“A LA JOTA”

Reporter: Elmae Jane M. Melloria

1
 A LA JOTA
(Tagalog)

This festival dance was discovered in San Pablo, Laguna. It is gay and lively like the other jotas found in
different regions of the Philippine
COSTUME: Girl wears Maria Clara style costume and Boy, Barong Tagalog and black trousers.
MUSIC is divided into five parts: A, B, C, D, and Finale.
COUNT one, two, three to a measure, or one, two, three, four, five, six to two measures.
FORMATION. Partners face each other about six feet apart. When facing audience. Girl stands at
the partner's right side. One or more pairs may take part in this dance.

INTRODUCTION
Music Introduction.
Three-step turn right in place and bow to each other. Arms down at sides…………………………………2M
Music A.
(a) Sway balance R with a brush. Arms In fourth position, R arm high…………………………….2M
(b) Waltz step obliquely forward L and obliquely backward R. Girl holds skirt, Boy places hands on
waist…………………………………………………………………………………………………2M
(c) Repeat (a) and (b), starting with L foot. Reverse position of arms in (a)………………………..4M
(d) Repeat all (a-c)…………………………………………………………………………………..8M
Music B.
Partners face audience.
(a) starting with R foot, take three steps forward (cts. 1, 2, 3). Step L close to R foot (ct. 1), pause
(cts. 2, 3). Girl holds skirts, Boy places hands on waist………………………………………...2M
(b) Jump to cross R foot over L in front. Hands as in (a)…………………………………………...1M
(c) Pause (ct. 1), stamp R foot obliquely forward right (cts. 2, 3). Arms in reverse "T" position…..1M
(d) Tap R close to L foot (ct. 1), stamp R obliquely forward right (cts. 2, 3). Tap R again close to L
foot (ct. 1), pause (cts. 2, 3). Arms as in (c) with a kumintang for every tap ………………………2M
(e) Repeat (a), moving backward to proper places………………………………………………….2M
(f) Repeat all (a-e) …………………………………………………………………………………..8M
Note: The stamp-and-tap movement is called panadyak.

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Music C
Partners face each other
(a) Stamp R (cts. 1,2) and tap R (ct. 3) as in figure II (panadyak) four times, turning, turning around
in place clockwise, pivoting on the L foot. Arms in reverse “T” position with kumintang. Put weight
on the R foot on the fourth tap………………………………...…………………………………….4M
(b) Repeat (a) with the L foot, pivoting on R while turning counterclockwise. Put weight on the L
foot on the fourth tap……………………………………...…...……………………………………4M
(c) Waltz sidewards right and left. Arms in lateral position, moving sideward right and left……...2M
(d) Stamp and tap with the R loot (panadyak) as above twice. Put weight on the R foot on the second
tap…………………………………………………………………………………………………...2M
(e) Waltz sideward left and right. Arms In lateral position, moving sideward left and right……….2M
(f) Three-step-turn left in place. Girl holds skirt. Boy places hands on waist………………………2M
Music D. Play slowly.
Partners face each other.
(a) Step R foot sideward (Ct. 1), point L across R in front (ct. 2, 3). Girl holds skirt, Boy places hands
on waist……………………………………………………………………………………………...2M
(b) Repeat (a) starting with L foot…………………………………………………………………..2M
(c) Starting with R foot, take three steps forward to meet partner at center (cts. 1, 2, 3), join right
hands and bow to each other (as if shaking hands) (cts. 4-6)………………...……………………..2M
(d) Release hands. Cross L foot over R in front and make a complete turn right (1M). Finish facing
partner. Pause (1M)………………………………………………………………………………….2M
(e) Join R hands again. Step R foot forward (ct. 1) brush L forward (ct. 2), step L close to R foot (ct.
3). Repeat same five more times to turn around clockwise. Free hands of partners are placed on
waists…………………………………………………………………………………………...…...6M
(f) Release hands. Starting with R foot, take three steps backward to places (cts. 1, 2, 3). Step L close
to R foot and pause (cts. 1,2, 3). Hands as in (a)……………………………………………………2M
Music C
Partners face audience.
(a) Starting with inside foot, take three steps sideward to exchange place with partner. Girl passing in
front. Arms down at sides (cts. 1, 2, 3). Stamp with inside foot (ct. 1), pause (cts. 2, 3). Outside arms
in reverse "T" position, inside hands on waists……………………………………………………..2M
(b) Repeat (a) three more times, exchanging places every two measures…………………………..6M
(c) Sway balance R with a brush. Arms in fourth position, R arm high…………………………….2M
(d) Three-step turn left in place. Girl holds skirt, Boy places hands on waist………………………2M
(e) Repeat (c) and (d) starting with L foot. Reverse arm position in (c) and the turn in (d) doing it in
one measure only…………………………………………………………………………………....3M

3
Music Finale.
Partners face each other.
(a) Meet at center and join R hands. Girl whirls clockwise under arch of arms ns many times as
possible (4 M). Reverse turn (4 M). Boy stands in place…………………………………………...8M
(b) Finish in one line at center. Girl in front of Boy. Join both hands, L hand high and point R foot
sideward. Look at each other over the R shoulder of Girl…………………………………………..2M

4
 “ALITAPTAP”
Reporter: Mary Cris C. Noynay

5
 ALITAPTAP
(Tagalog)
Alitaptap is a Philippine folkdance that originated from the province of Batangas and its native to the
Tagalogs. The term Alitaptap refers to an insect (firefly) which flies only at night and looks like it carries a
lamp.
COSTUME: Girls are dressed in Balintawak style costume and BOYS in Barong tagalog and white trousers.
MUSIC: is composed of Two parts: A&B
FORMATION: Partners stand opposite each other about 6 feet apart, Girl at partner's right side when facing
audience. One to any number may take part in this dance.

—I—
Music A.
Partners face each other
(a) Waltz sideward R and L. Girl holds skirt, Boy places hands on waist...........................................2M
(b) Stand in place and Kumintang R (1m) and L (1m) free hand on waist............................................2M
(c) Repeat (a) and (b) three more times, starting L, R, L.....................................................................12M
—II—
Music B.
Face Front
(a) Starting with R foot, take two Waltz steps forward Arms in lateral position moving sideward right
and left, fingers fluttering.......................................................................................................................2M
(b) Point R foot obliquely forward R (1M), point R across the L in front (1M). Girls holds skirt, Boys
hands on waist.........................................................................................................................................2M
(c) Repeat (a), moving backward............................................................................................................2M
(d) Execute a three step turn right in place. Hands as in (b)..................................................................2M
(e) Repeat all (a-d) .................................................................................................................................8M
—III—
Music A.
Partners face each other
(a) Take two close steps sideward right. Arms in lateral position sideward right, Kumintang with both
hands for every measure.....................................................................................................................2M
(b) Repeat (a) sideward left. Reverse arm position...............................................................................2M
(c) Do-si-do starting with Right foot, take two waltz step forward passing by each other's R shoulder
and two waltz steps backward passing by each other's L shoulder. Girls holds skirt, Boys hands on
waist....................................................................................................................................................4M

6
 (d) Repeat all (a-c) ................................................................................................................................8M
—IV—
Music B
Partners face each other
(a) Step R sideward (ct. 1), tap L twice in front (cts 2,3). Repeat the same, starting with L foot (cts
1,2,3). Girls hold on skirt, Boys hands on waist...............................................................................2M
(b) Starting with R foot, take three steps forward, hands as in (a), (cts 1, 2,3). Brush L forward (cts
1,2,3). Finish in one line by each other's L shoulder. Arms in fourth position, R arm high...............2M
(c) Repeat (a) and (b), starting with L foot and moving backward in (b)…………………………...4M
(d) Repeat (a) and (b)..........................................................................................................................4M
(e) Starting with L foot, take two waltz steps backward to proper places. Arms in lateral position,
moving sideward left and right...........................................................................................................2M
(f) Execute a three step turn left in place and bow to each other or to audience. Hands as in (a)......2M

7
 “BA-INGLES”
Reporter: Jony B. Wande

8
 BA-INGLES
(Ilocano)
This is a lively delightful dance from Cabugao, Ilocos Sur. Ba-Ingles is derived from the words
"baile" and "Ingles" meaning English dance. This dance was perhaps brought here by the early English
tradesmen. Except for the last figure which is typically Ilocano in mood and movements, all the other figures
are similar in nature and mood to some English dances.
COSTUME. Dancers are dressed in Ilocano peasant costume.
MUSIC is divided into three parts: A, B, and C.
COUNT one, two, or one, and, two to a measure.
FORMATION. Partners stand opposite each other about six feet apart. When facing audience, Girl
stands at partner's right. One to any number of couples may take part in this dance.

INTRODUCTION
Music Introduction.
Three-step turn right in place and bow to partner or audience, Girl holding skirt, Boy's hands on
waist…………………………………………………………………………………………………2M
Music A.
Figure I
(a) Starting with R. foot, take four change steps forward to meet partner at center. Kumintang R and
L hand alternately, free hand on waist………………………………………………………………4M
(b) Turn right about and repeat (a) going to proper places. Finish facing partner, turning right
about………………………………………………………………………………………………...4M
(c) Repeat (a) and (b)………………………………………………………………………………..8M
Music B.
Figure II
The movements of Boy and Girl are done simultaneously.
Boy
(a) Starting with R foot, take four change steps forward to partner's right side (take bigger steps to
reach partner's side), kumintang hands as in figure I (a)……………………………………………4M
(b) Turn right about and repeat (a) going to proper places. Finish facing partner, turning right
about………………………………………………………………………………………………...4M
(c) Repeat (a) to partner's left side…………………………………………………………………..4M
(d) Repeat (b)………………………………………………………………………………………..4M
Girl
Clap hands three times to measure (cts. 1, and, 2) throughout this figure………………………....16M

9
Music B.
Figure III
Throughout this figure kumintang R and L hand alternately as in figure I (a).
(a) Partners take two change steps forward, starting with R foot, to meet at center………………..2M
(b) Change-step turn right (use two change steps) in place. Finish the turn in front of partner, facing
each other……………………………………………………………………………………………2M
(c) Two change steps forward, passing by each other's R shoulder, going to partner's place……….2M
(d) Change-step turn right about (use two change steps). Finish facing each other………………...2M
(e) Repeat all (a-d) finishing in proper places……………………………………………...……….8M
Figure IV
Music C. Play slowly.
(a) Starting with R foot, partners take four steps forward to meet at center, Girl holding skirt, Boy's
hands on waist……………………………………………………………………………………….2M
(b) Face left and step R foot sideward (ct. 1), point L foot across R in rear and bend knees slightly,
kumintang R hand, L hand on waist (ct. 2). Partners stand side by side by the R shoulders and
looking at each other……………………………………………………………………...…………1M
(c) Step L foot sideward (ct. 1), turn right about and point R across the L in rear. Bend the knees
slightly, kumintang L hand, R hand on waist (ct. 2). Partners stand side by side by L shoulders and
looking at each other………………………………………………………………………………...1M
(d) Facing each other and starting with R foot, take four steps backward to proper places. Hands as in
(a)……………………………………………………………………………………………………2M
(e) Four steps in place, starting with R foot. Hands as in (a)………………………………………..2M
(f) Repeat all (ae)……………………………………………………………………………...…….8M
Figure V
Music A.
Repeat figure I……………………………………………………………………………………..16M
Music B.
Figure VI
Repeat figure II. This time Girl goes to the right and then to left side of partner, Boy claps
hands………………………………………………………………………………………….……16M
Music B.
Figure VII
Repeat figure III……………………………………………………………………………………16M
Figure VIII
Music C.

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 Repeat figure IV……………………………………………………...……………………………16M
SALUDO
Music Finale.
Three-step turn right in place and bow to partner or audience, Girl holding skirt, Boy's hands on
waist…………………………………………………………………………………………………2M

11
 “BALSE”
Reporter: Gerrynel M. Espinosa

12
 BALSE

(Tagalog)
Balse was a popular dance in Marikina, Rizal during the Spanish times. This dance was performed
after the lutrina and the music that accompanied the dancers was played by the musikong bungbong.
Traditionally the lutrina is usually held when people of a certain community suffer from a long dry season or
pestilence of any kind. The participants carry lighted candles and they pray along the way with a statue of
their patron saint. After the procession, the participants gather at the house or yard of the Hermana and the
bags of foods are distributed to them. During refreshments or after it, there is dancing and singing by the
people gathered there.
COSTUME: Girl: Balintawak style with tapis, soft pauelo and corcho. Boy: Barong T agalog, white
trousers and chinelas
COUNTINGS: 1, 2, 3 to a measure
MUSIC: The music that accompanied the dancers was played by the musikong bungbong (musicians
using instruments made of bamboo).
FORMATION: Partners face each other about 6 feet apart, girl standing at the right when facing
audience. Any number of pairs may participate in this dance.

INTRODUCTION

BASIC DANCE STEPS

(a) Execute a three step turn right in place (cts. 1. 2. 3), Feet together and bow to each other (cts. 1 2,
3)…………………………………………………………………………………………………….2M
Girl holds skirt, Boys hands on waist.
Figure I Music A
Partners face each other. Throughout this figure Girl holds skirt, Boy places hands on waist.
(a) Starting with R foot, take four waltz steps obliquely forward right, passing by L shoulders, going
to partners place..................................................................................................................................4M
(b) Repeat (a), moving obliquely backward left to proper places…………………………………..4M
(c) Repeat (a) moving obliquely forward left, passing by R shoulders……………………………..4M
(d) Take two waltz steps obliquely backward right (2 M), three step turn right to proper places (2
M)…………………………………………………………………………………………………...4M
(e) Repeat all (a-d), starting with L foot and moving obliquely forward left first. Reverse turns in
(d)…………………………………………………………………………………………………..16M
Figure II Music B
Partners face each other. Execute forearm turns to reverse T position. L and R alternately (b-g)
(a) Partners take one waltz step obliquely right forward. Girl holds skirt, boys hands on waist…...1M
(b) Face right and waltz sideward L and R in back-to-back position……………………………….2M
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 (c) Face each other and waltz L sideward…………………………………………………………...1M
(d) Face left and waltz sideward, R and L in back-to-back position………………………………..2M
(e) Face each other and waltz L sideward…………………………………………………………...1M
(f) Repeat (b-e)………………………………………………………………………………………6M
(g) Face right, waltz L sideward in back-to-back position………………………………………….1M
(h) Execute a three-step turn right to proper places. Girl holds skirt, Boy hands on waist…………2M
(i) Repeat all (a-h), starting with L foot. Reverse direction and position of arms………………....16M
Figure III Music A
Partners face each other.
(a) Repeat figure I (a-d). Both hands of Girl are placed at the left side of waist, with finger tips
(except thumbs and little fingers) touching waist, palms up, wrists facing outward toward left. Boy
encircle arms overhead with third fingers touching, palms down. Partners bend trunks slightly to
right and left alternately looking at their hands as they move. When doing the turn, Girl holds skirt
and Boy places hands on waist……………………………………………………..……………...16M
(b) Repeat figure I (e). Girl repeats the hand position and movement of boy and vice-versa in (a).
Partners take the same hand position in (a) in turning……………………………………………..16M
Figure IV Music B
Partners face each other.
(a) Boy starting with L foot and Girl starting with R, take two waltz steps forward to meet at center.
Arms down at sides………………………………………………………………………………….2M
(b) Hold In ballroom dance position and waltz around going to any direction 12M (C) Release hold.
Take a three-step turn (right for Girl, left for Boy) to separate from each other……………………2M
(d) Repeat all (a-c), Bow to each other at the last count of the last measure………………………16M
NOTE:
1. Figure IV may be done once only, if desired. If many pairs are participating, a definite direction
should be taken, clockwise or counterclockwise, when waltzing around in (b).
2. For demonstration, participants may be arranged in a square or in any desired formation.

14
 “BASULTO”
Reporter: Maria Leslie D. Sion

15
 BASULTO
(Pampango)
Basulto is a love song in satirical form. The dance is usually performed with the accompaniment of
the song. One verse of the song is sung, then a figure of the dance is performed. The singing and dancing are
done alternately.
COSTUME. Girl wears balintawak style costume. Boy wears barong tagalog and white trousers.
MUSIC is divided into four parts: A, B, C, and D.
COUNT one, two, three to a measure or one, two, three, four, five, siz to two measures.
FORMATION. Partners stand about six feet apart, facing each other. When facing audience, Girl is
at partner's right. One or more pairs may take part in this dance.

-l-
Music A.
Partners face each other.
(a) Waltz R sideward (cts. 1, 2, 3) point L foot in front (cts. 1, 2, 3). Girl holds skirt. Boy places
hands on waist……………………………………………………………………………………..(2M)
(b) Brush L heel forward (cts. 1, 2, 3). Repeat once more (cts. 1, 2, 3). Bend arms upward and snap
fingers when brushing heel on ct. 1 of every measure…………………………………………….(2M)
(c) Repeat (a) and (b), starting with L foot………………………………………………………..(4M)
(d) Repeat all (a-c)………………………………………………………………………………...(8M)
-ll-
Music B.
Partners face each other.
(a) Step R sideward (ct. 1), step L across R foot in rear (ct, 2), step R sideward (ct. 3), point L in
front (ct. 4), raise L knee in front (cts. 5, 6). Arms sideward at shoulder level, (cts. 1, 2, 3) bending
forearms to chest (ct. 4), turn forearms to reverse "T" position (cts. 5, 6), snap fingers on ct. 5; that is
when raising L knee…………………………………………………………………………….....(2M)
(b) Repeat (a), starting with L foot……………………………………………………………...…(2M)
(c) Repeat (a) and (b), three more times…………………………………………………………(12M)
-lll-
Music C. Hold ct. 2 of M 13.
Partners face each other.
(a) Six sway balance steps with a raise, R and L alternately. Arms sideward at shoulder level (cts. 1,
2, 3) and closing forearms or bending forward in front of chest (ct. 4), turn forearms to reverse "T"
position (cts. 5, 6) alternately. Snap fingers when raising foot on ct. 5 of every two measures...(12 M)

16
 (b) Step R sideward (ct. 1), point L. in front and pause for five counts (cts. 2 to 6). Raise R arm in
fifth position, L arm bent forward at waist level. Bend trunk toward the L foot………………….(2M)
(c) Sway balance with a raise, starting with L foot. Arms as in (a)……………………………….(2M)
Note: This figure may be done also in this manner:

Music C. Play without hold on ct. 3 of M 13.

