LESSON 4: INTRODUCTION OF

FOLKDANCES
•FOLK DANCE IS A FORM OF DANCE
DEVELOPED BY A GROUP OF PEOPLE THAT
REFLECTS THE TRADITIONAL LIFE OF THE
PEOPLE OF A CERTAIN COUNTRY OR REGION
•IS A RECREATIONAL OR CEREMONIAL DANCE
PERFORMED USUALLY BY MEMBERS OF THE
COMMUNITY TO WHICH THE DANCE IS
TRADITIONAL
•HISTORY
THE HISTORY OF PHILIPPINE FOLK DANCING INCORPORATES
OF FOLKDANCE IN THE PHILIPPINES
INFLUENCES FROM IMMIGRANTS AND CONQUERORS WHILE AT THE
SAME TIME MAINTAINING DISTINCTLY FILIPINO ROOTS. PHILIPPINE
FOLK DANCING IS A TRUE REFLECTION OF DAILY LIFE IN PAST
CENTURIES WHILE ENCHANTING MODERN AUDIENCES AT THE SAME
TIME. MORE RECENT DANCES DONE IN THE PHILIPPINES DERIVE
FROM HISTORICAL EVENTS SUCH AS THE ARRIVAL OF THE
SPANIARDS IN THE 16TH CENTURY AND THE CONFLICTS WITH THE
MOORS.

• SEVERAL DANCES, ESPECIALLY THOSE INFLUENCED BY SPANISH

DANCE FORMS, RE- ENACT THE COURTSHIP OF A MAN AND A WOMAN
IN ALL ITS MANY ASPECTS FROM THE SUBLIME TO THE RIDICULOUS.
IT IS IMPOSSIBLE TO KNOW WHEN EXACTLY DANCING BECAME A
PART OF LIFE IN THE PHILIPPINES. AND ALSO, PHILIPPINE FOLK
• TRADITIONAL DANCES WERE DESIGNED TO THANK THE GODS FOR NATURAL AND
AGRICULTURAL EVENTS, SUCH AS RAIN AND HARVESTS.

• IN THE PHILIPPINES FRANCISCA REYES AQUINO, KNOWN AS THE “MOTHER OF

PHILIPPINE FOLK DANCING” SPEARHEADED THE DEVELOPMENT OF THE PHILIPPINES
FOLKDANCES. SHE SAEARCHED FOR FOLKDANCE FOR ALL OVER THE COUNTRY TO BE
USED IN HER CLASSES AND WAS ABLE TO COLLECT A GREAT NUMBER OF DIVERSE
DANCES, GAMES AND MUSIC THAT REFLECTED THE MANY – FACETED FILIPINO
CHARACTER.

• NATURE OF PHILIPPINE FOLK DANCES

• THE PHILIPPINE IS COMPRISED OF LUZON, VISAYAS AND MINDANAO. EACH REGION
HAS DIFFERENT WAYS OF NARRATING THEIR HISTORY, RELIGION, LANGUAGE, ARTS,
CRAFTS AND TRADITIONAL DANCES.
LUZON
TRADITION AND HERITAGE

• LUZON IS THE NORTHERN PART OF THE COUNTRY. IT INCLUDES THE

DIFFERENT CORDILLERA TRIBES SUCH AS IFUGAO, BENGUET, BONTOC,
APAYAO, AND KALINGA WHICH CONTRIBUTED MUCH TO THE DANCE TROVE
OF THE PHILIPPINES.

