About Ili-Ili and the Warrior Dance
By the BRIDGES Artistic Team

It is probably strange to many why a lullaby is used as the song for a warrior dance. The inspiration to use Ili-Ili comes from a long history of activism in the Philippine cultural movement. Back in the 1980’s when Edessa was a human rights activist in the Philippines, she learned the song from fellow activists in the Western Visayas region. Folk songs and lullabies usually contain messages of peaceful rural life and the emotional bonds among families. But during the decades of the 70’s and 80’s, it was customary for the people to re-interpret folk songs and lullabies to portray social realities, especially at a time when the Marcos Dictatorship was hunting down dissenters. 

The song Ili-Ili is very special. While the original Hiligaynon lyrics seem to be telling a child to simply go to sleep while his mother buys bread, the hidden meaning is: “sleep my child while your mother is away, for she has gone to battle to fight for your freedom and your future.” This style of activism music was so strong that it led to more “lullabies” composed by contemporary cultural activists. Two noteworthy achievers in this genre are Paul Galang and Jess Santiago. One song, “Tulog na Aking Bunso” (Sleep my child), gave strength to so many freedom fighters. "Tulog Na" was sung solemnly around campfires in honor of those who had to bid their families farewell to fight the dictatorship. It goes like this: “Sleep my child, your father is leaving. Sleep in the lap of your loving mother. I am leaving for distant jungles and seas. Though we suffer untold hardship today, not long from now, the future will bear fruit.”

Kim Zanetti and Len Bugayong sing Ili-Ili for Pagbunyag, inspired by the interpretation of Philippine cultural icon, Grace Nono. In the tradition of song reinterpretation, Grace Nono added Tagalog lyrics to the original Hiligaynon.

In the spirit of these lullabies, the warrior dance for Pagbunyag was created. It is the original interpretation of Edessa Ramos, product of 14 years of arnis practice and 8 years of teaching the Filipino Martial Art. Edessa is inspired not only by her human rights background, but by the pure fact that in ancient Philippines, being a dancer is part and parcel of being a fighter. The arnis warrior is characterized by the flow, a seamless stream of movements, like a dance. In Philippine tradition, fighters are also dancers, leaders and teachers. When she was assigned as a rural worker in the Cordillera mountain range, Edessa witnessed the warriors playing the "gangsa" (gong), and noted how rhythm and the ability to create music with other warriors were essential to developing coordination, strength, endurance, as well as team spirit. 

In Pagbunyag’s warrior dance, Edessa attempts to recreate the history, sentiments and arnis knowledge of her people. The series of movements are products of training and village exposure accumulated over the years. With this dance, Pagbunyag pays tribute to the Filipino culture and spirit, humbled by the achievements of forefathers, and moved by the sacrifices of those who gave their lives so that we may enjoy freedom today.