Good Morning

• Write each formed word on the space provided

before each number and try to share your
knowledge about it.
• _______________1. GANAPYAL
• _______________2. LABISNIKAN
• _______________3. ASU UK ASU
• _______________4. SIOTLK
• _______________5. GIKNATUS
 1. Were you able to arrange the jumbled
letters correctly?
 2. Are there a significance of knowing
the names of the dances?
 3. What are your impressions that are
essential to the cultural background just by
knowing the name of the dances?
 4. Do you believe that the folk dances
performed in your place have a mixture of
foreign culture? Why do you say so?
 5. Can you give examples of Philippine
folk dances that have Asian influence?
Justify your answer.
 6. How can one’s family benefit from folk
dancing?
• Philippine folk dances speak so much
about the heartbeat of our people for
they tell about our customs, ideas,
beliefs, superstitions, and events of daily
living in a certain community.Just by
looking at the costumes, props, and
implements of a certain group or tribe
would tell you of the origin of the dance.
• The kind of music being used readily also
tell about the influences brought about
by trade and settlement of our
neighboring countries such as China,
Malaysia, Indonesia, Burma, Cambodia,
Thailand and Japan to name a few. Truly
evident is the effect of acculturation in
the country as manifested by the kinds of
costumes, props, music, and dance steps
that are used and integrated in to some
of our regional and national folk dances.
• The use of gongs, kulintangs and the
incorporation of pentatonic scale to our
musical compositions are just concrete
proofs of acculturation in the country.
These are the reasons why Philippine folk
dances contribute to the very rich culture
of the country.
• The following historical backgrounds and
context of the dance literatures of
Binislakan, Sakuting, Sua-ku-Sua and
Pangalay would give you a clear picture
of the nature and background of these
regional and national folk dances. This
will help you understand its significance
and cultural value, including the beauty
and complexity of the people’s lives living
in those places.
BINISLAKAN (Lingayen)
Dance Researcher
Meaning
Dance Culture
Place of Origin
Country of Influence
Ethno-linguistic Group
Classification
: Francisca Reyes
: With the use of sticks
: Christian Lowland
: Pangasinan
: China
: Pangasinense
: Social Dance

www.kalilayan.com
Background:
Lingayen in Pangasinan means having
to look backward and upward. It was derived
from “Li-King-Tung”, a Chinese word given to
the name Lingayen, the capital of Pangasinan,
by the Chinese settlers of this place a long
time ago. The barrio folks who lived at
Almazin, a small place between barrio
Pangasinan (Pulong) and Maniboc danced this
to commemorate the stay of Limahong, a
Chinese pirate who built his kingdom here.
 The dancers look backward or upward
in some of the movements; hence, the name
Lingayen. They also use two sticks to produce
rhythms imitating the chopsticks used by the
Chinese in eating, so the dance is also called
Binislakan, which in Pangasinan means, with
the use of sticks.
Costume
Female : Siesgo and kimono with loose and long
sleeves and soft panuelo
Male : Camisa de Chino and red pants
Music : 2/4 composed of two parts: A and B
Count : One, two, one and two, and one
and two and
Formation : Partners stand about six feet apart.
One or more pairs in a set can take part in the dance,
in any formation desired.
SUA-KU-SUA
Dance Researcher : Ramon A. Obusan
Meaning : My Pomelo Tree
Dance Culture : Lowland Muslim (Coastal)
Place of Origin : Jolo, Sulu
Country of Influence : China, Malaysia and Indonesia
Ethno-linguistic Group : Tausug
Classification : Courtship Dance
• Background/Context:

The Tausug of Sulu, Southern Philippines,

though known as fearsome warriors are also
better known as sturdy seafarers and hardy
farmers. Extensive orchards are planted with
coconuts and pomelos and fields with staples like
rice and root crops.
 At harvest time, pomelo fruits are gathered
in big baskets before they are sent away. The
Tausugs depend strongly on the income the
pomelo bring them and this relationship is
romanticized by comparing the sua’s gentle
leaves, slender branches, attractive fruits and
fragrant flowers to the virtues of a lady. Put to
music, it is this song that is sang by couples while
flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance.
 Sua-ku-sua performers, some men but
especially women come to the festivities with face
thickly covered with finely ground rice powder
and their eyebrows and sideburns enhanced with
soot- all for beauty’s sake.
• Movements/Steps Particular to Dance:

Creative imagery: Fans transform into tiny

sails, face mirrors, butterflies, shields and leaves.
Tausug traditional steps with Chinese influence.
Dance Properties:
Costume: Female:
Top (Barawasi): Traditional loose blouse, long sleeves wit deep,
plunging key-hole neckline. Extra panels attached to the right and left
chest decorated with many tiny brass buttons.
Material: Cheap printed or plain Chinese silk or cotton.
Pants (Sawal or Kantiu) : Loose Chinese pants with a 10-inch soft
white band (coco curdo) attached to a wide waist. To tuck the pants
in, the white band is overlapped in front, one side on top of the other
and rolled out to form a tight belt.
Material : Cheap Chinese silk or any silky material preferably in
navy blue, sunshine yellow, grass green, red or orange colors
Shoulder band (Siyag) : A separate wrap-around malong of rich
material strung over the right shoulder crossing the chest and hanging
on the left side.
Headpiece:
There are three choices:
Gold or brass filigree called tusuk;
Paper bills pasted on slender sticks; and
Pasteboard cut-out, the front tip 8 to 10 inches high,
similar to Chinese crowns covered with gold foil.
Accessories: Gold or imitation gold earrings,
necklace, bracelets and brooches Suggested
Footwear: Dancers are in barefoot.
Male:
Top (Bajo): Short-waist collarless shirt. Open at
the front with the right panel overlapping the left,
studded with many tiny brass buttons and is not
intended to close the front but used as an additional
shirt decoration. It is allowed to drop on the right
side.
Material: cheap printed or plain Chinese silk or
cotton.
Pants (Sawal or Kantiu) : Similar to the female
pants but in darker colors and bolder designs.
Accessories: Money-belt, Sarok hat, pis siyabit
(rectangular hand-woven scarf tied on the head or
hung loosely over one shoulder); Kris (wavy knife) or
Barong (leaf-knife).
Suggested Footwear: dancers are in barefoot
 Music: 2/4 and 4/4; composed of
three parts: A, B and C.
Gabbang- bamboo xylophone shaped like
a small boat. Bamboo slats thinned and cut
to graduated sizes to produce three octaves of
pentatonic scale
Count: 1, 2 to a measure in 2/4 time
signature 1, 2, 3, 4 to a measure in 4/4/
time signature
 Name of Literal Meaning Place of Dance Influenced by what
Dance of the Name of Origin Classification Asian Country?
the Dance

Sua-Ku-Sua

Binislakan

Sakuting

Tiklos

Pangalay
PANGALAY
Dance Researcher : Francisca Reyes-Aquino
Meaning : Finger nail
Dance Culture : Lowland Muslim (Coastal)
Place of Origin : Sulu
Country of Influence : Thailand, Malaysia, Burma, Cambodia
and Indonesia
Ethno-linguistic Group : Tausug
Classification : Social Dance

http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qah8A0iSJzbkF?p=pangalay%20dance&fr=yfp-t-521-s&ei=utf-
8&n=30&x=wrt&fr2=sg-gac&sado=1
Background/Context:
Pangalay (also known as Daling-
Daling or Mengalai in Sabah is the traditional
“fingernail” dance of the Tausūg people of the Sulu
Archipelago and Sabah.[1] This dance is the most
distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and
flexibility of the shoulders, elbows, and wrists[2] –
movements that strongly resemble those of
“kontaw silat,” a martial art common in the Malay
Archipelago.
The Pangalay is performed mainly during
weddings or other festive events [1]. The
male equivalent of the Pangalay is
the Pangasik and features more martial
movements, while a pangalay that
features both a male and female dancer
is called Pangiluk.
The original concept of the Pangalay is based
on the pre-Islamic Buddhist concept of male
and female celestial angels
(Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari)
common as characters in other Southeast
Asian dances.
Dance Properties:

Costume : Dancer wears a typical Joloana costume

Accessories : Expert and professional dancers use
janggay, extended metal finger nails in each finger.
The rich people have janggay made of solid gold or
silver.
Suggested Footwear : dancers are in barefoot.
Music : Played as many times as necessary.
Count one, two or one, and, two and to a
measure.
Movements/Steps Particular to Dance:

There are no definite directions, sequence

of figures, number and kinds of steps, hand
movements and positions used when
performed by the natives. For teaching
purposes the figures of this dance may be
created and dancers may form their own
combinations.
TIKLOS
Dance Researcher : Francisca Reyes- Aquino
Meaning : Refers to a group of peasants
Place of Origin : Panay and Leyte
Country of Influence : China, Burma and Cambodia
Classification : Recreational Dance
Background/Context:
For centuries, Tiklos has been a very important factor in the
social life of the peasants of Leyte. Tiklos refers to a group of
peasants who agree to work for each other one day each
week to clear the forest, prepare the soil for planting, or do
any odd job in the farm, including the building of a house. At
noontime, the people gather to eat their lunch together and
to rest. During this period, Tiklos music is played with a flute
accompanied by a guitar and the guimbal or the tambora
(kind of drum).
The music of Tiklos is also played to gather the
peasants before they start to work.
SAKUTING
Dance Researcher : Francisca Reyes Aquino
Meaning : Refers to rhythmic sticks producing
the accompaniment for the dance.
Place of Origin : Abra and Ilocos Norte
Country of Influence : China
Classification : Recreational and Social Dance

flickr.com
Background/Context:

This is a dance of the ethnic people living in

the western side of the Cordilleras way back before
the coming of the Americans to our country. During
the Christmas, young boys and girls accompanied by
their elders would go to the lowlands, especially in
Abra and Ilocos Norte to dance in front of the houses
and ask for gifts. These young children hold sticks,
one on each hand and strike them together to make
their dance more lively. The homes would give them
money, homemade delicacies and other things.
 These dancing groups later reached as far
as the coastal towns of Ilocos region as years
went by. The rhythmic sounds produced by the
stick attracted other children and also adults
and they also learned the dance.

“Sakuting“ is an ethnic term which refer to

the rhythmic sticks producing the
accompaniment for the dance.
Dance Properties:
Costume : Girl – Native Ilocano kimono style with sleeves of elbow length;
skirt of bright-colored plaids shirred at the waist of ankle-
length.
Boy – Camisa de chino and red trousers, and a native hat.

Music : 2/4 and ¾ rhythms and composed of 9 parts : A, B, C, D, E, F, G, H

and I.

Formation : Audience

X O
O X
X O
O X

One set of dancers

 Name of Literal Meaning Place of Dance Influenced by what
Dance of the Name of Origin Classification Asian Country?
the Dance

Sua-Ku-Sua

Binislakan

Sakuting

Tiklos

Pangalay
Activity 2: DRESS ME UP!

This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers. Study the procedures given and do
what is asked of you to perform. This could be an individual or group activity.

