OUR LADY OF FATIMA UNIVERSITY

Hilltop Subdivision, Quezon City

COMPREHENSIVE RESEARCH IN PHILIPPINE FOLK DANCE

In Partial Fulfillment of the Requirements for the subject

Physical Education 213

A Research Paper
Presented to the Faculty of the
Physical Education Department

Danuco, Heizly Mae M.

July 2019
 Table of Contents
Title Page
Introduction 3
Dance
Philippine Folk Dance

Classification of Philippine Dance Suite

Table (Classification, Origin, Description) 5

Philippine Dance Suite

Cordillera Dance Suite 7
Examples (Description, History, Basic Steps)

Maria Clara Suite

Examples (Description, History, Basic Steps)

Muslim Dance Suite

Examples (Description, History, Basic Steps)

Tribal Dance Suite

Examples (Description, History, Basic Steps)

Rural Dance Suite

Examples (Description, History, Basic Steps)

Dance Over The Years

Pre Colonialism
Spanish Colonialism
American Colonialism

Synthesis

References

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 INTRODUCTION

Dance, the movement of the body in a rhythmic way, usually to music and within a given

space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight

in the movement itself. A truly universal definition of dance must, therefore, return to the

fundamental principle that dance is an art form or activity that utilizes the body and the range of

movement of which the body is capable. Unlike the movements performed in everyday living,

dance movements are not directly related to work, travel, or survival. Dance may, of course, be

made up of movements associated with these activities, as in the work dances common to

many cultures, and it may even accompany such activities. But even in the most practical dances,

movements that make up the dance are not reducible to those of straightforward labour; rather,

they involve some extra qualities such as self-expression, aesthetic pleasure, and entertainment.

(Mackrell, 2019)

Dance is a performing art form consisting of purposefully selected sequences of human

movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by

performers and observers within a particular culture.

A folk dance is developed by people that reflect the life of the people of a certain country

or region. Not all ethnic dances are folk dances. For example, ritual dances or dances of ritual

origin are not considered to be folk dances. Ritual dances are usually called "Religious dances"

because of their purpose. The terms "ethnic" and "traditional" are used when it is required to

emphasize the cultural roots of the dance. In this sense, nearly all folk dances are ethnic ones. If

some dances, such as polka, cross ethnic boundaries and even cross the boundary between "folk"

and "ballroom dance", ethnic differences are often considerable enough to mention. (Wikipedia)

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The way people remember dance moves depends on the culture they come from, the study says.

Dance is shaped and established across generations, reflecting the changes in a nation’s culture.

Philippine dance has played a tremendous role in Philippine culture. From one of the

oldest dated dances called the Tinikling, which originated from the Spanish Colonial Era, to other

folkloric dances such as the Pandanggo, Cariñosa, and Subli, and even to more modern-day

dances like the Ballet, it is no doubt that dance in the Philippine setting has integrated itself in

society over the course of many years and is significantly imbedded in our culture. Each of these

dances originated in a unique way and serve a certain purpose, showcasing how diverse Philippine

dances are.

The Philippines' multifaceted history from years of colonization paved the way for the

peculiar and beautiful traditional dances in the country, with hints of Hispanic, European, and

Asian cultural influences. Each region has its own unique dance variations that are staged during

festivals and local shows. Although today’s popular folk dances have evolved, they still honor our

cultural roots.

Filipino folk dances are colorful, beautiful, and vibrant. Their movement, dress, and music

reveal the unique Filipino culture and are important in building a national Filipino identity. Most

dances in the country were inspired by everyday activities, such as working in the fields and

harvesting rice, as well as celebrations such as feasts, weddings, and births. Philippine folk dances

consist of five major suites, namely Cordillera, Maria Clara, Muslim, Lumad, and Rural. Each of

the suites involves a repertoire of folk dances that hail from different locations in the country.

(Ethnic Groups Philippines, 2016)

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 CLASSIFICATION OF PHILIPPINE DANCE SUITE

CLASSIFICATION OF
PHILIPPINE DANCE SUITE ORIGIN DESCRIPTION

named after the chief female

Maria Clara Dance Luzon and Visayas character of Jose Rizal's Noli
Me Tangere; Spanish
influenced "Filipinized" by the
use of bamboo castanets and
abanico

dances illustrate the fiesta spirit

Rural Dance Luzon and love of life; best known
type of Filipino dance. dance
attire: girls - colorful
balintawak and patadyong
skirts, boys: camisa de chino
and colored trousers.

characterized by vivid colors

Muslim Dance Southern Mindanao and rhythmic movements
which reflect the influence of
Arabian and Indo-Malaysian
cultures.

tribal dances performed

Tribal (Lumad) Dance Mindanao essential "for the gods"
ceremonial and ritual type
dances.

dances to celebrate victories,

Cordillera Dance Northern Luzon festivals, religious rituals,
thanksgiving, etc; musical
instruments include nose flute,
bamboo guitar, drums, gongs
and wooden sticks.

(FOLK DANCE OF THE PHILIPPINES, n.d.)

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 PHILIPPINE DANCE SUITE

CORDILLERA DANCE SUITE

Cordillera, a name given by the Spanish conquistadors, is a Spanish word that translates to

“knotted rope”, referring to jumbled rolls and dips of the long mountain ranges across the northern

Luzon Island.

They are pagan people, and their lives have been centered on appeasing their gods and

maintaining a harmonious relationship between spirits and man. Rituals then are very much

ingrained in their daily lives –a good harvest, health, prayers for peace, safety in war, and other

symbols of living. Amidst colonization and modernization, these traditions have survived and

continue to remain part of the colorful and rich Philippine culture today. (Wikipedia)

Cordillera suite comprises dances from the mountainous region of the north known to be the

home of ferocious headhunters who existed even before the arrival of the Spanish. Music plays a

vital role in their lifestyle, and events such as war, courtship, marriage, or good harvest involve

dance. Ragsaksakan (merriment), banga (pots), and tarektek (woodpecker) are examples of dances

from the Cordillera suite. (Ethnic Groups Philippines, 2016)

Cordillera Dance Suite

BANGA
Tribe: Kalinga
History:
"Banga" literally mean pots. The Banga or pot dance is

a contemporary performance of Kalinga of the Mountain

Province in the Philippines. This dance illustrate the languid

grace of a tribe otherwise known as fierce warriors. Heavy

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earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they

trudge to the beat of the "gangsa" or wind chimes displaying their stamina and strength as they go

about t (FOLK DANCE OF THE PHILIPPINES, n.d.) their daily task of fetching water and

balancing the banga. (Seasite)

BASIC STEPS:
Figure 1 – Diagonal Entrance
G: 8M – slow walk to formation, one step per measure; both hands holding pots on head
8M – springy walk (R and L per measure)
Figure 2
G: 16M – springy walk moving in circle
B: One line behind G circle
Figure 3
G: 4M -feet in 2nd; spring both knees; lean sideward R; diagonal arms
4M – lean sideward L
8M – repeat
B: line formation
Figure 4
G: 16M – springy walk in two column, moving in circle
B: one column between G columns
End – three columns
Figure 5
G: 4M – springy walk forward; arms diagonally upward
4M – springy walk backward
8M – repeat
B: Feet in 2nd; springing on both knees
Figure 6
G: 8M – springy walk to partner’s place passing R to R
8M – repeat to return
B: move back to line at back of girls
Figure 7
G: 16M – springy walk moving two circles, ending to one column; arms sideward
B: stay at back line
Figure 8
G: 16M – springy walk; arms swinging at sides
B: one line
Figure 9
B follows G
8M – spring walk moving in circle CW
8M – feet in 2nd; diagonal arms
16 – exits; B line leading
(Philippine Folk Dance Society , 2005)

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TAREKTEK
Tribe: Benguet
History:
This is a dance classified under Mountain-Igorot Dances. It originated from Benguet where

woodpeckers known as tarektek inhabited Mt. Data.

These wild and colorful birds gave rise to the tarektek dance. In this dance, one tarektek male

manipulates a colorful tribal blanket representative of the birds's iridescent plumage while the other

playfully beats on a brass gangsa representing impressive bird calls as they battle for the attention

of three tarektek females. (Filipinoo, 2005)

BASIC STEPS

UYAUY
Tribe: Ifugao
History:

The Ifugao people are said to be the "children of the earth." The term Ifugao is derived from the

word ipugao which literally means "coming from the earth." The Spaniards, however, changed it

to Ifugaw, a term presently used in referring not only to these people but also to their province.

This Ifugao wedding festival dance is accompanied by gongs and is performed by the affluent to

attain the second level of the wealthy class. Wealthy people (Kadangyan) who have performed

this dance are entitled to the use of gongs at their death. (Seasite)

BASIC STEPS

BENDAYAN
Origin: Benguet Province, Nothern Luzon
History:
Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is restaged,

keeping true to the dance's context and meaning. Long known as a dance to celebrate the arrival
of successful headhunters, the Bendayan has taken a new face. It is part of every Benguet festivity

with the circles slowly giving way to other formations and interpretations.

