MAGLALATIK

MAGLALATIK

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 hung four or six more coconut shells halves. The dancer’s all male
perform the dance by hitting one coconut shell with the other - sometimes the
ones on the hands, sometimes, the ones on the body, and sometimes the shells
worn by another performer, all in time to fast drumbeat.

The name of the dance comes from the Filipino word "Latik", which means
"fried coconut milk curd", a coconut product that is used in Filipino cooking,
particularly in snacks.

Originally performed in Binan, Laguna as a mock-war dance that

demonstrates a fight between the Moros and the Christians over the prized latik
or coconut meat during the Spanish rule, this dance is also shown to pay tribute
to the town’s patron saint, San Isidro Labrador. It has a four-part performance
such as the palipasan and the baligtaran showing the intense battle, the paseo
and the escaramusa- the reconciliation. Moro dancers wear read trousers while
the Christian dancers show up in blue. All dancers are male; with harnesses of
coconut shells attached on their chests, backs, thighs and hips.

HISTORY & ORIGIN

Maglalatik, often referred to as the “dance of the coconut gatherers,” is a

traditional Philippine folk dance deeply rooted in the country’s rich cultural
tapestry. This article takes a journey through the captivating history of Maglalatik
and reveals how it has become an emblem of Filipino artistry.

The origins of Maglalatik can be traced back to the pre-colonial era, where
it was performed as a ritual to celebrate bountiful harvests and honor the patron
saint of farmers, San Isidro Labrador. This vibrant dance was a reflection of the
country’s deep connection to nature and its people’s reliance on agriculture for
survival.

Maglalatik underwent a significant transformation during the Spanish

colonization of the Philippines. The dance evolved into a mock battle between the
native Filipinos (Christians) and the invading Moros (Muslims). Each side wielded
coconut shells as weapons, symbolizing the struggle to protect their land and
livelihoods. The dance’s satirical elements also hinted at a subtle form of cultural
resistance against colonial rule.

In modern times, Maglalatik continues to captivate audiences with its

vibrant colors, energetic music, and intricate choreography. It has become a
symbol of unity and perseverance, performed at various cultural festivals and
events across the country. Despite the ebb and flow of time, this dance has
endured as a testament to the enduring spirit of the Filipino people.
 DANCE PROPERTIES

Costume: The Moros wear red trousers and black undershirts with long sleeves
and the Christians, blue trousers and whine undershirts with long
sleeves.Coconut shells are attached to the dancers.two places on front
just below the shoulders, two pieces at the back of shoulders and two
at the back of the waist, two pieces above the knees and one piece
in each hand. The coconut shells at the shoulders (front and back)
and waist are circular while those above the knees and those held by
the hands are triangular in form and are attached to the dancers. For
grown-up boys the torso may be bare and the trousers rolled up.

Music: Is divided into five parts: Introduction, A,B,C and D. It was composed by
the late Dr. Francisco Santiago especially for this dance. The original
music for this dance was rhythmic sounds reduced by two bamboo sticks
against each other with guitar accompaniment.

Counts: 1, and , 2, an or 1,2,to a measure in 2/4 time and 1,2,3 to a in ¾ time.

Formation: The dancers stand in two columns facing the audience, the
Christians at the left side and the Moros at the right side. The two columns
are six feet apart and the dancers on each side are four feet from each
other. From four to six pairs may compose a set. The dancers opposite
each other, when facing, are partners.

Christians Moros

X1x
X2x
X3x
X4x

Steps Used:

I. Step Right foot forward and twist body to left (ct 1 or cts. 1, and ) step
Left in place and face front ( ct. 1 or cts. 1, and ), step Left original place
and face front (ct. 2 or cts. 2, and )………………………………………... 2M

II. Jump forward with feet together or with the Right foot a little bit ahead of
the Left and twist body to left (ct. 1 or cts. 1, and), step Left backward to
original position and face front (ct. 2 or cts. 2, and), step Right backward
and twist body to right (ct. 1, or cts. 1,and), step Left in original place and
face front (ct. 2 or cts. 2, and)……………………………………………… 2M

III. Jump forward with feet together or with the Right foot a little bet ahead
of the Left and twist the body to the left (ct. 1, or cts. 1, and) step Left
backward to the original place and face front(ct. 2 or cts. 2, and) , jump
backward with the feet together or with the Left foot a little bit ahead of the
 Right and twist the body to the right (ct. 1 or cts. 1,and), step Left forward
to original position and face front (ct. 2 or cts. 2, and)…………………. 2M
This is the same as step II but with the jump forward and backward

Note:
1. In all the above steps, the knees are relaxed and slightly bent.
2. To move forward in Step I the R foot makes a bigger step forward than
backward and the L steps forward instead of in place.
3. To move forward in Steps II and III, make bigger jump forward that the
backward jump and the L steps forward instead of in place

