The Philippines is a land of dances and songs, and the province of Pangasinan is, of course, no exception. The province alone has at least 30 sayaws or folk dances, both indigenous and European-influenced.
It is observed that the folk dances of the province are mostly festive dances. But unlike the dance parties of today (from the baile (from the Spanish dance, which evolved to mean occasion for dancing) to the disco, rave, etc.), which are held purely as diversion or for entertainment purposes, these folk dances have significance beyond entertainment. They are a way for people to express, share, and connect with community, affirm relations, and celebrate their own traditional culture. And they come in several forms: social dances, occupational dances, ritual dances, etc. The most popular dances are performed as depictions of major events in the life of the community that are manifestly happy occasions. Some dances are held as welcome gesture for in-laws, affirming new relationships between families.
It is thus inevitable that these local dances are lively, with many of them to the point of spectacular, thanks in no small amount to, not just the use of colorful costumes, but also the employment of props, such as coins, benches, sticks, handkerchiefs, cords, and so on.
PSU-Bayambang professor Januario Cuchapin noted that another distinctive trait of Pangasinan dances is the use of the kewet as part of the gestures. Kewet involves, to quote from Francisca Reyes-Aquino’s sprawling work on Philippine dances, “turning the hand outward from the wrist, with the fist loosely closed and the thumb sticking out.” Cuchapin said it is an original hand gesture of the Pangasinan dances that is likened to the kumintang among the Tagalog dances. The kewet – and the touching of the elbow – are regarded as “appropriate movements to start a new love relationship.”
One such kewet folk dance is the binasuan, which originated from Bayambang, according to the textbook. Old-timers indeed attest that a woman from Brgy. Sancagulis invented the dance. (Incidentally, according to the recollection of Clarita F. Tagab, in the '50s, a woman named 'Erang' Agpoon was featured in the Philippines Free Press and other publications as a pokliwet or pandanggo dancer, indicating Agpoon was a celebrated folk dancer at the time.)
Prof. Clarita DG. Jimenez wrote that another dance that originated from Bayambang is the sayaw na sumisigay or fisherfolk dance.
Cuchapin, who is widely regarded as Pangasinan's folk dance guru, mentioned another dance, siwi-siwi, as having originated from Bayambang as well. It is a dance that mimics a long-snouted silvery fish called siwi-siwi, which moves back and forth and thus makes a swishy sound.
From his research, he discovered that Bayambang has developed its own version of the breathtaking sayaw ed tapew na bangko, a version made more dramatic by stage play-like scenes in connection with the dance.
Cultural events in the town are made lively by presentations of other Filipino and foreign folk dances, including those Pangasinan dances documented by Jovita Sison-Friese in her 1980 book, “Philippine Folk Dances from Pangasinan.” There is the balangbang, binislakan, binoyugan, habanera de soltera, habasinan, jota Pangasinana, lanceros de Lingayen, nilistonan, oasioas or wasiwas, ontan-ay, panangabalayan, pandanggo na tapis, pasikat na baso, tubong, tupaan, maliket a polka, mariposa, mazurka val, malinak lay labi, kumakaret, konan, imunan, valse vieja, pampilpilalekan, sigsiglew, la simpateka, say aro no balo balo... (Benton's Pangasinan dictionary even has two foreign dance entries as being part of the old local lexicon, the Mexican curacha dances and the mambo.) And indeed, the distinctive kewet hand gesture is ever-present in most of these numbers, whether to signify a romantic kind of attachment or not, which Pangasinan folk dances and folk songs love to dwell on.
All of these dances are no mere perfunctory movements, but a picture of fluidity, grace, elegance, agility and skill, reflective of the refined manners of the era. But another really distinctive element is the palyagan (pasikatan) or pasirayewan (show-offy) mood, like in pasikat na baso. This spirit of fun competition is consistent with Pangasinan's turbaan or joust style of singing and the battle between combos (big brass bands) from night to well into the dawn during town fiestas.
As noted in a feature by Gabriel Cardinoza of the Philippine Daily Inquirer's Northern Bureau, 20 of the province's dances have been published or documented -- meaning, with the dance notations detailed properly. One unpublished dance is reportedly the jota Pozorrubio.
Cuchapin also did his own research on Pangasinan dances and came out with a book titled “Bali-Balin Pangasinan” in 2006, with the National Commission for Culture and the Arts funding the book. It also served as guide for the Pangasinan provincial government’s cultural show tour of the same title at the time.
