Chapter XI: Section 2: The Great Ceremonies (2)

On the eleventh day, a long white blanket (_tabing_) is stretched across one corner of the room, making a private compartment for the use of visiting spirits. That evening, as it grows dark, a jar of _basi_ is carried up into the house. All lights are extinguished both in the yard and the dwelling, so that the guests have to grope their way about. After the liquor is consumed, they go down into the yard, where, in darkness, they join the medium in dancing _da-eng._ The twelfth day is known as _Pasa-ad_--"the building." During the preliminary days, the men have been bringing materials for use in constructing the great spirit-house called _balaua_, and on this morning the actual work is started. In form the _balaua_ resembles the _kalangan_, but it is large enough to accommodate a dozen or more people, and the supporting posts are trunks of small trees (Plate XXI). After the framework is complete, one side of the roof is covered with cogon grass, but the other is left incomplete. Meanwhile the women gather near by and pound rice in the ceremonial manner described in the _Pala-an_ ceremony (cf. p. 329).

As soon as the building is over for the day, a jar of _basi_ is carried into the structure, a little of the liquor is poured into bamboo tubes and tied to each of the corner poles. The balance of the liquor is then served to the men who sit in the _balaua_ and play on copper gongs. Next, a bound pig is brought in, and is tied to a post decorated with leaves and vines. Soon the medium appears, and after placing prepared betel-nut and lime on the animal, she squats beside it, dips her fingers into coconut oil, and strokes its side, then later dips a miniature head-axe into the oil, and again strokes the animal, while she repeats a _diam_. This is a recital of how in ancient times Kadaklan and Agemen instructed the Tinguian as to the proper method of celebrating the _Sayang_ ceremony. [160] A little later the pig is removed from the _balaua_, and its throat is cut, first with a metal blade, but the deep, mortal thrust is made with a bamboo spike. The animal is then singed, but its blood is carefully saved for future use (Plate XXXIII). While all this is taking place, the men in the _balaua_ drink _basi_ and sing _dalengs_ in which they praise the liberality of their hosts, tell of the importance of the family, and express hope for their continued prosperity. As they sing, the chief medium goes from one to another of the guests, and after dipping a piece of lead in coconut oil, holds it to their nostrils as a protection against evil. When finally the pig has been singed and scraped, it is again brought into the _balaua_, and its body is opened by a transverse cut at the throat and two slits lengthwise of its abdomen. The intestines are removed and placed in a tray, but the liver is carefully examined for an omen. If the signs are favorable, the liver is cooked and is cut up, a part is eaten by the old men, and the balance is attached to the corner pole of the spirit structure. The head, one thigh, and two legs are laid on a crossbeam for the spirits, after which the balance of the meat is cooked and served with rice to the guests. That evening many friends gather in the yard to dance _da-eng_, to drink _basi_, or to sing _daleng_. According to tradition, it was formerly the custom to send golden betel-nuts to invite guests whom they wished especially to honor. [161] Nowadays one or more leading men from other villages may be especially invited by being presented with a bit of gold, a golden earring or bead. When such a one arrives at the edge of the yard, he is placed in a chair, is covered with a blanket, and is carried to the center of the dancing space by a number of women singing _diwas_ (cf. p. 452). At frequent intervals the merry-making is interrupted by one of the mediums who places the _talapitap_ on the ground, puts rice and water on it, and then summons the spirits with the split sticks. Once during the evening, she places eight dishes and two coconut shells of water on the rack. Reaching into one of the dishes which contains rice, she takes out a handful and transfers it, a little at a time, into each of the others, then extracting a few grains from each, she throws it on the ground and sprinkles it with water from the two cups. The remaining rice is returned to the original holder, and the act is repeated eight times. The significance of this seems to be the same as in the _Tangpap_ ceremony, where the life of the individual is symbolized by the rice, which is only partially taken away and is again returned. The next act is always carried out, but its meaning appears to be lost. The eight dishes are filled with rice, and are placed on the frame together with sixteen coconut shells of water, and eight men and eight women seat themselves on opposite sides. First they eat a little of the food, then taking a small amount in their fingers, they dip it into the water and place it in the mouth of the person opposite.

