Origin and Development of Dance in the Philippines

I. Objectives:

At the end of the lesson, the students are expected to:

a. discuss the history of Philippine Culture giving emphasis on Dance;

b. identify the various regions of the Philippines and its distinction from each other; and

c. value the importance of this Historical Developments in our culture especially on dance.

II. Overview:

Philippine Culture is the one that separates us from the rest of the world, our colorful and lively culture
that make us distinctly Filipino. This includes traditions, languages, arts, etc., which are found in
museums, churches and galleries, found within the heart of key cities.

Most provinces have their own identifying folk dances too wherein they showcase the elegance and
beauty of the way they do things, the way they dress, the way they see things as shown in different
paintings, as we have been influenced by various events as that happened in our history.

III. Learning Content:

In Prehistoric times, dance was usually a communal affair and remained essential with the emergence of
high civilizations, social/caste made it felt and developed into a form of art. Specially, the aristocracy
created the professional dancer and the spectacle, or theater, dance limiting its own dancing to a simple
exercise that eventually led to ballroom dancing. The common people excluded from enjoyment of
those past times, continued their communal dancing.

Impact of societal functions to choreography

Other less common presentations of Philippine dances have been categorized by intention, or societal
functions. Philippine dances not only convey the artistry of movement, but are often associated with
life-functions such as weddings, the mimicry of birds, or even rituals like the warding of evil spirits. This
outlook on dance can be separated into the following categories:

Ritualistic dances

A photo from 1909 showing Igorots doing their ceremonial dance.

Filipino rituals are based on the belief that there exists a delicate balance
between man and nature, and the spirit world; and that it is through rituals
that we can restore, enhance or maintain this balance. It clarifies our place
in the universe; each gesture and move in the dance are symbolically articulating
the role of man and human in the world. The dances contain narratives which
illustrate the contractual obligations governing relationships between mankind,
nature and the spirits. Because there are innumerable reasons for why and how humans can cause shifts
in the balance or forget their place in the grander scheme, there are also innumerable rituals that can
correct or address the concerns. Thus, it is in looking at their intentions that it can be better understood,
interpreted and classified. Some of the rituals attempt to define the future, appease spirits, ask for good
harvests, invoke protection, heal the sick, asking for good luck, guidance and counsel. Almost every facet
of Filipino life is linked to a ritual practice and is an indication of the value and pervasiveness of rituals in
folk culture.
Filipino rituals are often shown in dance, because for Filipinos, dance is the highest symbolic form. It
transcends language and is able to convey emotions, collective memory, and articulate their purpose.
Dance in this case, is the fundamental expression of their complex message and intention. Aside from
ritualistic dance as a way to convey their request to the gods or spirits, it also reaffirms social roles in
village hierarchies. The leaders of the dances are the masters of the village's collective memory and
knowledge and subsequently, commands the highest respect and status.

Forms

Rituals have been greatly influenced by rich colonial history, as well as archipelagic geography. As a
result of this, each major geographic area such preserved distinct traditions, some preserving pre-
colonial influences, while others were integrated or completely changed. Islam was deeply rooted in
Mindanaoan culture long before the Spanish arrived and were mostly left untouched by Spanish
presence, thus they continued to keep their mythic Islamic practices. Unlike the Filipinos of the
lowlands, who integrated Christian and Catholic practices to form a uniquely Filipino folk Christianity
which is still practiced today.

Structure

As rituals are mostly in the form of dances, it uses gestures, incantations and symbolic implements to
invoke spirits, to restore balance or to ask for intercession for harvests, good marriages, safety in
journey or counsel. Rituals then, have 2 intended audiences, the spirits who are summoned to placate
their anger or to call for their participation to restore balance and to care and provide for mankind. The
second audience are the practitioners. In carrying out the rituals, they are reflecting and passing on the
collective knowledge and memory of the village, which have been accumulated and refined across many
generations. It is through the use of dramatic gestures and dance that symbolic narratives, their values
and beliefs are recorded and safeguarded from forgetting. The performance of ritual dances is
ultimately an act of recollection. It is a reminder for men and spirit their duties and responsibility in
restoring the world's balance. And within the dance itself, practitioners are reminded of the significance
of the past, and are being prepared to accommodate the uncertainties that the present and future may
bring.