The book is a treasure trove of information. We learn, for instance, that binislakan is a dance to commemorate the stay of Limahong, a Chinese pirate who built his kingdom in Lingayen. The two bamboo sticks produce rhythms imitating the chopsticks used by the Chinese in eating, thus the dance is called "binislakan."
Folk dancing inevitably becomes a showcase of native costumes as well. The women dancers often wear casual or formal wear: from the simple combination of camisa as top together with sapuey or saya (skirt) to balintawak with tapis and panuelo, maskota or siesgo skirt, kimona, camiseta de china, kola (skirt tail), Maria Clara (composed of baro for top, sobrefalda or overskirt, and baksa or scarf, and often with petticoat). These dresses are, of course, accented by jewelry and other accessories. The fabric employed may include jusi, piña, abaca (pinukpok), cotton, nylon, organza, lace, and tulle. On the other hand, the male dancers are garbed in matching costumes, from the combination of camisa or camiseta, kerchief, and trousers to the formal barong tagalog. A buri hat may be worn as headpiece. They are oftentimes barefoot (except when dressed in formal wear), while the women often wear carcho, chinelas, zapatilla, or beaded cocho slippers. Of course, all these details reflect the usual set of foreign influences in Filipino culture in general.
Cuchapin observes that native dance wear of Pangasinan common folk are generally bicolored, in contrast to Visayans who wear multi-colored dance clothes.
Lanceros na Bayambang
“Lanceros na Bayambang” is Bayambang town's official social dance, a new dance that was conceptualized in 2017 by Cuchapin as the Executive Director of the Bayambang Municipal Council for Culture and the Arts (BMCCA), performed to the tune of an old award-winning song composition by Oscar O. Ora, a local musician and radio DJ.
According to Cuchapin, "This dance has been endorsed by the Sangguniang Bayan (town council) as the official social dance of the municipality, to be staged during big occasions like fiesta, birthday, school affairs, and other occasions. The movements and gestures in the dance depict the customs and traditions of Bayambangueños in giving honor to their guests and other VIPs who grace important occasions." The official dance was first performed by the BMCCA members during the 2017 town fiesta celebration in honor of then newly elected Municipal Mayor, Dr. Cezar T. Quiambao, for his outstanding achievements during his first term. Lanceros na Bayambang, of course, includes the kewet hand gesture.
Notably, Cuchapin is the founder of the Matalunggaring Dance Troupe of PSU-Bayambang, a cultural group that has been widely acclaimed for its polished performance and commended for promoting the folk dances and folk music of Pangasinan in and out of the province. This cultural group, now under Jordan Neri, is routinely invited to perform by provincial, municipal/city, and national government entities.
A fairly recent development is the local street-dancing and street-dancing competition being held during the town fiesta, with the first-ever exhibition staged on April 7, 2015 at the town plaza. They are technically called festival dances, which are performed to the beat of percussion instruments and held as part of the institutionalized Malangsi 'Fishtival' in celebration of, and thanksgiving for, the town's traditionally prodigious catch of freshwater fish. Among the regular competitors from the local schools, the students of Tococ National High School under the legendary direction of Mr. Larry Solomon have consistently come up with breathtaking numbers, with every imaginative choreograph and carefully thought-out detail contributing to the success of each performance. Solomon and his team’s perennial winning is well-deserved, as their production numbers have the quality of a Broadway spectacular, though they tend to be too fast-paced.
Despite this neo-folk development, however, folk dancing traditions have long been largely confined to “cultural performances” and “cultural shows” and no longer performed in the original context of village occasions, and perhaps will always stay that way. But at least they remain very much alive in this context and are thus destined to live on for future generations to enjoy and take pride in.
With developments like the above-mentioned, on top of the policy of the Department of Education of including traditional dance lessons as part of the activities in primary, secondary, and tertiary education, the local dance traditions – from the distinctive kewet to the peculiar props and fetching costumes and down to the accompanying folk music – are generally in safe hands.
