home >> collections & research
services >> finding aids >> individual collections
Finding Aids to Individual Collections in the Archive of Folk Culture
The Harold C. Conklin Philippine Collection
AFC 2001/007
Prepared by Judy Ng
Library of Congress
Washington DC,
April 2002
Table of Contents
Collection Summary
Collection Summary by Format
Administrative Information
Provenance
Processing History
Location of Materials
Access
Restrictions
Related Collections
Preferred Citation
The Collector
Key Subjects
Subject Headings
Languages
Musical Instruments
Key Ceremonies, Events, and Rituals
Recording Locations
Scope and Content Note
Collection Inventory and Description
SERIES I: MANUSCRIPT MATERIALS
SERIES II: SOUND RECORDINGS
Appendices
Appendix A: Complete Listing of Ceremonies, Events, and Rituals
Appendix B: Access Database Search Term Index
Appendix C: Reference CD Concordance
COLLECTION SUMMARY
Call Number: |
AFC 2001/007 |
Creator: |
Conklin, Harold C., 1926- |
Title: |
Bulk Dates: 1961-1995 |
Inclusive Dates: |
1955-1995 |
Contents: |
8 containers; 10.6 linear feet; 728 items (450 manuscripts
and 278 sound recordings). |
Repository: |
Archive of Folk Culture, American Folklife Center, Library
of Congress |
Summary: |
This collection primarily consists of audio duplications
of original field recordings made by anthropologist and linguist Harold
C. Conklin. From 1955 to 1995, Conklin researched the music and rituals
of the Ifugao of northern Luzon, an agrarian culture whose traditions
are deeply rooted in the growing of rice as a medium of exchange, social
status, and subsistence. These audio recordings of the Ifugao document
a wide range of social customs that are revealed through conversations,
vocabulary exercises, children's games and songs, chants, recitations,
rituals, and the collector's voice letters to his family. Conklin's
notes on the recordings are compiled in his Philippine Collection Catalog and Expanded
Contents, which are included with the manuscripts materials. |
Collection Summary
by Format
Quantity
|
Description
|
Location Numbers
|
|
Manuscript Materials
|
5 folders
|
Administrative material, collection guide, concordance, and recording
specifications.
|
Folders 1 - 5
|
Sound Recordings
|
99 analog reel-to-reel tapes
(preservation copies)
|
10-inch metal-flanged reels; recorded on Quantegy 478 tape stock.
|
M/B/RS, RWE 6960 — 7058
|
179 compact discs
(reference copies)
|
4 ¾-inch discs; recorded on Quantegy CDR-74 GP media stock
|
Boxes 1 - 7
|
Electronic Media
|
1 disk
|
100 Mb Iomega zip disk; includes a searchable database for this
collection, created by the AFC.
|
Folder 1
|
ADMINISTRATIVE INFORMATION
Provenance:
From 1961 to 1995, Harold C. Conklin made approximately ten field trips
to northern Luzon to record the audio material in this collection. These
recordings, plus twenty-four recordings made by friends and acquaintances,
comprise his third and last set of field recordings made in the Philippines [1] . In September 1999, Conklin loaned this third set of Philippine
recordings to the Archive of Folk Culture (AFC) at the Library of Congress
so that duplicate copies could be made for their collections. The Cutting
Corporation recording laboratory (Bethesda, MD) was contracted by the Library
to produce two reference CD copies and one 10-inch preservation reel-to-reel
tape copy, and completed the duplication of the Conklin recordings in the
fall of 2001. The preservation reel-to-reel tapes and one copy of the
reference CDs were retained by the AFC, while all original field recordings
and the second copy of reference CDs were returned to the collector in
accordance with the terms of the AFC's agreement with him.
Processing History:
After the audio duplication of materials was completed, the collection
was organized and rehoused by Judy Ng in 2001.
Location of Materials:
Access:
Listening access to the collection is unrestricted. Listening copies of
the recordings are available in the Folklife Reading Room.
Restrictions:
Restrictions may apply concerning the use, duplication, or publication
of items in this collection. Consult a reference librarian in the Folklife
Reading Room for specific information regarding this collection. See http://www.loc.gov/rr/mopic/folkrec.html for
information about ordering audio reproductions. See http://www.loc.gov/preserv/pds/photo.html for
information about ordering photographic reproductions.
