Adlaon, Sheena Alcee O.

Gonzales, Monalisa C.
Leones, Carl Angelo M.
Maglaya, Roda Mara L.
Zulueta, Micaa V.
4T3

M A G L A L A T I K

Music and Dance are known as representation of ones culture. They can be considered as the
narrator of the emergence of a culture, it reflects what culture a person or a place has. They are
notably recognized as a way of expressing ones ideals, emotions or feelings and passion. One
may assume that the reason why people still have music and dance because it is part already of a
persons life, a living. They never disappear, they change and they also evolve.

Dance is known as a formform of art that incorporates a persons movement. It is known to

represent ones culture, ones way of living and the reason why it is widely spread all throughout
the world. Others consider it as part of their way of living like rituals or for some as a form of
expression or as a hobby. It is said that dance is a natural and primitive means of expression, an
expression of ones life coming from ones insight or sensation that stimulates both mind and
body. It is a reflection of ones culture wherein the spirit, character, and artistry are emulated.

It has been noted that the presence of dance can be traced in the Bible, both in Old and New
Testament as Moses celebrated triumph over the Egyptians through singing or dancing. During
the ancient time dances were classified into military dances, domestic dances and mediatorial
dances. Military Dances for preparation for war, dance helped the body to become sturdy and
active. Domestic Dance as a form of recreation and relaxation and Mediatorial Dances for
religious purposes with their gods helps them to communicate.

As highly utilized form of art, it has evolved to different kinds. People may not realize there are
many kinds or types of dances. Dances like ballroom dance, ballet, waltz, tap dance, belly dance,
and jazz dance and even break-dance. The mentioned dances require a lot of skill, lot of practice
and sometimes difficult to do that chosen or few people can be good dancers. But with the
evolution of a lot of type of dance, people tend to forget the common dance, the traditional dance
or the folk dance that developed through history, acquired from forefathers or ancestors and
introduced people to many types of dances today.

Folk Dance is known as the oldest form of dance. It is the origin of many other dance forms that
people know. It is a participatory form of dances that is usually traditional and performed by
members of a community. It is usually passed on from one generation to another. According to
Treva Bedinghaus(year), Folk dance is a form of dance developed by a group of people that
reflects the traditional life of the people of a certain country or region. Based on her definition,
folk dance is a representation of the way of living of a group people of a certain place.

According to Lane and Langhout(year), The term folk dancing is usually defined as the dance
of the common people. Just where and when it began is impossible to document. Archeologists
and Historians say it was a basic part of early peoples culture as they used dance to communicate

their emotions through movement and rhythm. People have danced and still dance for celebration,
for survival, to socialize, to communicate with the spiritual, and to express their membership and
identity in communities. By this, Folk Dance has already been part of ones culture that people
realized and practiced as a living.

Philippine Dances are said to be reflective of the Filipinos nature and ideals. It is consider as an
expressive folk art that depicts the history of the Filipino. It shows the peoples sentiments,
creative spirits and exemplifies the changes of Filipino life through the centuries. The Filipino
expressed their faith, sorrows, hopes and aspirations. Before the Spaniards came Filipinos already
has its own culture, most inhabitants are tribesmen which already have their one dances.

According to Mellie Lopez(year), Philippine folk dance is a traditional mode of expression that
employs bodily mode of expression that employs bodily movement of redundant patterns linked
to definitive features of rhythmic and beats or music.

Philippines is known as an agricultural country so many of the dances main themes are about
agriculture. For some tribes or ethnic groups they use dances for rituals or a way of
communication with their gods.

With the variety of traditional or folk dances that emerge from different tribes, groups or
community. Philippines has an extent variety of folk dances that it is categorized into those that
are non-Christian Filipinos which is not influenced by Western Culture and those dances of the
Christian and lowland Filipinos which have been influenced by the Western Culture.

Provinces in the Philippines have its own culture or way of living distinct to one another. This
may go with dances in the Philippines, which has its own significance and enriches the culture of
the place.

