FOLK DANCE

Emman Saludes
Edrian Romaraog
Mark Christian Auxilio
John Jomar Ferrer
Richard Jamito
Tom Christian Garcia
 TINIKLING

GRADE 12 TVL - SAMSUNG

Submitted by:
MARK CHRISTIAN AUXILIO
Submitted to:
SHARA MARIE ANGELICA MANILA
INTRODUCTION:
Tinikling is a traditional style of dance from the islands of the Philippines that

imitates the movement of a common rail bird called a Tikling dating from before

Spanish rule. The rhythmic pattern of sliding, tapping and beating of large bamboo

poles helps to establish the pulse of the music while dancers work to evade the

'traps' with deftly placed dance steps. In the examples below, it is easy to see that

participants of this dance form need to be precise and quick with their

footwork. This style of dance is in reference to a common bird in the Philippines

named the Barred Rail.

TIKLING BIRD:

The name Tikling bird refers to any number of birds existing in the family of the rail

species found throughout regions in and surrounding the Philippine islands. The

name of the dance 'Tinikling' means tikling-like, but refers to the most abundant rail

bird of the Leyte region of the Philippines the Barred Rail bird. With legs similar to

that of a chicken, the Barred Rail walks, jumps and moves craftily throughout the

marshes where farmers plant their rice seeds causing much devistation to the

crops. In order to protect their livlihood, farmers set up bamboo traps for the birds

that snap shut when the bird steps inside. The tinikling dance mimics the skill of the

Tikling bird as they evade capture!

DISCUSSION:

Tinikling (Philippine National dance) - This is the most popular and best known of

the Philippine dances and honoured as the Philippine national dance. The dance

imitates the movement of the tikling birds as they walk between grass stems, run

over tree branches, or dodge bamboo traps set by rice farmers. Dancers imitate the

tikling bird's legendary grace and speed by skilfully manoeuvring between large

bamboo poles. Tinikling means "bamboo dance" in English. Considered as one of the

oldest dances from the Philippines, this dance was originated in the islands of Leyte

in the Visayan Islands. People of Leyte describe the tikling bird as one of the most

unique in its movements - walking around and between the tree branches and some

grass stems. This bird was named "tikling" from which the Tinikling dance got its

name. Because of the creativeness of the people, they imitate this bird by using

bamboo poles. One of the stories of the Tinikling's origin may be made up, a fact, or

part of a legend. The story says that the Tinikling started by the people who worked

on the fields and paddies in the Philippines. When the Spaniards came from Spain

and conquered the Philippines, the natives were sent to the haciendas. The natives

lost control of their land because they were under the encomienda system, an

economic system that is largely based on rural and agricultural operations of large

farmlands administered by caretakers for the King of Spain. The natives had to work

all day to please the Spaniards. The natives could have completely lost control of

their destiny under an exploitative system. The people of the Philippines worked in

the fields and paddies for nearly four hundred years (1500-1898).
SUMMARY:

Tinikling is a traditional Philippine folk dance which originated during the Spanish

colonial era. The dance involves two people beating, tapping, and sliding bamboo

poles on the ground and against each other in coordination with one or more

dancers who step over and in between the poles in a dance. It is traditionally danced

to rondalla music, a sort of serenade played by an ensemble of stringed instruments

which originated in Spain during the middle ages.

INSIGHT:

Two or four parallel pairs of bamboo poles, each around 6 to 12 ft (1.8 to 3.7 m)

long, are held by two or more sitting or kneeling people ("clappers" or "clickers").

The poles are used as percussive instruments accompanying rondalla music played

with string instruments (usually bandurrias, guitars, laúdes, octavinas, or ukuleles).