Take eight sway balance steps with a raise, R and L alternately. Arms as in (a) above………….(16M)
-IV-
Music B.
Partners face each other.
(a) Three-step turn right (cts. 1, 2, 3, point L foot in front (cts. 1, 2, 3), Girl holds skirt, Boy places
hands on waist……………………………………………………………………………………..(2M)
(b) Repeat (a) to left……………………………………………………………………………….(2M)
(c) Side turns right, R arm in fifth position and L hand on waist. Snap fingers of R hand on the first
count of every measure……………………………………………………………………………(4M)
(d) Repeat all (ac), starting L. Reverse turn and position of arms in (c)…………………………..(8M)
-V-
Music D. Play last two measures slowly.
Partners face audience. Join inside hands, free hands-on waists.
(a) Starting with R foot, take three steps sideward right (cts. 1, 2, 3), brush L heel forward (cts. 1, 2,
3)…………………………………………………………………………………………………..(2M)
(b) Release hands. Point L across R foot in front (cts. 1, 2), point L in front (CT.3), R arm high, L
arm bent forward at chest level. Kumintang hands (1M). Repeat all once more (1 M)…………..(2M)
(c) Repeat (a) and (b), starting with L foot, going sideward left. Reverse position of arms……....(4M)
(d) Repeat all (a-c)……………………………………………………………………………...…(8M)

17
 “BINADYONG”
Reporter: Zyra Flore May M. Zamora

18
 BINADYONG
(Visayan)

Binadyong is a lively dance from the province of Iloilo. Badyong refers to the
unsteady swaying of drunkard. This swaying movement is seen in Figure II when the dancer
sways forward and backward when doing the cut step.
COSTUME: Girl wears patadyong and camisa and for the boys, Barong Tagalog and
any color of trouser.
MUSIC: divided into two parts: A and B
COUNT: one, two or one and two in measure
FORMATION: Partners stand opposite each other about six feet apart. Dancers stand
alternately with boy and girl in left side and girl and boy at right side in one

Music A
Partners face at each other. Throughout this figure girls hold patadyong, boys place
hands on waist.
a. Starting with R foot, take two change steps forward to meet at center…(2 measures)
b. Tap R foot in front (ct. 1, tap R across the L in front (ct. 2). Repeat the same (cts, 1,
2)……………………………………………………………………………(2measures)
c. Repeat (a), moving backward to places………………………………….(2measures)
d. Execute a four-step turn right in place, starting with R foot……………..(2measure)
e. Repeat all (a-d)……………………………………………………...…....(8measures)
Music B
Partners face each other.
a. Step R foot forward (ct. 1) , cut R forward with L ( ct. and), step R forward (ct. 2),
Girls hold patadyong and boys place hand on waist………………………..(1 measure)
b. Take four cut steps, forward R and backward L alternately. (cts, 1, 2, 1; 2). Hands as
in (a)………………………………………………………………………..(2 measures)
c. Starting with L foot, take three quick stamps turning right about in place. Hands as
in (a). (cts. 1, and, 2)…………………………………………………….....(1 measures)
d. Starting with R foot, take two change steps forward to proper places. Arms in lateral
position moving sideward right and left……………………………...……(2 measures)
e. Execute a change-step turn right about to face partner. Hands as in (a)………...(2M)
f. Repeat all (a-e)…………………………………...……………………...(8 measures)
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Music A
(a) Girls. Turn R shoulders toward each other. Execute two contagranza steps (R,L) (2
measures); and four gallop steps sideward right to change places, passing back-to-
back (2 measures). Hold patadyong (diagram 2)
Boys. In the meantime, boys stamp with R foot and clap hands at the same time in this
manner: clap and stamp three times to a measure on the first two measures
(contraganza step) and one clap and stamp to every count of the next two measures (on
gallop steps) ……………………………………………………….……..(4 measures)
(b) Boys turn R shoulder toward each other. Repeat movements of girls in (a) and
girls, the boys’ movements…………………………………..…………….(4 measures)
c. Repeat (a) and (b) R shoulders toward each other again. Finish in proper
places……………………………………………………………………………….(8M)
Music B
Partners face each other. Throughout this figure arms in fifth position moving sideward right
and left alternately.
a. Starting with R foot, partners take two change steps forward to meet at
center…………………………………………………...………………….(2 measures)
b. Pairs 1 and 2 face each other, take two change steps forward moving toward each
other. Boy 1 and Girl 2 and Boy 2 and Girl 1 meet each other……………(2 measures)
c. Starting with R foot, take four change backward retracing step back to proper
places………………………………………………………………………(4 measures)
d. Repeat all (a-c)…………………………………………………...……...(8 measures)

20
 “BINISLAKAN”
Reporter: Mell Oins V. Bailado

21
 BINISLAKAN
(Philippines)
Binislakan (Bee-neehs-lah-KAHN) is a peculiar and very colorful dance from the province of
Pangasinan in the island of Luzon, Philippines. "Binislakan" in the Pangasinan dialect means "with the use
of chopsticks." The dancers hold two sticks, one in each hand, with which they produce rhythmic effects.
The folks in the village of Almazin perform this dance to commemorate the settlement of the Chinese and of
Limahong, a powerful Chinese pirate who built his kingdom there.
Another unique characteristic of this dance is its expressive movement like having to look backward
or upward. In Pangasinan it is termed "Lingayen," the name given by the Chinese settlers to the capital city
of the province. It is derived from the Chinese word "Li-King-Tung." Bernardo T. Pedere learned this dance
from Miss Jovita A. Sison during her visit with him in Pittsburg, California, on August 28, 1968
Costume: W wears siesqo skirt and a loose blouse with long loose sleeves like a chambra. M wears
camisa de chino and trousers that may be of any color.
Music: Record: Mico Record, Manila, Philippines. Mx-791 B 2/4 meter
Equipment: Two sticks about 1 -1/2 ft. long, 5/8 inch in diameter.
Formation: Longways pos. Partners stand about 6 ft apart. W stands at partner R when facing
audience. One to any number of couples may take part in this dance. Sets of 3 or 4 couples may be
preferrable. Both dancers are barefoot.

Steps & Styling:

Change Step, Step R (L) In 4th pos in front (ct 1), step L(R) close to R(L) in 3rd or in 1st pos (ct &),
step R(L) in 4th pos in front (ct 2). This may be executed in any direction.
Mincing Step. Starting pos: R (L) in 5th pos in front, heels slightly raised. Execute tiny steps
sideward R as many times as necessary. It may be 1 or 2 steps for every ct. This step may also be
done fwd or bkwd.
Brush Step (Scratch Brush L (R) ft bkwd at the same time step R (L) sdwd 4 times, bend trunk
slightly sdwd R (L), R (L) hd bent in front about head level, stick pointing twd audience: L (R) hd
down in rear, stick pointing sdwd L (R); look at L (R) shoulder (cts 1,2, 1,2). Step on R (L) is springy
like a small leap.
Hand Movement:
Arms in reverse ‘T' pos. Arms are side horizontal, elbows bent at R angles, forearms parallel to head
palms fwd or facing inward, fists loosely closed.
Pattern
Measures.
Introduction - Ptrs face audience.
1-3 Cross sticks overhead, R over L and look upward.
4 Bring trunk fwd and bring down point of crossed sticks close to floor

22
 Figure I. Partners face audience.
1-4 Begin R, 4 change steps sdwd R and L alternately, raise L ft and R ft slightly off the floor.
Bend trunk slightly sdwd R and L. Strike sticks sdwd R and L alternately 3 times to a meas (R L.R -
L, R, L) (cts 1 & ,2 to every meas).
5-6 Execute mıncing steps sdwd R. Strike sticks overhead 3 times to a meas (R L,R - L R L)
alternately. Look upward.
7 Bend knees and twist trunk to L, strike sticks bkwd R (R.L.R) (cts 1 & 2). Look bkwd R.
8 Straighten trunk and stamp R L R (cts 1 & 2) Strike sticks in front of chest R.L.R.
9-16 Repeat all movements of Fig. I measures 1-8 begin L and reverse direction.
Figure II. Partners face audience.
1-2 Begin R. 4 brush steps sdwd R (cts 1,2 1,2)
3 Tap L in front twice. Bend trunk twd that ft and strike sticks twice in front close to the tapping ft (R
L) (cts 1 &). Straighten trunk and step L close to R striking sticks once in front (R over L) (ct 2).
4 Repeat movements of Fig. II meas 3. Bend trunk twd R ft.
5-8 Repeat all movements of Fig. II measures 1-4, begin L and move sdwd L.
9-16 Face ptr. Repeat movements of Fig. II. meas 1-8.
Figure III. Partners face audience.
1 Jump fwd and bend trunk fwd. Cross sticks R over L below knee level.
2 Straighten trunk and raise sticks (still crossed) gradually overhead. Look upward
3-4 Repeat movements of Figure. III. meas 1-2
5-6 Execute mincing steps moving bkwd arms in reverse "T" pos and shaking sticks sdwd. Bend
head sdwd R and L every 2 cts.
7-8 Execute mincing steps turning R about in place. Finish facing away from audience (1 meas).
Raise R knee and strike sticks once under it (ct 1), straighten knee, ft together and strike sticks once
in front (ct &), raise L knee and strike sticks once under it (ct 2).
9-14 Repeat movements of Fig. Ill, meas 1-6 facing away from audience.
15-16 Repeat movements of Fig III meas 7-8 finish facing audience,
Figure IV. Partners face each other and doing their movements simultaneously.
1-8 W: Begin R, take 8 change steps moving CW around ptr. Strike sticks overhead and at the
back alternately 3 times to a meas (R, L, R) (cts 1 & 2). Bend trunk when striking sticks at back.
Kneel on both knees on last meas.
9-16 Do movements of M, meas 1-8. Finish facinq audience.
1-4 M: Kneel on both knees and strike sticks on the floor at R side 3 times (cts 1 & 2). Strike
sucks overhead 3 times R, L, R (1 meas). Strike sticks on the floor on the L side (1 meas) then strike
sticks again overhead 3 times. R, L, R (1 meas).
5-8 Repeat movements ot Fig. IV, meas 1-4. Stand on the last meas.

23
 9-16 Repeat movements of ptr, Fig. IV, meas 1-8. Finish facing audience.
Figure V. Partners face audience.
1-2 Hop on R, 6 times. Raise and strech L leg in rear and strike sticks obliquely R in front (R.L.R
- L.R.L) (cts 1 & ,2. &, 1, &). Pause (cts 2, &).
3-4 Repeat movement of Fig V., meas 1-2. Hop with L. Raise & stretch R leg and strike sticks
obliquely L in front.
5 Face ptr and strike sticks on the floor in front, full knee bending, R knee lower than L knee (cts 1,
ah, &, 2. &).
6 Stand and straighten trunk. Strike sticks in front R, L, R, L, R,
7 Step R fwd (ct 1), hop on R and raise L slightly close to R, strike both sticks diag R at head level
with ptr (ct &). Step L sdwd (ct 2), hop on L and strike sticks diag L with ptr (ct &).
8 Stamp R, L, R in place and strike sticks in front R, L, R (cts 1.&.2).
9-12 Repeat movements of Fig. V, meas 1-4 facing audience.
13-16 Repeat movements of Fig. V, meas 5-8 facing ptr.
Figure VI. Partners face each other.
1-2 Begin R, 2 change steps moving fwd to meet ptr at ctr finishing in 1 line, W in front of M,
facing audience. Strike sticks R, L, R overhead (look upward) (cts 1, &,2). Bend trunk fwd and strike
sticks in front L, R, L (cts 1, &, 2)
3-8 Begin R, 6 change steps R & L alternately moving CW. Strike sticks as in meas 1-2. Finish in
circle formation facing ctr.
9-12 Begin R, 4 change steps moving twd ctr. Strike sticks as in meas 1-2.
13-16 Repeat movements of Fig. VI, meas 9-12 moving bkwd. Finish facing CCW.
Finale. Couples are still in circle formation.
1-3 Execute mincing steps moving CCW. Finish in line formation facinq audience as in Fig. I,
arms in reverse "T" pos. Shake sticks sdwd, bend head sdwd R & L alternately every 2 cts.
4 Stamp R, L, R in place and strike sticks overhead R, L, R (cts 1, &.2). Look upward.
5-7 With sticks still crossed overhead, execute mincing steps turning R slowly in place. Finish
facing audience.
9 Ft together, bend trunk slowly fwd bringing down crossed sticks below knee. Sticks touch floor on
the last ct.
Fig V: Delete audience,
Meas 1-2: Delete Hop oq R 6 times. Insert Leap onto R and hop 3 times.
Line 2: Delete from (cts .... to end of line, •
Insert (et» 1, &,2 1, &,2)
Fig V, meas 5: Delete Face ptr and
Meas 9-12: Change meas in margin to 9-16. Change 4- to 8. Delete facing audience. Insert facing ptr.
24
 Meas 13-16: Delete all.
Fig VI, meas 1-2, line 4: Delete front. Insert back.
Finale, meas 5-7, line 2: Delete in place. Insert to original places'
Note: M make one complete turn in place. W make one complete turn moving to R (CW) In a half circle to
finish in original pos.

25
 “BINUNGEY”
Reporter: Christine Angeline Agbong

26
 BINUNGEY
(Pangasinan)
Background/Context: This dance illustrates the process of making the famous bamboo rice cake in
Pangasinan called “Binungey”. It is mostly found in the western part of the province. Traditionally,
“Binungey” rice cake is cooked in bamboo tube and served only on special occasions such as fiestas,
weddings birthday and very especially during Christmas day.
Elders inherited this tradition with their forefathers and since then, every after a bountiful harvest of
sugarcane they introduced the system of cooking to the younger generation so the tradition will not be
forgotten. Farmers begin this activity by cutting and cleaning section of a bamboo or "tubong” with one end
closed. Women follow by washing and soaking the "ansakket ya belas” or sticky rice in the water for several
hours. This bamboo tubes after cleaned are filed with the sticky rice and cooked over a hot coal of dried
coconut shells and guava leaves. In the olden times, the open side of the tubong is covered with fresh guava
leaves giving the rice cake a fragrant aroma. Hours of the preparation is needed in cooking this rice cake.
Eventually, the popularity of the rice cake grew and women often carry the binungey to town through a
labba, bigao or buksot (native basket). The intricacy of steps and long hours of preparation make the process
of cooking the binungey very special.
Dance Properties Costume: Female: Kimona with kamison and serpentine skirt tack in the waistin
any side with tapis.
Dance Implement: Bilao and labba with three pieces of empty coconut shell (sasabut or bao). Inside
labba are some pieces of fresh and dried guava leaves.
Male: Any colored Camisa de Chino and catcha trousers
Meaning: Bamboo Rice Cake
Dance Culture: Place of Lowland Christian
Origin: Western Pangasinan
Ethno Linguistic Group: Pangasinense
Classification: Occupational Dance
Dance Implement: Barang or buning (bolo) with kaluban (case) tied securely in the waist.
Footwear: Barefoot
Music: 2/4 and 3/4 composed of three parts: A, B and C
Count: One, two or one and two to a measure in 2/4-time signature. One, two, three to a measure in
time signature. Partners face each other about six feet apart. When facing audience, Girl stands at the
right side of the Boy.
Formation: Partners face each other about six feet apart. When facing audience, Girl stands at the
right side of the Boy.
Introduction
Music A
Partners face each other.
The Girl carnes and holds the bilo on her head with her L hand and holds labba placed on the bilao
with her R hand. The Boy with slightly bent knees holds tubong on R should.
27
 a) Partners take eight change steps forward to performance area with the Girl leading…………....2M
b) Take another six change stops moving clockwise to end up facing each other………………….6M
c.) Take another two change steps in place R and L………………………………………………...2M
d.) Music introduction
e) Take a three-step tum right in place and the Girl place the bilao on the floor on top of the labba
and the Boy place the tubong on the floor..........................................................................................2M
Figure 1
Music A
Partners face each other with trunk band forward and slightly bent knees.
a.) Leap R foot obliquely forward right (ct.1), steps L across R in front (ct.2); step R obliquely backward
right (ct.1), point L foot in front (ct.2)……………………………………………………………....2M
b.) Repeat (a) two more times L and R……………………………………………………………..….4M
c.) Take a three step turn left (L,R,L) (cts.1,2;1), close R foot to L (CT.2). Finish on the left corner of an
imaginary square formation facing partner diagonally……………………………………………...2M
d.) Repeat (a-c) three more times to next comers of the square. Finish in proper places with the boy
holding the tubong behind it with his L hand, and his bolo with his R hand……………………...24M
Figure 2
Music A
a) Execute korriti steps to sideward right Arms in reverse "T" position, kewet on count of every
measure……………………………………………………………………………………………...2M
b) Repeat (a) to left………………………………………………………………………………...……2M
c) With trunk bent slightly forward, execute four chasing steps moving clockwise around Boy clapping
hands in every counts……………………………………………………………………………………4M
d) Repeat (a-c) counter clockwise, finish behind the labba in kneel-sitting position and hold bilao with
both hands……………………………………………………………………………………………….8M
e) Shake bilao three times (cts.1.and.2) and winnow (cts.1and2)………………………………………2M
f) Repeat (e)…………………………………………………………………………………….……….2M
g) Hold bilao with L, circle R hand counterclockwise in the bilao twice as if making the rice (2M), go
through the motion of picking something in bilao (cts, 1, and , 2) and like throwing something out of the
bilao (cts.1,and, 2)…………………………………………………………………………...………….4M
h) Repeat all (e-g) Finish by putting bilao on the right side of the labba.................................................8M
Boy:
a) Strike nubong with bolo four times (cts 1.2 1.2)………………………………………………....2M
b) Strip action of R hand with bolo toward tubong downward four times (cts.1.2; 1,2)…………....2M
c) Boy stand to twist trunk toward left side with wiping action at forehead with forehand to and in
hall kneeling R position.
d) Repeat (a) and (b)…………………………………………………………………...……………4M
28
 e) Wipe forehead with L hand and rise to make three stops turn left to proper piace and insert bolo to
kaluban………………………………………………………………………………………………4M
f) Repeat (and) of Gir's movement to end in half kneeling position immediately pick up sabsabor
with both hands…………………………………………………………………………………….16M
Figure 3
Music A
Movements of partners are done simultaneously
Girl Kneel-sitting position facing audience holding sababot with both hands forward.
a) Execute shredding action diagonally forward right and left……………………………………...2M
b) Repeat (a) on more time………………………………………………………...……..……….1OM
c) Stretch both arms upward holding sabsabot with R hand and back to shredding position arms
forward-downward………………………………………………………………………………...4AM
d) Repeat (a) eight more times and place sabsabot inside the labba on the last measure…………...8M
Boy:
a) On a squat sitting position pivot to make a quarter tum left to face front and take shredding
position (cts. 1,2)…………………………………………………………………….…..………….1M
b) Repeat (a) three times more time to make a complete turn in place…...………………………..3M
c) Repeat (a) and (h) turning right in place………………………………...………………………..4M
d) Still in a squat position and shredding movement, take two close step to sideward
right………………………………………………………………………………………………….4M
e) While doing the shredding movement, bend trunk to sideward right (1M) forward (1M), sideward
left (1M), forward (1M)…………………………………………………………………………......4M
f) Repeat (d) and (e) in opposite direction put sabsabot inside the labba on the last
measure………………………………………………………………………………………...……8M
Figure 4
"Panagitary"
Music B
Girl: In half-stand position (kneeling on L) behind the labba
a) Hold bilao with both hands (cts.1.2.3). Take the bilao to place it on her lap (c.1.2.3). Shake the
bilao forward (ets 1, 2, 3). Pour grains on the tubong (cts.1.2.3)………...…………………………4M
b) Shake the bio again forward (cts. 1,2,3) and pour grains on tubong (cts 1,2,3)……..…..……….2M
c) Put bilao back on the floor (s.12.3) and hold tubong with both hands (cts 1.2.3)…………….….2M
d) Hold tubong with L hand, make a sliding motion on the tip of tubong with the R palm (cts
1,2,3)………………………………………………………………………………………………...1M
e) Tap tubong three times with L hand (cts.12.3)………………………………………...…………1M
f) Repeat (d) and (e)…………………………………………….………………………...…………2M
29
 g) Take all the sabsabot with both hands (ct. 1,23) Stand to make six walking steps counterclockwise
to put sabsabot in front of the labba…………………………………………………………...…….2M
h) Take three steps backward to proper places (1M) and get bilao from the floor (1M)…………....2M
Boy: Assume a hall-kneeling (L) position
a) Hold tubong with both hands (cts 1.23) and put it back inside the labba (cts. 1.2.3). With R hand
holding the tubong, slide in circular motion the top of tubong with the L palm (ets 1,2,3). Tap
three times tubong with hand (cts. 1,2,3) ………….……………………………………………4M
b) Repeat the last two measures of (a)………………………………………………………..….….2M
c) Strike tubong at labba six times......................................................................................................2M
d) Take sababot and make a pouring action to tubong twice……………………………………..…2M
e) Hold tubong with both hands and strike tubong in the labba three times………………………...3M
f) Place tubong in front of the labba………………………………………………………..…...…..1M
Figure 5
"Panagluto"
Girl:
a) Execute two close steps forward and backward, fanning the tubong…………………………..(2M)
b) Waltz obliquely forward right (TM), turn right about and waltz c)
c) Repeat (a) and (b) three times to complete the diamond shape around the tubong (3) Finish in
proper place and get labba and place it on top of her head………………………………………(12M)
Boy:
a) Take dried leaves from the labba (cts.1.2.3), place it at the base of tubong (cts.1.2.3), take more
leaves from labba (cts 1.2.3) and cover the top of tubong with leaves (cts 1.2.31)………………(4M)
b) Make a blowing action at the base of tubong…………………………………………………..(2M)
c) Lift the cover to check the rice cake (cts. 1.2.3), and shake head (cts/1.2.3)…………………..(2M)
d) Repeat (b) and (c) but instead of shaking head make a nodding movement of head on the last
measure ……………………………………………………………………….…………………..(4M)
e) Hold tubong (cts.1.2.31 and inside labba (2M) 1) Gather all sabsabot (cts. 1.2.3) and dried leaves
its 1,23) Put it back to labba. And clip the bilo between the R arm and the nightside of his
body……..........................................................................................................................................(2M)
Figure 6
“Panaglako”
Partners face each other.
a) Execute five running steps passing L to L shoulders with partners exchanging places and pause
(cts 12.3 1.2.3), wave free hand from left to right side…………………………………………...…4M
b) Repeat going back to places……………………………………………..………..……………..4M

30
 c) Execute 5 running steps to meet partner at center close to each other (2) Wave free hand as in
(a)…………………………………………………………………………..………………………..4M
d) Repeat (c) moving forward (2M). Boy half kneel on L and hold bilao forward and pause while
Girl places labba forward……………………………………...…………………………………………….4M
Figure 7
Music A
Partners face each other
a) Take two change steps obliquely forward right at center (2M) Execute a moderate change step turn
in place finish facing partner at center (2M). Girl hold labba in front at waist level. Boy swings bilao
backward-forward, place bilao on R shoulder when turning……………………………………...(4M)
b) Repeat (a) three times more to complete the diamond shape. Finish in proper places………..(12M)
Finale
Take a three step tum right and pause facing each other Boy hat stand on R and raise the bilao at
chest level toward partner, while Girl places labba at the cender of the bilag and lift tubong with the L
supported at the base by the R hand
Exit
Repeat entrance to exit………………………………………………………………………………….....(8M)

31
 “CARIŇOSA”
Reporter: Althea Alexie C. Baclaan

32
 CARIŇOSA
(National)
The flirtation dance known throughout the Philippines. Cariñosa means affectionate, lovable, or
amiable. With a fan and a handkerchief, the dancers go through hide-and-seek movements and other flirting
acts expressing tender feelings for another. There are many versions of this dance but the hide-and-seek
movements are common in all.
Costume. The girl wears “Balintawak” style or “patadyong” and camisa and the boy, “Barong
Tagalog” and any color of trousers. The girl has a fan hanging at the right side of the waist and the
boy has a handkerchief in his pocket.
Music. Is composed of two parts: A and B. Count. One, two, three to a measure.
Formation. Partners stand opposite and facing each other about six feet apart. When facing the
audience, the girl is at the right of the boy. One to any number of couples may take part in this dance.
NOTE: In the original form figure I is used as an intermission. It is omitted in this arrangement for it makes
the dance long and monotonous.

