Republic of the Philippines

Commission on Higher Education

West Prime Horizon Institute
San Francisco District, Pagadian City

GETTING TO KNOW ABOUT ILOCANO

A Report Paper
Presented to the Faculty of the
College Department
WEST PRIME HORIZON INSTITUTE
San Francisco District, Pagadian City

In Partial Fulfillment of the Requirements

of the Subject
Philippine Popular Culture

Bachelor of Arts in English Language Studies

Tuesday, 5:30 – 8:30

Presented by:

Kim Jhon D. Mendez

April 18, 2024

I. ETYMOLOGY

Ilocano, the third largest ethnolinguistic group in the Philippines. When

discovered by the Spanish in the 16th century, they occupied the narrow
coastal plain of northwestern Luzon, known as the Ilocos region. The growth
of their population later led to much migration to neighboring provinces, to
the southern Philippine island of Mindanao, and to Hawaii. Their language
is closely related to others of northern Luzon, all of which belong to
the Austronesian (Malayo-Polynesian) family of languages. In the early 21 st
century the Ilocano (Iloko) language was spoken by roughly 10 million
people.

The word Ilocano or Ilokano originates from the word Iloko/Iloco (archaic
Spanish form, Yloco), the conjugation of i- (meaning 'of') and look (meaning
'bay'), which means 'from the bay' in Ilocano. Alternatively, according to
some records, the name is derived from l- ('originating from')
and luku or lukung (a valley or depression in land, hence 'lowland') located
between the gulod ('mountains') and the luek ('sea' or 'bay').
One of the Spanish language's effects on the demonym is grammatical
gender. Ilocano or Ilokano is used to refer to males,
while Ilocana or Ilokana is used to refer to females.
II. TRADITIONS/CUSTOMS/FESTIVALS
Ilocanos can be found living in the Northern Luzon. They are known to
be thrifty and hardworking. In their culture, every centavo counts. In being
thrifty they are often called “kuripot”. Being kuripot is a positive way for
them Ilocanos, but for others it’s not. It’s just that, Ilocanos are just saving
for something better. They are working hard to earn a living.
There are lot of traditions, customs and beliefs Ilocanos have and
some of the most popular beliefs and traditions Ilocanos have are shown
below.

1. Traditional Ilocano Courtship – Courtship begins with normal

conversations and visits to the girl’s home where the boy meets the
girl and her family and get to know them more. Ilocanos are also fond
of having long courtships to make sure about their own feelings for
each other. The boy sends some love letters to the girl daily as
constant reminders and declarations of a willingness to continue the
erotic pursuit. The harana or serenade in English is also one way of
expressing love of Ilocanos where the boy asks his friends to join him,
on a moonlit night, in waking up his beloved lady with love songs. The
relationship, once formalized, is carried out with extreme gumption.
The girl is expected to remain pure and decent. Tradition strongly
requires that women maintain her virginity until marriage otherwise,
 she will have to face such serious consequences as being exclude from
the community or disowned by her family.

2. The “ATANG” of Ilocanos - An atang is a traditional food offering for

the Ilocanos to ward off evil spirits. The most common atang to ward
off sickness is a rice cake or often called sinukat or sinuman for
Ilocanos. Atang may also be a harvest offering. And usually Atang for
Ilocanos are offered for their relatives who passed away, in order to
commemorate and show that they are still important and are still in
our heart even if they are already gone.

3. The ag ”GULGUL” of the Ilocanos - This Ilocano tradition is usually

done after the burial of the member of the family wherein they wash
their head and usually done in the sea or river. It is said that this is
done in order for the family members to wash away the pain of losing
someone. And to wash away the sickness and bad luck associated
with the death of the family member.

4. Saying “DAYU-DAYU, BARIBARI” - This custom is typically

performed when someone visits a location. "Dayu" translates to "go "
while "Bari" originates, from the Ilocano term "bakir," signifying a
distant place. Ilocanos use the phrases "Dayu-dayu, bari-bari" to ward
off any spirits that may pose a threat as they journey to a destination.

5. The saying of “AWAGIDUN (your name) , DI KA AGBATBATI(your

name) “ - This practice is usually done when they are on their way
going home from a creepy or far place. Ilocanos are saying Agawidun
(your name), di ka agbatbati (your name) because they believe that
when you don’t say this word while going home your souls might left
behind. They are telling their souls to come with
them. Agawidun actually mean go home, and di ka agbatbati means
don’t stay there or you come with me.

6. The Pamulinawen Festival - a celebration that honors the feast of St.

William the Hermit and showcases the rich cultural and historical
legacy of the people, in Laoag City, Ilocos Norte, Philippines every
February 10th. The festival runs throughout the month of February
coinciding with the founding day of Ilocos Norte on February 2nd and
Valentine’s Day. Throughout the month festivities there are events
such as concerts, trade fairs, parades, street dances, traditional horse
drawn carriage processions (Calesa Parade) sports competitions,
beauty pageants including Miss and Mister Laoag contests,
Valentine’s Day programs, pet shows, entertainment programs,
 cultural performances food festivals, like Dulang Food Festival and
more. On the other hand, religious activities are taken care of by St.
William Cathedral Parish. There are the nine-day novena and mass,
fluvial procession, the pontifical mass on the feast day, etc.

