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History of La Salle Filipiniana Dance Company

The La Salle Filipiniana Dance Company formerly known as La Salle Filipiniana Dance Troupe was
established on June 1993 by Ms. Eliza Domingo together with its pioneer members, Mr. Junaidi Garcia
Bambilla and Mr. Rommel Serrano. For the piloting year of LSFDT, she serves as the official choreographer
of the group with its limited and inactive members. During that time, the group is focusing both folk and jazz
dances. Then in the year 1995, under the supervision of Mr. George Tabang; 1st Coordinator of Cultural Arts
office, the group was split in to two; Filipiniana Dance Troupe and Pointes and Flexes to focus on each craft.

In year 1994-1996, Mr. Bambilla took charge of the administration and became the 1st president with its new
choreographer, Mr. Serrano. In year 1996-1998, the group was supervised by Ms. Loie Alaba as its new
president with its first batch of Executive Members; Mr. Bambilla and Ms. Marissa Amon as the group’s
advisers that time.

It was during those periods were LSFDT made its promising and remarkable success. LSFDT stage its
first major production entitled Unang Kabanata, Year 1996. In the same year and 1997, the group awarded as
Performing Arts group of the Year. With its rapid growth and advancement, the group’s name was revised in
the Year 2000 under the time of Ms. Rochelle Doctor, from that day up to the present time, the group was
officially known as La Salle Filipiniana Dance Company (LSFDC). Under the supervision of Cultural Arts
Office in De La Salle University-Dasmariñas, LSFDC’s works and existence has provided significant influence
and contributions to the Performing Arts Group and to the whole Lasallian community.

The group aims to elude ignorance and elevate the art of folk dancing and music with its vision; “To promote
cultural awareness to the community in the aspects of dance and music through collaborative theatrical
performances”.

LSFDC has performed in various national, institutional and provincial events such as LS2K4 A Continuing
Journey to 2011, Sayaw Filipinas; a showcase of dances and music held annually at De La Salle-Lipa
and Cultura Verde; A Lasallian Centennial Celebration. The group also performed in the most prestigious
stage of Concert at the Parkand Cultural Center of the Philippines. Until now, the group receives many
invitations to perform in various events in different hotels and establishments in and out of the country.

LSFDC was the first group in De La Salle Philippines who featured creative folk and ethnic music of the
Philippines. The group caters variety of dances that depicts the country’s indigenous and traditional arts and
culture. The group’s repertoire consists of iconic and well applauded dances such as Banga-Salidsid, Jota
Caviteña, Sayaw sa Bangko, Tinikling, Vinta, Pangsak Pagkawin and Singkil to name a few.

The group was awarded as the ”Outstanding Cultural Dance Group” in the 19th Annual Asia Pacific
Excellence and 2011 Asian Entertainers Awards. Also, in the 2012 Who’s Who in the Philippines Outstanding
Pinoy Entertainer Awardee. In addition, the group was also recognized by the Luntiang Parangal in 2011 as
the 1st Best Student Fundraising Project, in year 2013 as the Performing Arts Group of the Year and in year
2014, again as the Performing Arts Group of the Year and Best in Outreach Project.

Ms. Nina Ricci Garcia De Leon, LSFDC Alumna (Batch 9) acts as the group’s present trainer. Together
with its active members and supportive alumni members, the group continuously stage folk and ethnic dances
to the community to promote our rich Filipino heritage.

Sources: Alumni Members


Additional Research by: Cara Ylagan, Batch 9
1st Revision: Mark Freud Bolima, Batch 14 (2011)
2nd Revision: Niel John Clemente, Batch 20 (2014)
3rd Revision: Cara Ylagan, Batch 9 (2015)
FDT / LSFDC Choreographers / Advisers

2009 - Present Nina Ricci Garcia, Alumna of LSFDC Batch 9


2007 - 2009 Gene Jay "Nicko" Rufino, Bayanihan Phil. National Folk Dance Co.
2007 (June-August) Ernesto "Tong" Borela, Bayanihan Phil. National Folk Dance Co.
2006 - 2007 Ronan "Ron" Magbuhos, Bayanihan Phil. National Folk Dance Co.
2003 - 2006 Remmon Mejorada (R.I.P), Alumnus of FDT Batch 6
2000 - 2002 Maya Solana, Bayanihan Phil. National Folk Dance Co. / Alumna of FDT Batch 2
1997 - 1998 Loie Alaba / Michael Diones, Alumni of FDT Batch 3
1996 - 1997 Michael Perey, Sanghaya Dance Company
1995 - 1996 Neri Trajera, Sanghaya Dance Company
1995 - 1998 Marissa Amon, FDT Adviser, Faculty - Physical Education DLSU-D
1994 - 1995 Junaidi Bambilla (R.I.P), Alumnus of FDT Batch 1
1993 - 1994 Elaiza Domingo, Founder of FD
(Source: Junaidi Bambilla, FDC Batch 1, FDC Alumni, former Choreographers)

