CHAPTER V

KALINGA PROVINCE

UNIT 1 – HISTORICAL/ SOCIO-CULTURAL FEATURES

Learning Outcomes
1. Manifest interest in local history and show concern for
promoting and conserving local heritage

Teaching Strategies:
1. Peer partnering
2. Scaffolding questions

LESSON 1 – SETTLEMENTS AND TERRITORIES

The Kalinga and other Cordillera peoples are believed to have arrived in separate migrations from
southeastern or eastern Asia. The original migrants of northern Luzon might have had a common
culture, but due to particular conditions of the economy, water supply, population density, and
ecology, cultural differences began to appear among the northern Luzon mountain peoples, resulting
in the various ethnolinguistic groups: Ibaloy, Bontoc, Ifugao, Kalinga, and Sagada.

Kalinga province is a landlocked province in the Philippines situated within the Cordillera Administrative
Region in Luzon. Its capital is Tabuk and borders Mountain Province to the south, Abra to the
west, Isabela to the east, Cagayan to the northeast, and Apayao to the north. Kalinga and Apayao are
the results of the 1995 partitioning of the former province of Kalinga-Apayao which was seen to better
service the respective needs of the various indigenous peoples in the area.
A. Background on Kalinga Culture:
Kalinga comes from the common noun “Kalinga” which means “enemy,” “fighter,” or headhunter in the
Ibanag and Gaddang languages. Cagayan and Isabela inhabitants considered the Kalinga enemies
since they conducted head-hunting attacks on Ibanag and Gaddang territory. As such, the name is
considered a misnomer since it has no geographic or ethnic basis. Yet the term has become the official
ethnic name accepted even by the natives themselves (Billiet and Lambrecht 1970).

The number of cultural groups in Kalinga varies according to different systems of classification.
Nonetheless, authorities on Kalinga culture today agree that there are over 30 such groups. Northern
Kalinga culture groups include Banao, Buaya, Dao-angan, Gubang, Mabaca, Poswoy, Salogsog,
Ammacian, Ballayangon, Limos, Pinukpuk, Wagud, Allay / Kalakkad, Biga, Gamonang, Gobgob,
Guilayon, Nanong, and Tobog. Located in Eastern Kalinga are the Dakalan, Gaang, Lubo, Majukayong,
Mangali, and Taloktok culture groups. In southern Kalinga are the Bangad, Basao, Butbut, Sumadel,
Tongrayan, Tulgao, Lubuagan, Mabungtot, Tanglag, Uma, Ablog, Balatoc, Balinciagao, Cagaluan,
Colayo, Dalupa, Dangtalan, Guina-ang, and Magsilay-Bulen. Other culture groups are Aciga, Colminga,
Dallak, Dugpa (Limos-Guilayon), Magaogao, Malagnat, Malbong, Minanga, Pangol / Bawac-Pangol,
and the Kalakkad, also called Gaddang. Many of the Kalinga also identify themselves topographically
with either “Upper Kalinga,” covering the more mountainous municipalities of Balbalan, Lubuagan,
Pasil, Tanudan, and Tinglayan; or “Lower Kalinga,” composed of Pinukpuk, Rizal, and Tabuk.
Kalinga is both a tribal community and a landlocked province in the heart of the Cordillera region in
northern Luzon, the Philippines. Until recently Kalinga people could be identified from a distance by
their distinctive body art. Immersed in the magnificent mountains, the Kalinga people lived modest but
passionate lives in a world where your skin communicated your social status to the local community.

The memories that our forefathers left to the present generation motivate us to revisit our culture or
look at the very roots of our past cultural history as a reference in recreating our present socio-cultural
life. With the fast pace of modern technology that we tend to assimilate and appreciate more nowadays,
it becomes imperative to revive the positive indigenous cultural values to address the adverse practice
of our traditional culture which tragically is escalating the loss of our beautiful culture (Garming and
Balbin, 2007)
The sound of gongs reverberates in Tabuk City to celebrate the 24th Kalinga Founding Anniversary
and the third Bodong Festival, on February 14, 2019. Cultural presentations participated by the towns
of Balbalan, Lubuagan, Pasil, Pinukpuk, Rizal, Tanudan, Tinglayan, and Tabuk City highlighted this
year’s Bodong Festival. Aside from cultural dances and street dancing competitions, the search for
Miss Kalinga is conducted wherein aspiring candidates show off their best in aiming for the title.

Kalinga weaving is passed on from oral tradition. The fabric patterns, colors, and motifs depict living
and non-living things, man-made objects, the environment, and the weaver’s imaginative mind. It also
signifies socio-economic status and many were reserved for special functions such as birth, marriage,
festivities, and death rituals. The spirit that binds Kalinga is the “LAGA”, which in English means “weave”
for the simple reason that this is the whole expression of their way of life as mountain people. The art
of weaving is deeply rooted in Kalinga’s history, culture and tradition. During Bodong Festival and
different municipal festivities, different styles and designs of Kalinga weaving are showcased during
Laga Runways

Presently, Kalinga is fast emerging as an eco-tourism discovery of the Cordilleras since its operation
as a regular and separate province since February 14, 1996.

Self-Check Test and Evaluation of Activities

Reflection Paper: Mirroring Your Mind

INSTRUCTION: Make a reflection or reaction paper about the significance of the culture. Use
the rubric below in accomplishing the task.
Comprehension Organization and Language and Form Evidence
10% Cohesion 5% 5%
10%
Demonstrate clear and Present ideas in a Ideas are presented Present relevant
correct understanding logical structure that clearly using vocabulary academic
of the lesson. shows the relationship specific to the academic information
between ideas topic. If errors in accurately. Well
conventions are supported with
present, they do not arguments, and
interfere with examples.
meaning. This includes
grammar, spelling,
syntax

MULTIPLE CHOICE: Select the best

answer by encircling the letter

1. The number of cultural groups in Kalinga as of the year 2022.

a. Less than 30 b. over 30 c. over 3 d. over 13
2. Kalinga operated as a regular and separated province on?
a. February 14, 1996 b. June 29, 1988 c. June 1, 2010 d. December 8, 1990
3. “LAGA” in English means?
a. move b. give c. weave d. leave
4. “KALINGA” is a common noun that means?
a. ruler b. survivor c. strong d. fighter, enemy, or head hunter
5. Before their operation as regular and separated provinces. Kalinga and ________
are sub-provinces.
a. Abra b. Mountain Province c. Apayao d. Benguet
6. Kalinga has ___ municipalities and ___ component city.
a. 5 and 2 b. 8 and 1 c. 7 and 0 d. 7 and 1
 7. The provincial capital of Kalinga.
a. Tabuk City b. Lubuagan c. Rizal d. Pinukpuk
8. A yearly festival of the province during its founding anniversary celebration that started on the
year 2019.
a. Bodong b. Adivay c. Lang-ay d. Matagoan
9. A unique mountain in the province of Kalinga which is also known as Mount Patukan, Mount
Mating-oy Dinayao, or Mount Mantingoy.
a. Mount Pulag b. Mount Apo c. Sleeping Beauty d. Mount Camingingel
10. A term used to describe the traditional way of tattooing which is still practiced in Kalinga.
a. Batok b. Laga c. Bodong d. Paniyaw

