1

PE 206
PHILIPPINE FOLKDANCE
(HANDOUTS)

WEEK 1: HISTORY OF FOLK DANCE IN THE PHILIPPINES

Philippine folk dances incorporate influences from immigrants and conquerors and at the
same time maintaining distinctly Filipino roots. Philippine folk dancing is a true reflection of
daily life in the past centuries while enchanting modern audiences at the same time.

There is no exact date as to when dancing became part of our lives in the Philippines. The
dances were performed during festivals and remembrances of past military victories, and are
still performed during celebrations of birth and weddings in modern times. Many modern folk
dance festivals still feature ancient dances performed in colorful costumes used during the
tribal period of the Philippines.

CULTURAL AND FOLK DANCES IN THE PHILIPPINES

The various cultures of the different countries in the world have been made more colorful,
beautiful, and vibrant because of folk dances that reflect who they are. The Philippines
consists of 7,107 islands, broken down in three groups – Luzon, Visayas , and Mindanao.
Each of these areas has different dialects, history, religion, and traditions. Every region also
has different influences in their arts, crafts, and ancestral dances. Let’s take a trip and explore
the different styles, costumes, dances, and talents of each region Many of the dances you will
read about here were actual activities or chores that the Filipinos endured to survive the poor
economy and state of the nation.

LUZON

THE TRADITIONS AND HERITAGE OF LUZON

“We shall never forget our heritage”

Luzon, the northernmost region of the Philippines is rich in traditions and heritage. In traces
its cultural influences from Hindu, Buddhist, Spanish, and many other ethnic religious tribes.
The cultural folk dances from this region represent all the different factions or tribal groups in
one way or another.
2

The Cordillerans or Igorot is the term or the collective name of several ethnic groups in the
Phlippines. These tribes – The Ifugao, Kalinga, Bontoc, Apayao, Ibaloi, kalangaya, and
the Kankanaey in benguet mostly inhabit the mountains of Luzon.

THE DANCES OF LUZON

BANGA DANCE OR POT DANCE

A contemporary performance of the kalinga of the Mountain Province in the Philippines. This
dance illustrates the languid grace of a tribe otherwise known as fierce warriors.

This dance shows the skill and strength of the women as they carry heavy laden clay
pots, or banga, full of water. Their grace and agility while balancing the heavy pots is a
testament of how the Filipino strength and determination to survive hardship. Young Igorot
girls start only one pot. But, of course, as they become older and more experienced, they are
expected to provide more water for their family. Pots could be as high as five or six stacks.
Women would all gather and march to the river each day, singing a native song accompanied
by the flute and banging of bamboo on iron pots in the dance.

IDAW
3

This dance has many names and different versions. It depicts the hunting ritual performed
before a tribal war. The tribesmen would go out and look up and watch out for the scared
Idaw bird which is said to lead the tribe to victory. Considering the Philippines as a very humid
country, the traditional clothing was made to cover not much of the body.

As one of the cordillera dances, this Bontoc dance depicts a war ceremony performed by
warriors of rival tribes. Idaw, meaning “bird” is celebrated because it was the omen bearer
of war.

IDUDU

The family is the basic structure of family life among the Itneg or Tinggian people. Caring
for the children is shared by both the mother and father. While the men are clearing the fields,
breaking the soil with bamboo and their feet, the women watch the children. Soon as the men
are done, they take care of the children while the women do back breaking work. You can see
in the dance how the women will take the bamboo baskets and shaking them in the manner of
drying rice,while the men are going in circles in the backround like they are tilling the land.
Then, the women put down the baskets, fold cloth into a baby while the husbands stand aside.
Afterward, the women will turn over the baby to their hundbands, pick up the bamboo, and
start tilling the land while the men hold and cradle the babies.

RAGRAGSAKAN
4

The Kalingga borrowed the beautiful word “ragragsakan” from the Ilocano, which
means “merriment”. The two biggest occasions for a ragragsakan in a kalinga village are for
the homecoming of successful head takers and the culmination of peace pact between
warring tribes. Kalinga maidens balance “labba” or woven baskets on their heads, wave
colorful tribal blankets, and sing short salidumay songs as they snake through the terrace
dikes and skip through breaks in the path. This dance portrays the walk of the industrious
kalinga women, carrying water pots on their heads and wearing the colorful hand-
woven “blankets of life” around their neck.

VISAYAS

LOVE OF LIFE AND COUNTRY – VISAYAS REGION

“Live Long, Live Happy, Die Proud”

The central islands of the Philippines, are grouped into three sections: Central,
Eastern, and Western. The people in the region consist of Autronesians, Negritos, and the
Animist Tribal Group. Visayas became a melting pot for many different tribes and cultural
backgrounds. You will see that the dances of the Visayas are more upbeat and exciting, not
so much in drama and tribal meanings as other regions.

THE DANCES OF VISAYAS

MAGLALATIK

The Maglalatik is an indigenous dance from the Philippines in which coconut shell halves that
are secured onto the dancer’s hands and on vests upon which are hng four or six more
coconut shell halves. The dancers – all male – perform the dance by hitting one coconut shell
with the other.

Originally performed in Biñan, Laguna as a mock-war dance that demonstrates a fight

between the Moros and the Christians, this dance is also performed to pay tribute to the
town’s patron saint, San Isidro Labrador. Moro dancers wear read trousers while the Christian
dancers wear blue. All dancers are male with harnesses of coconut shells attached on their
chests, backs, thighs, and hips.
5

SAYAW SA BANGKO

Sayaw sa bangko or Sayaw ed Tapew na Bangko is a dance which originates from

pangasinan as researched by Jovita Sison. It is performed by a couple on a narrow bench.
They do not compete, but rather complement each other, so that no one falls. Sayaw sa
Bangko is usually performed during town fiestas.

SUBLI

The term “subli” is from two tagalog words “subsub” meaning “falling on one’s head” and
“bali”, which means “Broken”. This version is originally a ritual dance of the natives of
Bauan, Batangas, which is performed during fiestas as a ceremonial worship dance to the
town’s icoon, the Holy Cross.
6

TINIKLING

This is the most popular and best known of the Philippine dances and is honored as the
Philippine National Dance. Dancers imitate the tikling bird’s legendary grace and speed by
skillfully maneuvering between large bamboo poles. The name “Tinikling” means “bamboo
dance” in English.

Considered as one of the oldest dances from the Philippines, Tinikling originated in the island
of Leyte in the Visayas. The bird was named “tikling” from which the Tinikling dance got its
name. Because of creativity of the people, they imitate the Bird’s movement between
branches and stems using bamboo poles.