• DANCES OF LUZON
• IDAW DEPICTS THE HUNTING RITUAL PERFORMED BEFORE A TRIBAL
• WAR. TRIBESMEN WOULD SEARCH AND WATCH THE SCARED IDAW
• BIRD WHICH IS BELIEVED TO LEAD THE TRIBE TO VICTORY
Banga shows the cordillera women on their Idudu Presents a typical Itneg/
way to the river to fetch water for their
tinggian couple who take turns in
families. This dance projects the skills,
taking are of their children while
strength, grace and agility of the women as
the carry five or six clay pots of water on doing their work in the fields.
their heads
 The Maglalatik is a mock war dance that depicts a
The Pandanggo sa Ilaw is similar to a
fight over coconut meat, a highly-prized food. The
Spanish Fandango, but the Pandanggo is
dance is broken into four parts: two devoted to the
performed while balancing three oil lamps -
battle and two devoted to reconciling. The men of
one on the head, and one in each hand. It's
the dance wear coconut shells as part of their
a lively dance that originated on Lubang
costumes, and they slap them in rhythm with the
Island. The music is in 3/4 time and is
music. The Maglalatik is danced in the religious
usually accompanied by castanets.
procession during the fiesta of Biñan as an offering
to San Isidro de Labrador, the patron saint of
farmers.
The Sayaw sa Bangko is performed on top The Pantomina Also known as the Dance of the
of a narrow bench. Dancers need good Doves, the Pantomina mimics the courtship
balance as they go through a series of between doves and is often also a courtship
dance between the couples that perform it. This
movements that include some impressive
dance is an important part of the Sorsogon
acrobatics. This dance traces its roots back
Kasanggayahan Festival held each October,
to the areas of Pangapisan, Lingayen and
where it is mainly performed by the elders of the
Pangasinan. community.
VISAYAS
• TRADITION AND HERITAGE
THE VISAYAS IS A GROUP OF ISLANDS IN THE CENTRAL PHILIPPINES.
IT IS CONSIDERED THE MELTING POT OF DIVERSE CULTURE AND
TRADITIONS. MORE VISAYAN DANCES HAVE WESTERN ARABIAN AND
SPANISH INFLUENCES. THE UPBEAT RHYTHM OF THE DANCES
REFLECTS THE HAPPY CHARACTER AND OUTLOOK OF THE PEOPLE.
THEIR DANCES FREQUENTLY DRAW INSPIRATIONS FROM ANIMAL
MOVEMENTS.
DANCES FROM THE VISAYAS
The Tinikling is considered by many to be the Philippines' Kuratsa from bohol province is performed
national dance. The dance's movements imitate the movement of
using a moderate waltz style. It tells the
the tikling bird as it walks around through tall grass and between
tree branches. People perform the dance using bamboo poles. The story of a young, free – spirited couple who
dance is composed of three basic steps which include singles, attempt to get each other attention.
doubles and hops. It looks similar to playing jump rope, except
that the dancers perform the steps around and between the
bamboo poles, and the dance becomes faster until someone
makes a mistake and the next set of dancers takes a turn.
The Itik-Itik The best description of the Itik-Itik is that
Inalimango from panay, and capiz depicts the mubs crafts
the steps mimic the way a duck walks, as well as the way
movement
it splashes water on its back to attract a mate. According
to popular tradition, the dance was created by a lady
named Kanang who choreographed the steps while
dancing at a baptismal party. The other guests copied her
movements, and everyone liked the dance so much that
it has been passed along ever since.
MINDANAO

TRADITION AND HERITAGE

MINDANAO LIES IN THE SOUTHERN PART OF THE
COUNTRY. IT DANCES OFTEN RELIGION AND CULTURE
OF THE MUSLIMS FILIPINOS
 DANCES FROM MINDANAO
The Singkil is a dance traditionally performed by single Kinikini or the royal walks depicts the social
women to attract the attention of potential suitors. Dancers elite upbringing of maranao women. The
perform a series of graceful movements as they step in and
dancers display grace in their movements with
out from between bamboo poles which are rhythmically
scarves
clapped together. Fans and scarves are often used to enhance
the dancers' movements
Pangalay is a badjao dance. The badjaos are known Asik is dance solo by maiden ornamented with fine
as the sea gypsies. Their dance demonstrates the beads, make up, and as long head scarf. She gives
agility of the upper body, the rhythmic bounce of the her whole heart and soul throughout the dance to
shoulders, and the simultaneous alternate waving of soften and win Asik is dance solo by maiden
the arms. It is commonly performed at wedding and ornamented with fine beads, make up, and as long
social gatherings. head scarf. She gives her whole heart and soul
throughout the dance to soften and win
THE KAPPA MALONG-MALONG
• MUSLIM-INFLUENCED DANCE. THE MALONG IS A TUBULAR
GARMENT, AND THE DANCE ESSENTIALLY SHOWS THE MANY
WAYS IT CAN BE WORN. THERE ARE MEN'S AND WOMEN'S
VERSIONS OF THE DANCE SINCE THEY WEAR MALONGS IN
DIFFERENT WAYS.
GENERAL CLASSIFICATION OF THE PHILIPPINE DANCES

