Physical Education
PHILIPPINE FOLK DANCE P.E. 2
Submitted By: Kisser C. Martinez
Submitted To: John Ansel R. Baruel P.E. Instructor
Kisser C. Martinez COMSCI
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Physical Education
PHILIPPINE FOLK DANCE HA! I" DANCE# - a form of expression of oneself through rhythmic movement "o$ %hat is FOLK DANCE - the oldest form of dance and the earliest form of communication- the traditional dance of a given country which evolved naturally and spontaneously with everyday activities e.g. occupations, customs, festivals, rituals
- It is handed down from generation to generation - It has more or less a xed movement in their pattern, but may dier in various areas or provinces PHILIPPINE FOLK DANCE HI"!OR& !ilipino fol" dance history is not the history of a single national dance of one or two regions. #ances evolved from dierent regions which are distinct from one another as they are aected by the religion and culture.
FORM" OF PHILIPPINE FOLK DANCE" R'RAL AND BARRIO DANCE"
Perhaps the best "nown and closest to the !ilipino heart are the dances from the rural $hristian lowlands% a country blessed with so much beauty. &o the !ilipinos, these dances illustrates the esta spirit and demonstrate a love of life. &hey express a 'oy in wor", a love for music, and pleasure in the simplicities of life. &ypical attire in the (ural )uite includes the colorful balintawa" and patadyong s"irts for women, and camisa de chino and colored trousers for men. * good example of rural or barrio dance is Sinulo. It is a ceremonial dance performed by the people of )an +oauin, Iloilo, during the feast of )an artin. It originated in a barrio of )an +oauin called Sinubahan . It was believed that the image of )an artin was found at the edge of a beach, and that it could not be removed until the people dance the Sinulo.
MARIA CLARA DANCE"
&he a new were
coming of the )paniards in the /th century brought in0uence in Philippine life. * ma'ority of the !ilipinos converted to (oman $atholicism. European cultural ideas spread and the !ilipinos adapted and blended to meet the local conditions. &hese dances reached their 1enith in popularity around the turn of the century, particularly among urban !ilipinos. &hey are so named in honor of the legendary Maria Clara, who remains a symbol of the virtues and nobility of the !ilipina woman. Maria Clara was the chief female character of !ose "izal#s $oli Me Tanere. #isplaying a very strong )panish in0uence, these dances were, nonetheless, %&ili'inized% as evidence of the use of bamboo castanets and the abanico, or *sian fan. &ypical attire for these dances is the formal aria $lara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple ber.
M'"LIM AND MORO DANCE"
indanao and )ulu were never conuered by )pain. Islam was introduced in the Philippines in the 2th century before the discovery of the islands by agellan in 2. &he dances in uslim however predated the uslim in0uence. 3i"e I'at which was a dance to appease ancestral spirits. 4efore Islam, the aguindanaons held the view that diseases are caused by tonon 5ancestral spirits6.&hus7 a fol" healer performs the 'a-i'at while being possessed by the tinununan 5spirit6. *nother is the dance baluan which creates the illusion of an angry mon"ey, and is always performed by male dancers. &he popularity of this dance comes naturally, since the baluan( or mon"ey, en'oys an aectionate place in *sian fol"lore. Sin)il was introduced after the 8th century. It was based on the epic legend of #arangan of the aranao people of indanao. It tells of the story of a uslim Princess, 9andingan who was caught in the middle of a forest during an earthua"e caused by the diwatas, or fairies of the forest.
