This paper presents a preliminary inquiry into Tulod-Damag, a mortuary rite practiced in Central Panay, Philippines. Grounded in the local knowledge system and cosmology, it examines how recurring sounds, ritual utterances, bodily gestures, and spatial movements structure the separation of the deceased from the world of the living. Drawing on ongoing fieldwork, interviews with practitioners, audio documentation, and analysis of ritual sequences, the study treats sound not merely as an expression of grief but as a performative medium through which mortuary transition is enacted and communally recognized. The analysis suggests that recurring sonic and embodied actions form flexible, cumulative cycles rather than strictly metrical patterns. Through repetition and intensification, these actions progressively mark separation, transition, and ritual closure. The paper further proposes that the relationship among sound, performativity, and mortuary passage may be explained by an emic concept rooted in local cultural knowledge. By foregrounding this culturally grounded category, the study contributes to ethnomusicological discussions of ritual sound, temporality, death, and social continuity.