BASIC STEPS:
Entrance - 15M – Djinungluan (flipped); brush kick to formation
Figure 1 – 8M – Dimbabaw; brush kick,
8M – Dimbabaw; brush kick – four walls
Figure 2 – 16M – Inabaya; trunk slightly stooped; brush kick moving CW/CCW; end forming
circle, facing center
Figure 3 – 8M – Diagonal arms (R obliquely upward R), brush kick turning R in place
8M – reverse arm position; turn L
Figure 4 – Facing center of circle
4M – Djinungluan; brush kick
4M –Turn right about; repeat
8M – Repeat
Figure 5 –8M – R stretched obliquely forward upward; L on waist; brush kick, move CW
8M – Reverse arm position; move CCW
End in two columns
Figure 6 – 16M – Kinetangan forward; brush kick
Figure 7 – 8M - Kiniyakan R; brush kick turning R
8M – Reverse arm position; turn L
Figure 8 – 8M – Alternate diagonal arms; feet in 3rd
8M – same arm movement; brush kick
Figure 9 – 8M – Pinaposan; arms flapping motion; feet in 3rd
8M – Pinaposan; brush kick moving to a column formation
Figure 10 – Heavy steps, lead girl execute djinungluan; girl behind holds leading girl’s waist;
3rd girl hold 2nd girl’s; so on (Philippine Folk Dance Society, 2003)

MANMANOK
Tribe: Bago
History:
Manmanok is a dance that dramatizes three roosters from the Bago Tribe who compete against one

another to be able to get the attention of a hen, Lady Lien. They try to attract her by making use of

blankets that depict their feathers and wings.

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MARIA CLARA DANCE SUITE

Nearly 400 years of Spanish rule left an unremovable mark on the Philippines. Spain brought

with them all aspects of their culture to the Islands. This includes the Catholic faith, clothing, and

dance. The barong tagalog and the terno are Philippine interpretations of Spanish dress made to fit

the humid climate of the Philippines. Aside from creating their own versions of European fashion,

Philippine aristocrats created Filipino adaptations of European dance as well. These include jotas,

fandanggos, mazurkas and waltzes that were danced by young socialites to the stringed music of

the rondalla.

Maria Clara suite includes dances adapted from various European influence blended with a

native flair and style. Apparent in these romantic dances are courtship, love, and flirtation. The

Spanish occupation of the Philippines in the 16th century brought changes to the majority of

Filipinos, who adapted the European culture. Named after the lead female character in the novel

Noli Me Tangere written by Jose Rizal, the Maria Clara suite symbolizes the virtues and nobility

of a Filipina woman fused with Spanish elegance, making it popular among urban Filipinos at the

time. The famous Cariñosa of Panay Island, habanera (wedding dance party) of Zambales,

alcamfor of Leyte, and balse belong to this suite.

Maria Clara Dance Suite

CARINOSA
History:
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.

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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.

BASIC STEPS:
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 M
(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

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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. COMBING
Music B.
Partners face each other.
(a) Repeat figure II (a)...........................2 M
(b) Four waltz step sideward, R and L alternately. Boy
takes comb from his pocket and makes motion with
his R hand combing Girl's hair, left and right
alternately....................................4 M
(c) Repeat figure II (e)...........................2
(d) Repeat all (a-c) Girl gets the comb form partner,
does the combing of Boy's hair.................8 M
V. POWDERING
Music A.
Partners face each other.
(a) Repeat figure II (a)...........................2 M
(b) Boy takes powder puff from his pocket. Waltz sideward
R, powdering gently Girl's L cheek (cts. 1, 2, 3),
while Girl takes one waltz step right in place, hands
holding skirt..................................1 M
(c) Repeat (b) three more times, powdering R, L, R cheek
alternately and both waltzing L, R, L..........3 M
(d) Repeat figure II (e)...........................2 M
(e) Repeat all (a-d) this time the Girl does the motion
of powdering...................................8 M
VI. 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

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 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
VII. 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 M
(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
VIII. 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
(TRIPOD)

PASEO DE ILOILO (ANDALUZ)

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History:

This is one of the most sophisticated courtship and flirtation dances of the Spanish era. The

gentlemen compete among each other to win the heart of the dalaga, or young lady, by

exemplifying chivalry, grace, and confidence. One of the most sophisticated courtship and

flirtation dances of the Spanish era. The gentlemen compete among each other to win the heart of

the dalaga, or young lady, by exemplifying chivalry, grace, and confidence.

BASIC STEPS:
I. Music A.
(a) Point R foot in front (cts. 1, 2), step on it (ct. 3).
Girl holds skirt, Boys hands on waist...........1 M
(b) Repeat (a) with L foot..........................1 M
(c) Sarok with R foot across the L foot in front, cross R over L hand, bend trunk slightly forward
(cts. 1, 2), trunk erect R foot outward in the air (ct. 3) (1 M), Waltz backward R, open arms to
second position, (cts. 1, 2, 3)...........................................2 M
(d) Repeat (c) two more times (L, R)................4 M
(e) Repeat (a-b) starting L foot....................2 M
f) Repeat (d) finish facing front on the last count.4 M
Partners face the audience.
(g) Two touch steps starting with the inside foot in front. Arms in fourth position, outside and
inside arm high alternately (Boy only, quickly transfer boy weight to outside foot before doing
(g))..................2 M
II. Music B.
Partners face audience.
(a) Two waltz turn moving clockwise inward starting with the inside foot to partner's place. (Use
four waltz steps) Girl turning to left, Boy turning to right. Arms in fifth
position........................................4 M
(b) Two sway balance with a brush starting with the outside foot. Arms in fourth
position...................4 M
(c) Circle outward in the air and point the outside foot across in rear of the inside foot (1 M).
Close feet together (1 M). Arms as in figure I (a).........2 M
(d) Two touch steps in fourth position in front (R L). Arms in fourth position L and R arm high
alternately.2 M
(e) Brush step turn R. R arm in fifth position, L hand on waist........................................4 M
(f) Repeat all (a-e)...............................16 M
III. Music C.
Partners face audience.
(a) Stamp the inside foot sideward (no weight) (cts. 1, 2), hop on the outside foot and circle the
inside foot outward in the air (ct. 3). Girl's hands holding skirt, Boy's hands on
waist...........................1 M

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 (b) Step the inside foot across in rear of the outside foot (ct. 1), step the outside foot sideward
(ct. 2), step the inside foot forward (ct. 3). Hands as in (a).1 M
(c) Stamp the outside foot in front (no weight) (cts. 1, 2), hop on the rear foot (inside foot) raise
outside foot in front (ct. 3). Hands as in (a)...............1 M
(d) Cross turn inward (crossing outside foot). Hands as in (a). Finish the turn in one line, Girl in
front of Boy, both facing audience............................1 M
(e) Repeat (a-d), finish turn in partner's place facing away from audience in
(b)............................4 M
(f) Repeat all (a-e). Finish in proper places facing each other...........................................8 M
IV. Music D.
Partners face left.
(a) Repeat figure I (a-f)..........................14 M
(b) Repeat figure I (g).............................2 M
V. Music B.
Partners face audience.
(a) Three running steps forward starting with the inside foot (cts. 1, 2, 3). Girl's hands holding
skirt, Boy's hands on waist..................................1 M
(b) Sarok with outside foot across the inside foot in front, outside hand over inside hand (cts. 1,
2, 3)....1 M
(c) Trunk erect, brush outside foot obliquely sideward twice. Arms in fourth position (cts. 1, 2,
3, 1, 2, 3).2 M
(d) Repeat (a-c) starting with the outside foot.....4 M
(e) Two sway balance with a brush starting with the inside foot, arms in fourth
position...................4 M
(f) One brush step turn starting with the inside foot. Arms as in (a). Finish the turn facing away
from the audience........................................4 M
(g) Repeat all (a-f). Finish facing each other.....16 M
VI. Music C.
Partners face left. Boy facing audience, Girl away from audience.
(a) Repeat figure III (a-b).........................2 M
(b) Repeat figure III (c-d), finishing the turn in one line facing each other, Girl facing audience
Boy facing away from the audience...............................2 M
(c) Repeat (a-b), finish turn in partner's place, Boy facing away from the audience, Girl facing
audience in (b).4 M
(d) Repeat all (a-c). Finish in back to back position in (b).
Finish in proper place facing audience..........8 M
VII. Music D.
Partners face the audience.
(a) Repeat figure I (a-g)..........................16 M
SALUDO
Music Finale.
Partners face each other.
Partners join R hands. Girl's L and holding skirt, Boy's L
hand on waist. Girl turns R under the arched arms (cts. 1, 2, 3)..1 M
Join L hands over the joined R hands, pull away from each other (cts. 1, 2, 3) 1 M.

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Girl passes under L arm of Boy and finish in front a little bit to left side of Boy. Raise L arms up,
R arms down. Partners look at each other................................................2 M
(TRIPOD, 2003)

LA JOTA CAGAYANA
Origin: Cagayan Valley
History:
The Jota brought by the Spaniards from Southern Spain found its way into many places in the

islands. One such jota is named after the valley it adapted. Though Filipinized in many ways that

one, Jota Cagayana still displays the fire and fury of its European origin.

Until the turn of the century the Ibanag of Cagayan Valley perform this fast tempo dance which

ncludes familiar European steps, the mazurka, polka, gallop and waltz.

