Formula Games Module

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SCHOOL OF TEACHER EDUCATION

Instructional Module in
MNC PE4: Philippine Traditional Games and Sports
Midterm
I. Lesson Chapter IV
II. Lesson Title Formula Games
III. Brief Introduction
IV. Lesson Objectives

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Lesson Proper
I. Getting Started
Discussion
Some games cannot be confined within one classification alone, much to the consternation of
theoreticians and classifiers. Take for example Game 181, Luksong Tinik (hurdling thoms) and Game
183,Piho (hopscotch) which can both be classified either under (A) Physical Games (ie, Hopping and
Jumping Games) or (3) Games of Dexterity or Skill, two subgroups of category Il-Ordinary Games.
Game 184 Sintak (jacks) can be classified either under (1) games of skill in the manipulation of
objects or (2) games of skill in hitting objects for such games, the basic form or structural pattern
becomes the all important basis for classification.
Similarly, in revising Aame’s tale type index in 1910 and later in 1928, Stith Thompson
encountered the problem of classifying tales under Aarne's simplistic categories of (1) tales with
animal actors, (2) ordinary tales with human actors, and jokes He comments: "A special group
of stories illustrates the difficulty of classifying on the basis of complexity of plot or of the humanness
of the actors. In this group of stories, the form is all important" (The Folktale, NY, 1946 edition:
229, italics mine)
To accommodate these stories that are difficult to classify,"Stith Thompson adapted the
category" Formula Tales" (A-T 2009-2340) in the revised Aame Thompson index This
category is divided into four groups: (1) cumulative tales, (2) catch tales, (3) unfinished tales, and (4)
endless tales ¹
Formula games are to games as formula tales are to folktales: A formala game is one in which the
whole game is the sum-total of all its parts, and each part is related to and derives its ultimate
significance from the entire whole A formula game is governed by precise contingency rules. This
category is divided into the following subheads:
(a) Cumulative Games These are chain reaction games. The succeeding movements always repeat
the previous movements or parts thereof, then adds a new part each time to arrive gradually at the
conclusion, Example 181, Luksong Tinik (hurdling thorrs) has two players on base whos build a
hurdle first with the soles of their feet pressed against each other. Then one foot is placed on the tip
of the big toes, another foot is added; one hand, another hand, a third hand, and a fourth band The
opponent pair jumps over every added hand or foot to the hurdle.
(b) Minor Formula Games. These are parallels of Aarne-Thompson tale type examples.
1) Circular games. These are verbal forfeit games that require each player to repeat a traditional
segment (a phrase, sentence, or verse) of a story. The game stops abruptly when a player fails to
follow the pattern and he is punished. Example Game 187, Juego de Prenda (forfeit game).
2) Games avoiding pronouns. These are games where the players are made to recite traditional
poems or verses, somcimes lyrics of songs, and while doing so must omit all pronouns. Example:
Game 188, Buen Hulugan Mo Ko ng Sundang (Moon, Drop Me a Big Knife).
3) Verbal jousts. This is a game characterized by an extemporaneous debate between two players or
between two groups of players on a traditional subject (eg, the age-old battle of the sexes) or any
current social or political topic. Example: Game 189, Dupluhan (verbal debate).
In due time, as more research on Philippine game is conducted, it is to be expected that canons of
other formula games, not excluding the possibility of vikotypes will be found and added to this list of
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formula games.
The addition of the formula tale category by Stith Thompson to the original tale type index of
Aarne brings out an important point in classification. When stumped with the problem of classifying
tales on the basis of Aame's content based categories, Thompson had to resort to classification
based on form arstructural pattern, proving that structure or form is more constant and stable than
content as a basis for classification. It seems reasonable to think that when structural analysis
becomes more acceptable to a much greater number of folklorists, knowledgeable structuralists
would eventually introduce a comprehensive tale type index based on structural classification. And
not long after, a game index along the same patterns would eventually follow.
(A) Cumulative Games
179. Bagol
(Coconut Formula Game)
-Bicol
Naga, Camarines Sur
PLAYERS:
Two to 10 girls, ages 9 to 12.
SETTING:
Outdoors on a grassless level spot. It is playeu any time but is quite a favorit. during moonlight nights
after dinner, when families and neighbors sit on bamboo benches outside and visit each other. The
old people make up the audience for the players.
PROPS:
Each player must have a bagol, Le, one-half of a whole coconut shell
PRE-GAME Ground preparation - Two parallel lines are drawn on the ground 10 to 15meters apart
Formation - The players are divided into two teams of equal numbers, each with a leader. The
members of one team stand on their line facing the other team.
Deciding turns-The two leaders step aside and conduct a timbi, ie, one of them tosses a coconut
shell in the air. Whoever guestes correctly the side that is up when the coconut shell lands on the
ground plays first. The teammates of the leader who loses place their shells, rims down, on their line
Rules:
1. The sequential pattern of eight parts must be played consecutively and no team is allowed to start
the next part unless the preceding one is completed successfully.
2. If one team loses or fails in any part, the members place their shells down on their line and yield
their turn to the opponent tram. They pick up where they left off and do not have to start from step 1
when therturn comes again.
3. In steps 1, 2, and 3, so long as one player makes a successful shot, meaning that he hits his target
shell, his team is allowed to proceed to the next step.
4. However, in steps 4, 5, 6, 7, and 6, each player must make a successful shot. If one player fails,
anyone in his team, usually the leader, must (play again for) him;.
5. Two chances are allowed per player in parts 1 to 4 and only one chance from 5 to 8.
Objective-To complete the eight-part sequence of the game without any entor.
MOVEMENTS:
1. Kalining (rolling) - With her back tumed to her opponent, each player of Team A stands on her
team starting line, holds her coconut shell between her two feet, then kicks it towards the target
opponent shell (that one opposite her on the other team’s line) She is allowed three consecutive kicks
to get near and strike the opponents shell.
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2. Kampilan or Sipa (Kicking)- Facing the opponents line, the player presse the coconut
shell against her thigh, holds the shell securely at the rin then twirls it at the opponents shell. Three
shots are allowed to get new the target shell.
3. Lurd (Spit)-The coconut shell is picked up where it landed after step two. The ground is struck with
the shell, then with three fingers of each hand holding opposite sides of the rim of the shell, the player
spits through a hole of the shell. The shell is dropped on top of the opponents shell, taking care that
the rim is up when it lands on the other shell.
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4. Kingking (hopping)-The coconut shell is pressed between the two anides and from the starting line,
the player hops three times towards the opponents line, After the third hop, she drops the shell on top
of the opponents shell.
5. Baldt or Liydd (bending backwards) - The coconut shell is thrown dose as possible to the
opponents shell. Standing on the very spot where it landed, the player bends backward and drops it
on top of the opponents shell.
(Note: If the player happens to hit the opponents shell instead of just landing near it in the first throw
of her own shell, she is punished by letting her bite her shell with her teeth and bend her body
backward till her hands reach the ground. In this awkward position, she must drop her shell on top of
the opponents).
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6. Hangad or Tingala (head up) - The ground is scratched with the shell in onesweeping motion
and with her face turned upward, the player walks to the opponents shell. Half-sitting in the air (tkydd)
she strikes the shell of the opponent.
7. Sunong (carry on the head)-The player places her shell on top of her head and hops to the
opponents shell then tips her head to drop the shell on the opponent's She picks up her shell
and hops back to the starting line.
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8. Sipit (pinch) - The player pinches the rim of her coconut shell with the two big toes of hi-right foot,
hops with the other foot to the opponent> shell and taps it on the top with her shell Without losing
balance, she returns to the starting line.
The player (or team) who finishes first the complete sequence of eight steps of movements wins.
CULTURAL NOTES
The Bicol Peninsula is a coconut producing region, the soil and climate of the area being suitable for
growing coconuts. Bicolanos are reputed to be lovers of dishes cooked with coconut milk (gata) and
spiced with liberal quantities of green and red hot pepper. It is therefore understandable to find
coconut shells commonly used in many Bicol games and bagol, by far is one of the most popular. The
shells used in the games are halves of whole coconut shells with the hairy fibers attached to the
shells removed by the edge of bolo knives. With the aid of sandpapers or of rough wide leaves called
pakiling, the coconut shells are made smooth and polished.
Regional Versions
Bakyd (wooden shoes) - Tagalog (Pasay City).

