Aeta Tribe

Aeta (Ayta), Agta and Dumagat, are collective terms for several indigenous peoples who live in various parts of Luzon islands in the Philippines. They are included in the wider Negrito grouping of the Philippines and the rest of Southeast Asia, with whom they share superficial common physical characteristics such as, dark skin tones, short statures, frizzy to curly hair, and a higher frequency of naturally lighter hair colour (blondism) relative to the general population. They are thought to be among the earliest inhabitants of the Philippines precedin the Austronesian migrations. Regardless, the modern Aeta populations have significant Austronesian admixture, and speak Austronesian languages

 HISTORY AND ORIGIN                              

    The Aeta are part of the broader Negrito population, an indigenous group found across Southeast Asia and the Andaman Islands. The term "Negrito" refers to people with certain physical traits, including dark skin, short stature, and curly hair, which are believed to have evolved in response to tropical climates. The Aeta's ancestors are believed to have arrived in the Philippines around 30,000 to 40,000 years ago, during the waves of Austronesian migration from mainland Asia, particularly Taiwan or Southern China. The Aeta are considered one of the first settlers of the Philippine archipelago, long before the Austronesian-speaking groups arrived.

        The Aeta traditionally lived in the mountainous and forested regions of the Philippines, where they established a deep connection with the environment. They were primarily hunter-gatherers, relying on the natural resources around them for food, medicine, and tools. Their extensive knowledge of the flora and fauna in their territory allowed them to survive and thrive in the rugged terrain. While they did practice some forms of agriculture, such as swidden farming (slash-and-burn techniques), their primary mode of sustenance remained hunting and gathering. This lifestyle continued for centuries, with the Aeta maintaining relative isolation from external influences.

CULTURAL IDENTITY AND RESILIENCE

     The Aeta people have managed to preserve a distinct cultural identity that reflects their deep ties to nature and their ancestral heritage. Their social structure is organized around small, tight-knit communities, where family ties and mutual support are highly valued. The Aeta continue to practice traditional crafts such as weaving, basketry, and wood carving, skills passed down through generations. They also maintain their unique spiritual beliefs and rituals, which are closely linked to their understanding of the natural world. The Aeta’s spiritual beliefs are deeply tied to their natural environment. They practice animism, believing that spirits inhabit natural elements such as trees, rivers, mountains, and animals. These spirits are viewed as protectors of the land and play a crucial role in the Aeta’s daily lives. Rituals and ceremonies are performed to honor these spirits and seek their favor for a successful hunt, good harvest, or protection from harm.

    The Aeta also have shamans or spiritual leaders who mediate between the human world and the spirit realm. Shamans are revered figures within the community, often responsible for conducting healing ceremonies, offering prayers for rain or good harvests, and ensuring harmony with the natural world. These practices reinforce the Aeta's deep respect for the environment and their belief that humans are intrinsically linked to the natural forces around them.

    Language plays a crucial role in the preservation of Aeta culture. The Aeta speak various dialects within the Aeta language group, which belongs to the Central Luzon language family. While many Aeta have adopted Tagalog or other regional languages, their native dialects remain a key aspect of their cultural heritage. Traditional music, dance, and storytelling are also integral parts of Aeta life, further emphasizing their cultural uniqueness. The Aeta have long been known for their physical adaptability, as evidenced by their unique hunting tools, such as the blowpipe, which they use to hunt small game in the forests. Their methods reflect a deep respect for nature and an understanding of sustainability, which has allowed them to survive for millennia despite external challenges.

   The Aeta live in small, tight-knit communities, often in remote mountainous areas. Their social organization is primarily tribal, with extended families forming the core of each community. These groups are typically led by a tribal leader or elder who is respected for their wisdom and experience. Leadership is often passed down through family lines, although the most respected individual in the community is chosen based on their ability to maintain peace and provide guidance.

    In Aeta communities, there is a strong sense of cooperation and mutual support. Kinship ties is very useful in the social fabric, and family members often rely on each other for survival. Sharing is a vital cultural practice, particularly when it comes to food, which is often scarce due to the Aeta’s subsistence lifestyle. Members of the community share the fruits of their hunting and gathering efforts, helping to ensure that everyone has enough to survive.

