BEED /AU10

Ceremonial or Religious Dances - These dances are performed in connection with

Occupational Dances - These dances depict action of certain occupation, industry,

FOLK AND TRADITIONAL DANCES Knotted Rope Up in the Philippines' north-central provinces is a long and treacherous mountain range that early Spanish conquistadores dubbed cordillera, in reference to the irregular and elongated terrain that looks like a "knotted rope". The Gran Cordillera (Great Mountain Range) is the home of various tribes that settled there since time immemorial. The five largest groups among the Cordillera people are collectively called in the mnemonic BIBAK (for Bontoc, Ifugao, Benguet, Apayao and Kalingga). Five other tribes who co-exist with the BIBAK but are in lesser population are the Tinggian, Bago, Ikalahan (also called Kalanguya) and the Gaddang. The Ilonggots who share kinship with the Gran Cordillera people in terms of both material and non-material culture is often categorized as an Aeta group because of their physical appearance. The Tinggian are the indigenous inhabitants of the part of Abra in the central part of the Gran Cordillera. Although, they are simply called Igorots for being people who came from the mountains, the Tinggian people call themselves Itneg which means from the interior. The Ikalahan or the Kalanguya reside in the eastern side of the Gran Cordillera in the Sierra Madre mountains in the provinces of Nueva Ecija, Nueva Vizcaya and Quirino. The Bago is a group which emerged from the intermarriage of the Applay (Bontoc subtribe) and the Ilokanos. Most of them have adapted the Ilokano Christian faith and thus earned the nickname Bagong Kristyano (new Christian converts) from lowlanders. The Bago however, also call themselves Itneg just like the Tinggian. Their language and dress is like a cross of both the Applay and Ilokano cultures of their ancestors. The Gaddang inhabit the northern part of the Gran Cordilleras east side particularly in the provinces of Isabela and Cagayan facing the province of Kalingga and Apayao. They were the usual targets of the headhunting Kalingga and that in the days of old they are always at odds. In fact, the word kalingga in the Gaddang language means either enemy or headhunter. A large part of the Gaddang population converted to Christianity as a result of the persistent missionary works in the area. The resulting new generation of Christianized Gaddang however, retained much of their ancient cultures similar to their relatives who opted to remain in their ancestors folkways. These people live lives that are governed by a very rich reservoir of all sorts of culture and traditions. Life is a likened to an unending ritual for these people. From conception to birth and to death life is celebrated in rituals. There are also rituals that transcend death because their fallen ancestors become part of their deities worthy of appeasement and honor in their rituals. Their rituals are usually done in a series of songs, chants and dances. Preeminent among the many rituals of the Cordillera are the

caao (grand feast), budong (also vochon gor padong) peace pact, palanos (a pre-wedding feast or a welcome party for distinguished visitors), bayas (wedding) or the grander uyauy (Kadangyan or rich peoples wedding feast), kayaw or pangangayaw (headhunting), sayam (celebration for a successful headhunt), dawak (healing ritual), begnas (agricultural ritual), waksi (shedding-off mourning), chap-es (a ritual supplication for family prosperity) manerwap(ritual asking for rain).
. Rituals and Festivals There are also Aeta dances that can be classified as ritual-oriented or festival dances. Talipe for example is one favorite dance performed during tribal gatherings or other festivities like weddings among the Aetas of San Marcelino, Zambales. Their festival dances are usually performed around a musician who plays a native guitar. Men may also exhort warriors through dance as in the all-male dance called There are also some rituals that call for dancing. Very important among the Ibeleng Aetas who live along the length of the Cabanatuan River is a ritual called Talibul. This ritual is performed to cast away unseen evil spirits, to give thanks for the birth of a child or as a thanksgiving offering for a victorious war. It is also performed as a healing session. Binabayanting. This Ibeleng war dance features combative movements and is performed only by male dancers. Two other war dances called Borokil and Rinompo are the known versions of all male martial dances among the Abyan Aetas of Camarines. Among the Aeta people of Bataan, there is a torture dance called Ayu-ayu performed by the captors around the victim. Almost similar in every available version among the different Aeta groups is the Anituan curing ritual or sance performed by the Aetas of Bataan, Zambales, Pampanga and Isabela. In the Anituan, the Aeta mag-anito shaman cover the sick people with a red cloth symbolizing the sickness or disease that plagued the people. In the manner of a dance, the shaman entices the malevolent spirits to leave sick ones by offering them with food, gifts of beads and even threatening them with harm. The ritual is ended when the red cloth is pulled over the heads of the sick and the shaman-who supposedly absorbed all the sickness- falls to the ground unconscious. Slowly, the convalescents try a step or two of their festival dances as an offering of thanksgiving for the promised recovery. The dances of some the Aeta groups converted to Christianity have also changed. Nazareno dance of the Agta people of Datag and Siaton,Bacong, Negros Oriental, for example, is centered on honoring the Black Nazarene, the only piece of religious image in their chapel. LUMAD DANCES

