FOLK DANCE

A group of people invented folk

dance, a type of dance that depicts
the customs of a particular nation or
area. Rather of representing dance
genres from the higher classes, folk
dancing embodies the styles of the
common people.
Folk dances might originate from
earlier forms or just happen naturally
among a community of people. Both rigorously structured and free-form styles are possible.
Folk dance routines are passed down through the generations and hardly alter once they are
established. While folk dancing is typically connected with social gatherings, some dances
are also competitively performed, and in some places, it is also a part of cultural education.

RATIONALE
Folkdance serves as a cultural expression, preserving traditions, fostering community bonds, and
providing a platform for storytelling through movement. It embodies shared heritage, encourages
social interaction, and promotes a sense of identity among participants. This study will us to identify
the origin, dance movements, time signature and the evidences of every types of Folkdance.
Folkdance comprises a wide variety of customary dances that have been handed down through the
centuries within a particular group or culture. These dances support cultural preservation and a
feeling of community by frequently reflecting the history, customs, and social values of the
populace. Participants move in a rhythmic manner, which promotes social cohesiveness and offers a
distinctive mode of expression.
 Luzon Folkdance

1. Tinikling

A. HISTORY AND BACKGROUND

Tinikling is a Filipino folk dance. Originating during the Spanish occupation of the Philippines, farmers
would use bamboo traps to keep animals away from their crops. However, the Philippine tikling bird
was able to bypass the traps and reach the crops, which is what Tinikling is said to be named after.
This dance itself mimics the movements of the tikling bird and was also created to deter birds from
the land. There is also another legend associated with tinikling.

When the Spaniards had colonized the Philippines, the native Filipinos were forced to work on
plantations. As the story goes, those who didn’t comply with the orders from the Spanish leaders
had to stand between two bamboo poles while they were clapped together and thus injured their
feet. So, the Filipino people would jump to avoid this pain, and this form of punishment turned into
a traditional folk dance in the Philippines

B. DANCE MOVEMENTS
The dance will start with the two dancers hopping twice on their right feet.
After the two right-foot hops, the dancers will make a left hop into the poles’ middle. Make
one step on the left foot, then one on the right foot. Count the rhythm carefully and hop right
on time when the poles clap together to avoid having your feet stuck.
Hop once more to the left and out from the middle of the poles, and hop again on the right
foot.
Hop to the right on the right foot, repeat the motion, and make a right footstep, then a left
footstep. Once again, be careful of the clapping poles.
 2. Pandanggo sa Ilaw

Pandanggo sa Ilaw is a very popular folk dance in the Philippines. It is said to have
originated from Mindoro, the seventh-largest island in the Philippines. This dance of
lights simulates fireflies at dusk and at night.

The word pandanggo is from the Spanish fandango, a dance in 3/4 time. The
phrase sa ilaw is Tagalog for “in light” and it refers to the three oil lamps that a
dancer has to balance — one on the head and one on the back each hand. The oil
lamp is called tinghoy. Sometimes, candles in glasses are used instead of an oil
lamp.

Dance Movements

The Basic dance step for Pandanggo sa Ilaw

 Touch-step-touch
 Do-si-do
 Clapping or snapping of fingers
Photos and Evidences
3. Binasuan

A. History and Background

Pangasinan, a province in the country's north, is where the ancient Filipino folk dance known
as binasuan first appeared. In this dance, dancers do elaborate steps and turns while holding
three rice wine-filled glasses or cups in each hand. The Pangasinan word "baso," which
translates to "glass" in English 1, is where the name "binasuan" originates. Binasuan is often
done on joyous events like weddings.

The dance is called a "glass dance" because the performers utilize exquisite footwork and
elegant motions to balance three rice wine-filled glasses or cups in each hand 1. The dance,
which is usually performed at festivals and festive occasions, is well-known for its vibrant
costumes, upbeat music, and stunning presentation.

