photo courtesy of: Jun Delim

Kalanguya of the Igorots

a.k.a Kallahan, Ikalahan, Kalangoya, Kalangoya-Ikalahan or Kayapa Kallahan.
They are generally classified under the Igorot group but are specified by as a sub-group of the Ifugaos by the NCIP and not as a distinct group.

Geography

• Kalanguyas originate from Tinoc, Ifugao, but are now widespread across regions of Pangaisnan, Cagayan Valley, Tinoc, Kabayan, Benguet, Nueva Vizcaya, Quirino Province, and Nueva Ecija.
• Even though they originated from Tinoc, Ifugao, most of their population is found elsewhere because the Kalanguyas migrated due to pressures of warring enemies – Bohol/Bungkillaw/Bungkellew
• The mountain areas they live in are mostly declared as forest reserves, watersheds, or National Parks. They do not live too close to each other because of how wide their vegetation fields are. As such, they travel using motors or by simply walking

Worldview

Kalanguya has the highest regard to the universe as a whole period there are gods in the mountain, gods into water, and gods of fire. They are called the caretaker of the mountain, water and fire. Belief system is a single book that discussed all beliefs, practices and rituals of the Kalanguya people.

Livelihood - Kalanguyas developed faster oh and Sylvan systems until now. They do not live too close to each other because of how wide their plantations are.
Kabunyan - their almighty and creator, which they also call ‘Agmattebew’ (could not be seen or spirit).

Material Culture

Kalanguyas often sacrifice animals such as pigs or cattles (depending on the ritual) to offer, appease or calm Kabunyan when there are tragedies and to ask for a bountiful harvest or heal the sick.
Rituals - This is done during planting, harvesting, birth, death, and other activities headed by a ‘Mabaki’ (ritual or prayer leader).
Language – main language is Kalanguya, which is different from the Ifugaos.
Gong - bronze gong ensembles play a central role in the music of the Kalanguya. The gongs are played and stored in sets of four. Each gong is held by one player, usually in the left hand while he or she strikes it with a wooden stick.
Traditionally, the sounding of the gong was a sacred activity; No one could strike or even hold the gong without a prescribed reason. Traditional beliefs held that spirits would be offended by mishandling the gongs, often evoking a spirit-world could result in sickness. The gongs were usually played at feast called Canao and were always accompanied by ritual dancing.
Examples of gong music – liya (blessing the host of an occasion), hi-bat (celebrating the defeat of enemies), amboyew (when working in the fields), deggenden (bad omens), ganga (blessing the host of a ritual).
Liya Dance - act of supplication from the spirits for a successful harvest. In this performance, a group of Kalanguya people are going to the fields. This was a time when the gongs were traditionally sounded in the hope of a good harvest.
Hi-bat Dance - refers also to the style of music played while the warriors dance around the severe head, which is placed on a bowl in the middle of the room.
Note: nowadays, the Kalanguyas dance when there are weddings, mournings or other occasions which bring them together.

Social and Cultural Organization

Tongtong - gathering of elders were amicable settlement of cases is done. After the settlement, cattle, pig or chicken or other forms of food (depending upon the gravity of the offense) are given to the aggrieved parties to perform a “guinnomon” to thank the gods and ancestors that such crime will not be repeated.
Kaihing - Early negotiation between two families for the marriage of their children. Sometimes it also settles family disputes where the offender is required by the “nangkaama” (elders) to betroth his son to the daughter of the offended. “Kaihing” It's also a voluntary act between two families to strengthen their existing good relationship. No minimum age is required. It is even possible to engage a yet to be born child.
Note: back in the day, Kalanguya people proactively organize themselves to ensure cohesiveness of the tribe.

Issues Confronting the Group

1. Although Kalanguyas are linguistically and culturally distinct from the Ifugaos call ma they are viewed as a subgroup leading to their underrepresentation.
2. Kalanguya people are also Igorots so they are part of the social discrimination of ‘people with deals’ and the misrepresentation of the Igorots as cannibals and Aetas.
3. An outside researcher referred to them as Ikalahans and suggested that the term ‘Kalanguya’ is derogatory leading to a wide confusion of whether they are generally called Ikalahan or if the Ikalahans are a sub-group.
4. Culture and traditions are changing and diminishing due to modernization.
5. Other issues are land dispute either with other members or with the government, since there was no tangible formal item for land ownership in the past. They also have issues of forest conversion into agricultural land.

Media

An infographic of the contents here about the Kalanguya by Novellie Ogues, and Chris Vinarao - University of the Philippines Baguio

References

Arsenio, B & Stallsmith, G. (n.d). Preserving Living Traditions in Live Performances: A Traditional Music and Dance Troupe of the Kalanguya of the Northern Philippines. https://www.seameo.org/ld2008/documents/Presentation_document/Arsenio_Stallsith.pdf
Catalino, C. (2021, July 17). Personal Interview [Personal Interview]. Former Admin Head in Tinoc, Ifugao Municipal Hall.
Cayat, G. (2002). Manuscript on Kalanguya Cultural Communities. https://ncca.gov.ph/about-nca-3/subcommissions/subcommission-on-cultural-communities-and-traditional-arts-sccta/northern-cultural-communities/manuscript-on-kalanguya-cultural-communities/fbclid=1wAR0kXPI0ZYFJnYhiEE8YlMoih6dTeUt1qwE106YbGXRDxrT8nBnKxNivU
Santiago, A. (n.d). THE CORDILLERA INDIGENOUS PEOPLES’ RIGHT TO LAND. https://www.ohchr.org/Documents/Issues/IPeoples/EMRIP/RightToLand/SantiagoPhilippinesCordillera.pdf