Major Productions

 Unang Kabanata - Year 1996 (FDC's First Major Production)


 Muling Pag - Ugong ng Tambuli - Year 1997
 Sanghiyang - Year 1998
 Sentenaryo; Las Islas Filipinas - Year 1999
 Filipiniana - Year 2001
 Dayaw - February 2002
 Kalipay: Pagdiriwang ng Sayaw at Musika - September 27 - 29, 2004
 Padayon - December 1-2, 2005
 Kalipay - November 20, 2006
 Ugnay: Sayaw at Musika tungo sa Pagkakaisa - February 2009
 Fiesta Filipino: A Celebration of Philippines' Indigenous - February 24, 2010
 Padayon - September 22, 2010
 Sayaw:Buhay A Celebration of Life through Dance and Music - September 24, 2012
 Pagdiriwang - February 13, 2014
 SINAYAW: Indayog ng Buhay, Pamana ang Alay - November 23, 2016
 SINAYAW II: Ritmo at Elemento - March 7, 2018
Presidents of La Salle Filipiniana Dance Company
2018 - Present  Jezreel Faith J. Tan, Batch 24
2017 - 2018  Rudy D. Aldunar, Batch 21
2016 - 2017  Rudy D. Aldunar, Batch 21
2015 - 2016  Niel John Clemente, Batch 20
2014 - 2015  Krisca Camille Eren, Batch 19
2013 - 2014  Ricris R. Deposoy, Batch 18
2012 - 2013  Nicole Dela Cruz, Batch 17
2011 - 2012  Joseph Martin Perjis, Batch 15
2010 - 2011  Joseph Martin Perjis, Batch 15
2009 - 2010  Mariel Calilan, Batch 14
2008 - 2009  Iris Gilbey Guballa, Batch 13
2007 - 2008  Iris Gilbey Guballa, Batch 13
2006 - 2007  Cara Ylagan, Batch 9
2005 - 2006  Ayesha Decelis, Batch 11
2004 - 2005  Ma. Cristina Maputol, Batch 10
2003 - 2004  Nina Ricci Garcia, Batch 9
2002 - 2003  Carla Parilla, Batch 7
2001 - 2002  Carla Parilla, Batch 7
2000 - 2001  Rochelle Doctor, Batch 6
1999- 2000  Rochelle Doctor, Batch 6
1998 - 1999  Melanie Nolasco, Batch 5
1997 - 1998  Loie Alaba, Batch 3
1996 - 1997  Loie Alaba, Batch 3
1995 - 1996  Junaidi Bambilla, Batch 1
1994 - 1995  Junaidi Bambilla, Batch 1
1993 - 1994  Junaidi Bambilla, Batch 1 (RIP)

CORDILLERA SUITE
Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges
which means “knotted rope”. These are dances from the mountainous central cordillera region of Northern
Luzon. People living in here are pagan folks known as Igorot. It includes six ethno-linguistic tribes known
as the Ibaloy, Kankanay, Ifugao, Kalinga, Apayao and Bontoc.

Ifugao – derived from the term I-pugo which means “people of the earth”. The Spaniards changed it to
Ipugaw and finally by the Americans into Ifugao. They’re known as rice terraces builders.

Kalinga – Derived from the Ibanag and Gaddang word “Kalinga”, both meaning Headhunters.

Bontoc – Derived from the term “Bun” and “Tuk” which means “Mountain”.

Apayao – They are considered as one of the most light-hearted among the indigenous tribes in the
Philippines. They are river people. Their tribe’s name was derived from the warm waters of Apayao river.

Dances under this suite are expression of various rituals and ceremonies. It also serves for self-
edification. Also, to appease their Gods to cure ailments, ensure success in war, for bountiful harvest and
thanksgiving festival. These dances mark milestones in the cycle of life.

 Mandadawak – Portrays a primitive ethnic doctor that performed customary rituals such as curing of
the sick, baptismal, honoring the dead etc.

 Chieftain – A dance of different tribe heads to celebrate victory and exchange tribe concerns or
renew ties.

 Idaw – From the Bontoc tribe. Depicts a bird hunting ritual before a tribal war. Tribe men would go out
and search for the sacred Idaw bird which is said to lead the tribe in victory.

