By Dennis Gorecho
As T’boli bells are believed to turn away misfortune, negative energy and malevolent entities, every Filipino should perhaps have at least one piece in their possession — to protect them from the evil effects of corruption.
The sounds of T’boli bells or tungkaling consistently reverberate during the annual Pasinaya Open House Festival at the Cultural Center of the Philippines (CCP) complex.
Tungkaling bells are integral to T’boli identity. The T’boli believe that a spirit or force resides in all objects, both animate and inanimate.
The distinct sound produced by brass bells attached to belts and bangles is believed to protect the wearer by warding off evil spirits while also signaling a person’s approach.
The T’boli people are known for their artful t’nalak weaves and other textiles crafted on traditional looms, as well as for exquisite brass accessories and objects such as bells, rings, necklaces, belts, and bangles.
Like many other indigenous peoples, T’boli culture is rich, diverse and deeply rooted in animistic beliefs that honor nature, spirits and everyday life through tribal songs, music and dances.
Through delicate swaying movements while wearing intricate hand-loomed cloth and accompanied by the resonant drumming of gongs, dancers imitate the graceful movements of birds, fish and boats. These dances are generally performed during rituals to appease the gods, seek good harvests, ask deliverance from pestilence, prepare for war, celebrate victories, and mark life events, such as birth, weddings and death.
These practices often blend cultural, religious and spiritual traditions intended to safeguard personal space, body and mind while affirming social unity and identity.
The name “T’boli” is derived from the words tau, meaning “people,” and bilil, meaning “hill” or “slope,” thus referring to “people living in the hills.”
Also known as Tiboli or Tagabili, they are an indigenous group living in the southern part of Mindanao, particularly in the municipalities of T’boli, Surallah, Lake Sebu, and Polomolok in South Cotabato, as well as in Maasim, Kiamba and Maitum in Sarangani. They can also be found in neighboring provinces such as Sultan Kudarat, North Cotabato and Davao del Sur.
One of the most famous T’boli dances is Kadal Heroyon, or the “dance of flirtation,” performed by young T’boli women, who imitate the flight of birds to highlight grace and beauty.
In 2014, a film about the T’boli people, “K’na The Dreamweaver,” won Best Production Design (by UP College of Fine Arts Dean Toym Imao) and the Special Jury Prize during the CCP’s 10th Cinemalaya Independent Film Festival.
It was the first feature film shot entirely in the T’boli language. The story follows K’na, a young woman trained to weave the sacred t’nalak cloth, who must navigate a difficult choice between love and her duty to end a clan war.
The Pasinaya Festival serves as an effective platform for showcasing the diverse cultures of the Philippines, which have been made even more vibrant through folk dances and music.
T’boli culture has always been a favorite subject at Pasinaya. This year, I saw two groups perform T’boli dances: the Ramon Obusan Folkloric Group (ROFG) and the UST Salinggawi Dance Troupe.
For the past two decades, ROFG has documented and performed the rituals of more than 50 ethno-linguistic groups across the country.
With more than 20 outstanding full-length Filipino dance works — including memorable suites from the Cordillera, Bagobo, T’boli, Tausug, Maranao, Aeta, and Talaandig — the ROFG has highlighted the authenticity of indigenous movements and costumes.
“Pasinaya” means an inauguration or grand opening of the many arts and cultural presentations offered by the CCP.
Since 2004, Pasinaya has provided a platform for artists and cultural groups from different disciplines such as music, theater, dance, spoken word, and visual arts. It aims to showcase talent while nurturing a wider public and creating new audiences through interaction and performances.
Carrying the theme “Paglikha sa Kinabukasan,” Pasinaya 2026 highlighted the role of artists and audiences — especially the youth — in shaping the future of Philippine arts and culture.
In Metro Manila, the festival unfolded across multiple venues, including Tanghalang Ignacio Gimenez, the CCP front lawn, and the Aliw Theatre within the CCP complex; the Circuit Performing Arts Theater in Makati; the Metropolitan Theater in Manila; and Rizal Park in Luneta, as well as 19 museums and galleries across the metropolis. It was also held in Tagum City, Iloilo City and — for the first time — in Roxas City, Capiz.
CCP Vice President and Artistic Director Dennis Marasigan said that some 2,708 artists participated in 170 performances by 144 groups in the National Capital Region alone, drawing more than 13,000 audience members at the CCP complex under the “experience-all-you-can, pay-what-you-can” scheme.
“Through Pasinaya, CCP will not stop advancing our cause to grow appreciation for Filipino arts and culture, because we believe and will continue to strive so that arts and culture can be recognized as strong pillars and support for our future,” Marasigan said.
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“Peyups” is the moniker of the University of the Philippines.
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Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, email info@sapalovelez.com, or call 0908-8665786./WDJ