Related Collections:
In addition to this collection, the Archive of Folk Culture has retained
duplicate copies of Conklin's earlier Hanunóo and Buhíd audio field recordings. The
first set [2] , accessioned in 1949, is cataloged under Harold
C. Conklin Duplicating Project, Pacific Islands Folk (AFS 9584 — 9589). The
second [3] and larger of these two sets
was accessioned in 1988 and is cataloged under Harold C. Conklin Philippine
Recordings (AFS 26,750 — 26,767). Additional points
of access to Conklin materials can be found in the administrative files
of this collection, as well as in the Corporate Subject, Collection, and
Correspondence files in the Archive of Folk Culture Reading Room. The
Library of Congress also owns six works [4] authored
by the collector, which provide further information on the culture and
environment of northern Luzon.
Other materials related to Conklin's ethnographic fieldwork are located
at Yale University and the National Museum in Manila. Conklin's map manuscripts,
personal papers, and fieldnotes are held at Sterling Memorial Library (Yale),
and his collection of artifacts, including stone mortars, blankets, weavings,
and musical instruments, are held at the Peabody Museum of Natural History
(Yale, Division of Anthropology). A representative collection of Conklin's
ethnobotanical cuttings and samples from the Philippines is located at
the Herbarium (Yale, Division of Anthropology), while Conklin's larger
and more complete ethnobotanical collection is held at the National Museum
in Manila.
Preferred Citation:
Researchers wishing to cite this collection should do so in the following
manner: The Harold C. Conklin Philippine Collection (AFC 2001/007), Archive
of Folk Culture, American Folklife Center, Library of Congress.
Harold C. Conklin (professor emeritus, Yale University) is a renowned
anthropologist, linguist, ethnobiologist, and preeminent authority on the
Ifugao and Hanunóo people of the Philippines. Born in Easton, Pennsylvania,
in 1926, Conklin developed an early interest in anthropology and the history
and culture of Native Americans that was supported and encouraged by his
family. By the end of his high school career, Conklin had formed a number
of influential friendships with American Indians, worked as the only non-Indian
National Youth Association Indian Counselor, and served as a part-time
volunteer at the American Museum of Natural History, where he worked under
the supervision of curator and department chairperson, Clark Wissler.
By 1943, Conklin's interests in high school, particularly in American
Indian studies and linguistics, had prepared him for undergraduate study
at the University of California, Berkeley. In his first year there, he
was introduced to Austronesian languages through a hasher (cook's assistant)
job at the Gamma Phi Beta sorority house, where he first began speaking,
reading, and writing in Malay. In his second semester, Conklin built upon
this introduction to Malay by enrolling in an advanced linguistics course
where students were assigned the task of transcribing Australian and American
broadcasts for Indonesians living throughout the archipelago, then occupied
by the Japanese during World War II.
In July of 1944, Conklin was inducted into the U.S. Army and served two
years with the 158th Regimental Combat Team in the Philippine
Islands, northern Luzon. After arranging to be discharged in the Philippines
in 1946, Conklin spent a year and a half conducting serious anthropological
research and fieldwork in Manila, Mindoro, and Palawan. During this period,
he made his first set of Philippine recordings, and was given locally crafted
artifacts, plant leaves, and cuttings in exchange for his freely given
store of seed beads, post-war relief clothing, and medicines. The resulting
collection of artifacts was later donated to the Philippine National Museum. During
his stay in Manila, Conklin was also given a serendipitous crash course,
by botanist H.H. Bartlett, on the proper way to prepare, press, and store
the botanical specimens he had accumulated during his stay in the Philippines. Upon
his return to the United States in 1948, Conklin finished his undergraduate
work at Berkeley, but not before cataloging his collection of bamboo manuscripts
written by natives from Mindoro and Palawan, publishing two articles on
the Mindoro, and typing up a 600-page Hanunóo-English dictionary.
During his first two years as a Yale graduate student (1950-51), Conklin
continued to engage in scholarly dialogue with numerous faculty members,
visiting scholars, and fellow students who shared his interest in anthropology
and linguistics. From 1952 to 1954, he returned to the Philippines to
complete fieldwork on the Hanunóo people for his dissertation. At this
time, he began making his second set of Philippine recordings with equipment
lent to him by Moses Asch of Folkways Records. Although he officially
completed his graduate research in 1955, Conklin's analysis of the Hanunóo,
based on his four field trips to Mindoro between 1947 and 1958, was not
completed until 1961. Almost immediately thereafter, he began studying
the Ifugao of northern Luzon in order to provide cultural contrasts to
his work with the Hanunóo. From 1961 to 1973, Conklin continued his fieldwork
in northern Luzon, making six field trips during this twelve-year span. The
audio material he recorded during these visits comprises his third and
most comprehensive set of Philippine recordings.
