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Fundamentals in Philippine Folk Dance Filipino Cultural Communities
Fundamentals in Philippine Folk Dance Filipino Cultural Communities
Hand Position
Feet Position
Perform the fundamental positions of the arms and feet without music first. Then, select any
music in 2/4 time and repeat performing the said fundamental positions one at a time. In responding to
2/4 time rhythm, take 2 measures for each position then rest for 4 measures. Repeat the same
fundamental position but alternate moving the R and the L arm/foot on the 3rd position, after 16
measures.
Other positions and movements of the arms:
EXECUTION
touch R (ct. 1); close R (ct. 2) 1 M
step R (ct. 1); close L (ct. 2) 1 M
step R (ct. 1); close L (ct. 2) 1 M
slide R (ct. 1); close L (ct. 2) 1 M
step R (ct. 1); swing L (ct. 2) 1 M
step R (ct. 1); hop on R (ct. 2) 1 M
step R (ct. 1); cut L (ct. ah); step R (ct. 2); cut L (ct. ah) 1 M
step R (ct. 1); close L (ct. and); step R (ct. 2) 1 M
cut or displace R with L (ct. 1) 1 count
Polka place R heel (ct. 1); point R toe (ct. 2); step R (ct. 1); close L (ct. and); step R
(ct. 2); pause (ct. and) 2 M
step R (ct. 1); close L (ct. and); step R (ct. 2); pause (ct. and) 1 M
In 3/4 Time
(Some dance steps done in 2/4 time rhythm can also be done in time. Review the step patterns of the
following basic dance steps which are done in time and identify which dance step can be done in 2/4
and time signature.)
STEP
Touch step
Step point
Step swing
Step hop
Close step
Slide step
Bleaking step
Waltz
Three-step turn
EXECUTION
touch R (cts. 1,2); close R (ct. 3) or touch R (ct. 1); close R (cts. 2,3) 1 M
step R (cts. 1,2); point L (ct. 3) or step R (ct. 1); point L (cts. 2,3) 1 M
step R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3)
step R (cts. 1,2); hop R (ct. 3) 1 M
step R (cts. 1,2); close L to R (ct. 3); step R (ct. 1); close L to R (cts. 2,3) 1 M
slide R (cts. 1,2); close L to R (ct. 3) or slide R (ct. 1);close L to R (cts. 2,3) 1 M
place R heel (cts. 1,2); close R to L (ct. 3) or place R heel (ct. 1); close R to L (cts. 2,3)
1M
step R (ct. 1); close L to R (ct. 2); step R again (ct. 3) 1 M
step R (ct. 1) turn and step L (ct. 2); turn and step R (ct. 3); close L to R (ct. 1); pause
(cts. 2,3) 2 M
Note: These steps can be done in place or while moving. It can also be done starting with the L foot.
Sway Balance The first step is usually done obliquely forward, cts. 1,2, the cross-step is done sideward
(ct. 3). The succeeding step is done obliquely backward (ct. 2) and the last two counts are done in front,
in place. Arms open from the first position to the fourth position R or L arms high. Kumintang R (L) hand
when pointing with L (R) foot on cts. 2, 3 of the second measure.
STEP
Sway balance with a point
Sway balance with a brush
Sway balance with a close
Sway balance with a hop
Sway balance with a raise
Sway balance with a waltz
EXECUTION
step R, cross step L /step R, point L
step R, cross step L /step R, brush L
step R, cross step L/step R, close L
step R, cross step L /step R, raise L, hop
step R, cross step L /step R, raise L
step R, cross step L /step R, close L, step R
2M (1, 2 3 1 2, 3)
2M (1, 2 3 1 2, 3)
2M (1, 2 3 1 2, 3)
2M(1, 2 3 1 2, 3)
2M (1, 2 3 1 2, 3)
2M (1, 2 3 1 2 3)
Kumintang
Bilao
Arms in Reverse T
Position
Brush
Clockwise
Counter clockwise
Stamp
Curtsy
Do-si-do
Folded arms
Salok
Point
Link elbows / hook elbows
Free Foot
Free hand
Inside hand/foot
Outside hand/foot
Salok
Panadyak
Sarok
Slide
Binasuan is a native dance of Pangasinan. This dance literally means dancing with glasses. The
steps are executed with glasses filled with rice wine balanced on the head and the hands of the dancers.
