Preliminary Study On DARINDAY
Preliminary Study On DARINDAY
Preliminary Study On DARINDAY
A Graduate Thesis
Jane L. Paglinawan
January 2024
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TABLE OF CONTENTS
TABLE OF CONTENTS………...………………………………………..….ii
ABSTRACT…..…………………………………………………………...….. iv
CHAPTER I - INTRODUCTION………..……..………………………...……5
THEORETICAL FRAMEWORK……………….…………………..….8
CONCEPTUAL FRAMEWORK……………...………………………..10
DEFINITION OF TERMS…………………………….………………….……15
METHODOLOGY………………………………….………………….39
RESEARCHER’S JOURNEY……………………………………….....44
THE RITUAL…..………………………………………………………45
THEDARINDAY……..………………..……………………………..…48
DARINDAY STORY………………..…………………………………52
THE BAYLAN………………………..………………………………..55
B. Mode or Style……………………………………………………...58
C. Vocal Style/Technique…………………………………………….60
DARINDAY, MUSICALENVIRONMENT………………………….66
POETICS OF DARINDAY……….…………………………………..68
CHAPTER V – CONCLUSION…...………….……………………………..74
SUMMARY…………………………………………………………...74
RECOMMENDATION……………………………………………….75
APPENDIX A ……………………………………………………..…………76
APPENDIX B …………………………………………………………..……77
APPENDIX C ……………………………………………………………..…78
APPENDIX D ……………………………………………………………..…79
APPENDIX E ……………………………………………………………..…80
APPENDIX F…………………………………………………………………81
APPENDIX G…………………………………………………………………82
APPENDIX H…………………………………………………………………83
APPENDIX I………………………………………………………………….84
BIBLIOGRAPHY…………………………………………………..….…..….85
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ABSTRACT
This paper explores the impact of music on the daily lives of the
deity. The study centers on the Higaonon chant Darinday, examining its musical,
Higaonon people view Darinday as a chant that plays an important role in their
rituals, particularly the Kaamulan prayer meetings. This study emphasizes the
datus severely forbid transcription or rewriting of their chants and texts due to
ritual
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CHAPTER I
INTRODUCTION
colonization in the Philippines, the country’s oral tradition has endured through
However, the probable extinction of oral literature has been raised by United
appears to be diverse and serves various purposes in different cultures. Even for
cultures where music is a distinct and recognizable category, the elements and
functions attributed to it may be similar or different from all other cultures. The
University – Mindanao, the danger of losing the Higaonon oral literature exists
largely because of the lack of documentation and other processes that may help
in strengthening the identity of their culture, as their datus or those of high rank
from whom knowledge of their indigenous lore is a requisite in the revealing and
retelling of a narratives may have died. Thus, the danger of losing their narratives
This paper sought to explore the foundations and essence of the Higaonon
study is to (a) document the vocal expression Darinday of the Higaonon done in
Iligan City, Lanao del Norte. This paper further examines the risks associated
with the disappearance of Philippine oral culture and literature in more detail,
tracing its history in the context of a concept of their "music" that acknowledges
the diversity of the Higaonon culture and serves as their cultural legacy.
Although the concepts and theories employed to categorize and specify the
characteristics present in this specific Higaonon “music” are Western, since there
hasn't been any initial research on this that can identify local labels for whatever
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this tribe may have done in terms of traditions and rituals. The closest, if not the
expression of all the Higaonon in Iligan City; and (c) to explore if the Darinday
has been passed down to the present generation, and how this younger generation
Higaonon?
thought)
etc.)
*Quotation marks are placed on the word music to mean that the Higaonon do not necessarily call their chants (and other “musically”
involved rituals) as music.
etc.)
(f) Are there any other forms of art present while performing
festivals?
THEORETICAL FRAMEWORK
Barangay Rogongon, Iligan City. The community has been officially registered
international organization that promotes and preserves the cultures and traditions
The study also explores the details of Darinday, such as the performance
of those who are involved and all other details that could shed light on the
in the field of traditional music and anthropology. It is also hoped that the study
explores the role of music in ritual contexts; explores the ways in which
This theory further explains how to understand music and its role in different
cultural contexts.
studied and observing how individuals experience and interpret music within that
in which the researcher fully integrates with the society or setting they are
researching. With this approach, the researcher examines their own personal
examining the function of music in various cultural contexts. The purpose of this
defined as the result of human behavioral processes that are shaped by the
values, attitudes, and beliefs of the members of a given culture, in this case the
Higaonon. This theory is quoted from the book “The Anthropology of Music”
which stated that “Music sound is the result of human behavioral processes that
are shaped by the values, attitudes, and beliefs of the peoples who comprise a
This model can be boiled down into four main categories: aesthetics,
which establishes the cultural context of musical systems and determines what
this is used to describe a specific group in the community that is influential and
that structured the community on their own. Additionally, this relates to the place
gender roles, and the affiliation with a certain sector of a particular genre of
music; The third component is the learning process. This required the researcher
to become fully immersed in the Higaonons life and way of life, to understand
their cumulative behavior (since the Higaonon vocal expresisons and music are
CONCEPTUAL FRAMEWORK
In relation to interdisciplinary
approach as a musical expression
HIGAONON
COMMUNITY
DARINDAY (protection, preservation,
strengthening of the
MIRROR
- FORM indigeneous peoples’
beliefs and traditions as a
- STRUCTURE great challenge int the
course of change and
modernizatipn)
WORLDVIEW
(Socio-economic
factors)
- Values
- Behavior / action
Figure 1 shows the schematic - Society/heirarchy diagram, showing the
relationship of different variables and/or aspects considered in
studying Darinday as a Vocal expression of the Higaonons of
Rogongon, Iligan City
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the context of the Higaonons [rather than the school of thought in which we are
Kalasan Tribal Village, Minsaliding, Barangay Rogongon, Iligan City. The study
the chant in the context of the Higaonon culture, we can acquire insights into this
vocal expression can reveal insights into the Higaonon community's social and
cultural dynamics. The study of the chant allows us to see how the Higaonons
have implications on the chant’s performance and reception. The Bae is a high-
ranking female leader of the Higaonon community who holds a significant role
role of the Bae in the chant performance, we can learn about the gender
Overall, the study of the chant in the Higaonon culture can provide a rich
This study will definitely serve as a reference for future research because
it will enrich one’s understanding of the Higaonon Indigenous people and their
2009), the Philippines is the 12th most ethnolinguistically diverse country in the
world, with more than 175 ethnolinguistic groups scattered all over the
heritage] of the set of cultures, traditions, and beliefs attached to these groups is
and of the things that tell its story,” as stated in a study by G. Thomas Tanselle
those that can be considered as economic assets and those that promote social
integration.