Julita Tamondong McLeod. Wooden shoes,
instead of coconut shells are used as props in this
game. This is because coconut trees are not
plentiful in this city which is very close to Manila.
Bao (coconut shell) - Tagalog (Quezon Province).

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Severina Haway
180. Berong-Berong
(Link Tag)
- Tagalog
Parian, Calamba, Laguna
Players:
Any number of player, boys and girls, ages 7 to 8
Setting:
Outdoors where there is a wide area for minning.
Props:
None
Pre-game:
Selection of "it" (taya) - One player is chosen "it"by means of a counting out rhyme.
Formation - Informal. The players are scattered around.
Objective - The "it" is to tag a player and the player tagged helps him others and form a chain.
MOVEMENTS:
1. The "it" chases a player and having overtaken him, tags him.
2. The first player tagged must hold the "it's" hand and help him tag others.
3. The second player tagged must join hands with the first two, and so on.
4. The game continues until everybody has been tagged. Either the first or last player tagged
becomes the "it" for the next game.
Sometimes the last one or two players, who manage to escape the linked taggers, see the
hopelessness of their situation and thus give up voluntarily.
181. Luksong Tinik

(Hurdling Thorns)
- Tagalog
Cabanatuan City, Nueva Ecija
Players:
Four to eight girls, ages 9 to 12. Boys, 6 to 7 years old. Girls play with girls, boys with boys.
Settings:
Outdoors, preferably on a grassy area.
Props:
None
Pre-game:
Assignments of roles – The players divide into equal groups and each group chooses a leader
whom they call “ Nanay” (Mother). The rest of the players are the “anak” (children). The “Nanay” is
supposed to be the best high jumper in the group.
Deciding turns (manuhan) – The two leaders steps aside and toss a slipper or a wooden shoe.
Formation – Two members of the team who lost in the pre-game sit on the ground, facing each
other. Around 6 to 10 meters away from them, a line is drawn and the team to jump first fall in line.
Objective - The players on base are to build a hurdle gradually with their hands and feet; the jumpers
should try to hurdle each part of the obstacle as it is being built, without touching it with any part of
their body or clothes.
MOVEMENTS:
1. The two players on base extend their right feet forward and press their soles against each other.
One by one the members of the opposing team jump over the right feet of the players on base, then
return behind the line.
2. The two seated players press the soles of their left feet together and put them on top of the two
right feet. The jumpers take turns jumping and returning behind the line again.
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3. One of the seated players stretches one hand and puts it upon the toes of the left feet. Each
member of the opposing team jumps over the hand.
4. The other seated player adds one of her hands to the "hurdle". The opponents jump one after the
other. (Note: The two seated players keep on adding hands until the "hurdle of thorns" is complete
with four hands stacked on top of four feet. The opponents jump every time a hand is added.)
If a “child” touches any part of the hands while jumping, the seated player who touched his clothes or
body shouts, “Násaléng!” (touched!) and the “Mother” comes forward to “save” the touched “child.”
The “Mother” jumps again on behalf of the child touched. Should the Mother fail, the two teams
exchange places and the game starts all over again.
For Three or More Players to a Team
Among older players, the “hurdle of thorns” is higher.
5. A third player joins the two seated players on base. She stands or kneels behind one of the seated
players then adds one more hand to the top of the hurdle. The opposing team jumps.
6. (Optional) Another player stand behind one of the seated players and stretches an arm to cover the
side gap between the head of the seated player and the tip of the hurdle.
When no one is touched among the jumpers, the game starts all over again, with the same teams
performing the same roles.
Regional Versions
Luksóng Dangkál (“Jump over a Span of Hands”) - Tagalog (San Rafael, Bulacan).
Luksóng Tunók (“Hurdle of Thorns”) - Visayan (Cebu).
LUKSONG TINIK (Hurdling Thorns). The players on base the a stack of their hands and feet placing
one on top of the other. The opponents try to jump over the "hurdle of them without being touched
in any part of their clothes or body.
Version 2 (Boys)
- Tagalog
San Mariano, Nueva Ecija
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Players:
Four to eight boys around 8 to 9 years old.
Setting:
Same as in game luksong tinik
Props:
A smooth strip of bamboo, around 2 meters long. (Note: To make a strip of bamboo, a
bamboo section, about 2 meters long, is split lengthwise several times. One bamboo strip is
scraped s sooth with the edge of a sharp bolo.)
Pre-game:
Same as in game luksong tinik. Since the players here are boys, the leader is called “Tatay”
(Father) instead of “Nanay” (Mother).
Rules:
1. The team on base cannot raise the strip of bamboo higher than the agreed height in relation to
the player's body, i.e., up to the waist, up to the chest, or up to the shoulder, etc.
2. The jumpers should not touch the strip of bamboo with any part of their body or clothing.
Objective - The jumpers are to hurdle successfully the bamboo strip every time it is raised without
touching it with any part of their body or clothing.
MOVEMENTS:
1. The two players of one team hold the bamboo strip between them and raise it gradually from the
ground to an agreed height.
2. The opposing team tries to hurdle successfully the bamboo strip every time it is raised.
(Note: This version follows the same movements of game luksong tinik. The bamboo strip is raised
one foot from the ground, then an inch every time, till it reaches the agreed maximum height. The
“Tatay” jumps to save the player who fails.)
If no available bamboo strip is around, a young, straight sapling may be substituted. The branches
are removed and the young bark is scraped smooth to protect the player's feet from splinters.
LUKSÓNG TINIK (Hurdling Thorns). A little boy jumps over a strip of bamboo held by two (2) players.
To avoid accidents, the two players holding the stick should not hold the ends tightly so that the
stick falls the moment it is touched by a jumper.
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This is one game wherein girls do not allow boys to join. The Philippine custom of “no touch”
between boys and girls is involved here. Conversely, boys do not let girls jump over their strip of
bamboo since playing with a girl is considered being a “sissy.”
Lumuwas Ako
(I Went on a Trip)
-Tagalog
Parian, Calamba, Laguna
PLAYERS:
Any number of boys and girls, ages 12 and above.
SETTING:
Outdoors or indoors. Adults play indoors during parties and wakes.
PROPS:
None.
PRE-GAME:
Assignment of roles - A leader is elected.
Formation - The players are seated in a circle. The leader sits at the center.
Objective - Each player is supposed to repeat all the things mentioned by the players
ahead of him then add one of his own.
MOVEMENTS:
1. The leader starts the game by saying:
Leader : Lumuwás ako sa Maynila (or any place).
I went to Manila.
Dinala ko ang aking payong.
I brought my umbrella.
Player: Lumuwas ako sa Maynila,
Dinala ko ang aking payong,
Dinala ko ang aking anak.
(child)
2. The next players continue adding articles to those already mentioned.
3. When one player fails to name all the preceding articles mentioned, he is made to give a forfeit to
the leader.
4. The player who surrenders an object for a forfeit starts the game over again.
5. When enough forfeits have been collected by the leader, he doles out punishments to the
owners before the objects are redeemed.
The previous players listen carefully and help the leader check if the object they named is
mentioned by the next player.
Piko
(Hopscotch)
-Tagalog
Sampaloc, Manila
PLAYERS:
Two to eight girls, from 7 to 10 years old. Boys play this when they are small, but they
hardly join when they are already 8 years old.
SETTING:
Outdoors on any grassless spot on the ground or any cemented area, Any time of the day.
PROPS:
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Each player must have a pamatò (i.e., a flat stone, a piece of broken china, a metal disk,
even a cashew seed).
PRE -GAME:
Ground preparation - A geometric figure is drawn on the ground, using a stick and a
chalk or charcoal on a cemented area. (See diagrams.)
Numbers 1, 7, 6 and 8 are called buwan (moon)

