THE HIGAONON CULTURAL IDENTITY THROUGH DANCES
Cebu Normal University
Prof. Edilberta C. Goce
INTRODUCTION
Rationale of the Study
Dance
has emerged from movement that is inherent to humans. From birth, one moves in
ways that are natural and rhythmical – structured or unstructured. Dances have
naturally become a companion to rhythm (Alejandro, 1978) for individuals of all
ages engaged in several gatherings and activities. Even during primitive times,
there were traces of evidence of the important role of dance in the beliefs and
lives of primitive people. Cultural anthropologists attest that primitive man
danced to every happening in his life: at birth, marriage, death, planting,
hunting and healing, thus, making it the oldest of the arts. Man dances as a
form of worship, a communication with unseen powers. Dance is an overt
expression of the emotions and ideas of man as a social being ever since the
beginning of time. It has become a reminder of mankind’s cultural and social
diversity handed down through the ages and through which civilization has
flourished to what it is today.
Among
the varied dance forms in the
The Filipino is known to be a graceful
dancer who possesses an inborn love for music. He depicts in his dances his
spirit – his love for merriment, his religion, his superstitiousness,
his fatalism, his love for ceremony, his joy of living and his love for showing
off (Enhancing Values through Sayaw Pilipino – A
Keynote Address of Salud Datoc).
Dancing, being a mode of passion is common to indigenous cultures; it
contributes not only to the growth and preservation of a tribe’s identity but
also to the identity of a whole nation.
Evidently, dancing is common not only to
the Christians but to the non-Christian tribes as well. Dancing is closely
intertwined with rituals and sacrifices among non-Christian groups. These
cultural minorities, who live in isolation in the forests and mountains
throughout the country, regard dance as basic in their lives and to be
performed essentially for their “gods”.
Generations
of young people seem to have forgotten what is really their own. The children
of today are more inclined to modern and pop dancing which they frequently see
on television. They think that folk dancing is only for the old ones. In fact,
they prefer to appreciate and imitate pop dances that have been brought to the
country by the foreigners. However, several years ago, the Philippine Folk
Dance Society,
Together
with the National Commission on Culture and the Arts, took the lead in the
revival of interest in Philippine culture. Today, more traditional dances are
researched, recorded and presented by national workshops.
While other forms of Philippine dances
have gained much popularity today, there are still indigenous dances of tribal
communities or lesser known groups left undiscovered, if not unrecognized, by
the proper authorities, such as those of the Higaonons
of Agusan del Sur. It is then high time to unearth
the abundant culture depicted in the dances of this minority group in Agusan del Sur, so that the minority’s
existence and their cultural identity be properly recognized by and revealed to
the public.
Dance is, nevertheless, the most
perishable of the arts. It is forever in danger of vanishing (
The
researcher, through this study, hopes to help in the preservation and promotion
of the Filipino cultural heritage.
Theoretical and
Conceptual Framework
THE PROBLEM
Statement of
the Problem
This study aims to ascertain the cultural
identity of the Higaonons through their dances. This
was conducted in Esperanza, Agusan del Sur during the calendar year 2003.
Specifically, the study sought to answer
the following questions.
1. What are the identifying characteristics of the Higaonon
dances in terms of:
1.1 historical background or
origin
1.2 costumes and adornment
1.3 accessories, and props
1.4 musical accompaniment
1.5 dance steps and arm/hand
movements
1.6 body movements?
2. What cultural implications and beliefs are revealed in their dances?
3. How have these
cultural implications and beliefs preserved the Higaonons’
cultural identity?
Significance of
the Study
The current study
may add to the rich compilation of ethnic dances
long pioneered by the late Francisca Reyes-Aquino.
Through the gathered dances of the Higaonons of
Agusan del Sur, the identity of the said tribe will
be more understood and appreciated.
The people who hope to directly or indirectly
benefit from this study are the following:
The Higaonon
Community. They will be made to realize how
important it is to have a
culture of their own
as characterized in their dances which are worthy
of promotion and preservation.
Choreographers and
Dance Trainers. This study will surely motivate the choreographers
and dance trainers to teach the dances in an authentic manner considering the
steps, the costumes, the props, the music, and the body movements.
Teachers and
Researchers. Agusan is the home of indigenous
people considering its geographical location. The results
of this study will arouse the interest of teachers and
researchers to do parallel researches that will help not only in
the promotion and popularization,
but also in bridging the cultural
gap between the past and the
present generations, thus strengthening and enhancing the native culture.
Government Officials. People belonging to the minority groups are legitimate members of society
and must be given attention by the government. Thus, this study hopes to
challenge the government officials to initiate programs/activities that will
boost the morale of the minorities so that they will come out in the open and
be proud of their rich culture.
Dance Troupes/Performing
Groups. Precisely, the dances that will be
collected in this study will be utilized and added to the repertoire of ethnic
dances of some performing groups not only in the
Research Methodology
The study used the historical method to
make a careful investigation of the facts concerning the past of the Higaonons- their typical characteristics as well as their
cultural beliefs. Extensive research was done to achieve substantial
information to add to the historical and sociological background of the study
through the Public information Office of the
The descriptive method was also utilized
to describe the costumes and adornment, accessories and props, musical accompaniment,
dance steps and patterns as well as the characteristic and body movements that
are inherent in the dance.
Moreover, the participant–observer
technique was employed to familiarize the researcher with the Higaonon life ways as well as their dances. Interviews and
observation techniques were employed in gathering the primarily needed data for
discrimination of the historical background/origin, music, rhythm and
accompaniment, costumes and dance steps. All of these were applied in the
analytical study of the dance.
Recording of the dance instructions and their
analysis was made, using
Francisca Reyes Aquino’s notation
system. However, dance terms not found in Aquino’s
notation, made use of the Higaonons terms.
Research
Environment
This study was conducted in the three (3) barangays of Esperanza in the
The
Respondents
Five (5) dances are included in this
study. The respondents were twenty (20) Higaonons residing in Bunaguit, Salug, and barangay Guibunon of
Esperanza in the province of Agusan del Sur, whose
ages ranged from forty-five to ninety. The respondents were interviewed using
an interview schedule and were made to execute the dances many times, as they were willing to repeat
them for the researcher to get the accurate dance steps and body movements.
