PATHFIT 4

PHILIPPINE FOLK DANCE

PREREQUISITE: PATHFIT 3

COURSE DESCRIPTION
This course in PATHFIT deals with rhythmic activities, movements, and Philippine folk dance
specifically. It aims to enhance the dancing skills, coordination, agility, balance, enthusiasm, and
artistry.
As part of the curriculum. This contributes greatly to foster patriotism and nationalism
through the study of our dances. This is one of the thrusts of Union Christian College to preserve
our cultural practices, arts, dances, and heritage.
The course is designed to develop the skills and techniques necessary to teach and learn the
art of dance through acquisition of knowledge on elements of dance, history, patterns, music,
leading and following, and progressive dance instruction. This further includes acquisition of skills
on the basic Philippine Folk Dance steps.

COURSE OUTCOMES
1. Understand the purpose of PATHFIT 4 and its implications to the life of students and their
future profession.
2. Determine and discuss intelligently the concept and principles of Philippine Folk Dance.
3. Improve individual skills through active participation.
4. Acquire understanding on the Philippine Folk Dances as part of the PATHFIT program.
5. Develop respect and good traits through the different group and individual activities.
6. Effectively perform the basic movements in dancing folk dance.
7. Expand students’ knowledge and understand the factors involved in attaining competence
and
appreciation of physical activity.
6. Manifest appreciation of the importance and effect of learning the Philippine Folk Dances.

SPECIFIC OBJECTIVES
1. Formulate a clear definition of rhythmic activity and folk dance;
2. State the objectives of PATHFIT 4;
3. Appreciate the importance and values that gives emphasis in the development of PATHFIT 4
as a subject;
4. Identify the value of appreciation for individual performance and group performance in
relation to gracefulness and rhythmic coordination.
CONTENT
What is a Dance?
Dance is a form of expressive movement that typically involves rhythmic and coordinated
sequences of steps, gestures, and body movements. It is a performing art that has been an integral
part of human culture throughout history, serving various purposes such as ritual, entertainment,
social interaction, and self-expression.
Dances can take many forms and styles, ranging from traditional folk dances to
contemporary and avant-garde choreography. Different cultures around the world have developed
their own unique dance traditions, each reflecting the values, beliefs, and customs of the society
from which they originate.
Dance can be accompanied by music, but it can also be performed in silence or with other
forms of auditory or visual accompaniment. It often involves a combination of physical strength,
flexibility, coordination, and artistic expression. Professional dancers may undergo extensive
training to master specific techniques and styles.
Overall, dance is a diverse and dynamic art form that transcends cultural boundaries and
serves as a powerful means of communication and creative expression.

Rhythmic Activity
Rhythm in dance refers to the pattern and timing of movements in relation to a musical beat
or a structured sequence. It involves the organization of time through a series of repeated patterns,
accents, and durations, creating a sense of flow and continuity in the dance performance. Rhythm
is a fundamental element in dance, as it helps dancers synchronize their movements with the music
or establish a consistent and coherent sequence of steps.

Key aspects of rhythm in dance include:

Tempo: The speed or pace of the music and, consequently, the dance. Different dance styles may
be associated with various tempos, ranging from slow and expressive to fast and energetic.

Beat: The basic unit of musical time, often represented by a regular pulse. Dancers align their
movements with the beats to create a rhythmic structure.

Accent: Emphasized beats within a rhythmic pattern. Accents can influence the dynamics and
intensity of movements, adding a sense of expression and nuance to the dance.

Phrasing: The grouping of beats into musical phrases, which dancers often use to structure their
movements. Choreography is often designed to match the musical phrasing for a more harmonious
and synchronized performance.

Syncopation: The intentional disruption or deviation from the regular rhythm, adding complexity
and interest to the dance. Syncopation can create unexpected accents and moments of surprise in
the choreography.

Rhythm is a crucial element for dancers to convey emotions, energy, and artistic expression. It
provides a framework for the coordination of movements and helps create a captivating and
engaging dance performance. Different dance styles, whether traditional or contemporary, may
emphasize rhythm in unique ways, contributing to the diversity and richness of the dance world.
Folkdance

Folk dance refers to traditional dances that have evolved within the cultural and social
traditions of a specific community, ethnic group, or region. These dances are often passed down
from generation to generation and are deeply rooted in the history, customs, and rituals of a
particular community. Folk dances are diverse and can vary widely from one region or cultural
group to another.

