THE STORY BEHIND THE NATIVE DANCES IN THE PROVINCE OF TAWI-TAWI: TRANCENDING CULTURAL UNDERSTANDING

Halima  Janang,; Joselito  Bagalanon,; Paramisuli  Amin,

THE STORY BEHIND THE NATIVE DANCES IN THE PROVINCE OF TAWI-TAWI: TRANCENDING CULTURAL UNDERSTANDING

Halima Janang | Joselito Bagalanon | Paramisuli Amin

Discipline: Education

Abstract:

This study aimed to discover the historical background of cultural dances in Tawi-Tawi, namely, Lunsay, Igal, Tariray, Linggisan, Langka budjang, Igal mag Jin, Igal Tawti, Igal ma kibut, Igal ma Boh and kuntaw. Specifically, it sought to answer the following questions: What is the origin of these dances, meaning, the materials used, and how is it being performed? And what are the socio-cultural implications? This research study utilized a qualitative design. The respondents of this study were selected from knowledgeable dance expert natives. All gathered data was analyzed, translated into English, and presented in a narrative form. The study found out the following: dances were performed in socio-cultural activities, gracing good harvest, mimicking bird movement, a strong conviction that their illnesses are cured, economic problems can be solved, and guidance and protection from ancestors. Native materials used such as malong, pis yabit, pieces of cloth in any native color; and musical instruments such as kulintangan, agong, gong, and tambuli. Janggay, sudlay bulawan (gold plated comb), and kalajugjug. This study concluded that the origin of the dances basically is almost associated with nature and spiritual beliefs. This helped maintain cultural continuity and prevent the loss of important cultural knowledge and practice as it fostered mutual understanding and unity within the different island municipalities of the province of Tawi-Tawi. It is recommended that these dances should be preserved with the help of the LGUs and procedures are needed for uniformity of execution.

References:

Albattat, A.R., Amir, I.D., Nik Mohammad N. S., (2016). Students Awareness Towards Cultural Dances in Sarawak, Malaysia 2016.
Amilbangsa, L F. 1983. Panglay: Traditional Dance and Related FolkAristic. Makati City: Filipinas Foundation, Inc.
Amilhamja, 2015 entitled “Five Selected Ongkah-O ngkah Anak-Anak of the Sama ofTandohbas: Documentation.
Alejandro, R. (2002). Sayaw: Philippine Dances. Manila: National Bookstore and Anvil Publishing
Bagamaspad, Anavic, and Zenaida Hamada-Pawid. 1985. A People's History of Benguet. Bagu io: Baguio Printing and Publishing Co.
Berson-Georsua, R. (2004). Where heaven and Earth meet: the buklog of the Subanen in Zamboanga Peninsula, Western Mindanao, the Philippines (Doctorial dissertation). The University of Melbourne, Australia.
Bout, M.M 2012. Dance Movement Analysis of Tinikling: A portrayal of anagrobiodiversity landscape. Asia Life Science 21 (1): 167-176.
Casino, E (2019) Lunsay: Song and Dance of the Jama Mapun Sulu.
Domingo, JP R. (2018) Direct from the Connoisseurs: Articulating Philippines Folk
Dulce Ma. Zenia C.., Pobre Jackily A., Buot Marites M.; Menuvu Dances of MindanaoIsland; Its Community Cultural Value Garcia, Marino A., Teaching and Presenting Asian Folkdances in the Philippines 2020
Hernandez, G. (n, d.). Thesis - PDFCOFFEE.COM. Retrieved April 13, 2022, from https://pdfcoffee.com/thesis-65-pdf-free.htmlhttp://bch.bangsamoro.gov.ph/bangsamoro-cultural-heritage/tawi-tawi http://www.parangal.otg/tausug
Iris Kico 1*, Nikos Grammalidis 2, Yiannis Christidis 3 and Fotis Liarokapis; Digitization and Visualization of Folk Dances in Cultural Heritage: A Review
Ita, O., & Okon E (2022) The Communicativeness of Okobo TraditionalDance Performances. Asian-Africa Journal of Academic Research and Review, 2, 77-90. Retrieved from http://journals.iapaar.com/index.php/AAJARR/article/view/104
Jamir, M C. (1985). Pangalay Philippines Studies Vol. 33
Jose, M (2021). Philippine-Travel-Guide.com, “Philippines Culture Uniquely Distinct from the rest of the World. ““Ethnic and Non-Native Philippine Folk Dance”
Kealiinohomoku J. (2019). Folk dance. Article. Cross-cultural Dances Resources Inc.,
Okpala, N H. (2016). Traditional Music in Igbo Culture: A Case Study of Idu Cultural Dances of Akpo in Aguata Local Government Area of Anambra State
Panaraag, J E. & Inte, Geldon L. (2015). The Metamorphosis of Selected Maranao StoriesIntro Dance.
Rosalie S, M. (2015). Iyakan: “A Descriptive Movement Study and Documentation of Yakan dances.” Philippines Folk Dance Society.
Sali, S. A (2022). Lunsay Cultural Dance: Its implication to Social and Traditional ofJama Mapun.
Santos, G. S (2012). “Sayaw Philippines Dance Manila.” National Book Store.
Tan, Dr, LV., Jimeno R TN. (2019); Dances of the Bukidnon and Manobo Indigenous Tribes, Northern Mindanao, Philippines
Udoka, A. Ph.D (2020). Promoting Nigerian Cultural dances and Instruments of National Unity
UNESCO (2006). Road Maps for Arts Education. The World conference on Art Education: Building Creative Capacities for the 21th Century. Lisbon