A Clay Pot in Exchange for Rice, Anyone? [Pottery Traditions Ilocos Norte Philippines]
Prior to its use as serving pots in fine dining and as décor, we have known the clay pot for its original function, which is as a cooking pot. Bigger earthen pots have also been used as vessels for drinking water.
In this photo taken in 2016, potter Lucrecia Gonzales of Vigan is seen applying red earth dye on her products' surfaces while these are being dried under the sun. |
But for the earthenware “damili” potters such as those of the town of San Nicolas in Ilocos Norte and in several western barangays in Vigan, Ilocos Sur, their products – from the cooking pots to the charcoal or firewood-fed stoves – are trade items that could be used to obtain other products with no money involved.
Milled or unhusked rice grains are the more common items that are acquired in this cashless exchange that is locally called “panagimarú” or “panagsinnukat” (with "pannakisinnukat" as the term for the act of making the exchange). For instance, in the early 2000s, a medium-sized "banga" or “tayab” (cooking pot) complete with cover was traded with a half ganta (a little over a kilo) of milled rice. On the other hand, the much heavier earthenware “dalikan” (firewood-fed stove) was equivalent to two cans of unhusked rice grains, which when milled could produce about 10 kilos of rice.
A form of exchange called “panagsinnubor” (also “sinnubor”, "pannakisinnubor") is also practiced more specifically in the rice-for-pot trade. A tradition that appears to be more favorable to the potters and now very rarely done even in remote communities, a cooking or water vessel and its cover is exchanged with the amount of milled rice that the pot and cover could contain.
Apart from rice, clay pots and other kinds of earthenware could also be traded with a host of different items, most of which are agricultural products that the farmer-producers themselves exchange with potters. Salt, fermented or fresh fish, and wild yams are common food items that are swapped with earthen pots. Through their products, potters could also obtain dried corn husks, sawdust, and other farm refuse that could be used for firing the earthenware.
A continuity of the old cattle-drawn trading caravans that lasted until the early 1980s in the Ilocos region, some earthenware potters in San Nicolas and Vigan maintain this intangible cultural heritage of bringing their products to town markets during designated market days, such as in Badoc, Ilocos Norte on Mondays, and in Sinait, Ilocos Sur on Fridays. Potters in jeepneys loaded with earthenware also make regular trading visits to remote agricultural communities. Cashless trade is now rarely practiced, and present exchange is already mostly based on the monetary value of products. Still, this indigenous tradition remains as a viable alternative for many cash-strapped potters and agricultural producers.
Good To Know
Is your pot an earthenware, or a stoneware?
After our features on the earthenware, we now focus on the “burnay”, a stoneware whose regional cultural importance can be linked with the Ilocos’ traditional production of sugarcane vinegar and wine, as well as fermented fish paste and salt.
Burnay is produced through one of the two pottery traditions found in the Ilocos region, particularly in the City of Vigan where its technology was introduced by Chinese migrants around the late 18th to the 19th century.
Its production uses the same type of locally-sourced clay quarried for Vigan’s earthenware “damili” pottery, but the river sand utilized as tempering material may be the coarser kind. Under a roofed production site, clay and sand are combined with water. A carabao is guided by a worker to do the mixing within a round pit until the needed consistency of the sand-infused clay is achieved. On another part of the workshop, the potter forms the mixture into a lump, ready for molding.
Normally performed by a male artisan, molding is done over a large stone potter’s wheel, which the potter himself or his assistant spins through the vigorous force of the hands or using one foot as he holds onto a rope that hangs from above to keep his balance. The potter then puts some water onto the spinning lump and begins to mold it by pressing his thumb on the top’s center to create a hole. From that part, the potter pushes it down with the fingers of one hand, and then upward, to mold the clay into the desired shape and height. Meanwhile, the other hand is used mainly to support the molding from the outside.
For tall vessels, molding is done in two separate parts – one for the bottom half, and another for the upper portion. After the needed air-drying, the two parts are fused with the aid of a stone anvil inside and a wooden paddle gently beating from outside.
The shape of the vessel and accents are made depending on the intended function. A burnay, whose main body is round and wide while the flat bottom as well as the mouth are narrow, is perfect as a fermenting jar or storage for grains that has to be covered for protection against moisture and other contaminants. The wide-rimmed vessel called wanggi is for holding water intended for bathing or washing.
