Maglalatik

Maglalatik or Magbabao is a war dance representing in a picture a battle between the

Moros and the Christian over the latik, the remainder left after the coconut milk has

been boiled. At some time in the course of Spanish rule, with coconut shells as tools,

the people of the barrios of Loma and Zapote in the town of Biñan in the province of

Laguna danced the Maglalatik.

The Palipasan and the Baligtaran, the first two portions of Maglalatik, reveal the hot

combat between the Moros and the Christians. The Paseo and the Sayaw Escaramusa

display the reconciliation between the legend, the two groups. As stated by the legend,

the Moros won and got enviously wished latik. The dissatisfied Christians sent a

representative to the Moros to offer peace and baptism to them.

Costumes used in the Maglalatik

The costumes used in this dance style will depend on the community (i.e. Moros or

Christian) the performer is representing, and so the attire worn is as follows:

For the performer representing the Moros community:

The dress worn will include a white vest and red trousers.

For the performer representing the Christian community:

The dress worn will include a white vest and blue trousers.

Music involved in the Maglalatik

The music produced for this dance form is through the use of coconut shells held by the

performers (males) while performing.

Training availability and technique involved in the Maglalatik

In terms of technique, this dance is basically divided into four parts namely baligtaran,

palipasan, paseo and escaramusa. In the first two parts of this dance i.e. baligtaran and

palipasan basically movements showing a performer engaging in a battle is used.

Furthermore, in the last two components of this dance i.e. paseo and escaramusa

movements showing performers reconciling and making peace is used. In addition,

coconut shells are generally used as a musical instrument by the performers while

dancing. As for training centres and schools, there are none available around the world

since this “indigenous” dance is mainly performed in the Philippines.

1. 6 8-counts jogging to get to place

2. 4 steps forward while pounding chest

3. 4 basic clap cycles in place

4. 4 basic clap cycles to get to two rows

5. 8 quick clap cycles to do the ripple effect

6. 8 quick clap cycles to circle around partner

7. CIRCLE UP

2 8-counts + 1 4-count for first clap

clap after 1 8-count 3X

Finishing clap

8. 8 high-low clap cycles to move to position

9. 8 cycles of 6 hit clapping

10. 16 counts for tricks with clapping in the background

11. 4 basic to get to two sides

12. 8 quick clap cycles for the battle

13. 4 quick clap cycles to get to end

after last clap POSE.

Binasuan

Binasuan is a folk dance that originated in Bayambang, Pangasinan,. The word

“binasuan” means “with the use of drinking glasses.” The dancers balance glasses on

their heads and in their hands as they move. The glasses are filled with rice wine, which

makes any misstep a messy mistake. People dance binasuan at weddings and festivals.

A group of dancers generally performs binasuan, moving in unison, but occasionally

breaking into smaller groups and performing different choreography. For example, they

can begin in a circle, then form two columns, which then bend into semicircles, and one

follows the other to reform the circle. The music is in three-quarter time.

Binasuan Cups

At the beginning of a binasuan performance, one of the dancers may fill each individual

cup with rice wine and pass them out to the other performers. The dancers can also

come onstage with the cups already filled and balanced on their heads and hands. For

your binasuan dance, make sure you fill each cup about half full of rice wine. You can

also use water. To balance the cups, place one on the flattest part of your head, just

behind the crown of your head. Now place another on one palm. You’ll need another

person to place the last glass on your other palm. Keep your head level and high, and
look straight ahead. Keep your palms facing up and slightly cupped, to hold your

glasses in place.

Binasuan Steps

Binasuan footwork looks remarkably similar to waltz steps. First, step out to the side

with your right foot. Next, move your left foot up to your right foot. Third, tap your

right foot. Now repeat this sequence, this time stepping to the side with your left foot.

To move along when you and the other dancers are moving in a circle, step to the side

with your right foot. Now kick your left foot out: This is a small motion, so make sure

your foot is only coming about three inches off the floor. Point your toe. Third, tap your

left toes on the ground. Because the music is in three-quarter time, your steps should

go like this: step, kick, tap, step, kick, tap.

To perform an arm balance, hold your arms up and out to the sides, with your palms up

and your elbows slightly bent, held at about waist level. Your arms should look like

you’re carrying a large log, balancing it on your palms and the insides of your forearms.

Now, as you kick your left foot out in the waltz step, make a large circle in the air with

your left arm. This circle should be horizontal–that is, all its points should be at the

same height. You’ll make the circle by first bringing the heel of your hand close to your

bicep, then moving your hand out to the left, keeping your hand flexed so your glass

stays level. Straighten your elbow gradually as you keep moving your hand out and to

the left. Keep a slight bend in your elbow as you reach the widest part of the circle,

which will place your hand in front of your bicep again, but this time about two feet

away from it. Keep moving your hand in this circle until it’s all the way back close to

your bicep again. This entire arm movement should take up one three-count in the
music. Now, as you kick out your right foot, perform the same motion with your right

arm.

Itik-Itik

Itik-Itik is a Philippines folk dance form created by imitating the “movements of a

duck” such as wading, flying, and short steps and splashing water on their backs like

the ducks do. This “mimetic” folk dance is said to have originated from the province of

Surigao in Philippines. Apparently, this dance form is said to have been popular in

towns such as Carrascal, Cantilan, Lanuza, and Carmen. Furthermore, there are a few

alternate versions of this dance form found in places within the country such as Visayas,

Samar, Cebu, and the Tibiao but Itik-Itik Surigaonon remains the most popular.

History/origin of the Itik-Itik

A popular Fillipino legend states that this dance was first created by a young Filipina

maiden-dancer of Surigao del Norte named Kanang who was considered to be best

dancer in the Surigao province. Apparently, due to her dancing prowess she was asked

to perform the Sibay – another important Filipino dance, at a baptism ceremony. While

performing the Sibay, she got inspired by the music and decided to improvise the dance

steps borrowing from the movements of a duck. This unique dance was then named

“Itik-Itik” since “Itik” means “duck” in the local Tagalog language.

Costumes used in the Itik-Itik

The costume worn in this dance form varies according to the gender, and they are as

follows

1. For men:
The attire worn generally includes barong tagalog (embroidered formal shirt considered

the national dress of Philippines) or the camisa de chino (a collarless Chinese shirt with

short sleeves worn under the barong tagalog), and white trousers. Men also sport a

bright colored ‘neckerchief’ (kerchief around their neck).

2. For women:

The attire generally worn includes the baro’t saya (traditional Philippines dress for

women), patadyong (a wrap around loose skirt) or the balintawak (a native dress of

Filipino women consisting of dress and skirt woven of local fibers with a kerchief and

apron to match). Women wear the bandanna around their head which makes the overall

look very nice.

Music played in the Itik-Itik

Itik-Itik is performed to the tune of Dejado. The musical instrument mainly used in this

dance form is the Rondella, a string instrument ensemble. In addition, instruments such

as bandurrias, mandolins, guitars, basses, drums, and banjos are also used.

Training availability and dance technique involved in the Itik-Itik

In terms of technique, this dance involves imitating movements seen in a duck.