In the Philippines, very little is done to preserve (to protect and continue)
[at least the memory and/or the legacy of] the varied cultures and traditions
available, even when the benefits of cultural heritage are self-evident. Many
values, has been heavily promoted all over the world. The present education,
ideas and philosophies” that are easily assimilated into other cultures with
definitive effects.
individualism and group identity, in an effort to integrate into the new “global
culture that has indubitably felt the far-reaching effects of globalization and
upheavals, many of the core values, beliefs and practices have survived and are
today’s generation as it was for previous generations. The researcher hopes that
this paper will help and contribute to the materials that are needed to document
this group’s way of life and thus via the documenting and transcription, maintain
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not only their culture and identity but also their history, which serves as a
The researcher also sought to help scholars and other researchers who
want to learn more about our cultures which are constantly in danger but are also
developing, as well as our own traditional music. Through this materials, which
Barangay Rogongon, Iligan City, Lanao del Norte. The respondents were
members of the community especially the chanter and his family, together with
the key informant, and approximately 10 families in the rainforest. One barangay
or sitio, the last barangay of Rogongon, Iligan City, which is located in the heart
of the rainforest, was the subject of the study. The location is the last section of
the land, covering 500 hectares of land, and has around two hectares cultivated
The researcher chose this community even though the Higaonon natives
have spread to other areas of Rogongon because she personally believes that the
culture, beliefs, and practices of these so-called "True Higaonons" are still intact,
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rich, and in some ways have not yet been assimilated to the migrants' way of life,
DEFINITION OF TERMS
Village, Minsaliding, Barangay Rogongon, Iligan City. This term will be used as
Culture . This term refersto the act of developing education and training or
customary beliefs, social forms, and material traits of a racial, religious, or social
group. The term will be used in this study as the act of developing education and
Community. This term will be used in the study as the body of people who are
Preserving / Preservation. The term is being used in the study which refers to
community.
Ritual. This term is used in the stud as the form of conducting ceremony in a
specific time and place that which the Datu will lead the ceremony.
Datu. The term is used in the study which refers to as one of the masters of the
Baylan. This refers to the individual who is tasked to help those in need,
officiate during rituals, where spirits chant and dance through him/her.
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Bae. This term refers to the wife of the Datu in the community.
community.
Tribe. The term will be used as a group of persons having their common
Cultural practice. Refers to the beliefs, customs, and behaviors that define a
Chant. This refers to a rhythmic and repetitive vocal musical form typically
Chanter. This refers to the person who performs or sings a chant, typically in a
Music. This refers to an art form that combines rhythm, melody, and harmony to
Ritual practice. This refers to a set of actions, words, and symbols that are
Indigenous music. This refers to music that is created and performed by the
or theoretical concepts.
Sociocultural. This refers to the intersection between social and cultural factors
that shape people's beliefs, values, behaviors, and practices within a particular
society or community.
ritual.
Vocal expression. This refers to the use of the voice to convey emotion,
of vocalization.
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CHAPTER 2
This chapter presents the related literatures that have bearing on the study as well
the European “discovery” of the world in the late nineteenth century, which
would have provided the means for considering the interrelationship of cultures
systematic musicology. The first includes the substance of what music historians
ethnolinguistic groups in every area. The one which is usually remarked is called
immersion in the community, the results when words are used to convey
cultures, particularly as total systems including sound and behavior with the use
ethnomusicology place it in the 1880s as well, due to the appearance by that time
that:
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things.
and explain that which is often rendered invisible by other research practices.
Key points from this paper state that music is a cultural product imprinted
with material and symbolic aspects of its point of production as well as the
certain context and can identify differences across cultures and ethnicities and
comment on such differences. It has also pointed out the narrative capabilities of
(Merriam, 1960).
hybrid that roots from both anthropology and musicology. Music as a model for
building process and skills associated with music, which helps the researchers
build their listening skills with great depth and intricacy (Merriam, 1960).
and change in both the music sound and the concepts about music. We cannot
assume that people’s values and music will remain constant. What we study
among a group of people one year will not necessarily apply next year, nor was
reflected last year. Yet both of these concepts reveal the potential of music for
changing people’s ideas, not only about music, but about other things as well.