Utilitarian jars are plain and undecorated, except for a few “ears” and some cord design impressed around the rim or shoulder. Until about two decades ago, the task of decorating the burnay and wanggi with ears and cords, was sometimes done by women. On the other hand, various decorative incisions around jars intended as ornaments are made by male artisans.
After a week or more of drying in the workshop, the molded jars are fired inside a sloping dragon kiln constructed of mud and brick, which more recently had been reinforced from the outside with cement. A significant amount of wood is used as fuel for the kiln, to reach high temperatures of about 1100–1400°C needed for the firing of such stoneware, as pointed out by Dr. Jenny Ruth Cano, ethnoarchaeologist, in her doctoral dissertation in 2012.
When the kiln has sufficiently cooled – at least two days after the day of firing – the burnay products are brought out and stacked in the workshop or the surrounding yard.
While burnay factories were originally built and owned by Chinese migrants, locals have always been hired for various chores in the production process. They have also been trained in the molding itself, that some have become as skilled artisans as their Chinese potter-employers.
Today, the only remaining active artisans among the descendants of the earlier Chinese potters are 80-year-old, Filipino-Chinese Fidel Go and his sons, who own one of the only two surviving burnay factories in Vigan. In 1990, Fidel Go was conferred the National Folk Artist award (the forerunner of the Gawad sa Manlilikha ng Bayan) by the National Commission for Culture and the Arts, for keeping his craftsmanship alive along with his family’s burnay tradition, which has become an integral part of Vigan, Iloko, and Filipino heritage.
Damili Earthenware Pottery
In 2010 and 2011, the NMP Ethnology Division documented damili or earthenware pottery in the Municipality of San Nicolas in Ilocos Norte through the help of local potters, particularly mother and daughter pair, Clara and Dina Agonoy.
Four families in Barangay 6 are actively making banga or tayab (cooking pot), malabi (water container), dalikan (firewood-fed stove), labba (rice cake containers), masitera (flower pots), chicken feed containers, and deep-well sidings. They supply the stores along Sarrat-Dingras Road, as well as the farms and restaurants in different towns of Ilocos Norte. Earthenware products are also sold during market days in the different municipalities.
The clay used by the potters in four barangays is from Barabar (now Barangay Santa Cecilia) and Nagrebcan (now Barangay Santa Monica) in the Municipality of San Nicolas. The farmers dig up the clay deposit accumulated in their farm fields during the rainy season to supply the potters with clay in the dry season. Clay is priced per karison or carabao- or cow-drawn cart, which is also the farmer’s mode of transport.
The clay is soaked in water overnight, and mixed with sand the following morning. The mixture is then formed into pots through the lupisak or potter’s wheel. This initial process is called agbibir. The pots are then air-dried and enlarged by employing various types of wooden paddles and stone anvil. Banar, a large wooden paddle is used to enlarge the body of the pot and rigay, a square-shaped wooden paddle with ridges is used when arranging the shoulder and neck against the tuknu or stone anvil. When the desired size and shape are attained, the pots are again air-dried before smoothened with idiid or shell.
The different households gather materials for the open firing prior to the panaggebba or cooking of pots near the Padsan River. The pots for firing are coated with hematite slip to give its red color. This process, called ipula, is done on the same day of the firing or cooking.
The potters gather and arrange the pots in the communal area after lunch. The items are positioned sideways and covered with layers of dried wood, bamboo splits, twigs, hay, grass, and rice chaff. Cooking lasts for three hours until the fire reaches the top of the mound. Each household collects the cooked pots and some would further blacken them by the embers of rice chaff.
The damili in Ilocos Norte is at its peak during the summer season when air- and sun-drying of pots and open firing is possible.
To our plantitos and plantitas, please support our local potters by buying earthenware flower pots.
Related Article - A Bit of History:
The Local Clay Stove, or “kalan”
Earthenware stoves are part of the enduring traditional cooking vessels used by past and present local communities. These are portable wood-burning stoves that can accommodate one palayok or earthenware pot at a time. It is an indispensable object for cooking, a process and technique of food preparation learned by prehistoric humans and developed from pits since the discovery of fire. The kalan often features three cleats on its rim that support the cooking vessel, a flooring for holding the wood that serves as fire kindler or fuel, and a footring that supports the vessel. Stoves are usually thick, heavy, and are mostly undecorated.
