PHILIPPINE FOLK DANCE (FELARCA, CLARIZE A. BSED-MATH 1A))

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PhilippineFolk Dance

HIstory and Classification

Classifications of Philippine Folk Dance

Cordillera Dance

Muslim Dance

Maria Clara Dance

Rural Dance

Tribal Dance

Maria Clara Dance

Costume

Origin

Description

Examples

Rural Dance

Description

Examples

Costumes

Muslim Dance

Examples

Description

Tribal Dance

Description

Examples

Cordilllera Dance

Origin and Description

Examples

Origin

Maria Clara is the main female character in Jose Rizal’s literary piece, Noli Me Tangere, this features the colonial situation of the Filipinos during the Spanish regime. Maria Clara was characterized as a Filipina woman of virtue, grace, beauty, and nobility. Thus, where the Maria Clara Dance was named after.

Description

The mountainous Central Cordillera region of Northern Luzon is also known by the term "Philippine Skyland." Inhabiting this rugged terrain are six ethnolinguistic tribes known as the Ibaloy, Kankanay, Ifugao, Kalinga, Apayao, and Bontoc. They prefer to be called by their respective tribal names rather than the collective term Igorot, which was first used by the Spaniards and later by Christian lowlanders. These tribes were generally unfazed by Spanish colonization. This homogeneous group is recognized by their common socio-cultural traits. They hold common religious beliefs, generally nature-related, and make propitiatory offerings to anitos, or household gods. Among these people of the Cordillera, the dance continues to be an expression of community life that animates the various rituals and ceremonies. It serves for the self-edification of the performers and entertainment for the spectators. They dance to appease their ancestors and gods to cure ailments, to ensure successful war-mating activities, or to ward off bad luck or natural calamities. They dance to congregate and socialize, for general welfare and recreation, and as an outlet for repressed feelings. They also dance to ensure bountiful harvests, favorable weather, and to mark milestones in the cycle of life.

Description

Filipino Tribal Dance includes the repertory of sacred and secular traditional dances of the Philippines, notable for their combination of grace and vigor. Other dances include the unique blend of Spanish, Arabic, American, and other cultures that have influenced traditional and contemporary styles.

Description

Maria Clara Dance is a mix of Spanish gracefulness and customized native props, such as bamboo castanets and Asian fans. Female dancers wear a Maria Clara dress that typifies the European style, while men are in Barong Tagalog, a traditional Filipino embroidered long-sleeve shirt made of pineapple fiber.

Description

The Muslims in the Philippines, also known as Moros, were able to resist the Spanish conquest. Thus, they preserved the Islamic lifestyle that markedly differs from the majority of the Philippine population. The ethnolinguistic groups who are primarily considered Muslim are the Maranao, Maguindanao, Samal, and Tausug. The dances are characterized by vivid colors and rhythmic movements which reflect the influence of Arabian and Indo-Malaysian cultures. 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.

Description

Perhaps the best known and closest to the Filipino heart are the dances from the rural Christian lowlands: a country blessed with so much beauty. To the Filipinos, these dances illustrate the fiesta spirit and demonstrate a love of life. They express joy in work, a love for music, and pleasure in the simplicities of life. Typical attire in the Rural Suite includes the colorful balintawak and patadyong skirts for the women, and camisa de chino and colored trousers for the men.

Costumes

Paineta

Barong Tagalog

Abaniko

Panuelo

Baro

Tapis

Saya

Costumes

Patadyong

Balintawak

Camisa de Chino

Rigdon de Honor

Example of Maria Clara Dances

Cariñosa

Alcamfor

Timawa

Aray

Panderetas

Havanera de Hovencita

La Jota Moncadena

Example of Rural Dances

Pandanngo sa Ilaw

Gaway-Gaway

Binasuan

Palu-Palo

Tinikling

Kuratsa

Bayluhan

Itik-Itik

Example of MuslimDances

Pangalay Badjao

Pangsat/Pindulas

Malong-Malong

Singkil

Magigal-Paunjalay

Vinta/Mangalay

Example of Tribal Dances

Malakas at Maganda

Kadal Blelah

Kadala Tahaw

Binaylan

Dugso

Bagobo Rice Cycle

Example of Cordillera Dances

Lumagen/ Tachok

Banga

Uya-oy

Salip

Banga- Salidsid

Banga literally means pots. The Banga or pot dance is a contemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illustrates 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.

