DDOOCCUUMMEENNTTIINNGG IIFFUUGGAAOO OORRAALL LLIITTEERRAATTUURREE GGEENNRREESS

Roger Blench Fredeliza Campos

2011

WORLD ORAL LITERATURE PROJECT

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Contents

Disc 1

BANAUE Duration Track 1. Hudhud 20:51 00:05 2. Dogdogwe 02:31 20:56 3. Tongale 00:54 23:08 KIANGAN 4. Baltung 09:24 24:09 5. Hudhud 09:52 33:31 6. Liwliwa 02:40 43:21 7. Folk songs 04:24 46:00 8. SLT 26:37 49:56

Disc 2

MAYOYAO 9. Ergwad 09:32 00:07 10. Pfartung 03:42 09:37 11. Liwliwa 01:49 13:17 12. Folk Song (solo) 01:39 15:05 13. Kubing 01:35 16:43 14. Gong Ensemble (Gopah) 05:27 18:17 ASIPULO 15. Baltung 09:20 23:25 16. Hudhud 10:27 33:43 17. Pungguh ku 00:31 43:09 18. Folk Song (group) 02:08 43:38 19. Tadcheng (gong patterns) 05:42 45:45 20. Tadcheng patterns 08:11 51:18 22. Gong Ensemble (Gopah) 01:09 56:37 21. Gong Ensemble (Dance) 06:22 57:46

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The Philippines and the Cordillera Administrative Region

Northern Luzon and the provinces under the Cordillera Administrative Region, namely, Apayao, Abra, Kalinga, Benguet, Mt. Province, and Ifugao.

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Ifugao Province

Map of Ifugao, divided into 11 municipalities: Tinoc, *Hungduan, *Asipulo, *Banaue, *Kiangan, *Hingyon, *Lagawe, Lamut, *Mayoyao, Aguinaldo, and Alfonso Lista. (*municipalities surveyed during fieldwork)

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INTRODUCTION

The province of Ifugao is located in the northwestern part of Luzon island in the Philippines, with a total land area of 251,778 hectares and a population count of 180,815 (NSO 2007, DENR-CAR 2011). Ifugao is part of the largest and highest mountain range in the country, the Cordillera, and is under the jurisdiction of the Cordillera Administrative Region, together with Abra, Kalinga, Mountain Province and Benguet.

In addition to its prominent terraced agricultural lands, much of the terrain has steep slopes and narrow crests, which makes travelling extremely challenging. Although roads have been developed over the years, many areas in Ifugao are still inaccessible to vehicles, making ethnographic research on lesser known groups and remote communities more difficult. However, in the more developed areas, the Ifugao is a relatively well-studied group.

The province’s history and culture has fascinated a great number of scholars since the early 1900s resulting in an abundant literature. Surprisingly, aside from very few sources, it has been difficult to obtain actual documentation or samples of previous vocal and other musical performances, particularly the analogue recordings.

The video footage presented here was collected between April and June, 2010 in four municipalities of the province. With support from the World Oral Literature Project (WOLP), and in collaboration with Ifugao local historians, leaders, and knowledgeable members of the community, performances

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were organised and documented in their respective areas. Although the collection is not comprehensive, examples of significant and surviving genres were recorded as closely as possible to their current context.

Modernity has split the Ifugao notion of music and performance into two: one shared internally between community members (which are the ones we are archiving here) and those meant to be shown to others, particularly tourists, but also urbanised and culturally dislocated members of the community. These performances feature colourful costumes and are often modified to meet the aesthetic stereotypes of the general public.

Most vocal genres are relatively simple, unaccompanied and delivered antiphonally among male and female groups or in unison with a leader in a Sprechstimme (half-sung, half-spoken) manner. Many Ifugao musical performances and rituals last for very long periods, from hours to days, depending on the occasion. This compilation includes complete segments of performances, but obviously not complete performances.

An important consideration in the study of the music of Ifugao is its intimate association with religious and agricultural life, as well as geography. These values have been rapidly changing over time along with the dynamic forces brought by modernity and the relentless movement of people. World religions, notably the different branches of Christianity, have caused many traditional performers not only to cease performance but even to refuse to discuss it.

