NA Francisca Reyes-Aquino:

National Artist for Dance: Honored in 1973 for her dedication to documenting, classifying, and
promoting Filipino traditional dances.
Developed a comprehensive classification system: Categorizing dances based on factors like
geographic location, function, and form/style.
Authored influential books: “Philippine Folk Dances” remains a standard reference for
understanding and learning traditional dances.

Established dance schools: Promoted the transmission of cultural dances to future generations.
Ramon Obusan, often referred to as Tatang Ramón, was a titan of Philippine dance and culture.
Born in 1938, his life was an extraordinary journey dedicated to preserving and showcasing the
vibrant tapestry of traditional Filipino dances.
Let’s explore the different approaches she used:
1.Geographic Location:

Regional Dances: Dances specific to a particular region, showcasing the unique cultural traits
and movements of that area. Examples include Tinikling from Leyte, Ibalong from Bicol, and
Maglalatik from Moriones Festival in Marinduque.
Local Dances: Dances specific to a certain locality within a region, often reflecting local customs
and traditions. Examples include Pandaggo sa Sampay from Binan, Laguna, and Kinamulatan
from Batanes.
2.Function:

Ritual Dances: Dances connected to religious ceremonies, rites of passage, or agricultural

practices. Examples include Dinu-oy from Zamboanga, Pangalay from Sulu, and Banga from
Cotabato.
Occupational Dances: Dances depicting the actions and movements associated with specific
occupations. Examples include Sakuting from Maguindanao (warrior dance), and Magbabakô
from Laguna (pottery making dance).

Social Dances: Dances for entertainment and enjoyment, performed at celebrations or social
gatherings. Examples include Cariñosa from Panay, Polka sa Nayon from various regions, and
Jota Montemana from Rizal.
3. Form and Style:

Mimetic Dances: Dances imitating the movements of animals, birds, or natural phenomena.
Examples include Manok (chicken) dance, Kumintang (bird) dance, and Pag-aling from Ifugao
(rice planting dance).
Game Dances: Dances incorporating playful elements and interaction between participants.
Examples include Luksong Baka (jumping over the carabao), Sapinoy (coconut tree climbing),
and Patintero (tag with a stick).

War Dances: Dances depicting combat or mock battles, showcasing strength and agility.
Examples include Kaday-Kaday from Panay, Maranao war dances, and Bonda sa Palawan.

Important Points of View:

Reyes-Aquino emphasized the diversity and richness of Philippine dance traditions,

highlighting the unique characteristics of each region and cultural group.
She recognized the interconnectedness of dance with other aspects of Filipino culture, such as
history, religion, and livelihood.
She recognized the interconnectedness of dance with other aspects of Filipino culture, such as
history, religion, and livelihood.
Her classification system aims to preserve and understand the context and meaning behind each
dance, not just the choreography.
By documenting and categorizing these dances, Reyes-Aquino played a crucial role in promoting
and safeguarding Philippine cultural heritage.
Additional Aspects:

It’s important to remember that classifications are not static. Reyes-Aquino’s system served as a
framework, but dances can fall into multiple categories and evolve over time.
Her work inspired further research and understanding of Filipino dance, contributing to a richer
appreciation of this vibrant cultural expression.

Ramon Obusan: was a highly influential figure in Philippine dance traditions, he was not
actually designated as a National Artist and didn’t propose a distinct classification system for
Filipino dances. He did, however, make immense contributions to preserving and showcasing
cultural dances through his work with the Ramon Obusan Folkloric Group (ROFG).

