 As defined by law, cultural heritage refers to the totality of cultural property preserved and developed through time and passed on to posterity. Cultural property refers to all products of human creativity by which a people in a nation reveal their identity. These include churches, mosques, and other places of worship, schools, and natural history specimens and sites, whether public or privately owned, movable or immovable, and tangible or intangible. In the series of lectures, esteemed educators from our national university lend pertinent discussions thus open academic discourses on Philippine cultural heritage relating to their respective fields of discipline and expertise. These can and may be used as resource materials for further learning and study. MCM Santa Maria lectures and demonstrates to us how dance and music as art forms including costumes and instruments define and express cultural heritage. He explores a maritime culture, its dance tradition, and unravels how these influences claim to be. We are privileged to be tagged along in this historical journey to learn their origin, migration, settlement, label, categorization, designation, language, identity, and diversity. Okay, we will learn something about the Sama Bajau through their dance called the Eagle. In particular, we will talk about who the Sama Bajau are. What their cosmology is, as revealed to us by their expression called the Eagle dance, and that the Lunguan music tradition. And we will also look at several distinct aspects of their culture as revealed by the dances of the tradition. The Sama, or the Bajau, are a maritime people who are dispersed throughout maritime Southeast Asia. If we take a look at this slide, we will see that the dotted line corresponds to the coral triangle. And this is the area where the Sama Bajau go around to fish and to find their livelihood. At the central area comprising of the Sulu and the Sulawesi seas is the heartland of the Sama Bajau habitat. And overall, they are dispersed in three nation states, with the Philippines having around 470,000 Sama Bajau, Malaysia with 410,000, and Indonesia around 167,000. These are estimates and we really do not know the correct number of the Sama Bajau population in these three countries. The Sama Bajau are a sea oriented people and they used to live in households called Lepa Lepa, but nowadays they live in houses and stills over the shallows of the sea. The Sama Bajau, a myth of origin, points to Johor and they say that they were sent by a Sultan of Johor to deliver a princess somewhere in Borneo, but somehow they lost the princess due to a typhoon and because of this they decided to live in the waters. However, the Johor myth should not be taken literally because many things in it can be proven to be inaccurate through linguistic and historical analysis. What we know is that Johor is the most important kingdom about 400 to 600 years ago and therefore the Sama Bajau are trying to link their fate and history with this very most prestigious kingdom. We know however that the kingdoms of what we call the world of the Malay or the Malay world relied strongly on the Sama Bajau because of their skills in navigation, their knowledge of the seas and the climate of the area. Therefore they served as admirals, as captains and as traders for the Sultanates of the maritime world. Similar to the Sama or the Sama Bajau people originate, linguistic analysis point to the Barito Strait somewhere at the southwest of Borneo. Sometime in the year 800 they migrated upwards towards the Sulu archipelago and stayed there for some time and then sometime in the year 1400 they started to move out again in multiple directions. One direction went towards South Siloasi and that later on led to another dispersion sometime in the 1600s and 1800s. So this is how the Sama Bajau, how they came to be distributed in such a wide portion of the maritime Southeast Asian region. Who are the Sama Bajau? Sama Bajau is not a label used by the Sama Bajau themselves. It is an exonym or a name given to them by outsiders, specifically by linguists. A linguist by the name of Kemp Palisthen coined the term Sama Bajau to refer to people who speak the Sinama or Sama language. When we talk about the Sama Bajau and ask them who are you, they actually say I am Sama or A-A-Sama, Sama people in their Sinama language. They also talk about themselves or categorize themselves according to where they live. So some of them live in the sea, they call themselves Sama Dilaot or Sama Laot. Some of them live in the coastal regions of different islands and therefore they call themselves Sama Bihim or Sama of the coastal region. And some of them live inland and therefore they call themselves Sama Dea or Sama Dilea or Sama of the land. They also talk about themselves through the actual name of the islands. Like if they come from Sitangkai, they would call themselves Sama Sitangkai. If they come from Simunu, they would call themselves Sama Simunu. Even if they come from Tabawan, they will call themselves Sama Tabawan. However, not all Sama Bajau people call themselves Sama or Bajau. For example, the Abaknon of Northern Sama have been colonized by the Spaniards very early and call themselves Abaknon. The Yakhan used to call themselves Sama Yakhan but nowadays they only call themselves Yakhan. Another group, the Jama Mapun, only call themselves Jama Mapun or Mapun. So this is the wide variety of names that the Sama Bajau call themselves. Bajau is a Malay or an Indonesian term that supposedly means a person possessing the quality of coming from far away. Ba is from the sapphix bear. And Jau comes from Jau meaning far away. So Bajau becomes Bajau in the long run. I would like to show you a slide showing you the diversity in the Sama Bajau languages. This slide was produced by Camp Palisthen in his 1980 book Convergence and Cultural Contact. And we will see here AB referring to Abaknon. And at the lower part we will see IB meaning Indonesian Bajau. And we will see a number intersecting from left and right and that will be now 60. 