PHYSICAL EDUCATION 2

(PHILIPPINE FOLK DANCES)

RHYTHMIC ACTIVITIES

A. Definition of Terms

1. Rhythm – is an essential element of dance or features such as beats and sound.

2. Rhythmic Activities- these are the activities which a person responds physically, socially,
and mentally to regular patterns of sounds.
3. Dancing – a means of expressing one’s emotions through movement and disciplined
rhythm.
4. Dance – it is a pure expression of the dancer’s thoughts and feelings

PHASES OF THE DANCE PROGRAM

1. Creative Rhythm- creative rhythm are actually for the children in the elementary
grades. These are sometimes called fundamental rhythms or natural dances.
2. Folk Dance- folk dance is a cultural art from handed down from one generation to
another.
3. Recreational Dance- include dance mixers, square dancing and round and couple
dances. Many of these dances have simple patterns based on combination of walking
steps.
4. Social and Ballroom Dance- is social gathering with a formal atmosphere rather than
simple and informal parties in which recreational dances are the usual forms.
5. Creative Dance- creative dance is the highest form of dance for the purpose of
entertainment.

BASIC AND NATURAL MOVEMENTS OR SKILLS APPLIED IN DANCE

A. LOCOMOTOR MOVEMENTS
Movements that move the body on space in any direction with feet as the moving base.

1. Walking- moving at moderate pace of the feet lifting one foot only after the other foot has
touched the floor or ground.
2. Running – movements of the feet with springing steps at rapid pace such that at an instant
both feet are off- ground during each step.
3. Jumping – springing and taking off with one or both feet and landing of both feet.
4. Leaping – springing of one foot and landing of the other foot
B. AXIAL OR NON-LOCOMOTOR MOVEMENT
The various parts of the body move in space with a fixed base.

1. Flexion- bending or shortening of the body part occurring at a joint

2. Extension- straightening a body part occurring at a joint
3. Percussive- striking or beating movements
4. Pendular- swinging or swaying movements
5. Vibratory – shaking or turning movements
6. Sustained – a slow smooth flowing movements with balance of movements all
throughout the entire series.
7. Suspended- start with a sharp movement followed by a slow movement

. BRIEF HISTORICAL BACKGROUND OF FOLKDANCES IN THE

PHILIPPINES

History bespeaks how dances of the Philippines existed from the pre-Spanish
Colonization to the present that is why classical tradition in dance did not flourish due to
diversified influences. In turn, the Philippines became a country blessed with beautiful
traditions either indigenous or influenced that made our people creative to have adopted
the naturalness, simplicity, expression of daily life, moods and feelings simply portrayed in
every folkdance or dance.
Filipino folk dances are colorful, beautiful, and vibrant. Their movement, dress, and
music reveal the unique Filipino culture and are important in building a national Filipino
identity. Most dances in the country were inspired by everyday activities, such as working
in the fields and harvesting rice, as well as celebrations such as feasts, weddings, and births.
The history of dance and or a folkdance is tradition and therefore is the only way of
preserving the dances of the past. But, tradition may either be dynamic, developing or
growing or sometimes gradually change, may vanish or forgotten. At this point, credit
must go to the first National Artist in Dance, Francisca Reyes Aquino, in her most genius
way wrote down the instructions in words, some of the varied folkdances of the country
purposely adapting them for the classroom use and instruction. These somehow helped
preserved some of our dances performed today by different dance groups for theater,
school performance or merely for stage entertainment.

2. BASIC CONCEPT OF FOLK DANCE

 Folk dancing is the oldest form of dance probably one of the earliest forms of
communication. It is this self-expression that separates folk dancing from the
functional aspects of games and gymnastics in the physical education program.
 Dance is the expression of oneself through rhythmic movement. Folk dance, which is
also the expression of oneself, is an expression through patterned movements. It is
this patterning that traditionally separates folk dance forms from other dance forms.
 Folk dance may be defined as the traditional dance of a given country which evolved
naturally and spontaneously with everyday activities, e. g. occupations, customs,
festivals, rituals, and innumerable themes common to all people everywhere.