7. Guling-Guling Festival - was introduced by the Spanish friars in the

16th century as a means for the religious sector to interact with its
parishioners. It has always been celebrated on the Tuesday before Ash
Wednesday because it was believed that this was the last day for the
townsfolk to enjoy all forms of merrymaking before they observe the
Lenten season. Guling comes from the Ilocano word meaning to “mark,
smear or make a sign”. In the olden days, the chieftain (now mayor) of
the town would imprint the sign of the cross on a person's forehead
using wet, white rice flour. The color white was significant in that it
meant purity. Through this marking, a person was cleansed of all his
past sins.

8. Tobacco Festival - is a festival of culture, history, agriculture, and

cityhood in the city of Candon, Ilocos Sur, Philippines every March.
Besides celebrating the tradition and identity of its people as well as
the tobacco industry, the fest commemorates the Cry of Candon
during the Philippine Revolution every March 25th and its
transformation to a city in 2001 every March 28. The 25th of March is
a special nonworking holiday in the city to remember the Cry of
Candon by virtue of Republic Act No. 9198 that was signed on March
24, 2003. Cry of Candon is also known as Ikkis ti Candon in the
language of its people took. It was a historic event towards the end of
the colonization of the Philippines by the Spaniards in retaliation to
the abuses and injustices suffered by the Filipinos at the hands of the
foreign colonizers. The revolutionaries led by Isabelo Ayala defeated
and forced the Spanish forces to retreat from the town on March 25,
1898.
In 2023, the calendar spanned from March 18 to 28. The first
ever Miss Tobacco Philippines was launched in the same year. Other
activities included wreath laying at the monument of Isabelo Abaya in
commemoration of the Cry of Candon, sports, contests, live band,
concerts, variety and cultural shows, parade, street dance, etc.

10. Pinakbet Festival - a festival celebrating a favorite dish of the

Ilocanos, “pinakbet” featuring street dances, cooking competitions. A
day to honor the farmer’s industry and housewives cooking skills.
Competitions where the best of Ilocano crafts are displayed.
 Marcos, Ilocos Norte takes the pride of this town’s favorite
Ilocano dish, locally known as pinakbet, a mix of indigenous
vegetables steamed in fish sauce, residents here ushered the opening
of the third Pinakbet festival. “Pinakbet” came from the contracted
Ilokano word ‘pinakebbet’ which means “shrunk” or “shriveled.” As a
way of thanksgiving, the Pinakbet festival is a repository of the town’s
“ani” [harvest] festival being celebrated every month of March but this
was later moved to December to accommodate more balikbayans
wanting to join the festivity.
This year, the week-long festivity highlighted a grand parade
around the town plaza and a pinakbet cook fest at the municipal
gymnasium to showcase the best pinakbet in town. A boodle fight
followed suit. Earlier, a fun run was participated by various groups of
public and private organizations.

11.Bac-Bacarra Festival - this celebration was started in the year 2005

as a revival and preservation of their cultural heritage. The legendary
bac-bacarra is a freshwater fish abundant in the rivers of the town in
the olden days. It is now extinct. The town’s name was derived from
it. It was coined by a Spanish soldier who passed by. He asked the
name of the place from a local who at that time was fishing. He did
not understand his question and just answered bac-bacarra.
Fishing is the main industry in the town attributed to the
presence of coastline and the Bacarra river where they get good catch
of quality and high valued fish products. They owe the blessings they
receive to their patron Saint Andrew the Fisherman. This celebration
serves as a thanksgiving to the abundant fish catches. The highlight
of the said event is the street dancing depicting the history of the town
and fishing itself. In general, it was not that exciting as compared to
other festival celebrations because there were only nine groups of
young boys and girls who participated.

12.Farmer’s Festival - The Municipality of Bacarra is celebrating its

annual Farmer’s Festival on the 19th and 20th of May. The
celebration is highlighted with an early morning mass at the St.
Andrew Parish Church, followed by a motorcade around the town.
Briefly after the parade is the opening of the Mini Agro-Industrial and
Cultural Trade Fair participated in by the 43 barangays of the town
of Bacarra. The trade fair showcased farmers produced from rice,
vegetables, high value commercial crops, live stocks, processed foods
and fish products. Five barangays with the best booth we selected
and received cash prizes. The festival is being celebrated in honor of
patron St. Isidore the laborer (Spanish: San Isidro Labrador). It is a
 way of showing gratefulness to God for the abundant harvest of
farmers in the last cropping season. The said festival is done to give
recognition to the farmers and fisherfolks.

