P.E.

Folk Dance in Region 1

BINASUAN

The binasuan originated in Pangasinan and is popular at festive events such as weddings. It is sometimes
given as a macroscopic, physical demonstration of the rotation properties of a spin-1/2 spinor. The best
Binasuan Dancers are the Dancers of Holy Family Center of Studies in Lavezares, Northern Samar. The
dancer's skill is determined by her ability not to drop a glass or spill any wine over the course of her
performance. The rotation can all occur within the same plane as long as the liquid never spills, and the
rotation can be done in the same direction. The elbow changes between pointing up and down upon a
rotation of 2 radians.

Folk Dance in Region 2

RAGSAKSAKAN DANCE

Ragsaksakan means "Memiment. This dance portrays the walk of the industrious Kalingga women,
carrying water pots on their heads and wearing the colorful hand-woven "blankets of life around their
necks. Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the Philippines.
This dance would be performed after a successful headhunt Some versions of this dance use the
"Bange" instead of the basket. This dance portrays the walk of the industrious Kalingga women, carrying
water pots on their heads and wearing the colorful hand-woven "blankets of life around their necks.
Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the Philippines.

Folk Dance in Region 3

ABARURAY

"Abaruray" is a contraction of the words "Aba" and "Ruray. "Abal" is an exclamation which is equivalent
to "Hey!", "Hil", or "Hail" in English. In any social gathering in the remote "banics" of the Philippines it is
customary to offer wine to the visitors. This wine offering is a signal for the beginning of folk dancing and
singing. The girl dances with the glass of wine on her head from which the young man drinks. Her
dancing skill is shown in her ability to keep the glass on her heads and not spill a drop of the wine. The
audience sing and clap their hands in time with the music.

Folk Dance in Region 4A

MAGLALATIK

The Maglalatik is an indigenous dance from the Philippines. Dancers hit one coconut shell with the other
to play a drumbeat. The name of the dance comes from the Filipino word "Latik", which means "Tried
coconut milk curd", a coconut product used in Filipino cooking. Originally performed as a mock-war
dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut
meat during the Spanish rule. All dancers are male; with harnesses of coconut shells attached on their
chests, backs, thighs and hips.

It is intended to impress the viewer with the great skill of the dancer, and in some Flipino Martial Arts
(FMA) circles, it has been noted that the manlal atik "consists of a trapping and boxing method hidden in
a dance" The best dancers are found in Zapote, Biñan, Laguna, where the dance is performed in the
daytime during the town fiesta. In the evening they dance it in the religious procession as it moves
through the streets of the town in a religious procession. It has a four-part performance such as the
palipasan and the baligtaran showing the intense battle.

Folk Dance in Region 4B

PANDANGGO SA ILAW

This popular dance of grace and balance comes from Lubang Island Mindoro. The term pandanggo
comes from the Spanish word fandango, which is a dance characterized by lively steps and clapping that
varies in hythm in 3/4 time. This particular pandanggo is one of the most difficult of pandanggo, which
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 cirding 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 llaw. Ang sayaw na Pandanggo sa llaw ay katutubo sa Lubang at Mindoro. May
tatlong tinggoy ang nagsasayaw na babae. Maninimbang siya ng isang tinggoy sa ibabaw ng ulo at
dalawang tinggoy sa mga kamay, pero hindi humahawak ang daliri ng mananayaw. Para sayawin ang
pandanggo sa ilaw ng mananayaw, kailangan niya ng magandang bikas at mahusay na pinambang.

FOLK DANCE IN Region 5

Pantomina

Pantomira (Spanish for pantomime) was originally a wedding dance from the towns of Bica's Estandarte
and Sorsogon subregions. This dance is tradionally performed during wedding festivities by the couple
and their visitors. The dance is still popular in the Bicol Region even up to this time.

The pantomina is very popular in the northern part of Samar especially in towns of Allen and Capul -
both directly facing Bicolandia, Traditionally, musicians accompanying the dancers pause from playing
the pantomina music to allow the dancers to wipe their perspiration. The wiping of perspiration has
become a itle flirty, with the male dancer-as expected-offering his own handkerchief for the woman to
wipe herself. The delighted audience would, as expected, tease the couple (especially if the two are
young and unmarried) as doing a "love pantomime" and the musicians would immediately resume
playing the music. After the love pantomine has waned the focus of the pantomina returns to the dance
itself.

Pantomina was among the first folk dances to have its dance steps notated. The pantomina was
featured in Francisca Reyes Aquino's first-ever folk dance book, Philippine Folk Dances and Games,
published in February 1926. The dance, according to Aquino, was also called Salampati during the
Spanish occupation.