BRIEF HISTORICAL BACKGROUND OF FOLKDANCES IN THE PHILIPPINES

History bespeaks how dances of the Philippines existed from the pre-Spanish
Colonization to the present that is why classical tradition in dance did not flourish due to
diversified influences. In turn, the Philippines became a country blessed with beautiful
traditions either indigenous or influenced that made our people creative to have adopted
the naturalness, simplicity, expression of daily life, moods and feelings simply portrayed in
every folkdance or dance.
Filipino folk dances are colorful, beautiful, and vibrant. Their movement, dress, and
music reveal the unique Filipino culture and are important in building a national Filipino
identity. Most dances in the country were inspired by everyday activities, such as working
in the fields and harvesting rice, as well as celebrations such as feasts, weddings, and births.
The history of dance and or a folkdance is tradition and therefore is the only way of
preserving the dances of the past. But, tradition may either be dynamic, developing or
growing or sometimes gradually change, may vanish or forgotten. At this point, credit
must go to the first National Artist in Dance, Francisca Reyes Aquino, in her most genius
way wrote down the instructions in words, some of the varied folkdances of the country
purposely adapting them for the classroom use and instruction. These somehow helped
preserved some of our dances performed today by different dance groups for theater,
school performance or merely for stage entertainment.

2. BASIC CONCEPT OF FOLK DANCE

 Folk dancing is the oldest form of dance probably one of the earliest forms of
communication. It is this self-expression that separates folk dancing from the
functional aspects of games and gymnastics in the physical education program.
 Dance is the expression of oneself through rhythmic movement. Folk dance, which is
also the expression of oneself, is an expression through patterned movements. It is
this patterning that traditionally separates folk dance forms from other dance forms.
 Folk dance may be defined as the traditional dance of a given country which evolved
naturally and spontaneously with everyday activities, e. g. occupations, customs,
festivals, rituals, and innumerable themes common to all people everywhere.

3. FIVE MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK DANCES

3.1 The Dances of the Cordillera Groups

 The ethnic dances in the Philippines are found in the different regions from the
northern part to the southern part of the country. The cordillera groups composed
of the Bontocs, Ifugao, Benguet, Apayao, Kalinga, Itbeg, Ilonggot, and Gaddang has its
own unique customs and traditions reflected in their dance.
 Most of the dances are reflections of daily living.
 They used a metal gongs called ganza and other percussive instruments that
accompany their dances during rituals, festivities and other social gathering.

Ethic Group Title of Dance Dance Description

 Bontoc 1. Pattong  A war dance depicting a mock fight
of two warriors.
2. Balangbang  A victory dance performed after
head hunting.
3. Takik/Dongadong  A courtship and wedding dance.
 Ifugao 1. Talip  A courtship dance of the Ifugaos,
where a man lures a woman with a
blanket to be placed on the woman
shoulder.
2. Intaneg  A wedding dance among the Ifugao.
3. Bumayah  A festival dance among the Ifugao
for thanksgiving in their gods.
4. Monghimong  A dance among the Ifugaos where
men turn up in the mass at the
burial os a murdered tribe member.
5. Dinuya  A festival from Lagawe Ifugao
performed by men and women
during major feast.
 Benguet 1. Bendian  A festival and victory dance
2. Tarektek  A courtship dance where two
female tarektek (woodpeckers) try
to get the attention of the male
tarektek by brandishing their
blankets over each other to show
their affections.
3. Chumnu  A female dance performed during
celebrations of tribal victory and
bountiful harvest.
 Apayao 1. Turayen  An Apayao dance imitating the high
flying bird.
2. Say-Yam  A major feast held to celebrate the
taking of a head of an enemy.
 Kalinga 1. Pattong  A dance of revenge vowed for the
death of the slain warrior.
2. Salip  A courtship dance where the
rooster-like male swoops around
the maiden.
3. Ragragsakan  A work-dance of Kalinga women
where carry baskets on their heads.
4. Takiling  A victory dance after a successful
head hunting.
5. Tadjok  Kalinga’s most famous village
dance.
6. Idaw  A mock battle dance ensues
between two tribes.
7. Lumagen  A dance performed at Kalinga
festivals to celebrate thanksgiving.
 Itneg 1. Idudu  A dance where the men lull their
babies to sleep while the women till
the fields and process the harvest.
 Gaddang 1. Bumbuwak  In this dance, the gadding imitates
birds attracted to tobacco trees.

