A.

MUSICAL INSTRUMENTS OF MOUNTAIN PROVINCE

Name Description Picture

Gangsa A single hand-held smooth-
surfaced gong with a narrow rim.
It is used in various rituals and
ceremonies in the Mountain
Province to produce rhythmic and
melodic sounds.

Kallaleng A nose flute that is long and has a

narrow internal diameter, it is
possible to play different
harmonics through blowing from
one nostril. Finger holes in the
side of the bamboo tube change
the operating length, giving
various scales.
Tongatong A set of bamboo tubes of varying
lengths that are struck together to
produce rhythmic patterns.

Solibao Conical tenor drum played by the

Bontoc and Ibaloi people of the
Philippines. It is played with the
palms of both hands.

Diwdiw-as 5 nodes of bamboo of varying

length are tied in a row with a
rattan string. It is played by
blowing across the open holes.

Bungkaka Bamboo buzzer instrument that is

made out of a carved length of
bamboo, closed at the bottom end.
The player makes music by
striking the instrument against the
palm of the hand and covering and
uncovering a small hole on the
bottom half of the bamboo tube.
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A. COSTUMES AND ATTIRES WORN IN MOUNTAIN PROVINCE

Name Description Picture

Wakes/ -Long strip of hand woven loincloth

Wanes/Ba-ag worn by men.
-Partly covers the buttocks and the
groin.
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Lufid/Tapis -A wrap-around skirt or “tapis”

worn by women.
-The design of the “lufid” varies and
are called with different names.

Pinagpagan -Type of “lufid” that has dominantly

Tapis red with black and white stripes
down the middle finely designed at
each end.

-Dominantly green skirt.

-Type of contemporary variety of
“pinagpagan”.
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Kinayan -Designed with black, red, green,

and yellow alternating stripes.
-Like the “pinagpagan" but with a
black stripe at the centermost part.
-Designed with the
“kinulibangbang” which means
butterfly..

Petay -A Balangao ethnic attire called

"PETAY", also known as Tapis
worn by women.
-It was a practice before the use of
such clothing and it was being
passed on by generation to
generation that women used as their
regular clothing.
-Now, it is still being used,
presented and introduced during
social gatherings, festivals and
occasions.

Tayey -A Balangao ethnic attire called

"Tayey" also known as G-string
worn by men.
-It's been used as an everyday
clothing long time ago and
nowadays, it is also being used
during festivals, special gatherings,
occasions and so on.

Penet/Lamma
- A blouse or topper paired with the
ge-tap. These garments are being
used by women on special
occasions.
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Tapet -Cape-like open garment worn by

men specific to the Gaddang tribe.
-6-8 panels of deep red and black,
striped, plain or twill cotton weave.
-Lavishly embroidered at the
edges.

Buruwasi -Female blouse that is woven

using the lanlan design.
-Plainly weaved in alternating
brown and deep red stripes which
are less than an inch wide.

Aken - A wrap-around skirt with narrow

panels of lanlan woven in red and
brown stripes with double lines of
mata-mata in beads embroidered
in the joineries.
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Kuton -Upper garments worn by males.

-Has no sleeves and is tighter at
the hemline.

ACCESSORIES

Wakes/ -Thick woven belt used to hold the

Bagket/ lufid in place.
Fialikos/Inakgu
ling

Apongey -Consists of native beads.

-Woman’s headdress.
-Can be made out of a snake’s
backbone, strings of seashells and
an opal called “doli”.

Fokas/Batek -Made of thick and elongated beads.

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Sheng-sheng/ -Amulets that can be worn as

Ling-ling-o earrings or necklaces.

Fallaka/ -Men’s headdress.

Suklong/ -Older men use the headdress to
Ballaka/Kaw-it store small objects like tobacco and
pipes.
-Very versatile, when attending
kanyaw, people sometimes use it to
contain watwat.

Buwaya/Boaya -Men’s necklace made out of pig’s

bone.
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Tangkil -An armband that has to be worn

with the buwaya/boaya at all times
especially when performing a
significant ritual.

Sayay -Long piece of red cloth folded

diagonally, locked by metal rings
into a deep pouch which hangs
around the men’s necks down to the
other side of his hips.

Bakkas -Sash or belt that is worn to hold

and cover the gap along the exposed
side between the vertical ends of the
skirt.
 9

Tofut -Small rectangular bag.