ENUMERATION: Give what is

being asked correctly

1. Give 10 cultural groups in Kalinga as of today.

LESSON 2: GAMES, ORAL LITERATURE, MUSIC, SPORTS, AND DANCES

Indigenous games, music, and dance as reflected in the Kalinga cultural values systems cannot
be underestimated in their contributions as living traditions of distinct traditional communities
that developed such indigenous practices. In Kalinga, one may portray in practices of indigenous
games, music, and dance the Kalinga virtue of being good to fellowmen and doing what is right
while living (Sugguiyao, 1990).
Learning Outcomes
a. Identify the different Indigenous games, music, and dance in
Kalinga;
b. Value and appreciate the importance of preserving and reviving
the Indigenous games, music and dance in Kalinga
c. Perform the different indigenous games, music, and dance of
Kalinga.
Teaching Strategies:
a. Cooperative learning
b. Peer partnering
c. Scaffolding Questions
d. The Jigsaw Method
E. Graphic Organizer
f. Oral Presentation

Lesson Content and Discussion

A. INDIGENOUS GAMES OF KALINGA

Indigenous Games are recreational activities originating from a particular cultural group,
community,
or people. It is traditional because these are games accompanied by what we believed, it also
portrays
or describes an event why the game is being conducted. The Province of Kalinga is part of the
Cordillera Administrative Region which also practices these kinds of games to reinforce the
community values and interaction between communities. These games are traditionally important
as part of our culture.

The practices of indigenous games in Kalinga are observable during traditional festivals. Festivals
serve as unifying threads that interweave the world views of the Kalinga into one cosmic social
order. Playing indigenous games during festivals are expressions of enjoyment moments and
thanksgiving to Kabunyan as a benevolent Supreme Deity who is believed to be the creator of all
things and master of life and death. (Garming, monograph).
Observance of customary practices, like the recreation of indigenous games, reveals a sense of
cultural identity. Playing indigenous games demonstrates the uniqueness of the historical experience
of the particular cultural community. This is recurrently accounted for by Eduard Dosier in his book
Mountain Arbiters (Dossier, 1949).

Indigenous games as reflected in the Kalinga cultural values systems cannot be underestimated in
their contributions as living traditions of distinct traditional communities that developed such
indigenous practices.

In Kalinga, one may portray in practices of indigenous games the Kalinga virtue of being good to
fellowmen and doing what is right while living (Sugguiyao, 1990).

1. The Sang-sangkur (arm wrestling) is played

between two elderly men. This is an outdoor or indoor game
done preferably on the ground by pairs. The players kneel
on their left knees while left hand is on their sides. When
the signal is given, each player locks his arm to the
opponent then gives his full force to topple the arm of his
opponent. When a player cannot return his arm to
the original position, he losses the game. Participants to this
game involve about 4 to 10 adult men, age 30 and above.
This game determines the strength of a person.
When one brags of his strength, the wrestling is played
against any opponent to back up his bragging. Also, the
game promotes brotherhood, self-respect, sportsmanship;
and develops in the player the values of endurance,
perseverance and alertness.

3. Ag-agwod is an outdoor game with 10 or more

players. The players with their feet apart on the ground
lock their hands around their colleagues’ hips for support
then pull their opponents to their side.
A marker is placed at a point between the two
competing teams. When the referee gives the signal
‘‘go’’, the two competing teams will pull hard to bring the
opponents beyond the boundary line using their buttocks
in moving backward. The team that is pulled beyond the
marker line loses regardless of falls; team wins as long as
the players are able to pull their opponent beyond the
position.
The participants are ages 10 and above. This
game is usually played during celebration of peace pacts,
festival and any other occasions.
The game portrays unity, sportsmanship,
firmness, and fairness. The strength and endurance of the
participants are tested too.
4. Kadang-kadang, which also means ‘simple play’ is an
outdoor game that is played using a bamboo stilt. To play
the kadang-kadang, you need a pair of bamboo poles with
equal lengths and stepladder of foot size to serve as the
platform for the player’s feet. The bamboo has a height of
10 feet from the ground. But in the present era, Kalinga
people modified the height of the bamboos making it
heigher.
Kadang-kadang requires two teams with 4 members each.
Equipment to use is a four pieces or two sets of bamboo
poles with equal heights, say 10 feet long. Each pole must
have a foot-size stepladder. The goal of this game is for the
two teams to successfully traverse a 100-meter course,
which is marked at every 25th meter. The first player of each
team stands behind the starting point, while the second
player stands on the 25th-meter mark. The third player waits
at the 50th-meter mark and the last player on the 75th mark.
At the signal of ‘‘Get set’’, the first players must stand ready
behind the starting line holding their respective stilts and
start
5. walking.
Dokdokma (Pig catching)
A game occasionally played at agricultural shows where
participants attempt to catch a pig by holding onto it. In the
most popular variation, a group of four people race against
the time while chasing a domestic pig around a fenced off
mud pit or in open ground. To make trapping the pig more
challenging, the pigs are greased with lard or mineral oil.
The rules vary depending on the venue. The size of the pigs
or piglets is commonly match to the size of the children,
teens or adults in the contest. The pigs are coated with
shortening, vegetable oil, lard, or another lubricant.
Contestants chase the pigs around a field or other
determined area. Depending on the contest, contestants
either try to get one or both hands on the pig, tackle and
hold the pig down, or drag the pig to a set point. There may
be several rounds per contest. The prize for winning is the
pig itself.

B.KALINGA MUSIC/KALINGA INDIGENOUS SONGS

The Kalinga continue to actively preserve their musical heritage despite social changes. Traditional
principles continue to underlie their music-making, as seen in the technique of utilizing interlocking
patterns in the various bamboo ensembles composed of leg xylophones called patatag or patteteg;
stamping tubes called tongatong or dongadong; buzzers like the balimbing, also called bungkaka and
ubbeng; quill-shaped tubes called patanggok, also called patang-ug and taggitag; parallel zithers called
kambu-ut, also called tabbatab and tambi; and pipes in a row called sagay-op or sageypo or saysay-
op. These ensembles, which generally consist of five or six instruments, have varying functions and
are heard on different occasions, depending on the particular area within Kalinga

Northern Kalinga children use the patteteg, ubeng, and saysay-op as toys. Elsewhere, the men play
the pattatag to simulate the flat-gong ensemble. The taggitag is heard in big ritual celebrations played
exclusively by men, whereas the tongatong is displayed by women in smaller rites for harvest and
curing. In southern Kalinga, the bungkaka are sounded to drive evil spirits away as people travel in the
mountains. The tambi ensemble is used in festive gatherings for entertainment.

The ensemble instruments highly valued by the Kalinga are the gangsa (flat gongs), which are played
in two styles: gangsa pattung, also known as gangsa palo-ok, and gangsa topayya or tuppayya. In the
gangsa pattung style, the players each carry a gong and use a rounded stick to strike rhythmic patterns
of ringing and dampened sounds. As they play their gongs, they move in circular formations with a
group of female dancers. In gangsa topayya, each player uses his bare palms to play corresponding
combinations of accented, dampened, and sliding strokes. A six-gong topayya ensemble consists of
baba or balbal, referring to the largest and lowest-pitched gong; sobat or solbat; katlu (third); kapat
(fourth); umut; and anungus, which is the highest-pitched gong. In a five-gong gangsa topayya, the
fourth gong is the umut, and the fifth is the anungus.
At festive gatherings, particularly peace pacts and wedding celebrations, the tadok is danced by a
pair of male and female dancers to the music of the gangsa topayya. Flat-gong ensembles, as well
as instruments made of bamboo, have patterns that interlock and the varying accents produce
consecutive ringing tones or resultant melodies.