INTRODUCTION

Music Introduction.
Partners face each other.
Three-step turn right in place and bow to each other. Girl holds skirt, boy places hands on
waist…………………………………………………………………………………………………………2M
I
Three Steps and Point
Music A.
(a) Starting with the R foot take three steps sideward right (cts.1,2,3) Point L foot in front (cts.1,2,3).
R hand in reverse “T” position and L hand on waist. “Kumintang” the R hand when pointing the L
foot…………………………………………………………………………………………………..2M
(b)Repeat (a) starting with the L foot and moving sideward left. Reverse the hand position………2M
(c)Repeat (a) and (b), three times more………………………………………..…………………..12M
II
Pointing
Music B.
Partners face each other. Throughout this figure, the girl holds skirt and the boy places hands on waist.
(a) Starting with the R foot, take three steps forward to meet at center (cts. 1,2,3)/ Step L close to R
(ct. 1), pause (cts. (2, 3)…………………………………………………………………..…………2M
(b) Four touch steps in front, R and L alternately. Look at each other……………………………...4M

33
 (c) Starting with the R foot, take four steps forward to partner’s place, passing to face each other by
the R shoulder (cts. 1,2,3 1). Turn right about to face each other and close R to L foot (cts. 2,3)….2M
(d)Repeat all (a-c), finishing in proper place……………………………………………………......8M
III
Back-to-Back
Music A.
(a) Partners meet at center as in figure II (a) (cts. 1, 2, 3 1). Turn right about to be in back-to-back
position a little bit to right of partner (cts. 2, 3). Girl holds skirt, boy places hands on waist………2M
(b) Point R foot in front and the R index finger at partner over R shoulder, L hand on waist (cts. 1, 2).
Step R sideward to be side by side with partner by the L shoulder, place R hand on waist (ct. 3).
Repeat three times more, pointing L, R, L and shaking L, R, L index finger alternately at partner.
Partners are standing by each other’s R shoulder when shaking L finger to partner. Free hands-on
waist (3 M)…………………………………………………………………………………………..4M
(c) Exchange places as in figure 2 (c)………………………………………………......…………...2M
(d)Repeat all (a-c), finishing in proper place…………………………………………………...…...8M
IV
Kneeling and Fanning
Music A.
(a)starting with the R foot, take three steps forward to center, girl holds skirt, boy places hands on
waist (cts. 1,2,3). Girl kneels on R while boy passes around on right of girl to stand behind her and
faces the same direction as the girl. Partners place hands on waists (cts. 1,2,3)……………………2M
(b)Boy- Point R and L foot four times alternately in front, looking at the girl over her R and L
shoulder alternately. Both place hand on waist……………………………………………………...4M
(c)Boy- Turn right about. Exchange places as in figure II (c)………………………………………2M
(d)repeat all (a-c), but this time the boy kneels down and the girl fans the boy over his R and L
shoulder alternately as she points her R and L foot alternately. Finish in proper places…………....8M
V
Hide and Seek with Handkerchief
Music B.
(a). Partners meet at center as in figure II (a) (cts. 1,2,3 1). Boy takes handkerchief from pocket.
Partners hold handkerchief at corners in a perpendicular position between their faces with the boy’s
hands on top at face level (cts. 2, 3)………………………………………..………………………..2M
(b)Partners point R and L foot alternately four times as I figure II (b). Invert the handkerchief at
every measure, that is one measure with the boy [‘s hands on top while pointing the R Foot and the
next measure with the girl’s hands on top while pointing with the L foot. When own hands are down
look at partner’s face below and when up, look above the handkerchief…………………………...4M
(c)Girl releases handkerchief. Partners exchange places as in figure II (c)………………………....2M

34
 (d)Repeat all (a-c), finishing in proper places. This time the girl keeps the handkerchief at the end of
this figure……………………………………………………………………………………………8M
NOTE: in the Bicol regions the hide and seek movement is done with two handkerchiefs crossed diagonally.
Each dancer holds a handkerchief at two corners which is diagonally folded (triangular form). While the
dancers point R foot, the R hands are held obliquely right upward and the L hands are obliquely left
downward, thus the handkerchief are crossed like the letter X in front between them. The position of hands
at every measure. They peep through the opening of the handkerchief above and below alternately. The girl
peeps above when the R hands are up and the boy, when the L hands are up.
VI
Flirting with Handkerchiefs

Music A.
Note: -- If only one pair is dancing, the partners may go to any directions long as they finish the proper
places at this end of this figure.
(a)Partners turn R shoulders toward each other. Starting with R foot, take eight waltz steps forward
moving along clockwise. Girl holds one handkerchief at one corner and places it over her R and L
shoulder alternately at every measure, looking back at body at the same time. The boy in meantime
follows behind the girl, stretching out R and L hands alternately as if trying to catch the free end of
the handkerchief………………………………………………………...…………………………...8M
(b)Turn right about and repeat (a) counterclockwise, the girl leads again. Finish in proper places...8M
VI
FLIRTING
Music B.
(a)Starting with the R foot, take two waltz steps to meet at the center. Girl’s arms in lateral position
moving sideward right and left, boy’s hand on waist……………………………………………….2M
(b)With the girl leading in front, partners take six waltz steps forward moving around clockwise.
Same position of hands as in (a) but girl’s finger fluttering in time with the music as she looks over
her R and L shoulders alternately as the boy, who is following her closely ………………………6M
(c)Turn right about, repeat (b) counterclockwise. This time the boy leads. Girl holds skirt, boy’s arms
in lateral position, fluttering fingers. Wink at the girl once in a while. Finish by side, girl at right of
boy…………………………………………………………………………………………………..6M
VII
SALUDO
Three steps turn right in place and bow to each other, girl holding skirt and boy’s hand on waist.

35
 “CULEBRA”
Reporter: Zoilo Ostos

36
 CULEBRA
(Tagalog)
This dance was called culebra because of the winding in and out of the dancers in the cadena figure
and of the serpentine movements in the paseo figure that resemble the wriggling of the culebra, a snake, as it
moves about. This was popular in Meyca-wayan, Bulacan, in the old days.
A leader is chosen to call out the changes and a lively pair is designated to lead the whole group in
the paseo or promenade.
COSTUME. Any Filipino costume necessary.
MUSIC is divided into four parts: A, B, C, and D. It is played as many times as
COUNT one, two, or one, and, two to a measure.
FORMATION. Couples are scattered informally around the room. Partners hold as in ballroom
dance position.
Introduction
Music Introduction.
Partners get ready for figure I……………………………………………………………………….2M
-I-
CHANGE STEP
(Two-Step)
Partners execute change steps going to any direction. Boys start with L and Girls start with R foot.
At signal of leader all dancers finish in single circle formation, Girls facing clockwise and Boys
counterclockwise (partners facing each other).
-II-
GADENA
(Grand Right and Left)
At signal, partners release hold. face each other, and join R hands. With walking steps execute grand
right and left, Girls moving clockwise and Boys, counterclockwise, until partners meet each other. If
the group is small, partners continue moving until partners meet for the second time.
-III-
PASEO
(Promenade)
In abrasete position, partners walk around in zigzag or serpentine figure. If this is done in a private
house, the leading pair winds in and out of the rooms, all the other pairs following them until the
signal is given for the next figure.
-IV-
CHANGE STEP
(Two-Step)
37
 At signal, partners assume closed ballroom dance position. Dance around the room going to any
direction using change steps. Boys start with L and Girls, with R. foot.
-V-
CAMBIO PAREIA
(Change Partners)
When the leader calls out "cambio pareja" (change partners), all (men and women) leave their own
partners and tap anyone, with whom they like to dance, lightly on back of shoulders. (Men tap the
women and vice-versa). Usually, women stand in place waiting for the men to tap them. The whole
dance, may be repeated as many times as desired.

38
 “DALING-DALING”
Reporter: Alisa Pansag

39
 DALING-DALING
(Jolo, Sulu)
Daling-Daling is a courtship dance from Jolo, Sulu. This is popular among the young people of that
locality. The word daling means my love. The name of the dance, therefore, means “my love, my love.”

The dancers sign as they perform the dance or the audience may sing while the dancers perform the
dance. The song reveals how two lovers care for each other. The Boy tells the Girl that there is no peace in
his mind when he is away from her. The Girl, on the hand, says that even if they were in two separate islands
her love for him would never change.
COSTUME: Typical Joloano costume. Girl and Boy open fans, they are held with the second and
third fingers on the top side, and the thrump, fourth and little fingers on the other side.
MUSIC: 2/4 – one part of 16 measure. It is repeated as many times as necessary.

Selected Philippines folk dances for dancers’ interpretation

COUNT: one, two, or one, ang two and to a measure.
FORMATION: Partners stand opposite each other 6 feet apart. When facing audience. Girl stands
at R side of partner. One or more pairs may take part in this dance.
POINT-STEP: Point R (L) foot in front (ct. 1), step with the same foot in place with a slight bending of
knees (cts. 2).
HAND MOVEMENT: with an open fan held in each hand, raise arms sideward at shoulder level with
elbow straight, but relaxed. Turn hands (from the wrists only) in a horizontal figure - eight motion in two
counts.

Music Instruction
Starting with R foot, take three steps forward, Hands down at side (cts. 1,2,1), Face each other and
raise arms sideward (ct. 2)..................................................................................................................2M
FIGURE I
Music
Play once. Boy sings first verse.
a.) Partners execute 4 point-steps forward to meet center, R and L alternately. Do not figure-eight
hand
movement...........................................................................................................................................4M
b.) Repeat (a) moving backward to proper place................................................................................4M
c.) Repeat (a).......................................................................................................................................4M
d.) Repeat (a) going to partners place passing by L shoulders. Finish in partners place, facing each
other’s, turning R about after the fourth step......................................................................................4M

40
 FIGURE II
Music
Play once, Girl sings second verse.
a.) Turn R shoulders toward each other. Take 16 point-step forward, R ang L alternately, going
around clockwise. Finish in starting place that is, partners place. Do the figure-eight hand
movement.........................................................................................................................................16M
FIGURE III
Music
Play once. Boy sings third verse.
a.) Repeat figure I (a)..........................................................................................................................4M
b.) Partners join both hands with open fans still held to hands. Stand side by side by R shoulders so
that R arms are Stretched at sides and L arms bent. Execute 4 point-steps Forward Rand L alternately,
turning around clockwise....................................................................................................................4M
c.) Reverse position, stand by L shoulder. Repeat (b) counterclockwise...........................................4M
d.) Repeat (a) going to proper places .........................................................................................................4M
FIGURE IV
Music
Play once. Girl sings fourth places fave each other.
a.) Repeat figure L (a)4M. Girl-closes R fan. Stomp's with R foot 5 times and At the same time point at
partner 5 times with R fan (cts, 1 & 2 & 1), pause cts. &2, 2 &). The L hand is doing the figure-eight
eight hand movement at the same time for two measures. Boy-in the maintime exectes Point-steps im
place, R and L, sways body to R & L and looks at partner, does the figure-eight hand
movement.............................................................................................................................................2M
b.) To be repeated (b) three more times, girl stomping always with R foot...............................................6M
c.) Starting with R foot take three point-steps moving backward, di the figure-eight hand movement.....3M
d.) They bow to each, hands down at side..................................................................................................1M
NOTE: the dance may be repeated as many times as desired. Bow only at the end.

41
 “HAPLIK”
Reporter: Riza Jane Dumay

42
 HAPLIK
(Visayan)
This lively dance is popular in Iloilo and Antique. It is named after the step,hap-lik, that is used in
Figure III. This step is found also in some other dances.
COSTUME. Girls wear patadyong, camisa and a soft pañuelo over one shoul-der; Boys, barong
tagalog and white trousers (See illustration, page VIII).
COUNT one, two; one, and, two or one, and, two, and to a measure.
FORMATION. In sets of two pairs. Partners stand opposite each other about six feet apart. Boys and
Girls stand alternately. (See diagram below). One to any number of sets may take part in the dance.
I
Music A.
Partners face each other.
Girls
Hold patadyong throughout this movement (a-c)
(a) Contra-gansa R and L…………………………………………...……………………………….2M
(b) Change step forward R (1 M), tap L close to R (ct. 1), tap L in front (ct. and), pause (cts. 2)….2M
(c) Repeat (a) and (b), starting with L foot, moving backward in the change step………………….4M
(d) Clap hands like Boys in (a) below………………………………………………………………8M
Boys
(a) In the meantime, stand in place and clap hands on cts. 1, and,2 for three measures (3 M) and clap
twice on cts. 1, and, pause on cts. 2, (1 M). Repeat all (4M)……………………………………….8M
(b) Repeat the movements of Girls in (a-c) above. Hands on waists..................................................8M
II
Music B.
Partners face each other.
Girls
Hold patadyong throughout this movement.
(a) Cut L backward with R foot, bend trunk slightly forward (ct. 1), cut Rforward with L foot, trunk
erect (ct. 2). Take three stamps in place-R, L, R (cts.1, and, 2)……………………………….…….2M
(b) Repeat (a), start cutting R backward with L foot..........................................................................2M
(c) Repeat (a) and (b)……………………………………………………...………………………...4M
(d) Clap hands like Boys in (a) below……………………………………………………..………..8M
Boys
(a) In the meantime, clap hands on cts. 1, 2, 1, and,2 (2 M) four times………………………….....8M

43
 (b) Repeat the movements of Girls in (a-c) above. Hands on waists………………………………8M
III
Music C.
All face the center of the set.
Girls
(a) Dance the haplik step. Hold patadyong.........................................................................................8M
(b) Clap hands like Boys in (a-g) below.............................................................................................8M
Boys
(a) Stand in place and clap hands four times (cts. 1, 2, 1, 2) ..........................................................1-2M
(b) Clap three times (cts. 1, and, 2)………………………………………………………………..M3
(c) Clap twice (cts. 1, 2)…………………………………………………………………………...M4
(d) Clap three times (cts. 1, and, 2)…………………………………………………………...…...M5
(e) Clap twice (cts. 1, 2)…………………………………………………………………………...M6
(f) Clap twice (cts. 1, 2)…………………………………………………………………………...M7
(g) Clap once (ct. 1), pause (ct. 2)…………………………………………………………………M8
(h) Dance the haplik step, hands on waists………………………………………………………..M8
IV
Music A.
Repeat figure I, partners dancing at the same time. Do the movements twice. Omit clapping
hands………………………………………………………………………………………………16 M
V
Music B.
Repeat figure II, partners dancing at the same time. Do the movements twice. Omit clapping hands.
..........................................................................................................................................................16M
VI
Music C.
Repeat figure III, partners dancing at the same time. Do the movements twice. Omit clapping hands.
At the repetition do the two steps in place instead of going backward to places, and omit the eighth
measure……………………………………………………………………………………………15M
SALUDO
Music Finale.
Partners join R hands, free hands-on waists. Girls whirl turn clockwise under the R arms (3 M),
partners bow to each other or to audience (1M)…………………………………………………….4M

44
 “JOTA ZAPATILLA”
Reporter: Kayla Kate Malintad

45
 JOTA ZAPATILLA
(Ilocano)
Zapatilla is a kind of footwear worn mainly by the young women of the Philippines especially during
the Spanish regime. This version of the jota was popular in the Ilocos regions. It is simpler and easier to
perform than the other jota dances.
COSTUME. Dancers are dressed in Ilocano costume. Girl wears zapatilla and Boy, chinelas.
MUSIC is divided into three parts: A, B, and C.
COUNTS one, two, three to a measure.
FORMATION. Partners stand opposite each other about six feet apart. When facing audience, Girl
stands at right side of partner. One or more pairs may take part in this dance.