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A parallel concern is the rapid deterioration of the rice terraces that lie at the heart of the rich agricultural life of the Ifugao. In 1995, these rice terraces were declared a World Heritage Site by UNESCO, but in 2001 were included in the list of World Heritage Sites in Danger (UNESCO World Heritage Centre 1992-2011). Half of the population of the Ifugao are the youth (under 21 years old) and a combination of subsidised rice imports and labour migration has meant that the essential maintenance of the terraces and associated rituals are no longer performed in many areas.

Another important consideration, and clearly related, is the impact of globalisation. As individuals migrate out, they become further exposed to the modern culture of the Philippines and indeed global musical and performance trends. Cheaper electronic consumer goods and the extension of electricity to ever more remote areas means that traditional performance has to compete with the gloss of mass produced entertainment.

Through the initiatives of the National Commission for Culture and the Arts (NCCA), government funds were allocated to chosen Ifugao municipalities such as Hingyon and Kiangan to organize the School of Living Tradition (SLT) on music and dance for children. This nationwide project primarily aims to preserve indigenous craftsmanship to be passed on to younger generation, to be proliferated and taught to others and ensure its preservation (NCCA-Intangible Heritage Committee 2005). The SLT performances were organized and documented at St. Joseph’s Church in Kiangan and featured chants and dances performed by

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children with ages between 8 and 14 years old. Excerpts from these performances are included to illustrate the style of modern performances for spectators.

This project was conducted to document these vanishing traditions but also to make available a high quality recording for listening and analysis. Although we have tried to present the musical examples as close to their original context as possible, this inevitably involves some compromises. Technological advances and modernity create their own nuances; filming performances without these disruptions means adapting the performance context (Blench and Campos 2010).

VOCAL AND INSTRUMENTAL GENRES

Ifugao oral genres can be categorised by their manner of delivery (sung, spoken and chanted) and by their context of use (ritual and non-ritual). Almost all these genres are purely vocal; instrumental accompaniment is only used for punctuation especially in ritual contexts. The exception to this is the gong ensemble, gangha, which punctuates the vocal sections of genres such as palat.

The typical format of sung and chanted genres is a lead singer or cantor plus chorus; the chorus either has a stereotyped response couplet or else picks up the words of the lead singer in a modified form. More recent performances have lead singers and chorus of the same sex. Where there is a responsorial relationship between the two sexes (‘singing

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in pairs’, a characteristic poetic/musical structure in the Austronesian world), the two groups face one another.

Many genres are characterised by archaic speech forms; the hudhud in particular is virtually incomprehensible without a specialised knowledge of its idiom. Extemporised forms such as palat and liwliwa now seem to have divided between modernised forms which use contemporary vernacular and ‘old’ texts which are now difficult to interpret.

Musically speaking, these oral genres are relatively simple; the underlying scale is pentatonic but the ambit rarely reaches an octave. Choruses are always in unison and the lead singer often uses a type of sprechstimme rather than a clearly defined melody. Genres sung with male and female groups are always antiphonal, and there is no overlapping polyphony. In marked contrast to many other parts of the Philippines, musical instruments do not accompany song. The drum, libbit, is beaten when the priest, mumbaki, performs the harvest ritual. The idiochord bamboo zither, ayyuding or tadcheng, is beaten without words for amusement and the nose flute, tɔ ŋ’ali (tongali), is played solo for entertainment.

Hudhud

Hudhud is a recitative vocal genre concerning the origins of Ifugao that centres around Ifugao ancestors Aliguyon and Bugan and their clans. Hudhud has over 200 episodes mostly narrating ancient and mythical stories of Ifugao deities and people with supernatural powers as well as the creation of the world. These stories are epic romances chanted by groups of men and women, with a lead singer, the munhuw-e,

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and choristers, the munhudhud (Photos 1a & b). As this chant has no specific ritual associations, it is performed on a variety of occasions such as weddings, harvest season, funerals and other local celebrations.

