PHILIPPINE FOLK DANCE o To develop a graceful and rhythmic

coordination of body movements that will

What is Dance? improve posture.
o To preserve for posterity, folk dances and music
Dance is a form of expression of oneself
indigenous to the different regions of the
through rhythmic movement; it also refers to
movement set to music where there emerges Philippines.
organization, structure and pattern. It is a composition
that implies arrangement of parts into a form. Characters of Philippine Folk Dances

What is Dancing?  In general, dancers stand apart.

 There is little, if any, bodily contact.
Means of expressing one’s emotions through  Most of the dances are done by pairs or
movement disciplined by rhythm. An act of moving couples.
rhythmically and expressively to an accompaniment.  Hand movements play an important part.
The word dancing came from an old German word  Most dances are in long formation.
“danson” which means to “stretch”. Essentially, all  Most dances begin and end with “saludo.”
dancing is made up of stretching and relaxing.  Dances from the lowlands have more foreign
elements those found in the uplands.
 War dances are found among non-Christian
Introduction to Philippine Folk Dance tribe

A form of dance developed by a group of people Do’s and Don’ts in Folk Dancing
that reflects the traditional life of the people of a
certain country or region.  Folk dancing originated in the Do’s in Folk Dancing
18th century to distinguish dance forms of common
people from those of the upper classes. It is a traditional 1.    Dance in a natural, simple and direct manner.
dance of a country which were evolved naturally and 2.    Dance with ease and smoothness.
spontaneously in connection with everyday activities 3.    Use the proper costume for the dance.
and experiences of the people who developed them. 4.    Follow directions and dance instructions as closely
as possible.
Folk dances, unlike most other dance forms, tend to 5.    Dance with feeling and expression.
have no stringent rules, and are sometimes formed
spontaneously among groups of people. The steps of Don’t’s in Folk Dancing
folk dances are passed through generations, rarely
being changed.  1.    Do not exaggerate the dance steps.
Philippine Folk Dance is a cultural art form handed 2.    Do not make the dances too dainty and graceful like
down from generation to generations. It communicates ballet.
the customs, beliefs, rituals, and occupations of the 3.    Don’t make entrance and exit long.
people of a region or country, fold dancing is usually 4.     Don’t make steps too elaborate and complicated.
associated with social activities, although some folk 5.    Don’t call a dance a folk dance unless steps come
dances are performed competitively. Folk dancing from traditional dances.
belongs to the people. It emanates from them. Folk
dancing is the heartbeat of the people. History
Filipino folk dance history is not the history of a single
Characteristics of Philippine Folk Dances national dance of one or two regions. Dances evolved
o To foster patriotism and nationalism through from different regions which are distinct from one
the study of our dance. another as they are affected by the religion and culture.
o To arouse better appreciation of Philippine
music and folk dances. Many people especially Filipinos are fond of dances. Our
o To provide through dancing, a healthful form of country is very rich in different native dances like
relaxation and recreation. 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 They dance to appease their ancestors and gods to cure
different native dances here in the Philippines by means ailments, to insure successful war-mating activities or to
of computerizing it. ward off bad luck or natural calamities. They dance to
congregate and socialize, for general welfare and
Folk Dance, recreational or ceremonial dance recreation, and as an outlet for repressed feeling. They
performed usually by members of the community to also dance to insure bountiful harvests, favorable
which the dance is traditional. Varying criteria have weather, and to mark milestones in the cycle of life.
been used to differentiate folk dance from other kinds
of dance: For example, the dancers are said to belong to So the dances evolve as they need them to express their
a certain economic level or come from certain locales; feelings, their sadness and their anger.
the steps are simple and repeated, so that any member
of the community can participate; the dances require Muslim/Moro Dances
no audience; and they are passed down through many
generations. Each of these criteria can be contradicted Mindanao and Sulu were never conquered by Spain.
by dances that are indisputably folk dances, and in each Islam was introduced in the Philippines in the 12th
of these criteria, folk dance overlaps with other kinds of century before the discovery of the islands by Magellan
dance. in 1521.

