The Tinguian: Social, Religious, and Economic Life of a Philippine Tribe

by Fay-Cooper Cole

As soon as the building is over for the day, a jar of basi is carried into the structure, a little of the liquor is poured into bamboo tubes and tied to each of the corner poles. The balance of the liquor is then served to the men who sit in the balaua and play on copper gongs. Next, a bound pig is brought in, and is tied to a post decorated with leaves and vines. Soon the medium appears, and after placing prepared betel-nut and lime on the animal, she squats beside it, dips her fingers into coconut oil, and strokes its side, then later dips a miniature head-axe into the oil, and again strokes the animal, while she repeats a dīam. This is a recital of how in ancient times Kadaklan and Agᴇmᴇn instructed Page 345the Tinguian as to the proper method of celebrating the Sayang ceremony.[33] A little later the pig is removed from the balaua, and its throat is cut, first with a metal blade, but the deep, mortal thrust is made with a bamboo spike. The animal is then singed, but its blood is carefully saved for future use (Plate [XXXIII]). While all this is taking place, the men in the balaua drink basi and sing dalengs in which they praise the liberality of their hosts, tell of the importance of the family, and express hope for their continued prosperity. As they sing, the chief medium goes from one to another of the guests, and after dipping a piece of lead in coconut oil, holds it to their nostrils as a protection against evil. When finally the pig has been singed and scraped, it is again brought into the balaua, and its body is opened by a transverse cut at the throat and two slits lengthwise of its abdomen. The intestines are removed and placed in a tray, but the liver is carefully examined for an omen. If the signs are favorable, the liver is cooked and is cut up, a part is eaten by the old men, and the balance is attached to the corner pole of the spirit structure. The head, one thigh, and two legs are laid on a crossbeam for the spirits, after which the balance of the meat is cooked and served with rice to the guests. That evening many friends gather in the yard to dance da-eng, to drink basi, or to sing daleng. According to tradition, it was formerly the custom to send golden betel-nuts to invite guests whom they wished especially to honor.[34] Nowadays one or more leading men from other villages may be especially invited by being presented with a bit of gold, a golden earring or bead. When such a one arrives at the edge of the yard, he is placed in a chair, is covered with a blanket, and is carried to the center of the dancing space by a number of women singing dīwas (cf. p. 452). At frequent intervals the merry-making is interrupted by one of the mediums who places the talapitap on the ground, puts rice and water on it, and then summons the spirits with the split sticks. Once during the evening, she places eight dishes and two coconut shells of water on the rack. Reaching into one of the dishes which contains rice, she takes out a handful and transfers it, a little at a time, into each of the others, then extracting a few grains from each, she throws it on the ground and sprinkles it with water from the two cups. The remaining rice is returned to the original holder, and the act is repeated eight times. The significance of this seems to be the same as in the Tangpap ceremony, where the life of Page 346the individual is symbolized by the rice, which is only partially taken away and is again returned. The next act is always carried out, but its meaning appears to be lost. The eight dishes are filled with rice, and are placed on the frame together with sixteen coconut shells of water, and eight men and eight women seat themselves on opposite sides. First they eat a little of the food, then taking a small amount in their fingers, they dip it into the water and place it in the mouth of the person opposite.

The fourteenth day is known as Palay-lay—“the seasoning”—and during the next twenty-four hours the people remain quietly in the village while the bamboo used in the balaua “becomes good.”

Next day is one of great activity. The roofing of the balaua is completed, all necessary repairs are made to the dwelling, for dire results would follow should any part of the house break through during the concluding days of the ceremony. The balance of the day is taken up in dancing and in the construction of the following spirit-houses: the Aligang, Balabago, Talagan, Idasan, Balag, Batog, Alalot, Pangkew and Sogayob (cf. pp. 308–311). Also a little bench is built near the hearth, and on it are placed coconut shell cups and drinks for the use of the Igorot spirits who usually come this night.

The evening of this day is known as Lībon—“plenty” or “abundance.” Toward nightfall the mediums, and their helpers enter the dwelling and decorate it in a manner already described for the great ceremonies. Cords cross the room from opposite corners and beneath, where they meet, the medium's mat is spread. On the cords are hung grasses, flowers, girdles, and wreaths of young coconut leaves. When all is ready, a small pig is brought into the room, while the men play frantically on their gongs and drums. On the medium's mat are many articles, alangtīn leaves, a rooster, a branch filled with young betel-nuts, cooked rice moulded into the form of an alligator, but with a wax head and seeds for eyes, a spear, and a bundle of rice straw. Taking up a dish of water, the medium pours a part of it into the pig's ear; then, as the animal shakes its head, she again catches it in the dish. Rolling up a mat, she dips it into the water, and with it touches the heads of all members of the family, for in the same manner that the pig has thrown the water out of its ear, so in a like fashion will illness and misfortune be thrown from all the family who have been sprinkled with it. This act finished, the medium dances before the doors and windows, while she waves the chicken, betel-nuts, or other objects taken from the mat.

