MODULE 2

PATH-FIT 3
DANCE, SPORTS, MARTIAL
ARTS, GROUP EXERCISE,
OUTDOOR AND ADVENTURE
ACTIVITIES

MOD
ULE 2
NAME: _________________________________________________________

COURSE AND SECTION: _____________________________________

PATH-FIT 3 1
 MODULE 2

INSTRUCTOR: ________________________________________________
PATH-FIT 3 Leslie Marie P. Sanchez,MAEd-PE
MIDTERM COVERAGE Ivy M. Orcullo, PhD
Annie Liza D. Encenzo, Lpt

INTRODUCTION

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.

OBJECTIVES

 Discuss the origin and the classification of folk dances

 Explain the dance steps
 Demonstrate the dance steps
 Compare the various dances of the Philippines
 To instill the love for performing the folk dances as a cultural legacy
and to show to other nations the identity of the Filipinos

DISCUSSION

FOLK DANCE IN THE PHILIPPINES

The Philippines' multifaceted history from years of colonization paved the
way for the peculiar and beautiful traditional dances in the country, with
hints of Hispanic, European, and Asian cultural influences. Each region
has its own unique dance variations that are staged during festivals and
local shows. Although today’s popular folk dances have evolved, they still
honor our cultural roots.

Filipino folk dances are colorful, beautiful, and vibrant. Their movement,
dress, and music reveal the unique Filipino culture and are important in
building a national Filipino identity. Most dances in the country were
inspired by everyday activities, such as working in the fields and
harvesting rice, as well as celebrations such as feasts, weddings, and
births. Philippine folk dances consist of five major suites, namely
Cordillera, Maria Clara, Muslim, Lumad, and Rural. Each of the suites
involves a repertoire of folk dances that hail from different locations in
the country.

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've inherited from our
ancestors and to pass them on to others. A group called Colerain
Connection is quite dedicated to the dissemination and preservation of
traditional folk arts. It is very important to see musical artists
performing on instruments they have hand crafted, or playing vibrant
melodies from their grandfather's fiddle. This group is all about
preserving history and tradition.

PATH-FIT 3 2
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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.

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.
 It is traditional.
 It is an expressive behavior
 Simple basic rhythm dominates the folk dance and establishes the
pattern of movement.
 It performs n action in the life of folk.

CLASSIFICATIONS OF PHILIPPINE FOLK DANCE

DANCE TYPE ORIGIN DESCRIPTION EXAMPLE

Luzon and Visayas named after the chief La Jota, Paseo de

female character of Iloilo
Jose Rizal's Noli Me
MARIA CLARA DANCE Tangere; Spanish

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 MODULE 2
influenced
"Filipinized" by the
use of bamboo
castanets and abanico
Luzon dances illustrate the Binasuan, Tinikling
fiesta spirit and love
of life; best known
type of Filipino
RURAL DANCE dance. dance attire:
girls - colorful
balintawak and
patadyong skirts,
boys: camisa de chino
and colored trousers.
Southern Mindanao characterized by vivid Singkil, Vinta
colors and rhythmic
movements which
MUSLIM DANCE reflect the influence
of Arabian and Indo-
Malaysian cultures.
Mindanao tribal dances Udol, Mandaya
TRIBAL DANCE performed essential
"for the gods"
ceremonial and ritual
type dances.
Northern Luzon dances to celebrate Uya-uy
victories, festivals,
religious rituals,
RURAL DANCE thanksgiving, etc;
musical instruments
include nose flute,
bamboo guitar, drums,
gongs and wooden
sticks.

Visit this page: https://www.youtube.com/watch?v=MFvtG_rddgg

CORDILLERA DANCE

The mountainous Central Cordillera region of Northern Luzon is also known by

the term "Philippine Skyland." Inhabiting this rugged terrain are six ethno-
linguistic tribes known as the Ibaloy, Kankanay, Ifugao, Kalinga, Apayao, and
Bontoc. They prefer to be called by their respective tribal names rather than
the collective term Igorot, which was first used by the Spaniards and later by
Christian lowlanders. These tribes were generally unfazed by Spanish
colonization. This homogeneous group is recognized by their common socio-
cultural traits. They hold common religious beliefs, generally nature-related,
and make propitiatory offerings to anitos, or household gods. Among these
people of the Cordillera, dance continues to be an expression of community
life that animates the various rituals and ceremonies.