LIFESTYLE 

  The Aeta are nomadic and build only temporary shelters made of sticks driven to the ground and covered with the palm of banana leaves. The more modernized Aetas have moved to villages and areas of cleared mountains. They live in houses made of bamboo and cogon grass.

Mining, deforestation, illegal logging, and slash-and-burn farming have caused the indigenous population in the country to steadily decrease to the point where they number only in the thousands today. The Philippine government affords them little or no protection, and the Aeta have become extremely nomadic due to social and economic strain on their culture and way of life that had previously remained unchanged for thousands of years.

ANCESTRAL DOMAIN:

• Zambales Mountains – particularly in the provinces of Zambales, Bataan, and Pampanga

• Sierra Madre Mountains – parts of Aurora, Nueva Ecija, Quezon, and Isabela

• Tarlac – including areas around the Capas-Bamban region

• Mount Pinatubo – many Aeta communities lived here prior to its 1991 eruption

• Other parts of Central Luzon – including areas in Bulacan and Nueva Ecija

THREATS TO ANCESTRAL LANDS

• Logging and mining

• Land conversion for agriculture or development

• Displacement from natural disasters (like the eruption of Mt. Pinatubo)

• Encroachment and lack of recognition of land rights.

MUSICAL INSTRUMNT OF THE AETAS

    The flute, the mouth harp built from a sliver of slit bamboo, a traded metal gong, and the bamboo violin are some of the instruments found among the Aeta.

    In 1931, Romualdez (1973) discovered instruments among the Aeta tribes. The Aeta's kullibaw is a bamboo mouth harp. The Aeta of Zambales bansik is a four-hole mountain cane flute. There are two strings to an Aeta of Batan "kabungbung" (guitar) created from a single bamboo "node," which is then cut open at one end, creating two cords that are tensioned by "bridges." A resonant hole is carved into the underside of the two cables. The Aeta of Tayabas' gurimbaw has a busog bow, a bias joint, a gaka string made of lukmong vine fibers, and a kuhitan coconut resonator. Similar to other Mindanoo tribes, Mamanwa use aydluing, a long guitar with numerous strings.

    One of the instruments found by Garvan (1964) was an instrument resembling a bow-shaped bamboo lute in central Camarines; the other instruments found by Garvan (1964) were the long bamboo drums, the nose flute, and a bamboo lute.

    During weddings and other celebrations, the Agta of Peablanca, Cagayan Valley in northern Luzon play a variety of instruments. Metal plates or basins can be used in place of the traditional bronze gassa gongs. The patagong, a quill-shaped bamboo tube with a length of 4.5 cm and a diameter of 5 to 7.5 centimeters at the node, is a common accompaniment to these. More than half of the bamboo is sliced away from the center of the bamboo tube along the vertical grain. A quill-like shape is eventually formed by the remaining segment. Two patagong are struck with the tongue-shaped tapered tip held by the same player. In order to adjust the pitch and timbre of the instrument, the finger is placed in a hole on the handle. Along with the tongtong, a long and slender stamping tube measuring 37.5 to 50 centimeters in length and 5 to 7.5 centimeters in diameter, the patagong is performed. A node seals the bottom and leaves the top open. The base is struck against a hard surface, such as wood, stone, or cement, to make a hollow sound.

    The Peablanca Agta play the timawa, a 42.5 centimeter-long melodic bow made of mature reed known as bikal, to communicate melancholy or comfort someone. a vine known as lanut is responsible for its two strings. One end of the bow is held in the mouth of the musician as he or she strums the strings. The instrument's reverberation is amplified by the instrument's mouth. In addition to adjusting the shape of the lips or blowing through the timawa, the player can also produce varied pitches.

AETA` TRADITIONAL SONGS

    In the Aeta, there are a wide variety of songs, some of which are solemn and others that are upbeat and fast. The singing may be done standing or sitting, with the singers facing each other in a circle, while those who play the gong or other instruments sit outside the circle.

