LUZON
are downward, suggesting the people's affinity with the
Carinosa
Cariosa is a flirtatious Philippine group dance in the
Maria Clara suite of Philippine folk dances where the
fan or handkerchief plays an instrumental roll as it
places the couple in a hard-to-get romance scenario.
Despite popular belief, Cariosa has always been the
national dance of the Philippines, whereas the Tinikling
is just a worldwide favorite.
Kalapati
The dance Kalapati originated from from Cabugao,
Ilocos Sur province. It symbolizes peace and is
represented by imitating the movements of a graceful
dove. It portrays the typical traits of the Ilokanos:
simplicity, naturalness, and shyness.
La Jota Manilea
This is a dance named after Manila, the old capital of the
Philippines. The dance is an adaptation of the Castilian
Jota where dancers where where dancers use bamboo
castanets and clack them to provide music. The costumes
are inspired by Spanish culture.
Maglalatik
This a mock war dance between the Muslims and the
Christians that originated from Binan, Laguna,
Philippines. The dance is about a fight for the latik or
coconut meat during the Spanish era. Today, this dance
is performed in honor of the town's patron saint, San
Isidro Labrador. All dancers are male and are naked to
the waist except for the coconut shells attached to their
chests, backs and hips. The Muslim dancers wear red
trousers while the Christian dancers wear blue. There are
also coconut shells on their thighs and knees. As they
dance, they touch these shells with their coconut shells
on their hands.
Palu-palo
A war dance that shows how the community joins forces
as one to defend themselves. It is a dance showing how
the Ivatans defended themselves against the Christian
intruders and how they learned to accept Christianity and
live a virtuous life. The dance was a simple one
performed by men who wore simple flesh-colored
garments. The tapping of wooden sticks as background
music to the dance produced an echoing sound as the
Ivatans reenacted their battle with the Christian invaders.
Chotis
Chotis (or "Shotis") was one of the ballroom dances
introduced by early European settlers. This dance, from
Camarines Sur, has been adapted by the Bicolano people
and is characterized by a brush-step-hop movement.
Aray
A dance whose words are sung in "Chabacano-
ermitense," a hybrid of Spanish that was only spoken in
the Ermita district before the turn of the century and
today is extinct. The dance itself is a flirtatious one that
involves graceful use of the pauelo, or shawl, and
tambourines. Aray means "ouch" in Tagalog.
Bindian
The Ibaloy who inhabit the southernmost mountain
regions in Northern Luzon perform victory dances to
extol the bravery of the warriors of yesterday. In this
version from the barrio of Kabayan, hand movements
earth. The basic step consists of a stamp by the left foot
and a light, forward movement by the right.
Instrumentalists lead the line, followed by male dancers,
while the female dancers bring in the rear.
Sayaw Sa Bangko
This dance is native to the barrio of Pangapisan,
Lingayen, Pangasinan, and demands skill from its
performers who must dance on top of a bench roughly
six inches wide
Sublian
This is a ritual dance that originated from Bauan,
Batangas in Luzon, Philippines. The word sublian comes
from the word subsub which means falling head on and
bali which means broken. The word describes the
dancers who pretend to be lame and crooked throughout
the dance as a sign of worship to the town's Church icon,
the Holy Cross during its fiesta celebration.
VISAYAS
Kuratsa
This is a dance that originated from Bohol, Visayas but it
is also popular at Ilokano festivals. This dance
commands a sense of improvisation which mimics a
young playful couple's attempt to get each other's
attention. It is performed in a moderate waltz style.
Tinikling
The dance originated in Leyte as an imitation of the
legendarily fast and graceful movements of the tikling
birds as they dodged bamboo traps set by rice farmers.
The dance consists of at least one team of two people
hitting two parallel bamboo poles on the ground, raising
them slightly, then clapping the poles against each other
near the ground with a rhythm. Meanwhile, at least one
dancer hops over and around the clashing poles in a
manner not entirely unlike jump roping. Usually the
dancers use certain rhythms or steps.