An interpreter, who was also one of the
respondents, was requested to translate the questions to the vernacular of the
respondents for better understanding. Answers were again translated back to the
researcher’s language for documentation.
Instruments
An interview guide questionnaire was used
to gather facts concerning the Higaonon people, their
characteristics, cultural beliefs as well as their livelihood practices. Most
of the questions were the same questions previously used by other researchers
on the same topic.
Procedure
Observations and interviews were the two
primary methods used to gather important data for this study.
A
letter of request was sent to the municipal mayors and to the captains of the barangays where the research was conducted. This was done
to inform them of the purpose of the study and of the researcher’s desire to
elicit support from them.
Additional
names of informants who provided valuable data needed in the study were
provided by a colleague who happened to be a daughter of a Higaonon
princess called bae.
The natives who were interviewed were old Higaonons aged from 45 – 94 years old.
To motivate the natives and to be able to
elicit whole-hearted support from them, cigarettes, free snacks, meals, free
picture-taking and old clothes were given
To
start the actual research, courtesy calls were made on the mayor of Esperanza
as well as on the three (3) captains of the three barangays,
namely; Bunaguit, Salug,
and Guibonbon. This was done to insure safe entry
into their respective territories.
The researcher, together with the research
team, then visited and stayed in the target places for days. The number of days
the research team stayed depended basically on the distance of each barangay
and on the difficulty of the dance steps to be notated.
Interviews immediately followed the
introductions, so that the data were gathered directly from the natives. It was
not a paper-and-pencil style of interview; rather, it was a casual conversation
to get the true and sincere opinions of each interviewee.
Below are some of the questions asked
during the interview:
1.
What is the name of the dance?
2.
What is the meaning of the dance?
3.
What is the meaning of each body movement in the dance?
4.
What has the dance to do with the cultural beliefs of the tribe/community?
After the interview, the researcher asked
the interviewees to execute the dances as many times as they were willing to
repeat them while the selected dance troupe members imitated them and the
researcher observed the dancers closely, concentrating on the characteristic
body movements.
Video and still
cameras were utilized to record the dances and to make sure that all movements
and steps including the dancers’ facial expressions, were included in the
study.
The musical accompaniment of the dance and
the answers of the interviewees were documented through a tape recorder.
Dance
notation was based on Francisca Reyes Aquino’s
notations and symbols. However, for terms, words, and movements not found in Aquino’s notations, Higaonon
terms were used.
RESULTS
AND DISCUSSIONS
Presented here are some of the beliefs and practices of
the Higaonons of Esperanza, Agusan del
Sur as reflected in the five newly researched dances,
namely; the Dinugso, Binanog,
Inamo, Binaylan and Saot. These dances were analyzed, interpreted and
documented based on their fundamental characteristics such as their historical
background or origin, costumes and adornment, accessories and props, musical
accompaniment, dance steps and patterns, and body movements. The notations of
the above-mentioned dances are also presented in this chapter.
THE
DINUGSO
Historical background and Description of the Dance
Dinugso is a dance originally performed during the Kaligaon, which is a component of the Dumalongdong
Festival held only when somebody among the Higaonons
is sick. This ritual dance is at present performed usually during the Kaamulan, a yearly festival of the Higaonons
of Esperanza and Dumalondong, the highest festivals
of the tribe where all Higaonons all over
It is performed by a
group of girls without any musical accompaniment; instead its sound is produced
by the movements of the feet in front of a small fire or “tim-un”
in the open air surrounded by the tribal people. The fire implies the driving
away of negative vibrations and powers the tribal people believed to have
possessed a sick man in the tribe.
Costume and Adornment
A Dinugso dancer
wears a blouse and skirt. A first hip-level bell-sleeved blouse with a
one-button opening at hip-level bell-sleeved blouse with a one-button opening
at the back accented by joined triangles designed like diamond cuttings placed
commonly and horizontally along the lower part of a sleeve, along the neckline,
and along the abdomenal line. It is designed to fit
an ankle-length skirt which is adorned like the blouse. Young Dinugso dancers appear in a dominantly white costume, while
the older ones use dominantly blue costumes.
Accessories and Props
Dinugso is a ritual dance, thus it makes use of a small
fire or “tim-un”, which means “daob”
among Cebuanos. The “tim-un”
is used as a prop. Dinugso dancers move around the “tim-un” while dancing. The dinugso
accessories are the “lumbong”, or a headdress made of carefully chosen beads to
match the color of the dress. The beads are put together in strands and in
intricate designs and color combinations with a bell or “Kulong-kulong”
at the end of every strand. The “salay”, or a
necklace of the same beads and color combinations as those of the “lumbong”, though perhaps in different designs or styles. It
is thinner than the “salay” for the male Higaonon. The “balading”, or a
big white pair of circular earrings made originally of “Tipay”
or shell, or a pair of earrings made of the same the “lumbong”
and “salay” beads. The “baklaw”,or a bracelet intricately designed using similar
beads as those of other Higaonons accessories and
with a “kulong-kulong”. A “baklaw”
for a female Higaonon is narrower than the “baklaw”
for a male. Lastly, the “singgil”, or an anklet for a female Higaonon
dancer. It is made of similar beads and “kulong-kulong”
as used in the other accessories.
Musical Accompaniment
Dinugso, as observed in the performance had utilized no
musical instruments for the dance accompaniment, instead it made used of the
sounds produced by the stamping of the dancers’ feet as dancers performed the
said dance.
Cultural Implications
and Beliefs Revealed in the Dance
The researcher had interviewed tribal authorities
about the cultural implications revealed in the dance and had closely observed
the performances of the dancers to prove the claims of the tribal authorities.
The joining of hands in reverse “T”
position of the Dinugso dancers symbolically meant
the tribe’s closeness to each other. The circle formation was commonly observed
of all the figures, and the bending of the knees was rarely observed in the
dance because the circle for the tribe people signifies their strong
solidarity, which is very noticeable in the research environment. The bending
of the knees on the other hand means the tribe’s reverence to God.
Below
are the dance notations of the Dinugso dance. The
researcher used Francisca Aquino’s method of notating
movements to facilitate easy interpretation.
