Samahang KapatidDance Repertoire

Samahang Kapatid

Dance Repertoire

From Noel’s Philippine Folkdance Glossary

Mountain/Igorot Suite

The mountainous Central Cordillera region of Northern Luzon is also known by the term "Philippine Skyland." Inhabiting this rugged terrain are six ethno-linguistic tribes known as the Ibaloy, Kankanay, Ifugao, Kalinga, Apayao, and Bontoc. They prefer to be called by their respective tribal names rather than the collective term Igorot, which was first used by the Spaniards and later by Christian lowlanders. These tribes were generally unfazed by Spanish colonization. This homogeneous group is recognized by their common socio-cultural traits. They hold common religious beliefs, generally nature-related, and make propitiatory offerings to anitos, or household gods. Among these people of the Cordillera, dance continues to be an expression of community life that animates the various rituals and ceremonies. It serves for self-edification of the performers and entertainment for the spectators. They dance to appease their ancestors and gods to cure ailments, to insure successful war-mating activities,or to ward off bad luck or natural calamities. They dance to congregate and socialize, for general welfare and recreation, and as an outlet for repressed feeling. They also dance to insure bountiful harvests, favorable weather, and to mark milestones in the cycle of life.

Banga (bahng-AH)
Igorot maidens go to the river and prepare for a marriage ceremony. They display not only their grace and agility, but also their stamina and strength as they go about their daily task of fetching water and balancing the banga, claypots full of water, on their heads.

Chumnu (CHOOHM-nooh)
Originated from the outpost municipality of Benguet, this female dance is performed at celebrations of tribal victory and to give thanks for a bountiful harvest.

Salip (SAH-lihp)
The Salip of the Kalinga tribe depicts a warrior claiming his bride by presenting her with a matrimonial blanket. The woman responds by balancing several clay pots upon her head. She follows the man to connote obedience. He simulates the movements of a rooster at love play, aspiring to attract and seize his love. A version of this dance has two warriors competing for the approval of the fair maiden.

Uya-uy (OOH-yah-OOHY)
This is an Ifugao wedding festival dance accompanied by gongs and is performed by the affluent to attain the second level of the wealthy class. Wealthy people who have performed this dance are entitled to the use of gongs at their death.

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Banga (bahng-AH) Igorot maidens go to the river and prepare for a marriage ceremony. They display not only their grace and agility, but also their stamina and strength as they go about their daily task of fetching water and balancing the banga, claypots full of water, on their heads.

Chumnu (CHOOHM-nooh) Originated from the outpost municipality of Benguet, this female dance is performed at celebrations of tribal victory and to give thanks for a bountiful harvest.

Uya-uy (OOH-yah-OOHY) This is an Ifugao wedding festival dance accompanied by gongs and is performed by the affluent to attain the second level of the wealthy class. Wealthy people who have performed this dance are entitled to the use of gongs at their death.

Banga (bahng-AH)
Igorot maidens go to the river and prepare for a marriage ceremony. They display not only their grace and agility, but also their stamina and strength as they go about their daily task of fetching water and balancing the banga, claypots full of water, on their heads.

Chumnu (CHOOHM-nooh)
Originated from the outpost municipality of Benguet, this female dance is performed at celebrations of tribal victory and to give thanks for a bountiful harvest.

Uya-uy (OOH-yah-OOHY)
This is an Ifugao wedding festival dance accompanied by gongs and is performed by the affluent to attain the second level of the wealthy class. Wealthy people who have performed this dance are entitled to the use of gongs at their death.