Merriam didn’t exactly see it that way. He only saw how people evaluated the
music and make judgments about it. For him, the music was being modified by
the concepts, nor vice versa. Yet the potential for music changing people’s idea
that centers on “affect” which he defines as “the power to move people”. In this
not a random event but has definite procedures that are followed for its
an aspect of life, but it is not all of life. A musical performance takes place with a
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group of people. Also, the musical event does not disappear. It remains in the
music. In studying music performances, we need to remember all the factors that
are influencing the musical event: the audience, the community, personal
relationships both within and without the group, politics, finances, the historical
context, even weather. All of these directly influence what is occurring during
the performance. If we are to study music in its context, we must also study these
other factors. Titon’s model is based on affect or the power to influence and
and where they are situated. Froehlich (2007) claims that the social and cultural
by definition, diverse and multicultural, and it may only exist for that brief time.
ethnomusicologist Anthony Seeger (1987) observed that when the Suyá sing
together in groups, their collective singing goes beyond creating mere sounds in
creating a connection between the past, present, and future, thereby constructing
According to Seeger, the act of singing in groups allows the Suyá to not
only express themselves musically but also to engage with their history and
project themselves into the future. By singing together, they establish a powerful
link between their present experiences, the ancestral past, and their aspirations
The Suyá understand that their singing is not isolated in the present
memory. Through their songs, they invoke the stories, knowledge, and values
passed down from previous generations. They carry the weight of their history
and use music as a means to preserve and transmit their cultural identity. By
singing, they express their shared hopes, dreams, and desires as a community
(Seeger, 1987).
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participant activity, and transcription. It was not always that way, for research in
2003:22).
The point of fieldwork is to attune oneself to the culture, its music, and its
and through music to other ideas about their culture. The most direct way of
conduit through which the ethnomusicologist can learn the music and its
activity for ethnomusicologists, who learn what they can through performances
(Campbell, 2003:23).
where making an “accurate” record of a song was once the task, now
transcriptions are done for the sake of engaging in a process that will aid the
and are often the launch into interpretations and discussions of why particular
location, their fieldnotes, interviews, and audio and video recordings give way to
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more theories and the relevant literature that has come before (Campbell,
2003:23-24).
hierarchy or territoriality. Schechner further states that rituals are not deposit
vaults of accepted ideas but in many cases performative systems generating new
processes; and (5) as experiences. The system of meanings and its experiential
actions usually involving sacral objects and marked speech forms, aimed to
produce certain effects on the natural and social worlds. For rituals that express
engage human sense faculties fully, sometimes exhaustively due to their physical
events into the sphere of the extraordinary [its repetitiveness and its highly
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bodies in space, which then construct the kind of envisioned social order or state
Phenomenology in Ethnomusicology
the early 20th century. Husserl argued that the natural world is constructed by
human consciousness, and that reality can only be studied through the subjective
understand music and its role in different cultural contexts. Music is a universal
human experience that has the power to evoke strong emotions and memories in
of music, individuals are intentionally directed towards the sound, rhythm, and
melody of the music. Ethnomusicologists can use this concept to explore the
cultural contexts.
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music in ritual contexts. Rituals are often accompanied by music, which can
during rituals.
phenomenological approach concerns itself are (1) the essential structure of the
experience of the listener reflectively grasped, and (2) the “content” of the
with its particular mode of existence” (Skarda 1989:46). There was an emphasis
upon the flow of conscious life and the concept of the specious present.
western expressions and their social matrixes have long been studied as peculiar
are related to life cycle events, such as agricultural cycles, peace pacts, courtship
and marriage, and death rites. Folk music is related to physical movement, space,
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dance, and theater. Vocal genres include owiwi (Kalinga), dagdagay and oppia
There are also love incantations such as the Manobo antang (for match-making)
ay, bayok (Mandaya), and the Manobo limbay. Work songs are called duduru
(Aeta) and gagonapu of the Subanen Vocal music among rural Christians which
is divided into religious and secular forms. Religious forms include hymns
related to the liturgical year, such as the Pasyon, and local carols such as
narratives, ballads, and short song genres such as kumintang, kundiman, oyayi,
the harana, children's songs, and song-debates such as the pandangguhan, the
and/or society. Analyzing such song descriptions includes melodic and rhythmic
complexity which explains the variability of each vocal genre and expression
(R.Santos, 2020).
A deeper problem in the use of art and music as a point of reference for
non-western cultures is the fact that art and music encompass, in their broader
social context, an entire civilization with its own concept of human cosmology
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2000).
Poetry and Oratory as Filipino Musical Culture,” he discovers that these are
merely two of the many different expressive forms that have musical elements but
In the ba’diw, the melodic-modal schema is quite fixed while the bayok
allows greater musical latitude to the performer in creating musical phrases within
the larger 3-part formal structure, as well as the prescribed general melodic-modal
configurations. The rubrics that govern the composition of the text follows,
versification (couplets), and even rhyme is adopted by the ba’diw while the
bayok’s main strength lies in its rhetoric, the flow of ideas and the quality,
derive much artistic value from the ingenious use of figures of speech and the
The two expressions encapsulate not only their life and their present
worldview, but also their historical, genealogical, and metaphysical beliefs and
convictions. Given these varying artistic and social attributes, both represent an
entirely unique expressive dimension that may share elements with western art
nor music, to claim their legitimate place in the universe of human expression.
(Geertz, 1973:478)
Culture is the landscape which provides the setting from which the social
dynamics involved in the study of the art form takes place. Culture leads
represent that experience. It refers broadly to the forms through which people
provinces of Misamis Oriental, Bukidnon, Agusan del Sur, and Lanao Del Norte,
are the habitations of the Higaonon. Among all the ethnic groups of the area,
Higaonons are the least known. They are described as the “people of the living
mountains” and “people of the wilderness”. In fact, their name is derived from
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“higa” which means “to live or reside”, “goan” which means “mountain”, and
Peace, for solving their internal conflicts or settle feuds among other ethnic
groups, the tribe practices an ancient ritual;: the tampudus hu Balgun, or the
Treaty of the Green Vine, a symbolic and traditional cutting of the vine. Most of
the members of this indigenous group are Christianized, but the recounting by
religion is common practice. When they are baptized, the Higaonon are allowed
(http://thingsasian.com/story/last-tribes-mindanao-higaonon-people-living-
mountains).