INTRODUCTION

Music Introduction.
Three- step turn right in place and bow to partner. Girl holds skirt, Boy places hands on waist…...2M
-I-
Music A.
a. Starting with Right foot, partners take four waltz steps obliquely forward right. Arms in lateral
position, moving sideward right and left alternately. At end of the fourth waltz step, partners are in
one line at center, Left shoulders toward each other………………………………………………..4M
b. Starting with Right foot, partners take four waltz steps obliquely backward left to proper places.
Arms as in (a)…………………………………………...…………………………………………...4M
c. Repeat (a), moving obliquely forward left. Partners are in one-line, Right shoulders toward each
other………………………………………………………………………………………....4 measures
d. Starting with Right foot, waltz steps obliquely backward right to proper places. Arms as in (a)..4M
e. Repeat all (a- d)…………………………………………………………………………16 measures
-II-
Music B.
Partners face each other. As steps (a – c) are being done, partners move little by little obliquely right
or left toward each other to meet at center.
a. Starting with Right foot, Girl takes three steps obliquely sideward right (cts. 1,2,3). Brush L heel
forward (cts. 1,2,3). Right arm is reverse “T” position, Left hand on waist. Kumintan Right hand
when brushing heel and look at the zapatilla after the brush. The Boy does the same, starting with
Left foot.………………………………………………..2 measures
b. Repeat (a), going to opposite direction, starting with Left foot with other foot. Reverse position of
arms.2 measures
c. Repeat (a ) and (b ), finish at center near each other at center near each other.4 measures
46
 d. Face audience, join inside hands, free hands-on waists. Starting with outside foot, repeat three
steps forward and brush, going toward and sway from audience four times alternately. Turnabout
toward each other when changing direction. Change position of hands every two measures.8M
e. Drop inside hands and join Right hands, free hands-on waists. Step Right forward (ct. 1), tap twice
with Left heel (cts. 2,3). Do these seven more times Left and Right alternately, moving clockwise
(7Measures). Finish facing each other.8 measures
f. Starting with Right foot, take four waltz steps backward to proper places. Arms in lateral position,
moving sideward right and left alternately. 4 measures
Music C.
Clatter the zapatilla throughout this figure. Right shoulders toward each other.
a. Starting with Right foot, partners take eight waltz steps forward, moving clockwise. Arms in
lateral position, moving sideward right and left alternately. 8 measures
b. Turn Right about, repeat (a) moving counterclockwise. Finish in proper places. 4M

47
 “KANINONG ANAK ITO?”
Reporter: Shilven Mae Castillo

48
 KANINONG ANAK ITO?
(Tagalog)
This song-dance is popular among the children in the Tagalog regions. The children pretend to hold a
baby while they dance. They make believe that they are looking for the mother of the infant which they
found playing on the grass with an owl.
COSTUME. Children are dressed in any Filipino costume.
MUSIC is composed of one part of eight measures.
COUNT one, two or one, ah, two, ah to a measure.
FORMATION. Dancers are scattered around the room or playground facing front or any direction.
Throughout the dance the dancers hold forearms together at waist level pretending to hold a baby.
Children sing as they do the steps.
-I-
(a) Starting with R foot, take three step forward (cts. 1, 2, 1), hop on R and raise L foot in rear with
knee bent (ct. 2)…………………………………………………...…………………………………2m
(b) Repeat (a), starting with the L foot………………………………………………………..……..2m
(c) Repeat (a) and (b), moving backward……………………………………………………………4m
-II-
(a) Starting with R foot, take eight skip steps forward moving clockwise. Each child makes her own
circle…………………………………………………………………………………………………4m
(b) Turn right about and repeat (a) moving counterclockwise………………………………..…….4m
NOTE: The whole dance may be repeated as many times as desired. For variation galop steps may be
substituted for skips in figure II at the repetition.

49
 “KUNDAY-KUNDAY”
Reporter: Ellah Jean Awing

50
 KUNDAY-KUNDAY
(Tagalog)
Kunday literally means to move the hands gracefully somewhat like a kumintang. When adults want
small children to show them some artistic and graceful hand movements, they are asked to kunday. Kunday
is used in Tagalog regions in connection with hand movements. The kunday movement is conspicuous in
this dance.
COSTUME: The girl wears balintawak style costume and the Boy wears barong tagalog and red
trousers.
MUSIC: Divided into two parts: A and B.
COUNT: one, two, or one, and, two to a measure.
FORMATION: Partners stand about six feet apart, facing audience, Girl at right side of partner.

INTRODUCTION
-I-
Music A
Partners face front
(a) Starting with R foot, take four change steps forward. Kumintang R and L hand alternately at
every measure, free hand on waist. Kumintang hand two times for every measure (1 ct. For each
kumintang…………………………………………………………………………………………...4M
(b) Step R foot backward (ct. 1), point L in front (ct. 2). Kumintang R hand, L hand on
waist…………………………………………………………………………………………………1M
(c) Repeat (b), three more times L, R, L. Reverse position of hands every measure……………….3M
(d) Repeat all (a-c)....................................................................................................../.......................8M
-II-
Music B
Partners face each other.
(a) Starting with R foot, take two change steps forward to meet at center. Hands in figure I
(a)........................................................................................................................................................2M
(b) Change step sideward, R and L. Arms in lateral position, moving sideward right and left with two
kumintang of hands at every measures………………………………………………...……………2M
Turn about right
(c) Repeat (a) and (b), going to proper places in (a)...........................................................................4M
Turn right about to face each other.
(d) Repeat all (a-c)..............................................................................................................................8M

51
 -III-
Music A
Partners face each other.
(a) Change step forward R (cts. 1, and 2,). Hands as in figure I (a)...................................................1M
(b)Point L in front (cts. 1, 2). R arm in reverse “T” position (no kumintang), L hand on
waist…………………………………………………………………………………………………1M
(c)Repeat (a) and (b), starting with L foot to meet at center. Reverse position on hands…………...2M
(d) Repeat (a-c), moving backward to proper places………………………………………………..4M
(e) Repeat all (a-d)..............................................................................................................................8M
-IV-
Music B
Partners face front
(a) Starting with R foot, take three steps forward (cts. 1, 2, 1), close L to R (ct. 2). L hand on waist, R
arm in reverse “T” position and kumintang on ct. 2 of second measure……………………………2M
(b) Repeat (a), starting with L foot, reverse position of arms ………………………………………2M
(c) Change steps sideward, R and L. Hands as in figure I (a)............................................................2M
(d) Four-step turn right about in place. Girl holds skirt, Boy places hands on waist………….……2M
(e) Repeat all (a-d). Finish with a bow to partner on last count of last measure……………………8M

52
 “KURATSA”
Reporter: Blessy Bel Palma Gil

53
 KURATSA
(Ilocano)
This dance was very popular throughout the country during the Spanish regime. It was one of the
liveliest and best liked dances. Different regions have their own versions and the movements vary with the
individual dancers in each locality, but the traditional elements are retained. Like many other Ilocano dances,
it is finished with the Ariquenquen dance. The dance described below came from Paoay, Ilocos Norte.
COSTUME. Dancers wear Ilocano peasant costume.
MUSIC is divided into three parts: A, B, and C.
COUNT one, two, three to a measure in 3/4 time; and one, and, two or one, and, two, and in 2/4
time.
FORMATION. Partners stand opposite each other about six feet apart. The Girl at Boy's right when
facing audience. One to any number of pairs may participate, in this dance.
Introduction
-I -
Music Introduction.
Three-step turn right. in place, hands down at sides (1M), point L across R in rear. Kumintang R
hand, L hand on waist (1M) …………………………… ……………………………………….….2M
Music A.
Partners face each other. Throughout this figure, Girl holds skirt and Boy places hands on waist. (a)
Step R foot forward and across I in front with both knees slightly bent (ct. 1), close L to R and
straighten knees (cts. 2, 3). …………………………………………..……………………………..1M
(b)Repeat (a), starting with L foot. ……………………………………………………………........1M
(c)Step R forward (ct. 1), transfer weight to L foot in rear (ct. 2), transfer weight to R foot in front
(ct. 3). While partners are doing this movement, they are standing by each other’s R shoulder at
center. ………………………………………………………...……………………………………..1M
(d)Step L forward (ct.1), step R forward (ct.2) going to partner’s place. Turn left about to face each
other and close feet together (ct. 3. ……………………………………………………………..…..1M
(e)Repeat (a-d), to proper places. ……………………………………………………………….......4M
(f)Repeat all (a-e). ……………………………………………………………………………….….8M
-II –
Music B.
Partners face each other.
(a)Brush R heel forward (ct. 1), step forward on heel of R foot (ct. 2), step L close to R in third
position rear (ct.3) Girl holds skirt and boy places hand on waist. ………………………………....1M
(b)Repeat (a) five more times going to partner’s place, passing each other by R shoulder. ……….5M
(c)Three step right turn about in place to face each other. Hands as in (a). ………………………...2M
(d)Repeat (a-c), going to proper places. ………………………………………………………..…..8M
54
 (e)Repeat all (a-d). ………………………………………………………………...……...……….16M
-III –
Music A.
Repeat figure I. ……………………………………………………………………...…………….16M
-IV –
Music B.
Partners face each other and do the following movements simultaneously:
Girl
(a)Waltz R forward (cts.1,2,30, waltz L backward (cts. 1,2,3). Hold skirt. ………………………...2M
(b)Starting with right foot, take three steps sideward right (cts. 1,2,3), tap L heel in front (ct. 1),
pause (cts. 2,3). Hold skirt. …………………………………………………………………….…...2M
(c)Repeat (a) and (b), starting with L foot reverse direction in (b). ………………………………...4M
(d)Repeat (a-c). ………………………………………………………………………………...…...8M
(e)Clap hands on 1,3 of every measure while boy is dancing………………………………….….16M
Boy
(a)Clap hands on cts. 1,3 of every measure while Girl is dancing. ……………………………….16M
(b)Repeat Girl’s movements as in (a-d) above. Place hands on waist. …………………………....16M
-V –
Music A.
Repeat figure I. ………………………………………………………………………...………….16M
-VI –
Music C.
Play last two measures slowly.
Partner faces each other. In this figure start all change steps with a raise of free foot in rear, with knee
of raised foot bent.
(a)One change step sideward R, kumintang R hand, L hand on waist (1M). One change step sideward
L. Reverse position of arms (1M). ………………………………………………………...………..2M
(b)Starting with R foot, take two change steps to meet at center, hands as in (a). …………………2M
(c)Girl -Pivot turn right with both feet flat on floor. R hand overhead, L holding skirt or placed on
waist……………………………………………………………………………………………….(4M)
Boy – starting with R foot, take four change steps going around the Girl clockwise. Clap hands three
times to a measure (cts. 1, and, 2) for four measures. ……………………………………………...4M
(d)Repeat (c), Girl turning left, reverse position of hands. Boy turns around counterclockwise…...4M
(e)Starting with R foot, partners take two change steps backward to proper places. Hands as in (a)2M

55
 (f)Three-step turn right in place and bow to partner or audience. Girl holds skirt, Boy places hand on
waist…………………………………………………………………………………………………2M

56
 “LA JOTA CAGAYANA”
Reporter: Maechel Masillones

57
 LA JOTA CAGAYANA
(Ibanag)
This version of La Jota came from Tugaegarao, Cagayan. It is lively and interesting like the other
Jotas found in other parts of the Philippines.
COSTUME: Dancers wear typical ilocano costume or Girl wears maskara skirt, camisa, and stiff
pañuelo.
MUSIC: is divided into four parts: A, B, C, and D.
COUNT: one, two, three to a measure or one, two, three, four, five six measures
FORMATION: Partners stand facing each other about six feet apart. When facing audience, Girl
stands at partner’s right side. One to any number of pairs may take part in this dance.

INTRODUCTION

MUSIC INTRODUCTION
Execute a three-step turn right in place and bow to partner. Girl holds skirt and Boy hands on waist.
MUSIC A
Face Partner.
Waltz sideward, R and L. Arms in lateral position moving sideward right and left………………...2M
Step right sideward, brush L forward, step L close to R, step R sideward, close L to R (do not put
weight on L) pause, R arm in reverse “T” position, L bent forward shoulder level………………...2M
Repeat A and B two more times…………………………………………………………………….8M
Repeat a starting L…………………………………………………………………………………..8M
Execute a three-step turn left in place. Girl holds skirt and Boy places hands on waist. Face front and
transfer weight to R foot. Repeat all (A-E) starting L, Reverse position of arms and turn right in E.
Finish with weight on L foot……………………………………………………………………….16M
MUSIC B
Face Partner
Sway balance R with a brush. Arms in fourth position, R arm high………………………………..2M
Sway balance L with a brush. Arms in fourth position, L arm high. Brush R on (ct. 2) of the second
measure, tap R obliquely forward on (ct. 3) ………………………………………………...……...2M
Tap R close to L (ct.1), pause (ct. 2), Tap R obliquely forward (ct. 3) tap R close to L (ct.1), pause
(cts.1,2,3). Arms in fourth position, L arm high…………………………………………………….2M
Cross turn left (ct. 1,2,3). Pause (cts. 4,5,6). G hold skirt and Boy places hands on waist…………2M
Repeat all (A-D), starting L. Reverse position of arms in (A, B, C)………………………………..8M
MUSIC C

58
 Turn R shoulder toward partner
Starting with R foot, take eight waltz steps forward moving clockwise. Arms in Lateral position
moving sideward right and left alternately………………………………………………………….8M
Turn right about and repeat A, counterclockwise. Finish in proper places facing each other………8M
MUSIC D
Face Partner
Sarok, with R over L (cts. 1,2,3). Point R foot sideward, open arms in second position, trunk erect
(cts.4,5,6)……………………………………………………………………………………………2M
Execute a three-step turn right in place. Girl holds skirt, Boy places hands on waist………………2M
Repeat A and B , three more times ( L, R, L)……………………………………………………...12M
MUSIC C
Face Partner
Take three cross steps sideward right (3m), step R sideward (ct.1), brush L forward (ct. 2), pause (ct.
3). Girl holds skirt, Boy places hands on waist……………………………………………………..4M
Repeat A, three more time (L, R, L)……………………………………………………………….12M
MUSIC D
Face Partner
Starting with R foot, take steps forward to meet at center (ct. 1,2,3), step L close to R (ct. 4,5,6). Girl
holds skirt, Boy places hands on waist……………………………………………………………...2M
Cross each other’s R forearm with elbow at shoulder level. L hand of Girl holding skirt, Boy L hand
on waist. Starting with R foot, take six waltz steps moving clockwise……………………………..6M
Drop R hands, turn right about and cross L forearm, free hands as in B. Execute a three-step turn
right to proper places. Hands as in A………………………………………………………………..2M
SALUDO
MUSIC FINALE
Take one big close step to center, starting with R foot. Join R hands, free hands as in figure VI (b).
Girl turns under arch of R arms by taking three-step turn right in place……………………………2M
Face front and bow (ct. 1M), trunk erect (ct. 1M)…………………………………………………..2M

59
 “LA JOTA MONCADENIA”
Reporter: Johnnrex Castro

60
 LA JOTA MONCADENIA
(Dance of Luzon)
During the Spanish regime, La Jota dances were the most popular dances performed in any social
gathering by the Spanish Senoritas and Caballeros. The Filipinos saw them dance and imitated them. This
dance is the interpretation and adaptation by the old people of Moncada, Tarlac where the name is derived
from. It is a combination of Spanish and Ilocano dance steps and music. The use of bamboo castanets makes
the dance lively, gay and delightful.
Costume: Ilocano Costume
Music: A pair of bamboo castanets in each hand to produce rhythm sounds.
Count: 2/4 & 3/4 Composed of seven parts: Introduction, A, B, C, D, E, and Finale.
Formation: One, and, two to a measure in 2/4 time.
Female: Maria Clara Style or in typical Ilocano Costume
Male: Barong Tagalog and black trousers or in typical
One, two, three or one, and, two, and, three to a measure in 3, time. Also, one, and, two, and, three, and in
3/4 in F One to any number in pairs may take part. If many are taking pairs, they may be arranged in two
parallel lines or in sets of four pairs arranged in any convenient and effective formation, fading different
directions.
ENTRANCE
Music Introduction
(a) Partners enter side by side with Girl at right side of Boy. Execute change steps forward to proper
places. Arms in lateral position, right and left (b) alternately…………………………………...8M
(b) Click castanets three times to measure (cts.1, and,2)………………………………………….16M
I
Music A.
Partners face each other.
a) Take two cross-steps sideward right (2M). Step R sideward(cts.1,2), hop on R and raise L in front
(ct.3). Arms in 4 position, R arm high click castanets on counts 1,3 of every measure………...3M
b) Repeat (a) going sideward left starting with L foot. Reverse position of arms………………....3M
c) Repeat (a) and (b)…………………………………………………………...…………………..6M
d) Take two cross-steps sideward right, click castanets as in (a)…………………………………..2M
e) Execute a three-step turn right in place, click castanets four times, hands in front of chest (cts.1,
2,3) (cts, 2,3)…………………………………………………………………………………….2M
f) Repeat all (a-e), starting L and tuming left in (e). Reverse positons of arms………………….16M
II
Music B.
Dancers face right so that Girl faces audience and Boy away from audience.
a) Two waltz steps sideward L and R. Arms in lateral position, moving Sideward left and right, click
castanets three times to a measure................................................................................................2M

61
 b) Execute a waltz half-turn left (two waltz steps) to exchange place with partner, pass facing each
other. Finish facing right again in new place, that Is, Girl's back Is toward audience and Boy
facing audience. Click castanets as in (a)……………………………………………………….2M
c) Repeat (a) and (b) seven more times. Always finish turn in opposite Facing right (from facing-
partner position)………………………………………………………………………………..28M
III
Music C.
Partners face right as in Figure II.
a) Take four waltz steps sideward R and L alternately. Arms in lateral position, moving sideward
left and right, click castanets three-time measure.........................................................................4M
b) Turn left to face partner. Take two waltz steps forward to meet at center. Click castanets as in
(a)………………………………………………………………………………………………..2M
c) Girl: Take four waltz steps moving around clockwise at center. Start with R arm in reverse "T"
position clicking castanets three times to a measure, L hand on waist. Reverse position of arms
on every measure………………………………………………………………………………(4M)
Boy: Take four wakz steps dockwise, following closeiy behind Girl. hands on waist………….4M
Partners look at each other over R and L shoulder of Girl alternately.
d) Partners take two waltz steps forward to proper places. Click castanets as in (a). Finish facing
partner by turning right about…………………………………………………………………...2M
e) Repeat all (a-d), this time Girl doing the movement of Boy in (C) and vice-versa……………12M
IV
Music D.
Partners face each other
a) Waltz sideward R and L. Click castanets three times to a measure sideward right and left………...2M
b) Take two waltz steps forward to form one line at center, both facing audience Girl stands in front of
Boy. Click castanets as In (a)………………………………………………………………………..2M
c) Take four touch steps in front, R and L alterately. Bend trunk slightly forward toward the pointing
foot. Arms are parallel to each other toward the pointing foot. Click castanets on counts 1, 3 of every
measure……………………………………………………………………………………………...4M
d) Take two waltz steps forward to partner's place. Click castanets as In (a). Finish facing partner,
turning right about…………………………………………………………………………………..2M
e) Repeat all (a - d), this time partners finish in one line with their backs toward audience in (b). Girl is
in front of partner
again………………………………………………………………………………………………..10M
V
Music E. Play slowly
Partners face each other.
a) Partners slide R foot obliquely forward right (ct. 1) and immediately slide L close to R (ct,and),
repeat once more (cts.2,and), step R obliquely forward (ct.3). Face left and finish in one line at
center, facing each other. Boy faces audience and Girl away from audience. Girl holds skirt and Boy
places hands waist. (See diagram A)………………………………………………………………1M

62
 b) Desmayo or Patay. Point L foot across R in rear, bend knees slightly at the same time. Girl bends
both arms forward (R forearm over L) with forehead being supported by the crook of R elbow, as if
crying. Boy looks at partner's face from underneath. He touches her R forearm gently as if consoling
her (cts.1,2), knees, head and trunk erect and feet together, arms down at sides (ct.3)……………..1M
c) Repeat (a) and (b), taking smaller steps. Finish facing and near each other. Boy and Girl having
exchanged places. (See diagram B)....................................................................................................2M
d) Repeat (a) and (b). Finish in one line facing each other. Girl faces and Boy away from audience. (See
diagram C)…………………………………………………………………………………………..2M
e) Repeat (a) and finlsh in proper places facing audience (see diagram D) left Boy turns to face
audience……………………………………………………………………………………………..1M
f) Point L across R in rear and bend knees slightly. Click castanets once in front at chest level (ct.1),
straighten knees and put feet together, click castanets once with arms open in 2nd position (ct.2),
pause (ct.3)…………………………………………………………………………………………..1M
g) Take four steps forward (one step for every measure). Girl holds skirt, Boy places hand on waist..4M
h) Take two steps backward. Hands as In (g)…………………………………………………………..2M
i) Execute a three-step tum right to proper places. Finish facing each other (cts.1,2,3). Point L across R
in rear, bend knees slightly, click castanets once in front at chest level (ct.1), straighten knees and put
feet together, open arms to 2nd position and click castanets once (ct.2), pause and put down arms at
sides(ct.3)……………………………………………………………………………………………2M
j) Repeat all (a-1). This time, Boy doing the desmayo or patay movement and Girl consoling. In (e),
partners are facing away from audience. Girl turns right to face away from audience……………16M
VI
Music F. Play a little faster.
Partners face each other.
a) Step R sideward (ct.1), brush L forward (ct.and), step with same foot close to R in 1st position (ct.2),
step R in place (ct.and), brush L foot forward (ct.3), hop on R in place (ct.and). Arms in 4th position,
R arm high and click castanets six times to measure on counts 1, and, 2, and, 3 and four times on
counts and…………………………………………………………………………………………...1M
b) Repeat (a) twice more, left and right. Reverse position of arms at every measure…………………2M
c) Execute a four-step turn left to proper places. Click castanets four times (cts.1,and,2,and), pause
(cts.3,and)…………………………………………………………………………………………...1M
d) Repeat (a - c), starting with L foot, turning right in (c). Reverse positions of arms………………...4M
e) Pause………………………………………………………………………………………………...2M
f) Repeat all (a - e)……………………………………………………………………………………10M
Saludo
Music Finale.
Partners face the audience.
a) Execute a three-step turn right in place, GrI holding skirt, Boy's hands on waist (cts.1,2,3). Feet
together and click castanets once in front of chest (ct.1), pause (cts.2,3)…………………………...2M
b) Point L foot across R in rear and bend knees slightly for six counts. Click castanets once to right side
(ct.1), pause (cts.2,3). Click once to left side (ct.1), pause (cts.2,3)………………………………...2M
c) Put feet together and bow to audience. Open arms to 2nd click castanets once (ct.1), pause
(cts.2,3)……………………………………………………………………………………………...1M

63
 EXIT
Music Introduction. Play as many times as necessary. Starting with R foot, execute change steps
forward to exit. Click castanets as in entrance.