In 1954, Conklin accepted a position at Columbia University, where, for
the next eight years, he taught and explored his research interests in
cognition, kinship, language use, and folk classification. From 1962 to
the present, Conklin has taught at Yale University, where he has continued
to pursue research on shifting cultivations, ethnology, and ecologies of
tropical forested areas of the Pacific Basin. A prolific writer, Conklin
has authored over thirty scholarly essays and seven books. In addition,
he has contributed to, co-authored or edited over forty other publications
and provided the source material for the Folkways recording, Hanunóo
Music From the Philippines (1955). Conklin has also served as the
Chair of the Anthropology Department, Director of Graduate Studies, and
Curator and Head of the Division of Anthropology at the Peabody Museum,
Yale University. He holds professional affiliations with the National
Academy of Sciences, the American Academy of Arts and Sciences, and the
American Anthropological Association, and continues to remain an active
scholar and mentor in the anthropology department at Yale. He currently
resides in New Haven, Connecticut.
References:
Anthropology at Yale: Emeritus Anthropology Faculty. Yale University. 18
December 2001. http://www.yale.edu/seas/Conklin.htm
Conklin, Harold C. “Language, Culture, and Environment: My Early Years.” Annual
Review of Anthropology 27 (1998): xiii-xxx.
Key Subjects
(*Note: Key Subjects marked by an asterisk (*) do not conform
to LOC Subject and Authority Headings)
Subject Headings
Ifugao (Philippine people) Ifugao
(Philippine people)—Rites and ceremonies
Ifugao (Philippine people)—Music
Ifugao (Philippine people)—Social life and customs
Ifugao language—Dialects
Ifugao language—Vocabulary
Philippines—Religious life and customs
Languages
Bontoc language
Buhíd language
English language
Hanunóo language
Ifugao language—Dialects
Ilocano language
Ilongot language
Isinay language
Kalinga language
Kallāhan language—Dialects*
Musical Instruments
(*Note: Information in parenthesis provided by Harold C. Conklin in
his Philippine Collection Catalog)
baŋībaŋ* (ritual wooden percussion bars)
biqquŋ* (twanged jew's harp)
gaŋha* (flat gongs)
hāŋal * (ritual bamboo clapper)
huppēep* (single-reed pipe)
kendomman* (triangular bronze chimes)
lebbet* (single-headed harvest drum)
luhuŋ and lalu* (mortar and pestle)
pādaŋ* (coiled brass leg bands)
pattuŋ* (ritual wooden rhythm sticks)
tappaŋ di budeŋ* (reed bird whistle)
teddeŋ* (zither)
tunīliyu* (iron bolts)
tuŋŋāli* (notched flute)
Key Ceremonies, Events, and Rituals — (See Appendix
A for a complete listing)
(*Note: Information in parenthesis provided by Harold C. Conklin in
his Philippine Collection Catalog)
baltuŋ* (sub-ritual in which chanter stomps on floor of
house)
bāqi* (oral ritual, consisting of chanting, invocations, and blessings,
in which there is usually animal sacrifice)
būqad* (myth recitation)
dinupdup* (an important ritual which includes the sub-rituals danniq, qālim,
bāltuŋ, and others)
hāpet* (language: forms, utterances, word lists, words); of punhapītan
hogop* (house-warming ritual)
hudhud* (long chanted epic)
lewlewa* (casual antiphonal chant)
linnāwa* (recitation of a genealogy)
mamaqqo* (women's ritual)
punhapītan* (discussions and conversations in Ifugao)
qaggīyo* (children's play-song)
qālim* (ritual chant which includes the sub-rituals wakkāten, qummāŋal,
bedbēdan, and keqpālen)
qe-tūdoq* (voice letters)
qiŋlih* (English — interviews and conversations)
qulqulgud* (storytelling)
Recording Locations
(*Note: Recording Locations provided by Harold C. Conklin in his Philippine
Collection Catalog)
Philippines—Ifugao (agricultural districts)*
Philippines—Tukukan*
Philippines—Nueva Vizcaya—Dupax del Sur*
Philippines—Nueva Vizcaya—Kakidūgen*
Philippines—Mindoro Oriental*
There are approximately 140,000 Ifugao living in
scattered districts over some 170 square miles in northern Luzon. They
are agrarian farmers who have perfected a system of sustainable rice
terracing uniquely suited to the heavy rainstorms and rugged terrain
of northern Luzon, Philippines. In their tribal society, rice is more
than a basic sustenance; it also serves as a medium of exchange and a
signifier of status. Rituals, ceremonies, and events are tightly interwoven
into the Ifugao people's daily lives. The characteristic richness and
diversity of the Ifugao agriculture, religion, and music is strongly
evident in The Harold C. Conklin Philippine Collection, which includes
what arguably is one of the largest, most comprehensive set of audio
recordings on the Ifugao in existence. It documents continuity and change
in some of the most important features of Ifugao culture over the course
of forty years.