Three types of stove forms were found in the Philippine archaeological context: 1) cylindrical-shaped stove that features a fan-like bottom portion holding the wood, 2) quadrangular-shaped stove with low walls, and 3) cylindrical-shaped type with a large quadrangular cut-out at the front. Evidence of prehistoric earthenware stoves were found in Santa Ana in Manila, Laguna, Cagayan, Batangas, Pandanan Island, and Butuan.
Illustrations from “Shipwreck Site and Earthenware Vessels in the Philippines: Earthenware Vessels of the Pandanan Shipwreck Site” (2011) by Kazuhiko Tanaka and Eusebio Dizon. |
Making a kalan is often done in stages. It typically starts with the body, followed by the addition of cleats. While women are more traditionally associated with making pottery, men have also participated in this activity. According to ethnoarchaeologist Rhayan Melendres of the University of the Philippines-Archaeological Studies Program, the gender of the potter dictates the techniques used, thereby influencing the forms of the products. Men commonly use techniques like slabbing and molding in the creation of clay stoves and flowerpots. On the other hand, women typically use the potter’s wheel, and the paddle-and-anvil technique, which are techniques commonly associated with making cooking pots.
For related information on earthenware and stoneware and the artisans who produce them, please also read this recent feature from the NMP Ethnology Division, which is accessible through the following link -- https://www.facebook.com/nationalmuseumofthephilippines/posts/4240373675986918
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Credits:
Text and photos by M.L. I. Ingel | NMP Ilocos Regional Museum
© National Museum of the Philippines
EXPLORE DEEPER: Tourist Attractions in Each Ilocos Norte Town (Municipalities) and City
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Attractions: Ruins of Pasuquin's old Roman Catholic church Davila - Salt Capital; Also known for its bonsai production & artistry. Home of the "Dumadara Festival" organized by the Roman Catholic Parish of St. Francis of Assisi. Estancia- Summer Capital of Pasuquin. Known for its scenic Sexy Beach Naglicuan - Botanic Garden of Pasuquin Poblacion 2 - Sentinella Hills, Nagrebcan & Magararay Rice Fields, and the existence of the Old Roman Catholic Church Ruins. Home of the "Rambac ti Daya Festival" Poblacion 3 - Barangay "Biscocho", simply for making the best tasting biscochos in the entire province. Home of the "Ragragsak ti Laud Festival" Puyupuyan - Known for its grotto and the apparition in the late 80s and early 90s, Puyupuyan is one of the best Summer destinations in the town. With the presence of the ship wrecked believed to have sank during the Second World War, the seashores just made it perfect for tourists for a great souvenir shots San Juan - Known for its summer getaway falls called "Calitungan" Santa Matilde - hunting; mango tree production Sapat - known for the PAF Airbase and the most restricted area in the town Sulbec - known for its Put-tot Siraong Picnic Venues Surong - known for its Luttuong falls Tadao - Houses the biggest dam in the municipality. Also good for picnics, trekking and hiking escapades. Susugaen - known for its own "Put-tot," a small lake, which many people visit because of its fresh, cold and clear water. Another attraction is the waterfall known as "Saypon" which used to served the villagers with abundance of water along with streams and rivers. "Suso Beach" is also located here. Furthermore, "Villa Florentina Beach Resort" is also situated between Sitio Cababan and Barangay Nalvo at the South-Western part.
So Good PAGUDPUD - Beautiful Beaches | Ilocos Norte Travel & Tourism Philippines [Virtual Tour]
PAGUDPUD Ilocos Norte Philippines Tourism Video - Travel destinations, tourist spots, culture and history, beaches, local delicacies, mulberry picking, handicrafts & pasalubong, Featured travel destinations: Pagudpud Arch, St. Jude Thaddeus Parish, Saud White Beach, Pagtanawan It Pagudpud, NLREC Windfarm / windmills, Kabigan Falls, Blue Lagoon & Maira-ira Beach, Patapat Viaduct, Agua Grande, Dos Hermanos Islands, Bantay Abot Cave, Timmangtang Rock, Pagudpud Surfing / snorkeling, Panzzian Beach & Mountain Resort, Mat weaving Saud, Stingray Memorial (Brgy. Caunayan), Ima Farms, . The home of one of the most beautiful beaches in the world, Pagudpud is truly the tourism haven of Ilocos Norte. Endowed with breathtaking sceneries and mouth-watering delicacies. Together, let’s explore #sogoodpagudpud.
