The Philippines is rich in folk dance materials.

The Filipinos being a musical people, singing

and dancing form the greater part of their recreation. The people express their ideas through rhythmic
action in folk dances. While most Philippine folk dances are ritual in character, there is a good variety
of occupational, courtship, festival and war dances which lend color to the rich Filipino culture,
customs, and traditions.
Folk Dance is a cultural art form handed down from one generation to another. It
communicates the customs, beliefs and occupations of the people of region or country. Folk dancing
belongs to the people. It emanates from them (Aquino, F., 1960).

Brief History of the Philippine Folk Dances

When the Philippines was discovered by Magellan in 1521, it had been inhabited by different
racial groups: the Indonesians, Malays, and Pygmies. The offspring of the Pygmies were the Negritos
whose dances describe their daily activities such as, the Sinulog, a dual dance where two men using
bolos.
For centuries, singing and dancing form the greater part of their recreation. The people
express their ideas through rhythmic actions in folk dances. While most of the Philippine folk dances
are ritual in character, there is a good variety of occupational, courtship, festival and war dances
which add color to the rich Filipino culture, customs and traditions.
Filipinos possess natural grace, inborn of music and dance. Dancing was considered a
religious activity to them. They danced for any occasion like birth, love, courtship, thanksgiving,
wedding, war, victory, planting and harvest, prosperous voyage, recovery from sickness and healing
the sick.
In place where life is easy, the dances are gay. Dances entertain people in places where life is
hard, sad, slow and even mournful.
Importance of Philippine Folk Dances
1. It binds community residents in the celebration of important events.
2. It strengthens ties among community members.
3. It provides an outlet that can wash away stressful activity.
4. It is regarded as enjoyment and revelry for all.
Values of Philippine Folk Dances
1. Dissemination and preservation of traditional folk dances.
2. Reservation of the joyful tunes we've inherited from our ancestors.
3. Appreciation of local cultures.

Objectives of Philippine Folk Dance

1. To commit the ideas of cultural development as a vital factor in nation building.

 2.To enhance aesthetically, morally and physically the cultural values demonstrated in various
folk dances.
3. To participate actively in folk dancing for its intellectual, moral and aesthetic values.
4. To disseminate Philippine traditional dances in its pure and authentic form.
5. To instill the love of performing folk dances as cultural legacy.
6. To show to other countries the uniqueness of a Filipino identity.

Characteristics of Philippine Folk Dances

1. In general, dancers stand apart.
2. There is little if any, bodily contact.
3. Most of the dances are done by pairs.
4. Hand movements play an important part
5. Most dances are in long formation.
6. Dances from the lowland have more foreign elements than those found in upland.
Other Distinctive Characteristics of Philippine Folk Dances
1. Different from other folk dances from other places.
2. Gives pleasure to dancers and audiences.
3. Reflects cultures introduced by invaders and conquerors.
4. Provides socialization.
5. Passes down from one generation to another.
6. Some groups have repertory of dances.
Classification of Philippine Dances
I. General Classification
A. Geographical extent of origin
1.National Dances – National dances are traditional dances throughout the
Philippines with common basic movement or pattern but with slight variation.
Examples:
Rigodon Cariñosa Jota Balitaw
Pandanggo Kuratsa Surtido
2. Local Dances – Local or Regional dances are dances found in certain
localities or regions only.
Examples:
 Tinikling – Leyte Maglalatik – San Pablo, Laguna
Subli – Batangas Esperanza – Camarines Sur
Alcampor – Leyte Biniganbigat – Abra)
B. Nature
1. Occupational – Occupational dances are dances that depict actions
characterizing occupation industries and phases of human labor.
Examples:
Pabirik – depicts the difference stages of gold panning
Monanguete – tuba gatherer
Rice Festival – has the largest number of dances
Magtatanim, Paggapas, Paggiik, Pahangin, Pababayo, Pagtatahip
2. Religious or Ceremonial – Religious or Ceremonial dances are performed in
connection with religious vows, practices and ceremonies. A religious dance may be
performed to drive away evil spirits and for having recovered from sickness, favors
granted and vows fulfilled.
Examples:
Dugso Sua-sua Putong
Sta. Clarang Pinong-pino Sinurog Obando
3. Comic Dances – Comic dances are dances with funny and humorous
movements mainly intended for entertainment.
Examples:
Makonggo – movements of monkey
Kinoton – imitates the movements of person bitten by ants
4. Game Dances – Game dances are dances that have some play elements and
are for recreational purposes.
Examples:
Lubi-lubi Pabo Sinenalan Gayong-gayong
5. Wedding Dances – Wedding dances are performed by newlyweds, by friends
and relatives of the bride and groom or by the father of the bride and mother of the
groom.
Examples:
Panasahan Pandang-pandang Soryano Pantomina
6. Courtship Dances – Courtship dances are dances that depict making
or/are dances with love themes.
 Examples:
Hele-hele Bago Quiere Maramion
Radek Daling-daling Rogelia Lulay
7. Festival Dances – Festival dances performed in connection with celebration, a
feast, a barrio fiesta, good harvest and good future.
Examples:
Pandanggo Habanera La Jota
Kuratsa Surtido Putong
8. War Dances – War dances are intended to show imaginary combat or duel
with the use fighting implements like bolo or spear.
Examples:
Sagayan Palu-palo Maglalatik Inabaknon
9. Social Dances – Social dances are dances danced during social gathering.
Examples:
Rigodon Lanceros