CULTURE AND TOURISM IN BIAN, LAGUNA

Knowing Filipinos, they pay tribute to their cultural roots. Every corner of its territory has its own
folk dance to be proud of. Interpreted attractively in festivals and local shows, these folk dances
have added to the countrys reputed contribution to worlds illustration of traditional arts.

Maglalatik is one of the most known folkdance in the Philippines. It has its own contribution to
the countrys pride. It reflects one of the most dominant and celebrated cultural dances in the
country. This depicts relationship and social interaction among former and present people in the
place thus, building its own pride in illustrating social and cultural assimilation of peoples
ethnicity and way of life.

Culture is significant for tourism for several reasons. First, culture is a powerful motivator for
travel. As a folkdance, this celebration of culture in Bian, Laguna magnetize people to draw in
the place and indulge and familiarize them to the solid tradition of the place. Also, culture offers
learning opportunities for both locals and visitors. Maglalatik, signifying a history of Filipinos,
attracts people to openly adopt educational experience and satisfaction. And lastly, culture
creates images of destinations. Maglalatik, as a developed culture, could create an image of
wealth and curiosity among people that would lead to attraction of different visitors. And it would
continue to impose different descriptions into the minds of people thus highly promoting tourism
in the place.

HISTORY OF MAGLALATIK

During the Spanish regime, the present barrios of Loma and Zapote of Bian, Laguna, were
separated. With the coconut shells as implements, the people of these two barrios danced the
Maglalatik, or Magbaba, a war dance depicting a fight between the Moros and the Christians
over the latik, a residue left after the coconut milk has been boiled.

The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter
between the two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the
reconciliation between the two groups. According to the legend the Moros came out victorious,
thus getting the coveted latik. The Christians, not contented with the result of the war, sent an
envoy to the Moros to offer peace and to baptize them.

The best Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of Bian,
the Maglalatik dancers go from house to house performing this dance for money or a gift. In the
evening they dance Maglalatik in the religious procession as it moves along the streets. They
perform the dance as an offering to the patron saint of the farmers, San Isidro de Labrador.

Costume
The Moros wear red trousers and black undershirts with long sleeves and the Christians, blue
trousers and white undershirts with long sleeves. Coconut shells are attached to the dancers: two

pieces on front just below the shoulders, two pieces at the back of shoulders and two at the back
of the waist, two pieces above the knees and one piece in each hand. The coconut shells at the
shoulders, front and back, and waist are circular while those above the knees and those held by
the hands are triangular in form. For grown-up boys the torso may be bare and the trousers rolled
up.

Music
It is divided into five parts: Introduction, A, B, C and D. it was composed by the late Dr.
Francisco Santiago especially for this dance. The original music for this dance was rhythmic
sounds produced by two bamboo sticks struck against each other with guitar accompaniment.

Formation
The dancers stand in two columns facing the audience, the Christians at the left side and the
Moros at the right side. The two columns are six feet apart and the dancers on each side are four
feet from each other. From four to six pairs may compose a set. The dancers opposite each other,
when facing, are partners Aquino (year). . (Source: Philippine Folk Dance Volume 2, Francisca
Reyes Aquino)

Local EFFECTS OF THE EMERGENCE OF MAGLALATIK (on the community)

Culture and tourism, together, have its own ways in leaving an impact to its niche and a mark to
its development. One dominant effect is the preservation and restoration of cultural heritage,
symbol or attraction. Culture is an asset. Aside from material rewards, the intention to project a
good image forced host communities to preserve and restore important historical and cultural
attraction and site. Historical and cultural pride and display of Maglalatik are important factors
for the identification of Bian as a place of pride and color. This supplies the means for enhancing

and maintaining the significance of its cultural value thus, contributing not only to the financial
growth but also to the identity growth of the place.

