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PASEO DE BACOLOR

Meaning:

Leisure Walk

Place of Origin:

Bacolor

Ethno Linguistic Group:

Bacolorenos

Classification:

Courtship Dance

Background / Context:
Paseo de Bacolor is the signature dance of the people of Bacolor. Paseo de
Bacolor is a courtship dance characterized be walking and flirting movements. The
dance was researched by Mr. Peter de Vera by SIKAP and notated by Mr. Wilfredo Q.
Cunanan of DHVTSU.

ARAY
Aray is classified under Maria Clara dances.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. Perhaps the most famous of all Filipino folk dance styles is the Maria
Claira Suite. This style is composed of many different dances and steps that convey
similar themes and ideals. The Aray is similar to the Spanish jota dance. The dance is
composed of jubilant and sprightly steps. The hopping-style steps consist of leaping into
the air on one foot and landing on the same foot, as well as bounding from the ground
with both feet and then landing on both feet. The style is flirtatious and often accented
by the clap of a tambourine.

RIGODON ROYAL
Meaning:
Place of Origin:

Negros Oriental

Ethno Linguistic Group: Visayan


Classification:

Social Dance

Background / Context:
This elegant dance was brought to the Philippines by the Filipinos who returned
from abroad during the Spanish era. This dance takes its name from its opening
performances at formal affairs such as Presidents Inaugural Ball. Members of
government, including the President and First Lady, diplomatic corps, and other state
officials usually participate in the Rigodon. Traditionally, a ballroom waltz dance would
follow the Rigodon.

PASEO DE ILO-ILO
Meaning:

A lanceros honoring the town of Tayabas, Quezon

Place of Origin:

Ilo-Ilo

Ethno Linguistic Group: Ilonggo


Classification:

Courtship Dance

Background / Context:
This is one of the most sophisticated courtship and flirtation dances of the
Spanish era. The gentleman compete among each other to win the heart of the dalaga,
or young lady, by exemplifying chivalry, grace, and confidence.

BANGA
The Banga or pot dance is a contemporary performance of Kalinga of the Mountain
Province in the Philippines. This dance illustrates the languid grace of a tribe otherwise
known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are
balanced on the head of maidens as they trudge to the beat of the gangsa or wind
chimes. Banga dance displays the Igorot women on their way to the river to fetch the
daily water supply for thier familys. It shows the skill and strength of the women as they
would carry heavy laiden clay pots (Banga) full of water. Their grace and agility while
balancing the heavy pots, sometimes stacks 5 high, is a testiment of the Filipino and
how hardships become an art form and talent. As a young girl you would start with only
one pot. Pots could be stacked as high as 5 or 6. The more pots you could carry
showed your skill and also you standing among the women of that area. They would all
gather and march to the river each day, singing a native song which is represented by
the flute and banging of bamboo on iron pots in the dance. The Banga dance is
performed during feasts as away to entertain guests. In Philippines, Banga is an
earthen pot called Banga which are stacked and carried on the heads of the females
while dancing

BUMAYAH
The Bumayah is an Ifugao dance of thanksgiving to the god Kabunian. In this dance,
performed by both men and women, the movements mimic those of a rooster scratching
the ground. This joyful dance serves as a prayer of thanksgiving for a bountiful rice
harvest.

RAGRAGSAKAN
Meaning:

Merriment

Place of Origin:

Kalinga

Ethno Linguistic Group:

Kalingga

Background / Context:
Ragragsakan was discovered by Ramon Obusan in Lubuagan. According to his
research Ragragsakan came from the Ilocano word ragsak.
In Kalinga village, they celebrate Ragragsakan for the homecoming of successful
head takers and the culmination of peace-pact between warring tribes.
Kalinga maidens balance labba baskets on their heads, wave colorfultribal
blankets, and sing short salidumay songs as they snake through the terrace dikes and
skip through breaks in the path.
This dance also portrays the walk of the industrious Kalinga women, carrying
water pots on their heads and wearing the colorful hand-woven blankets of life around
their necks. (***Their bright and colorful , hand-woven fabrics help to keep them warm.)
Their walk imitates the climb up to the Rice Terraces in the Mountain Provinces
of the Philippines.