• A. ACCORDING TO NATURE
 OCCUPATIONAL DANCES SHOW MOVEMENTS OF A CERTAIN INDUSTRY OR HUMAN
LABOR
RELIGIOUS OR CEREMONIAL DANCES PERFORMED IN CONNECTION WITH SPIRITUAL
VOWS AND CEREMONIES.
GAME DANCES PERFORMED WITH PLAY COMPONENTS
WEDDING DANCES PERFORM DURING NUPTIAL FEAST
COURTSHIP DANCES DEPICTING A MAN EXPRESSING HIS LOVE FOR A WOMAN
FESTIVAL DANCES SUITABLE FOR SPECIAL OCCASIONS OR SOCIAL GATHERINGS
WAR DANCES SHOWING IMAGINARY COMBAT OR DUEL
B. ACCORDING TO MOVEMENTS
ACTIVE WITH FAST ENERGETIC
MOVEMENTS
MODERATE
SLOW
SLOW AND FAST
C. ACCORDING TO FORMATION
SQUARE OR QUADRILLE
LONG FORMATION
SET
D. ACCORDING TO TYPES OF PHILIPPINE DANCES

• CORDILLERA DANCES THESE ARE DANCES OF THE KALINGAS, IFUGAOS AND OTHER
ETHNOLINGUISTIC GROUPS OF THE CORDILLERA MOUNTAINS. THEY ARE KNOWN FOR
THEIR DISTINCT COSTUMES SUCH AS G-STRINGS AND TAPIS AND GROUNDED
MOVEMENTS WHICH IS A REFLECTION OF THEIR DAILY ROUTINE.

• MUSLIM DANCES THE ARE DANCES OF THE EXOTIC SOUTHERN PART OF THE
COUNTRY. THEY MIRROR THE CHARACTER AND COLORFUL CULTURE OF MUSLIMS AS
SEEN IN THEIR DISCRETE EXPRESSION AND BRIGHTLY COLORED SILK COSTUMES.

• MARIA CLARA DANCE THIS DANCE IS CLASSIFIED UNDER MARIA CLARA DANCE.
CHOTIS WAS ONE OF THE BALLROOM DANCERS INTRODUCED BY EARLY EUROPEAN
SETTLERS.
• RURAL DANCE THESE ARE DANCES WHICH REFLECT THE TRUE SPIRIT AND
CHARACTER OF THE FILIPINO PEOPLE. THEY WEAR PEASANT—OCCUPATIONAL
COSTUMES BUT REFLECT IN THEIR MOVEMENT’S ACTIVITIES OF FISHING,
FARMING, COURTSHIP AND MERRY- MAKING. SOME OTHERS MIMIC MOVEMENTS
OF ANIMALS LIKE BIRDS, FISH AND OTHERS.

• SPANISH-INFLUENCED DANCES - THESE DANCES ARE A REFLECTION OF SPANISH

CULTURE MERGED WITH THAT OF OURS. FROM THE COSTUMES ALONE, YOU CAN
REALLY TELL WHETHER IT’S A SPANISH-INFLUENCED FOLK DANCE OR NOT.
MALES SWEAR THE BARONG TAGALONG AND FEMALES WEAR THE MARIA
CLARA OF DIFFERENT ELABORATE DESIGNS.

