PHILIPPINE FOLK DANCE o To develop a graceful and rhythmic
coordination of body movements that will
What is Dance?
Dance is a form of expression of oneself
through rhythmic movement; it also refers to
movement set to music where there emerges
organization, structure and pattern. It is a composition
that implies arrangement of parts into a form.
What is Dancing?
Means of expressing one’s emotions through
movement disciplined by rhythm. An act of moving
rhythmically and expressively to an accompaniment.
The word dancing came from an old German word
“danson” which means to “stretch”. Essentially, all
dancing is made up of stretching and relaxing.
Introduction to Philippine Folk Dance
A form of dance developed by a group of people
that reflects the traditional life of the people of a
certain country or region.  Folk dancing originated in the
18th century to distinguish dance forms of common
people from those of the upper classes. It is a traditional
dance of a country which were evolved naturally and
spontaneously in connection with everyday activities
and experiences of the people who developed them.
Folk dances, unlike most other dance forms, tend to
have no stringent rules, and are sometimes formed
spontaneously among groups of people. The steps of
folk dances are passed through generations, rarely
being changed.  1.    Do not exaggerate the dance steps.
Philippine Folk Dance is a cultural art form handed
down from generation to generations. It communicates
the customs, beliefs, rituals, and occupations of the
people of a region or country, fold dancing is usually
associated with social activities, although some folk
dances are performed competitively. Folk dancing
belongs to the people. It emanates from them. Folk
dancing is the heartbeat of the people.
Characteristics of Philippine Folk Dances
o To foster patriotism and nationalism through
the study of our dance.
o To arouse better appreciation of Philippine
music and folk dances.
o To provide through dancing, a healthful form of
relaxation and recreation.
improve posture.
o To preserve for posterity, folk dances and music
indigenous to the different regions of the
Philippines.
Characters of Philippine Folk Dances
 In general, dancers stand apart.
 There is little, if any, bodily contact.
 Most of the dances are done by pairs or
couples.
 Hand movements play an important part.
 Most dances are in long formation.
 Most dances begin and end with “saludo.”
 Dances from the lowlands have more foreign
elements those found in the uplands.
 War dances are found among non-Christian
tribe
Do’s and Don’ts in Folk Dancing
Do’s in Folk Dancing
1.    Dance in a natural, simple and direct manner.
2.    Dance with ease and smoothness.
3.    Use the proper costume for the dance.
4.    Follow directions and dance instructions as closely
as possible.
5.    Dance with feeling and expression.
Don’t’s in Folk Dancing
2.    Do not make the dances too dainty and graceful like
ballet.
3.    Don’t make entrance and exit long.
4.     Don’t make steps too elaborate and complicated.
5.    Don’t call a dance a folk dance unless steps come
from traditional dances.
History
Filipino folk dance history is not the history of a single
national dance of one or two regions. Dances evolved
from different regions which are distinct from one
another as they are affected by the religion and culture.
Many people especially Filipinos are fond of dances. Our
country is very rich in different native dances like
Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño, etc.
Many of us find it hard to enjoy and get information
about dance at the same time. This proposed system
would make it possible for us to enjoy and learn
different native dances here in the Philippines by means
of computerizing it.
Folk Dance, recreational or ceremonial dance
performed usually by members of the community to
