Physical Education

PHILIPPINE
FOLK DANCE
P.E. 2

Submitted By:
Kisser C. Martinez

Submitted To:
John Ansel R. Baruel
P.E. Instructor
 Kisser C. Martinez -
COMSCI
Physical Education
PHILIPPINE FOLK DANCE

WHAT IS DANCE?
- a form of expression of oneself through rhythmic movement

So, what is FOLK DANCE

- the oldest form of dance and the earliest form of communication- the traditional
dance of a given country which evolved naturally and spontaneously with everyday
activities e.g. occupations, customs, festivals, rituals

- It is handed down from generation to generation

- It has more or less a fixed movement in their pattern, but may differ in various
areas or provinces

PHILIPPINE FOLK DANCE HISTORY

Filipino folk dance history is not the history of a single national dance of one
or two regions. Dances evolved from different regions which are distinct from one
another as they are affected by the religion and culture.

FORMS OF PHILIPPINE FOLK DANCES

RURAL AND BARRIO DANCES

Perhaps the best known and closest to the

Filipino heart are the dances from the rural Christian
lowlands: a country blessed with so much beauty. To
the Filipinos, these dances illustrates the fiesta spirit
and demonstrate a love of life. They express a joy in
work, a love for music, and pleasure in the
simplicities of life. Typical attire in the Rural Suite
includes the colorful balintawak and patadyong
skirts for women, and camisa de chino and colored
trousers for men.

A good example of rural or barrio dance is Sinulog. It is a ceremonial dance

performed by the people of San Joaquin, Iloilo, during the feast of San Martin. It
originated in a barrio of San Joaquin called Sinugbahan. It was believed that the
image of San Martin was found at the edge of a beach, and that it could not be
removed until the people dance the Sinulog.
MARIA CLARA DANCES

The coming of the Spaniards in the 16th century brought

a new influence in Philippine life. A majority of the Filipinos
were converted to Roman Catholicism. European cultural
ideas spread and the Filipinos adapted and blended
to meet the local conditions. These dances reached
their zenith in popularity around the turn of the
century, particularly among urban Filipinos. They are
so named in honor of the legendary Maria Clara,
who remains a symbol of the virtues and nobility of
the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances were, nonetheless,
"Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian
fan. Typical attire for these dances is the formal Maria Clara dress and barong
tagalog, an embroidered long-sleeve shirt made of pineapple fiber.

MUSLIM AND MORO DANCES

Mindanao and Sulu were never

conquered by Spain. Islam was
introduced in the Philippines in the 12th
century before the discovery of the
islands by Magellan in 1521.

The dances in Muslim however predated

the Muslim influence. Like Ipat which
was a dance to appease ancestral
spirits. Before Islam, the
Maguindanaons held the view that
diseases are caused by tonong
(ancestral spirits).Thus; a folk healer
performs the pag-ipat while being possessed by the tinunungan (spirit).

Another is the dance baluang which creates the illusion of an angry monkey, and is
always performed by male dancers. The popularity of this dance comes naturally,
since the baluang, or monkey, enjoys an affectionate place in Asian folklore.

Singkil was introduced after the 14th century. It was based on the epic legend of
Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim
Princess, Gandingan who was caught in the middle of a forest during an earthquake
caused by the diwatas, or fairies of the forest.

CORDILLERA DANCES
 Cordillera, a name given by the Spanish
Conquistadors when they first saw the
mountain ranges. Meaning "knotted rope", the
Spanish term refers to the jumbled rolls and
dips of this long-range traversing the northern
part of Luzon Island.

Today, if one is to generalize one of the six

ethno-linguistic tribes as an "Igorot" is
considered degrading. Living amidst the rice
terraces that tower over Northern Luzon are a
people whose way of life existed long before any Spaniard or other foreigners
stepped foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayo, and the
Kalinga tribes reign over Luzon's mountain terrain.

TRIBAL DANCES

The cultural minorities that live in the hills and

mountains throughout the Philippine
Archipelago considered dances as basic part
of their lives. Their Culture and animistic
beliefs predated Christianity and Islam.
Dances are performed essentially for the
gods. As in most ancient cultures, unlike the
Muslim tribes in their midst, their dances are
nonetheless closely intertwined with
ceremonials, rituals and sacrifices.