HAVANERA DE HOVENCITA
Origin: Botolan, Zambales Province
History:
A wedding party dance which originated in the town of Botolan in the Zambales Province. Typical

sequences include the procession of the bride and groom's parents, lineup of the bridesmaids and

groomsmen upstage, and a solo featuring the wedding couple.

BASIC STEPS:
Music: 2/4 time. Counts 1, 2.
(1) Step R (L) foot in fourth in front (ct. 1), close
L (R) to R (L) foot in third in rear or in first
position (ct. 2). This may be executed in any direction.
Music: ¾ time. Counts 1, 2, 3.
(2) Step R (L) foot in fourth in front (cts, 1, 2), close
L (R) to R (L) foot third in rear or in first position
(ct. 3). This may be executed in any direction.
(3) Step R (L) foot in fourth in front (ct. 1), close L (R)
to R (L) foot third in rear or in first position (cts. 2,
3). This may be executed in any direction.

PAMPILPELALE
Origin: Pangasinan
History:

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Pampilpelale can means "to gently touch the palms." At the turn of the century, special dance

gatherings meant to entertain out of town guests brought people together; an opportunity taken by

love-struck gentlemen to look around for future partners. Though repressed by moral norms, ladies

managed to throw meaningful glances at men, a message that drew each closer to each other. At

last, when they stood face to face with hands barely touching, courtship was its most passionate.

The amorous touch that may last even a moment is what Pampilpelalecan is all about; the pining

and longing for a loved one. (Sison, 2011)

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MUSLIM DANCE SUITE

Long before the Spanish occupation, Javanese and Middle Eastern traders brought the religion

of Islam and converted many inhabitants of Mindanao in the southern part of the Philippines. Aside

from the colorful contributions of its regional tribes, Mindanao is home to the largest cultural

minority in the Philippines - the Muslims.

Muslim dances are known for their intricate hand and arm movements, as well as their

shimmery costumes. These dances persisted in the last six hundred years despite prohibition by

Islamic teachings. They are presented with vivid colors and rhythmic movements, revealing the

influence of Arabian and Indo-Malaysian cultures. Most dances narrate pre-Islamic history and are

accompanied by musical instruments, such as kulintang and agung. Singkil is the most popular

dance among the Maranao and Maguindanaons. Other Muslim suite examples are kini kini

(meaning royal walk), kapagasik, and kaganat sa darangen, which illustrate the customs of wearing

a malong (also called patadjong in Visayan).

Muslim Dance Suite

SINGKIL
Tribe:Maranao
Origin: Lanao, Mindanao
History:
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.

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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.

BASIC STEPS
Part One
1. Start the Singkil dance by using hopping and stepping patterns. Climb onto a designated set of
bamboos being held horizontally by two men. Continue hopping and stepping patterns on the
bamboo to move around while making body and hand movements.
Part Two
2. Enter making slow point steps while a fan is in each hand. Using the wrists, move the fan in a
variety of ways, including up and down movements and swirling movements to tell a story.
Part Three
3. Enter and dance to the center of the stage with a fan in both hands and moving your hips and
arms. In the center, dance in a stationary position. Move only the hips and arms. Use the fan in
both hands to make swirls along the body while continually dancing. The men will begin
clicking the bamboos; move along the bamboos, avoiding any of the clicking. Continue this
when the male dancer comes out to end the courting aspect of the dance. (Answers)

ASIK
Tribe: Maguindanao
Origin: Lanao del Sur
History:
Asik is a dance from the Maguindanao Tribe of Mindanao. There is much debate about the

popular belief that the Asik is a dance performed by a slave girl to win the favor of her sultan

19
master. However, some insist that Asik is a royal dance that started with a princess dancing it to

appease her sultan father.

BASIC STEPS:
Music Introduction.
Dancers enter from backstage of from a corner. (No. 1 is followed in line by No. 2 and
No. 3)
Note: Music plays continuously because the number of steps taken in one figure cannot
be estimated in this dance. Everything depends upon the individual dancer.
I.
Girl No. 1 enters doing Step I with the following hand movements.

The right (or left) hand is in continuous motion, going slowly up and down in this
manner. When the hand goes up the fingers are pointed downward, stiffy and close together. The
elbow is bent and is raised as the hand is raised. The hand moves upward (parallel to and close to
the body), palm facing the body. When the hand goes down the wrist is flexed, the fingers point
upward, palm facing out, and the elbow is lowered. The hand moves close to the body. The
movement of the right hand is changed every four counts, four counts going up and four counts
going down. The left (or right) hand holds he "sarong" down at the side with the second and third
fingers pinching the cloth tightly.
Girl No. 2 follows three feet behind No. 1.
Girl No. 3 follows three feet behind No. 2.
The three dancers circle cloth counterclockwise using Step I, maintaining a distance of
three feet from each other.
II.
Girl stand around cloth facing in, dancing Step III. Repeat same hand movements as in
figure I.
III.
Do Step I once going clockwise. Repeat counterclockwise. Hold hands about two inches
over shoulders with palms down, fingers close together. Fingers are moved up and down from
the wrist imitating the flying movements of birds, elbows close to the body.
Dancers finish on one line in rear of cloth, facing audience.
IV.
Do Step II. Bend arms forward (hands horizontal on chest) with palms down, right hand
on top of the left, fingers stiffy together. Lower and raise the hands slowly. (As the left hand
goes down the right goes up and vice versa). Do this four times.
Note: The hands are raised to shoulder level and lowered to four inches below the waist.
V.
Do Step II eight times to the right and left alternately.
Starting position: arms parallel to each other at left side, wrists flexed upward, fingers
stiffy together, palms down, elbows straight and stiff.
From the starting position move arms to the right side, keeping arms parallel to each
other. At end of fourth step, fingers must be hyperextended and the wrists bent downward
jerkily. (Palms always down.)

20
 Move arms eight times to sideward right and left. Arms and feet move with each change
of direction.
VI.
With No. 1 leading, all do Step I going around cloth twice counterclockwise. Hands on
hips with the little finger sticking out and waggling. Dancers finish standing around cloth
with left shoulder toward center.
VII.
Do Step III. Hold "sarong" with second and third fingers of right (left) hand. Move hands
alternately as in figure I. (As right hand moves up left hand goes down).
(a) With No. 1 leading, do Step I going around cloth. No. 3 stoops down as if picking up
cloth but does not. She continues off stage. No. 2 does same.
(b) No. 1 picks up the cloth by two upper corners and holds it between thumb and second
finger. The three remaining fingers are separated and hyperextended. (Use both hands).
Does Step I going forward, holding cloth in front of body, elbows straight. Shakes cloth
in time to music.
(c) Does Step II four times to right and left sides. Moves cloth to right and left side
simultaneously with movements of the feet. Elbows remain rigid. Gives strong shake of cloth at
end of each fourth close step.
(d) Faces audience. Does Step III. Holds cloth in one corner with right hand. Left hand hangs
stiffy at side with fingers and elbows straight, palm down. Moves right hand up and down as in
figure I four times.
EXIT
Does Step I. Turns around once before going out. Holds cloth with right hand in front of
chest level. When she is turned away from the audience, she looks back over her right shoulder.
Just before going off stage she puts cloth over left shoulder.
(TRIPOD, 2003)
KAPPA MALONG MALONG
History:
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 women’s 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 men’s version was derived. This version shows in

masculine rendition, how men don the malong—displaying 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.

21
BASIC STEPS:
---- I ----
4 M Point Step
A. FOOT MOVEMENT: Step R foot sideward R (cnt.1) , point L foot forward R. (cnt. and 2)
(right in frontof the toes)
B. Step L foot sideward L (cnt.2), Point R foot forward L. (cnt. and 2 )
C. Repeat A. (3 and 2)
D. Repeat B. (4 and 2) Then position.
ARM MOVEMENTS simultaneous with foot: Sway R arm sideward, from downward to
upward(depending on the width of the malong.) Repeat it with the L arm.
--- II ---
A. March in place 4 counts; in another 4 counts, do the skirt. One, and two measures.
B. Step R foot forward (cnt. 1) , close it with the L foot (cnt.2)
C. Step R foot backward (cnt. 2), close it with the L foot (cnt. 2)
D. Repeat B. (three, two)
E. Repeat C. (four, two)
--- III ---
4 M Cross Step
A. Untie the skirt and do the dress (4 cnts.)
B. Step R foot sideward R (cnt.1), cross L foot over R foot, (and 2) with R foot slightly bend. ( at
this time,full cross over)
C. Step L foot sideward L (cnt.2), cross R foot over L foot. (and 2)
D. Repeat B. (3 and 2)
E. Repeat C. (4 and 2). Position.
--- IV ---
8 M Cross Point Step
A. Do the sunshade in four counts.
B. Cross L foot to R foot, point R foot sideward R. (2 cnts.)
C Cross R foot to L foot, point L foot sideward L (2 cnts.)
D. Repeat B. (2 cnts.)
E. Repeat C. (2 cnts.)
--- V ---
Repeat Figure I.
--- VI ---
Step, Close, Cross 8M
A. Do the tapis four counts.
B. Step R foot sideward R, close it with the L foot, step R foot sideward R, cross L foot forward
R.(2 cnts.)
C. Step L foot sideward L, close it with the R foot, step L foot sideward L, cross R foot over L.(2
cnts.)
D. Repeat B (2 cnts.)
E. Repeat C (2 cnts.) Position
---- VII ---
2 M Step, Turn, Point
A. Step R foot sideward; turn around clockwise, Point L foot sideward L.
B. With L pointed L, turn around counter clockwise, Point R foot sideward R.

