Figure 20.

Figure 20.Net Needle and Mesh Stick.Net Needle and Mesh Stick.

Net Needle and Mesh Stick.

Manufacture of Pottery.—In nearly every village there are two or three women who make jars and dishes, but the potters of AbangPage 426and Lakub are the only ones whose wares have a wide distribution.

The clay is dampened, and is carefully kneaded with the hands to remove lumps and gravel, and to reduce it to the proper consistency. A handful is taken from the mass, and is roughly modeled with the fingers to form the base of the pot. This is set on a wooden plate which, in turn, is placed in a rice winnower (PlateXXXVI). The plate takes the place of a potter's wheel, for it is turned with the right hand while with the left the woman shapes the clay, and smoothes it off with a dampened cloth. From time to time, she rolls out a coil of clay between the palms of her hands, lays it along the top of the vessel, and works and pinches it in. Further shaping and thinning is done with a wooden paddle and the dampened hand, and then the jar is allowed to dry slightly. Before the drying has progressed far enough to render the sides rigid, a smooth stone is placed inside, and the sides are tapped gently with a paddle until properly thinned and shaped.

After allowing a couple of days for drying, the potter rubs the jar inside and out with smooth stones orlipiseeds, so as to give it an even surface.

When several jars or dishes have been prepared, they are placed in carabao dung or other slow burning material and fired. This generally takes place at night, and the jars are left undisturbed until morning, when they are ready for service. Occasionally resin is rubbed over a jar while it is hot, thus giving it a glazed surface; this, however, is not common, as the resin quickly melts off the cooking utensils, while porous jars are preferred as water containers, since the seepage lowers the temperature of the contents.

Vessels made in Lakub are often decorated with incised patterns (Fig. 22, No. 8), but otherwise the Tinguian ware is plain. Chinese jars are found in every village, and are highly prized, but the native potters do not imitate them in form or decoration. Had Chinese blood or influence ever been strong in the region, we might expect to find the potter's wheel and traces of true glazing, but both are lacking.

Pipe Making.—Both men and women smoke pipes, consisting of a short reed handle and a small bowl. Men are the pipe makers, and often show considerable skill in the decoration of their product.

The common pipe-bowl is of clay, which has been carefully shaped with the fingers and a short bamboo spatula. Designs are incised, and the raised portions are further embellished by the addition of small pieces of brass wire (Fig. 21, Nos. 4–5). The bowls are baked in a slow fire, and the mouthpieces are added.Page 427

A second type of pipe, or cigar holder, is made of bamboo (Fig. 21, Nos. 1–3). Designs are incised in the sides, oil is applied, and the pipe is held in the smoke of burning rice-straw until the lines become permanently blackened (Fig. 22, Nos. 1–3).

Figure 21.Tobacco-pipes.Tobacco-pipes.

Tobacco-pipes.

In recent years, Ilocano jewelers have introduced silver pipes, made from coins. One Tinguian pipe maker has learned the trade, and does a lively business. He has further beautified his product by attaching pendants representing fish (Fig. 21, No. 6). Brass pipes of Igorot origin are sometimes seen, but are not made in this region.

Method of Drying Hides.—Hides of carabao, and sometimes of other animals, are stretched on bamboo frames and are sun-driedPage 428(PlateLV). Later they are placed in water containing tanbark, and are roughly cured. Such leather is used in the manufacture of the back straps used by the weavers, and in making sheathes for knives, but more commonly it is placed on the ground, and on it rice and cotton are beaten out.Page 429

1Cole, The Wild Tribes of Davao District, Mindanao (Field Museum of Natural History, Vol. XII, No. 2, pp. 82–83);HoseandMcDougall, The Pagan Tribes of Borneo, Vol. I, pp. 194–195 (MacMillan and Co., London, 1912);Raffles, History of Java, Vol. I, pp. 192–193;Marsden, History of Sumatra, 3rd edition (London, 1811), p. 181;Ferrais, Burma, p. 105 (Low, Marston and Co., London, 1901);Peal(Journ. Anth. Inst. of Great Britain and Ireland,Vol. XXII, p. 250, also Plate XIV, fig. No. 2).

2Rockhill,T'oung Pao, Vol. XVI, 1915, pp. 268–269;BlairandRobertson,op. cit., Vols. II, p. 116; III, p. 209; IV, p. 74; XXIX, p. 307; XL, p. 48, note; Philippine Census, Vol. I, p. 482 (Washington, 1905).De Morga, Sucesos de las Islas Philipinas (1609), see Hakluyt Soc. edition, pp. 338,et seq.(London, 1868).