The only dance that is believed to have evolved during the Spanish colonization is
the Talaingod dance which is performed to the beat of four drums by a female,
portrays a virgin-mother bathing and cradling her newborn baby, named Liboangan.
She supposedly had a dream, or pandanggo, that she was to bear such a child. This
concept of a virgin-birth may have been derived from the Catholic faith.

THE FOLLOWING ARE EXAMPLES OF POPULAR PHILIPPINE FOLK

DANCES:
 Binasuan - Originated in Pangasinan Province meaning with the use of
drinking glasses, this vibrant dance basically shows off balancing skill
of the performers. Glasses filled with rice wine are placed on the head and
on each hand carefully maneuvered with graceful movements. This dance
is common in weddings, fiestas and special occasions.

Rigodon - Originated from Spain, this dance is commonly performed at

formal affairs like inaugural balls where prominent members of the
government participate and enjoy.

Pandanggo sa Ilaw - The word pandanggo comes from the Spanish

dance fandangocharacterized with lively steps and clapping while
following a varying beat. Pandanggo requires excellent balancing skill
to maintain the stability of three tinggoy, or oil lamps, placed on head and
at the back of each hand. This famous dance of grace and balance
originated from Lubang Island, Mindoro.

Sublian - The term subli is from two tagalog words subsub meaning
falling on head and bali, which means broken. Hence, the dancers
appear to be lame and crooked throughout the dance. This version is
originally a ritual dance of the natives of Bauan, Batangas, which is shown
during fiestas as a ceremonial worship dance to the towns icon, the holy
cross.

Kuratsa - Commonly performed during festivals in Bohol and other

Visayan towns, this dance portrays a young playful couples attempt to
get each others attention. It is performed in a moderate waltz style.

Itik-itik - According to history of this dance, a young woman named

Kanang (short for Cayetana) happened to be the best performer in the
province of Surigao del Norte. At one baptismal reception, she was asked
to dance the Sibay, and began improvising her steps in the middle of her
performance imitating the movements of an itik, a duck, as it walks with
choppy steps and splashes water on its back while attracting its mate.
Because of its unusual steps and fascinating interpretation, the audience
began imitating her.

Tinikling - Tinnikling is considered the national folkdance with a pair of

dancers hopping between two bamboo poles held just above the ground
and struck together in time to music. Originated from Leyte Province, this
dance is in fact a mimic movement of tikling birds hopping over trees,
 grass stems or over bamboo traps set by farmers. Dancers perform this
dance with remarkable grace and speed jumping between bamboo poles.

Maglalatik - Originally performed in Binan, Laguna as a mock-war dance

that demonstrates a fight between the Moros and the Christians over the
prized latik or coconut meat during the Spanish rule, this dance is also
shown to pay tribute to the towns patron saint, San Isidro Labrador. It has
a four-part performance such as the palipasan and the baligtaran showing
the intense battle, the paseo and the escaramusa- the reconciliation. Moro
dancers wear read trousers while the Christian dancers show up in blue.
All dancers are male; with harnesses of coconut shells attached on their
chests, backs, thighs and hips.

Maria Clara - Maria Clara is the main female character in Jose Rizals Noli
Me Tangere -a literary piece that features the colonial situation of the
Filipinos during the Spanish regime. She was characterized as a Filipina
woman of virtue and nobility. This dance is a mix of Spanish gracefulness
and customized native props, such as bamboo castanets and Asian fan.
Female dancers wear Maria Clara dress that typifies the European style,
while men are in barong tagalog, a traditional Filipino embroidered long-
sleeve shirt made of pineapple fiber.

Cariosa - Cariosa is a word that describes an affectionate, friendly and

lovable woman. This dance is performed in flirtatious manner with fans
and handkerchiefs to assist the dancers hide-and-seek movements.

La Jota Manilea - It is a dance named after the capital city of the

Philippines, Manila, where an adaptation of Castilian Jota afloats with the
clacking of bamboo castanets played by the dancers themselves. The
costume and the graceful movements of the performers noticeably
inspired by Spanish Culture.