3.2 Western Influenced Dances

 When the Spaniards came to the Philippines in the 16 th century, they brought with
them the Spanish religion and European arts and culture. The native religion and
culture slowly gave way to Christianity and Western civilization. The natives started
to lose most of the ancient traditions in the literacy, visual and performing arts. In
no time, dances from Spain, France and other European countries, such as the jota,
balse, pandanggo, habanera, mazurka, paseo, marcha and paso doble, were adopted
and adapted to the tastes and needs of a colonial society and the conditions of a
tropical archipelago.

Types of Dance Title of Dance Dance Description

 Quadrille 1. Rigodon de Honor  A quadrille dance commonly
Dances performed in formal gatherings in a
quadrille formation.
2. Lanceros de  A quadrille dance from Tayabas,
Tayabas Quezon, performed by old folks
during the early days.
3. Birginia  A quadrille form of dance of the
Americans, “Virginia Reel” inspired
the Cagayanos to develop a Filipino
version called Birginia.
4. Pasakat  A quadrille dance from Sta. Rosa,
Laguna.
5. Los Bailes de Ayer  A quadrille dance from Tarlac.
or Maharlika
6. Lanceros de  A version of lanceros from
Lingayen Pangasinan
7. Lanceros de Negros  A dance from Silay, Negros
Occidental which was not in
quadrille formation but in linear
formation.
 Jota 1. La Jota Mocadeǹ a  A festive dance from Moncada,
Tarlac which was originally danced
during a funeral procession in the
early times.
2. Jota Gumaqueǹ a  A jota version from Gumaca,
Quezon.
3. Jota Cabangan  A courtship dance from Cabangan,
Zambales
4. Jota Cagayana  A lovely dance which is an
adaptation from the Spanish Jota
performed by the early Spanish
settlers in the Cagayan Valley.
5. Jota de Manila  Manila’s version of the famous Jota
its typical Spanish stampas,
cobradas, and clicking of bamboo
castanets bearing Hispanic culture.
6. Jota de Paragua  A version of the Jota, which bears
Spanish Stampas and Cobradas
from Paragua, the old name of
Palawan.
 Pandanggo 1. Pandanggo  A festival dance from the province
Rinconada of Bicol depicting the happy and
contented life of the people.
2. Pandanggo sa Ilaw  A dance from Mindoro using
Tinghoy or oil lamps placed on the
top of the head and one of each
hand.
3. Pandanggo sa  A pandanggo dance from Camiling,
Sambalilo Tarlac.
4. Pandanggo Ivatan  A wedding dance from Batanes.
5. Pandang-Pandang  Is an exciting and extraordinary
wedding dance from Antique.
 Balse 1. Valse Vieja  A festival dance from Pangasinan
meaning old waltz.
2. Valse Ybanag  A dance from Camalaniugan,
Cagayan meaning waltz of the
Ybaanag people.
3. Balse Marikina  A dance performed after Lutrina, a
religious procession.
4. Cariǹ osa  The famous national dance of the
Philippines depicting the character
of Filipina maiden’s modesty and
humility.
5. Sayaw Sta. Isabel  A dance performed during
thanksgiving feasts after a good
harvest, during balaihan, wedding,
or religious occasions.
 Habanera 1. Habanera Narciseǹ a  A habanera named after San Narciso
town in Zambales.
2. Habanera Botoleǹ a  A dance which was supposedly
performed in the earlier days in
honor of a departing priest. Later on
it became a dance performed during
social gatherings in Botolan,
Zambales.
3. Habanera de Soltera  A dance performed by betrothed
couple during one of the ceremonies
before the wedding.
4. Habasinan  From the word “haba” in Habanera
and “sinan” from Pangasinan is a
courtship dance.
 Mazurka 1. Mazurka de Cuyo  A social dance from Cuyo Island,
and early Spanish settlement in
Palawan.
2. Mazurka de Jagna  A mazurka named after Jagna town.
3. Mazurka Mindoreǹ a  A premiere dance of the elite in
Mindoro, and Don Antonio Luna,
who considered best dancer of his
time popularized it.
4. Mazurka Boholana  A traditional dance from Bohol
which was originally performed by
couples informally gathered in the
ballroom with no definite sequence
of steps.
5. Mazurka Val  A combination of two dances
mazurka and valse, where in one
the figures the skill of coordination
of movement of both dancers while
the boy carries the girl on his feet
while dancing.
 Polka 1. Polkabal  A dance which acquired its name
from two well-known steps polka
and balse, corrupted into one word
as polkabal, by the people of
Atimonan, Quezon.
2. Polka Tagala  A dance from Bataan, where one the
figures, the ladies pick their
voluminous skirts forward and
backward to show-off their
beautiful lace petticoats.
3. Maliket-A-Polka  A dance from Pangasinan which
means happy polka.
4. Sileledaang  A dance which means laden with
sorrow in Ilocos Norte.
5. Polka sa Nayon  A polka dance version from
Batangas.
6. Polka Sala  A polka dance version from
Mindoro.