CORDILLERA DANCE"
$ordillera, a name given by the )panish $onuistadors when they rst saw the mountain ranges. eaning :"notted rope:, the )panish term refers to the 'umbled rolls and dips of this long-range traversing the northern part of 3u1on Island. &oday, if one is to generali1e one of the six ethno-linguistic tribes as an :Igorot: is considered degrading. 3iving amidst the rice terraces that tower over ;orthern 3u1on are a people whose way of life existed long before any )paniard or other foreigners stepped foot on the Philippines. &he 4ontoc, Ifugao, 4enguet, *payo, and the
!RIBAL DANCE"
&he cultural minorities that live in the hills and mountains throughout the Philippine *rchipelago considered dances as basic part of their lives. &heir $ulture and animistic beliefs predated $hristianity and Islam. #ances are performed essentially for the gods. *s in most ancient cultures, unli"e the uslim tribes in their midst, their dances are nonetheless closely intertwined with ceremonials, rituals and sacrices. &he only dance that is believed to have evolved during the )panish coloni1ation is the Talainod dance which is performed to the beat of four drums by a female, portrays a virgin-mother bathing and cradling her newborn baby, named 3iboangan. )he supposedly had a dream, or pandanggo, that she was to bear such a child. &his concept of a virgin-birth may have been derived from the $atholic faith.
!HE FOLLOIN( ARE E)AMPLE" OF POP'LAR PHILIPPINE FOLK DANCE"*
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Binasuan - >riginated in Pangasinan Province ?meaning with the use of drin"ing glasses@, this vibrant dance basically shows o balancing s"ill of the performers. 9lasses lled with rice wine are placed on the head and on each hand carefully maneuvered with graceful movements. &his dance is common in weddings, estas and special occasions. Ri+o,on - >riginated from )pain, this dance is commonly performed at formal aairs li"e inaugural balls where prominent members of the government participate and en'oy. Pan,an++o sa Ila% - &he word pandanggo comes from the )panish dance ?fandango@characteri1ed with lively steps and clapping while following a varying A beat. Pandanggo reuires excellent balancing s"ill to maintain the stability of three tinggoy, or oil lamps, placed on head and at the bac" of each hand. &his famous dance of grace and balance originated from 3ubang Island, indoro. "u-lian - &he term ?subli@ is from two tagalog words ?subsub@ meaning falling on head and ?bali@, which means bro"en. Bence, the dancers appear to be lame and croo"ed throughout the dance. &his version is originally a ritual dance of the natives of 4auan, 4atangas, which is shown during estas as a ceremonial worship dance to the townCs icon, the holy cross. Kuratsa - $ommonly performed during festivals in 4ohol and other Disayan towns, this dance portrays a young playful coupleCs attempt to get each otherCs attention. It is performed in a moderate walt1 style. Iti/iti - *ccording to history of this dance, a young woman named riginated from 3eyte Province, this dance is in fact a mimic movement of ?ti"ling birds@ hopping over trees,
grass stems or over bamboo traps set by farmers. #ancers perform this dance with remar"able grace and speed 'umping between bamboo poles. •
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Ma+lalati - >riginally performed in 4inan, 3aguna as a moc"-war dance that demonstrates a ght between the oros and the $hristians over the pri1ed lati" or coconut meat during the )panish rule, this dance is also shown to pay tribute to the townCs patron saint, )an Isidro 3abrador. It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation. oro dancers wear read trousers while the $hristian dancers show up in blue. *ll dancers are male7 with harnesses of coconut shells attached on their chests, bac"s, thighs and hips. Maria Clara - aria $lara is the main female character in +ose (i1alCs ;oli e &angere -a literary piece that features the colonial situation of the !ilipinos during the )panish regime. )he was characteri1ed as a !ilipina woman of virtue and nobility. &his dance is a mix of )panish gracefulness and customi1ed native props, such as bamboo castanets and *sian fan. !emale dancers