Lumad dances are deep-rooted. A big part of which has religious underpinnings. Their agricultural rituals, marriage celebration, religious ceremonies, tribal gatherings and other festivities are always celebrated with dance involved. It is not uncommon among the Filipino people that the name of the ritual is also the name of the dance. A good example is a ritual dance found among the Batak people of Palawan. Members of the family of a sick person perform the Diwata Kat Dibuwat to implore the diwata (literally, diety) for healing. The dance ritual involves the bathing of the sick, putting body ornaments and the usual giving of offerings to their dead ancestors. Another group from the central part of Palawan Island is the Tagbanwa people. They have an elaborate nine-day harvest time ritual called Inim or more popularly known as the

Pagdiwata
(pahg-dee-WAH-tah) The Tagbanuas of Palawan perform this dance to show gratitude for a good harvest and to implore continued protection and favor from the deities.The ritual is officiated by a respected babaylan(priestess or shaman) and several lesser baylanes who perform several trance dances. While in trance the babaylan may perform the Tambol . Here, she manipulates either gently or frenzily a bundle of a sacred plants fiber called ugsang. Her face is covered with a dark cloth while a small porcelain bowl with lighted candles or a small sword is balanced in her head. Her assistants , thetaga-iring also take turn dancing the Balisangkad, waving the hissing ugsang to the mesmerizing beat of the gimbal musical instrument. The community participates later in theTugatak, Abellano,Soryano or the Sigumbat dances. Philippine Folk Christianity The three centuries and thirty-three years of Spanish domination was effectively affected on the lowland Filipinos. They were the first people to be exposed to westernization and needless to say, the first converts. Today, more 80 percent of the whole Philippine population are Christians belonging largely to Catholicism, Iglesia Filipina Independiente and various Protestant sects brought about by subsequent colonialism. There is however, an interesting version of Philippine Christianity that is in practice nowadays. This version is a blend of Christianity and the pre-Hispanic pagan and animist folk religion anthropologists call Philippine folk Christianity. The Sanghiyang of Lumampong and Daine, Indang; and Alfonso, Cavite for example, is a multi-purpose ritual that involves chanting, dancing and offerings. The barko (ritual performer) chants the name of the Christian God and the various Catholic saints along with rare names which are certainly not found on Christian honor role: Santong kapayat-payatan (Gaunt Saint), Santong Kataba-tabaan (Plump Saint), Hari ng Kailaliman (King of the Underworld),Taratara and Hari ng Apat na Sulok ng Daigdig (King of the Four Corners of the Earth). The whole ritual is done in front of an altar with a crucifix as the centerpiece along with statues of the Virgin Mary and saints adorned with rosaries! Such dramatic juxtaposition is as interesting as the cases of the healing ritual kagong in Abucay, Bataan and the exorcism ritual pagmayaw in Can-avid, Eastern Samar.

