DANCE

IN
THE
PHILIPPINES
Dance in the Philippines has played a tremendous role in Filipino culture. From one of
the oldest dated dances called the Tinikling, to other folkloric dances such as
the Pandanggo, Cariñosa, and Subli, and even to more modern-day dances like the ballet, it
is no doubt that dance in the Philippine setting has integrated itself in society over the
course of many years and is significantly imbedded in culture. Each of these dances
originated in a unique way and serve a certain purpose, showcasing how diverse
Philippine dances are now.

Types of major ethnic groupings with indigenous dances of the Philippines

Cordilleran People

There are six ethnolinguistic tribes living in Luzon's mountain terrains: the Igorot,

Bontok, Ifugao, Benguet, Apayo, and the Kalinga tribes, which retained much of
their anito religions. Their lives have been centered on appeasing their gods and
maintaining a harmonious relationship between spirits and man. Dances are usually
linked to rituals for a good harvest, health, prayers for peace, and safety in war.

Type of Origi
Tribe Purpose
Dance n

One popular contemporary performance in the

Philippines is named after the large banga pots. This
performance originated in the province of Kalinga of the
Mountain Province. As many as seven or eight pots are
Banga Kalinga balanced on the heads of maidens as they move to the
beat of the gangsa, a type of gong, while they go about
their daily routine of fetching water while balancing the
banga. This is why the tribesmen are known as fierce
warriors.

Manmanok is a dance that dramatizes is a dance that

portrait the rooster and the hen, Lady Lien. They try to
Manmanok Bago
attract her by making use of blankets that depict their
feathers and wings.

Tarektek Benguet Tarektek dramatizes two male tarektek woodpeckers

who try to get the attention of three females. The first
woodpecker tries doing this by showing his good voice.
This was portrayed by the banging of a brass gong. On
 the other hand, the second tries impress the females by
showing off his feathers. This was portrayed by the use
of colorful blankets that are moved around in bird like
movements.

Coined from the word ipugao meaning “coming from the

earth” is the term Ifugao, pertaining to the people of the
province who are called to be the “children of the earth.”
As well as to the province itself, according to the
Uyauy/Uyaoy Ifugao Spaniards. Those who belong to the wealthy class, the
Kadangyans, have the privilege to use the gongs that are
used at the wedding festival dance. The same dance is
performed by the people who desire to reach the second
level of the wealthy class.

Moro

The Moro people are the various usually unrelated Muslim Filipino ethnic groups. Most of

their dances are marked by intricate hand and arm movements, accompanied by
instruments such as the agong and kulintang.

Type of
Origin Tribe Purpose
Dance

The Panglay, a dance native to the Badjaos meant

to highlight the power of the upper body, is
Zamboanga executed through the rhythmic bounce of the
Pangalay Badjao
del Sur shoulder  while simultaneously waving the arms.
Most times, this dance is performed in social
gatherings like weddings.

Singkil Lanao Maranao Singkil is a Filipino dance that narrates the epic
legend of “Darangan” of the Maranao people of
Mindanao. This 14th century epic is about 
Princess Gandingan getting trapped in the forest
during an earthquake that was said to have been
caused by the forest nymphs or fairies called
diwatas. The name “Singkil” is derived from the
 bells worn by the Princess on her ankles.

Sagayan is a dance often performed before

celebrations, and to get rid of bad spirits and to
welcome good ones. The performers are fierce
warriors who portray movements that depict a
warrior trying to protect his master in battle.
Sagayan Cotabato Maguindanao This means that many acrobatic movements are
involved in this dance. They carry a shield on one
hand and a kampilan on the other, a double-sided
sword made of either wood or metal. These
dancers also wear bright colored materials for
their three tiered skirts, toppers and headgear.

Lumad

The non-Islamized natives of Mindanao are collectively known as the Lumad people. Like

the Igorot, they still retain much of their animistic anito religions.

Type of
Origin Tribe Purpose
Dance

The Kuntaw, which originates from the Malay

Kuntaw word meaning “fist”, is one of Mindanao's best-
T’boli kept secrets. It is a martial arts dance that
includes gestures of the fist, accompanied by
other actions like jumps, kicks, and knee bends.

A lawin, Philippine hawk eagle, is endemic to the

Philippine region. The lawin-lawin dance tries to
Davao del
Lawin-Lawin Bagobo imitate how the eagle soars the sky by making use
Sur
of shields to represent the wings. This is
performed by males of the Bagobo tribe.

Bangkakawan Bukidnon Monobo The Bangkakawan, a fishing ritual, originated

from the Tigwahanon Manobos of Bukidnon. A
huge log is carved to replicate the shape of a
palungan (snake) and is used to making steady
 beats and rhythms to make fish dizzy and less
difficult to catch.