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--- VIII ---
16 counts
– Female will project the malong. ---

(Gloria, 2013)

SUA-KU-SUA
Tribe: Tausug
Origin: Jolo, Sulu
History:
The Tausug of Sulu, Southern Philippines, though known as fearsome warriors are also

better known as sturdy seafarers and hardy farmers. Extensive orchards are planted with

coconuts and pomelos and fields with staples like rice and root crops.

At harvest time, pomelo fruits are gathered in big baskets before they are sent away. The

Tausugs depend strongly on the income the pomelo bring them and this relationship is

romanticized by comparing the sua’s gentle leaves, slender branches, attractive fruits and

fragrant flowers to the virtues of a lady. Put to music, it is this song that is sang by couples while

flapping two white fans each resembling leaves rustling in the wind in the Sua-Ku-Sua Dance.

Sua-ku-sua performers, some men but especially women come to the festivities with face

thickly covered with finely ground rice powder and their eyebrows and sideburns enhanced with

soot- all for beauty’s sake.

BASIC STEPS:
Music introduction
Pause
Music A.
Partners face audience. Throughout this figure, the knees are slightly bent and turned
outward. Arms extended sideward with a fan in each hand.
(a) Take 32 walking steps forward turning the hand from the
wrist down and up alternately on every count (figure of
eight). Bend the head sideward rightand left alternately in
time with the hand movement................................................................ 8M
II.Music B

23
 Partners face audience.
(a) Place R heel forward, arms sideward (cts.1,2), take
six steps in place, move hands as in Figure I (cts. 3, 4; 1
2, 3,4).......................................................................................... 2M
(b) Place R heel forward two times (cts. 1, 2, 3, 4).............................1M
(c) Take four steps turning right about in place, arms and
hand movements as in (a).............................................................1M
(d) Repeat all (a-c). Finish the turn facing partner..............................4M
Music C
Partners face each other.
(a) With arms in fourth position, L arm high, step R forward
and raise L foot in rear, turning the hands down (ct.1),
step L in place, turning hands up(ct.2), step R backward
and raise L foot forward, moving R arm to 2nd position
and turning hands down (ct.3), step L foot in place turning
hands up (ct.4).............................................................................1M
(b) Take four walking steps forward to be in line with partner
by R shoulders, arms and hand movements as in Figure I
.(cts. 1, 2, 3, 4)..............................................................................1M
(c) Repeat (a) and (b). Finish in partner’s place............................... 2M
(d) Turn left about and repeat (a-c). Finish in proper places
(Partners are by L shoulders in (b)...............................................4M
IV. Music A
Partners face each other
Arm Position : Place both arms in front at waist level. Wrist of R hand is up,
finger tips pointing downward, while the L hand in reverse
position. R hand is in front of L.
Arm Movement : With wrist leading, raise R hand up and pull L hand down, palms
in (ct. 1), flip hands to reverse position and movement (ct.2).
Repeat same (ct.2)
(a) Step R across L in front (ct.1), step L sideward (ct.2).
Repeat same (cts. 3, 4).................................................................1M
(b) Repeat (a) three times more moving in a circle
clockwise, always facing partner. Boy finishes facing
audience while Girl finishes behind the Boy..................................3M
(c) Girl: repeat (a) and (b) moving clockwise while facing
the line of direction Boy: repeat (a) and (b) in place......................4M
V. Music C
Partners face each other.
(a) Take three walking steps obliquely forward left (cts.
1,2,3), turn right about pivoting on the ball of R foot
and raising L foot across the R knee in rear (ct.4).
From 2nd position, move the arms downward-forward
(as if scooping). Finish with the palms up (cts. 1,2),
turn both hands toward chest inward. Continue the turn
and end up with arms forward palms facing front, finger

24
 tips in (ct.3), pull hands outward away from each other
(ct.4)...............................................................................................1M
(b) Repeat (a) starting with the L foot turning left about......................1M
(c) Repeat (a) and (b) two times more................................................4M
(d) Boy: take seven walking steps obliquely forward
left, arms and hands as in Figure I (cts. 1,2,3,4; 1,2,3),
point L foot sideward (ct.4).
Girl: take four steps turning right about in place (cts. 1
2,3,4) and three steps in place (cts. 1,2,3), point L foot
sideward (ct.4). Hand movement is the same as that of Boy........2M
NOTE: Partners are now in one line facing front, Girl at partner’s right side.
VI. Music A.
(a) Step L across R in front (ct.1), step R sideward (ct.2),
arm and hand movement as in Figure I. Repeat same
two times more (cts.3,4; 1,2), step L sideward (ct.3),
point R foot sideward (ct.4)...........................................................2M
(b) Repeat (a) starting with the R foot moving to the
opposite direction.........................................................................2M
(c) Repeat (a) and (b). Close feet together on the last count.............4M
VII. Music B.
Girl turns left about so that R shoulder is toward partner. Extend R arms sideward, hand
of Girl on top of boy’s hand, L arms are raised overhead.
(a) Starting with the R foot, take sixteen walking steps
forward moving half-way clockwise. Finish in partner’s
place..............................................................................................4M
(b) Turn about and repeat (a) moving counter clockwis
with the Boy following the Girl. Reverse position of hands.
Finish in proper places..................................................................4M
VIII. Music B
Partners face each other.
(a) Step R forward and move arms to 2nd position (ct.1),
raise L foot close to the R knee. Raise arms overhead
and flip hands down (ct.2), cross turn right about in
place. R arm up. Shake L hand obliquely sideward-
downward (cts. 3,4; 1,2,3,4).........................................................2M
(b) Repeat (a) with the L foot. Reverse position of arms...................2M
(c) Repeat (a) and (b)........................................................................4M
IX. Partners face each other.
(a) Take four walking steps to Girl’s place. Hands as in
Figure VII (d)................................................................................1M
(b) Place R heel forward. Bend trunk forward and place
R and L cheek close to that of partner alternately four
times (cts. 1,2,3,4). Fans are held close to waist........................1M
(c) Take four walking steps to the center...........................................1M
(d) Repeat (b).....................................................................................1M
(e) With fans held sideward-downward, palms down,

25
 stamp R foot five times in place(cts. 1, and 2, and 3).
Flip fans and strike the thighs with the fans (ct.and),
Raise arm sideward, palm down (ct. 4).........................................1M
(f) Take four steps turning right in place, arms obliquely
sideward-downward.......................................................................1M
(g) Repeat (e) and (f)..........................................................................2M
(h) Take eight steps turning right. Finish facing front..........................2M

X. Music B

(a) Starting with the R foot, take four walking steps

forward to meet partner
at center, arms as in Figure I.........................................................1M
(b) Place R heel forward. Girl leans back with hands
close to hips, palms facing front. Move head sideward
left and right alternately four times. Boy taps R
and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts. 1,2,3,4)..............1M
(c) Take four walking steps to Boy’s place. Boy moves
backward while Girl moves forward. Arms as in (d)......................1M
(d) Repeat (c). This time the Girl does the choppy
movement and the Boy, the head movement................................1M
(e) Take four walking steps to center. Boy moves
forward while the Girl moves backward.........................................1M
(f) Repeat (e)......................................................................................1M
(g) Stamp R foot five times in place (cts. 1, and 2,
and 3), raise R foot and hit the thighs with both
fans (ct.and), flip fans outward (ct.4)............................................1M
(h) Three-step turn right in place (cts.1,2,3), close
feet together (ct.4). arms down at sides, tips of
fans facing sideward-outward........................................................1M
(i) Repeat (g) and (f)..........................................................................2M
(j) Starting with the R foot, take four walking steps
(Boy moving forward, Girl moving backward).
Arms in reverse “T” position, fans facing front (cts
1,2,3,4). Sway fans in a figure of eight for every count................1M
(k) Boy bends trunk forward while Girl leans backward.
Move the heads (Boy to right side, Girl to left side)
(ct.1), reverse the direction (ct.2), repeat the same
(cts.3,4)..........................................................................................1M
(l) Repeat (j) and (k)...........................................................................2M

(m) Take four steps to face front, arms as in (f)...................................1M

(n) Two steps to turn right in place and pause....................................1M

FINALE

26
 (a) Step L sideward (cts. 1,2), step R across L in front,
knees are slightly bent (cts. 3,4). Twist trunk to the
right, R arm obliquely downward-sideward,
L arm obliquely forward-upward shaking fans (cts.
1,2,3,4)..........................................................................................2M
(Obusan)

PANGALAY
Tribe: Tausug
Origin: Sulu
History:
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the traditional “fingernail”

dance of the Tausūg people of the Sulu Archipelago and Sabah. This dance is the most

distinctively Asian of all the Southern Philippine dances because dancers must have dexterity

and flexibility of the shoulders, elbows, and wrists– movements that strongly resemble those of

“kontaw silat,” a martial art common in the Malay Archipelago. The Pangalay is performed

mainly during weddings or other festive events. The male equivalent of the Pangalay is

the Pangasik and features more martial movements, while a pangalay that features both a male

and female dancer is called Pangiluk.