Sakuting - Originated in Abra, this dance interprets a mock fight between

Ilokano Christians and non- Christians with training sticks as props. It is
traditionally performed during Christmas at the town plaza or from house-
to-house as a caroling show. As a return, the dancers receive presents or
money locally known as aguinaldo.

Pantomina - Meaning "Dance of the Doves", this dance is the highlight of

Sorsogons Kasanggayahan Festival every third week of October. Groups
of participants, mainly elderly in colourful costumes, dance to the tune of
 Pantomina song. It is a courtship dance originated from immitating the
courtship and lovemaking of doves that then showed during the dance
where men attempt to please the women.

Banog Cordillera. In this dance, performers portray hunters shielding

their chickens from the famishing hawk. The hawk ends up entrapped and
dies in the hands of hunters.

Salisid - Kalinga, Cordillera. This is a courtship dance that symbolizes a

rooster trying to attract the attention of a hen. This is performed and
portrayed by both male and female dancers as the rooster and hen
respectively. The dance starts when each of them are given a piece of
cloth known as "ayob" or "allap".

Palok - Kalinga, Cordillera. A tribal dance. The natives of Kalinga perform

this dance in most of their social events. Male dancers hold gangsa or
gong- a percussion instrument made of copper, and beat it with wooden
stick.

Lumagen - Kalinga, Cordillera. A tribal dance. This is a traditional

thanksgiving dance by the Kalinga tribe performed to celebrate good
harvest and events such as birth of first-born child, victory in battles and
weddings.

Idudu- Abra, Cordillera. A tribal dance. This dance stages a common

family life in the Itneg or Tinguian society. It illustrates the family as the
main foundation of the tribes community. Several traits of an ordinary
family are shown. It depicts a father plowing the field while the mother
caring for the children. But as soon as the father finishes work, the mother
takes over on planting, sowing and all the remaining chores to do in the
field. At this time the father is left to take care of the kids. During the
dance a Local singer breaks into an Idudu or lullaby to put the baby to
sleep. Idudu, a dance taken from Idudu lullaby, obviously portrays the
different roles in a Tinguian family

Dinuyya Cordillera. Ifugao dance Famous in the Ifugao region, this

dance is regularly staged during festivals in Lagawe. Three kinds of gong
instruments such as, ordinary gongs, tobtob- a brass gong played by
beating with open palms and, hibat, a kind of gong played by beating the
inner surface with a softwood are used in this dance.
 Bendayan Benguet. This dance, which is more known as Bendian, is
performed to commemorate the arrival of headhunters in their district.
Performers dance in a circle and show off their lively traditional steps.

Binaylan Agusan. This is a ritual dance, which originated from the

Bagobo tribe living in the central uplands of Mindanao, imitating the
movements of a hen, her banog or baby chicks, and a hawk. The hawk is
sacred and is believed that it has the power over the well-being of the
tribe. The hawk tries to capture one of the baby chicks and is killed by the
hunters.

Malakas at maganda Leyte. A Tribal dance. This dance depicts the

birth of the first man and woman who came out of a bamboo tree. It has
been said that the woman named maganda (beautiful) and the first man
malakas (strong) are the parents of the whole community in the island.
The dance demonstrates how a bird discovered the noise coming from the
inside of the bamboo and perched until it opened. A man and a woman
came out of the big bamboo tree and, the birth of this legendary couple is
amusingly interpreted in this dance.

Burung-Talo Sulu. The dance is a unique fighting dance in a form of

martial arts by the Tausug tribe. Performers demonstrate a battle between
hawk and a cat. With their acrobatic movements and tough facial
expressions, this dance is highlighted with the accompanying energetic
beat of drums and gongs.

Kadal-Blelah- South Cotabato. A tribal dance where in the dancers

perform simulation of movements of birds.

Kadal Tahaw - Tiboli dance- south cotabato. A tribal dance performed by

Tiboli tribe, this dance that mimics the hopping and flying behavior of
Tahaw bird is performed to celebrate good harvest.

Sayaw sa Cuyo Palawan. Cuyo is a small island and capital of Palawan.

