Journal ofthe

Describing Multidisciplinary
Subanen Dances ofStudies
‘Banwa’ Labo P. E. T. Luman-ag,
Journal
in Ozamiz
Vol.
of Multidisciplinary
City,
6, Issue [Link]
Studies
1, pp. 35-47, August 2017 H. D. Villanueva, A. L. Awa
Vol. 6, Issue No. 1, pp. 35-47, August 2017
ISSN 2350-7020 (Print)
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
ISSN 2362-9436 (Online)
doi: [Link]
doi: [Link]

Describing the Subanen Dances of ‘Banwa’ Labo

in Ozamiz City, Philippines
Paz Elsalou T. Luman-ag 1, Hayde D. Villanueva2, Anthony L. Awa3
1
Physical Education Department, College of Arts and Sciences, Misamis University,
H. T. Feliciano St., Ozamiz City, Philippines
2
Social Sciences Department, College of Arts and Sciences, Misamis University,
H. T. Feliciano St., Ozamiz City, Philippines
3
College of Law and College of Arts and Sciences, Misamis University, H. T. Feliciano St.,
Ozamiz City, Philippines
Corresponding author: Paz Elsalou T. Luman-ag, email: pazelsalou35@[Link]

Abstract

Cultural heritage is one of the most important treasures of any race. However,
in this rapidly changing world, it is imperative to document and preserve the
rich dance cultural heritage of indigenous peoples. This study aimed to
describe the Subanen dances of „Banwa‟ Labo in Ozamiz City, Philippines.
Interviews were conducted among key informants to identify the Subanen
dances of „Banwa‟ Labo in Misamis Occidental, Philippines. The tribe had
identified four Subanen dances. The study showed that the authenticity of these
dances, classifies and describes them based on the basic elements and factors
that influence folk dances. These dances are classified as ritual, religious,
imitative, festival, and courtship dances. The Subanen traditional dances are
rich in character traits and customs, which contribute to the cultural identity of
this indigenous people. The findings of this research may provide information
on the fundamentals of the Subanen dances. Instructional materials can be
developed from the dance notations and the meaning of the dance steps. These
dances may be integrated in physical education as a medium of disseminating
history and literature.

Keywords: culture, folk, heritage, identity, traditions

35
Journal
Describingofthe
Multidisciplinary
Subanen Dances ofStudies
„Banwa‟ Labo P. E. T. Luman-ag,
Vol. 6, Issue
in Ozamiz [Link]
City, 1, pp. 35-47, August 2017 H. D. Villanueva, A. L. Awa
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Introduction

Each of the three islands in the Philippines has different culture,

traditions, and beliefs that have influenced the islands‟ arts, crafts, and
dances (Alcuizar et al., 2015). The Philippines has a diverse collection
of traditional dances (Roper, 2016). These dances may have evolved and
changed as they have been passed down from generation to generation
but have remained true to their roots. Customs and tradition, climatic
environment, and economic conditions are factors that influence folk
dances in the Philippines (Ossona, 2000).
Provinces in the Philippines have their own identifying folk dances
that reflect their unique culture wherein they highlight the elegance and
beauty of the way they do things (Peterson, 2010; Tolentino, 2012;
Ouano-Savellon, 2014). The „Subanen‟ tribal group in Misamis
Occidental is an example. A „Banwa‟ is a territory of the tribe
(Villanueva & Jomuad, 2013). The „Subanen‟ people perform ritual
dances and play their drums and gongs to be at peace with the „diwata‟
or goddess of their tribe. According to Velayo (2000), dance fulfills a
multitude of ceremonial and ritual functions for the „Subanon‟. Rituals
usually involve processes and the performance of dances which
characterizes the type of ceremony being conducted (Anacin, 2009).
Original dances might not be traditional and authentic anymore.
According to Namiki (2011), local dances in the Philippines, however,
when popularized in the late 1950s, were already modernized and
innovated prior to the establishment or codification of solid cultural base
or traditional forms of dance. Hence, it is imperative nowadays to
examine the dances in a particular tribe and assess if this cultural
heritage is still preserved.
Preservation of the heritage does not imply immobility or
stagnation. The most effective ways to preserve intangible heritage are
by collecting, recording, and archiving. The United Nations
Educational, Scientific and Cultural Organization (UNESCO) is
much concerned with studying and recording expressions of
the intangible heritage (Blake, 2001). Today, many government
organizations and private enterprises undertake projects to preserve and