Key characteristics of folk dance include:

Cultural Significance: Folk dances are often associated with specific cultural or ethnic
groups and are a reflection of their identity, heritage, and values.

Community Participation: Folk dances are frequently performed in a communal setting,

involving the participation of a group of people. They may be performed at festivals, celebrations,
religious ceremonies, or other community events.

Traditional Costumes and Music: Folk dances are often accompanied by traditional music
and performed in costumes that are characteristic of the cultural or regional identity. The music
and costumes contribute to the overall authenticity and uniqueness of the dance.
 Storytelling and Symbolism: Many folk dances convey stories, myths, or symbolic
meanings related to the history, beliefs, or daily life of the community. Movements and gestures in
folk dances often have specific meanings.

Simple, Repetitive Steps: Folk dances often feature simple and repetitive steps that can be
easily learned and passed down through generations. These dances are accessible to a wide range of
participants within the community.

In folkdance, movements are the medium and the body is the instrument. Music and the
rhythmic accompaniment structures of the tempo of the dance and its quality are expressed
through the intensity of the movement. Since motor ability and rhythmic control are directly
connected, it is important that they should be developed together. Poor motor ability results to an
awkward and slow movements.

HISTORY OF PHILIPPINE FOLK DANCES

The history of Philippine folk dances is deeply rooted in the country's rich cultural heritage,
shaped by a blend of indigenous, Spanish, and other Southeast Asian influences. The dances are a
reflection of the Philippines' diverse ethnic groups, each with its unique traditions and customs.

Cordillera or Igorot/Bago Dances

Long before the Spaniards, the indigenous people in the mountainous regions had
already their own folk dances which reflect their worship, their celebrations, their wars and even
their everyday lives. Scholars refer to them as mountain dances which consisted of different
mountain tribes. When Spaniards came, they called them Igorots.
 They dance to appease their ancestors and gods to cure ailments, to ensure 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 ensure bountiful harvest, favorable weather, and to mark milestones in the cycle of life. So the
dances evolve as they need them to express their feelings, their sadness, and their anger.
Muslim and Moro Dances
Mindanao and Sulu were never conquered by Spain. Islam was introduced in the
Philippines in the 12th century before the discovery of the islands by Magellan in 1521.
The dances in Muslim however predated the Muslim influence. Like Ipat which was a
dance to appease ancestral spirits. Before Islam, the Maguindanaons held the view that disease is
cause by tonong (ancestral spirits). Thus, a folk healer performs the pag-ipat while being possessed
by the tinunungan (spirit). Another is the dance baluang which creates the illusion of an angry
monkey, and is always performed by male dancers. The popularity of this dance comes naturally,
since the baluang, or monkey, enjoys an affectionate place in Asian folklore.
Singkil was introduced after the 14th century. It was based on the epic legend of
Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim princess, Gandingan
who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies of
the forest.
Other Tribal Dances
The cultural minorities that live in the hills and mountains throughout the Philippine
Archipelago considered dances as basic part of their lives. Their Culture and animistic beliefs
predated Christianity and Islam. Dances are performed essentially for the gods. As in most ancient
cultures, unlike the Muslim tribes in their midst, their dances are nonetheless closely intertwined
with ceremonials, rituals and sacrifices.
The only dance that is believed to have evolved during the Spanish colonization is the
Talaingod dance which is performed to the beat of four drums by a female, portrays a virgin-mother
bathing and cradling her newborn baby, named Liboangan. She supposedly had a dream, or
pandamggo, that she was to bear such a child. This concept of a virgin-birth may have been derived
from the Catholic faith.
Maria Clara Dances
The history of the Philippines is that of a country constantly melding its culture with
that of outsiders, a narrative that is exemplified well by Filipino folk-dance history. For example, the
300-year Spanish occupation of the Philippines profoundly influenced folk dancing.
The ‘Maria Clara’ style of dance is named after a Spanish-style dress, and its
performance includes Spanish footwork with Filipino modifications such as bamboo castanets and
Asian fans. Contact with ancient Indian civilization is also evident through Indian-influenced dance,
which thrives particularly in the South. Numerous other influences including Muslim and
Indonesian can be found throughout the Philippines.
The coming of the Spaniards in the 16th century brought a new influence in Philippine
life. A majority of the Philippines were converted to Roman Catholicism. European cultural ideas
spread and the Filipinos adapted and blended to meet the local conditions. These dances reached
their zenith in popularity around the turn of the century, particularly among urban Filipinos. They
are so named in honor of the legendary Maria Clara, who remains a symbol of virtues and nobility
of the Filipina woman. Maria Clara was the chief female character of Jose Rizal’s Noli Me Tangere.
Displaying a very strong Spanish influence, these dances were, nonetheless, “Filipinized” as
evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these
dances are the formal Maria Clara dress and barong tagalog, an embroidered long-sleeve shirt made
of pineapple fiber.