Another dominant effect is the cultivation of cultural pride and identity. Of course, this would be
the immediate impact of Maglalatik in Bian. It forms the popularity of Bian as a place. From
the fact that travel and tourism promotes cultural awareness, Bian has become a place of visit
when one affords to learn its culture of the folkdance making domestic tourism to mushroom in
the place. This makes the residents to feel justifiably proud of their culture, which eventually
results to elevation of their pride among different ethno-linguistic groups in the place.
Lastly, revival of traditional art is evident. Bian is thriving because of its popularity as tourist
attraction. The tourism in the place preserves the authenticity of the celebration of the folkdance
itself creating multitude of satisfaction to its community because of the benefits it produces.

MAGLALATIK AS CULTURAL FACTOR IN BIAN

Edward Taylor defined culture as that complex whole that includes knowledge, belief, art,
morals, law, customs and any other capabilities and habits acquired by man as a member of
society. It provides the framework from which people intends to follow and organize their ways
of living. It is emphasized that culture is something shared by the society.

As Maglalatik develops as a main celebration in Bian during their patron saints festival, San
Isidro de Labrador, the patron saint for farmers, it connotes the collaboration of two distinct
religious groups that depicts a battle. It showcases how the people in Bian give importance to
one of their sources of living, which is the coconut.

THEORY

Considering the most famous theory of about communication theory of dance, according to John
Martin (year), in terms of communication, art is a wide field of subjects; it comes into the
scheme of human experience in order to explain those things for which words are not adequate .
He permits the idea of it by understanding in terms of concepts and that can be understood by
language. He also claims that art is the way by explaining emotional and mental experiences and
can be identified in a mental process of perception. Just like our topic, Maglalatik, it is a form
of art, which is a folk dance, it does not explaining verbally but because of using other language,
it is being understood in terms of the emotions and other experiences performed by the dancers.

In this study we will adapt the Dance Theory of Milton H. Snoeyenbos and Carole Knapp(year).
They opposed that the idea of Expression Theory is applied in dances. They said what is
important is not the expression it pertains but the movements that it produce. With this they
developed a framework for an adequate dance theory. It should cover the following topics:
identification and definition, description, aesthetic qualities, expression, and evaluation of the
dance. In this paper, the following will be shown primarily for the rationality of the impact of
Maglalatik in Philippine culture. The Dance Theory would help us to analyze the emergence of
Maglalatik Dance as an established cultural dance in Bian, Laguna. Same thing to our topic, we
find the following topics that were discussed by Snoeyenbos and Knapp.

Identification in Dance Theory pertains to how people will recognize and differentiate it to other
dance. In case of Maglalatik, the movements in Maglalatik usually recognized with the bao

attached to their bodies and the force they used in banging of the bao in their body. Once
people see it they will recognize it as the "Maglalatik" Dance.

Description defines the movement person to the dance. The description of the dance should start
with an account of the basic descriptive qualities of movement itself. Some spectators focus only
at the aesthetic and expressive qualities of a dance and overlook its more foundational descriptive
features. This theory provides a basis for understanding the aesthetic qualities of movement that
the Maglalatik has. It explains the movement of the men from their suit or costume that is "bao".
They move from a unique style that relates to the description of this theory. Snoeyenbos and
Knapp(year) also concluded that there is no reason to think that sufficient conditions for
aesthetic-quality terms applicable to dance cannot be specified and movement points should be in
the right direction. As the Maglalatik being performed, it has different steps that would bring out
its aesthetic quality. From the beginning of the dance to the last part of the reconciliation or also
known as paseo and escaramusa, the directions and movements of the dance are very constructed
and the quality of the dance easily specified.

Expression of this theory shows how it can account for expressive dance. Since a dance is
generally nonverbal, consist only of body movements; the expressions of emotions or attitudes
are given focus. The position of a person's expressive act frequently specifies the intentional
object for an observer. An expression can be conveyed not only through facial expressions while
dancing but also with the movements in the dance. In Maglalatik, the fierceness of the dance
shown with the loud striking of bao or coconut shells shows the eagerness to win the fight, the
louder the strike with the coconut shells the more desire to win.

