PHILIPPINE

FOLK DANCE
History of Philippine
Folk Dance
 What is Folk Dance?
Folk dance is an indigenous dance 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.
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.
History of the Philippine Folk Dance
The Philippine archipelago is composed of
7,107 islands. Because of this, a Filipino
subculture has evolved in each specific region
of the country. Yet, while Filipino folk dances
are primarily influenced by religion and
subculture in specific area
of the Philippines, there are similarities in how
these dances originated and developed
throughout history.
 Origins
Most of the folk dances from the mountainous
region in the northern part of the Philippines came
from tribes' rituals, prayers and celebrations. The
folk dances in the Tagalog region located between
north and central Philippines (including the
country's capital Manila) had significant Spanish
and European influences. Dances in the central part
of the country called the Visayan region were
mostly inspired by animal movements. In the
Mindanao region, located in southern Philippines,
folkdances were mainly influenced by Muslim
culture, as this was the only Philippine region never
under Spanish rule.
 The repertoire of Philippine folk dance is as varied as its diverse cultural
beginnings. The dance fabric reflects a fine kaleidoscopic charm of both the
exotic and refined cultures of the many races that helped mold it into the
Philippine culture and social life. Strong religious veneer, a legacy of the Spanish
era, plays a vital role in creating this climate through the year-round colorful
observances of a town or barrio fiesta celebrated in honor of local patron saints.
Festivals of this sort can go on for days, rich with their traditional practices.
Through these spirited spectacles one may see a vivid panorama of the lives of a
proud, happy, and contented people.
Types of Philippine Folk
Dances
 Ritual Dances
The cultural minorities living in
mountain regions throughout the
Philippines considered dancing a basic
part of their lives. Their tribal and ritual
dances predated the emergence of
Christianity and Islam in the country.
These Filipinos preserved their ancient
dances, which were essentially performed
for the gods, goddesses and nature. These
dances were closely intertwined with
ceremonies, rituals and sacrifices.
Ritual Dances
In the Ifugao region in northern
Philippines, the native Igorot dance
to pray for good harvest, ask for
blessings before going to war,
appease ancestors, ward off bad luck,
heal the sick, request family
blessings, celebrate feasts and offer
sacrifices. There are also dances
used to congregate, socialize,
express feelings and mark milestones
in the cycle of life.
 Spanish Influence
The more than 300year Spanish
occupation in the Philippines greatly
influenced Philippine folk dancing. As
the Spanish brought Christianity to the
country, the religion reflected most of
the stories and presentations of Filipino
folk dances. Apart from using Spanish-
style clothes slightly modified with
Filipino elements, these dances also
infused the Filipinos' everyday
struggles during the Spanish rule.
Spanish Influence

Filipino dancers also used local resources

as props like the bamboo castanets and
abanico (Asian fans). Some dances also
utilized Spanish steps and footwork with
Filipino modifications. For instance,
Mindoro's pandanggo sa Ilaw, derived
from the Spanish dance fandango,
adapted the use of lively steps and
clapping while balancing one oil lamp on
the head and one on each hand
throughout the dance.
Fight and Celebration Dances