It serves for self-edification of the performers and entertainment for the

spectators. 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.

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UYA-UY

This is an Ifugao wedding

festival dance accompanied by
gongs and is performed by the
affluent to attain the second
level of the wealthy class.
Wealthy people who have
performed this dance are
entitled to the use of gongs
at their death. See examples.

MARIA CLARA DANCE

In 1521, Ferdinand Magellan came to the archipelago, signaling the start of
Spanish colonization. However, the Spanish didn't get a foothold in the
Philippines until 1565. Three centuries of Spanish rule left an imprint on the
Filipinos. Many of them were converted to Catholicism and forced to take
Spanish surnames.

During this period, Western culture spread through the islands, including such
Western dances as the waltz, fandango and polka. With a little Filipino flare,
they quickly became part of the culture. This "new" style of dance was named
Maria Clara after the tragic character in Jose Rizal's novel "Noli Me
Tangere."

LA JOTA MONCADENA

Early Filipinos evolved their own simple

versions of the jota. The jota
moncadeña, named after its place of
origin, Moncada, Tarlac, combines
Spanish and Ilocano movements. Its
initial movements are lively and fast,
accented by the scintillating rhythm of
elongated bamboo castanets. The second
part is characterized by a contrasting
slow rhythm, typically native in mood
and execution. The dance reverts to the
fast tempo at the end. This version of
the jota originally danced by the old
people of Moncada, Tarlac, does not
include the more intricate patterns of
the Spanish jota. Instead, it adopted
the lively tempo and the simple dance
steps.

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CARINOSA

This flirtatious dance is known

throughout the Philippines. Cariñosa
means affectionate, lovable, or amiable.
With a fan or handkerchief, the dancers
go through hide-and-seek movements and
other flirting acts expressing tender
feelings for one another. There are many
versions of this dance, but the hide-
and-seek movements are common in all.

Is a courtship dance from Panay,

performed by couples followed by strict
code of “Filipino system, no touch”.
Fierce moral standards dictated that a
wedding was the only solution to such a
shameful situation.

MUSLIM DANCE

Almost one million Pilipinos are Muslims who reside primarily in the southern
island of Mindanao and the Sulu Archipelago. By the end of the 12th century,
traders and settlers from the Malay Peninsula and Borneo introduced Islamic
faith to the islands. The Muslims in the Philippines, also known as Moros,
were able to resist Spanish conquest. Thus, they preserved the Islamic
lifestyle that markedly differs from the majority of the Philippine
population. The ethno-linguistic groups who are primarily considered Muslim
are the Maranao, Maguindanao, Samal, and Tausug. The dances are characterized
by vivid colors and rhythmic movements which reflect the influence of Arabian
and Indo-Malaysian cultures.

- They are known for their mysticism, royalty, and beauty which are evident in
their music and dances. Accompanied by the agong and kulintang, Filipino
Muslim dance is marked by intricate hand and arm movement along with
shimmering costumes.

SINGKIL

This dance takes its name from the

bells worn on the ankles of the
Muslim princess. Perhaps one of the
oldest of truly Filipino dances, 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 of the forest. The
criscrossed bamboo poles represent
the trees that were falling, which
she gracefully avoids. Her slave
loyally accompanies her throughout
her ordeal. Finally, she is saved by
the prince. Dancers skillfully
manipulate apir, or fans which
represent the winds that prove to be

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auspicious. Royal princesses to this

day in the Sulu Archipelago are
required to learn this most
difficult and noble dance.

RURAL DANCE

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.

BINASUAN

This colorful and lively dance from

Bayambang in the Pangasinan province
shows off the balancing skills of the
dancers. The glasses that the dancers
gracefully, yet carefully, maneuver are
half-filled with rice wine. Binasuan,
meaning "with the use of a drinking
glass" in Pangasinan, is often performed
as entertainment at weddings, birthdays,
and fiestas.

