KAAMULAN FESTIVAL Like any other provinces and cities in the Philippines and anywhere in the world, festivals are instruments to lure people and investors to visit a certain place. In Bukidnon, a landlocked province in the island of Bukidnon, Kaamulan became a byword in the tourism industry. It is the gathering of indigenous people of the province and supported by the other settlers of the rich agricultural province. Kaamulan means “gathering” from the Binukid word “amul-amul” which started with a simple gathering of tribal people in 1974 and being adopted by the Regional Development Council as the regional festival of Northern Mindanao on September 16, 1977. The province hosting this festival has several tribal groups like the Matigsalug along the Salug River; the Umayamnon by the Umayam waterways; Tigwa Manobo in the banks and valleys near Tigwa River; Pulangihon Manobo by the grand Pulangi River; also the Ilianon, Talandig, Higaonon (from the Binukid word “gaun” or “to remove from fire or water”), Arumanen (sub-group being acculturated by Muslims along the borders of Lanao and Cotabato), Bukidnon (mountain dwellers) and the Manobo. Most of their tribe’s names come from the name of a river since the word Manobo means “manuba” or to trail along river. With the intention of preserving culture and tradition of the lumads or the tribal people of Bukidnon as well as its rich agriculture and investments, Kaamulan Streetdancing and Float Competition showcased the Bukidnon artistry and dances like the binanug (hawk dance), inamu (monkey dance), tininggaw (dance of the tinggaw bird), bubudsil kayumatan (courtship dance of the bird budsil or hornbill), binakbak or the frog dance, pinatiyukan (honeybee dance), pinigkut or the cripple dance, the pangalingut (hunting for honey) and the binalbal (evil spirit) dance. These are considered as mimetic in nature. The inagung or gong dance and the tinambul (drum dance) derived their names from the instruments used in the dance while the pig-agawan is a grabbing dance using handkerchief. Binaylan, the dance of the priest is classified into binaylan hu bahi (“binaylan of the woman”) and binaylan hu maama (“binaylan of the man”). binaylan hu bahi (“binaylan of the woman”) and binaylan hu maama (“binaylan of the man”). There were also presentations of the dugsû, the dance of the women during the kaligà ceremonies. Aside from this dance, the Talaandig in some places perform the anahaw (“dance with leaves of the anahaw palm. Also popular is the saut or the war dance using the spears (bangkaw) and the shield (kalasag). Dances restricted to a few central Bukidnon settlements, some of which seem to be of recent origin, comprise the buwâ-buwâ (“cradling dance) depicting the rocking of a baby to sleep, iniskala (“happy dance”), salumpì (“mortar dance”), pinisi (“rope dance”), dalan-dalan (“walking behind each other in line”), kinindaan (“dance in the old style”) and pamugás (“rice planting dance”). The latter, similar to the dugsû, is danced by a group of women depicting the planting of rice by using planting sticks. Similar to the dance rhythms but having a different function is the rhythm called bandû (“advice to take precautions”) of the Bukidnon subgroup south of Malaybalay which is played as a warning in situations of danger, i. e., if enemies are about to attack the area. Instruments used for their musicality are the kudlong, saluray, bantula or taguntong, agung, kinulintang or tanggugo, dagingen, budyong, pulala, kubing, takumbe, kulaing and many other native instruments. The vocal music,epic chants, ceremonies and rituals of the Bukidnons are rich and everything is showcased during the Kaamulan. The costume or ethnic attire being worn by the performers is close to the original design as well as the authenticity of the music and dance steps are preserved and strictly implemented by the Kaamulan committee composed of individuals having deep orientation and concern with the Bukidnon culture. The Department of Tourism declared Kaamulan Festival as the only authentic “ethnic festival of the Philippines” since the presentations, though enhanced by choreographers with varied artistic production; it should be based on realistic story lines, in consonance with Bukidnon culture and history and should not be infiltrated with foreign or irrelevant musicality and movements. Choice of costume and props are essential and should be parallel with the tribe being represented by a contingent. The floats are remarkably artistic and well-crafted, designed using indigenous materials. As a deeper understanding about Kaamulan, the culture should be incorporated into classroom instructions or barangay programs so that the appreciation of the recent generation on the value and essence of the culture will gain deeper roots. Kaamulan should gain milestone in the future era even beyond Bukidnon.