The Dinugso
Music: 2/4
Count Pattern: 1, 2
or 1 & 2 & to a measure
Costume:
Traditional Higaonon Costume
Prop: “tim-un”
Formation: All
the dancers join hands. Four or more dancers may perform the dance.
Basic Dance
Steps:
Step # 1 (Brush,
tap, step)
Brush R
(L) foot backward (ct. 1), tap same foot close to L (R) foot (ct. &), step
R (L) foot in place (ct. 2) .
Repeat
with the L (R) foot, (cts. 1 & 2) step R (L) in
place (ct. &) ------------------------- 2M
Step #
2 (Side steps)
Seven
steps sideward starting with L (R) foot, (cts. 1,
&, 2, &, 1, &, 2) ------------------- 2M
Step #
3 ( step, close, step)
Step
R(L) foot forward ct. 1, close L (R) foot ct. & step R (L)in place ct. 2 -------------- 1M
Step #
4 (step , hop)
Step R
(L) foot backward ct 1, hop on same foot raise the other foot in front ct. 2
---- 1M
Step #
5 (Brush, brush, tap-step)
Brush R
(L) foot backward across L (R) in front (ct. 1),
Repeat
same close to L (R) foot (ct. 2)
Tap-step
with same foot
close to L (R) foot ct. ah
&)-------------------------------------- 1M
Step #
6 (Cross – step, step)
Step R
(L) foot across L (R) foot in front (ct. 1) step L (R) foot sideward (ct. 2)-------- 1M
Step #
7 (Leap, Raise)
Leap
unto L (R) foot & raise R (L) in front
clap hands thrice (cts. 1,&,2)
----------------1M
Step #
8 (step, step, stamp)
Step R
(L) foot across L (R) in rear (ct 1), step L (R) foot sideward (ct. 2).
Stamp R
(L) foot twice (cts. &,1).
Stamp L (R) foot in place twice (cts.
&, 2).-----------2M
Starting Position:
A “tim-un”
or a bonfire is held by one of the dancers & place it at the center stage.
The rest of the dancers will stand beside each other holding each others hands
in reverse “T” position.
Figure I.
Starting with R
foot, take step # 1 moving left -------------———---------------------------2M
Execute step #
2 starting with the L (R)
foot ---------------------------------------------------2M
Repeat (a &
b) thrice finish in line formation
-------------------——--------------------------12M
Figure
II
Take two step # 3 starting with R foot moving the body to the R (1M)
to the L (1M). -2M
b. Starting
with R foot, execute step # 2 --------- 2M
c. Repeat (a & b) with the L
foot ----------------- 4M
d. Repeat all
------------------------------------- 8M
Figure
III
Dancers join
hands in reverse “ T “ position.
Execute two
step # 5 starting with the R foot ———————————------------------2M
b. Take one step # 6 with the R foot
------------- 1M
c. Repeat (b) but across L in rear
--------------- 1M
d. Repeat a-c, starting with L foot.-------------- 4M
e. Repeat all, finish in a circle
formation.------ 8M
Figure
IV
Starting
with R foot, take two step # 3, forward 1M) & backward (1M).
Arms in reverse
“T” on the first measure and arms down on the second measure----2M
Take two step # 4 once backward (1M), once forward, moving clockwise
(1M) -------2M
Release hold.
Repeat all a & b with a --------- ——4M
d. Repeat a – c
---------------------------------- 8M
Figure
V
a. Repeat (a & b) of figure 1
twice--------------- 8M
Release hold on the last ct.
b. Execute two step
# 7 -------------------------- 2M
c. Execute two step
# 2 -------------------------- 2M
d.
Repeat b & c - -------------------------------- 4M
Figure
VI
---------------Repeat
figure III---------------
Figure
VII
Execute
step # 8 four times moving counterclockwise, dancers join hands --8M
b. Repeat (a) once to exit----------------------- 8M
THE BINANOG
Historical Background
and Description of the Dance
Binanog is a dance imitating the
movements of a “banog” or hawk. It is performed by a
male or female dancer usually for entertainment. Binanog
may be performed by one or more performers.
Costumes and Adornment
The dance makes use of the same female
costumes as that of Dinugso. Male dancers make use of
a tailored marine-collared polo-shirt made of plain black, white, or red cloth,
depending on ones tribal status or position, and is accented by any of the
colors, blue, red and white, with a similar design as that of the female
dancer’s dress worn commonly and horizontally along the lower part of sleeve, vertically in
front and at the back, and sometimes alongside the collar. A pair of tailored
pants of the same color or any other colors, accented by the other Higaonon colors placed along the two outer sides of the
pants, and horizontally along the bottom and knee lines completes the Binanog costume.
Accessories and Props
The
Binanog does not make use of any accessories and
props aside from those which are already found on the costumes the dancers are
using.
Musical Accompaniment
Different from the first Higaonon’s dance
mentioned, Binanog uses the tribal native musical
instruments like the “agong”, cut bamboos, pieces of
wood or any available materials which when struck will produce sounds.
Dance Steps / Body
Movements
Chasing step using four different arm and
hand movements is predominantly noticeable in the Higaonon’s
Binanog. The movements of “banog’s”
or hawk’s wings are similarly depicted in the dancers’ hands clapping at
shoulder level, hands flipping while arms are extended in one direction, arms
extending sideward at waist level and arms extended to the second position.
Cultural Implications
and Beliefs Revealed in the Dance
Just as the hawk’s flying movements
entertain a viewer, the Higaonon’s binanog dance is for entertainment. The most important idea
worthy of attention in the dance, however, is the tribe’s show of respect to
the environment, which includes animals which the tribesmen believe to be protectors of
Nature’s gifts.
The
Binanog dance notations are likewise adapted from
Francisca R. Aquino’s method follows.
The Binanog
Music: 2 / 4
Count Pattern: 1
& 2 & 1 & 2 to 2 measures
Costume:
Traditional Higaonon Costume
Formation: One
to any number of dances may perform this dance.
Dancers stand in single file.