TRIBAL DANCE

Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other groups inhabit the
vast regions of Mindanao. Like their Northern Luzon counterparts, these groups
honor pagan gods for the fruits and trials of daily life. What distinguishes them
from other tribes in the Philippines is their intricate craftsmanship in metal,
clothing, and jewelry. These tribes pride themselves in their concept of beauty
and are known for creating colorful sets of jewelry and clothing out of dyed
pineapple and banana fibers with are showcased in their traditional dances.

PAGDIWATA

The Tagbanuas of Palawan perform this

dance to show gratitude for a good
harvest and to implore continued
protection and favor from the
deities.

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BASIC DANCE STEPS

DANCE STEPS STEP PATTERN COUNTING
2/4 time dance steps
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, 1,2
step
6. Change step step, close, step 1,2
7. Changing step jump ( one ft. in front 1,2
and The other in rear)
there are two Changing
steps in a measure
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1,2 and
10. Heel and toe change heel-place, toe-point, step, 1, 2/ 1 and 2
step close, step
11. Shuffling step with both feet flat on 1 and 2 and
floor, take tiny Slide steps
3/4 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 12, 3/ 1, 23
7. Sway balance w/ a hop step, cross-step, step hop 12, 3/ 1, 23
8. Sway balance w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 12, 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, 1, 2, 3, 4
step, close

A. Philippine Folk Dances from Luzon

1. Banga
Tribe: Kalinga

The Banga or pot dance is a contemporary performance of

Kalinga of the Mountain Province in the Philippines. This dance
illustrates the languid grace of a tribe otherwise known as fierce
warriors.

Link: https://www.youtube.com/watch?v=r7cF8kY8LD8

2. Maglalatik
Maglalatik was originally performed in Biñan, 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.
Link: https://www.youtube.com/watch?v=do4GyUk3XKc

3. Pandanggo sa Ilaw

Pandanggo sa Ilaw - The word pandanggo comes from the Spanish

dance “fandango”characterized with lively steps and clapping while
following a varying ¾ beat. Pandanggo requires excellent balancing

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skill to maintain the stability of three tinggoy, or oil lamps, placed

on head and at the back of each hand. This famous dance of grace and
balance originated from Lubang Island, Mindoro.

Link: https://www.youtube.com/watch?v=MLuWHNNi_Ug

Other dances in Luzon:

4. Balse

Balse was a popular dance in Marikina, Rizal during the

Spanish times. Balse (valse in Spanish) means waltz. This dance was
performed after the lutrina ( a religious procession) and the music
that accompanied the dancers was played by the musikong bungbong
(musicians using instruments made of bamboo).

Link: https://www.youtube.com/watch?v=Dlq8tSrN_QQ

5. Jotabal

It is derived from the words Jota and valse. Jota is a popular

dance introduced in the Philippines by the Spaniards. Valse means
waltz, a step or a dance in 3/4 time. This lively festival dance
originated in Camohaguin, Gumaca, Quezon (formerly Tayabas).

Link: https://www.youtube.com/watch?v=H82gEiViPkk
6. Makonggo

It is a comic dance from Santa Maria, Bulacan. Makonggo is

derived from the Tagalog word chonggo or unggo which means monkey. In
this dance, the dancer imitates a monkey - its characteristic
movements, gestures, grimaces, etc. when it is in a happy, playful or
angry mood, while it is playing, eating, or resting. Only one man
performs this dance. Most of his movements are his own improvisations.

Link: https://www.youtube.com/watch?v=lKuMkVkC4vU
B. Philippine Folk Dances from Visayas

1. Tinikling

Tinikling means "bamboo dance" in English. The dance imitates

the movement of the tikling birds as they walk between grass stems,
run over tree branches, or dodge bamboo traps set by rice farmers.
Dancers imitate the tikling bird's legendary grace and speed by
skillfully maneuvering between large bamboo poles.

Link: https://www.youtube.com/watch?v=_nisbR3D5vQ
2. Kuratsa

The Kuratsa is highly favored by the Waray people of the

Eastern Visayan region in the Philippines. Strictly speaking, The
Kuratsa must be done the amenudo; that is, only one couple dances it
at a time. the Kuratsa is however, very different in the manner of
execution to the Mexican counterpart.

