PHILIPPINE DANCES IN

CORDILLERA
Pesented By: Shanean Rose Villa
 Banga
Tribe: Kalinga

"Banga" literally mean pots. The Banga or pot dance

is a contemporary performance of Kalinga of the
Mountain Province in the Philippines. This dance
illustrate the languid grace of a tribe otherwise known
as fierce warriors. Heavy earthen pots, as many as
seven or eight at a time, are balanced on the heads of
maidens as they trudge to the beat of the "gangsa" or
wind chimes displaying their stamina and strength as
they go about their daily task of fetching water and
balancing the banga.
 Bendayan
Origin: Benguet Province,
Northern Luzon

Also popularly called Bendian, this circle dance of the

Benguet of Mountain Province is restaged, keeping
true to the dance's context and meaning. Long known
as a dance to celebrate the arrival of successful
headhunters, the Bendayan has taken a new face. It is
part of every Benguet festivity with the circles slowly
giving way to other formations and interpretations.
 Lumagen / Tachok
Tribe: Kalinga
Origin: Luzon

When the Kalinga gather to celebrate a happy

occasion like the birth of a first-born baby boy, a
wedding, or a budong (peace pact), the Kalinga
Festival Dance (Tachok) is performed. This is danced
by the Kalinga maiden. The dance imitates birds
flying in the air. Music is provided by gangsa, or
gongs, which are usually in a group of six or more.
 Manmanok
Tribe: Bago

Three Bago Tribe roosters compete against each other for

the attention of Lady Lien. They use blankets depicting
colorful plumes to attract her.

Tarektek
Tribe: Benguet
Two tareketek woodpeckers vie for the attention of three
females. One Male woodpecker rhythmically bang on a
brass gong to represent a good voice, while the other swish
about a colorful blanket representing beautiful plumage.
 Salisid
Tribe: Kalinga

The Salidsid is the Kalinga courtship dance,

performed by a male and female (and thus is
sometimes called the "cayoo" dance). The dance
starts when each of the dancers are given a pice of
cloth called ayob or allap. Usually the most important
people in the village are the second to dance after the
host has signified that the occasion is formally open.
The background and meaning in this dance is
evident. The male simulates a rooster trying to attract
the attention of a hen while the female imitates the
movements of a hen being circled by a rooster.
 Salip
Tribe: Kalinga

Tribes in the mountain provinces of Luzon preserve

their identity, customs and lore. Their dances
celebrate important events in life such as birth,
wedding, victory in war and thanksgiving. A Kalinga
wedding dance is an important celebration. The
bridegroom offers the bride the protection and
comfort of his blanket. He simulates the movements
of a rooster at love play, aspiring to attract and seize
his love. The bride's friends are ready to help prepare
the bride by offering "bangas" (earthen pots) filled
with fresh water from the mountain spring.
 Turayen
Tribe: Gaddang
Origin: Cagayan Valley

Gaddang comes from the word ga, meaning "heat" and

dang, meaning burned". The Gaddang live in the
middle of Cagayan Valley and speak a language similar
to Ilokano. Most of them converted to Christianity, and
those who live alongside Christianized Ilokano groups
have more or less adjusted to settled agriculture of
mixed crops. Small and scattered groups in
southeastern Kalinga, eastern Bontoc, and Isabela
regions retain their indigenous religion and practice
swidden agriculture (the cutting back and burning of
existing vegetation to produce temporary farming plots)
with supplementary hunting and fishing. In this dance,
the Gaddang imitate birds attracted to tobacco trees.
 Uyaoy / Uyauy
Tribe: Ifugao

The Ifugao people are said to be the "children of the

earth." The term Ifugao is derived from the word
ipugao which literally means "coming from the
earth." The Spaniards, however, changed it to
Ifugaw, a term presently used in referring not only
to these people but also to their province. This
Ifugao wedding festival dance is accompanied by
gongs and is performed by the affluent to attain the
second level of the wealthy class. Wealthy people
(Kadangyan) who have performed this dance are
entitled to the use of gongs at their death