BINASUAN DANCE

LITERATURE

Binasuan, a dance originating in the Philippines, primarily involves three

drinking glasses that a Binasuan dancer (usually a woman) gracefully
balances--on her head and in the palms of both her hands--as she moves.
Each glass is half-full with rice wine, and a Binasuan dancer's skill is
determined by her ability not to drop a glass or spill any wine over the course
of her performance.

The tradition of Binasuan dance originates in the Pangasinan province of

the Philippines. Pangasinan is located on the central western coast of the
country, and is host to several national festivals where Binasuan dance is often
featured.

HISTORY

Binasuan dance derived its name from a Pangasinan phrase that literally
translates to mean "with the use of a drinking glass." Though it is not known
exactly when Binasuan dance originated, dance has been an important part of
Filipino culture for centuries, beginning as a way for people to express thanks
to the gods, in festivals and traditional celebrations, for blessings and
prosperity.

 Features

Binasuan dancers are famous for their skill and grace, balancing
three glasses of rice wine while turning, rolling and spinning to fast-
paced music. Sometimes dancers introduce other elements, such as
weights placed on their feet, to increase the dance's difficulty--and
therefore the dancer's prestige.

 Significance

Binasuan dance, though formerly a traditional art known only to

Filipinos, is now internationally recognized and sought after, with dance
troupes touring around the globe and tourists to the Philippines
increasingly seeking out local performances.

 Function

Binasuan dance is a colorful, lively art that is often performed at

celebratory occasions in the Filipino culture, such as weddings and
parties. Sometimes, dancers will compete over who can complete the
most skillful moves, while balancing their glasses, for the entertainment
of the audience.

 Costume

In terms of costume, the dance calls for the Balintawak costume

with the tapis and the pañuelo.
  Music

The music used in this dance is composed of two parts and then
danced to the tune of Pitoy Oras.

 Count

Count is important and in this dance one, two or three to a measure

is used.

 Formation

The dance starts with the dancer or the dancers enters the hall from
one side of the room, stops at the center then faces the audience.

The Binasuan dance will start that way, with the dancers coming at
one side of the room and then moving to the center hall and then facing
the audience. While they are moving towards the center of the hall, the
music A is played for the first time. Dancing this local dance of the north
requires some steps that should not be take out of the program otherwise
the program will lose its identity.

STEPS

Dancers start with the right foot and she should take eight waltz steps
forward to the center of the hall. The glasses should be held in front and the
elbows should be close to the waist. The right hand should be moved next to
the chest and down the hips alternately as the left hand moves down at the hip
level ad goes up to the chest level in an alternating manner. The alternating
movements of the two hands will go on for the next eight measures.

SEQUENCE

Music A will then play for the second time and this will be the times
when the dancer will dance sideward right and left alternately and doing this
for eight times. The right hand will be raised to the head level and the left hand
will be held to the waist as the dancer continues to waltz sideward to the right.
The dancer will chance position with every measure. Again the movements of
the left and the right hand will alternate upward and downward as with
previous step.

Music B of the program will then play and this will be the time when the
dancer will start on her right foot and she will take four waltz steps obliquely to
the right. She then raises the right hand obliquely to head level with the left
hand down to the hip for four measures. Hands once again move upward and
downward on alternating motions.

These movements are just the first half of the dance and a few more
steps are required in order to complete the program. The Binasuan dance of
the north will simply utilize the abovementioned steps and repeat these steps
on the second half of the dance. At times, some new steps are introduced like
the placing of weights at either the right or the left foot of the dancer, all with
the intention of dancing gracefully without dropping the glass.
 MAGLALATIK

LITERATURE

The Maglalatik is an indigenous dance from the Philippines in which

coconut shell halves that are secured onto the dancers' hands and on vests
upon which are hung four or six more coconut shell halves. The dancers - all
male - perform the dance by hitting one coconut shell with the other -
sometimes the ones on the hands, sometimes, the ones on the body, and
sometimes the shells worn by another performer, all in time to a fast drumbeat.
Like many native Filipino dances, it is intended to impress the viewer with the
great skill of the dancer, and in some Filipino Martial Arts (FMA) circles, it has
been noted that the manlalatik consists of a trapping and boxing method
hidden in a dance.
 The name of the dance comes from the Filipino word "Latik", which
means "fried coconut milk curd", a coconut product that is used in Filipino
cooking, particularly in snacks.