which the dance is traditional. Varying criteria have
been used to differentiate folk dance from other kinds
of dance: For example, the dancers are said to belong to
a certain economic level or come from certain locales;
the steps are simple and repeated, so that any member
of the community can participate; the dances require
no audience; and they are passed down through many
generations. Each of these criteria can be contradicted
by dances that are indisputably folk dances, and in each
of these criteria, folk dance overlaps with other kinds of
dance.
During the last few centuries many trends have affected
folk dancing. As the spread of industrialization brought
rural people into the growing cities, dances related to
agricultural activities or to communal rituals gradually
lost their meaning. In the changing circumstances of
urban life, new dances evolved. Colonization also
affected dances-frequently, indigenous forms fused
with dances of the colonial powers. In the Philippines,
for example, new dances developed when Spanish
influenced dancers of traditional native forms and
Islamic dance forms and styles.
Types of Folk Dances
National – traditional dances of a given country
Regional – local
Character – created by individual or group
Classification of Philippine Folk Dances
Cordillera (Igorot) Dances
Spanish Influenced Dance
Muslim Dances
Tribal Dances
Rural Dances
Igorot Dances
Long before the Spaniards, the indigenous people in the
mountainous regions had already their folk dances
which reflect their worship, their celebrations, their
wars and even their everyday lives. Scholars refer to
them as mountain dances which consisted of different
mountain tribes. When Spaniars came, they called them
Igorots.
They dance to appease their ancestors and gods to cure
ailments, to insure successful war-mating activities or to
ward off bad luck or natural calamities. They dance to
congregate and socialize, for general welfare and
recreation, and as an outlet for repressed feeling. They
also dance to insure bountiful harvests, favorable
weather, and to mark milestones in the cycle of life.
So the dances evolve as they need them to express their
feelings, their sadness and their anger.
Muslim/Moro Dances
Mindanao and Sulu were never conquered by Spain.
Islam was introduced in the Philippines in the 12th
century before the discovery of the islands by Magellan
in 1521.
The dances in Muslim however predated the Muslim
influence. Like Ipat which was a dance to appease
ancestral spirits. Before Islam, the Maguindanaons held
the view that diseases are caused by tonong (ancestral
spirits).Thus, a folk healer performs the pag-ipat while
being possessed by the tinunungan (spirit).
Another is the dance baluang which creates the illusion
of an angry monkey, and is always performed by male
dancers. The popularity of this dance comes naturally,
since the baluang, or monkey, enjoys an affectionate
place in Asian folklore.
Singkil was introduced after the 14th century. It was
based on the epic legend of Darangan of the Maranao
people of Mindanao. It tells of the story of a Muslim
Princess, Gandingan who was caught in the middle of a
forest during an earthquake caused by the diwatas, or
fairies of the forest.
Tribal Dances
The cultural minorities that live in the hills and
mountains throughout the Philippine Archipelago
considered dances as basic part of their lives. Their
Culture and animistic beliefs predated Christianity and
Islam. Dances are performed essentially for the gods. As
in most ancient cultures, unlike the Muslim tribes in
their midst, their dances are nonetheless closely
intertwined with ceremonials, rituals and sacrifices.
The only dance that is believed to have evolved during
the Spanish colonization is the Talaingod dance which is
performed to the beat of four drums by a female,
portrays a virgin-mother bathing and cradling her