Basic
Movements:
Step Pattern:
Step # 1 Chasing Step
(Note: This step is used throughout the dance.)---------------2M
Arm/Hand
Movements:
Arm Movement #
1 (Hands Clapping at Shoulder Level)
Place R hand
over L hand at shoulder level on the left. Clap hands two times on (cts. 1, 2) -------------------- 2M
Arm Movements #
2 (Hands Flipping, Arms Extended in One Direction)
Extend both
arms obliquely sideward upward, palms down. Move wrist up (ct. 1)
Move wrist down
(ct. &) Repeat
three more times (cts 2, &, 1,
&, 2, &) ---------------- 2M
(Move both arms
halfway clockwise when doing this movement.)
Arm Movement #
3 (Hands Flipping, Forearms extended sideward at waist
level)
Extend forearms
sideward at waist level. Move wrist up (ct. 1)Move
wrist down (ct. &) Repeat three more times (cts.
2, &, 1, &, 2, &,) ------------------------ 2M
Arm Movement #
4 (Hands Flipping Arms Extended Sideward to second
position palms facing
down)
Extend arms to
second position, palms facing down.
Move wrist up
(ct. 1) Move wrist down (ct. &)
Repeat 3 more times (cts. 2, &, 1, &, 2, &)-------------------- 2M
Figure
I
a) Take
one chasing step starting with R foot.
Arm movement # 1 ------------- 2M
Repeat (a) Reverse position of
the arms and
feet ------------------------------- 2M
c)
Repeat a & b three more times ----------------- 12M
Figure
II
a)
Execute one chasing step starting with R foot. Extend both arms sideward upward right & do arm movement # 2
-------------------------------————---- 2M
b) Repeat (a) with L foot &
reverse arm movements
------------------------------- 2M
c) Repeat (a & b)
-------------------------------- 4M
d)
Repeat all ------------------------------------— 8M
Starting with R foot, take one chasing step moving R.
Execute arm movement # 3 (2M) ----------- 2M
Repeat (a) with the L foot moving left (2M).
Arm movement # 4 (2M)
---------------------------------- 2M
Repeat (b) reverse movement of the feet---------- 2M
Repeat (a) twice alternately left and right ----- 4M
Repeat (a, b & c) ------------------------------- 6M
Figure
IV
Repeat Figure II
--------------------------------- 16M
Figure
V
Repeat
Figure I to exit -------------------------- 16M
THE INAMO
Historical Background and Description of the Dance
The Inamo
is another imitative dance depicting the movements of a monkey. It can be
performed in any social gathering, especially the “Kaamulan”,
which is held regularly by the natives. This is an entertainment dance which
the Higaonons of Esperanza perform during their
festivities. One to any number of dancers may participate in this dance.
Costumes and Adornment
The Higaonons’ Inamo dance utilizes the same female costume and
adornment introduced in the Dinugso, as well as the male costume
and adornment introduced in the Binanog.
Accessories and Props
Like the Binanog,
the Inamo takes no other accessories and props than
the ones already presented and adorned in the costumes.
Musical Accompaniment
Like
any of the dances mentioned, the Inamo brings into
play the musical instruments made of brass like the “agong”
though its high cost makes the tribesmen use any other indigenous materials
that can produce sounds.
Dance Steps and Body Movements
The dance mimics the movements of the monkey which amuse anybody. The step,
close, step, the jump with knees bended, and the
walking steps are observable in the dancers’ footwork, while the hands and arm
movements include respectively of the hands on hips, arms in the second
position, and one hand above the eyebrow as if the dancer is looking for
something.
Cultural Implications and Beliefs Revealed in the Dance
As
with the Binanog, the Higaonon’s
mimicry of a monkey’s movements in the form of a dance is also the tribe’s show
of respect for the environment and for animals. The dance likewise reflects the
tribe’s love for merriment and their happy disposition despite the complexities
of life. Below are the dance notations of the Inamo.
The Inamo
Music: 2/4
Count Pattern: 1,
&, 2, &, 1, &, 2 to two measure
Costume:
Traditional Higaonon Costume
Formation: Any
formation maybe used in this dance.
Basic Movements:
Arm/Hand
Movements:
Hands on hip
One hand on top of the eyebrow as if looking for something, the other hand
on
hip.
Forefinger of one hand is pointing to the beehive the other hand on hip.
Arms in 2nd position, palms facing down.
Foot Work:
(Trunk is bent from the waist forward and knees are bent halfway.)
Step # 1 (Step,
close, step).
Step R foot forward (ct. 1) close L to R foot (ct. &),
Step R foot forward (ct. 2) --------2M
Step #
2
Jump with knees
fully bent. Wiggle the
butt R & left once in every count, cts.
( 1 & 2 & ) ------------------------2M
Step # 3
Walking step,
step, step, etc. -------------------------- 2M
Figure
I
Monkey # 1
Starting with R foot, execute step # 1
forward,
hands on hip
------------------------------------------ 4M
b) Quarter turn R, Repeat a
---------------------- 4M
c) Quarter
turn R, repeat a ---------------------
4M
d) Quarter
--------------------------------------- 4M
Figure
II
a) Take 2 step # 1 forward
alternately R & L, hands on hip ----------------------- 4M
Repeat movement of the feet still moving forward, hand movement # 2 -------
4M
(Move head on the last measure as if saying “no”)
c) Repeat (a & b) moving in any
direction --------- 8M
(Move head on last measure as if saying
“no”)
Figure
III
Monkey 2 &
3 appear
Repeat figure I in any direction --------------- 16M
Figure
IV
Monkey 1
a) Repeat (b) of figure 2
------------------------- 4M
Execute step # 1 turning around the beehive.