wear aria $lara dress that typies the European style, while men are in barong tagalog, a traditional !ilipino embroidered longsleeve shirt made of pineapple ber. Cari0osa - $ariosa is a word that describes an aectionate, friendly and lovable woman. &his dance is performed in 0irtatious manner with fans and hand"erchiefs to assist the dancersC hide-and-see" movements. La Jota Manile0a - It is a dance named after the capital city of the Philippines, anila, where an adaptation of $astilian +ota a0oats with the clac"ing of bamboo castanets played by the dancers themselves. &he costume and the graceful movements of the performers noticeably inspired by )panish $ulture. "autin+ - >riginated in *bra, this dance interprets a moc" ght between Ilo"ano $hristians and non- $hristians with training stic"s as props. It is traditionally performed during $hristmas at the town pla1a or from houseto-house as a caroling show. *s a return, the dancers receive presents or money locally "nown as ?aguinaldo@. Panto1ina - eaning :#ance of the #oves:, this dance is the highlight of )orsogonCs ctober. 9roups of participants, mainly elderly in colourful costumes, dance to the tune of
Pantomina song. It is a courtship dance originated from immitating the courtship and lovema"ing of doves that then showed during the dance where men attempt to please the women. •
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Bano+ F Cordillera. In this dance, performers portray hunters shielding their chic"ens from the famishing haw". &he haw" ends up entrapped and dies in the hands of hunters. "alisi, - Kalinga, Cordillera. &his is a courtship dance that symboli1es a rooster trying to attract the attention of a hen. &his is performed and portrayed by both male and female dancers as the rooster and hen respectively. &he dance starts when each of them are given a piece of cloth "nown as :ayob: or :allap:. Palo - Kalinga, Cordillera. * tribal dance. &he natives of
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Ben,a2an F Benguet. &his dance, which is more "nown as 4endian, is performed to commemorate the arrival of headhunters in their district. Performers dance in a circle and show o their lively traditional steps. Bina2lan F Agusan. &his is a ritual dance, which originated from the 4agobo tribe living in the central uplands of indanao, imitating the movements of a hen, her banog or baby chic"s, and a haw". &he haw" is sacred and is believed that it has the power over the well-being of the tribe. &he haw" tries to capture one of the baby chic"s and is "illed by the hunters. Malaas at 1a+an,a F Leyte. * &ribal dance. &his dance depicts the birth of the rst man and woman who came out of a bamboo tree. It has been said that the woman named ?maganda@ 5beautiful6 and the rst man ?mala"as@ 5strong6 are the parents of the whole community in the island. &he dance demonstrates how a bird discovered the noise coming from the inside of the bamboo and perched until it opened. * man and a woman came out of the big bamboo tree and, the birth of this legendary couple is amusingly interpreted in this dance. Burun+/!alo F Sulu. &he dance is a uniue ghting dance in a form of martial arts by the &ausug tribe. Performers demonstrate a battle between haw" and a cat. Gith their acrobatic movements and tough facial expressions, this dance is highlighted with the accompanying energetic beat of drums and gongs. Ka,al/Blelah- South Cotabato. * tribal dance where in the dancers perform simulation of movements of birds. Ka,al !aha% - Tiboli dance- south cotabato. * tribal dance performed by &iboli tribe, this dance that mimics the hopping and 0ying behavior of &ahaw bird is performed to celebrate good harvest. "a2a% sa Cu2o F Palawan. $uyo is a small island and capital of Palawan. &here, the feast day of )t. *ugustin is traditionally celebrated with parades, processions and small performances by groups coming from all over $uyo Island and the nearby islets. Island dances, blended with strong >ld $uyo ethnicity and )panish-in0uenced steps, are all brought out when $uyo celebrates its festivals. &oday, pretty young girls daintily swirl hats to the walt1 and other European steps designed to bring out the freshness and glow of the performers.