III. EDUCATION/CAREER/PROFESSIONAL LIFE

The Ilocanos are not only industrious in the fields but also in schools.
Most Ilocanos are literate (can read and can right). Parents are very
passionate in giving their children proper education and will give it to them
at all cost. By having formal education, the Ilocanos believe that their
children will have better opportunities aside from farming. The Ilocano
parents want to ensure that their kids will have better future and live a
better way of life.
With the implementation by the Spanish of the Bilingual
Education System of 1897, Ilocano, together with the other seven major
languages (those that have at least a million speakers), was allowed to be
used as a medium of instruction until the second grade. It is recognized by
the Commission on the Filipino Language as one of the major languages of
the Philippines. Constitutionally, Ilocano is an auxiliary official language in
the regions where it is spoken and serves as auxiliary media of instruction
therein.
In 2009, the Department of Education instituted Department Order
No. 74, s. 2009 stipulating that "mother tongue-based multilingual
education" would be implemented. In 2012, Department Order No. 16, s.
2012 stipulated that the mother tongue-based multilingual system was to be
implemented for Kindergarten to Grade 3 Effective School Year 2012–
2013. Ilocano is used in public schools mostly in the Ilocos Region and the
Cordilleras. It is the primary medium of instruction from Kindergarten to
Grade 3 (except for the Filipino and English subjects) and is also a separate
subject from Grade 1 to Grade 3. Thereafter, English and Filipino are
introduced as mediums of instruction.
Almost all farmers (the major occupation) own the land they till,
except for those who are tenants of farms owned by urban professionals.
The staple crop is rice, though poorer people must mix cheaper maize (corn)
with their rice. Root crops are also grown both as a supplement to the diet
and for sale. Watered by wet-season rains or irrigation, wet-rice fields range
from small plots that can only be worked with a hoe or dibble stick to those
large enough for a water-buffalo–drawn plow. Dry-rice agriculture is also
practiced in the hilly areas between the flatlands. Crops grown for market
include tobacco and garlic (both Ilocos specialties), as well as onions, and
vegetables. Petty traders may travel as far as Manila to sell such products.
Farmers fish during the lull between planting and harvesting, usually in
nearby offshore waters, rivers, or fish ponds. An important part of the catch
is hipon and small fish for bagoong (fish paste).
Cottage industries include salt-making; basi wine-making (from
molasses); pottery-making (twenty different types are produced in San
Nicolas); weaving (at one time using locally grown cotton; a goddess is said
to have bequeathed the art to the people of Paoay town); basket-and mat-
weaving; woodworking; and silversmithing (recycling old Spanish or Mexican
coins).
IV. FOOD/CUISINE
Ilocano cuisine is heavy in boiled or steamed vegetables and
freshwater fish, as well as salt and pork, and are often flavored
with bagoong (fermented fish paste). Most people are unaware that Ilocano
cuisine arose out of necessity. The rough conditions of the region required
Ilocanos to make do with a wide variety of plants, including the bitter melon.
Prominent ingredients include sukang
Iloko (sugarcane vinegar), bagoong, bawang (garlic), and karne (meats) with
a crispy finish. Ilocanos often season boiled vegetables with bugguong
monamon (fermented anchovy paste) to produce dishes such
as pinakbet, dinengdeng, and kinilnat. Local specialties include 'jumping
salad' kilawin, tiny live shrimp (hipon) with calamansi juice.
Other examples of Ilocano dishes include:

 Dinakdakan – made from masskara or grilled pig's head parts and offal,
blended with lasoná or onions and pig's brain.
 Insarabasab – made out of chopped flame-grilled pork mixed with
chilis, lasoná or sibuyas (onion), sukang Iloko (vinegar) and other spices.
 Ilocos Empanada – orange-tinged glutinous rice flour pastry fried
in atsuete oil, stuffed with vegetables or green papaya,
skinless longganisa, and egg.
 Bagnet – pork belly boiled and deep fried until crispy.
 Chicharon – similarly prepared pork rind.
 Poqui poqui – made of eggplant, tomatoes, and eggs.
 Igado – strips of meat, liver, and other internal organs such as kidney,
heart, and intestines; reflects the influence of Spanish cuisine,
specifically higado (liver).
 Pinapaitan – stew composed of cow or goat innards, steak pieces, and
bile.
 Dinardaraan – dry pork blood stew.
 Lauya – meat soup like tinola, but made with pork or beef knuckles
instead of chicken.
 Another vegetable ingredient important in Ilocano cuisine
is malunggay (Moringa tree). Its leaves are used as a condiment for the meat
soup la'uya, and its fruit pods can be mixed with dinengdeng, a vegetable
soup with prawn paste (aramang or armang or “alamang”). Most households
grow this tree in their backyards and usually offer free access to their
neighbors; it is particularly popular with Ilocanos in Hawaii.
The Ilocano people are also known to be the first ethnic group in the
Philippines to eat the larvae and eggs of abuos (weaver ants). The practice
has since been adopted by other ethnic groups in northern Luzon.
V. LANGUAGE/COMMUNICATION
The Ilocano language, also known as Ilokano, holds a special place in
the cultural tapestry of the Philippines. As a member of the Malayo-
Polynesian branch of the Austronesian language family, it has deep roots
and a rich linguistic heritage. Primarily spoken in the northern region of
Luzon, Ilocano is the third most spoken native language in the country
Most Ilocanos speak the Ilocano language, which is its own branch
within the Northern Philippine subgroup of the Austronesian family of
languages. It is closely related to some of the other Austronesian languages
of Northern Luzon, and has slight mutual intelligibility with the Balangao
language and the eastern dialects of the Bontoc language. Many Ilocanos
also speak Tagalog and English as second languages, as well as other local
languages spoken in North Luzon and Central Luzon (the latter
include Kapampangan, Pangasinan, and Sambalic languages, in addition to
Tagalog).
Ilocano forms the lingua franca of the northern region (Northern Luzon
and northern areas of Central Luzon [precisely Tarlac, Nueva Ecija, and
Aurora, as well as south central Zambales and southeast Bataan]) of the
Philippines. Ilocano is spoken as a first language by seven million people,
and as a secondary language by more than two million people who are
native
speakersof Ibanag, Ivatan, Ibaloi, Itneg, Itawes, Pangasinan, Kankanaey, Kal
inga, and other languages in Northern Luzon, and by many native speakers
of Kapampangan, Tagalog, and Sambalic languages in Central Luzon; native
Kapampangan, Tagalog, and Sambalic speakers grew up in Ilocano-speaking
majority areas speak Ilocano.
The pre-colonial writing system and script of the Ilocano people is
known as kur-itan. There have been proposals to revive the kur-itan script by
teaching it in Ilocano-majority public and private schools in Ilocos
Norte and Ilocos Sur.
 In addition to their own ethnic language, Ilocanos and their
descendants living in Mindanao, particularly in SOCCSKSARGEN,
speak Hiligaynon, Cebuano (both Visayan languages dominate in the area,
the latter being in the major parts of Mindanao), Tagalog, or indigenous
languages. This is a result of intermingling and coexistence between these
ethnic groups, as the area is a melting pot of cultures. Over the years, like
other migrants from Luzon and indigenous natives in Mindanao, especially
those living outside SOCCSKSARGEN, but also in the rest of Mindanao,
many Ilocanos and their descendants assimilated into the majority
Cebuano-speaking society upon learning fluent Cebuano, identifying
themselves as Visayans despite knowing and retaining some of their Ilocano
roots and speaking their own ancestral language as their second or third
language. Their descendants, especially newer generations (as Mindanao-
born natives), now speak Cebuano or Hiligaynon fluently as their main
language with little or no knowledge of their ancestors' native tongue. Those
Ilocanos & their descendants living in Zamboanga
City & Basilan speak Chavacano.

VI. FAMILY/SOCIAL RELATIONSHIP

 Family Life
The structure of the Ilocano family (average size, six to seven persons)
conforms to the general Filipino pattern. The father is the formal head of
family, backing up the mother who disciplines the children and manages the
house finances. The eldest child divides the chores equally among siblings.
Grandparents tend to be more indulgent of grandchildren than the parents
themselves.