 Prepare a miniature boy and girl dancers made of cartolina and post it
on the board. Create different regional costumes in the Philippines
made of Manila paper.
 Dress up the miniature dancers and name the province where they
come from.
 In tracing where the costumes are usually worn, consider the
geographic location or terrain where the costumes are suited and the
respective props used by the dancers and even their facial
expressions.
 Be ready to share your knowledge about the origin and background of
the folk dances considering their costumes, expression and
• Lately, there has been an emerging problem
in Injecting Drug Use (IDUs).
• There is an increasing number of seafarers
reported to be infected with HIV.
 Country Response to AIDS
• Enactment by Congress of Republic Act 8504,
or the Philippine AIDS Prevention and Control
Act of 1998.
• Creation of the National AIDS and STI
Prevention and Control Program within the
Department of Health (DOH) in 1988.
• Issuance of Executive Order No. 39 in 1992
that created the Philippine National AIDS
Council (PNAC)
 Commission on Higher Education
(CHED)
• UNAIDS as co-sponsor of CHED launched the
Educ AIDS in March of 2004.
• The Philippine government, after passing
Republic Act 8504 known as Philippine AIDS
Prevention Act encompasses policies and
programs for AIDS prevention to be instituted
nationwide.
• Issuance of two (2) Memorandum Circulars
namely
*Memo Circular No.16 in 2000
*Memo Circular No.37 in 2001
• Memo Circular No.16 in 2000 mandates the
integration of topics in HIV and AIDS in
Biological Sciences and General Sociology in
all colleges and universities
• Memo Circular No.37 in 2001 that mandates
the use of the teacher manual handbook in
the tertiary level integrating topics on HIV and
AIDS in Science, Psychology and General
Sociology. The manual was jointly prepared by
CHED and PINAC.
Human Sexuality
in the Philippines
• Prior to 1969, Sex Education in the Philippines was
non-existent. Instructions were limited only to
discussions on pregnancy and childcare within the
confines of the family unit, specifically between
female members of the home.
• Outside the family or the home setting, available
informal information – in the form of television and
radio programs, illegal adult or sex publications, and
the like – was imprecise, flawed, or deficient.
• In the 1960’s after the World Health Organization
and the Philippine government’s introduction of
programs on family planning and birth control
suburban and rural Philippine communities received
training in these programs, with instructions on basic
biology, pregnancy, and contraception that focused
on the use of birth control pills.
• This program was clandestinely sustained by the
Roman Catholic Church to "reduce the family's
burden of child rearing because of poverty".
• In 1970, Philippine high schools and colleges
began to include teachings related to public
health, sexually transmitted diseases, and
limited information on human reproduction
and human sexuality in the curriculum for
science courses, such as biology.
• The limitation was truncated by the Filipino
tradition of not explicitly mentioning or
showing images of the male and female sex
organs even for educational purposes.
• In 1972, the government of Ferdinand Marcos
formally offered sexual education programs at
all levels of education.
Wherein:
• Human development and population were
topics in science and biology subjects in
elementary schools.
• High school students received elementary and
basic-level of biological information and family
planning.
• Emphasis of which is that separation and
divorce are illegal in the Philippines, although
legal separation or de facto separation were
taught in Philippine public schools due to its
high incidence of occurrence in lower class
families.
Reproductive Health Bill
in the Philippines
 What is RH Bill?
The Reproductive Health Bill, popularly known as the RH Bill, is
a Philippine bill aiming to guarantee universal access to
methods and information on birth control and maternal care.
There are presently two bills with the same goals:
 House Bill No. 96 or the Reproductive Health Act and
Population and Development Act of 2010 introduced by
Cong. Edcel Lagman, and
 Senate Bill No. 2378 or the Reproductive Health Act
introduced by Senator Mirriam Defensor-Santiago.
 Guiding Principles of RH Bill?
• freedom of choice with no bias for either modern or
natural method of family planning;
• it is about health and rights, not demographics;
• individuals are provided free, full access to relevant,
adequate and correct information on reproductive
health and human sexuality by the State and
professional private practitioners;
• gender equality and women empowerment and their
protection, promotion and guarantee are central
elements;
• aims to ensure birth and care of healthy children;
• promotes responsible parenting;
• promotes breastfeeding through joint effort between
local government and national government.
• abortion remains a crime and is punishable by law
*but* post abortion complications shall be treated,
counseled in a humane, nonjudgmental and
compassionate manner.
• respect for, protection and fulfillment of
reproductive health rights of children to adults are
guaranteed
• aims to uplift the quality of life of people,
especially the poor, the needy and
marginalized;
• aims to seek active participation of
government and non government
organization;
• the RH Bill does not legalize Abortion.
• aims active participation between
government, non government and people's
organizations and communities
 CBCP’s Stand on RH Bill
• We object to the non-consideration of moral principles, the bedrock of
law, in legislative discussions of bills that are intended for the good of
individuals and for the common good.
• We are against the anti-life, anti-natal and contraceptive mentality that is
reflected in media and in some proposed legislative bills.
• We object strongly to efforts at railroading the passage of the RH bill.
• We denounce the over-all trajectory of the RH bill towards population
control.
• We denounce the use of public funds for contraceptives and sterilization.
• We condemn compulsory sex education that would effectively let parents
abdicate their primary role of educating their own children, especially in
an area of life – sexuality – which is a sacred gift of God.
• We are deeply concerned about the plight of
the many poor, especially of suffering women,
who are struggling for a better life and who
must seek it outside of our country, or have
recourse to a livelihood less than decent.
• We are pro-life. We must defend human life
from the moment of conception or
fertilization up to its natural end.
• We believe in the responsible and natural
regulation of births through Natural Family
Planning for which character building is
necessary which involves sacrifice, discipline
and respect for the dignity of the spouse.
• We believe that we are only stewards of our
own bodies. Responsibility over our own
bodies must follow the will of God who speaks
to us through conscience.
• We hold that on the choices related to the RH
bill, conscience must not only be informed but
most of all rightly guided through the
teachings of one’s faith.
What is your stand?
“Be the change you want to see in the world.”
-M. Gandhi
Maraming Salamat Po!