PAOAY Kumakaway | Ilocos Norte Tourist Spots & Destinations [Travel & Tourism Philippines]
Paoay Town Ilocos Norte Philippines: Virtual Tour - Travel destinations, famous tourist spots and attractions, culture, hostory and heritage churches. From the home of the famous UNESCO World Herigate Site of Saint Augustine Church, Paoay is truly Kumakaway! Be mesmerized with its scenic attractions and breath-taking adventures. Things to Do in Paoay, Top Attractions in Paoay: St Augustine's Church or Paoay Church, one of the most popular tourist attractions in the town. Suba Sand Dunes: Ilocos is home to two sand dunes; one is located in Laoag while the other is located in Paoay. The Suba Sand Dunes are considered to be the safest in the country, in addition to being the widest and longest. Visitors can take in the one of a kind views of rolling sands as they explore as much of this area as they can on a 4-wheel drive all-terrain vehicle. Malacañang of the North: Paoay is home to one of the country’s most controversial presidents, President Ferdinand Marcos; and the Malacañang of the North was his summer and home town residence. Overlooking Paoay Lake, this grand palace is now open to visitors and still retains its aura of elegance with its old but impressive furniture and grandiose chandeliers in each and every room. Paoay Lake: Paoay Lake is the largest lake in Ilocos Norte and is one of the largest natural lakes in the region. The Lake was actually formed after a tragic series of natural events. The land on which the lake sits was once a town. However, the occurrence of a strong earthquake and typhoon, both on the very same day forced the land to give way to the formation of the lake.
#PaoayKumakaway Join Miss Paoay, Mary Majesty Anne Gonong Cruz, in celebrating our home, Ilocos Norte! Ms. Ilocos Norte 2021.
HOW TO GET THERE There are no direct flights to Paoay. The nearest airport is Laoag which is the capital city of the Ilocos Norte region. Philippine Airlines (PAL) fly to Laoag from Manila two times a day with the flight taking approximately one hour.
Manila to Paoay is almost 500kms and will take you around 8 hours if you drive non stop. However, it is recommended to stay overnight along the way. If not, there are a number of places you can stop off along the way to take a quick break which is highly recommended.
If you fly into Laoag, you can take a bus to Paoay which is only about 20 kms and will take about half an hour.
If coming from Manila, there are several bus lines but GV Florida bus lines have a direct trip from Manila to Laoag with a stop Paoay. They have an overnight trip option which is good if you can handle sleeping on buses.
If you don’t have a vehicle, there are plenty of tricycles to get you around Paoay depending exactly where you are and where you want to go.
Wonders of PIDDIG Ilocos Norte | Culture & Heritage Virtual Tour [Tourism & Travel Philippines]
Join Miss Piddig as she unravels the wonders of Piddig. Accompany her on a virtual tour to the most scenic locations in her hometown and let her introduce you to their culture and heritage. This should definitely be the next place in your bucket list. #PiddigAngGalingMo. Join Miss Piddig, Loren Lim, in celebrating our home, Ilocos Norte!
Suggested Itinerary - The church and its plaza, standing on top of a hill and reached by a grand central stairway, dominate the town center. The courtyard, bordered by a stone and brick fence, rises above two lower squares which flank it. - It appears that most of the church is constructed of rubblework (irregular stones bound together with mortar) with some sections of brick. - Very little is known about the construction of the church buildings, and whether these were affected by the Basi Revolt and the Sarrat uprising, no one knows. - A wooden church and convento were burned in 1870. These may have been provisional buildings in earlier but dilapidated stone structures. The brick sections of the church referred to earlier – buttresses (including a pair of step buttresses), upper portions of the walls, a baptistry, and the nave walls behind the façade – as well as the bricks bell tower and convento – may have been added after the fire. - The church compound has witnessed quite a bit of history and then some. The Base Rebels, whose leaders were from Piddig, passed through this place. Allies of the Sarrat uprising spent a fruitless day exhorting the people to join their cause. Local patriots repulsed American troops from the buildings during the Filipino-American war. - On March 19, 1931, an earthquake toppled the upper level of the belltower. American soldiers encamped here during World War II, and the Japanese retaliated by raiding and burning the town, destroying all historic records. - The façade traces the outline and volutes of the facades at Dingras and Sarrat, although on a simpler level. A great degree of the original palitada (lime plaster) covering has remained on the walls, better seen on the sides of the church and at the rear; close observation revels that brick bits were mixed in with the lime. - Inside the church are five retablos (altarpieces) of brick and lime, all in the neo-classic mode of the late 19th century. The central retablo houses the image of the patroness, St. Anne, supporting Mary on her well in the vicinity, a smaller version of the one in Bacarra.