2 and 5 are dibdib (chest)
3 and 4 are pakpak (wings)
Formation - Informal.
Choosing who plays first (manuhan) - All players line up on a toe line (AB), around 3 to 5 meters
away from the figure. Each one throws her pamatò at intersection C of the diagonal "Wings" (pakpák).
Whoever succeeds in throwing her stone nearest to the intersection is mano, (first to play), the
second nearest is segunda mano, the third tercera mano, etc. with the last player called kulitad .
Before playing, each player chooses her own buwán (moon) from where she starts.
Rules:
1. A player must throw his pamatò inside the target compartment every time. The stone must not
land on top of any line.
2. She must not step of any line
3. She must not rest while skipping.
4. She must not change from one foot to another while skipping. The penalty for violating any of
these rules is forfeiture of one's turn to the next player.
Objective - A player is supposed to hop back and forth on one foot through an entire maze of
squares, one hop to each square, two feet into double boxes, straddling the middle line.
MOVEMENTS:
Part I . Kandirit (Skip)
1. The first player throws her pamatò to her chosen buwán, skips on one foot then kicks the
pamatò out.
2. She skips outside, picks up her pamatò , then throws it to space 2. She repeats the same
procedure as in movement 1.
3. She throws her stone to 3, then skips on one foot to 1 and 2 then briefly lands on two feet on
3 and 4 (her left foot on 3 and her right foot on 4). Quickly, she stands on her left foot, and
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kicks her stone from 3 to 2 to 1, then outside. (In bringing back a stone, it is not necessary to
kick only once; a series of kicks in every space is acceptable.)
4. She throws the stone to 4. The movement is the same as no. 3.
5 & 6. The pamatò is throw to 5 and 6 in the order of their numbers, and the player skips and
gradually kicks the ston with her toes, from one compartment to another, on her way
back to 1 then out of the figure.
(Note: In skipping back and forth, the player's two feet must always land simultaneously on 3 and 4;
only one foot should be used in skipping and kicking the pamatò from one space to another. Any
time she commits a "foul" [error], she yields her turn to the next player but leaves her pamatò
wherever she stopped. She starts from where her stone is when she resumes playing. If she makes
no error, she proceeds to Part II.)
Part II. (Step¹⁰)
1. The player throws her pamatò to space 1, then steps in (not skip) with her head thrown back
(nakatingala). "She does not look at the ground but squats and feels with her hand for her
pamatò. When she finds her stone, she it then traces her way back, step by step, following
the same route as in Part 1. Every time she steps either forward or backward, she asks, "Step
ba?" meaning, "Did I step on the line?" Her opponents answers "Hindi" (No) if she did not and
"Oo" (Yes) if she did.
2. to 6. Same as Part 1, except that here the player does not skip but walks.
7. The First one to finish Parts I and II, writes an "X" on anyone of the numbered squares. The
other player (s) can no longer step on this marked area. Anyone who does so "dies"
(mamámatáy), i.e., she relinquishes her turn to the next player. The game is repeated as many
times as necessary till all of the numbered areas are marked "X." The player who owns the
most number of areas marked "X" wins; the loser the least.
Penalty
The winner can choose one of the following punishments:
(a) Bantilan (Hitting a Fist). The winner raps with her knuckles the closed fist of the loser as
many times as previously agreed.
(b) Hanapán ( Search ). The winner blindfolds the loser and takes her to different places. The
loser is made to drop her pamatò or a piece of stick along the way. After going round and
round, the loser's blindfold is removed and he is made to look for the pamatò or stick he
dropped.
This is similar to the Spanish La Semana, except that the figure has fourteen spaces for the days of
two weeks, whereas the Spanish version has seven spaces for the days of the week.
(Note: Several monographs have been written on hopscotch, e.g., Eduardo Menendez,
"Aproximaciones al Estudio de un Juego: La Rayuela," Cualernos del Instituto de Antropologia, IV
(1963): 131-60.)
The Philippine regional variants given on p. 521 differ from one another only in the
performance of the movements or actions in Part I of the Manila version (Game 183). Most versions
favor the Manila to the Nueva Ecija version (p. 521). However, all the regional versions play Part II in
the same manner.
The figure with a heart-shaped center, from Binmaley, Pangasinan, is rather rare in the
Philippines but finds a close analogue in a Hispanic-American version from Trujillo City, Santo
Domingo (Boggs: Figure 33, p. 435). Note also that a Spanish version from Asturias is called Corazon
de Gato (cat's heart) which obviously has a heart theme. With these data, one cannot overlook the
major role Spain played in the past histories of the Hispano-Americas and the Philippines as the chief
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cause of similarities in the pikô variants from Pangasinan, Santo Domingo, and Spain.
A striking similarity also exists in the Bicol version of "Double Piko" from Naga, Camarines
Sur, the Yugoslavian Samonoge, and the Spanish La Semana (Brewster: 114). The Yugoslavian and
Spanish versions have seven squares in the diagram for the seven days of the week, the Bicol figure
has 14 squares to represent two weeks (i.e., excluding the lunar arc).
According to Brewster (1953:114), J.W. Crombie suggests that "the Christians borrowed
it (hopscotch) from a pagan source and replaced the original labyrinth (Gomme's theory) with the
