PHILIPPINE FOLK AND ETHNIC DANCES INTRODUCTION ‘The Filipinos show the influences of foreign conc i i n : of \querors from China, India, the i countries and Spain although the mountain tries still have their magic dance ee i a participation, displaying te characterises and temperament of te people who hav = ated it. It is usually a dance of anonymous origin that has been passed on from gen Fin to generation. Although they are now performed for pleasure in the cities, folk iiices bee originally mainly country dances, . ror Despite the differences forced upon them by their respective herita; cs, of different countries often have similarities of rhythm and pattem, vitlatons a fre sometimes the results of geographical differences. among them In some instances, it may be difficult to draw an exact line betweer n fc Fogical dances, but the later have developed a distint wraitional style, a cha ethno- nology, and a clearly defined school of instruction. The ethnological dance cea dance before it became the art expression of a race. was a folke part of the customs and He in villages and were mn, In many of these dances, eSaion dancing is a form of social dancing that N= a i of a people. Most folk dances develo! ibs eas generation to generation in a parti meat dies form such basic pattern as a circle, a In some folk dances, women and men dance together in couples. But in many other even only men or women perform. Although folk dances are preserved by repetition, bes aratialy change over the years. As a result, folk ‘dances have not only survived in Countries but have changed to suit the character of local ‘communities. ‘eos ee dance classes and societies are stimulating interest in the Philippines. In- 1 es are performed in costume for entertainment, ‘and so help preserve the heritage of the race. icular regior line, or 4 curved, moving line called aCHAPTER 1 DANCES Dance is rhythmic and expressive body movements, usually coordinated into a pattem and adapted to musical accompaniment. Dance is perhaps the oldest of the arts, reflecting man’s age-old need to communicate joy or grief by using the most immediate instrument at his disposal—his body. Almost all important occasions in the life of primitive man were celebrated by dancing: birth, deathamarriage, war, a new leader; the healing of the sick, prayers ftrain, sun, fertility, protection, and forgiveness were all expressed through dancing. Dance steps are created from man's basic movements: walk, run, jump, hop, skip, slide, leap, tum, and sway. Combinations of these have become traditional dance ‘steps and have been used, often in a stylized manner, for folk and ethnic dances, social or ballroom dances, ballet, and modem expressive dances. ‘Some of the more important features of the dance are rhythm, or the relatively fast or slow repetition and variation of movements; design ot the arrangement of movements according to a pattem; dynamics, or variations in the force and intensity of movement; and technique, or the degree of body control and mastery of basic steps and positions, Also important in many dances are gestures, especially hand movements. FOLK DANCE DEFINITION © the traditional recreational dance of an indigenous society showing the cultural characteristics of a specific people at a given time and place. ‘& traditionab, social expression through movements with rhythmic accompaniment which are characteristics of the community life of the people of different na- tionalities. © the vivid intimate bond of customs, ideals, and traditions ofthe past through which ‘a multitude of national characteristics in music, steps, and costumes are preserved, and naturally by specific folk, usually hand @& a dance developed spontaneously and naturally zi 'y handed sa ps oti to generation and following a fixed basic pattern= Er i, (a eenemeeninmnenislinansiianania j ORIGIN OF DANCE IN THE PHILIPPINES ACCORDING TO q FILIPINO LEGEND | rT | e | According to Philippine legend, the first man and the first woman went up es 7 to make their first home. They begot many children and Tater became diverse tribes, Several beliefs became their way of life, When death struck, when lightning flashed inthe sky, and when thunder rumbled, the tribes were struck with fear. They thought that the gods were angry. To placate their deities, they offered sacrificial rites by way of fire and smoke in the belief that the smoke from fires they kindled carried their invocation » heavenwards, ‘When illness and pestilence befell the tribes, the people wailed and chanted and danced long into the night, so that the evil spell might be broken. When the earth caked from drought, they performed a dance of propitiation so that the divine entities might take pity on them and send rain to their parched fields. And when the rains came and drenched the soil to assure a bountiful harvest, these children of the gods danced in the moonlight in joy and thanksgiving, | In the acts of imploring, conciliating and giving thanks to the gods, the people of these islands