The fourteenth day is known as _Palay-lay_--"the seasoning"--and during the next twenty-four hours the people remain quietly in the village while the bamboo used in the _balaua_ "becomes good."

Next day is one of great activity. The roofing of the _balaua_ is completed, all necessary repairs are made to the dwelling, for dire results would follow should any part of the house break through during the concluding days of the ceremony. The balance of the day is taken up in dancing and in the construction of the following spirit-houses: the _Aligang, Balabago, Talagan, Idasan, Balag, Batog, Alalot, Pangkew_ and _Sogayob_ (cf. pp. 308-311). Also a little bench is built near the hearth, and on it are placed coconut shell cups and drinks for the use of the Igorot spirits who usually come this night.

The evening of this day is known as _Libon_--"plenty" or "abundance." Toward nightfall the mediums, and their helpers enter the dwelling and decorate it in a manner already described for the great ceremonies. Cords cross the room from opposite corners and beneath, where they meet, the medium's mat is spread. On the cords are hung grasses, flowers, girdles, and wreaths of young coconut leaves. When all is ready, a small pig is brought into the room, while the men play frantically on their gongs and drums. On the medium's mat are many articles, _alangtin_ leaves, a rooster, a branch filled with young betel-nuts, cooked rice moulded into the form of an alligator, but with a wax head and seeds for eyes, a spear, and a bundle of rice straw. Taking up a dish of water, the medium pours a part of it into the pig's ear; then, as the animal shakes its head, she again catches it in the dish. Rolling up a mat, she dips it into the water, and with it touches the heads of all members of the family, for in the same manner that the pig has thrown the water out of its ear, so in a like fashion will illness and misfortune be thrown from all the family who have been sprinkled with it. This act finished, the medium dances before the doors and windows, while she waves the chicken, betel-nuts, or other objects taken from the mat.

At her invitation, the host and his wife join her, but previously they have dressed themselves in good garments, and on their heads and at their waists they wear girdles and wreaths of _alangtin_, or wild grasses. The host is handed a long knife, and is instructed to cut the throat of the pig. His wife takes a rice winnower and a stick, and going to each window strikes the winnower five times, then drops it to the floor, at the same time crying, "Wa-hui." Next, she strikes a jar of liquor with the winnower, then shakes a coconut shell filled with rice against her abdomen; when finished she is handed a live chicken and again she approaches the jar. Soon she is joined by her husband, armed with a spear and head-axe. As he passes the liquor, he stamps on the ground, while his wife waves the fowl, and all this time the medium continues to sprinkle them with a grass brush dipped in water. No explanation is given for the individual acts, but the purpose of the whole is to drive away sickness, "just as the rooster flaps his wings." Ten dishes are placed on the spirit mat, and as the medium sings, she touches each one in turn with a split bamboo; after which she piles the dishes up and has the host come and squat over them three times. Another sprinkling with water follows this act, and then the medium swings a bundle of rice and a lighted torch over the head of each member of the family, while she assures them that all evil spirits will now depart.

The guests go down to the yard, where they are served with liquor, and where they dance _da-eng_ and _tadek_. On all former occasions, the liquor has been served in shell cups, but on this night a sort of pan-pipe, made of bamboo tubes, is filled with liquor. The guest drinks from the lowest of the series, and as he does so, the liquor falls from one to another, so that he really drinks from all at one time. Bamboo tubes attached to poles by means of cords are likewise filled with _basi_ and served to the dancers.

While the others are enjoying themselves, the mediums and the hosts are attending strictly to the business in hand. Dressed in their best garments, the husband and wife go to each one of the spirit houses, and touch them with their feet, a circuit which has to be repeated ten times. Each time as they pass the little porch-like addition, known as _sogayob_, the mediums sprinkle them with water. When they have completed their task, the mediums spread a mat in front of the pig, which lies below the _sogayob_, and on it they dance, pausing now and then to give the animal a vicious kick or to throw broken rice over it. And so the night is passed without sleep or rest for any of the principals in the ceremony.