Uya-oy

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

Lumagen/ Tachok

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.

Salip

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.

Kadal Tahaw

“Kadal Tahaw” Originating from South Cotabato, this tribal dance is performed by the T'boli tribe. It mimics the hopping and flying behavior of the Tahaw Bird. Malong and salakut (hat) are worn in this dance. This is performed to celebrate good harvest.

Kadal Blelah

Kadal Blelah is a tribal dance wheres dancers try to simulate and imitate the different movements of birds.

Bagobo Rice Cycle

Bagobo Rice Cycle also known as Sugod Uno, is a tribal dance performed by the Bagobo people of Davao del Sur. Ommoy is a Bagobo term for the rice grains without husks. The dance portrays the step-by-step cycle rice culture; from planting, harvesting to thanksgiving rituals for a bountiful rice harvest

Malakas at Maganda

This dance depicts the birth of the first man and woman who came out of a bamboo tree. It has been said that the woman named “Maganda” beautiful and the first man “Malakas” (strong) are the parents of the whole community in the island.

Binaylan

Binaylan is a Higaonon and Agusanon Manobo tribal dance that depicts the movement of a hawk, a hen, and her banog or baby chicks. The tribe killed the sacred and powerful hawk which tried to capture one of the chicks.

Dugso

Dugso is a ceremonial dance among the Manobo people in Bukidnon, Agusan, and Misamis Oriental. The Dugso is usually performed during important occasions like kaliga (feasts) or kaamulan (tribal gatherings).

Pangsat/Pindulas

Pindulas refers to the Yakan newlyweds dance. Movements are similar to the Pangalay of the Tausug tribe. Pindulas is performed during the Pangsat (or wedding). Pangsat/Pindulas was researched and developed for the stage by Rudi C. Soriano.

Singkil

Singkil originated from the Maranao people who inhabit the shores of Lake Lanao. It is a re-telling of an episode from the Maranao epic legend Darangen involving the rescue of Princess Gandingan (abducted by the diwatas) by the legendary Prince Bantugan.

Vinta/ Mangalay

“Vinta” refers to the boat; Royal figures balance atop the bamboo poles, which portray the movement of the vinta across the Sulu Sea. This dance portrays the Philippine Muslims’ deep relationship with the sea.

Pangalay Badjao

Pangalay is the general term referring to dance in the Sulu Archipelago. Movements particular to pangalay include controlled arm and hand movements. The Badjao people inspire this particular dance piece, as researched and developed for the stage by Rudi C. Soriano.

Malong-Malong

This Maranao dance is performed with women wearing malong/shawl, mantle or headpiece, whereas men wear sash/waistband, shorts or bahag and head gear or turban traditionally worn in the fields.

Magigal- Paunjalay

Native to the Yakan tribe of Basilan island, “Igal” is the Yakan word for “dance”. This is a pre-nuptial dance, performed before the wedding ceremony. Both the bride and groom dot their faces with white paint in order to conceal their identity from evil spirits.

Gaway-Gaway

This particular dance came from the town of Jaro in Leyte Province, where planting the gaway is the predominant occupation of the barrio folks. Gaway-gaway is a harvest dance that celebrates the bountiful harvest of the gaway--a plant of the taro family that is grown both for the vegetable and its roots. During harvest season, the customary participation of the children in harvesting gaway is seen. Gaway is harvested by pulling the stalk off the ground. Hence, the pulling of the stalks leads to the unavoidable hitting of each other’s elbows, which has been adapted into a peculiar characteristic of the dance called siko-siko.

Binasuan

This colorful and lively dance from Bayambang in the Pangasinan province shows off the balancing skills of the dancers. The glasses that the dancers gracefully yet carefully maneuver are half-filled with rice wine. Binasuan, meaning “with the use of a drinking glass” in Pangasinan, is often performed as entertainment at weddings, birthdays, and fiestas.