In Evaluation, According to Dance Theory is that, it should not be on its meaning or what it
implies but it should be on what the people can see or what they say as aesthetic evaluations.

The dance theory by Snoeyenbos and Knapp used Sibleys broad class of aesthetic qualities:
qualities such as unified, dynamic, coherent, etc. and qualities such as originality and importance.
Your discussion and application of theory is well done.
ANALYSIS

Creative and dynamic, these are only two of the several characteristics that we can describe our
Philippine Folk Dances connected to our culture. Our countrys Folk dances are all vibrant,
original, and are based on our Philippine History just like Maglalatik, that is sure to depict our
traditional folk dances.

There are two key concepts of Maglalatik dance regarding the role of the gender, Spectacle and
sport. Maglalatik retains some level of athleticism so it is an activity that is acceptable for men to
engage. However, when the display of the artistic dance is being performed, gender is called into
question. Ritual dances are performed for a higher being with the hopes of success in community
endeavors such as harvest and war. So it would come as no surprise that one area of dance where
men are not questioned is the war dance. Some of the rituals are also performed to energize troops
as well as diffuse aggression . (Enriquez, 1981).

It is a distinctive kind of dance, a war dance. The dancers are split into opposing tribes that battle
each other by slapping the coconuts on themselves and other dancers. The first half of the dance
depicts the preparation and the battle itself. The second half depicts the reconciliation and
baptism of the Muslims who technically won the battle.

It shows that the conflict that the Muslims and Christians are having on right now was cultural. It
happened do many times before even before the Spaniards come. It can also be a form of martial
arts entrap and boxing method unseen in the dance.

CULTURAL SIGNIFICANCE

There are many important issues why it is significant. The group considers first the carrying on
the tradition. Second was remembering the reconciliation and baptism of the Muslims. We also
see the positive outcome of the Maglalatik through the avoidance of the harsh fights and wars. We
also consider that they see the value of the coconut tree, which they considered as the Tree of
Life. But most likely it is the originality and uniqueness culture of the Filipinos that made it
stand out. It reflects the lively cultures of the Filipinos have.

It represents the active life of Filipinos or the Tagalog specifically that they involve dance as a
way of representing the lifestyles that they have. It is evident that they still practice the dance
during a festival that shows their vitality. The dance can present fierce movements that show the
drive to live of every Tagalog.

For us, it has social values because it shows how coconut binds the local people together to form
a cultural identity that it is still evident at present through festivals in Laguna. It has a social
value, because they also show their origins. In the history, it has been said that there are groups
many existing in a place, each group have their own identity, but due to the sentiment to the
coconut, it shows their same interests, which unconsciously binds them together.

The Maglalatik also has Historical value due to the rich history. Because of the battle between the
Christian and Moros, it has inspired people to create and develop certain dance to signify its
history.

Good discussion as well

RECOMMENDATIONS

As the cultural officer of Bian Laguna, Ms. Alonte, the details of Maglalatik are limited and they
are in the process of collecting most of the vital information about the Maglalatik. She
substantiate that their office is collaborating with the National Historical Institute (NHI) for more
details like, who is the very first person who dance the Maglalatik, and the like.

We formulate some recommendations and suggestions for the endorsement of development of the
Maglalatik cultural dance of Bian, Laguna.