The recordings chronicle a wide range of Ifugao ceremonies, events, rituals,
and sub-rituals, with much of the collection divided between strictly oral,
strictly instrumental, and combined oral/instrumental field recordings. Field
recordings document, for example, mythical or genealogical recitations,
women's rituals, chants, invocations, rice harvesting, storytelling, children's
games, language exercises, voice letters, interviews, and discussions. While
a handful of the recordings are in the languages of Buhid, Hanunóo, Ilonget,
Kallahan, or English, the majority are recorded in the Ifugao Baynīnan
dialect, one of the twenty-three dialects spoken by the Ifugao. With regard
to geographical coverage, the documentation comes from twenty-seven of
approximately one hundred and fifty agricultural districts, thereby providing
a respectable sampling of the Ifugao. Therefore, due to its topical, geographical,
and temporal scope, the recordings not only capture the exact details of
ritualized Ifugao ceremonies, they situate them within the larger cultural
context.
Conklin began making original field recordings of the Ifugao in 1961. He
used a combination of tape recorders (Fi-cord, Nagra, Sony, and Uher),
recording formats (discs, reel-to-reel tapes and cassette tapes), and recording
speeds (1 ⅞, 3 ¾, 7 ½, and 15 ips) in the course of his field work,
adopting new technologies as they became available. Recordings on 5-inch
reel-to-reel tapes and sixty-minute cassettes are the predominant original
formats in this collection, which totals 262 first-generation sound recordings.
All recordings were originally given three distinct
numbers by Conklin. In this system, the first number denotes the year,
the second denotes the reel or cassette number, and the third denotes
the side of the reel or cassette as noted [5] . With the exception of twenty-four
recordings made in 1955, 1960, 1965, 1966, 1970, and 1977, Conklin is
the primary recordist or interviewer for all of the original Ifugao recordings.
A copy of Conklin's own Philippine Collection Catalog and Expanded
Contents, which provides item-level descriptive data on original
field recordings, is included in this collection. The prefatory material
in Conklin's Catalog lists recording locations, languages, and
individuals (interviewees, interviewers, and recording operators), provides
a key to his abbreviations and symbols, and indexes specific field recordings
by instrument, ceremony, event, and ritual. This is a useful resource
that can be used in conjunction with the AFC 2001/007 Reference Concordance [6] to
facilitate use of the audio materials.
COLLECTION INVENTORY AND DESCRIPTION
|
SERIES I: MANUSCRIPT MATERIALS |
Folder 1 |
Collection Guide for the Harold
C. Conklin Philippine Collection
Includes this Collection Guide and the Reference CD Concordance. |
Folder 2 |
Administrative Information for the Harold C. Conklin Philippine
Collection
Includes AFC's correspondence with Harold C. Conklin and the Cutting
Corporation (sound engineer and recording laboratory). Also includes
acquisition and transferal records, Cutting Corporation's bidding
proposal, AFC research on potential recording laboratories, and AFC
funding proposals for the Conklin duplication project.
|
Folder 3 |
Original Catalog Recording Log
Conklin's Catalog provides indices to the musical instruments,
events, locations, languages, recordists and performers that relate
to this collection of recordings. Also includes an abbreviation
and symbol key, and a brief description of recording data, date,
and content of each original recording.