Kagun/Kagong

The kagong ritual is certainly pre-hispanic as the same ritual is still practiced among the Aeta Magbakun of Bataan. The ritual variably called kagun is also a healing ritual much the same as the anituan healing sance among the Pinatubo Aetas. The pagmayaw also predates colonization as evident on the food offerings and live animals laid on a ritual table. Catholic rosaries and novena booklets placed on the same table is certainly a later addition. Whatever form Christianity is upheld nowadays is of little effect on the life of the lowland Christianized Filipinos. Spanish culture and lifeways have befallen their culture of antiquity. Whatever vestiges remained seem to be unnoticed by the present generation nurtured by the mixed blessings of science and technology and the American culture. Various occupations and communal activities are also interpreted in their many dances and very popular throughout the country are the many rice planting dances like the Tagalog - Magtanim ay Di Biro , the Waray - Sinadukan featuring a beautiful maiden farmer wearing a native hat called saduk Bikol - Akoy Pobreng Manananom Basey, Samar -there is also a mat-weaving dance called Pahot-pahot. Ilokanos -have the cotton pod beating dance called Binatbatan, a cloth weaving dance called Agabel Dumadel (dooh-mah-DEHL) A festival dance performed by the Subanons to celebrate a good harvest. Pagdiwata (pahg-dee-WAH-tah) The Tagbanuas of Palawan perform this dance to show gratitude for a good harvest and to implore continued protection and favor from the deities. Udol (ooh-DOHL) From the Tagakaulo tribe of southern Davao comes this ceremonial dance which portrays death and revenge. It opens with three women walking in with votive candles, mourning the loss of a relative. They are followed by men playing the udol, a long wooden musical instrument. The woman make eloquent gestures of tenderness and despair such as wielding a spear and pounding the udol in anger, countering the steady rhythms of the musicians. A male priest then dances, begging the spirits to guide the soul of the deceased. Finally, two warriors enter, spears in hand, performing a frenzied dance in a circle, then disappearing off stage "to the woods," apparently to secure the heads of their enemies.

Sugod Uno

(sooh-GOHD-OOH-noh)

From Davao del Norte, the Bagobo tribe prepares the cleansing of the spirit and planting of their next crop. Sublian - The term subli is from two tagalog words subsub meaning falling on head and bali, which means broken. Hence, the dancers appear to be lame and crooked throughout the dance. This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during fiestas as a ceremonial worship dance to the towns icon, the holy cross. Maglalatik - 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 towns 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.

Maglalatik Palok - Kalinga, Cordillera - A tribal dance. The natives of Kalinga perform this dance in most of their social events. Male dancers hold gangsa or gong- a percussion instrument made of copper, and beat it with wooden stick. Lumagen - Kalinga, Cordillera A tribal dance. This is a traditional thanksgiving dance by the Kalinga tribe performed to celebrate good harvest and events such as birth of first-born child, victory in battles and weddings. Idudu- Abra, Cordillera A tribal dance. This dance stages a common family life in the Itneg or Tinguian society. It illustrates the family as the main foundation of the tribes community. Several traits of an ordinary family are shown. It depicts a father plowing the field while the mother caring for the children. But as soon as the father finishes work, the mother takes over on planting, sowing and all the remaining chores to do in the field. At this time the father is left to take care of the kids. During the dance a Local singer breaks into an Idudu or lullaby to put the baby to sleep. Idudu, a dance taken from Idudu lullaby, obviously portrays the different roles in a Tinguian family Dinuyya - Cordillera Ifugao dance Famous in the Ifugao region, this dance is regularly staged during festivals in Lagawe. Three kinds of gong instruments such as, ordinary gongs, tobtob- a brass gong played by beating with open palms and, hibat, a kind of gong played by beating the inner surface with a softwood are used in this dance.

Bendayan - Benguet This dance, which is more known as Bendian, is performed to commemorate the arrival of headhunters in their district. Performers dance in a circle and show off their lively traditional steps. Binaylan - Agusan This is a ritual dance, which originated from the Bagobo tribe living in the central uplands of Mindanao, imitating the movements of a hen, her banog or baby chicks, and a hawk. The hawk is sacred and is believed that it has the power over the well being of the tribe. The hawk tries to capture one of the baby chicks and is killed by the hunters. Malakas at maganda - Leyte A Tribal dance. This dance depicts the birth of the first man and woman who came out of a bamboo tree. It has been said that the woman named maganda (beautiful) and the first man malakas (strong) are the parents of the whole community in the island. The dance demonstrates how a bird discovered the noise coming from the inside of the bamboo and perched until it opened. A man and a woman came out of the big bamboo tree and, the birth of this legendary couple is amusingly interpreted in this dance. Burung-Talo - Sulu The dance is a unique fighting dance in a form of martial arts by the Tausug tribe. Performers demonstrate a battle between hawk and a cat. With their acrobatic movements and tough facial expressions, this dance is highlighted with the accompanying energetic beat of drums and gongs. Kadal-Blelah- South Cotabato A tribal dance where in the dancers perform simulation of movements of birds. Kadal Tahaw - Tiboli dance- south cotabato A tribal dance performed by Tiboli tribe, this dance that mimics the hopping and flying behavior of Tahaw bird is performed to celebrate good harvest Bagobo Rice Cycle (also known as Sugod Uno) is a tribal dance performed by the Bagobo people of Davao del Sur. To the Bagobo, the dance is called Miyamas neng Ommoy. Ommoyis a Bagobo term for the rice grains without husks. The dance portrays the step-by-step cycle rice culture; from planting, harvesting to thanksgiving rituals for a bountiful rice harvest. Takiling (tah-KEEH-lihng) Kalinga men chant and dance while beating gangsa (brass gongs) and leap around. This is part of the colorful religious ritual of thanksgiving for a bountiful harvest.

