WEST VISAYAS STATE UNIVERSITY

COLLEGE OF ARTS AND SCIENCES

Iloilo City

DANCERS AND DAGGERS: A CLOSER LOOK AT THE SAYAW OF THE IGTUBLE

INDIGENOUS PEOPLE IN TUBUNGAN, ILOILO

A Research Proposal

Presented to

the Faculty of the College of Arts and Sciences

West Visayas State University

La Paz, Iloilo City

In Partial Fulfillment

of the Requirements for the Degree

Bachelor of Arts in English Language Studies

by

Kesha May C. Gellado

Renzry C. Marillosa

Jules Patrick T. Tirado

Jehira Samuelle S. Tiwana

May 2023
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Iloilo City

Table of Contents

Page

Title Page 1

Chapter

1 INTRODUCTION TO THE STUDY 3

Background of the Study 4

Theoretical Framework of the Study 8

Statement of the Problem 10

Significance of the Study 10

Definition of Terms 13

Delimitation of the Study 14

3 RESEARCH DESIGN AND METHODOLOGY 16

Research Design 16

Methodology 17

Participants of the Study 17

Data Gathering Instruments 17

Data Gathering Procedure 18

Data Analysis 19

Locale/Location 19

References 21
 WEST VISAYAS STATE UNIVERSITY
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Iloilo City

DANCERS AND DAGGERS: A CLOSER LOOK AT THE SAYAW OF THE IGTUBLE

INDIGENOUS PEOPLE IN TUBUNGAN, ILOILO

Kesha May C. Gellado

Renzry C. Marillosa

Jules Patrick T. Tirado

Jehira Samuelle S. Tiwana

Chapter 1

Introduction to the Study

Chapter 1 covers five parts: (1) Background and Theoretical Framework of the

Study, (2) Statement of the Problem, (3) Significance of the Study, (4) Definition of

Terms, and (5) Delimitation of the Study.

Part One, Background and Theoretical Framework of the Study, presents the

overview of the study, the language theories to be used in conducting the study, and

the reasons for conducting the study.

Part Two, Statement of the Problem, presents the general problems and specific

questions that this study will answer.

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Part Three, Significance of the Study, enumerates the persons who may benefit

from the findings of the study and explains its benefits.

Part Four, Definition of Terms, presents the conceptual and operational

meanings of important terms used in the study.

Part Five, Delimitation of the Study, specifies the scope and coverage of the

study.

Background of the Study

Wedding practices in the Philippines have been heavily influenced by the Catholic

Church since the Spanish colonization. For 333 years, the Spaniards established law and

order, as well as Catholic institutions. It is not surprising that those customs and beliefs

are still practiced 400 years later. More to that, the United States also has brought

modifications to the Philippines and thus made Filipinos absorb and follow their

traditions and beliefs. Traditional marriage practices have been altered and gradually

faded; with the impact of the Western culture, it has become more mainstream and as

time passes, they have been accepted by many and entered the global stage (Romulo,

2021).

The indigenous people of Brgy. Igtuble are known as the Tubungan Bukidnon, a

part of the vast Panay-Bukidnon tribe. They were officially recognized as an indigenous

tribe under the Panay-Bukidnon group in the 1970’s by the National Commission for

Indigenous People (NCIP). Based on a detailed examination of the community's

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genealogical history, material culture, knowledge systems, performance practices, and

traditional beliefs, eleven groups were designated as indigenous cultural communities

(ICCs). The following barangays are in the list: Igpaho, Igtuble, Molina, Victoria,

Bagunanay, Bantayanan, Bato, Igdampog Norte, Igdampog Sur, and Boloc.

The Tubungan Bukidnon is an agricultural community located in Tubungan's

northern portions, which are made up of steep mountainous landscapes with regular

gradations of rolling hills. The initial settlers of Igtuble were the former residents of Sitio

Gus-an that were descendants of the Panay-Bukidnon tribe. Several families relocated to

higher ground due to regular flooding of the river during wet months, as well as urgent

concerns of land degradation and persistent droughts throughout the dry season. The

municipality designated the community as a barangay in 1887. The majority of Bukidnon

people work as farmers or cattle herders on big plots of land in remote sitios (zones).

Some till their land alone, while others work as part-time tenants. Aside from

agriculture, the Tubungan Bukidnons are deeply spiritual. The area's long history of

babaylan culture shows that the community seeks magico-spiritual ceremonies,

therapeutic therapies, and philosophical advice. Thus, in traditional Bukidnon culture,

the babaylanes (spirit mediums) have their own tier in the community structure. A

babaylan is a medical spiritual specialist with the ability to cure sickness, evict evil

spirits, and intercede with spirits on behalf of humans with specific needs (Jocano,

1983).