Link: https://www.youtube.com/watch?v=_Ig24-dYruA

3. Mazurka Boholana

Mazurka Boholana is a Spanish-inspired ballroom dance from the

Bohol province of the Philippines. Although the mazurka is the

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Polish national dance, it was wildly popular throughout Europe in the

19th century and even in colonized lands overseas.

Link: https://www.youtube.com/watch?v=IzepIUESB-8

Other dances in Visayas

4. Escotis

It is popularly known in Capiz and is performed in any social

gathering of the people inhabiting the mountains of Capiz in the
barrios of Tinpas and Panitan and also in the town of Panay.

Link: https://www.youtube.com/watch?v=Iuts4ppizXI
C. Philippine Folk Dances from Mindanao

1. Itik-Itik

The Itik-Itik is a dance from Surigao del Norte, in which the

movements of a duck are imitated. An itik is a species of duck.

Link: https://www.youtube.com/watch?v=l60Aft-TOSY

2. Singkil

The Maranao dance called Singkil is in the repertory of all

Filipino dance troupes. In 1958 the Bayanihan Dance troupe started
with a simple version and has since developed it into a theatrical and
stylized spectacle to the point of its becoming the troupe's signature
piece.

Link: https://www.youtube.com/watch?v=kkMhBhfBuHU
3. Kandingan

Performed at Tausog weddings in Jolo, the Kandingan consists

of figures and steps based on classical and traditional Indian dance
forms. Dancers perform with slightly bent knees turned outward,
fingers held stiffly together with the thumb outward and apart.

Link: https://www.youtube.com/watch?v=cPNwGpbA-BY

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FOLKDANCE LITERATURE AND ITS FIGURES

CARIÑOSA
One of the national dances we should be proud of
is the Cariñosa. This is a courtship dance known
through out the philippines with its flirtatious
movements. The word “carinosa” means
affectionate, amiable, or lovable. Ther are many
versions of this dance, but hide and seek
movements using a fan and a handkerchief are the
most common.

Cariñosa (meaning the loving or affectionate one)

is a Philippine dance of Hispanic origin from the
Maria Clara suite of Philippine folk dances,
where the fan or handkerchief plays an
instrumental role as it places the couple in
romance scenario.

The dance was originated in the Panay Islands on

the Visayan Islands and it was introduced by the
Spaniards during their colonization of the
Philippines. It is related to some of the Spanish
dances like the bolero and the Mexican
dance Jarabe Tapatio or the Mexican Hat Dance.

COSTUMES

Originally Carinosa was danced with Maria Clara dress and Barong Tagalog for
it is a Maria Clara Spanish Dance when it is introduced. However as the
Filipino people saw and imitated this dance, they wore the patadyong kimona
and camisa de chino to reveal their love as a Filipino and other steps was
revised to make it more Filipino but the music did not change at all and
reveals a Spanish Influence to the Filipinos. As listed by the book of F.R.
Aquino dancers may wear balintawak style (a native dress of the Tagalog
regions), camisa (a white sleeve) or patadyong kimona ( a dress of the Visayan
of people)and for boys a barong Tagalog and colored pants. Because it is a
national dance, the dancers may wear any Filipino costumes.

MUSIC

The music of Carinosa shows a great Spanish influence to the Filipinos. It is

3/4 in rhythm like some of the Spanish dances. The Philippine Rondalla are
playing this music of the dance where it is an ensemble or an orchestra of
string instruments in the Philippines similar to the Spanish musicians in
Spain that comprises bandurrias, mandolins, guitar, basses, drums, and banjos.
Mostly men are playing rondalla instruments but women may also take part.

How to dance Cariñosa

FIGURES OF CARIÑOSA

The 1st figure is the “Three Steps and Point”. It starts with the
right foot, take three steps sideward right. Point left foot in front. Right
hand in reverse “T” position and left hand on skirt/waist. Kumintang right
hand when pointing left foot.

The 2nd figure is “Pointing”. It starts with the right foot, take
three steps forward and meet at the center. Take four touch steps in front,
right and left alternately. Take four steps forward to partner’s place,
passing each other by right shoulder. Turn right about to face each other and
close right to left.