Kuratsa

A dance originating in Bohol, Visayas, it is popular at Ilokano and Visayas festivals. This dance commands a sense of improvisation which mimics a young playful couple’s attempt to get each other’s attention.

Bayluhan

The Bayluhan is a dance performed in Malabon and Navotas by childless women who were unable to make the annual pilgrimage to neighboring Obando to do a prayer-dance for a child. The women wait instead for their friends who went to the fertility festival to return, and then they recreate the fertility dance.

Pandanggo sa Ilaw

Pandanggo is a Philippine folk dance that has become popular in the rural areas of the Philippines. The dance evolved from Fandango, a Spanish folk dance, which arrived in the Philippines during the Hispanic period. The dance is accompanied by castanets.

Palu- Palo

This is a cultural presentation of the municipality of Basco, Batanes, showcasing their ethnic group's rugged yet storied existence. Palu-palo means sticks or arnis that were used by the native Ivatans to fight the forces of the colonizers such as Spaniards and the Dutch.

Tinikling

Tinikling is a traditional Philippine folk dance which originated during the Spanish colonial era. The dance involves two people beating, tapping, and sliding bamboo poles on the ground and against each other in coordination with one or more dancers who step over and in between the poles in a dance

Itik-Itik

Itik-itik is a mimetic folk dance in the Philippines. It originated in Surigao in the Philippines. Itik-itik was discovered in this town by National Artist for Dance Francisca Reyes-Aquino

Cariñosa

Cariñosa is a Philippine folk dance of Hispanic origin. It is closely associated with the island of Panay and the Visayas region in general. The word cariñosa is from the Spanish cariñosa meaning the affectionate one. Most Filipina women can be described as karinyosa.

This is a courtship dance that portrays acts of flirtation between a man and a woman. The dancers perform steps resembling hide-and-seek movements. The woman holds a handkerchief or sometimes a fan.

Alcamfor

The dance originated from Leyte, a province in Visayan Region. It is named so because of the handkerchief the girl holds laced with camphor oil, a substance that supposedly induces romance.

Panderetas

This dance is classified under Maria Clara Dances. It was named after the jingle-less tambourines carried by the females and it originated from Tanza, Iloilo. From December 16 to January 6, a group of people in the Visayan regions go from house to house to sing Christmas called "Daigon." In some regions the song is usually followed by some dances, and "Las Panderetas" is one of those dances.

Havanera de Hovencita

A wedding party dance originated in the town of Botolan in the Zambales Province. Typical sequences include the procession of the bride and groom's parents, lineup of the bridesmaids and groomsmen upstage, and a solo featuring the wedding couple.

Rigdon de Honor

This elegant dance was brought to the Philippines by the Filipinos who returned from their travels abroad during the Spanish era. This dance takes its name from its opening performances at formal affairs such as the President's Inaugural Ball. Members of government, including the President and First Lady, diplomatic corps, and other state officials usually participate in the Rigodon. Traditionally, a ballroom waltz dance would follow the Rigodon.

Timawa

Timawa meaning "forsaken lover". It is a courtship dance, usually performed by women, and is originated in Lamot, a barrio in Capiz. The story recounts a man and a woman, both timawas, who met at a social gathering and became acquainted with each other. In the course of their conversation, they discovered that they both had the same misfortune, therefore turning to each other for sympathy and comfort.

Aray

Aray is a dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was only spoken in the Ermita district before the turn of the century and today is extinct. The dance itself is a flirtatious one that involves graceful use of the pañuelo, or shawl, and tambourines. Aray means "ouch" in Tagalog.

La Jota Moncadena

Early Filipinos evolved their own simple versions of the jota. The jota moncadeña, named after its place of origin, Moncada, Tarlac, combines Spanish and Ilocano movements. Its initial movements are lively and fast, accented by the scintillating rhythm of elongated bamboo castanets. The second part is characterized by a contrasting slow rhythm, typically native in mood and execution. The dance reverts to the fast tempo at the end. This version of the jota originally danced by the old people of Moncada, Tarlac, does not include the more intricate patterns of the Spanish jota. Instead, it adopted the lively tempo and the simple dance steps.

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