C. Movements
1. Active – with fast energetic movements. Examples:
Tinikling Maglalatik Sakuting
2. Moderate – with slow movements Examples: Polkabal
Cariñosa Tagala Habanera
3. Slow – with slow movements Examples: Purpuri
Pasakat Amorosa Tiliday
4. Slow and Fast – slow and fast combination
Examples: Kundiman
Putritos Ba-Ingles Habanera Alcamfor Botoleña
D. Formation
1. Square or Quadrille Examples:
Rigodon Los Bailes de Ayer
2. Long Formation (two or more parallel lines) Examples:
Lulay Sakuting
 3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side. Examples:
Binadyong Haplik Kakawati
II. Special Classification
A. Dances with Songs
Examples:
Abaruray Manang Biday Lulay
Rogelia
B. Old Ballroom Dances
Examples: Lawiswis Kawayan Polka Valse
C. Dances with Implements
Examples: Mazurka Chotis
Maglalatik Sakuting Jota Mocadefla Tinikling Salakot

FUNDAMENTAL POSITION OF FOLKDANCE

A. Arm Positions

1. FIRST POSITION - Both arms raised in a circle in front of chest with the finger tips about an inch apart.

2. SECOND POSITION - Both raised sideward with a graceful curve at shoulder level.

3. THIRD POSITION - One arm raised in front as in 2nd position; other arm raised.
4. FOURTH POSITION - One arm raised in front as in 1st position; other arm raised.

5. FIFTH POSITION - Both arms raised overhead.

B. Feet Positions

1. FIRST POSITION - Heels close together, toes apart with an angle of about 45 degrees.

2. SECOND POSITION - Feet apart sideward of about a pace distance.

 3. THIRD POSITION - Heel of one foot close to in -step of other foot.

4. FOURTH POSITION - One foot in front of other foot of a pace distance.

5. FIFTH POSITION - Heel of front foot close to big toe of rear foot.
DANCE TERMS COMMON TO FOLK DANCES

1. ARMS IN LATERAL POSITION – Both arms are at one side either right or left, at shoulder, chest
or waist level.

2. BOW or SALUDO – Partners bow to each other to opposite dancers or to the audience. This term is
of Spanish origin.

3. BRUSH – Weight on one foot, swing the free foot in an arch, so that the ball or heel strikes the floor
at lowest point of the arch. This may be done forward, sideward, or backward.

4. CABECERAS – The couples occupying the width of the hall when dancers are in square formation
(head couple).

5. CLOCKWISE – Like the motion on the handle of the clock moving to the left, when facing the
center of an imaginary circle. Right shoulder is toward the center when moving forward.