Functions

Dancing for Filipinos have always imitated nature and life, and is seen as a form of spiritual and social
expression. Birds, mountains, seas and straits have become inspiration for local dances. The tinikling
mimic the rice-preying birds, the itik-itik is reminiscent of its namesake the duck, the courtship dances of
the Cordillera are inspired by hawk-like movements.

Geographic location also influence what movements are incorporated into the dances. People from
Maranao, Maguindanaon, Bagobo, Manobo, T’boli of Mindanao and Tausug and Badjao of Sulu. Draw
influences from aquatic life as they are near bodies of water and have lived their lives mostly off-shore.
Their dances accompanies by chants, songs and instruments like the kulintang, gong, gabbang and
haglong, as well as a variety of drums show their zest for life.

Some rituals are used as religious expressions to honor the spirits and ask for blessings in each facet of
life, such as birth, illness, planting, harvest or even death. They believe in diwatas, or spirits dwelling in
nature, which can be appeased through offerings and dance as a means to commune with the spirit.

Dance over the years

To better understand these dances, the time period of these dances must be considered. Depending on
each period, they have had their own ways of influencing and inspiring the dances which then evolve
and change depending on these elements.

Pre-colonial Years

Pre-colonial dances are distinctly meant to appease the Gods and to ask favors from spirits, as a means
to celebrate their harvest or hunt. Their dance mimicked life forms and the stories of their community.
Moreover, theses dances were also ritualistic in nature, dances articulated rites of passages, the
community's collective legends and history.

Across the 7,641 islands in the Philippines, there are various tribes scattered all over, each with their
own unique traditions and dances. The Igorots from the mountains of Luzon, resisted Spanish
colonization and influences have kept most of their dances untouched across generations. Their dances
express their love of nature and gratitude to the gods. Their choreography imitates nature and their life
experiences. Dancers would often swoop their arms like birds and stomp their feet as a representation
of the rumbling earth.

Among early people, dancing was a popular and common activity with almost all occasions celebrated
by dancing. They danced to the accompanying of gong and drums to appear the evil spirit whom they
believed caused them sickness. Dance was a part of their religious offerings to their God in nature.

War Dance- intended to incite the fighting of the warriors, commonly performed to the quick tempo of a
drum.

Festival Dance- great and exciting occasions for the primitive people

Courtship/Wedding Dance- performed with intricate hand and body movements

The development of the folk dance in the Philippines is a very big step to enriching its culture not only
because Filipinos can be proud of it and also because it is their culture. Here are the developments:

1. Folk dances are performed at different countries.

2. Folk dances are danced by other people all over the world.

3. It tells us that Filipino culture is rich.

The History of the Filipino Folk Dance

Philippine Folk Dance

-has a long and diverse history

-originality from pre-colonize era to the Spanish occupation (1500s-1800s)

-tell stories about historical happenings, ways of living, cultural influences and
religion customs.

Pre-Hispanic Times

-long before the Spaniards came to the Philippines, the indigenous people who
mostly live in the mountainous regions used folk dances in cultural celebration, worships and rituals.

-they used music and dance to: connect with the Gods-appease their ancestors.

-pray for bountiful harvest and favourable weather.

-ask for healing.

-seek guidance during wars, ward off bad luck and natural calamities, to socialize,
and to express feelings

Northern Luzon (Ilocos Region-North, Tagalog Region-South)

-most of the folk dance here are mixtures of indigenous and Spanish elements and
are usually performed during special occasion such as, weddings, and fiestas.

Southern Tagalog

-Manila- the major Government centers have been located here so most of the dances
in the region reflect Spanish and European influences.

Visayan Dances

-Visayas- central part of the Philippine archipelago.

 -mostly tell stories of people’s lives and frequently grow inspiration from animal
movements.

Muslim and Moro Dances

-Mindanao Region-Southern part of the Philippine is a Muslim region never

conquered by Spaniards.

-Islam was introduced during the 12th century and Muslims are also known as
“moros”

-dancers typically mean allowing and colorful costumes decorated with jewels, swords and shields.

Primitive dances are classified into the following:

I – Ritual Dance – are dances that which connect the material world to the spiritual.

