Impact of societal functions to choreography

Other less common presentations of Philippine dances have been categorized by intention, or
societal functions. Philippine dances not only convey the artistry of movement, but are often
associated with life-functions such as weddings, the mimicry of birds, or even rituals like the
warding of evil spirits. This outlook on dance can be separated into the following categories:

Ritualistic dances

A photo from 1909 showing Igorots doing their ceremonial dance.

Filipino rituals are based on the belief that there exists a delicate balance between man and
nature, and the spirit world; and that it is through rituals that we can restore, enhance or maintain
this balance. It clarifies our place in the universe; each gesture and move in the dance are
symbolically articulating the role of man and human in the world. The dances contain narratives
which illustrate the contractual obligations governing relationships between mankind, nature and
the spirits. Because there are innumerable reasons for why and how humans can cause shifts in
the balance or forget their place in the grander scheme, there are also innumerable rituals that can
correct or address the concerns. Thus, it is in looking at their intentions that it can be better
understood, interpreted and classified. Some of the rituals attempt to define the future, appease
spirits, ask for good harvests, invoke protection, heal the sick, asking for good luck, guidance
and counsel. Almost every facet of Filipino life is linked to a ritual practice and is an indication
of the value and pervasiveness of rituals in folk culture.

Filipino rituals are often shown in dance, because for Filipinos, dance is the highest symbolic
form. It transcends language and is able to convey emotions, collective memory, and articulate
their purpose. Dance in this case, is the fundamental expression of their complex message and
intention. Aside from ritualistic dance as a way to convey their request to the gods or spirits, it
also reaffirms social roles in village hierarchies. The leaders of the dances are the masters of the
village's collective memory and knowledge and subsequently, commands the highest respect and
status.[34]

Forms

Rituals have been greatly influenced by rich colonial history, as well as archipelagic geography.
As a result of this, each major geographic area such preserved distinct traditions, some
preserving pre-colonial influences, while others were integrated or completely changed. Islam
was deeply rooted in Mindanaoan culture long before the Spanish arrived and were mostly left
untouched by Spanish presence, thus they continued to keep their mythic Islamic practices.
Unlike the Filipinos of the lowlands, who integrated Christian and Catholic practices to form a
uniquely Filipino folk Christianity which is still practiced today.[34]

Structure
As rituals are mostly in the form of dances, it uses gestures, incantations and symbolic
implements to invoke spirits, to restore balance or to ask for intercession for harvests, good
marriages, safety in journey or counsel. Rituals then, have 2 intended audiences, the spirits who
are summoned to placate their anger or to call for their participation to restore balance and to
care and provide for mankind. The second audience are the practitioners. In carrying out the
rituals, they are reflecting and passing on the collective knowledge and memory of the village,
which have been accumulated and refined across many generations. It is through the use of
dramatic gestures and dance that symbolic narratives, their values and beliefs are recorded and
safeguarded from forgetting. The performance of ritual dances is ultimately an act of
recollection. It is a reminder for men and spirit their duties and responsibility in restoring the
world's balance. And within the dance itself, practitioners are reminded of the significance of the
past, and are being prepared to accommodate the uncertainties that the present and future may
bring.[34]

Functions

Dancing for Filipinos have always imitated nature and life, and is seen as a form of spiritual and
social expression. Birds, mountains, seas and straits have become inspiration for local dances.
The tinikling mimic the rice-preying birds, the itik-itik is reminiscent of its namesake the duck,
the courtship dances of the Cordillera are inspired by hawk-like movements.

Sayaw Sa Bangko (Bench Dance)-rural folk dance forms with agile jumping on and off benches

Geographic location also influence what movements are incorporated into the dances. People
from Maranao, Maguindanaon, Bagobo, Manobo, T’boli of Mindanao and Tausug and Badjao of
Sulu. Draw influences from aquatic life as they are near bodies of water and have lived their
lives mostly off-shore. Their dances accompanies by chants, songs and instruments like the
kulintang, gong, gabbang and haglong, as well as a variety of drums show their zest for life.  

Some rituals are used as religious expressions to honor the spirits and ask for blessings in each
facet of life, such as birth, illness, planting, harvest or even death. They believe in diwatas, or
spirits dwelling in nature, which can be appeased through offerings and dance as a means to
commune with the spirit.[35]

Dance over the years

Cariñosa

To better understand these dances, the time period of these dances must be considered.
Depending on each period, they have had their own ways of influencing and inspiring the dances
which then evolve and change depending on these elements.

Pre-colonial

Folk dance with native hats (salakot) worn during pre-colonial times by Malays

Pre-colonial dances 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.[36]

Across the 7,641 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.[37]

Spanish era

Estudiantina is a Spanish influenced Filipino folk dance depicting frolicking student.

Spaniards have moderated and even led the politics and economics of the country,[38] which was
mainly due to the Spanish colonialism starting from the 16th century. Despite the earliest
Filipinos having their of type of government, writing, myths, and traditions, several features of
Hispanic culture have influenced different aspects of Filipino culture, from clothing, such as the
barong Tagalog and the terno, to their religion even up to the dances and music.[39]

Tinikling

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,
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.[40] 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.[41] Other features that were
done when adopting these European dances was the addition of local elements like using
bamboo, paypays (local fans), and coconut or shell castanets.[42]

Pandanggo sa Ilaw

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.[39] 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.[38]

As European dances had more sharp and fast steps, Filipinos softened these movements when
they were recreated.[40] 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.[39