This dance is also called as 'Magbabao' which can mean 'the one using
the 'bao' and the 'bao' is the coconut shell. Throughout the dance, the viewers
of the dance can expect that most of the dance moves that will be performed by
the dancers will focus on the use of these 'baos' or the coconut shells and some
of the noises or the music that will be used by the dance will be generated by
these coconut shells.

This dance actually tells a story- and it depicts the fight between the
Moros and the Christians over the 'latik'. The 'latik' is the residue that is left
after the coconut milk has been cooked and boiled. This dance is composed of
a four-part performance and the first two performance of the dance is called as
the 'Palipasan' and the 'Baligtaran'.

HISTORY

According to historians, this Philippine dance originated in Laguna and

usually performed during the town fiesta of Biñan. The dance is usually
performed in a religious procession as the procession moves down the street.
This dance called 'Maglalatik' is performed as an offering to their patron saint-
San Isidro de Labrador.

STEPS

 First step will require dancers to make 6 to 8 counts of jogging to settle

to their place
 Then four steps forward while pounding the chests.
 Four basic clap cycles while the dancers are in place
 Another four basic clap cycles in order for the dancers to get to two rows
 Another 8 quick clap cycles to the ripple effect
 Another 8 quick clap cycles that will allow the dancer to circle around
the partner, and next up is the Circle Up.
 The dancers will make 8 counts+1 -4 count for the first clap
  Dancers will clap after the one 8 count and this should be done 8 times,
then the finishing clap
 Dancers will make 8 high-low clap cycles in order to move into position.
 Another 8 cycles of 6 hit clapping
 The dancer will then make 16 counts for the tricks with another round of
clapping in the background
 Dancer will make 4 basic to get to the two sides
 Dancer will make 8 quick clap cycles for the battle
 Dancer will make 4 quick clap cycles in order to get to the end
 And right after the last clap, the dancers then make their pose.

SEQUENCE

In these first two performances, the dance will show the opposing squads
in an intense battle. The last two parts of the dance are the 'Paseo' and the
'Sayaw Escaramusa'. These two dances basically show the reconciliation
between the two groups and the dance steps of the dancers will show and
suggest that the opposing groups are now in good terms. The two groups in
this dance is the group of the Moros and the other group is the group of the
Christians. All dancers that participate in this classic dance are male and they
all harness and use the coconut shells. These shells are attached on many
points of the body of the dancers- in the chests, the backs, the thighs and the
hips. The dancers will also hold their triangular formed coconut shells in their
hands and they used these shells to tap the coconut shells that are fitted on
their bodies and they use these to generate the music that will accompany
them when they are dancing. The Moros in this dance will wear the red
trousers and the Christian group will wear the blue trousers. This dance will
involve some simple movements and simple repetitions.
 ITIK – ITIK

LITERATURE

According to one story about the origins of the dance, there was this
young woman named Kanang and she was considered as the best dancer and
performer in the province of Surigao del Norte. And at one baptismal reception,
the performer was asked to dance the Sibay- another important local dance
and at the middle of her performance she began improvising on her steps. The
steps imitated that of the movements of the 'itik'. The 'itik' is a duck and her
movements during the said performance are like those that are being
performed by the animal- choppy steps and there were splashes of water on its
back while attracting its mate. And since the steps were new and unusual, the
audience were fascinated and soon they began copying and aping the moves.

HISTORY

Based on records, the dance has its roots not only in Surigao del Norte
but in the Visayas region as a whole as well. in the other version of the story
about the roots of the dance, it was said that this dance has originated from
the dance 'Sibay' which was then danced to the tune of the 'Dejado' music. The
'Sibay' is a popular bird dance in the Visayan Islands. This was confirmed by
Reynaldo Gamboa Alejanadro and he added that the Visayan Island where the
dance originated was Samar. Reynaldo Gamboa Alejandro is considered as the
Philippine dance authority. This information was also backed up by a book
that was written in 1668 by Fr. Ignacio Alzina who is a Jesuit missionary to
Samar.