Barangal -Male headdress that is profusely

beaded at the four corners.
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B. DANCES IN MOUNTAIN PROVINCES AND THEIR CLASSIFICATIONS

Name Classification

Bontoc War Dance/ Pattong War Dance

Takik Wedding Dance, Festival Dance

Palakis Dance Wedding Dance, Festival Dance

Eagle Dance Festival, Community Dance, Rituals,

Wedding, Funerals, Rites of Passage

Pinanyowan Courtship Dance

Talibeng/Ballangbang Festival, Community Dance

Tupayya Dance Courtship Dance

Inan-aninit Community Dance, Festival Dance

Tebyag Community Dance, Festival Dance

Pakawkaw Community Dance, Festival Dance

Sadngi Kawayan Community Dance, Festival Dance

Da-ing Community Dance, Festival Dance

Digdigwi Community Dance, Festival Dance

Dallok Community Dance, Festival Dance

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Donglalaan Community Dance, Festival Dance

Balassibasem Community Dance, Festival Dance

Sakuting Festive Dance, Mock Fight

C. ORIGIN AND BACKGROUND OF DANCES

The Mountain Province, located in the Cordillera region of the Philippines, is rich
in cultural dances that reflect the traditions, beliefs, and way of life of its indigenous
peoples. Some of the prominent cultural dances from the Mountain Province include:
1. Bontoc War Dance/ Pattong

The Bontoc war dance originates from the Bontoc people, an indigenous group in the
Philippines, specifically from the Mountain Province. It's a traditional dance performed
by the Bontoc warriors before going to battle, intended to intimidate enemies and boost
the morale of the warriors. The dance involves rhythmic movements, chanting, and
sometimes the use of weapons like spears or shields. It's deeply rooted in the Bontoc
culture and serves as a symbol of their bravery and strength.
Among the Bontocs, playing the gongs is termed pattong. Steps in the Bontoc war dance
is similar to the tallibeng but a little faster. What makes the war dance peculiar is the
presence of two warrior dancers depicting a headhunter fighting his enemy.
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The intended winner warrior dancer is armed with a spear and shield and the intended
loser warrior dancer is armed with a head axe and shield too. Without the warrior
dancers, it is called pattong. Other variations of the pattong are the tachek, mamakar or
parpag.
In some parts of the province, pattong is done to drive evil spirits so it could be played
during wakes as practiced in some tribes in the eastern municipalities. The pattong or
tallibeng could also be played during a ritual called sagawsaw for it has psychological
healing effects to someone who is mentally disturbed.

2. Takik Dance

It is a celebratory dance performed during special occasions such as weddings, festivals,

and other community gatherings. The word "Takik" means to entertain or celebrate in the
Kalinga and Bontoc dialects. It involves a circular formation of male and female dancers
moving around gongs or sets of gongs.
Takik is a wedding dance identified with the Aplais of western Mountain Province. There
are six players to complete the set, each producing a certain beating to produce harmony.
The striking of the solibao (ethnic drum) is the guide of the players. The drummer squats
and strikes the solibao alternately with his left and right hand.
A male dancer starts and one or more ladies dance to pair the male dancer moving in a
circular motion. Next to the dancer is the sunub. The sound of the sunub is so distinct that
it responds to the solibao, the first gong (pingsan), then the iron clasping to produce the
harmonized music. The complete set for a good takik music is composed of at least five
or seven instruments: solibao, sunub, pingsan, pindua, and the takik.
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3. Palakis Dance

Palakis is a variation of the takik. However, the beating of the gongs in palakis is faster
and louder so the dancers dance with faster steps and body movements.

4. Eagle Dance

The dance is a ceremonial and ritualistic performance that symbolizes the indigenous
people's connection with nature, particularly with the majestic eagle, which holds
significant cultural and spiritual significance in their beliefs. The eagle is revered as a
symbol of strength, freedom, and protection in many indigenous cultures around the
world.
During the Eagle Dance, performers don intricate and colorful costumes resembling the
plumage of an eagle. They mimic the movements of the eagle through graceful and fluid
motions, portraying its flight, hunting techniques, and territorial displays.
It is the most common and popular dance among the Balangaos and Baliwons of Barlig,
Natonin and Paracelis is the eagle dance. Three gong players can complete the set in an
eagle dance. The male and female dancers dance eagle-like with their arms swaying in a
circular direction. Peculiar in this dance is fast entry of the dancer, the bending of the
body and knees and movements of buttocks as well.
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5. Pinanyowan/ Pinnanyuan Dance