Furthermore, the movements involved in this dance include wading, flying, and short

choppy steps. As for training centres and schools, there are none available around the

world since this “mimetic” dance form is mainly performed in the Philippines.

1. Step to your left and raise your left arm up in a flowing motion.

2. Step to your right and raise your right arm up in a flowing motion.

3. Repeat steps 1 and 2 seven times.

 4. Step forward and bring your hands into your chest, bending your elbows and

making sure to point your hands inward. Repeat seven times.

5. Step in a circle as you sway your arms to the right, then to the left.

6. Raise your arm and step hop to the left.

7. Raise your arm and step hop to the right.

8. Repeat steps 6 and 7 five times.

9. Sway to the right, then to the left. Repeat six times.

10. Repeat all steps three times.

Kuratsa

The "Kuratsa" dance is the most popular dance in the Visayan regions. There are many

versions of Kuratsa. Different regions have their own dance patterns, usually the boy's

steps are more difficult than the girl's. This version comes from Bago, Negros

Occidental.

Costume

Girl wears patadyong with camisa or kimona, with a soft panuelo; white or any colored

trousers and barong tagalog or camisa de chino for the boy.

Music

It is derived into two parts: A and B.

Count

One, two, three, or one, and two and three to measure.

Formation
Partners stand side by side, Girl at right of Boy, when facing audience. One to any

number of pairs may take part in this dance.

Dance Steps

Introduction

Music Introduction.

Partners face each other.

Three-step turn right in place. Girl hold skirt, Boy's

hands on waist, (cts. 1, 2, 3). Point L foot in front, R arm in

reverse "T" position, L hand on waist (cts. 1, 2, 3). Pause

(2 M) ......................................................4 M

Music A.

Partners face each other.

(a) Point R foot in front, (cts. 1, 2), step R foot close to L foot (ct. 3), R arm in reverse

"T" position, L hand on waist..................................1 M

(b) Repeat (a) with L foot, reverse position of arms.1 M

(c) Quarter turn left, with the R foot leading take two chasing steps sideward right to

partner's place arms as in (a) (cts. 1, and, 2, and), step R foot sideward (ct. 3), cross L

in front of R foot (ct. 1) and turn right, salok the L arm in R arm in fifth position (cts.2,

3) finish the turn facing each other........2 M

(d) Repeat (a-c) starting with the L foot, reverse position of arms and turn in

(c)........................4 M
Partners face left.

(e) Repeat (a) and (b).............................2 M

(f) Repeat (c) moving obliquely sideward right. Finish the turn facing

right..........................2 M

(g) Repeat (d) finishing in proper places..........4 M

Music B.

Partners face each other. They do their movements simultaneously.

Girl

(a) Two sway balance steps with a brush (R, L), moving counterclockwise. Arms in

fourth position R and L arm high (4 M). Waltz turn right, arms in lateral position

moving sideward right and left, with a forearm turn (2 M). Finish in partner's

place...............6 M

(b) Repeat figure I (c). Finish in proper places...2 M

(c) Repeat all (a-c) ...............................8 M

Boy

(a) Two sway balance steps with a hop (R, L). Arms in fourth position R and L arm

high...............4 M

(b) Waltz turn right. Arms in lateral position moving sideward right and left, with a

forearm turn R and L..............................................2 M

(c) Waltz forward R toward Girl, opening arms as if pleading (cts. 1, 2, 3), waltz

backward L, closing arms to chest (cts. 1, 2, 3) ...................2 M

(d) Two sway balance steps with a brush (R, L) ....4 M

(e) Waltz forward R, waltz backward L, arms as in (c).2 M

(f) Repeat figure I (c)............................2 M

Music A.

Partners face the audience.

(a) Repeat figure I (a-c) starting with the inside foot finish in partner's

place.....................4 M

(b) Repeat (a) finishing in proper places.........4 M

(c) Partners face each other. Repeat figure I (a-d).8 M

IV. Music B.

Partners face each other.

(a) Sway balance with a hop (R, L) arms in fourth position R and L arm

high..............................4 M

(b) Two waltz turn right to partner's place, arms in lateral position with forearm turn (2

waltz steps for every turn). Pass each other by L shoulders................4 M

(c) With the girl leading, partners take two waltz steps forward and waltz turn to any

direction arms as in (b)...........................................4 M

(d) Two waltz steps forward to meet at center (2 M), join inside hands, girl executes a

waltz turn inward under arched hands and both bow to audience (2 M) ...4 M

Kandingan
This is a Moro wedding dance from Jolo, Sulu. Its figures are based on the old,

traditional Moro dances. Some of the old people say that the name of this dance is

derived from the word "gandang" or "gandangan". "Gandangan" is an instrument

similar to the drum, cylindrical in form and covered with goat's skin at both ends. It is

played by tapping the two ends with the hands. "Gandangan” is the act of playing on

the "gandang".

When the natives from Sulu perform this dance, no definite number of steps, no

sequence of figures, no lines of direction, no particular feet and arm movements are

incorporated. The dance may be prolonged or shortened, depending upon the ability

and mood of the individual dancer.

For purposes of teaching, a figure sequence and a definite number of steps are given

here. These figures and steps, as danced by four Moro dancers, were arranged in

the order described below.

The music was written by Lt. A. Buenaventura and is based on Moro folk melodies.

Costume

The dancers are dressed in typical Joloano costume and are barefoot.

Music

It is divided into two parts: A and B. It is played continuously until the dancer is finish.

The tempo increases on the last figure or when the performers are about to and the

dance.

Count

One, two to a measure.

Formation

Partners stand side by side facing the audience. They are about eight feet apart. The girl

stands at the right side of the boy.

Steps

I. Throughout the figure the knees are slightly bent and turned a little outward. Slide R

foot forward with toes turned outward (ct. 1), step on the same foot (ct. 2). Do this step

L and R alternately. It should be a smooth and easy movement, with no bobbing.

II. Shuffling steps with toes creeping forward little by little. Put as many steps as

possible in one beat or measure.

III. Slide R toe in a semicircle across the L foot in front (ct. 1), lower the heel of the

same foot and step on it (ct. 2). Continue this step with the L and R crossing each other.

The dancer is moving forward with each step.

IV. With knees together and straight execute very fine parallel tortillier steps to

sideward right.Start with toes pointed in front, feet flat on the floor. Turn toes to

sideward right, pivoting on the heels; raise heels and turn them sideward right pivoting

on the balls of the feet, and so on.

Execute this step either to sideward left or right.

Put as many steps as possible in one count or measure.

Entrance

Music Introduction.

(a) Starting with R foot, execute running steps to place. Hands are held obliquely,

backward-downward with palms outward, fingers together and stiff. The girl enters
from the right and the boy from the left. Place R foot across the L in front and bend the

knees slightly. The right hand is held in front with the finger tips pointing towards the

left and the palm facing front in level with the eyes. The elbow is flexed. The left hand

is held obliquely backward-downward, elbow slightly flexed, fingers close together,

held stiffy with the palm down. The finger tips point inward. This position is held at the

last, long chord of the fourth measure of the introduction...................................4 M

Music A.