The aliri, an improvised love song from northern Luzon, was first recorded in 1925. The boy or girl can make up their own verse in response to the other party's verses even if many of the strophes of this song have been fixed. The fixed verses can be chanted in any situation, including when working, resting, going through the forest, or sleeping.

    The ablon, sung by the Dumagat of Casiguran, Quezon, is a song in which the vowels are held in place as the larynx is tapped. A chant invoking the spirit Limatakdig to help the sick is called a magablon in their culture. Singing the sebkal begins on an ominous high note before plunging into low-pitched monotone chanting at the end. This song is sung with a significant emphasis on triplets.

    Different songs are sung by the Agta in Peablanca, Cagayan Valley. It is a solo hunting song called the "aget" (wild pig). Four melodic phrases, each with a pause at the end, make up the piece. Its tune has a metrical flow:

Umanga kitam didiya takawakanam

Nge kitam manggeyok ta aget

Ta isulit tam tatahiman tam

Ta wan kitam nga makaddimas nga Agta.

(Brother come,

Let’s hunt wild pig,

To barter for something good,

So that we will not be hungry.)

What is the song called "Kakanap?" It is sung by two Agta. In the kakanap, each melodic phrase is six syllables long. The sentences are sung one after the other, except for the final phrase, which is performed jointly. A Christian kakanap is as follows:

Eeyoy, eeyoy

Anu oy, anu oy

Itta ay kofun ko

Had en o, had en o

Awem ay maita

Atsi o, atsi o

Te itta in teyak

Had en o, had en o

Apagam, apagam

On man tu, on man tu

Ayagam, ayagam

On mina, on mina

Petta kofun hapa

Anu kan ngagan na

Hesus kan Hesus kan

Onay o, onay o

Kofun tam hapala

Onay o, onay o.

(My friend, my friend,

What? What?

I have a new friend

Where? Wyou can’t see.

Why? Why?

He is with me here.

Where? Where?

Try to look for him

Where then? Where then?

Now you call him.

I wish I could.

So you can be friends too.

What’s his name?

Jesus is his name

Is it? Is it?

Jesus is our friend.

O yes! O yes!)here?

This one 

The magwitwit is an Agta fishing song sung solo in metrical rhythm

Angay nge taka

alapan nga magwitwit tahayaw

Tahikaw posohang ku

nga magwitwit tayaw

Tatoy dimumemat nga

ibayku magpawitwit

Tahikaw pasohang ku

nga magwitwit tahayaw

(Brothers come

let’s go fishing

because someone came to ask a favor

that I catch fish.

I would want you to help

come help me catch fish,

because someone came to ask a favor

that I catch fish.)

An example of a lullaby is the adang, sung by the Agta of Palanan, Isabela. The soloist sings the adang accompanied by the busog. Rendered in verse with eight syllables per melodic phrase, the song has an arpeggiated melody in ascending and descending contour.

Annin ne annin annin

bemahana a pala pala

Guduhunga ipagtatoy

unduhunga tema tema

Guduhunga tama tama

nungsuhunga palagi da

Lakahana pagi pagi

Wanahaney anni anin

Bamahana Nene, Nene, Neneheneng

Annine, anni, annin

bemahana lallakbayan

Bankahana nema nema

Cuduhunga ema ema

Nungsuhunga Nene,

Nene, Neneheneng.

(Oh! Oh! Oh!

My! the waves.

The child went boating

in the sea.

The shield traveled

because she was left alone

so she left

far away, oh! oh!

My! Nene, Nene, Neneng!

Oh! Oh! Oh!

My! she traveled

by boat alone

The child traveled o’er the big waves

Nene, Nene, Neneng!)

 In the town of Malay, Aklan, the pamaeayi, which is the practice of obtaining parental approval for marriage, may occasion the song “Kuti-Kuti sa Bandi”

[Woman]: Kuti-kuti sa bandi,

[Man]: Kuti sa bararayan;

[Woman]: Bukon inyo baray dya,

Rugto inyo sa pangpang.

[Man]: Dingdingan it pilak,

Atupan it burawan;

Burawan, pinya-pinya,

Gamot it sampaliya.