Famous People Claro Caluya Foremost vernacular poet and dramatist in Ilocos Norte. Born 22 June 1868. Son of Rafael Caluya and Norberta Pasion. Studied in his hometown later went to a highs school in Laoag, 1892; became a Cabesa de Barangay, 1890 and Capitan Municipal, 1893-1896; joined the revolutionary forces, 1896-1897; distinguished himself in the Filipino-American war; served as municipal president of his town, 1903-1906. Under his administration the first public market was built and several primary schools were opened. Founded Civic and Cultural Organizations. Wrote many plays and poems in ilocano including a translation of Rizal’s Ultimo Adios, which is considered the most Ilocano version of the poem. Married Sabina Aquino. Died 14 December 1914
BANGUI Town - Must See in Ilocos Norte | Ilocano Travel & Tourism Philippines 2021
Ilocos Norte Travel and Tourism, tourist destinations, culture, scenic attractions, famous drinks (basi), farm products & pasalubong, beach resorts featuring Bangui Town. Known for its wind turbines aesthetically aligned along a majestic bay, Bangui, one of the coastal towns in Ilocos Norte, is undeniably a must-see when you visit us up North. Awisendakayo ngarud a pasiaren ti nangayed ken makasalibukag-rikna a lugar #BANGUIBaggakTiAmianan
NUEVA ERA Ilocos Norte - Live the TINGGUIAN way! Culture and Natural Beauty [TRAVEL Philippines]
Miss Ilocos Norte 2021 - Nueva Era. Rich in culture and natural beauty, Nueva Era is home to some of the most inspiring and promising people in the province. Dive deeper and observe the nuances that make up this vibrant and diverse municipality. Learn to live the Tingguian way! #NABALOaNuevaEra. Join Miss Nueva Era, Iweeh Hugal Alejo, in celebrating our home, Ilocos Norte! Show your support by using #MissIN2021 and interacting online. The search begins! #IlocosNorteIMIN.
Nueva Era is politically subdivided into 11 barangays, Acnam, Barangobong, Barikir, Bugayong, Cabittauran, Caray, Garnaden, Naguillan (Pagpag-ong), Poblacion, Santo Niño, Uguis.
Ilocos Norte is a province of the Philippines located in the Ilocos Region. It comprises 21 municipalities and 2 component cities, further subdivided into 557 barangays. Ilocos Norte is also known as a northern tourist destination of the Philippines and of each municipalities they have their own tourist destination.
“Tadek: Traditional Dances of the People of Nueva Era, Ilocos Norte” - elaborately describes the origin, movement, music, and traditional wear of this highly-regarded dance of the Tingguians, an ethnic group in the said town. This unique ceremonial dance is performed by Tingguian Itneg and Isneg men and women to express their jubilation over victory, courtship, marriage, thanksgiving, and other important events. Young Ilokana - authored by Dr. Zyrill Ianna Pauline Domingo-Pe Benito.
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VIDEO SNEAK PREVIEW:
LIVING MOVEMENTS, MOVING LIVES
#INDances #IMove
We continue to celebrate our “Tan-ok” month with a showcase of Ilocano folk dances! Using researches by foremost Filipino dance scholars and experts as references, our choreographers, dancers, and costume designers have interpreted 10 extraordinary examples of dances in Ilocos Norte for a modern audience. This online show coincides with the celebration of Guling-Guling, an ancient tradition in the historic town of Paoay.
FULL SHOW:
The Ilocano Dance Heritage Guling-Guling 2021
(A program under Tan-ok ni Ilocano Festival)
Let us celebrate Ilocano Dance Heritage in this special virtual staging of Tan-ok ni Ilocano Festival and the celebration of Guling-Guling 2021. Tune in on this page for a delightful showcase of folk dances of the Ilocano people directed by Randy Leano and filmed in the most scenic and historic sites in Ilocos Norte.
PROGRAM NOTES
by EJ Deus
Living Movements, Moving Lives
Our forms of dances are stylistic interpretations of our cultural knowledge. As repositories of ritual symbols, these represent the dynamism of the meaning
conception by our people which strengthens the dances’ socially integrative function. Distinctively, Ilocos Norte’s folk dances are fuselage of infinite cultural elements that constitute the vast and dynamic social, political, economic, artistic, and religious landscapes of Ilocandia. Iti agliplipias a tallaong iti daytoy naisangsangayan a parambak, mangted panangipateg iti kinaasinnotayo nga Ilokano – nasiglat, nasudi, natan-ok!