(a) Do step I eight times, R and L alternately, clockwise. With arms sideward at

shoulder-level in a relaxed position, move wrists up and down, hands waving up and

down at every movement, the fingers curling in and stretching out................................8

(b) Turn right about and repeat (a) moving

counterclockwise.........................................8 M

Music B.

Dancers face the audience.

(a) Starting with the R foot, execute step I eight times moving forward.

Arms Movements.

Hold the right hand in front at the level of the eyes, the left hand down and back, fingers

stiff and close together (except the thumb). Turn the right hand counterclockwise (from

the wrists only) and the left clockwise.

Take two counts for each turn of the hand.

Reverse the arm positions on every two counts. There must be a flowing movement of

the arms as they change from one position to the other..........................................8 M

(b) Turn right about and repeat (a) going back to proper

places.............................................8 M

Music A.

Girls Part.

(a) Stand with R foot in third position in front. With knees slightly bent turn around

right, taking tiny steps in place, both feet flat on floor, always in third position. The

body is inclined a little to the right side.

Arms Movements.

The right hand is held in front at the level of the eyes, palm facing front, elbow flexed.

The left is held down at the back, palm facing out. The fingers are close together (except

the thumb). Curl the fingers in and out, imitating the tail of a fish......2 M

(b) Repeat (a) turning to the left. Reverse position of the feet and arms. Incline the body

to the left side...2 M (c) Repeat (a) and (b).................................4 M

(d) Repeat all (a, b, c) ...............................8 M

Note: Letter (d) may be omitted if desired.

Boys Part.

(a) Starting with the R foot, execute step I eight times, moving

clockwise...................................8 M

(b) Repeat (a) counterclockwise........................8 M

Arms Movements.
As one arm is raised the other one is lowered. Raise the forearm forward keeping the

elbows close to the body. Flex the wrist of the right hand downward, the palm facing

front, fingers close together. The left wrist is flexed upward, fingers tips pointing

up, palm facing front, fingers close together.

(a) Gradually raise the right forearm upward and lower the left downward without

changing the position of the hands (cts. 1, 2, 3, 4) ........................2 M

(b) Quickly change the position of the fingers (left pointing downward, right upward).

Gradually raise the left the forearm up and lower the right. Palms always face front (cts.

1, 2, 3, 4) ..................................2 M

(c) Repeat (a) and (b).................................4 M

(d) Repeat all (a, b, c) ...............................8 M

The hands may be brought closer together as they are raised

and lowered. The shoulders follow the movements of the arm.

Music B.

Partners face each other.

(a) Starting with R foot, execute step I eight times moving diagonally forward

right...........................4 M

(b) Turn right about and repeat (a) going back to places.4 M

(c) Repeat (a) and (b) going diagonally forward left...8 M

Arms Movements.
Repeat the arm movements of figure II. The forefinger and thumb is almost touching

each other, the other three fingers are hyperextended and separated. The right and left

arms are raised and lowered alternately as in figure II...........................16 M

Music A.

(a) Starting with the R foot, execute steps II clockwise.8 M

(b) Turn right about and repeat (a) counterclockwise...8 M

Arms Movements.

(a) The arms are bent upward, hands level with the eyes, palms facing front, fingers

close together, the tips of the third fingers of each hand almost touching each other.

Rotate the hands gradually turning the fingers outward (away from each other), bringing

the wrists closer (4 cts.) ....................................2 M

(b) Continue rotating the hands in and out, palms facing

front.............................................14 M

Music B.

Partners face the audience.

(a) Starting with the R foot, execute step III eight times moving forward.

(b) Starting with the L foot, repeat (a) moving backward to

places..........................................8 M

(c) Repeat (a) with faster movement, one count for each step, taking twp steps per

measure.................4 M

(d) Repeat (c) going backward..........................4 M

Arms Movements.
Hold arms down at the back, palms of the hands facing out,

third fingers of each hand almost touching each other, fingers close

together and stiff.

(a) Open the arms gradually outward bringing them to the front parallel to each other,

the right hand above the left, palms facing front...........................8 M

(b) Gradually bring the hands back to the starting position...........................................8

M Music A (First 8 M).

(c) Repeat (a) with a faster movement..................4 M

(d) Back to starting position..........................4 M

Music A (Last 8 M).

Girl faces the audience.

(a) Place R foot across the L in front. In this position gradually bend the knees until

almost kneeling on the left...............................................4 M

(b) Slowly rise to standing position...................4 M

Music B (First 8 M).

(c) Turn left about and repeat (a) until almost kneeling on the

right..........................................4 M

(d) Repeat (b).........................................4 M

Arms Movements.
Arms sideward at shoulder level, elbows and hands relaxed. Pull inward and push

outward the right and left shoulders alternately with the fingers curling in and stretching

out as in figure I. (8 M of Music A, 8 M of B) .........................................16 M

Boys Part.

Repeat figure III (a) and (b).........................16 M

Music B (Last 6 M).

Partners face each other.

Partners execute step IV, the girl following the heavy lines and the boy the dotted lines.

Put as many steps in a measure as possible. Take four counts for each line of direction.

Turn left at every change of direction.6 M

Arms Movements.

The arms are bent upward, hands in front of the face, palms facing front, fingers pointed

upward and close together, hands parallel to each other. Gradually lower the finger tips

to sideward right and left alternately every four counts.............................6 M

FINALE.

Music B (Last two measures).

Partners run to the center to their proper places as in the Formation. Hold the position

as in Entrance (b)................2 M

Note: If an exit is desired, run around once and then off, taking the same arm position

as in Entrance (b) while running (2 M).

Abaruray
"Abaruray" is a contraction of the words "Aba" and "Ruray". "Aba!" is an exclamation

which is equivalent to "Hey!", "Hi!", or "Hail!" in English. "Ruray" is a nickname for

Aurora. This dance is known in the Philippines be several names, such

as "Hapayan", "Tagayan", "Pandango sa Baso", and "Abaroray". In any social gathering

in the remote "barrios" of the Philippines, it is customary to offer wine to the visitors.

The offering is usually made by a young lady. She goes around with a glass and a bottle

of native wine offering a drink to the visitors. This wine offering is a signal for the

beginning of folk dancing and singing. The musicians play the introduction of

"Abaruray" music. The girl who is offering the wine picks out a young man from among

the guests and offers him a drink. This is her way of hinting at her desire to dance with

him. The young have to accept it or he commits a breach

of etiquette and the girl is offended. His acceptance of the drink will signify that he will

dance with the girl. He then stands and they begin dancing, with the girl leading him

on. The girl dances with the glass of wine on her head from which the young man

drinks. Her dancing skill is shown in her ability to keep the glass on her head and in not

spilling a drop of the wine. The audience sing and clap their hands in time with the

music. The description given below is the "Abaruray" from Tayabas.

Costume

The girl is dressed in "balintawak" and the boy in "barong tagalog" and long red

trousers. Both dancers are bare footed.

Music is divided into three parts: Introduction, A and B.

Count

One, two, three to a measure.