newborn baby, named Liboangan. She supposedly had a
dream, or pandamggo, that she was to bear such a
child. This concept of a virgin-birth may have been
derived from the Catholic faith
Maria Clara Dances
The history of the Philippines is that of a country
constantly melding its culture with that of outsiders, a
narrative that is exemplified well by Filipino folk dance
history. For example, the 300-year Spanish occupation
of the Philippines profoundly influenced folk dancing.
The ‘Maria Clara’ style of dance is named after a
Spanish-style dress, and its performance includes
Spanish footwork with Filipino modifications such as
bamboo castanets and Asian fans. Contact with ancient
Indian civilization is also evident through Indian-
influenced dance, which thrives particularly in the
South. Numerous other influences including Muslim and
Indonesian can be found throughout the Philippines.
The coming of the Spaniards in the 16th century
brought a new influence in Philippine life. A majority of
the Filipinos were converted to Roman Catholicism.
European cultural ideas spread and the Filipinos
adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around
the turn of the century, particularly among urban
Filipinos. They are so named in honor of the legendary
Maria Clara, who remains a symbol of the virtues and
nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances
were, nonetheless, "Filipinized" as evidence of the use
of bamboo castanets and the abanico, or Asian fan.
Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-
sleeve shirt made of pineapple fiber.
Rural and Barrio
Perhaps the best known and closest to the Filipino heart
are the dances from the rural Christian lowlands: a
country blessed with so much beauty. To the Filipinos,
these dances illustrate the fiesta spirit and demonstrate
a love of life. They express a joy in work, a love for
music, and pleasure in the simplicities of life. Typical
attire in the Rural Suite include the colorful balintawak
and patadyong skirts for the women, and camisa de
chino and colored trousers for the men. The dances
developed during the three hundred years of Spanish
colonization.
A good example of rural or barrio dances is Sinulog. It is
a ceremonial dance performed by the people of San
Joaquin, Iloilo, during the feast of San Martin. It
originated in a barrio of San Joaquin called Sinugbahan.
It was believed that the image of San Martin was found
at the edge of a beach, and that it could not be
removed until the people dance the Sinulog.
Maria Clara Dances
The coming of the Spaniards in the 16th century
brought a new influence in Philippine life. A majority of
the Filipinos were converted to Roman Catholicism.
European cultural ideas spread and the Filipinos
adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around
the turn of the century, particularly among urban
Filipinos. They are so named in honor of the legendary
Maria Clara, who remains a symbol of the virtues and
nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances
were, nonetheless, "Filipinized" as evidence of the use
of bamboo castanets and the abanico, or Asian fan.
Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-
sleeve shirt made of pineapple fiber.
Nature of Philippine Folk Dances
A. Geographical Extent of Origin
1. National Dances – founf throughout the silands with
little or no modification
Ex. Rigodon, Cariñosa, Jota, Balitaw, Pandanggo
2. Local Dances – found in a certain locality
Ex. Tinikling – Leyte
Maglalatik – Binyang
Esperanza – Nabua
Subli – Batangas
Biniganbigat – Abra
B. Nature
1. Occupational Dances - depict actions of a particular
occupation.
Ex. Planting, Harvesting, Pounding, Winnowing, Pabrik,
Mananguete, etc.
2. Religious/Ceremonial - associated with religion, 2. Long Formation (Two or more parallel lines)
vows and ceremonies – Dancers form 2 or more parallel lines.

