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• Ati-atihan Festival


  Hailed as the "Mother of Philippine festivals" by the National Commission for Culture and the Arts (NCCA), started during the 16th century
• Origin story of Ati-atihan Festival

  1. A fisherman caught a piece of wood instead of fish, brought it home, and found a carving of a child on it

  2. The couple placed the wood in their home, received blessings, and were advised by a priest to place the image at the local chapel

  3. The wood kept coming back to the couple's home, interpreted as a sign to ask for forgiveness and include penance of coloring skin black and wearing rags
• Padre Fernando de Legaspi heard about the yearly celebration and copied it in his parish and the town of Kalibo


  1798
• The annual Ati-atihan Festival was institutionalized by a priest and some local businessmen


  June 11, 1871
• Another origin story of Ati-atihan Festival

  1. Ten Bornean Datus and their families, led by Datu Put, fled to Panay Island and were greeted by the Aetas, led by Markudo

  2. A barter system was established, leading to the Datus owning some lowland from the natives in exchange for a golden salakot

  3. In another version, the visitors painted their faces black in honor of the Aetas as a form of reconciliation and celebration
• President Ferdinand E. Marcos instructed the Department of Tourism to promote the Ati-atihan Festival every January


  1970
• Main instruments used for Ati-atihan Festival


  • Snare drums, bass drums, trumpets, xylophones, and gongs
  • Parade musicians sometimes use whistles to enhance the sound of the drums and to accompany the chanting of the participants and the audience
  • Drums, big and small, generally produce the monotonous yet lively rhythmic pattern which moves the dancers and the audience to their feet
• Sadsad


  1. The most awaited activity during the final day of the Ati-atihan Festival celebration

  2. Participants paint their bodies black to imitate the Aetas (Ati), wear colorful tribal costumes and headdresses with spear and a shield, and dance to the loud and furious drumbeats

  3. The popular Ati-atihan chant "Hala Bira Pwera Pasma" came from this continuous music playing, dancing, and chanting even under the heat of the sun. This means to continue the dancing and playing while wishing that they may not get sick from exhaustion or body overheat.
• The Ati-atihan Festival is held every third week of January, honoring the Sto. Niño by the local people of Aklan
• Cordillera Administrative Region (CAR)


  Located in one of the highest and largest mountain ranges in the Philippines, comprising six provinces and one city
• The famous Rice Terraces, one of the "Seven Wonders of the World", is located in the Cordillera region
• Ethnic groups inhabiting the Cordillera region


  • Kalinga, Bontoc, Ifugao, Kalanguya, Kankana-ey, Ibalo, Isneg, and Gading
• Characteristics of music in the Cordillera region


  • Songs have generally limited tones
  • Vocal style varies according to day-to-day activities
  • Appreciation of the beauty of nature and creation of varied forms of artistic expressions through songs, dances, and art forms
• Vocal music in the Cordillera region


  • Salidumay - a song with limited voice range and use of ornamentations like tremolos or trills and slides, usually sung by groups for entertainment
  • Bad-w - an Ibaloi death ritual song using a leader-chorus type of singing
  • Og-gayam - an Itneg song performed during festivities, weddings, peace agreements, harvest time, or even in welcoming guests, may be accompanied by the Kalinga flute
  • Hudhud - a popular chanted poetry of Ifugao, usually recited during rituals and while farming, with stories of Ifugao heroes and heroines, and culture as the usual themes
• Uses or purposes of music in the Cordillera region


  • Peace pacts
  • Healing rituals
  • Invocations of the gods
  • Courtships and marriage
  • Death rites
  • Birth and other life cycle events
• Instrumental music in the Cordillera region


  • The use of ethnic instruments plays an important role in the lives of the Kalinga people
  • Musical instruments used in various rituals and festivities show differences in construction, manner and style of playing, and sound, although there are striking similarities among them
• How to play the GANGSA

  1. There are two ways

  2. It is a set of six graduated gongs tied to the belts of the six men who kneel down and lay their gongs on their lap

  3. The player strikes and sides the gong to make a ringing sound by using the left hand and immediately producing a dampened sound as they side the right hand forward on the surface of the gong

  4. Four players in the group produce a melody of four different tones

  5. One player strikes and deadens an outinato or a repeating sound, while the other player executes an improvised rhythm which later on may be played by one of the other players

  6. The performance of togeyya is accompanied by a dancing couple in a formal gathering
• GANGSA-palook


  • It requires six or more men striking the inner side of the gongs with sticks and allowing them to vibrate
  • There are two alternating beats assigned to each beat being played by separate groups as they dance in a circular line
  • The women join them later on and a bigger circle is formed in the final part, the women dance in a circle around the men
• Bunkaka (bamboo buzzer)


  • It is a bamboo tube with an opening or split at one end
  • The way of playing it is by striking the split end against the palm of the hand to produce a buzzing sound
  • A thumbhole along the side of the handle is closed or left open to have vibration of pitch and timbre
  • This instrument may be played alone or in a group, usually six players
  • All players use individual rhythmic patterns and begin and end at different times
  • They result in interlocking of sounds
• Peng


  hardwood and proves a dreng and dampened wh
• Tangatong samping


  These are stamping tabes cesting of sh banboo tales of effent lengths of sade bene but opes at the upper ends. It is played by women in gream of a for healing des
• The player


  As the base apt a hard surface and is sureously covering and uncovering the upper esh of the tubes to produce different s
• w's harp


  Tis a bamboo instrument made of a thin, sarrow strip of barboo or brass ts name varies from tribe to tribe
• Names of w's harp

  • kokhau (Tingguan)
  • unibone (Apayaoi
  • ebay (Bontoc
  • epio fago metal harp
  • afe (atoma hap
• w's harp


  It is characterized by a very thin slit with a thin tongue at the middle part. It is played through plucking or striking the tip of the intrament to proface a vibrating sound
• The players mouth


  Serves as the rescator, prading varied sound qualities and tone pitches
• w's harp


  It is consmonly used for courtship and entertainment, and is say
• Dedes


  Pipes. The runs are pleyed by
• Dedes


  Its a wet for go and Kings is a nose de inramant arigated from many called by diffew cases keleleng asang kanta and the Karkass and belong on the last has five finger holes
• Dedes


  It is normally sed solo by rase to woo wars, and for gewaltetement
• S


  A dram with a skinhead played with a padded sick or by tagging using open hands
• Pakdang


  Traditional bamboo pay fute topes at both ends and has four Sager holes
• Pakdang


  • Most of the a malady improvisation is ploped by wee for seating courting worm or ping
• Instrument characteristic


  An ememble produce sia different priches because of their graduated in aggered instrument in required in the entrances to preface interlocking patterns of sounds
• Itwicking technique


  A stylistic device creating a resultant melody through the datributice of fve or rane isusents
• Itwicking technique


  • To provide a variety of s alemate opening and closing holes for tube istuents and ringing and dancing for other instruments
• Hambeste-Sachs classification


  Sectioning of offerent musical intravest
• Types of musical instruments

  • Aerophone-sound produced by a
  • Chandaphase sound produced by strings
  • Idiophone sound produced by way of the instrument itself vibrating without the use of string
  • Membranophone sound produced by a skin attached the m
• There are many tibes with different mask bradom and practices in Mindoro and Palawan
• Music of Mindoro and Palawan


  • They foon on family life, thanksgiving, good harvest, nature, as well as spiritual aspects