36
Describing the Subanen Dances of ‘Banwa’ Labo P. E. T. Luman-ag,
Journal
in Ozamizof Multidisciplinary
City, Philippines Studies H. D. Villanueva, A. L. Awa
Vol. 6, Issue No. 1, pp. 35-47, August 2017
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

promote arts mainly for education, culture, tourism, and health purposes
(Santos, 2016; Lim, 2017).
Hence, this study aimed to describe the Subanen dances of
„Banwa‟ Labo in Ozamiz City. Specifically, this study determined the
kinds, descriptions, and elements of Subanen dances of this particular
Subanen „Banwa‟. These attributes of the Subanen dances contribute to
the cultural identity of this indigenous people. The findings of this
research may provide information on the fundamentals of the Subanen
dances. Instructional materials can be developed from the dance
notations and the meaning of the dance steps. These dances may be
integrated in physical education as a medium of disseminating history
and literature.

Materials and Methods

This study used the qualitative research design. The key informant
technique of Tremblay (1957) was utilized to obtain information about
the Subanen traditional dances and to validate each meaning.
Observation method and face-to-face key informant interview were
carried out in obtaining the information from the members of the
Subanen tribe, particularly the tribal leaders called „Timuay‟ or „Gukum‟
(male tribal leader), „Timuay Libon/Bae‟ (female tribal leader), and
some female and male dancers from the tribe. During observation, the
movements of the dance performers and other elements of the dances
were recorded. Dance notation was also used in translating the different
movements and meanings that includes dance steps/terms, timing,
dynamics, lead and follow, rhythm and space. Dances were also notated
based on the factors that influence folk dances to assess the authenticity
of dances. The identified key informants were selected among the
three barangays of Ozamiz City found in Banwa Labo namely,
Bongbong, Tipan, and Gala.
Apart from the three tribal leaders from each barangay, the number
of participants or dancers varied depending on the availability of the key
informants as the subjects of the study for observation. Informed consent
was secured from the participants before the conduct of the study.

37
Journal
Describingofthe
Multidisciplinary
Subanen Dances ofStudies
„Banwa‟ Labo P. E. T. Luman-ag,
Vol. 6, Issue
in Ozamiz [Link]
City, 1, pp. 35-47, August 2017 H. D. Villanueva, A. L. Awa
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Before the interview with the tribal leaders and other informants, the city
tribal leader was consulted. All tribe informants signed the informed
consent indicating their voluntary participation.

Results and Discussion

Table 1 presents the kinds, descriptions, and elements of Subanen

dances identified by the Subanen in Banwa Labo. The key informants
identified dances that the tribes would usually perform during „buklog‟.
The informants revealed that there is no common step counting (time
signature) as long as its footwork goes along with the tempo or beat of
the „agong‟, a percussion instrument used during Subanen gatherings.
Common dances are „pangalitawo‟, „tagdel‟, „manok-manok‟, and
„salilingan‟. „Pangalitawo‟ is a Subanen courtship dance usually
performed during the harvest time and in other social occasions
(Bautista, 2017). In „pangalitawo‟ (pronounced as pahng-AH-lee-TAH-
woh), performers execute „patay‟. It is a dance term which means to
bend the head downward and support the forehead with right or left
forearm (Tulio, 2008), the female usually facing downward and bends
her trunk while dancing. The Filipino dances, are performed with very
little or no bodily contact at all. In the old days, the male partners were
provided with handkerchiefs. Based on the interview with the Subanen
women, as they perform „pangalitawo‟, it will favor an acceptance for
suitors. When the woman drops the handkerchief, it means no for
courtship, and if the woman allows it on her shoulder so it is an
acceptance for courtship or marriage. The woman executes “patay” all
throughout the dance to defend herself by not letting the men touch their
hands or any part of their bodies.
In „pangalitawo‟, traditional costumes are worn. However, the
paper of Villanueva and Jomuad (2013) pointed the apparent
modifications in the traditional Subanen costumes as a result of
adaptation to the modern-day clothing and style and other factors which
even include the lack of consultation by local government agencies with
the Subanen as to the specifics of the traditional costumes. Nevertheless,
the wearing of the Subanen traditional costumes in all their dances as
shown in this study is still a cultural expression of this tribal group.