They produce clapping sounds as they are struck against the ground (or two raised

pieces of wood) and each other in a triple metre pattern. Traditionally, the poles are

tapped twice on the ground on the first two beats, then brought together on the

third beat. Two or more dancers then weave through the rapidly moving bamboo

poles with bare feet and ankles. The dancers have to carefully follow the rhythm so

as not to get their ankles caught between the poles as they snap closed. They start

the dance with their hands at their hips or clasped behind their backs. The tempo of

the bamboo poles becomes faster as the dance progresses, forcing the dancers

closer together as their movements become more frantic. The dancers hold hands at

the last part of the dance, when the tempo is the fastest.
IMPLICATION:

When performed by dance troupes or in cultural shows, Tinikling is typically

performed in the "Rural Suite," which includes dances originating from Filipino

Christians that have a more "folksy" character. These dances originate mostly from

the islands of Visayas and Luzon and imitate the simplicity and joy of the lifestyle of

the Filipino villagers living in those regions during the Spanish period. Other Filipino

folk dances of this category include Sayaw sa Bangko, Maglalatik, and Pandanggo sa

Ilaw. In the United States, this dance has been altered into a four-beat rhythm to

adjust to popular music. In some cases, it has been used in conjunction with

traditional Filipino martial arts to demonstrate fleetness of foot and flow of

movement. As mentioned earlier, tinikling is used as aerobic exercise for physical

education classes in the United States for grades K-12. Instead of using traditional

bamboo poles, most schools create their poles using plastic PVC pipe or wooden

dowels. Another alternative is to tie elastic bands to the ankles of two students. The

two students switch between jumping with their feet apart and their feet together to

simulate the movement of the wooden poles. This way, more students are engaged

in the aerobic exercise, rather than just the dancer.

 Cariñosa

GRADE 12 TVL - SAMSUNG

Submitted by:
John Jomar L. Ferrer
Submitted to:
SHARA MARIE ANGELICA MANILA
INTRODUCTION

The cariñosa is a Philippine folk dance of Hispanic origin. It is closely associated with

the island of Panay and the Visayas region in general. The word cariñosa is from the

Spanish cariñosa meaning the affectionate one. Most Filipina women can be

described as karinyosa. Rivaling the tinikling, the cariñosa has also been called the

national dance of the Philippines, though a government declaration has never been

made designating either one as official.

Cariñosa (Spanish pronunciation: [kaɾiˈɲosa], meaning the loving or affectionate

one) is a Philippine dance of Hispanic origin from the Maria Clara suite of Philippine

folk dances, where the fan or handkerchief plays an instrumental role as it places

the couple in romance scenario.

COSTUME

Originally, the Cariñosa was danced with Maria Clara dress and Barong Tagalog for it

is a Maria Clara Spanish Dance when it was introduced. However as the Filipino

people saw and imitated this dance, they wore the patadyong kimona and camisa de

chino to reveal their nationalism to their country and other steps were revised or

Filipinized but the music did not change at all and reveals a Spanish Influence to the

Filipinos. As stated by the book of Francisca Reyes-Aquino, dancers may wear

balintawak style (a native dress of the Tagalog regions), camisa (a white sleeve) or

patadyong kimona (a dress of the Visayan of people) and for boys, a barong Tagalog

and colored pants. Because it is the national dance, the dancers may wear any

Filipino costumes.
MUSIC

The music of Carinosa , . It is 3/4 in rhythm like some of the Spanish dances. The

Philippine Rondalla are playing this music of the dance where it is an ensemble or an

orchestra of string instruments in the Philippines similar to the Spanish musicians in

Spain that comprises bandurrias, mandolins, guitar, basses, drums, and banjos.

Mostly men are playing rondalla instruments but women may also take part.

DISCUSSION

History

The cariñosa is a popular folk dance that was introduced to the country by the

Spaniards when they arrived in the 16th century. It belongs to the Maria Clara suite

of Philippine folk dances. These are so named in honour of Maria Clara, who was the

main character in Jose Rizal’s novel Noli Me Tangere, ('Don’t Touch Me’), about the

colonisation of the Philippines by the Spanish. In it, Maria Clara is portrayed as a

noble and loyal woman, who after the publication of the novel in the 19th century

became the female symbol of virtue for Philippina women.

