Module 3-4

• Independent livelihood is the primary goal of Isnag education and training.
• One of the guiding mottos is that children are not always with their parents; hence, physical and vocational training is always emphasized.
• Moral education in the form of instituting self-disciplinary measures is coupled with it.
• Early education in Isnag culture can be seen as a survival strategy rooted in ecological balance, where only the fittest can thrive.
• Some musical instruments mimic spoken words with their rhythms or tones, acting as speech substitutes.
• The indigenous literature of Mountain Province is typically thought of as a method of expression where concepts of regional and global interests are addressed.
• A piece of writing that addresses a specific topic is designated as a topic.
• Musical instruments provide acoustic support for singing and rhythmic cues for dancing or other movement.
• Poetry, romance, history, biographies, essays, and other types of writing are used to present it.
• Indigenous games, handed down through the centuries and often played with natural objects or instruments, are known as indigenous games in Mountain Province.
• From infancy, children are left in cradles while parents attend to their important routine work, fostering the development of physical independence.
• Early learning in Isnag culture is centered on understanding prohibitions and moral codes.
• Moral education takes precedence over vocational training, with children being exposed to various taboos and subjected to physical and emotional sanctions, such as corporal punishment and shame.
• Formal education begins when a child demonstrates readiness by touching their left ear with their right hand over their head.
• Sanctions for breaching moral codes include shame, scolding, and, in extreme cases, corporal punishment.
• Rhyme in Ifugao literature is similar to western literature in terms of structure and manner of delivery or performance.
• There are different types of Ifugao dances that are commonly based on geographical origin and/or purpose.
• Specific Ifugao oral literature pieces include the Hudhud, Alim, Liwliwa, and A-apo.
• The Ifugao dance features the eagle-like opening of hands and is usually accompanied by the beating of gongs.
• Music plays a huge part in the Ifugao ways of life and is commonly performed in groups on occasion.
• Ritual chants in Ifugao include the “Alim” and “Baltung” while non-ritual chants include the hudhud, liwliwa/bonwe or ap-apnga.
• Local government units support and organize cultural festivals in Ifugao to preserve the cultural practices and provide economic opportunities for the Ifugao people through the promotion of tourism.
• The Tungoh ad Hungduan festival is based on the term tungoh, which is a nonworking holiday and nobody should be working in their fields.
• Song in Ifugao usually includes simple folk songs, ballads, palat.
• Identified dances in Ifugao include Dinnuy-a, Futageh, Pagaddut, and Tayaw.
• The Kulpi ad Asipulo festival is based on the term kulpi, which is a nonworking holiday and nobody should be working in their fields.
• Physical and vocational training in Isnag culture focuses on the practice of kaingin work, where children are provided with miniature tools and taught through oral instructions while working alongside their parents.
• Play is allowed but is associated with work, such as playing in the kaingin, doing garden work, swimming, or carrying loads.
• Playtime must be completed before meals, and failure to do so results in missing out on food.
• As children grow more independent, they are assigned separate tasks, but their output remains under their parents' control.
• Supervision continues until the children marry, and even then, their work may be monitored to ensure adherence to the lessons learned during their upbringing.
• Isnag education emphasizes self-sufficiency and adherence to established norms throughout a person's life.
• Common practices and beliefs in Mountain province on death of a person include different rituals and practices performed by the family members of the dead person depending on the cause of death, social status, and age.
• The word “shucks” is an essential signifier of a deeply-seated ethical concept in Kankanaey culture, namely the fear of a supreme deity, called Kabunian, or God, which forewarns or dissuades one from doing anything harmful to others.
• People of Mountain Province recognize that there is something greater than the self and that there is a connection of all things to the spirits and the soul.
• Common practices and beliefs in Mountain provinces to heal the sick include sumusup-ok or man-ila, common in all municipalities, who will see and talk to the anitos of the family of the sick person by doing some rituals.
• Mangmang/pik-pik is a common practice in the municipalities of Mountain Province, but they have different terms, usually observed for different occasions from house blessings to celebrations, or to heal the sick or death.
• Tengaw (Rest Day) is a common practice in Mountain Province.
• Nga-ag is a more specific aspect of Inayan or Lawa, used to guide people to discern, to speak good of others and to choose to act properly.
• Even with modern medicine, rituals to cure illness are still being practiced by those who still believe in the old tradition especially if medicines do not seem to cure the illness of the person.