Pagdating ng panahon translation in english
From the audience, requests for cure or medicine are made to the spirits through the balyan while she is in trance. During the three-hour ceremony, incense is burned intermittently from a bowl containing dagtu (extracts from a tree), daga (chicken blood), pulinan (charcoal), balasi (shells), sulu (an orange- colored stone), and dlemuga (tree bark).Rituals performed among other groups of people could take place in open fields, beside a holy tree, or even by the riverbank.
Numerous paraphernalia consisting of a binalay (altar), a bahangsu (a seven-step ladder) containing food offerings, a miniature boat which the seven diwata (spirit deities) are supposed to ride to and from the ritual, a large gadyong (swing) hung from the rafters on which the balyan dances, a low platform for the musicians who play on the gagung pon and gandingan (bossed gongs), and strike porcelain bowls.The balyan take turns chanting and dancing while shaking dried rattan leaves on whose handle a pair of dumala (bells) are attached.The small hall is dimly lit by kerosene lamps which are extinguished when the balyan goes into a trance.The audience, consisting of the village folk, sits on the floor against the walls of the hut.The Bontoc youth may play his kalleleng (nose flute) to serenade a loved one at her doorstep or merely to pass the time away in his abode.On more solemn occasions, the home is the venue for a curing ritual such as the gasumbi of the Kalinga where the mandadawak (priest or priestess) dances and chants around the sick person to drive away the evil spirit.
Preparations for the ritual, which includes the butchering of a pig and the making of a tongatong (bamboo stamping tubes), take place in the yard beside the house.
An elaborate ceremony among the Subanon called pegayep is performed in the home of the balyan (shaman) to invoke the good spirits.
AUDIENCE, TIME, AND SPACE The musics of the Philippines have been performed in different spaces, to different audiences, and at different times and occasions, depending on the cultural traditions and historical periods to which they belong.
Among indigenous culture groups where music is an adjunct to everyday living, the venues for performances are as diverse as the occasions on which they are played.
Within the confines of the home, the Ibaloy mother sings a tami to lull her child to sleep just as the Ata mother sings an a-di-ya-di for the same purpose.
For relaxation, Tagakaolo maidens play the sluray (bamboo zither) while seated on the floor of the house.