Sampaliya, malunggay,

Gamot it gaway-gaway;

Gaway-gaway, marugtog,

Gamot it niyog-niyog.

Hurugi ko’t sambilog,

Tuman ko ikabusog.

(Woman: Scrutinize the dowry.

Man: Scrutinize the house.

Woman: This is not your

house! You live across the river.

Man: Its walls will be made of silver,

Its roof made of gold,

As golden as the pineapple,

And the root of the bitter melon.

Bitter melon, malunggay,

The root of gaway-gaway;

Beat the drums now

And let’s start the feast!

Drop me some coconuts,

For I am thirsty and hungry.)

    There are few surviving traditional vocal styles of the Aeta Magbukun, an Aeta group in Bataan, Philippines. It is also utilized in talinhagan, a song that reflects the dying person's final wishes, and in kagun, a healing rite, where the uso is the melody structure used. The amba is the song sung by the bride and groom as they make their way around a fire in the middle of the event. An ingalu is a song of mourning for the departed. There is a song sung by a parent to summon their children for an errand, which includes a shout. Similarly, the Aeta Magbukun perform popular songs learned from lowlanders, but in their language.

    The uso has a free meter consisting of three short musical phrases. These musical phrases are sung repeatedly but in different sequences. The uso may be sung on different occasions and could speak of a number of topics.

Inan uning kulalu ung’

Ha ko ha ay takay laman ningbunlong

Hua ay iya makukokabukilan

tamaangwaking a gong ditan

Hako ay naluluwa ikon nako pon nanangan

Ha ay papatulo talon ti hua mata

Pa-rung hm hm

Pampanikibat na-an ay

Sumaukan laos ti kaya kong pakidungo

no lu ako ay

ako’y magpapa a ganbag song kahit ta

malantong

Kaya kong ipagpalit apunan un

Kungi kong diling masakit ti lalamunan ay

ibularlar ko alaw ay iniong ay atong

(The birds are chirping

I ate a foul-smelling bagoong

Hay

I am going to the mountains to get ubod,

which I will barter for my dinner.

I am hungry, I have not eaten

If only my throat weren’t aching

I will tell.

Oh, mother, oh, father,

will spank you

Hay

I think my body is exhausted.)

The following is an excerpt from an amba:

Ho wa ay kay ti ho ni ko panghuyutan

Ay yo hay yo

pan yambutan nining almungan

yabi ya bing ya saunghaay

kay ti ing panghuyutan

pam yam butan alimungan

ng u mi ya aw kulyawan

Ay-yay pangambutan alimungan

(This is where she caught up

Ay, hay.

My love caught up with me.

Late in the night did I go

to our meeting place.

Ay, hay, love caught up with me.

When the kulyawan cried

my love caught up with me.)

 The ingalu or lament for the dead is sung during the wake:

Haqaroq

Aruq uy baking ka iq nang

Hanggaang ta tala as tasa ay

Aruy hinlunabing ing ka long au lo

Lin bak nuq ay ti a rap ti a anang diok.

(Aru,

Why mother?

She said,

You are pitiful.)

Songs chanted by Mamanwa spirit mediums are called tod’om or tud’om. These shamanic songs are performed during the kahimonan (boar sacrifice ceremony). Chanters sing the messages of the spirits during the sacred ceremony, which may last for more than one day. Through the tod’om, the boar as sacrifice animal is appeased:

Tatadi’i di’im

Na di ta nga dididi’i

maninga domobang di’i

Hi nadida nga kangi di’i

Eh iy di nga o’oh

Ada di ka busaw o

Patongo o kami

nga nag alima nga di toni bayo

Nami ni ngi di toni

(Do not worry that you

are placed on the sacrificial platform

as offering

at bagobayan om

Ha do not wish ill

or pronounce

a curse even if om

you await death until

each and all

of us have offered dances

to the spirits di’i

Do not be hurt that di’i

you will be killed o’oh

Do not hex or

get even with us

because no one

is to be blamed)

At some point during the long ceremony, another spirit enters the medium and warns the people against showing any disrespect for the supreme spirit that they are privileged to hear:

Wawa dadi danga ingidi’im

Omoyo san-o sagaya’on o dingi dingi

Bongo nado di banang

posan di kasan bobayang nga’on

Tabangga nga dowa nga’om.