3.3 Dances of the Muslim Groups

 Down in the southern part of the country are the Muslim groups. The ethnic groups are
Maranao, Maguindanao, Tausug, Yakan, Samal, Java Mapun, and Badjao.
 The dances performed by these groups describe the everyday living of the people.
 Common to their dances are the use of fingers to express feelings and emotions.
 Some believe that Muslim dances are influence by Malay and Indonesian due to its
geographical setting.

Group Title of Dances Dance Description

 Maranao 1. Singkil  A Maranao dance derived from the
sounds of the bell anklets worn by the
Princess as she leaps in and out of the
criss-crossed bamboo poles.
2. Kakulangan  Maranao women walk nobly with
their distinctive movements
particularly their graceful sway.
3. Pig-apir  A fan dance of Maranao maidens
showcasing their simplicity and
character.
4. Sagayan  A warrior dance that depicts the hero-
warrior prince Bantugan’s preparation
for war, the actual combat, and the
victory.
5. Karatong  A dance in memory of Bantugan’s
fighting evil spirits whom he can hear
but can’t see.
6. Kappa Malong  Also called Sambi sa Malong, this
Malong Maranao dance shows the many ways
of donning the malong, a tabular
circle of cloth used as skirt, shawl, or
mantle.
 Maguindanao 1. Asik  A doll dance for girls.
 Bajao 2. Tauti  A dance of fishing show.
 Yakan 1. Paunjalay  A pre-nuptial dance of the Yakan tribe
of Basilan performed by the bride.
2. Pindulas  A dance depicting the movements of
fish as it wades in the water.
 Tausug 1. Pangalay ha Pattong  A dance imitating the graceful
movement of the swift vinta as well as
of the birds and fish of the Tausug
world.
2. Janggaya  A Tausug female dance using
extended fingernails.
3. Sua-ku-Sua  A dance from Jolo, Sulu with an
influence of Chinese movements
meaning “my pomelo tree”.
 Samal 1. Maglanka  A Samal dance class of girls and
women. This dance depicts the
training of Samal girls and women on
the languid and flexible movements of
the arms which signifies good
breeding.

3.4 Dances of the Tribal or Lesser Known Groups

 Also known as the lesser-known-group are ethnic groups living in the different
locations in the country that are untouched and never been influenced by the
westerners.
 These tribal groups are the Bukidnons, Bagobo, Manobo, T’boli or Tagabili,
Tagbanua, Mansaka, Mandaya, B’laan, Tagakaolo, and Tiruray.
 These tribal groups believe in “shamans” or spirits which primarily reflected in most
of their dances.