In 2001, UNESCO proclaimed hudhud as one of the “Masterpieces of the Oral and Intangible Heritage of Humanity” (UNESCO, 1995-2010) The impact of this has been paradoxical; by focusing on one genre to the exclusion of others, it risks allowing other vocal genres to fade into obscurity. On the other hand, it has permitted the establishment of a bureaucracy which promotes the modernised, decontextualised version of the chant (Blench 2010).

Uyaya/ Uyyawe/Dogdogwe

Uyaya are secular songs performed for personal amusement, usually by women. They can also be performed in instrumental versions, for example on the duct flute. Another secular song, Dogdogwe was recorded in Banaue (Photo 2), a ballad which has a more regular rhythm.

Baltung/ Partung

Baltung is a ritual chant performed by a group of men, characterised by foot stamping (parting in Mayoyao). This starts the chant and is used to stress important passages. The structure is call and response. The leader is called the mum baltung and the chorus replies either by repeating the text or adding supporting lines (Photos 3a, b, & c). Baltung was used

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for annual house-cleansing ceremonies, and also performed at funerals.

Alim

Alim is performed by a mumbaki or a head priest and the ensemble is a male lead singer plus chorus. It is exclusively ‘given’ to a man after a series of initiations from a group of knowledgeable elders or a more senior mumbaki. Performed for death and cleansing rites of the kadangyan [the wealthier stratum of society]. Alim seems to have only taken on epic proportions among the Tuwali, but shorter chants known as alim are found in Hingyon and Hungduan. This chant narrates the story of the heroic pair Bugan and Wigan who survived a great flood and travelled far and wide in search of other people. Bugan later discovers that she is with a child and in her fear of being humiliated, commits suicide by jumping into a river. However, the deity Makanungan, disguised as an old man, appears and stops Bugan from killing herself.

Liwliwa

Liwliwa is performed at secular occasions such as marriages where both sexes meet. Lead singers are both male and female and a chorus responds to their lines.

Ergwad

Ergwad is a vocal genre performed by 4-5 male performers at funerals and marriages in the Mayoyao area. The lead is usually passed from one performer to another as the singers sit in a circle.

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RECORDING LOCALES

Banaue

Banaue is situated in northern Ifugao adjacent to Mountain Province. The municipality of Banaue is among the most popular tourist destinations in the Cordillera, particularly those in Bangaan and Batad, due to their distinctive caldera-like rice terraces. The municipality is an important trading centre, particularly for the province’s hand-woven fabric, woodcarving, and other local goods. The demands of tourism has meant that the musical instruments sold in the market, such as the bamboo flute, bamboo buzzers and conical drum are not of the indigenous type.

Banaue Museum, privately run by the Beyer Foundation, has one of the most important collections of Ifugao artefacts in the province, mostly collected by renowned anthropologist Henry Otley Beyer. The municipality has been the focus of academic interest for archaeological and ethnographic studies since the early 20th century, particularly in the investigation of the antiquity of the rice terrace s. Moreover, Christianity was first introduced in Ifugao through the baptism of a number of inhabitants in Banaue in 1889 (Scott 1975).

Two examples of non-ritual chants were recorded from the municipality and a type of a satirical song called Uyaye or Uyayi performed by Isabel Hummiwat. She also played a bamboo duct flute, tungali (Photo 4). This solo flute music is non-ritual and is usually played either by a man or woman to

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invite people to attend a particular social gathering or festivity.

Kiangan

The municipality of Kiangan is located in the south of the province. One epic on the origins of Ifugao suggests that their ancestors came from Kiangan. After many failed attempts to colonize Ifugao, the Spanish successfully established their first headquarters in its town centre in 1889. Later on, American administration operated in Kiangan and it is prominent in the literature as a variety of scholars, both foreign and local, were based there since the beginning of the 20th century.

The Tuwali dialect of Ifugao, as well as Ilocano, Filipino, and English are spoken in Kiangan. However, the hudhud of Kiangan is recited in a mixture of Tuwali, Kalanguya Ikalahan, and Ayangan, using archaic lexicon not understood by modern speakers.

