REGIONAL AND

NATIONAL DANCES
WITH ASIAN INFLUENCE
INTRODUCTION

• Kumusta! Naimbag nga aldaw! Maayong buntag! Como esta usted? Assalam Malaykum! How’s your
day? I hope that you are as strong, energetic, athletic and competitive as ever because for all you know,
you will be needing all your strengths for the activities found in this module. When you were in Grade 7,
you have learned to perform examples of local and Indigenous dances. You also learned to value them in
order to maintain good health and eventually realized that folk dancing is indeed a good recreational
activity. Just like any other sports or games, dancing is also a physical activity that can promote lifelong
fitness and wellness. It is a good source of exercise that could help develop grace and poise. It can even
help in maintaining good health as it highlights health-related fitness components such as cardio-vascular
endurance, flexibility, and strength. With the effect of acculturation, indigenous dances of the Philippines
may have been modified since the culture of other countries has influenced our very own dances.
• 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 comunity.
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
BINISLAKAN (Lingayen)
Dance Researcher : Francisca Reyes
Meaning : With the use of sticks
Dance Culture : Christian Lowland
Place of Origin : Pangasinan
Country of Influence : China
Ethno-linguistic Group : Pangasinense
Classification : Social Dance
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.
Dance Properties:
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
BACKGROUND

• 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
DANCE PROPERTIES

• 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:
• 1. Gold or brass filigree called tusuk;
• 2. Paper bills pasted on slender sticks; and
• 3. 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
 DANCE PROPERTIES

• 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
DANCE PROPERTIES

• 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
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
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. 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– 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.
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
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
 DANCE PROPERTIES

• Costume : Dancers are dressed in working costumes

• Music : Divided into two parts. A and B. Count : one,
two or one, ah, two, ah or one, and, two to a measure.
• Formation : Partners stand opposite each other about six
feet apart. When facing audience, the girl stands at
partner’s right side. One to any number of pairs may
take part in this dance
SAKUTING
Costume : Dancers are dressed in working
costumes.
Music : Divided into two parts. A and B.
Count : one, two or one, ah, two, ah or one,
and, two to a measure.
Formation : Partners stand opposite each
other about six feet apart. When facing
audience, the girl stands at partner’s right
side. One to any number of pairs may take
part in this dance
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.
DANCE PROPERTIES

• 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
RHYTHMIC PATTERNS OF
SELECTED REGIONAL AND
NATIONAL DANCES WITH
ASIAN INFLUENCE
ACTIVITY
• 1. Close your eyes and listen to the recorded music of Sua-ku-Sua and Pangalay. What is the time
signature of the music? Is it done in duple, triple, or quadruple meter? Why do you say so?
• 2. Feel the beat and rhythm of the music and do the following activities with your eyes now open:

a. Clap your hands in time with the music.

b. Stamp your feet and do some rythmic improvisations using the same music.
c. Use any materials that could be used as percussive instruments as in beat-box and produce
rhythmic sounds.

d. Use body gestures or accompany it with vocal sounds in time with the music being played.
• 3. For variation, repeat items 1-2 using the recorded music of Tiklos, Binislakan and Sakuting
ACTIVITY
• In this activity, you’ll learn the importance of rhythm in the performance of folk dances.
1. Your teacher will group your class into four.
2. Using any medium for sound production, you and your groupmates will produce sound
in time with the rhythm of the music commonly used in the regional and national folk
dances. Using the douple meter as your basis in producing the sound, divide your group
into two and create different rhythmic combinations for 16 measures to be played
simultaneously with your groupmates. You can use any of the following that could produce
sounds:
a. clapping your hands b. stampping your feetproducing vocal sounds c.
snapping your fingers d. using any materials as percussive instruments
ACTIVITY
• 3. This time, create rhythmic combination using the triple meter for another 16 measures.
4. Always observe the principles of accent, intensity, dynamics, and tempo in your
routine. 5. After a ten-minute rehearsal, perform your output in class. Perform the
rhythmic combination in douple meter first, then the triple meter or vice versa. Refer to
the following rubrics to be used for evaluation.
6. After the group performance, discuss in class the importance of rhythm in the
performance of folk dance
Did you enjoy the activity? You must be sweating out now. Perspiring while doing the
activity is a good indication of good health because your heart beats faster as it pumps
harder while dancing. You know pretty well that dancing is a good exercise, thus, you
are keeping your heart healthy
BASIC STEPS IN
FOLK DANCING
The following dance terms and dance steps are basically used in Binislakan, Sakuting, Sua-
Ku-Sua, Pangalay and Tiklos
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo -
it means to bow
Arms in Lateral Position - both arms are in one side at shoulder level, either right or left
Set - a dance formation of two or more couples
Bend - to move the body or part of the body around wide axis
Leap - to spring one foot and land on the other foot
DANCE STEP MUSIC USED NO OF COUNTS STEP PATTERN
OR M PER STEP