“I MOVE”
The ability of movements to stand as dominant ritual symbols is the result of interspersed social processes involving ideological, sensory factors, and cultural events. The discursive formations of kinetic impact, visual images, local narratives, and the ability of movements to mark and communicate identity and capture the nature of the cognitive and concrete phenomenon, are all within the experience of the dancer-the carrier of culture.
FOLK DANCE 1: ILOCANA A NASUDI
Based on Philippine Folk Dances and Songs by Bureau of Public Schools
Filmed at Margaay, Vintar
Ilocana A Nasudi means “The Lovely Ilocana.” This dance is a favorite of the people of Dingras. Originally, this dance was accompanied by a kutibeng, a five-stringed instrument, and as was practiced by the settlers of Barrio Naglayaan, Dingras. The dance is a depiction of the beauty, modesty, and grace of the Ilokana. Moreover, it projects our women as chaste and virtuous. Before, many younger dancers performed this to the Italian folk tune,
Marianina. However, an inquiry from the old people brought out the Ling- lingay, a simple folk tune that could be used to accompany this dance instead of the foreign folk melody. In the course of time, the dance has brought out the qualities of a modern Ilokana known for industry, resilience, and love of work. These are qualities further highlighted by the endless network of “nurturing” communities, ready to help and build up one another and be our strength in aiming for progress and redefining the province.
FOLK DANCE 2: SURTIDO BANNA
Based on Philippine Folk Dances Volume VI by Francisca Reyes Aquino
Filmed at Malacanang of the North
Ti Surtido Banna ket maysa a sala a naputar para iti ili ti Banna. Idi un-unana nga aldaw, ti Banna ket indauluan ti maingel ken natured a pangulo nga agnagan ti Chief Bana. Agdindinamag idi ti kinaprogreso daytoy a lugar kadagiti kabangibang nga ili. Maigapo kadaytoy, immay dagiti kaasideg nga umili iti Banna ket isuda ti nangpapintas pay ti kababalin a nadanonda bayat ti intugotda a kannawidan ken kanta. Surtido: kayat na a saw-en, naduma- duma a garaw iti sala, tukar ken kumpas.
Surtido Banna is a dance, which is usually performed during fiestas, manifesting thrift as a trait of our people. It originated in Espiritu, the old name of Banna. It is a variation of the waltz, characterized by variations in tempo. It was first performed in 1970 at the Malacanang Palace during the birthday of President Ferdinand E. Marcos. The beauty of the dance lies in the range of steps and cadence. As time goes by, the dance has been performed by our people who dream and work together for a common goal—to bring peace and progress in our province through constant cooperation and unconditional sharing of skills and resources.
“I REMEMBER”
Naisalsalumina a puli ni Ilokano. Pagdidinnamagan ti kinagaget, kinasaririt, ken kinasaldetna. Idi un-unana, dagiti dadduma nga appotayo, napanunotda ti mapan agubra diay ballasiw-taaw tapnu agsarak ti gasat, uray kasano’t iliw iti pamilya. Ket kadaytoy a pasamak, intugotda ti kulturatayo iti sabali a pagilian. Uray man pay kasta, ti latta daga a nakaiyanakan ti balitok kadakuada. This has remained true through ages past, with generations of overseas workers and migrants exiting the country and establishing new roots while also supporting and loving their families, their histories, back home. Our people have pioneered success and greatness across the globe. Our forefathers’ cultural resilience has lived on to inspire the modern Ilokano diaspora and to weave an extraordinary legacy for the next generations.
FOLK DANCE 3: TALIP
Based on Ilocano Folk Dances by Teresita Pascua Ines and accounts from the Isnag Community of the Carasi
Filmed in Carasi, Ilocos Norte
Talip is a dance from Carasi. It is usually performed by natives during fiestas, weddings, a mourning of the dead, and ceremony after burial. It has been a powerful symbol of harmony and admiration within diverse populations, likewise depicting the devout faith and spiritual values of the people of Carasi, shared to the rest of the Ilokano community. As part of the province’s Indigenous Cultural Community, the townspeople of Carasi place a great value on the preservation and continuous practice of our rich tradition and culture, showcasing tribal rituals that signify our sense of unity, our belief in the spirit protector, and the cosmic connectedness which the people, the wilds, the and galaxies all share. With the men and women in their intricate traditional attire, the dancers shall showcase the old, unspoiled tradition highlighting indigenous songs, games and movements.
