LESSON 2 Philippine Folk Dance

Dance is a particular series of graceful movements of the body and feet. When we dance, we
move our bodies and feet in a way that follows a rhythm, usually in time to the music. It is a way of
moving that uses the body as an instrument of expression and communication. Dance enables us to
understand ourselves and the world in which we live. It also enhances our skills of perception,
observation, and concentration.

What is folk dance?

Folk dances are the indigenous dances of any specific “folk” or the common people. They are traditional
customary or recreational dance forms of a given country that have evolved naturally and were handed down
across generations.
Folk dances are related to everything of importance in our daily lives, such as customs, rituals, and
occupations of a specific group of people. Most of these dances are related in origin to religious belief,
stemming from emotions, superstitions, festivals, ceremonies of birth, courtship, marriage, death, war, and
countless themes common to all people around the world. According to Duggan, Schlottmann, and Rutledge
(1948), “folk dance became the overt expression of emotions and ideas which were peculiarly significant or the
re-enactment of customs and events constituting an important part of their history and patterns of daily living.”
Lopez (2006) defined Philippine folk dance as “a traditional mode of expression that employs bodily
movements of redundant patterns linked to definitive features of rhythmic beats or music.”
She further stated that Philippine folk dance, to be called such, should have the following characteristics:

1. It is traditional
2. It has an expressive behavior
3. Simple, basic rhythm dominates the folk dance and establishes the pattern of movement.
4. It is created by an unknown choreograph or by communal efforts.
5. It performs a function in the life of the (folk) people.

Oftentimes, the term folk dance is being confused or used interchangeably with ethnic and national dance.

What are the differences between national, and ethnic dance?

Folk dances are traditional dances found in a certain country while national dances are also
traditional dances but have a national scope. They are popular and widely danced throughout a given
country, often with several regional variations.
The Philippine dances Cariñosa, Curacha, and Pandanggo are examples of national folk dances as they
popular dances throughout the country. Pandanggo for example has several variations from both Luzon
and Visayas islands. Even within one locality, dancers have different ways of performing it.
Examples of Pandanggo dances are:
• Pandanggo Ilocano
• Pandangogo Visayan
• Pandanggo Dumagueteño
• Pandanggo Ivatan
• Pandanggo Rinconada
• Pandanggo sa Ilaw
Ethnic dances or ethnological dances are those performed in primitive tribes and have retained
their close kinship with religious rituals and community customs. These dances may “require a certain
level of special performing skills” (Kraus, 1962) that are symbolic in meaning, making it harder for those
outside the group to understand. They can be performed in three different categories, namely, ritual, life-
cycle, and occupational.
In the Philippines, dances originating from the Ifugao people of the northern Luzon, T’boli tribe
from Southern Mindanao, and Tagbanua tribe from Palawan are examples of ethnic dances. Below are
few examples of the different types of ethnic dances:
a) Ritual dances – dances that depict ritual ceremonies. Examples are Dugso (Bukidnon) and
Pagdidiwata (Palawan).
b) Life-cycle dances – dances relating to the cycle of human life such as birthing, courtship,
wedding, and funeral. Examples are Binasuan (Pangasinan) and Daling-daling (Muslim courtship
dance from sulu).
c.) Occupational dances – dances that exhibit work and occupation of the dancers. Examples are
Mag-Asik (Cotabato) and Mananagat (Cebu) dances.
 All national and ethnic dances are folk dances, but not all folk dances Did you know?
are considered national or ethnic dances.
The Philippines has very rich and varied folk dances. There are In 1935, the University of
the Philippines (UP) Filipiniana
hundreds of traditional dance collections found in the country that are mostly Dance Group was founded by
for all occasions. They come from the southern to northern parts of the Francisca Reyes-Aquino which
Philippine islands. These dances exhibit the customs, ideas, beliefs, served as the experimental group
superstitions, and events of daily living in a certain Filipino community. The for her extensive research on the
origin of the dances may be seen by looking at the costumes, props, and different folk dances of our
implements of a certain group or tribe. country.
However, due to acculturation, Philippine indigenous dances may have It was originally named the
evolved and modified since cultures of other countries have greatly influenced “UP Folk Song and dance Club”.It
these dances. The manifestations can be seen by the kinds of costumes, props, was during the time of Cynthia
music, and dance steps used and integrated into some of the regional and Abad Santos, who succeeded
Reyes-Aquino, that the term
national folk dances of the Philippines. Some of these dances were influenced “Filipiniana” was used as a
by western cultures, such as the Americans and Spaniards and others were group’s official name.
influenced by the neighboring Asian countries such as Indonesia, Malaysia, and
Today, UP Filipiniana
China to name a few.
continues its mission of furthering
and deepening the practice of
What are the different types of Philippine folk dances? Philippine Folk dance and its
accompanying dance forms
There are several ways to classify Philippine folk dances. According to through research, teaching,
Francisca Reyes-Aquino folk dances may be classified by geographical extent restaging, and participating in
of origin, nature, speed of movement formation, and distinguishing features. cultural events locally and
Lately, folkloric specialists have merged regional and functional classifications internationally.
to sort out the different dance materials (Lopez, 2006). Source: Tanglaw: ika-80th
The three major regional classifications of Philippine folk dances are tribal Anibersaryong Konsyerto. UP
dances from the Cordilleras, dances from lowland Christians, and Muslim Filipiniana Dance Group Bahagi ng
Christmas Program 2015. UGNAYAN.
dances University of the Philippines Diliman
1. Tribal dances from the Cordilleras - include non-Christian dances from Information Office. Special issue,
the Cordilleras. December, 2015
2. Lowland Christian dances - dances coming from places with Western
influences such as that of the Tagalogs, Ilocanos, Pampangueños,
Pangasinense, Bisayans, and Bicolonas These dances are influenced by
Hispanic and European cultures
3. Muslim dances - dances from the people of the Southern Islands of the Philippines such as in
Mindanao and Sulu. These dances are influenced by Arabic and Indo-Malayan cultures.