The 3rd figure is “Back-toBack”. The partners meet at the center

as in figure II. Turn right about to be in back-to back position, slightly to
right of partner. Girl holds skirt; boy places hands on waist. Point right

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foot in front and shake right index finger at partner over right shoulder by
left shoulder; left hand on waist. Step right sideward to be side by side with
partner by left shoulder; place right hand on waist.

The 4th figure is the “Hide-and-Seek with Fan”. The girl hold and
open fan with right hand. Point right foot in front and cover face with fan.
The boy-point right and left foot alternately in front and look at partner
from underneath the fan, hands on waist.

The 5th figure is “Kneeling and Fanning”. Take three steps forward
to the center. Girl kneels while boy passes around on right of girl to stand
behind her and faces the same direction as girl. Boy points right and left
foot four times alternately in front, looking at girl over her right and left
shoulder alternately. Girl looks at partner over her right and left shoulder
alternately.

The 6th figure is “Hide-and-Seek with Handkerchief”. Partners meet

at the center as in figure II. Boy takes handkerchief at corners in a
perpendicular position between their faces with boy’s hands on top at face
level.

The 7th figure is “Flirting with Handkerchief”. Partners turn

right shoulders toward each other. Starting with right foot, take eight waltz
steps forward, moving around clockwise. Girl holds handkerchief at one corner
and place it over her right and left shoulder alternately at every measure,
looking back at the boy at the same time. Boy, in the meantime, follows behind
girl, stretching out right and left hand alternately, as though they were
trying to catch the free end of the handkerchief.

The 8th and last figure is “Flirting”. Start by taking two waltz
steps to meet at the center. With girl leading in front, partners take six
waltz steps forward moving around clockwise.

FIGURE 1-4 ( https://www.youtube.com/watch?v=bNUYlhHOna0 )

Maglalatik or Magbabao
(Tagalog)
During the Spanish regime, the present barrios of Lorna and Zapote of Biñan,
Laguna, were separated. With coconut shells as implements the people of these
two barrios danced the Maglalatik, or Magbabao, a war dance depicting a fight
between the Marcos and the Christians over the latik (residence left after the
coconut milk has been boiled).

The first two two parts of the dance, the Palipasan and the Baligtaran show
the heated encounter between the groups. The last two parts, the Paseo and the
Sayaw Escaramusa show the reconciliation between the two groups. According to
the legend the Moros came out victorious, thus getting the coveted latik. The
Christians, not contented with the result of the war, sent an envoy to the
Moros to offer peace and to baptize them.

The best Maglalatik dancers are found in Zapote. In the daytime during the
town fiesta of Biñan, the Maglalatik dancers go from house to house performing
this dance for money or a gift. In the evening they dance Maglalatik in the
religious procession of the farmers, San Isidro de Labrador.

COSTUME. The Moros wear red trousers and black undershirts with long sleeves
and the Christians, blue trausers 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
PATH-FIT 3 12
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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 roduced by two bamboo sticks against
each other with guitar accompaniment.
COUNTs 1, and , 2, an or 1,2,to a mueasure 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 othe, when
facing, are partners.

Christians Moros

X 1 x
X 2 x
X 3 x
X 4 x
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 ).--- 2 M
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)----------------------------------2 M
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), vack of waist at L side with L
hand (ct. end)
------------------------------------------------------------------------------
------------------------------------------------------2 M

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

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downward first.
Continue striking shells on every count of every measure wit 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
------------------------------------------------------------------------------
--16 M

. INTERLUDE
Music Interlude.
Face front
(a) Step Left in place (ct. 2 of 16th M of
Introduction)----------------------------------------------------------1 ct
(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.--------------------------------------------------------------------8
M

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

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-------------------------------------8 M
b) Continue Step II four more times, No. 1’s turning inward . Do the same hand
movements -----------------------------------------------------------8 M

-III-

Music B. Second time.

a.) Execute Step III four times going to proper places. Do the same hand
movements.------------ ------8 M

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b.) Partners face each other, repeat (a) in place