Basilica pattern." Pitre believes that the hopscotch diagram has a solar significance. If we grant
Crombie's and Pitre's postulations, then the Filipino symbolisms in the game become interesting.
Both Crombie and Pitre associate the game with the soul's progress from earth to heaven, through
various intermediate states. Note that the goal towards which the Philippine pamatò or taw is
propelled is frequently termed "Heaven" (langit) or "Moon" (Buwán). The Manila version also uses the
term "pakpak" (wing) and "dibdib" (chest). While buwán is obviously a solar term, pakpák, langit, and
dibdib are terms used in the Christian religion. For example, the Catholics have an important part of
their holy mass where the churchgoers symbolically hit their chest (dibdib) with their fists to signify
repentance over the crucifixion of Jesus. The term "wings" (pakpák) is commonly associated by
Christians with angels, and langit as the place where good people are believed to go after death.
Most Philippine versions of pikô require the putting of a cross (X) on any space claimed by the
winner. Once the cross is made, that marked area can no longer be touched by an opponent, which
can only be associated with the belief that the cross is a Christian symbol, believed to ward off evil or
the Devil himself.
On the other hand, the Ilongos of Iloilo call the winner's space marked with a cross as
"bahay" (house or home) and the end goal is called "Ina" (Mother) (See Diagram 34i, p. 521). These
Ilongo symbolisms can perhaps be linked with the Philippine belief in the sanctity of the home and the
dominant role of the mother as the religious influence and teacher of the children.)
Version 2 Piko
Pre game :
Deciding turns - Every player throws her stone or taw to a straight line ( AB) drawn at the center of
the square 6 . Whoever pitches closest to the line plays first ; the second nearest next , etc. This
same method is used when using diagram 34a , 34b, 34d , 34e , 34h and 34i on p.521
MOVEMENTS:
1. The player puts her stone / taw ok n square 1. She jumps over from 1 to 2 , landing one foot .
2. Still on one foot she skips to 3
3. At 4&5, she puts both feet down , one in each square .
4. She skips to 6 on one foot , puts both feet down on 7&8 ( as in 4&5 ) .
5. Upon reaching the end , the player jumps and turns so that she can face in the opposite direction .
She traces her step back .
6. In square 2 , still on one foot ,she bends her waist and picks up her stone/taw and hops over
square 1 . ( She continues throwing her stone to every square , hopping over what ever square her
stone . In 4&5 and 7&8 ,she skips 1 foot if her stone is in one of these pairs . )
7. When she throws her stone to 9 ( the buwan or moon ) she skips to 7&3 , jumps in the air and turn
around , then sits on her haunches . With her head up , she gropes for her stone with her hands ,
taking care not to touch any line . Finding her stone , she picks it up and skips back to 1 and then
out .
Version 3 - Double " Piko "
8. She marks any square "X " if she commits no error in all her movements. This area cannot be
touched by the opponent .
Figure 94. Double Piko " . Two team mates play simultaneously, one clockwise , the other counter
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clockwise . Each one hops on one foot and kicks the taw ( pamato ) from one square to another
without stepping on any line
184. Sintak
(Jacks)
-Tagalog
PLAYERS:
Two or more girls, ages 5 to 10. Little boys play this only when they are 5 7 years old. Older boys do
not ordinarily play the game.
SETTING: Indoors or outdoors.
PROPS:
Each player must have seven dried grains of corn or small round stones (each as big as a grain of
corn) one of which is larger than the rest.
PRE-GAME:
Formation - The players form a circle sitting on the floor/ground. Deciding turns - The same method
is used as in Siklót (See Game 88).
Rules:
1 When a player tosses the big stone in the air, she must (a) catch it as goes down; (b) not miss
picking up any of the small stones as require in each stage of the game; (c) not pick up more stones
than is require in each movement; and (d) not drop any stone picked up. Failure comply with these
rules means loss of one's turn.
MOVEMENTS:
1. The first player gets an equal number of stones from each player. S
throws the big stone in the air, quickly spreads the rest of the stones o the floor/ground, then catches
the big stone as it comes down.
2. Panumpók (Grouping) - The player tosses the big stone in the air the picks up the stones one by
one. After this is done, the stones are picke up by two, later three by three, then four by four, and so
on up to six by six.
3. Pang-akyat (Climbing)- One by one, the stones are placed in the cupped hand against the
floor/ground, forming an arch between the thumb are the other four fingers. Every time the big stone
is tossed in the air, the small stones are pushed one by one under the bridge. After the last stone
goes through the hole, all the stones are picked up with one big sweep of the right hand before the
big stone comes down (This movement sometimes called "pase-barra" (Spanish for "pass the bar")
FORMULA GAMES
(Note: The moment the first player misses a movement, the next turn goes the player who was
second in the pre-game. (See Siklót, Game 88.] The ne player starts from the beginning The one who
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loses his turn has everyone has had his turn, before he can play again.)
> Each time a player completes the game without missing a step, he gets or stone (a "baboy,"
meaning "pig"). At the end of the game, the player with th most number of "pigs" wins
185. Sungka
(Board Distribution Game)
-Tagalog

