AMUSEMENTS
Games
A gambling game was the only thing observed among the Negritos of
Zambales which had the slightest resemblance to a game. Even the
children, who are playful enough at times, find other means of amusing
themselves than by playing a systematic game recognized as such and
having a distinct name. However, they take up the business of life,
the quest for food, at too early an age to allow time, to hang heavy,
and hence never feel the need of games. Probably the fascination of
bow and arrow and the desire to kill something furnish diversion enough
for the boys, and the girls, so far as I could see, never play at all.
The game of dice, called "sa'-ro," is universal. Instead of the
familiar dots the marks on the small wooden cubes are incised lines
made with a knife. These lines follow no set pattern. One pair of dice
which I observed were marked as shown in fig. 2. The player has five
chances, and if he can pair the dice one time out of five he wins,
otherwise he loses. Only small objects, such as camotes, rough-made
cigars, or tobacco leaves, are so wagered. A peculiar feature of the
game is the manner in which the dice are thrown. The movement of the
arm is an inward sweep, which is continued after the dice leave the
hand, until the hand strikes the breast a resounding whack; at the
same time the player utters a sharp cry much after the manner of
the familiar negro "crap shooter." The Negritos do not know where
they got the game, but say that it has been handed down by their
ancestors. It might be thought that the presence of a negro regiment
in the province has had something to do with it, but I was assured by
a number of Filipinos who have long been familiar with the customs of
the Negritos that they have had this game from the first acquaintance
of the Filipinos with them.
Music
In their love for music and their skill in dancing Negritos betray
other striking Negroid characteristics. Their music is still of the
most primitive type, and their instruments are crude. But if their
notes are few no fault can be found with the rhythm, the chief
requisite for an accompaniment to a dance. Their instruments are
various. The simple jew's-harp cut from a piece of bamboo and the
four-holed flutes (called "ban'-sic") made of mountain cane (figs. 6,
7, Pl. XLVI) are very common but do not rise to the dignity of dance
instruments. Rarely a bronze gong (fig. 1, Pl. XLVI), probably of
Chinese make, has made its way into Negrito hands and is highly prized,
but these are not numerous--in fact, none was seen in the northern
region, but in southern Zambales and Bataan they are occasionally used
in dances. The most common instrument is the bamboo violin. (Fig. 2,
Pl. XLVI.) It is easy to make, for the materials are ready at hand. A
section of bamboo with a joint at each end and a couple of holes cut
in one side furnishes the body. A rude neck with pegs is fastened to
one end and three abacá strings of different sizes are attached. Then
with a small bow of abacá fiber the instrument is ready for use. No
attempt was made to write down the music which was evolved from this
instrument. It consisted merely in the constant repetition of four
notes, the only variation being an occasional change of key, but it
was performed in excellent time.
Rude guitars are occasionally found among the Negritos. They are made
of two pieces of wood; one is hollowed out and has a neck carved at
one end, and a flat piece is glued to this with gum. These instruments
have six strings. If a string breaks or becomes useless it is only
a question of cutting down a banana stalk and stripping it for a new
one. These guitars and violins are by no means common, though nearly
every village possesses one. The ability to play is regarded as an
accomplishment. A stringed instrument still more primitive is made
from a single section of bamboo, from which two or three fine strips
of outer bark are split away in the center but are still attached
at the ends. These strips are of different lengths and are held
apart from the body and made tight with little wedges. (Figs. 4, 5,
Pl. XLVI.) Another instrument is made by stretching fiber strings over
bamboo tubes, different tensions producing different tones. (Figs. 8,
9, Pl. XLVI.) These simpler instruments are the product of the
Negrito's own brain, but they have probably borrowed the idea of
stringed violins and guitars from the Christianized natives.
The Negritos of the entire territory have but two songs, at least so
they affirmed, and two were all I heard. Strange as it may seem, at
least one of these is found at both the extreme ends of the region. An
extended acquaintance with them might, and probably would, reveal
more songs, but they are reluctant to sing before white men. One of
these songs, called "du-nu-ra," is a kind of love song. Owing to the
extreme embarrassment of the performer I was able to hear it only by
going into my tent where I could not see the singer. It consisted of
a great many verses--was interminable, in fact.
The second of the two songs was called "tal-bun'." This is sung on
festive occasions, especially when visitors come. The words are
improvised to suit the occasion, but the tune and the manner of
rendering never vary.
Five or six men, each holding with one hand the flowing end of the
breechcloth of the one in front or with the hand on his shoulder and
the other hand shading the mouth, walk slowly about a circle in a
crouching posture, their eyes always cast on the ground. Presently
the leader strikes a note, which he holds as long as possible and
which the others take up as soon as he has sounded it. This is kept
up a few minutes, different tones being so sounded and drawn out as
long as the performers have breath. The movement becomes more rapid
until it is nearly a run, when the performers stop abruptly, back a
few steps, and proceed as before. After they have about exhausted the
gamut of long-drawn "O's" they sing the words, usually a plea for some
favor or gift, being first sung by the leader and repeated after him
by the chorus. I did not get the native words of the song I heard,
but it was translated to me as follows:
We are singing to the American to show him what we can do;
perhaps if we sing well he will give us some rice or some cloth.
The words are repeated over and over, with only the variation of
raising or lowering the tone. At intervals all the performers stop
and yell at the top of their voices. Sometimes a person on the
outside of the circle will take up the strain on a long-held note
of the singers. This song also serves for festive occasions, such as
weddings. (See Pl. XLVII.)