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Karaton+ F Palawan. * uslim dance. #uring the festival of )an *gustine in the island of $uyo, the celebration also includes the blossoming of mango trees. &he parade starts from the church patio and ends at the town pla1a with ladies waving their colorful props ?4unga mangga@ that symboli1e the 0owers of mango tree, while men lively stri"e their "aratong instruments7 creating a scene of 'oy among reveling towns fol". Du+so F 4u"idnon. * than"sgiving dance from the talaindig tribe. (a2on+/+a2on+ F $api1. * uslim dance. In rural gatherings, this dance oers much fun. 9ayong is a pet name for 3eodegario. *ccording to the legend and to the words of the song, 9ayong and asiong 5pet name for #almacio6 once attended a feast commemorating the death of a townsman. Ghile eating, asiong cho"ed on a piece of *dobo so he called, :9ayongH 9ayongH: to as" for help to dislodge a bone from the *dobo meal from his throat. In this dance, asiongCs li"ing for feasts and the conseuence of his gluttony are held up to playful ridicule. Ka3a Malon+/Malon+ F $otabato. * uslim dance. &his aranao dance is performed with women wearing malong and shawl, mantle or head piece, whereas men wear sash or waist band, shorts or bahag and head gear or turban traditionally worn in the elds. Pa+a3ir - 3anao del )ur. &his dance is usually performed to commence an important aair. #ancers of this dance are usually from the royal court or high society group of 3anao Province. &hey use apir or fan to coordinate with their small steps called "ini-"ini, which symboli1es their good manners and prominent family bac"ground. Pan+ala2 - amboanga #el )ur. * muslim dance. >riginally performed by wealthy families during a wedding celebration, this ngernail dance is now a popular festival dance in )ulu. Alca14or - 3eyte comes this couples dance in which the girl holds a hand"erchief laced with camphor oil, a substance which supposedly induces romance. An,aluz - *lso "nown as Paseo de Iloilo, for its province of origin, this is one of the most sophisticated courtship and 0irtation dances of the )panish era. &he gentlemen compete among each other to win the heart
of the dalaga, or young lady, by exemplifying chivalry, grace, and condence. •
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Ara2 - * dance whose words are sung in :$habacano-ermitense,: a hybrid of )panish that was only spo"en in the Ermita district before the turn of the century and today is extinct. &he dance itself is a 0irtatious one that involves graceful use of the pauelo, or shawl, and tambourines. *ray means :ouch: in &agalog. Balse - #erived from the )panish :valse: 5walt16, this dance was popular in ari"ina, (i1al province, during the )panish times. 4alse was performed after the lutrina 5a religious procession6, and the music that accompanied the dancers was played by the musi"ong bungbong 5musicians using instruments made of bamboo6. Cari0osa - &his 0irtatious dance is "nown throughout the Philippines. $ariosa means aectionate, lovable, or amiable. Gith a fan or hand"erchief, the dancers go through hide-and-see" movements and other 0irting acts expressing tender feelings for one another. &here are many versions of this dance, but the hide-and-see" movements are common in all. Chotis - &he $hotis 5or :)hotis:6 was one of the ballroom dances learned by the !ilipinos from the early European settlers. &his dance, from $amarines )ur, has been adapted by the 4icolano people and is characteri1ed by a brush-step-hop movement. Esco3iton Malan,o+ - *ccording to legend, two boys named Esco and Piton introduced this dance during the inauguration of the founding of )an +ose de 4uenavista. Eventually the dance was called Escopiton. &his beautiful dance originated from alandog, a barrio of Bamtic in *ntiue. Estu,iantina - * very lively and gay dance. #uring the old days, this dance was a favorite in social gatherings and was performed by the estudiantinas, women who were students of private schools and colleges in anila. &hey are seen holding a boo" in one hand throughout the dance. Ha-anera - * wedding party dance which originated in the town of 4otolan in the ambales Province. &ypical seuences include the
procession of the bride and groom=s parents, lineup of the bridesmaids and groomsmen upstage, and a solo featuring the wedding couple. •