Relationships
Ilocanos share the same basic values as other Filipinos, such
as bain, which corresponds to hiya or amor propio ("face" or sense of
shame). The fear of gossip and the desire to avoid the envy of others serve as
strong pressures for conformity. Before pushing through with his or her own
plans, a person feels alumiim, the need to figure out how others will react
first in order to avoid embarrassment. It is essential to
show panagdayaw, proper respect for the sensitivities of others. This
requires that individuals speak about themselves only in the humblest of
terms. Although Ilocanos are group-oriented, they also value a certain
individualism (agwayas) : one should not reveal his or her inner intentions
to others, since it is unwise to be too trusting.
A person is expected to overcome life's challenges through his or her own
hard work, limiting his or her dependence on others to obtaining aid from
close kin. However, Ilocanos do form savings associations (including as
many as fifty women in a neighborhood), mutual-aid associations (financing
members' major celebrations), and labor-exchange arrangements.
Life-passage parties and fiestas provide teenagers their main opportunity to
chat and joke. For a young man to initiate a courtship is a serious matter,
since the only proper end is marriage. On his first visit to the house of a
young woman, the young man takes one or two companions with him so
that he can get their opinion. During the second visit, the companions
excuse themselves to allow the young man to confess his feelings to the
young woman. Love notes are an important means of courtship.
VII. VALUES/BELIEFS/WORLDVIEWS
The Ilocanos are known for being hardworking, appreciative, simple,
and determined. However, they are also known as stingy or “kuripot”. Of
course, the Ilocanos being called stingy and cheap is just treated as a joke
or pun among Filipinos and not as a negative regional stereotype. It is a
regional characteristic that their Filipino brethren have grown to
understand. The Ilocanos value money so much that most people see them
as stingy when in fact they are just pennywise. They want to spend their
earnings wisely. The Ilocanos are not only industrious in the fields but also
in schools. The cultures and traditions that are reflected in these sayings
are: not forgetting where he/she came from; being responsible; being
industrious; more prudent towards other people; being helpful and
unselfish; being thrifty; being honest; being respectful; and being
hardworking Ilocanos also share the same basic values as other Filipinos,
such as bain, hiya, amor propio, alumiim, panagdayaw, and individualism.
They are expected to overcome life's challenges through their own hard work
and form savings associations, mutual-aid associations, and labor-exchange
arrangements. Courtship is a serious matter, with a young man taking one
or two companions with him to get their opinion. Love notes are an
important means of courtship. Life-passage parties and fiestas provide
teenagers with an opportunity to chat and joke.
INDIGENOUS BELIEFS
 Cosmology - Part of Ilocano cosmology were the concepts of the
upstream surong and downstream puyupoyan, along with three other
cosmological regions. Surong represented creation, birth, and life,
and puyupoyan represented the death and the afterlife. They would
give atang, or food offerings, that were put on a raft and drifted
downstream as an offering to the spirits.
Throughout several ethnic groups, the Milky Way was seen as something
connected with water. For the Ilocano people, the Milky
 Way was called Rimmuok dagiti Bitbituen. They saw it as a river in the
night sky.
According to one Ilocano mythological tale, the sky was created by a giant
named Aran, who hung the sun, moon, and stars in it. Aran's
companion, the giant Angalo, could see the land under their light, which
he then molded into mountains and valleys. The giants discovered their
world to be windswept and desolate. Angalo spat on the ground, and the
first man and woman emerged from his spit. He put them in a bamboo
tube and tossed it into the sea. The bamboo washed up on the shores of
the Ilocos region, and the Ilocano people descended from this couple.
 Spirits - Prior to the arrival of the Spanish, Ilocanos were animists who
believed in spirits called anito, who were either bad or good.
The anito ruled over all aspects of the universe. For example, litao were
the anitos of water; kaibáan (or kanibáan) were anitos of the forest
undergrowth; and mangmangkik were anitos of trees.
The mangmangkik were often feared for causing sickness when a fellow
tree was cut down. To appease the mangmangkik before cutting down a
tree, the following chant was made:
Bari Bari.
Dikat agunget pari.
Ta pumukan kami.
Iti pabakirda kadakami.
This chant calls on the mangmangkik and beseeches them not to
curse the people cutting the tree down. Similar chants and
phrases were uttered to appease the kaibáan when hot cooking water is
thrown out into the yard for disposal. The kaibáan can be befriended,
giving luck and blessing to the person. Likewise, if a kaibáan is angered,
illness and in some cases death would plague the person's health and
family.
Other ways anitos were respected and appeased were through
offerings and sacrifices to idols on platforms (called a simbaan) or
designated caves where the anito frequents. These offerings, called atang,
consisted of various foodstuffs and sweets, as well as cigars and paan.
Like other Filipinos, Ilocanos recognize an array of supernatural
beings, such as the katawtaw-an (the spirits of infants, who died
unbaptized and in turn victimize newborns).
 Soul Belief and Typology - The Ilocano traditional mythos has a four-
soul system.
 1. Kararua is the name for the first soul. This term is used as the
equivalent of the Christian soul, which can only leave after death.
2. Karkarma is the name of the second soul. It can leave the physical
body when one is frightened, or may be stolen. If this soul fails to
return, the owner becomes insane; sacrificial ceremonies may be held
to lure back a lost karkarma. Karkarma stands for natural vigor,
mind, and reason.
3. Aniwaas is the name of the third soul. It can leave the body during
sleep and visits places familiar to the body. If one wakes up while
the aniwaas is visiting these places, they may lose the aniwaas and
become insane.
4. Araria is the name of the fourth soul. This is the liberated soul of the
dead; the soul that visits relatives and friends in the earth, asking
them to pray for it or perform a duty it failed to do in life. Its presence
can be heralded by the howling of dogs, the cracking of glass, the
rattling of beds, and the banging of doors, or in the form (at night) of
a grunting pig or a crowing chicken. These signs remind the living to
pray to God for the forgiveness of the deceased's sins (otherwise,
the al-alia may visit misfortunes upon them). This soul can make
sounds and manipulate physical objects usually relating to what it
did in life. Ilocanos generally believe that the soul has not yet left the
world of the living during the wake and still needs sustenance, hence
the offering of food as they transcend onto the afterlife. It is also
believed that the soul returns to the land of the living after the nine-
day wake and must be welcomed back. In instances when the
deceased appears in a dream or when a family member suddenly
experiences unexplainable sickness, atang is performed as an
appeasement ritual for the deceased who may have been offended or
disturbed. It is also interpreted as asking the deceased to intercede
for their loved ones, and thanking them for warning against bad omen
through dreams. The significance of the atang for the Ilocanos goes
beyond the remembrance and honoring of the dead loved ones—it
connotes their view of life after death and the relation of the living to
the departed.
 Water Beliefs - One mantra of Ilocano religion is, "Water is life. It is
death." In many ethnic groups in the Philippines, water represents a
cosmological cycle of both life and death. Water plays a vital role in
Ilocano folklore: from the Ilocano god of the rivers and sea, Apo Litao, to
cosmological beliefs involving the water and sea.
Apo Litao is the Ilocano god of the sea and rivers. It is said that Apo Litao
is a small man who lives in the branches of the bamboo trees along the
riverbanks. In one tale, there was once a girl who lived with her mother
 near the banks of the river. One day, her sewing needle fell into the river
and her mother warned her not to get it. However, she went anyway and
once she got the needle, the waves swept her away. She was taken in by
Apo Litao who gave her the gift of enchantment and she became his wife.
She became a mermaid, or sirena, and the queen of the waters. She is
described to have long, thick hair, and sharp nails. She would kill those
who speak ill of her, but entertains and gives gifts those who gain her
favor.
The deceased were buried with offerings and money in their coffins so
they could pay the toll to the agrakrakit, the spirit who ferries the dead
souls, and safely cross the waters to the afterlife.
Crocodiles (nono) were once abundant in the Philippines. Historical
records state that they were deeply respected and seen as divine
creatures, even representing the ancestors. People would give offerings
(panagyatang) to crocodiles as signs of respect; for instance, fishermen
would throw them their first catch.
 Sibrong - Another practice that survived well into the 19th century
was sibróng. Associated with human sacrifice and
headhunting, sibróng was a prevalent practice in the Ilocos region. The
person who carried out the executions was called the mannibróng; this
term now means 'thief' in modern Ilocano.
Before the death of a community leader or a member of the principalía,
the dying person would lift a hand raised with a certain number of
fingers. The number of fingers raised would be the indicator of how many
people would have to be killed in order to accompany the dying to the
afterlife. In other cases, the people chosen by the mannibróng would have
their fingers cut off instead of being executed. Síbrong. can also refer to
the practice of placing a human head in the foundations of the building
to protect the structure from damage.
VIII. ARTS/ENTERTAINMENTS/RECREATION
 Music and Performing Arts
o Kankantal Kansion (folksongs) - Ilocano folk songs tend to depict
the natural world, home and family, friendship, love, work,
marriage, death, kinship, religion, and politics. Themes often
include humility, religiosity, industriousness, and thrift.
Some of Ilocano Folksongs:

 Pamulinawen – an old Ilocano folk song (possibly pre-Spanish era)

about a girl with a "hardened heart" who does not need her lover's
pleading, and disdains courtship and love
  Manang Biday – a narrative song about the courtship of a young
maiden named Manang Biday
 O Naraniag A Bulan (lit. 'O Bright/Shiny Moon') – a fast-paced,
upbeat song with lyrics about a paradox wherein the narrator's love
story is sad and she is alternately desperate for enlightenment and
contemplating suicide (a noteworthy lyric being "samsam-itek ni
Patay")
 Ti Ayat Ti Maysa A Ubing (lit. 'The Love of a Child') – a song that
depicts the love of a child as pure, unbiased, and untapped
 Bannatiran – refers to the bannatiran bird that is supposedly native
to the Ilocos region on the island of Luzon in the Philippines; this song
was composed by a Don Claro for a Señorita Valentina (late of Laoag,
Ilocos Norte), referring to her as a 'bannatiran' because of her highly
sought-after kayumanggi (brown) complexion
 Dungdungwen Kanto (lit. 'Lullaby of Love') – an Ilocano love/wedding
song; also sung as a lullaby
 Osi-osi – a folksong that portrays the traditional ways of courtship
 Ayat ti Ina (lit. 'Love of a Mother') – a song that expresses how a
mother loves and takes care of her child
Salsala (folkdannces) - Ilocano folk dances reflect the history and folk
stereotypes of the humility, religiosity, liveliness, hard-working nature, and
thrift of the Ilocano people. T hese folk dances fuse cultural
elements that constitute the vast and dynamic social, political, economic,
artistic, and religious landscapes of Ilocandia.
The kumintang step is one example. There are kumintang steps in other
parts of the Philippines, however, Ilocano kumintang is done inwards and
with a half-closed hand. The kumintang is meant to demonstrate and
internalize the stereotype of Ilocanos saving for the future.
The korriti step is meant to demonstrate the folk belief that Ilocanos are
lively, hardworking, and fast on their feet. It evokes working on vast
farmlands, and searching for places that offer a living.
The sagamantika step is a dance with soft gestures. It has a forward-and-
backward movement, expressing an Ilocano saying that roughly translates
to "even if you leave, you will always return to your origin since this is where
you were born, this is where you experienced love, and this is where you
lived for a long time".

Some of Ilocano folkdances:

 Ilocana A Nasudi ('chaste Ilocana' / 'the lovely Ilocana') – a dance

that depicts a chaste, modest, and virtuous Ilocana woman. This
dance may be performed by four pairs. Originally, this dance was
accompanied by a kutibeng, a five-stringed instrument, and was
practiced by the settlers of Barrio Naglayaan, Dingras.
 Binigan-bigat ('every morning') – a courtship dance depicting a boy
who is in love with a girl from whom he asks pity
  Dinaklisan – a dance common to fisher people from Currimao.
Related to the Ilocano term agdaklis, meaning 'to fish with the use of a
net'. Ilocano traditionalists note its depiction of the hard work,
resilience, and endurance that is espoused by the town's fisherfolks.
 Sileledda-Ang ('grief-stricken', 'laden with sorrow') – a courtship
dance showing lovers' fondness for each other
 Sabunganay ('banana blossom') – a dance symbolizing a young lady
who is still too young to be courted
 Binatbatan – an occupational dance that depicts the beating of
ginned cotton pods to separate the seeds from the fibers with two
sticks called batbat, which produced a clear and distinct rhythm, on a
carabao hide to separate fiber strands. The people of Paoay are known
for their fabled skill in weaving a heritage cloth called abel.
 Pandanggo Laoagueña – a courtship dance performed by either
young or old Ilocanos
 Agdamdamili – a pot dance