Primarily, is for the cultural tourism office in Bian, Laguna to rapidly make the researches in the
history of Maglalatik for the full information of the dance/festivity. It is because up to this instant
the Tourism office in Bian is still lacking the basic information about the Maglalatik. They
should immediately fill out the necessary information like who is the first specific person to
dance the Maglalatik. They should coordinate with the National Historical Institute (NHI) of the
Philippines for more intensive exposition. Secondary is to team-up with the Tour Operators and
Travel Agencies for them to include and recommend the place and the tourism activities present
in Bian, Laguna. Tour Operators and Travel Agencies still play a major role for the exposure of
the tourism in a certain place. Third, have more exposure in the media like television,
newspapers, magazines, Internet and radios. A travel-oriented show in the different media channel
is a big contribution for the exposure of the dance. Next will be having a cultural dance programs
with the PICC and CCP, the last time we checked the last dance performance of the Maglalatik in
the PICC was year 2008. Ask financial and other help from the non-government organizations.
We also see a huge benefit of the performance of the dance tradition in many areas, made it

be locally, but most especially, internationally to gain popularity. Have a culinary experience for
the tourist; let them savor the best delicacies in Bian, Laguna, most specially food products that
are made of coconut. Make it part of the tour package like watching the dance and have a taste of
the food delicacies. One of the statement of a tourists said that they watched Maglalatik in one of
a street dance. Therefore, they should improve the contribution of the street dance in the
development of the Maglalatik.

Education is a fundamental for every person especially to children. A history and culture subject
has been part of the curriculum of the students. That is why we come up with the ideas that can
make the Maglalatik be recognized for the younger generations. First, include Maglalatik history
in the books for the students to learn and be aware. Also include Maglalatik dance for their
activity in the Physical Education subject of the students.

For the localities of Bian its good for them to train their young boys to engage in the traditional
dance (Maglalatik) to keep the tradition and culture alive. In the matter of marketing our group
can recommend for them to have a dance C.D and D.V.D that can avail in the market (like belly
dancing, etc..)

We also think that they take use advantage the accessibility factor of the province to attract
tourists. Its distance from the Metro Manila is a big contributor.

Some of the suggested ideas may cost a lot of financial aid, and some can be criticize. But we can
really see a potential significance in Maglalatik dance and festival. It can contribute to both
cultural and historical aspect of the Philippines, and also can create economic and employment
positive results.

CONCLUSION

With the limited information about the Maglalatik Dance where people can just rely with what
is seen and what has been said its cultural significance is vague. It is significant that it is
considered as one of the famous folk dances in the Philippines. Through Maglalatik Dance the
people from Laguna presents there history, it is their way to show what life the Christians and
Moros have back then. We are still wondering why they are fighting over the Latik or Coconut
Meat.

Through the dance, people can see the significance of the coconut to their community and how
they use their resources extensively even using it to represent or symbolize their history or
culture. It needs more attention in order to develop so that it can more contribute to the cultural
identity of the place.

With the recent developments nowadays not only in tourism, Culture is almost disregarded.
Culture can be easily defined. But in real sense, a concrete application of culture is missing.
Maybe it is the reason why Maglalatik does not have the enough resources to explain all its
aspects. The dance is entertaining; it has clear description. But in order to say that it should be
given importance by the people of the place, it goes the same with a lot of cultural object.

Philippines have extensive cultural resources but due to a lot of problems and events people are
more focused on gaining profits rather than intensifying its value, this reason may answer why
people disregarded culture or cultural sites because they cannot see its potential as a source of
income. This is a dominant negative impact that can be seen in the place. Philippines unique
culture is missing intensified by the Filipinos considerations on international relations, Filipinos

are more patronizing on what the other countries or nations offer not on what their own country
offer. In Dance, most Filipinos are more inclined with international dances such as Ballroom,
Break dance, etc. rather than the folk dance that Philippines have.

REFERENCES
Reil G. Cruz, Principles of Travel & Tourism, 1998
Lewis E. Gleeck Jr., Laguna in American Times: Coconuts and Revolucionarios, 1981
Milton H. Snoeyenbos and Carole Knapp, Dance Theory and Dance Education, Journal of
Aesthetic Education, Vol. 13, No. 3 (Jul., 1979), pp. 17-30
CCP Library
Laguna History Arts Culture Office

Mellie Leandicho Lopez, A handbook of Philippine folklore

One of the best papers!