A ritual meant for the rice harvest, the Pagdiwata

was a nine-day demonstration among the
Pagdiwata Tagbanau Tagbanuas of Palawan to give thanks. This
revolved around the babaylan or priestess and her
ministrations.

The Sayagan is a dance meant for courtship

wherein a man asks for a womans hand by putting
Sagayan Tagbanau his piz cloth on the ground. For the woman to
answer him back, she must likewise put her own
cloth on the ground.

Christianized Filipinos

The majority of Filipinos are the Christianized lowlanders of the islands. Their dances are
heavily influenced by Spanish culture, though still retaining native aspects. The dances
range from courtship dances, to fiesta (festival) dances, to performance dances. The
traditional attire in these dances include the balintawak and patadyong skirts for the
women, and camisa de chino and colored trousers for the men.

Type of
Origin Tribe Purpose
Dance

The name Bulaklakan originates from the numerous

flowers that grow in the area of Bulacan. The dance is
Bulaklakan Bulacan dedicated to the Virgin Mary performed widely in the
month of May as part of the celebration of their holy
week.

Maglalatik In the separation of Loma and Zapote of Binan,

Laguna during the Spanish regime, the two barrios
danced the maglalatik. The Maglalatik or Magbabao is
a war dance in portrayal of a fight over
 prized latik between Moros and Christians.

The tinikling is named after the tikling bird. The

dancers imitate the bird's flight in grace and speed as
Tinikling Leyte they play and chase each other, run over tree
branches or dodge farmer's traps. The dance is done
with a pair of bamboo poles

Subli is a famous dance in barrios of the municipality

of Bauan, Batangas. It is a ceremonial dance
Subli Batangas
performed in fiestas every May in homage to Mahal
Na Poong Santa Cruz.

The Sayaw sa Obando is performed in honor of Santa

Clara, patron saint of the childless. It is the childless
Sayaw Sa
Bulacan women usually from Malabon and Navotas who
Obando
participate in the dance as part of a ritual to ask the
said saint to grant their wishes to have a child.

Cariñ osa or Karinyosa is a well known dance around

the Philippines with the meaning of the word being
affectionate, lovable, and amiable. The dancers use a
Cariñ osa handkerchief and go through the motions of hide and
seek or typical flirtatious and affectionate
movements. The dance comes in many forms but the
hide and seek is common in all.

Coming from the Spanish word “fandango”, the dance

is characterized by steps and clapping that varies in
Pandanggo Sa
Mindoro rhythm in 3/4 time. The Pandanggo sa Ilaw demands
Ilaw
three oil lamps balanced on the heads and the back of
the hands of each dancer.

Learning Task 1: WORD GAME

Directions: Look for the different tribes that can be found in our country. Mark your
answer by encircling your found words. Ten tribes can be found on the given table. Read
carefully to find the answer.
 M K B C G H X L M N P
A A D F H V T B O L I
R H G K W X H J A D Z
A X F U Y T R O M H Q
N Z T Q I J B A G O W
A V A G W N L J P U B
O A G U F I D D W T A
X J B V R V H A S G G
M K A N M X Z B N F O
B E N G U E T S D A B
O L A D F G H M F F O
Q R U T V N N J V B X
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Impact of societal functions to choreography

Other less common presentations of Philippine dances have been categorized by intention,
or societal functions. Philippine dances not only convey the artistry of movement, but are
often associated with life-functions such as weddings, the mimicry of birds, or even rituals
like the warding of evil spirits. This outlook on dance can be separated into the following
categories:

Ritualistic dances

Filipino rituals are based on the belief that there exists a delicate balance between man
and nature, and the spirit world; and that it is through rituals that we can restore, enhance
or maintain this balance. It clarifies our place in the universe; each gesture and move in
the dance are symbolically articulating the role of man and human in the world. The
dances contain narratives which illustrate the contractual obligations governing
relationships between mankind, nature and the spirits. Because there are innumerable
reasons for why and how humans can cause shifts in the balance or forget their place in
the grander scheme, there are also innumerable rituals that can correct or address the
concerns. Thus, it is in looking at their intentions that it can be better understood,
interpreted and classified. Some of the rituals attempt to define the future, appease spirits,
ask for good harvests, invoke protection, heal the sick, asking for good luck, guidance and
counsel. Almost every facet of Filipino life is linked to a ritual practice and is an indication
of the value and pervasiveness of rituals in folk culture.

Filipino rituals are often shown in dance, because for Filipinos, dance is the highest
symbolic form. It transcends language and is able to convey emotions, collective memory,
and articulate their purpose. Dance in this case, is the fundamental expression of their
complex message and intention. Aside from ritualistic dance as a way to convey their
request to the gods or spirits, it also reaffirms social roles in village hierarchies. The
leaders of the dances are the masters of the village's collective memory and knowledge
and subsequently commands the highest respect and status.