Hand movement #
3 ------------------------------------- 8M
Take 1 step # 3
moving backward. Forefinger of one hand is pointing the beehive, the other is
waiving calling the second monkey -----------------—————————-- 2M
d) Repeat (c) calling the 3rd
monkey -------------———- ———————- 2M
Monkey 2
a) Repeat (a) of figure 2 in any
direction--------——————————— 4M
b)Repeat (b) of figure 2 twice in
any direction ------------------------------ —-8M
Execute 8 walking steps going closer to monkey # 1
------------------------- 4M
Monkey 3
a) Execute (a & b) of monkey
2---------------------12M
b)
Pause------------------------------------------- 1M
Execute six walking steps going closer to monkey # 1& 2------------------3M
Figure V
a) Starting with R foot take 2 step
# 1 going closer to the beehive hand/arm movement
# 3 ---------------—————————---- 4M
b) Repeat a moving around the
beehive ------------- 4M
Execute step # 2 four
times to exit----------———--- 8M
THE BINAYLAN
Historical Background
and Description of the Dance
The Binaylan is a ritual dance performed by a “baylan” or a
priest usually during Kaamulan. The presence of the Baylan, who the tribesmen believe, has the ability to ask
for guidance from their gods and goddesses and has the ability to drive away
evil spirits. The baylan is called anytime when
somebody from a tribe is sick, and during planting and harvesting time. The
dancer, who is either a male or a female, holds a handkerchief in both hands.
Costume and Adornment
The Binaylan
dance makes use of the same costume and adornment already introduced in the
first three Higaonon dances, as the costume and
adornment are considered tribal.
Accessories and Props
Dancers
of the Binaylan hold white or red handkerchiefs as
props and use the accessories common to other Higaonon
dances. The handkerchiefs are held in both hands, which according to the Higaonon, helps the “Baylan” in
his/her asking of guidance from the gods and goddesses and driving away evil
spirits from a sick person, or driving away the evil plaguing the tribe.
Musical Accompaniment
The musical accompaniment of the Binaylan is the same as those of the other Higaonon dances previously mentioned, of which brass and
other indigenous materials are included.
Dance Steps and Body Movements
The Binaylan steps include the step, step, step; the step,
step, hop, hop and the heels-raised, heels-down with the respective hand and
arm movements of the reverse “T” position, hands on hips, and the “T” position.
Cultural
Implications and Beliefs Revealed in the Dance
The hand and arm movements of the Binaylan dancer are commonly associated with the tribe’s
expression of thanks-giving and praises, and of their seeking refuge in
supernatural beings.
The Binaylan
dance notations are documented as follows.
Music: 2/4
Count Pattern: 1
& 2 & 1 & 2 to 2 measures
Costume:
Traditional Higaonon Costume
Formation: Only one
dancer may perform this dance.
Basic Steps:
Step # 1
(semi-parallel tortilier)
With feet flat
on the floor, move both heels sideward (ct 1).
Repeat three
more times (cts 2, 1, 2)
------------------------------- 2M
Step # 2 ( step-step-step )
With foot in
fourth position, take three successive small steps moving right ( cts 1, &, 2 ) --------------
1M
Step # 3 ( step-step-hop-hop )
With right
foot, take two steps in place (cts 1, &). Hop
twice on left foot (cts 2, &) ----- 1M
Step # 4 ( heels raise-heels down )
Feet in fourth
position with half knee bend, raise heels (ct 1), bring heels down
(ct&). Repeat once (cts 2, &)
------------------------------------————————————--------- 1M
Arm movement #
2 – Both arms placed in one direction. Move shoulders up
and down on every count of every measure.
Arm movement #
3 – Arms in reverse “T” position. Move shoulders up and
down on every count of every measure.
Arm movement #
4 – Hands on hip. Move shoulders up and down on every
count of every measure.
Start: Gong
rolling enough for the dancer to position at one corner.
Figure
I
a) Take
eight step # 2 moving forward to finish at center. Arms in reverse “T” position. Move shoulders up and down on
every ct. in every
measure ----------——-- 8M
b) Repeat (a) turning
around clockwise, finish facing audience ---------——-- 8M
Figure II
With right foot, take eight step # 2 in place.
Arms in
“T” and reverse “T” position. Reverse position of arms
gradually on every two measures ---------------————————————————————————–—-— 8M
Take eight step # 4. Repeat movement of arms in (a) bringing trunk
slowly downward-upward in every two measures----—————————————————————-- 8M
Figure III
Take eight step # 3. Arms on hip, shoulders moving
up and down ------——---------- 8M
b. Take four step # 2. Arms # 2 towards left ----—- 4M
c. Repeat (b) reverse arm
movement ---------------- 4M
Figure IV
Take four step # 2 moving in any direction.
Arms in “T” and
reverse “T” -----------------------———————————————---- 4M
b. Repeat (a) in place
--------------------——————————————------- 4M
Execute step # 1 twice in place. Arms in (a)————————————----- 4M
d.
Repeat (c)-------------------------------———————————————----- 4M
Finale
Execute step # 2 moving forward to exit. Arms
on hip ————————————-- 8M
THE
SAOT
Historical Background
and Description of the Dance
The word literally means war. Saot is a war dance depicting the movements of a Bagani fighting the tribe’s enemy using shield and spear.
The dance speaks of how the Higaonon warriors have
fought their enemies and defended their land against those who wanted to invade
it. The Higaonons’ Bagani
is a male, thus Saot is also composed of male
dancers.
Costume and Adornment
Saot dancers
wear the Higaonon warrior’s costume which is a pair
of sleeveless top and below-the-knee trousers,
both designed and embellished similarly with unbroken diamond figures or
triangles like that of the Higaonon tribal costume as
shown in the picture. The Saot costume is dominantly
red, as it expresses the gallantry or courage of the tribe.
Accessories and Props
A
shield, a spear and a bolo are the props of the Saot
dancer, while the accessories also include the common ones presented and
attached as intricacies to the tribal costume of the Higaonon.
Originally the shield is made of a hard wood about a meter in length and about
one and one half feet in width with a protruding “bulan-bulan”
or moon-like design in the center. The inner side is hallowed for handling
purposes while the spear and bolo are made of hardwood handles with metal tips.
Musical Accompaniment
The Saot takes
the same musical accompaniment already mentioned and presented in the
previously described Higaonon dances.
Dance Steps and Body Movements
The Bagani’s
steps can be described as warrior-like since they include the attack and
defense-like movements like the step, step, hop; the step, close, step; the
step, hop; the leap, step, step, pause and the running steps while both arms
are occupied with a spear on the left and the shield on the right in attack and
in defense positions and movements, while the bolo is kept on the right side of
the waist.