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

-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.--------------------------------------------- 2 M
b.) Strike coconut shells in any part of partner’s body four times (4
cts.).-------------------------2 M
c.) Starting with Right foot, take four steps forward to partner’s place,
passing by Right shoulders. Arms as in (a) (4 cts.).--------------------- 2 M
d.) Turn right about and repeat (a)---------------------------------------2 M
e.) Repeat (b) -----------------------------------------------------------2 M
f.) Repeat (c ) , going to proper places.-------------------------------- 2 M
g.) Repeat all ( a – f) -------------------------------------------------12 M
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.-------------------------------------------------------------------------------------------2 M

-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 alternately.--------------------------------------------16 M
(b) Turn right about. Repeat (a), moving counterclockwise.------------- 16 M
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.--------------------------- 32 M

-VI-

Music D. Second time.

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

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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 movements.---------------------------------------
16M

B’LAAN

The Bilaan or B`laan are a tribal community of Southern Mindanao, the name of
this indigenous group comes from the words Bla and An, meaning Opponent
People. The Bilaans in South Cotabato were renowned hunters and food
gatherers, they hunted wild animals and were reaping grains, rootcrops,
fruits and herbs in the once vast open space of cogonal land, known as Kolon
Datal, nowadys Koronadal City.
The Bilaan live in in Lake Sebu and other municipalities of South Cotabato and
are one of the major non-Islamic tribal groups in the Southern
Philippines.They are famous for their rich and colorful cultural heritage,
ethnic art and handcrafts like the brass ornaments and traditional beadwork.
Colorful native costumes woven from abaca and decorated with embroidery,
buttons, beads and heavy brass belts with numerous tiny bells are worn by the
women of the Bilaan, making their approach heard, even from a far distance.
The sequin-like capiz shells called takmon are used to give a distinct design
and color to their clothes, among the women, the intricately beaded wooden
comb, the swat san salah is a must.
The Bilaans have their own system of weaving using abaca fiber, before weaving
the typical patterns, rituals are held in accordance with the Bilaan culture,
but only the weavers know about these rituals and before making any pattern or
design divine guidance is first sought. It is believed that the designs were
imparted to the dreamer through the l'nilong (fairies), who are considered
guardians of nature. Their handicraft and traditional attires are being
brought to almost every ceremony and are considered as priceless possessions
that are offered as dowries during weddings and used as payment for crimes
committed against a person or clan or for settling disputes among warring
clans.
The Bilaan culture is unique, the tribe practices indigenous rituals for
almost everything that they do because of their belief on the supremacy of the
great Creator named Malu or D'wata, who is the source of everything. The
Bilaan are strong believers on the interdependency with the environment and
must respect the will of the Creator and are not allowed to touch or destroy
any creature or object without His permission. They believe that there is only
one supreme being that rules the cosmos and in the existence of a soul which
upon leaving the body causes illness and even death. Bilaan men wear their
hair long and have tattoos on their back, chest legs and arms, some of the
main characteristics practised by men and woman of this tribe is the shaving
of the eyebrows and the blackening of their tongues and filed incisors.
Musical instruments, like wooden lutes, flutes and bamboo tubes with strings
are used extensively with their rituals and dances. One of the well known
ritual dance is the Blit B'laan. a courtship dance of the imitating the
movements of the male and female birds during mating season.
Among the Bilaan in Southern Mindanao, a handwoven mat spread on the ground or
the floor marks a sacred space. A story told on a B'laan mat must tell the
truth. It is believed that the good spirits will join the communing human
beings. Only when keeping ther faith, otherwise it will not work. These mats
are also spread out to mediate conflicts by tribal leaders named Datu or the
tribal elders.
Close family ties have always been recognized as one of the core values of
Bilaan families and are deeply embedded in their culture, the life of the
Bilaan evolves around their family that usually lives within one compound,
consisting of more than one spouse and extended relatives living together. To

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protect their property and to secure themselves from intrusions, most
marriages are limited to close relatives, within this community cousins are
allowed to marry each other.
The Bilaan of Southern Mindanao are still upholding their traditional ways of
living, their values and their distinctive culture, it is impressive to see
how this community can adjust and find meaning in life in a modern Philippine
society.

SINGKIL
Singkíl (or Sayaw sa Kasingkil) is a famous dance of the Maranao
people of Lake Lanao, which was popularised by the Bayanihan Philippine
National Folk Dance Company.