Geography

It is believed that Panay Island, located in the Visayan Islands group was the original

home of the cariñosa. The Spanish first arrived on the island in 1569. The dance

soon spread around the Philippines, giving rise to different versions in different

regions, such as in Bicol, where both dancers carry handkerchiefs.

Features

It was traditional for a Spanish ‘Maria Clara’ costume to be worn, which consisted of

a long dress and a long-sleeved short embroidered dress made from pineapple

fibers. Now more traditional Philippine dress is usual. Men wear white shirts and

colored trousers, while the women wear native dresses.

The music is Spanish-influenced, with three-quarter rhythms that resemble a bolero

or a waltz in both speed and style. Ensemble orchestras comprising banjos,

mandolins, strings and drums are typical. The orchestras were once mainly

composed of men, however more and more women are starting to take part.

The dance

To dance the cariñosa, a man and a woman dance together, taking slow steps

around the room, similar to those of a waltz. The female holds a fan or

handkerchief, which she coyly hides behind. The dance itself is intended as a

courtship dance, and is of a flirtatious nature. Cariñosa literally means "she that is

loving" as the verb ending indicates it refers to a woman.

Misconceptions

During the Marcos regime, the cariñosa was named the national dance of the

Philippines. To this day school text books still claim this; however, the Philippine

government maintains it is another dance called "tinikling," which is a native dance.

Today, the cariñosa is performed at social gatherings and festivities.

SUMMARY

Cariñosa (meaning the loving or affectionate one) is a Philippine dance of Hispanic

origin from the Maria Clara suite of Philippine folk dances, where the fan or

handkerchief plays an instrumental role as it places the couple in romance scenario.

One of the national dances we should be proud of is the Cariñosa. This is a courtship

dance known through out the philippines with its flirtatious movements. The word

“carinosa” means affectionate, amiable, or lovable. There are many versions of this

dance, but hide and seek movements using a fan and a handkerchief are the most

common.

INSIGHT

The Cariñosa was also very popular in Samar where it is called Pandanggyado

Cariñosa or simply Pandanggyado in' Samar. A cariñosa from Bicol discovered by

Ramon Obusan in Rapu-rapu, Albay is a very unique song-dance or sayawit. The

hide-and-seek uses a folding fan rather than the common prop: handkerchief. Three

versions of this courtship-festival dance were found in Panay Island, the "Home of

the Carinosa". Three different dance researchers discovered three equally beautiful

Cariñosa dances. Petronila Suarez had her Carinosa Binggawan, JoseBalcena's

informant , an old dancing virtuoso name Casimiro earned him the identity of

Balcena's cariñosa version: TatayMeroy Cariñosa. Tatay Meroy was an old bachelor

from Roxas City who because of old age became aggressive in his courting of a

future partner. This version dramatizes Tatay Mero's pursuit of his partner who

teases him by flirting.Prolific Visayan dance researchers Libertad Fajardo and her

daughter Joanne discovered a Cariñosa version from San Joaquin, Iloilo.

The San Joaquin cariñosa is probably the most flirtatious of all known versions.

Here, the couple does not simply do some hide-and-seek in a vertically spread

handkerchief but also does the combing of each partner's hair and even putting a

powder puff! This version is ended with a ballroom waltz where the couple goes

around the dance floor in close ballroom position .The Cariñosa was also very

popular in Samar where it is called Pandanggyado Cariñosa or simply Pandanggyado

in' Samar. A cariñosa from Bicol discovered by Ramon Obusan in Rapu-rapu, Albay

is a very unique song-dance or sayawit. The hide-and-seek uses a folding fan rather

than the common prop: handkerchief. A very unique Bicolnon dance step

IMPLICATION

According to the book of Francisca Reyes-Aquino, Philippine Folk Dances, Volume 2,

there is a different version of the dance in the region of Bicol. In the Bicol Region

Carinosa, hide and seek movement is different ways. In the original version, the

dancers used the Fan and handkerchief as the way to do the hide and seek

movement, in Bicol they used two handkerchiefs holding the two corners of the

handkerchief and doing the hide and seek movement as they point their foot

forward and their hands go upward together with their handkerchiefs following the

movement. It is a complicated step however it is still used in Bicol Region during

festivals and social gatherings.

