SAGAYAN

A PHILIPPINE FOLK DANCE

Members:
Alcantara, Carl Angelo
Baylon, Mary Marjulaine
Cataylo, Zairen Monique
Guiron, Riza Mae
Masayon, John Lourel
Padua, Josh Gerann
Ramos, Tanya Cassandra
Tongkin, Christlen Heart
Torres, Eisen Joules
Viola, Jan Kesley
 SAGAYAN
Folk Dance Title: Sagayan
Meaning: No definite meaning but it depicts the Adventures of Datu Bantugan
in the Darangen Epic
Dance Culture:
A dance of nobility, gallantry, and honor.
 The movements depict the ferocity of warriors and is descriptive of the
Maguindanaoans who hold the reputation of being brave people when
they are defending their lands, race, and religion.
Place of Origin: Maguindanao
Ethnolinguistic Group: The Maguindanao and the Maranao’s Tribal
Community
Classification: War Dance

BACKGROUND:
There's more to Maguindanao than election cheating, violence, armed
conflict and disasters. Sagayan is an extremely dramatic dance form that
originated in the Southeast Asia. This “war” dance is said to have originated in
Philippines, and is mainly performed by the Maguindanao and Maranao tribal
community.
Sagayan, which is a Maguindanaon word, is one of the ancient,
unchoreographed dance forms in the world that still exist to the present. It is a
war dance that has always been part of the merry-makings during special
occasions and weddings among ethnic Maguindanaons. It depicts the adventures
of Datu Bantugan in his conquest to look for his missing sister and the duration
of the dance features different battle actions to rescue his sister from captivity.
According to the cultural history of the Philippines, this dance was
created by the Maguindanao and the Maranao community in the honor of Prince
Bantugan or Datu Bantugan in our native language. In the Maguindanaon
tradition, there are two main types of Sagayan. The Sagayan Dalkat and The
Sagayan Dalkat is an exhibition of a dancer’s virtuosity characterized by rapid
movements of the head, the hand holding the Klung shield and wooden or metal
sword, the sprinting, jumping and leaping in synchronicity with the beating of
the Kulintang or indigenous Drums.
On the other hand, the Sagayan form called Sambuyog a Malna is ritual
in nature, performed in the Ipat, whose movements are graceful, calculated and
possess certain meanings or Apad. Only those who are well versed can interpret
the meanings that are conveyed by the movements of this type of Sagayan
because the Sagayan dancers are thought to be in a trance, possessed by the
spirit characters in the Darangen, for instance the rival brothers Balatamay
Lumena and Alongan Pidsayana.
The hero of the Darangen, Datu Bantugan, from the kingdom of
Bumbaran, embarks on a quest to search for his younger sister Arcata Lawanen,
who was abducted by Ayonan Dimasangkay of the kingdom of Sagorongan-a-
Ragat. Sagayan, the war dance, ensues during the battle to rescue his sister from
captivity. Despite the clash, the rift ultimately ends in the pacification and peace
between the two kingdoms. Because of this, the people of Lanao del Norte
consider this act beyond just being a war dance but it is a symbol for protecting
communities, reconciliation, and promoting peace among the locality.
The dance was usually performed during special celebrations among the
Maguindanao and Maranao. It is a dance of nobility, gallantry, and honor. The
movements depict the ferocity of warriors and is descriptive of the
Maguindanaoans who hold the reputation of being brave people.
Though it is a war dance, the Sagayan does not depict feudalism, rather, it
shows the zeal of the Maguindanaoans to protect their communities from any
form of conquest or abuse.
It is also meant to show the resilience of the Maguindanaon communities
and their strength to readily rise or bounce back from every and any devastation.

COSTUMES:
Traditionally, the dancers of the sagayan wear a long-sleeved top, tiered
bottoms, and a headpiece in bright colors, like golden yellow, orange, and red
interspersed with earthy tones such as dark green and brown, and adorned with
brass bells. They hold a kampilan, a single-edged sword used by Muslim groups
in southern Philippines, and a klung (shield) as they dance to the rhythmic beats
of the tagunggo or gong ensemble. The pulsing cadence of the music
accompanying the dance is captured in the dance steps consisting of fast
stomping, jumping, rolling, kicking, and a sweeping of the arms punctuated by
an elegant curving movement of the hands.
APPLIED FOR BOTH GENDERS:
 LONG-SLEEVED TOP
 White long-sleeved tops for both genders that depicts the old
generational warriors.
 TIERED BOTTOMS
 Can be a three-layered bottom or two as long as it will make
the warrior dancer looks bright and colorful while dancing.
 HEADPIECE
 A headpiece in bright colors, like golden yellow, orange, and
red interspersed with earthy tones such as dark green and
brown, and adorned with brass bells.
 FOOTWEAR
 Barefoot
 KAMPILAN
 a single-edged sword used by Muslim groups in southern
Philippines.
 KLUNG
 A shield made out of wood, adorned with intricate pattern in
its surface and will produced a sound as they dance to the
rhythmic beats of the tagunggo or gong ensemble.