Region 6

LANCEROS DE NEGROS

Lanceros de Negros was one of the most popular quadrile dances in the Philippines During the Spanish
times. It is likely Regodon, which is used to open a big ball in significant social gatherings. It is a very
colorful and lively dance

Lanceros de Negros (pronounced lahn-SEH-rohs-deh-NEHG-rohs) is a dance of Maria Clara. During the

Spanish era, it was one of the most popular dances in the Philippines. It is similar to the Rigodon de
Honor dance which is played in important societies or gatherings, particularly at the opening of the halls.
A version of this dance is located in Negros Occidental, which is danced with elaborate formation. It
comes from Slay, Negros Occidental.

Region 7

KURATSA

The Kuratsa is highly favored by the Visayan people especially the Waray people of the Eastem Visayan
region in the Philippines. Strictly speaking, The Kuratsa must be done the amenudo-way; that is, only
one couple dances it at a time. Believed to be a Mexican import (supposedly from La Cucaracha dance
typical to Monterrey region of Mexico)- the Kuratsa is however, very different in the manner of
execution to the Mexican counterpart. Even the "basic" Kuratsa music is not based on Mexican or even
Spanish melodies but just bolero-inspired liting music. A very interesting dance caught up the eyes of the
beholder. Philippine dance researchers, however, point either to the Kigal and the Bikal as the
'ascendant of the Kuratsa. The Kigal (spelled "Quigal" in early Spanish writings on Samar culture and
lifeways) is a sort battle-of-sexes couple dance that imitate mating birds. The Kigal is in fact called by
another name Binanug or Kiglun (Kigalun?) according to a 17th century Samamon dictionary by Jesult
missionary to Samar, Fr Alcazar. It is interesting that banug is the Waray word for the hawk.

Region 8

TINIKLING

Tiniking is a traditional Philippine folk dance which originated during the Spanish colonial era.[1] The
dance involves two people beating, tapping and sliding bamboo poles on the ground and against each
other in coordination with one or more dancers who step over and in between the poles in a dance. It is
traditionally danced to rondalla music, a sort of serenade played by an ensemble of stringed instruments
which originated in Spain during the Middle Ages.

The name "iniking" is a reference to birds locally known as tikling, which can be any of a number of rail
species, but more specifically refers to the Slaty-breasted Rall (Galirallus striatus), the Buff-banded Rail
(Gallirallus philippensis), and the Barred Rail (Galliralus torquatus).[2] The term tinikling literally means
"to perform it tiking-like." The dance originated in Leyte, an island in the Visayas in the central
Philippines. It imitates the movement of the tikvling birds as they walk between grass stems, run over
tree branches, or dodge bamboo traps set by rice farmers. Dancers imitate the tikling bird's legendary
grace and speed by skilfully maneuvering between large bamboo poles.

Region 9

PANGALAY

Pangalay (also known as Daling-Daling or Mengalai) is the traditional "fingernail" dance of the Tausug
people of the Sulu Archipelago and Sabah. The dance also means offering from its Sanskrit origin pang-
alay. It is the most distinctively Asian of all the southern Philippine dances because dancers must have
dexterity and flexibility of the shoulders, elbows, and wrists. The male equivalent is the Pangasik and the
female equivalent is Pangiluk. It can be danced by anyone and everyone in the community, regardless of
age or status.

A living artifact such as the pangalays must be danced constantly, or else it dies, says the ancient dance
tradition. Pangalayan antedates Christianity and Islam in the Philippines. The original concept of the
Pangsalay is based on the pre-Islamic and Buddhist concept of male and female celestial angels
(Sanskrit: Vidhyadhan, TausUG Biddadan) common as characters in other Southeast Asian dances. It's
the closest to a classical form to the traditional dance cultures of Asia with closest affinity to the Indian,
Javanese Thai, Burmese and Cambodian styles of classical dancing.

Region 10

SINGKIL

Singki means to entangle the feet with disturbing objects such as vines or anything in your path. The
Bayanihan Dance troupe started with a simple version and has since developed it into a theatrical and
stylized spectacle. The ladies step in and out of clashing bamboos poles arranged in either a parallel
rectangular, or criss cross fashion while manipulating either apir (fans), mosala(scarves), or even just
their bare hands. Performed as a female only dance, the Singkil serves as either a conscious or
unconscious advertisement to would-be suitors for her future mamiage. The dance has its roots as a
communal dance in which women show their grace in manipulating a fan or at times a scarf and
precision skills.
While the woman dances, an ensemble of kulintang musicians play for the dance. The Singkil is originally
originated from the Maranaw of Lake Lanao (Ranaw). It is derived in a story from the Darangan apic of
the MarAnaw. It is a popular dance performed during celebrations and other festive entertainment. The
Dance is a form of Filipino folk dancing.