Kalinga vocal music is usually heard in social gatherings. They identify songs according to the melodies,
with the corresponding texts determined by the occasion, varying with each rendition.

1. Childhood Songs: 2. Pasingan (Wedding Songs)

a. Uwwawi/Koykoy – These are soothing songs to lull
a.Uggayam – A kalinga song for greetings and giving
babies to sleep
advice to the newly wed. It is sung in group gatherings
UWWAWI such as weddings and peace –pact celebrations.

Uwawi – wi – i b. Ullalim – It’s a renowned song style of the Ikalingas,

Uwa-uwa-uwa-wi-wi (my dear little son) traditionally sung to recount long, epic stories about
Annak o wi llama –I wi (when you groe) traditional heroes and villains.
Mangitakchor tan ili wi (you’ll be a good man) It can also be used to describe other events or give advice.
Uwa-uwa-uwa-wi (uwa-uwa-uwa-wi) It is sung in group gatherings such as weddings and peace-
pact celebrations.
Mansicab mantakifi (nursing baby is painful)
Masullapan linabfi (day and night you seem fool) Example: UGGAYAM
Tan sikab nan takifi (you are always stressful)
Ayeee gayamen- n-n-n-n-n
Uwawi-wi (uwawi-wi)
Dey gayamen-n-n-n-n-n-n
Mansikab nan mafuki (pregnancy is not an easy task)
Ay oggayam ke-e-e-e-e-e-t
Man illi illik lafi (baby is exercising inside)
Di gayame! Adto ta-y-y-y-
Awak mansikab makuti (body ache is side by side)
e-e-e-e (we’re all gathered here because of us)
men-dat---- da-----tong o mi-pang-ge-e-e-e-ep
Refrain : Uwwa-uwwa-uwwawi
ken-----di-----tako kadat an-an-a-k-a-a-a-a-a (our children)
Ausam wi fofai (women be patient and kind)
Nag-gasawa-a-a-a-a-a (who got married)
Tan si-an nanakifi (you have delivered on land)
O sapay koma ken-n-n-n-n (may they
Takun nanlukis awi (generation of humankind)
Di-yos ama ta----enda-a-a-a-a (by God’s will)
Ay gumanak!
KOYKOY
(beget many children)
Oy-oy-oy-oy (Hmmmmm)
Ay e-e-e gayamenn-n-n-n (hey brothers)
Massuyo, masmassuyop (sleep my baby sleep)
Dey e-e-e-ey gayamen n-n-n
Ommo’ ina nangaysop (mother went to the field)
O kakabsa---at---a-a dumateng! (who came)
Oy-oy-oy (Hmmmmm)
Nga immay me-e-e-e-et
Oy-oy-oy (Hmmmmm)
Agatendar (to attend)
Akay nuy man-ib-ifin (stop crying)
Kanto kasa-a-a-a-a-a di dad an-nak! (the wedding of this
Ommo’ ina mamfilin (mama went to kaingin)
hour)
Pakoy taud mangtilin (to drive the birds away)
O o abal-la-yan mi-i-ye (O aballayan- parents of either
Anchi aminon nan tilin (birds consumed)
party)
 3. Dandanag/Chanchannag
It is often sung at funerals, with groups
collaborating to create extemporaneous lyrics of
two 7-syllable lines.
CHANCHANNAG
Oyan apo silla-oy (those who are concern)
Amma –an ta iillan (gives a celebration)
Ta akag ta lagsa-kan (old woman who will go
home)
A’ inay mummad mad-an (old man who now
passes)
Akag nu pako pay-an (butcher a big carabao)
Akag nu unagwaan (to a man who done well)
Marong-ag nasikafan (to commemorate good
deeds)
Sijan akas nan madmad-an (an old sick woman)
Lugwang a’ nasa’kuchan (culture to butcher
carabao)
Waynu ta inka pay-an (traditional cure to
sickness)
4. Planting and Harvesting Songs
a. Man –orag (planting rice)
MAN-ORAG
Iyullag un kiwacha (I plant a rice variety)
Awad anno-annon ta (Kiwacha and Unoy)
Iyullag un annay unoy (to have something to eat)
Ta agwad ikamkammoy (when famine will be met)
Tilin makiwikiwwin (rice mayas please don’t)
Achiju py ifilfillin (attack my fields)
Ta agwad otyan mabto’ (I have something to harvest)
Annak uy mantottoro’ (and have food while I rest)
b. Man –ani (harvesting)
MAN – ANI
Anijon, anijon taun pakoy (harvesting time is ready)
Kintan, chay-ot ja unoy (gather all variety)
Ay insalidummay (ay salidummay)
Man foto’, man foto’ tau’ unoy (let’s bundle the rice unoy)
Ta agwad ikamkammoy (food for my little boy)
Tan tipoy wi lichoy (so he will always enjoy)

Oyan, apo silla-oy (oh grandparents)

Anchi’ apo wi kummaysan (who cared our
siblings)
Maidpun cho-on mataynan (now that you’re
gone)
Mangil-a’ kana’ a –appum (missed the life
you’ve begun)
Wi angsan (it’s a great loss to us)

C. KALINGA INDIGENOUS DANCE

It is an art form that, in its truest sense, converts thoughts, feelings, and pictures into
meaningfulmovement patterns that have both a personal and societal impact.

1. SAGNI OR TADOK
This Kalinga dance which is originally
called “pallok” or “pattong” is
performed by a group of men and
women. At least six or more men beat
the gongs led by a lead gong player.

2. CHALLICHOG

This is a stamping dance, or the dance of

the rice terraces. After a rice terrace is
constructed and during the ritual
ceremony, men and women stamp their
feet at the rice paddies to prevent
erosion and to pray for an abundant
harvest.
 3. SALIDSID
The Kalinga courtship dance
performed by a male and female (and thus
is sometimes called the “cayoo” dance.