Ramon Obusan didn’t actually propose a distinct classification system for Filipino dances like
National Artist for Dance Francisca Reyes-Aquino did. However, his work with the Ramon
Obusan Folkloric Group (ROFG) and his extensive research significantly impacted how
Philippine traditional dances are understood and categorized.
Focus on Regional Diversity: ROFG’s repertoire showcased a vast range of dances from across
the Philippines, highlighting the unique styles and stories from different regions and
ethnolinguistic groups. This focus challenged narrow classifications based on a single aspect like
geography or function, prompting a more nuanced appreciation of the diversity within Filipino
dance traditions.
Prioritizing Context and Meaning: Obusan and ROFG didn’t just perform dance steps; they
aimed to tell stories. Their performances often drew inspiration from folklore, rituals, and
everyday life, emphasizing the cultural context and meaning behind each dance. This focus on
narrative and purpose enriched the understanding of these dances, contributing to a classification
system that considered not just movement but also cultural significance.
Documentation and Research: Obusan’s meticulous research and documentation of over 200
traditional dances provided valuable information about movement patterns, costumes, music, and
context. This data offered insights into the evolution and origins of different dances, informing
classifications based on historical connections, influences, and stylistic similarities.
Revival and Preservation: ROFG’s efforts in reviving nearly lost practices like the Pastores
contributed to a classification system that acknowledged the importance of cultural preservation.
By documenting and performing endangered dances, Obusan highlighted the need for
classification methods that consider the risk of cultural loss and prioritize safeguarding
vulnerable traditions.
International Exposure and Dialogue: ROFG’s international tours exposed a global audience
to the vastness and variety of Filipino dance. This wider exposure sparked discussions and
interpretations from diverse perspectives, influencing how these dances are categorized and
appreciated on a global level.
While Ramon Obusan may not have developed a rigid classification system himself, his
work with ROFG and his unwavering dedication to research, documentation, and
authentic performance significantly broadened and enriched the ways we understand and
categorize Filipino traditional dances. He championed regional diversity, prioritized
cultural context, contributed vital research data, and facilitated dialogue on international
platforms, leaving a lasting legacy that continues to influence the evolution of Filipino
dance classification.
Remember, classifications serve to organize and understand cultural expressions, but they
can be fluid and evolve with new research and perspectives. Obusan’s contributions show
that the value of preserving and celebrating traditional dances extends beyond static
categories, encompassing research, revival, storytelling, and global exchange

Founding the Ramon Obusan Folkloric Group (ROFG):

In 1972, Obusan’s vision materialized in the form of ROFG. This pioneering group aimed to
present authentic Filipino dances, adhering to their original movements, costumes, and music.
ROFG became a cornerstone for preserving cultural heritage and ensuring its transmission to
future generations.
Tireless Research and Documentation:

Obusan wasn’t just a performer; he was a meticulous researcher. He extensively documented

over 200 traditional dances from various regions and ethnolinguistic groups across the
Philippines. This dedication unearthed hidden treasures and preserved priceless knowledge about
movement patterns, rituals, and cultural context.
Founder and Artistic Director of ROFG: Established in 1972, ROFG aimed to preserve and
perform authentic Filipino dances closest to their original forms.
Extensive research and documentation: Obusan documented over 200 audio and video
recordings of traditional dances from various ethnolinguistic groups.

Focus on authenticity: ROFG performances used original costumes, music, and movement
patterns, contributing to cultural preservation.
International recognition: ROFG performed worldwide, sharing and celebrating Filipino dance
heritage
Obusan’s Legacy:

While Ramon Obusan might not have developed a specific classification system, his work with
ROFG significantly enriched the understanding and appreciation of Philippine traditional dances.
He left behind a vast repository of documented practices, contributed to cultural preservation
through authentic performance, and sparked international dialogue about these vibrant
expressions of Filipino culture
Beyond Classification:

While Ramon Obusan didn’t create a formal classification system like Francisca Reyes-Aquino,
his contributions transcend categorization. He was a storyteller, a cultural ambassador, and a
tireless advocate for preserving the soul of Filipino dance. His legacy lives on in the hearts of
countless performers, researchers, and enthusiasts who continue to celebrate and safeguard these
unique and precious expressions of Filipino heritage.
(Huwag mo to isali sa ppt kung ilalagay mo man hahaha serve as na explanation Ito.:
hahaha)

So, while Ramon Obusan wasn’t a National Artist specifically for dance classification, his
contributions to research, documentation, and authentic performance of traditional dances remain
deeply valuable. He played a crucial role in safeguarding and showcasing this important part of
Filipino culture, ensuring its survival for future generations.
Lucrecia Reyes-Urtula and the Bayanihan Philippine National Dance Company:
Classifying Traditions
Lucrecia Reyes-Urtula, recognized as a National Artist for Dance in 1988, wasn’t just the
founder and artistic director of the renowned Bayanihan Philippine National Dance Company,
she was also a passionate researcher and advocate for preserving and understanding Filipino
dance traditions. While she didn’t create a fixed classification system like Francisca Reyes-
Aquino, her work with Bayanihan significantly impacted how Philippine dances are presented,
interpreted, and categorized.
Here are some key ways Urtula and Bayanihan influenced the classification of Philippine
traditional dances:

1. Focus on Theatrical Presentation: Bayanihan wasn’t simply a dance troupe; it was a

theatrical company. Urtula adapted and staged traditional dances for the proscenium
stage, bringing them to a wider audience while maintaining their cultural essence. This
approach required rethinking choreography, costuming, and storytelling, offering a new
lens through which to view and categorize these dances.
2. Emphasis on Regional Diversity: Bayanihan’s repertoire covered a vast range of dances
from across the Philippines, showcasing the unique styles and stories of different regions
and ethnolinguistic groups. This focus on diversity challenged narrow classifications and
highlighted the richness and variety within Filipino dance traditions.
3. Blending Traditional and Modern: Urtula wasn’t afraid to experiment. While
respecting the core movements and symbolism of traditional dances, she sometimes
incorporated modern elements, music, and storytelling techniques. This innovative
approach broadened the appeal of these dances while sparking discussions about how to
classify and categorize them in the evolving cultural landscape.
4. Importance of Context and Story: Bayanihan performances weren’t just displays of
footwork and costumes; they were narratives, often drawing inspiration from folklore,
rituals, and everyday life. This focus on context and storytelling enriched the
understanding of each dance, emphasizing its cultural significance and contributing to a
more nuanced classification system based on function and meaning.
5. Global Stage as Classification Catalyst: Bayanihan’s international tours exposed
Philippine dance to new audiences and perspectives. This global exchange led to further
analysis and discussions about how to categorize and present these dances for a wider
understanding, pushing the boundaries of traditional classifications.
Lucrecia Reyes-Urtula and the Bayanihan Philippine National Dance Company may not
have established a rigid classification system like Reyes-Aquino, but their contributions to
showcasing, interpreting, and innovating with traditional dances significantly impacted how
these dances are understood and categorized. Their focus on theatricality, regional diversity,
 modern adaptation, storytelling, and global exposure broadened the conversation, enriching
the ways we classify and appreciate the vibrant tapestry of Philippine dance traditions.
While Urtula and Bayanihan didn’t establish a rigid classification system, their
innovative approach to presenting and interpreting traditional dances contributed
significantly to evolving understandings and categorizations of these vibrant
expressions of Filipino culture. Their focus on theatricality, regional storytelling,
modern adaptation, contextual storytelling, and global dialogue continues to inspire and
inform ongoing discussions about classifying and preserving the rich heritage of
Philippine dance.
Remember, classifications are not static; they evolve as our understanding and
appreciation of cultural expressions deepen. The work of Urtula and Bayanihan
showcases the importance of creative presentation, storytelling, and global exchange in
enriching the ways we categorize and celebrate the unique beauty of Filipino dance
traditions.

Pwede to maging explanation 👇

Remember, classifications are not static; they evolve as our understanding and
appreciation of cultural expressions deepen. The work of Urtula and Bayanihan
continues to inspire and inform ongoing discussions about classifying and preserving
the rich heritage of Philippine dance.

Leonor Orosa Goquingco, another pivotal figure in Philippine dance, did develop several
classification systems for traditional dances. Her approaches were varied and often overlapped,
showcasing the richness and complexity of these cultural expressions

While Leonor Orosa-Goquingco, the National Artist for Dance, had a profound impact on the
understanding and appreciation of Filipino dance, she didn’t propose a fixed classification
system like Francisca Reyes-Aquino. However, her extensive research, choreography, and
advocacy influenced how these dances are categorized and analyzed in several significant ways:

Focus on Innovation and Creativity: Orosa-Goquingco wasn’t content with simply preserving
traditional dances. She actively explored ways to adapt and reinvent them, creating new
choreographies inspired by traditional forms but imbued with her own modernist style. This
approach challenged rigid classifications and broadened the scope of how we categorize these
dances, acknowledging the potential for evolution and artistic interpretation.

Fusion of Dance Forms: Orosa-Goquingco didn’t confine herself to specific regional styles. She
often fused elements from different regions and cultures, creating unique hybrid forms like her
pioneering “Ballet Folklorico” works. This innovative approach to categorization acknowledges
the interconnectedness of cultural influences and the dynamic nature of dance traditions.

