Republic of the Philippines

President Ramon Magsaysay State University

(Formerly Ramon Magsaysay Technological University)
Iba, Zambales, Philippines
Tel/Fax No.: (047) 811-1683
College/Department Department of Physical Education

Course Code PEN 2

Course Title PHILIPPINE FOLK DANCE

Place of the Course in the GENERAL EDUCATION

Program

Semester & Academic SECOND Semester, AY 2020 – 2021

Year

INTRODUCTION

Philippines is known for its rich culture and traditions. Evident to its colorful celebrations
that can be seen is its costumes, music, and dances. Dances that depict Philippines’ tradition,
custom, way of life and living can be seen in the traditional dances and folk dances. Philippine
folk dances are as rich as the history itself- which are rarely seen at the present generation. This
module walks through the different dances in the Philippines, focuses on the five suites namely:
Spanish Influence Dances, Dances from the Mountain Province, Muslim Dances, Tribal Dances
and Dances from the Rural Areas. The module also provides the history, costumes and the
evolution of each dance. It applies practical skills in understanding the rudiments of folk dancing
from the raw material of published and unpublished dances. Analysis of dance instructions and
technical interpretations from the written materials are underscored. Emphasis is given to valuing
the context of dance as basis for interpreting dance movements with underpinnings of preserving
the legacy of the Filipino heritage.

INTENDED LEARNING OUTCOMES

● Provide students with a formal introduction

● Acquire basic knowledge on the foundation of Philippine folk dance through its history
and classifications
● Gain understanding about the concepts of Folkdance

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 CHAPTER I
BASIC CONCEPT, BRIEF HISTORICAL BACKGROUND OF FOLKDANCES IN
THE PHILIPPINES
(WEEK 1)
DISCUSSION:

Lesson I. BASIC CONCEPT OF FOLK DANCE

● Folk dancing is the oldest form of dance probably one of the earliest forms of
communication. It is this self-expression that separates folk dancing from the functional
aspects of games and gymnastics in the physical education program.
● Dance is the expression of oneself through rhythmic movement. Folk dance, which is
also the expression of oneself, is an expression through patterned movements. It is this
patterning that traditionally separates folk dance forms from other dance forms.
● Folk dance may be defined as the traditional dance of a given country which evolved
naturally and spontaneously with everyday activities, e. g. occupations, customs,
festivals, rituals, and innumerable themes common to all people everywhere.

Lesson II. BRIEF HISTORICAL BACKGROUND OF FOLKDANCES IN THE

PHILIPPINES

Philippine folk dances speak so much about the heartbeat of our people for they tell about
our customs, ideas, beliefs, superstitions, and events of daily living in a certain community. Just
by looking at the costumes, props, and implements of a certain group or tribe would tell you of
the origin of the dance. Truly evident is the effect of acculturation in the country as manifested
by the kinds of costumes, props, music, and dance steps that are used and integrated in to some
of our regional and national folk dances.
History bespeaks how dances of the Philippines existed from the pre-Spanish
Colonization to the present that is why classical tradition in dance did not flourish due to
diversified influences. In turn, the Philippines became a country blessed with beautiful traditions
either indigenous or influenced that made our people creative to have adopted the naturalness,
simplicity, expression of daily life, moods and feelings simply portrayed in every folkdance or
dance.
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.
The history of dance and or a folkdance is tradition and therefore is the only way of
preserving the dances of the past. But, tradition may either be dynamic, developing or growing
or sometimes gradually change, may vanish or forgotten. At this point, credit must go to the

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 first National Artist in Dance, Francisca Reyes Aquino, in her most genius way wrote down the
instructions in words, some of the varied folkdances of the country purposely adapting them for
the classroom use and instruction. These somehow helped preserved some of our dances
performed today by different dance groups for theater, school performance or merely for stage
entertainment.

LEARNING ACTIVITIES

EXPLAIN THE FOLLOWING STATEMENT/QUESTION

1. Describe folkdance in the Philippines.

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1. Do you think it is important to study Philippine folk dance?

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2. As a student, how will you preserve our tradition or Philippine folk dance?

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 CHAPTER II
FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK DANCES
(WEEK 2)

DISCUSSION

LESSON I. FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK DANCE

I. The Dances of the Cordillera Groups

● Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain
ranges. Meaning "knotted rope", the Spanish term refers to the jumbled rolls and dips of
this long-range traversing the northern part of Luzon Island.
● The ethnic dances in the Philippines are found in the different regions from the northern
part to the southern part of the country. The cordillera groups composed of the Bontocs,
Ifugao, Benguet, Apayao, Kalinga, Itbeg, Ilonggot, and Gaddang has its own unique
customs and traditions reflected in their dance.
● They are pagan people, living simple lives to appease their gods. Their rituals celebrate
their daily lives - a good harvest, health, peace, war, and other symbols of living. Such
traditions have survived the changing scope of the Philippines and the tribes continue to
maintain their cultures that are a part of the colorful cultural fabric known as Philippine
culture.
● They used a metal gongs called ganza and other percussive instruments that accompany
their dances during rituals, festivities and other social gathering.