The Tubungan Bukidnon is also proud of its corpus of expressive art forms,

which includes music such as harana (a serenade); komposo (a traditional ballad);

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cancion (a love melody); and sarswela (a local musical theater). There are also kuratsa,

(a Spanish-influenced social dance), sarleston, a linguistic perversion of Charleston, and

Sayaw, a sword-fight dance.

A book entitled Kadagatan Tubtub Kabukidan (2018), stated that to pave and

clear the way of the newlyweds from sulay (bad luck, temptation) that may come to the

couple’s married life, Sayaw is one of the wedding practices of the Indigenous

community in Igtuble that is still practiced today. The Sayaw (complete form is Sayaw

sa Ginunting) is a ceremonial sword dance performed after a formal wedding ceremony.

The dancers wear red headbands and a red fabric criss crossed across their bodies. With

the beat of accompaniment of a banda made of gitara (guitar), tambor (drum), biyolin

(violin), and bandyo (banjo), the sword dancers, facing east, lead the newlyweds from

the church to the wedding reception (which is usually at a relative's residence). They

would dance to a rhythmic beat, occasionally clashing their ginunting (a sharp, bladed

weapon).

People who still observe the wedding ritual think that if their descendants do not

undergo the Sayaw, their marriage will be cursed. Their offspring will most likely be

infected with diseases that cannot be predicted by science and cannot be healed by

medical professionals. Furthermore, if the couple fails to perform the aforementioned

wedding rite, children may develop mental illnesses.

With the onset of 21st century urbanization, some cultural practices and beliefs

seem to fade overtime. In fact, globalization may seem to have brought a disadvantage

because the cultural cost of losing some practices can be one of its results. Along with
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this, one cannot argue that the effects of cultural imperialism in the Philippines may be

minor, but it accelerates as technology progresses. Not many people know about the

traditional wedding dances anymore. The broadest definition of the phrase "cultural

imperialism" is the act of imposing one or more native cultures with the beliefs,

customs, and practices of a powerful foreign culture (Tomlinson, 2012). Cultural

imperialism, in this wide sense, could be used to explain instances of how an actual

imperial occupying power's cultural practices have been adopted by less powerful

countries. In the case of the Philippines, western influence is adapted more and more

into our customs. Even traditional wedding dances were replaced by western dances like

the waltz and the contemporary “slow dance”. Gone are the traditional clothing,

replaced by the infamous white wedding dresses and black tuxedos. Gone are the

traditional wedding practices and are replaced by the “western” ways which have

brought to the young generation the standards of what weddings should be. Overall,

not many Filipinos, especially the present generation, know anything about traditional

wedding practices anymore. It is the goal of this paper, therefore, to re-introduce the

beauty of the Sayaw of Igtuble. Many people's lives are made better by Sayaw. Its

distinctive characteristics set the Ilonggo cultural heritage apart from others. However,

as modernization took hold and technology remained everyone's first priority, several of

these traditions were quickly forgotten since they were outmoded. However, this study

aims for the preservation of these practices since they represent the unique wealth and

irreplaceable treasures that the Ilonggo ancestors successfully passed down from

generation to generation.
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This research, aside from its aim to preserve the aforementioned glorious

tradition through a recorded document, also aims to study the signs and symbols, as

well as the language transmitted, by a particular wedding dance of the indigenous group

from the mountains of Igtuble in Tubungan, Iloilo.

Theoretical Framework of the Study

This study will be anchored on these theories: (1) Theoretical Discourse of

Dance, (2) Sociological Aesthetic Theory, and (3) Semiotics. These critical lenses will be

used in taking a closer look at the Sayaw of the Indigenous people of Brgy. Igtuble,

Tubungan, Iloilo.

Theoretical Discourse of Dance Theory

This theory aims to determine the origins of the dance and what steps appear

natural or forced (Uji & Awuawuer, 2014).

A dance theoretical discourse includes the origin, styles, genre, aesthetics,

artistic expressions, and so on. This means that the idea applies to both the anatomical

movements (such as footwork) and dance interactions among groups, as well as their

connections to one another and to music as art. It explores dance's linguistic, physical,

mental, emotional, and artistic aspects as a medium of human expression and

interaction. Thus, the different distinctions between dance genres and styles are

examined in terms of their social settings and culture.