created dance to live forever in themselves, in their children and their children’s children. ‘THE PHILIPPINE DANCE. | Dance in the Philippines influences the diversity of our cultural beginnings and the drama of our everyday lives. It blends the exotic customs and cultures of many countries and races — Indonesian, Malay, Chinese, Indian, Spanish and American. i ‘The Philippine archipelago had been inhabited by three different racial groups even before the coming of Magellan in 152]. They were the Pygmies, Indonesians, and Malays. The Negritos and Proto-Malays were the descendants of the Pygmies. As early as those days, dancing among the Negritos was mostly pantomimic, performed to depict the events of daily chores. Filipinos possess natural grace, an inbom love for music and dance. Dancing was considered a religious activity among them. They danced for many occasions birth, love, | courtship, thanksgiving, wedding, war, victory, marriage, planting and harvesting, prosper. ‘ous voyage, recovery from sickness and healing the In places where life is easy, the dances are gay and frolicsome. Dances in places where life is hard are sad, slow and even mournful, Filipinos are also lovers of rituals as shown in ceremonial dances during town fiestas Christmas, Easter, Ash Wednesday. There were dances performed by the priests and priest. esses in the thanksgiving for aplentiful harvest a victorious battle, a prosperous voyage or recovery from sickness, to drive away evil spirits and in invoking their gods and anitosThe Philippine folk dances are classified according to : 1. Geographical Location ; opines with a com- 1.1 National Dances are traditional dances throughout the Philippines with @ mon basic movement or pattern but with slight variations. Examples: Carinosa Kuratsa Balitaw Rigodon, Pandanggo Surtido 1.2 Local or Regional Dances are dances found in certain localities or regions only. y. Examples: Alcamfor (Leyte) Maglalatik (San Pablo, Laguna) Basulto (Pampanga) 2i#Nature of the Dance * ‘i 2.1 Occupational Dances are dances that depict actions, characteristics, occupa- tions, industries, and phases of human labor. ae Examples: Rice Festival — has the largest number of dances Pagtatanim _ —_Paggapas Paggiik Paglulugas Paghangin Pagbabayo Pabirik — depicts the different stages of gold panning. Mananguete — tuba gatherer 2.2. Religious or Ceremonial Dances are performed in connection with religious vows, practices, and ceremonies. A religious dance may be performed to drive away evil spirits, ask for afavor to have a child, give thanks for having recovered from sickness, favors granted and vows fulfilled, Examples: Obando Dugso Sinurog 2.3 Courtship Dances are dances that depict love-making or witha Jove theme, Examples: Rogelia Lulay Hele Hele Bago Quiere1, by friends and relatives of the bride and groom or bythe father of he bride andthe moter ‘of the groom. Examples: 2.4 Wedding Dances are performed by newlyweds. Pantomina (bride and groom) Pandang-Pandang (bride and groom Soryano (dance by the parents of the future groom, parents of the bride) 2.5 Festival Dances are performed in connection with celebrations, a barrio fiesta, good harvest and good fortune. Examples: Kuratsa La Jota Putong 2.6 War Dances are intended to show imaginary combat'or duel with the us fighting implements like bolo, kris or spear. and friends or relatives of each side) the visit of the a feast, eof Examples: Inabaknon Sagayan 2.7 Comic Dances are dances with funny and humorous movements mainly intended for entertainment. Examples: ‘Makonggo (movemerits of monkey) Kinoton (imitates mgvements of person bitten by ants) 2.8 Game Dances are dances that have some play elements and are for recrea~ tional purposes. Examples: ; Lubi-Lubi Gayong-Gayong Pabo 2.9 Social Dances are dances during social gatherings. Examples: Rigodon Lanceros 5 GROUP CLASSIFICATIONS OF DANCES FOUND IN THE PHILIPPINES __ Dances of the Cordillera Groups . BIBAKIIG - acronym for Bontocs, Ifugaos, Benguets, Ay : Tlonggot, and Gaddang. iguets, Apayao, Kalinga, Itneg, PESHITS & KANYAO ~ occasions for the presentation of Cordillera dances. Classification: ceremonial, courtship, war, festival and imitative in nature : .2 Some of the Dances ‘© Takik —a flirtation, love or wedding dance from WesternBontor ‘= Patong — danced by one or two warriors i c Dinuyya- from Lagawe Ifugao, a dance festival performed by men.and wom a during a major feast Tarektek — among the Benguets, a dance imitating the “woodpeckers” Bendian — a victory dance ‘Turayen — among the Apayaos, a dance imitating a high fying bird ‘Tadeck — a Kalinga word for dance Ragragsakan — a work dance of Kalingga women where they CAP os on their heads or sometimes layered claypots © ‘Takiling—a victory dance performed after a head hunting spree qaaare Dance of the Mindanao Groups Dances have touches of Hindu, Javanese, Chinese, and Arab-Persian culture, Some of the Dances @ Kakulangan among the Maranao, is danced.with the use of beautifully decorated umbrellas. : q Sagayan is a war dance which dramatizes the hero-warrior prince. Asik is a doll dance for girls. 