3Wanderings in the Great Forests of Borneo (Constable, London, 1904), pp. 282–283. See alsoLow, Sarawak—Its Inhabitants and Productions, pp. 158, 209 (London, 1848).

4Op. cit., Vol. I, pp. 193–194.

5Ratzel, History of Mankind, Vol. I, p. 434;Marsden,op. cit., pp. 173, 181, 347 note.

6Fifth Annual Report of the Mining Bureau of the Philippine Islands, p. 31; Official Catalogue of the Philippine Exhibit, Universal Exposition, p. 231 (St. Louis, 1904).

7BlairandRobertson, The Philippine Islands, Vol. II, pp. 116, 207; Vol. III, pp. 203, 270; Vol. IV, p. 98; Vol. V, p. 145; Vol. VIII, p. 84; Vol. XII, p. 187; Vol. XVI, p. 106.Zuniga, Estadismo (Retana's edition), Vol. II, pp. 41, 94.

8Foreman, The Philippine Islands, p. 361 (London, 1892);Bezemer, Door Nederlandsch Oost-Indië, p. 308 (Groningen, 1906);Skeat,Man, Vol. I. 1901, p. 178;Raffles, History of Java, 2d ed., Vol. I p. 186 (London, 1830);Brendon(Journal of Indian Art and Industry,Vol. X, No. 82, pp. 17,et seq.).

9Weaving in cotton is a recent introduction among the neighboring Bontoc Igorot. Formerly their garments were made of flayed bark, or were woven from local fiber plants. The threads from the latter were spun or twisted on the naked thigh under the palm of the hand. Cf.Jenks, The Bontoc Igorot, p. 113 (Manila, 1905).

10A similar device is used in Burma.

11The same type of wheel is found in Java. SeeMayer, Een Blik in het Javaansche Volksleven, Vol. II, p. 469 (Leiden, 1897).

12A similar warp winder is described for Bombay (Brendon,Journal of Indian Art and Industry, Vol. X, No. 82, 1903, pp. 17,et seq.).

13For the distribution of this semi-girdle or back strap, seeLing Roth, Studies in Primitive Looms (Journal Royal Anthrop. Inst., Vol. XLVI, 1916, pp. 294, 299).

14These are:alīnau(Grewia multifloraJuss.);babaket(Helicteres hirsutaLour.);laynai—a large tree, unidentified;lapnek(Abromasp.)ka'a-ka'ag, an unidentified shrub;losoban(grewia);pakak, unidentified;anabo(Hibiscus pungensRoxb.);bangal(Sterculia foctidaL.);saloyot(Corchoeus olitoriusL.)labtang(Anamirta cocculus);atis(Anona squamosaL.);alagak(anona);maling-kapas(Ceiba pentandraGaertn.);betninganddaldalopang, unidentified;maguey(Agave cantulaRoxb.);bayog—a variety of bamboo.

15It is not essential that the oil be applied, and oftentimes whole sections are colored before being split.

16Fromkáwat, the twisting of vines about a tree.

17This is the Arnatto dye, an American plant.Watt, Dictionary, Vol. I, p. 454.

In decorative art the Tinguian offers sharp contrast to the Igorot and Ifugao, both of whom have developed wood carving to a considerable extent. They also have their bodies tattooed, while the colored lashings on spear shafts, pipe stems, and other objects show a nice appreciation for color and design. In all these the Tinguian is deficient or lacking; he does no wood carving, tattooing is scanty, while his basket work, except that from two small regions, is plain. At times he does make some simple designs on canes, on bamboo rice-planters and weaving sticks, on lime boxes and pipe stems, but these are exceptions rather than the rule. In the region about Lakub, he decorates his jars by cutting the ends of sticks to form small dies which he presses into the newly fashioned clay (Fig. 22, No. 8), while in Manabo and some other villages the pipe makers cut the bowls of the clay pipes in floral designs or inlay small pieces of brass to form scroll patterns (Fig. 22, Nos. 4–7). These last mentioned designs are so restricted in their manufacture, and are so different from those found elsewhere in Abra, that they cannot be considered as typical.