Example of Ethnic/Tribal Dance

Group Title of Dances Dance Description
 Bukidnons 1. Dugso  A dance by women commonly
wearing a bell anklet done during
thanksgiving of driving away of
bad spirits.
2. Hinaklaran  A festival and ritual dance of the
three Kaamulan Datus, where
chanting and dancing around an
altar.
 Manobo 1. Binabua-bua and  Fertility dance and courtship dance
Pangaliyag among the Manobos.
2. Binanog  Version of hawk dance.
3. Kinugsik kugsik  A dance imitating the movements
of squirrel.
 Bagobo 1. Todak  A Bagobo dance on the rice-
planting and harvesting cycle.
2. Baliti  A Bagobo dance representing the
quivering of the leaves of the baliti
tree.
 T’boli 1. Kadal Tajo  A mimic dance of beautiful birds
performed by young T’boli girls.
2. Kadal Iwas  A dance imitating the movements
of the monkey.
 Tagbanua 1. Pagdidiwata  A ceremonial rite performed
during bilug (full moon) for the
purpose of healing the sick,
imploring or in thanksgiving for a
good and bountiful harvest.
 Mansaka 1. Gapakaungod  A wedding dance among the
Mansaka.
2. Inamo sa Sayaw  A monkey dance for two.
 Mandaya 1. Kinabua  A dance imitating the movements
of a hawk.
 Talaandig 1. Pig-Agawan  Young women of the Talaandig
tribe try to outdo each other in
attracting an eligible man with the
use of colorful scarves.
 Higaonon 1. Binaylan-Banog  A typical dance of the Higaonons
depicting a mother hen and her
chicks being attracted by a
ferocious hawk, three hunters save
the hen from the clutches of the
“banog” or hawk.
 Subanon 1. Sohten  An all-male dance that dramatizes
the strength and stoic character of
the Subanon male. The Subanon
warrior calls the attention of the
diwatas with the sound of the
leaves.

3.5 Dances of the Countryside

 Dances that typically characterize the nature and kind of work of the people.
 Commonly performed by ordinary group of people depicting daily activities.

Some Examples of Countryside Dances and its Description:

 Binasuan - a dance which requires a skill in balancing glasses of wine,

one on the top of the head and one on each hand.
 Bulaklakan - a dance using arches festooned with flowers.
 Karatong - bamboo noisemakers played by Cuyunen men to
accompany gaily dressed ladies in a boisterous street parade.
 Maglalatik - a playful dance of young men beating coconut shells,
reflective of a mock battle over the “latik” or coconut residue.
 Pandanggo sa Ilaw - a dance which requires a skill in balancing glasses of
tinghoy lamps, one on the top of the head and one on each
hand.
 Oasiwas - a dance using lighted glasses wrapped in scarves and
swayed like beacons for the homecoming of the fisherman.
 Pasikat sa Baso - a Pangasinan dance that requires skill in balancing glasses
of wine on the head and hands while on top of a bench.
 Salakot - a wide brimmed hat used to protect Filipinos from heat and
rain.
 Subli - a dance from the province of Batangas that reveals the
reverence given by the performers to a wooden cross.
 Tinikling - derived from long-legged Philippine bird called “tikling”
trapped from bamboo poles.
 Bati - a dance performed during Easter Sunday.
 Binislakan - which means sticks, is a Pangasinan dance that bear the
Chinese influence.
 Pabirik - depicts the stages of gold panning.
 Kalapati - depicts the movements of dove.
 Inalisan - a lively festival dance from Nangalisan, Laoag, Ilocos Norte.
Inalis means transfer from one place to another.

4. NATURE OF PHILIPPINE FOLK DANCES

Philippine folk dances have basic similar unities. These are:

1. Occupational Dances. These are dances depicting action characterizing certain

occupations, industries, or human labor. Examples: Planting, harvesting, winnowing,
pabirik, etc.
2. Religious or Ceremonial Dances. These are dances that are performed in connection
with religious vows and ceremonies. Examples: Dugsu, Sua-ku-Sua, Putong, Sta. Clara
Pinung-pino, etc.
3. Comic Dances. These are dances with amusing and funny movements mainly intended
for entertainment like Makonggo, kinoton, etc.
4. Game Dances. These dances have some play elements and are performed for
recreational purposes. Most of these dances like Pabo, Lubi-lubi, etc.
5. Courtship Dances. These depict love-making of dances with love themes. Examples:
Cariǹ osa, Daling-daling, Lulay, etc.
6. Wedding Dances. These are dances performed during wedding feast. Examples:
Pandang-pandang, Kandingan, Pantomina, etc.
7. Festival Dances. These are dances suitable for special occasion like feast, a barrio fiesta,
good harvest and good fortune. Examples: Surtido, Kuratsa, La Jota, Pandanggo, etc.
8. War Dances. These are intended to show imaginary combat or duel. Examples: Sagayan,
Palu-palo, etc.