Self-Check Test and Evaluation of Activities

Modified True or False

INSTRUCTION: Write “KALINGA” if the given word is one of the indigenous games in Kalinga and “DAYO” if
it is not.
_____________ 1. Pallut (cockfighting)
_____________ 2. Manfaju (pounding rice)
_____________ 3. Sang-sangkur (arm wrestling)
_____________ 4. Shatong (stick game)
_____________ 5. Kadang-kadang (simple play)
_____________ 6. Tumbang preso ("knock down the prisoner")
_____________ 7. Punnuk (tug of war)
_____________ 8. Dokdokma (pig catching)
_____________ 9. Sipa Tsinelas
_____________ 10. Ag-agwod

ACTIVITY: Essay (5 Pts each )

1. Why do we need to preserve our indigenous games, dance, and music?

2. What are the highly valued instruments by Ikalingas and how it is being played? Explain your answer.
3. How do you categorize the dance and songs of the Ikalingas? Explain your answer.
UNIT 2 – PHILOSOPHY/MORALITY
LESSON 1 – COSMOLOGY, VALUES, SPIRITUALITY, HEALING, AND RITUALS

Learning Outcomes
1. Understand and apply the 3 core values of Kalinga
2. Preserve the Kalinga Core Values
3. Cite situations on Kalinga Core Values
4. Identify the various Kalinga beliefs, practices, and cultures.
5. Discuss the meaning of different Kalinga beliefs, practices, and cultures.
6. Give situations or scenarios wherein Kalinga cultures are being observed or
practiced.
7. Devise a questionnaire to explore the perception of old-aged Kalinga
individuals on their cultures back then and now.
8. Write a reflection or reaction paper about the significance of the different
Kalinga cultures.
Teaching Strategies:
a. Cooperative learning
b. Peer partnering
c. Scaffolding Questions
d. Oral Recitations
e. Inquiry – based Learning

Lesson Content and Discussion

A. THE KALINGA CORE VALUES

It is from the sacredness of LIFE that the pochon/bodong finds its meaning and relevance.
Their forefathers instituted the pochon as means to secure their life and well-being for
generations to come.
• Paniyaw – This core belief is centered on the concept of a supreme. Being called Kabuniyan.
It is Kabuniyan who sets the parameters of his relationship with a man and regulates the
relationship with a man with him and their spirits as well as the relationship of man with
his fellowmen.
They believe that harming others is evil. To just contemplate or ponder upon committing acts against
another person is considered bad. This emanates from a fear of a Supreme Being that can render
punishment that can befall not only the current generation but also future generations as well depending
on the gravity of the violations.

The belief is embedded in a system of reward and punishment and the “fatedness” of its outcome.
Thus, some actions are taboo and should be shunned, and sacred places that are forbidden from
the people.

● Ngilin– Refers to the relationship of man with his fellowmen. Strict observance of the rites and
Rituals of the pochon/bodong. Strict compliance with the mandates of the pochon/bodong.

●Fa-in/Bain – Refers to the proper attitude towards other people. Proper respect for others especially
for a Kapochon /kabodong.
a. Saya-aw – Approachable and accommodating.
b. Ara-ag – Hospitality. Every tribe member is duty-bound to offer food to the
cabochon/bodong.
c. Singon – Fear and respect for the pochon/bodong holder.

B. CUSTOMS AND TRADITIONS

Birth, marriage, illness and death are the four major phases of Kalinga Life. Each Cycle stage
is connected with certain beliefs and rituals. The conversion of the Kalinga to Christianity has
discouraged these beliefs and behaviors, although they continue to exist in Kalinga groups.

Pregnancy is accompanied by extensive rituals and traditions that attempt to safeguard

the mother and the infant baby and make childbirth easier. Both husband and woman must
avoid streams and waterfalls where Ngilin, the malicious pygmy-like water ghost, lives during
conception. The scent of a pregnant lady is thought to attract Ngilin, who consumes unborn
children. Objects such as a piece of sugaga tree bark and a dog, children if she does. Other
youngsters must not sit near doors or windows in order to prevent breach delivery. A father
should not play the flute, as doing so will result in a crying baby.

The mother-to-be is attended to by her extended family while she gives birth within the home.
The newborn is not protected from Ngilin unless rigorous observances are observed. As soon
as the infant is born, an adult member of the household installs four knotted runo shoots at
each home entrance to indicate visiting limitations. The family prohibits eating beef, cow's milk,
eel, frogs, gabi (tubers), and dog meat. During the restriction period, the father must not leave
the boundaries of the community. When the infant is one month old, a medium arrives to
sweep the home with anahaw leaves, declares that the infant is safe, and removes the restraints.
 Ontad
A hen and a rooster will be butchered to celebrate the birth of a child. The family will remain
at home, and on the tenth day, a pig will be butchered and served to the entire neighborhood.
The host's home is where the pig's meat should be consumed.

So - ob

A celebration of manhood or becoming a village warrior is a tribal custom performed by the

Butbut tribe for a newborn boy. An animal will be butchered for the celebration. This clinic serves
the families that can now afford it.

The Kalinga believes that infants attract evil spirits. Therefore, the first 18 months of life
are characterized by rites known as kontad (northern Kalinga) or kontid (southern Kalinga),
which safeguard young infants from evil spirits. Because all children are entitled to a part of
their parents' and grandparents' property, having too many offspring is unfavorable.Thus,
abortion is a problem for the operation refrained from consuming taro until the incision had
healed.

Weddings

The bride's home serves as the celebration's location during weddings. The bridal feast includes
the butchering of two carabaos, to which everyone in the neighborhood is invited. Rice or cash
might be given as presents by the relatives. There would be singing and dancing for two nights
and one day during the celebration. Alternate "plans" must be made before the wedding when
there is an inter-tribal union. The relatives of the opposite tribe will be invited by the bride and
groom alternately. The tourists see the butchering of a pig. After the "palanus," a token is
handed to each guest from the opposite tribe. Usually, the bride and groom's family members
provide these presents.

Death and Ritual

In order to respect the spirit of the deceased, a pig is often slaughtered right away when someone passes
away. Except for the family who are not allowed to consume it, the meat from the butchered animal will
be given to guests or neighbors. When an elderly person passes away, larger animals like a carabao or
a cow are killed for the community to share; as is customary, the deceased's family is not permitted to
consume the flesh. A second batch of animals must be killed and given to immediate family, relatives,
or guests during the two or three days after the burial of the deceased. An exception to this rule is that
no animals should be butchered if they die at the hands of an enemy. The waking time also only lasts
for one day and one night.

Bagungon

Family, friends, and neighbors assist with a two- or three-day wake. "Banggon" describes it. Until
the burial, ricefield operations, "kaingin," and others are halted. The bereaved family received
help slaughtering animals, pouring "basis" or sugar cane wine, and preparing meals for the
neighborhood, particularly at night. Friends and neighbors will bring pounded rice, firewood,
cigarettes, and other wake supplies.

The mangalisig ("healer and medium" in the south) or mandadawak/mang-anito (in the north)
sacrifice animals to appease spirits or negative forces during illness. The 10-day vigil over the
dead is currently three days. The widow/widower sits next to the deceased. While crying and
waving an awasiwas (fly switch), the spouse begs the dead not to bring sickness and to have
mercy on the surviving. Other relatives cry but do not sit with the dead. Burials are near the
house, grain store, or rice fields. Concrete family graves are common. During the year of
mourning, close relatives of the deceased cannot eat certain foods. Widows and widowers
cannot remarry during this period. A feast with slain animals, wine, music, and kolias marks the
end of sadness.
 ACTIVITY 1: MODIFIED TRUE OR FALSE.

INSTRUCTION: Read each statement carefully. Write KALINGA if the statement is correct and ILOCANO
if it is incorrect and underline the word/phrase that makes the statement

____1. The Kalinga believes that infants attract evil spirits. Therefore, the first 14 months of life are characterized
by rites known as kontad (northern Kalinga) or kontid (southern Kalinga), which safeguard young infants
from bad spirits.
____2. During sickness, the mangalisig ("healer and medium" in the south) or mandadawak/mang-anito
(in the north) provide animal sacrifices to appease the spirits of the dead or evil forces.