The Higaonon tribe is one of the major Indigenous groups in Iligan City,
as farmers and are trying to keep their tradition alive. In their development as a
tribe, they were able to develop moral and ethical concepts that became the
includes the transmission of customs or ways practiced in the past to the present.
structure or form and the sustenance of the tradition. In this context, the
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Higaonon community in Agusan del Sur. The researcher stressed on the danger
literature fearing its extinction in history. The study was aimed to analyze the
Agusan del Sur, in terms of the human values, symbols, imagery, function and
oral literature can be a valuable material for historical interpretation. These oral
It was pointed out in the study that these oral traditions become basic in cultures
ravaged by nature, time, and the circumstance of history. The study made use of
20 literary pieces in prose and poetry narrated by their key informants. These
were further analyzed and subdivided into four (4) parts according to the
interpretation and transcription. These literary pieces were found out based on
customary laws, traditions, and beliefs, the semiotics and imagery in terms of the
Bukidnon, focuses on studying the stories foretold by the Higaonon elders and
how their stories have strengthened their beliefs and traditions , and passed on to
the new generation. The paper states that there are two realms in the
interpretation of reality by the Higaonon: (1) the concept of space and time
which composes what the Higaonon believe to be the material realm, which is
signified simply as Lumppad (nature); and (2) the spiritual realm, signified as
The will of the absolute and eternal Magbabaya held sway among all
creations, all of Lumppad. The “being” is the role already acquired by birth. The
lines of Datu and Baylan are already determined by the Magbabaya, so one can
be born following the footsteps of those who became Datu or Baylan in the clan
into the world by the Magbabaya and he or she has no dictates over which family
but “destiny” is limited to the circumstances the Higaonon find himself or herself
in. the fact of the Higaonon’s existence is no longer necessary to inquire, the
same way, as there is no need to ask the essence of space or nature. Inquiries on
the nature of things, such as those in metaphysics, cannot change the “fact” of
communication, 2012).
the face of the earth and other elements of nature. In order to acquire this
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and meanings that define knowledge. These meanings and recognitions are based
their spiritual beliefs, connection to nature, and community values. Within this
For the Higaonon, these rituals and chants are integral components of
connections with their ancestors, spirits, and the natural world around them.
instrumental sounds, the Higaonon people view them as much more than mere
expressions, and cultural ceremonies that have been passed down through
generations. These practices are deeply intertwined with their identity, history,
that their chants are not purely for entertainment or aesthetic enjoyment but are
part of a larger tapestry of customs and beliefs that shape their understanding of
the world.
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perceive these practices as sacred, spiritual, and integral to their cultural identity,
reinforcing the unique nature of their traditions and their connection to the
spiritual realm.
the Vice-Chieftain of the Rainforest Academy, Rogongon and the son of the
baylan arbitrator and chanter, they have identified the Kaamulan as the only
street dancing and showdown, the celebration in the rainforest is a 7-days 8 hour
chanting and dancing under a bushfire in their torogan [a nipa hut built for
Baes and Datus, gather in this momentous event (L. Sangcoan, personal
CHAPTER III
RESEARCH DESIGN AND METHODOLOGY
This chapter presents the research design, the locale of the study and the
methodology and gathering of data.
Research Design
The study employed ethnographic research design. Ethnographic
their chanters and performers; in-depth interview with the Higaonon baes and
datus; and focus group discussions. The researcher took interest in the
The main informants were the Baylan Kaligaun Eladio Sangcoan, who is
75 years of age; and whenever available, his older brother Dionesio Sangcoan,
who is almost 80 years of age. The main contact, guide, and translator was the
son of Baylan Eladio, the 40 year old Datu Kilala Lanelio Sangcoan (enthroned
The Higaonon people, the resident indigenous tribe of Iligan City have
on the hills surrounding the eastern portion of the city. While their community
barangay activities in the area. Sitio Poblacion is surrounded by hills and forests
in almost all directions, except for the area where a national highway is currently
being constructed.
Spanish colonization period that lasted from 1565 to 1898. Even before the
arrival of the Spanish, the Higaonon had already established communities in the
area that eventually became known as Yligan and later on Iligan. Many of the old
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barangays (sub-districts) in the city still bear Higaonon names, often referencing
others.
https://www.google.com/maps/place/Rogongon,+Iligan+City,+Lanao+del+Norte/@8.1749807,124.5002291,62048m
throughout the researcher's study, it was observed that most of the informants
belonged to the Sangcoan clan. The Sangcoan clan is held in high regard by other
clans due to the considerable amount of respect they have earned. It is worth
noting that the only recognized convener of the Kaamulan festival, a ten-day
celebration centered around the genealogy of the tribe and culminating with the
enthronement of several Datu (tribal leaders), who also belong to the Sangcoan
clan.
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Barangay Rogongon. The clan's territory spans 500 hectares of land, which
includes an abaca and coffee plantation. The clan has chosen to envelop
https://www.google.com/maps/place/Kalasan+Tribal+Village+Council
and maintain their traditions, customs, and way of life. Their presence in Iligan
region for centuries. Despite the encroachment of modern development and the
to hold onto their ancestral lands and maintain their distinct identity.