There, the feast day of St. Augustin is traditionally celebrated with
parades, processions and small performances by groups coming from all
over Cuyo Island and the nearby islets. Island dances, blended with strong
Old Cuyo ethnicity and Spanish-influenced steps, are all brought out when
Cuyo celebrates its festivals. Today, pretty young girls daintily swirl hats
to the waltz and other European steps designed to bring out the freshness
and glow of the performers.
 Karatong Palawan. A Muslim dance. During the festival of San Agustine
in the island of Cuyo, the celebration also includes the blossoming of
mango trees. The parade starts from the church patio and ends at the
town plaza with ladies waving their colorful props Bunga mangga that
symbolize the flowers of mango tree, while men lively strike their
karatong instruments; creating a scene of joy among reveling towns folk.

Dugso Bukidnon. A thanksgiving dance from the talaindig tribe.

Gayong-gayong Capiz. A Muslim dance. In rural gatherings, this dance

offers much fun. Gayong is a pet name for Leodegario. According to the
legend and to the words of the song, Gayong and Masiong (pet name for
Dalmacio) once attended a feast commemorating the death of a
townsman. While eating, Masiong choked on a piece of Adobo so he
called, "Gayong! Gayong!" to ask for help to dislodge a bone from the
Adobo meal from his throat. In this dance, Masiongs liking for feasts and
the consequence of his gluttony are held up to playful ridicule.

Kapa Malong-Malong Cotabato. A Muslim dance. This Maranao dance

is performed with women wearing malong and shawl, mantle or head
piece, whereas men wear sash or waist band, shorts or bahag and head
gear or turban traditionally worn in the fields.

Pagapir - Lanao del Sur. This dance is usually performed to commence an

important affair. Dancers of this dance are usually from the royal court or
high society group of Lanao Province. They use apir or fan to coordinate
with their small steps called kini-kini, which symbolizes their good
manners and prominent family background.

Pangalay- Zamboanga Del Sur. A muslim dance. Originally performed by

wealthy families during a wedding celebration, this fingernail dance is
now a popular festival dance in Sulu.

Alcamfor - Leyte comes this couples dance in which the girl holds a
handkerchief laced with camphor oil, a substance which supposedly
induces romance.

Andaluz - Also known as Paseo de Iloilo, for its province of origin, this is
one of the most sophisticated courtship and flirtation dances of the
Spanish era. The gentlemen compete among each other to win the heart
 of the dalaga, or young lady, by exemplifying chivalry, grace, and
confidence.

Aray - A dance whose words are sung in "Chabacano-ermitense," a hybrid

of Spanish that was only spoken in the Ermita district before the turn of
the century and today is extinct. The dance itself is a flirtatious one that
involves graceful use of the pauelo, or shawl, and tambourines. Aray
means "ouch" in Tagalog.

Balse - Derived from the Spanish "valse" (waltz), this dance was popular
in Marikina, Rizal province, during the Spanish times. Balse was
performed after the lutrina (a religious procession), and the music that
accompanied the dancers was played by the musikong bungbong
(musicians using instruments made of bamboo).

Cariosa - This flirtatious dance is known throughout the Philippines.

Cariosa means affectionate, lovable, or amiable. With a fan or
handkerchief, the dancers go through hide-and-seek movements and
other flirting acts expressing tender feelings for one another. There are
many versions of this dance, but the hide-and-seek movements are
common in all.

Chotis - The Chotis (or "Shotis") was one of the ballroom dances learned
by the Filipinos from the early European settlers. This dance, from
Camarines Sur, has been adapted by the Bicolano people and is
characterized by a brush-step-hop movement.

Escopiton Malandog - According to legend, two boys named Esco and

Piton introduced this dance during the inauguration of the founding of San
Jose de Buenavista. Eventually the dance was called Escopiton. This
beautiful dance originated from Malandog, a barrio of Hamtic in Antique.

Estudiantina - A very lively and gay dance. During the old days, this
dance was a favorite in social gatherings and was performed by the
estudiantinas, women who were students of private schools and colleges
in Manila. They are seen holding a book in one hand throughout the
dance.

Habanera - A wedding party dance which originated in the town of

Botolan in the Zambales Province. Typical sequences include the
 procession of the bride and groom's parents, lineup of the bridesmaids
and groomsmen upstage, and a solo featuring the wedding couple.

Imunan - A courtship dance of Ilokano origin. A beauty enters for an

afternoon promenade with her suitors. At the end of the dance, the
lovable and charming lady cannot select from any of her suitors.