References: Pangasinan folk dances take center stage again, Gabriel Cardinoza, Philippine Daily Inquirer; Bali-Balin Pangasinan, 2006, Januario Cuchapin, book funded by the National Commission for Culture and the Arts as guide for the provincial government’s cultural show tour of the same title
A Glossary of Pangasinan Dances
Balangbang
Binasuan
Binasuan is a very colorful and spectacular dance from Bayambang, Pangasinan. Baso means drinking glass. Binasuan in Pangasinan means "with the use of a drinking glass." In this dance, the dancer displays good balance, graceful movements, and unusual skill. She dances with three glasses half-full with water, one on her head and one on each held on the palms of her hands. She shows her skill in maneuvering the glasses, particularly when she executes continuous fast turns, siting, and rolling on the floor without spilling the water or dropping the glasses. Danced to the tune of "Pitoy Oras," binasuan is usually danced only by one girl, but sometimes two or three more girls may dance it in group formation.
Binislakan
Binislakan means "with the use of sticks" in Pangasinan. Dancers use the sticks to produce rhythms imitating the two chopsticks used by the Chinese in eating, so the dance is called binislakan.
The dance is also called lingayen, which in Pangasinan means "to look backward and upward," because some of the movements involve looking backward or upward. Lingayen was reportedly derived from Li-King-Tung, a name given by the Chinese settlers to this place long ago. The barrio folk who lived at Almazin, a small place along Barrio Pangapisan (Pulong) and Maniboc danced to this to commemorate the stay of Limahong, a Chinese pirate who built his kingdom here.
Binoyugan
Binoyugan
is “a dance from the Ilocano area of Pangasinan that shows women balancing the
traditional banga or clay pots on their heads. At the end of the dance, the
women lie on their stomachs then roll from side to side while balancing the
pot.”
Colorong
Colorong was an indigenous pre-Hispanic dance with movements similar to Igorot dances.
Habanera de soltera
Habanera de soltera is a dance of a couple engaged to be married and originally performed during the night before the wedding day, in a ceremony called basay bansal. This is the fifth ceremony during the Spanish times when the Pangasinense practiced a unique marriage custom with seven stages before a man and woman can be officially called husband and wife, with the whole affair lasting about a month: (1) segep, (2) salonson, (3) alay-ngaran, (4) panengneng, (5) basay bansal, (6) bansal, (7) pagatin.
The basay bansal ceremony takes place in the house of the bride-to-be. Cattle, pigs, chicken, goats, wine, etc. would be prepared for the celebration. Prayers would take place before music, dancing, and eating. Then the in-laws and relatives would request and tease the couple to dance alone for the last time as singles. The bride-to-be would shyly accept. The couple would dance habanera at the center of the house with all the in-laws, relatives, and visitors around teasing them. In their dance, they would portray the love and happiness they would expect during their would-be married life, that in sorrow or in joy, in difficulties or in progress, they would love each other and stick together till death do them apart. This is a very expressive dance.
Habasinan
Habasinan
is "a kind of folk dance performed on the eve of the wedding day of one of
the ladies. The habasinan is believed to have originated in Havana, Cuba
brought by African slaves and found its way to Spain and France in the 19th
century, where it became popular. It has evolved to a social dance for the
ballroom or stage. The habasinan is a version that has incorporated dance with
the traditions of Philippine wedding customs."
Imunan
Imunan, which means jealousy in Pangasinan, is a courtship dance from San Jacinto, Pangasinan. The dance depicts love triangle between two girls and one boy. In this dance, the boy tries to please the girls who are trying their best to get his attention and favor. The boy shows an admirable attempt to please both girls by paying attention, flirting, and at the end of the dance all is sweetness and harmony among the three dancers.
Jota Pangasinana
Jota Pangasinana is "a lively and beautiful festival dance from the barrio (village) of Pangapisan in Lingayen which strongly shows marked Spanish influence in its steps and music. In the early days it was the favorite dance performed by the old people during fiestas and social gatherings."
Kindo-kindo
Kindo-kindo is a native dance mentioned in the post-wedding song "Pagatin."
KonanKonan is a dance inspired by the konan contest held during wedding ceremonies.
After the parents’ dance comes a series of bride-and-groom contests. Dancing to the tune of native waltz, they are approached one by one opposite relatives pinning paper bills in any part of the couple's outfit. Paper bills pinned on the bride's gown drape to the ground like a cloak, as a proof of the groom's relatives' support This was also a way of saying they are the better in the sports of a money-cloak at the end of their dance.