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 Journal of Multidisciplinary Studies
Vol. 6, Issue No. 1, pp. 35-47, August 2017
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Table 1. Kinds, descriptions, and elements of Subanen dances.

Kind or name of dance
‘Pangalitawo’ ‘Pangalitawo’ ‘Tagdel’ ‘Manok-manok’ ‘Salilingan’
(rival/dance)
Description/ - It is a courtship dance - It is another courtship - It is a type of dance - It is a dance for all. - It is a worship dance
in Ozamiz City, Philippines

Mechanics which is popular among dance, usually danced that is usually - Performers imitate the usually performed
the tribe members. with one female and two performed among action of a flying bird during „Buklog‟
- It is usually danced male dancers during men in the tribe. As or chicken.
among female and male special gatherings. the male dances, he - This dance usually
dancers during social - All throughout the dance, spiels or chants a performed during
occasions. the male dancers should poem in „Subanen‟ social gatherings like
- Two or more dancers pursue the woman and dialect. wedding or baptismal.
may participate in the put the handkerchief on
Describing the Subanen Dances of ‘Banwa’ Labo

dance. A male dancer her shoulder. The female

has to bring a dances as she defends her
handkerchief. body from any touch of
- Throughout the dance, the two male dancers. If
the male should put the anyone of the male
handkerchief on the dancers touches any part
female‟s shoulder. When of the woman‟s body
the lady drops the aside from not letting the
handkerchief, it means no handkerchief drops, it
for courtship, and when would mean that the
the lady allows it on her courtship ends and the
shoulder so it is an man marries the woman.
acceptance for courtship
or marriage.

39
H. D. Villanueva, A. L. Awa
P. E. T. Luman-ag,
 Describing the Subanen Dances of „Banwa‟ Labo P. E. T. Luman-ag,
in Ozamiz City, Philippines H. D. Villanueva, A. L. Awa

40
Continued: Table 1. Kinds, descriptions, and elements of Subanen dances.
Kind or name of dance
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)

‘Pangalitawo’ ‘Pangalitawo’ ‘Tagdel’ ‘Manok-manok’ ‘Salilingan’

(rival/dance)
Costume - Dancers are dressed - Dancers are dressed with - Traditional Subanen - Traditional Subanen - Traditional Subanen
with their traditional their traditional Subanen costume costume costume with
Subanen costume. costume. “palaspas”
- Handkerchief is - Male dancer has to bring a
optional handkerchief
Journal of Multidisciplinary Studies
Vol. 6, Issue No. 1, pp. 35-47, August 2017

Hand gesture „Hayon-hayon‟ Hayon-hayon‟ Hayon-hayon‟ Hayon-hayon‟ Hayon-hayon‟

doi: [Link]

Footwork „Sinulakot‟ „Sinulakot‟ „Sinulakot‟ „Sinulakot‟ „Sinulakot‟

Timing Slow, quick, quick Slow, quick, quick Slow, quick, quick Slow, quick, quick Slow, quick, quick
Lead and follow Female takes the lead. Female takes the lead. Any male in the crowd Anyone can lead. Anyone can lead.
can take the lead.
Dynamics - Swinging movement - Swinging movement of - Swinging movement of - Swinging movement - Swinging movement
of the arms, female the arms, female dancers the arms of the arms, female of the arms, female
dancers usually facing usually facing down. dancers usually facing dancers usually facing
down. - Dancers bend their trunk. down. down.
- Dancers bend their - Dancers bend their - Dancers bend their
trunk. trunk and hop. trunk.
Space Any desired formation Any desired formation Any desired formation Any preferred Any desired formation
may be done. may be done. may be done. formation may be may be done.
done.
Describing the Subanen Dances of ‘Banwa’ Labo P. E. T. Luman-ag,
Journal
in Ozamizof Multidisciplinary
City, Philippines Studies H. D. Villanueva, A. L. Awa
Vol. 6, Issue No. 1, pp. 35-47, August 2017
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