PLAYERS:
Two children, at least 7 years old. Adults."
SETTING:
Indoors or outdoors. The game is popular during rainy days when most children stay indoors.
PROPS:
A boat-shaped board which varies from 30 to 32 inches long, 7 to 9 inches wide, and 3 to 5 inches
thick. This board is called sunghaan or sunkahan. (Some game board figures are shown below.)
On each side of the board running lengthwise in two parallel rows are seven equidistant holes
(sometimes five or six) in each row, the holes approximate half an inch apart. These small holes are
hollowed out and are about two inch in diameter or big enough for a player to put five fingers at once
Each small he is called bahay in Tagalog or baldy in Iloko, Bisaya, and Kapampangan, both which
mean "house."
FORMULA GAMES
At each end of the board is a large hole, each around five inches wide, commonly called Ind (Mother)
or ulo (head) in the Tagalog regions. In Nueva Ecija, especially in rich agricultural areas, this big end
hole which has the capacity to hold two handfuls of tokens is referred to as kamalig (literally, a
granary or storehouse of agricultural products.)
(Note: If a game board is not available
a. Two rows of cups for saucers]; 5 to 7 cups to a row may be played on top of a table.
b. Outdoors, a double row of holes are scooped in hard-caked ground by using a stick, a spoon, or
bare hands)
PRE-GAME
formation - The two players sit opposite each other with the game board between them. The row of
holes nearest to a player and the big bole (Mother Hole) at his left end belongs to him while the other
row of small holes on the opposite side and the other big hole (left of the opponent] belongs to the
other player
Deciding turns-There are two ways of, determining who plays first
(1) Among young children the methods used to start the game are :kaliwa o Kanan (Left or Right, sex
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pp. 43-44) and Gansál o Pares (Odd or Even nee p. 43) under "Pre-games"
(2) Among much older children and adults the following method is used .
(a) Both players start simultaneously, each one picks up all the shell from any one of his own "houses
and distribute them one by one at a time among the other "houses beginning with the "house" left of
that from which he picks out all the contents. He continues clockwise till he reaches the large "mother
hole" Here he drops one token, too.
(b) If he still has shells in his hand after reaching his "mother hole," he continues dropping them one
by one into the "houses" of his opponent, still going clockwise, towards the direction of his opponent's
"mother hole" (See below)
(Not A favorite start for most players to scoop the shells from the farthest little "house" to his right.
With this start, the last shell inevitably enda in the player's "Mother Hole In such a case, the same
player is entitled scoop again the shells from another small "house and distribute them in the same
manner as shown in the above diagram)
(c) If the last token of one player, say Player A, reaches an empty "house" he is declared "dead"
(panty) and he stops playing. His opponent, Player B, wins the preliminaries and continues playing.
Rules:
1. A player must drop only one shell at a time into every small hole ("house") and into his own
"Mother Hole."
2. He must not drop any shell into his opponent's "Mother Hole" or in any "burnt house" (sunog, i.e., a
"house" left empty due to lack of enough tokens accumulated by a player in his "Mother Hole").
(a) The opponent is entitled to any shell which his rival drops carelessly in any "burnt house."
(b) A "burnt house" can only be refilled in the next game after a complete set of seven (or whatever
number fills a hole) tokens are accumulated in the owner's "Mother Hole."
3. Four things can happen to the last shell in a player's hand:
(a) It is dropped in an empty hole in the opponent's row and the player and his move declared "dead"
(patáy) and he stops playing.
(b) It is dropped in a filled hole and all the contents are scooped out and distributed around.
(c) It is dropped in an empty hole in the player's own row of "houses"; if the opposite hole belonging to
the opponent contains shells, he "eats" (kain) them up, i.e., he scoops them and deposits them, plus
his last shell, in his "Mother Hole."
(d) If the last shell winds up in the player's own "Mother Hole," he is entitled to continue by picking up
any lone shell in his first "house" (for player B, this is the small hole marked 7 in the diagram on p.
530; this would be hole A for player A) and dropping it into his "Mother Hole" before he starts the next
move. This move is called sampá ("to climb") or subí or subida ("made to advance"). He continues
playing by picking up the contents of anyone of his own "houses" and distributing them in the same
manner as before.
Objective - Each player should try to accumulate more tokens in his Mother Hole than his opponent.
MOVEMENTS:
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Part I
1. The winner in the pre-game picks up again all the counters in any of his own seven holes and sows
them, one in each little hole, around theboard to the left, including, if there are enough, his own
Mother Hole and on into his opponent's holes (but not his opponent's "Mother Hole").
2.
(a) If the player's last counter lands in an empty hole in his own side, he captures all the opponent's
counters in the opposite pit and puts them in his own Mother Hole, together with the capturing
counter.
The opponent gets a turn to play.
(b) If the player's last counter falls in his own Mother Hole, he gets another turn.
(c) If the last counter falls in the opponent's empty pit, the player "dies" and leaves his counter where
it landed.
3. The game is over when all sev_n pits or holes on one side are empty. The player with the most
counters in the Mother Hole wins.
PRE-GAME:
Part II
The shells in each Mother Hole are distributed by the owner among his small pits or holes ("houses").
Any small hole which cannot be provided with the required seven shells must remain empty during
this game. These empty houses are declared "burnt" (sunog). MOVEMENTS:
1. The winner in the first part of the game starts by picking up the first seven shells he believes would
enable him to effect the most number of non-stop rounds to reduce the opponent's participation to a
bare minimum or not at all. The process of distribution is the same as in Part 1.
2. The opponent takes over the game when the other player "dies" (i.e., lands his last shell in an
empty hole).
3. At the end of the game, the shells in the "Mother Holes" are counted, and the difference between
the contents of the two big holes constitutes the winnings of the player whose "Mother Hole" has
surplus tokens.
The number of innings depends on the players. It takes a long time to finish a especially if amateurs
are playing. Experts who know how to make the best moves finish the game quickly.
The loser is given some form of punishment. First of all, he is required to fill all the holes ("houses"),
his and those of the winner. The winner picks up a number of shells and asks the loser to guess the
correct number. If he fails to guess correctly, the loser makes a fist and his knuckles are flicked or
rapped by the winner as many times as the number of shells in the latter's hand
(B) Other formula Games
Game Tales
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186. Verso-Verso (Verses)