At her invitation, the host and his wife join her, but previously they have dressed themselves in good garments, and on their heads and at Page 347their waists they wear girdles and wreaths of alangtīn, or wild grasses. The host is handed a long knife, and is instructed to cut the throat of the pig. His wife takes a rice winnower and a stick, and going to each window strikes the winnower five times, then drops it to the floor, at the same time crying, “Wa-hui.” Next, she strikes a jar of liquor with the winnower, then shakes a coconut shell filled with rice against her abdomen; when finished she is handed a live chicken and again she approaches the jar. Soon she is joined by her husband, armed with a spear and head-axe. As he passes the liquor, he stamps on the ground, while his wife waves the fowl, and all this time the medium continues to sprinkle them with a grass brush dipped in water. No explanation is given for the individual acts, but the purpose of the whole is to drive away sickness, “just as the rooster flaps his wings.” Ten dishes are placed on the spirit mat, and as the medium sings, she touches each one in turn with a split bamboo; after which she piles the dishes up and has the host come and squat over them three times. Another sprinkling with water follows this act, and then the medium swings a bundle of rice and a lighted torch over the head of each member of the family, while she assures them that all evil spirits will now depart.

The guests go down to the yard, where they are served with liquor, and where they dance da-eng and tadek. On all former occasions, the liquor has been served in shell cups, but on this night a sort of pan-pipe, made of bamboo tubes, is filled with liquor. The guest drinks from the lowest of the series, and as he does so, the liquor falls from one to another, so that he really drinks from all at one time. Bamboo tubes attached to poles by means of cords are likewise filled with basi and served to the dancers.

While the others are enjoying themselves, the mediums and the hosts are attending strictly to the business in hand. Dressed in their best garments, the husband and wife go to each one of the spirit houses, and touch them with their feet, a circuit which has to be repeated ten times. Each time as they pass the little porch-like addition, known as sogayob, the mediums sprinkle them with water. When they have completed their task, the mediums spread a mat in front of the pig, which lies below the sogayob, and on it they dance, pausing now and then to give the animal a vicious kick or to throw broken rice over it. And so the night is passed without sleep or rest for any of the principals in the ceremony.

The sixteenth day is Kadaklan,—“the greatest.” Soon after daybreak, the people accompany the medium to the guardian stones near Page 348the gate of the village, and watch her in silence, while she anoints the head of each stone with oil, and places a new yellow bark band around its “neck.” As soon as she finishes, the musicians begin to play vigorously on their gongs and drums, while two old men kill a small pig and collect its blood. The carcass is brought to the medium, who places it beside four dishes, one filled with basi, one with salt, one with vinegar, and the last with the pig's blood. She drinks of the liquor, dips her fingers in coconut oil, and strokes the pig's stomach, after which it is cut up in the usual manner. The liver is studied eagerly, for by the markings on it the fate of the host can be foretold. Should the signs be unfavorable, a chicken will be sacrificed in the hope that the additional offering may induce the spirits to change their verdict; but if the omens are good, the ceremony proceeds without a halt. The intestines and some pieces of meat are placed on the ansi-silit,—a small spirit frame or table near the stones. The host, who has been watching from a distance, is summoned, and is given a piece of the flesh to take back to his house for food, and then the rest of the meat is cooked and served to the guests. But before anything is eaten, the medium places prepared betel-nuts before the stones, mixes blood with rice, and scatters it broadcast, meanwhile calling the spirits from near and far to come and eat, and to go with her to the village, where she is to continue the ceremony. As the company approaches the balaua, the musicians begin to beat on their gongs, while women in the yard pound rice in ceremonial fashion. When they have finished, the family goes up into the balaua and dances to the music of the gongs until the medium bids them stop.

The pig which has been lying in front of the sogayob, and another from the yard, are killed, and are laid side by side near to the balaua in a spot indicated by the medium. She places a bamboo tube of water between them, on their backs she lays several pieces of prepared betel-nut, then strokes their sides with oiled fingers. Her next duty is to sprinkle basi from the jar onto the ground with a small head-axe, at the same time calling the spirits to come and drink. (Plate [XXXIV]). A bundle which has been lying beside the animals is opened, and from it the medium takes a red and yellow headband with chicken feathers attached, and boar's tusk armlets. These she places on the host, then hands him a blanket. Holding the latter in his outstretched arms, as he would do if dancing tadek, he squats repeatedly over a dish of water. As he finishes, the medium takes the tube of water from between the pigs, and pouring a little of it on her hand, she applies it to the abdomen of the man's wife and children. Page 349The animals are now cooked in yard, while a quantity of rice is made ready in the house. During the preparation of the meal, the musicians play incessantly, but as the food is brought out, they cease and join the others in the feast.

It is late in the afternoon before much activity is again manifest. At first a few gather and begin to dance tadek; little by little others come in until by nightfall the yard is full. Basi is served to all, and soon, above the noisy laughter of the crowd, is heard the voice of some leading man singing the daleng. The visitors listen respectfully to the song and to the reply, then resume the music and dancing. After a time a huge fire is built in the yard, and by the flickering light two lines of boys and girls or older people will form to sing and dance the daeng.[35]