|
Folder 4 |
Original Expanded Content Recording Log
Conklin's Expanded Content provides further information on
the duration of the recording, sound quality, and contents of each
original recording.
|
Folder 5 |
Duplication Project Recording Specifications
Information on the stock, size, format, sampling rate, and duplication
assignment of the 10-inch reel-to-reels and CDs used by the Cutting
Corporation Recording Laboratory.
|
SERIES II: SOUND RECORDINGS |
Box 2 |
Reference CDs 001-029
Field recordings from 1969-75, 1977, and 1980.
|
Box 3 |
Reference CDs 030-058
Field recordings from 1980 and 1982-84.
|
Box 4 |
Reference CDs 059-087
Field recordings from 1984, 1990-91, and 1995.
|
Box 5 |
Reference CDs 088-114
Field recordings from 1960-61, 1968, and 1995.
|
Box 6 |
Reference CDs 115-137
Field recordings from 1961 and 1963-66.
|
Box 7 |
Reference CDs 138-164
Field recordings from 1966, 1968, and 1970.
|
Box 8 |
Reference CDs 165-183
Field recordings from 1955, 1961-62, 1966-68, and 1970.
|
Appendix A — Complete
Listing of Ceremonies, Events and Rituals
(*Note: Information in parenthesis provided by Harold C. Conklin in
his Philippine Collection Catalog)
baltuŋ (sub-ritual in which chanter stomps on floor of
house)
bāqi (oral ritual, consisting of chanting, invocations, and blessings,
in which there is usually animal sacrifice)
bāqin di quqqūŋa/balbāle (children's version of bāqi)
bāyu (pounding of rice using a mortar and pestle)
bedbēdan (sub-ritual of qālim)
bināqid (prestige feast, in which 3-5 pigs are sacrificed)
bumayah (a major prestige feast with eight days of rituals)
būqad (myth recitation)
dalluŋ (mock head-taking ritual)
danniw (sub-ritual)
dinupdup (an important ritual which includes the sub-rituals danniq, qālim,
bāltuŋ, and others)
dulhig (ceremonial thrusting or brushing a spear at a pig to be sacrificed)
gonob (completion rite; the last invocation of spirits performed before eating)
gopah (brief ritual oration)
gūway (shouted exclamation)
hagōho (bless-curse defense ritual)
halūpe (ritual involving enemy-defeating spirits)
hāpet (language: forms, utterances, word lists, words); of punhapītan
himuŋ (burial ceremony for a murder victim)
hogop (house-warming ritual)
hudhud (long chanted epic)
kali; qāyag (animal call imitations; calls to attract animals)
keqpālen (qālim sub-ritual)
lāmuh di būlul (ritual of smearing pig fat on rice granary idols)
lewlewa (casual antiphonal chant)
linnāwa (recitation of a genealogy)
liyah (ordination of priests)
mamaqqo (women's ritual)
maŋadol (end-of-harvest ritual placement of district-boundary markers)
manūlug (sub-ritual involving special sugarcane)
maqāyiw (sub-ritual)
mumbotoq (rice harvesting)
mumbawwot (spinning wooden tops)
munkandidāta (political speech)
munkēew (children calling as they go down to river)
munqātal (sale of pond field)
munqībal (wailing dirge)
munqopal (sugar cane pressing)
pakkuk (exuberant, rhythmic banging of pestles on mortar at funeral)
punhapītan (discussions and conversations in Ifugao)
qaggīyo (children's play-song)
qālim (ritual chant which includes the sub-rituals wakkāten, qummāŋal,
bedbēdan, and keqpālen)
qe-tūdoq (voice letters)
qiŋlih (English — interviews and conversations)
qulqulgud (storytelling)
qummāŋa; (qālim sub-ritual)
quyap (trick rounds, counting games)
quyyāya (lullaby)
tūŋul (common minor-blessing ritual)
wakkāten (qālim sub-ritual)
Appendix B: Access Database Search
Term Index
Note: An asterisk (*) denotes a category of search term,
the term itself is not included in the database. In addition,
when entering search terms into the database, use a question
mark (?) in place of all diacritical characters.