Dancing
Dancing forms the chief amusement of the Negritos and allows an
outlet for their naturally exuberant spirits. I had no more than set,
up camp near the first rancheria I visited than I was entertained by
dancing. Among the Negritos helping me was one with an old violin,
and as soon as a place was cleared of brush and the tent was up
he struck up a tune. Whereupon two or three youngsters jumped out
and performed a good imitation of a buck-and-wing dance. However,
dancing is not generally indulged in by everybody, but two or three
in every rancheria are especially adept at it. Aside from the general
dances, called "ta-li'-pi," which consist of a series of heel-and-toe
movements in excellent time to the music of violin or guitar, and
which are performed on any occasion such as the setting up of my
tent, there are several mimetic dances having a special character or
meaning. Such are the potato dance, the bee dance, the torture dance,
the lover's dance, and the duel dance. (See Pls. XLVIII, XLIX.)
The Potato Dance, or Piña Camote
Only one person takes part in the potato dance. At first the
performer leaps into the open space and dances around in a circle,
clapping his hands as if warming up, the usual preliminary to all
the dances. Presently in pantomime he finds a potato patch, and
goes through the various motions of digging the potatoes, putting
them in a sack, and throwing the sack over his shoulder, all the
time keeping close watch to prevent his being caught in the act of
stealing. He comes to the brush fence which surrounds every "caingin,"
draws his bolo, cuts his way through, and proceeds until he comes to
a river. This is significant as showing that the potato patch he is
robbing does not belong to anyone in his own village but is across a
river which he must pass on his way home. He sounds for deep water
with a stick. It is too deep, and he tries another place. Here he
loses his footing, drops his sack, and the swift current carries it
beyond his reach. While going through the various motions necessary
to depict these actions the movement of the dance is kept up, the
body bent forward in a crouching position, the feet leaving the ground
alternately in rapid motion but never out of time with the music. Such
agility and tirelessness one could scarcely find anywhere else.
The Bee Dance, or Piña Pa-ni-lan
This dance is also performed by one person and in a similar manner
as the potato dance. A piece of cloth tied to a pole serves as a
nest of bees. The performer dances around the circle several times;
presently he spies the nest and approaches slowly, shading his eyes
for a better view. Having satisfied himself that he has really made
a find, he lights a smudge, goes through the motion of climbing the
tree, and in holding the smudge under the nest he is stung several
times and has to retreat. This is repeated until all the bees are
smoked out and the honey is gathered. Then comes a feast in which,
drunk with honey, he becomes hilarious.
The Torture Dance
This dance, which commemorates the capture of an enemy, is performed
in much the same manner as the "talbun" except that there is no song
connected with it. The captive is bound to a stake in the center and
a dozen men circle slowly around him, in the same manner as already
described, one hand over the mouth and uttering long-drawn notes. The
movement becomes faster and faster until it consists wholly of frenzied
leaps, and the performers, worked up to the proper pitch draw their
bolos, close in on their victim, and slash him to pieces.
When executed at night in the light of a bonfire this dance is most
grotesque and terrible. The naked black bodies, gleaming in the fire,
the blood-curdling yells, and the demoniacal figures of the howling,
leaping dancers, remind one of the Indian war dances.
The dance seems to be a relic of more barbarous days when the Negritos
were, in truth, savages. They say that they never kill a prisoner in
this manner now, but that when they find it necessary to put a man
to death they do it in the quickest manner possible with a single
blow of the knife. (See Pl. L.)
The Lovers' Dance
As might be expected, a man and a woman take part in the lovers'
dance. The women are not such energetic and tireless dancers as the
men, and in the lovers' dance the woman, although keeping her feet
moving in time to the music, performs in an indolent, passive manner,
and does not move from the spot where she begins. But the man circles
about her, casting amorous glances, now coming up quite close, and
then backing away again, and at times clapping his hands and going
through all sorts of evolutions as if to attract the woman. This sort
of thing is kept up until one or both are tired.
The Duel Dance
The duel dance is by far the most realistic and interesting of any of
the Negrito dances. Is the name suggests, the dance, is performed by
two men, warriors, armed with bows and arrows and bolos. An oblong
space about 8 feet in width and 15 feet long serves as an arena for
the imaginary conflict. After the musician has got well into his
tune the performers jump into either end of the space with a whoop
and a flourish of weapons, and go through the characteristic Negrito
heel-and-toe movement, all the time casting looks of malignant hate at
each, other but each keeping well to his end of the ring. Then they
advance slowly toward each other, swinging the drawn bow and arrow
into play as if to shoot, then, apparently changing their minds or
the opportunity not being good for a death shot, they withdraw again
to the far ends of the ring. Advancing once more each one throws the
drawn bow and arrow upward, then toward the ground, calling heaven
and earth to witness his vow to kill the other. Presently one gets a
favorable opportunity, his bowstring twangs, and his opponent falls to
the ground. The victor utters a cry of triumph, dances up to the body
of his fallen foe, and cuts off the head with his bolo. He beckons
and cries out to the relatives of the dead man to come and avenge the
deed. Nobody appearing, he bears aloft the head of the enemy, shouting
exultingly and triumphantly as if to taunt them to respond. Still no
one comes. Then after waiting and listening for a time he replaces the
head with the trunk and covers the body over with leaves and dirt. This
ends the dance. Ordinarily it requires fifteen minutes for the full
performance. During this time the one who by previous arrangement
was to be the victor never for a single instant pauses or loses step.