B. Dance Movements
Regarding "technique," the dancers in this piece rotate their arms over and under their
shoulders to maintain an upward-facing palm. Additionally, the dancers must hold wine-filled
glasses in both hands while dancing. In addition, the dancer must make sure that the wine
does not spill during the performance.
C. Photos for Evidences

4. Carinosa
 A. History and Background
As per Francisca Reyes-Aquino's book, Philippine Folk Dances, Volume 2, the cariñosa
is performed in a distinct manner in the Bicol region. Filipino folk dancer and cultural
scholar Reyes-Aquino is credited for discovering and documenting traditional dances in
the country, including the cariñosa.
Cariñosa is a dance that involves hiding and seeking movement in various ways in the
Bicol Region. In the original version, the dancers performed the hide-and-seek movement
using a fan and a handkerchief; in Bicol, however, they used two handkerchiefs, holding
the two corners of each, and performed the movement by pointing their foot forward and
raising their hands simultaneously while holding their handkerchiefs. It is a complicated
step however it is still used in Bicol region during festival and social gatherings.
B. Dance Movements
3 step , turn, and bow facing each other.

Step 2: 3 step and point right-left direction in 16 counts.

Step 3: Touch step—3 step forward in 2 count. 4 touch steps, change position, then
repeat.

Step 4:

 3 step forward and back to back.

 4 touch steps.
 Change position and repeat the first two parts of step 4.

Step 5:

 3 step forward.
 Female dancer opens her fan and starts fanning herself.
 4 touch steps.
 Change position and repeat the first three parts of step 5.

Step 6:
  3 steps forward.
 Male dancer moves forward, then kneels.
 Female dancer taps the man with her fan and does 4 touch steps.
 Change position.
 Female dancer kneels as the pair looks at each other, and the man does 4
touch steps.

Step 7:

 3 steps forward.
 Female dancer takes hold of the handkerchief.
 The pair moves the hanky up and down four times.
 Change position, then repeat the first three parts of step 7.

Step 8: Dance gracefully.

C. Photos for Evidences

5. Maglalatik

A. History and Background

Male dancers perform the Maglalatik, also called Manlalatik or Magbabao, which is a
folk dance from the Philippines.[1] The dancers wear vests that are hung with four or
six additional coconut shell halves, and they are strapped onto their hands with
coconut shell halves. The dancers perform the dance by hitting one coconut shell with
the other; sometimes the ones on the hands, the ones on the body, or the shells worn
by another performer, all in time to a fast drumbeat.

Maglalatik can be seen as a mock battle between the dancing boys.[3] The dance is
intended to impress the viewer with the great skill of the dancer. In some "Filipino
Martial Arts" (FMA) circles, it is noted that the Maglalatik "consists of a trapping and
 boxing method hidden in a dance.

Dance Movements

Findings revealed that the prominent dance steps in the Philippine local dance
Maglalatik are the (1) jogging, (2) forward-backward step, (3) arm swing,
and (4) 8 quick clap cycles.

D. Photos for Evidence

6. Rigodon

A. History and Background

The Rigodon is a Filipino-Spanish quadrille folk dance that was introduced
by the French people 1. It is an elegant and stately dance that was brought to
the Philippines by Filipinos who returned from their travels abroad during the
Spanish era 1. The Rigodon de Honor is so called because it is usually
performed to open a state social function like the President’s Inaugural Ball. It
is participated in by the President and the First Lady of the Philippines, high
government officials, members of the diplomatic corps, and other people at
high social standing.

B. Time Signature
2/4 Time Signature

C. Photos for Evidences

7. La Jota Moncadena

A. History and Background

One of the most well-known interpretations and adaptations of the Aragonese Jota
dance is the Jota Moncadeña. It goes by a distinct name among the people of
Moncada, Tarlac: Jota Florana. Tallelet, an Ilocano/Yogad bamboo musical
instrument band, provided music during the Jota Folrana dance. According to dance
anthropologist Ramon Obusan, a grieving family would dance the Jota Florana to go
with them to a loved one's funeral. The bamboo clickers' high-pitched clicking is
meant to resemble somber wails. The slow part of the dance, which is danced to a
very slow marcha funebre, is actually called patay (death) or desmayo (fainting).
Another Ilocano dance called the Ti Liday uses the same dance figure, which in
Ilocano means "sorrow" or "grief-stricken."
Visayas Folkdance
B. Dance Movements
ts steps are “rapid hops, springs and athletic foot work” (Buckman 1978, 258), or
more specifically, a jump into matalarana or a leap landing on one foot while pointing
the other, followed by a pas de bourrie natural, a transitional travelling step.
C. Photos for Evidences
 Visayas Folkdance

8. Kuratsa

A. History and Background

For the native Waray people, roosters and hens were highly valued items, and the dance is a
courting dance that reflects their movements. Traditionally, a live string band or rondalla is
used to accompany the dance. The dance is performed to intricate music that varies greatly
according on the artists' preferences. When the performers dance to the music, occasionally
the rondalla also sings. According to Waray custom, a pasayaw or social dancing occasion is
incomplete without the kuratsa. The dance is performed at political and sporting events as
well as birthdays, marriages, and christenings since it is so essential to Waray culture.