64
 “LIKI”
Reporter: Jeffrey Piquero

65
 LIKI
(Philippines)

66
67
 “LUBI-LUBI”
Reporter: Divine Grace Ricarse

68
 LUBI-LUBI
(Philippines)
Lubi-Lubi (LOO-bee LOO-bee) is a very popular ballroom folk dance that had its early origin in th
Ie provinces of Leyte and Samar. "Lubi" means coconut. This dance, according to Bernardo T. Pedere,
derived its name from the song the dancers and spectators customarily sing during the performance of the
dance. Its mass appeal is so widespread that many variations have evolved. This version was choreographed
by Bernardo T. Pedere from the common steps which he learned from the old people in the town of Burauen,
province of Leyte. The dance is usually performed by one or more couples who are scattered informally
around the room. However, this version, as it was presented by Mr. Pedere at the 1977 University of the
Pacific Folk Dance Camp, has the figures so arranged that it is danced as a social mixer. Any Philippine
costume may be worn.
MUSIC: Record: Mico Mx-516-B (45rpm), ¾ meter.
Piano: Francisca Reyes-Tolentino, Philippine National Dances, pg, 161, Silver Bur-dett, New York,
Chicago, San Francisco, 1946.
FORMATION: Circle of cpls in closed (ballroom) position. M face CCW, W CW W back to LOD).
The dance moves CCW and may be danced by any number of clps.
STEPS and Native Waltz: Step fwd on R (ct 1); step on L close on R (ct 2);
STYLING: step fwd on R (ct 3). Step alternates; may be danced in any direction. Similar to a two-
step in waltz meter. Waltz (see Steps and Styling, Folk Dance Federation of California, Inc.)
Sway Balance with a raise: (2 meas) Step on R diag fwd R (ct 1); bring L leg cross from L to R in a
small semi-circle keeping feet close to floor (ct 2); step on L across in front of R (ct 3). Step on R
diag bkwd R, bending body slightly fwd (ct 1); lift L knee in front with toes pointed downward and
hold pos while gradually straightening body (cts 2, 3). Arms begin down at sides and move smoothly,
palms down, upward to ctr front (about waist level) and outward to open pos diag at sides, gradually
bringing hands to chest level, palms up (cts 1, 2, 3, meas 1). R arm moves slightly outward and
upward in a cuve bringing R hand to an overhead pos while the L arm moves across in front of the
body to finish about waist level (cts 1, 2, 3, meas 2). The arm-hand movements should flow. The step
may be repeated to L by bringing hands to front ctr (chest level) (ct &).
MUSIC ¾
PATTERN
Measures
2 meas INTRODUCTION Assume closed ballrooms pos.
I. NATIVE WALTZ FWD and WALTZ TURN
A 1-4 Dancers move slightly from side to side while traveling fwd in closed (ballroom)pos.
5-8 Beg M R, W L, dance 4 “waltz” steps CW, slowly moving fwd to finishwithMbacktoLOD. A
1 ½ turn is made so that M is facing RLOD.
9-12 Repeat action of meas 1-4 with W moving fwd (LOD). M bkwd. Releaseballroompos(Ct &,
meas 12).
II. SWAY BALANCE WITH A RAISE and M WALTZ AROUND

69
A 1-8 Beg M-W R, dance 4 “Sway Balance with a raise” steps. R and L alternately. RandLarm high
alternately
9-12 M: Beg R, move fwd with “Native Waltz” steps (passing R shldr withptr) CWaroundpts to
finish in front of next W (new ptr). Assume closed ballroompos withnewptsonct 3, meas 12.
W: Beg R, dance 2 waltz steps in place (R, L). Beg on ct 1, meas 11, turn½CWwith2 waltz
steps to face new ptr. Claps out a shldr level to the same sideasleadingft.Assume closed
(ballroom) pos with new ptr on ct 3, meas 12.
III. NATIVE WALTZ FWD, WALTZ TURN
B 1-12 Repeat action of Fig I, meas 1-12.
13-16 Release ballroom hold. Beg R dance 4” Waltz” steps fwd Rand L alternately. M knuckles on
hips just below waist, W holds skirts.
IV. SWAY BALANCE WITH A RAISE, WALTZ TURN
B 1-12 Repeat action of Fig II, meas 1-12. 13-16 Repeat action of Fig III, meas 13-16 with new ptr.
Finish dance after two repeats with bow to ptr. M bends fwd slightly from hips with ft
together, knuckles of fists on hips; W holds skirt and bows slightly from hips with ft together.
NOTE: M begins each pattern with R ft. W, when dancing with p tr begins L ft; when dancing alone she
begins R ft

70
 “LANCEROS DE NEGROS”
Reporter: Leviemer Locostales

71
 LANCEROS DE NEGROS
(Visayan)
During the Spanish times, Lanceros was one of the most popular quadrille dances in the Philippines.
It is similar to Rigodon and is dance in important social affairs to formally open a big ball. Unlike the
Lanceros as danced in Luzon and in some regions in the Visayas, this version from Silay, Negros Occidental
in long ways formation. It is a very lively and colorful dance.
COSTUME. Girl wears Maria Clara style costume. Boy wears Barong Tagalog and black trousers.
MUSIC. Is divided into four parts A, B, C and Finale.
COUNT. One, two; one, and, two; or one, and, two, and to a measure.
FORMATION. Partners face each other about six feet apart. When facing audience, Girl is at right
side of partner. Four to any number of pairs may participate. If desired a square formation may be
used, each pair occupying a corner of an imaginary square.

NEW STEPS USED.

Brincos Con Puntillas- Jump and Land with R(L) foot across the L (R) in front, both feet flat on
floor (ct. 1), hop on L (R) and foot circle outward in the air with R(L) foot (ct. and), step lightly on ball of
R(L) foot in rear of L(R) and raise hell of L (R) (ct. 2) spring on R (L) and land on I Front of L (R) with R
(L) knee slightly bent (ct. and).
Brincos Con Vueltas -Same as brincos con puntillas but make a quarter turn right (left) when
hopping on L (R) on the first ct. and. Make another quarter turn right (left) before stepping on the ball of R
(L) foot in rear of L (R) on ct. 2. There are two brincos con vueltas to a complete turn.
I
Music A
Partners face each other. Throughout this figure, Girl’s L hand is placed on waist, R hand holding
skirt, Boy’s arms swinging naturally down at sides.
Starting with R foot, take four small steps forward to meet at center (cts. 1, 2, 1, 2).
Repeat (a) moving backward to proper places. Face left so that Girl’s back is toward audience, Boy
faces audience.
Repeat (a) and (b). Face each other.
Starting with R foot, take four steps obliquely left forward, passing by R shoulders.
Repeat (d), moving obliquely right backward to proper places.
Repeat (d) moving obliquely right forward passing L shoulders and in (e) moving obliquely left
backward. Take similar steps backward so that partners finish near each other.
II
Music B
Face partner and join R hands, free hand of Girl holding skirt that of Boy is placed on waist.

72
 Starting with R foot take eight small change steps forward moving once around clockwise. Bend
trunk slightly to right and left side alternately.
Drop R hand, turn right about join L hands free hands as above.
Repeat (a), moving counterclockwise.
III
MUSIC C
Partners face each other.
Take four galop steps sideward right. Arms in lateral position sideward left, shoulder level. Do not
put weight on L foot at the fourth galop step.
Repeat (a) moving to sideward left. Reverse position of arms.
Execute four brincos con vueltas, turning right and making two turns. Girls holding skirt’s, Boy place
hands on waist.
Face left so that Girl’s back towards audience. Boy faces audience.
Repeat all (a-c). Partners pass front to front when doing the galop steps.
IV
MUSIC B
Partners face audience. Join inside hands, free hands as in Figure II.
Starting with outside foot, take four change steps forward. Swing the join hands backward and
forward at the same time looking at partner and sway from partner, alternately four times.
Drop inside hands, turn outward to face about. Join inside hands, free hands as in (a)
Repeat (a), starting with inside foot. Start swinging joined hands forward and looking away from
partner.
Drop inside hands. Face each other and join R hands, free hands as In (a).
Starting with R foot, take four change steps forward, turning once around clockwise.
Drop R hands, join L hands, free hands as in (a).
Repeat (c), moving counterclockwise. Drop L hands and finish In proper places
V
MUSIC C
Partners face each other. Partners do their movements simultaneously.
Girl, execute two brincos con vueltas making a complete turn right once.
Boy. Clap hands five times on cts. 1, 2, 1, and, 2
Repeat (a), Boy dancing and Girl clapping hands.
Partners face each other and assume crossed arm position, R over L.

73
 Take four brincos con puntillas moving toward audience–Jump and land with foot away from
audience across in front and hopping on foot towards audience.
Drop hands.
Repeat (a) and (b).
Repeat (c). Starting with other foot and moving away from audience.
SALUDO
(Bowing)
Music Finale.
Partner faces each other.
Pause.
Execute a three-step turn right in place (cts. 1, 2, 1), pause (ct. 2). Arms in fourth position, R arm
high.
Repeat (b), turning left. Reverse position of arms.
Join R hands, free hand of Girl holding skirt, that of Boy is placed on waist. Girl whirls making right
turns under the arch of arms. Boy stands in place.
Face each other. In crossed-arm position, R over L, pull away from each other.
Girl passes under R arm of Boy and finish in front and a little bit to left side of Boy. Partners look at
each other.

74
 “MANANG BIDAY”
Reporter: Erickjoey Manang

75
 MANANG BIDAY
(Ilocano)
Manang Biday is a popular love song in the Ilocos region. Biday is the name of a girl with whom a
young man is very much in love. Because of its simple and catchy melody, it becomes a favorite among the
young boys and girls, who alternately sing the words of the song.
COSTUME -Dancers are dressed in typical Ilocano peasant costume.
MUSIC- Composed of one part of eight measures. Play the music twice for every figure of the
dance.
FORMATION- Partners stand about six feet apart, facing each other. When facing audience, Girl is
at right side of partner. One to any number of pairs may take part.
FIGURE 1
Partners face each other and do the following step. a) Take two bleking steps (R, L). Boy hands on
waist, Girl holds skirt………………………………………………………………………………..2M
b) Starting with right foot, take two waltz steps forward to meet at center (2 M) and two waltz steps
backward to Proper places. (2 M) Arms in lateral position, moving sideward right and left alternately.
4M c) Execute three step tums right in place, hands as in (a) 2 M d) Repeat all from (ac)………...8M
FIGURE 2
Partners face front.
a) Starting with Right foot, take two waltz steps forward. Kumintang Right and Left hand on waist
on the first measure and reverse position of hands on the second measure…………………………2M
b) Take two touch steps in front (Right, Left). Hands as in figure I (a) 2 M c) Repeat (a) moving
backward to proper places 2 M d) Execute a three-step turn right in place. Hands as in figure I (a)2
M
e) Repeat all (ad)…………………………………………………………………………………….8M

76
 “MILIGOY DE CEBU”
Reporter: Yasmin Ahmir Mendoza

77
 MILIGOY DE CEBU
(Dance of Visayaz)
As Spain continuously sustained its foothold on the social and economic life of the archipelago,
Western culture and traditions steadily filtered into the lifestyle of the Filipino, becoming localized while
others gained regional characteristics including music and dance. Many native lifestyles swung toward the
Westem end of the balance incorporating such dance steps as polka, valse, mazurka, fandango, and paso
doble into the Filipino dance tradition.
Miligoy de Cebu, like Its Waray counterpart, is a courtship dance that started with a couple
expressing their love for each other. Later it evolved into a social dance participated in by several couples.
Today's version is an offshoot of the Miligoy performed in big social gatherings and fabulous feast
celebrations. At the turn of the century much of the original courtship movements has disappeared, finding
no proper expression in a group dance, and its place, familiar dance steps of some other dances have taken
the place of filtration, chasing and gentle caresses.
Miligoy is a name of endearment given to a man became popular in the dance circles of Samar or
Leyte, Miligoy was not only an expressive dancer but a Valentino as well. It is said Miligoy was the envy of
every one in dance parties during the town fiestas. Such was his fame as a extraordinary dancer that women
took pride just to dance with him.
It is known how the Miligoy dance started, but one thing is certain, the dance was named after Mr.
Miligoy himself. Traders and travelers brought along with them the miligoy dance from Waray land to other
places they settled on particularly Cebu and its environs.

Movements Particular to the Dance:

1. Mazurka step
2. Waltz step
3. Waltz turn
4. Use of bamboo castanets
Dance Properties
Costume
Female Maria Clara of elegant type.
Top: (Baro) Filmsy, bell sleeved blouse, stiffened with starch. Elaborate embroidery on borders of
sleeves and waistline white or off white. Pina, fine sinamay of late.
Panuelo: (Alampay) Starched, square material (of baro material) folded to a triangle, set over
shoulder with two ends pinned in front with a brooch or pin.
Skirt: (Saya) Billowy, silk, satin or brocade
Type 1-4 to 8 panels in coordinated or contrasted colors. Type 2-two-toned, upper part pastel
or white, lower part bold or jewel colored. Flower follage applique and the like or panel
borders.
Type 3-One-piece full balloon of any color, covered by a sobre falda or over skirt, cut in
apron style.

78
 Chemise: (Corpina) White with cutout embroidery on neckline.
Slip: (Inagua)Ankle-length, white with elaborate crocheted hemline, of wide lace.
Accessory: Jewelry in gold (Imitation), payneta, combs, necklace and pendant, earring, bracelets and
rings,
Footwear: Period shoes or elaborately beaded slippers or sapatilla.
Props: 2 pairs of elongated bamboo castanets per dancer
Male
Top: (Barong Tagalog) Elaborate type. Front or all over embroidery
Pants: Black or dark
Footwear: Black leather shoes

Musical Accompaniment: Rondalla

Music: Composed of two parts: A and B
Count: 1, 2, 3 to a measure
Formation: Partners stand opposite each other about six feet apart. Girl is at the right of Boy when
facing audience. Any number of pairs may perform the dance. Dancers hold a pair a bamboo castanet
in each hand.

ENTRANCE
Music B
Starting with the R foot, take 16 waltz steps moving forward to proper places. Arms in lateral
position moving sideward right and left alternately. Click castanets three times a measure. 16 M
I
Music A
Partners face audience
(a) Stamp R foot in place on count one of every measure. Arms are in reverse "T" position (a
little lower than the ordinary reverse "T" position). Click castanets once or every stamp….2M
(b) Waltz sideward right and left arms in lateral position moving sideward right and left.
Click castanets three times to a measure………………………………………………........2M
(c) Take 2 sway balance steps with a waltz sideward right and left, forearm turn to sideward
right and left alternately. Click castanets on counts (1,3;1,2,3;1,3;1,2,3)…………………...4M
(d) Repeat all (a-e)…………………………………………………………………………..8M

79
 II
Music B
Partners face the audience
(a) Starting with the outside foot, take 2 slide steps sideward moving away from partner.
Arms are in reverse "T" position, clicking castanets on count one of every measure. Bend
trunk slightly sideward-inward……………………………………………………………...2M
(b) Repeat (a) starting with the inside foot moving inward towards partner………………..2M
(c) Repeat (a)………………………………………………………………………...……...2M
(d) Starting with the inside foot, take 2 waltz steps forward moving half-way clockwise to
partner's place, arms as in Figure I (b). Boy passes in front of Girl. Click castanets three times
to a measure……………………………………………………...………………………….2M
(e) Repeat all (a-d). This time Girl passes in front of Boy………………………………….8M
III
Music A
Repeat Figure I…………………………………………………………………………...………..16M
IV
Music B
Partners turn R shoulder toward each other.
(a)Take 2 mazurka steps sideward right, arms in 4th position, L arm high. Click castanets
three times to a measure…………………………………………...………………………...2M
(b)Take 2 slide steps sideward right to partner's place, passing back-to-back. Arms as in (a).
Click castanets on the first count of every measure…………………………………………2M
(c)Turn right about and repeat (a)…………………………………………………………...2M
(d)Waltz turn right to proper places, forearm tum to sideward, right and left alternately. Click
castanets as in (a)…………………………………………………………………...……….2M
(e)Repeat all (a-d)…………………………………………………………...………………8M
V
Music A
Partners face audience
Repeat Figure I…………………………………………………………...………………..16M
VI
Music B
Partners face each other.
(a) Execute a step-brush-swing-hop with the R foot obliquely forward right. Salok L arm to
5th position, R arm overhead……………………………………………….……………….1M

80
 (b) Boy: kneel on R, half-stand on L, arms in 2nd position, palms up (1M); pause(4M).
Girl: Lunge on L forward, arms in second position (1M) starting with R foot, take 4 waltz
steps forward moving counter clockwise around the Boy. Arms are in lateral position moving
sideward right and left. Click castanets on counts 2,3 of every measure………………....(4M).
(c)Boy stands and partners take 2 waltz steps moving backward to proper
VII
Music B
Partners face each other.
(a) Starting with the R foot, take 4 waltz steps forward to meet partner at center, arms as in
Figure VI (c)……………………………………………………...…………………………4M
(b) Take 2 waltz steps, Boy moves forward while Girl moves backward. Arms as in
(a)……………………………………………………………………………………………2M
(c) Boy takes a waltz tum right to proper place while Girl executes the waltz turn in place.
Arms as in (a)………………………………………………………………………………..2M
(d) Repeat (a)………………………………………………………………...……………...4M
(e)Repeat (b) and (c). This time Boy does the Girl's part and vice versa………………...…4M
EXIT
Music B
Partners face each other and cross wrists, arms are extended sideward. Click castanets three times to
a measure.
(a) Take 2 waltz steps sideward toward audience and away…………………………..…….2M
(b) Waltz turns clockwise. Move away from place leading to exit……………………….…2M
(c)Repeat (a) and (b) three times more to exit……………………………………………..12M

81
 “PABO”
Reporter: Mikaela Lancian

82
 PABO
(Tagalog)
This dance game from the Tagalog regions is good to introduce in a social gathering where the
members are not acquainted with each other. It definitely helps to acquaint the members faster through the
exchange of partners and adds greatly to the enjoyable time of all. The dance is called Pabo because the odd
dancer at the center of the circle struts around like a turkey as he looks for a desirable partner.
COSTUME. Dancers are dressed in any Filipino costume.
MUSIC. No definite music is used. Any danza, habanera, or valse may be played for this dance. The
habanera as given here is divided into two parts: A and B, played as many times as necessary.
COUNT. one, two, and for habanera music and one, two, three for valse (waltz).
FORMATION. Couples hold as in ballroom dancing position. They are scattered around the room.
A leader is chosen to give the signals and a young man is designated as the first pabo (turkey).
Note: Waltz step is done in figures I and II if the music used is a waltz.
I
DANCE
MUSIC A.
Couples dance around the room executing habanera steps. Boy starts with L foot and Girl, with R
foot………………………………………………………………………………..………………..16M
II
CIRCLE
MUSIC B.
At signal, all couples separate and form a single circle facing center, hands joined. The Girls
stand at the right side of their respective partners. The Pabo stays inside the circle.
All circle dancers execute habanera steps, forward R and backward L alternately. As this step
is being done, they move little by little counterclockwise. Swing arms forward-upward and
downward-backward alternately. Once in a while the circle dancers “shoo” the Pabo to tease and
drive him away. The Pabo, in the meantime, moves around looking for a suitable
partner……………………………………………………………………………………………...16M
At the next signal, circle dancers exchange partners, The Pabo at the same time, tries to get a
partner. The one left without a partner is the new Pabo.
All dance again until the signal is given to stop and form a circle. Music A is always played
for part one of the dance and B for the second part, the circle.
Note: If there are a large number of participants, two or three Pabos may be chosen to make the dance more
interesting. The dance may be repeated as many times as desired.