When „pangalitawo‟ is performed during social occasions,

the women hold shredded banana leaves in each hand, while the men
hold a „kalasay‟ or shield in their right hand. The shaking of leaves calls
the attention of the diwatà (goddess) and the sound of the leaves is most
beautiful to the gods‟ ears (Lasay, 2006).
The hand gestures, footwork, and timing are the same in all the
dances identified in this study. „Hayon-hayon‟, the hand gesture used in
all the dances, is a Visayan term which means to place one forearm in
front and the other behind the waist (Tolentino, 2012). Footwork refers
to dance technique aspect related to feet, the foot position and foot
action. During the interview, the informants referred to the step or
footwork in Subanen dances as „sinulakot‟ which means a series of
steps. The music or beat of the „agong‟ determines the footwork of
traditional dances (Browner, 2004). Footwork in other traditional dances
is also similar (Schroeder, 2012). The dance timing is slow at the
beginning then becomes quick that also goes along with the tempo or
beat of the „agong‟.
Lead and follow are designations for the two dancers comprising a
couple. The lead is responsible for guiding the dance and initiating
transitions to different dance steps The lead communicates choices to the
follow and directs the follow by means of subtle physical and visual
signals, thereby allowing them to smoothly coordinate (DeMers, 2013).
It is the woman who takes the lead in „pangalitawo‟.
The dynamics of a dance expresses the way in which the shape of
movement is executed. From the point of view of Rudolph Laban
effort‟s theory, space (direct or indirect), time (sustained or sudden),
weight (light or strong), and flow (free or bound) are the four main
factors that make up the dynamics of movement (Rai, 2016).
The dynamics in all the dances identified in this study is the same. There
is swinging movement of the arms and female dancers usually face
down, and all dancers bend their trunk except in „tagdel‟.

41
Journal
Describingofthe
Multidisciplinary
Subanen Dances ofStudies
„Banwa‟ Labo P. E. T. Luman-ag,
Vol. 6, Issue
in Ozamiz [Link]
City, 1, pp. 35-47, August 2017 H. D. Villanueva, A. L. Awa
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Space is an element of dance (Koff, 2000). It refers to the space

through which the dancer‟s body moves (general or personal space,
level, size, direction, and pathway, focus). In this study, the space is also
the same in all the dances. Any preferred formation can be done in
Subanen dances in this study.
„Tagdel‟ is a dance performed among men in the tribe. As the men
dance, they spiel or chant a poem in „Subanen‟ dialect. There is no
existing literature about this dance. The Subanen dances are therefore
considered to be one of the most unique among the other ethnic groups
(Martinez, 2014). Another all-male dance is „sohten‟ that dramatizes the
strength and stoic character of the Subanon male. „Sohten‟ is a
traditional all-male war dance of the Subanon tribe, originating from the
Margo Sa Tubig, Lupayan District, Zamboanga del Norte. In this pre-
battle ritual, the men carry shields and cut dried palm leaves and
perform soaring, combative gestures to appease the gods in order to
receive protection and success in war (Hiyas Philippine Folk Dance
Company, 2011).
„Manok-manok‟ and „salilingan‟ are also new dances identified in
„Banwa‟ Labo in Ozamiz City. These Subanen traditional dances are
indeed rich in character, traits and customs which may contribute to the
cultural identity of this indigenous people. „Manok-manok‟ is a dance
for all usually performed during social gatherings like wedding or
baptismal. This dance is unique because the performers imitate the
action of a flying bird or chicken. „Salilingan‟ which is a worship dance
usually performed during „buklog‟ (pronounced as „gbecklug‟) is the
most colorful and expensive Subanen celebration. It is a rite observed
after a happy event, such as good harvest but is also held to
commemorate a dead person so that his acceptance into the spirit world
may be facilitated (Velayo, 2000; Berdon-Georsua, 2004).
Other worship dances are „diwata‟ and „lapal‟. „Diwata‟ is a dance
performed by Subanon women in Zamboanga del Norte before they set
out to work in the swidden and even before fishing and hunting to seek
permission for resource use and supplications for a bountiful yield
(Roxas & Duhaylungsod, 2004). „Lapal‟ is a dance of the “balian”
(medium or Shaman) as a form of communication with the „diwata‟
or goddess.

