Cordillera Dances: Page-by-Page Study Notes

Page 1

  • Topic indicates Dances of the Cordillera region with an emphasis on major classifications. The page lists words/labels in a scattered way: MAIL, ΠΛΟΥ, LOVE, TIVN, MAIL, CORDILLER, MAIL, LOVE, MAJOR CLASSIFICATIONS. This suggests an introductory framing for the Cordillera dance traditions and a focus on grouping or categorizing the dances under major classifications.

  • Key takeaway: The material is setting up an overview of Cordillera dances and their classification rather than detailing a single dance yet.

Page 2

  • Question posed: "WHAT DOES CORDILLERA MEANSS??" (sic)

  • Cordillera’s name is said to have been given by the Spanish conquerors when they first saw the mountain ranges, described as a knotted rope. The phrase suggests a visual metaphor linking the mountain ranges to a knotted rope, with imagery of tied ropes and a sense of rugged, interwoven geography.

  • Notable terms embedded in the text: the concept of a knotted rope and the reaction of early Spaniards to the landscape.

  • Significance: Etymology frames how outsiders historically conceptualized the landscape and its cultural dances as tied to a geographic identity.

  • Numerical reference: the idea of a singular, knotted form is implied rather than quantified; no explicit numeric data beyond the qualitative description.

Page 3

  • Indigenous precursor: Long before the Spaniards, mountain-dwelling indigenous communities had folk dances reflecting worship, celebrations, wars, and everyday life.

  • These dances are described as mountain dances, composed of various mountain tribes.

  • Spaniards called these communities IgOROTs (Igorots).

  • Key concepts:

    • Dances encode multiple social functions (religious, celebratory, martial, daily life).

    • The term Igorots was used by Spaniards to refer to these mountain peoples.

  • Significance: Establishes historical depth and cultural scope of Cordillera dances before colonial influence.

Page 4

  • Function of the dances:

    • Dance to appease ancestors and gods to cure ailments.

    • Conduct successful warlike activities or ward off bad luck, natural calamities, and misfortune.

    • Socialize, convene, and organize, functioning as an outlet for repressed emotions (e.g., happiness, sadness, anger).

    • Promote fertility of harvests and favorable weather; mark milestones in the life cycle.

    • Express feelings, sadness, and anger through movement as an expressive outlet.

  • Cultural significance:

    • Dances serve religious, social, and functional roles (healing, warfare preparation, social cohesion, economic/agricultural optimism).

  • Notable phrases: the text emphasizes the dual role of ritual and socialization, and how dance operates as a mechanism for emotional release and communal welfare.

Page 5

  • Heading: "DANCES IN CORDILLERA". This page appears to function as a sectional header introducing the specific dances discussed in the subsequent pages.

  • Takeaway: It signals a cataloging of Cordillera dances by tribe and form in the pages that follow.

Page 6

  • Tribe: Kalinga

  • Dance: Banga (pots) — a contemporary performance of the Kalinga people from the Mountain Province, Philippines.

  • Visual/props: Heavy earthen pots, as many as seven or eight at a time, balanced on the heads of maidens.

  • Music/beat: The dancers move to the beat of the gangsa (wind chimes/congs) which provides the rhythmic accompaniment.

  • Context/meaning: The dance displays stamina and strength as the women balance the pots during daily tasks (fetching water) and while balancing the banga.

  • Etymology/term: BANGA describes the pot dance.

  • Numerical details: Pots on the head can range from seven to eight at a time. 7extor87 ext{ or }8

  • Significance: Demonstrates balance, grace, and endurance; a cultural depiction of daily life and resource use (water collection) in Kalinga society.

Page 7

  • Origin: Benguet Province, Northern Luzon.

  • Also known as Bendian (often rendered as Bendayan).

  • Description: A circle dance of the Benguet people from Mountain Province; historically used to celebrate the arrival of successful headhunters.

  • Contextual shift: The Bendayan has taken a modern or updated form yet remains faithful to its original context and meaning.

  • Contemporary role: Now part of every Benguet festivity; the dance circles have gradually given way to other formations and interpretations.

  • Etymology/term: Bendayan (Bendayaan/Bendiyan) is the circle dance; Bendayan is the version described here.

  • Significance: Reflects how traditional warlike or achievement-based ritual dances adapt into festive, communal performances while preserving origins.

Page 8

  • Tribe: Bago

  • Dance/scene: The text describes three Bago Tribe roosters competing for the attention of Lady Lien.

  • Visuals/materials: Blankets depicted with colorful plumes are used to attract the female.

  • Conceptual reading: The rooster-styled courtship elements are symbolic of male competition and female selection in courtship rituals, translated into a dance performance.

  • Note: The final term shown (MMAANNMMAANNOOKK) seems to be a transcription artifact; the core content centers on the rooster competition motif and use of blankets for display.

  • Significance: Demonstrates courtship-themed choreography and visual symbolism in Cordillera dance repertoires.

Page 9

  • Tribe: Gaddang

  • Origin: Cagayan Valley.

  • Etymology: Gaddang is linked to the linguistic phonology in the region; the term ga means "heat" and dang means "burned".