Formation

Partners stand opposite each other about eight feet apart. The girl stands at her partner

right side when facing the audience. A few boys and girls may take part in this dance

to represent the townsfolk attending a social gathering. The girls are dressed like the

dancer. The boys are dressed in "barong tagalog" or "camisa de chino" and long

trousers. They clap hands in time with the music.

Introduction

Music Introduction A

The girl goes around with the glass of wine in her right hand looking for a partner. She

moves freely around using walking steps, close, and waltz steps alternately. She pauses

once in a while as she looks for a suitable partner. She offers a drink

to a chosen one. He accepts the wine, stands up after drinking, and follows the girl to

the middle of the room. (the boy stands at the left side of the girl) ................................25

Music A.

(a) The girl waltzes around in any direction, holding the glass with her right hand.

Places the left hand on the waist. The boy follows the girl closely and he executes the

same steps. Places hands on waist.16 M

Music B.

Girl's Part:

(a) The girl faces the audience. She takes four waltz steps sideward R and L alternately.

Holding the glass in her right hand she moves it sideward R

and L alternately.................................4 M

(b) Takes waltz steps forward right and backward left (2 M). One waltz turn-right in

place (two waltz steps) (2 M). Transfers the glass to the left hand. Bends the right arm

forward and holds the elbow in front at shoulder- level. Places the glass on the crook of

the right elbow.... ........................................4 M

(c) Repeats the same steps as in (a) starting with the L

foot. Holds the glass in left hand and moves it sideward L and R

alternately...............................4 M

(d) Repeats (b) starting with L foot. Transfers the glass on the right hand and places it

on the crook of the left elbow.............................................4 M

Boy's Part:

As the girl is doing the above steps, the boys simultaneously executes the following

steps around the girl.

(a) Two waltz steps forward (R, L) .....................2 M

(b) One waltz-turn right in place (two waltz step). Arms in

lateral position moving sideward R and L alternately.2 M

(c) Repeats (a) and (b) three times more going counter clockwise around the

girl.........................2 M

Music B.

Girl's Part:

She stands in place while doing the following hand movements:

(a) The girl takes the glass from her left elbow and holds it in palm of her right hand.

Starting with the R hand down in front, she turns her head counter clockwise, raising it

slowly and gradually upward to the top of the head. The glass is still in the palm of the

hand.4 M

(b) She takes the glass from her head and turns the hand clockwise bringing it slowly

and gradually down to the starting position................................4 M

(c) Repeat (a).......................................4 M

(d) Places the glass of wine firmly on the head......4 M

Boy's Part:

Boy's stands about six feet from the girl, in front of her, with his left shoulder towards

the audience. He taps with the R foot and at the same time claps hands on the second

and third beats of every measure......16 M

Music A.

Girl's Part:

(a) With the glass of wine in her head, she executes a pivot turn with a point to the right

and left alternately four times. Takes four measures for every complete turn. R arm in

fifth position L hand holding the skirt when pivoting to the right. Reverses the hand

position when turning to the left. "Kumintang" the raised hand clockwise every

measure...................................16 M

Boy's Part:

Repeat the steps in figure II...............16 M

Music A.
Girl's Part:

(a) Places the R foot in fifth position in front and bend the knees slightly. Holds the

position for sixteen measures. Bends the L forearm in front of chest, horizontally, and

R forearm upward vertically. The right elbow rest on the back of the L hand (palm

down). "Kumintang" R hand clockwise (cts. 1, 2, 3). Reverse the position of the hands

and "kumintang" counterclockwise with the L hand.

(b) Repeat (a) once more.............................2 M

(c) Arms in lateral position (waist level) moving sideward from right to left alternately

four times "Kumintang" hands as above...................................4 M

(d) Repeats all (a, b, c) ............................8 M

Boy's Part:

Repeat the steps of figure 11, starting with L foot and turning clockwise. Finishes at the

left side of the girl............................................16 M

Music B.

(a) Partners stand about eight feet apart facing each other. Take six sway balance steps

with a point, R and L alternately. Arms in fourth position, R and L arms high

alternately................................12 M

(b) Starting with the R foot, take 4 waltz steps forward to exchange places. Pass by each

other's right shoulder. Arms in lateral position moving sideward R and L

alternately......................................4 M

(c) Repeat all (a and b) finishing in proper places.16 M

Music B.

Girl's Part:

Starting with R foot, execute waltz steps forward going in any direction. Hands holding

the "tapis" (apron) or skirt, wiggling it forward and backward in time with the

music...........................................14 M

Boy's Part:

Starting with R foot, executes two waltz steps and a waltz-turn (R or L) following the

girl closely. Turns around her clockwise or counterclockwise. In doing the waltz-turn

he swoops down like a hawk near the girl. Swing the arm (L or R) downward-upward.

Arms are in lateral position moving sideward R and L (or L and R) when doing the

waltz step...........................14 M

Saludo:

The girl takes the glass from her head. Partners stand side by side with the girl at the

right side. Join inside hands and girl turns counter clockwise under the arch of their

joined hands (cts. 1, 2, 3). Both bow to the audience (cts. 1, 2, 3) ..........................2 M

Singkil

Singkil, a dance originating from Lanao del Sur,Mindanao is said to be a dance of

Muslim royalty.To the rhythmic clapping of bamboo poles,the dancers weave expertly

through crisscrossed bamboos,the ladies dressed in elegant Muslim costumes waving

great big fans,the men flipping brightly colored handkerchiefts right and left.The

dancers wearing solemn faces and maintaining a dignified pose begin dancing at a slow

pace which soon progresses to a faster tempo.The clashing bamboos and the whirling

dancers form an unforgettable kaleidoscope of color and sound that is

fascinating to the beholder.Legend has it that Singkil originated from the day the

diwatas (some from of nymph or fairy) played a joke on Princes Gandingan as she was

taking a walk in the woods.The diwatas caused an earthquake that made the trees

tremble and the rocks to roll and knock against each other nothing daunted, Princes

Gandingan skipped nimbly from place to place and no tree or rock ever touched her

tiny feet.There are many versions of Singkil. 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. On the other hand when

the dance is performed by natives,not of royal blood, the dancers, a boy and girl have

no attendants.

The dance is usually performed by girls only.

Equipment

Four bamboo poles or light wooden poles, three yards long and about two inches in

diameter; two pieces of board about one and a half feet long and two inches thick where

the poles are laid.

Costume

Dancers are dressed in typical Maranaw costume. The girl holds an open fan in each

hand and the boy holds a brightly colored piece of cloth or handkerchief in each hand

by a corner s that he can easily wave it or snap it back and forth.

Music

No musical accompaniment is necessary. The clapping of the bamboo poles furnishes

the rhythm. It is in 4/4 time.

Count

One, two, three, and, (silent four), and or one, and, two, and, three, and, (silent four),

and or one, two, three, four to a measure.

NOTE: To make instruction clearer and easier to understand numbers and letters are

used in designated areas.

Formation

The bamboo poles are arranged in cross formation. Poles on areas 1, 3, 5 are on top of

poles on areas 4, 5, 2. The ends of the under poles rest on the boards. The four boys and

girls who clap the bamboos are seated on the floor holding the ends of two bamboo

poles.Boy stands at left side of bamboo on area C and girl stands or left side of bamboo

on area A. Dancers face each other.