The original concept of the Pangalay is based on the pre-Islamic Buddhist concept of male and

female celestial angels (Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in

other Southeast Asian dances. (Reyes-Aquino, 2005)

BASIC STEPS:
Entrance
Starting with R foot, walk to center of the room. Both arms down at sides palms
down fingers together and pointed outward. Take 1 count for each step. 4M or 8M
I. Face audience
(a) Slide R foot forward with only toes touching the floor (ct. 1), put
weight on same foot at the end of the slide (ct.2). Knees are
slightly bent and turned outward. R hand in front at eye level, L
hand down in rear, fingers together and hyper-extended.
Turn R hand (from wrist) counterclockwise and turn L hand
(from wrist) clockwise simultaneously. ……………..……….…….…. 1 M

27
 (b) Repeat (a), seven more times, L and R foot alternately. Do the
same hand movements, L and R alternately in front. ..…………… 7 M
(c) Repeat (a) and (b), moving backward to starting place. ..….……… 8M
II. R shoulders towards audience.
(a) Repeat slide step foot movement as in figure I, R, and L
alternately, eight times, moving clockwise. Arms in lateral
position, turning hands as in figure I, right and left
Sideward alternately every two counts……………………….……….. 8M
(b) Turn right about, repeat (a), moving backward to
starting place. ……………………………….…………………….…….. 8M
III. Face audience.
(a) Repeat slide-step movement as in figure I going obliquely
forward right, R and L alternately, eight times. Start with
arms down at sides, palms facing front, finger tips pointing
downward, raise arms gradually upward to head level
(4cts.), turn wrist outward so that finger tips point
upward, palms facing front, lower arms gradually
downward to starting position (4cts.) Reverse
position of arms every four counts. …………………………….……… 8M
(b) Turn right about. Repeat (a), going to starting place. ……..…………. 8M
(c) Repeat (a) and (b), going obliquely forward left in (a) …….…..…….. 8M
IV. Face audience.
(a) Starting with R foot, take eight steps turning right (clockwise)
in place (1 ct. for each step). Arms bent forward at
shoulder level, four fingers together and hyper-extended,
thumbs sticking up. Execute a figure of eight movement
with the hands every two counts, gradually stretching the
arms sideward at shoulder level. ……………………….……………... 4M
(b) Repeat (a), turning counterclockwise. Repeat same
hand movement gradually bending elbows to forward
bent position. ……………………………………………………….…… 4M
V. Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct.1),
at the end of the slide straighten toes and put weight on
same foot (ct.2). Raise hands in front at the eye level, R
hand on top with palm facing the front, fingers together; L
hand down, palm facing in (self)for two counts. …….……………… 1M
(b) Repeat (a), turning counterclockwise. Reverse position of
the hands every two counts, L and R hand on top alternately,
with palms facing self (when hand is down), and palms
facing front (when hand is on top). The hand that goes down
passes in front. ……..………………………..……...………………….. 7M
(c) Turn right about, repeat (a), going to starting place. …..…..……….. 8M
VI. R shoulder towards audience.
(a) Execute eight parallel tortillier steps sideward right. Start with
toes pointing sideward first, taking one count for each

28
 movement. Arms in lateral position sideward right, palms facing
out, finger tips pointing upward (ct.1), flex wrist upward so
that finger tips point downward (ct.2).Reverse position of
the finger tips every count (or every two counts if
desired). ……………………………………………………..…….……. 4M
(b) Repeat (a), moving sideward left. Arms in lateral position,
sideward left, doing same movements as in (a). ………..…………... 4M
(c) Face audience. Repeat (a) and (b). ………………....……………….. 8M
VII. R shoulder toward audience.
(a) With knees slightly bent, execute shuffling steps forward, moving
clockwise (counting 1, and 2, and for every measure). Bend
arms upward, elbows close to waist, hands about two
inches over shoulders, palms down. Move fingers (except thumbs)
up and down alternately every count. …………….……...…….…..… 8M
(b) Turn right about, repeat (a), moving counterclockwise..…….……… 8M
Saludo. Face audience.
Place right foot in front, bend body slightly forward, head bent forward,
cross hands at wrists down in front, R hand over L, palms down. ……..……….. 2M
(Reyes-Aquino, 2005)

29
TRIBAL (LUMAD) DANCE SUITE

Several ethnic groups occupy the southern Philippines, including the 18 tribal groups

collectively known as the “Katawhang Lumad” or simply Lumad. These are the indigenous groups

who still live traditionally, similar to how their ancestors existed centuries ago. Lumad or tribal

suite are dances of ethnic pagan origin that portrays rituals to honor pagan gods. It includes dances

such as dugso of the Higaonon, sohten of the Subanon, and lawin-lawin of the Bagobo.

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.

Tribal Dance Suite

BINAYLAN
Tribe: Higaonon
Origin: Agusan
History:
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.

BASIC STEPS:
Step # 1 (semi-parallel tortilier)
With feet flat on the floor, move both heels sideward (ct 1).
Repeat three more times (cts 2, 1, 2) -2M
Step # 2 ( step-step-step )
With foot in fourth position, take three successive small steps moving right ( cts 1, &, 2 ) 1M
Step # 3 ( step-step-hop-hop )
With right foot, take two steps in place (cts 1, &). Hop twice on left foot (cts 2, &) ----- 1M

30
Step # 4 ( heels raise-heels down )
Feet in fourth position with half knee bend, raise heels (ct 1), bring heels down (ct&). Repeat
once (cts 2, &) - 1M
Arm movement # 2 – Both arms placed in one direction. Move shoulders up and down on every
count of every measure.
Arm movement # 3 – Arms in reverse “T” position. Move shoulders up and down on every
count of every measure.
Arm movement # 4 – Hands on hip. Move shoulders up and down on every count of every
measure.
Figure I
a) Take eight step # 2 moving forward to finish at center. Arms in reverse “T”
position.Move shoulders up and down on every ct. in every measure ----------8M
b) Repeat (a) turning around clockwise, finish facing audience ---------——-- 8M
Figure II
With right foot, take eight step # 2 in place.
Arms in “T” and reverse “T” position. Reverse position of arms gradually on every two
measures ---------------————————————————————————–—-— 8M
Take eight step # 4. Repeat movement of arms in (a) bringing trunk slowly downward-upward in
every two measures----—————————————————————-- 8M
Figure III
Take eight step # 3. Arms on hip, shoulders moving up and down ------——---------- 8M
b. Take four step # 2. Arms # 2 towards left ----—- 4M
c. Repeat (b) reverse arm movement ---------------- 4M
Figure IV
Take four step # 2 moving in any direction.
Arms in “T” and reverse “T” -----------------------———————————————---- 4M
b. Repeat (a) in place --------------------——————————————------- 4M
Execute step # 1 twice in place. Arms in (a)————————————----- 4M
d. Repeat (c)-------------------------------———————————————----- 4M
Finale (Goce, n.d.)

KADAL HEROYON
Tribe: T’boli
Origin: Lake Sebu, South Cotabato
History:
Kadal Heroyon, also known as the dance of flirtation, is performed by T’boli girl adolescents

qualified to get married. Beautification, which was held of high importance in the tribe, is

portrayed through movements that would imitate how birds flew.

BASIC STEPS:
Fig 1 • 4M – jumps ; flip hands down at R side, move them upward like wings; return to start
position

31
 • 12M – do this 3x more
Fig 2 • 4M – agam L; L hand on waist, R extended sideward, execute flying motion
• 4M – repeat • 8M – agam R; flying motions with the L
Fig 3 • 4M – with trunk tilted L, both hands to the R side, execute up-down motions; tiny steps
moving R
• 4M – tiny steps turning R • 8M – execute same steps to the L
Fig 4 • 4M – tiny steps moving fwd; hands extended downward-sideward holding the lower
end of the luwek
• 4M – tiny steps doing fast turn R; L on waist while R is extended downward-sideward
• 8M – Repeat; turning L
Fig 5 • 8M – R side facing audience; tiny steps; arm circling while holding the luwek
• 8M – repeat, L side facing audience
Fig 6 • 4M – Tiny steps moving bwd R; arms in 2nd holding luwek
• 4M – Repeat moving bwd L
• 8M – Turn R with tiny steps; beautification gestures with forearm movements
Fig 7 • G: heavy walks going around to attract the attention of the B
• B : enters the dance floor, executing tiny steps; positions himself opposite the G line
Fig 8 • B advancing opposite the G line
• 4M – scooping motion; walk advancing to exchange places
• 4M – turn right about; walk bwd to move away;
• 8M – repeat to return to places
Fig 9 • 16M • As the B goes around the G line to make his choice,
• G makes the gestures of beautifying themselves – fixing their hair, putting on make up
etc.
Fig 10 • as the B walks around opposite the G • G:
• 8M – tiny steps; arms in reverse T with finger flutter
• 8M – tiny steps moving a bit bwd; extend R arm towards the B; finger flutter
Fig 11 • 16M • B approaches the G one by one; first to G1 (others beautify themselves once
more);
• To G2 -----
• Other girls quarrel
Fig 12 • with B kneeling at center • G:
• 16M – tiny steps; extend R and L arms downward-sideward alternately while holding
the luwek
Fig 13 • B stays at the L side of stage
• G: • 16M – repeat Fig 1
Fig 14 • 16M – Repeat Fig 12; this time the B swings his luwek as if holding a net trying to
catch his choice; he weaves in and out of the circle of G • He places his luwek around the waist
of the G of his choice on the last ct.
8M – B moves (while still tied with his luwek around her waist) his choice away from the
G group
• The G’s not chosen makes the gestures of crying while making their exit on the
opposite side of the stage
(Nimor, 2007)

32
BANGKAKAWAN
Tribe: Monobo
Origin: Bukidnon
History:
The Bangkakawan, a fishing ritual, originated from the Tigwahanon Manobos of Bukidnon. A

huge log is carved to replicate the shape of a palungan (snake) and is used to making steady beats

and rhythms to make fish dizzy and less difficult to catch.