The sixteenth day is _Kadaklan_,--"the greatest." Soon after daybreak, the people accompany the medium to the guardian stones near the gate of the village, and watch her in silence, while she anoints the head of each stone with oil, and places a new yellow bark band around its "neck." As soon as she finishes, the musicians begin to play vigorously on their gongs and drums, while two old men kill a small pig and collect its blood. The carcass is brought to the medium, who places it beside four dishes, one filled with _basi_, one with salt, one with vinegar, and the last with the pig's blood. She drinks of the liquor, dips her fingers in coconut oil, and strokes the pig's stomach, after which it is cut up in the usual manner. The liver is studied eagerly, for by the markings on it the fate of the host can be foretold. Should the signs be unfavorable, a chicken will be sacrificed in the hope that the additional offering may induce the spirits to change their verdict; but if the omens are good, the ceremony proceeds without a halt. The intestines and some pieces of meat are placed on the _ansi-silit,_--a small spirit frame or table near the stones. The host, who has been watching from a distance, is summoned, and is given a piece of the flesh to take back to his house for food, and then the rest of the meat is cooked and served to the guests. But before anything is eaten, the medium places prepared betel-nuts before the stones, mixes blood with rice, and scatters it broadcast, meanwhile calling the spirits from near and far to come and eat, and to go with her to the village, where she is to continue the ceremony. As the company approaches the _balaua_, the musicians begin to beat on their gongs, while women in the yard pound rice in ceremonial fashion. When they have finished, the family goes up into the _balaua_ and dances to the music of the gongs until the medium bids them stop.

The pig which has been lying in front of the _sogayob_, and another from the yard, are killed, and are laid side by side near to the _balaua_ in a spot indicated by the medium. She places a bamboo tube of water between them, on their backs she lays several pieces of prepared betel-nut, then strokes their sides with oiled fingers. Her next duty is to sprinkle _basi_ from the jar onto the ground with a small head-axe, at the same time calling the spirits to come and drink. (Plate XXXIV). A bundle which has been lying beside the animals is opened, and from it the medium takes a red and yellow headband with chicken feathers attached, and boar's tusk armlets. These she places on the host, then hands him a blanket. Holding the latter in his outstretched arms, as he would do if dancing _tadek_, he squats repeatedly over a dish of water. As he finishes, the medium takes the tube of water from between the pigs, and pouring a little of it on her hand, she applies it to the abdomen of the man's wife and children. The animals are now cooked in yard, while a quantity of rice is made ready in the house. During the preparation of the meal, the musicians play incessantly, but as the food is brought out, they cease and join the others in the feast.

It is late in the afternoon before much activity is again manifest. At first a few gather and begin to dance _tadek_; little by little others come in until by nightfall the yard is full. _Basi_ is served to all, and soon, above the noisy laughter of the crowd, is heard the voice of some leading man singing the _daleng_. The visitors listen respectfully to the song and to the reply, then resume the music and dancing. After a time a huge fire is built in the yard, and by the flickering light two lines of boys and girls or older people will form to sing and dance the _daeng._ [162]

On the morning of the seventeenth day, the men kill two pigs, usually by chasing them through the brush and spearing them to death. They are prepared in the usual way, and are placed, one in the _balaua_, the other in the _sogayob_, where they are cut up. A bit of the flesh is left in each structure, the fore half of one animal is carried into the yard, but the rest is prepared for food.

