Negritos of Zambales

by William Allan Reed

Music

In their love for music and their skill in dancing Negritos betray other striking Negroid characteristics. Their music is still of the most primitive type, and their instruments are crude. But if their notes are few no fault can be found with the rhythm, the chief requisite for an accompaniment to a dance. Their instruments are various. The simple jew’s-harp cut from a piece of bamboo and the four-holed flutes (called “ban′-sic”) made of mountain cane (figs. 6, 7, [Pl. XLVI]) are very common but do not rise to the dignity of dance instruments. Rarely a bronze gong (fig. 1, [Pl. XLVI]), probably of Chinese make, has made its way into Negrito hands and is highly prized, but these are not numerous—in fact, none was seen in the northern region, but in southern Zambales and Bataan they are occasionally used in dances. The most common instrument is the bamboo violin. (Fig. 2, [Pl. XLVI].) It is easy to make, for the materials are ready at hand. A section of bamboo with a joint at each end and a couple of holes cut in one side furnishes the body. A rude neck with pegs is fastened to one end and three abacá strings of different sizes are attached. Then with a small bow of abacá fiber the instrument is ready for use. No attempt was made to write down the music which was evolved from this instrument. It consisted merely in the constant repetition of four notes, the only variation being an occasional change of key, but it was performed in excellent time.

Rude guitars are occasionally found among the Negritos. They are made of two pieces of wood; one is hollowed out and has a neck carved at one end, and a flat piece is glued to this with gum. These instruments have six strings. If a string breaks or becomes useless it is only a question of cutting down a banana stalk and stripping it for a new one. These guitars and violins are by no means common, though nearly every village possesses one. The ability to play is regarded as an accomplishment. A stringed instrument still more primitive is made from a single section of bamboo, from which two or three fine strips of outer bark are split away in the center but are still attached at the ends. These strips are of different lengths and are held apart from the body and made tight with little wedges. (Figs. 4, 5, [Pl. XLVI].) Another instrument is made by stretching fiber strings over bamboo tubes, different tensions producing different tones. (Figs. 8, 9, [Pl. XLVI].) These simpler instruments are the product of the Negrito’s own brain, but they have probably borrowed the idea of stringed violins and guitars from the Christianized natives.

The Negritos of the entire territory have but two songs, at least so they affirmed, and two were all I heard. Strange as it may seem, at least one of these is found at both the extreme ends of the region. An extended acquaintance with them might, and probably would, reveal more songs, but they are reluctant to sing before white men. One of these songs, called “du-nu-ra,” is a kind of love song. Owing to the extreme embarrassment of the performer I was able to hear it only by going into my tent where I could not see the singer. It consisted of a great many verses—was interminable, in fact.

The second of the two songs was called “tal-bun′.” This is sung on festive occasions, especially when visitors come. The words are improvised to suit the occasion, but the tune and the manner of rendering never vary.

Five or six men, each holding with one hand the flowing end of the breechcloth of the one in front or with the hand on his shoulder and the other hand shading the mouth, walk slowly about a circle in a crouching posture, their eyes always cast on the ground. Presently the leader strikes a note, which he holds as long as possible and which the others take up as soon as he has sounded it. This is kept up a few minutes, different tones being so sounded and drawn out as long as the performers have breath. The movement becomes more rapid until it is nearly a run, when the performers stop abruptly, back a few steps, and proceed as before. After they have about exhausted the gamut of long-drawn “O’s” they sing the words, usually a plea for some favor or gift, being first sung by the leader and repeated after him by the chorus. I did not get the native words of the song I heard, but it was translated to me as follows:

We are singing to the American to show him what we can do; perhaps if we sing well he will give us some rice or some cloth.

The words are repeated over and over, with only the variation of raising or lowering the tone. At intervals all the performers stop and yell at the top of their voices. Sometimes a person on the outside of the circle will take up the strain on a long-held note of the singers. This song also serves for festive occasions, such as weddings. (See [Pl. XLVII].)