• TRIBAL AND INDIGENOUS DANCES - THESE DANCES ARE OF TRIBAL ORIGIN.

THEY REFLECT THE CULTURE AND WAYS OF A SPECIFIC TRIBAL GROUP IN ANY
POINT OF THE COUNTRY. THEY MAY BE FROM LUZON, VISAYAS OR MINDANAO.
BENEFITS OF PHILIPPINE FOLK
DANCES
1. HELP CULTIVATE THE SENSE OF NATIONALISM AND PATRIOTISM
THROUGH DANCE
2. INCREASE APPRECIATION OF PHILIPPINE MUSIC AND FOLK DANCES
3. SERVE AS A HEALTHY FORM OF RELAXATION AND RECREATION
4. DEVELOP AND IMPROVE POSTURE THROUGH GRACEFUL AND RHYTHMIC
COORDINATION OF BODY MOVEMENTS
5. PRESERVE INDIGENOUS FOLKDANCE AND MUSIC IN THE DIFFERENT
REGIONS OF THE PHILIPPINES FOR THE FUTURE GENERATIONS
6. SHOW THE DEVELOPMENT OF A FILIPINO CULTURE THROUGH THE
EVOLUTION OF THE PHILIPPINE DANCES
 Characteristics of the Philippine folk
Factors Affecting Philippine Dances
dances
1. DANCERS GENERALLY STAND AWAY FROM EACH
OTHER
1. GEOGRAPHIC LOCATION
2. THERE IS A LITTLE BODY CONTACT IF ANY.

3. PAIRS OR COUPLES DO MOST OF THE DANCES 2. ECONOMIC CONDITIONS

4. HAND MOVEMENTS AND GESTURES PLAY A
SIGNIFICANT PART
3. CLIMATIC CONDITIONS
5. MOST DANCES ARE IN LONG FORMATION 4. CUSTOMS AND TRADITIONS
6. MOST DANCES BEGIN AND END WITH A SALUDO OR
BOW

7. DANCES FROM THE LOWLANDS HAVE MORE FOREIGN

FEATURES THAN THOSE FOUND IN THE UPLANDS

8. NON – CHRISTIAN DANCES COMMONLY DEPICT

CONFLICT AND RIVALRY
Do’s in Philippine Dances Don’ts in Philippine Dances
1. PREVENT EXAGGERATING THE DANCE
1. PERFORM IN A NATURAL, SIMPLE STEPS
AND DIRECT MANNER 2. AVOID DANCING IN A TOO FLOWING,
2. EXECUTE STEPS WITH EASE AND GRACEFUL AND BALLET LIKE MANNER
SMOOTHNESS
3. AVOID LONG ENTRANCES AND EXITS
3. WEAR THE PROPER PRESCRIBED
4. AVOID PERFORMING TOO ELABORATE
COSTUMES FOR THE DANCE
AND COMPLICATED STEPS
4. STRICTLY FOLLOW DIRECTION AND
DANCE INSTRUCTION AS CLOSELY AS
5. AVOID CALLING A DANCE A FOLK
POSSIBLE
DANCE UNLESS STEPS COME
TRADITIONAL DANCES
5. PERFORM THE DANCES WITH
SUITABLE FEELING AND EXPRESSION
 STEPS IN LEARNING PHILIPPINE FOLK DANCES

1. KNOW THE TITLE AND BACKGROUND OF THE DANCE

2. LISTEN AND ACQUAINTED WITH THE RHYTHM
3. BE FAMILIAR WITH THE DANCE TERMS AND PRACTICE THE BASIC DANCE STEPS.
4. INTERPRET THE DANCE ACCORDING TO FIGURES, AND CONTINUOUSLY REPEAT BEFORE
GOING TOP THE NEXT FIGURE.
5. PERFORM FIRST BY COUNTING, THEN WITH MUSIC.
6. AFTER LEARNING THE ENTIRE DANCE, PRACTICE THE APPROPRIATE EXPRESSION AND
INTERPRETATION
END!