PHILIPPINE FOLK DANCE

WHAT IS DANCE?
Dance is a form of expression of oneself through rhythmic movement. It also refers to
movement set to music where there emerges organization, structure and pattern. It is a
composition that implies arrangement of parts into a form.

WHAT IS DANCING?
Dancing is a means of expressing one’s emotions through movement disciplined by
rhythm. It is an act of moving rhythmically and expressively to an accompaniment. The
word dancing came from an old German word “danson” which means to “stretch”.
Essentially, all dancing is made up of stretching and relaxing.

INTRODUCTION TO PHILIPPINE FOLK DANCE

Folk dance is a form of dance developed by a group of people that reflects the
traditional life of the people of a certain country or region. Folk dancing originated in the
18th century to distinguish dance forms of common people from those of the upper
classes. It is a traditional dances of a country which were evolved naturally and
spontaneously in connection with everyday activities and experiences of the people who
developed them.
Folk dances, unlike most other dance forms, tend to have no stringent rules, and
are sometimes formed spontaneously among groups of people. The steps of folk
dances are passed through generations, rarely being changed.
Philippine Folk Dance is a cultural art form handed down from generation to
generations. It communicates the customs, beliefs, rituals, and occupations of the
people of a region or country. Folk dancing is usually associated with social activities,
although some folk dances are performed competitively. Folk dancing belongs to the
people. It emanates from them. Folk dancing is the heartbeat of the people.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

To foster patriotism and nationalism through the study of our dance.
To arouse better appreciation of Philippine music and folk dances.
To provide through dancing, a healthful form of relaxation and recreation.
To develop a graceful and rhythmic coordination of body movements that will improve
posture.
To preserve for posterity, folk dances and music indigenous to the different regions of
the Philippines.
To demonstrate the growth of Filipino culture through the evolution of Philippine dances.

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CHARACTERISTICS OF PHILIPPINE FOLK DANCES
In general, dancers stand apart.
There is little, if any, bodily contact.
Most of the dances are done by pairs or couples.
Hand movements play an important part.
Most dances are in long formation.
Most dances begin and end with “saludo.”
Dances from the lowlands have more foreign elements those found in the uplands.
War dances are found among non-Christian tribes.

DO'S AND DONT'S IN FOLK DANCING

Do’s in Folk Dancing
Dance in a natural, simple and direct manner.
Dance with ease and smoothness.
Use the proper costume for the dance.
Follow directions and dance instructions as closely as possible.
Dance with feeling and expression.
Don’t’s in Folk Dancing
Do not exaggerate the dance steps.
Do not make the dances too dainty and graceful like ballet.
Don’t make entrance and exit long.
Don’t make steps too elaborate and complicated.
Don’t call a dance a folk dance unless steps come from traditional dances.
HISTORY
Filipino folk dance history is not the history of a single national dance of one or
two regions. Dances evolved from different regions which are distinct from one another
as they are affected by the religion and culture.
Many people especially Filipinos are fond of dances. Our country is very rich in
different native dances like Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño, etc.
Many of us find it hard to enjoy and get information about dance at the same time. This
proposed system would make it possible for us to enjoy and learn different native
dances here in the Philippines by means of computerizing it.
Folk Dance, recreational or ceremonial dance performed usually by members of
the community to which the dance is traditional. Varying criteria have been used to
differentiate folk dance from other kinds of dance: For example, the dancers are said to
belong to a certain economic level or come from certain locales; the steps are simple
and repeated, so that any member of the community can participate; the dances require

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no audience; and they are passed down through many generations. Each of these
criteria can be contradicted by dances that are indisputably folk dances, and in each of
these criteria, folk dance overlaps with other kinds of dance.
During the last few centuries many trends have affected folk dancing. As the
spread of industrialization brought rural people into the growing cities, dances related to
agricultural activities or to communal rituals gradually lost their meaning. In the
changing circumstances of urban life, new dances evolved. Colonization also affected
dances-frequently, indigenous forms fused with dances of the colonial powers. In the
Philippines, for example, new dances developed when Spanish influenced dancers of
traditional native forms and Islamic dance forms and styles.

