GAS 12 -

Group # 3

Muslim Dances

Presented by:

Mary joy Semino

Angelika Freolo
Nicole joy Guerero
Julius Goloyugo
Clint James Lumagod
James Harold Martin
 Muslim Dances

Muslim dances are known for their mysticism,

royalty, and beauty which are evident in their music and
dances. Accompanied by the agong and kulintang, Filipino
Muslim dance is marked by intricate hand and arm
movement along with shimmering costumes.
 “Pangalay”
Tribe: Badjao
Origin: Zamboanga del Sur

A pangalay, native to the Badjao,

sometimes known as the "Sea Gypsies."
Pangalay is a dance that emphasizes the agility
of the upper body. The rhythmic bounce of the
shoulder with simultaneous alternating waving
of arms are the basic movement of this dance.
The pangalay is commonly performed at
weddings and other social gatherings. 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.
 “Burung-Talo”
Origin: Tausug

The dance is a unique fighting

dance in a form of the martial arts,
originated from the Tausug tribe
(Southwestern part of the Philippines).
Performers demonstrate a battle
between hawk and a cat. which their
is an acrobatic movements and tough
facial expressions, this dance is
highlighted with the accompanying
energetic beat of drums and gongs.
 “Asik”
Tribe: Maguindanao
Origin: Lanao del Sur
The Asik is a solo slave dance
from Mindanao that is usually done
before the performance of singkil.
The umbrella-bearing attendant
performs this dance to win her sultan
master's favor. In the Muslim area
in the Philippines the dance is usually
performed by the lady-in-waiting to
the daughter of the Sultan.
 “Singkil”
Tribe: Maranao
Origin: Lanao, Mindanao

Singkil dance takes its name from the bells

worn on the ankles of the Muslim princess.
Perhaps one of the oldest of truly Filipino dances,
the Singkil recounts the epic legend of the
"Darangan" of the Maranao people of Mindanao.
Written sometime in the 14th century, tells the
fateful story of Princess Gandingan, who was
caught in the middle of a forest during an
earthquake caused by the diwatas, or fairies or
nymph of the forest.
 The rhythmic clapping of criss-crossed bamboo poles represent the
trees that were falling, which she gracefully avoids. Then finally, she is
saved by the prince.
Dancers wearing solemn faces and maintaining a dignified pose being
dancing at a slow pace which soon progresses to a faster tempo skillfully
manipulate apir or fans which represent the winds that prove to be
auspicious. The dancers weave expertly through criss-crossed bamboos.
The dancer is usually accompanied by a waiting lady, who holds a
beautifully decorated umbrella over the Princess’s head wherever she
goes.
"Pangsak”
Tribe: Yakan
Origin: Basilan

The Yakan are a Muslim ethnic group

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

The Pangalay ha Pattong is a

dance from Mindanao which is also
called ‘vinta’ after the colorful
vinta boats frequently seen on the
Sulu Sea. The royal couple balance
on a pair of swaying bamboo poles
to represent their ride on the
attractive southern boat (the
vinta.)
 “Pagapir”
Tribe: Maranao
Origin: Lanao del Sur

The Pagapir is a stately dance by the ladies of

the royal court from the Maranao Tribe of Lanao del
Sur. Ladies of the royal court perform this stately
dance in preparation for an important event. The
ladies show fancy and graceful hand movements with
fans (Aper or apir )while moving in small steps or
"kini-kini”. These small steps is said to be a sign of
good upbringing and that she is from a prominent
family.
 “Sagayan”
Tribe: Maguindanao
Origin: Cotabato

According to the cultural history of the Philippines, this dance

was created by the Maguindanao and the Maranao community in honour
of Prince Bantugan. Furthermore, this dance is said to have been
created imitating steps generally used by the prince during war.
Performed by very fierce warriors carrying a shield elaborately painted
with curlicues, rounds, twirls and mirrors which are attached with shell
noisemakers. In their other hand, they carry a double-bladed sword
(kampilan) of metal or wood. Sagayan dancers are dressed in three
tiered skirts, brightly colored topper and headgear embellished with all
the imaginable colors of twine trimmings formed into flowers, balls,
sunbursts etc. Long, yellow playful tassels almost hiding the face
surround the headgear.
 “Sagayan”
The dance involves leaping, turning, jumping, kicking and
the rolling movements of a warrior ready to defend his
master in battle. Kamanyang fumes inhaled by the sagayan
moves him to perform in a magic-like trance. On most
occasions, this dance is performed before any celebration or
gathering to drive away evil spirits (tunong) and to welcome
good fortunes or omen.
“Pangalay ha Agong”
Origin: Tausug - Sulu

In the Suluk Language, ‘Pangalay’ or ‘alay’ means

‘celebrate’, that is to welcome guests or dignitaries
at functions at the ethnic’s community village. ‘Agong’
is one of the main music instruments used, round in
shape with a bump in the middle, called ‘gong’ in the
Malay Language.
The Pangalay ha Agong is a dance that depicts
the rivalry of 2 Tausug warriors for the favor of a
lady. The men show off their prowess and skill as
they play their agong.
 “Pangalay ha Agong”
At the beginning of a performance the female dancers
dance as if making an eagle’s movement high in flight, followed
by a swift movement by the male dancers bringing gongs and
beating them as a signal calling the female dancers to ascend to
the top of the gongs. With gracefulness the female dancers
ascend the gongs and dance on them.

Among this dance’s abstentions is that only female dancers

are allowed to dance on the gongs. The male dancers perform
around the gongs while teasing the female dancers.
“Kapa Malong Malong”
Tribe: Maranao
Originated: Mindanao

It is also called Sambi sa Malong, this

Maranao dance shows the many ways of wearing
a malong, a simple tubular yet highly functional
piece of cloth. The traditional women’s version
shows this cloth of countless colorful designs;
used mostly as a skirt, woven in many different
ways, depending on the purpose of the wearer.
Other ways the women wear malong is as a
shawl, a mantle, or a head-piece.
“Kapa Malong Malong”
During more recent dance
documentation, a men’s version was
derived. This version shows in
masculine rendition, how men don the
malong—displaying its use as a sash
or waist-band, shorts or bahag, and a
head-gear that can be either
functional while working in the fields,
or decorative as a turban.
“Tahing Baila”
Tribe: Yakan
Originated: Mindanao

From the highlands of Mindanao, is a Muslim

ethnic group called the Yakan. They are known
to wear body-hugging elaborately woven
costumes. Tahing Baila is a Yakan dance, a low
land tribal Philippine folk dance, in which it tries
to imitate movements of fish for a bountiful
fish catch.
 End!!!
Thank you!!!