GONG FESTIVAL 2020: Sharing Cordillera Beats and Dances

Summary

The video introduces the diversity of Cordilleran gong music and dance. Its central message is that Indigenous dances are not simply sets of movements: their rhythms, steps, formations, and gestures can express community life, beliefs, history, and relationships with the natural world.

Dances may accompany life-cycle events, weddings, celebrations, agricultural activities, healing, peace-making, and warfare. Movements can symbolize gratitude, reverence, bravery, cooperation, or unity; circular formations are described as reflecting community unity. Gong ensembles differ by community and dance, with instruments played in different rhythms and tempos.

The presenters also stress the importance of passing this knowledge on. The festival is presented as a way for younger generations to relearn Indigenous instruments, songs, dances, and cultural practices.

Demonstrations and lessons by region

Benguet

A presenter demonstrates the instruments for a Benguet Tao dance. The gongs vary in size and pitch, and some are played with the palm or fingertips. A pair of iron sticks is also included.

Men’s steps include running, springing, and walking. The presenter explains that raised arms can represent freedom, giving thanks, or asking for blessings, while lowered arms show respect for the dead. Women’s gestures include closed fingers, said to represent unity and close relationships, along with gentle bends and tilts to either side.

The presenter also explains the ban, or war/victory dance. Its movements represent taking cover, the confidence of victorious warriors, resting, challenging an enemy, seeking protection, confusing an enemy, and carrying spoils home. The footwork combines springing with a low side kick.

The presenter distinguishes this demonstration from a ritual performance: certain actions associated with the ritual are omitted because the dance shown is for a thanksgiving festival.

Abra

The video introduces gong ensembles and dances used for weddings, festivities, and other special occasions. The transcript names several gongs, though some instrument names are unclear in the auto-generated subtitles.

In one dance demonstration, the presenter describes open hands held around shoulder level and foot movements that include stepping the right foot backward.

A dance from the lowland area of Abra, transcribed as T in La, is taught through basic steps. The man leads and uses a piece of cloth called an alop; the woman mirrors the movement without needing one. The basic footwork includes stamping, a repeated “one-two-three” pattern, and a pointing sequence.

Kalinga

A presenter introduces a set of six gongs, arranged from larger to smaller, with corresponding changes in tone. The lead gong signals which dance is being performed.

In the Patong dance demonstration, women are instructed to keep their palms relaxed and facing upward, a gesture described as receiving blessings. The presenter emphasizes graceful, relaxed movement rather than stiff arms or exaggerated hip motion.

The Salip is described as a courtship dance that imitates a rooster’s movements. Its footwork can be done in place, with the arms extended. A wedding dance is also introduced, though its name is unclear in the subtitles.

Mountain Province

The video presents Takik, a festive dance associated with weddings and celebrations. The ensemble includes gongs and a pair of metal bars.

In the version described, men’s raised, outstretched arms imitate an eagle in flight. Their steps are simple, and their bodies sway from side to side. Women’s movements are more subtle, with small steps coordinated to the gong rhythm; the partners may meet at the center.

A Patong/Sagpong segment explains how male gong players begin by moving in a circle and play distinct rhythmic parts according to each gong’s size and assigned role. The men are encouraged to carry the gongs with a strong, upright posture.

The accompanying dance can vary by place and performer. Women’s hand positions are described as resembling carabao horns, while their feet follow the lead of the gong players. Suggested steps include gentle springing, stepping backward, walking, or hopping.

Ifugao

A presenter explains that Dinuyya is a celebratory dance found among Ifugao communities, with local variations in hand and foot movements.

The described ensemble uses four gongs: the lead gong signals the dance, the next responds, another continues the rhythmic exchange, and the smallest ties the pattern together.

For a woman’s movement, the presenter advises subtle steps in time with the gongs, with the head turned slightly left, the left hand raised near eye level, and the right hand resting at the hip. The steps include pointing the toes while moving forward and backward. A gesture called payad is also demonstrated, involving a semicircular hand motion, a clenched fist, and an opening and spreading of the palms.

Other Ifugao rhythms and dances are introduced: Hud/Tongat, associated in the presentation with the Aangan ethnolinguistic group, and Pagad, described as wedding-dance music played at a quicker pace. In these demonstrations, the lead gong sets the pattern, and the other gongs respond and complete it.

Overall lessons

• Gong ensembles and dance styles vary across Cordilleran communities; they should not be treated as interchangeable.
• Dance gestures and formations can carry meanings connected to community values, ceremonies, nature, or specific events.
• The lead gong and the other instruments work together in a structured rhythmic exchange.
• Learning the dances involves understanding not only the steps but also the cultural context and meanings explained by the community presenters.

Speakers and sources featured

The subtitles do not provide personal names. The video features:

• An opening narrator introducing Cordilleran culture, the purpose of the festival, and the role of dance and music.
• A Benguet presenter explaining gong instruments and Tao and ban dance movements.
• Abra presenters demonstrating local gong ensembles and dances, including the dance transcribed as T in La.
• Kalinga presenters explaining gong sets and demonstrating Patong, a wedding dance, and Salip.
• Mountain Province presenters explaining Takik and Patong/Sagpong ensemble and dance movements.
• An Ifugao presenter explaining Dinuyya, Hud/Tongat, and Pagad gong rhythms and dance movements.

The video also includes instrumental performances and dance demonstrations without clearly identifiable speakers.