Philippine folk dances, regardless of their classifications, may also be categorized as:
1. Life-cycle dances - dances that serve as rituals as one passes to a different stage in life such as
from birth to childhood to adulthood, from singlehood to marriage, and from life to death. Below
are the different dances that portray the life cycle:
a courtship dances
b. wedding dances
c. funeral dances
2. Festival dances - dances that are either religious or secular and are connected with the
celebration of recurring events of special significance.
3. Occupational dances - dances that depict the means of livelihood of the Filipino people Palay
festival, a national dance in rice-growing regions, is an example of an occupation dance wherein
dancers portray different steps in rice growing-from planting t harvesting to threshing, flailing,
pounding, airing and winnowing (Aquino, 1979).
4. Ritual and ceremonial dances - dances performed as part of the rituals and ceremonies of a
certain tribe or group of people.
5. Game dances - derivations from local folk games. One example of these dances is Pukol dance
from Aklan and Capiz in the Panay region. Pukol means to strike or bum each other" (Aquino,
1979).
6. Joke and trickster dances - include jokes or tricks played by a dancer on another group of
dancers who is one of them. The intention is to render that individual a physical or mental
indignity or discomfort" (Lopez, 2006). One example of these dances is the Pandanggo sa
Sambalilo dance from the Tagalog regions wherein a girl teases her male partner by playing with
his hat then pushes him when he is about to succeed in getting back and putting on his hat from
the floor.
 7. Mimetic or drama dances - dances that mimic animals, inanimate objects, or other people. The
dancers get into roles other than themselves and become actors immersed in the story the dances
tell. The Itik-Itik dance from Surigao is an example of a mimetic dance as it imitates the
movements of a duck.
8. War dances - dances that express feud and enmity wherein two male dancers engage in physical
combat with Spartan-like intensity (Lopez, 2006). Maglalatik (Biñan, Laguna) is an example of a
war dance as this depicts a battle between Muslims of southern Philippines and the Christian
Filipinos of the lowlands over latik (the residue after coconut boils down). In this dance, the
Muslim won and the Christians sought conciliation to convert the Muslim Moros to Christianity
(Aquino, 1979).
9. Social amenities dances - dances that express social graces, hospitality, and offerings of gifts to
friends. All social ballroom dances and most of the "Filipinized" Western dances that show
camaraderie merriment belong to this group (Lopez, 2006). Examples are Minuete Yano (Iriga,
Camarines Sur), Alay (Tagalog regions), and Habanera Botoleña (Botolan, Zambales) dances.
Minuete Yano, for instance, is performed by people from high social standing in the community
during special occasions honoring high government officials and church dignitaries (Aquino,
1979).