Video recordings of the traditional performance repertoire were made at Ambuwaya Lake in Kiangan to avoid surrounding noises particularly campaign singing from political caravans for the then upcoming national election (Photo 5). Other sessions were held in the nearby St. Joseph’s Catholic Church, specifically, performances of the SLT (Photo 6). Excerpts from hudhud, baltung, liwliwa and two folk songs are included.

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Mayoyao

Mayoyao is three hours’ drive from Banaue and as such has been much less affected by tourism. The dialect of Ifugao spoken in Mayoyao is highly distinctive. Baltung and hudhud were recorded in the area as well as a gong ensemble. These are accompanied by the ritual slaughter of a pig or a chicken as part of foreseeing coming difficulties in the community. A version of liwliwa was recorded here, where a group of men and women step forward progressively as they chant their part until they meet in the middle (Photo 7). Also striking are the recordings of traditional jews’ harp performance traditionally used in courting.

Asipulo

Formerly part of the southern area of Kiangan, Asipulo was declared as a separate municipality in 1992 (PPDO 2007). Until a few years ago the only means to reach Asipulo from Kiangan Poblacion was by foot. Asipulo is dominated by the Kalanguya people. Strikingly, the language of the hudhud in Kiangan is from Asipulo. SLT for music, dance and musical instruments was also established in this municipality. Varying dance and musical styles are presented as well as the hudhud and a traditional solo song. The kulbing, or board zither, is used to accompany solo secular songs, a tradition which has disappeared elsewhere.

Other Municipalities

Lagawe, Hingyon and Hungduan, with the latter having existing traditional chants and songs were also surveyed but

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due to logistical constraints were not recorded for this project.

Transcriptions of Selected Songs Dogdogwe

(after Madarang 1991)

Dogdogwe'n nattudok Dogdogwe'n naballuke hin An punhinhinyukkan da Punhihingawwayan da Te nunhegla'y hong-o na Nunhegla'y lumii na Ya ol-oltorn na'n udan Idupekpek mu Ta dagguhom hi Bugan Dapillugom hi Bugan Ta iyem hi adallom Iyem hi ·adi malkod Ya mahyuk ka'n kawayan Mahyuk ka an pallutan Ta bunwitom hi Bugan Ihallilit muh Bugan Ta iyem hi nabaktu Ikalladang muh boble Ta olton da'y balko na Olton da'y hinawhaw na Ta pangidonan Ginid Pangikallabyuhan Ginid An ginid hi hudok na Ginid hi bungubung na

Dogwe fruit clustered together Many are they who bend you Stretching their arms to reach you If only to taste your fruit To savour the sweetness of your fruit Pour down heavily, O rain Drop heavily in torrents That you carry with you Bugan Sweep away with you Bugan And take her into the depth Drown .her into the bottomless deep But bend you, 0 bamboo tree lend your trunk, bamboo tree So that you will fish our Bugar Carry up Bugan And take her to the hill Toss her to the village That they will tighten her belt Tighten her flowered belt For Ginid to hold on For Ginid to clutch on Ginid of the farthest nook Ginid of the upstream regl:-

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Dogdogwe (from Banaue)

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Pungguh ku (complete version, after Madarang 1991)

Pungguh ku’n kinutsiyan Kin’ utsilapan Iwwa-ya ku'd Hohlungan Noolimutan Umgabul ni kahhl'-yan Kahullulan non Dullawan Di Billawan… Biyon ku’n intadduk Biyon ku’n ingkawwayan Owi tu pan-in-al-! Owi tu pan-Inkuktudi Ta bumubullung diman T a pumupuddu ngud udman U toblnnok di Batang Tobinnok di Banghallan Ta andaak ngu liputan Ta kotudwan da'n bagol Katudwan da'n alluyu Kotagwan nip ago da Kotugwan di dayyakot da Ta wada kabutogan da Wada kagiwwanan da Ta wada pan-am-ammungan Wada pan-ap-apngaan Pan-aangngalan Ni nida I-Batang h’da an I-Banghallan

Betel bag of mine designed Beautifully embroidered I wave towards Hohlungan Fog-obscured place The cause for parting The reason for leaving of Dulawan For Billawan… Betel leaf plant of mine Betel of mine on the bamboo tree Don't you ever get from it Don't you ever pick from it So that robust its leaves shall grow Fruit-laden It will be For me to bring with me to Batang Bring with me to Banghallan That they will not quarrel with me That they will not hurt me So that they will be taught about the gods And learn the rituals of the gods For the abundance of their palay Abundance of their rice wine So that there will be drinking That there'll be occasion for socializing That there will be occasion for gathering For celebrating marriage Of them who are in Batang Of them who are in Banghallan.