MINDANAO

“Pride and Honor – Mindanao Region”

Mindanao is the southernmost region of The Philippines. It is the second largest island group
and its cultural groupings consist of mostly Muslim or “Moro” people, and other ethnic groups
such as the Maranao, Tausug, Banguingui, and indigenous tribes known as Lumad.

THE DANCES OF MINDANAO

ASIK
7

This dance is performed by a solo maiden, adorned with fine beads make-up, and a long
head scarf. The maiden would dance to win the favor of her Sultan master. She would give
her whole heart and soul into this performance to soften the heart of her master and accept
her.

KINI KINI

Kini means the Royal Walk. Maranao women perform this dance with scarves. The beauty of
the scarves and the talent and grace in which it is displayed shows their elite social
upbringing.

PANGALAY

The pangalay is native to the badjao, who are also known as “Sea Gypsies”. It is a dance
that emphasizes the agility of the upper body. The pangalay is commonly performed at
weddings and other social gatherings. One will also see some parts of the Singkil in this
dance. This dance is sometimes called the Muslim Dance of Four Bamboos.
8

SINGKIL

The Singkil Dance takes its name from the bells worn on the ankles of the Muslim Princess.
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 nymphs of the forest.

The faces of the dancers are formal and they maintain a dignified pose. Dancing begins at a
slow pace which soon progresses to a faster tempo in which dancers skillfully manipulate fans
that represent the winds that prove to be auspicious.

CLASSIFICATION OF FOLK DANCE ACCORDING TO NATURE

OCCUPATIONAL DANCES are those that depict the actions of a particular occupation.

BINATBATAN DANCE

The Binatbatan dance is an occupational dance from Paoay, Ilocos Norte. It depicts the
beating of cotton pods to separate the seeds drom the fibers. Weavers in Paoay often engage
themselves in abel-making contests. Dancers maneuver in and out of parallel batbat sticks,
9

each about 18 inches long. Th rhythm and speed of the beating of the sticks make for a lively
and colorful display.

MAG-ASIK

This is a Tiruray dance for Girls, performed in Nuro, Cotabato. According to the natives the
word “mag-asik” means “to sow seeds”. The dancers go around the cloth with small, heavy
steps but with graceful hand and arm movements. The dance consists of two parts, which the
natives call “komaligue” and “mag-asik”.

RELIGIOUS/CEREMONIAL DANCES are those associated with religion, vows and

ceremonies.

DUGSO

Dugso is a dance which originated from Bukidnon in Northeast Mindanao. Dancers perform
this as an entertainment for the dieties, to make them feel more comfortable during the fiesta
that wwas organized for them. It was originally thought that this dance was performed only
during harvest time or upon the birth of a male heir. Women would wear colorful feathered
head dresses, plaid costumes, and anklets.
10

COMIC DANCES are those that depict funny movements for entertainment

KINOTON

Is a comic dance from Ilocos Sur. It depicts the movement of a person bitten by ants.

MAKONGGO

(there’s no picture for makonggo)

A comic dance which originated in Sta. Maria, Bulacan. A solo performer imitates the
movements characteristic of a monkey, its gestures and grimaces.

GAME DANCES are those that are done with play elements.

LUBI-LUBI

Lubi-Lubi is a bicolano dance which is a combination of a simple folk and social steps.
Literally, lubi means coconut. According to the BIkolanos this dance originated in Leyte and
Samar where it is still danced like the Balitaw. It is also popular in Albay and Sorsogon.
11

WEDDING DANCES are those dances that are performed during wedding feasts.

PAGKAWIN

The wedding ceremony is called Pagkawin. The festivity opens with the Pahanda or
presentation of dowry. Relatives of the groom present to the relatives of the bride traditional
dowries that usually include that Salap-pa, A bras box containing money, jewelry, other
valuables, and all important betel nut.

COURTSHIP DANCES depict the art of courtship.

SUA-SUA

This is a dance from Jolo, Sulu. Literally, “Sua-sua” means “small orange plant”. According
to the Moros of the older generation, the movements in this dance have been modified and
modernized. Dancers sing as they perform the dance. The natives often repeat the dance as
many times as they like or until they are made to stop.

FESTIVAL DANCES are those which are suitable for special occasions.

PANDANGGO
12

Pandangggo sa Ilaw or “Fandango” is a very popular folk dance in the Philippines. It is said
to have originated from Mindoro, This dance of lights simulates fireflies at dusk and at night.
The phrase “sa ilaw” is Tagalog for “in light” and it refers to the three oil lamps that are dances
has to balance. The oil lamp is called tinghoy.

WAR DANCES

SAGAYAN

A Philippine war dance performed by both the Maguindanao and Maranao depicting in
dramatic fashion the steps their hero, Prince Bantugan, took upon wearing his armaments,
the war he fought in, and his subsequent victory afterwards.

Activity 1. Introduction
COPY AND ANSWER the following questions. ATTACH ONLY PDF file for your answers.
(-3 for not following instructions)

1. (2POINTS) Give one legal basis in teaching physical education in the Philippines.
2. (3POINTS) Why do you need to learn the different folk dances in the Philippines?
Cite three reasons.
3. (2POINTS) How does folk dance reflect the life of early Filipino? Give an example.
4. (3POINTS) As a millennial, how will you help preserve and promote the teaching and
learning of Philippine Folkdance to the new generation? Cite 3 ways to do it.
5. (5POINTS) Young children nowadays are fond of BTS and other Korean popstars.
How will you introduce Philippine Folkdance to them? Cite 5 ways/ method/ or
strategies.

Activity 2: Quiz
13

WEEK 2: Philippine Costumes and Traditions

Bahag
Pre-Colonial Period. Early Filipinos used bark or plain-woven fabric as material for bahag.
The bahag was wrapped around the waistline.

Ifugao
The Ifugao, immortalized by their magnificent rice terraces; inhabit the rugged terrain of the
extensive Cordillera Mountain Ranges of Central Luzon Ifugaos have woven on looms and
carved works of art from blocks of woods. The rice terraces is a symbol of their industry that
will live through the ages.

Kalinga
The Kalinga are called the “peacocks of the north” because of their attention to appearance
and dressing. Kalinga is a landlocked province of northern Cordillera, Philippines. “Kalinga”
means enemy, a name that the bordering inhabitants called this tribe because of their
headhunting attacks. The name stuck and became accepted by the natives themselves.

Tapis
Early Spanish Colonial Period
The tapis was used first by tagalong women who had to wrap a thicker material over skirts
made of sheer fabric. It was usually worn with the opening in front, and with colors that
contrasted with the skirt.