B. Dance Movements/Time Sigmature

rotate, revolve, cartwheel, pivot, half/full turn, twirl and pirouettes.

C. Photos For Evidences

9. Sinulog
 A. History and Background
The Cebuano adverb sulog, which roughly translates to "like water current
movement," is where the name "sinulog" originates. It describes the forward-
backward dance moves. To the beat of drums, the dance consists of two steps
forward and one step backward. Street dancing, free interpretation, and
Sinulog-based dancing are the three categories for the dance. Candle sellers at
the Basilica still carry out the customary dance when lighting a candle for a
patron, typically to the accompaniment of Cebuano tunes.

Honoring the Child Jesus, also known as Señor Santo Niño, is the ritual
prayer-dance known as sinulog. According to legend, Ferdinand Magellan
presented Hara Amihan (Humanay) of Zebu (now Cebu) with an image of the
Child Jesus in April of 1521 as a baptismal gift. The supposedly miraculous
image is kept in

B. Dance Movements/Time Signature

Upbeat, fast-tempo music with strong drum beats and
modern instruments - Quick, forceful steps in a diagonal
"S" pattern across the floor - Arms pump forward and
back in synchronized, choreographed movements

C. Photos for Evidences

10. Itik-itik
 A. History and Background
The folk dance known as tik-Itik originated in the Philippines. Its
members mimic various actions of a duck, including wading, flying,
taking tiny steps, and splattering water on their backs.

The Philippines' Surigao province is credited with creating this

"mimetic" folk dance. It seems that this kind of dancing was well-liked in
communities like Carrascal, Cantilan, Lanuza, and Carmen. Itik-Itik
Surigaonon is still the most well-known variety of this dance form, while
there are a few other variations found throughout the nation in locations
including the Visayas, Samar, Cebu, and the Tibiao.

B. Dance Movements/Time Signature

The findings showed that the following dance steps are commonly seen in the
local Itik-itik dance of the Philippines: (1) running; (2) cross step; (3) heel,
close-ball, close arm; (4) step; (5) arms extension/flexion; and (6) flapping of
the arms.

C. Photos for Evidences

11. Pantomina
 A .History and Background
The Bicol provinces of the Philippines are the origin of the Bicolano folk
dance known as pantomina. In the northern portion of Samar,
particularly in the towns of Allen and Capul, which are both directly
facing Bicolandia 1, it is also very well-liked. The couple and their guests
customarily dance to this song during the wedding festivities 1. In
actuality, the Pantomina is a need for every social event in the Bicol
Region. Even now, the dance remains incredibly popular in the Bicol
Region. One of the earliest folk dances with notated dancing steps was
this one. Philippine Folk Dances and Games, Francisca Reyes Aquino's
debut folk dance book, was released in February 1926 and included the
pantomina.

B. Dance Movements/Time Signature

Traditionally, the pantomina music is played by the musicians before the
dancers take a break to wipe away their sweat. The act of wiping
perspiration has evolved into something a touch flirtatious, as the male
dancer, predictably, offers his own handkerchief for the woman to use on
her own. As would be expected, the pleased crowd would taunt the pair
(particularly if they are young and single) about doing a "love
pantomime," and the musicians would take off playing the music again.
The pantomina shifts back to the dance itself once the love pantomine has
subsided.
C. Photos for Evidences
12. Aklanon

A. History and Background

The people of what is now Aklan province in Panay are called "Aklanon" in Spanish;
they believed the Spanish were asking for the name of the local river, which is
actually "Akean." Ten datus from Borneo are said to have purchased the entire island
from the local Aetas (the Ati group still resides there), bringing with them a syllabic
script. Every local datu referred to his followers as sinakpan and divided their assets
among them upon their passing. The warrior class known as timawa, who were
obligated to the datu, upheld the five class feudal order, which was composed of the
datu, timawa or noble, oripun or commoner, Negrito, and outsider.
Relationships are tracked back both ways, and marriages are arranged through pricey
ceremonies called pamaeaye, which are similar to the typical Philippine.