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Pungguh Ku (from Asipulo)

(English Translation)

Betel bag of mine designed Beautifully embroidered

I wave towards Hohlungan Fog-obscured place

The cause for parting The reason for leaving Dullawan

For Billawan…

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Liwliw-a (from Mayoyao)

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Hudhud (from Kiangan) (melodic phrase)

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MUSICAL INSTRUMENTS

Gong Ensemble

The gong ensemble, gangha, is the most important musical ensemble throughout the region and indeed throughout the whole of the Cordillera. It consists of from one to six flat gongs without bosses and provisionally assigned with particular terms based on their sound and role in the group (Photo 9). The performers beat the gongs in a surprising variety of styles, both with the hands and with sticks, damping the sound in a variety of ways. Gongs are considered valuable heirlooms, and can sometimes be stored in regional museums when not required for ceremonies.

Jews’ Harp

The jews’ harp is classified either as an idiophone or an aerophone and quite often as a lamellophone in modern texts (Musical Instruments Museums Online (MIMO) 2011, von Hornbostel and Sachs 1961). A flexible tongue is fixed at one end to a frame and vibrates back and forth in the frame when the free end is plucked by the player (Photo 9). This instrument is typical of almost all of the Philippines, and indeed is common throughout the Austronesian world. There are two types of jews’ harps, those made entirely of bamboo, and those made of metal.

Ifugao men formerly used the Jews’ harp, bikkuŋ (bikkung) or pi’oŋ (piyyung), as a courting instrument to utter stereotyped praises of the girl they were wooing. If the girl also knew how to understand this language and reply, the courting couple could perform clandestine duets.

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Board Zither

An instrument used widely in the Cordillera but apparently not elsewhere in the Philippines is the board-zither (Photo 10). This may well be a local development from the idiochord half-tube zithers still played elsewhere. A specimen of such an instrument can be seen in the Kiangan museum, although no-one interviewed remembers such an instrument being played. This consists of a flat plank, with randomly placed resonance holes, and bridges at either end to lift up the strings. The strings, originally vegetable fibre but now thin iron wire, are stretched between nails fixed at both ends of the board. Small triangular moveable bridges are placed under the strings to tune individual strings. The strings are tuned to a simple chord and strummed to accompany secular songs. The whole instrument can be placed on a hollow resonator, such as a gourd or bucket, to increase its volume. The board-zither has disappeared in urban centres but is still played in remote areas such as Asipulo.

An unusual development of the board-zither is the strip-zither (Photo 11). In this, metallic strips, probably taken from industrial packing-chests, are stretched between the two ends of a wooden plank. A central bridge enables two notes to be sounded from each strip. Clearly this version of the instrument has to be struck with two sticks, like some of the idiochord tube zithers. Again, this instrument seems to have now fallen out of use.

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Duct Flute

Flutes in general are known as tɔŋ’ali (tongali), and the term includes both the nose flute and the duct flute. Nose flutes seem to have dropped out of use, but the duct flute is still played. Unfortunately, this has been copied by many souvenir-makers and poor quality instruments are now widely in circulation. The duct-flute has three fingerholes and produces a pentatonic scale. The duct-flute is played for personal amusement and usually mimics the melody of popular songs and lullabies.

Instruments no longer in use

Idioglot clarinet

The three-hole idioglot clarinet, ip-iip (Photo 12), was used in duets between courting couples. Both a man and woman would have an instrument and they would exchange phrases interpreted on the clarinet. In Amganad, Banaue, a three-hole duct flute is substituted for the clarinet. Regrettably, no players could be found to demonstrate this practice.