Cultural Implications and Beliefs Revealed in the Dance
Besides honoring the good deeds of the Bagani, Higaonons also believe
that a Bagani’s spirit can reincarnate among the Higaonon’s younger generation, and reminiscing over a Bagani’s heroic acts through the Saot
will develop young minds to live with the Bagani’s
spirit.
Moreover,
the Saot dance also reflects the fierceness of the Baganis in defending their tribe against invaders and
enemies which the older generation would like the younger generation to
emulate.
Details of the Saot
notations are enumerated below.
Music: 2/4
Count
Pattern: 1 & 2 & 1 & 2 to 2 measures
Costume: Male
Traditional Higaonon Costume
Basic
Steps:
Step #
1 ( step – step – hop)
Starting with R foot, take 2 steps backward (cts. 1, 2) hop (ct. &) ------------ 1M
Step #
2 ( step – close – step)
Step R
foot backward (ct 1), close L (ct. &) Step R foot backward (ct. 2) --- 1M
Step #
3 (step – hop – step – hop )
Step R
foot forward (ct. 1) hop on same foot (ct. &) Repeat with the L (ct. 2,
&) - 1M
Step # 4 (leap
– step – step – pause)
Leap on R foot
(ct. 1) take 3 steps in place starting with L foot (cts.
& 2 &) ---------1M
Step # 5
(Running steps)
Starting with R
foot, take four running steps in any direction (cts 1
& 2 &) --------- 1M
Step # 6 (step
– hop – hop – step)
Step R foot
(ct. 1), hop twice on same foot (cts. &
2), Step L Foot (ct. 2) --------- 1M
Introduction
Take four step # 5 to meet at center ------------------- 4M
Figure
I
Partners facing each other
squarely.
a) Execute Step # 3 in place
---------------------- 4M
b) Repeat a moving around
clockwise---------------- 4M
c) Repeat a turning around in
place---------------- 2M
d) Repeat a moving around
counterclockwise--------- 4M
e) Repeat (c)--------------------------------------2M
Figure
II
Partners face
each other
a) Boy
1 take 2 step # 1 forward (2M).
Boy 2, backward
---------------------------------------- 2M
Boy 1, repeat (a)
following boy 2. Boy 2 execute two step # 4 moving away from boy 1 ------------
2M
c) Boy
1 & 2 execute step # 4 twice in place ------ 2M
d)
Repeat (a) of Figure 1 ------------------------- 2M
e)
Repeat all (a-d).This time boy 1& 2 exchange movements--------------- 8M
Figure III
Partners face
each other
Boy 1 take step
# 2 twice forward as
if attacking boy 2. While boy 2 moves backward trying to escape
from boy 1---------------------———————————-------- 2M
Both execute
four step # 3 moving away
from each other ----------—————--- 4M
Boy 2 execute
step # 6 twice moving toward boy 1,while boy 1 take two step # 3 backward
———————————————————————————---------- 2M
d)
Repeat all (a-c). Both exchange movements ------ 8M
Figure
IV
Partners
face each other
Starting
with L foot, take four step # 4 turning and moving away from each other-4M
Boy 1
take sixteen running steps forward trying to hit boy 2 with his spear on the
last measure, while boy 2 executes
four steps # 1 trying to move away from boy 1—- 4M
c) Repeat (a)
------------------------------------- 4M
d) Repeat a moving clockwise ---------------------- 2M
Boy 1
take 8 running steps forward & trying to hit boy 2 again with his spear.
While
boy 2 is in place taking position thus hitting
boy 1 with his spear on last measure-- 2M
FINDINGS
Five ethnic dances of the Higaonons of Esperanza, Agusan del
Sur were researched and documented for the
preservation and identification of the tribe’s culture. The five dances are the
Dinugso, Binanog, Inamo, Binaylan, and Saot. These dances were identified in terms of the
following:
Characteristics of the Higaonon Dances
Nature/Historical Background/Origin
The study reveals the
five dances of the Higaonons of Esperanza in the
Costume and Adornment
The researcher
observed and discovered that the Higaonons of
Esperanza used four shades of colors in their costumes in relation to the
meanings associated with the colors. These were Red for Bravery; Blue and Black
for Loyalty; and White for Purity. These colors were then combined in their
traditional costume. However, the way the colors were arranged depended
basically on the tribal status of a tribal leader or “datu”
wearing it. A solid red or plain red costume was worn by a supreme datu. Mayor Deo S. Manpatilan of Esperanza, who was one of the respondents of
this study is considered a supreme datu
by the Higaonons all over
The observed common costumes of the newly
studied Higaonon dance performers were worn and
utilized during the demonstrations as enumerated and described below. These
costumes and adornments were traditional among the Higaonons
of Esperanza, Agusan del Sur.
The Male Costumes
a. The Shirt. It is a tailored marine-collared polo shirt made of plain black,
white, or red cloth, depending on one’s
tribal status or position. It is accented by any 2 of 3 colors in joint triangle
design or diamond shaped cuts placed horizontally along the lower part of the
sleeve, vertically in the front and at the back, and sometimes alongside the
collar.
b. The Pants. Tailored pants of the same color as that of the shirt, or any
other color, accented by other Higaonon colors placed
along the 2 outer sides of the pants and horizontally along the bottom and knee
lines.
Female Costumes
a. The Blouse. A hip-length bell-sleeved blouse made of any 1 of the 3 Higaonon colors with a one-button opening at the back,
accented by the same design or cutting horizontally along the neckline, along
the lower part of the sleeve and along the abdominal line.
b. The Skirt. An ankle-length and shirred skirt commonly of the same color
as the blouse, or any of the 3 plain colors
accented by the same cutting, horizontally along the knee and the lower
leg to the ankles.
Accessories and Props
All the five dances use Higaonon
accessories made of beads, the design or style of which depends on the
creativity of the one who made it. On the other hand, three among the five
dances use props. The Dinugso dance uses “tim-un” or a small fire placed at the center of the
dancers. The Binaylan dancer uses two handkerchiefs
held by both hands, while the “Saot” uses two props;
a spear and a shield.
Though the five newly
researched dances utilize the same accessories with those of other tribal
communities, the color of the beads used in the Higaonons’
accessories harmonize with the color of the dancer’s costume. The dimensions of
other accessories can vary according to the gender of the dancer as they are
described below.