4 q Silong sa Ganding shows traces of Hindu-Vedic influence, where the five Gancers represent the sounds of the gandingan. ang-alay from Jolo, Sulu, portrays the varied life activities of the people. Maglanka is a dance class of noble Samal women. Burong Talo is a martial arts dance inthe Langka tradition of Mindanao dances. Pindulas depicts the movements of the fish qaaad Binanog is a Manobo hawk dance. spanish/European/Western Influenced Dances +31 ‘The Westemization of Filipino culture brought changes in the style of dane- ing among Filipinos. 432 Introduction of Pandanggo, Habanera, Jota, Valse, M Lanceros, et azurka, Paseo, Rigodon, 33, Some of the dances include: @- Habanera Botolena is a dance of a married couple in Botolan, Zambal , Zambales; @ Pandanggo Rinconada is a festival d; i depicting the happy and contented lear eee momen 7mt | oe Ea 4. Dance of the Countryside © Ifthere were dances forthe so-called “bourgoise,” during the anal there were also dances for the poor farmers and people in the rural areas. Dances were light and more informal. Frequently, the dances require skills and characters which depict their kind of work. ; Some of the dances are: © Binasuan is a dance that require a balancing skill with glasses of wine. © Batiis a dance performed during Easter Sunday. ‘* Gayong-Gayong is a game dance. © Binislakan, which means sticks, is a Pangasinan dance that bears Chinese influence. 5. Dances for the Lesser Known Group © Kadal Blelah is a Tiboli dance with mythical bindings imitative of the move- ments of the birds. = Karasaguyon is a courtship dance. @ Kadal Taio is a dance that depicts the movements of a bird in the middle of the forest.CHAPTER 2 EER & DANcE TERMS COMMON TO FOLK DANCES Many of our so-called native dances are of Spanish origin. Others show French, English, Malayan, influences. Our forefathers have performed them for so long, giving them their own interpretation, execution, and expression that they have become tradition- ally Filipino, DANCE TERMS “Abrasete”— Girl at the right side, holds R arm of partner with her L ‘hand, free hands down at the sides. This term is of Spanish origin and is used in Rigodon and in other dances. Arms in Lateral Position — Both ams are at one side, either sideward right of lef. This may be done at shoulder, chest, or waist level. Anis in Reverse “T”— Arms are side horizontal, elbows bent at rightangles, forearms Parallel to head, palms forward or facing inward, fists loosely closed, “Bilaa” ~ To tum palms of hands up and down aliemately, hands at waist level infront, elbows close to waist. Brush ~ Weight on one foot, ht the floor with the ball or heel of the other foot (the free foot) afier which that foot is lifted from the flor to any directing 2 When dancers are in square formation, the couples occupyi “Cabeceras’ fa in ; ipying the width of the hall are called “eabeceras”or head couples. This is of Spanich origin. Clockwise Like the motion of the hands of the clock. shoulder is toward the center of an imaginary circle, When facing center, the movement is towanr wa left. ise — The reverse direction of clockwise, Lg should an imaginary circle. When facing center, th acai donee ‘© Movement is toward the right, 2 — When dancers are in square fommation, the coy i ai aoe iples occupyingthe length of the hall are called “costados” or Side pars. This jg of Spanish origin, ie oe : anding side by side, girl atthe rightof oy. They join their L hands together and their hands together; cither RoverLorL over R hands.Crass-Qver — Two couples (the vis-a vis) are opposite each other. Each couple P' ie a straight line to the opposite place. The girls pass by their L shoulders between boys. Boys bow to each other when they meet at the middle or about one-third of the way, then proceed to the opposite place. Upon reaching the opposite place, partners tum about; girls stand at partners’ right side. Cut~To displace quickly one foot with the other, thus complétely taking off the weight of the body from the displaced foot. Do-si-do (“Dos-A-Dos”) ~ The vis-a-vis (opposites) both advance forward, pass each other's right (or left) side, step across to the right (or left), move backward without turing around pass each other's left (or right) side to proper places. Thisis of foreign origin and is used inmany Philippine dances. ‘Draw~ To pull one foot along the floor close to the other which has the weight of the body. The weight may or may not be transferred. Exee foot ~ The foot not bearing the weight of the body. Eree Hand ~ The hand not placed anywhere or not doing anything. Grand Chain or Grand Right and Left — Partners join right hands facing cach other. Boys all move counterclockwise and girls clockwise. Each boy in starting passes his partner on her right and drops her hand, joins left hand with the left of the next girl, who advances to mect him, and passes her on her left, and drop hands, joins right hand with the next advaiicing girl, and so on. The girls do the same giving right and left hands to each succeeding boy. When partners meet for the first time they continue until they meet for thg second time in their proper places. Then all tum about and reverse direction. ist - Place hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing rear. “Hapay” — To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of invitation. 