TYPES OF FOLK DANCES

National – traditional dances of a given country.
Regional – local.
Character – created by individual or group.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

Cordillera (Igorot) Dances
Muslim Dances
Tribal Dances
Maria Clara dances
Rural Dances

Igorot Dances
Long before the Spaniards, the indigenous people in the mountainous regions
had already their folk dances which reflect their worship, their celebrations, their wars
and even their everyday lives. Scholars refer to them as mountain dances which
consisted of different mountain tribes. When Spaniars came, they called them Igorots.
They dance to appease their ancestors and gods to cure ailments, to insure
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 feeling. They also dance to insure bountiful harvests, favorable weather,
and to mark milestones in the cycle of life.
So the dances evolve as they need them to express their feelings, their sadness
and their anger.

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Muslim/Moro Dances
Mindanao and Sulu were never conquered by Spain. Islam was introduced in the
Philippines in the 12th century before the discovery of the islands by Magellan in 1521.
The dances of Muslim however predated the Muslim influence. Like Ipat which
was a dance to appease ancestral spirits. Before Islam, the Maguindanaons held the
view that diseases are caused by tonong (ancestral spirits).Thus, a folk healer performs
the pag-ipat while being possessed by the tinunungan (spirit).
Another is the dance baluang which creates the illusion of an angry monkey, and
is always performed by male dancers. The popularity of this dance comes naturally,
since the baluang, or monkey, enjoys an affectionate place in Asian folklore.
Singkil was introduced after the 14th century. It was based on the epic legend of
Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim Princess,
Gandingan who was caught in the middle of a forest during an earthquake caused by
the diwatas, or fairies of the forest.

Tribal Dances
The cultural minorities that live in the hills and mountains throughout the
Philippine Archipelago considered dances as basic part of their lives. Their Culture and
animistic beliefs predated Christianity and Islam. Dances are performed essentially for
the gods. As in most ancient cultures, unlike the Muslim tribes in their midst, their
dances are nonetheless closely intertwined with ceremonials, rituals and sacrifices.
The only dance that is believed to have evolved during the Spanish colonization
is the Talaingod dance which is performed to the beat of four drums by a female,
portrays a virgin-mother bathing and cradling her newborn baby, named Liboangan.
She supposedly had a dream, or pandamggo, that she was to bear such a child. This
concept of a virgin-birth may have been derived from the Catholic faith

Maria Clara Dances

The history of the Philippines is that of a country constantly melding its culture
with that of outsiders, a narrative that is exemplified well by Filipino folk dance history.
For example, the 300-year Spanish occupation of the Philippines profoundly influenced
folk dancing. The ‘Maria Clara’ style of dance is named after a Spanish-style dress, and
its performance includes Spanish footwork with Filipino modifications such as bamboo
castanets and Asian fans. Contact with ancient Indian civilization is also evident through
Indian-influenced dance, which thrives particularly in the South. Numerous other
influences including Muslim and Indonesian can be found throughout the Philippines.
The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism.
European cultural ideas spread and the Filipinos adapted and blended to meet the local
conditions. These dances reached their zenith in popularity around the turn of the
century, particularly among urban Filipinos. They are so named in honor of the
legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina
woman. Maria Clara was the chief female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances were, nonetheless,

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"Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan.
Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an
embroidered long-sleeve shirt made of pineapple fiber.

Rural and Barrio

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 a joy in
work, a love for music, and pleasure in the simplicities of life. Typical attire in the Rural
Suite include the colorful balintawak and patadyong skirts for the women, and camisa
de chino and colored trousers for the men. The dances developed during the three
hundred years of Spanish colonization.
A good example of rural or barrio dances is Sinulog. It is a ceremonial dance
performed by the people of San Joaquin, Iloilo, during the feast of San Martin. It
originated in a barrio of San Joaquin called Sinugbahan. It was believed that the image
of San Martin was found at the edge of a beach, and that it could not be removed until
the people dance the Sinulog.

Maria Clara Dances

The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism.
European cultural ideas spread and the Filipinos adapted and blended to meet the local
conditions. These dances reached their zenith in popularity around the turn of the
century, particularly among urban Filipinos. They are so named in honor of the
legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina
woman. Maria Clara was the chief female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances were, nonetheless,
"Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan.
Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an
embroidered long-sleeve shirt made of pineapple fiber.