The contest extends into a show-off. When bills run out pieces of promissory notes announcing gifts of, say, carabao, a house, or a banca are pinned for the win. All through Central to a small town Pangasinan wedding is having food, great music and dancing capped with exciting contests and games involving money. These games and contest are really a ploy to raise funds for the newlyweds, a subtle way to solicit money without forcing guests to dole out cash. In fact it is one way money is extracted from tightwad relatives who only let go when they are forced by teasing and insulted.
To start
off parents (or grandparents when able) take to the floor a waltz. Tradition
calls for the couples to pair with opposite relations, the groom's father with
the bride's mother and the bride's father with the groom's mother. While
dancing, each goes through gestures to insist that they are the better family
and so the child. If words and gestures do not work, parents pull out wads of
bills and count each bill with a ringing voice before proudly handing the money
over to the couple. Not to be outdone, the opposite parent does likewise. As
the couple are waltzing, the not-so-moneyed relatives pin paper bills and
tossed coins to the floor.
The next contest is, no doubt, the most exciting game -- the coin tug-of-war. A handsome price is offered the bride if she is able to wrench off her teeth a thin 10-cent coin from the lips of the groom. The groom on the other hand, must keep his hold on the coin. To let go meant the forfeiture of the price. Imagine the uproar when the lips touch especially so in this way-laid repressed barrio where kissing in public is considered obscene if not immoral.
Finally it's the guests’ part. The rule of the game is to set a konan, on old one-peso silver coin, on the forehead and manipulate it to the mouth with facial contortions. Once it falls, the game is over and the contestant must leave the floor. For a cash prize, the young of the guest join the konan contest.
Still with a konan coin on the forehead, the dance features common Pangasinan steps enhanced by the excitement and skill of the game.
Kumakaret
Kumakaret is "a courtship dance of a person who makes wine, tuba or vinegar from sasa (a type of palm tree) in Dorungan, Pangasinan. The dance shows their ability, skill and good balance while dancers perform the dance with half-filled glasses of wine."
La simpateka
"Simpatika means demure, charming, and lovable, which are the qualities of a señorita deeply in love. The flavor and context of la simpatika centers on love exploits of gentlemen suitors who are after the love of their life. In the Philippines where moral rules are strict and binding, society calls for the ladies to be impeccably demure and gentlemen to be prim and proper."
Lanceros de Lingayen
Lanceros is "one of the many dances of European origin that found acceptance in the Philippines. This quadrille is believed to be of French origin where it was called lanciers. The Spaniards brought the baile de salon (ballroom dance) to the country and the folks assimilated it easily to their repertoire of dances."
Lanceros na Bayambang
Lanceros na Bayambang is Bayambang town's official social dance, a new dance that was conceptualized in 2017 by Prof. Januario Cuchapin and performed to the tune of an old award-winning song composition by Oscar O. Ora, a local musician and radio DJ. This dance is a formal social dance staged during big occasions like fiesta, birthday, school affairs, and other occasions. The movements and gestures in the dance depict the customs and traditions of Bayambangueños in giving honor to their guests and other VIPs who grace important occasions.
Maliket a polka
Maliket in Pangasinan means happy. This polka is danced during fiesta in honor of Sto. Nino, the patron saint of Barrio Estanza, Lingayen. The folks young and old who performed this were happy, gay, and playful while dancing so that they called the dance maliket a polka.
Malinak lay labi
Mariposa
Mariposa is a dance from Libsong, Lingayen, from the Spanish word for butterfly. “The males in the dance are the butterflies and the females are flowers. This dance depicts a butterfly flirting from one flower to another. When he makes his way back to his favorite flower, he is disliked and snubbed for his infidelity. The butterfly is sad and learns the lesson not to make love to many girls. The girl pities him and later accepts his pleas so that in the end, the two are happy once again.”
Mazurka val
Mazurka val is a Pangasinan version of mazurka (from the Polish Mazurek), “a Polish folk dance for a circle of couples, characterized by stamping feet and clicking heels and traditionally danced to the music of a village band. The music is in 3/4 or 3/8 time with a forceful accent on the second beat.”