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indigenous pride and resilience, as well as a reminder of the rich history and
Methodology
The initial process of this paper was to first discover what “music” was
Barangay Rogongon, Iligan City. It was then determined that Darinday, Limbay,
and Sala were the three most-used chants, sung as a lullaby to hush (tahan) a
crying child.
plays a great role in documenting and analyzing the vocal expression in the
discussed, which will be substantial to the field of music and anthropology since
After the vocal expressions interviews, Darinday was chosen as the study
subject among the three because it was the only chant that was allowed to be
routines and rituals. The researcher prepared the tools necessary to record the
Oral traditions are used to play and pass down the music of the Higaonon
“in the blood”, before the necessary improvisations can be made, still following
the traditional formats. This contrasts with Western music, which uses
complicated notation and music notation sheets to create the music according to
people are saying is consistent with what they are doing, and contrasting
the data in accordance with ethnomusicology ideas and methods. This means that
this study, fieldwork techniques were used; when the community data were
gathered, they were transcribed, carried out, and analyzed. Alan Lomax's
cantometrics approach was then used to examine the information gathered and
vocal quality, breathiness, short or long phrases, rasp (vocal grating), presence
word or term, that is fixed by their language and culture) versus meaningful
(Lomax, 1968).
respect and acknowledgement towards the spirits and Diwata, the guardians of
actions usually involving sacral objects and marked speech forms, aimed to
produce certain effects on the natural and social worlds. For rituals that express
engage human sense faculties fully, sometimes exhaustively due to their physical
events into the sphere of the extraordinary [its repetitiveness and its highly
bodies in space, which then construct the kind of envisioned social order or state
The term "paninghud" holds deep meaning, signifying the act of seeking
permission from the unseen spirits and caretakers of the natural world before
engaging in the documentation of the chants. This ritual is essential to ensure that
the spirits would not be disturbed and to bring their awareness to the researcher's
specific items were needed to carry out the opening rite. Among these were five
“bisaya" chickens, a one-meter white cloth, ten kilograms of rice, and a halad, or
offering, for the Baylan, the revered chanter who would direct the ritual. These
items had symbolic value and were essential to the paninghud procedure, which
rainforest.
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CHAPTER IV
Upon arrival, two Baes, Bae Nasangkaw and Bae Kadayunan welcomed
the researcher with warmth and charm. Afterwards, the group then embarked on
a 300–500 step climb to the only Higaonon tribe, which was located in the
rainforest's core. As the informant established, these are the only “authentic”
tribes left in their clan, the Sangcoan clan, who are the only living tradition-
bearers as Higaonons.
uneven and rocky. According to reports, the location had a clear passage through
which some small cars could once still pass, but when the area was severely
destroyed by tropical storm Sendong, cars could no longer drive through. The
road was broken down due to the mud, clay soil, and rapid flow of high-pressure
water from uphill. The only type of vehicle that may pass through is a heavy-
Higaonon tribal families that reside in the forest. To them, the word "tribe" often
refers to "First People who have not been Christianized or Islamized." Farming is
how they make a living in the neighborhood. About 500 hectares of Datu Kilala
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Lanelio Sangcoan's property are covered in abaca and coffee plantations. The
families' means of subsistence and basic needs are met by the earnings from their
supply of food.
In the context of the community, the ritual's use of five "bisaya" hens has
connection to the spiritual world. In order to respect the spirits and forge a
"bisaya" chickens.
The white fabric, which was one meter long, had its own symbolism in
the paninghud ceremony. White is often associated with reverence, clarity, and
purity in various cultural traditions. In order to establish a sacred space for the
ceremony and ensure a connection between the material and spiritual worlds, the
The ten kilograms of rice were offered to the spirits and Diwata as
for the interdependence of nature and people. Rice is a staple food and a symbol
the researcher hoped to forge a mutually beneficial connection with the spirits,
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and expressing appreciation for the wisdom and blessings they impart upon the
land.
significance. The Baylan, played a vital role in facilitating the paninghud ritual
as the esteemed chanter and intermediary between the human and spiritual
realms. The offering was made as a token of appreciation for the Baylan's
wisdom and counsel and to reaffirm the researcher's vow to conduct the
following these preparations and engaging in the opening ritual. Through the
a respectful and fruitful exploration of the vocal expression. This furthered the
honoring and recognizing the interconnectedness between people, spirits, and the
natural world was further underlined by the addition of certain items and
performing the paninghud rite, the researcher opened the door for an insightful
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cultural legacy.
