)

This courtship dance originates from Western Bontoc and is usually performed at weddings and during festivals like the begnas, celebrated by the community before a harvest or planting. The dance is characterized by free-form interactions between male and female dancers, with each dancer carrying a square-meter piece of brightly colored cloth, held or shaken to convey sentiments such as flirtation or desire. A set of four gongs accompanies this dance.

Ragragsakan (rahg-rahg-SAH-kahn)

This is an adaptation of a tradition in which Kalinga women gather and prepare for a budong, or peace pact.

Sakpaya (sahk-pah-YAH)

The hands of Ifugao farmers dig the hard soil and push heavy stones off cliffs to make way for a new rice field, part of the world-famous Banaue rice terraces. High-flying sakpaya birds swoop and hover over the terraces as the Ifugao toil. In times of plenty, the Ifugao farmers give thanks to their sakpaya "gods" by donning traditional costumes and imitating their flight in this dance.

Salip (SAH-lihp)

The Salip of the Kalinga tribe depicts a warrior claiming his bride by presenting her with a matrimonial blanket. The woman responds by balancing several clay pots upon her head. She follows the man to connote obedience. He simulates the movements of a rooster at love play, aspiring to attract and seize his love. A version of this dance has two warriors competing for the approval of the fair maiden.

Takik (TAH-kihk)

The Bontoc tribe performs this flirtation-type dance with five or more male dancers who provide music and rhythms for a male dancer and a female dancer doing a love or courtship dance. The dancers are in single-file forming circular or spiral patterns, and are led by the male dancer, who is immediately followed in the circular path by the chief gongbeater, who usually displays steps more fanciful than those of the rest of his fellow gongbeaters. At one point, he holds his foot sideward in the air, in an eloquent pause.

References: The contents of this page was lifted with permission from Noel's Pilipino Folkdance Glossary: Mountain/Igorot Suite. The original content was slightly altered to fit this site.

Back to: IGOROT DANCES - Part I

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Igorot Dances, 1 of 2 Posts

igorot dancesAmong the Igorots, dance continues to be an expression of community life that animates the various rituals and ceremonies. It serves for self-edification of the performers and entertainment for the spectators. Dances originated to appease ancestors and gods to cure ailments, to insure successful war-mating activities, or to ward off bad luck or natural calamities. Igorots dance to congregate and socialize, for general welfare and recreation, and perhaps, as an outlet for repressed feeling. They also dance to insure bountiful harvests, favorable weather, and to mark milestones in the cycle of life.

Here are some Igorot dances:

Apayao (ah-pah-YAHW) Courtship Dance

This dance comes from the northernmost section of the Mountain provinces. Here, the couple raise and wave their arms and hands like the wings of a bird in flight, and the ceremonial blanket worn by the woman is lightly wrapped around her. The man's movements resemble those of a fighting cock in the preening, strutting, and flying-off-the-ground gestures.

Banga (bahng-AH)

Igorot maidens go to the river and prepare for a marriage ceremony. They display not only their grace and agility, but also their stamina and strength as they go about their daily task of fetching water and balancing the banga, claypots full of water, on their heads.

Bindian (BIHN-deeh-ahn)

The Ibaloy who inhabit the southernmost mountain regions in Northern Luzon perform victory dances to extol the bravery of the warriors of yesterday. In this version from the barrio of Kabayan, hand movements are downward, suggesting the people's affinity with the earth. The basic step consists of a stamp by the left foot and a light, forward movement by the right. Instrumentalists lead the line, followed by male dancers, while the female dancers bring in the rear.

Bontoc War Dance or Pattong(PAH-tohng)

Also called the Bontoc War Dance, Pattong is part of the headhunting and war ceremonials inciting feelings of strength and courage as the warriors prepare to stalk their enemy. In Central Bontoc, the dance is also performed in February, March, and April, to implore the god Lumawig to send rain, similar in purpose to that of the rain-calling ceremony of Native American tribes. Much of the movements are improvised; two camps of warriors are usually featured pursuing each other, culminating in a melee where a fighter from one tribe kills one of his opponents.

Bumayah (booh-mah-YAH)

Thanksgiving festivals are one of many occasions for tribal celebrations. The movements in this dance of the Ifugao tribe, imitating those of a rooster scratching the ground, symbolize a thanksgiving prayer to the god Kabunian for a bountiful harvest of rice. Both men and women express their joy in this thanksgiving.

Dinuyya (dih-NOOH-yah)

A festival dance from Lagawe, it is performed by the Ifugao men and women during a major feast. Accompanying the dance are three gangsa or gongs: the tobtob, a brass gong about ten inches in diameter and played by beating with open palms, and the various hibat or gongs played by beating the inner surface with a stick of softwood.

Lepanto (leh-PAHN-toh) Festival Dance

This dance is performed by the Kankana-ey of northern Benguet and the people of Western Bontoc. It is usually danced at wedding celebrations (when it signifies the well-wishing of the bride and groom) and also after a harvesting season, when thanksgiving is rendered to the Benguet god Kabunyan for the bountiful harvest of the year.

Continue to: IGOROT DANCES - Part II

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