. Sinulog (sih-NOOH-lohg) Sinulog is a ceremonial dance performed by the people of San Joaquin, Iloilo, during the feast of San Martin. It originated in a barrio of San Joaquin called Sinugbahan. It was believed that the image of San Martin was found at the edge of a beach, and that it could not be removed until the people dance the Sinulog. From that day on, every Novemeber 10th on the feast of San Martin the Sinulog would be danced before the procession comes out or else, it was believed, the chuch would be burned. The dance itself was patterned after the Suluan war dance of the Sulu people, the native name of Sulu being Sulog which means strong ocean currents. Sinulog (Cebuano word for "carried along by the current") is believed to have originated from a ritual dance for a pagan deity who was fished out from the sea. It was later Hispanized and transformed into a dance of worship for the Santo Nio. There are many types of sinulog dances. The simplest, least acculturated, and perhaps the purest form of ritual prayer is what has been called the tindera sinulog. Performed on the patio of the Santo Nio Basilica, it is danced by women candle peddlers on behalf of devotees who buy candles from them as an offering for petitions or for thanksgiving. Performed to a silent, resilient beat, the dancer performs this supplicatory dance with no formal costume or audience. There are three distinct phases in this ritual dance. There is first an introductory rite wherein the dancer takes an erect stance and raises the offering of candles toward the image of the Santo Nio. The dancer then recites a prayer. As soon as the prayer is uttered, the dancer performs the gently bouncing sinulog movement. The bouncy movement is restrained and almost pious, originating from the torso and seeming to flow to the limbs in gentle, wave-like motions. The dance closes with another prayer. An elaborate version of the sinulog, called troupe sinulog, is said to exhibit a "masculine" style of dancing -- one that is more convulsive and energetic than the feminine tindera style. This version features jumping, hopping, and arm gestures that resemble fighting. It also calls for drum accompaniment. (Source: Cebu, More than an Island. 1997, Ayala Foundation, Inc., Philippines; 279pp.)

Gapnod (Cebuano for "flotsam") is a worship dance popular among the people of Negros
Oriental. It is a reenactment of the discovery by a fisherman of the image of St. Anthony of Padua, the patron saint of the town of Sibulan, Negros Oriental. The dance is one of rejoicing and merry making that ends in a fluvial procession along the coast

Ohong is the Cebuano word for "mushroom" and the mimetic dance Ohong-Ohong features

rapid twirling movements by women dressed in long, billowy skirts with layers of petticoats visually representing mushrooms. The dance is a celebration of the onset of rains and of bountiful harvests. Lumagen - Kalinga, Cordillera A tribal dance. This is a traditional thanksgiving dance by the Kalinga tribe performed to celebrate good harvest and events such as birth of first-born child, victory in battles and weddings. Sayaw sa Cuyo - Palawan Cuyo is a small island and capital of Palawan. There, the feast day of St. Augustin is traditionally celebrated with parades, processions and small performances by groups coming from all over Cuyo Island and the nearby islets. Island dances, blended with strong Old Cuyo ethnicity and Spanish-influenced steps, are all brought out when Cuyo celebrates its festivals. Today, pretty young girls daintily swirl hats to the waltz and other European steps designed to bring out the freshness and glow of the performers. Dugso - Bukidnon A thanksgiving dance from the talaindig tribe. (DOOHG-soh) The Bukidnon from northeastern Mindanao perform this dance as an entertainment for the deities, to make them feel more comfortable during the fiesta that has been organized for them and consequently more open to the requests of the celebrants. It was originally thought that this dance was performed only during harvest time or upon the birth of a male heir. Women would wear colorful feathered head dresses, plaid costumes and anklets. They would step rhythmically around a bamboo arch decorated with newly-gathered palay (rice stalks) and corn, and their movements are emphasized by the tinkling sounds from the anklets. Karatong - Palawan A Muslim dance. During the festival of San Agustine in the island of Cuyo, the celebration also includes the blossoming of mango trees. The parade starts from the church patio and ends at the town plaza with ladies waving their colorful props "Bunga mangga" that symbolize the flowers of mango tree, while men lively strike their karatong instruments; creating a scene of joy among reveling towns folk. Manerwap (MAH-nehr-wahp) In times of severe drought, the Bontoc would perform this pagan ritual imploring Kabunian (God) to open the sky and allow raindrops to water the rice terraces and the mountains. Participants in the Manerwap climb the mountain to reach a sacred place called fawi where they offer a piece of meat and some rice wine to God. Tribal folk rule that participants in the Manerwap must be physically strong to withstand the fast required during the rites, when they're allowed only water and no food. Senior members of the tribe perform the rain dance for two days and two nights, incessantly beating gongs throughout the vigil