 Clothing and Appearances

At the time of the Spanish conquest, the Ilocanos had long hair like
the Igorots, but not as long as the Cagayanons' (Ibanag and Itawes), whose
hair covered their backs. Women wore their hair in a bun on the crown of
their heads. Both men and women took care of their hair, using shampoo
decoctions made from the barks of specific trees, coconut oil mixed with
musk and other perfumes, gogo, and lye made from rice husk, which is still
used in Ilocos today.
They polished and sharpened their teeth with betel nut husks and stones
since childhood, making them all even or sometimes serrated like saw teeth.
They would color them red or black, just like the Igorots, to preserve them.
The wealthy, particularly women, decorated or encrusted them with gold to
make them more powerful or flashy.
 Abel Weaving - Inabel, a handspun cotton fabric, is one of the many
prides of the Ilocos Region. Abel is the Ilocano word for 'weave',
and inabel refers to any type of woven fabric. However, in the world of
weaving, inabel is specifically used to refer to fabrics that are
distinctly Ilocano in origin. Cotton is used to make inabel fabric,
which can be plain or patterned and is well known for its softness,
beautiful designs, and strength. The process of creating inabel, like
other forms of handweaving in the country, is intricate and labor-
intensive.
Ilocos weavers weave on hardwood pedal looms with a variety of
design techniques. Each province has its own design style. The
intricate binakul pattern is meant to ward off and distract evil spirits,
protecting the wearer. The multi-heddle design technique,
the pinilian or brocade weave, the suk-suk or discontinuous
supplementary weft technique, and the ikat tie-dye technique are
examples of other patterns. Cat's paws, fans, stars, and windows are
other popular patterns.
 Pandiling and Kimona - The traditional Ilocano dress made
from inabel reflects the supposed admirable qualities of Ilocana
women: an aura of quiet beauty, appealing shyness, and dignity in her
manners. The wearer selects colors expressing modesty and
simplicity. A typical dress comes in a two-piece ensemble, consisting
of a blouse and skirt. The blouse (kimona) is either plain white or
pastel, usually with a cowl neckline. The full-length skirt (pandilíng) is
cone-shaped with a drawstring around the waist. This is usually made
from hand loom-woven textiles which the wearer herself has
meticulously woven and sewn by hand.
The designs of the weave are inspired by such things as diamonds, the
Milky Way, shells, and stripes or check. The dress is worn over a full
slip called kamison. The Sunday dress is more elaborately designed. A
colorful wrap-around called tapis is dyed with colors which
complement the pandilíng. Tsinelas are everyday footwear made of
leather, while formal footwear called kutso are made of beaded felt and
leather and are worn on Sundays and fiestas.
 Kattukong/Tabungaw hat - The traditional Ilocano headgear or
hat kattukong (or tabúngaw) is made from a hollowed and
dried calabash gourd (tabúngaw in Ilocano, or upo in Tagalog). The
hat has a woven interior made of anahaw, nipa, bamboo,
or rattan. Kattukong is weatherproof and worn as protection against
the sun and rain by mannalon (farmers) and mangngalap (fishermen).
Also often worn during rainy days was a cape called a annangá, also
called lábig or kalapiáw, which was often made of nipa palm leaves.
One notable craftsman of the gourd hat is Teofilo Garcia of San
Quintin, Abra, who was awarded with the prestigious title National
Living Treasure. He is the last professional gourd hat maker, involved
from the planting of the seeds to the varnishing of the hat. He intends
to pass on the knowledge and skills to preserve the practice.
 Burnay Pottery - A prominent traditional craft of the Ilocano people,
particularly in the area of Vigan, is the creation of unglazed
earthenware jars locally called burnáy. The tradition dates back to
before the arrival of the European colonizers, when the peoples of
northwestern Luzon traded extensively with merchants from
China. Since then, the jars have become a staple in traditional
Filipino kitchens, where they are used to store basic goods such
tea, danum (water), bagas (rice grains), asin (salt), asukar (brown
sugar), basi (local wine), a bugguong (fermented fish). Ilocano folk
wisdom suggests basi and bugguong taste better when stored
inside burnáys.
 Kukudisi - Kukudisi is a uniquely Ilocano game. An an-anak (stick) is
placed on a baseline scratched into the ground. One player launches
 the stick into the air, while the other tries to catch it before it hits the
ground. If the latter is unable to do so, a second, longer stick (the in-
ina) is placed across the baseline, and the player attempts to hit it
with the an-anak. The next two phases of the game involve competing
to see who can hit the an-anak (which has been thrown in the air and
stuck into the baseline) the farthest with the in-ina.