5. DANCE TERMS COMMON TO FOLK DANCES

1. Arms in Lateral Position - Both arms are at one side, either right or left; at shoulder,
chest, or waist level.
2. Brush - Weight on one foot, swing the free foot in an arch, so that
the ball or heel strikes the floor at the lowest point of the
arch. This may be done forward, backward or sideward.
3. Cabeceras - When dancers are in square formation, the couples
occupying the width of the hall is called “cabeceras” or head
couples. (Spanish origin)
4. Clockwise - Like the motion of the hands of a clock moving to the left,
when facing center of an imaginary circle. R shoulder is
toward the center when moving forward.
5. Counter Clockwise - The reverse direction of clockwise, the hands of the clock
moving to the right, when facing center. L shoulder is toward
the center of an imaginary circle when moving forward.
6. Costados - The couple occupying the length of the hall when dancers
are in square formation (side pairs).
7. Crossed Arms - Partners facing each other or standing side by side join
their L hands together and the R hands together, either R
over L or L over R hands.
8. Cut - Quick change of weight from one foot to the other is
displacing the supporting foot. May be forward, backward or
sideward.
9. Do-si-do (Dos-a-dos) - Two people walk toward each other, pass by the R shoulder
step sideward to the right, and return to position walking
backward, passing L shoulder.
10. Free Foot - The foot not supporting the weight of the body.
11. Free Hand - The hand not doing anything.
12. Hayon-Hayon - This is a Visayan term meaning to place one forearm in
front and the other behind the waist.
13. Hop - Spring on one foot and land on the same foot or in any
direction.
14. Inside Foot - The foot near one’s partner when they stand side by side.
15. 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.
16. Jump - Spring from one or two feet and land on both feet in any
direction.
17. Kumintang - Moving the hand from the wrist either clockwise or in a
counter clockwise direction. This is an Ilocano term.
18. Leap - A spring on the supporting foot and land on the other foot
in any direction.
19. Outside Foot - The foot away from one’s partner when they stand side by
side.
20. Outside Hand - The hand away from one’s partner when they stand side by
side.
21. Place - To put foot in a certain position without putting weight on
it; the sole of the foot rests on the floor.
22. Pivot - Turning on ball, heel of one or both feet on a fixed place.
23. Point - Touch the floor lightly with the toes of one foot, weight of
the body on the other foot.
24. 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.
25. Saludo - Partners with feet together bow to each other or to the
audience, opposite dancer, or a neighbors. (Spanish origin)
26. Sarok - Cross the R (L) foot in front of the L (R) foot, bend the body
slightly forward and cross the hands down in front R (L) over
L (R). This is a Visayan term.
27. Set - A unit formation composed of two or more couples.
28. Slide - To glide one foot forcibly on the floor with or without
transfer of weight.
29. Stamp - To bring down one foot forcibly on the floor with or without
transfer of weight.
30. Step - With the weight on one foot, shift the weight into the other
foot.
31. Supporting Foot - The foot carrying the weight of the body.
32. Tap - Toe or ball of free foot is placed momentarily on floor and
lifted again immediately.
33. Whirl - To turn fast by executing small steps in place to right or left.
5. FUNDAMENTAL DANCE POSITIONS AND STEPS

ARMS POSITIONS FEET POSTIONS

First Position

First Arms position - raise

arms to a circle in front of
the chest.

First Feet position – bring

heels close to touch; toes
apart.

Second Position

Second Arms position - open

up arms sideward, raised
below shoulder level with a
graceful curve.

Second Feet position - bring

feet apart sideward.

Third Position

Third Arms position - raise

one arm overhead while
other arm remains in 2nd
position.

Third Feet position - bring

the heel of one foot to touch
the instep of the other foot.

Fourth Position

Fourth Arms position - raise

one arm in front of chest in a
half circle, while one arm
remains overhead.

Fourth Feet position - bring

one foot in front of the other
foot to walk strike.
Fifth Position

Fifth Arms position - raise

both arms overhead in a
graceful curve.

Fifth Feet position - bring

the heel of one foot to touch
the toe of the other.