Description

The Singkíl originated from the Maranao people who inhabit the shores of Lake
Lanao. It is derived from a story in the Darangen, the Maranao interpretation
of the ancient Indian epic, the Ramayana. The name of the dance itself means
"to entangle the feet with disturbing objects such as vines or anything in
your path". It is a popular dance performed during celebrations and other
festive entertainment. Originally only women, particularly royalty, danced
the Singkíl, which serves as either a conscious or unconscious advertisement
to potential suitors. A kulintang and agung ensemble always accompanies the
dance.While often erroneously referred to by non-Maranaos as a "Muslim dance",
the Singkíl is in fact secular in nature, performed by the Ummah communities
of the Maranao and Maguindanao. Initially, the dance was performed with just
one pair of bamboo poles, eventually adopting the use of two criss-crossing
pairs.

Adaptations

Bayanihan
When the Bayanihan Dance Company began performing the Singkíl, the traditional
dance was adapted to convey Western aesthetics. The Bayanihan portrayal,
branded as the Princess Dance or the Royal Maranao Fan Dance, became so
popular that it is often mistaken for the authentic version of the dance.

A notable variation from the original is its inclusion of male dancers, as

pole clappers and in the role of the Prince, Rajah Bantugan
(theDarangen adaptation of Rama). Additional sets of criss-crossing bamboo
poles were also added.

Further adaptation divided the dance into four movements:

-First movement- Asik, where the slave with umbrella is introduced.

-Second movement- entrance of Putri Gandingan, the entourage of female fan or
scarf dancers, and the arrival of Rajah Bantugan.
-Third movement- Patay, which is a slow section, and is a structural dance
convention often found in Western performances.
-Fourth movement- the climax in which all dancers dance to the crescendo of
music.

Storytelling

The Bayanihan version attempts to blatantly exposit the story as per Western
conventions, and re-tells the Darangen. The dance itself narrates a scene
where Putri Gandingan escapes her abductor, the demon king Lawana, and is lost
in the forests of Alangka. She is finally found by another person, but
the Darangen and the Ramayana differ as to the identity of this person: the
former recounts that Rajah Bantugan found her, while the latter states that it

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was the god Hanuman who found Sita on Rama's behest. The modification of this
detail possibly suggests acculturation, where the monistic, Hindu aspects of
the narrative were edited to conform with themonotheistic beliefs of Islam.

Performers would therefore gracefully step in and out of bamboo poles,

arranged in a criss-cross fashion while manipulating either fans or simply
their bare hands.
Otherversions

PCN (Pilipino Cultural Night) festivities held by foreign-based student groups

and other theatrical dance companies have modernised interpretations of the
dance, resulting in unorthodox portrayals of the Singkíl by even the most
esteemed of Philippine folk dance choreographers.

Some dance companies have even fused the Singkíl with ballet, or make use of
multiple layers of overlapping bamboos.

References

Andin, C. and Minas, P. (2004). Dance Education in the School Curriculum. Rex
Bookstore.

https://sites.google.com/site/folkdancesofthephilippines/philippine-folk-
dance/classifications-of-philippine-folk-dance

https://sites.google.com/site/folkdancesofthephilippines/philippine-folk-dance

http://dancesfromthephilippines.blogspot.com/p/maglalatik.html

https://jiebelle.weebly.com/singkil.html

https://sites.google.com/site/missverlyn/products-services

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NAME:
COURSE & SECTION:
INSTRUCTOR: ____________________________________________________

ASSESSMENT

NOTE: kindly return this answer sheet or write your answers in a long
bond paper.
For online students: kindly click TURN IN upon submitting your file.
ACTIVITY 1

Direction: Explain your understanding on how our FOLKDANCES has

been classified in its uniqueness and its importance (20 points)

ACTIVITY 2

Direction: Compare the various dances in the Philippines

PERFORMANCE 1

Execute properly at least 10 the basic steps in FOLKDANCE and name

it accordingly.

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 MODULE 2

PERFORMANCE 2

Practice and!!!!!!!
ANNOUNCEMENT execute properly the figures in CARINOSA.

PATH-FIT 3 20