Nilistonan
Nilistonan is believed to have been introduced by American missionaries who visited the barrios of Balongobong and Malimpuec in Lingayen during the Spanish-American war. Nilistonan, in Pangasinan language, means "with the use of cord." This dance was formerly a square dance using a pole similar to the maypole dance with ribbon streamers. The natives adopted this dance using cord or rope streamers decorated with flowers. Several cords (liston) with as many number of dancers are tied at the edge of the freely-moving takoko (native grass hat) attached to the top of the pole. The streamers hang down below. This was danced during fiestas in honor of the Virgin Mary and during Santa Cruz de Mayo.
Oasioas/Wasiwas
Oasioas or wasiwas (to swing, in Pangasinan) originated in Barrio Pangapisan (Baybay), Lingayen, where bagoong-making is a primary means of livelihood among people living along the beach.
This unique and colorful dance calls for skills in balancing an oil lamp on the head and forehead and in swinging and circling in each hand a lighted oil lamp wrapped in a white transparent and porous cloth or fishnet so that the light is not put out. The oasiwas movement is reminiscent of how local fishermen at sea would signal with an oil lamp to their companions at night along the seacoast, and after a good catch, they would celebrate by drinking wine and by dancing, swinging, and circling a lighted oil lamp.
Folks along the seacoast of Lingayen have danced this even before the coming of
the Spaniards. Onlookers clap their hands to add life and gaiety to the dance.
Ontan-ay
This is a favorite dance of the old folks of most of the barrios of Lingayen, Pangasinan. It was formerly known as "contrabandista" but was changed to "ontan-ay" because of the expression at the end of the dance by the performers. Ontan-ay means "that way" in Pangasinan.
Pampilpilalekan
At the turn of the century, special dance gatherings brought people together to entertain out-of-town guests -- an opportunity taken by lovestruck gentlemen to look around for future partners. Though repressed by moral norms, ladies manage to throw meaningful glances at men, a message that draws them close to each other. Then at last they stand face to face and barely touching hands, and courtship becomes even more passionate. This amorous touch that may last for even an enchanted moment is what pampilpilalecan is all about. Pilalecan is about the pining or longing for a loved one. Before the dance was finally arranged as a formal presentation, partners danced around the ballroom performing coquettish hide-and-seek movements.
Steps particular to the dance include touching slapping palms in a manner of saying, "Filipino custom, no touch"; arms in front alternately flapping up and down; and going under arched-arms (soot-soot).
Panangabalayan
Panangabalayan is a dance of the elders, the parents-in-law of the bride and groom. It is danced during the pagatin, which is the last part of the wedding celebration. The parents-in-law (sanabalayan) walk forward, in front of the couple, who are seated at the center of the sala and entertain them with dechos (speeches) then dance and sing "Panangabalayan." In this dance, they portray how they like their new son-in-law and daughter-in-law and that they would like them to live peacefully and happily. This dance is very common in all parts of Pangasinan.
Pandanggo na tapis
Pandanggo na tapis is an interesting dance with the use of tapis, which in Pangasinan means a rectangle apron. This dance originated in Barrio Baay, Lingayen, but was also performed in the neighboring barrios. In the olden days, a woman's sapuey (saya) or skirt is incomplete without the tapis. Whenever she goes or whatever she does at work or play, she uses the tapis for many reasons. The dancers depict in this dance the different uses of tapis: for courtship, for flirtation, for decoration, for protection, for rocking a baby, for wrapping, and for driving birds away from the rice field.
Pasikat na baso
Pasikat na baso (ed tapew na bangko) is a very colorful and spectacular dance from Barrio Pangapisan, Lingayen. Baso means drinking glass, while pasikat in Pangasinan means “to show off.”
In this dance, the dancers display good balance, graceful movements, and unusual skill on the top of the bench (tapew na bangko) with the use of four glasses half-filled with water or wine. Girl carries glasses, one on the head, one on the forehead of boy, each one held on the palms of the hands, and sometimes on the back of the fingers of boy. Partners show off their skill in manipulating the glasses, particularly in the turning, exchanging places, kneeling, and rolling over on the top of the bench, without spilling the water or dropping the glasses and without falling from the bench.
This is usually danced during wedding parties, baptismal parties, and other special occasions by one pair.
Pastora
Pastora (shepherdess) is a courtship dance popular in many towns of Pangasinan, especially in Bayambang, Bugallon, Malasiqui, and San Carlos. The dance is named after a girl called Pastora. The boy sings as he dances. In the song he tells the girl, "Pastora," to pity him. He kneels and pleads to the girl to accept his love. He tells her that if perchance he is drawn away from her, the handkerchief will remind him of her always. THen he bids her goodbye. THere are slight variations in the versions formed in different towns. The unique and the common steps found in all the versions are incorporated in the dance.