Most Filipino folk dances,

regardless of which region they
come from, tell stories about fights
and struggles or celebrations and
feasts. For instance, the Maglalatik
dance of Binan, Laguna is a mock-
war dance demonstrating a fight
between the Moros (Muslim
Filipinos from Mindanao) and the
Christians.
 Fight and Celebration Dances
The sakuting dance of abra uses the
arnis, a native weapon made out of two
stick that serve asextensions of the hands
to demonstrate a fight between the
Christian Filipinos and the non-Christian
natives of the Cordillera region. The
bulaklakan of the Tagalogs, meanwhile,
is an annual procession followed by
asocial gathering where girls dance while
holding a U-shaped garland held upside
down. Each dancer uses one of these
arch-like props filled with leaves and
flowers.
National Dance
Tinikling is the Philippines' national
dance. Its name originates from the
word “tikling”, a native bird that
roams around fields, crushes tree
branches and avoid straps set by
farmers. The dance comes from the
province of Leyte in the Visayan
region. It imitates the bird's unique
movements, speed and grace by skill
fully maneuvering between fast-
moving bamboo poles.
 National Dance
Tinikling involves two people beating,
tapping and Sliding the bamboo poles
on the ground and against each other
while one or more dancers step over
and in between the poles without
getting their feet caught between them.
These poles are banged against the
ground and each other. The sound and
rhythm they make play significant parts
on the tinikling's Iberian-influenced
staccato music.
 Classification of
Philippine Folk Dances
1. Igorot Dances
They dance to appease their ancestors and
gods to cure ailments, to ensure successful
war-making activities, or to ward off bad
luck or natural calamities. They dance to
congregate and socialize, for general
welfare and recreation, and as an outlet for
repressed feeling. They also dance to
ensure bountiful harvests, favorable
weather, and to mark milestones in the
cycle of life. So, the dances evolve as they
need them to express their feelings, their
sadness and their anger
2. Muslim/Moro Dances
Islam was introduced in the Philippines
in the 12th century before the discovery
of the islands by Magellan in 1521.
The dances of Muslim however predated
the Muslim influence. Like Ipat which
was a dance to appease ancestral spirits.
Before Islam, the Maguindanao’s held
the view that diseases are caused by
tonong (ancestral spirits). Thus, a folk
healer performs the pag-ipat while being
possessed by the tinunungan (spirit).
3. Tribal Dances
The cultural minorities that live in the
hills and mountains throughout the
Philippine Archipelago considered
dances as basic part of their lives. Their
Culture and animistic beliefs predated
Christianity and Islam. Dances are
performed essentially for the gods. As
in most ancient cultures, unlike the
Muslim tribes in their midst, their
dances are nonetheless closely
intertwined with ceremonials, rituals
and sacrifices.
4. Maria Clara Dances
The coming of the Spaniards in the 16th century
brought a new influence in Philippine life. A
majority of the Filipinos were converted to Roman
Catholicism. European cultural ideas spread and the
Filipinos adapted and blended to meet the local
conditions. These dances reached their zenith in
popularity around the turn of the century,
particularly among urban Filipinos. They are so
named in honor of the legendary Maria Clara, who
remains a symbol of the virtues and nobility of the
Filipina woman. Maria Clara was the chief female
character of Jose Rizal's Noli Me Tangere.
 "Filipinized" as evidence of the use of bamboo castanets and the Abanico, or
Asian fan. Typical attire for these dances is the formal Maria Clara dress and Barong
Tagalog, an embroidered long-sleeve shirt made of pineapple fiber.
5. Rural and Barrio
To the Filipinos, these dances illustrate
the fiesta spirit and demonstrate a love
of life. They express a joy in work, a
love for music, and pleasure in the
simplicities of life. Typical attire in the
Rural Suite includes the colorful
balintawak and patadyong skirts for the
women, and camisa de chino and
colored trousers for the men. The
dances developed during the three
hundred years of Spanish colonization.
ACTIVITY: Comparison between different
Classification of Philippine Folk Dances. (50pts)
CLASSIFICATION Igorot Muslim/Moro Tribal Dances Maria Clara Rural &
Dances Dances Dances Barrio

SHORT
DESCRIPTION

IDEAS
REFLECTED

EXAMPLES
I. General Classification
A. Geographical extent of origin

1. National dances-found throughout the islands with little or no modification.

Rigodon Carinosa Balitaw

• Local dances-found in a certain locality.
Tinikling-Leyte Maglalatik-Binyang Esperanza-Nabua

Subli-Batangas Biniganbigat-Abra
 2. Nature Occupational - depicting action of certain occupation, industry, or
human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete

• Religious or Ceremonial – performed in connection with religious vows and

ceremonies.
Dugsu Sua – sua Putong
3. Comic dances – depicting funny movements for entertainment.
Makonggo Kinoton

4. Game dances – with play elements (dance mixers)

Lubi – lubi Pavo
5. Wedding dances – performed during wedding feast.

Panasahan

6. Courtship dances – depicting love making.

Tadek Daling – daling
7. Festival dances – suitable for special occasion or any social gathering.
Pandanggo Habanera Jota

8. War dances: showing imaginary combat or duel.

Sagayan Palu-palo
B. Movements

1. Active – with fast energetic movements.

Example: Tinikling, Maglalatik , Sakuting, Polkabal, etc.
2. Moderate
Example: Cariñosa, Tagala, Habanera, Purpuri, etc.
3. Slow
Example: Pasakat, Amorosa , Tiliday, Kundiman, etc.
4. Slow and Fast
Example: Putritos, Ba-Ingles, Habanera Botoleña ,Alcamfor, etc.
 D. Formation
1. Square or Quadrille
Example: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines

Example: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side.
Example: Binadyong, Haplik, Kakawati, etc.
 II. Special Classification
Group dances having special distinctive features.
A. Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B. Old Ballroom Dances

Examples: Polka, Mazurka Chotis, Valse, etc.

C. Dances with Implements

Examples: Maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot

D. Dances of Combined Rhythm

Examples: Surtido, Pantomina, Los Bailes de Ayer
Characteristics of
Philippine Folk
Dances
1. In general, dancers stand apart.
2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those
found in the uplands.
8. War dances are found among non-Christian tribes.
Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.

salsa
2. Dance with ease and smoothness. Mars is actually a
very cold place
3. Use the proper costume for the dance.
bachata
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.
Tango
Don'ts in Folk Dancing

1. Do not exaggerate the dance steps.

salsa
Marsballet.
2. Do not make the dances too dainty and graceful like is actually a
very cold place
3. Don’t make entrance and exit long.
bachata
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from
traditional dances. Tango
ACTIVITY: E-Magazine Making
Instruction: Each student will create their own e-magazine about
Philippine Folk Dance they want ft. history, dance steps & costumes.

Criteria
Creativity 50
Context 30
Clarity 20
SCORE 100 points
 PHILIPPINE
FOLK DANCE