Gaddang o Gadang
The Gaddang are an indigenous people from the area of Solano, in the province of Nueva
Vizcaya, in the region of Cagayan Valley also known as region II, in the Philippine Islands.
The Gaddang tribe was first discovered by the Spaniards in the early 1600s. An early Spanish
report written in 1581 identified them as one of ten tribes in the mountains of Northern Luzon.

Bontoc
They are the people who live in the mountainous areas of Benguet, Ifugao, Mountain
Province and Kalinga- Apayao. The tribe’s traditional clothing leaves males and females bare
above the waist. But because of modern influence, younger members of the tribe wear
trousers, shirts, dresses and shoes that lowland Filipinos usually wear samal.

Ibaloi
The Ibaloi are the highlanders of Benguet and the city of Baguio. The Ibalois are collectively
known as“Igorot”. They traditionally live by cultivating rice and agriculture.

Barong Tagalog Costume

The Barong Tagalog, this is the official national costume of Filipino men, originated from the
northern part of the Philippines, and is originally made of jusi or pineapple cloth called “pina”
(woven from pineapple leaves). It is worn over a Chinese collarless shirt called camisa de
Chino. It exhibits the loose, long lines of its Chinese sources, the airy tropical appearance of
Indo-Malay costume, the elongated effect of Hindu dressing, and the ornamental restraint of
European men’s clothing. Today, barong tagalong can come from different materials and
different colors. It is usually used for formal occasion and meetings.

Maria Clara Costume

The Maria Clara, this dress was named after a mestiza heroine of one of the novels of the
Philippine National hero Dr. Jose Rizal. Its origin was the national costume of Filipino women
which is barot (shirt) saya (skirt). The Maria Clara gown features a floor-length paneled skirt
of silk or satin and it consists of four separate pieces: the collarless waist-length, bell sleeved
camisa; the bubble-shaped, floor-length saya; the stiff, neck-covering pañuelo; and the hip-
hugging, knee length tapis, or overskirt.
14

Camisa Chino
18th Century
The camisa de chino is a collarless garment with long cuffless sleeves, worn first by Indios
who had to labor under tropical heat. The shirt cut evokes its Chinese origins.

Baro’t Saya
Circa 17th Century
The baro, a collarless blouse, was influenced by the costume of statues by the Blessed Virgin
brought by Spanish missionaries. The saya was adapted from the basic lines of European
skirt styles during the 1600s.

Balintawak
The Balintawak consisted of a skirt, butterfly sleeves and a low-cut bodice. Filipinas wore the
ensemble during visits to the countryside, particularly Antipolo, Rizal, a popular summer
destination for Manila residents.

Terno
Early 20th Century
The Filipino “terno” evolved from the baro’t saya and the Maria Clara, and pertains to the
matching of blouse and skirt, forming a one-piece creation made of a homogeneous material
throughout.

Kimona

The Kimona, this dress originated from the Visayas, can be worn for everyday activities as
casual dress or for formal occasion. Its origin was the barot (shirt) saya (skirt), the national
costume for Filipino women during the early years. A casual kimona dress is always worn with
matching West Visayan wrap around called "patadyong" as a skirt.

Muslim Costume
This attire is worn by the Muslims who live in the southern part of the Philippines. It features
long skirts for the women, frequently woven with metallic threads, and shorter, wrap-around
skirts for the men. The women also frequently have overskirts and scarves draped from the
shoulder.

Batik design is also common with these costumes. It shows the mix of Arab, Malaysian and
Chinese. Elaborate umbrella makes a nice fashion statement, usually used by a Muslim
princess.

Malong, the malong is traditionally used as a garment by numerous tribes in the Southern
Philippines and the Sulu Archipelago. Its origin is from the ethnical group of Maranao,
Maguindanao and T‟boli located in Mindanao. Handwoven malongs are made by the weavers
on a backstrap loom. Very rare malong designs and styles can indicate the village in which
the malong was made. Handwoven malongs, which are costly- made of cotton and silk, are
likely to be used only at social functions, to display the social and economic status of the
wearer. But a malong in royal colors is worn only by Maranao men and women of royal status.
The malong can also function as a skirt for both men and women, a dress, a blanket, a
bedsheet, a hammock, a prayer mat, and other purposes.

Tribal Costume
The Philippine Tribal Costumes
Although the Philippines has developed a mixed culture from the blending of foreign
influences with native elements, there are still some ethnological groups whose culture
remains unadulterated.

Blaan
The Blaan are one of the indigenous peoples of Southern Mindanao in The Philippines. They
are famous for their brass works, beadwork and tnalak weave. The people of these tribes
wear colorful embroidered native costumes and beadwork accessories. The women of these
15

tribes, particularly, wear heavy brass belts with brass tassels ending in tiny brass bells that
herald their approach even when they are a long way off.

Bagobo
The Bagobo are proud people with proto-Malayan features. They have ornate traditions in
weaponry and other metal arts. They are noted for their skill in producing brass articles
through the ancient lost-wax process. These people also weave abaca cloths of earth tones
and make baskets that are trimmed with beads, fibers and horses hair.

Tboli
The Tboli distinguish themselves from other Tribal Groups by their colorful clothes, bracelets
and earrings, this tribe is famous for their complicated beadwork, wonderful woven fabrics
and beautiful brass ornaments.

Mandaya
The Mandayas are a group of non-Christian tribe, non-Islamic people living in Eastern
Mindanao, Philippines. They hand down from generation to generation the art of weaving
cloth from the fibers of abaca plant, colored with root and mud dyes with intricate figures and
patterns depicting the folklore and religion of the tribe.

Maranaw
Typical Muslim Maranaw costumes (bottom-left photo). The attire of Maranaw prince and
princess. “Maranaw” means „people of the lake‟, referring to lands surrounding Lake Lanao.
Descending from Muslim Malays, the royal families within this tribe are a mix of Arab,
Malaysian and Chinese ancestry. They are famous for their artwork, sophisticated weaving,
wood and metal craft, and their epic literature.

Yakan
Basilan is home to the Yakan Tribes, also known as one of the finest weavers in Philippines.
They are known to weave the most intricate designs in their clothes, purses and other
accessories.

Samal
The Samal are the poorest and least independent of the major Muslim groups. They serve as
the "loyal commoners" in the hierarchy of Muslim minorities. Their lives are literally over the
sea, where the villages stand on stilts above the coastal waters.

Aetas
The Philippines‟ aboriginal inhabitants called the Aetas provided the pattern for these rough
cotton costumes. The Aetas or Negritos are nomads, scattered among the isolated
mountainous parts of central Luzon. They are thought to be the earliest inhabitants of the
Philippines.