Female Accessories
a.
The Lumbong. It is a headdress made of carefully chosen beads
to match the color of the dress, put together in strands and in intricate
designs and color combination with a bell or “Kulong-kulong”
at the end of every strand.
b.
The Salay. This is a necklace from the same beads and color
combination of the lumbong, though perhaps in
different designs or styles. It is thinner than the Salay
for the male Higaonon.
c.
The Balading. This is
a big and white circular pair of earrings made originally of “Tipay” or shell, or a dangling earrings made of the same lumbong and salay beads.
d.
The Baklaw. It is a bracelet intricately designed using similar
beads asthe other Higaonons
accessories and with a “kulong-kulong”. A Baklaw for the female Higaonon is
narrower than that for
a male Higaonon.
e.
The Singgil. It is an anklet for a female Higaonon
made of similar beads and “kulong-kulong” as used in
the accessories of the other dances.
Male Accessories
a.
The Tangkulo. This is
a Higaonon male headdress originally made from horse
hair. Scarcity of horse hair has prompted the use of a neckerchief adorned with
beads and several “kulong-kulongs”.
b.
The Salay. The Salay is a necklace
wider than the salay for Higaonon
woman but is made of similar beads, designs and “kulong-kulong”.
c.
The Baklaw. This is a bracelet made from similar beads and “kulong-kulongs”. The Baklaw for a
male Higaonon is wider than that for a female Higaonon.
d.
The Tikos. A Tikos is an anklet made
of beads and “Kulong-kulong” for male Higaonon, placed just below the knee to prevent cramps.
Musical Accompaniment
The study
reveals that only one dance did not use any musical accompaniment, but instead
used the sounds coming from the motion of the feet of dancers. The rest of the
researched dances, namely, the Binanog, Inamo, Binaylan and Saot originally used an “agong”,
a musical instrument made of brass which produced sounds when struck. The high
cost of an “agong” promted
the use of indigenous materials such as can, bamboo, wood and the like.
Dance Steps and
Patterns
The study reveals that while the five
newly researched dances had almost the same step patterns, variations in the
arm and hand movements of every dance were noticeable. The observations of the dance steps and of the
arm and hand movements were as follows:
The Dinugso had the step variations
of brush, tap, step, place and leap-raise, step, cross-front, cross-rear, while
dancers join hands in a reverse “T” position.
The Binanog utilized the chasing
steps in four different arm and hand movements-hands clapping at shoulder
level, hands flipping while arms were extended in one direction, arms extended
sideward at waist level and arms extended to the second position.
The Inamo made use of three variations of steps in three respective arm and
hand movements. These were step, close, step while hands were on hips; jump
with fully bended knees while arms were in second position, and walking steps
while one hand is over the eyebrow, as if the dancer was looking for something.
The Binaylan employed three steps in three arm and hand movements, which were:
the step, step, step while arms were in “T” and reverse “T” positions; step, step, hop, hop with hands on hips, and
heels-raise, heels-down while arms were in reverse “T” position.
The Saot took five step variations
in one arm and hand movement. The steps were: step, step, hop; step, close,
step; step, hop; leap, step, step, pause and running steps while one hand was
holding the shield positioned in front of the body, and the other hand holding
the spear.
In this study the dance steps and patterns
of each dance were arranged into figures with specific counting patterns to
facilitate easy learning of the dance. The researcher used Fracisca
Aquino’s way of arranging dances.
Cultural Implications and Beliefs
Reflected in the Dance
Like the observed and documented tribal dances, bodily movements had
particular connotations. The circle formation and the joining of hands showed
group solidarity and unity, which was common in the tribe. The
arms in reverse “T” position exhibited the tribe’s gestures of thanksgiving
and praises for good harvest, good health, goodwill or the like, which the
tribesmen believed to be coming from their “anitos”
or their powerful gods and goddesses. The bending of the dancers’ knees
signified the tribe’s reverence or adoration to their gods and goddesses
to grant them abundance of harvest, and good health. The three mentioned
movements were predominant in the Dinugso and
the Binaylan. Meanwhile, the imitations of animal
movements, which were observed in two of the five Higaonon
dances- the Binanog and the Inamo, stood for the tribesmen’s befriending
gestures and respect for animals around them and their love of Nature.
The Inamo and the Binanog
are two imitative dances that depict, respectively, the movements of the monkey
and the hawk. Moreover, the Higaonons believe that
imitating the movements drive away the prey if not befriend the creatures whom
they believe are protectors to give them access to enjoy the gift of life that
Nature offers. The imitations of the “Bagani’s”
movements in the Saot dance, on the other
hand, means the honor and respect of the tribe to their tribe defenders,
particularly to those who have died. Higaonons
believe that the Bagani’s spirit can reincarnate
among the Higaonon’s younger generation and that by
reminiscing over the Bagani’s heroic acts through the
Saot will develop young minds to live with the Bagani’s spirit.
The Higaonons’
Ways of Preserving their Cultural Identity
The Higaonon
Tribal Community of Esperanza, Agusan del Sur, through the leadership of Mayor Leonida
P. Manpatilan
hold activities for the tribe to be recognized. These activities are held not
only to venerate the events of the past, but also to inculcate in the minds of the
youth the culture of the tribe, which then leads to its preservation.
The researcher asked the tribal
authorities of the tribe’s means of culture preservation of the tribal dances
and secured the list and the description of different yearly celebrations held
to which the five newly researched dances are regularly performed:
The Kaamulan
Festival is celebrated every September twenty
seven to highlight the “Araw ng
Esperanza.” It is a thanksgiving festival of the Higaonon
tribe for the bounties received during the year and is expressed through tribal
or ethnic dances, chanting, wedding ceremonies, food festivals and others.
The Town Fiesta or community thanksgiving of the people of Esperanza is yearly observed in
honor of the town’s patron Saint, Ignatius of Loyola. A fluvial parade at the
The Dumalongdong
is a week-long ritual performed at no definite
time. It is done only when there is a sick person or a problem plaguing the
tribe, to ask guidance and enlightenment from Dumalongdong,
the tribe’s God of Wisdom. Dumalongdong as a
celebration is the highest form of ritual of the Higaonon
tribe. It is celebrated with dance festivities and merry-making to culminate
the ritual.