____3. During the year-long mourning period, the dead's closest relatives are prohibited from consuming
particular foods. Widows and widowers are prohibited from remarrying within this time frame.
____ 4. The Kalinga practice lagud, a kind of prayer to nature gods. Nature deities preserve and inhabit nature,
which includes woods, wild animals, birds, rivers, streams, and mountains. Before taking anything from
the natural world, everyone must obtain permission from these spirits and be thanked. Otherwise, the
perpetrators would be afflicted with disease or death.
____5. Traditional Kalinga rites sometimes involve chanting and the performance of musical ensembles led by the
mang-anito or mandadawak. Four versions exist for these rituals: the dawak, which is the most significant, the
alisag, the sis-siwa, and the ngato.

ACTIVITY 2: ESSAY (3 points each)

Instruction: Read and analyze what is being asked in each item. Answer it precisely.

1. From the beliefs and practices above, what are the Kalinga cultures you observed and witnessed?
being practiced up until today? How were these practices and beliefs maintained or sustained by
the Kalinga people?
2. What are the beliefs and traditions above you observe and witness not being practice today?
Why is it not being practiced? Explain and give examples.
3. How has the conversion of the Kalinga to Christianity discouraged their beliefs and behaviors?
Explain and cite some examples.
4. What will you do if your ancestors are pagan and want you to inherit their practices and
traditions? Why?
5. If you are a Christian, what are your reactions to Kalinga's different cultures, beliefs, and practices?

ACTIVITY 3: Essay – 5 points each

INSTRUCTION: Read and analyze what is being asked in each item. Answer them properly.

1. Give an example of “Paniyaw” or its equivalent practices in other provinces of the Cordillera.
Cite a situation to support your answer.
2. Give a situation where “Ngilin” is applied. Explain the beliefs or reasons why it is needed.
3. What are the positive impacts of the “Fa-in/Bain” core values of i-Kalingas? You may cite
some rewards received by i-Kalingas to support your answer.
 PERFORMANCE ACTIVITY 1: EXPLORING
THE ANCESTOR'S MIND

INSTRUCTION: Establish an interview questionnaire and interview an old aged individual in

your respective community or barangay about their practices and traditions when they were still
young or living with their ancestors or parents and their perception of today's culture and practices.
Note: a permission letter must be created to be signed by the interviewee. Use the rubric below
in accomplishing the task.

Subject Content Creativity Accuracy

5% 10% 5% 5%
Relevance of the Substantial, clear and Personal touches on Instructions are
output with the theme meaningful message the output. followed properly
or with the given Uniqueness Organized and
subject. clean.

Teaching Strategies:
a. Cove learning
b. Peer partnering
c. Scaffolding Questions
d. Oral Recitations
e. Inquiry – based Learning

UNIT 3 – TECHNOLOGICAL
LESSON 2 – LAND AND BIODIVERSITY AND NATURAL RESOURCE MANAGEMENT
A. Description and Scope of Each topic

The Imong system's IKSP for agriculture, forestry, and natural resource management was the
primary focus of the discussion. It is further outlined the Imong customs of the inhabitants in the
province of Kalinga.

In the cultural history of people of Kalinga, the existing Indigenous Knowledge, System and
Practices (IKSPs) have been observed to have greatly influenced the way of life of these
people. The Indigenous Practices still pervade today because they embody desirable values
that are worth cherishing in showcasing the cultural Knowledge, System and identity and integrity
of the Kalinga.

Learning Outcomes
a. Identify the different imong system practices of the Ikalinga.
b. Value the Imong system and practices of the Ikalinga.
c. Demonstrate selected Imong practices in the imong system .

Teaching Strategies:
a. Cooperative learning
b. Peer partnering
c. Scaffolding Questions
d. Oral Recitations
e. Inquiry – based Learning
Lesson Content and Discussion

IMONG SYSTEM

The Imong is a forest lot or a communal forest area that is owned and managed by an
individualor
family usually as an inheritance from another generation. The passing on of ownership
and management in the past explains the various utilization of the Imong.

The imong demonstrates holistic and integrated indigenous forest (orchard)

management. It is used as a watershed to sustain vegetation, productive rice cultivation,
and other livelihood activities. It is also
used for ecological conservation through biodiversity protection and forest regeneration which
are all prescribed by the traditional harmonious relationship of the earthly and supernatural
word of Kalinga.

In the Imong, one finds big hardwood trees for housing construction, soft trees for making coffins, trees
for firewood, fruit trees(indigenous fruit-bearing trees), and water-producing trees like tabfog, alimit ,and
sabrang.

One can also find bamboo trees that are used for building houses and making baskets, tiger grass for
making brooms, coconut trees for lumber and brooms, rattan and anos (wild bamboo trees) for weaving
baskets, and buwa trees(betel nut) whose fruits are utilized for an addictive chewing habit called moma
in
the Kalinga Dialect.

Somewhere in a flat area within the forest lot is a sikay, a small makeshift resting area. Its post is made
of hardwood; the mountainside wall is made of piled stones and the three other walls are made up of
hardwood, too. Inside the sikay is a Charpong for cooking and a bed made-up of hardwood. Its roofing
is galvanized iron tightly held by nails.

Below the trees is a small grazing area with a watering hole for the carabao (water buffalo) to prevent
the animal from going astray. Alongside the planted trees, an open
fertile area may be utilized for planting agricultural crops for
supplementary food consumption. At the
base of the big trees is a small
water spring which is maintained as a
source of potable drinking water for the
caretaker and for animals
like carabao, birds, mutit (wild cats), and
lizards. Wildflowers and flowering trees
are also protected as
sources of food and nutrition for
butterflies and other flower-eating wild
insects and birds.

To the people of Kalinga, sustaining the

forest is the bedrock of life of abundance. This is their living
traditional belief concretized by practice passed from generation to
generation.

In their beliefs, the forest is a beautiful and necessary part of

nature. Nature is the giver of abundant life.Although nobody ever
claimed to have seen on conversed with Kabunyan, the people of Kalinga accept with
conviction the existence of a supreme being.

The existence of Kabunyan is evident in the countless legends, ritual myths, and otherstories when
He among the people in the ancient past, teachingthem what they needed to know about life and how
to live in nature’s abundance. In the past, Kabunyan walked among men in this world as the supreme
teacher who taught, by concrete deeds and action, everything that man must know and do.
The teaching of Kabunyan is anchored on spiritual necessary for the people’s relationship with
nature. Kabunyan further taught the rituals which give meaning, value, and productivity to people’s
labor.This would explain why the people of Kalinga regard Kabunyan as the supreme exemplar of
the human, moral and religious man who created the beautiful world.

CULTURAL BELIEFS ON THE IMPORTANCE OF FORESTS

The people of Kalinga do not feel alone in this world because they have close affinity with
their environment, particularly with their forests when Kabunyan taught them to take good care of
these in order to sustain them as sources of abundant life. The people of Kallinga also believe in
nature deities and spirits. They inhabit the forest, river banks, brooks, swamps, pathways, and
trees. They own the wild animals that live in the forests and mountains. When a hunter, for example,
catches a deer or a boar, he must not forget to ask permission first and pray to these nature spirits so
he would be given a good catch. Moreover, when one wishes to drink from mountain spring, he must
first announce his intention because if he does not do this, he might bump a nature spirit drinking from
the spring. Such an encounter will results in one’s getting sick.

