5 major classification of dances found in the Philippines
Muslim dance
Muslim mindanao
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.
Pangalay
Tribe: Badjao
Origin: Zamboanga del Sur
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
A form of self defense. The dance like movements show a fight between a hawk and a cat.
Asik
Tribe: Maguindanao
Origin: Lanao del Sur
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
Origin: Lanao, Mindanao
Sinkil 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 criss-crossed bamboo poles represent 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 Baila
Tribe: Yakan
Yakan dance for a bountiful fish catch where they imitate their movements
Pangsak
Tribe: Yakan
Origin: Basilan
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.
Pagapir
Tribe: Maranao
Origin: Lanao del Sur
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
Origin: Cotabato
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
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
Rural dance
Doon po sa nayon
Laughter and gaeity commonly used to describe the Filipino people takes root in the Philippine
country-side. Life in the Barrio is simple, but Filipinos always manage to find time to celebrate
life's gifts
The annual fiestas to celebrate the patron saints of the barrios symbolize the mixture of pagan
and Catholic belief. Fiestas not only honor the patron saint, but give homage to the barrio's
namesake for a good harvest, health, and perserverance. These fiestas are marked with
celebrations of holy mass, music, dance and song.
Itik-Itik
At one baptismal party in the Surigao del Norte province, a young lady named Kanang (the
nickname for Cayetana), considered the best dancer and singer of her time, was asked to dance
the Sibay. She became so enthusiastic and spirited during the performance that she began to
improvise movements and steps similar to the movements of itik, the duck, as it walks with
short, choppy steps and splashes water on its back while calling to its mate. The people liked the
dance so much that they all imitated her. There are six separate foot sequences in the series of
Itik-Itik steps.
Binasuan
Origin: Bayambang, Pangasinan
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 gracefully who whirl and roll on the floor. Binasuan, meaning "with
the use of a drinking glass" in Pangasinan, is often performed as entertainment at weddings,
birthdays, and fiestas. At social gatherings, the dance becomes a contest among the dancers as
well as non-dancers as to who can do the most daring and skillful balancing movements.
Maglalatik
During the Spanish regime, the present barrios of Loma and Zapote of Biñan, Laguna, were
separated. With coconut shells as implements the people of these two barrios danced the
Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians
over the latik (residue left after the coconut milk has been boiled).
The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter
between the two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the
reconciliation between the two groups. According to the legend the Moros came out victorious,
thus getting the coveted latik. The Christians, not contented with the result of the war, sent an
envoy to the Moros to offer peace and to baptize them. The best Maglalatik dancers are found in
Zapote. In the daytime during the town fiesta of Biñan, the Maglalatik dancers go from house to
house performing this dance for money or a gift. In the evening they dance Maglalatik in the
religious procession as it moves along the streets. They perform the dance as an offering to the
patron saint of the farmers, San Isidro de Labrador.
Pandanggo sa ilaw
Origin: Lubang Island, Mindoro (Visayas)
This popular dance of grace and balance comes from Lubang Island, Mindoro in the Visayas
region. The term pandanggo comes from the Spanish word fandango, which is a dance
characterized by lively steps and clapping that varies in rhythm in 3/4 time. This particular
pandanggo involves the presence of three tinggoy, or oil lamps, balanced on the head and the
back of each hand.
After a good catch, fishermen of Lingayen would celebrate by drinking wine and by dancing,
swinging and circling a lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan
dialect means "swinging." This unique and colorful dance calls for skill in balancing an oil lamp
on the head while circling in each hand a lighted lamp wrapped in a porous cloth or fishnet. The
waltz-style music is similar to that of Pandanggo sa Ilaw.
Sakuting
Origin: Abra
A dance of the Ilokano Christians and non-Christians from the province of Abra, Sakuting was
originally performed by boys only. It portrays a mock fight using sticks to train for combat. The
stacatto-inflected music suggests a strong Chinese influence. The dance is customarily performed
during Christmas at the town plaza, or from the house-to-house. The spectators give the dancers
aguinaldos, or gifts of money or refreshments especially prepared for Christmas.
Pasigin
Origin: Pasig
A dance interpreting toil in the life of the fishermen in the river called Pasig. Manifesting the
native means of catching the fish.
Sublian
Origin: Batangas
This version is from Talumpok, a ritual dance. A favorite dance of the people in nearly all the
barrios of the municipality of Bauan, Batangas, in the month of May and during the town and
barrio fiestas. It is a ceremonial worship dance performed in homage to the Holy Cross referred
to in the vernacular as Mahal Na Poong Santa Cruz. It originated some three hundred years ago
in the barrio of Dingin, Alitagtag, Batangas.
The name Subli is derived from two Tagalog words “subsub” (stooped or in a crouching
position) and “bali” (broken). Thus the men dancers are in trunk-forward-bend position
thoughout the dance. They seem to be lame and crooked.
Tinikling
This 'Visayan' dance was found in Leyte where this dance originated. Dancers imitate the tikling
bird’s legendary grace and speed as they skillfully play, chase each other, run over tree branches,
or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling. this version
of the dance is done between a pair of bamboo poles.
The older people claim that the ‘Tinikling Ha Bayo’ from which the tinikling dance evolved is
more difficult to perform. It was originally danced between ‘bayuhan’, two wooden pestles used
to pound the husks off the rice grain.
Tribal dance
(Mga katutubong sayaw)
Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses
influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a
strong flavor from other lands, there are people who have lived there before it became a breeding
ground of foreign trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other groups
inhabit the vast regions of Mindanao. Like their Northern Luzon counterparts, these groups
honor pagan gods for the fruits and trials of daily life. 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
(a 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 Blelah
Tribe: T'boli
Origin: Lemlosnon, South Cotabato
Dancers perform a simulation of movement of birds.
Kadal Tahaw
Tribe: T'boli
Origin: Lake Sebu, South Cotabato
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
Origin: Agusan
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.
Bagobo Rice Cycle
This Bagobo tribal dance protrays the cycle of planting and harvesting of rice.
Dugso
Tribe: Talaindig
Origin: Bukidnon
A dance of thanksgiving.
Cordillera dance
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.
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 illustrate 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.
Lumagen / Tachok
Tribe: Kalinga
Origin: Luzon
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.
Salisid
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.
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
Tarektek
Tribe: Benguet
Two tareketek woodpeckers vie for the attention of three females. One Male woodpecker
rhythmically bang on a brass gong to represent a good voice, while the other swish about a
colorful blanket representing beautiful plumage.
Turayen
Tribe: Gaddang
Origin: Cagayan Valley
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.
Maria Clara dance
These are the Maria Clara Dances:
1. Cariñosa is a Philippine folk dance of Hispanic origin. It is closely associate 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.
2. Aray - 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.
3. Alcamfor -The dance originated from Leyte, a province in Visayan Region. It is so named
because of the handkerchief the girl holds laced with camphor oil, a substance which suposedly
induces romance.
4. Havanera de Hovencita -A wedding party dance which 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.
5. Rigodon 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.
6. Panderetas - This dance is classified under Maria Clara Dances. It was named after the jingleless 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.
7. Timawa - meaning "forsaken lover". Timawa is a courtship dance, usually performed by
women, and is originated in Lamot, a barrio in Capiz. The story recounts of a man and a woman,
both timawas, who met 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.