B. Dance Movements/Time signature

3/4 is the Time Signature of Aklanon
C. Photos for Evidence
13. Singkil

A. History and Background

A Muslim ethnolinguistic community from Mindanao, the Maranao people of Lake Lanao are
the source of the Philippine folk dance known as singkil. The dance is now commonly known
as the royal dance, in which a prince and a princess weave in and out of bamboo poles that
are crisscrossed and rhythmically clapped. The woman spins two fans elegantly while the
man wields a sword and shield. The name of the dance comes from the belled anklet that
the Maranao princess wore.

B. Dance Movements/ Time Signature

The introduction of the slave with the umbrella occurs in the first movement, "Asik".
The second movement features Rajah Bantugan's arrival, Putri Gandingan's entrance, and
the group of female fan or scarf dancers.
Third movement: the slow-moving patay, which is a structural dance convention frequently
seen in Western performances.
The culminating fourth movement features all dancers performing to a musical crescendo.
 C. Photos for Evidence

14. Kini kini

A. History and Background

The Maranao people of the Philippines are the originators of the traditional cultural folk
dance known as Kini-Kini ¹. Women perform the dance, which is distinguished by its
deliberate walking forms and movements that are highlighted by the usage of scarves. It is
stated that the dance embodies the elegance and beauty of the Royal Maranao women.
 It is also important to note that the "Tausug people" of the Sulu archipelago in the
southwest of the Philippines are the originators of another dance known as "Kinikini," which
is a martial arts dance. The Tausug people use fans and daggers to mimic martial arts
techniques.

B. Dance Movements/Time Signature

The movements and shapes of their walk are very articulate and their scarves represent their
fluidity and grace. Their grace is a characteristic of their good education
C. Photos for Evidence

15. Kapa Malong Malong

A. History and Background

The dance known as Kappa Malong is influenced by Islam. The pantubong costume is the
sarong, and the dance basically depicts the various ways in which fatigue might strike.
Because men and women wear malongs in different ways, there are separate variations of
the dance for each gender.

The dance known as Kappa Malong-malong, or Sambi sa Malong, comes from the Maranao
tribes of Mindanao, Philippines. The dance showcases the various ways to style a "malong,"
a straightforward tubular yet incredibly useful piece of clothing.
B. Dance Movements/Time signature
the folk dance portrays the different functions of the malong and the basic footwork is
the point step and cross step.
C. Photos for Evidence
16. Pangalay

A. History and Background

Pangalay (also known as Daling-Daling or Mengalai in Sabah is the traditional "fingernail" dance of
the Tausūg people of the Sulu Archipelago and eastern coast Bajau of Sabah.

The dance has a similarity to classical Balinese and Thai dances, where it is also the most distinctively
Asian of all the southern Philippine dances because dancers must have dexterity and flexibility of the
shoulders, elbows, and wrists – movements that strongly resemble those of "kontaw silat". The
Malaysian art of Buah Pukul is classified as silat despite its Yunnan origin, kuntao is "way of the fist",
from kun 拳 meaning fist and tao 道 meaning way. This term was originally used for Chinese martial
arts in general. The Pangalay is predominantly performed during weddings or other festive events.

B. Dance Movements/ Time Signature

The dancer’s torso is slightly bent forward, a stance seen in Asian dance forms, Unnecessary
hip and torso movement is tabbo. The knees are slightly bent or flexed. Male dancers also
splay the knees. Performers achieve the illusion of lightness by the very subtle springing
motion from the knees.
Crossed arms and hands at chest or face level signal a protective or playful impulse.
Overhead hand positions display triumph, extreme happiness, jubilation or sudden increase in
status.
C. Photos of Evidence
17. Sagayan

A. History and Background

Sagayan Dance is an ancient dance that predates Islam and Christianity of Maguindanaon
people from Cotabato, Mindanao, Philippines. It is performed as part of a healing ritual
called ipat. The dance was created by the Maguindanao and the Maranao community in
honour of Prince Bantugan . The dance imitates steps generally used by the prince during
war. The attire, shield and sword, music, and dance movements serve as an overall medium
to the friendly spirit called “tonong”.
B. Dance Movements/Time Signature

The basic step of this fascinating ‘war dance’ is extremely dramatic in nature. It mainly
involves imitating the moves that Prince Bantugan (a hero) made while at war and after
victory was achieved. The dance is described by male dancers portraying fierce warriors
rolling to defend their master while holding a double-bladed sword in one hand and a shield
with shell noisemakers in the other.