KAPPA MALONG MALONG (Maranao)


From: Cotabato, Mindanao
The malong is a traditional tube skirt made of hand-woven (and sometimes
machine-made) multi-colored cotton cloth, bearing a variety of geometric or okir
designs a term used for geometric and flowing designs. The traditional womens
version show this cloth of countless colorful designs; used mostly as a skirt, woven in
many different ways, depending on the purpose of the wearer. Other ways women wear
the malong is a showl, a mantle, or a headpiece.
The malong can function as a skirt for both men and women; as a dress, a
blanket, sun-shade, a bed sheet, a dressing room, a hammock, a prayer mat, and just
about many other purposes depending on how creative its user is.
The main objective of the dance is to show how to do a malong. Both men and
women have their own version of this dance.
COSTUME, costume is not so vital in this dance because the main attraction of
this is the malong. However, Muslims are known for their shiny and shimmering
costumes that it has to have a touch on any shimmering and colorful designs. Facial
expressions is vital, dancers have to be looked sophisticated and elegant.
FORMATION
X
O

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O
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Music Introduction (2/4)


Women face front making their own projection of the malong. (4cts.)
In another four counts, hold the malong in two hands showing its tubular
shape to the audience; stand straight.
--- I --4 M Point Step

A. FOOT MOVEMENT: Step R foot sideward R (cnt. and 2), point L foot forward R.
(cnt. and 2) (right in front of the toes)
B. Step L foot sideward L (cnt.2), point R foot forward L. (cnt. and 2)
C. Repeat A. (3 and 2)
D. Repeat B. (4 and 2) Then position.
ARM MOVEMENTS simultaneous with foot: Sway r arm sideward, from
downward to upward (depending on the width of the malong) Repeat it with L
arm.
--- II --A. March in place 4 counts; in another 4 counts, do the skirt. One and two
measures.
B. Step R foot forward (cnt.1) close it with L foot (cnt.2)
C. Step R foot backward (cnt.2), close it with L foot (cnt.2)
D. Repeat B. (three, two)
E. Repeat C. (four, two)
--- III --A. Unite the skirt and do the dress (4 cnts.)
B. Step R foot sideward R (cnt.1), cross L foot over R foot, (and 2) with R foot
slightly bend. (at this time, full cross over)
C. Step L foot sideward L (cnt. 2) cross R foot over L foot. (and 2)
D. Repeat B. (3 and 2)
E. Repeat C. (2 cnts.)

KATSUDORATAN
Katsudoratan depicts a royal manner of "walking" among the Maranao people
who live mainly around Lake Lanao. Ladies of the royal court perform this stately dance
in preparation for an important event. The bright colors and flowing handkerchiefs add
to the drama of the dance.

SILONG SA GANDING
Place of Origin: South Cotabato
Ethnolinguistic Group: Maguindanao
Classification: Festival
Performer: Female
Sirong sa Ganding is a Maguindanao dance that is a favorite among royal courts.
The dance is a very demanding dance of discipline because hand positions and
placements required are very precise. Similar to other Bangsamoro dances, Silong sa
Ganding is danced with the wrists turned in and out in a manner similar to the
kumintang This movement, according Maguindanao dance researcher Mario Estacion,
is called okir(probably due to the curvilinear movements similar to the the complex
motifs of Maguindanao carving so named). Dancers go around doing a series of taman
bali or agam with their wrists continuously flicked in and out in front, at the sides, or
down and up. Four dancers perform the Silong sa Ganding each representing one gong
in a gandingan set. The dance starts very slow but gets frenzied after a little while.
Another Maguindano dance that is performed almost similar to the Silong sa Ganding is
the Kandalamat sa Gandingan. Five dancers represent the four set of wide gandingan
gongs and the fifth for the goblet-shaped drum, the dabakan. Three figures from this
dance are found in the Silong sa Ganding. Silong sa Ganding derived its name from
silong, which is a rhythm of music played on the gandingan, a set of four shallow
rimmed gongs played in a manner "imitating the human voice", hence, the moniker - 'the
talking gongs'. Ganding is obviously derived from gandingan. Silong sa Ganding whould
thus be translated like, 'following the rhythms of the gandingan'. It could have also been
that the name of the dance was derived from the corrugated bamboo musical
instrument called sirongsagandi as variant names the dance are known like Sirong sa
Gandingand Sirongsagandi. In fact the researchers of Kaloob:Philippine Music and
Dance Ministry discovered informants of the dance who call it Sirongsagandi.