Rituals sustain the spiritual and social life of the indigenous Filipinos. Closely attuned to nature,
believing in the spirits that keep their environment fruitful and their selves alive, the ethnic Filipinos
enact these rites – always with instrumental music, chanting and often dancing – as “part of communal
life cycles, but they also serves as a popular medium of dramatic expression and entertainment that
reflects the people’s nature, culture and aspirations.” (Amilbangsa, 1983).

The Babaylan or medicine men of primitive cultures whose powers to invoke the assistance of a
god were feared, respected and considered by many to be the first choreographers or composers of
formal dances.

At the center of these rites are the Baylan or Babaylan. Below are example of Ritual dances:

• PAGDIWATA – The tagbanuas of Palawan perform this dance in gratitude for a good harvest, to
implore continues protection and favor from the deities and for general well – being. (Alejandro, 1987).

• DUGSO – A dance of the Manobos of Bukidnon, is a thanksgiving for a bountiful harvest, the
birth of a male child, or a victory in war. (Alejandro, 1978).

• SOHTEN of the Subanon supplicates the spirits to give strength and courage to a warrior who
shakes a shield and palm leaves. (Villaluz & Obusan, 1992).

• BENDIAN of Benguet is a dance to heal a prolonged illness, relieve natural calamities such as
famine and draught and to celebrate a victory in war. (Sayaw, 1970 National Dance Workshop, Ramon
Obusan)

• TAHING BAYLA – a prayer dance for a bountiful fish catch. (Bacobo-Olivar, 1971).
II – Lifecycle Dances – dances which celebrate an individual’s birth, baptism, courtship, wedding and
demise.

The life of the young is devoutly and joyfully ushered is nurtured, and promoted. Examples of
these dances are:

• MANMANOK of the Bagos – a courtship dance which is an imitation of two mating fowls.
Dancers use blankets that are spread out with their hands or are kept around the hips. The men seem to
scratch the ground, while the women keep shuffling steps close together and to the ground.

• DALING-DALING of the Tausug – a dance that displays grace as much as affection. It is

considered a courtship dance especially when done in pairs.

• HIMOG or DEATH DANCE – a ceremonial dance performed only by men to ask the gods to help
in punishing the killer of their warriors. (Bacobo-Olivar, 1971).

• PANGALAY PANGANTIN – a Samal – Badjao dance in the “Pangalay” style performed by the
bride from the groom. As he follows, he keeps touching the hilt of his “kris” signifying his readiness to
defend the bride. (Amilbangsa, 1983).

III – Occupational Dances – dances which transform defense and livelihood activities to celebratory
performances.

Life in the ethnic communities is characterized by a variety of activities relating to livelihood or

defense. Occupational dances depicts community activities such as planting and hunting performed for
the celebration of work are usually playful and vibrant dances infused with story meaning and were
constant sources of delight among the people. Those close to the sea enact fishing.

• TUDAK (Bukidnon) – acts out a whole sequence of the rice cycle into dance.

• TAUTI – an unusually exciting occupational dance which vividly portrays the labors of catching
‘tauti” (Catfish). (Amilbangsa, 1983).

IV – Mimetic Dance – special dances which are mimetic in nature. The surrounding animal life also easily
lends itself to imitative dances that are both graphic and symbolic.

• SAYAW TU BAUD or Pigeon Dance – an imitation of the flight of pigeons from hunters stalking
them. (Bacobo-Olivar, 1971).

• PINUHAG – imitates movements of a bee gathering honey (Alejandro, 1978).

• INAMO-AMO – mimicked the movements of a monkey as it bounces and gambles about.

(Bacobo-Olivar, 1978).

• NINAOG – an imitation of the movements of the hawk as it pounced on its quarry (game
pursued by the hunter: Bacobo-Olivar, 1971.)
The Primitive dances of the Filipinos draw their inspiration from the different images around them and
religious and social activities of the tribe which are communal purpose. They may also have learned
many of their dance movements are patterns from the birds and animals around them.

Many bird and fowls, such as roosters and the turkeys, go through courtship rituals that are very much
like simple primitive dance patterns.

This was the scenario of primitive life and cultures when the Spaniards came to the Philippine.

Spanish era

Estudiantina is a Spanish influenced Filipino folk dance depicting frolicking student.