MAGLALATIK

GRADE 12 TVL – SAMSUNG

SUBMITTED BY: RICHARD JAMITO

SUBMITTED TO: Ms. SHARAMARIE ANGELICA

BINALLA MANILA
 *Introduction

-The Maglalatik is an indigenous dance from

the Philippines in which coconut shell halves that are

secured onto the dancers' hands and on vests upon

which are hung four or six more coconut shell halves.

The dancers - all male - perform the dance by hitting

one coconut shell with the other - sometimes the ones

on the hands, sometimes, the ones on the body, and

sometimes the shells worn by another performer, all in

time to a fast drumbeat. Like many native Filipino

dances, it is intended to impress the viewer with the

great skill of the dancer, and in some Filipino Martial

Arts (FMA) circles, it has been noted that the manlalatik

"consists of a trapping and boxing method hidden in a

dance."
 Costume

-Usually danced shirtless with trousers together with coconut sh

4 pairs of coconut shell. a pair for both leg, located in the

knees. 2 pairs for the body, one in front for the chest part and

another one at the back. and a pair for the hands(for tapping)

ells around the body.

*Creative and Colorfull

-These are some of the things that you can use to label

thePhilippine dances that define its culture. And for sure you

will not be disappointed, since thecountry's dances are all

creative and colorful. An example is the Philippine dance called

the'Maglalatik' that is sure to catch the fancy of those looking

for a traditional dance that goes downto the basics, and of

course a dance that is colorful and festive. This dance is also

called as'Magbabao' which can mean 'the one using the 'bao'

and the 'bao' is the coconut shell. Throughoutthe dance, the

viewers of the dance can expect that most of the dance moves
 that will be performed by the dancers will focus on the use of

these 'baos' or the coconut shells and some of the noises or the

music that will be used by the dance will be generated by these

coconut shells.

*History of Maglalatik

-It originated in the town of Binan in the Laguna province of

the Filipino Islands and is also performed as homage to the

town saint, San Isidro de Labrador. Maglalatik is an original

native dance of the Philippines in which the coconut halves are

attached to the torso of the dancer.

*The steps of Maglalatik

1.First step will require dancers to make 6 to 8 counts of

jogging to settle to their place.

2.Then four steps forward while pounding the chests.

3.Four basic clap cycles while the dancers are in place.

 4.Another four basic clap cycles in order for the dancers
to get to two rows.
5.Another 8 quick clap cycles to the ripple effect. 6.Another 8
quick clap cycles that will allow the dancer to circle around the
partner, and next upis the Circle Up.. 7.The dancers will
make 8 counts+1 -4 count for the first clap. 8.Dancers will
clap after the one 8 count and this should be done 8 times,
then the finishing clap. 9. Dancers will make 8 high-low clap
cycles in order to move into position.. 10.Another 8 cycles of
6 hit clapping. 11.The dancer will then make 16 counts for the
tricks with another round of clapping in the background.
12.Dancer will make 4 basic to get to the two sides. 13.Dancer
will make 8 quick clap cycles for the battle. 14.Dancer will
make 4 quick clap cycles in order to get to the end. 15.And
right after the last clap, the dancers then make their pose.

*The importance of Maglalatik dance

-The importance of this type of folk dance was, many people

was being known this dance especially us the Filipino’s because

of strange(Kakaiba), class of steps and the props.The

coconut(bao), was one of the most famous props or use in that

type of folk dance.Also known as Magbabao.