KINUGSIK KUGSIK
Tribe: Manobo
Origin: Santa Maria, Agusan del Norte
History:
The Kinugsik Kugsik tries to imitate the friendly and endearing nature of squirrels. The dance

portrays an issue of love between two male squirrels and one female squirrel who run around the

forest. They had created this dance as a remembrance of the time wherein the tribe of Manobo

lived harmoniously with squirrels who thrived in their area. They named this dance as such because

they called these squirrels, “kugsik.”

DUGSO
Tribe: Talaindig
Origin: Bukidnon
History:
Performances such as a sacrifice dance rite exists in provinces wherein religion is given the highest

regard, such as the Higaonon of Bukidnon province in Mindanao place. “Dugso” is performed as

a form of thanksgiving for good harvest, healing of the sick and for the community’s overall well

being. It is also used to get rid of bad spirits, to give luck for victory in battle and used during the

blessing of the newly opened field. Their costumes are compared to that of the pagpagayok bird

because of the colourful headdresses and the bells wrapped around their ankles which is considered

as the “best music” to the spirits.

BASIC STEPS:

33
1. Brush your left foot backwards, then bring your left foot to meet your right foot.
2. Step to the left with your left foot, bringing your body sideways.
3. Brush your left foot backwards from your new position, then bring your left foot to meet
your right foot.
4. Step to the left again with your left foot, bringing your body sideways again, so you are
now turned around from your original position.
5. Step to your right, then tap your left foot to meet your right foot.
6. Step to your left in a sideways motion.
7. Step to your right again, then tap your left foot to meet your right foot.
8. Step to your left in a sideways motion.
9. Brush your right foot backward, then tap your right foot to meet your left foot.
10. Step to your right in a sideways motion.
11. Step your left foot across in front of your right foot.
12. Tap your right foot to meet your left movement, moving to the right.
13. Step your left foot behind you, across your right foot.
14. Step to the right sideways.
15. Step your left foot behind you again, across your right foot.
16. Step to the right sideways.
17. Repeat all steps 1 to 16 (Raven, n.d.)
RURAL DANCE SUITE

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.

Rural suite originated in the Christian Lowlands of the Philippines. The dances embody the

many joys of work and life among simple countryfolk, who tend to their farms during the day and

relax after a hard day’s work through dancing. It also includes lively musicians playing guitars, as

well as cheerful villagers. Among the most popular dances of the rural suite is gaway-gaway of

Jaro, Leyte that portrays children celebrating a beautiful harvest of the gaway root crop, with

movements similar to the pulling of the stalks. This suite also includes dances such as maglalatik,

palu-palo of Laguna, tinikling, pandanggo sa ilaw, sinulog, and binasuan.

Rural Dance Suite

MAGLALATIK
History:
During the Spanish regime, the present barrios of

Loma and Zapote of Biñan, Laguna, were

separated. With coconut shells as implements the

people of these two barrios danced the

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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).

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 Biñan,

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.

BASIC STEPS:
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
(Documents, 2015)

36
 PANDANGGO SA ILAW
Origin: Lubang Island, Mindoro
(Visayas)
History:
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.

BASIC STEPS:
At the start of the dance, the G holds one glass by her R. The B has one glass in each hand
Fig. 1 : Music A
 Girl’s Entrance
 8M – Native waltz; arms in lateral position
 6M – Native waltz; swing R in figure 8
 2M – three step turn R; arms in 2nd
Fig 2 : Music A
 Boy’s Entrance/Pair
 B/G: 4M – native waltz; arms in lateral position
 2M – waltz fwd-bwd R and L; swing both arms fwd-bwd
 2M – Three step turn R; arms in 2nd
 (G moves to back of B)
Facing partner:  6M – running waltz R and L alternately moving CW; arms in 4th
 2M – three step turn R; arms in 2nd; end by placing glasses on the floor (between the pair)
Fig 3 Music B
 Danced simultaneously
 G: 8M - facing center, feet in 4th; both arms in T position, execute slight elbow jerk once per
M
 8M – repeat facing away from center
B: 2M - Waltz R and L in place; T position with elbow jerk R and L
 2M – three step turn move to back of G
 12 – Repeat moving to R of G; front and back to original place
 (both get the glasses – G – 1; B – 2)
Fig 4 Music B
 Facing audience
 8M – native waltz R and L alternately; arms in lateral position
 2M – waltz R and L; same arms
 2M – three step turn
 2M – waltz R and L
 2M – G in 4th; B places R glass on G’s head/transfers L glass to his R
Fig 5 Music C
 Danced simultaneously
 G: 8M – Native waltz moving G circle CW; arms in lateral position
 (B circle moving CCW; redoba R and L alternately) B/G: 6M – pair circle; waltz 2M – B
places glass to G’s L hand
Fig 6 Music C
 Danced simultaneously
 G: 8M – Feet in 4th; swing R fwd-bwd, swing L fwd-bwd, swing both fwd-bwd 2X
 (B: 2M – three step turn passing at the back of G, to G’s R side; 4M - waltz R and L; clapping;
2M - three step turn to original place)
Facing each other  8M – Sway balance R and L alternately
Fig 7 Music C
 2M – B gets the glass on G’s head with his R hand and the G’s L glass with his L hand
 12M – Native waltz/or running waltz R and L alternately moving CW, G ahead of B
 2M – Three step turn; end with B kneeling on L; G in 4th position
(Reyes-Tolentino & Aquino)

BINISLAKAN
Origin: Lingayen, Pangasinan
History:
Lingayen in Pangasinan means having to look

backward and upward. It was derived from “Li-King-

Tung”, a Chinese word given to the name Lingayen,

the capital of Pangasinan, by the Chinese settlers of this place a long time ago. The barrio folks

38
who lived at Almazin, a small place between barrio Pangasinan (Pulong) and Maniboc danced

this to commemorate the stay of Limahong, a Chinese pirate who built his kingdom here.

The dancers look backward or upward in some of the movements; hence, the name

Lingayen. They also use two sticks to produce rhythms imitating the chopsticks used by the

Chinese in eating, so the dance is also called Binislakan, which in Pangasinan means, with the

use of sticks.

BASIC STEPS:
Music Introduction
Partners face audience.
(a) Cross sticks overhead; R-hand stick over L-hand stick and
look upward........................................................................................3M
(b) Bend trunk forward and bring down point of crossed sticks
close to floor......................................................................................1M
I. Music A.
Face audience.
(a) Starting with R foot, take four change steps sideward right
and left alternately, raising alternately the L foot and R
foot slightly above the floor;bend trunk sideward right and
left alternately. Strike sticks sideward right and left
alternately, three times to a measure, R,L,R,L,R,L (cts. 1
and 2) to every measure.....................................................................4M
(b) Execute mincing steps sideward right. Strike sticks
overhead four times to a Measure, R,L,R,L,R,L alternately.
Look upward.......................................................................................2M
(c) Bend knees and twist trunk to left; strike sticks backward
R,L,R(cts.1 and 2); look backward right..............................................1M
(d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike
sticks R, L, R In front of chest.............................................................1M
(e) Starting with L foot, repeat (a-d) to opposite direction, stamp
feet L,R,L...........................................................................................8M
II. Music B.
Face audience.
(a) Paw (like scratching foot backward) L foot backward and at
the same timeStep R foot sideward four times, step on R
foot with springy movementsLike small leap; bend trunk
slightly sideward right; R hand bend in frontin level with
head, stick pointing toward audience; L hand down in rear,
stick pointing sideward left; look at left shoulder (cts.
1,2,1,2)........................................................................................2M
(b) Tap L foot in front two times; bend trunk forward that foot