Danced to show balance and to reflect rural gaiety, Binasuan is performed usually in wedding
ceremonies
and
occasions
in
the
barangay.
Sublian owes its meaning to native words subsub meaning to fall with the head and bali or
broken. This meaning is reflected in the dance steps. The dancers move feebly and tortuously as if
without vigor. This dance, however, traces its roots to Batangas where it was originally played as a ritual
dance which evolved into a symbol of religious tradition performed during town fiestas.
Itik-Itik is one of the Philippine folk dances which have an interesting origin. According to stories,
a Filipina maiden-dancer of Surigao del Norte was asked to perform a native dance in one special
occasion. She started to improvise new steps and imitate the courtship movements of a local species of
duck known as itik. The spectators began to imitate her and that is how the dance came to be.
Tinikling is another Philippine folk dance that is inspired by an endemic bird called tikling. The
steps of this dance are an imitation of the movements of a tikling bird that hops and escapes the traps
set by hunters. Moving with poise and grace, the dancers skip in-between two bamboo poles that are
held to pound rhythmically against each other. This dance is a specialty of Leyte.
Maglalatik is danced to mimic the early battle against Christians and Moros to win coconut meat
or latik during the time of Spanish colonization. This is also performed to pay homage to the town
saint of Bian, Laguna San Isidro Labrador. This dance is divided into four parts: baligtaran, palipasan,
paseo and escaramusa. This is performed by all-male dancers who wear blue pants to represent the
Christians and red pant for the Moros. All dancers, however, have coconut shells mounted on their body
parts.
These aforementioned Philippine folk dances are ethnic in nature and origin. On the other hand,
there are several Philippine folk dances that were influenced by some Western countries as some of
these had colonized Philippines in the past. One such country is Spain. Some of the so-called
influenced Philippine folk dances are the following: Pandango sa Ilaw, Cariosa, Balitao and Rigodon.
To conclude, these folk dances whether ethnic in origin or not reflect the lively culture that the
Filipinos have. These dances may be diverse but through these cultural forms, the Filipinos are unified
and proud by way of having Philippine folk dances that are truly one of the bests in the world.
2. Muslim Dances
Aside from the colorful contributions of its regional tribes, Mindanao is home to the largest
cultural minority in the Philippines - the Muslims. Brought by Javanese and Middle Eastern traders, Islam
is the religion of approximately 20 percent of the Philippine population.
They are known for their mysticism, royalty, and beauty which are evident in their music and
dances. Accompanied by the agong and kulintang, Filipino Muslim dance is marked by intricate hand and
arm movement along with shimmering costumes.
Examples:
(a) Pangalay (Zamboanga Del Sur)
A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." Pangalay is a
dance that emphasizes the agility of the upper body. The rhythmic bounce of the shoulder with
simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is
commonly performed at weddings and other social gatherings.
(b) Asik (Lanao Del Sur)
A solo slave dance performed by the umbrella-bearing attendant to win the favor of her
sultan master. The girl wears long metal fingernails and dances and poses in doll-like motions. Asik
usually precedes a performance of Singkil.
(c) Singkil (Lanao)
Sinkil dance takes its name from the bells worn on the ankles of the Muslim princess.
Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan"
of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful
story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by
the diwatas, or fairies or nymph of the forest. The rhythmic clapping of criss-crossed bamboo poles
represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her
throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and
maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo
skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers
weave expertly through criss-crossed bamboos. When performed by ladies of the royalty of Lanao, the
dancer is usually accompanied by a waiting lady, who holds a beautifully decorated umbrella over the
Princess' head wherever she goes. Royal princesses to this day in the Sulu Archipelago are required to
learn this most difficult and noble dance.