83
 “PAGGAPAS”
Reporter: Francis Michael Marcelo

84
 PAGGAPAS
(Harvesting)
When the palay are ripe and yellow they are ready for harvesting. Different regions have different
ways of harvesting. Some use a scythe to cut the whole stalks of the plants, others use a knife or other sharp
instrument to cut the seeds talks only. No matter how they do it, harvesting is always an occasion of
rejoicing and celebration, especially if the harvest is bountiful.
EQUIPMENT. Scythe.
COSTUME. Working costume for boys and girls, some wearing salakot and others wear wide-
brimmed buri hats and some girls cover heads with a piece of cloth or large kerchiefs.
MUSIC is composed of two parts: A and B.
COUNT one, two, three to a measure.
FORMATION. Four to eight or more dancers may participate in this dance.
Music A
Dancers are scattered informally, some facing front, others facing side- ways. Hold scythe with R hand.
(a) With body bent forward and knees slightly bent, grasp imaginary stalks of palay with L
hand (cts. 1. 2, 3), go through the motion of cutting stalks forcefully with scythe (cts. 1, 2, 3)……2M
(b) Move forward or sideward, executing a close step, starting with R or L foot, and repeat the
cutting movement as in (a). ………………………………………………………………………...2M
(c) Repeat (b), moving from place to place, six more times, covering the whole imaginary field.
……………………………………………………………………………………………………..12M
II
Music B.
Dancers stand in different places and facing different directions or facing in one direction if desired.
(a) Putting down the scythe, take a big handful of palay stalks with two hands (cts. 1, 2, 3).
…………………………………………………………………………………................................1M
(b) Tie stalks into bundles (cts. 1, 2, 3; 1, 2, 3). (c) Throw bundle to one side (cts. 1, 2, 3).
.……………………………………………………………………………………………………...2M
(d) Repeat (a-c), three more times, moving from place to place every four measures.
……………………………………………………………………………………………………..12M

85
 “PAHANGIN”
Reporter: Ain Madenancil

86
 PAHANGIN
(Airing)
Immediately after the threshing the airing (pahañgin) is done. Airing or pahañgin separate the grain
from the chaff. Girls usually to this work, so PAHAÑGIN dancers are mostly women.
EQUIPMENT. Shallow basket for each dancer and play grains.
COSTUME. Dancer’s wear working costume. A place of cloth, a large kerchief or bandanna is tied
around the head of each dancer
MUSIC is composed of two parts: Introduction and A
COUNT one, too, to a measure in 2/4 time and one, two, three in 1/4 time.
FORMATION. Dancer’s pair off. One standing with R shoulder toward front, the partner sitting on
heels with empty basket on lap facing, facing her. Two to four pairs may participate in this scene.
They may be arranged in semi-circle formation or in any desired formation.
Introduction
Music Introduction. Guitar accompaniment.
Some girls enter with baskets full of grains on their heads and some with shallow baskets
held with R hand or carried in front with two hands. Proceed to proper places ....................8 or 16M
The girls who are standing have baskets full of grains, R shoulder toward audience.
••• I •••
Music A.
(a) The girls who are standing hold and tilt their baskets at chest level and pour the grains
gradually into the empty baskets of partners who are sitting on their heels facing them. They may
hold their baskets in front to better catch the grains...........................................................................4M
(b) Shake baskets to bring grains near the brim, repeat (a) until basket is emptied into
partner's basket…………………………………………………........................................................4M
(c) Reverse position. Girls who have been standing sit on heels and vice-versa Repeat (a) and
(b)……………………………………................................................................................................8M
(d) Repeat all (a-c). .............................................................................................................16M
Note: The pounding (bayuhan) and winnowing (pagtatahip) are found in Tolentino, Francisca Reyes,
Philippine National Dances, Silver Burdett Co., Morristown. N. J., 1947.
The two dances complete the "Rice Festival" suite, If desired, a thanksgiving celebration may be
performed after the winnowing. Any festival dances and folk songs may be included in the program, such as
the Jotas, Pan dangos, Habaneras, Curachas, Alay, Kasaganaan, Tinikling, Binasuan, etc.

87
 “PANDANGGO SA ILAW”
Reporter: Larasheen Parillo

88
 PANDANGGO SA ILAW
(Mindoro)
The term ‘pandanggo’ comes from the Spanish word ‘fandango,’ which in Portugal is also a common
dance, which is defined by marking time with the use of castanet clack, finger snapping, and triple-time
rhythm stomping of the feet, a 3/4-time dance. The sentence sa ilaw is Tagalog for “in light” and relates to
the three oil lamps to be balanced by a dancer— one on the head and one on each side on the back. The
name of the oil lamp is tinghoy. Candles are sometimes used in lenses instead of an oil lamp. Pandanggo sa
Ilaw is generally danced in couples, with traditional clothes for both women and men.The individual
performing this graceful dance is often referred to as the’ pandanggera.’ Then the’ pandanggera’ dances
holding three oil lamps called the’ tinghoy.’ This dance originates in Oriental, Mindoro.
Col. Antonio R. Buenaventura, a national artist for music and a Bulacan native, composed the music
to which the pandanggo sa ilaw is now frequently danced. Sometime in the early 1930s he wrote the music
while teaching at the University of the Philippines ‘Conservatory of Music.
Pandanggo sa Ilaw is a waltz-style, playful folk dance that exhibits a distinctive fusion of local and
western indigenous dance types. Pandanggo sa Ilaw simulates fireflies at dusk or dawn light and flight. It
portrays a young man’s courtship to a maiden who caught his interest.
COSTUME: The girl is dressed in "balintawak", the boy in long white trousers and "kamesa di
tsino”
MUSIC: divided into three parts: A, B, C.
COUNT: one, two, three to a measure.
FORMATION: Partners stand about six feet apart facing the audience. The three lighted oil lamps
are placed on the floor between them. The girl stands at partner's right. The oil lamps are of two
sizes, the one to be placed on the head being larger than the two for the hands.

INTRODUCTION
Music Introduction.
(a) Standing on the L foot, tap in front (ct. 1), pause (ct. 2), tap once more (ct. 3). Place left hand on
waist, R hand hanging loosely at the side...........................................................................................1M
(b) Repeat (a)......................................................................................................................................1M
(c) Three-step turn right in place and bow to the audience. Place both hands on waist.....................1M
I
Music A.
Partners face left.
(a) Take two waltz steps forward (R, L - 2 M.), one waltz turns right (2 M.). Arms in lateral position
moving sideward R and L with forearm turns....................................................................................1M
(b) Repeat (a) three times more moving clockwise around the oil lamps..........................................1M
(c) Turn right about and repeat all (a and b) moving counterclockwise. The girl finishes with the
lamps in front of her, boy at left side..................................................................................................1M

89
 II
Music B.
Girl's Part:
(a) Cross R foot in front of L and bend knee slightly (this position is held for thirty-two measures),
arms bent I T position at shoulder level. Move right (1 M.) and left elbows (1 M.) upward twice on
cts. 1, 2 of each measure. The wrists are relaxed so that the hands dangle at every movement.......24M
(b) Place a lamp on the back of the right hand...................................................................................8M
Boy's Part:
(a) Repeat the movements of figure I going clockwise around the girl. Take the same arm movement
of the girl in figure II (a)...................................................................................................................24M
(b) Take lamp No. 1 and help the girl place it on the back of her right hand.....................................8M
III
Music C.
Cross-waltz step: With a spring, step R (L) forward across L (R) in front, raising the L (R) in rear at the same
time (ct. 1), step L (R) in rear of R (L) (ct. 2), step R (L) in the same place (in front) (ct. 3).
(a) Starting with the R foot, take sixteen cross-waltz steps around the lamps clockwise. Boy's hands
on waist, girl's free hand holding the skirt........................................................................................16M
(b) Turn right about and repeat (a) moving counterclockwise. Finish in proper places facing the
audience……………………………………………………………………………………………16M
IV
Music A.
(a) Starting with the R foot, execute waltz steps (tiny steps) backward. The girl bends left arm
upward and flutters the fingers in time to the music. Boy's hands on waist, girl's free hand holding
the skirt...............................................................................................................................................8M
(b) Repeat (a) moving forward to original places...............................................................................8M
(c) Boy gets lamp No. 2. Partners repeat (a). Free hand boy on the waist.........................................8M
(d) Take four waltz steps forward (4M.). Boy puts the lamp on the head of the girl who stands still (4
M.) .....................................................................................................................................................8M
V
Music B.
(a) Take one waltz step sideward R and L (2M.), waltz-turn right (2M.). Arms of boy and L arm of
girl in lateral position at shoulder-level moving sideward R and L alternately, or L hand of girl
holding the skirt..................................................................................................................................4M
(b) Repeat (a) three times more moving around the lamp clockwise...............................................12M
(c) The boy gets the third lamp and places it on the back of the left hand of the girl. The girl stands
still while the boy is placing the lamp on her hand............................................................................8M

90
Girl's Part:
(1) Step R across L in front and bend right knee slightly. Raise L foot inrear at the same time (cts. 1,
2), step L in rear or R foot (ct. 3) Step R foot sideward (cts. 1, 2, 3). Hold lamps in front or obliquely
forward at shoulder-level....................................................................................................................2M
(2) Repeat (1) three time more (L, R, L)............................................................................................6M
Boy's Part:
(1) Continue waltzing around the girl counter clockwise……………………………………..……8M
VI
Music C. Play once.
Girl's Part:
Stand with feet in third position, R foot in front, knees relaxed. Do the following hand movements, hands
first at shoulder level in front:
(a) Raise R hand and lower L hand slowly (cts. 1-6) .........................................................................2M
(b) Reverse the movements of the hands............................................................................................2M
(c) Cross the hands in front, R over the L hand..................................................................................2M
(d) Back to the starting position..........................................................................................................2M
(e) Repeat (a) and (b)..........................................................................................................................4M
(f) Lower both hands and bend the knees slightly..............................................................................2M
(g) Raise both hands and straighten the knees....................................................................................2M
Boy's Part
(a) Repeat figure I, going clockwise around the girl........................................................................16M
VII
Music C. Play once.
(a) Partners execute eight sway balance steps with a point, R and L, moving counter clockwise little
by little, arms in third position, R and L high alternately.................................................................16M
VIII
Music C. Play once.
The boy takes the two lamps from the hands of the girl (one in each hand) leaving one on her head.
(a) Partners repeat the steps of figure I, going in any direction with the boy following the girl......14M
(b) Three-step turn right in place and bow to the audience………………………………….……...2M
Boy's Arm Movement
(a) The boy moves the lamps one up and the other down (2 M), crosses the hands in front, R over L
(2 M), L over R (2 M), circling R hand clockwise and L counter clockwise (2 M)………………...8M

91
 (b) Repeats a up to 6 measures...........................................................................................................6M
(b) Hands at the sides while bowing..................................................................................................2M
Girl's Arm Movements
(a) Repeat the arm movements of Figure I for 14 measures……………………………………...14M
(b) Takes the glass from her head with the R hand opens the hand sideward while bowing.............2M

92
 “PANGALAY”
Reporter: Jhon Carl P. Añides

93
 PANGALAY
(Muslim)
PANGALAY is a popular festival dance in Sulu. It is performed in wedding celebrations and at big
social affairs.
Wedding celebrations among the rich families in Sulu are lavishly observed. They may last for
several days or even weeks depending on the financial status and agreement of both families. Well-known
dancers perform the dance while the feasting is going on to the music of the Kulintangan, gabbang and
agongs, and others.
COSTUME. Dancer wears a typical Joloano costume. Expert dancers use janggay, extended metal
finger nails, in each finger. The rich have janggay made of gold or silver.
MUSIC is played as many times as necessary.
COUNT one, two or one, and, two, and to a measure.
FORMATION. Dancer stands at center of room, facing audience. One or more dancers may
participate in this dance.
NOTE: There are no definite directions, sequence of figures, number and kinds of steps, hand movements
and positions used when performed by the natives. For teaching purposes, the figures described below are
suggested, but dancers may make their own combination if desired.
Entrance
Starting with R foot, walk to center of room, both arms down at sides, palms down fingers together and
pointed outward. Take 1 ct. for each step……………………………………………………………4M or 8M
I
Face audience.
(a) Slide R foot forward with only toes touching floor (ct. 1), put weight on same foot at the end of
the slide (ct. 2). Knees are slightly bent and turned outward. R hand in front at eye level, L hand
down in rear, fingers together and hyper-extended. Turn R hand (from wrist) counterclockwise and
turn L hand (from wrist) clockwise simultaneously………………………………………………...1M
(b) Repeat (a), seven more times, L and R foot alternately. Do the same hand movements, L and R
alternately in front…………………………………………………………………………………...7M
(c) Repeat (a) and (b), moving backward to starting place……………………………………..…...8M
II
R shoulder toward audience.
(a) Repeat slide step foot movement as in figure I, R and L alternately, eight times, moving
clockwise. Arms in lateral position, turning hands as in figure I, right and left sideward alternately
every two counts……………………………………...……………………………………………..8M
(b) Turn right about, repeat (a), moving counterclockwise…………………………………..……..8M

94
 III
Face audience.
(a) Repeat slide-step foot movement as in figure I going obliquely forward right, R and L alternately,
eight times. Start with arms down at sides, palms facing front, fingers together and finger tips
pointing downward, raise arms gradually upward to head level (4 cts.), turn wrists outward so that
finger tips point upward, palms facing front, lower arms gradually downward to starting position (4
cts.). Reverse position of arms every four counts…………………………………………………...8M
(b) Turn right about. Repeat (a), going to starting place…………………………………..………...8M
(c) Repeat (a) and (b), going obliquely forward left in (a)…………………………………….…..16M
IV
Face Audience.
(a) Starting with R foot, take eight steps turning right (clockwise) in place (1 ct. for each step). Arms
bent forward at shoulder level, four fingers toge- ther and hyper-extended, thumbs sticking up.
Execute a figure-of-eight movement with the hands every two counts, gradually stretching the arms
to sideward at shoulder level………………………………………………………………………..4M
(b) Repeat (a), turning counterclockwise. Repeat same hand movement gradually bending elbows to
forward-bent position………………………………………………………………………………..4M
V
Face Audience.
(a) Bend toes of R foot and slide forward the bent toes (ct. 1), at the end of the slide straighten toes
and put weight on same foot (ct. 2). Raise hands in front at eye level, R hand on top with palm facing
front, fingers together; L hand down, palm facing in (self) for two counts………………………...1M
(b Repeat (a), L and R alternately, seven more times. Reverse position of hands every two counts, L
and R hand on top alternately, with palms facing self (when hand is down), and palms facing front
(when hand is on top). The hand that goes down passes in front…………………………….……..7M
(c) Turn right about, repeat (a), going to starting place……………………………..………...……8M
VI
R shoulder toward audience.
(a) Execute eight parallel tortillier stens sideward right. Start with toes pointing sideward right first,
taking one count for each movement. Arms in lateral position, sideward right, palms facing out,
finger tips pointing upward (ct. 1), flex wrists upward so that finger tips point downward (ct. 2).
Reverse position of finger tips every count (or every two counts, if desired)………………………4M
(b) Repeat (a), moving sideward left. Arms in lateral position, sideward left, doing same movements
as in (a)…………………………………………...…………………………………………………4M
(c) Face audience. Repeat (a) and (b)…………………………………………………..…………...8M

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 VII
R shoulder toward audience.
(a) With knees slightly bent, execute shuffling steps forward, moving clock- wise (counting 1, and, 2,
and for every measure). Bend arms upward, elbows close to waist, hands about two inches over
shoulders, palms down. Move fingers (except thumbs) up and down alternately every count……..8M
(b) Turn right about, repeat (a), moving counterclockwise…………………………………………8M
SALUDO
Face audience.
Place or point R foot in front, bend body slightly forward, head bent for- ward, cross hands at wrists
down in front, R hand over L, palms down………………………………………………………………....2M

96
 “PANTOMINA”
Reporter: Juanito Policianos

97
 PANTOMINA
(Bicolano)
The Pantomina Folk dance is very popular in the region Bicol. According to the pantomina dance
history, this dance is originated from Bicol and it is performed during weddings and the dance steps are the
imitation the dove’s courtship and lovemaking.
In fact, this dance is so popular that it is performed in any kind of social gathering.
It is customary among the barrio people to ask the newlyweds to perform this dance. While they
dance, relatives and friends throw coins at them. Sometimes a plate is placed near the place where they
dance so that people may put there whatever they want to give the couple.
Oftentimes, they have to perform this dance several times. Good dancers usually get more money or
gifts from the spectators. If the bride and the groom are bashful and hesitant, they are given wine to make
them more daring and lighter in spirit.
According to pantomina dance history this dance is also called Salampati during the Spanish
colonization. It is also the first folk dance to be written and it is included on the first folk dance book
“Philippines Folk Dances and Games” written by Francisca Reyes Aquino.
Today, the Pantomina dance is being performed during cultural programs and Linggo ng Wika
program in school. Pantomina is being part of the school curriculum specifically in MAPE (Music, Arts and
Physical Education) subject. It is being done to make the new generation become familiar with the
Philippine folk dances and not to let them forgot the Philippines culture.
COSTUME. If this is danced just after the wedding ceremony, the dancers are dressed in their
wedding dress; otherwise, they are dressed in typical Bicolano country costume –patadyong for Girl
and barong tagalong and white or colored trousers for Boy.
MUSIC is divided into five parts: A, B, C, D, and E.
COUNT one, two or one, and, two to a measure in 2/4 time, and one, two, three to a measure in 2/4
time.
FORMATION. Partners stand opposite each other about eight feet apart. When facing audience, Girl
stands at Boy’s right side. This is best danced by only one pair but if desired, any number of pairs
may take part.

Music Introduction.
Partners stand side by side and join inside hands. Starting with Right foot, take several steps forward
to center of room. Girl turns under arch of arms and both bow to audience. Free hands down at
sides....................................................................................................................................................1M
Partners separate about eight feet apart and face each other...............................................................2M
-I-
Music A.
Girl faces audience; Boy, away from audience. Throughout this figure, the Left hand of Girl is placed on
waist and Right-hand holding skirt, Boy’s hands down at sides and swinging gracefully in time with the
music.