42
Describing the Subanen Dances of ‘Banwa’ Labo P. E. T. Luman-ag,
Journal
in Ozamizof Multidisciplinary
City, Philippines Studies H. D. Villanueva, A. L. Awa
Vol. 6, Issue No. 1, pp. 35-47, August 2017
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Subanen dances belong to the “traditionalist” groups

(Bautista, 2017). They fulfill a multitude of ceremonial and ritual
functions. As mentioned, the Subanen dances are influenced by different
factors. Each factor indicates special meanings that describe the
authenticity of a kind of dance.
For example, the Filipinos by customs and traditions especially the
women of the past, are shy, sensitive, modestly slow, and reserved, and
these traits are found in courtship dances. In „Pangalitawo‟ for instance,
the female is usually facing downward and bending trunk while dancing.
The Subanen dances are performed with very little or no body contact
at all. In the old days the male partners were provided with
handkerchiefs.
Climatic environment has a great influence upon the nature of the
dances of any nation. It can tell very easily where certain dances came.
Cold regions have vigorous, passionate, and energetic steps. They
abound by skips, jumps, leaps, hops, springs, turns, and running steps.
The movements are suitable to the climatic conditions. However,
tropical countries have slow, languorous, weird, and dreamy dances.
Most dances in the Philippines belong to the slow and moderate type.
„Tagdel‟ for instance is a gentle dance while the male spiels or chants a
poem in Subanen dialect. Nevertheless, there are dances in the
Philippines that are fast and energetic like „tinikling‟.
Economic conditions greatly influence also the kinds of dances in
a country. In some places where the economy is good, the dances are
gay and frolicsome. In this study, the Subanen people during the
interview conformed that the economic conditions among their tribe are
depicted in „pangalitawo‟, „manok-manok‟, and „salilingan‟ that are
regarded as high-spirited dances as they swing their arms with
handkerchief and „palaspas‟ or leaves. Whereas, „tagdel‟ affirms that life
is tough when the Subanen people have to dwell far into the mountains.

43
Journal
Describingofthe
Multidisciplinary
Subanen Dances ofStudies
„Banwa‟ Labo P. E. T. Luman-ag,
Vol. 6, Issue
in Ozamiz [Link]
City, 1, pp. 35-47, August 2017 H. D. Villanueva, A. L. Awa
ISSN 2350-7020 (Print)
ISSN 2362-9436 (Online)
doi: [Link]

Conclusion and Recommendations

Four dances were identified in „Banwa‟ Labo in Ozamiz City.

They are newly documented and classified as ritual, religious, imitative,
festival, and courtship dances. These dances are additions to the existing
literature on the Philippine folk dances. The Subanen dancers used only
one traditional costume that implies the genuineness of a dance.
The Subanen dances are rich in character, traits, and customs, which
contribute to their cultural identity as a tribe.
The Subanen people have to teach the new generation the basic
and authentic steps of their different dances. The local government
should strictly observe the modification of the steps during town
festival. Academic institution is a good avenue in preserving intangible
heritage by collecting, recording and archiving these kinds of dances
among the Subanen people. Instructional materials could be developed
from the dance notations gathered for the mobilization and integration of
these dances in teaching physical education. This initiative could be a
means of disseminating local history and literature.

Acknowledgment

The authors acknowledge the cooperation extended by Ms. Aedlfa Kaamino

being the research assistant throughout the conduct of the study. Misamis
University, Ozamiz City is acknowledged for providing the research fund.

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