During the last few centuries many trends have affected The dances in Muslim however predated the Muslim
folk dancing. As the spread of industrialization brought influence. Like Ipat which was a dance to appease
rural people into the growing cities, dances related to ancestral spirits. Before Islam, the Maguindanaons held
agricultural activities or to communal rituals gradually the view that diseases are caused by tonong (ancestral
lost their meaning. In the changing circumstances of spirits).Thus, a folk healer performs the pag-ipat while
urban life, new dances evolved. Colonization also being possessed by the tinunungan (spirit).
affected dances-frequently, indigenous forms fused
with dances of the colonial powers. In the Philippines, Another is the dance baluang which creates the illusion
for example, new dances developed when Spanish of an angry monkey, and is always performed by male
influenced dancers of traditional native forms and dancers. The popularity of this dance comes naturally,
Islamic dance forms and styles. since the baluang, or monkey, enjoys an affectionate
place in Asian folklore.
Types of Folk Dances
Singkil was introduced after the 14th century. It was
National – traditional dances of a given country based on the epic legend of Darangan of the Maranao
Regional – local people of Mindanao. It tells of the story of a Muslim
Character – created by individual or group Princess, Gandingan who was caught in the middle of a
forest during an earthquake caused by the diwatas, or
Classification of Philippine Folk Dances fairies of the forest.

Cordillera (Igorot) Dances Tribal Dances

Spanish Influenced Dance
Muslim Dances The cultural minorities that live in the hills and
Tribal Dances mountains throughout the Philippine Archipelago
Rural Dances considered dances as basic part of their lives. Their
Culture and animistic beliefs predated Christianity and
Igorot Dances Islam. Dances are performed essentially for the gods. As
Long before the Spaniards, the indigenous people in the in most ancient cultures, unlike the Muslim tribes in
mountainous regions had already their folk dances their midst, their dances are nonetheless closely
which reflect their worship, their celebrations, their intertwined with ceremonials, rituals and sacrifices.
wars and even their everyday lives. Scholars refer to
them as mountain dances which consisted of different The only dance that is believed to have evolved during
mountain tribes. When Spaniars came, they called them the Spanish colonization is the Talaingod dance which is
Igorots. 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 A good example of rural or barrio dances is Sinulog. It is
dream, or pandamggo, that she was to bear such a a ceremonial dance performed by the people of San
child. This concept of a virgin-birth may have been Joaquin, Iloilo, during the feast of San Martin. It
derived from the Catholic faith originated in a barrio of San Joaquin called Sinugbahan.
It was believed that the image of San Martin was found
Maria Clara Dances at the edge of a beach, and that it could not be
removed until the people dance the Sinulog.
The history of the Philippines is that of a country
constantly melding its culture with that of outsiders, a Maria Clara Dances
narrative that is exemplified well by Filipino folk dance
history. For example, the 300-year Spanish occupation The coming of the Spaniards in the 16th century
of the Philippines profoundly influenced folk dancing. brought a new influence in Philippine life. A majority of
The ‘Maria Clara’ style of dance is named after a the Filipinos were converted to Roman Catholicism.
Spanish-style dress, and its performance includes European cultural ideas spread and the Filipinos
Spanish footwork with Filipino modifications such as adapted and blended to meet the local conditions.
bamboo castanets and Asian fans. Contact with ancient These dances reached their zenith in popularity around
Indian civilization is also evident through Indian- the turn of the century, particularly among urban
influenced dance, which thrives particularly in the Filipinos. They are so named in honor of the legendary
South. Numerous other influences including Muslim and Maria Clara, who remains a symbol of the virtues and
Indonesian can be found throughout the Philippines. nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere.
The coming of the Spaniards in the 16th century Displaying a very strong Spanish influence, these dances
brought a new influence in Philippine life. A majority of were, nonetheless, "Filipinized" as evidence of the use
the Filipinos were converted to Roman Catholicism. of bamboo castanets and the abanico, or Asian fan.
European cultural ideas spread and the Filipinos Typical attire for these dances are the formal Maria
adapted and blended to meet the local conditions. Clara dress and barong tagalog, an embroidered long-
These dances reached their zenith in popularity around sleeve shirt made of pineapple fiber.
the turn of the century, particularly among urban
Filipinos. They are so named in honor of the legendary Nature of Philippine Folk Dances
Maria Clara, who remains a symbol of the virtues and
nobility of the Filipina woman. Maria Clara was the chief A. Geographical Extent of Origin
female character of Jose Rizal's Noli Me Tangere.
Displaying a very strong Spanish influence, these dances 1. National Dances – founf throughout the silands with
were, nonetheless, "Filipinized" as evidence of the use little or no modification
of bamboo castanets and the abanico, or Asian fan.
Typical attire for these dances are the formal Maria Ex. Rigodon, Cariñosa, Jota, Balitaw, Pandanggo
Clara dress and barong tagalog, an embroidered long-
sleeve shirt made of pineapple fiber. 2. Local Dances – found in a certain locality

