Traditional dances can be another term for folk dance, ethnic or sometimes even for

ceremonial dance. Emphasis is on the cultural roots of the dance and reflects the people’s lifestyle. It

is born from cultural tradition of certain country or region. It can be danced either solo or with partner

and some are danced with formation. However, there are ritual dances that are not considered

traditional dances but are known as religious dances instead for its purpose.

Various Criteria to differentiate folk dance from other kinds of dance.

• Dancers are said to belong to a certain economic level or come from certain locales

• The steps are simple and repeated

• The dances require no audience

• They are passed down through many generations.

The Role of Traditional Dances in Society

As long as there are traditional dances it will always keep the society alive. In most

traditional or folk dances everyone in the community can participate.

Occasions for Dancing

Some dances are marked by holidays and other annual festivals as well as the person’s

life cycle. Others also accompany the celebration of special organization, religious or social societies,
family groups and societies based on sex or age roles. Ritual dances have a social element and

many dances formerly performed for ritual reasons are today danced simple for recreation.

Other major categories of events celebrated by folk dances are courtship, weddings,

funeral, recreation, self-expression and competition.

Movement, Music, and Accessories

Since folk dancing is broadly defined and found throughout the world, great variations in

style and even floor patterns are observed. Various effects in the dances are created by the costumes

and accessories and even the musical accompaniment.

Simple movements composed of short phrases or patterns are repeated many times so

others can catch up with the steps.

Spatial formations and spatial progressions vary in group folk dances. There are

symbolic meanings in the geometric designs. The circle which is the most common dance formation

promotes unity among the dancers. The chain usually has a leader making serpentine or spiral

formations as well as straight line patterns. Dancers stand side by side, may follow one another, and

may or may not touch one another. Contacts can be done by holding hands, encircling waists, or

shoulders, grasping one another’s belts or linking arms.

Longways dances are less common. Lines of men and women face one another and

complicate patterns interviewing and exchanging places are done. There are couples which may vary

in different formations such as quadrille square dance, and longways country dance. In solo dance,

the movements tend to be more difficult than group and couple dances and it is the opportunity of the

dancer to display his/her skill.

Music is extremely important in dance although not all folk dance requires aural

accompaniment. The step patterns are usually on tuned with the music. Some specific dance often
calls for a specific tune or song. Dancers can carry their own instruments castanets or bells or use

their shoes to create the music.

HISTORY OF FOLK DANCE IN THE PHILIPPINES

Philippine folk dances incorporate influences from immigrants and conquerors and at the same time
maintaining distinctly Filipino roots. Philippine folk dancing is a true reflection of daily life in the past
centuries while enchanting modern audiences at the same time.

There is no exact date as to when dancing became part of our lives in the Philippines. The dances
were performed during festivals and remembrances of past military victories, and are still performed
during celebrations of birth and weddings in modern times. Many modern folk-dance festivals still
feature ancient dances performed in colorful costumes used during the tribal period of the Philippines.

CULTURAL AND FOLK DANCES IN THE PHILIPPINES

The various cultures of the different countries in the world have been made more colorful, beautiful,
and vibrant because of folk dances that reflect who they are. The Philippines consists of 7,107
islands, broken down in three groups – Luzon, Visayas, and Mindanao. Each of these areas has
different dialects, history, religion, and traditions. Every region also has different influences in their
arts, crafts, and ancestral dances. Let’s take a trip and explore the different styles, costumes, dances,
and talents of each region Many of the dances you will read about here were actual activities or
chores that the Filipinos endured to survive the poor economy and state of the nation.

LUZON
THE TRADITIONS AND HERITAGE OF LUZON

“We shall never forget our heritage”

Luzon, the northernmost region of the Philippines is rich in traditions and heritage. In traces its
cultural influences from Hindu, Buddhist, Spanish, and many other ethnic religious tribes. The cultural
folk dances from this region represent all the different factions or tribal groups in one way or another.

The Cordilleran’s or Igorot is the term or the collective name of several ethnic groups in the
Philippines. These tribes – The Ifugao, Kalinga, Bontoc, Apayao, Ibaloi, kalangaya, and
the Kankanaey in Benguet mostly inhabit the mountains of Luzon.

THE DANCES OF LUZON

BANGA DANCE OR POT DANCE

A contemporary performance of the kalinga of the Mountain Province in the Philippines. This dance
illustrates the languid grace of a tribe otherwise known as fierce warriors.
This dance shows the skill and strength of the women as they carry heavy laden clay
pots, or banga, full of water. Their grace and agility while balancing the heavy pots is a testament of
how the Filipino strength and determination to survive hardship. Young Igorot girls start only one
pot. But, of course, as they become older and more experienced, they are expected to provide more
water for their family. Pots could be as high as five or six stacks. Women would all gather and march
to the river each day, singing a native song accompanied by the flute and banging of bamboo on iron
pots in the dance.

IDAW

This dance has many names and different versions. It depicts the hunting ritual performed before a
tribal war. The tribesmen would go out and look up and watch out for the scared Idaw bird which is
said to lead the tribe to victory. Considering the Philippines as a very humid country, the traditional
clothing was made to cover not much of the body.