  • Language and settlement: The Gaddang language is related to Ilokano; many Gaddang converted to Christianity; those near Christianized Ilokano groups adopted settled agriculture with mixed crops.

  • Subgroups: Small and scattered groups exist in southeastern Kalinga, eastern Bontoc, and Isabela; some retain indigenous religion and swidden agriculture (slash-and-burn farming).

  • Dance theme: The Gaddang imitate birds attracted to tobacco trees.

  • Terminology: TTUURRAAYYEENN appears as a transcription artifact; the core concept is bird imitation in the dance.

  • Significance: Combines agrarian adaptation, religious change, and ecological imagery in dance representation.

Page 10

  • Tribe: Benguet

  • Dance: Two tareketek woodpeckers vie for the attention of three females.

  • Male roles: One male woodpecker bangs on a brass gong to signify a good voice.

  • Female representation: The other woodpecker swishes a colorful blanket representing plumage.

  • Terminology: TTAARREEKKTTEEKK is a transcription artifact; the essential imagery is the competition and display between two male suitors.

  • Significance: Demonstrates animal-kingdom-inspired courtship narrative through rhythm and visual ornamentation, with musical vs. visual display elements.

Page 11

  • Tribe: Ifugao

  • The Ifugao are described as the "children of the earth." The term Ifugao is derived from ipugao meaning "coming from the earth." The Spaniards changed it to Ifugaw (the modern term used for both people and their province).

  • Wedding festival dance: This Ifugao dance is part of a wedding festival and is accompanied by gongs.

  • Social status: It is performed by the affluent to attain the second level of the wealthy class (Kadangyan).

  • Wealth and death: Kadangyan who have performed this dance are entitled to the use of gongs at their death.

  • Term: UYAOY appears as a transcription artifact; the core content concerns social status, wealth, and ritual music in Ifugao weddings.

  • Significance: Connects social stratification, ritual performance, and ceremonial music in Ifugao culture.

Page 12

  • Tribe: Kalinga

  • Dance: Salidsid (the Kalinga courtship dance), performed by a male and female; sometimes called the "cayoo" dance.

  • Opening protocol: The dance starts when each dancer is given a piece of cloth called ayob or allap.

  • Social hierarchy: Usually the most important people in the village dance second after the host has formally opened the occasion.

  • Narrative and meaning: The male imitates a rooster trying to attract a hen; the female imitates a hen being circled by a rooster, reflecting courtship dynamics.

  • Term: SSAALLIISSIIDD is a transcription artifact; core themes are courtship, status, and ritual opening.

  • Significance: Highlights gendered choreography, symbolic animal imagery, and community-centered ceremony in Kalinga dance culture.

Page 13

  • Heading: BASIC STEPS

  • This page functions as an orientation to foundational movement concepts that follow in the subsequent pages.

  • It primes learners for understanding the mechanics of Cordillera dance through step basics.

Page 14

  • Basic Footwork:

    • Close Step: One foot steps to the side, and the other foot closes beside it.

    • Bleking Step: One foot steps forward, and the heel of the other foot is brought toward the instep.

    • Step-Close/Step-Slide-Close: A step is taken, followed by a closing step or a sliding movement to close the gap between the feet.

    • Tip-toe and Kick: Some dances, like the Banga dance, involve a tiptoe stance and kicking motions.

  • Functional note: These steps form the technical basis for many Cordillera dances and support the expression of balance, rhythm, and posture (e.g., Banga).

  • Terminology: The terms appear in the text as basic footwork descriptions; no explicit numerical counts are provided here.

Page 15

  • 2. Arm Movements:

    • Arm movements commonly accompany footwork and can be simple extensions and flexions or involve specific gestures tied to the dance’s theme.

    • Example: In the Banga dance, arm movements are graceful and flowing, complementing the balancing of pots on the head.

    • Other dances may feature raised, lowered, or circular arm patterns that communicate mood, storytelling, or ritual meaning.

  • Significance: Arm gestures are integral to conveying narrative, emotion, and aesthetic balance alongside footwork; they enrich the visual language of the dances.

Page 16

  • Closing: THANK YOU! SEE YOU AGAIN NEXT WEEK!

  • This page serves as a closing reminder for ongoing classes or sessions and reinforces engagement with the material.

연구 요약/Notes:

  • The Cordillera dances described here span several tribes (Kalinga, Benguet, Bago, Gaddang, Ifugao, and others) and illustrate a mix of ritual, courtship, social, and daily-life themes.

  • Recurrent motifs include the use of props (pots, blankets, gongs), animal imagery (roosters and woodpeckers), and group formations (circles, paired duets, and open ceremonies).

  • Structural elements across dances involve a blend of music (gangsa, gongs), movement (footwork, arm patterns), and symbolic narrative (courtship, fertility, wealth, and social hierarchy).

  • Ethical/practical note: When studying or presenting these dances, cultural sensitivity and respect for indigenous meanings are essential; avoid reducing them to merely exotic displays or tourist spectacles. Preservation and accurate representation matter for cultural integrity.

  • Connections to broader principles: Dance as a living archive—embodying history, social structure, environment, spirituality, and daily life; the role of ritual in community resilience; the adaptation of traditional forms into festive and contemporary performances.