Spaniards have moderated and even led the politics and economics of the country, which was mainly
due to the Spanish colonialism starting from the 16th century. Despite the earliest Filipinos having their
of type of government, writing, myths, and traditions, several features of Hispanic culture have
influenced different aspects of Filipino culture, from clothing, such as the barong Tagalog and the terno,
to their religion even up to the dances and music.

Tinikling

Filipinos already had their own set of music and dances before the Spaniards came; dances were
performed for different reasons, from weddings up to religious feasts, even to prepare for or celebrate
war. As the Spanish colonizers realized the relevance of these dances for Filipinos, dancing was utilized
as a relevant social activity. Some of the first dances they presented were the rigodon, Virginia, and
lanceros; these were dances done for the higher class and special fiestas.[39] Filipino dance styles like
the kumintang, type of song and dance, and dances like the Pampangois, a dance distinguished for its
lion-like actions and hand clapping, were pushed aside when the Spaniards had come. However, they
were later remade with influences from new Spanish dances such as the fandango, lanceros, curacha,
and rigodon.[40] Other features that were done when adopting these European dances was the addition
of local elements like using bamboo, paypays (local fans), and coconut or shell castanets.

Pandanggo sa Ilaw

Filipinos, mainly aristocrats, have also created their own renditions of European dances such as the
jotas, fandangos, mazurkas, and waltzes that were done during this time.[38] The fandango after it was
introduced was recreated as the pandaggo; the same happened to the jota that was then recreated in
several regions; Cariñosa and Sayaw Santa Isabel had steps that were taken from a popular dance, the
waltz. Other examples would be how the rhythm and tempo of the jota and the polka influenced
traditional dances like the Tinikling and the Itik-itik, which were also inspired from Southeast Asian
dances. Dances that were not accompanied by Western music were also given their own
accompaniments, such as the case of Pandanggo sa Ilaw.

As European dances had more sharp and fast steps, Filipinos softened these movements when they
were recreated.[39] Other dances that were created during the time of hispanization would be the
Danza, Jota Cagayan, Jota Isabela, Pantomina, Abaruray, Jota Manileña, Habanera Jovencita, Paypay de
Manila, Jota Paragua, and the Paseo de Iloilo.

American era

Just like in the Spanish colonization, the Americans, in 1898, had brought in their own commercial and
global culture which had also influenced the Filipinos. Those with interest in dance were the ones mainly
appealed to by the more Black-influenced customs of dance and music. With these Filipino dancers who
already know the zarzuela (sarswela), a Spanish form of stage performance with singing and dancing and
musical comedy,[42] they became more interested in the American vaudeville (bodabil) or “stage
show”, which is filled with both theatrical and circus acts, and more reminiscent of Broadway
musicals.[43] More dynamic dances were incorporated in these zarzuelas during the 1950s to the 1970s,
such as the cakewalk, buck-and-wing, skirt dance, clog, tap, and soft-shoe[42] that were more upbeat
and had an American rhythm to them, as well as social dances like the Charleston, foxtrot, big apple,
one-step, slow-drag, rumba, mambo, samba, cha-cha, and the Latin-influenced tango.[42] This growth of
American-influenced dances also spawned the increase of cabarets, such as the Santa Ana Cabaret
which is a huge ballroom dedicated for these performances. The disco scene also grew more in the
1980s.

Known as the “Dean of Philippine vaudeville,” John Cowper had brought with him other artists when he
had come. As with the growth of American influence over dance in the country, Filipinos had started
creating their own dance troupes; some of these would be the Salvadors, the Roques, Sammy Rodrigues,
Lamberto Avellana, and Jose Generoso to name a few.[42] European classical ballet also gained more
popularity following the American dances. Aside from creating their own groups, with the new and more
advanced transportation system in the country, the Philippines was now able to be included in the
international circuit, which had led to performances by international acts such as the Lilliputians with
their “ballet girls” and the Baroufski Imperial Russian Circus showcasing their ballerinas. Aside from
having international acts come, other talents also came to perform, with the notable one being Anna
Pavlova in 1922 and performed at the Manila Grand Opera House. More international acts came to
perform in the Philippines after, while some also trained Filipino dancers, one of which is Madame
Luboc “Luva” Adameit who trained some of the first notable ballet dancers who had also become
choreographers: Leonor Orosa Goquingo, known for her folk-inspired ballet performances (such as
Filipinescas), Remedios “Totoy” de Oteyza, and Rosalia Merino Santos, a child prodigy known for doing
the first fouettes in the country.