Pulangiyen
Living in the Pulangi River headwaters in the southern part of Bukidnon, the Pulangiyen is
one of the many indigenous natives of the province.

Matigsalug
The Matigsalug are the Bukidnon groups who are found in the Tigwa-Salug Valley in San
Fernando, Bukidnon. “Matigsalug” is a term, which means “people along the River Salug”.
Their men wear short tight-fitting pants that are of knee length and are hem and turbans for
the head decorated with beads and fringed with goat’s/horse’s hair.

Activity 3: Quiz.
16

WEEK 3: Definition, Value, Importance and Objectives of Philippine Folk dance

Dance terms used in Philippine Folk Dance

What is folkdance?
A folk dance is a dance developed by people that reflect the life of the people of a certain
country or region. It is the traditional dance of a people within a specific culture, evolved by
them and embodying national or regional flavor characteristic of them. It is communal in
purpose and unique.
Folkdance is the dance of the people handed down from generation to generation. It is typical
in form and style of a given nationality influenced as reflected in the style and patterns of the
dances by climate, geography, costume, nature and character of the people, music, and any
characteristic of the period. The purpose of the dance may reflect the courtship, weddings,
and funerals.
Value, Importance and Objectives of Philippine Folk dance

Folk arts, specifically folk music and dance embody fundamental values of great worth to our
culture, our nation, and our children. There is no better way to share time together as families
and friends. Our job is to preserve the joyful tunes we have inherited from our ancestors and
to pass them on to others.

Philippine folk dances are a celebration of daily life, health, peace, war, harvest times and
other aspects of life. According to the National Commission for Culture and the Arts,
Philippine folk dances imitate nature and life because they are rituals for social and spiritual
expression.

Value
Philippine folk dance helps keep the people connected to their ancestry and their traditions.
Folk dance helps to preserve the cultural unity of the people.

Importance
People think folk dances are important because they help keep a culture alive. People have
been doing folk dances for hundreds of years, and there is value keeping that tradition alive.

Folk dances are important because they preserve the Philippine culture and pass it on to the
next generation. They are a uniting force to the Philippine people.

Objectives
1. To commit to the ideals of cultural development as a vital factor in nation-building.
2. To enhance the cultural values demonstrated in various folk dances aesthetically, morally,
and physically.
3. To actively participate in folk dancing for its intellectual, moral, and aesthetic values.
4. To disseminate Philippine traditional dances in its pure and authentic form.
5. To instill the love for performing the folk dances as a cultural legacy and to show to other
nations the identity of the Filipinos as a people.
17

Dance terms used in Philippine Folk Dance

1. “Abrasete” – Girl at the right side, holds R arm of partner with her L hand, free hands
down at the
sides. This term is of Spanish origin and is used in Rigodon and in other dances.
2. Arms in Lateral Position – Both arms are at one side, either sideward right or left. This
may be done at
shoulder, chest, or waist level.
3. Arms in Reverse “T”– Arms are side horizontal, elbows bent at right angles, forearms
parallel to head, palms forward or facing inward, fists loosely closed.
4. “Bilao” - To turn palms of hands up and down alternately, hands at waist level in front,
elbows close to waist.
5. Brush- Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot)
after which that foot is lifted from the floor to any direction.
6. Clockwise turn- Like the motion of the hands of a clock. R shoulder is toward the center of
an imaginary circle. When facing center, the movement is toward the left.
7. Counterclockwise turn- The reverse direction of clockwise. L shoulder is toward the
center of an imaginary circle. When facing center, the movement is toward the right.
8. Crossed Arms- Partners are facing each other or standing side by side, girl at the right of
boy. They join the L hands together and their R hands together, either R over L or L over R
hands.
9. Cut- To quickly displace one foot with the other, thus, completely taking off the weight of
the body from the displaced foot.
10. Do-si-do- (this needs a partner) The vis-à-vis (opposites) both advance forwards, pass
each other’s (“Dos-A-Dos”) right (or left) side, step across to the right (or left), move backward
without turning around pass each other’s left (or right) side to proper places. This is of foreign
origin and is used in many Philippine dances.
11. Draw- To pull one foot along the floor close to the other which has the weight of the body.
12. Free Foot - The foot not bearing the weight of the body.
13. Free Hand- The hand not placed anywhere or not doing anything.
14. Hands on waist- Place hands at the waistline (at the smallest part of the trunk). Knuckles
in, fingers pointing in rear.
15. “Hayon-Hayon”- To place one forearm in front and the other at the back of the waist.
This is a Visayan term.
16. Hop- A spring from one-foot landing on same foot in place or in any direction. The other
foot may be raised in any direction (in front, in rear, sideward or across).
17. Inside Hand - The foot nearest one’s partner, when partners stand side by side.
18. “Jaleo” - Partners turn once around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows almost touching) using walking or any kind of dance step.
The hands near each other are on waists. This is a Tagalog term but of Spanish origin.
19. “Kumintang”- Moving the hand from the wrist either in a clockwise or counterclockwise
direction.
20. Leap- A spring from one foot, landing on the other foot in any direction forward, sideward
backward or oblique.
21. “Masiwak”- To turn the hand from the wrist halfway clockwise then raise and lower wrist
once or twice.
22. Outside Foot- The foot away from one’s partner, when partners stand side by side.
23. “Panadyak”- To stamp in front or at the side with R (L) foot and tap with same foot close
to the L (R) foot, weight of the body on L (R) foot. This is a Tagalog term.
24. Place- To put foot in a certain desired position without putting weight on it. The sole of the
foot, rests on the floor.
25. Pivot- To turn with the ball, heel, or whole foot, on a fixed place or point.
18

26. “Patay”- To bend the head downward and to support the forehead with R (L) forearm or
with the crook of the R (L) elbow while L (R) hand supports lightly the palm of the R (L) hand.
This is usually done with the L (R) foot pointing in rear and knees slightly bent. This is an
Ilocano term, and the movement is commonly found in Ilocano dances.
27. Point- Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
28. “Salok”- To swing the arm downward-upward passing in front of the body as if scooping,
the trunk is bent forward following the movement of the arms doing the “salok”. This is a
Tagalog term.
29. “Saludo”- Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This term is of Spanish origin and is used in almost all Philippine
dances.
30. “Sarok” (or “Saroc”)- Cross the R (or L) foot in front of the L (R), bend the body slightly
forward and cross the hands (forearms) down in front with the R (or L) hand (forearm) over
the L (R). This is a Visayan term.
31. Slide- To glide foot smoothly along the floor. The movement may be finished with or
without transfer of weight.
32. Stamp- To bring down the foot forcibly and noisily on the floor (Like doing a heavy step)
with or without transfer of weight.
33. Supporting Foot- The foot that bears the weight of the body.
34. Tap- To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping
weight of the body on the other foot. There is no change or transfer of weight.
35. Whirl- To make fast turns by executing small steps in place to right or left.