Sakpaya

The Sakpaya is an Ifugao dance of thanksgiving for a good harvest, named after the sakpaya birds often seen hovering over the terraces. The birds are seen by the Ifugaos as deities. The movements of the birds are mimicked by farmers in traditional costumes in this dance. Bayluhan The Bayluhan is a dance performed in Malabon and Navotas by childless women who were unable to make the annual pilgrimage to neighboring Obando to do a prayer-dance for a child. The women wait instead for their friends who went to the fertility festival to return, then they recreate the fertility dance Pandanggo Santa Clara More popular as the Sayaw sa Obando, the Pandanggo Santa Clara is among the few fertility dances of the Philippines, particularly among the lowland Christianized Filipinos. The dance is a sort a supplication prayer to Santa Clara (the towns patroness) for married couple who find it hard bear a child. The supplicants, as we may call the dancers, follow the route of the procession dancing the pandanggo. The prayer ends with the ritualistic offering of duck or chicken eggs to the patroness. Participants of the pandanggo came all throughout the country hoping that the patroness favor will rest on them. Those that came from neighboring Malabon and Navotas return to their respective places dancing a pandanggo like dance called Bayluhan (named after San Pascual Baylon, Obandos patron) Basal Banal This traditional dance of the Palawanons is part of merry-making after a Pagdiwata ritual. Dancers use balasbas and a native cloth to accentuate the movements of the dance. Palok - Kalinga, Cordillera - A tribal dance. The natives of Kalinga perform this dance in most of their social events. Male dancers hold gangsa or gong- a percussion instrument made of copper, and beat it with wooden stick. Idudu- Abra, Cordillera A tribal dance. This dance stages a common family life in the Itneg or Tinguian society. It illustrates the family as the main foundation of the tribes community. Several traits of an ordinary family are shown. It depicts a father plowing the field while the mother caring for the children. But as soon as the father finishes work, the mother takes over on planting, sowing and all the remaining chores to do in the field. At this time the father is left to take care of the kids. During the dance a Local singer breaks into an Idudu or lullaby to put the baby to sleep. Idudu, a dance taken from Idudu lullaby, obviously portrays the different roles in a Tinguian family Dinuyya - Cordillera Ifugao dance Famous in the Ifugao region, this dance is regularly staged during festivals in Lagawe. Three kinds of gong instruments such as, ordinary gongs, tobtoba brass gong played by beating with open palms and, hibat, a kind of gong played by beating the inner surface with a softwood are used in this dance. Bendayan - Benguet This dance, which is more known as Bendian, is performed to commemorate the arrival of headhunters in their district. Performers dance in a circle and

