SOTOLOMBO, DONITA S.

MA'AM ESTELA F. DIAZ

TUESDAY 3:00 - 5:00/ AC 101

FOLKDANCE
A folk dance is developed by people that reflect the life of the people of a certain
country or region. Not all ethnic dances are folk dances. For example, ritual dances or
dances of ritual origin are not considered to be folk dances. Ritual dances are usually
called "Religious dances" because of their purpose. The terms "ethnic" and "traditional"
are used when it is required to emphasize the cultural roots of the dance. In this sense,
nearly all folk dances are ethnic ones. If some dances, such as polka, cross ethnic
boundaries and even cross the boundary between "folk" and "ballroom dance", ethnic
differences are often considerable enough to mention.

History
The history of Philippine folk dancing incorporates influences from immigrants and
conquerors while at the same time maintaining distinctly Filipino roots. Philippine folk
dancing is a true reflection of daily life in past centuries while enchanting modern
audiences at the same time.
There is no recorded "start" to Philippine folk dance - as long as there have been
people on the islands they have been dancing. In fact, their mythology is filled with many
different gods and goddesses that needed to be placated, implored, or thanked for various
natural events like rain and harvests. Many of these festivals still feature ancient folk
dances performed in costume of the tribal period.
It is impossible to know when exactly dancing became a part of life in the
Philippines. Many traditional dances were designed to thank the gods for natural and
agricultural events, such as rain and harvests. The dances were performed during festivals
and remembrances of past military victories, and still are performed at celebrations of
births and weddings in modern times. Many modern folk dance festivals still feature
ancient dances performed in costume of the tribal period of the Philippines.
Philippine folk dance mirrors the culture and tradition of the Filipinos. It has
also been a source of culture identify of the people. In this diversified country, there
are also great diversity of dances in different forms and dynamics that grow out of
various times, situation and experiences.

Characteristics of Philippine Folk Dances

 In general, dancers stand apart.
  There is little, if anybody contract.
 Most of the dances are done by pairs or couples.
 Hand movements play an important part.
 Most dances are in long formation.
 Most dances begin and end with “saludo”.
 Dance from low land have more foreign elements than those in upland.
 War dances are found in non-Christian tribes.
 It is traditional.
 It is an expressive behavior.
 Simple basic rhythm dominates the folk dance and establishes the pattern of
movement.
 An unknown choreographer creates a folk dance.
 It performs n action in the life of folk.
Classification of Philippines Folk Dances
GEOGRAPHICAL ORIGIN
1. NATIONAL DANCES found throughout the islands. (e.g. Rigodon, Carinosa, Jota)
Rigodon
- Originated from Spain, this dance is commonly performed at formal affairs
like inaugural balls where prominent membersof the government participate and enjoy.
Cariñosa
- Cariñosa is a word that describes an affectionate, friendly and lovable
woman. This dance is performed in flirtatiousmanner with fans and
handkerchiefs to assist the dancers hide-and-seek movements.
La Jota Manileña
- It is a dance named after the capital city of the Philippines, Manila, where
an adaptation of Castilian Jota afloatswith the clacking of bamboo castanets played
by the dancers themselves. The costume and the graceful movements of
theperformers noticeably inspired by Spanish Culture.

2. LOCAL DANCES found in specific locality. (e.g. Tinikling-Leyte; Subli-Batangas)

Tinikling
- Tinikling is considered the national folkdance with a pair of dancers hopping
between two bamboo poles held just abovethe ground and struck together in time to music.
Originated from Leyte Province, this dance is in fact a mimic movement of
tiklingbirds hopping over trees, grass stems or over bamboo traps set by farmers.
Dancers perform this dance with remarkable grace andspeed jumping between bamboo poles.
Subli-Batangas
- This dance is one of the most popular dance in the Philippines and the favorite
in Batangas. This dance is simplyceremonial in nature and this is performed as homage to
the Holy Cross. The Holy Cross is known by the locals as the 'Mahal naPoong Santa Krus',
and the Holy Cross plays an important role in the development of the dance. In fact, the
Holy Cross is consideredat the center of the dance and without the Holy Cross the dance
will not materialize.
A. Philippine Folk Dances from Luzon
1. Banga
Tribe: Kalinga
 The Banga or pot dance is a contemporary performance of Kalinga of the Mountain
Province in the Philippines. This dance illustrates the languid grace of a tribe otherwise
known as fierce warriors.
2. Maglalatik
Maglalatik was originally performed in Biñan, Laguna as a mock-war dance that
demonstrates a fight between the Moros and the Christians over the prized latik or coconut
meat during the Spanish rule, this dance is also shown to pay tribute to the town’s
patron saint, San Isidro Labrador.