Emphasis on Meaning and Symbolism: Orosa-Goquingco was deeply interested in the cultural
context and symbolism behind traditional dances. She meticulously researched their meanings
and incorporated them into her choreographies, enriching the understanding of these expressions
beyond mere movement patterns. This focus on meaning and symbolism contributed to a
classification system that considered the cultural significance and narrative layers within each
dance.
Documentation and Analysis: Orosa-Goquingco actively documented and analyzed traditional
dances, writing essays, books, and creating educational programs. This research provided
valuable insights into the history, evolution, and technical aspects of different dance forms,
informing classifications with factual data and historical context.
Promoting Cultural Awareness: Throughout her career, Orosa-Goquingco tirelessly advocated
for the preservation and appreciation of Filipino dance traditions. She established dance schools,
organized festivals, and performed internationally, bringing these art forms to new audiences.
This ongoing engagement with diverse perspectives influenced how dances are categorized and
interpreted within a global cultural dialogue.

While Orosa-Goquingco didn’t develop a specific classification system, her contributions

significantly enriched the understanding and appreciation of Filipino dance. Her focus on
innovation, fusion, meaning, documentation, and cultural awareness encouraged a dynamic and
nuanced approach to categorization, acknowledging the multifaceted nature of these vibrant
cultural expressions.
Here are some key classifications by Orosa Goquingco,
1. Geographical Location:
Regional Dances: Similar to Reyes-Aquino, Orosa Goquingco emphasized regional variations,
highlighting dances specific to Luzon, Visayas, Mindanao, and other island groups. Examples
include Tinikling from Leyte, Maglalatik from Marinduque, and Ibalong from Bicol.

Local Dances: She delved further into specific localities within regions, acknowledging the
unique dance forms within smaller geographical areas. Examples include Pandaggo sa Sampay
from Binan, Laguna, and Kinamulatan from Batanes.

2. Function:

Ceremonial Dances: Orosa Goquingco stressed the role of dance in rituals and rites of passage.
Examples include Dinu-oy from Zamboanga (healing ritual), Pangalay from Sulu (circumcision
rite), and Banga from Cotabato (harvest thanksgiving).

Occupational Dances: Her classification covered dances depicting various professions and
livelihoods. Examples include Sakuting from Maguindanao (warrior dance), Magbabakô from
Laguna (pottery making dance), and Pamalayang Magsasaka from Pampanga (rice planting
dance).

Social Dances: She recognized the importance of dances for entertainment and socialization.
Examples include Cariñosa from Panay, Polka sa Nayon from various regions, and Jota
Montemana from Rizal.

3.Movement and Form:

Mimetic Dances: Orosa Goquingco identified dances mimicking animals, birds, or natural
phenomena. Examples include Manok (chicken) dance, Kumintang (bird) dance, and Pag-aling
from Ifugao (rice planting dance).

Game Dances: Her system included playful dances with interactive elements. Examples include
Luksong Baka (jumping over the carabao), Sapinoy (coconut tree climbing), and Patintero (tag
with a stick).
War Dances: She categorized dances showcasing combat or mock battles, often displaying
strength and agility. Examples include Kaday-Kaday from Panay, Maranao war dances, and
Bonda sa Palawan.

Additional Points:
Orosa Goquingco emphasized the evolution and dynamism of traditional dances, acknowledging
their adaptation and transformation over time.
She advocated for cultural sensitivity and respect when studying and performing these dances,
recognizing their significance within specific communities.
She advocated for cultural sensitivity and respect when studying and performing these dances,
recognizing their significance within specific communities.
Her work focused on preserving and promoting Filipino dance heritage, contributing to its
appreciation and understanding on a global stage.

Importance of Orosa Goquingco’s Classifications:

Leonor Orosa Goquingco’s classification systems offer valuable insights into the diverse world
of Philippine traditional dances. Understanding the context, function, and movement styles
behind these dances allows for deeper appreciation and facilitates their preservation for future
generations

.Remember, classifications are tools to organize and analyze cultural traditions, but they
shouldn’t restrict the artistic spirit and evolving nature of dance. Orosa-Goquingco’s
legacy reminds us that celebrating Filipino dance involves both preserving its roots and
embracing its potential for creative transformation and international dialogue.