What is Folk dance?

Folk dances are the indigenous dances of any specific “folk” or the common people.
They are traditionally customary or recreational dance forms of a given country which
have evolved naturally and were handed down across generations.
National Arist for Dance “Francisca Reyes Aquino”
She further stated that Philippine folk dance should have the following characteristics:
a. It is traditional
b. It has expressive behavior
c. Simple, basic rhythm dominates the folk dance and establishes the pattern of
movement.
d. It is created by an unknown choreographer or by communal efforts e. It performs
a function in the life of the folks
e. It performs a function in the life of the folks
What is the difference between folk, national, and ethnic dance?
Often, the term folk dance is being confused or used interchangeably with ethnic and
national dance. The definitions below will hopefully clarify your confusion.
Folk dances are dances developed by people that reflect the life of the people of a
certain country or region. These are traditional dances found in a certain country.
National dances are also traditional folk dances but have a national scope. They are
popular and widely danced throughout a given country often with a number or regional
variations. Pandango for example, has a regional variation coming from both Luzon and
Visayas islands. Even within one locality, dancers have different ways of performing it.
Even Examples are Pandango sa Ilaw, Pandango Ilocano, Pandango Ivatan, etc.
Ethnic dances or ethnological dances are those performed in primitive tribes and have
retained their close kinship with religious ritual community custom. In the Philippines,
examples of Ethnic dances mostly originate from Ifugao people from northern Luzon,
T’boli tribe from Southern Mindanao, and Tagbanua tribe from Palawan. Ethnic dances
can be performed in three different categories: ritual, life-cycle, and occupational.
a. Ritual Dances- dances that depicts ceremony. Examples are” Dugso” from Bukidnon
and “Pagdidiwata” of Palawan.
b. Life-cycle dances- dances relating to the cycle of human life, such as birthing,
courtship, wedding, and funeral. Examples are “Salip” from Apayao and Binasuan of
Pangasinan.
c. Occupational dances- dances that exhibit work and occupation of the dancers.
Examples of occupational dancers are “Mananagat” of Cebu and Mag-Asik from
Cotobato

Forms of Philippine Folk Dances

Rural Dances Perhaps the known and closest to the Filipino hearts 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 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 includes the colorful
Balintawak and Patadyong and skirts for women, and Camisa de Chino and colored
trousers for men.

Spanish Influence Dances

The coming of the Spaniards in the 16 th century brought a new influence in the
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 abanico, or Asian fan.
Typical attire for these dances is the formal Maria Clara dress and Barong Tagalog, an
embroidered long-sleeve shirt made of pineapple fiber.

Mindanao Dances
Mindanao and Sulu were never conquered by Spain. Islam was introduced in the
Philippines in the 12 th century before the discovery of the islands by Magellan in 1521.
The dances in Muslim however predated the Muslim influence. Like Ipat wich 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 14 th 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.

Cordillera Dances
These are the dances of mountain tribes in Northern Luzon, such as those of the
Kalinga and Ifugao people. 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 part
of Luzon Island. Today, if one is to generalize one of the six ethno-linguistics tribes as
an “Igorot” is considered degrading. Living amidst the rice terraces that tower over
Northern Luzon are a people whose way of life existed long before any Spaniard or
other foreigners stepped foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayao,
and the Kalinga tribes reign over Luzon’s Mountain terrain.

Ethnic/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 and rituals. Rinambo and
Talbeng are examples of these dances.

All national and ethnic dances are folk dances, but not all folk dances are considered
national or ethnic dance.
Different Types of Philippine Folk Dances
There are several ways to classify Philippine folk dances. According to Francisca
Reyes-Aquino, folk dances may be classified by the geographical extent of origin,
nature, speed of movement, formation, and distinguishing feature. The three major
classifications of Philippine folk dances are tribal dances from Cordilleras, dances from
lowland Christians, and Muslim dances.
Tribal dances from the Cordillera- include non-Christian dances from the Cordillera.
Lowland Christian dances- dances coming from places with Western influences such
as that of the Tagalogs, Ilokanos, Pampangueños, Pangasinense, Bisayans, and
Bicolanas. These dances are influenced by Hispanic and European cultures.
Muslim Dances- dances from the people of Southern Islands of the Philippines such as
in Mindanao and Sulu. These dances are influenced by Arabic and Indo-Malayan
cultures.
Fundamental Folk Dance Steps
2 4 Time Signature
Counting: 1 2 to a measure
Note: R- right foot L- left foot
Basic Step Step Pattern
Step Close Step R sideward, step L close to R
Step L sideward, step R close to L
Step Point Step R sideward, points L in front
Step L sideward, points R in front
Stem Swing Step R sideward, swing L in front
Step L sideward, swing R in front
Step Brush Step R sideward, brush L in front
Step L sideward, brush R in front
Step Raise Step R sideward, Raise L in front
Step L sideward, Raise R in front
Step Hop Step R sideward, Raise L in front
Bleking Step Step R sideward, step L heel in front
Step R sideward, step L heel in front
Slide Step Slide R sideward, step L close to R
Slide L sideward, step R close to L
Change Step Step R in front, step L close to R in
rear, step R quickly in front Step L in
front, step R close to R in rear, step
R quickly in front
Basic Steps of Philippine Folk Dance
3 4 Time Signature
Counting: 1 2 3 to a measure
Note: R- right foot L- left foot
Basic Step Step Pattern
Native Waltz Step R sideward, step L close to R, step R in
place Step L sideward, step R close to L, step
L in place
Cross Waltz Step L across the R in front, Step R sideward,
step L close to R
Step R across the L in front, Step L sideward,
step R close to L
Mazurka Slide R sideward, hop on L, cut R in front
Slide L sideward, hop on R, cut L in front
Sway Balance Series:
Close Step R in front, step L cross to R, step R
slightly backward, step L close to R Step L in
front, step R cross to L step L slightly
backward, step R close to L

Waltz Step R in front, step L cross to R, step R

slightly backward, do native waltz starting
with L Step L in front, step R cross to L, step
L slightly backward, do native waltz starting
with R

Point Step R in front, step L cross to R, step R

slightly backward, point L in front Step L in
front, step R cross to L, step L slightly
backward, point R in front

Brush Step R in front, step L cross to R, step R

slightly backward, brush L in front Step L in
front, step R cross to L, step L slightly
backward, brush R in front

Step R in front, step L cross to R, step R

Hop slightly backward, hop on R Step L in front,
step R cross to L, step L slightly backward,
hop on L