The figures incised in bamboo show some realistic motives, such as the fish, birds, and flowers inFig. 23, No. 1; the snake and lizard in No. 2; the man in No. 5; but the strictly geometrical is dominant in nearly every case. Probably the most typical of this class of work is shown in Nos. 3 and 4 andFig. 22, Nos. 1, 2, and 3. It should be noted, however, that, where one decorated object is seen, many more entirely plain will be found. In short, ornamentation is uncommon and of minor importance.

The one place where decoration is dominant is in the weaving, and this is done entirely by the women. Figures24and25show typical designs which occur in the blankets. Except for No. 8 inFig. 24, they do not appear to be copies from nature, but all have realistic interpretations.Fig. 24shows eight designs drawn by native weavers, which are identified as follows:

Page 430

Figure 22.Designs on Pipes and Pottery.Designs on Pipes and Pottery.

Designs on Pipes and Pottery.

Page 431

Figure 23.Decorative Designs.Decorative Designs.

Decorative Designs.

Page 432

Figure 24.Patterns Used in Weaving.Patterns Used in Weaving.

Patterns Used in Weaving.

Page 433

Figure 25.Blanket Designs.Blanket Designs.

Blanket Designs.

Page 434

InFig. 25are five typical patterns taken from blankets, while No. 6 is the ornamental stitching which unites two breadths of cloth, the latter is identified as “fingers and finger nails.” No. 1 is the turtle, No. 2 a crab, No. 3 a rice-mortar, No. 4 the bobbin winder shown inFig. 16, No. 4; No. 5 pineapple.

PlateLXXIis a ceremonial blanket, such as is hung up over the dead. The figures are identified asaa deer,bhorse,ccarabao calf,dman. The textile in PlateLXXII, No. 1 is likewise used chiefly as a ceremonial piece, the designs representingaman,bhorse,cstar.

A very pleasing blanket is shown in PlateLXXII, No. 2 in which the designs are identified as a rice cake, andbas a star, while the whole pattern is known askalayan—the river. The textile in PlateLXXIII, No. 1 imitates a mat, while No. 2 is known askosikos—the circle.

A part of these designs are evidently copies from real objects, others appear to be merely pattern names, while the weavers do not hesitate to borrow any likely patterns which strike their fancy. One quite frequently sees a blanket which shows a “lion,” or some other animal or object, with which the people could only become acquainted through pictures or descriptions from outside sources.

In addition to these designs already mentioned, there are certain common types of decoration effected through weaving or embroidery, for which no explanations are given. They are said to be only “to make pretty.” Among these are the ends of belts and clouts, as shown in PlateLXXIV, or the raised diamond pattern shown in No. 2 of the same Plate, or the plaid effect in colors, which appear in some of the skirts.

It has already been noted (cf. p. 416) that the weaving methods of the Tinguian are similar to those of the Ilocano, and the same is true of a considerable part of the decorative patterns. The Christianized natives have less of the realistic, a greater variety of geometrical designs, and a greater fondness for bright colors, made possible by the use of analine dyes, than the mountaineers.

It seems probable that the Tinguian-Ilocano peoples brought the weaving industry with them into northern Luzon, that the Ilocano branch has borrowed improved methods of manufacture, as well as decorative motives from the people with whom they have been in contact through trade. The Tinguian in turn have borrowed from them, but, in the main, they still retain the more primitive methods of weaving, and it is probable their types of ornamentation likewise approximate more closely those in use in earlier times.Page 435

The dress of the man is the clout (ba-al), either of beaten bark or of cloth, and a woven belt (balikᴇs) in which he keeps small articles (PlatesLXXV–LXXVI). On special occasions he wears a long-sleeved jacket (bado), open in front, and in a few instances, trousers. Both these garments are recent acquisitions, and the latter, in particular, are not in favor, except where Ilocano influence is very strong. The man is not inclined to adorn himself with brass and gold, neither does he use tattooing to any extent, as do his Kalinga and Igorot neighbors. Some have small patterns on an arm or thigh, but these are usually property marks with which he brands his animals or other possessions. Tattooing as an evidence of a successful head-hunt is not found in this region, nor are there other marks or garments to identify the warriors.

The hair is worn long, and is parted straight down the middle; the two strands are twisted, crossed in the back, then carried to the forehead, where they are again crossed, and the ends are fastened by intertwining on each side of the head. A bark band (ayabong) holds the hair in place, but at times it is replaced by a cloth or a narrow ring of interwoven grass and rattan. Round bamboo hats, with low dome-shaped tops, are commonly worn (PlateXLV), but these are sometimes displaced by hats which go to a sharp peak, or by those made of a gourd or of wood.