They further discussed two distinct characteristics, directing but disturbing

assertions concerning the relationship between dance and theory: Dance

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precedes theory and theory precedes dance. The first claim asserts that dancing is more

than just words determined by significantly, characteristically, and predominantly bodily

activity, whereas the second claim indicates that dance is always-already within a

conceptual grasp of bodily movement, that it is a part of the most fundamental of all

movements of the apparatus's complex capabilities. Dance is born in the midst of a

‘language’ or an ‘atmosphere of language’, as well as of a language that pledges the

unverbalisability and unsayability of the dancing body regarding verbal language.

Sociological-Aesthetic Theory

Another branch in dance theory is the one produced by anthropologists and

sociologists or call it social science theory. Closer related to philosophers, they explore

dance ethnic features, considering aspects of dance as a medium of cultural and social

interaction. Features of different dance genres and styles are analyzed according to their

social settings and cultures. The cultural studies trend could be classified among these

dance theory lines. Researchers concentrate on how dance features relate to matters of

ideology, social class, nationality, ethnicity, sexuality, gender and others. As a result,

one is able to recognize body movements and correlate them with certain specific dance

moves to different ethnic backgrounds (Uji & Awuawuer, 2014).

Semiotics

As stated by Nordquist (2020), semiotics is the science and study of signs and

symbols, particularly as parts of language or other communication systems. The Swiss

linguist Ferdinand de Saussure (1857-1913) established several words and concepts

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utilized by current semioticians. A sign, according to Saussure, is any action, gesture,

picture, pattern, or event that transmits meaning.

Semiotics is utilized in this study through recognizing the meaning behind the

dance choreography of “Sayaw”, the garments and instruments used, its interpretation,

and relation to the culture in Brgy. Igtuble, Tubungan, Iloilo.

A similar research conducted by Nicoleta Popa Blanariu (2013), entitled ”Towards

a Framework of a Semiotic of Dance”, established in accordance with Saussure’s,

Peirce’s, and Barthes’ thought. Ferdinand de Saussure’s concept of semiosis defined as a

cultural system of conventions is applied here, wherein it occurs in dance when

choreographic signs are encoded; rituals or religious expressions of movement. The role

of “intelligent consciousness” is a concept by Charles Sanders Peirce is also applied

which is crucial for the begetting of signification and thus to dance; abstraction.

According to Roland Gerard Barthes, semiosis is the process of "culturalization" in which

dance rules portray the spontaneity of "natural" motions and sentiments inside a

repeatable system of expression.

Statement of the Problem

This study aims to find out the meanings behind the Sayaw of the Indigenous

People of Brgy. Igtuble, Tubungan, Iloilo using Theoretical Discourse, Sociological

Aesthetic Theory, and Semiotics.

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Specifically, this study will answer the following questions:

1. How did the Sayaw come to existence?

2. What meanings do the instruments and colors of the costume used in

Sayaw convey?

3. What language discourse is conveyed by the movements in Sayaw?

4. Who is/are permitted to execute the Sayaw?

5. What cultural traits and practices of IP are reflected in the Sayaw?

Significance of the Study

The findings of this study intend to directly or indirectly benefit the following

people:

Indigenous People. This study will not only document the Sayaw tradition of

the Tubungan Bukidnon of Brgy. Igtuble, Tubungan, Iloilo, but it also will immortalize

such a beautiful cultural practice. This study will help showcase their colorful tradition

and can be a binding document that encapsulates the tradition that they own. This can

be used as future proof of evidence that the “Sayaw” tradition is theirs and should never

be claimed, washed, and destroyed by other cultures.

The Students. This study can help raise awareness to students on one of the

beautiful cultural traditions of the Philippines. They can use this research to get to know

more about Sayaw and the rich culture of the Tubungan Bukidnon in which it belongs.
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The Teachers. This study can be a source of information for teachers if they try

to incorporate the local traditions of Panay in their lessons. This study will give them an

insight on one of the traditional wedding dances of the Philippines, and will make them

realize the richness of our local culture that we seem to take for granted over time.

Future researchers. This study can be used as a source of information that will

be beneficial to the future researchers; they may make use of the information from the

interviews, theories employed, and other data that are present in this study.

Future generations. This study will be a great help to our future generations

to look back and preserve the beauty of our culture, tradition, and beliefs.

