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 (Plate [LIV]). 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,[2] but 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 as īming. 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 as da-eng takes place at night, and is carried on to the accompaniment of a song.[3] An 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.
The da-eng is 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 the basi has 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, the tadek, is a part of nearly all gatherings of a social and religious nature. The music for this dance usually is made with three gansas[4] and a drum. The gansas are 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 (Plate [LXXXI, 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 brings basi for 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 (Plate [LXXXI, 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,[5] Page 439joins with others in the dirge which follows a burial, and he and many others will sing together as they dance the da-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.