4 -Hayon’ ~ To place one forearm in front and the other at the back of the waist. ‘This is a Visayan term. Hop — A spring from one foot landing onthe same foot in the place or in any direction The other foot may be raised in any direction (in front, in rear, sideward or across). Inside Foot ~The foot nearest one’s partner, when partners stand side by side. Inside Hand ~ The hand nearest one's Parner, when partners stand side by side partners tum once around clockwise (with R elbows almost touching) or ‘counterclockwise (with L; elbows almost touching) using walking or any kind of dance step, The hands near each other are on waists. This is a Tagalog term but of a Spanish origin. sump — spring on one foot oF oth, ning on both ny direction. 10Ww direction, counterclockwise Moving the hand from the wrist ether in a clockwise OF COU This is an Nocano term. ‘Leap ~ Spring on the Supporting foot and land on both feet. \d lower wrist “Masiwak—To tum the hand from the wii halfway clockwise den ais a Once or twice. This is an Ibanag term. . ideward, [Lean A spring from one foo, landing onthe other fot in any direction (forward, sidew backward, of oblique). Quitside Foot - The foot away from one's partner, when partners stand sidd by side. ‘Outside Hand ~The hand away from one’s partner, when partner stand side by side. ‘Opposite — The person standing in opposite across the set “Panadvak” — To stamp in front or atthe side with R (L) foot and tap with same foot close to the L ® foot, weight of the body on L ® foot. This is a Tagalog term. Partner ~ Girl to right of boy and boy to left of girl. Place ~ To put foot in a certain or desired position without putting weight on it. The sole Of the foot rests on the floor. Pivot — To tum with the ball, heel, or whole foot, on a fixed place or point. “Batay”— To bend the head downward and to support the forehead with the R (L) fore- arm or with the crook of the R (L) elbow while the L ® hand supports lightly the palm of the R (L) hand. This is usually done with the L ® foot pointing in rear and knees slightly bent. This is an Hocano term and the movement is commonly found in Nocano dances. Point ~ Touch the floor lightly with the toes of one foot, wei ‘ight of the body on the other foot. ‘#Salok”—To swing the arm downward-upward passing in front of the bod: the trunk is bent forward following the movem is a Tagalog term. “Saludo” — partners bow to each other, to the audience, o with feet together. This term is of Spanish origin dances. “Saloke”(or “Sarac”) ~ Cross the R (or L) foot in front of the L (or R), bend Slightly forward and cross the hands forearms) down in front with the Ro (forearm) over the L (or R). This is a ‘Visayan term. ly as if scooping, tent of the arm doing the “‘salok”. This PPosite dancers, oF (othe neighbors and is used in almost all Philippine the body rL) hand Sel—A dance formation like a square ora unit formation composed of two or more Pairs Slide - To glide foot smoothly along the floor. The movement m; ay befinished with or without transfer of weight. ‘Stamp -To bring down the foot forcibly and noisily on the floor (Like doing a heavy st with or without transfer of weight. ¥ step)center and circle around ~ Four or more ile join R hands at cl : people j Ockwise using walking or any kind of dance steps. Star with Left Hand — same as “star with R hand”, but joining L hands and ruming counterclockwise. Step — To advance or recede by raising or moving one foot to another resting place. There is a complete transfer of weight from one foot to another. Supporting Foot — ‘The foot that bears the weight of the body. Tap — To rap slightly with the ball or toe ofthe free foot, flexing the ankle joint keeping ‘weight of the body on the other foot. There is no change or transfer of weight. Whirl — To make fast turns by executing small steps in place to right or left.; CHAPTER 3 i SoD eee _ DANCE TERMS COMMON TO FOLK DANCES i a Dy ICE POSIT) First Position Feet close and parallel heels ‘Touching toes at 45 degrees 13Second Position Open parallel stride sideward ‘Third Position Feet close-crossed Heel in-step touching Knees lockedFourth Position Feet open-crossed Fifth Position Feet close-toesSecond Position ‘Arms raised sideways a little below shoulder level. First Position Amms encircled in front Chest level, relaxed, fingers slightly apart.Third Position One arm encircled overhead, other raised sideways. Fourth Position One arm encircled on first Position, other arm overhead.et Fifth Position Both arms overheadFirst Position Second Position‘Third Position Fourth PositionFifth Position 2