Rural and Barrio Ex. Tinikling – Leyte

Maglalatik – Binyang
Perhaps the best known and closest to the Filipino heart Esperanza – Nabua
are the dances from the rural Christian lowlands: a Subli – Batangas
country blessed with so much beauty. To the Filipinos, Biniganbigat – Abra
these dances illustrate the fiesta spirit and demonstrate
a love of life. They express a joy in work, a love for B. Nature
music, and pleasure in the simplicities of life. Typical
attire in the Rural Suite include the colorful balintawak 1. Occupational Dances - depict actions of a particular
and patadyong skirts for the women, and camisa de occupation.
chino and colored trousers for the men. The dances
developed during the three hundred years of Spanish Ex. Planting, Harvesting, Pounding, Winnowing, Pabrik,
colonization. Mananguete, etc.
2. Religious/Ceremonial - associated with religion, 2. Long Formation (Two or more parallel lines)
vows and ceremonies – Dancers form 2 or more parallel lines.

Ex. Dugsu, Sua-Sua, Putong, Sta. Clarang Pinong-Pino, Ex. Lulay, Sakuting
etc.
3. Set – consists of 2 or more pairs as a unit.
3. Comic Dances - depict funny movements
for entertainment. Ex. Binadyong, Haplik, Kakawati, etc.

Ex.  Kimbo-Kimbo, Makonggo, Kinoton

Special Classification
4. Game Dances - done with play elements. Group dances having distinctive features

Ex. Lubi-lubi, Pavo  Dance with Songs

Ex. Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis
5. Wedding Dances - performed during wedding feasts. Kawayan, etc.

Ex. Panasahan, etc.  Old Ballroom Dances

Ex. Polka, Mazurka, Chotis, Valse, etc.
6. Courtship Dances - depict the art of courtship.
 Dance with Implements
Ex. Hele-Hele, Bago Quiere Ex. Maglalatik, Sakuting, Jota Moncadena, Tinikling,
Salakot
7. Festival Dances - suitable for special occasions.
 Dances of Combined Rhythm
Ex. Pandanggo, Habanera, Jota, Surtido Ex. Surtido, Pantomina, Los Balles de Ayer

8. War Dances - showing imagery combat.

Factors Affecting Folk Dances
Ex. Sagayan, Palu-palo, etc.
 Geographical Location
C. Movements  Economic Conditions
 Climatic Conditions
1. Active – fast energetic movements.  Customs and Traditions
Ex. Tinikling, Maglalatik, Sakuting, Polkabal
Commonly Used Formations in Teaching Philippine
2. Moderate Folk Dance
Ex. Carinosa, Tagala, Habanera, Puripuri, etc.
1. Single circle, facing clockwise
3. Slow 2. Single circle partners facing
Ex. Pasakat, Amorosa, Tilday, Kundiman, etc. 3. Single circle, facing counterclockwise
4. Single circle, facing center
4. Slow and Fast 5. Double circle, partners facing
Ex. Putritos, Habanera, Ba-Ingles, Botoleña, Alcamfor, 6. Double circle, facing clockwise
etc. 7. Double circle, couples facing
8. Square or quadrille formation
D. Formation 9. Semi-circle or half moon
10. Double lines, facing front
1. Square or Quadrille (e.g. Rigodon, Los Bailes de 11. Double lines, partners facing
Ayer) 12. Long open formation
 Fundamental Dance Positions 5. Do-si-do – Partners advance forward, pass each
There are five fundamental or basic positions in dance other’s right ( left ) side, step across to the right
that are commonly termed as 1st position, 2nd position, move backwards without turning around, pass each
3rd position, 4th position, and 5th position of the feet other left side to proper places.
and arms.
6. Hayon-hayon – To place one forearm in front and
o 1st Position the other at the back of the waist.
Feet: Heels close together, toes apart with an angle of
about 45 degrees. 7. Hop – A spring from one foot landing on the same
foot in place or in any direction.
Arms: Both arms raised in a circle in front of chest with
the finger tips about an inch apart. 8. Jaleo – Partners turn around clockwise (with right
elbows almost touching) or counterclockwise ( with
o 2nd Position left elbows almost touching ) using walking or any
Feet: Feet apart sideward of about a pace distance. kind of dance step.