Steps

(a) Step R foot inside between bamboo poles (ct. 1), step L foot close to R (ct. 2), step

R foot outside the right bamboo poles (ct. 3), tap L close to R foot (ct. 4)

...........................................1 M

(b) Step L foot inside between bamboo poles (ct. 1), step R foot close to L (ct. 2), step

L foot outside the left bamboo pole (ct. 3), tap R close to L foot (ct. 4)

.................................................1 M

BAMBOO RHYTHM I

Strike bamboos that are under against the board a foot or a little bit more apart (ct. 1),

repeat same two more times (cts. 2, 3), immediately raise the bamboos a few inches

high and strike them together against each other (ct. and), pause in same
position (ct. 4) strike them together again while still up (ct. and)

..........................................................1 M

The bamboo poles on top are struck in the same manner simultaneously with the

bamboo poles under.

BAMBOO RHYTHM II

Strike bamboo poles that are under against board a foot or a little bit apart (ct. 1), repeat

same four more times (cts. and, 2, and, 3), immediately raise bamboo poles a few inches

high and strike them together against each oher (ct. and), pause in

same position (ct. 4), strike them together again while still up (ct. and)

.................................................1 M

NOTE: Throughout the dance the Girl holds an open fan in each hand and Boy holds

one corner of a kerchief or piece of cloth in each hand.

Introduction

Girl stands sideways at area A facing toward area B, Boy

stands sideways at area C facing toward area D.

(a) Step R foot forward inside between bamboo poles, foot in perpendicular position

(ct. 1), step L close to R foot (ct. 2), step R backward outside left bamboo pole (ct. 3),

step L backward close to R foot (ct. 4). Girl places hands on waist, knuckles in fans

pointing outward. Boy places hands on waist, knuckles in, kerchiefs hanging

down......................1 M

(b) Repeat (a), three more times....................3 M

I.SINGKIL STEP
Bamboo Rhythm I

Partners face each other. Girl in area A and Boy in area C.

(a) Do singkil step, starting with R foot (I M), repeat with L foot (1 M)

...............................2 M

(b) Repeat (a), seven more times. Finish in proper places.........................................14

Hand movements:

Girl

L hand down at side, R arm bent upward at shoulder level doing a horizontal figure of

eight ( ) in this manner: loop inward (ct. 1), loop outward (ct. 2), bring fan inward

with a half loop only (ct. 3), bring fan close to chest in vertical position, knuckles of R

hand in front of waist (ct. 4). Repeat and L alternately for sixteen measures.

Boy

L hand down at side. R arm bent upward R hand at shoulder level doing a horizontal

figure of eight ( ) in this manner: loop inward (ct. 1), inward ( ct. 2), outward (ct.

3) flip kerchief over R shoulder (ct. 4). Repeat same with L hand, R hand down at side

(cts. 1, 2, 3, 4). Do this hand movement, R and L alternately for sixteen measures.

II SINGKIL STEP AND TURNING ABOUT

Bamboo Rhythm I,

Same position as in figure I.

(a) Step R foot inside between bamboo poles (ct. 1),

step L close to R foot (ct. 2), turn right and at the same time step R outside the right

bamboo pole (ct. 3), step L close to R foot (ct. 4)...1 M

(b) Repeat (a) fifteen more times, turning about outside left and right bamboo poles

alternately...15 M

Hand movements:

Girl

Arms sideward at shoulder level, both hands doing a horizontal figure of eight, looping

toward front (ct. 1), toward rear (ct. 2), repeat (cts. 3, 4). Do this movement

for sixteen measures.

Boy

Hold kerchiefs in front at chest level. Open hands sideward (ct. 1), cross hands in front

of chest with R over L hand (ct. 2), open hands again (ct. 3), flip kerchiefs upward (ct.

4) perform this movement for sixteen measures.

III COUNTERCLOCKWISE AND CLOCKWISE

Bamboo Rhythm I.

Same position as in figure I.

(a) Step R foot inside between poles (ct. 1), step L close to R foot (ct. 2), face

counterclockwise toward the next area and step R foot outside on area B for Girl and

on area D for B (ct. 3), step L close to R foot or nearer next bamboo poles (ct. 4)

........................................1 M
(b) Face in so that partners face each other gain. Repeat cts. 1, 2 movements in (a), Girl

in area 3 and Boy in area 1 (cts. 1, 2), move counterclockwise again and repeat cts.3, 4

movements as in (a), Girl in area C and Boy in area A.......................1 M

(c) Partners repeat (a), Girl steps to areas 4 and D while Boy steps to areas 3 and C (1

M). Do not put weight on L foot on ct. 4 of fourth measure....2 M

(d) Repeat all (a-c). reverse position moving clockwise and starting with L foot. Do not

put weight on R foot on ct. 4 of the eight measure..................4 M Hands movements:

Girl

Arms in lateral position sideward right, make a continuous figure of eight as in figure

II (cts. 1, 2, 3, 4). Do this movement or eight measures, arms in lateral position, right

and left side alternately.

Boy

Hold hands in front at chest level. Flip R kerchief upward and flip L kerchief downward

(cts. 1, 2), reverse position of hands (cts. 3, 4). Do this movement for eight measures,

reversing position of hands every two counts.

IV RIGHT FOOT ACROSS IN REAR IN FRONT

Bamboo Rhythm I.

Same position as in figure I.

(a) Step R foot inside between bamboo poles (ct. 1), step L close to R (ct. 2), step R

foot outside of right bamboo poles (ct. 3), step L close to R foot (ct. 4)

.................................1 M
(b) Step R foot inside between bamboo poles across L foot in rear (ct. 1), step L close

to R foot (ct. 2), step R foot outside of left bamboo pole across L in front (ct. 3), step L

close to R foot (ct. 4).1 M

(c) Repeat (a) and (b), seven more times..........14 M

Hand movements:

Girl

Raise R hand obliquely right upward put L hand obliquely left downward. In this

position make a continuous figure of eightwith both hands (cts. 1, 2, 3, 4). Reverse

position of arms at every four counts. Perform this movement for sixteen measures.

Boy

Hold kerchief in front at chest level. Open hands sideward (ct. 1), cross hands in front

of chest with R over L hand (ct. 2), open hands again (ct. 3), flip kerchiefs upward (ct.

4). Perform this movement for sixteen measures.

BOY - DIAGONALLY AND OUT

GIRL - COUNTERCLOCKWISE AND CLOCKWISE

Bamboo Rhythm I

Same position as in figure I. Partners perform their movements simultaneously.

Girl

Face counterclockwise with L shoulder toward center.