Rural and Barrio

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 includes the colorful balintawak
and patadyong skirts for the women, and camisa de chino and colored trousers for the men. The
dances developed during the three hundred years of Spanish colonization.
A good example of rural or barrio dances is Sinulog. It 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.
Most Philippine dances were originally patterned after European dances during the
Spanish regime. Pandango sa Ilaw, Cariñosa, Rigodon and Balitao are examples of these dances
Filipinos are known for. Aside form these western-influenced dances, ethnic-created dance such as
Tinikling made its way to nationwide recognition. Despite its apparent adaptation to western
dances, still Filipinos pay tribute to their cultural roots. Every district in the island has its own folk
dance, interpreted attractively in festivals and local shows, which have added to the country’s
reputed contribution to world’s illustration of traditional arts.
The following are examples of popular Philippine folk dances:
• Binasuan. Originated in Pangasinan province “meaning with the use of drinking
glasses”, this vibrant dance basically shows off balancing skill of the performers. Glasses filled with
rice wine are placed on the head and on each hand carefully maneuvered with graceful movements.
This dance is common in weddings, fiestas and special occasions.
• Rigodon. Originated from Spain, this dance is commonly performed at formal affairs
like inaugural balls where prominent members of the government participate and enjoy.
• Pandanggo sa Ilaw. The word pandanggo come from the Spanish dance “fandango”
characterized with lively steps and clapping while following a varying ¾ beat. Pandanggo requires
excellent balancing 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 form Lubang island,
Mindoro.
• Pandango sa Ilaw 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 or
crooked throughout the dance. This version is originally a ritual dance of the natives of Butuan,
Batangas, which is shown during fiestas as a ceremonial worship dance to the town’s icon, the holy
cross.
• Kuratsa. Commonly performed during festivals in Bohol and other Visayan towns, this
dance portrays a young playful couple’s attempt to get each other’s attention. It is performed in a
moderate waltz style.
• Itik-Itik. According to history of this dance, a young woman named Kanang (short for
Cayetana) happened to be the best performer in the province of Surigao del Norte. At one baptismal
reception, she was asked to dance the Sibay, and began improvising her steps in the middle of her
performance imitating the movements of and “itik”, a duck, as it walks with choppy steps and
splashes water on its back while attracting its mate. Because of its unusual steps and fascinating
interpretation, the audience began imitating her.
• Tinikling. Tinikling is considered the national folkdance with a pair of dancers
hopping between two bamboo poles held just above the ground and stuck together in time to music.
Originated from Leyte Province, this dance is in fact a mimic movement of “tikling birds” hopping
over trees, grass stems or bamboo traps set by farmers. Dancers perform this dance with
remarkable grace and speed jumping between bamboo poles.
• Maglalatik. Originally performed in Biñan , Laguna as mock-war dance that
demonstrate a fight between the Moros and the Christians over the prized latik or coconut meat
during the Spanish rule, this dance is also shown to pay tribute to the town’s patron saint, San
Isidro Labrador. It has four-part performance such as the palipasan and the baligtaran showing the
intense battle, the paseo and the escaramusa~ the reconciliation. Moro dancers wear red trousers
while the Christian dancers show up in blue. All dancers are male; with harnesses of coconut shells
attached to their chests, backs, thighs and hips.
• Maria Clara. Mara Clara is the main female character in Jose Rizal’s Noli Me Tangere-
a literary piece that features the colonial situation of the Filipinos during the Spanish regime. She
was characterized as a Filipina woman of virtue and nobility. This dance is a mix of Spanish
gracefulness and customized native props, such as bamboo castanets and Asian fan. Female
dancers wear Maria Clara dress that typifies the European style, while men in barong tagalog, a
traditional Filipino embroidered long-sleeve shirt made of pineapple fiber.
• Cariñosa. Cariñosa is a word that describes affectionate, friendly and lovable woman.
This dance is performed in flirtatious manner with fans and handkerchiefs to assist the dancers’
hide-and-seek movements.
• La Jota Manileña. It is a dance name after the capital city of the Philippines, Manila,
where an adaptation of Castilian Jota afloat with the clacking of bamboo castanet played by the
dancers themselves. The costume and the graceful movements of the performers noticeably inspired