CONCLUSIONS
Based
on the findings, the following conclusions are manifested:
The
dances shared common costumes and accessories that were traditional of the Higaonons of Esperanza, Agusan del
Sur. A plain red costume was worn by a datu noted for his bravery and loyalty to the tribe. The Higaonons use an “agong” to
accompany their dances. However, the high cost of the said instrument prompted
them to use indigenous materials like bamboos, cans, wood, and the like. The
dances revealed some beliefs and practices of the Higaonon
tribe. The arms in the reverse “T” position of the dancers in the Dinugso and Binanog dances
exhibit the tribe’s gestures of thanksgiving and praises for good harvest, good health, and
goodwill. Unity and solidarity among the Higaonons
are shown in the dancer’s position of the arms especially in the Dinugso and Binanog dances. The Higaonons have their own ways of preserving their dances
that express their culture and traditions as manifested in their yearly
celebrations.
RECOMMENDATIONS
1.
The study is not
enough to contain all the intricacies of the Higaonon
culture. A more comprehensive study focusing on Higaonon
culture and laws should be conducted so that the rich culture of this tribe can
be documented and disseminated.
2.
Local officials should
spearhead programs inviting graduates belonging to a certain tribe to enroll in
postgraduate studies and encourage them to conduct researches regarding their
very own tribe so as to recognize the existing ethnic tribes in the region,
particularly in the
3.
Ethnic dances should
be included in the teaching of folk dances especially in schools where these
ethnic dances are discovered.
4.
Teachers teaching
ethnic dances should have enough background of the dance they are to teach,
concentrating not only on the origin, costume, accessories, props, and the
characteristic body movements, but also on the cultural beliefs and practices
reflected in the dance to facilitate correctness in interpretation and
execution.
5.
The government should
recognize minority groups and give them due importance by initiating and
encouraging programs that will attract many if not all members of the tribe to
come out in the open and be proud of their culture.
6.
To achieve maximum
dissemination of Higaonon culture as characterized in
the five newly researched dances, these dances should be treated equally with
other dances, by including them in the repertoire of dances taught in schools,
not only in places where these dances are discovered, but also in other schools
in the area.
BIBLIOGRAPHY
BOOKS
Aguinaldo,
Milagros M. and Delsa F. Usal. (2002).FOLK DANCES OF
Aquino, Francisca R., (1950). PHILIPPINE
FOLKDANCES, Volumes 1- 6.
Alejandro, Reynaldo G., (1978). PHILIPPINE MAINSTREAM
AND CROSSCURRENTS.
Amilbangsa, Ligaya
F., (1983). TRADITIONAL DANCES AND RELATED TO FOLK ARTIST
EXPRESSION – Pangalay.
Anderson, Jack., (1986). BALLET DANCE: A
CONCISE HISTORY.
Goquinco, Leonor
O., (1980). THE DANCES OF THE EMERALD ISLES.
Harris, Jane A. , (1998). DANCE A WHILE:
HANDBOOK OF FOLK, SQUARE AND SOCIAL DANCE, 6th Edition.
Kefen, Wang., (1991). TRADITIONAL
CHINESE ARTS AND CULTURE: THE HISTORY OF CHINESE DANCE.
Pasimio, Renato
R., (1991). THE PHILIPPINE CONSTITUTION: ITS EVOLUTION AND DEVELOPMENT.
Stillwell, Jim L. and Willgoose Carl E., (1997). THE
PHYSICAL EDUCATION CURRICULUM. 5th
Edition.
JOURNALS, PUBLICATIONS, HANDOUTS
Datoc, Salud C. (2001). “Enhancing
Values Through Sayaw
Pilipino: A Keynote address.” National Folkdance Workshop.
Esperanza Municipal Comprehensive Development Plan.(2000). Esperanza, Agusan del
Sur.
Miller,Berryman S., (1991). “Multicultural
Dance: The Spirit of Cultural Tradition.” A JOURNAL OF
PHYSICAL EDUCATION, RECREATION, AND DANCE.
Monroe, Remigio E. Jr., (2001). “Cordillera
Folk Dances Associated To Rituals and Ceremonies.”
Nimor, Ceasar F. “Compilation
of Philippine Folk/Ethnic
and Foreign Dances.”
Radaza, Demetrio.
“ Early Cagayan de
Oro in Legend and History.”
Villaruz, Esteban., (1992). “Sayaw:
An Essay on Philippine Ethnic Dance.” Cultural Center of
the
UNPUBLISHED
THESES AND DISSERTATIONS
Aquino, Estelita
A.(1992). “Ethnic Dances of the Blaan
of
Belmonte, Paz Cielo
A.(1975). “Philippine Ethinic
Dance: A Creative Presentation.” Unpublished
Dissertation.
Cañonero, Ariel E. (1994). “Three
Unpublished Subanon Dances of Kabasalan,Zamboanga del Sur: A
Contribution to the Tribe’s Ethnic Identity.” A
Gabao, Larry. (1988). “Ethnic Dances of Bontoc, Ifugao, Benguet, Apayao and Kalinga (BIBAK): A Comparative Analysis.” Unpublished Thesis. Philippine
Janson, Mila C.(1991).
“Sayaw sa
mga Pastores in the
Mayonilla, Matilde
R.(1991). “Sayaw sa mga Pastores in the
Loque, Ma. Chelo G.(1996). “Manobo Dances
of Agusan del Sur: A Dance
Research.” Unpublished Master’s Thesis. Cebu State College,
Villardo, G. A. (1994). “Subnen Dances of Lapuyan,
Zamboanga del Sur.” Unpublished Master’s Thesis.
Philippine
INTERNET SOURCES
Cynthia, Philippine Dances. “Sayaw
Pilipinas (Filipino Folk Dances. Muslim Dances.Tribal
Dances.Rural Folk (Sa Nayon) Spanish Influence.” http:www.likha.org/index.html.
Barangay Dance Co,(2004).http://barangaysf.org/pages/670758/index.htm
PICTURES
The Researcher with several Datus during the Kaamulan Festival