About seven minutes into the paninghud, the Baylan agreed to let the
researcher record the chant and ask additional questions afterward. The chanter
was Baylan Datu Eladio Sangcoan, the vice-chieftain of the Higaoon council and
with ancient roots that has evolved over many generations, incorporating the
depth of Bisaya and Latin influences in more recent iterations. The Higaonon
a relic of the past but continues to be actively being passed down through the
heritage falls upon the Baylan, who assumes the role of a spiritual leader and
teacher within the community. Through oral tradition, the Baylan imparts the
intricacies and nuances of the language to the next generation, ensuring its
and the supernatural entities that have influenced their worldview. The Higaonon
people express their deepest beliefs, convey spiritual wisdom, and uphold a
traditions, and spirituality of the Higaonon people. Its continuous use and
preservation symbolize the community's resilience, reverence for its history, and
The Darinday
DARINDAY
(Sangon-sangon language in Visayan Translation)
creature
is
to rely on
Sama dakung kahoy ug mataas nga balite Like a big, tall Balite tree
meditating
discouraged
Ang nagpuyo sa ibabaw nga taliwa sa kakahuyan The one who lives in the uphill,
Mao ra ato Makita ang nalupad lupad nga punay That the only thing we see is
Mao ray madunggan ang awit sa alimokon That we only hear the song of
the nightingale
Maoy akong gika anugunan, maanyag nga binuhat This is what I regret, beautiful
creature
foretold
Ang tibook nga lumad maoy sumbanan The whole native is the
standard
Langgam nga gimingaw nga wala nay kabatugan Litlte bird who misses its own
nests
Ni wala nay kadangpan nga duluna sa gugma There’s nothing like love before
dear creature
“It has long been told that the mountains were called the virgin forests –
the tribes were well and thriving, the nature in its perfect, operating form. There
back then not once belonged to a corrupt society, as it was forbidden and
of the tribe has unfortunately become tarnished – with the Christianization of the
kinaiyahan is lost, and when that happens, chaos ensues. Disorder will take
place. Now, the Indigenous Peoples, as revealed in the chant, are but the same to
that of a Maya bird – who live nowhere other than under the shade of a kugon.†
“We hear now in our kinaiyahan many different kinds of Truths, and that
there are unnecessary, if not deceitful communications that damage and destroy
our own – our sectors in the tribe or our kinaiyahan per se. The wickedness of
are examples of the causes of the destruction of our tribes and our culture.
“The Darinday notes that before the Spanish had come, the tribes have
always had a Law. The tribe has always had a tradition, a ‘culture,’ and a belief
system. However, when the religious had gone to the mountains as they had
*
as narrated by Datu Eladio Sangcoan.
†
Imperata cylindrica is a species of perennial rhizomatous grass native to tropical. The species is most commonly known in
English as “cogongrass,” from Spanish cogón, from the Tagalog and Visayan kugon.
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taken interest in our many tribes and our cultures, they had tarnished the minds,
hearts, and spirits of our people. They had said that befriending an engkanto‡ was
prohibited because the Bible said so. It had been said that instead of giving our
offerings for our friends, the engkantos and the §diwatas – our amigos, we should
provide these offerings to the religion – to the ‘church.’ These people further
intrigued us as we took care of our mountains and our tribes, they spoiled our
them, and we gave them gifts, not pray to them. Because we humans are superior
“To Magbabaya, our God, we humans are even more powerful than these
disadvantaged engkantos who do not have the same rights, the same
consciousness and the same free will as we do. We should not give high regard
to those we cannot see; we give the utmost reverence (tahod) to those we can see
– our brothers and sisters (higalaan). Because these engkantos and diwatas, they
“We were the first to be loved and cared by our God; we were the only
ones given this opportunity to have authority to hold, keep, or make changes to
these material things – to have gold, to have property. What about them, what
authority do they possess? They are only asked to guard and protect the forests
‡
Engkanto - Higaonon mythical environmental spirit that is believed to have the ability to appear in human form
§
Diwata – Philippine mythical mountain goddess
**
Katungod (n.) Sebuano – right; power of authority
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“But this does not indicate that we should simply disrespect them; we
should nonetheless value these spirits because they also have the right to get
angry and have the capability to communicate to God to have the irreverent ones
punished.
“Likewise, we humans pray to the Lord because when the Time comes,
the esperitu – not the physical bodies – of the good, the resolved, and the
believers will someday go [back] to the heavens, and of the rebels and the sinners
– to the underworld. That is why we take care, we foster, and we nurture the
Diwata, the Engkanto, our cows, dogs, our chickens – our pets. We give.
Although similar to the melody and content of Limbay and Sala (the
lullabies of the Higaonon), the Darinday differs mainly for its restriction and
exclusivity to the area of those Higaonon who only live close to the Maranao
people – as this depicted only their tribe’s kinaiyahan†† and theirs alone.
When the Baylan performed the Darinday, the vocal expression was
beautifully articulated, and the vocal expression's content had an impact on how
the baylan evoked emotion. The facial expression was maintained throughout,
and the jaws, corners of the lips, and slightly lifted eyebrows all varied to reflect
††
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particular, during the 10 days that include seven nights of prayer of their social
For the Higaonon people, the Darinday carries significant cultural and
ancestors, deities, and the natural world around them. The vocal expression holds
ancestral knowledge, stories, and wisdom that are passed down through
generations. The Darinday helps the Higaonon people stay deeply rooted in their
group.
The Baylan
culture) found allowable. The interviews revealed that the Baylan holds
Higaonon just had one term Tanod. Baylan Eladio and Datu Kilala are the
When the Baylan, a spiritual leader and ceremonial expert, performs the
Darinday, it is a beautiful vocal performance. The datus made it very clear that
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scriptures were strictly prohibited because these expressions are most sacred.
Although the Darinday can be performed by both men and women, the main
should the researcher immerse and continue to conduct these rituals for a period
of time.
The Darinday, among any other vocal expression of the Higaonon, has to
whenever. The one imparted should have lived the experience – the life in the
It is important to note that the Baylan's skill and mastery in executing the
vocal expressions contribute to the overall impact of the song. Through years of
the nuances of the vocal techniques and the cultural significance they carry. This
expertise allows for a seamless integration of the text, melody, and expressive
The Baylan holds a revered position as the master chanter and guardian
of the vocal expressions within the cultural context. When initiating the
performance, the Baylan sets the tone by starting with a mid-range pitch that
seamlessly flows, resembling their natural speaking voice. This deliberate choice
monophonic. This means that it consists of a single melodic line without any
solely on the intricacies of the melody and rhythm, allowing for a more profound
The monophonic texture of the song emphasizes the Baylan's role as the
melodic line, the attention of the listeners is directed towards the rich musical
and lyrical content, as well as the emotional depth conveyed through the chant.