On an inverted rice-mortar, in the yard, is placed a jar of _basi_, notched chicken feathers, and boar's tusks. The man and his wife are summoned before this, are decorated as on the day before, and are instructed to dance three times around the mortar. While this is going on, a shield and a rice winnower are leaned against each other so as to form an arch on which lies a sheaf of rice. From the middle hangs a piece of burning wood, while over all a fish net is thrown. As in a former ceremony (cf. p. 347), the rice and fire represent the life of some member of the family, which the evil spirits may desire to seize, but they are prevented, since they are unable to pass through the meshes of the net. Going to the half of the pig, which stands upright in a rice winnower, the medium places a string of beads--agate and gold--around its neck and attaches bits of gold to its legs. Then she places a thin stick in each nostril and pumps them alternately up and down, as a smith would work his forge. After a little she removes the plungers, and with them strokes the bodies of members of the family. Near to the pig stands a dish of water in which the heart is lying. The host goes to this, removes the heart, and placing it on his head-axe, takes it in front of the animal, where it lies, while he pumps the nostril-sticks up and down ten times. Meanwhile his wife is decorated with wreathes of leaves and vines; a leaf containing the pig's tail and some of the flesh is placed on her head, and a spear is put in her left hand. As her husband completes his task, she goes to the mortar, where she finds one dish full of blood and rice and the empty coconut shells. The rice and blood represent the lives of the family, and following the instructions of the medium, she takes these lives and places them little by little on the shells, but before all is gone, the medium bids her return them to the big dish. In a like manner the spirits may take a part of the life of the family, but will return it again. This act is repeated ten times. Next she takes a piece of woven bamboo, shaped like two triangles set end on end [163], and goes to the _batog_, where her daughter sits under a fish-net holding a similar "shield." They press these together, and the mother returns to the mortar eight times. The mediums who have gathered beneath the _sogayob_ begin to sing, while one of them beats time with a split bamboo stick. At the conclusion of the song, one of them offers _basi_ to the spirits and guests, and then placing a bundle of green leaves on the ground, she pours water over it, while the host and his wife are made to tramp in the mud. The man is now carrying the spear, while the woman holds a cock in one hand, and an empty dish in the other. As they are stamping on the damp leaves, old women stand near by showering them with rice and water.

Since early morning a dog has been tied at the end of the house. It is now brought up to the bundle of leaves, and is knocked on the head with a club, its throat is cut, and some of its blood is applied with a head-axe to the backs of the man and woman. More water is poured on the bundle, again they tramp in the mud, and again they are showered with rice and water. The man goes to one side of the _balaua_, and throws a bundle of rice over it to his wife, who returns it eight times.

A strange procession now forms and winds its way to the stream. In the lead is the host armed with spear, shield, and head-axe; next comes the medium carrying the bamboo rack--_talapitap_--like a shield, and the split bamboo--_dakidak_--as a spear; next is an old woman with a coconut shell dish, then another with a bundle of burning rice straw; behind her is the wife followed by a man who drags the dead dog. They stop outside of the village, while the medium hides the rack and split bamboo near the trail. Soon the man with the dog leaves the line and drags the animal to a distant tree, where he ties it in the branches. As they arrive at the stream, the people pause, while the medium holds the shell cup beside the burning straw, and recites a _diam_. The writer tried on two occasions to get this _diam_, but it was given so low and indistinctly that its full content was not secured, neither was it possible to get the medium to repeat it after the ceremony. From what was heard it seems probable it is the _dawak diam_, [164] a guess made more probable by the killing of the dog and the bathing which follows. As soon as the medium finishes, the whole party disrobes and bathes.

Upon their return to the village, they are met by a company of men and boys who assail them by throwing small green nuts. The host secures the spirit rack which the medium had hidden, and with it attempts to ward off the missiles. Despite this show of hostility, the company proceeds to the _sogayob_, where the man and his wife wash their faces in water containing pieces of coconut leaves. During all the morning a number of women have been preparing food, and this is now served to the guests, a considerable company of whom have collected. Late in the afternoon, all the spirits are remembered in a great offering of food. A framework is constructed in the yard, [165] and on it are placed eggs, meat, fish, rice cakes, sugar, betel-nut, tobacco, _basi_, and rice mixed with blood. After allowing the superior beings a few moments to finish their repast, the viands are removed, and from then until sunset all the guests dance _tadek_. As darkness comes, a great fire is lighted in the yard, and within the circle of its light the company gathers, while the more important men sing _daleng_.

In some of the villages men gather the next morning to do any necessary work on the _balaua_, and then the mediums celebrate the _dawak_, [166] which always forms a part of this ceremony. In Manabo the _dawak_ follows after an interval of three days.