The dependence on the forests is seen in how one needs forest products for nutrition, clothing,
medicine and other needs. Man also utilizes the forest products for constructing his houses and other
dwelings, for his tools and utensils,and for his livelihood needs. In short, man needs the forest for
everything, as everything is connected to the forest.

There are some benefits of taking care of the forest which are showcased in Municipality of Tinglayan
culture of the Imong system.

Beliefs

Sangasang (scared forest area)

It is believed that there are portions of the forest that re owned by spirits and are considered
sacred areas. Cutting trees in these area or throwing stones over these areas or burning them
would bring disaster to the village community or sickness anddeath to the individual offender
or his family.
Sokob(burning).
Burning the Imong would bring pestilence when animals smell the poison smoke coming
from the burning forest. Even intermittent coughing among children and adults are believed
to be inflicted by this poison smoke.
Akaw (stealing).
It is believed that cutting trees or havesting some imong resources of others will impoverish
the thief. He and his family will have to bear living with no economic improvements at all.
Ichaw ( a small grayish feathered and black-billed omen bird).
When the owner of an imong starts traveling towards his land and it is intercepted by
this omen bird, he has to determine the meaning of the omen or analyze the signs that are
by the Ichaw. If the trill of the bird is very soft or it crosses one’s path in an ascending direction,
it is a warning not to proceed. On the other hand, if it intercepts one’s path descending from the
top of the hill towards the traveler, this is a favorable sign. If the bird sounds like it is giggling,
this is also a good sign.
Urog(snake)
This animal also bears omen. When it crosses your way with slow movements, it means
you must turn back. In any case, whatever its movement, the snake is a traitor. If you
continue your journey, something bad will befall you.
Utot (wild rat)
This animal is similar to a snake. It is believed that the utot is a plant destroyer and
voracious eater of produce. If you ignore its sign and proceed to your imong, some of your
plants will wither without explanation.
Ap-appuling (appeasement ritual).
This ritual is performed either to give thanks for productive work day (when nothing bad
happened during the day) or to counter bad omens. The ritual requires butchering a native
pig or native chicken as offering. Small slices of the meat maybe brought to the places where
the bad omen was experienced. In this way, the person
Angilit(smelly smoke)
When butchering a native pig or a native chicken, you have to prepare them and clean them
by burning their skins so that the unseen spirits can smell them and be pleased by the rituals
being performed. It is believed that the native animals are ideal for rituals because they are
considered “clean”, meaning, they do not eat commercial feeds. Therefore, the smell of their
smoked skins is pleasing to the Gods.
Tuping (stonewalling)
Constructing stonewalls along the imong perimeters controls erosions. The tuping can also
serve as a permanent fence. Preparation of the tuping requires ingenuity in the careful
selection of the types and sizes of stones, skills in the accurate piling of stones, and
knowledge in determining the foundation base of the stone walls.
Torfa (clearing)
Clearing the debris and undesirable bigger trees that obstruct the growth of seedlings and
small trees are usually done with bolos and axes.
Fo-a (ridging)
This involves making horizontal parallel ridges from top to bottom of the sloping area,
resembling several layers of steps. These ridges serve as traps for small amounts of surface
soil that are prone to erosion.
A-ang (fire boundary)
Making fire lines along forest perimeters protects trees and other forest resources from fires.
Mammura asin (replenishment)
This refers to replenishing harvested trees or those felled by strong winds and erosions caused
by natural calamities.
Alimit,sobrang, Tabfog(required fruit-trees for planting)
Sustained planting of indigenous fruit and water-producing trees. Coffee trees and commercial
trees are not advisable for planting.
Poranak (seedlings)
This refers to the careful selection of seedling to plant in the imong. The search for such
seedlings require the performance of a ritual to find the best seedlings.
Apa (unwritten ordinance)
This is the local term for an oral agreement among the elders of a certain tribe and the people
living in the community prohibiting anybody to destroy the imong. This agreement is sealed
by eating and drinking together.
Amma-am na ayu(selective cutting of trees)
These are carefully gathered for firewood, lumber, constructing houses, and softwood
for utensil making. Desirable trees are preserved and left untouched for other uses especially
if they are seed-bearing trees.
Fosat (surface clearing)
This refers to the cutting of thick bushes and wild vines that have grown out of negligence
in the imong.
Kaat(weed clearing)
Weeding the soil for productive vegetation.
Ponpon (weed piling)
Cleared weeds piled together in an open area to dry for a few days. When completely dried,
they are used as organic fertilizers for vegetable gardening.

RICE PRODUCTION IS DEPENDENT ON THE WATER

COMING FROM THE SPRING IN THE IMONG
SYSTEM.

Pachanum(water irrigation)
Water is a very important aspect in the
rice production of the Y-kalinga farmer. The
ara’(irrigation canal) holds and makes water
supply steady in the rice field plot. The water
comes from a pongod(water source from an
upper stream).
Manka-at (clearing)
Clearing the rice field plot using the lanchu
’(a hook-like tool with a wooden handle and an
iron head axe) to cut , to dig and to uproot
flowering weeds which are then piled and dried as compost to serve as organic fertilizers. Clearing is
done during summer that is why the mankaka-at (one doing the clearing) covers her head with a
piece of cloth or fresh big leaves (i.e. banana leaves or anahaw leaves) to deflect the heat of the
summer sun.
Charno’ (plowing)
This is done by using carabaos guided by the farmer to furrow the soil.
Man-iki (foot levelling)
A farmer uswes stick to keep his balance with his feet to level the field. This prepares the
rice plot for equal distribution of water.
Manfilag (drying)
Harvested onoy rice is dried in the field for two to three days to lessen the weight of the
harveste rice grains when transported from the field to the storage house or arang
(rice granary)
Assiw(transporting the harvested rice by caravan or group carrying)
This is done by using the kimata (a bamboo pole) for men, and the rangay(a spacious rattan
basket) or basin for women. In the absence of kimata,men resort to the use of sacks.
Arang (rice granary)
A storage for the harvested rice made ofthick hard poe wooden plank constructed without
the use of nails. An old man performs a ritual where chicken blood is sprinkled or splattered
all over the storage house to prevent rat infestations.
Manponpon (storing)
Dried harvested unoy is carefully stored in the arang foe long-lasting consumption.
Mansapilat (re-drying)
Re-drying the rice in the indigenous way befor pounding or milling.
Manfaju (milling or pounding rice)
This includes skills in a man-a-an(threshing) to separate the rice grains from the rice husks
using the losong(a wooden mortar) and an ar-u(a hard wood thistle)
Mana-an (threshing)
Separating the rice grains from the rice husk.
Mantopa (winnowing)
Removing of rice husks from the grains.
Man-us-or (pounding)
Removing the cover of the rice grain.
Manchog-as(re-winnowing)
Refining the rice grains to make them ready for cooking.
Self-check (Evaluation)

ACTIVITY 1: DRAW AND TELL

Design or establish a poster illustrating the importance of the Imong System. Then at the
back of your poster, establish an explanation of it. Check the rubric below .
Subject Content Creativity Accuracy
5% 10% 5% 5%
Relevance of the output Substantial, clear and Personal touches on the Instructions are
with the theme or with meaningful message. output. Uniqueness. followed properly.
the given subject. Organized and clean.

