Folk Dances

• A folk dance is developed by people that reflect the life of the

people of a certain country or region. Not all ethnic dances are
folk dances. For example, ritual dances or dances of ritual
origin are not considered to be folk dances. Ritual dances are
usually called "Religious dances" because of their purpose. The
terms "ethnic" and "traditional" are used when it is required to
emphasize the cultural roots of the dance. In this sense, nearly
all folk dances are ethnic ones. If some dances, such as polka,
cross ethnic boundaries and even cross the boundary between
"folk" and "ballroom dance", ethnic differences are often
considerable enough to mention.
History

• The Philippine archipelago is composed of 7,107 islands.

Because of this, a Filipino subculture has evolved in each
specific region of the country. Yet, while Filipino folk dances are
primarily influenced by religion and subculture in specific
areas of the Philippines, there are similarities in how these
dances originated and developed throughout history.
Origins
• Most of the folk dances from the mountainous region in the
northern part of thePhilippines came from tribes' rituals,
prayers and celebrations. The folk dances inthe Tagalog region
located between north and central Philippines (including
thecountry's capital Manila) had significant Spanish and
European influences. Dancesin the central part of the country
called the Visayan region were mostly inspired byanimal
movements. In the Mindanao region, located in southern
Philippines, folkdances were mainly influenced by Muslim
culture, as this was the only Philippineregion never under
Spanish rule.
Tribal and Ritual Dances
• The cultural minorities living in mountain regions throughout the
Philippinesconsidered dancing a basic part of their lives. Their tribal and
ritual dancespredated the emergence of Christianity and Islam in the
country. These Filipinospreserved their ancient dances, which were
essentially performed for the gods,goddesses and nature. These dances
were closely intertwined with ceremonies,rituals and sacrifices.In the
Ifugao region in northern Philippines, the native Igorots dance to pray
forgood harvest, ask for blessings before going to war, appease ancestors,
ward off bad luck, heal the sick, request family blessings, celebrate feasts
and offersacrifices. There are also dances used to congregate, socialize,
express feelingsand mark milestones in the cycle of life.
Spanish Influence
• The more than 300-year Spanish occupation in the Philippines greatly
influenced Philippine folk dancing. As the Spanish brought Christianity
to the country, thereligion reflected most of the stories and presentations
of Filipino folk dances.Apart from using Spanish-style clothes slightly
modified with Filipino elements,these dances also infused the Filipinos'
everyday struggles during the Spanish rule.Filipino dancers also used
local resources as props like the bamboo castanets andabanico (Asian
fans).Some dances also utilized Spanish steps and footwork with Filipino
modifications.For instance, Mindoro's pandanggo sa Ilaw, derived from
the Spanish dancefandango, adapted the use of lively steps and clapping
while balancing one oillamp on the head and one on each hand
throughout the dance.
FUNDAMENTAL DANCE POSITIONS

• There are five fundamental or basic positions in dance

that are commonly termed as 1st position, 2nd
position, 3rd position, 4th position, and 5th position of
the feet and arms.
• 1st position
Feet: Heels close together, toes apart with an angle of
about 45 degree.
Arms: Both arms raised in a circle in front of chest
with the finger tips about an inch apart.
• 2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at
shoulder level.
• 3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position;
other arm raised upward.
• 4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other
arm raised overhead.

• 5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.
Philippine Folk Dance Term
• BOW OR SALUDO
Partners bow to each other to opposite dancers or to
the audience. This term is of Spanish origin.
• BRUSH
Weight on one foot, swing the free foot in an arch, so
that the ball or heel strikes the floor at lowest point
of the arch. This may be done forward, sideward, or
backward.
• CLOCKWISE
Like the motion on the handle of the clock moving to the
left, when facing the center of an imaginary circle. Right
shoulder is toward the center when moving forward.
• COUNTER CLOCKWISE
The reverse direction of clockwise, the hands of the clock
moving to the right, when facing center of an imaginary
circle when moving forward.
• CUT
Quick change of weight from one foot to the other displacing
the supporting foot.
• DO-SI-DO or DOS-A-DOS
Two people walk toward each other, pass by the right shoulder
step sideward to the right and return to position walking
backward, passing left shoulder.
• DRAW
The free foot is drawn toward the foot, which supports the
body weight, by pressing the toes against the floor as the
close is made. With or without transfer of weight.
• FREE FOOT
The foot not supporting the weight of the body.
• FREE HAND
The hand not doing anything.
• HOP
Spring on the supporting foot, and land on the same foot.
• INSIDE FOOT
The foot near one's partner when they stand side by side.
• PARTNER
Girl to right of Boy and Boy to left of Girl.
• PLACE
To put the foot (flat) in any desired position without
putting weight on it.
• POINT
Touch toe or ball of free foot on floor and remains there
briefly.
• PIVOT
Turning on ball, heel, of one or both feet on a fixed place.
• SET
A unit formation of two or more couples.
• SLIDE
To glide one foot along the floor smoothly, with or no
• STAMP
To bring down one foot forcibly on the floor with or without
transfer of weight.
• STEP
With the weight on one foot, shift the weight into the other
foot.
• SUPPORTING FOOT
The foot carrying the weight of the body.
• TAP
Toe or ball of free foot is placed momentarily on floor and
lifted again immediately.
• TOUCH
See point.
• WHIRL
To turn fast by executing small steps in place to right or
left.
DANCE TERMS WITH FOREIGN ORIGIN AND
FILIPINO DANCE TERMS USED IN FILIPINO
DANCES