show off their lively traditional steps. Binaylan - Agusan This is a ritual dance, which originated from the Bagobo tribe living in the central uplands of Mindanao, imitating the movements of a hen, her banog or baby chicks, and a hawk. The hawk is sacred and is believed that it has the power over the well being of the tribe. The hawk tries to capture one of the baby chicks and is killed by the hunters. Malakas at maganda - Leyte A Tribal dance. This dance depicts the birth of the first man and woman who came out of a bamboo tree. It has been said that the woman named maganda (beautiful) and the first man malakas (strong) are the parents of the whole community in the island. The dance demonstrates how a bird discovered the noise coming from the inside of the bamboo and perched until it opened. A man and a woman came out of the big bamboo tree and, the birth of this legendary couple is amusingly interpreted in this dance. Kadal Tahaw - Tiboli dance- south cotabato A tribal dance performed by Tiboli tribe, this dance that mimics the hopping and flying behavior of Tahaw bird is performed to celebrate good harvest. Dugso - Bukidnon A thanksgiving dance from the talaindig tribe. Gayong-gayong - Capiz -A Muslim dance. In rural gatherings, this dance offers much fun. Gayong is a pet name for Leodegario. According to the legend and to the words of the song, Gayong and Masiong (pet name for Dalmacio) once attended a feast commemorating the death of a townsman. While eating, Masiong choked on a piece of Adobo so he called, "Gayong ! Gayong !" to ask for help to dislodge a bone from the Adobo meal from his throat. In this dance, Masiongs liking for feasts and the consequence of his gluttony are held up to playful ridicule. Ipat (EEH-paht) The pag-ipat (deliverance) is believed to be a pre-Islamic ritual which survives to this day because of the compulsion of the Asal (traditional ancestry) which binds particular families to hold it during illness of a family member. The Maguindanao traditional worldview holds that diseases are caused by tonong (ancestral spirits) who need to be appeased. Thus, a folk healer performs the pag-ipat while being possessed by the tinunungan (spirit). The ritual may be performed for a day, seven days, or a fortnight, depending on the patient's illness and economic status. It is an activity where the entire community participates. Magsalba Magsalba is a ritual dance from Bukikulud, Siasi, Sulu that has six all-male performers. BALANGBANG is a native victory dance of the Mountain Province

A. Geographical Origin 1. National dances - found throughout the islands with little or no modification 2. Local dances - found in a specific locality B. Nature 1. Occupational dances - depict actions of a labor of a specific occupation, industry or human labor 2. Religious Ceremonial dances - dances with religious vows and ceremonies 3. Comic dances - depict funny movements intended for entertainment 4. Game dances - done with play elements 5. Wedding dances - performed during wedding feasts 6. Courtship dances - depict the art of courtship or dances with love themes 7. Festival dances - suitable for special occasions or any social gathering 8. War dances - show imaginary combat or duel C. Movements 1. Active - dances which shows fast energetic movements 2. Moderate 3. Slow 4. Slow and fast D. Formation 1. Square or Quadrille 2. Long formation 3. Set - consists of two or more pairs as a unit; partners facing each other or standing side by side. I. Special classification: Group dances with special distinctive features A. Dances with songs B. Old Ballroom Dances C. Dances with implements D. Dances of Combined Rhythm

Basal Banal This traditional dance of the Palawanons is part of merry-making after a Pagdiwata ritual. Dancers use balasbas and a native cloth to accentuate the movements of the dance. Palok - Kalinga, Cordillera - A tribal dance. The natives of Kalinga perform this dance in most of their social events. Male dancers hold gangsa or gong- a percussion instrument made of copper, and beat it with wooden stick. Lumagen - Kalinga, Cordillera A tribal dance. This is a traditional thanksgiving dance by the Kalinga tribe performed to celebrate good harvest and events such as birth of first-born child, victory in battles and weddings. Idudu- Abra, Cordillera A tribal dance. This dance stages a common family life in the Itneg or Tinguian society. It illustrates the family as the main foundation of the tribes community. Several traits of an ordinary family are shown. It depicts a father plowing the field while the mother caring for the children. But as soon as the father finishes work, the mother takes over on planting, sowing and all the remaining chores to do in the field. At this time the father is left to take care of the kids. During the dance a Local singer breaks into an Idudu or lullaby to put the baby to sleep. Idudu, a dance taken from Idudu lullaby, obviously portrays the different roles in a Tinguian family Dinuyya - Cordillera Ifugao dance Famous in the Ifugao region, this dance is regularly staged during festivals in Lagawe. Three kinds of gong instruments such as, ordinary gongs, tobtoba brass gong played by beating with open palms and, hibat, a kind of gong played by beating the inner surface with a softwood are used in this dance. Bendayan - Benguet This dance, which is more known as Bendian, is performed to commemorate the arrival of headhunters in their district. Performers dance in a circle and show off their lively traditional steps. Binaylan - Agusan This is a ritual dance, which originated from the Bagobo tribe living in the central uplands of Mindanao, imitating the movements of a hen, her banog or baby chicks, and a hawk. The hawk is sacred and is believed that it has the power over the well being of the tribe. The hawk tries to capture one of the baby chicks and is killed by the hunters. Malakas at maganda - Leyte A Tribal dance. This dance depicts the birth of the first man and woman who came out of a bamboo tree. It has been said that the woman named maganda (beautiful) and the first man malakas (strong) are the parents of the whole community in the island. The dance demonstrates how a bird discovered the noise coming from the inside of the bamboo and perched until it opened. A man and a woman came out of the big bamboo tree and, the birth of this legendary couple is amusingly interpreted in this dance.