Philippine Historicists and Critics. This study will guide Philippine historicists

and critics to a view that might have been not noticed or thought about. This study will

provide fresh information about the historical awareness of the cultural wedding

practices in Brgy. Igtuble, Tubungan, Iloilo. Also, the data gathered in this study will

contribute to a better understanding of the local culture, Sayaw.

Local Municipalities. The information acquired can be used by the LGU in

strengthening and conserving culture and tradition present within the municipality. The

findings and outcomes of this study may also serve as the foundation for critical

decisions and plans to be made by local governments.

Cultural Offices of Iloilo. The study will be extremely beneficial to the local

cultural offices of Brgy. Igtuble, Tubungan, Iloilo in providing additional data on our

local literature and belief systems that builds and shapes our society. This will also assist

institutions in developing appropriate initiatives to safeguard and promote local culture.

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Definition of Terms

For the purpose of clarity and understanding of the study, the researchers

conceptually and operationally defined the following terminologies:

Daggers -- is the plural form of dagger which is a double-edged blade that is

usually used as a close-combat defense weapon. It is primarily meant for stabbing or

thrusting (Wallin & Klarich, 2023).

In this study, daggers is defined as a type of knife that is used in performing the

Sayaw.

Dancers -- is the plural form of the term dancer that refers to someone who

dances, either as a job or for pleasure (Cambridge Dictionary , 2023).

In this study, a dancer is defined as the indigenous person who performs the

Sayaw.

Semiotics – is a wide philosophical theory of signs and symbols that deals with

syntactics, semantics, and pragmatics and is concerned with their significance in both

constructed and natural languages. (Merriam Webster Dictionary, n.d)

In this study, semiotics refers to the analysis of the various elements that

comprises the whole Sayaw ceremony. This includes understanding the meaning of the

instruments and colors, and as well as the movements in the Sayaw.

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Sayaw -- a ceremonial sword dance performed after a formal wedding

ceremony and commonly known as “ Sayaw sa ginunting” (Kadagatan Tubtub

Kabukidan, 2018).

In this study, Sayaw refers to the wedding practice of the indigenous people of

Brgy. Igtuble, Tubungan, iloilo.

Sociological Aesthetic Theory -- refers to the theory that analyzes the dance

movements in accordance to culture and its distinction among other cultures (Uji &

Awuawuer, 2014).

In this study, sociological aesthetic theory refers to the interpretation of culture

through the movements of the dance.

Tubungan Bukidnon -- refers to agricultural communities located on the

northern sections of the town composed of steep mountainous areas with regular

gradations of rolling hills (Kadagatan Tubtub Kabukidan, 2018).

In this study, Tubungan Bukidnon refers to the cultural group or tribe, and

indigenous people residing at Brgy. Igtuble, Tubungan, Iloilo.

Theoretical Discourse of Dance -- a theory that examines the dance

movements in respect to its culture and social setting (Uji & Awuawuer, 2014).

In this study, theoretical discourse of dance refers to the analysis used to

examine the anatomical movement of the Sayaw.

Delimitation of the Study

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The study will focus on analyzing the semiotics and history behind the

movements and elements of Sayaw, a traditional wedding dance of the Tubungan

Bukidnon of Brgy. Igtuble, Tubungan, Iloilo. Semiotics will be used to study the meaning

behind the meaning of each element. The elements include:

1. Garments/Clothes - The clothes worn during the Sayaw will be analyzed in terms

of color, fabric, texture and patterns. The history behind each symbol will also

be analyzed as to how or why these specific elements came to be.

2. Props - The materials used during the dance will be analyzed as to what is the

meaning behind them, why these materials are used, who chose these materials,

and how these materials represent the culture of the Tubungan Bukidnon of

Brgy. Igtuble, Tubungan, Iloilo.

3. Participants - Participant/dancers will be analyzed as to why they were chosen to

perform the ritual, what was the meaning behind choosing them, and why a

specific number of people were only allowed to perform. The history as to why or

how these dancers were chosen will also be added to the meaning behind this

element.

4. Movements - the movements of the dance will be analyzed, first, through dance

notation where we will step-by-step discover the meaning behind each

movement. The analysis will include methods such as graphic symbols and

figures and path mapping.

Theoretical Discourse of Dance will be used to analyze the anatomical movement of

the Sayaw through the use of dance notation and content analysis. This process will
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include analyzing the various nuances between the dance genre and style of Sayaw with

respect to the social setting and culture of the Igtuble Indigenous people. Sociological

Aesthetic Theory will be used to analyze the interpretation of culture through the

movements of the dance.