98
 (a) Starting with Right foot, partners take four steps forward (4 counts) and two Change steps
forward (4 counts) ..............................................................................................................................4M
(b) Turn right about and repeat (a)......................................................................................................4M
(c) Partners face each other. Starting with Right foot, take eight steps forward going half-way around
counterclockwise (8 counts) ..............................................................................................................4M
(d) Repeat (c), moving backward (retracting steps) to proper places.................................................4M
(e) Starting with Right foot, take eight steps forward to partner’s place passing by each other’s Right
shoulder...............................................................................................................................................4M
(f) Repeat (a-d). This time partners start facing opposite direction in (a)........................................16M
(g) Starting with Right foot, take four steps forward (4 counts) ........................................................2M
(h) Execute a three-step turn right to proper places and bow to partner.............................................2M
Note: Expert male dancer executes difficult and different dance steps from Girl – espunti, tortillier,and other
similar steps are used.
-II-
Music B.
Partners face each other.
(a) Take six engaño steps with a waltz, Right and Left alternately. Arms in fourth position, Right and
Left arm high alternately...................................................................................................................12M
(b) Starting with Right foot, take four waltz steps forward to partner’s place, passing by each other’s
Right shoulder. Arms in lateral position, moving sideward right and left alternately........................4M
(c) Turn right about. Repeat (a) and (b) finishing near each other at center, girl at right side.........16M
-III-
Music C.
Partners face audience and join inside hands. Free hand of Girl holding skirt, Boy places free hand on waist
throughout this figure.
(a) Take eight step-swing steps sideward, Right and Left alternately.................................................8M
(b)Starting with Right foot, take six waltz steps forward ..................................................................6M
(c) Starting with Right foot, take four steps backward (4 counts). Pause (2 counts).........................2M
(d) Release hands, turn right about. Join inside hands and repeat (a-c). Separate from each other at
last two counts in (c). Finish facing each other.................................................................................16M
-IV-
Music D.
Repeat figure II.................................................................................................................................22M

99
 -V-
Music C.
As the following steps are being done, partners move little by little in a counterclockwise direction.
(a) Take one sway balance Right with a point. Arms in fourth position, Right arm high..................2M
(b) Take two waltz steps (Left, Right ) moving little by little to right, Girl holding skirt, Boy’s hands
on waist...............................................................................................................................................2M
(c) Repeat (a) starting Left, Reverse position of arms........................................................................2M
(d) Repeat (b), starting with Right foot. Continue moving to right in a counterclockwise direction.2M
(e) Repeat all (a-d), three more times. Finish in proper places.........................................................24M
Note: Boy may exaggerate his movements.
-VI-
Music E.
Partners face each other.
(a) Watz sideward Right and Left, arms in lateral position moving sideward right and left.............2M
(b) Waltz turn right, forearm turn to reverse “T” position, Right and Left.........................................2M
(c) Repeat (a) and (b), starting with Left and turning left...................................................................4M
(d) Repeat all (a-c), three more times. Do the last turn slowly and finish with a bow to partner or
audience............................................................................................................................................24M
Note: This figure may be done going to any direction or going counterclockwise for 16 Measures and
clockwise for 16 Measures as well.

100
 “PAPURI”
Reporter: Roy Angelo Padilla

101
 PAPURI
(Tagalog)
This dance originated from Tayabas province (now Quezon). Papuri in Tagalog means compliment or
praise. This festival dance is performed in social gatherings by the young men and women present to honor a
guest or a person of note.
COSTUME. Girl wears balintawak style and Boy, barong tagalog and white trousers.
MUSIC is composed of six parts: A, B, C, D, E, and F.
COUNT one, two, three to a measure.
FORMATION. Partners stand opposite each other about six feet apart. When facing audience, Girl is
at right side of partner. One or more pairs may take part in this dance.

INTRODUCTION

Music Introduction.
Three-step turn right in place and bow to each other. Girl holds skirt, Boy places hands on
waist………........................................................................................................................................2M
I.
Music A.
Partners face each other.
Partners take eight sway balance steps with a point, R and L alternately. Arms in fourth
position, R and L arm high alternate………………………………………………………………16M
II.
Music B.
Partners face each other.
Take four papuri steps, R and L alternately. Girl holds skirt, Boy's hands hold barong tagalog
or are placed on waist. Dancers look at their feet as they execute the steps……………………….16M
III.
Music C.
Partners face left so that their R shoulders are toward each other.
(a) Feet in fifth position, R in front, knees bent slightly. Sway body to side-ward right and
left. Arms in lateral position, moving sideward right and left………………………………………2M
(b) Starting with R foot, take three steps sideward going to partner's place, passing each
other front-to-front (cts. 1, 2, 3), put feet together and pause (cts. 1, 2, 3). Girl holds skirt and Boy
places hands on waist. ………………………………………………………………………………2M
(c) Repeat (a) and (b), starting with L foot. Finish in proper places……………………….4M
(d) Repeat all (a-c)…………………………………………………………………...…….8M
102
 IV.
Music D. Play slowly.
Partners face left as in figure III.
(a) Point R in front. Bend trunk forward. Hold hands over R foot, palms up and slightly
closed (natural position). The L knee is bent and R knee remains straight (cts. 1, 2, 3). Trunk erect
and turn left about on both heels. Raise R hand overhead, L hand on waist (cts. 1, 2, 3). The feet are
open at end of turn…………………………………………………………………………………..2M
(b) Turn right about on both heels, assume former position and repeat (a)………………..2M
(c) Slide-turn right. R arm in fifth position and L hand on waist. Finish facing same direction
as in (a)…………………………………………………...…………………………………………4M
(d) Repeat all (a-c) pointing L in front. Reverse direction of turn and position of arms…..8M
V.
Music E. Play slowly.
Face front.
(a) Sarok with a jump, inside foot across outside foot in front, inside hand over outside hand
(ct. 1). Starting with inside foot, take three steps sideward to part ner's place, Girl passing in front of
Boy. Arms in lateral position, held outward (cts. 2, 3, 1), pause (cts. 2, 3)…………………………2M
(b) Repeat (a) starting with other foot. Finish in proper places…………………………....2M
(c) Repeat (a) and (b)………………………………………………………...…………….4M
VI.
Music F.
Partners face with R shoulders toward each other.
Starting with R foot, take eight waltz steps forward, moving clockwise. Arms in lateral N
position, moving sideward right and left alternately…………………………………………..……8M
SALUDO
Music Finale.
Execute three-step turn right in place and bow to each other. Girl holds skirt, Boy places hands on waist..2M

103
 “PASIKAT NA BASO”
Reporter: Charles Christian Salgado

104
 PASIKAT NA BASO
(Ed Tapew na Bangko)
This is a very colorful spectacular dance from Barrio Pangapisan, Lingayen, Pangasinan.
Baso means drinking glass. Pasikat in Pangasinan means to show off.
In this dance, the dancers display good balance, graceful movements, and unusual skill on
top of a bench (tapew na bangko) with the use of four glasses half full of water or wine. Girl carries three
glasses, one on the head and one each held on the palms of her hands and one on the forehead of Boy and
sometimes on the back of his fingers. Partners show off their skill in manipulating the glasses, particularly in
the turning, exchanging places, kneeling, and rolling over on top of the bench, without spilling the water or
dropping the glasses and without falling from the bench.
This is usually danced during wedding party, baptismal party, and other special occasions,
by one pair.
Costume:
Female: Balintawak with tapis and soft panuelo over the L shoulder.
Male: Camisa de Chino with a kerchief around neck and any colored trousers
Hand Props: Four thick glasses half full of water or wine/
Equipment: A wooden bench about three yards long, eight to nine inches wide, and two
feet high. The bench has sturdy leg supports to make it steady and heavy to
withstand the dancers.
Music: ¾ Composed of three parts: A, B and C
Count: One, Two, Three to a measure
Formation: Partners stand about four feet away from each side of the bench. The girl on
the right side and the Boy on the left side when facing obliquely towards the
audience (See diagram below). This is a dance for one pair, but two or more
pairs may dance if desired.

INTRODUCTION
Music Introduction
Partners face bench
a) Waltz sideward R and L. Girl holds skirt, Boy`s hands on waist……………………...(2M)
b) Three step turn R………………………………………………………………...…….(1M)
(c) Point L foot in rear R foot, bend trunk sideward right, arms sideward and kewet hands
alternately in every count (1M). Pause (1M). Close feet together on the last count……..(2M)
I.KINEWETAN
Music A
Partners face the bench
a) Execute kinewetan step with a waltz sideward R and L……………………………....(4M)
105
 b) Starting with R foot, take four waltz steps going around the bench clockwise. Finish in
partner’s place. Arms in lateral position, sway sideward right and left alternately, kewet hands
in every measure………………………………………………...………………………...(4M)
c) Repeat (a)…………………………………………………………………………...…(4M)
d) Repeat (b) going to counter clockwise, but girl goes up the bench at end a facing
audience, and picks up glasses 1 and 2 on the last measure. Boy finishes in proper place.(4M)
II GIRL MAKES PASIKAT
Music B
Partners do movements simultaneously. Girl on top of the bench facing audience. Boy below facing the
bench.
GIRL:
a) Step swing sideward right, sway glasses on hands (palms up) sideward right. Finish with
R hand over head with fingertips pointing towards left, L hand in front of chest with finger tips
pointing toward right in the last count…………………………………………………………….(1M)
b) Repeat (a) sideward L, reverse hand position………………………………………....(1M)
c)Whirl turn R. Cross arms in front of chest, R over L on the first measure and open arms
sideward on the second measure………………………………………………...………………...(2M)
d)Repeat (a-c) starting to L side. Whirl turn L, reverse arms and hands position…….….(4M)
e) Starting with R foot, execute 2 waltz steps going toward end B, arms in lateral position,
sway sideward R and L…………………………………………………………………...……….(2M)
f) Raise R foot and go over glasses 3 and 4 on the bench. Arms sideward at shoulder
level(1M) g) Turn R about, arms as in (f). Finish facing End A (1M) h) Repeat (f) and
g) Finish facing End B……………………………………………………………...…….(2M)
h) Put down the 2 glasses in their former places (1M) go down the bench and return to
proper place. Finish facing the bench……………………………………………...……………...(1M)
BOYS:
a) Starting with R foot, execute 4 waltz steps R and L alternately going around the bench
clockwise. Clap hands on counts 2 and 3 of every measure, sideward R and L alternately. Finish in
former Girl`s place, facing the bench…………………………………………...…………………(4M)
b) Repeat (a) in place, trying to provoke the Girl…………………………………….….(4M)
c) Repeat (a) going counterclockwise. Finish in proper place, facing the bench………...(4M)
d) Repeat (b) but go up the bench on the last measure and get glasses 3 and 4. one on each
hand, hold glasses with palms up…………………………………………………………...……..(4M)
III BOY MAKES PASIKAT
Music B
Partners do movements simultaneously. Boy on top of the bench facing audience. Girl below facing the
bench.

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GIRL:
a) Repeat movement of boy in figure II (a-c) but go up the bench and get glasses 1 and 2 on
the last measure (16M)Repeat (a) sideward L, reverse hand position…………………………….(1M)

BOYS:
a) Repeat movement of girl in figure II (a-d)………………………………………..…...(8M)
b) Raise R foot and go over glasses 1 and 2, place weight on the both feet. Arms sideward at
shoulder level (2) Repeat (a) going counterclockwise. Finish in proper place, facing the bench...(4M)
c) Starting from arms sideward, turn at the same time R hand counterclockwise and L hand
clockwise, going gradually upward overhead. Reverse turn of hands, going gradually downward to
original position. Bend trunk forward and bend knees slightly………………………………..….(2M)
d) Repeat the turning of hands in (c) but turn R hand clockwise and L hand
counterclockwise. Finish with arms as in (b)………………………………….…………………..(2M)
e) Repeat (b). Finish facing partner………………………………………………...…….(2M)
Note: The trunk and knees are bent during arms turning.
IV
Music A
Partners are on top of the bench and do movements at the same time. Hold glass as in figure III. L shoulders
toward audience
a) Step R foot sideward right (ct. 1,2), close L foot to R (ct. 3), arms sidweard, shoulder
level, both hands are moving slightly upward and downward alternately at every count………...(1M)
b) Step R foot sideward R (ct.1), point L foot in rear of R (cts. 2,3), bend trunk slightly
sideward R, bend knees slightly, turn L hand clockwise under L arm………………………….…(1M)
c) Repeat (a) and (b) to sideward L, reverse position of feet and turn, trunk R hand
counterclockwise under R arm in (b)…………………………………………...…………………(2M)
d) Repeat (a) and (b)………………………………………………...……………………(2M)
e) Whirl turn L, arms sideward at shoulder level, move hands slightly upward and
downward at every measure, finish facing left of the bench……………………………….……...(2M)
f) Repeat (a-e). Finish facing partner………………………………………………….....(8M)
V
Music C
Partners face each other. Hold glasses, one on each palm.
a) Execute waltz steps sideward at shoulder level, move hands in R and L alternately going
toward partners. Arms sideward at shoulder level, move hands as in Figure IV (a)……...……... (4M)
b) Partners face left. Execute mincing steps going to partner`s place passing back-to-back,
arms sideward at shoulder level………………………………………………………………...…(2M)
c) Whirl turn R, move hands as in Figure IV (e). Finish facing partner…………………(2M)
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 d) Repeat (a-b). Finish facing (near) partner………………………………………...…...(6M)
e) Girl bends knees, arms sideward, palms up, while boy places glass with R hand on her
head. Girl straightens knees, and boy steps backward with his R foot on the last count………….(2M)
VI GIRL AND BOT MAKE PASIKAT TO EACH OTHER
Music C
Partners do movements simultaneously. Girl holds one glass on each hand and one glass is n her head. Boy
holds one glass.
Girls:
a) Step R foot forward (cts. 1,2), both arms are in front at shoulder level, gradually raise L
hand and lower R hand, raise L knee in front (ct. 3)……………………………………………...(1M)
b) Step L foot forward (cts. 1, 2), raise R knee in front (ct. 3). Arms as in (a) but raise R
hand and lower L hand…………………………………………………..………………………...(1M)
c) Cross R foot over L and turn L about to face End A of the bench. Bend knees slightly
while turning, cross arms in front of chest, open arms and straighten knees on the last count…...(2M)
d) Repeat (a-c). Finish facing End B of the bench…………………………………..…...(4M)
e) Point R foot in rear of L, bends knees slightly. Turn R hand under R arm
counterclockwise, L hand sideward at shoulder level, bend trunk slightly to the left. Feet together on
the last count………………………………………………………………………………………(2M)
f) Repeat (e). Reverse position of feet, turn L hand under L arm clockwise………….….(2M)
Whirl turn R. Arm position and hand movement as in Figure IV (e). Finish facing partner.
Boys:
a) Kneel on R, half stand on L knee, place glass from L hand at the back of the 3 middle
fingers of R hand in front of chest (thumb and small finger support glass)……………………….(1M)
b) Bend trunk forward and pass the glass from R hand under L knee and get glass with L
hand passing it to R hand while turning left about to face End B of the bench…………………...(1M)
c) Straighten both legs towards End B of the bench, lie down on back and place glass
between forehead and nose with R head…………………………………………………………..(2M)
d) Raise legs upward and bend knees, bending trunk and bringing knees gradually towards
glass on forehead, arms sideward, kewet hands R and L alternately every measure……………...(4M)
e) Clip glasses with both knees and support it well (2M). Slowly put glass on the bench
behind the head (without spilling contents) so that body is turned or rolled over. Support body by
hands, holding on bench overhead. Finish in a sitting position with glass in front and facing End B of
bench………………………………………………………………………………………………(4M)
f) Kneel on R and repeat movements as in (a) and (b). Finish facing partner and with glass at
R head, stand on the last count…………………………………………………………………….(2M)

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 SALUDO
Music Finale
Partners face R of the bench
a) Waltz sideward R and L, sway glasses sideward r and L at shoulder level (2M)
b) Three-step turn R, arms sideward. Finish facing right of the bench (1M)
c)Girl point L foot sideward L (1M). R hand sideward, L hand in front, bend trunk slightly to
sideward L. Pause and look at partner (1M). Boy kneels on L, open arms sideward and look up at
partner (2M)

109
 “PINATALATTO CU TA FUTU CAO”
Reporter: Ivy Joy Vale

110
 PINATALATTO CU TA FUTU CAO
(Ibanag)
The literal translation of pinatalatto cu ta futú cao is " pondering within my heart. hastiness
in leaving her. She wanted to be free, happy, and gay. This love song is popular in Iguig and other towns of
Cagayan. It tells of a girl who would not accept the return of the suitor to her. She rebuked the young man of
his performing the dance the girl or any girl in the audience may While the dancers are singing the song.
COSTUME - Dancers are dressed in Ilocano costume
MUSIC - is divided into two parts: A and B.
FORMATION - Partners stand side by side, inside hands joined, facing front. Girl stands
at the right side of Boy.
_I_
Music A.
Face front.
(a) Join inside dance hands, free hands-on waists. Starting with the R foot, take four steps
wings moving forward………………………………………………………………………………4M
(b) Take four touch steps in front, R and L foot alternately. Hands as in (a)………………4M
(c) Repeat (a), moving backward to proper places………………………………………...4M
Drop hands and face each other.
(d) Take two touch steps in front (R, L). Girl holds skirt and boy places hands on waist…2M
(e) Starting with R foot, take three steps backward to separate from each other about six feet
apart (cts 1, 2, 3). Step L close to R (ct.1), pause (cts.2, 3). Hands as in (d)………………………..2M
_II_
Music B.
Face left so that R shoulders are toward each other.
(a) Starting with R foot, take four steps forward. Girl holds skirt, boy places hand on
waist…………………………………………………………………………………………………4M
(b) Repeat (a) moving backward……………………………………………………...……4M
(c) Turn right about, repeat (a) and (b)……………………………………………………..8M
_III_
Music A.
Face each other.
(a) Starting with R foot, take three steps forward to meet each other at center (cts. 1, 2, 3),
step L close to R foot (ct.1), pause (cts. 2, 3). Girl holds skirt, boy Places hands on waist………...2M
(b) Cross R forearms, free hands on waists, starting with R foot, execute four waltz steps
forward moving clockwise…………………………………………………………...……………..4M

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 (c) Repeat (a) going to partner's place, passing by each other’s R shoulder. Finish facing
each other, turning right about…………………………………………………...………………….2M
(d) Repeat all (a-c), crossing L forearms and moving counterclockwise in (b). Finish in
proper places…………………………………………………….…………………………………..8M
_IV_
Music B. Play last two song measure slowly.
Turn R shoulders toward each other as in figure II.
(a) Starting with R foot, take eight waltz steps forward moving clockwise. Girl’s arms in
lateral position moving sideward right and left alternately while Boy claps hands sideward right and
left alternately on cts. 2, 3 of every measure……………………………………………..…………8M
(b) Turn right about and repeat (a), moving counterclockwise by taking six waltz steps
only………………………………………………………………………………………………….6M
(c) Executive a three-step turn right to proper places and bow to each other. Girl hoods skirt,
boy places hands on waist………………………………………………………………...…………2M

112
 “POLKA SA NAYON”
Reporter: Dieryl May Apiag

113
 POLKA SA NAYON
(Tagalog)
This ballroom polka was popular in the province of Batangas in the Spanish time. It was usually danced
during town fiestas and in big social affairs.
COSTUME. Women: Maria Clara or Balintawak style
Men: Barong tagalog and black/white trousers
COUNT. is 'one and two and' to a measure.
MUSIC. Is composed of three parts; A, B, and C
FORMATION. When performed for demonstration, dancers may be grouped into sets of
four pairs in square formation, each couple occupying a corner, or a side of an imaginary square or
they may be arranged in longways formation.
When performed as a ballroom dance, partners may face in any direction and are scattered
about the room.
Introduction
Music Introduction.
Partners face audience, inside hands joined, free hand of Girl holding skirt, that of Boy is placed on his
waist.
a) Tap right foot on every count of the measure…………………………………(8 measures)
b) Partners hold in closed ballroom dance position to get ready for figure 1.
-I-
Music A.
Extended arms towards audience
a) Starting with Left [Right for women] foot, take 4 polka steps around clockwise finishing
in original position………………………………………………………………………...(4 measures)
b) Point L [R] foot sideward and close back to R [L] foot (count 2).
c) Take one polka step sideward L [R]…………………………………………...(2 measures)
d) Repeat (b-c), starting with R [L] foot…………………………………………(2 measures)
e) Repeat all (a-c), 3 more times………………………………………………..(24 measures)
- II -
Music B.
Face audience. Partners release hold. Stand side by side, girl at right, inside hands joined. Free hand of girl
holds skirt, that of boy is placed on waist.
a) Starting with outside foot, take 2 heel and toe polka steps forward…………..(4 measures)
b) One polka step outward (1 measure) and one polka step inward (1 measure)..(2 measures)

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 c) Drop inside hands. Starting with outside foot, take two polka steps to turn about outward
in place. Finish facing in opposite direction……………………………………………….2 measures)
Join inside hands, free hands as above.
d)Repeat (a-c), starting with inside foot. Reverse direction in (b) and (c)………(8 measures)
e) Repeat all (a-d)……………………………………………………………….(16 measures)
- III -
Music A.
Partners hold in closed ballroom dance position, extended arms toward audience.
a) Starting with L[R] foot, take 4 polka steps clockwise as in figure 1 (A)……..(4 measures)
b) Take 3 gallop steps sideward L [R] toward front (3 counts), pause (1 count). Do not put
weight on the closing foot on the 3rd gallop step…………………………………………(2 measures)
c) Repeat (b), starting with other foot, going in opposite direction……………...(2 measures)
d) Repeat all (a-c), 3 more times………………………………………………..(24 measures)
- IV -
Music C.
Partners face front, Girl at the right side. Join inside hands as in Figure II. Both start with right foot.
a) Partners take 1 polka step R sideward and 1 polka step L sideward…………..(2 measures)
b) Point R in front (count 1), raise same foot across L foot in front, just above the ankle
(count 2). Point R foot in front (count 1), step R close to L foot (count 2)……………….(2 measures)
c) Repeat (a) and (b), starting with L foot………………………………………..(4 measures)
d) Drop Inside hands. Face each other and place both hands on own waist. With R elbows
near each other (jaleo position), take 8 polka steps forward, turning clockwise twice (4 polka steps
for each turn). Finish in proper places…………………………………………………….(8 measures)
e) Repeat all (a-d)……………………………………………………………….(16 measures)
SALUDO
Music Finale.
Partners face audience. Join inside hands, free hands as in figure 2.
a) Starting with R foot, take 4 polka steps forward……………………………...(4 measures)
b) Girl whirls counterclockwise under arch of arms as many times as possible...(3 measures)
c) Drop inside hands. Face and bow to each other or to audience; Girl holds skirt and Boy
places hands on his waist…………………………………………………………………...(1 measure)
Note: If desired, the whole dance may be repeated in sets of four pairs in square formation, all facing center
of set. The saludo is performed with all facing front only when ending dance.