6. COUNTER CLOCKWISE – The reverse direction of clockwise, the hands of the clock moving to
the right, when facing center of an imaginary circle when moving forward.

7. COSTADOS – The couple occupying the length of the hall when dancers are in square formation
(side pairs).

8. CROSSED ARMS – Partners facing each other or standing side by side join their left hands together
and the right hands together; either right over left- or left-over right hands.

9. CUT – Quick change of weight from one foot to the other displacing the supporting foot.
10. DO-SI-DO or DOS-A-DOS – Two people walk toward each other, pass by the right shoulder step
sideward to the right and return to position walking backward, passing left shoulder.

11. DRAW – The free foot is drawn toward the foot, which supports the body weight, by pressing the
toes against the floor as the close is made. With or without transfer of weight.

12. FREE FOOT – The foot not supporting the weight of the body.
13. FREE HAND – The hand not doing anything.
14. HAYON-HAYON – To place one forearm in front and the other at the back of the waist.
15. HOP – Spring on the supporting foot, and land on the same foot.
16. INSIDE FOOT – The foot near one’s partner when they stand side by side.
17. INSIDE HAND – The hand near one’s partner when they stand side by side.
18. JALEO – Partners turn once around clockwise (with the R elbows almost touching counter
clockwise) using walking or any kind of dance step. The hands near each other are on waist.

19. JUMP – Spring from one or two feet and land on both feet.
20. KEWET – Closed fist with the thumb firmly sticking out and moved from the wrist or elbow.
21. KUMINTANG – Moving the hand from the wrist clockwise or counter clockwise direction. This is an
Ilocano term.

22. LEAP – Spring on the supporting foot and land on the other foot.
23. MASIWAK – To turn the hand from the wrist half-way clockwise then raise and lower wrist once or
twice. This is an Ibanag term.
24. OUTSIDE FOOT – The foot away from one’s partner when they stand side by side.
25. OUTSIDE HAND – The hand away from one’s partner when they stand side by side.
26. OPPOSITE – The person standing in opposite position across the set.
27. PANADYAK – To stamp in front at the side with R (L) foot and tap with the same foot close to the L
® foot, weight of the body on L (R) foot. This is a Tagalog term.

28. PARTNER – Girl to right of Boy and Boy to left of Girl.

29. PATAY – To bend the head downward and to support the forehead with the R forearm or with the
crook of the R elbow while the left hand supports lightly the palm of the right hand. This is usually
done with the left foot pointing in rear and knees slightly bent. This is an Ilocano term and the
movement is commonly found in Ilocano dances.

30. PIVOT – To turn with the ball, heel or whole foot on a fixed place or point.
31. PLACE – To put in a certain or desired position without putting weight on it. The sole of the foot
rest on the floor.

32. POINT – Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
33. SALOK – To swing the arm downward-upward passing in front of the body as if scooping, the trunk
is bent forward following the movement of the arm doing the salok. This is a Tagalog term.

34. SALUDO – Partners bow to each other, to the audience, opposite dancers or to the neighbors with
feet together. This term is of Spanish origin and is used in almost Philippine dances.

35. SAROK – Cross the R (L) foot in front of the L (R), bend the body slightly forward and cross the
hands (forearms) down in front with the R (L) hand over the L (R). This is a Visayan term.

36. SET – A dance formation like a square or a unit formation composed of two or more pairs.
37. SLIDE – To glide foot smoothly along the floor. The movement may be finished with or without
transfer of weight.

38. STAMP – To bring down the foot forcibly and noisily on the floor with or without transfer of weight
(like doing a heavy step).

39. STAR WITH THE R or L HAND – Four or more people join R (L) hands at center and circle
around clockwise using walking or any kind of dance steps.

40. STEP – To advance or recede by raising or moving one foot to another resting place. There is a
complete transfer of weight from one foot to another.

41. SUPPORTING FOOT – The foot that bears the weight of the body.
42. TAP – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping the weight
of the body on the other foot. There is no change or transfer of weight of the body.

43. WHIRL – To make fast turns by executing small steps in place to right and left.