• ABRASETE
This term is of Spanish origin. Girl at the right side of
Boy,
holds his R arm with her L hand, free hands down at the
sides.
• BILAO
Hands in front, parallel to each other at waist level,
elbows
close to the wist, palms down. Reverse the position of the
hands with palms up and down alternatively.
• CABECERAS
The couples (head pairs) occupying the width of the hall
in a
square formation. This is of Spanish origin.
• COSTADOS
The couples (side pairs) occupying the length of the hall
in a
square formation. This is of Spanish origin.
• CROSS-OVER
Two couples are opposite each other. Each couple proceeds to
opposite place, the Girls pass by their L shoulders between
the Boys. Boys bow to each other when they meet at the middle,
then follow the Girls to the opposite place. Partners turn right
about upon reaching the opposite place. Girls stand at partners'
right side.
• HAPAY
To flourish or offer a handkerchief, a hat or a glass of wine.
This is a Tagalog dance term.
• HAYON_HAYON
This is a Visayan term meaning to place one forearm in front and
the other behind the waist.
• JALEO
Partners stand with R (L) elbows almost touching. Using walking
or any kind of dance steps they turn once around clockwise
(counter clockwise). This is a Tagalog term of Spanish origin.
• KUMINTANG
Moving the hand from the wrist either clockwise or in counter
clockwise direction. This is an Ilocano dance term.
• MASIWAK
To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag dance term.
• PANADYAK
With body weight on L (R) foot, stamp R (L) foot in 4TH. In front,
then tap same foot close to L (R), arms in reverse "T" position,
hands doing the "kumintang" on the stamp.
• PATAY
To bend the head down so that the forehead touches the R (L)
forearm or the crook of the R (L) elbow while the L (R) hand
supports lightly the palm of the R (L) hand. This is usually
done with the L (R) foot pointing in rear and knees slightly
bent. This is an Ilocano dance term.
• SALOK
To scoop or swing the arm downward upward in front of the body,
the trunk following the movement of the scooping arm. Free hand
in 5th position or holding skirt. This is a Tagalog term.
• SAROK
Cross the R (L) foot in front of the L (R) foot, bend the body
slightly forward and cross the hand down in front R (L) over
L (R). This is a Visayan term.
Basic Dance steps
2/4 time dance steps
Dance Steps Step Pattern Counting
1. Bleking step heel-place, close 1,2
2. Touch step point, close 1,2
3. Close step step, close 1,2
4. Hop step step, hop 1,2
5. Cross step step, cross or cross, step 1,2
6. Change step step, close, step 1 and 2
7. Changing step jump ( one ft. in front and
The other in rear) there are two
Changing steps in a measure 1,2
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1, 2 and
10. Heel and toe
Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and slide

• ¾ time dance steps

1. Native waltz step, close, step 1, 2, 3
2. Cross waltz cross-step, close, step 1, 2, 3
3. Waltz balance step, close-heels raise, heels down 1, 2, 3
4. Mazurka step slide, cut, hop 1, 2, 3
5. Redoba step slide, cut, cut 1, 2, 3
6. Sway balance w/
A point step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

• 4/4 time dance steps

1. Schottische step step, close, step hop( raise foot
In front) 1, 2, 3, 4
2. Escotis step step, close, step, hop( raise foot
In rear) 1, 2, 3, 4
3. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/
1, 2, 3, 4
Classification of Philippine Folk Dances