by Spanish culture.
• Sakuting. Originated in Abra, this dance interprets a mock fight between Ilokano
Christians and non-Christians with training sticks as props. It is traditionally performed during
Christmas at the town plaza or from house-to-house as a caroling show. As a return, the dancers
receive presents or money locally known as “aguinaldo”.
• Pantomina. Meaning “Dance of the Doves”, this dance highlight Sorsogons’s
Kasanggayahan Festival every third week of October. Groups of participants, mainly elderly in
colorful costumes, dance to the tune of Pantomina song. It is a courtship dance originated from
imitating the courtship and lovemaking of doves that then showed during the dance where men
attempt to please the women.
Othe Philippine Ethnic Dances:
• Banog. Cordillera. In this dance, performers portray hunters shielding their chickens
from the famishing hawk. The hawks end up entrapped and dies in the hands of hunters.
• Salisid. Kalinga, Cordillera. This is a courtship dance that symbolizes a rooster trying
to attract the attention of a hen. This is performed and portrayed by both male and female dancers
as the rooster and hen respectively. The dance starts when each of them are given a piece of cloth
known as “ayob” or “allap”.
 • Palok. Kalinga, Cordillera. It is 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. It is 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 tribe’s community.
Several traits of an ordinary family are shown. It depicts a father plowing the filed 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 Tanguian
family.
• Dinnuya. Cordillera. It is an Ifugao dance famous in the Ifugao region. This dance is
regularly staged during festivals in Lagawe. Three kinds of gong istruments 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. It is 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. This 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. It is a tribal dance where in the dancers performs
simulation of movements of birds.
• Kadal Tahaw. Tiboli dance- South Cotabato. It is 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. Palawa. Cuyo is a small island and it is the capital of Palawan. There,
the feast 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. It is 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 symbolizes flowers of mango tree, while men lively strike their karatong instrument; creating a
scene of joy among reveling towns folk.
• Dugso. Bukidnon. It is a thanksgiving dance from the talaindig tribe.
• Gayong-gayong. Capiz. It is 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, Masiong’s liking
for feasts and the consequence of his gluttony are help up to playful ridicule.
• Kapa Malong-Malong. Cotabato. It is a Muslim dance. This Maranao dance is
performed with women wearing malong and shawl, mantle or head piece, whereas men weak sash
or waist band, shorts or bahag and head gear or turban traditionally worn in the fields.
• Pagapir. Lanao del Sur. This dance is usually performed to commence an important
affair. Dancers of this dance are usually form the royal court or high society group of Lanao
province. They use apir or fan to coordinate with their small steps called kini-kini, which symbolizes
their good manners and prominent family background.
• Pangalay. Zamboanga Del Sur. It is a Muslim dance. It is originally performed by
wealthy families during a wedding celebration. This fingernail dance is now popular festival dance
in Sulu.

What are the importance of dancing folkdances?

• To foster patriotism through the study of one’s dances;
• To arouse better appreciation of the Philippine music and dances;
• To provide a better form of relaxation and recreation;
• To develop grace and rhythmic coordination of the body movements that improve
posture;
• To arouse and keep one’s interest in taking part and enjoying our own dances;
• To preserve for posterity, folkdance indigenous to the religions of the Philippines;
• To demonstrate growth of the Philippine culture through the evolution of the
Philippine
folk dances;
• To gain strength, flexibility and balance;
• To promote poise, gracefulness and coordination with feeling of rhythm.
 Activity 1
I. Create your own 8 Folkdance steps patterned after the different group of tribal dances.

II. Answer the following questions:

1. What is a dance?
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2. Where do these movements come from?
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3. Why do we need to dance?
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4. What folkdance would you like to dance? Why?
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5. What skills and components of physical fitness are developed in dancing?
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III. INTERACTION: Write your reaction about your presentation.

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