ACTIVITY 2: ROLE PLAYING

Perform the Imong Practices by group. Follow the Rubrics below.

Category 4 3 2 1

Content 40% Offer creative Role play is in Somewhat off- The role play is
new insights topic but topic. completely off-topic.
missing some
creativity
insights
Roles (20%) Member of the Everyone of the Spend more Failed to stay in
group took the group stayed in time preparing character.
role seriously. character, but for how the
some members characters
didn’t seem to might think or
really be “into” act.
character
Preparations 20% Everything went Group obviously Reading lines Group used the
very smoothly spent some from script. preparation time for
time preparing something else.
for the role-
playing.
Overall impressions (20%) Presentation was Good Keep working Much better work
entertaining and next time
informative

UNIT 4 – POLITICAL FEATURE

LESSON 1 – INDIGENOUS GOVERNANCE, LAWS, AND SOCIAL JUSTICE
Bodong refers to the 'peace accord' or peace council used in the northern Philippine
province of Kalinga. It is a socio-cultural and economic institution founded and
carefully established over the centuries out of a need for collective security. It is the
basis for viable binding communities that sprang from their earnest desire to live in
peace and social security and the belief that they will progress toward economic
success and social stability if peace is achieved.
 Learning Outcomes

At the end of the unit, you are expected to:

1. Identify the basis of Bodong's establishment.
2. Discuss the Bodong and its essential to the Kalinga people.
3. Construct a scenario highlighting how Bodong is employed in tribal conflict.
4. Write a reflection or reaction paper about the significance of the different Kalinga
cultures.
5. Understand and appreciate the indigenous way or manner of handling or settling
disputes and the peace process

Teaching Strategies:
a. Cooperative learning
b. Peer partnering
c. Scaffolding Questions
d. Oral Recitations
e. Inquiry – based Learning
f. Workshops on Research
g. Module Making

CONTENT

A. INDIGENOUS GOVERNANCE – THE BODONG SYSTEM

1. The BODONG

The Kalingas, up to the present, maintain and actively practice the

indigenous system of governance-the Bodong translated as “Peace Pact”.
It is a bilateral agreement between two tribes, sub-tribes, or ili/villages.
It is aform of governance or an institution that defines inter-villages
relationships to promote peaceful co-existence with one another.
Practiced for generations, the Bodong is as old as the memory of
every Kalinga, ingrained and interwoven in their social and material culture
as their way of life. There are no available historical documents that will tell us how
the Bodong started when it started, and who started it.
What is common in all research works is that Bodongs were established aimed at:
●Promoting social security
●Enhancing economic stability
●Preserving cultural heritage
There are 46 sub-tribes in Kalinga (NCIP records) and all these sub-tribes have an established
Bodong with each other. Now it expanded to some parts of Mt. Province, Abra, and Apayao.

2. Basic Principles of the Bodong

 The bodong system adheres to the rule of law. It does not contradict but
complements
 It is based on the customs, traditions, norms, and beliefs of the people
 It is a restorative form of justice. Repairing the harm and rebuilding/restoring
relationships
 Decision-making involves the community through the council of elders
(conflict resolution)
 Crime is not only against a person but against the community.
 The offender’s culpability attaches to the family and community.
3. ELEMENTS OF THE BODONG

BUGIS/PIGLIS – Territorial jurisdiction of an ili defines by natural marks.

Defines the village’s territorial domain with all its attributes. Everything that is found
in the domain and underneath the land belongs to the ili/village, which includes all
lands and natural resources owned, occupied, and possessed since time
immemorialby the members of the ili/village, by themselves or through their
ancestors, communally or individually by their customs and traditions. Any
encroachment of any part of Bugis by other village/s is a violation of the Bodong.
 PAGTA – The Law of the bodong.

This is an unwritten covenant that contains the terms and conditions of

the Bodong. It expresses the common aspirations and ideals of all those
who are covered by the bodong. It contains specific provisions and
corresponding penalties for violation of such. It defines the dos’
and don’ts affect the relationships of both parties.

 BINDONGAN/BINODNGAN – people covered by the bodong

Members/people of the ili/village are covered by the Bodong and cloth with
all the protection of the bodong. A binodngan is accorded equal rights
by the bodong and corresponding responsibilities.
 POLITICAL STRUCTURE – Bodong holders and elders
 The administration of the justice system in the Bodong is through the
bodong holders and community elders. They facilitate the decision-making
and decide in all cases relative to the Bodong.
 The role of the Mansasakusak (Mediators) from neutral tribes is very important
 in settling cases.
4. HOW IS THE BODONG DONE?
 Preliminary Steps
SIPAT. The sipat is executed through an allasiw or exchange of weapons (bolo, spear,
head axe).
The sipat is done in two instances:
 It is planned on purpose between two hostile villages. Through the help of a
“mansasakusak” who comes from a neutral place/tribe and with permission
from the party of the offender will facilitate the sipat. When the sipat is consummated
there is no cessation of hostilities.
 Some Bodongs were done because of friendship. Two friends of different tribes can
execute a sipat to initiate the Bodong between their respective tribe/s.

The person who holds the sipat may not necessarily be the Bodong Holder. The prospais,
the sipat holder will go to his village and announce that he got the sipat from another tribe/ili.
The community through the elders will discuss and choose the person to hold the Bodong.
  FormaL Bodong Celebration.
 Surdip/singlip. Normally, only the Bodong Holder and his clan members and
some elders will join the singlip.
 Inom/Lonok. Grand celebration. Means entering a village and mass. Lonok is
the term commonly used in Northern Kalinga areas while Inom is the term used
by southern Kalinga. Depending on the agreement of the two Bodong Holders they
will alternately host the activity.

Processes of the Lonok

Generally, the celebration starts with the opening of the wine. Before the opening of
the wine money is placed on top of the cover of the jar. An elder will do the opening
through prayer and sip the wine, after which he will announce ta-ug de bayas to all in
attendanceThe Page (BY-LAWS of the Bodong) will be discussed and finalized and
adopted and announced.

During the discussion elders from both ili, will alternately talk. In cases of the restoration
of severed bodong because of patoy the multa and other obligations are included in the
discussion.
5. Processes
 Merrymaking - The grand celebration through Tadok/Pattong, Tupayya, singing
Salidummay, and other tunes, like Ullalim, Uggayam, etc.
 The Tumangad - Drinking of the wine and narration of deeds
 Linay and Atod - The linay is the money given to the visiting Kabodong and the
Atod is any items, goods, fruits, or products given by the members of the host ili

During the celebration, the moderator of the whole activity is an elder from the host ili.
When a Bodong is consummated there are always bodong Holders chosen by the community.
They are the people responsible to see to it that the bodong is respected and followed.