Arms: Both raised sideward with a graceful curve at 9. Jump – A spring on one foot or both feet landing on
shoulder level. both feet in any direction.

o 3rd Position 10. Kumintang – moving the hand from the wrist either
Feet: Heel of one foot close to in-step of other foot. in a clockwise or counterclockwise direction.

Arms: One arm raised in front as in 2nd position; other 11. Leap – A spring from one foot landing on the other
arm raised upward. foot in any direction.

o 4th Position 12. Place – To put foot in a certain position without

Feet: One foot in front of other foot of a pace distance. putting weight on it.

Arms: One arm raised in front as in 1st position; other 13. Pivot – To turn with the ball, heel or whole foot on a
arm raised overhead. fixed place or point.

o 5th Position 14. Point – Touch the floor lightly with the toes of one
Feet: Heel of front foot close to big toe of rear foot. foot, weight of the body on the other foot.

Arms: Both arms raised overhead. 15. Masiwak – To turn the hand from the wrist half-way
clockwise then raise and lower wrist once or twice.
Common Dance Terms This is an Ibanag term.

1. Arms in lateral position – Both arms are at one side 16. Panadyak – To stamp in front or at the side with the
either right or left, at shoulder, chest or waist level. right foot and tap with same foot close to the left
foot. This is a Tagalog term.
2. Brush – Weight on one foot, hit the floor with the
ball or heel of the other foot and lift that foot from 17. Patay – To bend the head downward and to support
the floor to any direction. the forehead with the R forearm or with the crook
of the R elbow while the left hand supports lightly
3. Crossed Arms – Partners facing each other or the palm of the right hand. This is usually done with
standing side by side join their left hands together the left foot pointing in rear and knees slightly bent.
and the right hands together; either right over left This is an Ilocano term and the movement is
or left over right hands. commonly. Found in Ilocano dances.

4. Cut – To displace quickly one foot with the other. 18. Salok – To 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 10. Heel and heel-place, toe-
the salok. This is a Tagalog term. Toe Change point, step, 1,2 / 1 and 2
Step close, step
19. Saludo – Partners bow to each other, to the with both feet
audience, opposite dancers, or to the neighbors 11. Shuffling flat on floor,
with feet together. This is of Spanish origin and is 1 and 2 and
Step take tiny slide
used in almost all Philippine dances. steps