This intimate connection between the Baylan and the audience fosters an
immersive experience, where the listeners can fully engage with the narrative
vocal techniques and improvisational skills of the Baylan. Without the presence
of harmonies or additional voices, the Baylan has the freedom to explore the
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melodic contours and embellishments with agility and creativity. This allows for
emphasize the spiritual and ritualistic aspects of the vocal expression. It creates a
sense of simplicity and purity, reflecting the connection between the chanter and
the divine. The focus on a single melodic line creates a space for the spiritual
appreciate the rhythmic intricacies of the song. The rhythmic patterns and
become evident, captivating the audience with their skillful and precise
execution.
B. Mode or Style
syllabic and melismatic styles. Syllabic sections are evident when each syllable
of the text is sung distinctly for each note, creating a clear correspondence
between the text and the melodic line. This syllabic style ensures that the
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meaning and nuances of the words are effectively conveyed through the melodic
structure.
instances, a single syllable of the text extends over several notes, enriching the
melodic line and allowing for a more intricate and ornamented vocal expression.
Translation
These phrases are identified by distinct glottal stoppages that occur after a
closure of the vocal cords, resulting in a brief pause or interruption in the flow of
sound. These intentional pauses serve as musical punctuation marks, allowing for
and the interplay between syllabic and melismatic styles creates a captivating and
intertwining the melodic contours with the textual meanings, evoking emotions
and conveying messages deeply rooted in the cultural and spiritual context.
C. Vocal Style/Technique
expressions play a vital role in shaping the overall impact of the chant. One
somewhat grating quality in their voice. This deliberate choice adds a distinct
texture and character to the chant, capturing the attention of the listeners and
The grating quality, the Baylan incorporates a mixed tone into their vocal
technique. This involves utilizing both the head tone and chest tone
wider range of expressive possibilities within the vocal performance. The head
tone lends a sense of clarity, brightness, and agility to the higher register, while
the chest tone provides a grounded and sonorous quality to the lower register.
This blending of vocal registers allows for a dynamic and versatile vocal
expression that can convey a broad spectrum of emotions and nuances in the
chant.
The grating quality of the Baylan's voice introduces a unique timbre and
tonal color to the vocal performance. It creates a sense of rawness and intensity,
allowing the chant to penetrate deeply into the hearts and minds of the audience.
This intentional choice adds an element of authenticity and primal energy to the
choice adds a distinct texture and character to the chant, capturing the attention
tone in the Baylan's vocal technique contribute to the overall impact and
immersing them in the rich cultural and spiritual tapestry woven by the chant.
Through the interplay of these vocal elements, the Baylan brings the chant to life,
embodying the essence of the text and evoking a profound connection with the
listeners.
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The musical form and structure of the Darinday vocal expression among
the Higaonon people exhibit a distinct pattern, with a notable resemblance to the
rondo form commonly found in Western classical music. The rondo form is
pattern, where each letter represents a distinct section of the song. Sections A and
rhythmic motifs that are characteristic of the Darinday. This section serves as the
foundation for the entire piece, setting the tone and mood of the vocal
expression. The lyrics and melody in section A often contain elements that are
repeated throughout the song, forming a refrain-like quality that is integral to the
structure.
that deviates from the main theme. This section introduces new melodic and
composition. The contrast in this section adds depth and interest to the overall
musical experience, creating a dynamic interplay between the main theme and its
contrasting counterpart.
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After section B, the song returns to section A, reiterating the main theme
and reinforcing its importance within the composition. This repetition brings a
sense of familiarity and continuity, allowing listeners to connect with the core
essence of the Darinday. The return to section A also enhances the overall
slightly varied form. This variation adds nuance and variation to the repeated
motif, ensuring that the song remains engaging and captivating. The return to the
main theme in section C strengthens the overall musical structure and reinforces
introduced to provide further contrast and variation. These sections offer new
melodic and rhythmic material, expanding the musical palette and maintaining
the interest of the listeners. The inclusion of these sections contributes to the rich
expressions, Limbay and Sala, both of which are lullabies within the Higaonon
tribes. Although the musical style of Darinday may not overtly resemble a
lullaby in the western context, it is important to recognize that within the cultural
ardor, and the act of closing one's eyes while performing or listening to it further
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comforting ambiance.
musical structure but also in its melodic and rhythmic elements. The melodic
contours of the song often possess a gentle and flowing quality, evoking a sense
of calmness and serenity. The use of repetitive melodic motifs contributes to the
F. Rhythm /Tempo
lullaby-like character. The song employs a steady and regular pulse, reminiscent
enhancing the lullaby's hypnotic quality. The recurring rhythmic motifs create a
This phenomenon occurs when the listener's internal rhythms synchronize with
the external rhythmic structure of the song. As a result, the listener becomes
contributes to its overall lulling effect. The gentle, flowing melodic contours,
combined with the steady and repetitive rhythmic patterns, create a harmonious
synergy that lulls the listener into a state of tranquility and contemplation. The
carried away by the rhythmic flow while being enveloped in the soothing
melodies.
Higaonon culture and even across various world cultures. Exploring the
structural and phonological aspects of the Darinday provides insight into its
properties that define its form and distinguish it from other vocal expressions.