The woman's hair is parted in the middle, and is combed straight down to the nape of the neck, where it is caught by strings of beads; these are crossed in the back and encircle the head; the strand of hair is then twisted and a loop formed which is carried to the left side, where it is again caught under the beads, near to or above the ear. Most of the Tinguian have luxuriant heads of hair, but, nevertheless, switches are commonly used by both sexes. The hair is often washed with the ashes of rice-straw, or with the bark of thegogotree (Entada purseta), and is moistened with coconut oil.

Strings of beads encircle the women's necks, but the typical ornament consists of strands above strands of beads reaching from the wrist to the elbow, and if the wealth of the owner permits, even covering the upper arm as well (PlateLXXIX). The strands arePage 436fastened tightly above the wrist, causing that portion of the arm to swell. Slits of bamboo are usually placed under the beads, and may be removed if the pain or annoyance of the constriction is too severe. The upper arm beads are removed with little difficulty; but those on the forearm are taken off only once or twice a year, when new threads are substituted, or when the owner is in mourning. Beneath these ornaments a delicate fretwork of blue lines is tattooed, so that the woman's arms may not be white and unsightly when she is without her beads.1

Most of the women have their ears pierced, but in the valley towns only a small proportion wear earrings. In the mountain sections heavy ornaments of gold or copper are worn, the weight often drawing the lobe of the ear far down on the neck.

When at work, the woman discards all clothing from the upper portion of her body, but at other times wears a short-sleeved jacket which reaches to her waist (PlateLXXVII). The waist is cut so low in the neck that the head can pass through. There is no shoulder seam. A straight piece set over the shoulder extends down in square, both front and back, to a line about even with the breast, where it is sewed to the garment proper. A narrow skirt (dingwa), with colored border, extends from the waist to the knees. It is held in place by drawing it tightly and then tucking one corner under the upper edge, or by pressing it beneath the girdle (PlateLXXVIII).

When a girl becomes a woman, she dons a girdle (palingtan) of braided grass or rattan which fits over the hips, and to which a clout is attached (PlateLXXX). As a rule, the girdle and clout are not removed when bathing, as are the other garments.

The woman seldom wears a hat, except when she is working in the fields, where sunshades large enough to protect the entire body are used (PlateLIV). Frequently a cloth or a skirt is twisted about the head as a protection against the sun.

On chilly mornings one often sees the people covered from head to ankles with their sleeping blankets, or a woman may draw a particularly wide skirt about her body just below the armpits so that she is protected from her breasts to the knees.Page 437

The teeth of both sexes are blackened with iron salts and tan bark,2but they are not cut or mutilated, as is common with many Philippine peoples.

While both sexes are proud of heavy heads of hair, they do not look with equal favor on face and body hairs. These are plucked out either by grasping them between a knife blade and the thumb nail, or with a bamboo device known asīming. This consists of a section of bamboo split into several strips at one end. A hair is placed in one end of the slits, and the bamboo is bent into a half circle, causing it to take a firm hold, when it is jerked outwards.

Prized necklaces (paliget) made of small strands of twisted silver wire, are placed on the neck of a corpse, and on some occasions are worn by the living. During dances the hair is adorned with notched chicken feathers attached to sticks, while circlets made of boar's tusks are placed on the arms.

Dances.—Two dances, one ceremonial, the other suitable for all occasions, are very popular.

The ceremonial dance known asda-engtakes place at night, and is carried on to the accompaniment of a song.3An equal number of men and women take part. The women form a line facing a similar row of men, about twenty feet distant. Locking arms about one another's waists and with one foot advanced, they begin to sway their bodies backwards and forwards. Suddenly they burst into song, at the same time stepping forward with the left foot. Keeping perfect time to the music, they take three steps toward the men, then retreat to their original positions. The men then take up the song and in a similar manner advance and retreat. This is repeated several times, after which the two lines join to form a circle. With arms interlocked behind one another's backs, and singing in unison, they begin to move contra-clockwise. The left foot is thrown slightly backward and to the side, and the right is brought quickly up to it, causing a rising and falling of the body. The step, at first slow, becomes faster and faster till the dancers have reached the limit of their vocal and physical powers.

Theda-engis sacred in character, is danced only at night and then under the direction of the mediums. It is, however, in great favor,Page 438and often so many of the younger people wish to take part that double lines, or two or more groups, may be dancing at the same time. It sometimes happens, when thebasihas been flowing freely, that the participants become so boisterous and the pace so fast that spectators are run down or the dancers are piled in a heap, from which they emerge laughing and shouting.