What are the fundamental folk dance steps?

Most folk dances are based on several fundamental dance steps. According to Lopez (2006),
Philippine folk dances should have a simple, basic rhythm that dominates the dance and establishes the
pattern of movement. With this, it is imperative to review and learn the different fundamental dance steps
to perform several folk dances. The origin of these steps varies and depends on the influences of different
cultures. The following are some of the fundamental steps that are useful in learning how to perform folk
dances.
Dance Step Time Rhythmic Step-By-Step Description
Signature Counts Per
Measure
(count 1) Step left (right) foot in the fourth position in front,
Waltz 3/4 time 1,2,3 (count 2) Step right (left) close to left (right) in first or third
position in rear,
(count 3) Step left (right) in fourth position in front.
(count 1) Step right (left) foot in fourth position in front
(count ah) cut the right (left) foot with the left (right) thus
displacing it and at the same time taking the weight of the body
Gallop 2/4 time 1, ah, 2, ah with the left (right) foot,
(count 2, ah) repeat counts 1 and ah.
This is executed with one foot always leading and may be done
in any direction.
Change step (count 1) Step right (left) foot in fourth position in front,
or Two-step 2/4 time 1, and 2 (count and) Step left (right) foot close to right (left) foot in third
position rear or in the first position,
(count 2) Step right (left) foot quickly in fourth position in front.
(count 1) Step left (right) foot in fourth in front,
(count and) Step right (left) close to left (right) foot in the third
Polka 2/4 time 1, and, 2, and position in rear,
(count 2) Step left (right) foot in fourth position in front,
(count and) pause.
Bend the body to the same direction of the step.
(count 1) slide right (left) foot in second position,
(count 2) cut right (left) foot sideward with the left (right),
Mazurka ¾ time 1,2,3 (count 3) hop on the left (right) foot and beat in rear or in front
the right (left) foot close to the ankle of the left (right) foot.
This is executed with one foot always leading and may be done
in any direction
Sway Footwork:
balance (counts 1, 2) step right (left) foot obliquely forward right (left)
(with a (count 3) step left (right) foot across the right (left) foot in front,
Close, (counts 1, 2) step right (left) obliquely backward right,
Point, (count 3) close/point/brush/hop/raise/waltz left (right) foot in
Brush, Hop, fourth or third position in front.
Raise, ¾ time 1,2,3 to a Arms:
Waltz) measure Arms in fourth position with Right (Left) arm high.
Kumintang Right (left) hand when pointing with the left (right)
(2 measures) foot on counts 2, 3 of the second measure.
 (count 1) step right (left) foot in fourth position in front,
(count 2) close left (right) to right (left) foot in third or first
position rear
Note: when done sideward, one foot leads to the direction of the
step.
Close Step (counts 1, 2) step right (left) foot in fourth position in front,
(count 3) close left (right) to right ( left) foot in third or first
position rear
¾ time 1,2,3 or
(count 1) step right (left) foot in fourth position in front,
(counts 2, 3) close left (right to right (left) foot in third or first
position rear
Leap 2/4 1,2 A spring from one foot, landing on the other foot in any
4/4 1 count per direction.
leap
(count 1) point right (left) foot in fourth position in front,
(count 2) step right (left) foot close to left (right) foot in first
position
or
2/4 time 1,2 (count 1) hop on left (right) and point right (left) foot in front
(Allegro) (count 2) with a spring, reverse the position of the feet, that is,
pointing the left (right in front and the right (left) taking the
weight of the body. This is taking one count for every change of
Touch Step position of the feet.
(count 1 point right (left) foot in fourth position in front,
(counts 2, 3) step Right (left) close to left (right) in first position
¾ time 1,2,3 or
(Moderato) (counts 1, 2) point right (left) foot in fourth position in front,
(count 3) step right (left) foot close to left (right) foot in first
position.
(count 1) step right (left) foot in second position,
(count 2) turn left (right) about and step right (left) foot to
Three-Step second,
Turn ¾ time 1,2,3 (count 3) turn left (right) about and step left (right) to second to
Waltz Turn face front.
(count 1) close right (left) foot to left (right) foot,
(counts 2, 3) pause.