|
(The Access database for this collection is available in the Folklife
Reading Room at the Library of Congress) |
A
accompaniment
agricultural year
agriculture
ancestors
animal calls
Aspillera's Basic Tagalog
atlas
see also geography
|
B
baltuŋ
see also sub-ritual
baŋībaŋ
see also percussion, bars
bāqi
see also chanting
bāyu
see also pounding rice
bedbēdan
see also ritual
betel chewing
Bibikullon
see also story
bināqid
see also prestige, feast
biography
biqquŋ
see also jew's harp
bird calls
Būgan
see also story
būlul
see also granary idol
bumayah
see also prestige, ritual
bunbuni
see also ritual
būqad
see also myth-recitation
|
C
ceremony
see also dulhig
chanting
see also bāqi
see also hudhud
see also lewlewa
see also qālim
children
laughing
songs
see also qaggīyo
playing
singing
yelling
shout
see also kēew
see also munkēew
church
choir
organ
songs
coiled brass leg bands
see also pādaŋ
completion
of pond field sale
see also lāqun di payo
rite
see also gonob
conversation
drunken
counting
|
D
dalluŋ
see also mock head-taking
danniw
see also sub-ritual
death
dialects
see also language
different styles
see also imitations
dinupdup
see also ritual
dulhig
see also ceremony
Dupax
see also story
duyyah
|
E
earthenware pot resin seal
see also libu
English translation
see also language
events*
see baltuŋ
see bāqi
see bāyu
see bedbēdan
see bināqid
see bumayah
see bunbuni
see būqad
see dalluŋ
see danniw
see dinupdup
see dulhig
see gonob
see gopah
see gūway
see hagōho
see halūpe
see himuŋ
see hogop
see hudhud
see kēew
see keqpālen
see lāqun di payo
see lewlewa
see linnāwa
see liyah
see mamaqqo
see maŋadol
see manūlug
see miqhālud
see mumbawwot
see munbunuŋ
see munkēew
see munqībal
see munqopal
see pakkuk
see qaggīyo
see qālim
see qambāhan
see qulqulgud
see quyap
see quyyāya
see tūŋul
see yubyūban
|
F
family
fiddle
flute
see also tuŋŋāli
funeral
see also practices, burial
see also wailing dirge
|
G
games
see also riddles
see also tongue twisters
see also trick rounds
ganha
see also gongs
see also kobboŋ
genealogy recitation
see also linnāwa
geography
see also atlas
see also land surface
gongs
see also gaŋha
gonob
see also completion rite
gopah
see also shouted exclamation
granary idol
see also būlul
guitar
gūway
see also shouted exclamation
|
H
haddūnaq di nate
hagōho
see also ritual, defense
halūpe
see also prayer
hāŋal
see also percussion, clapper
harvesting
drum
see also lebbet
rice
song
headhunting
see also mock head-taking
health official
himuŋ
see also ritual, vengence
hogop
see also ritual
hudhud
see also chanting
humor
huppēep
see also reed pipe
|
I
illness
imitation
see also different styles
see also talking styles
impressions
interview
|
J
jew's harp
see also biqquŋ
|
K
kēew
see also children's shout
keqpālen
see also sub-ritual
kobboŋ
see also ganha
style, playing
|
L
lāmuh di būlul
see also smearing fat on granary idol
land surface
see also geography
language
see also dialects
see also English translation
see also phonology
see also pronounciation
see also sentences
see also vocabulary
see also vowel contrasts
lāqun di payo
see also completion of pond field sale
lebbet
see also harvesting, drum
letter
cassette
voice
lewlewa
see also chanting
libu
see also earthenware pot resin seal
linnāwa
see also genealogy recitation
liyah
see also priests, ordination of
lullaby
see also quyyāya
|
M
mamaqqo
see also ritual, women's
maŋadol
see also ritual, end of harvest
manūlug
see also sub-ritual
marriage celebration
miqhālud
see also practices, courting
mock head-taking
see also dalluŋ
see also headhunting
money
moons
mumbawwot
see also spinning wooden tops
munbunuŋ
munkēew
see also children's shout
munqībal
see also wailing dirge
munqopal
see also sugar cane pressing
musical instruments*
see baŋībaŋ
see biqquŋ
see fiddle
see gaŋha
see guitar
see hāŋal
see huppēep
see lebbet
see pādaŋ
see pattuŋ
see tappaŋ di budeŋ
see teddeŋ
see tuŋŋāli
myth
myth-recitation
see also būqad
|
|
O
omen
origins
|
P
pādaŋ
see also coiled brass leg bands
pakkuk
see also rhythm, beaten on rice mortar for funeral