Ha iba nga ibato di tana

a gingi ingi ingi nga

Linongta tanga tanga

ingi ingi dingim

Ha nayon ngo ngo

nga di na inda

nango di dingin

Na nga’o nga’o da dina

ona o pona din donga ongo diga o

(This is the first time

my voice dingi dingi

is recorded, that

my presence at bagobayan

is being recorded.

I wish to say that

this voice should not

be made fun of

ingi ingi dingim.

What I have

pronounced are the

words dingin

of the highest

of all the spirits.)

 AETA`S DANCE RITUALS

    In all Aeta groups, dancing is commonplace. Men and women may form an outside ring to enclose the female dancers and enjoy dancing under the stars on a lovely moonlit night. Men and women dance to the beat of their instruments while moving in opposite directions.

Aeta men performing the borokil

The Aeta's dances can be divided into two categories: celebratory and ceremonial. When you're getting together with friends, celebrating a successful hunt, or just having a nice time, you might want to engage in some festive dancing. This includes the Pinatubo Aeta's binabayani, the Agta's borokil, and the Iriga Aeta's war dances. It's not uncommon for ceremonial dance to go on into the early hours of the morning.

Monkey dance by an Aeta of Masikap Village, Botolan, Zambales, 1978 (The Dances of       the Emerald Isles by Leonor Orosa-Goquingco, Ben-Lor Publishers, Inc., 1980)

Two dances for the deceased are performed by the Abiyan of Camarines Norte: the hayang and sayang, which are both ring dances performed by the entire community around a bonfire near the cemetery during the katapusan, which is the 40th day after a Christian burial.

MODERN INFLUENCES AND CHALLENGES

    In modern times, the Aeta people face many challenges, including displacement from their ancestral lands, poverty, and marginalization from mainstream society. As the forests and mountains they once called home are cleared for agriculture, mining, and urban development, the Aeta have been pushed into more accessible areas, often leading to the loss of their traditional ways of life. Education and healthcare remain limited in many Aeta communities, contributing to cycles of poverty and dependence.

    Despite these challenges, the Aeta continue to fight for their rights and preserve their cultural heritage. Efforts to reclaim ancestral lands, promote language revitalization, and secure better access to basic services are ongoing. Through these efforts, the Aeta aim to maintain their traditional practices, ensuring that their culture remains vibrant for future generations

    The Aeta culture is a testament to the resilience and adaptability of indigenous peoples in the face of external pressures. Their deep connection to the natural world, strong community bonds, and rich traditions form the foundation of their identity. While the Aeta face many modern challenges, they continue to carry forward their cultural heritage, celebrating their unique way of life through art, language, spirituality, and social practices. In preserving their culture, the Aeta contribute not only to the cultural diversity of the Philippines but also to the broader global conversation on indigenous rights and the importance of cultural preservation.

References: 

1.  Balilla, Vincent, Julia Anwar-McHenry, Mark McHenry, Riva Marris Parkinson, and Danilo Banal. 2012. “Aeta Magbukún of Mariveles: Traditional Indigenous Forest Resource Use Practices and the Sustainable Economic Development Challenge in Remote Philippine Regions.” Journal of Sustainable Forestry 31 (7): 687-709. http://dx.doi.org/10.1080/10549811.2012.704775

2.  Bennagen, Ponciano. 1969. “The Agta of Palanan, Isabela: Surviving Food Gatherers, Hunters and Fishermen.”Esso Silangan 14 (3). “Pagbabago at Pag-unlad ng mga Agta sa Palanan, Isabela.” (April 22, 2025).

 3. K., J. (September 11, 2023) Rediscovering the Aetas: The First Filipinos and a Vibrant Symbol of Inclusivity in the Philippines - The Philippines Magazine International.

4. K., J. (July 6, 2024) Aeta: First Inhabitants of the Philippines - Cultural Heritage. 

5. The Aeta People of the Philippines: Culture, Customs and Tradition [Philippine Indigenous People | Ethnic Group] - yodisphere.com