The Dance
The first two parts of Maglalatik are the Palipasan and

the Baligtaran. It shows the encounter of the two group

s while the last

two parts are the Paseo and the Sayaw Escaramusa; it

shows the reconciliation of the two fighting groups. The

Muslims won over the Christians according to the story

The Biasuan

GRADE 12 TVL – SAMSUNG

SUBMITTED BY: Edraian E Romaraog

SUBMITTED TO: Ms. SHARAMARIE ANGELICA BINALLA

MANILA
Introduction

Binasuan folk dance - is very colorful and spectacular dance

from Bayambang, Pangasinan. Baso mans drinking glass.

Binasuan in Pangasinan means with the use of a drinking glass.

Binasuan dance derived its name from a Pangasinan phrase

that literally translates to mean "with the use of a drinking

glass." Though it is not known exactly when Binasuan dance

originated, dance has been an important part of Filipino culture

for centuries, beginning as a way for people to express thanks

to the gods, in festivals and traditional celebrations, for

blessings and prosperity.

In this dance, the dancer displays good balance, graceful

movements, and unusual skill. She dances with three glasses

half-full of water, one on her head, and one each held on the

palms of her hands. She shows her skill in maneuvering the

glasses, particularly when she executes continuous fast turns,

sitting, and rolling on the floor without spilling the water or

dropping the glasses.

The binasuan is a Filipino folk dance in which the performer

holds full wine glasses in each hand while performing balancing

tricks. Wine may be used to fill the glasses, but other liquids

may be substituted. The arms are rotated over and under the

shoulder in order to keep the palms facing up so as not to spill

the liquid while nevertheless allowing the radius to cross over

the ulna via pronation. Binasuan originated in Pangasinan and

is popular at festive events such as weddings.

 Costume

Balintawak costume with tapis and soft panuelo.

Music

MUSIC is composed of two parts : A and B. It is danced to the

tune of Pitoy Oras.

Discussion

The binasuan is a Filipino folk dance in which the performer

holds full wine glasses in each hand while performing balancing

tricks. Wine may be used to fill the glasses, but other liquids

may be substituted. The arms are rotated over and under the

shoulder in order to keep the palms facing up so as not to spill

the liquid while nevertheless allowing the radius to cross over

the ulna via pronation. Binasuan originated in Pangasinan and

is popular at festive events such as weddings.

 Since the binasuan inverts the arm through rotation, it is

sometimes given as a macroscopic, physical demonstration of

the rotation properties of a spin-½ spinor. As the liquid never

spills, the rotation can all occur within the same plane. Upon a

rotation of 2π radians, the elbow changes between pointing up

and down. Upon a rotation of 4π radians, the palm "doubly

covers" the shoulder, and the elbow points in its original

direction.

Geography

The tradition of Binasuan dance originates in the Pangasinan

province of the Philippines. Pangasinan is located on the central

western coast of the country, and is host to several national

festivals where Binasuan dance is often featured.

History

Binasuan dance derived its name from a Pangasinan phrase

that literally translates to mean "with the use of a drinking

glass." Though it is not known exactly when Binasuan dance

originated, dance has been an important part of Filipino culture

for centuries, beginning as a way for people to express thanks

to the gods, in festivals and traditional celebrations, for

blessings and prosperity.

Features

Binasuan dancers are famous for their skill and grace,

balancing three glasses of rice wine while turning, rolling and

spinning to fast-paced music. Sometimes dancers introduce

other elements, such as weights placed on their feet, to

increase the dance's difficulty–and therefore the dancer's

prestige.

Significance

Binasuan dance, though formerly a traditional art known only

to Filipinos, is now internationally recognized and sought after,

with dance troupes touring around the globe and tourists to the

Philippines increasingly seeking out local performances.