Ex. Dugsu, Sua-Sua, Putong, Sta. Clarang Pinong-Pino, Ex. Lulay, Sakuting
etc.
3. Set – consists of 2 or more pairs as a unit.
3. Comic Dances - depict funny movements
for entertainment. Ex. Binadyong, Haplik, Kakawati, etc.

Ex.  Kimbo-Kimbo, Makonggo, Kinoton

Special Classification
4. Game Dances - done with play elements. Group dances having distinctive features

Ex. Lubi-lubi, Pavo  Dance with Songs

Ex. Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis
5. Wedding Dances - performed during wedding feasts. Kawayan, etc.

Ex. Panasahan, etc.  Old Ballroom Dances

Ex. Polka, Mazurka, Chotis, Valse, etc.
6. Courtship Dances - depict the art of courtship.
 Dance with Implements
Ex. Hele-Hele, Bago Quiere Ex. Maglalatik, Sakuting, Jota Moncadena, Tinikling,
Salakot
7. Festival Dances - suitable for special occasions.
 Dances of Combined Rhythm
Ex. Pandanggo, Habanera, Jota, Surtido Ex. Surtido, Pantomina, Los Balles de Ayer

8. War Dances - showing imagery combat.

Factors Affecting Folk Dances
Ex. Sagayan, Palu-palo, etc.
 Geographical Location
C. Movements  Economic Conditions
 Climatic Conditions
1. Active – fast energetic movements.  Customs and Traditions
Ex. Tinikling, Maglalatik, Sakuting, Polkabal
Commonly Used Formations in Teaching Philippine
2. Moderate Folk Dance
Ex. Carinosa, Tagala, Habanera, Puripuri, etc.
1. Single circle, facing clockwise
3. Slow 2. Single circle partners facing
Ex. Pasakat, Amorosa, Tilday, Kundiman, etc. 3. Single circle, facing counterclockwise
4. Single circle, facing center
4. Slow and Fast 5. Double circle, partners facing
Ex. Putritos, Habanera, Ba-Ingles, Botoleña, Alcamfor, 6. Double circle, facing clockwise
etc. 7. Double circle, couples facing
8. Square or quadrille formation
D. Formation 9. Semi-circle or half moon
10. Double lines, facing front
1. Square or Quadrille (e.g. Rigodon, Los Bailes de 11. Double lines, partners facing
Ayer) 12. Long open formation
 Fundamental Dance Positions
There are five fundamental or basic positions in dance
that are commonly termed as 1st position, 2nd position,
3rd position, 4th position, and 5th position of the feet
and arms.
o 1st Position
Feet: Heels close together, toes apart with an angle of
about 45 degrees.
Arms: Both arms raised in a circle in front of chest with
the finger tips about an inch apart.
o 2nd Position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at
shoulder level.
o 3rd Position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other
arm raised upward.
o 4th Position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other
arm raised overhead.
o 5th Position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.
Common Dance Terms
1. Arms in lateral position – Both arms are at one side
either right or left, at shoulder, chest or waist level.
2. Brush – Weight on one foot, hit the floor with the
ball or heel of the other foot and lift that foot from
the floor to any direction.
3. Crossed Arms – Partners facing each other or
standing side by side join their left hands together
and the right hands together; either right over left
or left over right hands.
4. Cut – To displace quickly one foot with the other.
5. Do-si-do – Partners advance forward, pass each
other’s right ( left ) side, step across to the right
move backwards without turning around, pass each
other left side to proper places.
6. Hayon-hayon – To place one forearm in front and
the other at the back of the waist.
7. Hop – A spring from one foot landing on the same
foot in place or in any direction.
8. Jaleo – Partners turn around clockwise (with right
elbows almost touching) or counterclockwise ( with
left elbows almost touching ) using walking or any
kind of dance step.
9. Jump – A spring on one foot or both feet landing on
both feet in any direction.
10. Kumintang – moving the hand from the wrist either
in a clockwise or counterclockwise direction.
11. Leap – A spring from one foot landing on the other
foot in any direction.
12. Place – To put foot in a certain position without
putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a
fixed place or point.
14. Point – Touch the floor lightly with the toes of one
foot, weight of the body on the other foot.
15. Masiwak – To turn the hand from the wrist half-way
clockwise then raise and lower wrist once or twice.
This is an Ibanag term.
16. Panadyak – To stamp in front or at the side with the
right foot and tap with same foot close to the left
foot. This is a Tagalog term.
17. Patay – To bend the head downward and to support
the forehead with the R forearm or with the crook
of the R elbow while the left hand supports lightly
the palm of the right hand. This is usually done with
the left foot pointing in rear and knees slightly bent.
This is an Ilocano term and the movement is
commonly. Found in Ilocano dances.
18. Salok – To swing the arm downward-upward
passing in front of the body as if scooping, the trunk
 is bent following the movement of the arm doing 10. Heel and heel-place, toe-
the salok. This is a Tagalog term. Toe Change point, step, 1,2 / 1 and 2
Step close, step
19. Saludo – Partners bow to each other, to the with both feet
audience, opposite dancers, or to the neighbors 11. Shuffling flat on floor,
with feet together. This is of Spanish origin and is 1 and 2 and
Step take tiny slide
used in almost all Philippine dances. steps