The Pinanyowan Boogie is a courtship dance with the use of a handkerchief or scarf, both
male and female dancers do fast mincing steps as the men beat the gongs in stationary
kneeling positions.
It is a unique fusion of traditional Igorot dance elements with modern boogie or disco
dance movements.The term "Pinanyowan" refers to a celebration or festivity in the local
dialect of the Igorot people. The Pinanyowan Boogie Dance is often performed during
community gatherings, festivals, and special occasions as a form of cultural expression
and entertainment.
The handkerchief or courtship dance depicts the undying love of a man to a woman so it
is appropriate during wedding celebrations. A variation of the western boogie dance, the
Bontoc boogie dance is performed with the fast beating of the gongs. A pair of male and
female dancers moves with the fast pacing and raising of feet in opposite directions. At
some time, the dancing pair meets with hands holding each other and performs other
steps either going forward or sideward. The music players are in kneeling positions.
6. Tupayya Dance
This dance is similar to the boogie dance among the Bontocs. Its movement is faster than
the pinanyowan. The male dancer stands and performs with at least three steps before the
female dancer goes to pair him. It can be with a rolled scarf held by two hands or without
a scarf. The male and female dancers meet each other then separate with fast steps. This
dance is another courtship dance common among the Kinali people in western Besao near
Anggaki, Ilocos Sur.
7. Talibeng/ Pattong/ Ballangbang
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This dance is typically performed during significant cultural events, festivals, and
celebrations within the community. Pattong is done to drive evil spirits so it could be
played during wakes as practiced in some tribes in the eastern municipalities. The
pattong or tallibeng could also be played during a ritual called sagawsaw for it has
psychological healing effects to someone who is mentally disturbed.
The most common of all the dances, ballangbang requires the participation of many to
beat the gongs and many women dancers. This originated from the western municipalities
of Mountain Province (Besao, Sagada, Tadian, Bauko, Sabangan) but performed
anywhere. Its version in eastern Mountain Province is the pattong.
The male gong players could be five or more and the female dancers could range from a
single dancer to more than 10. It is a dance appropriate for mass participation. The male
gong players move in a circular direction as they synchronize their artistic graceful steps
and body swaying. The women dancers follow as they dance with the appropriate step,
body swaying and arm position depending on the art and style of the music players.
8. Inan- aninit Dance

It is typically performed during important community events, festivals, rituals, and

celebrations, where it showcases the tribe's history, beliefs, and way of life.
This is a dance that reflects the search of a lost soul. Performed during rituals, it is done
with slow and jerking body movement along with the slow peculiar striking of the gongs.
However, today, it is performed by young men also for entertainment without the
preliminary prayers for the specific ritual.
9. Tebyag Dance
The word "Tebyag" means to call or summon in the local dialect of the Igorot people.
The Tebyag dance is often performed during community gatherings, festivals, and other
special occasions as a form of cultural expression and entertainment, appropriate in times
of opening a ritual because of its solemnity.
Specifically, in Sagada and Besao, the playing of gongs in wedding celebrations
commence with the tebyag, a specific beating of gongs with the woman dancer sprinkling
little rice grains at a time in all directions with the strong belief that Kabunyan would
grant prosperity and abundance.
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Tebyag is symbolically done once only during the start of the playing of gongs in a
wedding ceremony. This dance is part of a ritual where gongs are slowly struck
interspersed by prayers.
The prayer is for Kabunyan to grant peace during the celebration, for the new couple to
have many children, and for the couple to prosper. Peculiar to this dance is the sprinkling
of grains of rice by a woman dancer in all directions as a symbol of showers of blessings
from God who brought grains of rice for any wedding celebration.

10. Sakuting Dance

A dance with music produced by the rhythmic licking of the sticks, sakuting is similar to
calisthenics. Dancers have to be in pairs and participate in clicking the sticks. It needs
practice and mastery to avoid any mis-coordination that could result in injury.
11. Pakawkaw Dance
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The word "Pakawkaw" refers to the striking or tapping of bamboo poles, which is a
prominent feature of the dance. The Pakawkaw dance is typically performed during
community gatherings, festivals, and other special occasions as a form of cultural
expression and entertainment, appropriate in times of opening a ritual because of its
solemnity.
The pakawkaw dance makes use of bamboo tubes and bamboo flips to produce music. It
was first danced in the olden days when people journeyed in search of wild animals in the
woods. The dancers follow one another to form a single line. Later, the pakawkaw is
performed to start a ritual to call for good spirits and then performed after a ritual to drive
bad spirits.
It is played by striking the pakawkaw in one’s hand to produce music. In some
municipalities like Paracelis, the pakawkaw is now made by sets to complete tenor, bass
and soprano. In Paracelis, it is referred to as papiw, abiw or balimbing. In other places it
is termed liplipak.
12. Sadngi Kawayan
The name "Sadngi Kawayan" translates to "bamboo dance" in the local dialect of the
Igorot people. As the name suggests, bamboo poles play a central role in this dance. The
Sadngi Kawayan dance is often performed during community gatherings, festivals, and
other special occasions as a form of cultural expression and entertainment.
The dance involves dancers moving in and out between bamboo poles that are arranged
in a crisscross pattern on the ground. The bamboo poles are taped together in a rhythmic
manner, creating a lively and dynamic beat that accompanies the dancers' movements.
This could be a dance with any combination of varied ethnic steps with bamboo musical
instruments such as gabil (labil, labin), abistong (aberraw), paiw, kolisteng, tabbatab,
dongadong, diw-as, ilaleng, or tongali.
13. Da-ing Dance
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The Da-ing dance is often performed during community gatherings, festivals, and other
special occasions as a form of cultural expression and entertainment.
Men and women debate on an issue while doing grapevine steps and chanting. It could
also be an alternate expression of their feelings of love to entertain others and at the same
time enjoy dancing. Here, males knit their hands together on their shoulders to form a
semi-circle. Another semi-circle behind the males is formed by the female dancers but
their hands knit together at their backs.
A lead man starts the chant then chorused by the rest as they move in grapevine steps and
bodies bending in a circular direction. The lead woman responds through a chant and is
chorused by the others as they also do the grapevine steps, moving in a circular direction.