Fundamental Arms and Feet Positions Arm Positions

Note: Please Refer to Fundamental Arms and Feet Position Demonstration Handouts
1st Position - Both raised forward in a circle in front of chest with the fingertips
about
an inch apart.
2 Position
nd
- Arms raised sideward with a graceful curve a little below shoulder
level.
3RD Position - One arm raised as in 2nd position; another arm raised overhead.
4th Position - One arm raised in front of chest in a half-circle, other raised
overhead.
5th Position - Both arms raised overhead.
Feet Positions
1st Position - Heels close together, toes apart with an angle of about 45 degrees.
2nd Position - Feet apart sideward of about a pace distance.
3rd Position - Heel of one foot close to in-step of other foot.
4 Position -
th
One foot in front of the other foot of about a pace distance.
5th Position - Heel of front foot close to big toe of rear foot.

Activity 4: Quiz Dance Terms

ASSIGNMENT 1: Fundamental Position of Arms and Feet

NOTE: (The activity will be performed during the face to face classes on WEEK 6)
Practice the fundamental position of arms and feet, to be performed during the first
day of face to face class session.
19

WEEK 4:
Activity 6: PRELIM

WEEK 5: 2/4 and ¾ Time Signature Steps

For this week’s activity, you will learn how to read and interpret dance steps. But before we
proceed, there are things that you need to understand.
R - means Right Foot.
L – means Left foot.
ct – means count.
Directions – forward (fwd.), backward (bwd), sideward (swd)
1 complete count = 1 measure (Example counts: 1, and 2, and 3 = is equal to 1 measure…
therefore,
two measures mean (1, and 2, and 3 and, 1, and 2, and 3 and)

How to count.
 2/4-time signature counts- (1, 2) or (1 and 2 and) or (1 ah 2 ah)
1 measure 1 and 2
2 measures 1 and 2 and /1 and 2 and
3 measures 1 and 2 and/1 and 2 and/ 1 and 2 and...
 ¾ time signature (1, 2, 3) or (1, and 2, and 3 and)
1 measure 1, 2, 3
2 measures 1, 2, 3/ 1, 2, 3
3 measures 1, 2, 3/ 1, 2, 3/ 1, 2, 3…

FUNDAMENTAL DANCE STEPS:

A. 2/4-time signature DANCE STEPS STEP PATTERNS

1. Bleking step------------------------------------------- Heel place R, close R to L.

2. Chasse/ Chasing Steps--------------------------- Successive close steps with one foot
leading.
3. Close step---------------------------------------------- Step R, close L to R.
4. Cross step--------------------------------------------- Step R, cross and step L across R
5. Change step------------------------------------------- Step R, close L to R, step R again
6. Contraganza step------------------------------------- Leap R sideward right, cross and
step L across R, step R (in place)
7. Cross Change Step-------------------------------------Step R across L (ct.1); close L to R
(ct. and); step R across L (ct. 2)
8. Four Step Turn---------------------------------------- Step R (ct.1) Turn, and step L (ct.2)
Turn and step R (ct.1) Step and
close L ct.2)
9. Galop Step--------------------------------------------- Step R (ct.1) Cut R with L (ct. ah),
Step R (ct.1) Cut r with L (ct. ah)
10. Heel and toe change step--------------------------- Heel place R (forward/sideward)
point R in rear or close to L, step R,
close L to R and step R.
11. Hop polka------------------------------------------- Hop on L foot and step R forward
(ct.1), step L close to R in rear (ct.
20
12. Hop step----------------------------------------------- Step R, hop on R.
13. Plain Polka------------------------------------------
14. Step-Point-------------------------------------------
15. Touch/ Point step------------------------------------- Point R, close R to L.
3/4 time signature DANCE STEPS
1. Brush-Step Turn----------------------------------
2. Cross Step turn-----------------------------------
3. Cross waltz ---------------------------------------
4. Engaño with a Close -----------------------------
5. Grapevine------------------------------------------
6. Kuradang ------------------------------------------
7. Native Waltz---------------------------------------
8. Step-brush-swing-hop---------------------------
9. Step-swing------------------------------------------
10. Step Cross------------------------------------------
11. Sway Balance with a Point----------------------
12. Three-step turn---------------------------------
13. Waltz balance-------------------------------------
14. Waltz-----------------------------------------------
15. Waltz Turn-----------------------------------------
ACTIVITY 5: QUIZ
ASSIGNMENT 2: 2/4 and 3/4 Time Signature
NOTE: (The activity will be performed during the face to face classes on WEEK 6)
and), step R foot forward (ct. 2) and
pause (ct. and). This may be
executed in any directions.
Step L foot in front (ct.1), step R
close to left foot in rear (ct. and),
step L in front (ct.2), pause (ct. and).
Step R foot in front (ct. 1), point L
foot in front (ct. 2) This step is
executed in all directions.
STEP PATTERNS
Step R (ct.1), Brush L (ct.2) Step L close
to R (ct.3)
Step R (ct.1) Cross L and turn both feet
(ct.2) Both heels down (ct.3)
Cross and step R across L, close L to R,
step R.
Step R swd (ct.1,2); Cross-step L across
R (ct. 3); Step R swd (ct. 1); Close to R
(ct. 2); Step R in place (ct. 3)
Step R sideward, Step L across in front,
Step R sideward; Cross L in rear, Step R
sideward, Step L close to R
Change step obliquely fw R (ct. 1, 2);
Step L across R in front (ct. 3); Change
step obliquely fwd (ct. 1,2).
Point L in front (ct. 3)
Step R, close L to R, step R.
Step R, brush-swing L across R, hop
on R.
Step R, swing L across R
Step R (ct.1) Cross and slide L
(cts.2,3)
Step R (ct.1,2) Cross Step L (ct.3),
Step R (ct.1) Point L (ct.2,3)
step R (ct. 1) turn and step L (ct. 2);
turn and step R (ct. 3); close L to R
(ct. 1); pause = 1M
Step R, close L to R and raise both
heels, heels down.
Step R (ct.1) Close L and raise both
heels (ct.2) Heels down (ct.3)
Step R (ct.1) Close L (Ct.2) Step R
(ct.3) do this in a circle direction.
21

WEEK 6: Performance Task 1 & 2

Performance of Activity 7: Assignment 1 and Activity 8:Assignment 2 on-site

ASSIGNMENT 3: Understanding Dance through Simple Dance Steps

(NOTE: The activity will be performed during the face to face classes on WEEK 7)

