CARIÑOSA

TINIKLING
FOLK DANCE
Are the indigenous dances of any
specific “folk” or the common people.
They are traditional customary or
recreational dance forms of a given
country which have evolved naturally
and were handed down across
generations.
FOLK DANCE
Are related to everything of importance in our
daily lives, such as customs, rituals, and
occupations of a specific group of people. Most
of these dances are related in origin to religious
belief, stemming from emotions, superstitions,
festivals, ceremonies of birth, courtship,
marriage, death, war, and countless themes
common to all people around the world.
According to Duggan, Schlottmann,
and Rutledge (1948), “folk dance
became the overt expression of
emotions and ideas which were
peculiarly significant or the re-
enactment of customs and events
constituting an important part of
their history and patterns of daily
Lopez (2006) defines Philippine folk
dance as “a traditional mode of
expression that employs bodily
movements of redundant patterns
linked to definite features of
rhythmic beats or music”.
She further stated that Philippine folk dance, to be
called such, should have the following characteristics:
1. It is traditional.
2. It has an expressive behavior.
3. Simple, Basic rhythm dominates the folk dance
and establishes the pattern of movement.
4. It is created by an unknown choreographer or by
communal efforts.
5. It performs a function in the life of the (folk)
people.
 What are the differences between
folk, national, and ethnic dance?
Folk dances are traditional dances found in a
certain country.
National dances are traditional folk dances but
have a national scope. They are popular and
widely danced throughout a given country, often
with a number of regional variations. Examples
of national folk dances are Cariñosa, Curacha,
and Pandanggo.
Ethnic dances or ethnological dances are
those performed in primitive tribes and have
retained their close kinship with religious ritual
and community custom. These dances may
“require a certain level of special performing
skills” (Kraus, 1962) that are symbolic in
meaning, making it harder for those outside
the group to understand. They can be
performed in three different categories,
namely, ritual, life-cycle, and occupational.
 Types of ethnic dance
•Ritual Dances – dances that
depict ritual ceremonies.
Examples are Dugso (Bukidnon)
and Pagdidiwata (Palawan).
 Types of ethnic dance
•Life-cycle dances – dances relating
to the cycle of human life such as
birthing, courtship, wedding, and
funeral. Examples are Binasuan
(Pangasinan) and Daling-daling
(Muslim courtship dance from
 Types of ethnic dance
•Occupational dance – dances that
exhibit work and occupation of the
dancers. Examples are Mag-asik
(Cotabato) and Mananagat (Cebu)
dances.
Francisca Reyes-Aquino
Acknowledged as the pioneer of folk dancing in the
Philippines
Began her research of folk dances in the 1920s, making trips
to remote barrios in Central and Northern Luzon
She received the Republic Award of Merit given by the late
President Ramon Magsaysay for “outstanding contribution
towards the advancement of Filipino culture”
She received an honorary Doctor of Science in Physical
Education degree from Boston University in 1949
Remember:
•All national and ethnic
dances are folk dances, but
not all folk dances are
considered national or ethnic
dances.
Did you know?
•The first National Artist for
dance and the Mother of
Philippine Folk Dance is
Francisca Reyes-Aquino.
•In 1935, The University of the
Philippines (UP) Filipiniana Dance
Group was founded by Francisca
Reyes-Aquino which served as the
experimental group for her
extensive research on the different
folk dances in our country.
 FIVE MAJOR CLASSIFICATIONS OF
PHILIPPINE FOLK DANCES
CORDILLERA DANCES
•Bontoc, Ifugao, Benguet, Apayo, &
Kalinga tribes.
•A people whose way of life existed
long before any
•Dances reflects rituals or other
which celebrate in their lives - a good
foot on the harvest, health, peace,
Philippines war, and other.
•Gongs, ganza symbols of living
•Cordillera Dances Bontoc –
“Pattong”Kalinga – “Banga”
 FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK
DANCES

SPANISH INFLUENCED DANCES

•Philippine aristocrats created Filipino Jota

adaptations of European dances

•Jotas, fandanggos, mazurkas, waltzes
•Danced by young
•Dances reflects socialites to the
Christianity, and stringed music of
European art and the rondalla culture
•Spanish Influenced Dances “Jota”
“Habanera”
 FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK
DANCES

• RURAL DANCES

o Shows gaiety & laughter, festivities

o Performed in fiestas to honor patron saints give
homage to the barrios namesake for a good
harvest, health, &
o Reflects the simple life of perseverance the
people in the barrio
o Indigenous materials,
o Depicts common work, clapping, rondalla, daily
activities of the percussion peasants instruments
o Rural Dances “Maglalatik”,“Saut sa Rarug”,
“Oasioas”
 FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK
DANCES

• MUSLIM DANCES
o Influenced by Malay, Javanese & Middle
Eastern Traders (Islam)
o Mysticism, royalty, and beauty
o Uses intricate hand & arm movement
o The fingers express feelings & emotions
o Uses shimmering costumes
o Muslim Dances Maranao – “Singkil”Tausug –
“Pangalay”
 FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK
DANCES

