Bendiyan Handout

UNIVERSITY OF THE CORDILLERAS
Senior High School

Physical Education and Health 12a
BENDIAN/BENDIYAN
The term bendiyan came from the word bedey, Ibaloi for fatigue or
tiredness. Bendiyan then means dance til exhausted. Men and women,
young and old, can participate in the dance.
Bendiyan is a significant dance and originated in Kabayan, Benguet.
According to Listino (quoted in Fiar-od, 2011), the earliest written accounts
relates the bendiyan performance as originally a headhunting ritual. It was
performed in celebration for a successful headhunting raid; the dancers
perform around the captured head of the enemy. But since then, it has
evolved in parallel to the life of the people practicing it.
Today, the bendiyan is staged as a ceremonial dance with the following
paricipants: the sedsed or lead man; the ulol-olol or lead dancer; the gongs
and solibao players; and dancers, which may include the rest of the
community members.
The dance is commenced by the entrance of the sedsed and ulol-olol at the
center of the grounds bearing spears, shields, and a dummy head. Spears
and shields are stacked at the paringal.
Listino (2011) further explains that ideally, the men dance in one direction in
the outer circle, and women dance in the inner circle of the opposite direction
with the men. A smaller inner circle next to the head composed of girls is
formed with the girls dancing in sync with the women. This concentric
formation should be tight to ensure a bountiful harvest for the community.
The dance positions represent symbols drawn out in two contexts-
headhunting and agricultural prosperities.
Enumerated below are the eight dancing positions in the bendiyan, as
described by Merino (1989).
Entrance: Dancers enter in single file and go to V-shape formation. Males form an
inner circle while the females form the outer circle. The same footwork is used
throughout the dance: Right/Left alternately after every 8 counts. All follow the
command and shouts of the lead man from the group before changing steps.
1. Call: Pinesbikan (Slant)

Command: Dimbabaan (Take cover)
Attack and take cover!
The right hand is extended upward, the left extended downward, the fingers
almost touching the ground. The body is tilted slightly to the left. The left foot
is lifted two inches above the ground and kicked in small motions to the side.
Hopping motions are made with the feet in rhythm with the drums and gongs.
The ulol dancers grip their spears, with their shields held parallel to the
ground.
2. Call: Salawasaw (Present)

Command: (Wao-hoy.) Salawasaaaaao!
Announcing to the world, we are the bravest victorious warriors!
Both hands are raised above the head like curved carabao horns. The palms
face each other and moved up and down from the wrist. The arms swing left
to the right as the body, held upright, is swayed from side to side.
3. Call: Kinitangan (Akimbo)

Command: (Wao-hoy) Kinitangaaaaan!
Relax, let us rest. Peace is with us. It is time to enjoy our dance.
Arms akimbo, body swaying from side to side.
4. Call: Kinikiyan (Scratch)

Command: (Wao-hoy) Kinikiyaaan!
Challenge, to the enemy: Better that you serve us than be our slaves.
Right hand is bent from the elbow and tucked under the armpit, cutting the
hips. The left hand extended forward facing upward in begging position.
5. Call: Inoshongan (Look down)

Command: (Wao-hoy) Inushongaaaan!
Protection: Warriors protectors of the community. Men, women, boys and
girls are willing to die to the last man.
Both hands are thrust forward slightly above the head. With the palms facing
downward, the hands are moved up and down as though in blessing from a
minister. Dancers face front.
6. Call: Inudiyan (Reverse)

Command: (wao-hoy) Inudiyaaaan!
Turn or Reverse to confuse the enemy. The dancers maintain their positions
as in the inoshongan. But this time they reverse directions. At another point,
the men face the women and the women face the men. Boys face the girls,
and vice versa.
7. Call: Pinadjosan (Alignment)

Command: (Wao-hoy) Pinadjosaaaan!
Fortune: Warriors carrying the spoils, now we start for home. Both hands are
clipped to the sides like wings, palms facing upward and the body bent
forward. Heads downcast and swaying from side to side.
8. Call: Innabaya (Catch)

Command: (Wao-hoy) Inabayaaaaa!
Put up your hands and receive the spoils to be carried home for your loved
ones.
Hands clipped to the sides, bent at the elbow, with palms facing upward. The
body held upright, swaying from left to right. From here on, the dancers are
dismissed. This is the last bendiyan position.
Reference: Nan Natagowan Tako (Cordillera History and Festivals, An Introduction)

by Maria Catbagan Aplaten, Published by Igorot Global Org., 2012

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What are the different positions in the bendiyan dance and what do they symbolize?

How do the dancers arrange themselves during the dance?

UNIVERSITY OF THE CORDILLERAS

Senior High School

1. Call: Pinesbikan (Slant)

2. Call: Salawasaw (Present)

3. Call: Kinitangan (Akimbo)

4. Call: Kinikiyan (Scratch)

5. Call: Inoshongan (Look down)

6. Call: Inudiyan (Reverse)

7. Call: Pinadjosan (Alignment)

8. Call: Innabaya (Catch)

Reference: Nan Natagowan Tako (Cordillera History and Festivals, An Introduction)

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