As one of the cordillera dances, this Bontoc dance depicts a war ceremony performed by warriors of
rival tribes. Idaw, meaning “bird” is celebrated because it was the omen bearer of war.
IDUDU

The family is the basic structure of family life among the Itneg or Tinggian people. Caring for the
children is shared by both the mother and father. While the men are clearing the fields, breaking the
soil with bamboo and their feet, the women watch the children. Soon as the men are done, they take
care of the children while the women do back breaking work. You can see in the dance how the
women will take the bamboo baskets and shaking them in the manner of drying rice,while the men
are going in circles in the backround like they are tilling the land. Then, the women put down the
baskets, fold cloth into a baby while the husbands stand aside. Afterward, the women will turn over
the baby to their hundbands, pick up the bamboo, and start tilling the land while the men hold and
cradle the babies.

RAGRAGSAKAN

The Kalingga borrowed the beautiful word “ragragsakan” from the Ilocano, which
means “merriment”. The two biggest occasions for a ragragsakan in a kalinga village are for
the homecoming of successful head takers and the culmination of peace pact between
warring tribes. Kalinga maidens balance “labba” or woven baskets on their heads, wave colorful
tribal blankets, and sing short salidumay songs as they snake through the terrace dikes and skip
through breaks in the path. This dance portrays the walk of the industrious kalinga women, carrying
water pots on their heads and wearing the colorful hand-woven “blankets of life” around their neck.

VISAYAS

LOVE OF LIFE AND COUNTRY – VISAYAS REGION

“Live Long, Live Happy, Die Proud”

The central islands of the Philippines, are grouped into three sections: Central,
Eastern, and Western. The people in the region consist of Austronesians, Negritos, and the Animist
Tribal Group. Visayas became a melting pot for many different tribes and cultural backgrounds. You
will see that the dances of the Visayas are more upbeat and exciting, not so much in drama and tribal
meanings as other regions.

THE DANCES OF VISAYAS

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 hng four or six more coconut shell
halves. The dancers – all male – perform the dance by hitting one coconut shell with the other.

Originally performed in Biñan, Laguna as a mock-war dance that demonstrates a fight between the
Moros and the Christians, this dance is also performed to pay tribute to the town’s patron saint, San
Isidro Labrador. Moro dancers wear read trousers while the Christian dancers wear blue. All dancers
are male with harnesses of coconut shells attached on their chests, backs, thighs, and hips.

SAYAW SA BANGKO

Sayaw sa bangko or Sayaw ed Tapew na Bangko is a dance which originates from pangasinan as
researched by Jovita Sison. It is performed by a couple on a narrow bench. They do not compete,
but rather complement each other, so that no one falls. Sayaw sa Bangko is usually performed during
town fiestas.
SUBLI

The term “subli” is from two tagalog words “subsub” meaning “falling on one’s head” and
“bali”, which means “Broken”. This version is originally a ritual dance of the natives of Bauan,
Batangas, which is performed during fiestas as a ceremonial worship dance to the town’s icoon, the
Holy Cross.

TINIKLING

This is the most popular and best known of the Philippine dances and is honored as the Philippine
National Dance. Dancers imitate the tikling bird’s legendary grace and speed by skillfully
maneuvering between large bamboo poles. The name “Tinikling” means “bamboo dance” in
English.
Considered as one of the oldest dances from the Philippines, Tinikling originated in the island of
Leyte in the Visayas. The bird was named “tikling” from which the Tinikling dance got its name.
Because of creativity of the people, they imitate the Bird’s movement between branches and stems
using bamboo poles.

MINDANAO
“Pride and Honor – Mindanao Region”

Mindanao is the southernmost region of The Philippines. It is the second largest island group and its
cultural groupings consist of mostly Muslim or “Moro” people, and other ethnic groups such as the
Maranao, Tausug, Banguingui, and indigenous tribes known as Lumad.

THE DANCES OF MINDANAO

ASIK

This dance is performed by a solo maiden, adorned with fine beads make-up, and a long head scarf.
The maiden would dance to win the favor of her Sultan master. She would give her whole heart and
soul into this performance to soften the heart of her master and accept her.
KINI KINI

Kini means the Royal Walk. Maranao women perform this dance with scarves. The beauty of the
scarves and the talent and grace in which it is displayed shows their elite social upbringing.

PANGALAY

The pangalay is native to the badjao, who are also known as “Sea Gypsies”. It is a dance that
emphasizes the agility of the upper body. The pangalay is commonly performed at weddings and
other social gatherings. One will also see some parts of the Singkil in this dance. This dance is
sometimes called the Muslim Dance of Four Bamboos.
SINGKIL

The Singkil Dance takes its name from the bells worn on the ankles of the Muslim Princess. 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 or nymphs of the forest.

The faces of the dancers are formal and they maintain a dignified pose. Dancing begins at a slow
pace which soon progresses to a faster tempo in which dancers skillfully manipulate fans that
represent the winds that prove to be auspicious.