DUGSO
Meaning:

Ritual Dance of offering

Place of Origin:

Sungko, Lantapan, Bukidnon

Ethno Linguistic Group:

Talaandig / Higaonon

Classification:

Ceremonial Dance

Background / Context:
Dugso (meaning dance) is a ceremonial dance among the Manobo people in
Bukidnon, Agisan and Misamis Oriental. The Dugso (also Dugsu) is usually performed
during important occasions like kaliga (feasts) or kaamulan (tribal gatherings). Other
occasions that call for the performance of Dugso are festivities connected to abundant
harvest, the birth of a male heir or victory in war. Brandeis however, claimed that the
Dugso has no specific occasion underpinning aside from that of kaliga-on festivities. He
said that it is only performed to entertain their deities. The Dugso for a kaliga is usually
performed on the third day which is usually the merriest being the culmination of the
whole celebrations.
DUGSO DANCE STEPS Dinatag Execute the following movements clockwise in the
first 6 M and counterclockwise in the next 6 M. Dancers join hands with arms in Tposition. a. Brush L foot backward (ct 1), tap L close to R (ct and), step L sideward (ct
2). Repeat (ct 1 and 2). b. Step R across L in rear (ct 1), tap L close to R (ct and), step L
sideward (ct 2). Repeat (ct 1 and 2). c. Brush R foot backward (ct 1), tap R close to L (ct
and), step R sideward (ct 2) d. Step L across infront (ct 1), tap R close to L (ct and), step
R sideward (ct 2). e. Step L across R in rear (ct 1), step R sideward (ct 2). Repeat (ct 1,
2) f. Repeat all ( a to e) Sinangka Dancers move counterclockwise doing the following
movements: a. Starting position lean sideward R, raise L foot in front, arms as in
Figure I. Step L foot sideward (ct 1), tap R foot close to L (ct and), step R sideward (ct
2), tap L close to R (ct and). b. Step L sideward, swing hands downward (ct 1); close R
to L (ct and). Repeat (ct 2 and). Step L sideward and raise R foot, lean trunk to sideward
L, swing arms upward to T-position. c. Repeat all (a to b) starting with the R, but still
moving counterclockwise. Sinayaw a. Brush L foot backward (ct 1), tap L close ot r (ct
and), step L sideward (ct 2) b. Step R across L in rear (ct 1), tap L close to R (ct and),

step L sideward (ct 2). Repeat (cts 1 and 2) c. Brush R foot backward (ct 1), tap R close
to L (ct and), step R sideward (ct 2) d. Cros L foot over R in front (ct 1), tap R close to L
(ct and), step R sidewrad (ct 2). Repeat (cts 1 and 2) e. Stamp L foot and clap hands,
bend trunk forward (cts 1, 2) f. Face L and step L forward (ct 1) tap and step R (cts and
2) tap and step L (cts and 1), stamp R twice sideward R (cts and 2), raise R arm in
reverse T-position on ct 2. g. Repeat (f) to the R starting with the R. h. Repeat all ( a to
g) Inulang All join hands in everse T-position. Execyte the following movements in
counterckckwise: a. Step L forward (ct 1), stam p R close to L (ct and), Stamp R
backward (ct 2). Repeat 2 times more. b. Stamp L twice (cts and 1), stamp R twice (cts
and 2) c. Repeat all ( a to b) 3 times more...3M Linibog a. Repeat (a to c) of Figure I b.
Stamp L across R in front (ct 1), step R in rear (ct and), stamp L obliquely forward L(ct
2), step R in rear (ct and), stamp L 3 times: front, side, side; (cts 1 and 2) c. Repeat all
(a to b) starting with the R Sangkululo Execute following steps moving counterclokwise:
a. Step L forward (ct 1), step R backward (ct 2)....1M b. Step L forward (ct 2), stamp R
close to L (ct and), step R sideward (ct 2)...1M c. Stamp and step L (cts and 1), stamp
and step R sideward (cts and 2)....1M Sangkululo All join hands in reverse T-position.
Execute the following movements with the knees slightly bent, moving clockwise. a.
Brush R foot backward (ct 1), Step L in place (ct 2)1M Brush L backward (ct 1), Step L
in place (ct 2)1M b. Repeat (a)2M c. Cross R foot in rear of L (ct 1), Step L
sideward (ct 2)1M Repeat (cts 1, 2)1M d. Repeat all (a to c) 3 times more18M
Lagudas a. Brush L forward (ct 1), tap L foot close to R (ct and), step L foot close to R
(ct 2)......1M b. Brush R foot backward (ct 1), tap R foot close to L (ct and), step R foot
sideward R (ct 2), tap L foot in front of R (ct and)....1M c. Step L foot across R in front (ct
1), tap R foot close to L (ct and), step R foot sideward R (ct and)....1M d. Repeat (a) to
(c) five times moving counterclockwise until a circle is formed....15M