(a) Step R foot in perpendicular position in area 2 inside

between bamboo poles (ct. 1), step L close to R foot (ct. 2), step R foot forward in area

B (ct. 3) step L forward going near area 3 (ct. 4). Repeat same movements

three more times moving counterclockwise to area 3 and C (1 M), to areas 1 and A (1

M) ..................4 M

(b) Turn right about. Repeat (a), moving clockwise. Retrace

steps............................................4 M

Boy

(a) Starting place, area C. Step R foot diagonally forward to area 5 (ct. 1), step L close

to R foot (ct. 2), face area B and step R diagonally backward to area D (ct. 3), step L

close to R foot (ct. 4). Repeat same movements counterclockwise; diagonally forward

to area 5, diagonally backward to area A (1 M); diagonally forward to area 5 and

diagonally backward to area B (1 M); diagonally forward to area 5, diagonally

backward to area C (1 M) ...4 M

(b) Repeat (a) reverse direction moving clockwise. Retrace

steps............................................4 M

Hand movements:

Girl

R arm sideward at shoulder level, making a continuous figure of eight; L hand on waist,

knuckles in, fan pointing outward (cts. 1, 2, 3, 4). Do this movement for eight measures,

R and L arm sideward alternately.

Boy

Hands in front at chest level. Flip R kerchief upward and L kerchief downward (ct. 1),
reverse the direction of flip (ct. 2) repeat same two more times (cts. 3, 4). Flip kerchiefs

inward (ct. 1), flip outward (ct. 2) repeat same (cts. 3, 4). Perform these movements

alternately for eight measures.

INTERLUDE

Bamboo Rhythm I.

Partners stay in their proper places facing audience. Perform any of the hand

movements or dancers may improvise their own hand movements. Girl goes to area B

at the eight measure....................................................8 M

VI CROSSING AT CENTER

Bamboo Rhythm II.

Partners perform their movements alternately.

Boy starts at area C, Girl starts at area B, both facing center.

(a) Boy - Step R foot diagonally forward to area 5 (ct. 1), step L close to R (ct. 2), step

R diagonally forward to area A (ct. 3), step L close to R foot (ct. 4). Turn right about

after ct. 4..........................................M 1

(b) Girl - from area B, step R foot diagonally forward to area 5 (ct. 1), step L close to

R (ct. 2), step R diagonally forward to area D (ct. 3), step L Close R foot (ct. 4). Turn

right about after ct. 4...M 2

(c) Boy - Repeat (a), stepping into proper place, passing area 5 to area C. Turn right

about after ct. 4.M 3

(d) Girl - Repeat (b), stepping into proper place, passing area 5 to area C. Turn right

about after ct. 4.M 4

(e) Boy- Repeat (a)................................M 5

(f) Girl - Repeat (b)..............................M 6

(g) Boy - Repeat (c), transfer to D after ct. 4....M 7

(h) Girl - Repeat (d), transfer to A after ct. 4...M 8

(i) Boy - Repeat (a) stepping into area 5 and area B. Turn right about after

ct.4....................M 9

(j) Girl - Repeat (b) stepping into area b and area C. Turn right about after

ct.4...................M 10

(k) Boy - Repeat (a) stepping into area 5 and area. Turn right about after

ct.4...................M 11

(l) Girl - Repeat (b) stepping into proper places, passing area 5 to area A. Turn right

about after ct. 4.........................................M 12

(m) Boy - Repeat (i)..............................M 13

(n) Girl - Repeat (j).............................M 14

(o) Boy - Repeat (k)..............................M 15

(p) Girl - Repeat (l).............................M 16

Hand movements:

Girl

Repeat hand movement as in figure I, but placing R and L alternately on waist with

knuckles in on ct. 4 of every measure. Perform this hand movement for sixteen

measures.
Boy

Repeat hand movement as in figure I, placing R and L alternately on waist with

knuckles in on ct. 4 of every measure. Perform this hand movement for sixteen

measures.

VII TURINING BETWEEN BAMBOO POLES

Bamboo rhythm II.

Same position as in figure I.

(a) Step R foot inside between bamboo poles at the same time making a half-turn right

(ct. 1), step L close to R and at the same time making a half-turn right again (ct. 2), step

R foot outside of right bamboo pole (ct. 3), tap L close to R foot (ct. 4)..1 M

(b) Repeat (a), starting with L foot and making the half-turns to left..............................1

(c) Repeat (a) and (b), three more times............6 M

Hand movements:

Girl

Hold fans in front of chest in a vertical position, elbows close to waist, forearms parallel

with each other. Wave R fan outward (ct. 1), wave L fan outward (ct. 2), wave both

fans inward (ct. 3) pause (ct. 4). Do these hand movements L and R alternately, every

four counts for eight measures.

Boy

Hold hands in front of chest, elbows close to waist. Flip R kerchief upward (ct. 1), flip

L kerchief upward (ct. 2), flip both

kerchiefs downward (ct. 3), pause (ct. 4). Flip R kerchief downward (ct. 1), flip L

kerchief downward (ct. 2), flip both kerchiefs over shoulders (ct. 3), pause (ct. 4). Do

this hand movement alternately, every four counts for eight measures.

FINALE

Bamboo Rhythm I in slow tempo and softly. Both dancers assume a striking pose,

facing audience or each other.............................................2 or 4 M

Pandaggo sa Ilaw

"Pandango sa Ilaw" (dance with oil lamps), this version from Mindoro, is the most

difficult of the all the Pandangos. It is quite unusual and colorful. The female dancer

gracefully and skilfully balances three lighted "tinghoy" or oil lamps - one on her head

and one on the back of each hand. A few boys and girls may take part as

townsfolk or onlookers. They clap their hands in time to the music, adding life and

gaiety to the dance.

Costume

The girl is dressed in "balintawak", the boy in long red trousers and "barong tagalog".

Music is divided into three parts: A, B, C.

Count one, two, three to a measure.

Formation

Partners stand about six feet apart facing the audience. The three lighted oil lamps are

placed on the floor between them. The girl stands at partner's right. The oil lamps are

of two sizes, the one to be placed on the head being larger than the two for the hands.

Introduction
Music Introduction.

(a) Standing on the L foot, tap in front (ct. 1), pause (ct. 2), tap once more (ct. 3). Place

left hand on waist, R hand hanging loosely at the side..................1 M

(b) Repeat (a)..........................................1 M

(c) Three-step turn right in place and bow to the audience. Place both hands on

waist...........................1 M

I Music A.

Partners face left.

(a) Take two waltz steps forward (R, L - 2 M.), one waltz turns right (2 M.). Arms in

lateral position moving sideward R and L with forearm turns.................1 M

(b) Repeat (a) three times more moving clockwise around the oil

lamps.......................................1 M

(c) Turn right about and repeat all (a and b) moving counterclockwise. The girl finishes

with the lamps in front of her, boy at left side............................1 M

II Music B.

Girl's Part:

(a) Cross R foot in front of L and bend knee slightly (this position is held for thirty-two

measures), arms bent I T position at shoulder level. Move right (1 M.) and left elbows

(1 M.) upward twice on cts. 1, 2 of each measure. The wrists are relaxed so that the

hands dangle at every movement...........................................24 M

(b) Place a lamp on the back of the right hand..........8 M

Boy's Part:
(a) Repeat the movements of figure I going clockwise around the girl. Take the same

arm movement of the girl in figure II (a).............................................24 M

(b) Take lamp No. 1 and help the girl place it on the back of her right

hand......................................8 M

III Music C.