 KURATSA

GRADE 12 TVL – SAMSUNG

SUBMITTED BY: TOM CHISTIAN A. GARCIA

SUBMITTED TO: Ms. SHARAMARIE ANGELICA

BINALLA MANILA
INTRODUCTION

The Kuratsa is highly favored by the Visayan people

especially the Waray people of the Eastern Visayan region

in the Philippines. Strictly speaking, The Kuratsa must be

done the amenudo-way; that is, only one couple dances it

at a time. Believed to be a Mexican import (supposedly

from La Cucaracha dance typical to Monterrey region of

Mexico)- the Kuratsa is however, very different in the

manner of execution to the Mexican counterpart. Even the

"basic" Kuratsa music is not based on Mexican or even

Spanish melodies but just bolero-inspired lilting music. A

very interesting dance caught up the eyes of the beholder.

Philippine dance researchers, however, point either to the

Kigal and the Bikal as the 'ascendant' of the Kuratsa. The

Kigal (spelled "Quigal" in early Spanish writings on Samar

culture and lifeways) is a sort battle-of-sexes couple

dance that imitate mating birds. The Kigal is in fact called

by another name: Binanug or Kiglun (Kigalun?) according

to a 17th century Samarnon dictionary by Jesuit

missionary to Samar, Fr. Alcazar. It is interesting that

banug is the Waray word for the 'hawk'.

COSTUME

Girl wears patadyong, camisa with stiff sleeves or kimona,

and a soft kerchief over one shoulder; . Boy wears barong

tagalog and trousers of any color.

 DISCUSSION

The Kuratsa is the dance of courtship from the Visayas region

of the Philippines. At weddings and fiestas, the Kuratsa serves

as the traditional money dance where guests take turns pinning

money on the bride and groom's attire. This symbolizes friends'

and families' wishes for good luck and prosperity in the couple's

future.

The dance is performed in three parts, with three different

rhythms. The dancing couple starts the performance with a

ballroom waltz. Then the music shifts to a faster beat for the

"chasing" scene, in which the female dancer flees and the male

pusues her all across the dance floor. The tempo picks up even

more for the final part, in which the chase ends with a furiously

flirtatious scene. The female is won over, and the male imitates

a flamboyant bird in a mating dance.

HISTORY

The Kuratsa is believed to be a Mexican import (supposedly

from La Cucaracha dance typical to Monterrey region of

Mexico) - the Kuratsa is however, very different in the manner

of execution than the Mexican counterpart. Even the "basic"

Kuratsa music is not based on Mexican or even Spanish

melodies.

Philippine dance researchers, however, point either to the

"Kigal" and the "Bikal" as the 'ascendant' of the Kuratsa. The

Kigal (spelled "Quigal" in early Spanish writings on Samar

culture and lifeways) is a sort battle-of-sexes couple dance that

imitate mating birds. The Kigal is in fact called by another

name: Binanug or Kiglun (Kigalun?) that's according to a 17th

century Samarnon dictionary by Jesuit missionary to Samar, Fr.

Alcazar. It is interesting that Banug uis the Waray word for the

hawk.
SUMMARY
 PANTOMINA
( Bicolano Folk Dance )

GRADE 12 TVL – SAMSUNG

SUBMITTED BY: NOEL JOHN R. MIRA

SUBMITTED TO: MS. SHARAMARIE ANGELICA

BINALLA MANILA
INTRODUCTION

Pantomina was originally a wedding dance from the Bicol Province, it is also very

popular in the Northern part of Samar especially in towns of Allen and Capul- both

directly facing Bicolandia

Pantomina is Spanish for “pantomime” because of it’s courting,wooing,

movements. It’s old name Salamapati means’ “doves” hence the dance is sometimes

reffered as the “Dance of the Doves”.

According to pantomina dance history this dance is also called Salampati during the

Spanish colonization. It is also the first folk dance to be written and it is included on

the first folk dance book “Philippines Folk Dances and Games” written by Francisca

Reyes Aquino.