(d) Kapa Malong Malong
Also called Sambi sa Malong, this Maranao dance shows the many ways of wearing a
malong, a simple tubular yet highly functional piece of cloth. The traditional womens version shows this
cloth of countless colorful designs; used mostly as a skirt, woven in many different ways, depending on
the purpose of the wearer. Other ways the women wear malong is as a shawl, a mantle, or a head-piece.
During more recent dance documentation, a mens version was derived. This version shows in masculine
rendition, how men don the malongdisplaying its use as a sash or waist-band, shorts or bahag, and a
head-gear that can be either functional while working in the fields, or decorative as a turban.
3. Tribal Dances
Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses
influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a strong flavor
from other lands, there are people who have lived there before it became a breeding ground of foreign
trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other groups inhabit the vast regions of
Mindanao.
Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials
of daily life. What distinguishes them from other tribes in the Philippines is their intricate craftsmanship
in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known
for creating colorful sets of jewelry and clothing out of dyed pineapple and banana fibers with are
showcased in their traditional dances.
Examples:
(a) Malakas at Maganda (National Folklore)
Cradled amidst thick rain forest, shrouded with the mists of legend and ancient
traditions, one folklore has it that a weary bird perched on a large bamboo heard strange noises inside.
It pecked the bamboo, split open and from inside came the first man and woman, Malakas the strong,
Maganda the beautiful, the parents of all peoples of the island.
(b) Binaylan (Agusan)
The Bagobo tribe from the central uplands of Mindanao originated this dance which
imitates the movement of a hen, her banog, or baby chicks, and a hawk. The hawk is sacred, and it is
believed that the hawk has the power over the well-being of the tribe. The hawk tries to capture one of
the chicks and is killed by the hunters.
4. Rural Folks
Laughter and gaeity commonly used to describe the Filipino people takes root in the Philippine
country-side. Life in the Barrio is simple, but Filipinos always manage to find time to celebrate life's gifts.
The annual fiestas to celebrate the patron saints of the barrios symbolize the mixture of pagan
and Catholic belief. Fiestas not only honor the patron saint, but give homage to the barrio's namesake
for a good harvest, health, and perserverance. These fiestas are marked with celebrations of holy mass,
music, dance and song.
Examples:
(a) Tinikling (Leyte)
This 'Visayan' dance was found in Leyte where this dance originated. Dancers imitate
the tikling birds legendary grace and speed as they skillfully play, chase each other, run over tree
branches, or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling. this
version of the dance is done between a pair of bamboo poles.
The older people claim that the Tinikling Ha Bayo from which the tinikling dance
evolved is more difficult to perform. It was originally danced between bayuhan, two wooden pestles
used to pound the husks off the rice grain.
(b) Maglalatik (Laguna)
During the Spanish regime, the present barrios of Loma and Zapote of Bian, Laguna,
were separated. With coconut shells as implements the people of these two barrios danced the
Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians over the
latik (residue left after the coconut milk has been boiled).
was brought to Cuba in this form where it was combined with Afro-Cuban rhythms; and around 1850, it
was transformed into the habanera.
(f) Abaruray
Abaruray is a contraction of the words Aba and Ruray. Aba is an exclamation which is
equivalent to Hey! or Hi! in English. Ruray is a nickname for Aurora.
(e) Pandanggo sa Ilaw (Mindoro)
This popular dance of grace and balance comes from Lubang Island, Mindoro in the
Visayas region. The term pandanggo comes from the Spanish word fandango, which is a dance
characterized by lively steps and clapping that varies in rhythm in 3/4 time. This particular pandanggo
involves the presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand.
After a good catch, fishermen of Lingayen would celebrate by drinking wine and by
dancing, swinging and circling a lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan
dialect means "swinging." This unique and colorful dance calls for skill in balancing an oil lamp on the
head while circling in each hand a lighted lamp wrapped in a porous cloth or fishnet. The waltz-style
music is similar to that of Pandanggo sa Ilaw.
The Minorities
Ang katagang Ethnic Group ay tumutukoy sa mga grupo ng mga taong nagkakamukha sa
minananng kalinangan. Maaari silang manggaling sa ibat-ibang lahi.