Forms

Rituals have been greatly influenced by rich colonial history, as well as archipelagic
geography. As a result of this, each major geographic area such preserved distinct
traditions, some preserving pre-colonial influences, while others were integrated or
completely changed. Islam was deeply rooted in Mindanaoan culture long before Spanish
colonist arrived and were mostly left untouched from the presence of Colonial Authorities,
thus they continued to keep their mythic Islamic practices. Unlike the Filipinos of the
lowlands, who integrated Christian and Catholic practices to form a uniquely Filipino folk
Christianity which is still practiced today.

Structure

As rituals are mostly in the form of dances, it uses gestures, incantations and
symbolic implements to invoke spirits, to restore balance or to ask for intercession for
harvests, good marriages, safety in journey or counsel. Rituals then, have 2 intended
audiences, the spirits who are summoned to placate their anger or to call for their
participation to restore balance and to care and provide for mankind. The second
audience are the practitioners. In carrying out the rituals, they are reflecting and passing
on the collective knowledge and memory of the village, which have been accumulated and
refined across many generations. It is through the use of dramatic gestures and dance that
symbolic narratives, their values and beliefs are recorded and safeguarded from
forgetting. The performance of ritual dances is ultimately an act of recollection. It is a
reminder for men and spirit their duties and responsibility in restoring the world's
balance. And within the dance itself, practitioners are reminded of the significance of the
past, and are being prepared to accommodate the uncertainties that the present and
future may bring.

Functions

Dancing for Filipinos have always imitated nature and life, and is seen as a form of
spiritual and social expression. Birds, mountains, seas and straits have become inspiration
for local dances. The tinikling mimic the rice-preying birds, the itik-itik is reminiscent of
its namesake the duck, the courtship dances of the Cordillera are inspired by hawk-like
movements.

Geographic location also influence what movements are incorporated into the dances.
People from Maranao, Maguindanaon, Bagobo,
Manobo, T’boli of Mindanao and Tausug and Badjao of Sulu. Draw influences from aquatic
life as they are near bodies of water and have lived their lives mostly off-shore. Their
dances accompanies by chants, songs and instruments like
the kulintang, gong, gabbang and haglong, as well as a variety of drums show their zest for
life.  

Some rituals are used as religious expressions to honor the spirits and ask for blessings in
each facet of life, such as birth, illness, planting, harvest or even death. They believe
in diwatas, or spirits dwelling in nature, which can be appeased through offerings and
dance as a means to commune with the spirit.

Learning Task 2: LIST THEM DOWN

Directions: Write the correct answers.

Philippine dances not only convey the artistry of movement, but are often associated with
life-functions such as weddings, the mimicry of birds, or even rituals like the warding of
evil spirits. This outlook on dance can be separated into four categories. What are these
categories?

1._____________________________________________________________

2._____________________________________________________________

3._____________________________________________________________

4._____________________________________________________________

Filipino rituals are based on the belief that there exists a delicate balance. What are these
three that needs to be balanced delicately ?

5._____________________________________________________________
6._____________________________________________________________

7._____________________________________________________________

Give at least 3 instruments that is usually used as accompaniment for dance songs by the
people of Maranao, Maguindanao, Bagobo and other tribes in the Philippines.

8.____________________________________________________________

9.____________________________________________________________

10.__________________________________________________________

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Dance over the years

To better understand these dances, the time period of these dances must be
considered. Depending on each period, they have had their own ways of influencing and
inspiring the dances which then evolve and change depending on these elements.

Pre-colonial

Pre-colonial dances are distinctly meant to appease the Gods and to ask favors from
spirits, as a means to celebrate their harvest or hunt. Their dance mimicked life forms and
the stories of their community. Moreover, theses dances were also ritualistic in nature,
dances articulated rites of passages, the community's collective legends and history.

Across the 7,641 islands in the Philippines, there are various tribes scattered all
over, each with their own unique traditions and dances. The Igorots from the mountains of
Luzon, resisted Spanish colonization and influences have kept most of their dances
untouched across generations. Their dances express their love of nature and gratitude to
the gods. Their choreography imitates nature and their life experiences. Dancers would
often swoop their arms like birds and stomp their feet as a representation of the rumbling
earth.