In that book, the Jesuit missionary described a dance that imitated the
bird that was popular in Samar and the 'Sabay'. In the same book, the
missionary said that the dance imitated the flying birds. So how exactly is the
dance performed by the dancer? As it was mentioned the steps of the dance
resembled the movements of the wading and the flying ducks or the 'itiks'. The
dancers here copy the swaying gait of the waddling feet and also ape the
intense energy of the close-cropped flapping wings.

There are around six separate foot sequences that the dancer is expected
to perform and these series of foot movements form part of the dance steps.
Right now, there are modern versions of this dance and this can be seen in
many parts of the country.

The present and the modern version of the dance are from the following
areas;

. Carmen
. Lanuza
. Cantillan
. Carrascal

These are all towns in Surigao del Norte. Though this version of the
dance from Surigao del Norte was a thing of beauty and very popular, there are
other versions of the dance that have sprouted in other parts of the
archipelago. Other than the original 'Itik ittik' Surigaonon, there were other
versions of the dance and these dances can be found in the Visayas. The other
versions of the dance can be seen in Sibomga, Cebu and in Tibiao, Antique.
The dance is currently performed during special events or during the country's
'Linggo ng Wika' which is a celebration of the country's language during
August. The dance forms part of the culture of the country and considered to
be one of the dances that help shaped the Filipino culture in terms of dance
and identity. Right now, the term 'Itik itik' has been used as a name for one
small festival in Metropolitan Manila. There is an 'Itik itik' festival which is a
week-long festival that culminates every last Sunday of February and the
festival is hosted by Barangay Kalawaan in Pasig, City.

At the center of the festivities are the ducks- duck races, biggest duck
contest, duck catching, swimming contest, best cooking, dancing and a parade
in honor of the barangay's patroness, St. Martha. For the locals, the she is the
patroness of the duck-raisers. And more importantly the name of the festival
raises the profile and the prominences of the name 'Itik itik' as people are
reminded of one important dance in Philippine culture, even though the dance
is not specifically performed in the festivities.

STEPS AND SEQUENCE

It has many variations of steps from which the dancers choose and
combine. Its steps are similar to the movements of a duck (itik, in Filipino), as
it walks with short, choppy steps and splashes water on its back while
attracting its mate.

As it was mentioned the steps of the dance resembled the movements of

the wading and the flying ducks or the 'itiks'. The dancers here copy the
swaying gait of the waddling feet and also ape the intense energy of the close-
cropped flapping wings.
SUBLI
LITERATURE

Subli is a folkdance in the Philippines. It is considered a favorite of the

people of the barrios of the municipality of Bauan, Batangas. It is a ceremonial
worship dance performed in homage to the Holy Cross referred to in the
vernacular as Mahal Na Poong Santa Cruz.The boys are "subli," (sub-sub and
bali), that is to say, bent down and contracted as they dance and click
castanets, while the girls wave their hats decorated with ribbons.

HISTORY

The dance originated some three hundred years ago in the barrio of
Dingin, Alitagtag, Batangas. According to a research made by Dr. Elena
Mirano, the word "subli" came from the old Tagalog word "sobli" meaning
"salisi" or "exchange of place". Exchange of place is a prominent feature of the
dance subli.

Subli is the dance portion of a devotion performed in honor of the Mahal

ng Poong Santa Cruz, a large crucifix of anubing wood with the face of the sun
in silver at the center. The icon was discovered in the early decades of Spanish
rule in what is now the town of Alitagtag, Batangas. The Mahal na Poong Santa
Cruz is the patron of many towns in the area, notably the ancient town of
Bauan, Batangas.

The subli consists of a long sequence of prayers in verse, songs, and

dances, performed in a fixed sequence. The verse recounts the first journey of
the early subli performer, or manunubli, through the fields, hills, and rivers of
Batangas in search of the miraculous cross. Sections of verse are sung to a
fixed skeletal melody, or punto, which may be elaborated on in a different way
by a different subli troupe.

About five of these punto are used in a complete subli performance.