Slide (glide) 2/4 or 3/4 1M Slide, close

Skip 2/4 or 6/8 1 ct step and hop
Bleking 2/4 or 3/4 1, 2 or 3 cts heel-place, close
Gallop 2/4 or 6/8 1 ct step and cut
Mincing 2/4 or 3/4 as many as required step, step, step and
so on
Parallel Tortillier 2/4, 3/4 or 4/4 as many as required pivot and turn
heels, pivot and
turn toes

Pivot Turn 2/4 2M or 4M Step, ball and turn,

step, ball and turn
and so on
DANCE STEP MUSIC USED NO OF COUNTS STEP PATTERN
OR M PER STEP

Touch Step 2/4 or 3/4 1, 2 or 3 cts Touch , close

Change Step 2/4 or 3/4 1M Step close Step
Waltz turn 2/4 or 3/4 2M Execute 2 waltz
steps to make a turn

Waltz step 2/4 or 3/4 2M Step R; step L close

to R in rear; step R

Stamping 2/4 or 3/4 1M Stamp(R) (L) and

close to supporting
foot(L) (R)
BASIC STEPS, ARM AND BODILY MOVEMENTS

• used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklos. Identify what is being
defined.
1. Both arms are in one side at shoulder level, either right or left.
2. To stamp or tap with one foot and the weight of the body is on the other foot.
3. To spring one foot and land on the other foot.
4. To move the body or part of the body around wide axis.
5. A dance formation of two or more couples
HAND MOVEMENTS
AND GUESTURES
HAND MOVEMENTS AND GESTURES

• Hand movements and gestures play a very important role in the whole composition of a
performance for they give life and meaning to the whole dance. Just a simple movement
of the hand or even a simple body gesture or facial expression shown by the dancer
would mean a lot in expressing the thoughts, joy, or sorrow of the one performing
INTERPRETATION OF
DANCE LITERATURE
1. Have you ever thought of expressing your feelings through the dance you
performed in school? Explain.
2. 2. Do you find dancing an effective way of expressing yourself? Justify
INTERPRETATION OF DANCE LITERATURE

• It is very enriching to be able to interpret a dance literature. Since folk dances are
documented, it is always an edge to correctly interpret the text of a dance literature.
Herewith are the dance figures of the four dances. It is hoped that through these dances,
your ability to interpret dance literatures will lead for you to appreciate other folk dances
 BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience.
(a) Cross sticks overhead; R-hand stick over L-hand stick and look
upward........................................................................................3M
(b) Bend trunk forward and bring down point of crossed sticks close to
floor......................................................................................1M
Music A.
Face audience.
(a) Starting with R foot, take four change steps sideward right and left alternately, raising alternately the
L foot and R foot slightly above the floor;bend trunk sideward right and left alternately. Strike sticks
sideward right and left alternately, three times to a measure, R,L,R,L,R,L (cts. 1 and 2) to every
measure.....................................................................4M
(b) Execute mincing steps sideward right. Strike sticks overhead four times to a Measure, R,L,R,L,R,L
alternately. Look upward.......................................................................................2M
 BINISLAKAN (Lingayen)
INTRODUCTION
(c) Bend knees and twist trunk to left; strike sticks backward R,L,R(cts.1 and 2); look backward
right..............................................1M
(d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike sticks R, L, R In front of
chest.............................................................1M
(e) Starting with L foot, repeat (a-d) to opposite direction, stamp feet
L,R,L...........................................................................................8M
Music B.
Face audience.
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times, step
on R foot with springy movementsLike small leap; bend trunk slightly sideward right; R hand bend in frontin
level with head, stick pointing toward audience; L hand down in rear, stick pointing sideward left; look at left
shoulder (cts. 1,2,1,2)........................................................................................2M
(b) Tap L foot in front two times; bend trunk forward that foot and strike sticks twice In front close to the tapping
foot (cts. 1,and); straighten trunk and step L close to R foot, strike sticks once in
front........................................................................1M
(c) Repeat (b) with R foot, bend trunk toward R foot.........................1M
(d) Repeat (a-c), in reverse direction and position.............................4M
 BINISLAKAN (Lingayen)
INTRODUCTION
(e) Face partner and repeat (a-d).......................................................8M
Music A.
Face audience.
(a) Jump forward and bend trunk forward. Cross sticks R stick over L stick Below knee
level...............................................1M
(b) Straighten trunk and raise gradually the sticks overhead; sticks are still crossed. Look
upward.............................................1M
(c) Repeat (a) and (b).........................................................................2M
(d) Execute mincing steps going backward; arms are in reverse “T” position And shiver sticks sideward. Bend head
sideward right and left every two counts......................................2M
(e) Execute mincing steps turning right about, finish facing away from audience (1M). Raise R knee and strike
sticks once under it (ct.1), straighten knee feet together and strike sticks once in front (ct.and), raise L knee and
strike sticks once under it (ct.2).........................................................................2M
(f) Repeat (a-d), facing away from audience......................................6M
(g) Repeat (e); finish facing audience.................................................2M
 BINISLAKAN (Lingayen)
INTRODUCTION
Music B.
Partners face each other. Boy and Girl do their movements simultaneously.
Girl’s Movements:
(a) Starting with R foot, execute eight change steps going clockwise around Boy. Strike sticks overhead and at the
back alternatelythree times toa measure. Strike sticks at the back. Kneel on both knees on the last
count.........................................8M
(b) Do the movements of Boy below (a-c). Finish facing
audience........................................................................................8M
Boy’s Movements:
(b) Kneel on both knees and strike sticks on the floor at the right side three times (cts. 1, and 2); strike sticks
overhead three times upward (1M); strike sticks at the left side on the floor three times (1M); strike sticks
overhead three times (1M.................................................................................................4M
(b) Repeat (a); stand at the last count.................................................4M (c) Repeat movement of Girl (a). Finish
facing audience....................8M
 BINISLAKAN (Lingayen)
INTRODUCTION
Music A.
Partners face audience.
(a) Take one change step sideward right (cts. 1,2), raise L foot above the floorin (ct.2), bend trunk sideward right
and strike sticks to sideward right threetimes to a measure
R,L,R.............................................................................................1M
(b) Repeat (a) three times more, to ideward left and sideward right alternately. Raise R foot above the floor when
doing the change step to sideward left and strike sticks L,R,L..............3M
(c) Face partner and strike sticks on floor in front, full knee bending R knee lower than L knee (cts.
1,ah,and,2,and)............1M
(d) Stand, straighten trunk, and strike sticks, R,L,R,L in front (cts. As in
(c) )...............................................................................1M
(e) Step R foot forward (ct.1) hop on R foot, raise L foot slightly close to R foot, strike both sticks diagonally right
head level, with partner (ct.and). step L foot sideward (ct.2), hop on L foot, and strike sticks diagonally left with
partner (ct.and).............1M
(f) Stamp feet R,L,R, strike sticks in front R,L,R (cts.1, and 2)..........1M
(g) Repeat (a) and (b), facing audience..............................................4M
(h) Repeat (c) and (f), facing audience...............................................4M
 BINISLAKAN (Lingayen)
INTRODUCTION
Music B.
(a) Starting with R foot, execute two change steps going forward to meet partner at center finish in one line. Girl in
front of Boy, facing audience. Strike sticks three times R,L R overhead (look upward) (cts. 1,and
2).......................................2M
(b) Starting with R foot, execute six change steps right and left alternately, Going around clockwise. Strike sticks as
in (a). Finish in a circle facing center.................................................6M
(c) Starting with R foot, take four change steps going toward center. Strike sticks as in
(b)...........................................................4M
(d) Repeat (c), going backward; finish facing right..............................4M
Saludo
Music Finale.
(b) Execute mincing steps going counter clockwise; finish in line formationfacing audience as in Figure I. Arms in
reverse “T” position and shake sticks sideward; bend head sideward right and left alternately every two
counts............................................................................................3M
(b) Stamp feet R,L,R and strike sticks overhead R,L,R (cts.1 ,and 2). Look
upward...........................................................................................1M
(c) Mincing steps, turning right slowly; finish facing audience; sticks are still crossed overhead and looking
upward..................3M
 BINISLAKAN (Lingayen)
INTRODUCTION
(d) Feet together, bend trunk slowly forward, bringing down the crossed sticks below knee. Sticks touch floor in the
last count..............................................................................................1M
 SUA-KU-SUA
INTRODUCTION
Music introduction
Pause
Music A.
Partners face audience.
Throughout this figure, the knees are slightly bent and turned outward. Arms extended sideward with a fan in each
hand.
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure
of eight). Bend the head sideward rightand left alternately in time with the hand
movement................................................................ 8M
(b) Music B Partners face audience.
(c) (a) Place R heel forward, arms sideward (cts.1,2), take six steps in place, move hands as in Figure I (cts. 3, 4; 1
2, 3,4).......................................................................................... 2M (b) Place R heel forward two times (cts. 1,
2, 3, 4).............................1M (c) Take four steps turning right about in place, arms and hand movements as in
(a).............................................................1M
(d) (d) Repeat all (a-c). Finish the turn facing partner..............................4M
 SUA-KU-SUA
INTRODUCTION
Music C
Partners face each other.
(a) With arms in fourth position, L arm high, step R forward
and raise L foot in rear, turning the hands down (ct.1), step L in place, turning hands up(ct.2), step R backward and
raise L foot forward, moving R arm to 2nd position and turning hands down (ct.3), step L foot in place turning
hands up (ct.4).............................................................................1M
(b) Take four walking steps forward to be in line with partner by R shoulders, arms and hand movements as in
Figure I .(cts. 1, 2, 3, 4)..............................................................................1M
(c) Repeat (a) and (b). Finish in partner’s place............................... 2M
(d) Turn left about and repeat (a-c). Finish in proper places (Partners are by L shoulders in
(b)...............................................4M
Music A
Partners face each other
Arm Position : Place both arms in front at waist level. Wrist of R hand is up, finger tips pointing downward, while
the L hand in reverse position. R hand is in front of L.
Arm Movement : With wrist leading, raise R hand up and pull L hand down, palms in (ct. 1), flip hands to reverse
position and movement (ct.2). Repeat same (ct.2)
(a) Step R across L in front (ct.1), step L sideward (ct.2). Repeat same (cts. 3,
 SUA-KU-SUA
INTRODUCTION
4).................................................................1M
(b) Repeat (a) three times more moving in a circle clockwise, always facing partner. Boy finishes facing audience
while Girl finishes behind the Boy..................................3M
(c) Girl: repeat (a) and (b) moving clockwise while facing the line of direction Boy: repeat (a) and (b) in
place......................4M
Music C
Partners face each other.
(a) Take three walking steps obliquely forward left (cts. 1,2,3), turn right about pivoting on the ball of R foot and
raising L foot across the R knee in rear (ct.4). From 2nd position, move the arms downward-forward (as if
scooping). Finish with the palms up (cts. 1,2), turn both hands toward chest inward. Continue the turn and end
up with arms forward palms facing front, finger tips in (ct.3), pull hands outward away from each other
(ct.4)...............................................................................................1M
(b) Repeat (a) starting with the L foot turning left about......................1M
(c) Repeat (a) and (b) two times more................................................4M
(d) Boy: take seven walking steps obliquely forward left, arms and hands as in Figure I (cts. 1,2,3,4; 1,2,3),
point L foot sideward (ct.4). Girl: take four steps turning right about in place (cts. 1 2,3,4) and three steps in place
(cts. 1,2,3), point L foot sideward (ct.4). Hand movement is the same as that of Boy........2M
NOTE: Partners are now in one line facing front, Girl at partner’s right side
 SUA-KU-SUA
INTRODUCTION
Music A.
(a) Step L across R in front (ct.1), step R sideward (ct.2), arm and hand movement as in Figure I. Repeat same two
times more (cts.3,4; 1,2), step L sideward (ct.3), point R foot sideward
(ct.4)...........................................................2M
(b) Repeat (a) starting with the R foot moving to the opposite
direction.........................................................................2M (c) Repeat (a) and (b). Close feet together on the last
count.............4M
Music B.
Girl turns left about so that R shoulder is toward partner. Extend R arms sideward, hand of Girl on top of boy’s
hand, L arms are raised overhead.
(b) Starting with the R foot, take sixteen walking steps forward moving half-way clockwise. Finish in partner’s
place..............................................................................................4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl. Reverse position of hands.
Finish in proper places..................................................................4M
Music B
Partners face each other.
(c) Step R forward and move arms to 2nd position (ct.1), raise L foot close to the R knee. Raise arms overhead and
flip hands down (ct.2), cross turn right about in place. R arm up. Shake L hand obliquely sideward- downward
(cts. 3,4; 1,2,3,4).........................................................2M
(b) Repeat (a) with the L foot. Reverse position of arms...................2M
 SUA-KU-SUA
INTRODUCTION
(c) Repeat (a) and (b)........................................................................4M
Partners face each other.
(a) Take four walking steps to Girl’s place. Hands as in Figure VII
(d)................................................................................1M (b) Place R heel forward. Bend trunk forward and place R
and L cheek close to that of partner alternately four
times (cts. 1,2,3,4). Fans are held close to waist........................1M
(c) Take four walking steps to the center...........................................1M
(d) Repeat (b).....................................................................................1M
(e) With fans held sideward-downward, palms down, stamp R foot five times in place(cts. 1, and 2, and 3). Flip fans
and strike the thighs with the fans (ct.and), Raise arm sideward, palm down (ct. 4).........................................1M
(f) Take four steps turning right in place, arms obliquely sideward-
downward.......................................................................1M
(g) Repeat (e) and (f)..........................................................................2M
(h) Take eight steps turning right. Finish facing front..........................2M
Music B
(a) Starting with the R foot, take four walking steps forward to meet partner at center, arms as in Figure
I.........................................................1M
(b) Place R heel forward. Girl leans back with hands close to hips, palms facing front. Move head sideward left and
right alternately four times. Boy taps R and L shoulder of the Girl with the fan held by the R hand alternately four
 SUA-KU-SUA
INTRODUCTION
times (as if chopping) (cts. 1,2,3,4)..............1M
Music B
(a) Starting with the R foot, take four walking steps forward to meet partner at center, arms as in Figure
I.........................................................1M
(b) Place R heel forward. Girl leans back with hands close to hips, palms facing front. Move head sideward left and
right alternately four times. Boy taps R and L shoulder of the Girl with the fan held by the R hand alternately four
times (as if chopping) (cts. 1,2,3,4)..............1M
(c) Take four walking steps to Boy’s place. Boy moves backward while Girl moves forward. Arms as in
(d)......................1M
(d) Repeat (c). This time the Girl does the choppy movement and the Boy, the head
movement................................1M (e) Take four walking steps to center. Boy moves forward while the Girl moves
backward.........................................1M (f) Repeat (e)......................................................................................1M
(g) Stamp R foot five times in place (cts. 1, and 2, and 3), raise R foot and hit the thighs with both fans (ct.and), flip
fans outward (ct.4)............................................1M
(h) Three-step turn right in place (cts.1,2,3), close feet together (ct.4). arms down at sides, tips of fans facing
sideward-outward........................................................1M
(i) Repeat (g) and (f)..........................................................................2M (j) Starting with the R foot, take four
walking steps (Boy moving forward, Girl moving backward). Arms in reverse “T” position, fans facing front (cts
1,2,3,4). Sway fans
 SUA-KU-SUA
INTRODUCTION
in a figure of eight for every count................1M
(k) Boy bends trunk forward while Girl leans backward. Move the heads (Boy to right side, Girl to left side) (ct.1),
reverse the direction (ct.2), repeat the same (cts.3,4)..........................................................................................1M
(l) Repeat (j) and (k)...........................................................................2M
(m)Take four steps to face front, arms as in (f)...................................1M
(n) Two steps to turn right in place and pause....................................1M
FINALE
(a) Step L sideward (cts. 1,2), step R across L in front, knees are slightly bent (cts. 3,4). Twist trunk to the right, R
arm obliquely downward-sideward, L arm obliquely forward-upward shaking fans (cts.
1,2,3,4)..........................................................................................2M
 SUA-KU-SUA
INTRODUCTION
Dancers sing as they perform the dance. The natives often repeat the dance as many times as they like or until they
are made to stop. The song goes this way:
Music A.
Sua-ko; Sua-ko, yampa tia num
Sua-ko; Sua-ko, yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B.
Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C.
Kan ka pilaran, cambia sara-ran
Di ka dua han, di ka imanan
Ah magpe-pin-tas, ha-la-man
Ah magpe-pin-tas, da koman
 SUA-KU-SUA
INTRODUCTION
My little orange tree I had planted,
With its six lovely green leaves,
Reminds me of her,
Thus causing my heart to beat.
That loveliest beauty among the many,
That pretty one I cannot change,
Walking hurriedly along the street
Hand in hand with me-I
To that lovely beauty I lost my heart
 PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
Entrance
Starting with R foot, walk to center of the room. Both arms down at sides palms down fingers together and pointed
outward. Take 1 count for each step. 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct. 1), put weight on same foot at the end of the slide
(ct.2). Knees are slightly bent and turned outward. R hand in front at eye level, L hand down in rear, fingers
together and hyper-extended. Turn R hand (from wrist) counterclockwise and turn L hand (from wrist)
clockwise simultaneously. ……………..……….…….…. 1 M
(b) Repeat (a), seven more times, L and R foot alternately. Do the same hand movements, L and R alternately in
front. ..…………… 7 M
(c) Repeat (a) and (b), moving backward to starting place. ..….……… 8M
R shoulders towards audience.
(b) Repeat slide step foot movement as in figure I, R, and L alternately, eight times, moving clockwise. Arms in
lateral position, turning hands as in figure I, right and left Sideward alternately every two
counts……………………….……….. 8M
(b) Turn right about, repeat (a), moving backward to starting place. ……………………………….
…………………….…….. 8M
 PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
Face audience.
(a) Repeat slide-step movement as in figure I going obliquely forward right, R and L alternately, eight times. Start
with arms down at sides, palms facing front, finger tips pointing downward, raise arms gradually upward to
head level (4cts.), turn wrist outward so that finger tips point upward, palms facing front, lower arms gradually
downward to starting position (4cts.) Reverse position of arms every four counts. …………………………….
……… 8M
(b) Turn right about. Repeat (a), going to starting place. ……..…………. 8M
(c) Repeat (a) and (b), going obliquely forward left in (a) …….…..…….. 8M
Face audience.
(b) Starting with R foot, take eight steps turning right (clockwise) in place (1 ct. for each step). Arms bent forward
at shoulder level, four fingers together and hyper-extended, thumbs sticking up. Execute a figure of eight
movement with the hands every two counts, gradually stretching the arms sideward at shoulder level.
……………………….……………... 4M
(b) Repeat (a), turning counterclockwise. Repeat same hand movement gradually bending elbows to forward bent
position. ……………………………………………………….…… 4M
 PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct.1), at the end of the slide straighten toes and put weight
on same foot (ct.2). Raise hands in front at the eye level, R hand on top with palm facing the front, fingers
together; L hand down, palm facing in (self)for two counts. …….……………… 1M
(b) Repeat (a), turning counterclockwise. Reverse position of the hands every two counts, L and R hand on top
alternately, with palms facing self (when hand is down), and palms facing front (when hand is on top). The hand
that goes down passes in front. ……..………………………..……...………………….. 7M
(c) Turn right about, repeat (a), going to starting place. …..…..……….. 8M
R shoulder towards audience.
(b) Execute eight parallel tortillier steps sideward right. Start with toes pointing sideward first, taking one count for
each movement. Arms in lateral position sideward right, palms facing out, finger tips pointing upward (ct.1),
flex wrist upward so that finger tips point downward (ct.2).Reverse position of the finger tips every count (or
every two counts if desired). ……………………………………………………..…….……. 4M
(b) Repeat (a), moving sideward left. Arms in lateral position, sideward left, doing same movements as in (a).
………..…………... 4M
(c) Face audience. Repeat (a) and (b). ………………....……………….. 8M
 PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
R shoulder toward audience.
(a) With knees slightly bent, execute shuffling steps forward, moving clockwise (counting 1, and 2, and for every
measure). Bend arms upward, elbows close to waist, hands about two inches over shoulders, palms down. Move
fingers (except thumbs) up and down alternately every count. …………….……...…….…..… 8M
(b) Turn right about, repeat (a), moving counterclockwise..…….……… 8M
Saludo
Face audience.
Place right foot in front, bend body slightly forward, head bent forward, cross hands at wrists down in front, R hand
over L, palms down. ……..……….. 2M
 TIKLOS
Philippine Folk Dances
Francisca Reyes Aquino
Music A.
Partners face front. Throughout this figure Girl holds her skirt, Boy places hands on waist.
(a) Starting with R foot, take two heel and toe change step forward. ……..4M
(b) Execute change step sideward, R and L. ……………………………..….2M
(c) Starting with R foot, take four steps backward to proper places……......4M
(d) Repeat all (a-d)..…………………….......…………………….……….8M
Music B
Partners face front. The same hand position as in figure I.
(b) Cut L backward (ct.1), cut R forward (ct.2). Repeat all (cts. 1,2) …….....2M
(b) Take three gallop steps sideward right (cts.1, ah, 2, ah, 1, ah) step right foot sideward(ct. 2)
…………………………………………....….2M
(c) Repeat (a), starting with R cut backward. …………………………….…...2M
(d) Repeat (b), going sideward left. ……………………………….….…..……2M
(e) Repeat all (a-d).………………………………………………………………8M
 TIKLOS
Philippine Folk Dances
Francisca Reyes Aquino
Music A
Partners face each other. Throughout this figure clap hands in front of chest in this manner: Clap three times (cts. 1,
and 2,), clap twice (cts. 1, 2). Do this for 16 measures.
(a) Execute change step sideward, starting with R foot (cts. 1, and, 2) hop on R and raise LKnee in front swinging L
foot obliquely right backward across R knee in froint (ct.1), hop on R and swing L foot obliquely left forward
(ct.2). ………………………….………2M
(b) Repeat (a) starting with the L foot. …………………..………………..……2M
(c) Execute a three step-turn right in place (cts. 1, and 2). Point L in front (ct. 1), point the same foot close to R (ct.
2). ………………………..2M
(d) Repeat (c), starting with L foot and turning left. ………………………......2M (e) Repeat all (a-d).
………………………………………………..……….…….8M
Music B
Partners face each other. The same position of hands as in figure 1.
(b) Take two touch step in front (R , L). …………………………….………….2M
(b) Jump to cross R in front of L (ct.1), jump to cross l in front of R (ct. 2), jump to cross Rin front of L (ct.1) jump
to close R to L (ct.2). ...………………………………………………………….2M
 TIKLOS
Philippine Folk Dances
Francisca Reyes Aquino
(c) Repeat (a) and (b), starting with L foot. ……………………..………...…...4M
(d) Repeat all (a-c). ………………………………….........………...……..…….8M
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
Entrance
a. Partners walk side by side in rhythm with the music with Head Pair leading the group into formation. Finish
facing partner. R arm bent in front holding stick upward; L hand holding stick placed behind the waist.
……………………………………………………... 16M
FIGURE I
Music A. Partners face each other.
b. Head Pair: Face the set. Weave in and out of the set and continue until back to original places. Strike sticks R
over L on ct. 1; L over R on ct. and; R over L on ct. 2. Strike starting L over on next measure. Pairs 2, 3 and 4 :
perform 32 cut-step-step in place alternately starting with L…………………….…. 32M
FIGURE II
Music B. Partners face each other.
c. Bend downward. Strike sticks 3x R and L, L over R, R over L. ………..2M Straighten trunk. Strike sticks in
front and waist level 3x L over R, R over L and Lover R.
b. Waltz step R . Waltz L . Strike sticks 3x to a measure. ………….. 2M
c. Leap R placing L heel in front (ct. 1) to be by L shoulders with partner; hold position (cts. 2, 3). Strike L sticks
with Partner (ct. 1); strike own sticks 2x (cts. 2, 3). …………………………. 1M
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
d. Leap on L and place R heel in front (ct. 1) to be in back to back position with partner; hold position (cts. 2, 3).
Strike R sticks with partner (ct. 1); strike own sticks 2x (cts. 2, 3). .. 1M
e. Step R and place L in front (ct. 1) to be by L shoulders with partner (ct. 1); hold position (cts. 2, 3) Strike L sticks
with partner (ct. 1); strike own sticks 2x (cts. 2, 3). …….…………………..1M
f. Waltz step to proper places. Strike own sticks R over L, L over R, R over L.
…………………………………………………………….. 1M
g. Repeat (a) to (f) starting L and standing by L shoulders. Start all strikes of sticks with L over R. ……………..
………………….…….. 8M
h. Repeat all (a-g).. ……………………………………………..……………...….16M
FIGURE III
Music C. Partners face each other.
a. 2 waltz steps R, L moving diagonally forward. Finish in one line with partner by L to L shoulders. Strike sticks
3x to a measure. ………………………………………..…………….…2M
b. Raise R leg in front (ct. 1); lower leg (cts. 2, 3) Strike own sticks under raised leg (ct.1); strike sticks R over L
and L over R (cts. 2, 3).….…………………………………………….……..1M
c. Face partner. Strike R sticks with partner (ct. 1); strike own sticks R over L and L over R (ct. 2, 3)
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
……………………………….…...1M
d. Raise L leg in front (ct. 1); lower leg (cts. 2, 3). Strike own sticks under (ct. 1); strike sticks R over L and L over
R (cts. 2, 3). ………………………………………….……….…….1M
e. Face partner. Strike R sticks with partner (ct. 1); strike own sticks L over R and R over L (ct. 2, 3)
……………………………….…...1M
f. 2 waltz steps to proper places. Strike sticks 3x to a measure.
…………………………………………………………………………. 2M
g. Repeat (a-f) starting L and standing by R to R shoulders with partner.
…………………………………………………………. 8M
h. Repeat all (a-g)………………………………………………..16M
FIGURE IV
Music D. Partners face each other.
a. Repeat (a) of FIGURE I. Finish by moving 2 small steps to get close to partner at center on last 2 cts. Of M.
…………………………. …………………...……………….2M
b. b. Waltz step R . Hold sticks parallel to each other; swing own sticks together from R side and strike both sticks
with partner (ct.1); strike own sticks R
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
over L and L over R (cts. 2, 3). ………………………………………………… 1M
c. Waltz step L . Swing own sticks from the L side and strike partner’s sticks together (ct. 1); strike own sticks 2x
(cts. 2, 3). …………………………………………………………1M
d. With a spring, step R placing the L heel in front to be in one line with partner at center by L shoulders; trunk erect
(cts. 2, 3). Open arms at the sides without strining sticks (ct. 1); strike own sticks 2x with trunk erect (cts. 2, 3).
……………………………………..……..1M
e. Repet (d) of FIGURE II. …………………………………………………… …. 2M
f. Repeat (d) of this FIGURE stepping R . ……………………………………. 1M
g. Repeat (f) of FIGURE II starting with L and standing R shoulders.
………………………………………………………………...…...8M
h. Repeat all (a-g). …………………………………………………....……..…….16M
FIGURE V
Music E. Partners face each other.
a. Repeat (a) of FIGURE III. ………………………………………………………….. 2M
b. Waltz turn R (2M) moving obliquely forward; finish facing each other in a single line at center. Strike sticks
together 3x to a measure. ……………………………… ………….. 2M
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
c. Stand . Strike R stick once with partner (ct. 1); strike own sticks together 2x (cts. 2, 3).
…………………………………………. 1M
d. 2 waltz steps to partner’s place; finish facing each other. Strike sticks together 3x to a measure.
…………………………….. 2M
e. Repeat (a) to (d) and finish in proper places. Strike L sticks together with partner.
…………………………………………………….. 8M
f. Repeat all (a-c). ……………………………………………………………………..16M
FIGURE VI
Music F.
New formation Audience
X 1 O
X 2 O
X 3 O
X 4 O

6”
One set of dancers
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
Pairs 1 and 2 form a square; Pair 3 and 4 do the same. All face the center of each square. Simultaneous movements
of Girls and Boys
Girls:
a. 2 change steps to center and finish by R shoulders. Strike own sticks together 3x to a measure; R over L, L over
R, R over L. .......................................................................................... 2M
b. 2 change steps R, L in place. Strike sticks together with opposite (ct.1); strike own sticks 2x (cts. and,
2). .................................... 2M Repeat movement.
c. Turn R about to be by L shoulders; repeat (b). ............................................... 2M
Boys: 8 change steps R, L alternately . .......................................................... 8M
d. Girls perform Boy’s Part while Boys perform Girls part. .................................. 8M
e. New Formtion:
Boy 1 to Face Girl 2 X 1 O
Boy 3 to Face Girl 4 X 2 O
Boy 2 to Face Girl 1 X 3 O
Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d). .......................................................................................... 8M
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
f. All Face partners and repeat (a-d) with partners. ........................................... 8M
FIGURE VII . .
Music G. Partners face each other.
All stand in place.
a. Bend trunk down. Strike own stick 3x to a measure on floor or close to the ground. ……………….
…………………………………. 1M
b. Straighten trunk. Strike sticks in front at waist level. ……………………………1M
c. Raise sticks overhead. Strike sticks overhead. ………………………………… 1M
d. Place hands behind waist. Strike sticks from behind………………………….. 1M
e. Repeat (a-d) 3x more. ………………………………………………………..…….12M
f. Face about, away from partner and repeat all (a-e). ……………………………16M
FIGURE VIII
Music H. Circle formation facing clockwise.
b. 16 waltz steps Strike own sticks 3x to a measure. …………………………….. 16M
b. Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners
outside. ………………………………………………………… 16M
 SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
FIGURE VIII
Music H. Double circle formation with Boys and Girls outside. Girls hold their 2 sticks horizontally and parallel to
each other; R stick at head level and L stick at chest level.
a. Boys face their partners while Girls hold their stick firmly in front. Boy- strike sticks across Girl’s sticks R hand
up and L hand low 3x to a measure (cts. 1, and, 2).
………………………………………………………………………. 1M
b. Girl – 3 step turn R still holding sticks as in (a). …………………………… 1M Boy 3 step turn R moving to face
the next Girl at his right.
c. Repeat (a). …………………………………………………………………………… 1M . .
d. Repeat (b). …………………………………………………………………………… 1M
e. Repeat movements (a) and (b); partners meet each other; exit. ………..…….12M
GLOSSARY OF TERMS

• Accent - emphasis on a beat, usually but not always, the first beat of the measure
• Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group
• Culture - the totality of socially transmitted behavior patterns, arts, beliefs, institutions, and all other products of
human work and thought
• Dynamics - an interactive system or process, especially one involving competing or conflicting forces
• Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a
certain country or region
• Folk dancing – a great exercise and a fun recreational activity for people of all ages
• Implements - a device used in the performance of a task
GLOSSARY OF TERMS

• Improvisation - created extemporaneously, without planning.

• Intensity - in music, the loudness and softness of an accompaniment; in fitness, the degree of vigor or the amount of
effort expended during an activity
• Lifelong Fitness – the condition of being fit and healthy throughout life.
• Tempo - the rate of speed from fast to slow
• Traditions - a mode of thought or behavior followed by a group people continuously from generation to generation; a
custom or usage
• Wellness - a way of life purposely designed to enjoy the highest level of health and well-being possible, including
nutrition, weight control, avoiding substance abuse, being physically fit and leading an active life, controlling stress,
developing good relationships with others, living with high values and ethics, and attending to spirituality