39
 and strike sticks twice In front close to the tapping foot (cts.
1,and); straighten trunk and step L close to R foot, strike
sticks once in front........................................................................1M
(c) Repeat (b) with R foot, bend trunk toward R foot.........................1M
(d) Repeat (a-c), in reverse direction and position.............................4M
(e) Face partner and repeat (a-d).......................................................8M
III. Music A.
Face audience.
(a) Jump forward and bend trunk forward. Cross sticks R
stick over L stick Below knee level...............................................1M
(b) Straighten trunk and raise gradually the sticks overhead;
sticks are still crossed. Look upward.............................................1M
(c) Repeat (a) and (b).........................................................................2M
(d) Execute mincing steps going backward; arms are in
reverse “T” position And shiver sticks sideward. Bend head
sideward right and left every two counts......................................2M
(e) Execute mincing steps turning right about, finish facing
away from audience (1M). Raise R knee and strike sticks
once under it (ct.1), straighten knee feet together and strike
sticks once in front (ct.and), raise L knee and strike sticks
once under it (ct.2).........................................................................2M
(f) Repeat (a-d), facing away from audience......................................6M
(g) Repeat (e); finish facing audience.................................................2M
IV. Music B.
Partners face each other. Boy and Girl do their movements simultaneously.
Girl’s Movements:
(a) Starting with R foot, execute eight change steps going
clockwise around Boy. Strike sticks overhead and at the back alternatelythree
times toa measure. Strike sticks at the back.
Kneel on both knees on the last count.........................................8M
(b) Do the movements of Boy below (a-c). Finish facing
audience........................................................................................8M
Boy’s Movements:
(a) Kneel on both knees and strike sticks on the floor at the
right side three times (cts. 1, and 2); strike sticks overhead
three times upward (1M); strike sticks at the left side on the
floor three times (1M); strike sticks overhead three times
(1M.................................................................................................4M
(b) Repeat (a); stand at the last count.................................................4M
(c) Repeat movement of Girl (a). Finish facing audience....................8M
V: Music A.
Partners face audience.
(a) Take one change step sideward right (cts. 1,2), raise L
foot above the floorin (ct.2), bend trunk sideward right
and strike sticks to sideward right threetimes to a measure
R,L,R.............................................................................................1M

40
 (b) Repeat (a) three times more, to ideward left and sideward
right alternately. Raise R foot above the floor when doing
the change step to sideward left and strike sticks L,R,L..............3M
(c) Face partner and strike sticks on floor in front, full knee
bending R knee lower than L knee (cts. 1,ah,and,2,and)............1M
(d) Stand, straighten trunk, and strike sticks, R,L,R,L in front
(cts. As in (c) )...............................................................................1M
(e) Step R foot forward (ct.1) hop on R foot, raise L foot slightly
close to R foot, strike both sticks diagonally right head level,
with partner (ct.and). step L foot sideward (ct.2), hop on L
foot, and strike sticks diagonally left with partner (ct.and).............1M
(f) Stamp feet R,L,R, strike sticks in front R,L,R (cts.1, and 2)..........1M
(g) Repeat (a) and (b), facing audience..............................................4M
(h) Repeat (c) and (f), facing audience...............................................4M
VI. Music B.
(a) Starting with R foot, execute two change steps going
forward to meet partner at center finish in one line. Girl in
front of Boy,facing audience. Strike sticks three times R,L
R overhead (look upward) (cts. 1,and 2).......................................2M
(b) Starting with R foot, execute six change steps right and
left alternately,Going around clockwise. Strike sticks as in
(a). Finish in a circle facing center.................................................6M
(c) Starting with R foot, take four change steps going toward
center.Strike sticks as in (b)...........................................................4M
(d) Repeat (c), going backward; finish facing right..............................4M
Saludo. Music Finale.
(a) Execute mincing steps going counter clockwise; finish
in line formationfacing audience as in Figure I. Arms in
reverse “T” position and shake sticks sideward; bend
head sideward right and left alternately every two
counts............................................................................................3M
(b) Stamp feet R,L,R and strike sticks overhead R,L,R (cts.1
,and 2). Look
upward...........................................................................................1M
(c) Mincing steps, turning right slowly; finish facing audience;
sticks are still crossed overhead and looking upward..................3M
(d) Feet together, bend trunk slowly forward, bringing down
the crossed sticks below knee. Sticks touch floor in the last
count..............................................................................................1M
(Reyes)

41
 TINIKLING

History:

This 'Visayan' dance was found in Leyte where

this dance originated. Dancers imitate the tikling

bird’s 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.

BASIC STEPS:
All the dance steps are combination of only three basic 4/4 tinikling steps. These steps are called
Singles, Doubles, and Hops.
1. Singles: When the poles are on the dancers 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

2. 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

3. 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 pole

SAKUTING
Origin: Abra
History:
This is a dance of the ethnic people living

in the western side of the Cordilleras way

back before the coming of the Americans

to our country. During the Christmas, young boys and girls accompanied by their elders would go

to the lowlands, especially in Abra and Ilocos Norte to dance in front of the houses and ask for

gifts. These young children hold sticks, one on each hand and strike them together to make their

dance morelively. The homes would give them money, homemade delicacies and other things.

These dancing groups later reached as far as the coastal towns of Ilocos region as years

went by. The rhythmic sounds produced by the stick attracted other children and also adults and

they also learned the dance.

“Sakuting“ is an ethnic term which refer to the rhythmic sticks producing the

accompaniment for the dance.

BASIC STEPS:
Entrance
a. Partners walk side by side in rhythm with the music with Head

43
 Pair leading the group into formation. Finish facing partner. R
arm bent in front holding stick upward; L hand holding stick
placed behind the waist. ……………………………………………………... 16M
FIGURE I. Music A. Partners face each other.
a. Head Pair: Face the set. Weave in and out of the set and
continue until back to original places. Strike sticks R over L
on ct. 1; L over R on ct. and; R over L on ct. 2. Strike starting
L over on next measure. Pairs 2, 3 and 4 : perform 32
cut-step-step in place alternately starting with L…………………….…. 32M
FIGURE II. Music B. Partners face each other.
a. Bend downward. Strike sticks 3x R and L, L over R, R over L. ………..2M
Straighten trunk. Strike sticks in front and waist level 3x L
over R, R over L and Lover R.
b. Waltz step R. Waltz L. Strike sticks 3x to a measure. ………….. 2M
c. Leap R placing L heel in front (ct. 1) to be by L shoulders
with partner; hold position (cts. 2, 3). Strike L sticks with
Partner (ct. 1); strike own sticks 2x (cts. 2, 3). …………………………. 1M
d. Leap on L and place R heel in front (ct. 1) to be in
back to back position with partner; hold position (cts. 2,
3). Strike R sticks with partner (ct. 1); strike own sticks 2x (cts. 2, 3). .. 1M
e. Step R and place L in front (ct. 1) to be by L shoulders
with partner (ct. 1); hold position (cts. 2, 3) Strike L sticks
with partner (ct. 1); strike own sticks 2x (cts. 2, 3). …….…………………..1M
f. Waltz step to proper places. Strike own sticks R over L,
L over R, R over L. …………………………………………………………….. 1M
g. Repeat (a) to (f) starting L and standing by L shoulders.
Start all strikes of sticks with L over R. ……………..………………….…….. 8M
h. Repeat all (a-g).. ……………………………………………..……………...….16M
FIGURE III
Music C. Partners face each other.
a. 2 waltz steps R, L moving diagonally forward. Finish
in one line with partner by L to L shoulders. Strike
sticks 3x to a measure. ………………………………………..…………….…2M
b. Raise R leg in front (ct. 1); lower leg (cts. 2, 3) Strike
own sticks under raised leg (ct.1); strike sticks R over
L and L over R (cts. 2, 3).….…………………………………………….……..1M
c. Face partner. Strike R sticks with partner (ct. 1); strike
own sticks R over L and L over R (ct. 2, 3) ……………………………….…...1M
d. Raise L leg in front (ct. 1); lower leg (cts. 2, 3). Strike
own sticks under (ct. 1); strike sticks R over L
and L over R (cts. 2, 3). ………………………………………….……….…….1M
e. Face partner. Strike R sticks with partner (ct. 1); strike
own sticks L over R and R over L (ct. 2, 3) ……………………………….…...1M
f. 2 waltz steps to proper places. Strike sticks 3x to a
measure. …………………………………………………………………………. 2M
g. Repeat (a-f) starting L and standing by R to R

44
 shoulders with partner. …………………………………………………………. 8M
h. Repeat all (a-g). ……………….……………………………..…………………16M
FIGURE IV. Music D. Partners face each other.
a. Repeat (a) of FIGURE I. Finish by moving 2 small
steps to get close to partner at center on
last 2 cts. Of M. …………………………. …………………...……………….2M
b. Waltz step R. Hold sticks parallel to each other;
swing own sticks together from R side and strike
both sticks with partner (ct.1); strike own sticks R
over L and L over R (cts. 2, 3). ………………………………………………… 1M
c. Waltz step L. Swing own sticks from the L side
and strike partner’s sticks together (ct. 1); strike
own sticks 2x (cts. 2, 3). …………………………………………………………1M
With a spring, step R placing the L heel in
front to be in one line with partner at center by L
shoulders; trunk erect (cts. 2, 3). Open arms at
the sides without strining sticks (ct. 1); strike own
sticks 2x with trunk erect (cts. 2, 3). ……………………………………..……..1M
d. Repet (d) of FIGURE II. …………………………………………………… …. 2M
e. Repeat (d) of this FIGURE stepping R . ……………………………………. 1M
f. Repeat (f) of FIGURE II starting with L and standing
R shoulders. ………………………………………………………………...…...8M
g. Repeat all (a-g). …………………………………………………....……..…….16M
FIGURE V. Music E. Partners face each other
a. Repeat (a) of FIGURE III. ………………………………………………………….. 2M
b. Waltz turn R (2M) moving obliquely forward; finish
facing each other in a single line at center.
Strike sticks together 3x to a measure. ……………………………… ………….. 2M
c. Stand . Strike R stick once with partner (ct. 1);
strike own sticks together 2x (cts. 2, 3). …………………………………………. 1M
d. 2 waltz steps to partner’s place; finish facing
each other. Strike sticks together 3x to a measure. …………………………….. 2M
e. Repeat (a) to (d) and finish in proper places. Strike
L sticks together with partner. …………………………………………………….. 8M
f. Repeat all (a-c). ……………………………………………………………………..16M
FIGURE VI. Music F.
New formation Audience
X 1 O
X 2 O
X 3 O
X 4 O

6”
One set of dancers
Pairs 1 and 2 form a square; Pair 3 and 4 do the same.