These structural properties may include its melodic contour, rhythmic patterns,
structure.
articulations. The Baylan, as the master chanter, employs unique vocal skills and
techniques that characterize the Darinday and set it apart from other vocal
various social attributes such as gender, age, and status. This aspect adds a
sociological dimension to the study of Darinday, offering insights into the social
dynamics and cultural values of the Higaonon community. The roles and
the social hierarchy and the distribution of power within the community.
significant place within the larger experiential condition and spatial environment.
immediate listeners. The act of performing Darinday enriches the physical and
unity and shared experience among the participants and the audience. The act of
atmosphere created during the performance enhances the emotional and cultural
spiritual environment highlights its holistic nature. The vocal expression is not
confined to a specific setting but resonates with the natural surroundings and the
spiritual realm. The vocal expressions become intertwined with the sounds of
nature, merging human voices with the sounds of birds, wind, and other elements
of the environment. This interplay between the vocal expression and the
Poetics of Darinday
While the musical format and expressive style provide the medium
through which the Darinday is shared within a physical environment, its poetics
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represent the very core of its being and its significance in the entire social and
cultural facbric of Higaonon life. The text of the Darinday represents a much
speech or discourse. It transfers the listener to a different time and cultural space
The Darinday poetics also explore the wide and opulent vocabulary, and
ancestral spirits. This highlights not only the profound spirituality of the
world. The Darinday serves as a means for the Higaonon to communicate with
the spirit world, acting as a bridge that connects two realms of consciousness.
contrasts with the invariability of the musical formula, performance style, and the
reflecting the spiritual, creative, and artistic nature of the Higaonon people.
within it. Through the Darinday, the Higaonon people express their reverence
and reliance on higher powers, whether it be the Creator or ancestral spirits. This
spiritual dimension adds a profound layer of meaning and purpose to the vocal
further emphasize its spiritual nature. The consistent structure and execution of
fostering a sense of deep focus and connection to the spiritual realm. This formal
spiritual beliefs.
people, showcasing their creativity and poetic expression. While the musical
formula remains constant, the lyrical content allows for individual and communal
communication.
Lullabies are sung with the intention of creating a peaceful and secure
rhythms, and nurturing lyrics that promote a sense of security and tranquility. In
offering a means of connection between the caregiver and the child. Through the
nurtured between the singer and the listener, creating a space of comfort and
emotional well-being.
with lullabies and contributes to its cultural significance. The rondo form is
section, interspersed with contrasting sections. This cyclical structure mirrors the
cyclical nature of life and reflects the enduring traditions that are passed down
theme in Darinday not only serves a musical purpose but also symbolizes the
deeper cultural meanings. The use of gentle melodies, soothing rhythms, and
Darinday sing with ardor and close their eyes, actively participating in the act of
creating a safe and nurturing environment for the listeners. This gesture
listeners in a musical embrace. The act of closing one's eyes while performing
singing Darinday, the cultural identity of the Higaonon people is celebrated and
sustained.
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________________________
Kinaiyahan, according to A Dictionary of Visayan Cebuano compiled by John U. Wolff (1972), is formed from three distinct
Visayan words (kina + iya + han). The root word kinaiya, from kina and iya, refers to the “most pronounced” (kina) traits and
ways “possessed” (iya) by a person. It can also be taken as culture unique to certain group of people, in fact, what is cultural is
sometimes misconstrued as natural. The word han is attached to kinaiya as suffix to indicate natural features in places around
us.
CHAPTER V
CONCLUSION
Summary
The researcher discovered that this vocal expression, along with the other
expressions in the Higaonon rituals, is strongly regarded as being very sacred and
strictly guarded after looking into the "musically," "socially," and "cultural"
and music serve as a bridge between two spheres of consciousness and a medium
for human communion with the spiritual world. The entire conduct of the
exhortation and text carry profound importance and meaning for both the
community and the entire world. It includes reflective and meditative actions.
vocal expression that is deemed as the highlight of their rituals, especially during
the ten days which includes seven-night prayer of their social gatherings
(Kaamulan) in the Kalasan Tribal Village. It is merely a part of their life cycle; a
social norm.
concerning the Higaonon tribe and their culture are extremely difficult to
possess. This further proves how the threat of the “preservation” of the memory
of these tribes, their customs and their cultures being lost could grow.
lessons. Through the singing of Darinday, the Higaonon people's cultural identity
The Darinday, among any other vocal expression of the Higaonon, has to
whenever. The person passing on knowledge ought to have had the experience of
evidence that the Higaonon tribes in the Philippines are not losing their oral
traditions.
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Recommendations
vocal expressions and that future researchers be given more time and funding for
cultural immersions so they can study a variety of vocal expression rather than
focusing on a single genre or style. Since these are primarily what would be
required for these to be imparted to people in the academe, this would also mean
(no matter how gradually) that they will eventually in the near future have
APPENDIX A
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Upon arrival, two baes, Bae Nasakaw and Bae Kadayunan warmly and
APPENDIX B
APPENDIX C
“Turugan”
APPENDIX D
APPENDIX E
APPENDIX F
conducting prayer/chanting
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APPENDIX G
APPENDIX H
Appendix I
APPENDIX J
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Philippines, 2013.
Daug, Artchil C., MIH; “Sacred Economics: Sharing in the Higaonon Tribe
Daug, Artchil C., MIH, and Neri, Ashera Dyan. T. AB; “Tribal
October 2013
faculty.washington.edu/ellingsn/Anthro_Music.html.
2007.
Magga, O., Nicolaisen, I., Skutnabb-Kangas, T., Trask, M., & Dunbar, R.
2005, www.developmenteducationreview.com/issue/issue-1/political-
economy-adult-education-and-development.
Press. 1964.
Culture. 2012
of India, 2001.
Jan. 2015.
Books. 2000.
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www.unesco.org/new/en/cairo/culture/tangible-cultural-heritage/.