𝗞𝘂𝘄𝗲𝗻𝘁𝗼𝗻𝗴 𝗣𝗲𝘆𝘂𝗽𝘀 𝗯𝘆 𝗔𝘁𝘁𝘆. 𝗗𝗲𝗻𝗻𝗶𝘀 𝗚𝗼𝗿𝗲𝗰𝗵𝗼

As T’boli bells are believed to turn away misfortune, negative energy, and malevolent entities, every Filipino should 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 who believe that a spirit or force resides in all objects, both animate and inanimate.

The distinct sound produced by the brass bells on belts and bangles is believed to protect the wearer by warding off evil spirits, and to signal a person’s approach.

The Tboli people are known for their artful t’nalak weaves and other textiles made on their weaving looms as well as exquisite accessories and objects made of brass, such as bells, rings, necklaces, belts, and bangles.

Like other indigenous peoples, the T’Boli culture is rich, diverse, and deeply rooted in animistic beliefs, honoring nature, spirits, and daily life through tribal songs, music and dances.

By the delicate swaying movements using intricate hand-loomed cloth with accompaniment of resonant drumming of gongs, dancers imitate the graceful movements of birds, fish and boats, generally used for rituals to appease the gods, solicit good harvest, seek deliverance from pestilence, prepare for war, celebrate victories, and mark birth, weddings and death.

These often blend cultural, religious, and superstitious traditions intended to safeguard personal space, body, and mind as well as to affirm social unity and identity.

The name Tboli is a combination of tau, meaning “people,” and bilil or “hill” or “slope,” thus meaning “people living in the hills.”

Also known as T’boli, Tiboli, and Tagabili, they are an indigenous people living in the southern part of Mindanao, particularly in the municipalities of T’boli, Surallah, Lake Sebu, and Polomolok in the province of South Cotabato and in Maasim, Kiamba, and Maitum in Sarangani. They can also be found in the neighboring provinces of Sultan Kudarat, North Cotabato, and Davao del Sur.

One of the famous T’boli dance is “Kadal Heroyon” or a “dance of flirtation” performed by young T’boli women, imitating the flight of birds to highlight grace and beauty.

In 2014, a film on 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 choice between her love and her duty to end a clan war.

The Pasinaya is an effective platform in showcasing various cultures in the Philippines that have been made more beautiful and vibrant because of folk dances and music.

T’boli culture has always been a favorite subject in Pasinaya as I saw two groups performed this year the T’boli dances, the Ramon Obusan Folkloroc Group (ROFG) and the UST Salinggawi.

For the past two decades, ROFG has documented and performed the rituals of more than 50 ethno-linguistic groups in the country.

With more than 20 outstanding full-length Filipino dance works, among which are the memorable suites from the Cordillera, Bagobo, T’boli, Tausug, Maranao, the Aetas and the Talaandig among others – the ROFG has served to highlight the authenticity of the tribes’ movements and costumes.

“Pasinaya” means an inauguration or a grand opening of the many arts and cultural presentations offered by CCP.

Since 2004, Pasinaya also aims to provide a platform for artists and cultural groups from different fields such as music, theater, dance, spoken word, and visual arts. It seeks to showcase talents while nurturing the broadest public and creating new audiences through interactions 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, front lawn and the Aliw Theatre in CCP complex, the Circuit Performing Arts Theater in Makati, Metropolitan Theater in Manila, and Rizal Park in Luneta as well as 19 museums and galleries across the cities. 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 the 170 performances of 144 groups in NCR alone with an audience at CCP complex of more than 13,000 with 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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