WEEK 7: Understanding Dance through Simple Dance Steps

SAMPLE
COMBINATIONS 1

2/4 Time Signature (counts 1, and 2 = 1 measure)

Figure I
a. Eight walking forward--------------------------------------------------------------- 4M
b. Four touch steps R and L------------------------------------------------------------ 4M
c. Repeat (a) and (b) moving backward---------------------------------------------- 8M
Figure II
a. Two change steps R and L-------------------------------------------------------------- 4M
b. Four Chasse steps sideward R and L-------------------------------------------------- 4M
c. Repeat (a) and (b) ------------------------------------------------------------ 8M
Figure III
a. Four bleking steps R and L ----------------------------------------------------------- 4M
b. Four gallop step sideward R and L---------------------------------------------------------- 4M
c. Repeat (a) and (b) backward------------------------------------------------------------ 8M
Figure IV
a. Two heel and toe change steps forward----------------------------------------------- 4M
b. Four hop Step backward --------------------------------------------------------------- 4M
c. Four chasse steps sideward R and L-------------------------------------------------- 4M
d. Change Step Turn------------------------------------------------------------------------- 4M

SAMPLE
COMBINATIONS 2

¾ Time Signature (cts. 1, 2, 3 = 1 measure)

Figure I
a. Four waltz steps sideward R and L----------------------------------------------------- 4M
b. Step Swing--------------------------------------------------------------------------------- 4M
c. Repeat all----------------------------------------------------------------------------------- 8M
Figure II
a. Engaño with a close------------------------------------------ ---------------------------- 4M
b. Step Swing Hop -------------------------------------------------------------------------- 4M
c. Waltz Balance ------------------------------------------------------------------------------ 4M
d. Waltz Turn -------------------------------------------------------------------------- 4M
Figure III
a. Two step-swing-hop forward R and L alternately------------------------------------- 4M
b. Two waltz balance steps R and L in place---------------------------------------------- 4M
c. Repeat all------------------------------------------------------------------------------------ 8M
22

Figure IV
a. Four waltz balance steps R and L alternately------------------------------------------- 4 M
b. Three steps forward start with R foot and three steps backward with L foot------ 4 M
c. Waltz turn R and L-------------------------------------------------------------------------- 8M

Activity 9: Performance Task 3: Understanding Dance Through Simple Dance Steps

NOTE: The following activities requires you to submit two things.

(1) written activity, which is the same with the “SAMPLE COMBINATION” provided above,
and, (2) dance performance of your own combination.

2/4 Time Signature Dance Step and 3/4 Time Signature Dance Step Combinations

Instructions:
1. Using the above example, create four (4) figure combination of 2/4 time signature
steps.
2. Each figure must contain 4 different dance steps
3. Each figure with 3 to 4 steps and must be performed in 16 counts.
4. Wear proper attire (jogging pants, shorts, white tshirt (with or without print), rubber shoes)

Music for 2/4 Time Signature Dance Step

https://youtu.be/9oPMK48rwDA

Music for 3/4 Time Signature Dance Steps

https://www.youtube.com/watch?v=ZEwO_5TUIHo

Activity 10: Quiz

Assignment 4: Dances of Cordillera and Spanish Influence Dances in Luzon

WEEK 8: Dances of Cordillera and Spanish Influence Dances in Luzon

Dances of Cordillera

Video: https://youtu.be/uyCFjxzQZuk

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.

Today, if one is to generalize one of the six ethno-linguistic tribes as “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, Apayo, and the Kalinga tribes reign over Luzon's
mountain terrain.

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.
23

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 illustrates 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.

Sample Video and Music: https://youtu.be/nkp_sb-FwgQ

Bendayan
Origin: Benguet Province, Northern Luzon

Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is

restaged, keeping true to the dance's context, and meaning. Long known as a dance to
celebrate the arrival of successful headhunters, the Bendayan has taken a new face. It is part
of every Benguet festivity with the circles slowly giving way to other formations and
interpretations.

Sample Video and Music: https://youtu.be/CeL8zNtX4Zo

24

Manmanok
Tribe: Bago

Three Bago Tribe roosters compete against each other for the attention of Lady Lien. They
use blankets depicting colorful plumes to attract her.

Sample Video and Music: https://youtu.be/P84CjFKp0nE

Ragsaksakan
Tribe: Kalinga

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.

Sample Video and Music:: https://youtu.be/Brdi1nBHHDU

25

Salip
Tribe: Kalinga

Tribes in the mountain provinces of Luzon preserve their identity,

customs and lore. Their dances celebrate important events in life
such as birth, wedding, victory in war and thanksgiving. A Kalinga
wedding dance is an important celebration. The bridegroom offers
the bride the protection and comfort of his blanket. He simulates
the movements of a rooster at love play, aspiring to attract and
seize his love. The bride's friends are ready to help prepare the
bride by offering "bangas" (earthen pots) filled with fresh water
from the mountain spring.

Sample Video: https://youtu.be/OG5PCful3cQ

Sample Music: https://youtu.be/J043Ne7m3qs

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

Sample Video and Music: https://youtu.be/kuT6xocbGVw

Spanish Influence Dances in Luzon

Exposed for almost four centuries to the influence of European dances, the Filipinos gradually
assimilated the dances of the Spaniards, evolving their own simplified versions and
derivations of the different forms with each region adding its own touches. The elegance of
the body and arm movements of foreign dances fascinated the Filipinos, so they adopted
these. However, the sharp and fast movements of most European dances were tempered and
softened by the languid grace that is characteristic of many Filipino dances.

Maria Clara dances (or Western Influenced 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 is
26

the formal Maria Clara dress and barong Tagalog, an embroidered long-sleeve shirt made of
pineapple fiber.

Dance 1: Cariñosa

An example of a Maria Clara dance is Cariñosa. The dance originated in Panay Island in the
Visayan Islands and was introduced by the Spaniards during their colonization of the
Philippines. It is related to some of the Spanish dances like the bolero and the Mexican dance
Jarabe Tapatio or the Mexican Hat Dance. According to the book of Francisca Reyes-Aquino,
Philippine Folk Dances, Volume 2, there is a different version of the dance in the region of
Bicol. In the Bicol Region Carinosa, hide and seek movement is different ways. In the original
version, the dancers used the Fan and handkerchief as the way to do the hide and seek
movement, in Bicol they used two handkerchiefs holding the two corners of the handkerchief
and doing the hide and seek movement as they point their foot forward and their hands go
upward together with their handkerchiefs following the movement.