pattuŋ
see also rhythm sticks
percussion
bars
see also baŋībaŋ
clapper
see also hāŋal
performers
pesos
phonology
see also language
pig
pinidwa
see also rice characteristics
see also tinawon
playing
see also children, playing
pond fields
see also rice fields
pounding rice
see also bāyu
practices
birthing
burial
see also funeral
see also wailing dirge
courting
see also miqhālud
cultural
prayers
prestige
feast
see also bināqid
ritual
see also bumayah
priests
ordination of
see also liyah
pronounciation
see also language
|
Q
qāat di tūŋo
qaggīyo
see also children, songs
qālim
see also chanting
qambāhan
qulqulgud
see also story
quyap
see also trick rounds
quyyāya
see also lullaby
|
R
rain
reading
recording equipment
test
reed pipe
see also huppēep
religion
see also dinupdup
resting
rhythm
analysis
beaten on rice mortar for funeral
see also pakkuk
sticks
see also pattuŋ
rice
field(s)
harvest
origin of
see also story
varieties
rice bird whistle
see also tappaŋ di budeŋ
rice characteristics
see also pinidwa
see also tinawon
riddles
see also games
ritual
blessing
see also tūŋul
curing
defense
see also hagōho
end of harvest
see also maŋadol
prayer
see also halūpe
prestige
see also bumayah
see also bedbēdan
see also bunbuni
see also dinupdup
see also hogop
see also sub-ritual
vengence
see also himuŋ
women's
see also mamaqqo
yearly
|
S
sacrifice
seasons
sentences
see also language
shouted exclamation
see also gopah
see also gūway
singers
choral
soloists
singing
smearing fat on granary idol
see also lāmuh di būlul
songs
children
epic
see also church, songs
see also harvesting, songs
western style
speech
campaign
political
spinning wooden tops
see also mumbawwot
St. Louis exhibition
stomping
foot
stories
story
see also Bibikullon
see also Būgan
see also Dupax
see also qulqulgud
see also rice, origin of
see also Wīgan
style
playing
see also kobboŋ
variations
sub-ritual
see also baltuŋ
see also danniw
see also keqpālen
see also manūlug
see also yubyūban
sugar cane pressing
see also munqopal
|
T
talking
styles
see also imitations
tappaŋ di budeŋ
see also rice bird whistle
teddeŋ
see also zither
tektite collections
text
thunder
tinawon
see also pinidwa
see also rice characteristics
tobob
tongue twisters
see also games
tools
trick rounds
see also games
see also quyap
tuŋŋāli
see also flute
tūŋul
see also ritual, blessing
|
V
vocabulary
see also language
vowel contrasts
see also language
|
W
wailing dirge
see also funeral
see also munqībal
see also practices, burial
water
weaver
Wīgan
see also story
woman
|
Y
youth
yubyūban
see also sub-ritual
|
Z
zither
see also teddeŋ
|
|
|
[1] Please refer to Administrative Information—Related
Collections for further information on this topic.
[2] Included with Conklin's first set of Hanunóo
recordings, originally made in 1946-1947, is a sampling of Ifugao, Bontoc,
Kankanay, and Ibanag recordings from the Cordillera of northwestern Luzon.
[3] This second set of Hanunóo recordings, dating
from 1952-1958, includes a sampling of Buhíd recordings from regions north
and west of interior parts of southern Mindoro, where Hanunóo is spoken.
[4] Refer to the Library of Congress's Online Public
Access Catalog (http://catalog.loc.gov/)
for further information on the following publications: El Estudio Del
Cultivo De Roza [The Study of Shifting Cultivation]; Ethnographic
Atlas of Ifugao: A Study of Environment, Culture, and Society in Northern
Luzon; Folk Classification: A Topically Arranged Bibliography of
Contemporary and Background References Through 1971; Hanunóo-English
Vocabulary; Ifugao Bibliography; and Land Use in North Central
Ifugao.
[5] For example, original field recording 61.5b is
the B-side of the fifth recording made in 1961.
[6] The Reference CD Concordance lists the original field recording
number, the corresponding CD, track duration, date of original recording,
original format, and track content description. In addition, the database
for this collection allows for term and phrase searching using Ifugao terms
found under the Key Subject headings.
|