3. Pandanggo sa Ilaw
Pandanggo sa Ilaw - The word pandanggo comes from the Spanish dance
“fandango”characterized with lively steps and clapping while following a varying ¾ beat.
Pandanggo requires excellent balancing skill to maintain the stability of three tinggoy,
or oil lamps, placed on head and at the back of each hand. This famous dance of grace and
balance originated from Lubang Island, Mindoro.

Other dances in Luzon:

4. Balse
Balse was a popular dance in Marikina, Rizal during the Spanish times. Balse
(valse in Spanish) means waltz. This dance was performed after the lutrina ( a religious
procession) and the music that accompanied the dancers was played by the musikong bungbong
(musicians using instruments made of bamboo).
5. Jotabal
It is derived from the words Jota and valse. Jota is a popular dance introduced in
the Philippines by the Spaniards. Valse means waltz, a step or a dance in 3/4 time. This
lively festival dance originated in Camohaguin, Gumaca, Quezon (formerly Tayabas).
6. Makonggo
It is a comic dance from Santa Maria, Bulacan. Makonggo is derived from the
Tagalog word chonggo or unggo which means monkey. In this dance, the dancer imitates a
monkey - its characteristic movements, gestures, grimaces, etc. when it is in a happy,
playful or angry mood, while it is playing, eating, or resting. Only one man performs this
dance. Most of his movements are his own improvisations.

B. Philippine Folk Dances from Visayas

1. Tinikling
Tinikling means "bamboo dance" in English. The dance imitates the movement of the
tikling birds as they walk between grass stems, run over tree branches, or dodge bamboo
traps set by rice farmers. Dancers imitate the tikling bird's legendary grace and speed by
skillfully maneuvering between large bamboo poles.

2. Kuratsa
The Kuratsa is highly favored by the Waray people of the Eastern Visayan region in
the Philippines. Strictly speaking, The Kuratsa must be done the amenudo; that is, only
one couple dances it at a time. the Kuratsa is however, very different in the manner of
execution to the Mexican counterpart.
3. Mazurka Boholana
Mazurka Boholana is a Spanish-inspired ballroom dance from the Bohol province of
the Philippines. Although the mazurka is the Polish national dance, it was wildly popular
throughout Europe in the 19th century and even in colonized lands overseas.
Other dances in Visayas

4. Escotis
It is popularly known in Capiz and is performed in any social gathering of the
people inhabiting the mountains of Capiz in the barrios of Tinpas and Panitan and also in
the town of Panay.

C. Philippine Folk Dances from Mindanao

1. Itik-Itik
The Itik-Itik is a dance from Surigao del Norte, in which the movements of a duck
are imitated. An itik is a species of duck.
2. Singkil
The Maranao dance called Singkil is in the repertory of all Filipino dance
troupes. In 1958 the Bayanihan Dance troupe started with a simple version and has since
developed it into a theatrical and stylized spectacle to the point of its becoming the
troupe's signature piece.
3. Kandingan
Performed at Tausog weddings in Jolo, the Kandingan consists of figures and steps
based on classical and traditional Indian dance forms. Dancers perform with slightly bent
knees turned outward, fingers held stiffly together with the thumb outward and apart.

Nature of Philippine Folk dance

 OCCUPATIONAL DANCES depict actions of a particular occupation. (e.g. Planting,
Punding)
 RELIGIOUS/CEREMONIAL associated with religion, vows and ceremonies. (e.g.
Dugsu, Sua-sua)
 COMIC DANCES depict funny movements for entertainment. (e.g. Kinotan, Makonggo)
 GAME DANCES done with play elements. (e.g. Lubi-lubi, Pavo)
 WEDDING DANCES performed during wedding feasts. (e.g. Panasahan)
 COURTSHIP DANCES depict the art of courtship. (e.g. Hele-hele, Tadek, Pantomina)
 FESTIVAL DANCES suitable for special occasions. (e.g. Pandanggo, Habanera)
 WAR DANCES show imagery combat. (e.g. Sagayan, Palu-palo)
Objectives

Philippine folk dances are a celebration of daily life, health, peace, war, harvest times
and other aspects of life. According to the National Commission for Culture and the Arts,
Philippine folk dances imitate nature and life because they are rituals for social and
spiritual expression.
OBJECTIVES OF PHILIPPINE FOLK DANCES
1. To commit to the ideals of cultural development as a vital factor innation-building.
2. To enhance the cultural values demonstrated in varios folk dancesaesthetically,
morally, and physically.
3. To actively participate in folk dancing for its intellectual, moral, andaesthetic
values.
4. To disseminate Philippine traditional dances in its pure and authenticform.
5. To instill the love for performing the folk dances as a cultural legacyand to show to
other nations the identity of the Filipinos as a people