Sample Video and Music: https://youtu.be/Sy18EXrueu0

Dance 2. Mazurka De Jagna

Mazurka de Jagna is a festival dance named after Jagna which is one of the towns in Bohol.
It is only known that the mazurka step was introduced by the Spanish missionaries sometime
in the 18th century. The mazurka together with other European steps was brought from
Germany via galleons. The Spanish friars finding music as effective tools to make the natives
understand Christianity better, centered on these folk traditions.

Sample Video: https://youtu.be/A0QQXOt--BU

Music: https://youtu.be/5id1aJt4BVE
27

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.

Until the turn of the century the Ibanag of Cagayan Valley perform this fast tempo dance
which ncludes familiar European steps, the mazurka, polka, gallop and waltz.

Sample Video with Music: https://youtu.be/gqgQrqeHFEA

Abaruray

Abaruray is a contraction of the words Aba and Ruray. Aba is an exclamation

which is equivalent to “Hey!” or “Hi!” in English. Ruray is a nickname for
Aurora.

Sample Video with Music: https://youtu.be/-hDkM2SbzPQ

28

Paypay de Manila

The young ladies carry scented fans, or "paypay" and flirt with young men with canes and
straw hats, once more giving evidence of the Kastilian influence.

Sample Video with music: https://youtu.be/Ol6AnCTt0Vg

Paseo de Iloilo

This is one of the most sophisticated courtship and flirtation dances of the Spanish era. The
gentlemen compete among each other to win the heart of the dalaga, or young lady, by
exemplifying chivalry, grace, and confidence. One of the most sophisticated courtship and
flirtation dances of the Spanish era. The gentlemen compete among each other to win the
heart of the dalaga, or young lady, by exemplifying chivalry, grace, and confidence.

Sample Video with music: https://youtu.be/1ei-a6Y1LHA

Discussion and Practice: Dances of Cordillera and Spanish Influence Dances in Luzon
29

WEEK 9
Activity 11: MIDTERM EXAM
Dances of Cordillera and Spanish Influence Dances in
Luzon

WEEK 10: Performance Task 4: Dances of Cordillera and Spanish Influence Dances in
Luzon

Activity 12: PERFORMANCE TASK 4:

 Dances o Cordillera
 Spanish Influence Dances in Luzon

Instructions:
1. Create an introduction video of your dance with the following details;
a. Title
b. Place of Origin
c. Background/ history
d. Costume
2. Perform your assigned dance during the on-site class.
3. Costume/ Modified costume is a MUST. (with props if need for the dance)
4. CRITERIA:
CATEGORY MAX SCORE COMMENTS
Choreography 20
Variety of movements
Difficulty
Projection
Facial Expression 20
Energy and Enthusiasm
Consistency of movements
Execution of Movements
Spacing 20
Formation
Transition and Flow
Technical Skills
Precision of Steps and Formation 20
Uniformity and Timing
Rhythm
Overall Impression
Appeal 20
Costume
Music Interpretation
Penalty Yes Exceeds in time limit
No Did not follow the required duration
TOTAL 100

FINAL SCORE: _______

30

WEEK 11: Rural dance (or Countryside dance) and Dances of Muslim Mindanao

Laughter and gaiety commonly used to describe the Filipino people takes root in the
Philippine country-side. Life in the Barrio is simple, but Filipinos always manage to find time to
celebrate life's gifts.

The annual fiestas to celebrate the patron saints of the barrios symbolize the mixture of
pagan and Catholic belief. Fiestas not only honor the patron saint, but give homage to the
barrio's namesake for a good harvest, health, and perseverance. These fiestas are marked
with celebrations of holy mass, music, dance and song.

Itik-Itik

At one baptismal party in the Surigao del Norte province, a young lady named Kanang (the
nickname for Cayetana), considered the best dancer and singer of her time, was asked to
dance the Sibay. She became so enthusiastic and spirited during the performance that she
began to improvise movements and steps similar to the movements of itik, the duck, as it
walks with short, choppy steps and splashes water on its back while calling to its mate. The
people liked the dance so much that they all imitated her. There are six separate foot
sequences in the series of Itik-Itik steps.

Sample Video and Music: https://youtu.be/tFtdmVepMcI

31

Binasuan
Origin: Bayambang, Pangasinan

This colorful and lively dance from Bayambang in the Pangasinan province shows off the
balancing skills of the dancers. The glasses that the dancers gracefully, yet carefully,
maneuver are half-filled with rice wine gracefully who whirl and roll on the floor.

Binasuan, meaning "with the use of a drinking glass" in Pangasinan, is often performed as
entertainment at weddings, birthdays, and fiestas. At social gatherings, the dance becomes a
contest among the dancers as well as non-dancers as to who can do the most daring and
skillful balancing movements.

Sample Video and Music: https://youtu.be/39-cWXdhDWY

Maglalatik

During the Spanish regime, the present barrios of Loma and Zapote of Biñan, Laguna, were
separated. With coconut shells as implements the people of these two barrios danced the
Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians
over the latik (residue left after the coconut milk has been boiled).

The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter
between the two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the
reconciliation between the two groups. According to the legend the Moros came out victorious,
thus getting the coveted latik. The Christians, not contented with the result of the war, sent an
envoy to the Moros to offer peace and to baptize them.

The best Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of
Biñan, the Maglalatik dancers go from house to house performing this dance for money or a
gift. In the evening they dance Maglalatik in the religious procession as it moves along the
streets. They perform the dance as an offering to the patron saint of the farmers, San Isidro
de Labrador.

Sample Video and Music: https://youtu.be/do4GyUk3XKc

32

Pandanggo sa ilaw
Origin: Lubang Island, Mindoro (Visayas) -

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.

After a good catch, fishermen of Lingayen would celebrate by drinking wine and by dancing,
swinging and circling 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 Ilaw.

Sample Video and Music: https://youtu.be/w_AX_Fmqkmk

Sublian
Origin: Batangas-

This version is from Talumpok, a ritual dance. A favorite dance of the people in nearly all the
barrios of the municipality of Bauan, Batangas, in the month of May and during the town and
barrio fiestas. It is a ceremonial worship dance performed in homage to the Holy Cross
referred to in the vernacular as Mahal Na Poong Santa Cruz. It originated some three
hundred years ago in the barrio of Dingin, Alitagtag, Batangas.

The name Subli is derived from two Tagalog words “subsub” (stooped or in a
crouching position) and “bali” (broken). Thus the men dancers are in trunk-forward-
bend position thoughout the dance. They seem to be lame and crooked.

