CSFA’s Pamana IX
Pamana– is Philippine heritage dating back hundreds of years. The stories are told through various dances, which are quite colorful as well as educational.
The program begins with a passionate rendition of the Pilipino national anthem, followed immediately by the enthusiastically sung American National Anthem.
The whole of Pamana includes five suites of dance with a ten-minute intermission:
1. Lumad Suite – In the lush mountains and forests of Mindanao, indigenous peoples collectively known as Lumads have, for centuries, lived lives defined by a peaceful; coexistence with nature and among themselves. Lumad is a Sugbuanon word meaning, “”Born of the Earth.”
Dugso – a ceremonial dance hailing from the Monobo tribe and is usually performed during important occasions such as: kaliga (feasts) or kaamutan (tribal gatherings) associated with an abundant harvest, the birth of a male heir or victory in war. The all female dance is headed
by babaylan (shaman/priestess) who is responsible for keeping the fire burning. The close association with the pagpagayok bird is representative of the colorful headdress and bells around the ankles. Those bells are regarded as the best music to the ears of the spirits.
2. Cordillera Suite – There are six ethnic tribes of the mountainous Central Cordillera region of Northern Luzon. The tribes are known as: Ibalay, Kankanay, Ifugao, Kalinga, Apayao, and Bontoc tribes. Firm in their ancient traditions, their songs and dances take the form of rituals as offerings to the Gods for a good harvest, to keep ill omens at bay and to ensure success in love and war.
Ragragsakan– A thanksgiving dance usually performed by women after a bountiful harvest or in celebration of tribal victory.
Takiling – Kaling men chant dance and leap around while beating gangsa(brass gongs). This is part of the colorful religious ritual of thanksgiving for a bountiful harvest.
Banga’t Salidsid – This dance depicts the grace and stamina of the Kalinga maidens as they balance layers of clay pots (banga) on their
heads while fetching water from the lowlands. They prepare for a marriage ceremony. The warrior presents his matrimonial blanket and then woman responds by balancing several clay pots on her head. She follows the man to connote obedience. He simulates the movements of a rooster at love play. He aspires to attract and seize his love.
Bumaya – The movements of his dance of the Ifugao tribe imitate those of a rooster scratching the ground. Both men and women express their joy for a bountiful harvest of rice, to the god Kabunian.
To be continued…