Furthermore, this style also involves the use of movements such as leaping, turning, jumping,
kicking, and rolling. Additionally, the performer needs to ensure that he/she moves in a
‘trance’, since that would help in driving away any evil spirits present.

D. Photos for Evidence

18. Dugso
A. History and Background
The dance must have originated from Bukidnon, northeastern Mindanao since they
are performed as an entertainment for the deities in fiestas organized for them. It was
originally thought that this dance was performed only during harvest time or upon the
birth of a male heir. Women would wear colorful feathered head dresses, plaid
costumes and anklets. They would step rhythmically around a bamboo arch decorated
with newly-gathered palay (rice stalks) and corn, and their movements are
emphasized by the tinkling sounds from the anklets.

B. Dance Movements/Time Signature

Brush your left foot backward, then bring your left foot to meet your right foot.

Step to the left with your left foot, bringing your body sideways.

Brush your left foot backward from your new position, then bring your left foot to meet your
right foot.

Step to the left again with your left foot, bringing your body sideways again, so you are now
turned around from your original position.

Step to your right, then tap your left foot to meet your right foot.

Step to your left in a sideways motion.

Step to your right again, then tap your left foot to meet your right foot.

Step to your left in a sideways motion.

Brush your right foot backward, then tap your right foot to meet your left foot.

Step to your right in a sideways motion.

Step your left foot across in front of your right foot.

Tap your right foot to meet your left movement, moving to the right.

Step your left foot behind you, across your right foot.
 Step to the right sideways.

Step your left foot behind you again, across your right foot.

Step to the right sideways.

Repeat all steps 1 to 16.

C. Photos for Evidence

19. Kadayawan Festival

A. History and Background

The Kadayawan Festival is an annual festival in the city of Davao in the Philippines. The festival
is a celebration of life, a thanksgiving for the gifts of nature, the wealth of culture, the bounties of
harvest and serenity of living. The festival was previously known as Apo Duwaling Festival,
named after three icons of Davao; Mount Apo, durian, and the waling-waling orchid.[2]Previously,
this festival was held in the third week of August every year which was highlighting the 11 tribes
of Davao City. In 2019, the celebration was extended and held from 2 to 31 August. In 2020,
Kadayawan Festival was celebrated from 10 to 17 August.

B. Dance Movements/Time Signature

 Kadayawan is played at 142 Beats Per Minute (Allegro), or 36 Measures/Bars Per Minute.
Time Signature: 4/4.
C. Photos for Evidence

20. Pahiyas Festival

A. History and Background

Origins of the festival date back the 15th century as an

early thanksgiving ceremony. Farmers would bring their crops
to the foot of Mount Banahaw as a celebration of a bountiful
harvest. Over time, they began offering their produce to the
church in honour of San Isidro. But as the tradition continued
to grow, the churches did not have the facilities to keep the
harvest offerings. Instead, farmers were asked to display their
produce outside their own homes, and the parish priest
would go door-to-door blessing each harvest. As time moved
forward, locals wanted to ensure their traditions will not be
forgotten into the future. This is why in 1963, the Pahiyas
Festival was official founded by Fernando Cadeliña Nañawa,
president of the Art Club of Lucban.
 B. Dance Movements/Time Signature
The dancers acts like if they were passing good harvest of fruits and vegetables to each
other smilling and happy. After that, the dancers dance with the use of their hands making a
T position and a feets as if they are jumping or hopping from joy.

C. Photos for Evidence

21. Panagbenga Festival

A. History and Background

The festival, held in February, was created as a tribute to the
city's flowers and as a way to rise from the devastation of the
1990 Luzon earthquake. The festival includes floats that are
covered mostly with flowers, not unlike those used in
Pasadena's Rose Parade
B. Dance Movements/Time Signature

Dance steps may adopt the original steps of any ethnic group plus any genre of dance they are
representing. If specific tribal attires will be used, the choreography should be consistent with
the costumes they are wearing. The main concept of their movements should highlight the
interplay between nature and the environment (e.g. blooming of flowers, preservation of trees
reforestation, and the struggle for ecological balance, in relation to this year’s theme.
Instrumentalists must be part of the dance or routine formation.

C. Photos for Evidence