From Baswit to Tiyom to Cultural Master

When Baswit was in college in the eighties, he was active in the national minority youth and student movement in Baguio city. He so generously shared his knowledge and talent in Kalinga music with other youth who were searching for grounding in Cordillera indigenous culture. He told us stories of heirloom gongs, whose sounds invited neighboring villages to festivities, and which his father buried when his hometown was militarized because of their opposition to the Chico river dam project. He initiated us in the finer points of striking a gong, with a palm held flat or cupped, or with a stick, for various Kalinga rhythms. He taught us to distinguish the ullalim from the uggayam from the salidummay. He, along with Macoy, Rito, and Kennedy, patiently translated the protest songs, which originated from villages along the Chico river during their historic and heroic struggle to keep the river flowing.

When asked if he could teach us how to play the instruments, Baswit would start with scheduling a trip to the bamboo groves outside of Baguio city, and then identifying which type of bamboo is suitable for particular instruments. He told us of the right way to harvest bamboo, so they would last long. He taught us how to use our palms, elbows, and fingers to get the right measurements for a Kalinga flute. He introduced us to the ballingbing (zithers), tongatong (stomping tubes), paldong (mouth flute), kullitong (bamboo guitar),  kalaleng (nose flute), and the kulibao (jaws' harp). 

Nobody can play the kulibao like Baswit. His mastery of the kulibao certainly deserves recognition. Several times, I have witnessed people, upon hearing Baswit play the kulibao, look around for the hidden speakers, and laugh out loud in wonder, when they realize that the rhythmic sound they hear is produced with a tiny bamboo instrument.

Through the years, Baswit participated in recordings of the Salidummay, and is responsible for much of the instrumental music which you hear in the first to the sixth albums. It was also he who informed us that our gongs needed tuning, and then borrowed the set to perform the needed procedures.

Recently, we bumped into Baswit. He related how he survived a severe sickness which almost killed him. And he was given a new name, Tiyom, by his tribe in a ritual.

With a new lease on life, he presently conducts music lessons among the Kalinga youth based in Baguio city. He is passing on his knowledge and skill to others, ensuring that this musical heritage is kept alive.

If you wish to learn Kalinga music, try to find Baswit, also known as Tiyom, cultural master of Lin-awa Center for Culture and Arts, with office at Room C203 Lopez Building, Session Road, Baguio city. Ask him, too, to tell you stories of the Baguio market.