These sections may be divided further into various fixed dance patterns
involving one, two or eight pairs of men and women. These numbers seem to be
the norm in Bauan, although other towns may have formations involving three
pairs at a time. The stances, gestures, and movements of the male dancers are
freewheeling and dramatic, consisting of leaping, striking the ground with
wooden bamboo clappers held in both hands known as kalaste, and other
movements suggesting the martial arts. The women circle on half-toe,
performing the talik, small refined gestures with wrists and fingers, their
fingers grazing their small-brimmed hats and alampay, a triangular scarf worn
loosely over the shoulder, that are the essential parts of their costume. They
dance and sing to the rhythm beaten out by a stick on the tugtugan, a goblet-
shaped, footed drum of langka wood with a head made of iguana skin. E.R.
Mirano

The dancing of subli was passed on from their ancestors who were once
subli dancers. They watched the performances of their elders veteran in
dancing the subli. Afterward, the youngsters would gather and dance bit by bit
until they learn the dance steps. And whenever they dance, they dance before
their saint.

Many sulbi dancers begin learning subli at the age of 12, during the start
of teen years when young girls and boys are not yet getting married and are
merely at the stage of courtship. Subli is not mainly a courtship tradition, but
courtship has become an element of the dance. The dance movements reflect
the good actions and attitude that is expected of these young girls and boys as
they grow into adulthood.

STEPS & SEQUENCE

 Leaping

 Striking the ground with the use of the bamboo clappers that are held
in both hands

 And other movements that suggest the movements of the martial arts

Others see the 'subli' as more than a dance, rather this is more of a
'kaugalian' that tells of the enduring belief and panata of the locals.
 SAKUTING

LITERATURE

A ritual dance which depicts a mock fight celebrating a victory, usually

performed in town plazas. This is of Chinese influence.
 Most acknowledged Filipino dances bear European influences, especially
from the Spanish colonial era. Examples include the pandango sa ilaw,
cariñosa, rigodon and balitao. Regional ethnic dances, such as the widely
known tinikling, pay tribute to Filipino roots, celebrate cultural heritage and
contribute to national artistic pride. Sakuting, however, pays tribute to its
ethnic roots, European influence and even earlier international influences.

The sakuting dance, originally performed solely by boys, portrays a mock

fight using sticks. A sakuting stick is striped or bamboo and is about 1½ feet
long and tapered at the end, like a candle. Its original use was for combat
training. During the playful folk dance, two teams, one representing each side,
circle and clash bamboo sticks in a gentle imitation of martial arts sparring. Its
dance form is the comedia (a theatrical dance, also called moro-moro) and
features a battalla (choreographed skirmish).

HISTORY

Sakuting (pronounced seh-KOOH-tihng) comes from the province of

Abra, home to the Ilocano people native to the lowlands and the Tingguian
mountain tribes. The Spanish established a garrison to protect Ilocanos who
converted to Christianity, and their capital city, Bangued, from raids by the
mountain tribes. Introduced by Spanish missionaries as religious ritual, the
sakuting dance portrays this struggle between the lowland Christians and the
non-Christian mountain people. Sakuting's origins, however, appear much
older.

The traditional music styles for sakuting portray the dual influences of
China and Spain. Its staccato inflections and rhythmic tapping suggest a
strong Chinese influence. The music itself is played by a rondalla, a native
string ensemble of plectrum (plucked with tortoiseshell fingerpicks)
instruments influenced by Spanish stringed instruments, that includes
bandurria, laud, octavina, mandola, guitarra and bajo de uñas, or double bass.

STEPS

Dancers use one and two sticks throughout the performance to tap the
floor and each other's sticks. Dance steps are a combination of marching and
small forward or sideways shuffle steps while circling and interchanging
positions with other dancers. Some modern interpretations are more
athletically demonstrative of the martial arts, while others add ballet
movements. Dancers twirl the sticks, hitting them against opponents' sticks,
displaying a mock fight.

SEQUENCE

The Ilocano people customarily perform the sakuting dance as part of

Christmas celebrations. Performed at the town plaza or from house to house,
the dance allows the opportunity for spectators to give the dancers
aguinaldos---gifts of money, drinks, fruits and refreshments prepared
especially for Christmas much like the English custom of caroling.