FOLK DANCE 4: INNALISAN
Based on Philippine Folk Dances Volume VI by Francisca Reyes Aquino
Filmed at cape Bojeador Lighthouse
Dances are indicative of our traditions and vital agents in the formation of future ideals. Indeed, dances transcend the concept of time. As our historical timeline progresses, these artistic bodily performances, also evolve and show their reflexive characteristics. The Innalisan is a lively festival dance from Laoag. The term innalis means to transfer from one place to another. This dance underscores the concepts of creating relations between the people, the physical environment, the social
landscape, the divine realm, and the artistic perspective. The people of Ilocos Norte take much pride in our togetherness, working for common goals, and strengthening and fortitude of our social network: we are a people who, despite geographical distance, continue to gather in mind and heart to build better lives with and for one another.
FOLK DANCE 5: JOTA ARAGONEZA
Based on Philippine Dances Volume I by Carmen Tabije Andin
Filmed at Piddig Church
The Jota Aragonesa is a complex folk-dance exhibiting numerous individualistic characteristics that result from combining the traditional dance with its appropriate costumes, steps, and accompaniment. It is one of the dances introduced by the Spaniards in the old town of Paoay. The title suggests that it originated in Aragon, Spain. According to old folks, dancers used to perform with castanets on each hand. However, a substitute can be made by the snapping of the thumb and forefinger to produce the sound.
The Jota Aragonesa is in essence a particular form of social interaction. It has been an integral part of a network of local events, our knowledge and belief, and behavior, norms, and values. Among the elderly elite folks of the town, it has always been a pride to be able to perform this dance especially during big social gatherings such as the Two- Year Ball on the eve of January 1st, the Tambora of Christmas Eve, and the Guling-Guling on the eve of the Ash Wednesday.
“I LEAD”
Dancing is a rhythmic process and is performed at the finest levels of virtuosity; the dancer practices the art of grace, harmony, and precision. Particularly, heritage dances require extensive knowledge and exceptional skills for the bodily movements, through constant study, to become memory- saturated. Thus, dancers serve as repositories of cultural knowledge and formal stylistic interpretation. Their experiences and histories that manifest while performing embody a fragment or totality of an identity.
FOLK DANCE 6: KINUTON (Kinoton)
Philippine Folk Dances Volume III by Francisca Reyes Aquino
Filmed at Solsona-Apayao Road
Kinoton was derived from the Ilocano word koton which means ants. This comic dance from the Ilocos region depicts the movements of a person bitten by ants. In social gatherings where close friends and intimates are in attendance, this dance is performed to make people merry. Usually, a male requested to perform this dance.
FOLK DANCE 7: CHOTIS DINGREÑA
Based on Ilocano Folk Dances by Teresita Pascua Ines
Filmed at Dingras Church
Chotis Dingreña is a lively performance from Dingras, Ilocos Norte. It is usually performed during big social gatherings. The dance is very popular among the elite group and used as an intermission dance when the people are already tired dancing the ballroom dances. It is viewed as an indicator of the actual social status and a reverence to the babaknang as an elite social class to further articulate their status. The dance is a manifestation of our class-conscious attitude, thus revealing some of our dominant values and ideologies.
“I THRIVE”
Our dances epitomize the intense passion, creativity, and diversity in the province, as well as our people’s love for celebration. These performances also mark the ingenuity of the Ilokano people, entwined to our value of keenness – a thriving evidence of our rich culture and identity. Our celebration of Ilocos Norte’s heritage dances is likewise a fitting tribute to our kakailian, who, like our performers, bear an equal responsibility of communicating our culture-from our handwoven textiles, costume construction, fabled gustatory, to our collective consciousness.