SAGAYAN DANCE COMPETENCIES

In terms of technique, this dance involves the use of movements such as
leaping, turning, jumping, kicking, and rolling. In addition, the performers in
this dance are supposed to move in a “trance”, since by doing so unwanted evil
spirits apparently can be driven away. As for training centers and schools, there
are none available around the world since this dramatic “war dance” is
performed in the Philippines mainly among the Maguindanao and the Maranao
communities respectively.

STEP 1:

Raise both your hands together with your Kampilan and Klung in the
same level with your chest. The dancers have the freedom to do what they want
as the first move still features a freestyle movement as long as the action
resembles an act of comradeship and gallantry. Do this for 16 counts.

STEP 2:

Raise both of your arms in a diagonal position, the right arm would hold
the Kampilan and the other one holds the klung. This step is a combination of
turning and as you move your arms simultaneously. First, step your left foot and
move your hands in a diagonal position where it mainly follows your left arm.
Then, move your right foot to the side and it will result in turning your back to
the audience. This will continue for 16 counts and each 4 counts corresponds to
a certain direction (Left and Right).

STEP 3:

Move your left foot to the other side and slowly kneel while moving your
arms up and down simultaneously. This will continue for only 8 counts. Then,
swiftly jump to the left side while slowly kneeling and do the same arm
movement. This will only last for 8 counts.

STEP 4:

Move and jog according to the beat of the music while simultaneously
hitting the kampilan with your klung. For the choreography, the dancers jog in a
circular position while doing the movement. This will last for 16 counts.

STEP 5:

Once the dancers reach their designated position in the choreography, the
dancers will place their arms in a diagonal position for 8 counts while moving
their wrists according to the beat of the music. They will also execute the same
movement in the other direction for 8 counts. They will execute the movement
for 32 counts ( The mentioned counts earlier are already included).

STEP 6:

Raise your left arm where you hold your klung (shield) while moving
your left foot forward. Then, slightly bend your body as you perform the action.
The action will be executed for 16 counts. The dancers have the right to put
variations in their actions including executing the movement while moving their
bodies in different directions.

STEP 7:

Slowly move both of your hands upward as if in a circular motion and

place it in front of your chest. Then, repeat the movement for 32 counts
according to the beat of the music.

STEP 8:
 Move your arms where it meets in front of your chest and slowly place it
back on your side. Do the movement while moving your left and right foot
forward simultaneously. Execute the movement according to the beat of the
music. Repeat the movement for 32 counts.

STEP 9:

Raise both of your arms in a diagonal position, the right arm would hold
the Kampilan and the other one holds the klung. This step is a combination of
jogging and hitting your kampilan to your klung simultaneously. Then, execute
the movement while jogging slowly in a circular motion. This would last for 16
counts and the dancers will stop moving once they’ve reached their designated
position in the choreography.

STEP 10:

Together with their partners, slowly raise your arms to your side that is
aligned with your chest. Slowly move your arms, similar to the wave
movement. This would give the action an emphasis as they hold their shield and
sword while executing. This would last for 32 counts and another 8 counts
while changing their position as part of the choreography. Execute the act while
moving to the beat of the music.

STEP 11:

The dancers will kneel on the ground then, they must place their swords
(Kampilan) at their back in a horizontal position. While their shields are placed
in front of them, They will move for 4 counts according to the beat of the music.
Next, the movement of the arm will change after 4 counts and the shield that has
been placed in front of the dancers will be raised upward and the sword at their
back will be pointed at the front. The dancers will execute the act for 32 counts.
Note that the counts will be based on the beat of the music.

STEP 12:

Raise both your hands together with your Kampilan and Klung in the
same level with your chest. The dancers have the freedom to do what they want
as the first move still features a freestyle movement as long as the action
resembles an act of comradeship and gallantry. Do this for 16 counts.