Kadal Tahaw - Tiboli dance- south cotabato A tribal dance performed by Tiboli tribe, this dance that mimics the hopping and flying behavior of Tahaw bird is performed to celebrate good harvest. Sayaw sa Cuyo - Palawan Cuyo is a small island and capital of Palawan. There, the feast day of St. Augustin is traditionally celebrated with parades, processions and small performances by groups coming from all over Cuyo Island and the nearby islets. Island dances, blended with strong Old Cuyo ethnicity and Spanish-influenced steps, are all brought out when Cuyo celebrates its festivals. Today, pretty young girls daintily swirl hats to the waltz and other European steps designed to bring out the freshness and glow of the performers. Karatong - Palawan A Muslim dance. During the festival of San Agustine in the island of Cuyo, the celebration also includes the blossoming of mango trees. The parade starts from the church patio and ends at the town plaza with ladies waving their colorful props Bunga mangga that symbolize the flowers of mango tree, while men lively strike their karatong instruments ; creating a scene of joy among reveling towns folk. Dugso - Bukidnon A thanksgiving dance from the talaindig tribe. Gayong-gayong - Capiz -A Muslim dance. In rural gatherings, this dance offers much fun. Gayong is a pet name for Leodegario. According to the legend and to the words of the song, Gayong and Masiong (pet name for Dalmacio) once attended a feast commemorating the death of a townsman. While eating, Masiong choked on a piece of Adobo so he called, "Gayong ! Gayong !" to ask for help to dislodge a bone from the Adobo meal from his throat. In this dance, Masiongs liking for feasts and the consequence of his gluttony are held up to playful ridicule. Ipat (EEH-paht) The pag-ipat (deliverance) is believed to be a pre-Islamic ritual which survives to this day because of the compulsion of the Asal (traditional ancestry) which binds particular families to hold it during illness of a family member. The Maguindanao traditional worldview holds that diseases are caused by tonong (ancestral spirits) who need to be appeased. Thus, a folk healer performs the pag-ipat while being possessed by the tinunungan (spirit). The ritual may be performed for a day, seven days, or a fortnight, depending on the patient's illness and economic status. It is an activity where the entire community participates. Dumadel A festival dance performed by the Subanons to celebrate a good harvest. The dancers use the palaspas or shredded leaves of the uway or rattan plant in accentuating their movements. Women dancers strike porcelain bowls held at hand. The same porcelain bowls are borne on the head and are carefully balanced while doing movement of the dance

Kalutang Kalutang is a primitive ceremonial dance. This is an interpretation of the Aetas way of living particularly in Mt. Sumagang, City of Iriga during the primitive time. Female dancers wear short tapis and beads of cassava or any small fruit while the male dancers appear on a Gstring or young banana leaves placed around the waist along with the leaves of Legbikay.

Sublian refers to whole event when religious Batangueos perform religious ritual that involves singing in verses with strict punto or skeletal melody, praying, eating and dancing the Subli. Subli is performed by the people in nearly all the barangays of Bauan andAlitagtag, Agoncillo and to some extent Calaca and Taal in Batangas province. Usually held during the month of May to coincide with theElenahan and during town and barrio fiestas. Strictly speaking, the Subli is a ceremonial worship dance performed as a tribute to the Holy Cross referred to in the vernacular as Mahal Na Poong Santa Cruz. Subli is derived from two Tagalog words subsub (stooped or in a crouching position) and bali (broken). Thus, the men dancers seem to be lame and crooked as they are in trunk-forward-bend position throughout the dance. The Subli dance steps provide very rich dance terminology. Popular among these terms are the bilao(winnowing basket-like), bayle(Spanish for 'dance'), paypayan,(fanning), liguid, pagtatalik,(small refined gestures with wrist and fingers), laban, (advance and retreat) kadena (chain), and pamumupol(picking up). One popular version is danced using buntal hats and kalasteng buho (bamboo castanets) as dancing implements. The Subli is also performed using abaniko (fan), baso (wine glass) and wide bandannas. The Subli is danced accompanied by a tugtugan- a standing drum made of hallowed out nangka wood covered with a bayawak (monitor lizard) skin Dugso Dugso (meaning 'dance') is a ceremonial dance among the Manobo people in Bukidnon, Agusan and Misamis Oriental . The Dugso (alsoDugsu) is usually performed during important occasions like kaliga (feasts) or kaamulan (tribal gatherings). Other occasions that call for the performance of Dugso are festivities connected to abundant harvest, the birth of a male heir or victory in war. Brandeis however, claimed that the dugso has no specific occasion underpinning aside from that of the kaliga-on festivities. He said that it is only performed to "entertain their deities". The Dugso for a kaliga is usually performed on the third day which is usually the merriest being the culmination of the whole celebrations.

