Physical Education 2 - Topic 4 PDF

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Philippine Folk Dances...

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Topic 4: Philippine Folk Dance Folk dance is the oldest form of dance and the earliest form of communication. It is the traditional dance of a given country which evolved naturally and spontaneously with everyday activities (e.g. occupations, customs, festivals). It is handed down from generation to generation. It has more or less a fixed movement in their pattern, but may differ in various areas or provinces. There are five major classifications of Philippine folk dances: 

Cordillera Dances

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Spanish-Influenced Dances

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Muslim Dances

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Tribal Dances

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Rural Dances

CORDILLERA DANCES Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning "knotted rope", the Spanish term refers to the jumbled rolls and dips of this long-range traversing the northern part of Luzon Island. Today, if one is to generalize one of the six ethno-linguistic tribes as an "Igorot" is considered degrading. Living amidst the rice terraces that tower over Northern Luzon are a people whose way of life existed long before any Spaniard or other foreigners stepped foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes reign over Luzon's mountain terrain. They are pagan people, living simple lives to appease their gods. Their ritual dances celebrate their daily lives - a good harvest, health, peace, war, and other symbols of living. Such traditions have survived the changing scope of the Philippines and the tribes continue to maintain their cultures that are a part of the colorful cultural fabric known as Philippine culture.

Banga (Tribe: Kalinga) “Banga" literally mean pots. The Banga or pot dance is a contemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illlustrate the languid grace of a tribe otherwise known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they trudge to the beat of the "gangsa" or wind chimes displaying their stamina and strength as they go about their daily task of fetching water and balancing the banga.

Bendayan (Origin: Benguet Province, Northern Luzon) Popularly called “Bendian”, this circle dance of the Benguet of Mountain Province is restaged, keeping true to the dance's context and meaning. Long known as a dance to celebrate the arrival of successful headhunters, the Bendayan has taken a new face. It is part of every Benguet festivity with the circles slowly giving way to other formations and interpretations.

Lumagen/Tachok (Tribe: Kalinga) When the Kalinga gather to celebrate a happy occasion like the birth of a first-born baby boy, a wedding, or a budong (peace pact), the Kalinga Festival Dance (Tachok) is performed. This is danced by the Kalinga maiden. The dance imitates birds flying in the air. Music is provided by gangsa, or gongs, which are usually in a group of six or more.

Manmanok (Tribe: Bago) Three Bago Tribe roosters compete against each other for the attention of Lady Lien. They use blankets depicting colorful plumes to attract her.

Ragsaksakan (Tribe: Kalinga) This dance portrays the walk of the industrious Kalinga women, carrying water pots on their heads and wearing the colorful hand-woven "blankets of life" around their necks. Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the Philippines.

Salidsid (Tribe: Kalinga) The Salidsid is the Kalinga courtship dance, performed by a male and female (and thus is sometimes called the "cayoo" dance). The dance starts when each of the dancers are given a pice of cloth called ayob or allap. Usually the most important people in the village are the second to dance after the host has signified that the occasion is formally open. The background and meaning in this dance is evident. The male simulates a rooster trying to attract the attention of a hen while the female imitates the movements of a hen being circled by a rooster.

Salip (Tribe: Kalinga) Tribes in the mountain provinces of Luzon preserve their identity, customs and lore. Their dances celebrate important events in life such as birth, wedding, victory in war and thanksgiving. A Kalinga wedding dance is an important celebration. The bridegroom offers the bride the protection and comfort of his blanket. He simulates the movements of a rooster at love play, aspiring to attract and seize his love. The bride's friends are ready to help prepare the bride by offering "bangas" (earthen pots) filled with fresh water from the mountain spring.

Turayen (Tribe: Gaddang) Gaddang comes from the word ga, meaning "heat" and dang, meaning burned". The Gaddang live in the middle of Cagayan Valley and speak a language similar to Ilokano.

Most of them converted to Christianity, and those who live alongside Christianized Ilokano groups have more or less adjusted to settled agriculture of mixed crops. Small and scattered groups in southeastern Kalinga, eastern Bontoc, and Isabela regions retain their indigenous religion and practice swidden agriculture (the cutting back and burning of existing vegetation to produce temporary farming plots) with supplementary hunting and fishing. In this dance, the Gaddang imitate birds attracted to tobacco trees.

Tarektek (Tribe: Benguet) Two tareketek woodpeckers vie for the attention of three females. One male woodpecker rhythmically bangs on a brass gong to represent a good voice, while the other swish about a colorful blanket representing beautiful plumage.

Uyaoy/Uyauy (Tribe: Ifugao) The Ifugao people are said to be the "children of the earth." The term Ifugao is derived from the word ipugao which literally means "coming from the earth." The Spaniards, however, changed it to Ifugaw, a term presently used in referring not only to these people but also to their province. This Ifugao wedding festival dance is accompanied by gongs and is performed by the affluent to attain the second level of the wealthy class. Wealthy people (Kadangyan) who have performed this dance are entitled to the use of gongs at their death.

SPANISH-INFLUENCED DANCES During the Spanish regime, dancing played an important part in the social activity of the people. Among the Christianized Filipino groups, the kumintangwas the oldest dance and song. It was pantomimed song and dance. The Pampangois, another dance, characterized by the movements of the lion and clapping of the hands. These dances were set aside with the coming of the Spaniards, but were later revived as new dances such as the fandango, lanceros, rigodon, carinosaand curachawere introduced by the

Spaniards. The folk dances of today were adaptations of the old native dances. Typical Spanish elite wears a costume like Maria Clara (women), and barong tagalog and pants (men).

Estudiantina This is a lively dance which originates from Unisan, Quezon province (formerly Tayabas). During the olden days, this dance was a favorite in social gatherings and was usually performed by young men and women who were estudiantesby the barrio folks and the girls, estudiantinas. This dance was, therefore, named after the latter. It was usually performed with accompaniment of a flute and a guitar.

Mazurka Boholana This traditional bottom dance was popular in Bohol and in other provinces during the Spanish time. This was originally performed with couples scattered informally about the room with no definite sequence of steps and direction followed.

Mazurka Mindorena This beautiful festival dance from Mindoro was the premiere dance of the high society of Mindoro during the Spanish period. Don Antonio Luna, considered one of the best dancers of his time, was responsible for preserving and popularizing this dance in the province of Mindoro.

Polka sa Nayon This ballroom polka was popular in the province of Batangas during the Spanish time. It was usually danced during town fiestas and in big social affairs.

MUSLIM DANCES Aside from the colorful contributions of its regional tribes, Mindanao is home to the largest cultural minority in the Philippines - the Muslims. Brought by Javanese and Middle Eastern traders, Islam is the religion of approximately 20 percent of the Philippine population. They are known for their mysticism, royalty, and beauty which are evident in their music and dances. Accompanied by the agong and kulintang, Filipino Muslim dance is marked by intricate hand and arm movement along with shimmering costumes. They wear “sigpit” or “sablay”, patadyong, malong, and pants.

Pangalay (Tribe: Badjao) A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic bounce of the shoulder with simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is commonly performed at weddings and other social gatherings.

Burung-Talo (Origin: Tausug) This dance is a form of self-defense. The dance-like movements show a fight between a hawk and a cat.

Asik (Tribe: Maguindanao) A solo slave dance performed by the umbrella-bearing attendant to win the favor of her sultan master. The girl wears long metal fingernails and dances and poses in doll-like motions. Asik usually precedes a performance of Singkil.

Singkil (Tribe: Maranao) Singkil dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest. The rhythmic clapping of crisscrossed bamboo poles represents the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through crisscrossed bamboos. When performed by ladies of the royalty of Lanao, the dancer is usually accompanied by a waiting lady, who holds a beautifully decorated umbrella over the Princess' head wherever she goes. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult and noble dance.

Tahing Bala (Tribe: Yakan) Yakan dance for a bountiful fish catch where they imitate their movements.

Pangsak (Tribe: Yakan) The Yakan are a Muslim ethnic group in the highlands of Mindanao. They wear elaborately woven costumes tightly on their bodies. Their dances involve complicated hand and foot movements. In this dance, a man unties a wrap from his wife-to-be's waist to wrap around her body and dance with. Both of their faces are dotted with white paint, to hide their identity from evil spirits.

Pangalay ha Pattong (Tribe: Badjao) A royal couple balance perilously on top of bamboo poles imitating the movements of the picturesque southern boat (the vinta) with colorful sails gliding across the Sulu Sea.

Pangalay sa Agong (Origin: Tausug – Sulu) A variation of the Tausug's traditional dance, Pangalay, two warriors vie for the attention of a lass both using gongs to show their prowess and skill.

Pagaper/Pagapir (Tribe: Maranao) Pagaper depicts a royal manner of "walking" among the Maranao people who live mainly around Lake Lanao. Ladies of the royal court perform this stately dance in preparation for an important event. The ladies gracefully manipulate the Aper (apir) or fan, while emphasizing their small steps, or "kini-kini", which is a sign of good upbringing.

Sagayan (Tribe: Maguindanao) Performed by very fierce warriors carrying a shield elaborately painted with curlicues, rounds, twirls and mirrors which are attached with shell noisemakers. In their other hand, they carry a double-bladed sword (kampilan) of metal or wood. Sagayan dancers are dressed in three tiered skirts, brightly colored topper and headgear embellished with all the imaginable colors of twine trimmings formed into flowers, balls, sunbursts etc. Long, yellow playful tassels almost hiding the face surround the headgear. The dance involves leaping, turning, jumping, kicking and the rolling movements of a warrior ready to defend his master in battle. Kamanyang fumes inhaled by the sagayan moves him to perform in a magic-like trance. On most occasions, this dance is performed before any celebration or gathering to drive away evil spirits (tunong) and to welcome good fortunes or omen.

Kapa Malong Malong It is also called Sambi sa Malong, this Maranao dance shows the many ways of wearing a malong, a simple tubular yet highly functional piece of cloth. The traditional women’s version shows this cloth of countless colorful designs; used mostly as a skirt, woven in many different ways, depending on the purpose of the wearer. Other ways the women wear malong is as a shawl, a mantle, or a head-piece. During more recent dance documentation, a men’s version was derived. This version shows in masculine rendition, how men don the malong —displaying its use as a sash or waist-band, shorts or bahag, and a head-gear that can be either functional while working in the fields, or decorative as a turban.

TRIBAL DANCES What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known for creating colorful sets of jewelry and clothing out of dyed pineapple and banana fibers with are showcased in their traditional dances.

Malakas at Maganda (National Folklore) Cradled amidst thick rain forest, shrouded with the mists of legend and ancient traditions, one folklore has it that a weary bird perched on a large bamboo heard strange noises inside. It pecked the bamboo, split open and from inside came the first man and woman, Malakas the strong, Maganda the beautiful, the parents of all peoples of the island.

Kadal Tahaw (Tribe: T’boli) A bird dance performed by the T'boli during planting and harvesting which simulates the flights and hops of the tahaw bird.

Binaylan (Tribe: Higaonon) The Bagobo tribe from the central uplands of Mindanao originated this dance which imitates the movement of a hen, her banog, or baby chicks, and a hawk. The hawk is sacred, and it is believed that the hawk has the power over the well-being of the tribe. The hawk tries to capture one of the chicks and is killed by the hunters.

RURAL DANCES While a dance means to move rhythmically to music, typically following a set sequence of steps, there’s certainly more to it than its literal meaning. Dance is a source of entertainment and a good healthy lifestyle. But as for the Philippine folk dances, we see a bigger picture and a deeper meaning. A traditional dance in the Philippines connects us to a place’s culture. It is about history, traditions and majestic beauty of the place it is associated with. The cultural dances in the Philippines evolved from different regions which are distinct from one another as they are affected by religion and culture.

Tinikling (Origin: Leyte) Tinikling is one of the most famous dances in the Philippines. The movements of this Filipino folk dance imitate the movements of the tikling bird as it walks around through tall grass and between tree branches. People use bamboo poles to perform this Filipino traditional dance. Tinikling is composed of three basic steps which include singles, doubles, and hops. Maglalatik (Origin: Biñan, Laguna) Maglalatik, a folk dance in Luzon, is not just any other traditional dance in the Philippines that mimics the movements of animals. This dance in the Philippines has a meaning. It is a mock war dance that depicts a fight over coconut meat, a highly-prized food. The Filipino folk dance is broken into four parts: two devoted to the battle and two devoted to

reconciling. The dancing men wear coconut shells as part of their costumes, and they hit them in rhythm with the music. Maglalatik is danced in the religious procession during the fiesta of Biñan, Laguna as an offering to San Isidro de Labrador, the patron saint of farmers.

Binasuan (Origin: Pangasinan) Another folk dance in the Philippines is binasuan. Binasuan, another folk dance in Luzon, originated in Bayambang, Pangasinan. The word “binasuan” means “with the use of drinking glasses.” It is one of the most challenging Filipino dances as the dancers need to balance glasses on their heads and in their hands as they move. What makes it more difficult is that the glasses are filled with rice wine, which makes any misstep a messy mistake.

Cariñosa (Origin: Panay Island) If there’s one type of folk dance in the Philippines that will surprise you, it’s Cariñosa Philippine folk dance. You might think that most of the Philippine folk dances include women characters that have a shy and Maria Clara personality. While it’s true, Carinosa dance is a Filipino cultural dance made for flirting, hence it’s a courtship dance in the Philippines. The dancers make a number of flirtatious movements as they peek out at one another behind fans or handkerchiefs....