Cross-waltz step: With a spring, step R (L) forward across L (R) in front, raising the L

(R) in rear at the same time (ct. 1), step L (R) in rear of R (L) (ct. 2), step R (L) in the

same place (in front) (ct. 3).

(a) Starting with the R foot, take sixteen cross-waltz steps around the lamps clockwise.

Boy's hands on waist, girl’s free hand holding the skirt........................16 M (b) Turn

right about and repeat (a) moving counterclockwise. Finish in proper places facing the

audience........16 M

IV Music A.

(a) Starting with the R foot, execute waltz steps (tiny steps) backward. The girl bends

left arm upward and flutters the fingers in time to the music. Boy's hands on waist, girl's

free hand holding the skirt..................8 M

(b) Repeat (a) moving forward to original places........8 M

(c) Boy gets lamp No. 2. Partners repeat (a). Free hand boy on the

waist........................................8 M

(d) Take four waltz steps forward (4 M.). Boy puts the lamp on the head of the girl who

stands still (4 M.) .....8 M

V Music B.
(a) Take one waltz step sideward R and L (2 M.), waltz-turn right (2 M.). Arms of boy

and L arm of girl in lateral position at shoulder-level moving sideward R and L

alternately, or L hand of girl holding the skirt....4 M

(b) Repeat (a) three times more moving around the lamp

clockwise..........................................12 M

(c) The boy gets the third lamp and places it on the back of the left hand of the girl. The

girl stands still while the boy is placing the lamp on her hand.............8 M

(d) Girl's Part:

(1) Step R across L in front and bend right knee slightly. Raise L foot inrear at the same

time (cts. 1, 2), step L in rear or R foot (ct. 3) Step R foot sideward (cts. 1, 2, 3). Hold

lamps in front or obliquely forward at shoulder level...............................................2 M

(2) Repeat (1) three time more (L, R, L) ................6 M

Boy's Part

(1) Continue waltzing around the girl counter clockwise.8 M

VI Music C. Play once.

Girl's Part:

Stand with feet in third position, R foot in front, knees relaxed. Do the following hand

movements, hands first at shoulder level in front:

(a) Raise R hand and lower L hand slowly (cts. 1-6) ....2 M

(b) Reverse the movements of the hands..................2 M

(c) Cross the hands in front, R over the L hand.........2 M

(d) Back to the starting position.......................2 M

(e) Repeat (a) and (b)..................................4 M

(f) Lower both hands and bend the knees slightly........2 M

(g) Raise both hands and straighten the knees...........2 M

Boy's Part

(a) Repeat figure I, going clockwise around the girl...16 M

VII. Music C. Play once.

(a) Partners execute eight sway balance steps with a point, R and L, moving counter

clockwise little by little, arms in third position, R and L high alternately........16 M

VIII Music C. Play once.

The boy takes the two lamps from the hands of the girl (one in each hand) leaving one

on her head.

(a) Partners repeat the steps of figure I, going in any direction with the boy following

the girl..........14 M

(b) Three-step turn right in place and bow to the audience.2 M

Boy's Arm Movement

(a) The boy moves the lamps one up and the other down (2 M), crosses the hands in

front, R over L (2 M), L over R (2 M), circling R hand clockwise and L counter

clockwise (2 M).8 M

(b) Repeats a up to 6 measures..........................6 M

(c) Hands at the sides while bowing.....................2 M

Girl's Arm Movements

(a) Repeat the arm movements of Figure I for 14 measures.14 M

(b) Takes the glass from her head with the R hand opens the hand sideward while

bowing..........................2 M

Tinikling

Tinikling - This is the most popular and best known of the Philippine dances and

honored as the Philippine national dance. The dance imitates the movement of the

tikling birds as they walk between grass stems, run over tree branches, or dodge bamboo

traps set by rice farmers. Dancers imitate the tikling bird's legendary grace and speed

by skillfully maneuvering between large bamboo poles. Tinikling means "bamboo

dance" in English.

Considered as one of the oldest dances from the Philippines, this dance was originated

in the islands of Leyte in the Visayan Islands. People of Leyte describe the tikling bird

as one of the most unique in its movements - walking around and between the tree

branches and some grass stems. This bird was named "tikling" from which the Tinikling

dance got its name. Because of the creativeness of the people, they imitate this bird by

using bamboo poles.

Before this dance became what it is today, it went through an evolution of sorts.

Different stories of the Tinikling's origin have been passed down through oral histories

and folklore.
One of the stories of the Tinikling's origin may be made up, a fact, or part of a legend.

The story says that the Tinikling started by the people who worked on the fields and

paddies in the Philippines. When the Spaniards came from Spain and conquered the

Philippines, the natives were sent to the haciendas. The natives lost control of their land

because they were under the enconmienda system, an economic system that is largely

based on rural and agricultural operations of large farmlands administered by caretakers

for the King of Spain. The natives had to work all day to please the Spaniards. The

natives could have completely lost control of their destiny under an exploitative system.

The people of the Philippines worked in the fields and paddies for nearly four hundred

years (1500-1898).

The people who worked too slowly would be sent out of the paddies for punishment.

Their punishment was to stand between two bamboo poles cut from the grove.

Sometimes, the sticks would have thorns sticking from their segments. The poles were

then clapped to beat the native's feet. By jumping when the bamboo sticks were apart,

the natives tried to escape this cruel form of punishment. This type of punishment

became a cycle - the more bruised the person's feet were, the less work he would do,

the less work he would do, the more punishment.

The matrix for the dance was probably laid out when the workers would return home

with their feet bruised and bleeding from the punishment. It is said that from a distance,

the people who were receiving the beating looked like the heron. And this is one of the

stories about the Tinikling's origin.

The punishment later became the dance it is today. When the Tinikling is danced, there

is music of plucked strings in Iberian-influence staccato interspersing with tremolos

and kept in time with double stepping sway balances. By practicing to escape the
bamboo sticks during punishment, the Tinikling soon became a challenge, an art, and a

dance.

The Tinikling is performed on certain Sundays in the Philippines. One can watch the

nimble feet jump between the bamboo sticks hoping to escape its ferocious bite. But

now that it is no longer a punishment, the sticks are smooth and the clapping is gentle.

The Tinikling has truly become a dance.

Steps

All the dance steps are combination of only three basic 4/4 tinikling steps. These steps

are called Singles, Doubles, and Hops.

Four people should be two boys and two girls. The first couple performs the dance and

the other couple operate the bamboo poles by hitting them together and also tapping

them on the floor in rhythm to the music. When the first couple dancing makes an error

in their dance steps, the other couple takes their turn and this is where the fun starts

especially when the dance speed gets faster and faster. Further, tinikling is very similar

to jump rope, but instead of a spinning rope, two bamboo poles are used.

WARNING: Ensure that very flexible poles are used. Use hollow bamboo, not rattan,

which is similar looking, but solid.