Chapter 3

Research Design and Methodology

This chapter is composed of two (2) parts: (1) Research Design, and (2)

Methodology.

Part One, Research Design, describes the research design employed in the study.

Part Two, Methodology, describes the participants of this study, the data

gathering instruments employed and the processes and procedures for data analysis.

Research Design

A qualitative research design will be used in this study. In research, the

qualitative approach is frequently utilized to develop an understanding of underlying

reasons, theories, and motivations. This research design provides information about the

problem or benefits in the formulation of ideas or hypotheses (Elihayu, 2014). This

approach is deemed to be the most appropriate and applicable as it helps in analyzing

and going deeper into the Sayaw of the Tubungan Bukidnon of Brgy. Igtuble, Tubungan,

Iloilo.
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This study will also utilize Theoretical Discourse of Dance to analyze the

anatomical movement of the Sayaw through the use of dance notation and movements.

This process will include analyzing the various nuances between the dance genre and

style of Sayaw with respect to the social setting and culture of the Igtuble Indigenous

people. In addition, this study will also use Sociological Aesthetic Theory to examine the

interpretation of culture through the movements of the dance. Another method that will

be utilized by the researchers is Semiotics that studies the meaning of symbols and

signs; and thus, will help the researchers to go deeper with the significance of every

movement in the choreography, and garments and instruments used by the performers

in Sayaw.

Methodology

Participants of the Study

The participants of the study will be the selected Tubungan Bukidnon of Brgy.

Igtuble, Tubungan, Iloilo. They must have participated in the Sayaw ceremony or the

ones who first-hand experienced, understand, and have knowledge of the history of

Sayaw. The researchers will also include the tribal chief and the elders of the Tubungan

Bukidnon of Igtuble as participants.

Data Gathering Instruments

The data will be collected through interviews with the selected participant and

document or content analysis. The interview will be a semi-structured interview with a

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few planned questions revolving around the history of the Sayaw and the meaning

behind each element, as well as some added questions that will arise during the

interview. Document and content analysis will be used with the medium of video and

pictures.

Data Gathering Procedure

The figure below shows the procedure in the gathering of significant data for this

study.

Figure 1

Data-gathering Procedure
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Constructing a letter.

Submitting the letter for the approval of the following: Research adviser, LGU Tubungan, Brgy.
Captain of Igtuble, and the tribal chief of Tubungan Bukidnon.

Submitting the letters to the respondents.

Formulating the questions for interview and availing the services of an expert in translating
these questions in Karay-a.

Documenting the Sayaw; video and interview.

Analyzing the video (choreography, props, outfit, etc.) along with professional dance critics
and examining the interview.

Subjecting the dance to theoreritical discourse of dance, sociological aesthetic theory, and
semiotics.

Analyzing results

Drawing conclusions

Data Analysis

Data will be analyzed through narrative analysis, semiotic analysis, theoretical

discourse of dance, and sociological aesthetic theory. Interviews will be analyzed

through narrative analysis. This method is used to investigate information from a variety

of sources, such as respondent interviews, field observations, or surveys. It focuses on

answering research questions by utilizing individual narratives and experiences.

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Documents such as pictures and videos will be analyzed through content analysis. This

is one of the most used strategies for analyzing qualitative data. It is used to examine

documented information in the form of texts, media, or even physical artifacts. The

movements of the dance will be analyzed through the lens of Theoretical Discourse of

Dance by analyzing each movement through dance notation. The symbolic

representation of human dance movement and shape is known as dance notation. Using

graphic symbols and figures, path mapping, numerical systems, and letter and word

notations as examples (Hutchinson Guest, 1989). The footwork, movement and floor-

mapping elements of the dance will also be analyzed through sociological aesthetic

theory with its relationship with the cultural setting of the dance. The dance notation of

the Sayaw will be analyzed using semiotic analysis.

Locale/ Location

The study will be conducted at Brgy. Igtuble Tubungan, Iloilo. Igtuble is a

barangay in Tubungan, a municipality in the province of Iloilo. According to the 2020

Census, its population was 1,313. This accounted for 5.70% of Tubungan's total

population. Bukidnon cultural communities are spread across the highland and interior

sections of the municipality of Tubungan, a fourth-class municipality located in the

southwestern section of the province of Iloilo, Panay Island, Western Visayas. Tubungan

encompasses a total land area of 8,581.9785 hectares that is bordered by the

municipalities of Leon in the north, Guimbal in the south, Tigbauan in the east, and

Igbaras in the west.

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