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I1unan - * courtship dance of Ilo"ano origin. * beauty enters for an afternoon promenade with her suitors. *t the end of the dance, the lovable and charming lady cannot select from any of her suitors. La Jota - &he 'ota encompasses a variety of )panish-in0uenced dances accompanied by the use of bamboo castanets, held loosely and unstrung. &here are many forms of 'ota in the Philippines whose names are derived from their regions of origin. * common progression in the 'ota is a uic" J lively verse, followed by a slow bridge, and ending with a verse in the same lively tempo as in the beginning. Jota Es3a0ola - Bighlighted by castanets, abanicos, and tambourines. Jota (u1a5ue0a - >nce very popular among the well-heeled families of 9umaca, &ayabas 5now Kue1on6. * well-"nown local musician at the time, )eor Berminigildo >mana, introduced this dance. It became popular with the young people and was handed down between generations. Jota Manile0a 6Manila7 - It originated in the capital city around the Lth century. Jota Monca,e0a 6Monca,a$ !arlac7 - * combination of )panish and Ilocano dance steps and music. Jota Pan+asinana 6Pan+asinan 3ro8ince7 - #emonstrates the 0air of stomping feet culminating with the cry of :>lMH: Jota ,e Para+ua 6Cu2o$ Pala%an7 - #isplays a $astillan in0uence with apateados 5footwor"6, 3obrados 5arms6, and )evillana style of dress. &he ladies wave their mantNn, or decorative shawl, while the gentlemen "eep bris" pace with bamboo castanets. Jo8encita - * dance typical of a woman=s debut or even her wedding. &he accompanying love ballad was written by aestro ;itoy 9on1ales when he was courting +ovita !riese, who then choreographed the graceful and beautiful habanera dance that accompanies it. +ovencita means :young lady: in )panish.
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Lanceros ,e Ne+ros - #uring the )panish time, this dance was one of the popular uadrille dances in the Philippines. It is similar to the stately (igodon de Bonor and is danced in important social aairs to formally open a big ball. >ne version from )ilay, ;egros >ccidental, is performed in a lengthwise formation. Mazura Boholana - &his dance is a traditional ballroom dance popular in 4ohol and in other provinces during the )panish times. Pan,eretas - &his dance, named after the 'ingle-less tambourines carried by the females, originates from &an1a, Iloilo. !rom #ecember / to +anuary /, a group of people in the Disayan regions go from house to house to sing $hristmas called :#aigon.: In some regions the song is usually followed by some dances, and :3as Panderetas: is one of those dances. Paso Do-le - eaning :two-step,: the name is actually a misnomer, as it is an ordinary wal"ing or marching step called the :one-step.: &he term refers to the stirring marching music played as bac"ground music at bullghts and estas throughout )pain. Pola-al - * dance in0uenced by two distinct European styles% pol"a and valse. Putritos - * festival dance from *timonan, &ayabas 5now Kue1on province6, featuring a couple=s 0irtatious and playful interaction. It is danced in alternating slow and fast walt1 tempos and culminates in a vivid twirling seuence by the girl. Ri+o,on ,e Honor - &his elegant dance was brought to the Philippines by the !ilipinos who returned from their travels abroad during the )panish era. &his dance ta"es its name from its opening performances at formal aairs such as the President=s Inaugural 4all. embers of government, including the President and !irst 3ady, diplomatic corps, and other state oOcials usually participate in the (igodon. &raditionally, a ballroom walt1 dance would follow the (igodon. "a-alan Lula2 - &he dance :3ulay,: li"e the "uratsa, 'ota, pandango, and pol"a, is performed in many parts of the Philippines. &his dance originated from alamig barrio of the town 9loria, >riental indoro. It is part of a wedding ritual which has four phases% sabalan, pamalaye, sabog
and dapit. &he dance begins with the gentleman dancing around his partner as she eventually gives in to dancing with him. •
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"a+uin/"a+uin - !rom the 4icol region comes this courtship dance which tells the story of a lumberyard owner, who threw a dance for his wor"ers. * girl who was related to one of the wor"ers was oered to the owner as a dance partner. Be too" to her very "indly, and eventually serenaded her. !i1a%a - eaning :forsa"en lover,: &imawa is a courtship dance, usually performed by women, and is originated in 3amot, a barrio in $api1. &he story recounts of a man and a woman, both timawas, who met at a social gathering and became acuainted with each other. In the course of their conversation, they discovered that they both had the same misfortune7 therefore, turning to each other for sympathy and comfort.