Pokliwet is a native term for pandanggo.
Say aro no balo-balo
She is timid as a dove, gracious as an opening rosebud, she has eyes that sparkle, so sweet, so gentle. He is frank and willful, open-minded and gentle. Two sets of behavior expected of couples hopelessly in love. Such is the case of young lovers finding themselves in a love-whirl in one of Pangasinan's grand balls. Man engages woman to an intimate conversation, an offer to dance follows, then the romantic say aro no balo balo.
The kewet, which is particular to many Pangasinense dances, and the touching of the elbows are appropriate movements to start a new love relationship.
Sayaw ed tapew na bangko
Sayaw ed tapew na bangko (dance on top of a bench) is an unusual dance which originated in Barrio Pangapisan, Lingayen. The dancers perform on the top of a narrow bench, so this dance particularly calls for dexterity and good balance. Excitement builds up as benches are arranged on top of one another, and the dance turns into something like a circus act.
Sayaw na sumisigay
Sayaw na sumisigay is a fisherfolk dance from Bayambang, Pangasinan.
SigsilewFrom Estanza?, Pangasinan, "sigsilew is a remarkable dance of grace, elegance, and style. Three lighted coconut shells, one on the top of the head, the other two held, are dexterously balanced. Skill plays a great role in keeping the lights in place. Villagers claim that sigsilew originated from Indonesia, but it has been interpreted in Filipino as all other foreign dances."
Siwi-siwi
Siwi-siwi is a dance that mimics a long-snouted silvery fish called siwi-siwi, which moves back and forth and thus makes a swishy sound.
Tagam
Tagam is "a pre-Hispanic a war dance performed by two male warriors and accompanied by the tulali, a most likely indigenous bamboo flute."
Tanobong
The tanobong "is a dance named after a kind of grass used for making brooms. In the coastal towns of Pangasinan, people gather tanobong flowers when not engaged in fishing. The dance depicts the different steps in broom making. Each dancer is dressed in any working costume and is provided with a wooden bolo or any similar instrument for cutting, a wooden hammer or pounder, and a chopping board. Stools or chairs are placed at the back of the room, one for each dancer."
Tubong (Kalatong)
Tubong in Pangasinan, or kalatong in Tagalog, means a piece of bamboo tube. This sprightly and interesting dance from Barrio Talugtog (town?), is danced with the use of bamboo tube about a yard long, tied horizontally below the waist with a rope and struck by two pieces of sticks to produce different rhythms.
In the old days, it was customary to the barrio folks that before building a new house in a piece of land or during a sokal (first time to use fishnet or boat), or before planting rice in a piece of land newly bought, ceremony, prayers, and festivities take place. A cross is planted at the center of a particular place, and relatives and friends of the owner gather together and make a loud sound by striking bamboo tubes or have music and dancing around the cross by the light of burning firewood. They do these to drive or frighten evil spirits away, as they believe that doing this leads to good luck, bountiful harvest, and happiness to the family.
Menfolk participate in this dance, for they are strong enough to carry the heavy kalatong, and they could make the sound loud. Womenfolk and other onlookers also shout "Ay ague!", for the louder the noise they make, the more will the evil spirits be easily frightened away.
Tupaan
"Tupaan in Pangasinan means to strike against each other. After a hard day's work in making bucayo (cocunut candy), the barrio folks amuse themselves by dancing with halves of coconut shells held in both hands. The rims of the shells are struck together to produce sound in different rhythms."
Valse vieja
Valse vieja is reportedly “a version of the valse or waltz that originated in Pangasinan and was performed by the members of the upper class in old Pangasinan during stately occasions and fiestas.”
Wasiwas – see Oasiwas
Sources:
Philippine Folk Dances from Pangasinan, 1980, Jovita Sison-Friese; Bali-Balin
Pangasinan, 2006, Januario Cuchapin; Google search; Clarita F. Tagab; Virginia J. Pasalo and Fe B. Mangahas (Eds). 2015. Pangasinan, Pinablin Dalin: History, Culture, Development. Lingayen: Pangasinan Historical and Cultural Commission
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