Kabpagagani (also called kapag-ani) means harvest. Basically, the Maguindanaos of Kipangol and Sinumpalay are farmers and the dance depicts the activities and communal effort shared by the people of the community. This is preceded by a ritual called bagapawan wherein the best rice grains are harvested in advance by the Iman while some of the grains are burned in the tudungan as a sign of offering to the spirits. The rest are wrapped in gabi leaves and tied together and hung above the stove to be used as seedlings for the next planting season.This dance is performed during harvest time. The different steps in the planting of rice from sowing, planting, weeding, harvesting, threshing, pounding, and the cleaning of the field for the next planting season are depicted Ipat The pag-ipat is believed to be a pre-Islmaic ritual which survives to this day because of the compulsion of the asal (traditional ancestry) which binds particular families to hold it during illness of a family member. The Maguindanao traditional worldview holds that diseases are caused by the tonong (ancestral spirits) who need to be appeased. Thus, a folk healer performs the pag-ipat (deliverance) while he or she is possessed by the spirit (tinunungan). The ritual maybe performed for a day, seven days or a fortnight, depending of the patients illness and economic status. It is an activity where the entire community participates. Manerwap The Manerwap is a rain dance performed by the Bontoc people to ask their god Kabunian to water the rice terraces and the mountains. The dancers must be physically strong enough to endure a ritual fast and climb the mountain to the sacred place they call fawi to offer some meat and rice wine to Kabunian. For two days and two nights, senior members of the tribe participating in the rain dance perform while beating gongs.

Magsalba Magsalba is a ritual dance from Bukikulud, Siasi, Sulu that has six all-male performers. BALANGBANG is a native victory dance of the Mountain Province Bayluhan (bahy-LOOH-hahn) In Malabon and Navotas, part of the Bulacan province, childless women who missed making the annual pilgrimage to Obando await the return of their friend who went to Obando's annual fertility festival. Upon their return, they recreate this dance of fertility Oasiwas (wah-SEE-wahs) After a good catch, fishermen of Lingayen would celebrate by drinking wine and by dancing, swinging and circling a lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan dialect means "swinging." This unique and colorful dance calls for skill in balancing an oil lamp

on the head while circling in each hand a lighted lamp wrapped in a porous cloth or fishnet. The waltz-style music is similar to that of Pandanggo sa Ilaw. Pagdiwata -- A ritual dance, performed while healing persons usually possessed by evil spirits. Dugso -- A dance from the province of Bukidnon. It is a dance of thanksgiving performed after a bountiful harvest, the birth of a male child or a victory in war. Ilocana a Nasudi -- This dance comes from the Italian folk song, "Marianini". It depicts the modest and retiring traits of Ilocana women. Subli -- A dance originating from Bauan, Batangas. This dance is performed as devotion to the Holy Cross icon, the Mahal na Poong Santa Krus. Tobong Kalatong -- A dance with bamboo clappers or kalaste from the province of Pangasinan which is a ceremonial dance to frighten evil spirits away. Pandango sa Ilaw - Wasiwas -- A dance of lights from Mindoro. The dancers gracefully and skillfully balances 3 lighted oil lamps on their head and both hands. Maglalatik an occupational dance from the province of Laguna. This gymnastic and very fast dance using coconut shells is done by coconut plantation workers as they rest after a hard days work. Sayaw sa Obando a ritual type of dance where the female dancers each hold a salakot or a female native hat to honor or pay homage to Santa Clara to ask favor or thanks giving. This dance originated in the municipality of Obando in Bulacan.