This great and final event is so much like the procedure which makes up the _Tangpap_ ceremony that it seems necessary to give it only in skeleton form, adding explanations whenever they appear to be necessary. In the _balaua_ is spread a mat covered with gifts for the spirits who are expected. Here also is the spirit shield from the dwelling, and a great heap of refuse made up of the leaves, vines and other articles used in the preceding days.

When all is ready, a medium seats herself by the mat, dips oil from a shallow dish with a small head-axe, and lets it drip onto the ground; then she does the same with _basi_, and finally strokes a rooster which lies beside the jar, all the while reciting the proper _diam_.

Taking the spirit shield, which belongs in the dwelling, she puts oil at each corner, and then touches the heads of all the family with it. Beads and betel-leaf are added, and the shield is carried to the house, where it is again fastened to the wall, as a testimony to all passing spirits that the ceremony has been made, and food provided for them.

The time has now arrived for the spirits to appear. Seating herself beside the mat, the medium strikes on a plate with her shells or a piece of lead, and then starts her song. She rubs her hands together with a revolving motion, swings her arms, and begins to tremble from head to foot. Suddenly she is possessed by a spirit, and under his direction holds oil to the nostrils of the host, and beats him with a small whip of braided betel-leaf. This done, she drinks for the spirit, and it departs. Again she sings, and again she is possessed. One spirit takes the rooster, and with its wings cleans up the rubbish in the _balaua_ and in the yard, empties it in a tray, and orders it taken from the village. In the same way all sickness and misfortune will be removed from the settlement.

Several spirits follow, and as the morning wears on, the medium becomes more and more intense. The muscles of her neck and the veins of her forehead stand out like cords, while perspiration streams from her bod. Taking a shield and head-axe in her hand, she does a sort of muscle dance, then goes to each member of the family, and strikes the weapons together over their heads; from them she goes to the doors and windows, and strikes at them with the axe. Finally she returns to the mat, balances a cup of _basi_ on the weapon, and causes the host to drink. Another attack on the doors follows, and then in exhaustion she sinks beside the mat. After a short rest, she dips beads in oil, and with them touches the heads of the family. The musicians strike up a lively tattoo at this point, and again seizing her weapons, the medium dances in front of the spirit shield. Going to the rooster on the mat, she cuts off a part of its comb, and presses the bloody fowl against the back or leg of each person in the room. The spirit drinks and disappears.

The next visitor dances with the host, and then wrestles with him, but upon getting the worst of the match takes leave. As in the _Tangpap_, large number of minor beings call for a moment or two and pass on. One spirit places the family beneath a blanket, cuts a coconut in two above their heads, and first allows the water to run over them; then finally the halves are allowed to drop. She waves burning rice-straw above them, and removes the blanket. It is explained that the water washes all evil away, and that as the shells fall from the family, so will sickness leave them. Evil spirits are afraid of the fire, and leave when the burning rice-straw is waved about the blanket.

As a final act the members of the family are instructed to hold, in their hands the head-axe, chicken feathers, agate beads, and other articles, and then to mount the rice-mortar in the yard. Soon one or more of the mediums is possessed by spirits, who rush toward the mortar, and strive to seize the prized objects. Before they can accomplish their design, they are met by old men and women, who fight them off. At last they abandon the attempt and, together with the host and his wife, go to the edge of the town, where they pick sweet smelling leaves and vines. These they carry back to the village to give to the guests, and to place in the house and spirit dwellings.

As a final act _basi_ is served to all, and _tadek_ is danced until the guests are ready to return to their homes.

In San Juan they make the spirit raft--_taltalabong_--as in _Tangpap_, and set it afloat at sunset.

The mediums are paid off in rice, a portion of the slaughtered animals, beads, one or two blankets, and perhaps a weapon or piece of money.

During the succeeding month the family is prevented from doing any work, from approaching a dead body, or entering the house of death. Wild carabao, pig, beef, eels, and wild peppers may not be eaten during this period, and wild chickens are taboo for one year.