DISCUSSION
The pantomina is very popular in the northern part of Samar especially in towns of

Allen and Capul - both directly facing Bicolandia. Traditionally, musicians

accompanying the dancers pause from playing the pantomina music to allow the

dancers to wipe their perspiration. The wiping of perspiration has become a little flirty,

with the male dancer--as expected--offering his own handkerchief for the woman to

wipe herself. The delighted audience would, as expected, tease the couple (especially

if the two are young and unmarried) as doing a "love pantomime" and the musicians

would immediately resume playing the music. After the love pantomine has waned, the

focus of the pantomina returns to the dance itself. All throughout the region, the
Pantomina is danced in two parts (Nolasco, 1994). Part one is the paso where the

partners march to the dance floor in 2/4 time, according to Nolasco (1994). In

Catanduanes, there are three kinds of pasos identified - paso uno is a step-close

movement with the dancers either moving forward or backward while looking at each

other from opposite sides of the dance floor; paso dos is made up of steps walking

backward then taking a pivot turn to face center and scratching with a foot (like a

rooster); in paso tres the dancers take three steps moving forward then take a step

backward while shifting weight to the other foot. Different variations are made by the

dancers according to their mood. The paso is also executed with a slight raising of the

shoulders with every step. Arms freely swing on the sides or with the back of the

hands lightly placed over the upper part of the buttocks. The dancers begin in parallel

lines and progress to a square formation to exchange partners, bowing in

acknowledgement as they meet at the center, turning to face partners, bowing while

moving to designated places. This reminds one of the age-old tradition of Filipinos

before the coming of Spaniards – that of never turning one’s back to a person as a

sign of respect. Part two is the engaño which is danced with a valse (waltz) in ¾ time.

The couples are in two parallel lines – one line for the females and one line for the

males. The men execute the binanog, (arms raised in inverted T position imitating a

banog (hawk) in flight. The women simply waltz right and left while raising their right

and left arms alternately in inverted T position, fists slightly closed. Nolasco (1994)

reported women in the other parts of the region to perform a konday where there are

graceful rotation movements at the wrist. The women of Catanduanes simply raise

their arms at shoulder level alternately left and right while accentuating that
movement with a slight raising of the shoulders. The dance is a fun way for the

couple to have an instant seed money to begin their lives together since the money is

considered as a community gift for the couple pooled together from ninangs, ninongs ,

family, relatives, visitors and well wishers. The money given to the couple are not only

confined to paper bills of high denominations. Coins also are accepted — this is the

reason why the couple is dancing in a native mat i.e. banig. The banig is there to catch

the coins thrown to them by well wishers. As the groom and bride dance to the music

of the Pantomina that goes on and on, families, relatives and wedding sponsors from

both sides will have their money at hand tested by upping each other in the pinning of

the money bills in a sort of contest. The larger the amount the better. All is done

however in the spirit of fun. At the end of the dance, the couple will have a basket full

of money in denominations ranging from 1 peso coin to 1,000-peso bill. The groom will

in turn offer (for safekeeping ) the pooled gift money to the bride as part of the

celebrations. The money however is not the main purpose of the dance.

SUMMARY

Pantomina (Spanish for pantomime) was originally a wedding dance from the towns

of Bicol's Estandarte and Sorsogon subregions. This dance is tradionally performed

during wedding festivities by the couple and their visitors. The dance is still popular

in the Bicol Region even up to this time.

INSIGHT

Cultural awareness is the foundation of literate national communication. It involves

one’s ability to stand back from where he or she is to become more aware of cultural

values, beliefs and perceptions. Strengthening and preserving these values, beliefs,

and traditions can pose a great challenge especially today when culture has become

vulnerable because of globalization. It is on this ground that this study was conducted

to determine the levels of practices in strengthening and preserving Philippine folk

dances and general knowledge of folkdances as a measure of cultural awareness

IMPLICATIONS

It is all about preserving history and tradition. People think folk dances are important

because they help keep a culture alive. Folk dances such as “Pantomina” are

important because they preserve the Philippine culture and pass it on to the next

generation. They are a uniting force to the Philippine people.