Singles: When the poles are on the dancer’s right side (right foot lead) the foot work of

two Singles steps would be as follows:

Count 1 - Hop on left foot outside poles

Count 2 - Hop again on left foot outside poles

Count 3 - Step on right foot between poles

Count 4 - Step on left foot between poles

Count 1 - Hop right foot outside poles

Count 2 - Hop again on right foot outside poles

Count 3 - Step on left foot between poles

Count 4 - Step on right foot between poles

Doubles: The foot work for two Doubles Steps (with right side next to poles) would be:

Count 1 - Hop on both feet outside poles

Count 2 - Hop again on both feet outside poles

Count 3 - Hop on both feet between poles

Count 4 - Hop again on both feet between poles

Count 1 - Hop on both feet outside (straddling) poles

Count 2 - Hop again on both feet outside poles

Count 3 - Hop on both feet between poles

Count 4 - Hop again on both feet between poles

Hops: The footwork for two Hops steps (right foot lead) would be as follows:

Count 1 - Hop on left outside poles

Count 2 - Hop again on left foot outside poles

Count 3 - Hop on right foot between poles

Count 4 - Hop again on right foot between poles

Count 1 - Hop on left foot outside poles

Count 2 - Hop again on left foot outside poles

Count 3 - Hop on right foot between poles

Count 4 - Hop on right foot between poles

Carinosa

One of the national dances we should be proud of is the Cariñosa. This is a courtship

dance known throughout the Philippines with its flirtatious movements. The word

“carinosa” means affectionate, amiable, or lovable. There are many versions of this

dance, but hide and seek movements using a fan and a handkerchief are the most

common.

Cariñosa (meaning the loving or affectionate one) is a Philippine dance of Hispanic

origin from the Maria Clara suite of Philippine folk dances, where the fan or

handkerchief plays an instrumental role as it places the couple in romance scenario.

The dance was originated in the Panay Islands on the Visayan Islands and it was

introduced by the Spaniards during their colonization of the Philippines. It is related to

some of the Spanish dances like the bolero and the Mexican dance Jarabe Tapatio or

the Mexican Hat Dance.

Costumes

Originally Carinosa was danced with Maria Clara dress and Barong Tagalog for it is a

Maria Clara Spanish Dance when it is introduced. However, as the Filipino people saw

and imitated this dance, they wore the patadyong kimona and camisa de chino to reveal

their love as a Filipino and other steps was revised to make it more Filipino but the

music did not change at all and reveals a Spanish Influence to the Filipinos. As listed

by the book of F.R. Aquino dancers may wear balintawak style (a native dress of the
Tagalog regions), camisa (a white sleeve) or patadyong kimona (a dress of the Visayan

of people) and for boys a barong Tagalog and colored pants. Because it is a national

dance, the dancers may wear any Filipino costumes.

Music

The music of Carinosa shows a great Spanish influence to the Filipinos. It is 3/4 in

rhythm like some of the Spanish dances. The Philippine Rondalla are playing this music

of the dance where it is an ensemble or an orchestra of string instruments in the

Philippines similar to the Spanish musicians in Spain that comprises bandurrias,

mandolins, guitar, basses, drums, and banjos. Mostly men are playing rondalla

instruments but women may also take part.

Count

One, two, three, to a measure.

Formation

Partners face each other about six feet apart. The Girl is at the right side of the Boy

when facing the audience.

Introduction

Partners face the audience.

Three-step turn right in place (cts. 1, 2, 3), and pause (cts. 1, 2, 3), hand in reverse "T"

position, L arm high alternately................................................6 M

I Music A.

Partners face each other.

(a) Three sway balance steps with a close (R, L, R), arms in fourth position, R and L

arm high alternately.6 M

(b) Three-step turn left in place, arms down at sides (cts. 1, 2, 3). Bow to each other,

hands in front, parallel to each other at waist level, elbows close to the waist, palms up

(cts. 1, 2, 3) ........................2 M

(c) Repeat all (a-b), starting with L foot, reverse position of

arms........................................8 M

II CROSS HANDS

Music B.

Partners face each other.

(a) Starting with the R foot, take three steps forward to meet at center (cts. 1, 2, 3) step

L close to R (cts. 1, 2, 3), hands down at sides.....................2 M

(b) Join R hands, take one waltz step sideward right (cts. 1, 2, 3) .................................1

(c) Release R hands and join L hands, repeat (b) sideward

left...........................................1 M

(d) Drop L hands. Repeat (b) and (c)...............1 M

(e) Starting with R foot, take three steps forward to partner’s place passing each other

by the R shoulders (cts. 1, 2, 3). Turn left about and step L close to R foot. Finish facing

each other (cts. 1, 2, 3).2 M

(f) Repeat all (a-e) finishing in proper places....8 M

III PALMS TOUCHING

Music A.

Partners face each other.

(a) Repeat figure II (a)...........................2 M

(b) Four touch steps in front, R and L alternately. Hands in front parallel to each other

at waist level, elbows close to the waist. With palms touching each other, Boy's hands

down and Girl's on top (cts. 1, 2, 3), reverse position of hands every measure, i.e. Girl's

hands under and over Boy's hands alternately and vice versa.................................4 M

(c) Repeat figure II (e)...........................2 M

(d) Repeat all (a-c) finishing in proper places....8 M

IV HIDE AND SEEK WITH HANDKERCHIEF

Music B.

Partners face each other.

(a) Repeat figure I (a). Boy takes handkerchief from pocket. Partners hold handkerchief

at corners in a perpendicular position between their faces with the Girl's hands on top

at face level..........2 M

(b) Partners take four touch steps in front, R and L alternately. Invert the handkerchief

at every measure with the Boy's hands on top first, the next measure with the Girl's

hands on top. When own hands are up look at partner's face from below and down look

above the handkerchief...............................4 M

(c) Girl releases handkerchief. Partners exchange places as in figure II

(e)............................2 M
(d) Repeat all (a-c), finishing in proper places...8 M

V KNEELING

Music A.

Partners face each other.

(a) Starting with the R foot, take three steps forward to center (cts. 1, 2, 3). Boy kneels

on L while Girl passes around on right side of Boy to stand behind him and faces the

same direction as the Boy. Partners place hands on waist (cts. 1, 2, 3) ............2 M

(b) Girl takes four waltz steps sideward, R and L alternately holding Boy's head gently

at the same time looking at the Boy over his R and L shoulder alternately. Boy's hands

on waist, also looking at the Girl over his R and L shoulder alternately.........................4

(c) Girl turns right about and exchange places as in figure

II (e). Finish facing each other...............2 M

(d) Repeat all (a-c) but this time the Girl kneels down in

(a). Finish in proper places...................8 M

VI BALLROOM WALTZ

Music B.

Partners face each other.

(a) Repeat figure II (a). Finish with partners holding in

closed ballroom dance position................2 M

(b) Waltz around in any direction................12 M

(c) Join inside hands, Girl turn inward (1 M), and both bow to audience free hands in

second position (1 M).2 M

(a) All take five sway balance step with a waltz, right and left alternately, R arm in

reverse "T" position, L arm in second position. Reverse position, of arms every two

measures.....................................10 M

(b) Waltz turn left in place, arms as in (a) reversing position at every measure. Finish

facing center of square........................................2 M

(c) Four waltz step to turn right in place, arms as in (b). Finish facing the center of the

square........4 M