20. Sarok – Cross the R foot in front of the L , bend the 3

body slightly forward and cross the hands down in Time Dance Steps
4
front of the R hand over the L. This is a Visayan
term. Dance Steps Step Pattern Counting
1. Native
21. Slide – To glide foot smoothly along the floor. The step, close, step 1, 2, 3
Waltz
movement may be finished with or without transfer
cross-step, close,
of weight. 2. Cross Waltz 1, 2, 3
step
22. Stamp – To bring the foot forcibly and noisily on the step, close-heels
3. Waltz
floor with or without transfer of weight. raise, heels 1, 2, 3
Balance
down
23. Tap – To rap slightly with the ball or toe of the free 4. Mazurka
slide, cut, hop 1, 2, 3
foot, flexing the ankle joint keeping weight of the Step
body on the other foot. There is no change or 5. Redoba
slide, cut, cut 1, 2, 3
transfer of weight. Step
6. Sway
step, cross-step,
24. Whirl – To make fast turns by executing small steps Balance 1,2, 3 / 1, 23
step point
in place to right or left. with A point
7. Sway
step, cross-step,
Basic Dance Steps Balance w/ 1,2, 3 / 1, 23
step, hop
a hop
2 8. Sway
Time Dance Steps Balance w/
step, cross-step,
1,2, 3/ 1, 2, 3
4 step, close, step
A Waltz
Dance Steps Step Pattern Counting 9. Engano w/ a step, cross-step,
1,2, 3/ 1, 2, 3
1. Bleking Step heel-place, close 1,2 Waltz step, close, step
2. Touch step point, close 1,2
4
3. Close tep Step, close 1,2 Time Dance Steps
4. Hop Step Step, hop 1,2 4
Step, cross or
1,2 Dance Steps Step Pattern Counting
5. Cross Step cross, step
6. Change Step Step, close, step 1 and 2 step, close, step
1. Schottische
hop(raise foot in 1, 2, 3, 4
jump ( one ft. in Step
front)
front and
the other in step, close, step,
7. Changing 2. Escotis Step hop (raise foot in 1, 2, 3, 4
rear) there are 1,2
Step rear)
two changing
steps in a brush,raise,
measure brush, raise / 1, 2, 3, 4 /
3. Chotis Step
8. Contraganza leap, cross-step, step, step, step, 1, 2, 3, 4
1 and 2 close
Step step
9. Habanera
step, close, step 1, 2 and
Step
 b. Take three gallop steps sideward right (cts. 1, ah, 2,
Interpretation of Philippine Folk Dances ah, 1, ah) step R foot sideward (ct. 2) (2 M)

Tiklos (Visayan Folk Dance) c. Repeat (a), starting with the R cut backward. (2 M)

Refers to a group of peasants who agree to work for d. Repeat (b), going sideward left. (2 M)
each other one day each week to clear the forest,
prepare the soil for planting, or do any cold job in the e. Repeat all (a-d) (8 M)
farm, including the building of a house.
Music A (III)
Costume: Dancers are dressed in working costume Partners face each other. Throughout this figure clap
hands in front of chest in this manner: Clap three times
Time Signature (cts. 1 and 2), clap twice (cts. 1,2). do this for sixteen
measures.
Formation: At noontime, the people gather to eat their
lunch together and to rest. During this period, Tiklos a. Execute change step sideward, starting with R foot
music is played with a flute accompanied by a guitar (cts. 1 and 2) hop on R and raise L knee in front swinging
and the guimbal or the tambora (kind of drum). L foot obliquely right backward across R knee in front
(ct. 1), hop on R and swing L foot obliquely left forward
The Music of Tiklos is also played to gather the peasants (ct. 2) (2 M)
before they start out for work

Music: Divided into two parts. A and B b. Repeat (a), starting with the L foot. (2 M)

Count: one, two or one, ah, two, ah or one and two to a c. Execute a three-step turn right in place (cts. 1, and
measure 2). Point L in front (ct. 1), point the same foot close
to R (ct. 2) (2 M)
Partners stand opposite each other about six feet apart.
When facing the audience, girl stands at partner’s right d. Repeat (c), starting with L foot and turning left
side. One to any number of pairs may take part in this (2 M)
dance.
Repeat all (a-d) (8 M)
Music A (I)
Partners face front. Throughout this figure, Girl holds Music B (IV)
her skirt, Boy places hands on waist. Partners face each other. The same position of hands in
figure I.
a. Standing with the R foot, take two heel and toe
change steps forward a. Take two touch steps in front (R, L) (2 M)

b. Execute change step sideward, R and L. (2 M) b. 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),
c. Starting with the R foot, take four steps backward jump to close R to L (ct. 2) (2 M)
to proper places. (2 M)
c. Repeat (a) and (b), starting with L foot. (4 M)
d. Repeat all. (a-c) (8 M)
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)