115
 “RABONG”
Reporter: Caryll Jane Marie Saumat

116
 RABONG
(Ilocano)
Rabong came from the Iloco’s region. The participants sign and dance to interpret its
meaning. Rabong in Ilocano means “bamboo shoot”. The dance expresses how delicious rabong is and it
cannot be exchanged.
Music: Single play
Costume: Dancers may wear any Ilocano peasant costume.
Measure: 1,2, or 1 and 2.
Position: Partners stand about 6 feet apart, facing e each other. The girl is at the boy’s right
when facing the audience.
Figure I
a. Starting with right foot, take three steps forward to meet partner at center, arms down at
sides (cts. 1,2,1). Tap left foot on the rear side, right arm in reverse “T” position doing a “kumintang”
and left hand on waist. (ct. 2)………….…………………………………………………………….4M
b. Repeat (a) starting with left foot and moving backward to proper places. Reverse position
of arms in kumintang (cts. 1,2,1,2)………………………………………………………………….4M
c. Repeat (a) and (b)……………………………………………………..………………....8M
Figure II
a. Change step sideward right and left (cts. 1 and 2)……………………….……………...2M
b. Touch step in front right and left, girl holding skirt and boy’s free hand on waist. (cts. 1
and 2)…………………………………………………………………..……………………………2M
c. Repeat (a) and (b)………………………………………………………………..............4M
Figure III
a. Repeat Figure I, partners facing audience…………………….…………………………8M
Figure IV
a. Repeat Figure II, moving forward and moving backward………………..………..…..8M

117
 “SUBLI”
Reporter: John Mark Dalimoos

118
 SUBLI
(Tagalog)
Subli is 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 the two Tagalog words subsub (stooped or in a crouching
position and bali (broken). Thus, the men dancers are in trunk-forward- bend position throughout the dance.
They seem to be lame and crooked.
COSTUME. Girls wear simple balintawak costume (with tapis and panyo) and a buri hat.
Boys wear barong tagalog and red trousers with a pair of bamboo castanets held in each hand. Both
Girls and Boys are barefooted.
MUSIC. The first part of the dance, which is the individual couple dance, is accompanied by
a kalatong (a bamboo instrument struck with two bamboo sticks) and drums of various sizes made of
goat’s skin. The second part of the dance has a two-part music: A and B.
COUNT one, two or one, and, two to a measure in 2/4 and one, and, ah, two, and, ah in 6/8
time.
FORMATION. After the individual pair dances (if there is) the dancers form two lines,
Boys stand about four feet behind their respective partners. All face the audience. Three or four pairs
make a good set. From one to any number of sets may take part in the dance.
FIRST PART
The first part of the dance is composed of individual couple dances. Partners dance one
after another. They may be designated as pairs 1, 2, 3, and 4. Pair 1 comes out first and improvises their own
steps and hand movements. After a short while (one or two minutes) pair 2 comes out and makes their own
steps which are different from pair l’s movements. Pair 3 and Pair 4 do the same. The couples enter from
different directions.
As soon as the four pairs have danced, they form two lines, Boys behind their respective
partners. Pair 1 leads and all the others follow in consecutive order, executing change steps. All finish facing
audience (See diagram below) in two lines, Boys behind respective partners.
The first part may be omitted if desired. Dancers may start the dance directly on the second
part, especially if performed outdoors.

Diagram
SECOND PART
Entrance
Music. Same rhythm as in First Part.

119
 This part of the music may be used for forming the two lines if there are individual couple
dances or as an entrance of the group if the first part is omitted.
Dancers enter executing change steps forward to places, starting with R foot. Girls hold the
brim of hat with two hands, moving it sideward right and left alternately. Boys hold arms in hayon-
hayon position with R and L arm in front alternately. Click castanets three times to a measure on cts.
1, and, 2 of every measure. Do this as many measures as necessary.
Note: The movements of Boys and Girls are done simultaneously. Throughout the dance Boys have their
trunks bent forward except in figure VI when doing the changing steps. Turn right about in reversing
direction, clockwise to counterclockwise.
INTRODUCTION
Music Introduction.
Girls
(a) Hold hat at top with R hand. Move R hand to right side (cts. 1, 2), to left side (cts. 1, 2),
to front as if paying respect to audience (cts. 1, 2), put hat on head (cts. 1, 2)……………………..4M
(b) Pause. Hands down at side. ……………………………………………………..……..4M
Boys
Stand still, hands on waist for eight measures or
(c) Click castanets once with both hands at right side (ct. 1), pause (ct. 2); repeat the same
with hands at left side (cts. 1, 2), repeat the same with hands in front of chest (cts. 1, 2), bow and
click castanets once on ct. 1 with hands in second position (cts. 1, 2)……………………………...4M
(b) Pause. Hands on waist.....................................................................................................4M
-I-
Music A.
Girls
Hat on head.
(a) With heels raised, execute mincing-step turn right (once) in place (8 cts.). Kumintang R
hand slowly clockwise (4 cts.), back of L hand under R elbow. Do the kumintang once more
clockwise (4 cts.)………………………………………………..…………………………………..4M
(b) Repeat (a), three more times.. ………………………………………………...………12M
Boys
(a) Starting with R foot, take eight change steps forward going clockwise around the partner.
Arms in hayon-hayon position, R and L arm in front alternately. Click castanets three times to a
measure on cts. 1, and, 2 of every measure. Finish in proper places facing partner………….…….8M
Repeat (a), going counterclockwise around partner. ……………………………………....8M

120
 - II -
Music B
Girls
Take off hat and hold top with R hand.
(a)Execute mincing-step turn as in figure I. Turn hat clockwise (4 cfe.), and
counterclockwise (4 cts.). L hand on waist………………………………………..………………...4M
(b)Repeat (a) turning counterclockwise. Repeat the same hat movements as in (a)……....4M
(c)Repeat (a) and (b)…………………………………………………………...…………..8M
Boys
(a) With R foot leading, take four chasing steps forward (4 cts.) and four chasing steps
forward with L foot leading (4 cts.). Arms in hayon-hayon position with R in front for the first 4 cts.
and L in front the next 4 cts. Click castanets once on every count………………………………….4M
(b) Continue doing (a) going clockwise around partner Finish in proper places…………..4M
(c) Repeat (a) and (b) going counterclockwise around partner…………………………….8M
-III-
Music A
Girls
(a) Execute mincing-step turn right (8 cts.) and left (8 cts.) In place. Kumin- tang R hand
and L hand (4 cts.); L hand (4 cts.) and R hand (4 cts). Back of other hand supporting elbow of hand
doing the Kumintang …………………….……………………………………….………………...8M
(b) Repeat (a)…………………………………………………………………...………….8M
Boys
(a) Take four hops forward on R foot (4 cts.) and four hops on L (4 cts.) alternately (two
times) going clockwise around partner. Click castanets once on every count, position of arms as in
figure II (a). Finish in proper places………………………………………………….……………..8M
(b) Repeat (a) moving counterclockwise around partner…………………………………..8M
-IV-
Music B.
Girls
Take off hat and hold top with R hand, L hand holding skirt.
(a) With R foot leading and heels raised, execute mincing steps forward. Lower hat
gradually down to about knee level. The body is bent gradually forward following the movement of
hat. …………………………………………………………………….……………………………8M
(b) Repeat (a), moving backward, with L foot leading. Gradually raise hat to head and trunk
to erect position. …………………………………………………………………………………….8M

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Boys
(a) Boys do the same steps but with R foot flat on floor and L heel off the floor. Arms in
hayon-hayon pasition with R arm in front for eight measures. Click castanets once on every count.
………………………………………………………………………………………………………8M
(b) Repeat (a), moving backward with L foot leading and off the floor as in (a). The same
position of hands. ……………………………………………………………...……………………8M
-V-
Music A
Girls
(a) With heels raised and R foot leading, execute mincing steps sideward right. Hands in
front, parallel to each other at waist level, elbows close to waist, palms down, fingers together (2
cts.), turn hands away from each other so that palms are up (2 cts.). Reverse position of hands every
two counts, palms down and up alternately. This movement of the hands is called bilao.
………………………………………………………………………………………………………8M
(b) Repeat (a), moving sideward left, L foot leading. Repeat same hand
movements…………………………………………………………………………………………..8M
Boys
(a) With feet in fifth position, L foot leading and flat on floor, and R heel off the floor,
execute mincing steps sideward left. Arms in lateral position at waist level, sideward right. Click
castanets once on every count……………………………………………………………………….8M
(b) Repeat (a), going to sideward right, R foot leading. Reverse position of
arms…………………………………………………………………………………….....................8M
-VI-
Music B
Girls
Take off hat and hold with two hands at the brim with top facing front at chest level
(a) Starting with R foot, execute eight change steps forward. Turn hat clockwise so that L
hand goes on top and to right side, R hand goes down and to left side (8 cts.), reverse the turn so that
hands go to starting position (8 cts.)…………………………………………...……………………8M
(b) Repeat (a), moving backward to starting place. Turn hat counterclockwise so that R hand
goes to left side and L hand to right side (8 cts.). Reverse the turn and return to starting position (8
cts.)…………………………………………………………………………………………………..8M
Boys
(a) Starting with R foot, take four change steps forward. The arm movements are the same
as in figure I (a)………………………………………………...……………………………………4M
(b) Trunk erects. Eight changing steps in place, R and L foot in front alternately. The arms in
hayon-hayon position, R and L in front alternately. Click castanets once on every point. Reverse
position of arms at every count………………………………………………...……………………4M
(c) Repeat (a) and (b), moving backward in (a)…………………………………..………..8M
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 -VII -
Music A to Finale.
Girls
Hold hat with two hands as In figure VI.
(a) Starting with R foot, take eight change steps forward. Move hat sideward right and left
alternately…………………………………………………………………………………………...8M
(b) Face right. Repeat (a), moving forward to exit. ……………………………………….8M
Boys
(a) Starting with R foot, take eight change steps forward. The arm movements are the same
as in figure I (a). …………………………………………...………………………..........................8M
(b) Face left. Repeat (a), moving forward to exit…………………………………………..8M

123
 “THALEK”
Reporter: Rhea Joy Obre

124
 THALEK
(Dance of Mindanao)
The island of Mindanao in the Philippines is home to over fifty (50) indigenous or non-
Islamic groups called Lumad. Subanen is one of the largest groups of Lumad. Thalek is a dance performed
by women holding a pair of curled dried rattan leaves called Khumpassas their props. They usually perform
the dance after rituals or a bountiful harvest as assign of thanksgiving. They also dance this to welcome
visitors in the community to partake in their blessings received. Women usually perform this dance in a
graceful movement, showing their way of life in the community as shy and with timid personality. They use
musical instruments like gongs. The main function of gong ensemble is to provide musical accompaniment
to all ritual dances like the Thalek.
Costume: Toppers: GINULONGA long sleeved top for women with pleats and sheering
made of light and shiny materials, the upper portion is a fitly tight blouse especially below the breast,
the tummy portion is embroidered with symbolic design in front like BINITUM star), flower,
SINUBA(river between the mountain) and SINALUG(a river in the valley). At the back is a large
design of BALEMBANG (butterfly).
Skirt: PHULAW or GAMPIK, a woven tubular cloth like patadyong or malong of the muslims.
Headdress: THERUNG, a square kerchief usually of hand-woven material.
Accessories: Earrings: made of the same materials use for weaving a cloth and filled with beads.
Choker: a black cloth filled with red buttons.
Hand Implements: Khumpass: made of crimped rattan leaves.
Music: 2/4 The music is called "DUMENDING" The Instruments are two different Sizes of
gongs and two bamboo sticks called "GULETEK".
Count: one, ah, two, ah to a measure.
Basic Steps/Footwork (Khuleg Dhesud):
(1) Dhesud:
Step R (L) foot forward (ct. 1), bring L (R) heel close to R (L) heel (ct.ah), close L (R ) foot
to R (L) (ct. 2), step R (L) foot backward (ct.ah)...............................................................................1M
(2) Dhesud Bhibang Dlintu
Step R (L) foot forward (ct.1), step L (R) in place (ct.ah), step R (L) backward (ct.2), step L
(R) in place (ct.ah)..............................................................................................................................1M
Basic Arm Position (Khuleg Dhenghan):
(a) Ginampu
Stoop slightly and strike Khumpassin front (ct.1), bring Khumpass to sides at hip level with
a shake three times to produce sounds (cts.ah,2,ah)...........................................................................1M
(b) Ghilid Bhibang Dlintu
Arms in second position while shaking the Khumpass up and down four (4) times
(cts.1,ah,2,ah)......................................................................................................................................1M

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(c) Shalyu Ditas Shilong
With R (L) arm overhead slightly in front, shake Khumpass four times going downward to
sideward in circular motion, L (R) hand on waist (cts.1, ah,2 ah)………………………………….1M
(d) Titalan Migampu
Both arms doing the Shalyu Ditas Shilong movements with lower ends of Khumpass in
horizontal position almost meeting when raised overhead………………………………………..1M
(e) Titalan Migampu Di Ditas
Same as in (d) but movements will start only from chest level…………………………....1M
ENTRANCE
(a)Sixteen (16) basics Step 1 Dhesud to center of the dancing area, hands on waist. Finish in
circle formation fading audience…………………………………………………...……………...16M
I
Dancers face audience.
(a)Sixteen (16) Basic Step 1 Dhesud in place. Arms doing the Ginampu………………..16M
II
Dancers face partner (G1 & G2, G3 & G4, G5 & G6).
(a)Eight (8) Basic Step 1 Dhesud moving around clockwise with partner. Arms doing the
Ghilid Bhibang Dlintu movement......................................................................................................8M
(b)Repeat (a) moving counterclockwise…………………………………………...………8M
III
Dancers face out of circle.
(a)Eight Basic Step 2 Dhesud Bhibang Dlintu moving forward. Arms doing the Shalyu Ditas
Shilong R and L alternately…………………………………………...…………………………….8M
(b)Turn right about and repeat (a)……………………………………………………...…..8M
IV
Dancers face partners.
(a)Four (4) Basic Step 1 Dhesud to form one vertical line at center. Arms doing
Ginampu…………………………………………………………………………………………….4M
(b)Eight (8) Basic Step 1 Dhesud in place. Arms doing the Titalan
Migampu…………….........................................................................................................................8M
(c)Four (4) Basic Step 1 Dhesud to go back to proper places. Arms doing the
Ginampu…………………………………………………………………………………………….4M

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 V
Dancers face audience.
(a) Four (4) Basic Step 1 Dhesud to turn right in place. Arms doing the Ginampu………..4M
(b) Eight (8) Basic Step 1 Dhesud moving clockwise to form a circle. Arms doing the
Titalan Migampu Di Datas…………………………………………………………………………..8M
(c) Repeat (a) turning left in place……………………………………………..…………..4M
EXIT
Dancers face audience.
(a)Sixteen (16) Basic Step 1 Dhesud moving around the dancing area in a figure of eight to
exit. Hands on waist………………………………………………………………………………..16M
Note: Each figure may be done as many measures you desire.

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 “WAWWAY”
Reporter: Joylyn Mina

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 WAWWAY
(Ibanag)
This dance is usually performed by a newly married couple during the wedding celebration.
The movements of the dancers show their affection and concern for each other. Dancers sing while they
dance and at the same time go through the motion of wiping each other’s perspiration, the Girl doing the
motion first. This dance is popular in the twin of Claveria, Cagayan.
COSTUME. Girl wears skirt in maskota style with camisa and soft pañuelo and Boy wears
barong tagalog and white trousers. Each dances have a handkerchief. The Girl’s handkerchief is kept
at right side of her waist while that of Boy is in one of his trouser’s pockets.
MUSIC is divided into two parts: A and B.
COUNT one, and, two (for change step) or one, two, and (habanera step) to a measure.
FORMATION. Partners stand about six feet apart, facing each other. The Girl is at right of
Boy when facing audience.
Note: When the music is played in a lively tempo as given here, the step used is change step and when slow
in habanera tempo, the step used is habanera step.
_I_
Music A.
Partners face each other. Throughout this figure Girl holds skirt, Boy places hands on waist.
(a)Starting with R foot, partners take four change steps forward to meet at center………..4M
(b)Starting with R foot, take two change steps backward……………………………….....2M
(c)Change-step turn right to proper places. Finish facing each other……………………...2M
(d)Repeat all (a-c)……………………………………………………………………...…..8M
_II_
Music B.
(a)Starting with R foot, partners take eight change steps forward to partner’s place, passing
each other by R shoulders. R arm in reverse “T” position, L arm in second position with palm up
when starting with the R foot. Move the low hand slightly up and down in time with the music.
Reverse position of arms when starting with L foot………………………………………………...8M
(b)Turn right about and repeat (a) going to proper places………………………………....8M
_III_
MUSIC A.
Repeat figure I…………………………………………………………………………….16M
_IV_
Music B.
(a)Starting with R foot, partners take two change steps obliquely forward right. Finish in one
line at center, facing each other--- Girl’s back is toward audience, Boy is facing audience. Hands as
in figure II…………………………………………………………………………………………...2M
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 (b)Starting with R foot, take four change steps turning clockwise in place at center. Girl
moves forward and Boy moves backward while turning in place. Girl holds her handkerchief with R
hand and does the motion of wiping perspiration on face and neck of Boy. They always face each
other while turning. L hand of Girl is placed on waist and Boy’s hands are on waist. Girl takes bigger
steps than Boy. Finish turn facing partner’s original place………………………………..………...4M
(c)Girl keeps handkerchief. Starting with R foot, take two change steps forward to partner’s
place, passing by L shoulders. Hands as in figure II…………………………………………….….2M
(d)Turn right about to face each other. Repeat all (a-c), this time Girl faces audience and boy
faces away from audiences when one line at center in (a). Girl wipes face of Boy again. Finish in
proper places………………………………………………………………………………………...8M
_V_
MUSIC A.
Repeat figure I…………………………………………………………………………….16M
_VI_
MUSIC B.
Repeat figure I, but this time a Boy does the motion of wiping Girls perspiration. Free hand
of Boy is placed on waist, Girl’s hands holding skirt……………………………………………...16M
_ VII_
MUSIC A.
Repeat figure I. Bow to partner at end of turn in the last measure……………………….16M

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 FINAL PERFORMANCE

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