FOLK DANCE 8: BINATBATAN
Philippine Folk Dances Volume VI by Francisca Reyes Aquino
Filmed at La Tabacalera de Currimao and Malacanang of the North
Binatbatan is an occupational dance from Paoay. The dance depicts the beating of cotton pods to separate the seeds from the fibers with the use of two sticks called batbat. To process the raw material used in weaving, ginne cotton was beaten with a pair of sticks sounding 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. Oftentimes, weavers engage in a contest as to who could finish first and could produce cleaner and more fibers. The celebration of loom-weaving features Ilocos Norte’s mythic woven designs out of raw bright cotton threads. It is not only a manifestation of our people’s industriousness but also our weavers’ artistic consciousness and mastery of cultural knowledge. When weavers wish to have a merrymaking, they sing and use the batbat in a dance. They prance between and out of parallel sticks without stepping on them, showing their expertise, ingenuity, and brilliance. The tempo of the beating and the rhythmic resonance produced by sticks make the dance festive, vibrant, and zestful. Over the years, the Binatbatan has been one of the province’s amalgams, connecting every Ilokano to our cultural roots through our diligence in labor, prolific narratives, and fondness of revelry.
FOLK DANCE 9: DINAKLISAN
Based on Ilocano Folk Dances by Teresita Pascua Ines
Filmed at Gabut Norte, Badoc
Dinaklisan originated from Currimao, a town where fishing is the chief industry. It is also an Ilocano term with the variety, agdaklis, meaning to fish with the use of a net. It has been a testament to hard work, resilience, and endurance that is espoused by the town’s fisherfolks. Dinaklisan highlights the role of the people of Currimao who inspire the whole community as they altogether defy the law of the seas. Moreover, it sheds light on the natural bounties that the coastal municipality is blessed with, and a time to bond together with the community, thankful not only for material blessings but also for social ties that strengthen the people in times of crisis. Through time, our people have redefined the meaning of panagdaklis- progress and growth, including the vital aspect of environmental preservation and conservation, especially with both livelihood and tourism being dependent on our coast and our ocean. Daytoy ti maysa kadagiti sekreto iti kinaandor dagiti mangngalap iti Currimao. Nu maminsan bassit ti makalapan, ngem nu maminsan aglaplapunusan. Ngem, dumteng man ti dawel, awan iti saanda a malasat.
FOLK DANCE 10 TADEK IN-DAYA
Based on Tadek: Traditional Dance of the People of Nueva Era by Master’s
Zyrill Ianna Pauline Nolasco Domingo-Pe Benito
Filmed at Madongan Dam, San Marcelino, Dingras
The vigorous Tadek In-daya is an ethnic dance that originated in Ilocos Norte, featuring ceremonial dances portraying death customs, courtship, marriage, and victory; a manifestation of the people of Nueva Era’s efforts to preserve the distinct culture that binds them together in the highlands. It has been performed by the people in the eastern part of Nueva Era on different occasions such as, after burial. It is believed to cause the soul of the dead to rest. Also, it is staged during a wedding where it depicts merry-making for the married couples and entertain visitors. On courtship, a man and a woman perform the dance, swaying their hands and stomping their feet while following the beat of the gong and drum. Moreover, it is performed as a ritual for the healing of illnesses. Over time, it has been a showcase of the indigenous culture and a repository of collective consciousness and heroic narratives. The breath-taking performance of rituals is a fuselage enriching the province’s cultural landscape. Furthermore, it highlights the mutually nurturing relationship between the people of Nueva Era and their environment; giving praise and gratitude to their deities to whom they owe the abundance of their harvest.
“I CELEBRATE”
“I DANCE...I AM ILOKANO”
The Ilocano Folk Dance Festival is indeed the perfect essence of our greatness. Undeniably, our culture and the arts are powerful instruments in fostering unity in the community and pride in our heritage. As we altogether recover from the effects of the pandemic, this festival has revived the creativity and livelihood of designers, performers, choreographers, and other artists in the province, inspiring and reassuring them that their passion has a place in Ilocos Norte.
GULING-GULING FESTIVAL 2021
The Guling-guling of Paoay is celebrated every March right before the proverbial St. Agustin Church. As part of a sacred tradition, the dance highlights the smearing of the cross on a person’s forehead using wet, white rice flour, as a form of cleansing from sins. This practice was introduced by the Spanish friars which has been celebrated for more than 400 years now. Included in the celebration is the commemoration of the founding of the St. Augustine’s Church which is a living testament of the people of Paoay’s commitment and loyalty to their faith. Hence, in celebration of the Guling-guling, the townsfolk don themselves in the famous abel and dance their way to the church where they are met by the priest who imprints the sign of the cross or guling on their foreheads. For centuries, it has been marking each time a season of greater faith and devotion among our people to the Almighty God. Today, the Guling-guling inspires us to recommit and truly demonstrate our faith in our lives as we all unite in praying for continuous progress, our rapid recovery, and abundance for all of our kakailian.
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