Conical drum

One of the most characteristic instruments of the Ifugao was the libit or conical drum (Photo 14). There appear to have been two quite different types of libit. The instruments from Banaue photographed by Jose Maceda seem to have had a glued skin and were subconical in shape. However, in Asipulo, the libit was a closed goblet drum, with a skin

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attached by a network of laces and tightened by hammered-in wooden wedges (Photo 14). The libit was only played by the mumbaki, and only to accompany certain ceremonies. Although some of these instruments apparently still exist we were unable to find a performer in the Banaue area. In Asipulo the libit remains in use and is played singly and beaten with the hands.

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Field Photographs

Photo 1a: Hudhud in Kiangan.

Photo 1b: The leader or the munhuw-e sitting in the middle surrounded by the choristers or the munhudhud.

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Photo 2: Isabel Hummiwat performing the ballad Dogdogwe.

Photo 3a: The baltung performed in Asipulo.

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Photo 3b: The mum baltung or leader from Kiangan stands up and stamps his feet while the chorus responds.

Photo 3c: The baltung or partung in Mayoyao.

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Photo 6: The SLT for Music and Dance in Kiangan.

Photo 7: Liwliwa in Mayoyao.

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Photo 8: Flat gong ensemble, gangha, (from Asipulo, after Campos 2011)

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Photo 9(a): Martin Abbugao demonstrating surrogate speech with the pi’oŋ (metal) Jews' harp (Mayoyao, May, 2010); 9(b): Bamboo Jew’s harp courtesy of Banaue Museum.

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Photo 10: Asipulo board zither with a resonator, personal collection of D. Dulnuan.

Photo 11: Metal strip-zither. (Courtesy of Ifugao Museum)

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Photo 12: Idioglot clarinet (Courtesy of U.P. Center for Ethnomusicology)

Photo 13: The libbit from Asipulo. (Personal collection of A. Piggangan)

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Key References Blench, Roger M. "Cultural Bureaucracy and the Manufacture of Ifugao

Oral Literature." Presentation to CRASSH, 11 Dec. 2010. Cambridge, 2010.

Blench, Roger M., and Fredeliza Z. Campos. "Recording Oral Literature in a Literate Society: A Case Study from the Northern Philippines." In Language Documentation and Description, edited by Imogen Gunn and Mark Turin. London: ELAP, Hans Rausing Endangered Languages Project, School of Oriental and African Studies, 2010.

Campos, Fredeliza Z. "A Study of the Musical Instruments of Ifugao in the Cordillera Region, Northern Philippines." unpublished MPhil dissertation, The University of Hong Kong, 2011.

Department of Environment and Natural Resources - Cordillera Administrative Region (DENR-CAR). "Ifugao." DENR-CAR, http://car.denr.gov.ph/.

Ifugao Provincial Planning and Development Office (Ifugao PPDO). Socio-Economic Profile of the Province of Ifugao. Lagawe, Ifugao: Ifugao Provincial Government, Provincial Planning and Development Office, 2007.

Madarang, Juanita B. The Indigenous Music of the Ifugaos. Lagawe, Ifugao: Royal Printers and J. B. Madarang, 1991.

Musical Instruments Museums Online (MIMO). "Revision of the Hornbostel-Sachs Classification of Musical Instruments by the Mimo Consortium [without Editorial Markings]." MIMO project, http://www.music.ed.ac.uk/euchmi/cimcim/uymhs03.pdf (without editorial markings); http://www.music.ed.ac.uk/euchmi/cimcim/uymhs02.pdf (with editorial markings).

National Statistics Office (NSO). Philippines 2007 Census of Population. Quezon City, Philippines: National Statistics Office, 2007.

NCCA-Intangible Heritage Committee. "Intangible Heritage: Implementation of the Project Safeguarding and Transmission of the Hudhud Chants of the Ifugao." Manila: National Commission for Culture and the Arts, 2005.