• National dances - found throughout the islands with little or no

modification.
Examples: Rigodon, Carinosa, Jota, Balitaw,
Pandanggo.
• Rigodon
- Originated from Spain, this dance is commonly performed at
formal affairs like inaugural balls where prominent membersof
the government participate and enjoy.
• Cariñosa
- Cariñosa is a word that describes an affectionate,
friendly and lovable woman. This dance is performed in
flirtatiousmanner with fans and handkerchiefs to assist
the dancers hide-and-seek movements.
• La Jota Manileña
- It is a dance named after the capital city of the
Philippines, Manila, where an adaptation of Castilian
Jota afloatswith the clacking of bamboo castanets played
by the dancers themselves. The costume and the graceful
movements of theperformers noticeably inspired by
Spanish Culture.
• Balitaw
-The balitaw is an extemporaneous exchange of love verses between a man
and a woman. Danced and mimed, it is accompanied by a song, or the
dancers themselves sing, improvising the steps and verses. It may last for
hours, ending with the woman accepting or rejecting the man's suit. The
balitaw is found mainly in the Tagalog and Visayan regions. The dancers
may be costumed in balintawak or patadyong or in contemporary everyday
clothes. Its accompaniments could be provided by the subing(bamboo flute),
castanets, coconut guitar, harp, the five-stringed guitar, or a combination of
the three. The Visayan balitaw is usually in the minor key, while the
Tagalog is in the major. Both are related to the kumintang and kundiman in
their styles of accenting.
• Pandanggo
-A depiction of Pandanggo sa Ilaw ("Dance of Lights") by
Nestor Leynes (1966)
Pandanggo is a Philippine folk dance which has become
popular in the rural areas of the Philippines. The dance
evolved from Fandango, a Spanish folk dance, which arrived
in the Philippines during the Hispanic period. This dance,
together with the Jota, became popular among the
illustrados or the upper class and later adapted among the
local communities. In the early 18th century, any dance that
is considered jovial and lively was called Pandanggo.
• Local dances - found in a certain locality.
Examples: Tinikling
Maglalatik-Binyang
Esperanza-Nabua
Subli-Batangas
Biniganbigat-Abra
• Tinikling
- Tinikling is considered the national folkdance with a
pair of dancers hopping between two bamboo poles held
just abovethe ground and struck together in time to
music. Originated from Leyte Province, this dance is in
fact a mimic movement of tiklingbirds hopping over
trees, grass stems or over bamboo traps set by farmers.
Dancers perform this dance with remarkable grace
andspeed jumping between bamboo poles.
• Magtatalik
-The Maglalatik (also known as Manlalatik or Magbabao)
is an indigenous dance from the Philippines. Coconut
shell halves are secured onto the dancers' hands and on
vests upon which are hung four or six more coconut shell
halves. The dancers perform the dance by hitting one
coconut shell with the other; sometimes the ones on the
hands, the ones on the body, or the shells worn by another
performer, all in time to a fast drumbeat.
• Ezperanza
-A lively dance from Camarines Sur. It was supposedly
named after a lovely maiden called Esperanza.
• Subli
-This dance is one of the most popular dance in the Philippines
and the favorite in Batangas. This dance is simplyceremonial in
nature and this is performed as homage to the Holy Cross. The
Holy Cross is known by the locals as the 'Mahal naPoong Santa
Krus', and the Holy Cross plays an important role in the
development of the dance. In fact, the Holy Cross is consideredat
the center of the dance and without the Holy Cross the dance will
not materialized.
• Biniganbigat
-It is an Ilocano courtship dance from Bangued, Abra. It
depicts the story of a man who is much in love with a
woman.
Nature Folk Dance

• Occupational - depicting action of certain occupation,

industry, or human
labor.
Examples: Planting, Harvesting, Pounding,
Winnowing, Pabirik,
Mananguete, etc.
• Religious or Ceremonial – performed in connection with
religious vows and ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang
Pinong-pino, etc.

• Comic dances – depicting funny movements for

entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton

• Game dances – with play elements (dance mixers)

Examples: Lubi – lubi, Pavo
• Wedding dances – performed during wedding feast.
Panasahan, etc.
• Courtship dances – depicting love making.
Examples: Hele – hele, Bago Quiere
Maramion
Tadek
Daling – daling
• Festival dances – suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.

• War dances: showing imaginary combat or duel.

Examples: Sagayan, Palu-palo, etc.