Hand movements:
Note:
R (L) hand meant the conconut shell held by the R (L) hand, R (L) hand,
R, (L) knee means the coconut shell attached above the knees and the same
on the shoulders and waist.
Strike R knee with R hand (ct. 1), L knee with L hand (ct. end), front of L
shoulder with R hand (ct. 2), front of R shoulder with L hand (ct. end), back
of R shoulder with R hand (ct. 1), back of L shoulder with L hand (ct. end),
back of waist at R side with R hand (ct. 2), back of waist at L side with L
hand (ct. end) ………………………………………………………………. 2M

ENTRANCE

Music introduction.
The Christians enter from left side and the Moros from right side. Starting
with R foot , walk or march briskly to places. Strike coconut shells held by
the hands against each other, starting with R hand going upward and the L
downward first. Continue striking shells on every count of every measure
with Right (Left) and Left (Right) moving upward and downward alternately
until all are in proper places (See diagram below – Moro,solid line and
Christians continuous line). Dancers from each side cross each other
alternately in front and down in rear a their columns cross each other
….………………………………………………………………………… 16M

Interlude
Music Interlude.
Face front
(a) Step Left in place (ct. 2 of 16th M of Introduction 1ct

(b) Execute Step I Four times. Arms in hayon- hayon, R and L in front
alternately. Do not click coconut shells. The R hand follows the movement
of the R foot, that is , if the R foot is in front the R hand is in front and it the
R foot is in rear the R hand is in rear. The L hand does the same, following
the movements of the L foot……………………………………………….. 8M
 FIGURE I

Music A Face front.

a.) Execute Step I four times in place. Do the hand movements……… 8M
b.) Execute Step I four times, casting off , No. I’s on both sides leading.
Do the same hand movements……………………………………….. 8M
At the end of this figure the leaders may be about the middle of the way
only (of the former lines.

FIGURE II

Music B First time.

a) Execute Step II four times until No. 1’s reach the foot of the former
formation. Do the same hand movements……………………………. 8M
b) Continue Step II four more times, No. 1’s turning inward . Do the same
hand movement…..……………………………………………………… 8M

FIGURE III

Music B. Second time.

a.) Execute Step III four times going to proper places. Do the same hand
movements……………………………………………………………… 8M
b.) Partners face each other, repeat (a) in place………………………… 8M

INTERLUDE
Music C. First 8 measures.
Partners face each other .
Repeat movements in the Interlude on the ENTRANCE…………... 8M

FIGURTE IV

Music C. From 9th measure of first time and the whole second time.
Partners face each other.
a.) Starting with Right foot, take four steps forward to meet at center.
Arms swinging naturally at sides………………………………………. 2M
b.) Strike coconut shells in any part of partner’s body four times (4 cts.)
….…………………………………………………………………………. 2M
c.) Starting with Right foot, take four steps forward to partner’s place,
passing by Right shoulders. Arms as in (a) (4 cts.)………………….. 2M
d.) Turn right about and repeat (a)………………………………………… 2M
e.) Repeat (b)……………………………………………………………….. 2M
f.) Repeat (c ) , going to proper places…………………………………… 2M
g.) Repeat all ( a – f)……………………………………………………….. 12M
Note:
Instead of striking each other’s shells in (b) and (e) a stunt called
baligtaran (back-to-back roll) may be performed. Do the baligtaran
alternately with coconut shell striking

PAUSE

Music Introduction.
Turn Right shoulder toward partner ready for figure V. A good
dancer In the group goes to center to be soloist for the next
figure………………………………………………………………………….. 2M

FIGURE V

Music D. First time.

Circle dancers.
(a) Starting with Right foot, take sixteen waltz steps forward moving
clockwise. Click own coconut shells on cts. 2,3 of every measure,
sideward right and left alternate.……………………………………… 16M
(b) Turn right about. Repeat (a), moving counterclockwise…………… 16M
Soloist. The soloist at center improvises his movements.
He performs turns, leg-parting jumps, stunts, or any dance steps. At
times he weaves in and out of the circle dancers. Sometimes he stands
at the center to let the circle dancers strike him with their coconut
shells.
…………………………………………………………………………… 32M

FIGURE VI

Music D. Second time.

Circle dancers face center of circle.
Waltz forward Right , click coconut shells overhead on cts. 2, 3 (1M),
waltz backward L, arms down at sides (1 M)……………………………. 2M
a.) Turn right about and repeat (a)……………………………………….. 2M
b.) Repeat (a) and (b), seven more times turning right about every two
measures………………………………………………………………… 28M
Soloist. Continue improvising movements………………………………. 32M

Note: In figures V and VI, the circle dancers and the soloist are doing their
movements simultaneously.

EXIT

Music A.
Execute Step I moving forward, Christians turning left and Moros turning
right to exit. Do the same hand movement………………………………. 6M