Visayan
Ormoc, Leyte
PLAYERS:
Any number of young men and women, ages 15 to 20, who are good in composing verses
extemporaneously.
SETTING:
Nighttime Indoors or outdoors after the prayers are said during wakes or after the funeral.
PROPS:
A handkerchief with its four ends knotted into a big ball or any ball bigger than a pomelo (suhà).
PRE-GAME
Formation - The players sit in a circle on the floor or around a table.
Assignment of roles - An "it" is chosen. A "king" is elected and sits at the center of the circle.
Objective - Each player is supposed to improvise a verse starting with the first letter of the last word
said by the player before him. Failure to do so mean surrendering a forfeit to the "king."
MOVEMENTS:
1.The "it" throws the handkerchief or ball to a player of the opposite sex, at the same time saying a
verse.
2. The player who receives the handkerchief starts a verse beginning with the letter of the last word
of the previous player. He throws the handkerchief/ball to another player.
(Note: The handkerchief/ball continues to be thrown from a boy to a girl, then from a girl to a boy, etc.
to be interrupted every now and then when a player breaks the rule or drops the handkerchief. The
"king" exacts a forfeit from the erring player, keeps him in the game as the "it" in the next game.)
3. All players who surrendered forfeits are considered losers and are penalized by the "king" who
assigns tasks before returning articles to their owners.
Sample of Game Content:
Player no. 1:
• May barko gikan sa Manila nga nag-daa sin tela. A ship from Manila brought in a fabric.
(Throws handkerchief to a girl.)
Player no. 2:
• Tela gikan sa China ma-anindot kaayo. The fabric from China is very beautiful.
(Throws the handkerchief to a boy.)
Player no. 3:
• Kang kinsa man tela kini, kang kinsa? For whom is this fabric? etc. etc.
(Throws the handkerchief to a boy.)
Another Regional Version
"Banda," (Visayan). Bartolome: 28.

• The leader starts by saying "A ship from Manila going to Cebu is loaded with H." He points to
any player who responds by naming an article of export starting with the letter H. If the player gives a
correct answer, the leader points to another player and so on. Any player who falls to give a correct
answer forfeits an article which he has in his person.
1. Circular Games
Tagalog Parian, Calamba, Laguna
187. Juego de Prenda¹8
(Forfeit Game)
PLAYERS:
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An equal number of young men and women; anywhere from 10 to 20 preferred.

SETTING:
Outdoors or indoor at night during pastyume, i.e., the nine-day novena (pray for the dead) after the
burial.
PROPS: None PRE-GAME
FORMATION:
The players form either a circle of two rows facing each other; one row of women and the other men.
A "king" sits at the center.
Assignment of roles –
(a) The oldest or most eloquent male player is elected "king" (harl),
(b) a king's aide (ayudante) preferably one with an outgoing personality, is chosen,
(c) the women assume names of flowers, the men fruit trees.
OBJECTIVE: The players are to give forfeits (prenda) if caught making any of the following mistakes:
(a) failing to answer promptly when one's name is called, (b) failing to address the king with due
respect, calling out names of fruit trees or flowers not in the group, or (d) laughing or talking out of
turn.
MOVEMENTS:
1. The "king" calls for order and announces that his favorite bird (a kulasisi) flew away. He asks a
"flower" if she has the lost bird.
2. The "flower" called denies that she has the king's bird and points to a fruit tree.
3. The fruit tree mentioned by the flower denies also that he has the lost bird and points to another
flower.
(Note: The game continues with the following circular pattern: a flower always points to a fruit tree
and a fruit tree points to a flower, etc.).
4 The tempo of the game increases as the players talk faster and faster thus pressuring some players
to commit mistakes. The ayudante helps detect errors and collects forfeits from the erring players. As
soon as the desired number of forfeits are gathered, the king stops the game.
(Note: The king commands the owners of the forfeited articles to redeem their "treasures" by
performing tasks which range from the most ridiculous [like kissing one's image on a mirror] to the
serious and traditional [like singing a kundiman or love song, reciting a tula or poem, etc.]).
CULTURAL NOTES
Binuburol- when a person dies in the Philippines, his remains lies in the house (in big cities, in
funeral parlors) for two or three days, even a week.
Abuloy- a continuous flow of relatives and friends come to pay their last respects to the dead and
leave some abuloy (i.e, a money contribution to help out the bereaved family with the funeral
expenses).
Lamayan- a nightly vigil takes place until funeral.
Aswang- half-ghoul and half-vampire
Pasiyám- a nine-day novena or period of prayer for the eternal repose of the soul of the dead. During
this period, a padasal takes place, i.e., either prayer leaders are hired or neighbors, relatives, and
friends are invited to pray with the family.
The best time to come to a pasiyám is on the last day, i.e. the ninth day called the patapos (meaning
“the end”, “finish”) when the bereaved family prepares a big feast.
REGIONAL VERSIONS
Bulaklakan (Flower Game)- Tagalog (Bulacan)
Kulasisi (The King’s Bird)- Tagalog (Nueva Ecija)
Gamgam kan Kadi (The King’s Bird)- Bicol (Camarines Sur)
2. Games Avoiding All Pronoun
188. Buwan, Hulugan Mo 'ko ng Sundang (Moon, Drop Me a Big Knife)