14. Digdigwi Dance

This is similar to the dallok as to position and purpose. It only varies a little in the steps
as it all depends upon the chanted phrases. The chanting always start with the words,
“Digdigwi, digdigwi ...”
15. Dallok Dance
The term "Dallok" translates to "snake" in the local dialect of the Igorot people, and the
dance is inspired by the movements of a snake. It is often performed during community
 19

gatherings, festivals, and other special occasions as a form of cultural expression and
entertainment.
Dallok is also another way of debating while dancing. The female dancers hold hands to
form a line facing the male dancers. Males chant together led by one. While chanting,
they all meet in the middle executing the hop-bend-raise steps. Chanting all together, they
walk backward uniformly to their former positions. Mastery of the chanting is important
to have uniformity in executing the steps.
16. Dong-lalaan Dance
The Donglalaan Dance is often performed during community gatherings, festivals, and
other special occasions as a form of cultural expression and entertainment.
This is a dance common among the tribes in the western parts of Besao (Kinali) who
claim the dance originated from the ethnic tribes of Abra. The male dancers with their
hands knit together at their backs face the women dancers with their hands knit together
at their backs, too. As they all chant, they grapevine to the right then to the left to their
original position. As the chorus is chanted, the two groups meet forward to meet at center
then back with the chorus. “Hey, donglas di donglalaan dayta, ehem.”
17. Balasibasem Dance

The dancers follow the same position with that of the digdigwi with similar steps. In this
dance, the uniformity of the steps is dependent on the mastery and force in chanting the
lines for the debate and the chorus which goes. “Innas balalaginnas, o innas, o innas;
Balasibasem, o innas, o innas”. Originally, this dance puts ladies and gentlemen together
to make wise pairing among them while chanting
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F. REFERENCES/ SOURCES
Article:
Fiar-Od, C.B. (2014). ETHNIC DANCES IN MOUNTAIN PROVINCE. Igorot Cordillera
BIMAAK Europe (ICBE). Date retrieved March 1, 2024 from
https://www.icbe.eu/mprovince-articles/677-ethnic-dances-in-mountain-province?
fbclid=IwAR14ZqGilWu-n-3IJl3-075-VpTPnhpg0ML1F1woe6YmkSlpWWC7rcf0mTo
http://musikocordillera.weebly.com/musical-instruments.html?
fbclid=IwAR0KGcz_scgowpp0aARoGtJSZ4EI-qltTO0pzLsJ3Nmit8uk07yMaFeTQTQ
One Cordillera (2022). BUNGKAKA. Retrieved from
https://www.facebook.com/One1Cordillera/posts/bungkakathe-bamboo-buzzer-instrument-is-
common-in-the-cordilleras-with-many-name/2381584808648718/

Photos/ Pictures:
https://easterweavinginc.com/product-page/mountain-province-wanes/
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https://easterweavinginc.com/product-page/mountain-province-colibangbang-
design/
https://easterweavinginc.com/product-page/mountain-province-cuabao-design-tapis/
https://easterweavinginc.com/product-page/mountain-province-kinayan-tapis/
https://easterweavinginc.com/product-page/natonin-tapis-with-belt/
https://i0.wp.com/pinaytraveller.com/wp-content/uploads/2011/03/amamong1.jpg
https://www.flickr.com/photos/lilitabada/1441072638
https://www.youtube.com/watch?v=EA6o11BgUk0
https://www.youtube.com/watch?app=desktop&v=ceQ-9HHAPEY
https://www.facebook.com/ipedlisan/
https://www.youtube.com/watch?v=0D2aZ0_ksZM
https://www.facebook.com/watch/?v=792686335951711
https://museomusiko.wordpress.com/diw-diw-as-bontok/
https://www.youtube.com/watch?v=AZh_TxoA1gQ
https://www.youtube.com/watch?v=ajhPutAyB_s