Pandanggo Sa Ilaw and Oasiwas
Pandanggo sa ilaw originated from Lubang Island,
Mindoro
The term pandanggo comes from the Spanish word
fandango, which is a dance characterized by lively steps
and clapping that varies in rhythm in 3/4 time. This
particular pandanggo involves the presence of three
tinggoy, or oil lamps, balanced on the head and the back
of each hand.
Another version of this is called Oasiwas from
Lingayen, Pangasinan. After a good catch, fishermen
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.
MINDANAO
Dugso
The dance must have originated from Bukidnon,
northeastern Mindanao since they are performed as an
entertainment for the deities in fiestas organized for
them.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.
Itik-itik
The dance originated from Surigao del Norte, Mindanao,
Philippines.
According to the story, a young woman named Kanang
(short for Cayetana) was the best dancer in that province.
At one baptismal celebration, she introduced new steps
which were improvisations of the dance Sibay. She
imitated the movements of the ducks or itik. Because of
its unusual steps and fascinating interpretation, the
audience began imitating her.
Sagayan
SAGAYAN is a Philippine war dance performed by both
the Maguindanao and Maranao depicting in dramatic
fashion the steps their hero, Prince Bantugan, took upon
wearing his armaments, the war he fought in and his
subsequent victory afterwards. Performers, depicting
fierce warriors would carry shield with shell
noisemakers in one hand and double-bladed sword in the
other attempting rolling movements to defend their
master.
Singkil
Also known as the Princess Dance or the Royal Maranao
Fan Dance, the dance is based on the Maranao
interpretation of the ancient Indian epic, the Ramayana:
the Darangen. The Singkil narrates a scene in which Sita
(Putri Gandingan) escapes her abductor, the demon king
Ravana and is lost in the forests of Alangka, thereupon
being found by her husband, Prince Rama. Interesting to
note is that in the original Ramayana epic, Rama selects
Hanuman, the Hindu monkey-god, to find Sita on his
behalf; the fact that in the Singkil it is Rama (Rajah
Bantugan) who finds her suggests a modification of the
original Hindu narration in order to agree with
monotheistic Islamic ideology.
Kasingkil refers to the art of moving ones feet in and
out of two clicking bamboo poles in imitation of Putri
Gandingan who gracefully avoided the falling trees
brought about by an earthquake.
Performers would therefore gracefully step in and out of
bamboo poles, arranged in crisscross fashion while
manipulating either fans or simply their bare
hands.Played at celebrations and festivals, traditionally
the dance was performed by a girl of royal blood intend
on advertising herself to would-be-suitors for her future
marriage.
The dance is said to have been named after either the leg
bracelets or anklets of silver, nickel or brass with
chiming bells of the same name or the act of voluntarily
or accidentally entangling on ones feet in either vines or
tall grass.
Karasaguyon
The dance is classified under Tribal dance. it originated
from Lake Sebu, South Cotabato. "Karasaguyon" of the
T'boli portrays a polygamous male in the process of
picking his next wife from among four sisters vying for
his attention. The jingling of beads and brass bells
around their waists and ankles provide musical
accompaniment.
Asik
A solo slave dance performed by the umbrella-bearing
attendant to win the favor of her sultan master. Asik
usually precedes a performance of Singkil.
Udol Dance
This dance is classified under Tribal dances. It originated
from the Tagakaulo tribe
of southern Davao.This is a 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.
Maglangka
This dance which originated from Jolo, Sulu is classified
under Muslim Dance. Literally meaning "to dance," the
maglangka is used to mold the adolescent girls into
ladies of good breeding and accomplished dancing skills.
The girls are strictly taught to gracefully execute
movements imitating birds in flight, fish swimming in
the sea, or branches swaying in the air while remaining
in the confines of a square cloth. these movements
require intense concentration and innate style as the
ladies express emotions and entertain guests.
Pangalay
This dance is classified under Muslim/Moro dance. It is
a popular festival dance in Sulu, during wedding
celebrations among the affluent families. They may last
for several days or even weeks depending on the
financial status and agreement of both families. Dancers
perform this dance to the music of the kulintangan,
gabbang, and agongs during the wedding feast.