The common dance, thetadek, is a part of nearly all gatherings of a social and religious nature. The music for this dance usually is made with threegansas4and a drum. Thegansasare pressed against the thighs of the players who kneel on the ground. Two of the coppers are beaten with a stick and the palm of the hand, while the third is played by the hands alone (PlateLXXXI, Fig. 2). The stick or left hand gives the initial beat which is followed by three rapid strokes with the right palm. A man and a woman enter the circle, each holding a cloth about the size of a skirt. The man extends his cloth toward the woman, and bringing it suddenly down, causes it to snap, which is the signal to begin. With almost imperceptible movement of the feet and toes and a bending at the knees, he approaches the woman, who in a like manner goes toward him. They pass and continue until at a distance about equal to the start, when they again turn and pass. Occasionally the man will take a few rapid steps toward the woman, with exaggerated high knee action and much stamping of feet, or he will dance backward a few steps. At times the cloth is held at arm's length in front or at the side; again it is wrapped about the waist, the woman always following the actions of the man. At last they meet; the man extends his hand, the woman does likewise, but instead of taking his, she moves her own in a circle about his, avoiding contact. Again they dance away, only returning to repeat the performance. Finally she accepts the proffered hand, the headman bringsbasifor the couple to drink, and the dance is over. The man sometimes ends the dance by the sharp snapping of his cloth, or by putting it on his extended arms and dancing toward the woman, who places her cloth upon his (PlateLXXXI, Fig. 1).

Musical Instruments, Songs, and Dances.—The Tinguian is naturally musical. He sings at his work, he beats time with his head-axe against his shield as he tramps the mountain trails, he chants the stories of long ago as the workers gather about the fires each evening of the dry season, he sings the praises of his host at feasts and festivals,5Page 439joins with others in the dirge which follows a burial, and he and many others will sing together as they dance theda-eng. But his music does not stop with his vocal accomplishments. In the folk-tales the pan pipe (dew-dew-as) occupies a most important place, and to-day the maidens still play them in the evening hours. It is a simple device made of reeds of various lengths lashed together (Fig. 26, No. 1). The player holds the instrument just in front of her lips, and blows into the reeds, meanwhile moving them to and fro, producing a series of low notes without tune.

Another instrument of great importance in the legends is the nose flute (kalaleng). This is a long reed with holes cut in the side, to be stopped by the fingers in producing the notes. The player closes one nostril with a bit of cotton, and then forces the air from the other into a small hole cut in the end of the tube. The instrument is popular with the men, and often one can hear the plaintive note of the nose flute far into the night (PlateLXXXII).

Figure 26.Musical Instruments.Musical Instruments.

Musical Instruments.

The mouth flute (tulali) is similar to that found in civilized lands, but is constructed from a reed.

A peculiar device used solely by the women is thebunkaka(Fig. 26, No. 2). This consists of a bamboo tube with one end cut away soPage 440as to leave only two thin vibrating strips. These, when struck against the palm of the left hand, give out a note which can be changed by placing a finger over the opening at x.

A Jew's harp is constructed like a netting needle, but with a tongue of bamboo cut so that it will vibrate when struck, or when a cord attached to the end is jerked sharply (Fig. 26, No. 3). If made of bamboo, the instrument is known askolibau; if brass,agiweng. It is often mentioned in the tales, and to-day is played by nearly all the men.

Bamboo guitars (kuliteng) are made by cutting narrow strips throughout the length of a section of bamboo, but not detaching them at the ends. They are raised and tuned by inserting small wedges of wood at the ends. Small sections of thin bamboo are sometimes fitted over two strings, and are beaten with sticks, or the strings can be fingered like a guitar (PlateLXXXIII).

Music for dances is furnished by an orchestra consisting of four men, three with copper gongs (gangsas), and one with a drum. The gongs are tambourine shape, with sides about an inch and a half high. They are placed against the thighs of the players who kneel on the ground, and are beaten with a stick and the palm of the hand or by the hands alone.6They doubtless came into this region through trade, but at a time so remote that their origin is now credited to the spirits. The drum (tambor) is made of a short section of a tree hollowed out. The ends are covered with cow's hide or pig's skin.Page 441

1This tattooing is accomplished by mixing oil and the black soot from the bottom of a cooking pot, or the pulverized ashes of blue cloth. The paste is spread over the place to be treated, and is driven in with an instrument consisting of three or four needles set in a piece of bamboo. Sometimes the piercing of the skin is done before the color is applied; the latter is then rubbed in.

