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Adapt.
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PHILIPPINE FOLK DANCE:POLKA SA

NAYON
POPULAR PHILIPPINE FOLK DANCE

 BINASUAN- originated in Pangasinan

- “ with the use of drinking glasses” glasses filled with rice wine , placed
on the head and on each hand.
- this dance basically shows off balancing skill of the performers.
- Common in weddings, fiestas and special occasions.

 RIGODON- originated from Spain.

- commonly performed at formal affairs like inaugural balls where prominent
members of the government participate and enjoy.

 PANDANGGO SA ILAW-pandanggo comes from the Spanish dance “fandango”

characterized with lively steps and clapping while following a varying ¾ beat.
- it requires excellent balancing skill to maintain the stability
of the three tinggoy, or oil lamps, placed on head and on each hand.
- originated from lubang island, Mindoro

 SUBLIAN- “subli” is from two tagalog words “subsub” meaning falling on head and
“bali” which means broken.
- dancers appear to be lame and crooked throughout the dance.
-originally a Ritual dance of the natives ofBauan, Batangas.

 KURATSA- Commonly performed during festivals in Bohol and other Visayans

towns,
- this dance portrays a young couple’s attempt to get each other’s attention.
 - performed in a moderate waltz style.

 ITIK-ITIK- originated from Surigao Del Norte.

- its steps are similar to the movements of a duck, (Itik,in Filipino)
- the dance believed to have originated from the dance Sibay a bird dance
that came from neighboring Visayan Islands.

 TINIKLING- considered as the national folkdance with a pair of dancers hopping

between two bamboo poles held just above the ground and struck together in time to
music.
- originated from Leyte Province.
- this dance is in fact a mimic movement of “tikling birds” hopping by trees,
grass stems or over bamboo traps set by farmers.
-this dance performed with remarkable grace and speed jumping between
bamboo poles

 MAGLALATIK-originally performed in Biñan, Laguna

- mock war dance fight between the Moros and Christians over the
prized Latik or Coconut.
-this dance is also shown to pay tribute to the town’s patron saint, San
Isidro Labrador
-all dancers are male; with harnesses of coconut shells attached on their
chest, backs, thighs and hips.

 MARIA CLARA- is the main female character in Jose Rizal’s Noli Me Tangere
- this dance is a mix of Spanish gracefulness and customized native
props, suchs as bamboo castanets and Asian Fan.
-Female dancers wear Maria Clara dress;Men are in Barong Tagalog
 CARIñOSA- decribes an affectionate, friendly and lovable woman.
-this dance is performed in flirtatious manner with fans and handkerchiefs to
assist the dancer’s hide and seek movements.

 LA JOTA MANILEñA-named after the capital of the Phil., Manila.

-adaptation of Castilian Jota afloats with the clacking of bamboo
castanets played by the dancers themselves.

 SAKUTING-originated in Abra,
-interprets a mock fight between Ilokano Christians and Non-Christians with
training sticks as props.

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 -traditionally performed during Christmas at the town plaza or from house-
to-house as a caroling show.

 PANTOMINA-meaning “Dance of the Doves”

-originally performed in Sorsogon’sKasanggayahan Festival every 3rd
week of Ocotber.
-their costumes are colorful and dance with the tune of pantomina song.

POLKA SA NAYON
Polka Sa Nayon (POHL-kah Sah NAH-yohn) means Polka in the Village. This dance
comes from the province of Satangas in the Tagalog Region of the Philippine Islands. In the old
days it was very popular and was usually danced at all the big social affairs and at the town
fiestas. Ester Timbancaya learned it in her native Philippines from Mrs. Sofia Ravello, at
Silliman University. She presented it at University of the Pacific Folk Dance Camp, 1960.

The costume for the m a n i s the barong tagalog (tah-GAH-lohg) and black or white pants. The
Maria Clara or balintawak (bah-leen-tah-WAHK) costume is correct for the woman.

MUSIC: Record: Mico MX-342 (45); MICO-TM 006, Side 1, Band 1 Piano: "Philippine Folk
Dances" Vol 111, Francisca Reyes Aquino, Manila, Philippine s , 19 5 6.

FORMATION: Four cpls in square formation (rather large), facing ctr, W on M R.

Throughout the dance, M place back of free hand at waist, W hold skirt, unless otherwise
indicated.

STEPS AND STYLING

Polka: Step L ft fwd (ct 1); close R instep to heel of L ft (ct &);: step fwd L (ct 2); hold (ct &).
Bend body slightly toward side of leading ft. This step may also begin with R ft and may be
executed in any direction.

Heel-toe Polka: (2 measure) Touch L heel diag fwd on floor, toe up (ct 1, bold (ct &); touch L
toe diag bwd, heel in, knee slightly relaxed, leg almost straight (ct 2); hold (ct &). (Look over
shoulder at pointing toe. ) Beginning L, take one polka step (cts 1, &, 2, &). The Heel-toe polka
may begin with either ft and may be danced fwd or bwd.

Measures

INTRODUCTION Partners assume closed pos, M facing CCW, joined hands extended toward
center. Tap ML-WR ft on cts 1, 2 of every m,zas (16 taps in all). I.

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POLKA AND POINT

Beginning ML-WR, dance 4 polka steps turning CW and progressing CCW 114 around the
square. Finish with joined hands (ML-WR) extended toward ctr.

Point ML-WR ft swd twd ctr (ct 1); point ML-WR near supporting ft (ct 2).

Dance one polka step swd twd ctr.

Beginning MR-WL, repeat action of measure 5-6 (Fig I) moving away from ctr.

Repeat action of measure 1-8 (Fig I) three more times.

REFERENCES

Aquino, Francisca, Philippine Folk Dance, Vol.2

Tulio,D.D, ,eal.(2004). P.E 102: Fundamental Rhythmic Activities Katha Publishing Co., Inc. Makati;
Philippines.

PREPARED BY:

MARIEANTOINETTE CANTOS

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