Aside from the rise of American dances and European style ballet, modern dance had also started taking
form during this period in the vaudeville circuit. Ruth St. Denis and Ted Shawn, two founders of modern
dance visited the Manila in 1926. Other modern dancers also performed in the country which led to
some Filipinos training under this dance style. With the growing popularity of this dance style, Filipino
dancers continued to mix in elements of folklore and native themes. Anita Kane produced Mariang
Makiling in 1939 and it was the first full-length Filipino ballet performance. She also has other works
such as Reconstruction Ballet, Mutya ng Dagat (Muse of the Sea), Inulan sa Pista (Rained-out Feast), and
Aswang (Vampire), which all had Filipino motifs. Leonor Orosa-Goquingco also had native elements in
her dances like Noli Dance Suite and Filipinescas: Philippine Life, Legend and Lore in Dance, which had
mixed ballet and folk dances into one performance. Due to this trend, many other writers and dancers
continued to connect this Western dance style with native influences, motifs, and even history.

Modern era

The Bayanihan Philippine National Folk Dance Company has been lauded for preserving many of the
various traditional folk dances found throughout the Philippines. They are famed for their iconic
performances of Philippine dances such as the tinikling and singkil that both feature clashing bamboo
poles.

Contributors of Philippine folk Dances

Francisca Reyes-Aquino

(March 9, 1899 – November 21, 1983) was a Filipino folk dancer and academic noted for her research on
Philippine folk dance. She is a recipient of the Republic Award of Merit and the Ramon Magsaysay
Award and is a designated National Artist of the Philippines for Dance

Leonor Orosa Goquingco

(24 July 1917 – 15 July 2005) was a Filipino national artist in creative dance, who was also known for
breaking tradition within dance.[1] She played the piano, drew art, designed scenery and costumes,
sculpted, acted, directed, danced and choreographed. Her pen name was Cristina Luna and she was
known as Trailblazer, Mother of Philippine Theater Dance and Dean of Filipino Performing Arts Critics.
She died on July 15, 2005 of cardiac arrest following a cerebro-vascular accident at the age of 87.

Lucrecia Faustino Reyes-Urtula

(June 29, 1929 – August 4, 1999) was a Filipino choreographer, theater director, teacher, author and
researcher on ethnic dance. She was the founding director of the Bayanihan Philippine National Folk
Dance Company and was named National Artist of the Philippines for dance in 1988.

She worked to translate folk dancing into the realm of theater. She adapted indigenous dance traditions
to the demands of the modern stage, and performances of her works received international attention.

Ramon Arevalo Obusan

(June 16, 1938 – December 21, 2006) was a Filipino dancer, choreographer, stage designer and artistic
director. Obusan is credited for his work in promoting Philippine traditional dance and cultural work. He
is also an acclaimed archivist, researcher and documentary filmmaker who focused on Philippine
culture. He also founded Ramon Obusan Folkloric Group in 1972. Among the awards Obusan received
was the Patnubay ng Kalinangan award by the City of Manila in 1992, the Gawad CCP Para sa Sining
award in 1993 and the prestigious National Artist of the Philippines for dance in May 2006.

Alice Garcia Reyes

(born October 14, 1942)[1][2] is a Filipina dancer, choreographer, teacher, director and producer. The
founder (together with Eddie Elejar) of Ballet Philippines, she received since June 20, 2014 from the
Philippine President Benigno Aquino III the highest award in the Arts, National Artist of the
Philippines.[3] She was chiefly responsible in popularizing contemporary dance with the Alice Reyes
Dance Company which staged the first modern dance concert at the Cultural Center of the Philippines
Main Theater in February 1970. It was this company that later became Ballet Philippines. She is best
known for "Bungkos Suite", "Carmen", "Carmina Burana", "Romeo and Juliet", "Rama Hari",
"Cinderella", "Amada", "Itim-Asu", and "Tales of the Manuvu"—all nuanced with Filipino culture, gesture
and grace.

https://en.wikipedia.org/wiki/Category:Dance_in_the_Philippines

http://julstolentino.blogspot.com/2012/03/module-8-analysis-of-dance-steps-arms_13.html