60 here means that only 60% of their vocabulary are the same. So if we take a look at this table, we will see that most of the Sama Bajau languages are languages and completely different from each other because most of them are 70% or below when it comes to sharing vocabularies or what we call cognasi or cognate terms in linguistics. This next slide shows us the dispersion of the Sama Bajau. This comes from Chanda Nuraydi. And we see that the most variety of Sama Bajau languages are in the Sulu Sea area followed by the Sulawesi area. And we see here the different collars corresponding to the different Sinama groups. And we see at the central area we see the ID or the Indonesian Bajau which is a very wide group by itself which still has to be studied for diversity. Now we come to the Eagle tradition. Eagle is the traditional dance of the Sama Bajau. And the Maritime of the Maritime Southeast Asian region. And as there are many communities belonging to what we call the Sama Bajau group of families, there are also as many Eagle traditions. And therefore there is no single Eagle tradition. Instead there are many Eagle dance traditions. Diversity is the rule rather than the exemption. Traditional Eagle performances are accompanied by the Tagungkuan or the Kulintanganansam. The Tagungkuan or Kulintanganansam should not be confused with the gamelan found generally in Java and in Bali. The Philippines does not have a gamelan tradition. Instead we belong to what they call the, what the musicologists call the kulintangan zone. Let us take a look at some of the instruments that comprise the Tagungkuan or Kulintanganansam. First of all, we have the kulintangan instrument itself composed of eight to eleven graduated knobbed or bossed gongs. And this is where the melody of the piece is played. And then at the highest pitched gong of the kulintangan instrument is this alambad which gives an extra ostinato or repeated texture or rhythm. And then we have the tambul which keeps the general time of the titik or the piece. And we have the agum which ornaments and also helps keep the time of the titik or piece. Let us listen to one piece called titik tabaw. It's a instrument called the bola bola or clappers made of bamboo or hardwood. In this instance the dancer also becomes an instrumentalist. And this is usually played in a piece called titik tarirai. So to sum up, the Tagungkuan or kulintanganansam is composed of the kulintangan instrument itself. The solambad which is the highest pitched gong in the kulintangan instrument played by another instrumentalist. And then one to four hanging gongs with different names which we will not take up today. And the tambul which keeps the rhythm of the titik or the musical piece. Let us now talk a little bit about the movement of the eagle dance tradition. The movement of the eagle dance tradition reflects the sea environment of the habitat of the samabajow. Let us now take a look at the relationship of nature and movement through some of the movements of the eagle dance tradition. Let us take a look at some of the basic movements of the eagle dance tradition. The very first movement is most important indeed is called limbae. Limbae is the gentle swaying of the arms. And it is usually compared to the gentle movement of the fronds of coconut trees as it is being blown by the wind. It may be done to the side with the double limbae and it may be done also to the front and to the back. The next movement is the kello kolek. The kello kolek are circular movements outward and inward done at the wrist. It is reminiscent of the circular patterns of wearables and water moving in and out during the coming in and out of the tie. Kello and kolek are usually used as transitions from one posture to another. The next movement is the taut taut. This is done through the extension of the elbows. And the taut taut is like the bobbing up and down of floating coconuts or other things that float in the ocean. So taut taut is a gentle bobbing motion done at the elbows of the dancer. The next movement is the ebed ebed. The ebed ebed is the ornamentation of the fingers as if like petals of orchids being blown by the wind. Ebed ebed can also be likened to the fins of the fish as it moves from one area of the reef to the other. The next movement is a movement of the shoulders called the kijut kijut. The kijut kijut is an ornamentation that is seen in many of the eagle dances, but must be done sparingly in order to produce a beautiful and refined eagle dance. The next movement is called the kapo kapo. We now go to the footwork and the kapo kapo is the wading movement of the feet as it goes to the sea. First being led by the ball and then firmly planted, ball of the foot and firmly planted. This is the kapo kapo for the wading movement of the dancer as if moving into the waters of the sea. The next movement is called the insud insud. It is a sideward movement that is likened to the movement of the sea snail. And indeed it's a beautiful glide going to the sides showing the lateral movement of the dancer's body. The next is the enke enke. The enke enke is like a kapo kapo, but it's the high lifting of the feet, also as if moving through the waters of the sea. The enke enke is a very basic movement that we see performed by both men and women. The different movements of the eagle tradition can be woven together in order to create an improvised piece. Let us take a look