20. Sarok – Cross the R foot in front of the L , bend the 3

body slightly forward and cross the hands down in Time Dance Steps
4
front of the R hand over the L. This is a Visayan
term. Dance Steps Step Pattern Counting
1. Native
21. Slide – To glide foot smoothly along the floor. The step, close, step 1, 2, 3
Waltz
movement may be finished with or without transfer
cross-step, close,
of weight. 2. Cross Waltz 1, 2, 3
step
22. Stamp – To bring the foot forcibly and noisily on the step, close-heels
3. Waltz
floor with or without transfer of weight. raise, heels 1, 2, 3
Balance
down
23. Tap – To rap slightly with the ball or toe of the free 4. Mazurka
slide, cut, hop 1, 2, 3
foot, flexing the ankle joint keeping weight of the Step
body on the other foot. There is no change or 5. Redoba
slide, cut, cut 1, 2, 3
transfer of weight. Step
6. Sway
step, cross-step,
24. Whirl – To make fast turns by executing small steps Balance 1,2, 3 / 1, 23
step point
in place to right or left. with A point
7. Sway
step, cross-step,
Basic Dance Steps Balance w/ 1,2, 3 / 1, 23
step, hop
a hop
2 8. Sway
Time Dance Steps Balance w/
step, cross-step,
1,2, 3/ 1, 2, 3
4 step, close, step
A Waltz
Dance Steps Step Pattern Counting 9. Engano w/ a step, cross-step,
1,2, 3/ 1, 2, 3
1. Bleking Step heel-place, close 1,2 Waltz step, close, step
2. Touch step point, close 1,2
4
3. Close tep Step, close 1,2 Time Dance Steps
4. Hop Step Step, hop 1,2 4
Step, cross or
1,2 Dance Steps Step Pattern Counting
5. Cross Step cross, step
6. Change Step Step, close, step 1 and 2 step, close, step
1. Schottische
hop(raise foot in 1, 2, 3, 4
jump ( one ft. in Step
front)
front and
the other in step, close, step,
7. Changing 2. Escotis Step hop (raise foot in 1, 2, 3, 4
rear) there are 1,2
Step rear)
two changing
steps in a brush,raise,
measure brush, raise / 1, 2, 3, 4 /
3. Chotis Step
8. Contraganza leap, cross-step, step, step, step, 1, 2, 3, 4
1 and 2 close
Step step
9. Habanera
step, close, step 1, 2 and
Step

Interpretation of Philippine Folk Dances
Tiklos (Visayan Folk Dance)
Refers to a group of peasants who agree to work for
each other one day each week to clear the forest,
prepare the soil for planting, or do any cold job in the
farm, including the building of a house.
Costume: Dancers are dressed in working costume
Time Signature
Formation: At noontime, the people gather to eat their
lunch together and to rest. During this period, Tiklos
music is played with a flute accompanied by a guitar
and the guimbal or the tambora (kind of drum).
The Music of Tiklos is also played to gather the peasants
before they start out for work
Music: Divided into two parts. A and B
Count: one, two or one, ah, two, ah or one and two to a
measure
Partners stand opposite each other about six feet apart.
When facing the audience, girl stands at partner’s right
side. One to any number of pairs may take part in this
dance.
Music A (I)
Partners face front. Throughout this figure, Girl holds
her skirt, Boy places hands on waist.
a. Standing with the R foot, take two heel and toe
change steps forward
b. Execute change step sideward, R and L. (2 M)
c. Starting with the R foot, take four steps backward
to proper places. (2 M)
d. Repeat all. (a-c) (8 M)
Music B (II)
Partners face front. The same hand position as in figure
I.
a. Cut L backward (ct. 1), cut R forward (ct. 2). Repeat all
(cts. 1, 2) (2 M)
b. Take three gallop steps sideward right (cts. 1, ah, 2,
ah, 1, ah) step R foot sideward (ct. 2) (2 M)
c. Repeat (a), starting with the R cut backward. (2 M)
d. Repeat (b), going sideward left. (2 M)
e. Repeat all (a-d) (8 M)
Music A (III)
Partners face each other. Throughout this figure clap
hands in front of chest in this manner: Clap three times
(cts. 1 and 2), clap twice (cts. 1,2). do this for sixteen
measures.
a. Execute change step sideward, starting with R foot
(cts. 1 and 2) hop on R and raise L knee in front swinging
L foot obliquely right backward across R knee in front
(ct. 1), hop on R and swing L foot obliquely left forward
(ct. 2) (2 M)
b. Repeat (a), starting with the L foot. (2 M)
c. Execute a three-step turn right in place (cts. 1, and
2). Point L in front (ct. 1), point the same foot close
to R (ct. 2) (2 M)
d. Repeat (c), starting with L foot and turning left
(2 M)
Repeat all (a-d) (8 M)
Music B (IV)
Partners face each other. The same position of hands in
figure I.
a. Take two touch steps in front (R, L) (2 M)
b. Jump to across R in front L (ct. 1), jump to cross L in
front of R (ct. 2), jump to cross R in front L (ct. 1),
jump to close R to L (ct. 2) (2 M)
c. Repeat (a) and (b), starting with L foot. (4 M)
Repeat all (a-c). (8 M)