• TRIBAL DANCES

o Intricate craftsmanship in metal, clothing, and jewelry

o Reflects rituals & animals, belief in “spirits” &
shamans,
o Also known as Ethnic nature – “anito” dances; Ethnic
minorities
o Animal sounds, found in different parts of human
singing, the Philippines
o (T’boli, Bilaan, Manobo, Bagobo, indigenous
materials)
o Tribal Dances T’boli – “Madal Tahaw”Manobo –
“Bangkakaw”
 Three Major Regional Classifications of
Philippine folk dances
• Tribal Dances from the Cordilleras –
include non-Christian dances from the
Cordilleras.
Example:
Bendayan is a circle dance, popularly
called Bendian, of Ibaloi. This was long
known as a dance to celebrate the arrival
of successful headhunters. The circular
movements of the dance symbolize unity
and harmony among the Ibalois. Now a
part of every Benguet festivity with the
circles slowly giving way to other
formations and interpretations.
 Three Major Regional Classifications of
Philippine folk dances
• Lowland Christian dances –
dances coming from places
with Western influences
such as that of the Tagalogs,
Ilokanos, Pampanguenos,
Pangasinense, Bisayans,and
Bicolanas. These dances are
influenced by Hispanic and
European cultures.
 Three Major Regional Classifications of
Philippine folk dances
• Muslim Dances – dances
from the people of the
Southern Islands of the
Philippines such as
Mindanao and Sulu.
These dances are
influenced by Arabic and
Indo-Malayan cultures.
 Philippine folk dances, regardless of their
classifications may be categorized as:
• Joke and trickster dances –
include jokes or tricks played
by a dancer on another or a
group of dancers who is one
of them. The intention is to
render that individual “to a
physical or mental indignity
or discomfort” (Lopez,2006).
• Example: Pandanggo sa
Sambalilo
 Philippine folk dances, regardless of their
classifications may be categorized as:
• Mimetic or drama dances –
dances that mimic animals,
inanimate objects, or other
people. The dancers get
into the roles other than
themselves and become
actors totally immersed in
the story the dances tell.
• Example: Itik-Itik in Surigao
 Philippine folk dances, regardless of their
classifications may be categorized as:
• War dances – dances
that express feud and
enmity wherein two male
dancers engage in
physical combat with
Spartan-like intensity
(Lopez,2006)
• Example: Maglalatik
Philippine folk dances, regardless of their
classifications may be categorized as:
• Life-cycle dances – dances that serve as ritual as one
passes to a different stage in life such as from birth to
childhood; from singlehood to marriage; and from life
to death. Below are the different dances that portray
life cycle:
a. courtship dances
b. wedding dances
c. funeral dances
Philippine folk dances, regardless of their
classifications may be categorized as:
• Festival dances – dances that are either
religious or secular and are connected with
the celebration of recurring events of
special significance.
Example: Binatbatan
Philippine folk dances, regardless of their
classifications may be categorized as:
• Occupational Dances – dances that depict the
means of livelihood of the Filipino people. Palay
festival, a national dance in rice-growing regions,
is an example of an occupational dance wherein
dancers portray different steps in rice-growing-
from planting to harvesting to threshing, flailing,
pounding, airing and winnowing (Aquino,1979).
Philippine folk dances, regardless of their
classifications may be categorized as:
•Ritual and Ceremonial dances – dances
performed as part of the rituals and
ceremonies of a certain tribe or group of
people.
Philippine folk dances, regardless of their
classifications may be categorized as:
•Game dances – derivations from local
folk games. One example of these
dances is the Pukol dance from Aklan
and Capiz in the Panay region. Pukol
means “to strike or bump each other”
(Aquino, 1979).
COSTUMES IN PHILIPPINE FOLK DANCE

• Typical Spanish Elite

• Female: MARIA CLARA
• Male: Barong Tagalog &
Black Pants
COSTUMES IN PHILIPPINE FOLK DANCE

• Rural (Tagalog)
• Female: BALINTAWAK
with soft panuelo & taps
• Male: Camisa de Chino &
trousers of different
colors
COSTUMES IN PHILIPPINE FOLK DANCE

• Rural (Visayan)
• Female: Kimona &
Patadyong with soft
handkerchief
• Male: Barong or Camisa
de Chino and trousers of
any color
COSTUMES IN PHILIPPINE FOLK DANCE

Rural (Ilocano)
Female: Chambra
(Blouse) & Siesgo
(an A-line skirt)
• Male: Camisa de Chino &
trousers of different
colors
COSTUMES IN PHILIPPINE FOLK DANCE

• Cordillera/Tribal
• Male:- G-string, short jacket &
shoulder band, feathered
head dresses - “bahag”
• Females:- Hinabi na tela
(hablon)- Accessories
(beads)
COSTUMES IN PHILIPPINE FOLK DANCE

• Muslim

 “Sigpit” or “Sablay”
 Patadyong
 Malong
 pants