  GamesA 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. FIG. 2.—Marks on dice used by Negritos. FIG. 2.—Marks on dice used by Negritos. MusicIn 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 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.) DancingDancing 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 The Potato Dance, or PiÑa CamoteOnly 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 “caiÑgin,” 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-lanThis 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 DanceThis 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. 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’ DanceAs 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 DanceThe 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 |
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