To conclude, millions of people in the Philippines speak Ilocano, a rich and

colorful language that perfectly captures the perseverance and cultural
legacy of its people. Its stories, customs, and history are as beautiful to read
as its words alone. Ilocano is a living example of the richness of human
expression; it unites communities and will be a source of pride for future
generations.

SOME OF THE NOTABLE ILOCANOS

The Marcos Family
Mikey Bustos – YouTube star and Canadian Idol finalist
Matthew Libatique – American Hollywood cinematographer and Oscar
nominee best known for his work with director Darren Aronofsky on such
films as A Star is Born, Iron Man, Iron Man 2, Inside Man, Miracle at St.
Anna, Gothika, Cowboys & Aliens, π, Requiem for a Dream, The
Fountain, and Black Swan

Vice Ganda (also known as Jose Mari Viceral) – Filipino comedian; his
mother is Ilokana from La Union.

Yassi Pressman – actress; her mother is from Isabela

Liza Soberano – Filipino-American model and actress; her father and
ancestors are Ilocanos from Sta. Maria, Asingan, and Baguio
Kylie Padilla – Filipina actress; her father, Robin Padilla, is an Ilocano
from Nueva Ecija
Jessie Mendiola – Filipina actress; her mother Didith Garvida is
from Bangui, Ilocos Norte
Isabelle Daza – daughter of Gloria Diaz

Gloria Macapagal-Arroyo – daughter of Eva Macapagal from Pangasinan

Coleen Garcia – Filipina actress; her mother is Ilokana from La Union

Darren Espanto – Filipino singer; his parents are Ilocano from Nueva
Vizcaya
Daniel Padilla – actor; his paternal grandmother is Ilokana and the sister of
Bela Padilla's maternal grandmother

Carlos P. Garcia – 8th President of the Philippines (1957–1961); his parents

were natives from Bangued, Abra

Bela Padilla – actress from Nueva Ecija

Bianca King – Filipina actress; her mother is Ilokana

Alden Richards – actor; his paternal grandmother is Ilokana from Sinait,

Ilocos Sur

Alma Moreno – Filipina actress born in Cervantes, Ilocos Sur

Ramon Magsaysay – 7th President of the Philippines

Gregorio C. Brillantes – a multi-award-winning fiction writer and magazine

editor, is one of the Philippines' greatest writers in English

Fidel V. Ramos – 12th President of the Philippines (1992–1998) from

Lingayen, Pangasinan

Anne Curtis – Filipina actress whose mother is Ilocano from Pangasinan

Jasmine Curtis-Smith – Filipina actress, younger sister of Anne Curtis

Jhong Hilario – Filipino actor, host, and dancer

Nova Villa – Filipino actress

Teófilo Yldefonso (1903–1943) – Filipino swimmer known as "the Ilocano

Shark" who specialized in the breaststroke. He was the first Filipino to win
an Olympic medal, and the only Filipino to win multiple medals.

Jessica Soho (born March 27, 1964) – Filipino broadcast journalist,

documentarian, and news director who received a George Foster Peabody
Award and was the first Filipino to win the British Fleet Journalism Award
in 1998

Jericho Rosales – Filipino actor

Maja Salvador – Filipina actress

Gabriela Silang – leader of the Ilocano independence movement from Spain
after death of her husband, the revolutionary Diego Silang

Robin Padilla – Filipino actor and politician, from Nueva Ecija

Lucrecia Kasilag (1918 –2008) – National Artist of the Philippines for Music
as a composer and pianist; known for incorporating indigenous Filipino
instruments into orchestral productions

Juan Luna – famous Filipino painter, older brother of Antonio Luna

Leona Florentino (1849 –1884) – writer and poet in Spanish and Ilocano;
considered the "mother of Philippine women's literature and recognized as a
pioneer in Philippine lesbian literature
Manuel Arguilla (1911–1944) – Ilokano writer, resistance fighter, and
martyr. Widely recognized as a leading author in Philippine literature before
World War II. He is best remembered for the literary collection How My
Brother Leon Brought Home a Wife and Other Short Stories, which won first
prize in the Commonwealth Literary Contest in 1940. He joined the
resistance against the Japanese occupation during World War II, and was
beheaded among a group of other guerillas at the Manila Chinese
Cemetery on August 30, 1944.

Josefa Llanes Escoda – women's rights activist, founder of the Girl Scouts
of the Philippines

Armando "Mandrake" Ducusin Palabay – Filipino student leader and

activist; honored at the Bantayog ng mga Bayani memorial as a martyr of
the resistance against the Marcos dictatorship

Elpidio Quirino – 6th President of the Philippines (1948–1953) and native of

Caoayan, Ilocos Sur

Juan Ponce Enrile – a former senator who served as Senate President from
2008 to 2013

General Antonio Luna – general of Emilio Aguinaldo's era

Isabelo de los Reyes – founder of the Aglipayan Church and prominent

writer and politician

Gregorio Aglipay – first Supreme Bishop of the Aglipayan Church