Cuyo, Palawan - Cultural Heritage

Cultural Heritage

Despite its long history Cuyo has held back the hands of time and preserved its rich cultural heritage preserved since more than 350 years.

The tipano band, a flute and drum ensemble, and the de kwerdas (string band), supply background music on important social occasions. They also accompany singers and render dance music like the pinundo-pundo. The tipano is reserved for the ati-ati, sinulog, and komedya.

Both ensembles use available instruments and instrumentalists. The tipano core is basically two drums and four to seven transverse mouth flutes with six finger-holes. One or two tipano "nga maitley" (small flutes) and three or four tipano "nga mabael" (larger flutes) are played with a redublante (snare drum), bombo (big drum), and sometimes a pair of platilyo. The de kwerdas has two or three sabel, and occasionally a guitar, a bajo (six-stringed bass), a banjo, and a banduria. In Cuyunon music the "akompanimento" refers to the harmonic accompaniment-principal or "primera" to the first or highest voice, and "segunda" to the second.

The Cuyunon youth celebrate love with song during the post-harvest courting season. The Cancion, a popular serenade, is sung with the strumming of a five - or six-stringed guitar in the distinctive punctual manner. Parting is a familiar concern in Cuyunon love songs. Examples of love songs are "Napopongao Ako", "Ang Gegma", "Ploning", "Daragang Taga Cuyo", "Konsomision", "Ako Maski Bayan", "Tiis Manong Pido", "Nagpamasiar Ako", and "Komosta".

Cuyunon dances have evolved from native and Spanish influences. Among these are the Pastores (the Christmas dance of the sheppherds), the Chotis (from the German schothische), Lanceros de Cuyo (local French guadrille), Birginia (Virginia reel or square dance), Paraguanen (a romantic comic duet), and La Jota Paragua (a Castillan-type jota using bamboo castanets and manton). The island is known for the Mazurka de Cuyo, a social dance with characteristic mazurka steps. Another popular dance is the Pinundo-pundo, a stylish wedding dance marked by sudden pauses, its first two parts, featuring solo dances of the boy and the girl, are followed by the suring, a love play between the couple.

The Cuyunon have developed the art of merging song, dance, and drama. Cuyo's Sayaw is a colorful enactment of a story heightened by the music of a string band. It is presented by five pairs of youth arranged in two lines, fully costumed and made up, and bearing props like flowers, crowns, and even knives. After an introductory dance, the leading couple proceed to relate the tale, sometimes using verse. The topic may be anything, from everyday occurrences to special events like winning the sweepstakes. This story is then interpreted in dance and ended with a finale.

Yearly on August 28, Cuyo Island celebrates San Agustin's feast. On the eve of the fiesta, a cultural presentation featuring the traditional performing arts and sometimes a separate show of modern songs and dances may be presented. The feast day is begun with a morning mass (sometimes a High Mass officiated by the bishop ) and followed by the Ati-ati, a legacy of the Aklanon. Folk from the nearby islands board barotos (boats) to view the parade which recreates the confrontation of San Agustin and the native "savages". Participants portray the Aeta by darkening their bodies with soot and painting their faces with anyel (indigo). They don foot-high headgear of coconut ginit fiber adorned with chicken feathers, and decorate their costumes with coconut leaves. The men, clad in loin cloths, carry spears, bows and arrows, or bolo. The women, wearing patadyong and beaded necklaces, carry baskets with a tumpline

The participants form two lines, one of men and the other of women. The director signals the start of the singing by striking his cane on the ground. This is followed by a spontaneous dance characterized by sways, hops, jumps, and the jerking of weapons accompanied by chanting; the director also signals the end of the dance. The teniente (barrio head) and his family may recite a series of verses. The director is then approached by the last to recite, customarily the teniente's youngest child.

As the floats of San Agustin and other saints enter the church at the end of the procession, the participants kneel, prostrate themselves, or sing while performing skipping steps before the images. The merrymaking intensifies when the alakayo, a dancing clown, chases the ladies, stopping only when coins are thrown to him on the ground. The alakayo collects the coins with his mouth.

Meanwhile, the panapatan performance are staged in front of various houses for a fee. These are mostly excerpts of the komedya and ati-ati known as komedya sa kalye and ati-ati sa bukid, the performers of which use simpler clothing than in the more elaborate full-length performances. Ati-ati sa bukid is sung and danced to celebrate a fruitful harvest. Today it is usually danced by young boys wearing masks or indigo-painted faces.

Another pantomime, innocentes, recreates the descent of the "savages" from the hills to pay tribute to San Agustin. They are wearing coconut fibre masks and red striped shirts. The participants frolic and fence with sticks.

Komedya or moro-moro performances are larger (with some 50 actors) and more refined than the ati-ati. The clash between the Mustlims and the Christians is further dramatized by background music; commonly used tunes are the pasadoble, marchas, giyera, and kasal.

The same subject is portrayed by the sinulog. The Christians are identified by their black costumes, kampilan, and elongated shields; the Muslims by their red turbans and waistbands, and round shields. The participants may wear masks or paint their faces. Both groups, usually of six dancers each, sometimes perform to the beating of tin cans. Alternate steps of offense and defense, e.g., advancing and retreating, with corresponding movements of weapons, are followed by circular formations simulating scenes of strategy plotting.