La Jota - The jota encompasses a variety of Spanish-influenced dances

accompanied by the use of bamboo castanets, held loosely and unstrung.
There are many forms of jota in the Philippines whose names are derived
from their regions of origin. A common progression in the jota is a quick &
lively verse, followed by a slow bridge, and ending with a verse in the
same lively tempo as in the beginning.

Jota Espaola - Highlighted by castanets, abanicos, and tambourines.

Jota Gumaquea - Once very popular among the well-heeled families of

Gumaca, Tayabas (now Quezon). A well-known local musician at the time,
Seor Herminigildo Omana, introduced this dance. It became popular with
the young people and was handed down between generations.

Jota Manilea (Manila) - It originated in the capital city around the 19th
century.

Jota Moncadea (Moncada, Tarlac) - A combination of Spanish and

Ilocano dance steps and music.

Jota Pangasinana (Pangasinan province) - Demonstrates the flair of

stomping feet culminating with the cry of "Ol!"

Jota de Paragua (Cuyo, Palawan) - Displays a Castillan influence with

Zapateados (footwork), Lobrados (arms), and Sevillana style of dress. The
ladies wave their mantn, or decorative shawl, while the gentlemen keep
brisk pace with bamboo castanets.

Jovencita - A dance typical of a woman's debut or even her wedding. The

accompanying love ballad was written by Maestro Nitoy Gonzales when
he was courting Jovita Friese, who then choreographed the graceful and
beautiful habanera dance that accompanies it. Jovencita means "young
lady" in Spanish.
 Lanceros de Negros - During the Spanish time, this dance was one of
the popular quadrille dances in the Philippines. It is similar to the stately
Rigodon de Honor and is danced in important social affairs to formally
open a big ball. One version from Silay, Negros Occidental, is performed in
a lengthwise formation.

Mazurka Boholana - This dance is a traditional ballroom dance popular

in Bohol and in other provinces during the Spanish times.

Panderetas - This dance, named after the jingle-less tambourines carried

by the females, originates from Tanza, Iloilo. From December 16 to
January 6, a group of people in the Visayan regions go from house to
house to sing Christmas called "Daigon." In some regions the song is
usually followed by some dances, and "Las Panderetas" is one of those
dances.

Paso Doble - Meaning "two-step," the name is actually a misnomer, as it

is an ordinary walking or marching step called the "one-step." The term
refers to the stirring marching music played as background music at
bullfights and fiestas throughout Spain.

Polkabal - A dance influenced by two distinct European styles: polka and

valse.

Putritos - A festival dance from Atimonan, Tayabas (now Quezon

province), featuring a couple's flirtatious and playful interaction. It is
danced in alternating slow and fast waltz tempos and culminates in a
vivid twirling sequence by the girl.

Rigodon de Honor - This elegant dance was brought to the Philippines

by the Filipinos who returned from their travels abroad during the Spanish
era. This dance takes its name from its opening performances at formal
affairs such as the President's Inaugural Ball. Members of government,
including the President and First Lady, diplomatic corps, and other state
officials usually participate in the Rigodon. Traditionally, a ballroom waltz
dance would follow the Rigodon.

Sabalan Lulay - The dance "Lulay," like the kuratsa, jota, pandango, and
polka, is performed in many parts of the Philippines. This dance
originated from Malamig barrio of the town Gloria, Oriental Mindoro. It is
part of a wedding ritual which has four phases: sabalan, pamalaye, sabog
 and dapit. The dance begins with the gentleman dancing around his
partner as she eventually gives in to dancing with him.

Saguin-Saguin - From the Bicol region comes this courtship dance which
tells the story of a lumberyard owner, who threw a dance for his workers.
A girl who was related to one of the workers was offered to the owner as a
dance partner. He took to her very kindly, and eventually serenaded her.

Timawa - Meaning "forsaken lover," Timawa is a courtship dance, usually

performed by women, and is originated in Lamot, a barrio in Capiz. The
story recounts of a man and a woman, both timawas, who met at a social
gathering and became acquainted with each other. In the course of their
conversation, they discovered that they both had the same misfortune;
therefore, turning to each other for sympathy and comfort.