TALBENG
Meaning:

Traditional dance of the Aetas

Place of Origin:

Nabuklod, Florida Blanca, Pampanga

Ethno Linguistic Group:

Comic / Mimetic

Background / Context:
A mimetic dance of the Baluga of Nabuklod Settlement in Florida Blanca which
sees the Negritos imitating the movement of the animals such as monkeys,
woodpeckers and flies in gleeful and energetic fashion.

SALAKBEN ME ING BULIG


Meaning: Small mudfish
Dance Culture: Lowland Christian
Place of Origin: Bocaue, Bulacan
Ethnolinguistic Group: Tagalog
Classification: Occupational
Performer: Male
A traditional Filipino dance symbolizing a good harvest. These boys looked like
they were having fun putting on this show.

LAPAY BANTIQUE
Meaning: Seagulls of Bantigue Island
Dance Culture: Lowland Christian
Place of Origin: Bantigue Island, Masbate
Ethnolinguistic Group: Masbateno
Classification:Mimetic
Performer: Male,female
The hovering of birds more commonly known as seagulls or the LAPAY, is one of the
most typical and beautiful scenes in Barangay Bantigue, Masbate. The boats laden with
abundant fish caught by small-scale fisher folks eagerly awaited by fish buyers and the
LAPAYS makes an engaging portrait of the people"s everyday simple way of life. This
marvelous scenery has inspired old folks to come up with a local folk dance very much
rightfully originated from the graceful movements of the Lapay and the harmonious
relationship it has created to the lives of the fisher folks. Surely, the seashores of
Barangay Bantigue can never be more cherished without the Lapay.

SUBLI
The Subli is a traditional folk dance of the Philippines which is still quite popular
today. It is a ceremonial worship dance honoring the Holy Cross (or Mahal Na Poong
Santa Cruz in Filipino) and is celebrated around a large crucifix which has an image of
the sun in silver at its center. Although the dancers are quite certain of the meaning
behind different portions of the dance and the steps, the origins of the Subli itself remain
unclear. There are varying theories, but even experts and researchers arent in
agreement. Origin Early natives of the Philippines who lived near the Taal Volcano are
known to have planted similar crosses around the crater of the volcano, in hopes of
warding off the evil forces of nature. The modern religious connotations of the Holy
Cross come from sometime during the Spanish rule in the Philippines, but exactly when
and how is where experts disagree. Around this time, an icon of the cross was
discovered in what is now the municipality of Alitagtag, in the province of Batangas. The
Holy Cross is a patron of many towns in this region, which has a strong tradition of
dance and music. The dance of Subli originated in the barrio (or baryo, rural village) of
Dingin in Batangas approximately 300 years ago, but soon spread to barrios throughout
the area. Meaning of Subli Even the origin of the word subli has differing theories. For
many years, it was thought that subli was a combination of subsub, meaning fall
with the head, and bali, meaning brokenand many felt that these themes were
represented in the dance. More recently, however, Dr. Elena Mirano of the University of
the Philippines has researched the Subli thoroughly, and disagrees. Her theory is that
subli is from the old Tagalog word sobli, meaning exchange of place. She feels that
exchange of place is an important feature of the dance itself. Folk History Putting
aside the disagreement between experts on the exact origins of Subli, an important
piece of the history for the dancers and Filipino citizens is the folklore that accompanies
it. The story has been passed down through generations, along with the dance steps.
The basic story is that a woman went to a well to get water, and there she found wood
which was giving off water. Also on the wood was a traditional Filipino doll called a
naaginging. People from many towns in the area came to see the wood and the doll,
but no one was able to move it. After singing and dancing around the wood, they found
they were able to move it. They then took the wood and carved it into a saint. The dance
that allowed them to do this is the Subli.

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