Banga
KALINGA POT
DANCE
Introduction
The Kalingas are the indigenous
people in the province of Kalinga
in the Gran Cordillera of northern
Luzon.
They are known for their good
looks, colorful costumes and
beautiful dances, making them
the “peacocks of the north”
They are generally known to be
tall, dark complexioned and
lissome with high bridged noses.
Physically, they are very sturdy
and well built so that their ancient
war-like characteristics make
them more like fierce warriors.
The name Kalinga is believed to
have come from Ibanag
"Kalingaa" and Gaddang
"Kalinga" which both mean
headhunter , due to their practice
of headhunting (kayaw) done
during the tribal wars.
The budong is the most admirable
and efficient Kalinga institution.
It is a peace pact or treaty
between two tribes, wherein
the pagta (laws) on inter-tribal
relations are made.
The budong is also the Magna
Carta of the Kalinga.
The gathering of tribes during the
budong is a social occasion where
music-making and dancing is
held.
One outstanding dance
commonly performed is the
Banga, a dance which illustrates
the languid grace of a tribe.
Heavy clay pots, as many as seven
or eight at a time, are balanced on
the heads of maidens as they
trudge to the beat of the gongs or
wind chimes, displaying their
stamina and strength as they
portray their daily task of fetching
water and balancing .
The dance is performed to the an
ensemble of flat gongs called
gangsa, which are beaten by the
men who also participate in the
dancing.
The Banga is a contemporary
performance of the Kalinga .
Etymology
"Banga" literally means
clay pots, thus the dance
came to be known as the
“clay pot dance”
Dance Properties
Dance Culture – Highland
Cordillera
Place of Origin – Kalinga
Ethnolinguistic Group – Kalinga
(Northern and Southern)
Classification - Festival
Props – Pile of clay pots
(banga)of graduated sizes
Mood – jovial
Stance – erect
Performers – all girls; male
musicians
Formation – circle, line,
column
Music – Pattong played by an
ensemble of 6 Gangsa (flat
gong), each played by a musician
who joins in the dance
Time Signature – 4/4
Costume
North Kalinga
G:
Guinamat (Kain) – knee-length
rectangular wrap skirt of
predominantly red hand-woven
material, decorated with beads
and sea shells.
In the past, Kalinga women were
bare breasted and to simulate
this, a skin-tone tight-fitting
blouse is worn; or a yellow gold
sleeveless blouse trimmed with
the same designs as the skirt is
worn.
Large agate, glass, stone and
plastic beads predominantly
colored red, black, white and
yellow are strung to be worn as
necklaces, armbands, earrings ,
choker and headband complete
the female attire.
Witawit – mother-of-pearl
earrings
B:
Baag – G-string of black cloth
with ends accented with red,
green, yellow and white checks,
designs, fringes and pompoms
Lamma – short open-fronted
shirt with short sleeves
Strings of large beads are worn as
chokers and necklaces
Sipat – wristband made of bronze
Red triangular headcloth
accented with bunches of rooster
tail feathers.
The lawi (rooster tail feather
headdress) decorated with red
hibiscus flowers is worn only by
the minger (“hero”)
Southern Kalinga
The Kalingas of the south do not
wear upper garments but are
heavily tattooed (in the past);
instead they wear blankets
(lilabey) like a shawl
Gestures and Steps
Arms
Arms sideward with flex-extend
movements of the elbows like bird
wings
Arms in diagonal position
Arms swinging at sides
Hands on hips
Steps
Light springy steps (leap bounce)
Foot dragging (the other foot
stamps )
Jumps
Dance Sequence (Suggested)
The Kalingas do not have codified
sequence of the dance nor specific
duration and formations
followed.
The musicians make their own
column, separate from the girls’
column
Figure 1 – Diagonal Entrance
G:
8M – slow walk to formation, one
step per measure; both hands
holding pots on head
8M – springy walk (R and L per
measure)
Figure 2
G:
16M – springy walk moving in
circle CW
B:
One line behind G circle
Figure 3
G:
4M – feet in 2nd; spring both
knees; lean sideward R; diagonal
arms
4M – lean sideward L
8M – repeat
B: line formation
Figure 4
G:
16M – springy walk in two
column, moving in circle
B:
One column between G columns
End – three columns
Figure 5
G:
4M – springy walk forward; arms
diagonally upward
4M – springy walk backward
8M – repeat
B: Feet in 2nd; springing on both
knees
Figure 6
G:
8M – springy walk to partner’s
place passing R to R
8M – repeat to return
B:
Move back to line at back of girls
Figure 7
G:
16M – springy walk moving in
two circles, ending to one
column; arms sideward
B: stay at back line
Figure 8
G:
16M – springy walk; arms
swinging at sides
B:
One line
Figure 9
B follows G
8M – spring walk moving in circle
CW
8M – feet in 2nd; diagonal arms
16M – exit; B line leading
Source
PFDS Sayaw
Volume 7
pp. 16-18
Researcher – Jaime B. Pumakis