1. Katangian ng Grupong Etniko
a. May sariling wika
b. May sariling relihiyon
c. Iisang pamantayang panlipunan (social norms)
d. May tularang panlipunan (cultural pattern)
e. Itinuturing na minority o hindi
2. Mga Paghahanay ayon sa pagkakabuklod-buklod sa Pilipinas
a. Ayon sa wika (Tagalog, Ilokano, Bisaya, Kapampangan, Bikolano, atbp.)
b. Ayon sa relihiyon (Kristyanismo, Muslim, Buddhist, Hinduist, Pagano, atbp.)
c. Ayon sa pamantayang panlipunan (Bagobo, Tasaday, Ilonggot, Mandaya, atbp.)
4. TINGGUIAN o ITNEG
Mula sila sa bulubundukin ng Abra. Napapangalagaan nila ang kanilang katutubong
kultura gaya ng pananamit, pagpapamilya, at pagsasama-sama.Ang pinuno ng kanilang
pamayanan at lakay na inihahalal. Ang paghahalal ay binabatay sa kayamanan, karunungan,
katapangan, at kagandahag asal. Ang lakay ay sumasangguni sa konseho ng mga tao.
5. KALAGAN
Sila ang pinaka minority sa mga minority. Kulang sa 20,000 ang kanilang bilang at
naninirahan sila sa Davao del Sur at Norte at Davao Oriental. Ang pangalan nila ay hango sa
pangalan ng bayan ng Karaga, Davao Oriental. Ang mga Karagan ay nakatira malapit sa
dagat. (Ang mga nakatira sa bundok ay tinatawag na Manday at Mansaka). Ang ilan sa
kanilang kaugalian at ang: pakikipag-ayos sa kasalanan; bigay-kaya; diborsyo; ang polygamy
(pakikipag-asawa ng higit sa isa), relihiyong Islam at mga pagsunod sa batas.
6. IBALOI
Nakatira sa pinakatimog ng Cordillera, sa gitna ng Hilagang Luzon. Sama-sama, tintawag
silang Igorot. Karamihan, ay sa Benguet, at Mt. Province makikita. Ang mga pamilya nila ay
matriarchal o tumitira sa bahay ng babae. Sila ay naghahalaman at naghahayupan. Kilala
sila sa paglikha ng rice terraces.
7. NEGRITO
Sila ang kauna-unahang tao sa Pilipinas. Tinatawag din silang Aeta, Ati, at Ita. Sila ay mga
pandak, matitipuno, may maitim na balat, maliliit at sarat na ilong at may makakapal na
kulot na buhok. Karamihan ay nakasaplot ng dahon lamang at palaboy-laboy ang uri ng
pamumuhay. Nabubuhay sila sa pangingisda, panghuhuli ng hayop sa pamamagitan ng
busog at pana, at pagtatanim sa kaingin. Walang sistema ang kanilang pamayanan.
8. BONTOK
Sila at nakatira sa Bontoc, Mt. Province. Sila sa lahat ang nakapanatili ng kanilang kultura
nang di nasasalin ninuman. Nabubuhay sila sa pagsasaka, may tipikal na pamilya, maibigin sa
pagdiriwang, may awitan, sayawan at kainan.
9. TBOLI
Nakatira sila sa kaitaasan ng Timog Cotabato malapit sa Suralak. Naglalala, nagsasaka, at
nagkukuwintas ng mga sigay na gamit ang paa at kamay. Ang mga damit ng babae at may
katangi-tanging Tboli zigzag at rick-rack at mga sigay at sequin. Grupo-grupo sila kung
gumawa. Malaki ang mga pamilya dahil ang mga lalaki ay higit sa isang asawa. Mahilig
mamustura ang mga babae, at mahilig mag make-up ang mga lalaki, at ang kuko nila ay
kinukulayan ng dagtang galling sa berries at ibang halaman. Ang kilay ay ginuguhitan din.
Marami silang kuwintas at singsing na suot.