Scott, William Henry. "Cordillera Chronology." In History on the Cordillera: Collected Writings on Mountain Province History, 115-49. Baguio City, Philippines: Baguio Printing and Publishing, 1975.

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UNESCO World Heritage Centre. "Rice Terraces of the Philippine Cordilleras." United Nations Educational Scientific and Cultural Organization (UNESCO), http://whc.unesco.org/en/list/722.

United Nations Educational Scientific and Cultural Organization (UNESCO). "The Hudhud Chants of the Ifugao." UNESCO, http://www.unesco.org/culture/ich/index.php?pg=00011&RL=00015.

von Hornbostel, Erich Moritz, and Curt Sachs. "Classification of Musical Instruments, Eng. Trans., Anthony Baines and Klaus P. Wachsmann (from Zeitschrift Für Ethnologie, 1914, 46:553-590), "Systematik Der Musikinstrumente"." The Galpin Society Journal 14 (1961): 3-29.

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Performers/ Participants:

Asipulo

Juanita Allaga Vicente Anannayo George Bulayo Carmen Dinnungon Jose Dinnungon Delfin Dulnuan Jerry Gaguis Juanita Kimang

Venancio Maddawat Virginia Maddawat Felisa Payaqui Carlos Payaqui Guindayan Puguon Anita Tambaling Joaquina Tayaban

Banaue

Erlinda Carlug Pagal Dominggo Oltagon Guinnading Isabel Hummiwat

Bugan Lumidao Oltagon Nadiahan Imbangad Nahuyaman

Kiangan

Paul Bilingon Josephine Bulahaw Peter Bulahaw Rosalia Buyayawe Manuel Dulawan Romana Dulawan Antonio Dulnuan Juan Galena Junia Guimpayan

Josephina Kinit Juanita Licyayo Felisa Malingan Rafaela Ngayawon Amelia Pablo Ramon Tayaban Simon Tuguinay Pacita Tumitit Mary Umali

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SLT-Kiangan

Ellenora Aliguyon Jessa Aliguyon Mort Aliguyon Nikka Aliguyon Mikaela Aliguyon Kevin Alindayo Geronima Allaga Aeron John Allaga Mark Antonio Glydelle Baguilat Dave Hansen Binwag Carmen Bulayungan Josephine Bungalan Carolyne Butata Felyn Butata Aiza Butata Victoria Buyawagon Franc Jamil Buyuccan Paul Camhol, Jr. Chelsea Camhol Isabel Codamon Glenda Codamon

Britney Lauryn Dulawan Vanessa Dulawan Julius Dulnuan Aubrey Dulnuan Monique Dulnuan Brionelle Dumelod Maria Galeon Adoracion Guinid Ian Licyayo Jomar Licyayo Delfin Maddam-ot Jason Nia Braille Nidogma Dylan Nidogma Brandon Pawid Ayla Gracia Pinkihan Nizza Vivienne Pugong Aeron Joshua Puguon Hani Alesandra Puguon Dan Taguiling

Mayoyao

Martin Abbugao Tony Bangachon Rosa Banta-ao Joe Choy-awon

Marcos Eblahan Mariano Gopeng Rebecca Licnachan Jimmy Padchanan

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This work has no commercial value and may be freely reproduced for educational purposes.

Research, Documentation, and Editing Roger Blench and Fredeliza Campos

Research Consultants Manuel Dulawan Lily Beyer-Luglug

Councilor Tony Bongachon

Institutional Support Provincial Government of Ifugao

Ifugao Cultural Heritage Office and the Provincial Planning and Development Office

National Commission on Indigenous Peoples Ifugao Museum

Banaue Museum Mayoyao Municipality Museum

National Museum of the Philippines U.P. Center for Ethnomusicology

The University of Hong Kong The Field Museum of Natural History

The Library of Congress

Music Transciption Janine A. Liao

Thanks to: Dr. Philip Piper Prof. Ramon Santos Engr. Carmelita Buyuccan Pedro Dulawan Rebecca Bumahit

Gabriel Maddawat Jennifer Guman Jane Alejandro Dr. Manolete Mora Dr. Giorgio Biancorosso

Funded by: