PE 206
PHILIPPINE FOLKDANCE
(HANDOUTS/ MODULE)
WEEK 1
Topic 1: Course Introduction / History of Folk dance in the Philippine,
Classification and Characteristics of Philippine Folk Dances, Guidelines for
Healthy Eating
Philippine folk dance is defined as a traditional mode of expression that employs bodily
movements of redundant patterns linked to definitive features of rhythmic beats or music.
The true folk dance is choreographed by an anonymous individual or created by a
communal effort to serve as a functional part of the life of a folk group.
Characteristics of Philippine Folk Dance.
1. It is traditional. A folk dance should be able to lay claim to some traditional lineage. It
has undergone innovations and change to arrive at its current version.
2. It is expressive behavior. Folk dance is an effective behavior developed within the
cultural milieu of the folk group. Ancient Filipinos employed dancing as a effective mode
of expression. They danced on every occasion: birth, matrimony, death, thanksgiving,
war and victory. They danced when they are happy or sad, when disappointed or exalted.
They dance to express love and laughter, they danced to show defiance against their
colonial master. After they were Christianize, they danced for patron saints during
Christian festivals.
3. Simple, basic rhythm dominates the folk dance and establishes the pattern of
movement. Since participation of all members of a folk group is expected in a folk dance,
the dance pattern must be simple to be easy to perform. Steps and posture are simple;
formation are simple.
4. An unknown choreographer or communal efforts create a folk dance. Art and classical
dance choreographed by well-known dancers are excluded from the folk dance category
for not only are they consciously choreographed but they are also learned and
performed by known artists and professional dancers who have made dance as their
vocation.
5. It performs a function in the life of the folk. The Philippine folk dance has three basic
functions: as social expression of customs and traditions, as communal amusement, ans
as a solemn ritual.
Classification of Philippine Folk Dance
According to geographical Extent of Origin
- national or local
CLASSIFICATION OF FOLK DANCE ACCORDING TO NATURE
OCCUPATIONAL DANCES are those that depict the actions of a particular occupation.
BINATBATAN DANCE
The Binatbatan dance is an occupational dance from Paoay, Ilocos Norte. It depicts the
beating of cotton pods to separate the seeds drom the fibers. Weavers in Paoay often
engage themselves in abel-making contests. Dancers maneuver in and out of parallel
batbat sticks, each about 18 inches long. Th rhythm and speed of the beating of the
sticks make for a lively and colorful display.
MAG-ASIK
This is a Tiruray dance for Girls, performed in Nuro, Cotabato. According to the natives
the word “mag-asik” means “to sow seeds”. The dancers go around the cloth with
small, heavy steps but with graceful hand and arm movements. The dance consists of
two parts, which the natives call “komaligue” and “mag-asik”.
RELIGIOUS/CEREMONIAL DANCES are those associated with religion, vows and
ceremonies.
DUGSO
Dugso is a dance which originated from Bukidnon in Northeast Mindanao. Dancers
perform this as an entertainment for the dieties, to make them feel more comfortable
during the fiesta that wwas organized for them. It was originally thought that this dance
was performed only during harvest time or upon the birth of a male heir. Women would
wear colorful feathered head dresses, plaid costumes, and anklets.
COMIC DANCES are those that depict funny movements for entertainment
KINOTON
Is a comic dance from Ilocos Sur. It depicts the movement of a person bitten by ants.
MAKONGGO
(there’s no picture for makonggo)
A comic dance which originated in Sta. Maria, Bulacan. A solo performer imitates the
movements characteristic of a monkey, its gestures and grimaces.
GAME DANCES are those that are done with play elements.
LUBI-LUBI
Lubi-Lubi is a bicolano dance which is a combination of a simple folk and social steps.
Literally, lubi means coconut. According to the BIkolanos this dance originated in Leyte
and Samar where it is still danced like the Balitaw. It is also popular in Albay and
Sorsogon.
WEDDING DANCES are those dances that are performed during wedding feasts.
PAGKAWIN
The wedding ceremony is called Pagkawin. The festivity opens with the Pahanda or
presentation of dowry. Relatives of the groom present to the relatives of the bride
traditional dowries that usually include that Salap-pa, A bras box containing money,
jewelry, other valuables, and all important betel nut.
COURTSHIP DANCES depict the art of courtship.
SUA-SUA
This is a dance from Jolo, Sulu. Literally, “Sua-sua” means “small orange plant”.
According to the Moros of the older generation, the movements in this dance have been
modified and modernized. 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.
FESTIVAL DANCES are those which are suitable for special occasions.
PANDANGGO
Pandangggo sa Ilaw or “Fandango” is a very popular folk dance in the Philippines. It is
said to have originated from Mindoro, This dance of lights simulates fireflies at dusk and
at night. The phrase “sa ilaw” is Tagalog for “in light” and it refers to the three oil lamps
that are dances has to balance. The oil lamp is called tinghoy.
WAR DANCES
SAGAYAN
A Philippine war dance performed by both the Maguindanao and Maranao depicting in
dramatic fashion the steps their hero, Prince Bantugan, took upon wearing his
armaments, the war he fought in, and his subsequent victory afterwards.
Philippine folk dances incorporate influences from immigrants and conquerors and at the
same time maintaining distinctly Filipino roots. Philippine folk dancing is a true reflection
of daily life in the past centuries while enchanting modern audiences at the same time.
There is no exact date as to when dancing became part of our lives in the Philippines.
The dances were performed during festivals and remembrances of past military victories,
and are still performed during celebrations of birth and weddings in modern times. Many
modern folk dance festivals still feature ancient dances performed in colorful costumes
used during the tribal period of the Philippines.
Guidelines for a Healthy Diet
Pinggang Pinoy is a new, simple visual food guide that uses a familiar food plate model
to convey the right food group proportions on a per-meal basis to meet adults' or a
particular group of individuals’ energy and nutrient needs. It is a visual tool that delivers
effective dietary and healthy lifestyle messages to Filipinos at mealtimes, assisting them
in adopting healthy eating habits. The Food and Nutrition Research Institute (FNRI) of
the Department of Science and Technology (DOST) to assist the Filipinos have
developed this food tool with the ideal variations and quantity of foods per meal. This
was created in collaboration with the World Health Organization (WHO), the Department
of Health (DOH), and the National Nutrition Council (NNC).
For healthy Filipinos, 19-59 years old, here are some healthy tips on how to use the
Pinggang Pinoy: (DOST-FNRI)
 For Go Energy Giving
Go for rice, root crops, pasta, bread, and other carbohydrate-rich foods, which provide
energy to support bodily functions and physical activity. Choose whole grains like brown
rice, corn, whole wheat bread, and oatmeal, which contain more fiber and nutrients than
refined grains and are linked to a lower risk of heart disease, diabetes, and other health
problems.
 For Grow Body Building
Eat fish, shellfish, lean meat, poultry, eggs, and dried beans and nuts needed for the
growth, maintenance, and repair of body tissues. Include fatty fish in the diet like tuna,
sardines, and mackerel 2-3 times a week to provide essential fatty acids that help
against heart diseases.
 For Glow Body Regulating
Enjoy a wide variety of fruits and vegetables, which are packed with vitamins, minerals,
and fiber needed for the regulation of body processes.
 Water
Drink lots of water every day for adequate hydration. Limit intake of sugar-sweetened
beverages to reduce the risk of obesity and tooth decay.

Eat less salty, fried, fatty, and sugar-rich foods to prevent chronic diseases.
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Stay physically active!
While this tool has been developed for normal individuals, it would be best for someone
with health conditions like hypertension and diabetes to consult a registered nutritionistdietitian or any health care provider regarding their energy and nutrient needs.
Remember, it has always been a case-to-case basis for what is good to one is not as
always good to everyone.
FOOD LABELS:
What are food labels?
Food labels carry useful information to help you make informed choices about what you
and your family eat and drink. Most packaged foods are required to have a label with this
information, but the information required depends on the food type.
WHAT’S ON A FOOD LABEL
1. Food name
The name of a food must be sufficient to indicate its true nature. For example, ‘fruit
yoghurt’ should contain fruit. If it is fruit flavouring, the product should say ‘fruit flavoured
yoghurt’.
2. Health Star Rating
Health Star Rating is a nutrition information system (1/2 to 5 stars) for the front of
packaged food to help you make informed food choices.
3. % daily intake
% daily intake (DI) states the total energy, protein, fat, saturated fat, carbohydrate,
sugars, dietary fibre and sodium in a single serve per day for an ‘average’ adult on an
8700 kJ diet that follows national dietary guidelines. Stating the DI is voluntary.
% recommended daily intake (RDI) information specifically applies to vitamins and
minerals and must be provided if a nutrition claim is made about a vitamin or mineral that
has an RDI.
4. Weights and measures
A food label must contain accurate weights and measures information for the quantity of
food.
5. Nutrition information
The nutrition information panel (NIP) lists key nutrients so consumers can keep track of
what they’re eating and serving sizes, and decide between products. Some labels also
display % daily intake and nutrition or health claims.
6. Ingredients
Ingredients must be listed in order by weight, with the largest ingredient first. The subingredients of compound ingredients must also be listed and declared if they require a
mandatory declaration, such as allergens. If the compound makes up 5% or more of the
product, all sub-ingredients must be listed.
All allergens must be declared no matter how small the amount.
7.Allergens
The most common food allergens and sulphate must be declared on a food label, no
matter how small the amount.
8. Business information
The name and street address of the supplier of the food (for example, the manufacturer,
marketer, or importer) must be stated on the label.
9. Storage and use instructions
A label must state if specific storage conditions are needed for a product to keep until its
date mark. For example, 'keep refrigerated' or 'store in a cool, dark place'.
Directions for use must also be stated if needed for the food to be safe and ready to eat.
10.Date marking
Date marks tell us how long food can be kept before it deteriorates and is unsafe to eat.
A 'use-by' date indicates when the food must be eaten by or thrown away. A 'best before'
date means the food is still safe to eat after the date if it’s not damaged or deteriorated.
11, Lot identification
All food labels must contain a lot identification code, a Lot ID. This provides important
information about production and is used to help track the food if it is recalled.
12, Health and nutrition claims
Health and nutrition claims refer to a relationship between a food and your health. They
link a nutrient or substance to an effect on health. Claims such as ‘all natural’ ‘good
source of calcium’ and other marketing claims are not covered by the Food Standards
Code but may be governed by consumer and fair trading laws.
13. Country of origin
All packaged food must state whether it was made from imported or local produce, or a
mixture of both. Some unpacked food must also do this.
Use-by and best-before dates on food labels
Foods with a shelf life of less than 2 years must have a best-before or use-by date.
These terms mean different things.
Best-before date on food labels
The best-before date refers to food quality – food stored in the recommended way will
remain of good quality until that date. Once the best-before date has passed, the food
may still be safe to consume, but it may have lost some quality and nutritional value.
Products with a best-before date can legally be sold after that date, provided the product
is still fit for human consumption.
Use-by date on food labels
Foods that should not be consumed after a certain date for health and safety reasons
must have a use-by date.
This means they cannot be sold after that date. You will find use-by dates on perishables
such as meat, fish and dairy products.
Nutrition information panel (NIP)
The nutrition information panel (NIP) tells you the quantity of various nutrients a food
contains per serve, as well as per 100 g or 100 ml.
Serving size is determined by the manufacturer and will often vary among products.
They may not always reflect the amount typically eaten in one sitting (which can make a
product appear less unhealthy).
Under labeling laws introduced in Australia in 2003, virtually all manufactured foods must
carry an NIP. There are exceptions to the labeling requirements, such as:
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very small packages and foods like herbs, spices, salt, tea and coffee
single ingredient foods (such as fresh fruit and vegetables, water and vinegar)
food sold at fundraising events
food sold unpacked (if a nutrition claim such as a 'good source of calcium' is not
made)
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food made and packaged at the point of sale.
Nutrients listed in the NIP
The NIP provides information on 7 nutrients:
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energy (in kilojoules)
protein
total fat
saturated fat
total carbohydrates
sugars
sodium.
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Other nutrients such as fibre, potassium, calcium and iron may be listed in the NIP if
a claim is made on the label. For example, if a food claims to be a ‘good source of
calcium’, then the amount of calcium in the product must be listed in the NIP.
WEEK 2
Topic 2: Definition, Value, Importance and Objectives of Philippine Folk dance
Dance terms used in Philippine Folk Dance
Value, Importance and Objectives of Philippine Folk dance
Folk arts, specifically folk music and dance embody fundamental values of great
worth to our culture, our nation, and our children. There is no better way to share
time together as families and friends. Our job is to preserve the joyful tunes we have
inherited from our ancestors and to pass them on to others.
Philippine folk dances are a celebration of daily life, health, peace, war, harvest times
and other aspects of life. According to the National Commission for Culture and the
Arts, Philippine folk dances imitate nature and life because they are rituals for social
and spiritual expression.
Value
Philippine folk dance helps keep the people connected to their ancestry and their
traditions. Folk dance helps to preserve the cultural unity of the people.
Importance
People think folk dances are important because they help keep a culture
alive. People have been doing folk dances for hundreds of years, and there is value
keeping that tradition alive.
Folk dances are important because they preserve the Philippine culture and pass it
on to the next generation. They are a uniting force to the Philippine people.
Objectives
1. To commit to the ideals of cultural development as a vital factor in nation-building.
2. To enhance the cultural values demonstrated in various folk dances aesthetically,
morally, and physically.
3. To actively participate in folk dancing for its intellectual, moral, and aesthetic
values.
4. To disseminate Philippine traditional dances in its pure and authentic form.
5. To instill the love for performing the folk dances as a cultural legacy and to show to
other nations the identity of the Filipinos as a people.
Dance terms used in Philippine Folk Dance
1. “Abrasete” – Girl at the right side, holds R arm of partner with her L hand, free
hands down at the
sides. This term is of Spanish origin and is used in Rigodon and in other dances.
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2. Arms in Lateral Position – Both arms are at one side, either sideward right or left.
This may be done at shoulder, chest, or waist level.
3. Arms in Reverse “T”– Arms are side horizontal, elbows bent at right angles,
forearms parallel to head, palms forward or facing inward, fists loosely closed.
4. “Bilao” - To turn palms of hands up and down alternately, hands at waist level in
front, elbows close to waist.
5. Brush- Weight on one foot, hit the floor with the ball or heel of the other foot (the
free foot) after which that foot is lifted from the floor to any direction.
6. Clockwise turn- Like the motion of the hands of a clock. R shoulder is toward the
center of an imaginary circle. When facing center, the movement is toward the left.
7. Counterclockwise turn- The reverse direction of clockwise. L shoulder is toward
the center of an imaginary circle. When facing center, the movement is toward the
right.
8. Crossed Arms- Partners are facing each other or standing side by side, girl at the
right of boy. They join the L hands together and their R hands together, either R over
L or L over R hands.
9. Cut- To quickly displace one foot with the other, thus, completely taking off the
weight of the body from the displaced foot.
10. Do-si-do- (this needs a partner) The vis-à-vis (opposites) both advance
forwards, pass each other’s (“Dos-A-Dos”) right (or left) side, step across to the right
(or left), move backward without turning around pass each other’s left (or right) side
to proper places. This is of foreign origin and is used in many Philippine dances.
11. Draw- To pull one foot along the floor close to the other which has the weight of
the body.
12. Free Foot - The foot not bearing the weight of the body.
13. Free Hand- The hand not placed anywhere or not doing anything.
14. Hands on waist- Place hands at the waistline (at the smallest part of the trunk).
Knuckles in, fingers pointing in rear.
15. “Hayon-Hayon”- To place one forearm in front and the other at the back of the
waist. This is a Visayan term.
16. Hop- A spring from one-foot landing on same foot in place or in any direction.
The other foot may be raised in any direction (in front, in rear, sideward or across).
17. Inside Hand - The foot nearest one’s partner, when partners stand side by side.
18. “Jaleo” - Partners turn once around clockwise (with R elbows almost touching)
or counterclockwise (with L elbows almost touching) using walking or any kind of
dance step. The hands near each other are on waists. This is a Tagalog term but of
Spanish origin.
19. “Kumintang”- Moving the hand from the wrist either in a clockwise or
counterclockwise direction.
20. Leap- A spring from one foot, landing on the other foot in any direction forward,
sideward backward or oblique.
21. “Masiwak”- To turn the hand from the wrist halfway clockwise then raise and
lower wrist once or twice.
22. Outside Foot- The foot away from one’s partner, when partners stand side by
side.
23. “Panadyak”- To stamp in front or at the side with R (L) foot and tap with same
foot close to the L (R) foot, weight of the body on L (R) foot. This is a Tagalog term.
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24. Place- To put foot in a certain desired position without putting weight on it. The
sole of the foot, rests on the floor.
25. Pivot- To turn with the ball, heel, or whole foot, on a fixed place or point.
26. “Patay”- To bend the head downward and to support the forehead with R (L)
forearm or with the crook of the R (L) elbow while L (R) hand supports lightly the
palm of the R (L) hand. This is usually done with the L (R) foot pointing in rear and
knees slightly bent. This is an Ilocano term, and the movement is commonly found in
Ilocano dances.
27. Point- Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
28. “Salok”- To swing the arm downward-upward passing in front of the body as if
scooping, the trunk is bent forward following the movement of the arms doing the
“salok”. This is a Tagalog term.
29. “Saludo”- Partners bow to each other, to the audience, opposite dancers, or to
the neighbors with feet together. This term is of Spanish origin and is used in almost
all Philippine dances.
30. “Sarok” (or “Saroc”)- Cross the R (or L) foot in front of the L (R), bend the body
slightly forward and cross the hands (forearms) down in front with the R (or L) hand
(forearm) over the L (R). This is a Visayan term.
31. Slide- To glide foot smoothly along the floor. The movement may be finished with
or without transfer of weight.
32. Stamp- To bring down the foot forcibly and noisily on the floor (Like doing a
heavy step) with or without transfer of weight.
33. Supporting Foot- The foot that bears the weight of the body.
34. Tap- To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of weight.
35. Whirl- To make fast turns by executing small steps in place to right or left.
WEEK 3
Topic 3: Philippine Traditional Costumes and Dance Formations
Bahag
Pre-Colonial Period. Early Filipinos used bark or plain-woven fabric as material for
bahag. The bahag was wrapped around the waistline.
Ifugao
The Ifugao, immortalized by their magnificent rice terraces; inhabit the rugged terrain
of the extensive Cordillera Mountain Ranges of Central Luzon Ifugaos have woven
on looms and carved works of art from blocks of woods. The rice terraces is a symbol
of their industry that will live through the ages.
Kalinga
The Kalinga are called the “peacocks of the north” because of their attention to
appearance and dressing. Kalinga is a landlocked province of northern Cordillera,
Philippines. “Kalinga” means enemy, a name that the bordering inhabitants called
this tribe because of their headhunting attacks. The name stuck and became
accepted by the natives themselves.
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Tapis
Early Spanish Colonial Period
The tapis was used first by tagalong women who had to wrap a thicker material over
skirts made of sheer fabric. It was usually worn with the opening in front, and with
colors that contrasted with the skirt.
Gaddang o Gadang
The Gaddang are an indigenous people from the area of Solano, in the province of
Nueva Vizcaya, in the region of Cagayan Valley also known as region II, in the
Philippine Islands. The Gaddang tribe was first discovered by the Spaniards in the
early 1600s. An early Spanish report written in 1581 identified them as one of ten
tribes in the mountains of Northern Luzon.
Bontoc
They are the people who live in the mountainous areas of Benguet, Ifugao, Mountain
Province and Kalinga- Apayao. The tribe’s traditional clothing leaves males and
females bare above the waist. But because of modern influence, younger members
of the tribe wear trousers, shirts, dresses and shoes that lowland Filipinos usually
wear samal.
Ibaloi
The Ibaloi are the highlanders of Benguet and the city of Baguio. The Ibalois are
collectively known as“Igorot”. They traditionally live by cultivating rice and agriculture.
Barong Tagalog Costume
The Barong Tagalog, this is the official national costume of Filipino men, originated
from the northern part of the Philippines, and is originally made of jusi or pineapple
cloth called “pina” (woven from pineapple leaves). It is worn over a Chinese collarless
shirt called camisa de Chino. It exhibits the loose, long lines of its Chinese sources,
the airy tropical appearance of Indo-Malay costume, the elongated effect of Hindu
dressing, and the ornamental restraint of European men’s clothing. Today, barong
tagalong can come from different materials and different colors. It is usually used for
formal occasion and meetings.
Maria Clara Costume
The Maria Clara, this dress was named after a mestiza heroine of one of the novels
of the Philippine National hero Dr. Jose Rizal. Its origin was the national costume of
Filipino women which is barot (shirt) saya (skirt). The Maria Clara gown features a
floor-length paneled skirt of silk or satin and it consists of four separate pieces: the
collarless waist-length, bell sleeved camisa; the bubble-shaped, floor-length saya;
the stiff, neck-covering pañuelo; and the hip-hugging, knee length tapis, or overskirt.
Camisa Chino
18th Century
The camisa de chino is a collarless garment with long cuffless sleeves, worn first by
Indios who had to labor under tropical heat. The shirt cut evokes its Chinese origins.
Baro’t Saya
Circa 17th Century
The baro, a collarless blouse, was influenced by the costume of statues by the
Blessed Virgin brought by Spanish missionaries. The saya was adapted from the
basic lines of European skirt styles during the 1600s.
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Balintawak
The Balintawak consisted of a skirt, butterfly sleeves and a low-cut bodice. Filipinas
wore the ensemble during visits to the countryside, particularly Antipolo, Rizal, a
popular summer destination for Manila residents.
Terno
Early 20th Century
The Filipino “terno” evolved from the baro’t saya and the Maria Clara, and pertains to
the matching of blouse and skirt, forming a one-piece creation made of a
homogeneous material throughout.
Kimona
The Kimona, this dress originated from the Visayas, can be worn for everyday
activities as casual dress or for formal occasion. Its origin was the barot (shirt) saya
(skirt), the national costume for Filipino women during the early years. A casual
kimona dress is always worn with matching West Visayan wrap around called
"patadyong" as a skirt.
Muslim Costume
This attire is worn by the Muslims who live in the southern part of the Philippines. It
features long skirts for the women, frequently woven with metallic threads, and
shorter, wrap-around skirts for the men. The women also frequently have overskirts
and scarves draped from the shoulder.
Batik design is also common with these costumes. It shows the mix of Arab,
Malaysian and Chinese. Elaborate umbrella makes a nice fashion statement, usually
used by a Muslim princess.
Malong, the malong is traditionally used as a garment by numerous tribes in the
Southern Philippines and the Sulu Archipelago. Its origin is from the ethnical group of
Maranao, Maguindanao and T‟boli located in Mindanao. Handwoven malongs are
made by the weavers on a backstrap loom. Very rare malong designs and styles can
indicate the village in which the malong was made. Handwoven malongs, which are
costly- made of cotton and silk, are likely to be used only at social functions, to
display the social and economic status of the wearer. But a malong in royal colors is
worn only by Maranao men and women of royal status. The malong can also function
as a skirt for both men and women, a dress, a blanket, a bedsheet, a hammock, a
prayer mat, and other purposes.
Tribal Costume
The Philippine Tribal Costumes
Although the Philippines has developed a mixed culture from the blending of foreign
influences with native elements, there are still some ethnological groups whose
culture remains unadulterated.
Blaan
The Blaan are one of the indigenous peoples of Southern Mindanao in The
Philippines. They are famous for their brass works, beadwork and tnalak weave. The
people of these tribes wear colorful embroidered native costumes and beadwork
accessories. The women of these tribes, particularly, wear heavy brass belts with
brass tassels ending in tiny brass bells that herald their approach even when they are
a long way off.
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Bagobo
The Bagobo are proud people with proto-Malayan features. They have ornate
traditions in weaponry and other metal arts. They are noted for their skill in producing
brass articles through the ancient lost-wax process. These people also weave abaca
cloths of earth tones and make baskets that are trimmed with beads, fibers and
horses hair.
Tboli
The Tboli distinguish themselves from other Tribal Groups by their colorful clothes,
bracelets and earrings, this tribe is famous for their complicated beadwork, wonderful
woven fabrics and beautiful brass ornaments.
Mandaya
The Mandayas are a group of non-Christian tribe, non-Islamic people living in
Eastern Mindanao, Philippines. They hand down from generation to generation the
art of weaving cloth from the fibers of abaca plant, colored with root and mud dyes
with intricate figures and patterns depicting the folklore and religion of the tribe.
Maranaw
Typical Muslim Maranaw costumes (bottom-left photo). The attire of Maranaw prince
and princess. “Maranaw” means „people of the lake‟, referring to lands surrounding
Lake Lanao. Descending from Muslim Malays, the royal families within this tribe are a
mix of Arab, Malaysian and Chinese ancestry. They are famous for their artwork,
sophisticated weaving, wood and metal craft, and their epic literature.
Yakan
Basilan is home to the Yakan Tribes, also known as one of the finest weavers in
Philippines. They are known to weave the most intricate designs in their clothes,
purses and other accessories.
Samal
The Samal are the poorest and least independent of the major Muslim groups. They
serve as the "loyal commoners" in the hierarchy of Muslim minorities. Their lives are
literally over the sea, where the villages stand on stilts above the coastal waters.
Aetas
The Philippines‟ aboriginal inhabitants called the Aetas provided the pattern for these
rough cotton costumes. The Aetas or Negritos are nomads, scattered among the
isolated mountainous parts of central Luzon. They are thought to be the earliest
inhabitants of the Philippines.
Pulangiyen
Living in the Pulangi River headwaters in the southern part of Bukidnon, the
Pulangiyen is one of the many indigenous natives of the province.
Matigsalug
The Matigsalug are the Bukidnon groups who are found in the Tigwa-Salug Valley in
San Fernando, Bukidnon. “Matigsalug” is a term, which means “people along the
River Salug”. Their men wear short tight-fitting pants that are of knee length and are
hem and turbans for the head decorated with beads and fringed with goat’s/horse’s
hair.
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DANCE FORMATIONS:
Part of the allure of witnessing a dance performance is watching as dancers
change patterns. Formations, and formation changes, are one of the key elements
of dance performance because they ensure that a piece of choreography remains
dynamic and visually pleasing to the eye. There are a variety of different dance
formations that can be used to create compelling dance pieces.
Staggered Line Formations
A classic formation used in dance choreography of many different styles is the
staggered line formation. The concept is simple: dancers stand in rows, with each
dancer standing beside each other a specific distance apart. Behind the first row,
the second row of dancers stand in the spaces between the dancers in the first line,
only in back of them. The pattern can continue with many lines depending on the
amount of dancers included in the formation.
Diagonal Line Formations
The diagonal line formation, popular in jazz and tap dance, is used mainly for its
feature of allowing every dancer on stage to be seen equally clearly. In this
formation, dancers are placed in two large diagonal lines from the back of each
side of the stage to its diagonal on the front side. The lines will cross in the center,
creating what looks like a large "X" on stage. A commonly used choreographic
technique is to have the lines cross and uncross while performing various technical
elements.
Filled-In Pyramid Formations
The filled-in pyramid formation is very helpful when trying to create tight, solidlooking choreographies. The pyramid formation is most popular in hip-hop and
other urban dance styles that use formations to create a sense of cohesiveness
between the dancer's movements given the fact that the dance moves of this
particular genre are often more wild and freestyled than other classical forms of
dance. A filled-in pyramid formation is actually a series of lines that extend further
outside the ends of each line as the pyramid grows deeper.
"V" Shaped Formations
There are few patterns used more often in every style of dance than the "V". The
"V" resembles a pyramid formation closely but it not filled-in with rows of dancers.
Rather, the pattern begins with one person at the tip of the "V" followed by two
dancers approximately a foot behind on either side. The formation continues adding
a dancer to the outside of each until a "V" shape is formed. The "V" formation is
commonly used as the final formation of a choreography.
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WEEK 4
Topic 4: Fundamental Positions of Arms and Feet
Note: Please Refer to Fundamental Arms and Feet Position Demonstration
Handouts
1st Position
Both raised forward in a circle in front of chest with the
fingertips about an inch apart.
2nd Position Arms raised sideward with a graceful curve a little below
shoulder level.
3RD Position One arm raised as in 2nd position; another arm raised
overhead.
4th Position
One arm raised in front of chest in a half-circle, other raised
overhead.
5th Position
Both arms raised overhead.
Feet Positions
1st Position Heels close together, toes apart with an angle of about 45
degrees.
2nd Position Feet apart sideward of about a pace distance.
rd
3 Position Heel of one foot close to in-step of other foot.
4th Position One foot in front of the other foot of about a pace distance.
th
5 Position Heel of front foot close to big toe of rear foot.
WEEK 5
Prelim Examination (Online)
(Coverage: W1, W2, &W3)
WEEK 6
Topic 6: Dance Steps Combinations
2/4 and ¾ Time Signature Steps
For this week’s activity, you will learn how to read and interpret dance steps. But
before we proceed, there are things that you need to understand.
R - means Right Foot.
L – means Left foot.
ct – means count.
Directions – forward (fwd.), backward (bwd), sideward (swd)
1 complete count = 1 measure (Example counts: 1, and 2, and 3 = is equal to 1
measure… therefore,
two measures mean (1, and 2, and 3 and, 1, and 2, and 3 and)
How to count.
 2/4-time signature counts1 measure
2 measures
3 measures
 ¾ time signature
1 measure
2 measures
3 measures
(1, 2) or (1 and 2 and) or (1 ah 2 ah)
1 and 2
1 and 2 and /1 and 2 and
1 and 2 and/1 and 2 and/ 1 and 2 and...
(1, 2, 3) or (1, and 2, and 3 and)
1, 2, 3
1, 2, 3/ 1, 2, 3
1, 2, 3/ 1, 2, 3/ 1, 2, 3…
20
FUNDAMENTAL DANCE STEPS:
A.
2/4-time signature DANCE STEPS
STEP PATTERNS
1. Bleking step------------------------------------------Heel place R, close R to L.
2. Chasse/ Chasing Steps--------------------------Successive close steps
with one foot
leading.
3. Close step---------------------------------------------Step R, close L to R.
4. Cross step--------------------------------------------Step R, cross and step L
across R
5. Change step------------------------------------------Step R, close L to R, step
R again
6. Contraganza step------------------------------------Leap R sideward right,
cross and
step L across R, step R
(in place)
7. Cross Change Step------------------------------------- Step R across L (ct.1);
close L to R
(ct. and); step R across L
(ct. 2)
8. Four Step Turn---------------------------------------Step R (ct.1) Turn, and
step L (ct.2)
Turn and step R (ct.1)
Step and close L
ct.2)
9. Galop Step--------------------------------------------Step R (ct.1) Cut R with L
(ct. ah), Step R (ct.1)
Cut r with L (ct. ah)
10. Heel and toe change step--------------------------Heel place R
(forward/sideward) point
R in rear or close to L,
step R, close L to R and
step R.
11. Hop polka-------------------------------------------
Hop on L foot and step R
forward (ct.1), step L close
to R in rear (ct. and), step
R foot forward (ct. 2) and
pause (ct. and). This may
Be executed in any
directions.
12. Hop step----------------------------------------------Step R, hop on R.
13. Plain Polka-----------------------------------------Step L foot in front (ct.1),
step R close to left foot in
rear (ct. and), step L in front
(ct.2), pause (ct. and).
14. Step-Point------------------------------------------- Step R foot in front (ct. 1), point L
foot in front (ct. 2) This step is
executed in all directions.
15. Touch/ Point step------------------------------------Point R, close R to L.
21
3/4 time signature DANCE STEPS
STEP PATTERNS
1. Brush-Step Turn---------------------------------- Step R (ct.1), Brush L (ct.2) Step L
close to R (ct.3)
2. Cross Step turn----------------------------------- Step R (ct.1) Cross L and turn both
feet (ct.2) Both heels down (ct.3)
3. Cross waltz --------------------------------------Cross and step R across L, close L
to R, step R.
4. Engaño with a Close ----------------------------- Step R swd (ct.1,2); Cross-step L
across R (ct. 3); Step R swd (ct.
1) ; Close to R ct. 2); Step R in
place (ct. 3)
5. Grapevine------------------------------------------ Step R sideward, Step L across in
front, Step R sideward; Cross L in
rear, Step R sideward, Step L close
to R
6. Kuradang ------------------------------------------ Change step obliquely fw R (ct. 1,2);
Step L across R in front (ct. 3);
Change step obliquely fwd (ct. 1,2).
Point L in front (ct. 3)
7. Native Waltz--------------------------------------- Step R, close L to R, step R.
8. Step-brush-swing-hop---------------------------Step R, brush-swing L across R,
hop on R.
9. Step-swing------------------------------------------ Step R, swing L across R
10. Step Cross------------------------------------------ Step R (ct.1) Cross and slide L
(cts.2,3)
11. Sway Balance with a Point----------------------Step R (ct.1,2) Cross Step L
(ct.3), Step R (ct.1) Point L
(ct.2,3)
12. Three-step turn--------------------------------- step R (ct. 1) turn and step L (ct.
2); turn and step R (ct. 3); close L
to R (ct. 1); pause = 1M
13. Waltz balance------------------------------------- Step R, close L to R and raise
both heels, heels down.
14. Waltz----------------------------------------------- Step R (ct.1) Close L and raise
both heels (ct.2) Heels down
(ct.3)
15. Waltz Turn----------------------------------------- Step R (ct.1) Close L (Ct.2) Step
R (ct.3) do this in a circle
direction.
22
SAMPLE
COMBINATIONS 1
2/4 Time Signature (counts 1, and 2 = 1 measure)
Figure I
a. Eight walking forward--------------------------------------------------------------4M
b. Four touch steps R and L-----------------------------------------------------------4M
c. Repeat (a) and (b) moving backward---------------------------------------------8M
Figure II
a. Two change steps R and L-------------------------------------------------------------4M
b. Four Chasse steps sideward R and L-------------------------------------------------4M
c. Repeat (a) and (b) -----------------------------------------------------------8M
Figure III
a. Four bleking steps R and L ----------------------------------------------------------4M
b. Four gallop step sideward R and L---------------------------------------------------------- 4 M
c. Repeat (a) and (b) backward-----------------------------------------------------------8M
Figure IV
a. Two heel and toe change steps forward----------------------------------------------4M
b. Four hop Step backward --------------------------------------------------------------4M
c. Four chasse steps sideward R and L-------------------------------------------------4M
d. Change Step Turn------------------------------------------------------------------------4M
SAMPLE
COMBINATIONS 2
¾ Time Signature (cts. 1, 2, 3 = 1 measure)
Figure I
a. Four waltz steps sideward R and L----------------------------------------------------b. Step Swing--------------------------------------------------------------------------------c. Repeat all----------------------------------------------------------------------------------Figure II
a. Engaño with a close------------------------------------------ ---------------------------b. Step Swing Hop -------------------------------------------------------------------------c. Waltz Balance -----------------------------------------------------------------------------d. Waltz Turn -------------------------------------------------------------------------Figure III
a. Two step-swing-hop forward R and L alternately------------------------------------b. Two waltz balance steps R and L in place---------------------------------------------c. Repeat all------------------------------------------------------------------------------------
4M
4M
8M
4M
4M
4M
4M
4M
4M
8M
Figure IV
a. Four waltz balance steps R and L alternately------------------------------------------- 4 M
b. Three steps forward start with R foot and three steps backward with L foot------ 4 M
c. Waltz turn R and L-------------------------------------------------------------------------8M
23
WEEK 7
Topic 7: Introduction/ Discussion of Philippine Folk dances
CULTURAL AND FOLK DANCES IN THE PHILIPPINES
The various cultures of the different countries in the world have been made more
colorful, beautiful, and vibrant because of folk dances that reflect who they are. The
Philippines consists of 7,107 islands, broken down in three groups – Luzon, Visayas ,
and Mindanao. Each of these areas has different dialects, history, religion, and
traditions. Every region also has different influences in their arts, crafts, and ancestral
dances. Let’s take a trip and explore the different styles, costumes, dances, and
talents of each region Many of the dances you will read about here were actual
activities or chores that the Filipinos endured to survive the poor economy and state
of the nation.
LUZON
THE TRADITIONS AND HERITAGE OF LUZON
“We shall never forget our heritage”
Luzon, the northernmost region of the Philippines is rich in traditions and heritage. In
traces its cultural influences from Hindu, Buddhist, Spanish, and many other ethnic
religious tribes. The cultural folk dances from this region represent all the different
factions or tribal groups in one way or another.
The Cordillerans or Igorot is the term or the collective name of several ethnic
groups in the Phlippines. These tribes – The Ifugao, Kalinga, Bontoc, Apayao,
Ibaloi, kalangaya, and the Kankanaey in benguet mostly inhabit the mountains of
Luzon.
THE DANCES OF LUZON
BANGA DANCE OR POT DANCE
A contemporary performance of the kalinga of the Mountain Province in the
Philippines. This dance illustrates the languid grace of a tribe otherwise known
as fierce warriors.
24
This dance shows the skill and strength of the women as they carry heavy laden
clay pots, or banga, full of water. Their grace and agility while balancing the heavy
pots is a testament of how the Filipino strength and determination to survive
hardship. Young Igorot girls start only one pot. But, of course, as they become
older and more experienced, they are expected to provide more water for their family.
Pots could be as high as five or six stacks. Women would all gather and march to the
river each day, singing a native song accompanied by the flute and banging of
bamboo on iron pots in the dance.
IDAW
This dance has many names and different versions. It depicts the hunting ritual
performed before a tribal war. The tribesmen would go out and look up and watch out
for the scared Idaw bird which is said to lead the tribe to victory. Considering the
Philippines as a very humid country, the traditional clothing was made to cover not
much of the body.
As one of the cordillera dances, this Bontoc dance depicts a war ceremony
performed by warriors of rival tribes. Idaw, meaning “bird” is celebrated because it
was the omen bearer of war.
25
IDUDU
The family is the basic structure of family life among the Itneg or Tinggian people.
Caring for the children is shared by both the mother and father. While the men are
clearing the fields, breaking the soil with bamboo and their feet, the women watch the
children. Soon as the men are done, they take care of the children while the women
do back breaking work. You can see in the dance how the women will take the
bamboo baskets and shaking them in the manner of drying rice,while the men are
going in circles in the backround like they are tilling the land. Then, the women put
down the baskets, fold cloth into a baby while the husbands stand aside. Afterward,
the women will turn over the baby to their hundbands, pick up the bamboo, and start
tilling the land while the men hold and cradle the babies.
RAGRAGSAKAN
The Kalingga borrowed the beautiful word “ragragsakan” from the Ilocano, which
means “merriment”. The two biggest occasions for a ragragsakan in a kalinga
26
village are for the homecoming of successful head takers and the culmination of
peace pact between warring tribes. Kalinga maidens balance “labba” or woven
baskets on their heads, wave colorful tribal blankets, and sing short salidumay songs
as they snake through the terrace dikes and skip through breaks in the path. 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
neck.
VISAYAS
LOVE OF LIFE AND COUNTRY – VISAYAS REGION
“Live Long, Live Happy, Die Proud”
The central islands of the Philippines, are grouped into three sections: Central,
Eastern, and Western. The people in the region consist of Autronesians, Negritos,
and the Animist Tribal Group. Visayas became a melting pot for many different tribes
and cultural backgrounds. You will see that the dances of the Visayas are more
upbeat and exciting, not so much in drama and tribal meanings as other regions.
THE DANCES OF VISAYAS
MAGLALATIK
27
The Maglalatik is an indigenous dance from the Philippines in which coconut shell
halves that are secured onto the dancer’s hands and on vests upon which are hang
four or six more coconut shell halves. The dancers – all male – perform the dance by
hitting one coconut shell with the other.
Originally performed in Biñan, Laguna as a mock-war dance that demonstrates a
fight between the Moros and the Christians, this dance is also performed to pay
tribute to the town’s patron saint, San Isidro Labrador. Moro dancers wear read
trousers while the Christian dancers wear blue. All dancers are male with harnesses
of coconut shells attached on their chests, backs, thighs, and hips.
SAYAW SA BANGKO
Sayaw sa bangko or Sayaw ed Tapew na Bangko is a dance which originates from
pangasinan as researched by Jovita Sison. It is performed by a couple on a narrow
bench. They do not compete, but rather complement each other, so that no one falls.
Sayaw sa Bangko is usually performed during town fiestas.
SUBLI
The term “subli” is from two tagalog words “subsub” meaning “falling on one’s
head” and “bali”, which means “Broken”. This version is originally a ritual dance of
the natives of Bauan, Batangas, which is performed during fiestas as a ceremonial
worship dance to the town’s icoon, the Holy Cross.
TINIKLING
28
This is the most popular and best known of the Philippine dances and is honored as
the Philippine National Dance. Dancers imitate the tikling bird’s legendary grace and
speed by skillfully maneuvering between large bamboo poles. The
name “Tinikling” means “bamboo dance” in English.
Considered as one of the oldest dances from the Philippines, Tinikling originated in
the island of Leyte in the Visayas. The bird was named “tikling” from which the
Tinikling dance got its name. Because of creativity of the people, they imitate the
Bird’s movement between branches and stems using bamboo poles.
MINDANAO
“Pride and Honor – Mindanao Region”
Mindanao is the southernmost region of The Philippines. It is the second largest
island group and its cultural groupings consist of mostly Muslim or “Moro” people,
and other ethnic groups such as the Maranao, Tausug, Banguingui, and indigenous
tribes known as Lumad.
THE DANCES OF MINDANAO
ASIK
This dance is performed by a solo maiden, adorned with fine beads make-up, and a
long head scarf. The maiden would dance to win the favor of her Sultan master. She
would give her whole heart and soul into this performance to soften the heart of her
master and accept her.
29
KINI KINI
Kini means the Royal Walk. Maranao women perform this dance with scarves. The
beauty of the scarves and the talent and grace in which it is displayed shows their
elite social upbringing.
PANGALAY
The pangalay is native to the badjao, who are also known as “Sea Gypsies”. It is a
dance that emphasizes the agility of the upper body. The pangalay is commonly
performed at weddings and other social gatherings. One will also see some parts of
the Singkil in this dance. This dance is sometimes called the Muslim Dance of Four
Bamboos.
30
SINGKIL
The Singkil Dance takes its name from the bells worn on the ankles of the Muslim
Princess. 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 nymphs of the forest.
The faces of the dancers are formal and they maintain a dignified pose. Dancing
begins at a slow pace which soon progresses to a faster tempo in which dancers
skillfully manipulate fans that represent the winds that prove to be auspicious.
WEEK 8
Topic 8: Dances of Cordillera
Dinnuy-a Dance- is a festival dance in Ifugao. It is commonly performed during
social gatherings like Wedding and Thanksgiving. It may also be a
dancecontest during festivities like fiestas.
FEMALE:
Entrance
Step 1: Dalikdik/ Dalikidik
Step 2: Dalikdik with camll steps forward and backward
Step 3: Payad/ Payyad
Step 4: back to Step 1
MALE:
Step 1: Extand L hand with R below your chest. Foot step is different from girls
Step 2: Dalikdik with camll steps forward and backward
Step 3: Payad/ Payyad (but in steady position)
Step 4: back to Step 1
31
Video: How to Dance a Native Dance called "Dinnuy-a" | Ifugao Dance -
YouTube
WEEK 9
Midterm Exam (Online)
(Coverage: W5 &W6)
WEEK 10:
Topic 9: Spanish Influence Dances
Jota Laoagena
WEEK 11:
Topic 10: Rural dance
Alitaptap
WEEK 12:
Topic 11:Dances of Muslim Mindanao
Pangalay (Fingernail dance)
WEEK 13:
Topic 12: Philippine Tribal Dances
Kadal Tahaw
WEEK 14
PREFINALS
(Online/On-site)
(Coverage: W8-W13)
WEEK 15 Practice for Final Dance
ILO1. Practice selected Philippine traditional dance with grace and enthusiasm.
WEEK 16 Practice for Final Dance
ILO1. Practice selected Philippine traditional dance with grace and enthusiasm.
WEEK 17
FINALS
(Performance task: Philippine Traditional Dance)
WEEK 18
SUBMISSION OF FINAL REFLECTION
32
REFERENCES:
Castillo, E. P., Castro, K. L. B., Calixterio, D. I. A., Anselmo, R. M., (Series
Coordinator). (2017) SMART Healthy Youth in Physical Education Let’s Dance!
GOLDEN CRONICA PUBLISHING, INC.
https://www.google.com.ph/books/edition/A_Handbook_of_Philippine_Folklore/jGssp
-oJrT8C?hl=en&gbpv=1&dq=philippine+folk+dance&pg=PA234&printsec=frontcover
http://www.tripadvisor.co.uk
fgresearch.com.ph
http://www.sjsunews.com
http://www.ecddancecompany.com
https://hiveminer.com
http://www.collegian.psu.edu
http://www.culturephilippines.org
http://www.choosephilippines.com
http://www.quora.com
http://www.flickriver.com
http://www.pinterest.ph
https://chillout-travel-philippine.com
https://remit2homeblog.wordpress.com
http://www.gmanetwork.com
ietpepolrawrr.blogspot.com
http://www.slideshare.net
http://www.youtube.com
http://www.kaloobdance.com
http://www.filwebasia.com
danceask.com
https://lovefolkdance.wordpress.com/2018/09/09/history-of-folk-dance-in-thephilippines/
http://www.seasite.niu.edu/tagalog/Cynthia/dances/sa_nayon.htm