NATURE OF PHILIPPINE FOLK DANCES

A. Geographical extent of origin
1. National dances-found throughout the islands with little or no modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances-found in a certain locality.
Examples: Tinikling-Leyte
Maglalatik-Binyang
Esperanza-Nabua
Subli-Batangas
Biniganbigat-Abra

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B. Nature
1. Occupational-depicting action of certain occupation, industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete, etc.
2. Religious or Ceremonial – performed in connection with religious vows and
ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.
3. Comic dances – depicting funny movements for entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers)
Examples: Lubi – lubi, Pavo
5. Wedding dances – performed during wedding feast.
Panasahan, etc.
6. Courtship dances – depicting affection.
Examples: Hele – hele, Bago Quiere
Maramion
Tadek
Daling – daling
7. Festival dances – suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel.
Examples: Sagayan, Palu-palo, etc.

C. Movements
1. Active – with fast energetic movements.
Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate -
Examples: Cariñosa, Tagala
Habanera, Purpuri, etc.
3. Slow -
Examples: Pasakat, Amorosa
Tiliday, Kundiman, etc.

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4. Slow and Fast –
Examples: Putritos, Ba-Ingles
Habanera Botoleña
Alcamfor, etc.
D. Formation
1. Square or Quadrille
Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines)
Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or standing
side by side.
Examples: Binadyong, Haplik, Kakawati, etc.

SPECIAL CLASSIFICATION
Group dances having special distinctive features.
Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.
Old Ballroom Dances
Examples: Polka, Mazurka Chotis, Valse, etc.
Dances with Implements
Examples: Maglalatik
Sakuting
Jota Moncadena
Tinikling
Salakot,
Dances of Combined Rhythm
Examples: Surtido, Pantomina, Los Bailes de Ayer

FACTORS AFFECTING FOLK DANCES

Geographical location
Economic conditions
Climatic conditions
Customs and traditions.

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COMMONLY- USED FORMATIONS IN TEACHING PHILIPPINE FOLK DANCE
Single circle, facing clockwise
Single circle partners facing
Single circle, facing counterclockwise
Single circle, facing center
Double circle, partners facing
Double circle, facing clockwise
Double circle, couples facing
Square or quadrille formation
Semi-circle or half moon
Double lines, facing front
Double lines, partners facing
Long open formation

FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly
termed as 1st position, 2nd position, 3rd position, 4th position, and 5th position of the
feet and arms.

1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of waist with the finger tips
about an inch apart.

2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised
upward.

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4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised
overhead.

5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.

COMMON DANCE TERMS

Arms in lateral position – Both arms are at one side either right or left, at shoulder,
chest or waist level.
Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift
that foot from the floor to any direction.
Crossed Arms – Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right
hands.
Cut – To displace quickly one foot with the other.
Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to
the right move backwards without turning around, pass each other left side to proper
places.
Hayon-hayon – To place one forearm in front and the other at he back of the waist.
Hop – A spring from one foot landing on the same foot in place or in any direction.
Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or
counterclockwise ( with left elbows almost touching ) using walking or any kind of dance
step.
Jump – A spring on one foot or both feet landing on both feet in any direction.
Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise
direction.
Leap – A spring from one foot landing on the other foot in any direction.
Place – To put foot in a certain position without putting weight on it.
Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
Point – Touch the floor lightly with the toes of one foot, weight of the body on the other
foot.
Panadyak – To stamp in front or at the side with the right foot and tap with same foot
close to the left foot.

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Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly
found in Ilocano dances.

