Summary

John M. Garvan The Manóbos of Mindanáo

One who has witnessed a Manóbo dance at night by the flare of fire and torch will not forget the scene. Squatted around in the semidarkness are the russet figures of the merry, primitive spectators, lit up by the flickering glare of the unsteady light, the children usually naked, and the men having frequently bared the upper parts of their bodies. In the center circles the dancer with his wealth of ornaments, advancing, retreating, and posturing. The drum booms, the gong clangs, and the dancer pounds the floor in rhythm. The jingle bells and the wire anklets of the dancer tinkle.
Source: Gutenberg

John M. Garvan The Manóbos of Mindanáo

In a large house, with such a conglomeration of human beings, it is obvious that an impression of confusion is made upon the visitor. The performance of the various culinary operations by the women, the various employments in which the men are engaged, making arrows, fish traps, etc., the romping of the children, all these tend to heighten the impression. But the Manóbo goes on with his work, tranquil in the midst of it all, savoring his conversation with incessant quids of betel nut or tobacco.
Source: Gutenberg

John M. Garvan The Manóbos of Mindanáo

The darkness is peopled with hosts of spirits. On the desolate rocks, in the untrodden jungle, on the dark mountain tops, in gloomy caves, by mad torrents, in deep pools, dwell invisible powers whose enmity he must avoid or whose good will he must court, or whose anger he must placate.
Fear then seems to be the foundation of the Manóbo's religious beliefs and observances. Untutored as he is, he fails to understand occurrences which the average trained mind can easily explain. On one occasion I was at the headwaters of the Abagá River, a tributary of the Tágo River.
Source: Gutenberg

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