45
All face the center of each square.
Simultaneous movements of Girls and Boys.
Girls:
a. 2 change steps to center and finish by R shoulders.
Strike own sticks together 3x to a measure; R over L,
L over R, R over L. .......................................................................................... 2M
b. 2 change steps R, L in place. Strike sticks together
with opposite (ct.1); strike own sticks 2x (cts. and, 2). .................................... 2M
Repeat movement.
c. Turn R about to be by L shoulders; repeat (b). ............................................... 2M
Boys: 8 change steps R, L alternately . .......................................................... 8M
d. Girls perform Boy’s Part while Boys perform Girls part. .................................. 8M
e. New Formtion:
Boy 1 to Face Girl 2 X 1 O
Boy 3 to Face Girl 4 X 2 O
Boy 2 to Face Girl 1 X 3 O
Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d). .......................................................................................... 8M
f. All Face partners and repeat (a-d) with partnerts. ........................................... 8M
FIGURE VII
Music G. Partners face each other.
All stand in place.
a. Bend trunk down. Strike own stick 3x to a measure
on floor or close to the ground. ……………….…………………………………. 1M
b. Straighten trunk. Strike sticks in front at waist level. ……………………………1M
c. Raise sticks overhead. Strike sticks overhead. ………………………………… 1M
d. Place hands behind waist. Strike sticks from behind………………………….. 1M
e. Repeat (a-d) 3x more. ………………………………………………………..…….12M
f. Face about, away from partner and repeat all (a-e). ……………………………16M
FIGURE VIII
Music H. Circle formation facing clockwise.
a. 16 waltz steps Strike own sticks 3x to a measure. …………………………….. 16M
b. Turn R about to face and repeat (a) to finish
in a double circle formation with Boys inside
and Girl partners outside. ………………………………………………………… 16M
FIGURE VIII
Music H. Double circle formation with Boys and Girls outside.
Girls hold their 2 sticks horizontally and parallel to each other; R stick at head level and L stick at
chest level.
a. Boys face their partners while Girls hold their
stick firmly in front. Boy- strike sticks across Girl’s
sticks R hand up and L hand low 3x to a measure
(cts. 1, and, 2). ………………………………………………………………………. 1M
b. Girl – 3 step turn R still holding sticks as in (a). …………………………… 1M
Boy 3 step turn R moving to face the next Girl at his right.
c. Repeat (a). …………………………………………………………………………… 1M

46
 d. Repeat (b). …………………………………………………………………………… 1M
e. Repeat movements (a) and (b); partners meet each other; exit. ………..…….12M
(Aquino, 2005)

47
Dance Over the Years

Pre Colonialism

Pre-colonial dance are distinctly meant to appease the Gods and to ask favors from spirits,

as a means to celebrate their harvest or hunt. Their dance mimicked life forms and the stories of

their community. Moreover, theses dances were also ritualistic in nature, dances articulated rites

of passages, the community’s collective legends and history.

Across the 7,107 islands in the Philippines, there are various tribes scattered all over, each

with their own unique traditions and dances. The Igorots from the mountains of Luzon, resisted

Spanish colonization and influences have kept most of their dances untouched across generations.

Their dances express their love of nature and gratitude to the gods. Their choreography imitates

nature and their life experiences. Dancers would often swoop their arms like birds and stomp their

feet as a representation of the rumbling earth.

Spanish Colonialism

Spaniards have moderated and even led the politics and economics of the country, which

was mainly due to the 400 years of Spanish colonization in the Philippines during the 16th century.

Despite the earliest Filipinos having their of type of government, writing, myths, and traditions,

several features of Spanish culture have influenced different aspects of the Philippine culture, from

clothing, such as the barong tagalog and the terno, to their religion even up to the dances and the

music in the Philippines.

Filipinos already had their own set of music and dances before the Spaniards came; dances

were performed for different reasons, from weddings up to religious feasts, even to prepare for or

celebrate war. As the Spanish colonizers realized the relevance of these dances for Filipinos,

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dancing was utilized as a relevant social activity. Some of the first dances they presented were the

rigodon, virginia, and lanceros; these were dances done for the higher class and special fiestas.

Filipino dance styles like the kumintang, type of song and dance, and dances like the Pampangois,

a dance distinguished for its lion-like actions and hand clapping, were pushed aside when the

Spaniards had come. However, they were later remade with influences from new Spanish dances

such as the fandaggo, lanceros, curacha, and rigodon. Other features that were done when adopting

these European dances was the addition of local elements like using bamboo, papays (local fans),

and coconut or shell castanets.

Filipinos, mainly aristocrats, have also created their own renditions of European dances

such as the jotas, fandaggos, mazrukas, and waltzes that were done during this time. The fandaggo

after it was introduced was recreated as the pandaggo; the same happened to the jota that was then

recreated in several regions; Cariñosa and Sayaw Santa Isabel had steps that were taken from a

popular dance, the waltz. Other examples would be how the rhythm and tempo of the jota and the

polka influenced traditional dances like the Tinikling and the Itik-itik, which were also inspired

from Southeast Asian dances. Dances that were not accompanied by Western music were also

given their own accompaniments, such as the case of Pandanggo sa Ilaw.

As European dances had more sharp and fast steps, Filipinos softened these movements

when they were recreated. Other dances that were created during the time of hispanization would

be the Danza, Jota Cagayan, Jota Isabela, Pantomina, Abaruray, Jota Manileña, Habanera

Jovencita, Paypay de Manila, Jota Paragua, and the Paseo de Iloilo.

American Colonialism

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 Just like in the Spanish colonization, the Americans, in 1898, had brought in their own

commercial and global culture which had also influenced the Filipinos. Those with interest in

dance were the ones mainly appealed to by the more Black-influenced customs of dance and music.

With these Filipino dancers who already know the zarzuela (sarswela), a Spanish form of stage

performance with singing and dancing and musical comedy, they became more interested in the

American vaudeville (bodabil) or “stage show”, which is filled with both theatrical and circus acts,

and more reminiscent of Broadway musicals. More dynamic dances were incorporated in these

zarzuelas during the 1950s to the 1970s, such as the cakewalk, buck-and-wing, skirt dance, clog,

tap, and soft-shoe that were more upbeat and had an American rhythm to them, as well as social

dances like the Charleston, foxtrot, big apple, one-step, slow-drag, rumba, mambo, samba, cha-

cha, and the Latin-influenced tango. This growth of American-influenced dances also spawned the

increase of cabarets, such as the Santa Ana Cabaret which is a huge ballroom dedicated for these

performances. The disco scene also grew more in the 1980s.

Known as the “Dean of Philippine vaudeville,” John Cowper had brought with him other

artists when he had come. As with the growth of American influence over dance in the country,

Filipinos had started creating their own dance troupes; some of these would be the Salvadors, the

Roques, Sammy Rodrigues, Lamberto Avellana, and Jose Generoso to name a few. European

classical ballet also gained more popularity following the American dances. Aside from creating

their own groups, with the new and more advanced transportation system in the country, the

Philippines was now able to be included in the international circuit, which had led to performances

by international acts such as the Lilliputians with their “ballet girls” and the Baroufski Imperial

Russian Circus showcasing their ballerinas. Aside from having international acts come, other

talents also came to perform, with the notable one being Anna Pavlova in 1922 and performed at

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the Manila Grand Opera House. More international acts came to perform in the Philippines after,

while some also trained Filipino dancers, one of which is Madame Luboc “Luva” Adameit who

trained some of the first notable ballet dancers who had also become choreographers: Leonor

Orosa Goquingo, known for her folk-inspired ballet performances (such as

Filipinescas), Remedios “Totoy” de Oteyza, and Rosalia Merino Santos, a child prodigy known

for doing the first fouettes in the country.

Aside from the rise of American dances and European style ballet, modern dance had also

started taking form during this period in the vaudeville circuit. Ruth St. Denis and Ted Shawn, two

founders of modern dance visited the Manila in 1926. Other modern dancers also performed in the

country which led to some Filipinos training under this dance style. With the growing popularity

of this dance style, Filipino dancers continued to mix in elements of folklore and native themes.

Anita Kane produced Mariang Makiling in 1939 and it was the first full-length Filipino ballet

performance. She also has other works such as Reconstruction Ballet, Mutya ng Dagat (Muse of

the Sea), Inulan sa Pista (Rained-out Feast), and Aswang (Vampire), which all had Filipino motifs.

Leonor Orosa-Goquingco also had native elements in her dances like Noli Dance Suite and

Filipinescas: Philippine Life, Legend and Lore in Dance, which had mixed ballet and folk dances

into one performance. Due to this trend, many other writers and dancers continued to connect this

Western dance style with native influences, motifs, and even history.

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