Salok – T o swing the arm downward-upward passing in front of the body as if

scooping, the trunk is bent following the movement of the arm doing the salok.
Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all
Philippine dances.
Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the
hands down in front of the R hand over the L. This is a Visayan term.
Slide – To glide foot smoothly along the floor. The movement may be finished with or
without transfer of weight.
Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of
weight.
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.
Whirl – To make fast turns by executing small steps in place to right or left.
BASIC DANCE STEPS
2/4 time dance steps
Dance Steps Step Pattern Counting
1. Bleking step heel-place, close 1,2
2. Touch step point, close 1,2
3. Close step step, close 1,2
4. Hop step step, hop 1,2
5. Cross step step, cross or cross, step 1,2
6. Change step step, close, step 1 and 2
7. Changing step jump ( one ft. in front and
The other in rear) there are two
Changing steps in a measure 1,2
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1, 2 and
10. Heel and toe
Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and

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¾ time dance steps

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step, close, step 1, 2, 3
3. Waltz balance step, close-heels raise, heels down 1, 2, 3
4. Mazurka step slide, cut, hop 1, 2, 3
5. Redoba step slide, cut, cut 1, 2, 3
6. Sway balance w/
A point step, cross-step, step point 1,2, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 1,2, 3/ 1, 23
8. Sway balance w/
A waltz step, cross-step, step, close, step 1,2, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 1,2, 3/ 1, 2, 3

4/4 time dance steps

1. Schottische step step, close, step hop( raise foot
In front) 1, 2, 3, 4
2. Escotis step step, close, step, hop( raise foot
In rear) 1, 2, 3, 4
3. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/
1, 2, 3, 4

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INTERPRETATION OF PHILIPPINE FOLK DANCES

TIKLOS
A VISAYAN FOLK DANCE
Refers to a group of peasants who agree to work for each other one day each week to
clear the forest, prepare the soil for planting, or do any odd job on the farm including the
building of a house.
COSTUME
Dancers are dressed in working costume.
TIME SIGNATURE
FORMATION
At noontime the people gather to eat their lunch together and to rest. During this rest
period Tiklos music is being played with a flute accompanied with a guitar and the
guimbal or the tambora (kinds of drum).
The music of Tiklos is also played to gather the peasants before they start out for work.
MUSIC
Divided into two parts: A and B.
COUNT
one, two or one, ah, two, ah or one and two to a measure.
Partners stand opposite each other about six feet apart. When facing the audience, Girl
stands at partner's right side. One to any number of pairs may take part in this dance.

MUSIC A (I)
Partners face front. Throughout this figure Girl holds her skirt, Boy places hands on
waist.
a. Starting with the R foot, take two heel and toe change steps forward (4 M)
b. Execute change step sideward, R and L. (2 M)
c. Starting with the R foot, take four steps backward to proper places. (2 M)
d. Repeat all. (a-c) (8 M)
MUSIC B (II)
Partners face front. The same hand position as in figure I.
a. Cut L backward (ct. 1), cut R forward (ct. 2). Repeat all (cts. 1, 2) (2 M)
b. Take three gallop steps sideward right (cts. 1, ah, 2, ah, 1, ah) step R foot sideward
(ct. 2) (2 M)
c. Repeat (a), starting with the R cut backward. (2 M)
d. Repeat (b), going sideward left. (2 M)

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e. Repeat all (a-d) (8 M)

MUSIC A (III)
Partners face each other. Throughout this figure clap hands in front of chest in this
manner: Clap three times (cts. 1 and 2), clap twice (cts. 1,2). do this for sixteen
measures.
a. Execute change step sideward, starting with R foot (cts. 1 and 2) hop on R and raise
L knee in front swinging L foot obliquely right backward across R knee in front (ct. 1),
hop on R and swing L foot obliquely left forward (ct. 2) (2 M)
b. Repeat (a) starting with the L foot. (2 M)
c. Execute a three-step turn right in place (cts. 1, and 2) . Point L in front (ct. 1), point
the same foot close to R (ct. 2) (2 M)
d. Repeat (c), starting with L foot and turning left. (2 M)
e. Repeat all (a-d) (8 M)

MUSIC B (IV)
Partners face each other. The same position of hands as in figure I.
Take two touch steps in front (R, L) (2 M)
Jump to across R in front L (ct. 1), jump to cross L in front of R (ct. 2), jump to cross R in
front L (ct. 1), jump to close R to L (ct. 2) (2 M)
Repeat (a) and (b), starting with L foot. (4 M)
Repeat all (a-c). (8 M)

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POLKA SA NAYON

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