Spanish era

Spanish colonist have moderated and even led the politics and economics of the
country, which was mainly due to the Spanish colonialism starting from the 16th century.
Despite the pre-colonial people having their of type of government, writing, myths, and
traditions, several features of Hispanic culture have influenced different aspects of todays
Filipino culture, from clothing, such as the barong Tagalog and the terno, to their religion
even up to the dances and music.
 Pre-colonial Filipinos already had their own set of music and dances before Spanish
colonist came; dances were performed for different reasons, from weddings up to
religious feasts, even to prepare for or celebrate war. As the Spanish colonist realized the
relevance of these dances for the Natives, dancing was utilized as a relevant social activity.
Some of the first dances they presented were the rigodon, Virginia, and lanceros; these
were dances done for the higher class and special fiestas. Filipino dance styles like the
kumintang, type of song and dance, and dances like the Pampangois, a dance distinguished
for its lion-like actions and hand clapping, were pushed aside when Spanish colonist had
come. However, they were later remade with influences from new Spanish dances such as
the fandango, lanceros, curacha, and rigodon, Other features that were done when
adopting these Hispanic dances was the addition of local elements like using bamboo,
paypays (local fans), and coconut or shell castanets.

Filipinos, mainly aristocrats, have also created their own renditions of Hispanic and
other European dances such as the jotas, fandangos, mazurkas, and waltzes that were
done during this time. The fandango after it was introduced was recreated as the
pandaggo; the same happened to the jota that was then recreated in several regions;
Cariñ osa and Sayaw Santa Isabel had steps that were taken from a popular dance, the
waltz. Other examples would be how the rhythm and tempo of the jota and the polka
influenced traditional dances like the Tinikling and the Itik-itik, which were also inspired
from Southeast Asian dances. Dances that were not accompanied by Western music were
also given their own accompaniments, such as the case of Pandanggo sa Ilaw.

American era

Just like in the Spanish colonization, the Americans, in 1898, had brought in their
own commercial and global culture which had also influenced the Filipinos. Those with
interest in dance were the ones mainly appealed to by the more Black-influenced customs
of dance and music. With these Filipino dancers who already know the zarzuela
(sarswela), a Spanish form of stage performance with singing and dancing and musical
comedy, they became more interested in the American vaudeville (bodabil) or “stage
show”, which is filled with both theatrical and circus acts, and more reminiscent of
Broadway musicals. More dynamic dances were incorporated in these zarzuelas during
the 1950s to the 1970s. This growth of American-influenced dances also spawned the
increase of cabarets, such as the Santa Ana Cabaret which is a huge ballroom dedicated for
these performances. The disco scene also grew more in the 1980s.

Known as the “Dean of Philippine vaudeville,” John Cowper had brought with him other
artists when he had come. As with the growth of American influence over dance in the
country, Filipinos had started creating their own dance troupes; some of these would be
the Salvadors, the Roques, Sammy Rodrigues, Lamberto Avellana, and Jose Generoso to
name a few. Aside from having international acts come, other talents also came to
perform, with the notable one being Anna Pavlova in 1922 and performed at the Manila
Grand Opera House. More international acts came to perform in the Philippines after,
while some also trained Filipino dancers, one of which is Madame Luboc “Luva” Adameit
who trained some of the first notable ballet dancers who had also become
choreographers: Leonor Orosa Goquingo, known for her folk-inspired ballet performances
(such as Filipinescas), Remedios “Totoy” de Oteyza, and Rosalia Merino Santos.

Aside from the rise of American dances and European style ballet, modern dance
had also started taking form during this period in the vaudeville circuit. Ruth St.
Denis and Ted Shawn, two founders of modern dance visited the Manila in 1926. Other
modern dancers also performed in the country which led to some Filipinos training under
this dance style. With the growing popularity of this dance style, Filipino dancers
continued to mix in elements of folklore and native themes. Anita Kane produced Mariang
Makiling in 1939 and it was the first full-length Filipino ballet performance. She also has
other works such as Reconstruction Ballet, Mutya ng Dagat (Muse of the Sea), Inulan sa
Pista (Rained-out Feast), and Aswang (Vampire), which all had Filipino motifs.

Modern era

The Bayanihan Philippine National Folk Dance Company has been lauded for

preserving many of the various traditional folk dances found throughout the Philippines.
They are famed for their iconic performances of Philippine dances such as
the tinikling and singkil that both feature clashing bamboo poles.

Learning 3: LET’S SUM IT UP

Directions: Write a short essay of what you learned about what you have read about the
dances in the Philippines. Write at least a paragraph about it.

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Learning 4: COMPLETE ME!

Directions: Below are short descriptions of folk dances in the Philippines. Identify what
folk dance, which tribe it came from and the place of its origin. Write your answer on the
space provided.

DANCE DESCRIPTON TYPE OF TRIBE ORIGIN

DANCE
The dance tries to imitate how the lawin or
the eagle soars the sky
A dance native to the Badjaos meant to
highlight the power of the upper body.
A fishing ritual where huge log is carved to
replicate the shape of a palungan.
A dance often performed to get rid of bad
spirits and to welcome good ones.
A Filipino dance that narrates the epic legend
of “Darangan”