at one improvised piece for female dancers of the traditional eagle dance called eagle danda. Eagle danda can be taken apart and pieced together again in order to produce new choreographies. Let us take a look at one choreography which I did called eagle pinonahan because eagle danda. And if you notice eagle danda or eagle for female dancers emphasizes the beautiful curvature of the body and the fluidity of the movement of the arms. Now the other one would be eagle lala. Lala means male or eagle for male dancers which emphasizes dexterity and strength in movement. Let us take a look at a video clip of an example of eagle lala or eagle lala for men in an actual ritual taken in the island of Sikulan. The ritual is called the pakanduli and we will see that in this clip there's a lot of stamping and a lot of movement around jerky movements of the body as emphasized in eagle lala. Let us take a look at the video clip. Eagle lala or eagle gin lala taken in the pakanduli ritual in the island of Sikulan in Tawitawi province. Now where else and in what other context do we see eagle dance performances? Well there are many contexts and of course as we have just seen first would be ritual. In this slide we will see eagle lala, eagle tabawan or the eagle danda performed around the sacred well of the island of tabawan. The well is very important because this is the only freshwater source during the dry season and every five years the community performs the pajamu bohedeya or the pajamu ritual for offering for the ancestors in the sacred well which is known as the naval of the world in the cosmology of the sama tabawan. Now we will see also female dancers performing in the same ritual of the pakanduli and in this ritual we will see the contrast in the movement of the dancers but what is important with this ritual is that it is during the dance when mediumship or spirit bearing occurs. This is when spirits of ancestors would indwell in the body of the dancer and give messages to the community and therefore dance is an instrument of communication with the other world. Let us take a look at a video clip of Eagle Jin Limbayan or Eagle Limbayan a ritual dance for female spirit mediums in the island of Sikula. The Pag Eagle Jin which is done every month in the island of Sitangkai although we will not see the actual video clip we see that it is very similar in importance because this is when the spirit medium actually makes a relationship with his or her spirit guide. The Samabajal believe that mediums have their spirit guides who help them predict what happens in the future and communicate things with the ancestor. Eagle performances can also be seen in social events and of course the most popular social events as in any Philippine setting would be the wedding and in this slide we see a Pag Sanding or the presentation of the groom and the bride to the community. We see the picture of the groom and the bride to the right side and in the middle we see a veteran female dancer showing off her stuff showing how graceful she is and the leftmost picture shows us young people or children dancing the Eagle during wedding or Pag Sanding evenings we also call them Lami Lamiyan or merry making nights that precede the actual ending of the wedding. The members of the audience usually offer paper bills or money to the dancers by sticking them in between the fingers of the dancers. This practice is called Pag Sabut or Pag Panji. So we see some monetary exchange happening and at the same time this is also what you call socially allowed methods of flirtation. This is when male and females can meet together in public, can hold each other's hands and can actually try to meet their prospective bride or their prospective groom for the future. We now see here an example of Eagle Tabawan which is usually danced in wedding evenings or Lami Lamiyan. This is called Eagle Pag Eering or Eagle Mug Eering or Pair Dancing and Pair Dancing can occur among females or male and female. Let us take a look at this clip which is specially videotaped for us in the house of Kalsum Telso of the island of Tabawan. Eagle Mug Eering And they do have eagle that is meant to be shown or spectacle dance. We also see spectacle dances in festivals such as the Kamahar Dikahan and the Regatta Leppa. In this slide we see the Regatta Leppa. What is most interesting in the Regatta Leppa Festival of Sampurna Sabha Malaysia we see a competition of dancers who usually dance at the prow of the Leppa boat and the best dancer is usually from the Ratu Eagle or the Eagle Queen for the year's festival. Now we will see a very interesting transformation of Eagle. We see a very contemporary form of Eagle called Eagle Pag Eering. Instead of the usual Tagunguan or Kulintanganansang the Eagle Pag Eering is accompanied by a singer singing to an electronic music produced by a synthesizer or an electronic organ. Here is a video clip of Eagle Pag Eering as performed by a group from Sitamkaya. We also have commercial Eagle which is now available in digital forms and usually pirated in the Philippines. And here we see a commercial video production by mega-idola productions of the singer City Aida. And in this clip we will see a very unusual version of Eagle called Eagle Ocho Ocho. It puts together or combines together the movements of the traditional Eagle and the Philippine Ocho Ocho which makes a very amusing form of contemporary Eagle. Let's take a look at this clip. Lecture I would like to thank you very much for having me today and for listening to my lecture. And I would like to present to you one more choreography which I did for my group, the Bunga Arts Link. It is called Eagle Cup Cup or Dance of the Facts. This is Mathew Santamaria Paksukul. Thank you very much.