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—Tagalog
PLAYERS:
Any number of adults, men and women.
SETTING:
Indoors or outdoors during special occasions such as fiestas or wakes.
A STUDY OF PHILIPPINE GAMES
PROPS:
None.
PRE-GAME:
Formation - The men and women sit alternately in a circle with a chosen "leader" in the center. The
group chooses either a nursery rhyme, a poem, or a song that everyone knows.
Rule - Pronouns should be dropped from each line of the rhyme (song or poem) being recited. Failure
to do so means automatic elimination from the game.
MOVEMENTS:
1. The leader recites the first line of the nursery rhyme.
2. The woman at his right recites the second line.
3. The man next to this woman speaks out the third line.
(Note: The order of recitation is always man-woman; man-woman alternating. To trick the players into
forgetting about the avoidance of pronouns, the leader asks the players to talk or sing faster.)
The following is sample of a popular Tagalog nursery rhyme used: Buwan, Buwan, hulugan (mo 'ko)
ng sundáng.
Moon, Moon drop me a big knife.
Aanhin (mo) ang sundáng?
What will you do with the knife?
Itataga (ko) sa kawayan. I'll chop a bamboo.
Aanhin (mo) ang kawayan?
What will you do with the bamboo?
Itatayo (ko) ang (aking) bahay. I'll build my house.
Aanhin (mo) ang bahay?
What will you do with a house?
Lálagyán (ko) ng palay. I'll store unmilled rice.
Aanhin (mo) ang palay?
What will you do with unmilled rice?
Ipápakain (ko) sa manók. I'll feed the chicken.
Aanhin (mo) ang manok?
What will you do with the chicken?
Kakainin (ko)..
I'll eat them.
(Note: The players simply repeat the rhyme again and again, faster and faster)
Any nursery rhyme, poem, or song can be used in this game. Regardless of how well the players
know their material, the avoidance of pronouns is quite unnatural in ordinary speech and in no time at
all, the players make mistakes one after the other.
When a song is chosen, the game takes on a humorous nature as various singers contribute a line
when their turn comes, each singing in various pitches and not a few are out of tune. This makes the
audience laugh ar d some players who cannot stop laughing are penalized.
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3. Verbal Joust
189. Dupluhan
(Verbal Debate)
—Tagalog
PLAYERS:
Men and women. The men are called "bélyakos or villacos" and the women "belyakas or villacas."
(The terms villacas and villacos are generally used by hispanized Tagalogs to refer to "good talkers.")
SETTING:
This is generally played at night during wakes. A temporary shelter called damara is built in front of
the house of the deceased to accommodate the overflow of guests during the night vigil and in the
evenings of prayer after the funeral. (See cultural notes on death customs under Game 187 Juego de
Prenda.")
PROPS:
None.
PRE-GAME:
Formation - Two rows of benches or chairs are arranged. The men sit on one side and the women
on the other.
Assignment of roles -A "king" (harl) is selected. He is always someone generally known as a "star
dúplero, "i.e., the most articulate speaker in the whole group. He sits on a chair at the center of the
two rows of players.
Objective - The players are to engage in a debate on any subject or one group accuses the other of
an imagined crime. The latter defends itself and in turn accuses the accuser.
(Note: This game follows a definite formulaic pattern.) MOVEMENTS:
1. Introduction - The "king" addresses the audience.
2. Invocation to prayer - If the deceased is a Roman Catholic, the king begins with "Our Father"
(Amá Namin), follows it up with "Hail Mary" (Abd Ginoong Maria) and ends with "Requiem"
prayer for the dead.
3. The king signals to begin. The king shouts, "Numeracion!" (Count off). The players answer,
"Tribulacion!" (Tribulation). The players count off, assigning themselves a number each. This
also assures the king that there is an equal number of players in each group.
4. Players introduce themselves individually to the audience. Example:
Embahador (ambassador)
"Ako'y embahador sa Israel buhat etc.
I'm [an] ambassador from Israel.
(After a man has spoken, he names a belyaka
[woman] to speak after him or vice versa.)
5. Debate between the belyakos and belyakas.
6. The king gives his judgment as to who won the debate. He metes out severe punishment to
the losers.
7. The defender (defensor) of the losers pleads to the king on behalf of the losers.
8. The henchman (berdugo) of the winners defends the king's decision and the winners.
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9. The king reconsiders and revises his severe punishments to simple tasks and stunts for each
member of the losing group.
10. The losers perform their tasks.
11. The king closes the game,
(a) He declares the dupluhan ended,
(b) he thanks the owners of the house, and
(c) He thanks and praises all the contestants.
The duplo is a very broad form with a fluid content that places it on the borderline of drama and
games. It is a dramatic debate that includes riddles, banters, repartee, puns, proverbs, and
conundrums. The dialogues contain rich quotations from ancient Philippine awits (religious songs)
and corridos (octosyllabic metrical tales of Spanish origin). The subjects may be historical, biblical, or
social problems of the day. The players are all volunteers and are exceptionally good in
extemporaneous delivery of poems and rhythmic prose. It is the rampant borrowings of materials from
oral literature as well as from other folkloric genre, not to mention the unconscious acting of the
participants who get carried away with their own words that has let quite a number of people to
classify the duplo as "early Philippine drama." On the other hand, even those authors who call the
duplo as "drama" admit that the form "can hardly be called a drama, for it has no interest in character
portrayal or in plot,"24
If the duplo is reduced to its basic structural form, it will show itself to be a verbal joust or
extemporaneous competition between two equally matched contending groups, the result of which is
unpredictable.
Dupluhan (the act of conducting a duplo) takes place during special occasions. In the past, it was
held during wakes but today, it is staged also during fiestas, marriage celebrations, and harvest
festivals. In short, it takes place frequently whenever men and women are gathered together during
special occasions. The Tagalogs have a most fitting description for dupluhan: they call it "tagisan ng
talino" meaning "clash of wits."
Regional Versions
Karagatan - Visayan (Cebu). Informant # 21. (This is less formal than the Tagalog duplo but it is also
essentially a play of words.
It is commonly referred to as a "duplo with erotic sauce" (Tuason and Medina: 83.)
The players argue in verse for the entertainment of the audience. The losers are asked to forfeit an
object which can be reclaimed only after reciting a loa or a declamation.
(Note: See Isahan on p. 548.)
Bayok or Embayoka (Moslem, Mindanao) - Tuason and Medina: 84. This is a verse competition
between a man and a woman. The debate lasts as long as the two opponents have arguments to
present. The moment one runs the audience or an elected group of old people are asked to decide
the winner.
Professor Thomas Kiefer, who did fieldwork in Jolo, Sulu in the '60s claims that the Tausugs of Jolo
engage in a humorous debate generally in song form but the format is similar to the Visayan erotic
karagatan. He describes a debate between a man (Hussin) on one side and two women (Nimha and
Sutsay) on the other. He explains that the Tausugs practice polygamy occasionally and the humor in
this particular game stems from the fact that no one would make a joint proposal of marriage, i.e., one
man is not supposed to propose to two women at the same time.
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The constant laughter of the audience in the background is an indication of the deliberate incongruity
of the s uation being depicted. Professor Kiefer gives no name for the game but comments that the
form displays great subtlety and of wits.
189a. Isahan
(Teasing Game)
—Visayan
Aklan, Panay
PLAYERS:
Any number of adults, men and women.
SETTING:
Indoors or outdoors, any time in the afternoon or evening. Played during special occasions like
fiestas.
PROPS:
None.
PRE-GAME:
Formation - Participants may sit around a table, on one side and all the women at the opposite side.
all the men are grouped
MOVEMENTS:
1. One man (a "joker") starts in verse or rhythmic prose, setting down the tone and specific subject of
the debate. He challenges or takes potshots at the female opponents before he sits down. 2. Anyone
from the women's group may stand and answer the player.
(Note: The audience laughs and applauds as each debater makes a good point.). 3. The "verbal
battle" continues until one group "runs short of steam."The group left with some more points to
present to its opponents, automatically wins.
Sample of Game Content