2Blackening of the teeth was practised by the Zambal, also in Sumatra and Japan.BlairandRobertson, Vol. XVI, p. 78;Marsden, History of Sumatra, P. 53.

3See pp. 445, 456 for words and music.

4Shallow copper gongs.

5Reyes says that this song,daleng, is similar to thedallotof the Ilocano (Artículos varios, p. 32).

6Similar instruments are used by the Igorot who suspend them free and beat them as they dance.

Introduction.—That the songs might be delivered as nearly as possible at the same pitch which the singers used when making the records, investigation was made as to the usual speed used by manufacturers while recording. It was found to be 160 revolutions per minute. Accordingly the phonograph was carefully set at this speed during transcription.

In determining the keys in which to transcribe the various songs, the pitch-pipe used was that of the “International,” which was adopted at the Vienna Congress in Nov. 1887. This congress established c² = 522 double vibrations per second. All the records proved to be a shade flat by this standard, but were found to be almost exactly in accord with an instrument of fixed pitch, which in turn was found to be approximately eleven beats at variance with the pitch-pipe on c².

Assuming that the recording and transcribing speeds of the machines were the same, this would place the original singing almost exactly in accord with the old “philosophical standard of pitch” which places c² at 512 double vibrations per second. Though the singing was not always in perfect accord with the notes set down in transcriptions, with the exception of those very marked departures especially indicated in the music, the variations were so slight that, so far as true intonation goes, the performances were fully up to the standard of those of the average natural singer.

Special ear tubes were used while transcribing the records, and resort made to a special device wherewith any order of whole, or even part measures could be consecutively played. Thus it was possible to closely compare parts which were similar in either words or music.

In some of the records two or more voices can be distinguished singing in unison. Such unisons are shown in the transcription by single notes. No attempt has been made to indicate the several voices. But when such single notes are shown accompanied by the word “solo,” it is to be understood that all of the performers have dropped out but one, probably the leader. When the voices split up into parts, it is so notated in the music.

Primitive people display more or less timidity in giving their songs for scientific purposes. Such timidity is especially apt to bePage 442manifested in their attacks. In theDa-eng, Girls' Part (Record J), the delayed attack at the beginning of each new verse is very marked. The delay varies considerably from verse to verse, as indicated by the number of beats rest shown at the ends of the lines. Similar pauses are found in the Boys' Part of the same ceremony (see Record A). These beats rest or pauses are not to be taken as part of the legitimate rhythm, for it is more than likely that if the singers were giving their songs in their regular ceremonial and the performers unconscious of observation, these pauses would not occur.

In transcribing those songs which have several verses on the record, the notation has been so arranged on the page that the measures line up vertically, making comparison easy between corresponding measures of the different verses.

To indicate peculiar qualities, special signs are used in connection with the regular musical symbols. The table which follows shows these signs and also lists the qualities for which they stand. Some of these qualities could have been represented by regular musical symbols, but it was thought best to use the special signs to make them stand out more prominently. The qualities thus indicated as well as those which are represented by the regular musical notation will be found listed and defined after the tabulation of qualities.

Unusual qualities and their special signs.Unusual qualities and their special signs.

Unusual qualities and their special signs.

Page 443

Da-EngDa-EngSung while dancing in a religious ceremony. (Boys' part.)

Da-Eng

Sung while dancing in a religious ceremony. (Boys' part.)

Page 444

DiwasDiwasSung at night by the friends of a sick man.Sang-SangitSung during the evening following a funeral.

Diwas

Sung at night by the friends of a sick man.

Sang-Sangit

Sung during the evening following a funeral.

Page 445

DawakDawakThe song of a medium when calling spirits into her (his) body.

Dawak

The song of a medium when calling spirits into her (his) body.

Page 446

Song of a SpiritSong of a SpiritSung by a medium when possessed by a spirit.

Song of a Spirit

Sung by a medium when possessed by a spirit.

Page 447

Song of a SpiritSong of a SpiritSung by a medium when possessed by a spirit.

Song of a Spirit

Sung by a medium when possessed by a spirit.

Page 448

BagoyasBagoyasA song of praise and compliment sung at a feast or party.

Bagoyas

A song of praise and compliment sung at a feast or party.

Page 449

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