Sample Video and Music: https://youtu.be/RmimzTHCljw

33

Tinikling

This 'Visayan' dance was found in Leyte where this dance originated. Dancers imitate the
tikling bird’s legendary grace and speed as they skillfully play, chase each other, run over tree
branches, or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling.
this version of the dance is done between a pair of bamboo poles.

The older people claim that the ‘Tinikling Ha Bayo’ from which the tinikling dance evolved is
more difficult to perform. It was originally danced between ‘bayuhan’, two wooden pestles
used to pound the husks off the rice grain.

Sample Video and Music: https://youtu.be/aY8rMzpCOaw

Dances of Muslim Mindanao

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.

Pangalay
Tribe: Badjao
Origin: Zamboanga del Sur

A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." 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.

Sample Video and Music: https://youtu.be/GTd-

u5A_otw
34

Asik
Tribe: Maguindanao
Origin: Lanao del Sur

A solo slave dance performed by the umbrella-bearing attendant to win the favor of her sultan
master. The girl wears long metal fingernails and dances and poses in doll-like motions. Asik
usually precedes a performance of Singkil.

Sample Video and Music: https://youtu.be/n7gG5jCo0sw

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.

When performed by ladies of the royalty of Lanao, the dancer is usually accompanied by a
waiting lady, who holds a beautifully decorated umbrella over the Princess' head wherever
she goes. Royal princesses to this day in the Sulu Archipelago are required to learn this most
difficult and noble dance.

Sample Video and Music: https://youtu.be/6jW6tc1GLfE

35

Pangsak
Tribe: Yakan
Origin: Basilan

The Yakan are a Muslim ethnic group in the highlands of Mindanao. They wear elaborately
woven costumes tightly on their bodies. Their dances involve complicated hand and foot
movements. In this dance, a man unties a wrap from his wife-to-be's waist to wrap around her
body and dance with. Both of their faces are dotted with white paint, to hide their identity from
evil spirits.

Sample Video and Music: https://youtu.be/bY7Zp1cI_SE

Pagapir
Tribe: Maranao
Origin: Lanao del Sur

Pagaper depicts a royal manner of "walking" among the Maranao people who live mainly
around Lake Lanao. Ladies of the royal court perform this stately dance in preparation for an
important event. The ladies gracefully manipulate the Aper (apir) or fan, while emphasizing
their small steps, or "kini-kini", which is a sign of good upbringing.

Sample Video and Music: https://youtu.be/revS-kD3HFw

36

Sagayan
Tribe: Maguindanao
Origin: Cotabato

Performed by very fierce warriors carrying a shield elaborately painted with curlicues, rounds,
twirls and mirrors which are attached with shell noisemakers. In their other hand, they carry a
double-bladed sword (kampilan) of metal or wood. Sagayan dancers are dressed in three
tiered skirts, brightly colored topper and headgear embellished with all the imaginable colors
of twine trimmings formed into flowers, balls, sunbursts etc. Long, yellow playful tassels
almost hiding the face surround the headgear.

The dance involves leaping, turning, jumping, kicking and the rolling movements of a warrior
ready to defend his master in battle. Kamanyang fumes inhaled by the sagayan moves him to
perform in a magic-like trance. On most occasions, this dance is performed before any
celebration or gathering to drive away evil spirits (tunong) and to welcome good fortunes or
omen.

Sample Video and Music: https://youtu.be/NHyQc-GjA_Y

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.

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.

Sample Video and Music: https://youtu.be/BWeBP67fMYE

37

Activity 13: Quiz

WEEK 12: Practice Task 5 Rural dance (or Countryside dance) and Dances of Muslim
Mindanao

WEEK 13:

Activity 14: PERFORMANCE TASK 5:

 Rural dance (or Countryside dance)
 Dances of Muslim Mindanao
NOTE: Your dance will be based on the one you will be able to pick inside the bowl.

Instructions:
1. Create an introduction video of your dance with the following details;
Title
Place of Origin
Background/ history
Costume
2. Perform your assigned dance during the on-site class.
3. Costume/ Modified costume is a MUST. (with props if need for the dance)

CATEGORY MAX SCORE COMMENTS

Choreography 20
Variety of movements
Difficulty
Projection
Facial Expression 20
Energy and Enthusiasm
Consistency of movements
Execution of Movements
Spacing 20
Formation
Transition and Flow
Technical Skills
Precision of Steps and Formation 20
Uniformity and Timing
Rhythm
Overall Impression
Appeal 20
Costume
Music Interpretation
Penalty Yes Exceeds in time limit
No Did not follow the required duration
TOTAL 100

FINAL SCORE: _______

38

WEEK 14: Philippine Tribal Dances

Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses
influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a
strong flavor from other lands, there are people who have lived there before it became a
breeding ground of foreign trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and
other groups inhabit the vast regions of Mindanao.

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.

Kadal Blelah
Tribe: T'boli
Origin: Lemlosnon, South Cotabato

Dancers perform a simulation of movement of birds.

Sample Video and Music: https://youtu.be/GM9HXXiWeaE

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.

Sample Video and Music: https://youtu.be/FvsONg-9Ieg

39

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.

Sample Video and Music: https://youtu.be/elvLV1oA8qU

Bagobo Rice Cycle

This Bagobo tribal dance protrays the cycle of planting and harvesting of rice.

Sample Video and Music: https://youtu.be/QpAEwvM8kUk

40

Dugso
Tribe: Talaindig
Origin: Bukidnon

A dance of thanksgiving.

Sample Video and Music: https://youtu.be/18yquOFzJAE

Activity 15: Quiz

WEEK 15:
Activity 16: PREFINALS

Assignment 6:
Practice dances for Philippine Tribal Dances

WEEK 16:
Practice week for Philippine Tribal Dances

WEEK 17:

Activity 17: PERFORMANCE TASK 6:

 Philippine Tribal Dances

NOTE: Your dance will be based on the one you will be able to pick inside the bowl.

Instructions:
1. Create an introduction video of your dance with the following details;
Title
Place of Origin
Background/ history
Costume
2. Perform your assigned dance during the on-site class.
3. Costume/ Modified costume is a MUST. (with props if need for the dance)
41

4. CRITERIA:

CATEGORY MAX SCORE COMMENTS

Choreography 20
Variety of movements
Difficulty
Projection
Facial Expression 20
Energy and Enthusiasm
Consistency of movements
Execution of Movements
Spacing 20
Formation
Transition and Flow
Technical Skills
Precision of Steps and Formation 20
Uniformity and Timing
Rhythm
Overall Impression
Appeal 20
Costume
Music Interpretation
Penalty Yes Exceeds in time limit
No Did not follow the required duration
TOTAL 100

FINAL SCORE: _______

WEEK 18
Activity 18: FINAL EXAM