This ethnological material was presented by Herminia Meñez at the 1971. Meeting of the American
Folklore Society in Los Angeles. Meñez describes it as a "traditional teasing game which Filipino
(Visayan) immigrants from Aklan, Panay and Jaro, Iloilo still play in the Monterey, California area."
The occasion was the celebration of the fiesta of Santo Nifio (The Holy Child), patron of Aklan. Menez
reports that since most of the men present were sailors, what occurred was an erotic Filipino game.
The male "joker" started the game with salty lines:
Man: Very glad sa pagtuwad-tuwad

I'm very glad about your constant stooping
Nahakit-an ko ring paead.
I have seen your "fish."
Nganagta-o it kasakit Which gave much pain
sining pobreng nagakabit.
to this poor hanging thing.
The first woman to stand replied that what the last speaker saw was the "Vietnamese rose," alluding
to the fact that most of the Filipino sailors present that day served duty in Vietnam and no doubt had
an affair with a Vietnamese "rose" (girl).
Meñez commented that Filipino women do not customarily engage in open discussions of subjects
regarding sex especially when members of the opposite sex are present. But within the framework of
folkloristic events, such as this teasing game, they do and are never accused of being "bastos"
(obscene). Nevertheless, the unwritten rule seems to be that metaphors are employed for taboo
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words, i.e., "fish" for a woman's sex organ or "Vietnamese rose" for a sailor's Vietnamese mistress.
Within the boundaries of this rule and the limitations of an accepted event such as this, erotic subjects
are allowed to be discussed by both men and women. Otherwise such talk is solely done by men. As
to the isahan game itself, Meñez describes it as "bordering on drama" due to the dialogue and
extemporaneous acting rendered by participants who frequently get carried away.
—Herminia Meñez (29)
Professor, Sonoma State College
190. Maalaala Mo Kaya?

(Will You Remember Me?)
-Tagalog
Cabanatuan City
PLAYERS
Ten or more playen, 8 to 10 years old. Buth sexes
SETTING
Indoors or outdoors
Props:
Things that could be found outdoors or indoors.
PRE-GAME
Assignment of roles - A leader is chosen
Formation -The rest of the plevers all in a circle
Objective- A player is to remember the names and the chronological order of the object touched by
the player ahead of him, addind the object he touches last.
MOVEMENTS
1.The leader touches a player on the shoulder.
2 The latter stands and touches an object, them ahouts out the name of the object he touched. Before
the first players sits down, he touches a second player.
3. The second player stands, touches the object the first player touched, then touches another obiect.
He then shout the name of the object firts player touched, followed by the name of the object he just
touched. Before he sits down, he touches a third player.
4 The third, fourth, fifth, etc.player repeats Movement #1.
5. Each time, the player repeats all the names of the objects touched before his turn, carefully
following the correct chronology of the objects, then adds the object he touches at the end.
The player who succeeds in enumerating all the object touched by the players before him, including
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the last olject he touched wins. He becomes the new leader. The winner may decide to puitish the
players who fail to (a) remember the object touched by the other player (b) forget the correct
chronology of the objects touched by making the sing, dance, recite a poem, etc.
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CSTC COLLEGE OF SCIENCES, TECHNOLOGY AND

SCHOOL OF TEACHER EDUCATION

IV. Lesson Objectives

(A) Cumulative Games

Bakyd (wooden shoes) - Tagalog (Pasay City).

Bao (coconut shell) - Tagalog (Quezon Province).

181. Luksong Tinik

For Three or More Players to a Team

Among older players, the “hurdle of thorns” is higher.

Numbers 1, 7, 6 and 8 are called buwan (moon)

Part II. (Step¹⁰)

The winner can choose one of the following punishments:

Version 3 - Double " Piko "

Cabanatuan City, Nueva Ecija

SETTING: Indoors or outdoors.

(Board Distribution Game)

Cabanatuan City, Nueva Ecija

Two children, at least 7 years old. Adults."

(Note: If a game board is not available

3. Four things can happen to the last shell in a player's hand:

The opponent gets a turn to play.

(B) Other formula Games

186. Verso-Verso (Verses)

Another Regional Version

"Banda," (Visayan). Bartolome: 28.

An equal number of young men and women; anywhere from 10 to 20 preferred.

2. Games Avoiding All Pronoun

188. Buwan, Hulugan Mo 'ko ng Sundang (Moon, Drop Me a Big Knife)

1. Introduction - The "king" addresses the audience.

4. Players introduce themselves individually to the audience. Example:

5. Debate between the belyakos and belyakas.

10. The losers perform their tasks.

11. The king closes the game,

(a) He declares the dupluhan ended,

(b) he thanks the owners of the house, and

(c) He thanks and praises all the contestants.

Sample of Game Content

Man: Very glad sa pagtuwad-tuwad

—Herminia Meñez (29)

Professor, Sonoma State College

190. Maalaala Mo Kaya?

Ten or more playen, 8 to 10 years old. Buth sexes

Things that could be found outdoors or indoors.

Assignment of roles - A leader is chosen

Formation -The rest of the plevers all in a circle

1.The leader touches a player on the shoulder.

4 The third, fourth, fifth, etc.player repeats Movement #1.

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