6. Qualities of a Bodong Holder

 Highly respected by the community
 Possesses the wisdom of a leader, Honest, with integrity
 Economically stable Belonging to a big family/clan
7. General Parts of the Pagta
 Bugis/Piglis. The territorial jurisdiction of an ili/village
 Principles and Policies of the bodong
 Nangdon Si bodong – Bodong Holder
  Binodngan/Bindongan – citizens under the bodong
 Rights of the Binodngan/Bindongan
 Specific Crimes and Penalties

8. Some Practices of Sustaining the Bodong

 Dornat/Chernat/Jornat. Warming-up so that the bodong will not be idle. An occasion to
remind everyone that the bodong is still intact and to discuss amendments if any.
 Bogga/Fogka – When one of the Bodong Holders dies, the Kasupang shall be called to
attend the wake. This practice requires a ritual (Atod, akbong, linay, pasiwat)
 Galigad. When any of the Bodong holders dies, the responsibility will be transferred,
traditionally to the heirs or any of the community people selected by the elders.
 Umila. When any of the Kasupang is sick the kabodong will visit the sick one.

ACTIVITY 1: MODIFIED TRUE OR

FALSE

INSTRUCTION: Read each statement carefully. Write KALINGA if the statement

is incorrect, and ILOCANO if it is incorrect and underline the word/phrase that makes
the statement incorrect (2 points each).
_____1. The pagta is similar to the international treaties, in that it has provisions, constitutions, and
by-laws, that includes, territory, people and government which are covered by the terms
and conditions of the "pagta".
_____2. A peace pact holder is selected by the pagta (tribal chiefs) of tribes having a peace
agreement and agreeing to associate with one another. It often occurs in huge gatherings
between two communities that have familial links and the same geographic region.
_____3. One special feature of the "bodong" is that in order for the holder to be able to protect
the members of the other tribe, the holder must be informed whenever one or two people
enter the other one's territory. If the peace pact holder is not informed, any assistance to the
visitor may be denied and he will have problems leaving the barrio.
____4.The Bodong system is being employed to reunite tribes that had been separated by
unordered administrative and social boundaries and, most importantly, to protect or preserve
the rich natural reserves within their territory that had been exploited and depleted by
inconsiderate outsiders for many years.
____5. Once bodong provisions are broken, or an intergroup battle breaks out, the treaty holder
must be able to resolve disagreements peacefully. Under the ancient pagta, one of their
responsibilities was to murder a tribesman who killed a kabodong (a member of a friendly
tribe).

ACTIVITY 2 ESSAY (3 Points each )

Instruction: Read and analyze what is being asked in each item. Answer it precisely.
1. Explain why Bodong was established?
2. What would happen if Bodong was not established? Provide examples.
3. Do you think Bodong has disadvantages or can also bring harm? How or in
what way?
4. How Bodong is the same and different from our state laws or policies in terms of
solving conflicts? Explain.
5. Cite at least two examples or scenarios wherein Bodong can be employed.
Explain how these needed a peace pact.
 ACTIVITY 3. CREATE AND SOLVE ME

Establish a scenario wherein it highlights the concept of tribal war. It can be in the
form of drawing, story-telling, a written story, a powerpoint presentation, etc. Then,
discuss how Bodong plays its part particularly its step-by-step process. Check the
rubric below.

Subject Content Creativity Accuracy

(10) (10) (5) (5)

Relevance of the Substantial, Personal touches Instructions are

output with the precise, and on the output. followed properly.
theme or with the meaningful Uniqueness. Organized and
given subject. message. clean.

ACTIVITY: DRAW AND TELL

Design or establish a poster illustrating the importance of Bodong in Kalinga. Then at

the back of your poster, establish an explanation of it. Check the rubric below.

Subject Content Creativity Accuracy

(5) (10) (5) (5)

Relevance of the Subst ntial, clear Personal touches Instructions are

output with the and meaningful on the output. followed properly.
theme or with the message. Uniqueness. Organized and
given subject. clean.

ACTIVITY 5. REFLECTION PAPER: MIRRORING YOUR MIND

Make a reflection or reaction paper about the significance of Bodong to the Kalinga
people. Check the rubric below.

Comprehension Organization and Language and Form Evidence

10% Cohesion
10% 5% 5%
Demonstrate clear Present ideas in a Ideas are presented Present relevant
and correct logical structure that clearly using vocabulary academic
understanding of shows the specific to the academic information
the lesson. relationship between topic. If errors in accurately. Well
ideas. conventions are present, supported with
they do not interfere with arguments, and
meaning. This includes examples.
grammar, spelling,
syntax.
 POST - TEST

NSTRUCTION: Read each item carefully and write the letter of your choice in the space before
each number.

______ 1. In Ontad, one of the Kalinga cultures, a newborn baby will be welcomed by
butchering a hen and a rooster. The family will be staying at home. In what day will a
pig be butchered and shared with the whole community?
a. 18th-day
b. 12th-day
c. 10th-day
d. 8th day

______ 2. The following are the traditional Kalinga universe's five cosmic regions except:
a. Dola
b. Ngato
c. Luta
d. Lay-aw

______ 4. This practice describes how local tribes deconstruct a home or rice granary
and carry all the materials to a new location. At least a day or two before the action,
the owner makes an announcement (Angay), so-ob, botad, apos
a. Angay
b. So-ob
c. Botad
d. Apos

______ 5. The following are the four major phases of the Kalinga life cycle except:
a. Birth
b. Adolescence
c. Marriage
d. Death

REFERENCES

ONLINE REFERENCE

1.Social and Cultural: The Traditional Practices in Kalinga - Virily Culture and
Practices: The Kalinga Ethos - Virily

2. https://www.icbe.eu/cordillera-rituals-as-a-way-of-life/955-keeping-the-kalinga-heritagealive-in-
rituals
3. Tabuk City, Kalinga | Into the Valley of Adventures - Travel Trilogy
4. The Kalinga Tribe of the Philippines: History, Culture, Customs and ....
https://www.yodisphere.com/2022/09/Kalinga-Tribe-Culture.html
5. https://philippineculturaleducation.com.ph/bodong/
6. Effectiveness of Bodong as an Alternative Dispute Resolution: A Glimpse of Kalingas'
Peace
Framework
7. Rudolf T. Vecaldo , Romeo C. Clemente , Agustin Y. Tamangen (2015). Effectiveness of
Bodong as an
8. Alternative Dispute Resolution: A Glimpse of Kalingas' Peace Framework. Sociology
and Anthropology, 3(3), 145 - 152. DOI: 10.13189/sa.2015.030301
9. BODONG IN LOWER KALINGA: A STRATEGY OF PEACE AND JUSTICE SYSTEM
https://garph.co.uk/IJARMSS/Dec2017/7.pdf
10. The Native Kalinga Method of Maintaining Peace Bodong
11.https://www.academia.edu/35833102/The_Native_Kalinga_Method_of_Maintaining_Peace
_Bodon g
BOOKS
1. Ngoyohan,S.L,& Fang-asan,M.L.D.( EDS). (2015). Guardian of the forest, steward of
theland: Environmental conservation Practices of the Cordilleras. Cordillera
Administrative Region Association of State Universities and Colleges.

2. Jonathan Best (Sept. 2022) The Kalinga Tribe of the Philippines: History, Culture, Customs
and Tradition
[Indigenous People | Cordillera Ethnic Tribes
3. The Kalinga hilltribe of the Philippines. 1st Edition Miguel Sugguiyao

4. The Living Indigenous Songs and Dances of Bangad, Tinglayan, 2009. Mary. Gayyaman