134 THE MANOBOS OF MINDANAO— GARVAN IMEH0 ™Lxrat 



As interpreted to me on many occasions, songs are improvisations spun out with endless 

 repetitions of the same ideas in different words. To give an instance, a mountain might be 

 described in the song as a " beauteous hill " a "fair mount," a "lovely eminence," a "beautiful 

 elevation," all depending on the facility with which the maker 26 can use the language. This 

 feature of the song serves to explain its inordinate length, for a song may occupy the greater part 

 of a night, apparently without tiring the audience by its verbose periphrases and its exuberant 

 figures. 



THE SUBJECT MATTER OF SONGS 



The subjects of songs are as varied as those of other nations, but legendary songs, in which 

 the valiant deeds of departed warriors are recounted, seem to be the favorite. As far as I know, 

 the songs are always extemporaneous and not composed of any set form of words and verses. 



THE MUSIC AND THE METHOD OF SINGING 



One must hear the song in order to get an idea of it. In general it is a declamatory solo. 

 The staccatolike way in which the words are sung, the abrupt endings, and the long slurs cover- 

 ing as much as an octave remind one somewhat of Chinese singing. The singer's voice frequently 

 ascends to its highest natural tone and, after dwelling there for from three to six seconds, suddenly 

 slurs down an octave, where it remains playing around three or four consecutive semitones. 



There is no choral singing and no accompaniment. No time is observed, the song having 

 wholly the character of a recitation. Neither are there any attempts at rhyming nor at versifi- 

 cation. Recurring intervals are the rule. 



The music is, in general, of minor tonality and, unless the subject of the song is fighting or 

 doing some other thing that demands loudness, rapidity, and animation, it is of a weird, melancholy 

 character. When, however, the subject of the song requires anything of the spiritoso or veloce, 

 the strain is sung with verve and even furore. It seems to be good etiquette to cover the mouth 

 with the hand when the singer, desiring to add special vigor to the strain, rises to his highest 

 natural pitch and dwells there with an almost deafening prolonged yell. 



CEREMONIAL SONGS 26 



Sacred songs, as distinguished from secular songs for festive and other occasions, are sung 

 only by the priests and by warrior chiefs. They are supposed to be taught by a special divinity. 27 

 The remarks that apply to music and singing in general apply to these religious songs. The only 

 difference is that sacred singing is the medium by which the spirits are invoked, supplicated, and 

 propitiated, and by which the doings of the supernatural world are communicated to Manobodom. 

 These ceremonial chants are performed not only during religious celebrations but more com- 

 monly at night. The greater part of the night is often worn away with a protracted diffuse 

 narration in which is described, with grandiloquent circ uml ocution and copious imagery, the 

 doings of the unseen world. 



DANCING 



The Man6bo dance is somewhat on the style of an Irish jig or a Scotch hornpipe. It is 

 indulged in on nearly all occasions of social and ceremonial celebrations. Though it may be per- 

 formed at any time of the day if there is a call for it, yet it usually takes place in the evening or 

 at night, and especially after a drinking bout, when the feasters are feeling extra cheerful in their 

 cups. There are no special dance houses in Manoboland, the ordinary dwelling place of the host 

 serving the purpose. Whenever the floor is in poor condition (and that is often the case) a mat 

 or two may be spread upon it for the safety of the dancer. This may be done out of respect also. 



Though dances are held the year round during all great rejoicings and during the greater 

 sacrificial celebrations, it is during the harvesting season that they are given with greatest 

 frequency. 



» Pdn-dui, a smith or maker. '• Twi-um. " Tu-tu-du-mon no diu-wd-ia. 