Example of their dance

❖ Banga

Tribe: Kalinga

"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 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 their daily
task of fetching water and balancing the banga.

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 ❖ Tarektek

Tribe: Benguet

Two tareketek woodpeckers vie for the attention of three

females. One Male woodpecker rhythmically bang on a brass
gong to represent a good voice, while the other swish about a
colorful blanket representing beautiful plumage.

❖ . Uyaoy / Uyauy

Tribe: Ifugao

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

II. Dances of the Muslim Groups

● Aside from the colorful contributions of its regional tribes, Mindanao is home to the largest
cultural minority in the Philippines - the Muslims. Brought by Javanese and Middle Eastern
traders, Islam is the religion of approximately 20 percent of the Philippine population.
● They are known for their mysticism, royalty, and beauty which are evident in their music and
dances. Accompanied by the agong and kulintang, Filipino Muslim dance is marked by intricate
hand and arm movement along with shimmering costumes.
● Down in the southern part of the country are the Muslim groups. The ethnic groups are Maranao,
Maguindanao, Tausug, Yakan, Samal, Java Mapun, and Badjao.
● The dances performed by these groups describe the everyday living of the people.
❖ Common to their dances are the use of fingers to express feelings and emotions.

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 ❖ Pangalay
Tribe: Badjao
Origin: Zamboanga del Sur

A pangalay nativeto the Badjao, sometimes known as

the "SeaGypsies." Pangalay is a dance that emphasizes the
agility of the upper body. The rhythmic bounce of the
shoulder with simultaneous alternating waving of arms
are the basic movement of this dance. The pangalay is
commonly performed at weddings and other social
gatherings.

❖ Singkil
Tribe:Maranao
Origin: Lanao, Mindanao

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.

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.

❖ Kapa Malong Malong

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.

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 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.

III. Dances of the Tribal or Lesser Known Groups

● Also known as the lesser-known-group are ethnic

groups living in the different locations in the country
that are untouched and never been influenced by the westerners.
● 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.
● These tribal groups are the Bukidnons, Bagobo, Manobo, T’boli or Tagabili, Tagbanua,
Mansaka, Mandaya, B’laan, Tagakaolo, and Tiruray.
● These tribal groups believe in “shamans” or spirits which primarily reflected in most of
their dances.

❖ Binaylan
Tribe: Higaonon
Origin: Agusan

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.

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 ❖ Kadal Tahaw
Tribe: T'boli
Origin: Lake Sebu, South Cotabato

A bird dance performed by the T'boli during planting

and harvesting which simulates the flights and hops of the
tahaw bird.

❖ Malakas at Maganda
(a national folklore)

Cradled amidst thick rain forest, shrouded with the mists of legend and ancient traditions,
one folklore has it that a weary bird perched
on a large bamboo heard strange noises
inside. It pecked the bamboo, split open and
from inside came the first man and woman,
Malakas the strong, Maganda the beautiful,
the parents of all peoples of the island.

IV. Dances of the Countryside

● Dances that are best known, and closest to the Filipino heart are those 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.
● Dances that typically characterize the nature and kind of work of the people.
● Commonly performed by ordinary group of people depicting daily activities.

❖ Pandanggo Sa Ilaw

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.

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 ❖ Cariñosa

This flirtatious dance is known throughout the Philippines. Cariñosa means affectionate,
lovable, or amiable. With a fan or handkerchief, the dancers go through hide-and-seek
movements and other flirting acts expressing tender feelings for one another. There are many
versions of this dance, but the hide-and-seek movements are common in all.

V. Western Influenced Dances

● When the Spaniards came to the Philippines in the

16th century, they brought with them the Spanish
religion and European arts and culture. The native
religion and culture slowly gave way to Christianity
and Western civilization. The natives started to lose
most of the ancient traditions in the literacy, visual
and performing arts. In no time, dances from Spain, France and other European countries,
such as the jota, balse, pandanggo, habanera, mazurka, paseo, marcha and paso doble,
were adopted and adapted to the tastes and needs of a colonial society and the conditions
of a tropical archipelago.

❖ Jota Cagayana

Origin: Cagayan Valley

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.

LEARNING ACTIVITIES

Name:

Course:
Date:

TEST I

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1. In your own understanding, describe the five classification of Philippine folkdance and its
contribution to our tradition and culture.

1. The Dances of the Cordillera

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2. Dances of the Muslim Groups

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3. Dances of Countryside

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4. Dances of tribal or lesser known group

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5. Dances of western influenced

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