 Banga – Displays the Kalinga women and shows their skill and strength as they go to the river and
fetch water carrying heavy laden pots (banga). The maidens balance the banga on their head as they
sing and trudge to the beat of the gangsa or wind chimes.

 Salidsid – A Kalinga courtship dance also called as “Cayoo dance”. Performed by both male and
female dancers. The male dancer simulates a rooster trying to attract the attention of the hen while
the female dancer imitates the movements of a hen being circled by a rooster.

 Salip – Portrays a Kalinga wedding celebration. The groom offers protection and comfort to his bride
by means of matrimonial blanket. He simulates the movements of a rooster at love paly, aspiring to
seize his love. The bride’s maidens prepare her by offering banga filled with fresh water from the
mountain spring.

 Ragragsakan – The word ragragsakan comes from an Ilocano word which means “Merriment”. This
dance is performed after a successful headhunt and for peace pact between warring tribes. In this
dance, Kalinga women balance labba or bakul baskets, wave tribal baskets and sing salidumay
songs while skipping through the breaks in the dikes.

 Banawol – From the Ifugao tribe. A rousing festival dance honoring guests with crowns of bright
plumage. Like Banawe, its name comes from the Banawol bird, a hawk that preys on chicken.

 Bumayah – From the Ifugao tribe. A dance that serves as a prayer of thanksgiving for bountiful rice
harvest to the God Kabunian. The movements of this dance mimic those of a rooster scratching the
ground.

MARIA CLARA SUITE


The coming of Spaniards and European dances such as waltz, mazurka, polka and la jota brought
new influence to the Philippine dances. The Filipinos welcomed these dances and added native flare and
style. This suite was named in honor of the legendary Maria Clara who was the chief female character in
Jose Rizal’s Noli Me Tangere.

These dances are symbols of the virtues and nobility of the Filipina woman. It displays a very strong
Spanish influence. This suite captures the elegance and charm of the mestizo Filipina and gallantry of
mestizo Filipinos. Typical attire in this suite are formal Maria Clara dress/gown and barong tagalog for
boys. Courtship, love and flirtation are the main focus of this suite.

 Jovencita – means “Young lady”. Dance by young women to honor important guest.
 Danza – Originally from Cuba; known as Danza Habanera. It is a social dance in duple time
performed in a ballroom or stage.
 Sayaw sa Cuyo – Originated from Cuyo, an island and capital of Palawan. This is a feast dance for
St. Augustin celebrated with parades and processions performed by young girls.
 La Estudiantina – From Antimonan, Quezon. A Spanish-inspired dance performed by young women
during their days at private schools, they are seen holding a book in this lively dance.
 Pitik Mingaw – From Capiz. Pitik is a Visayan word that means “Miss”. A courtship dance of young
man and woman who fell in love at first sight.
 Pasodoble – Means double steps. This dance is based on the movements of a bullfighter in the bull
ring. A Senorita wields her eloquent fan, to attract and flirt with the gallants.
 Panderetas – Originated from Tanza, Iloilo. A Christmas dance which used to accompany a
presentation of Christmas carols called Daigon. It was named after the jingle-less tambourines carried by
the female dancers while the male dancers used castanets. Another version of this dance is where the
female dancers carry fans instead of tambourines.
 Jota Intramureña/Mantones de Seda – A dance that features different ways of using Manton de
Manila.
 Jota Manileña – A dance named after the capital city of Philippines, Manila. It is an adaptation of
Castilian Jota afloat with the clacking of bamboo castanets.
 Jota Caviteña – This lively dance is also an adaptation of the Castilian Jota that shows the use of
Filipino castanets made of bamboo both by male and female dancers.
 Habanera Botolena – Originated from Botolan, Zambales. A courtship dance but sometimes
performed during weddings and social gatherings. Typical sequences include the procession of the
couples’ parents, bridesmaids and groomsmen and solo featuring of the wedding couple.
 Paseo de Iloilo – One of the most sophisticated courtship dance of the Spanish era. In this dance,
gentlemen compete to win the heart of the lady. Sometimes it is a solo couple dance.
 Sakuting – Originated from Abra. This dance interprets a mock fight. It is traditionally performed
during Christmas as a caroling show where dancers receive presents or money locally known as
“aguinaldo”.
 Pantomina – Originated from Bicol. It means “Dance of Doves”, also called as “Salampati”. This
dance highlights the courting and love making of doves.
 Rigodon de Honor – Originated from Spain. This is an elegant dance commonly performed at formal
affairs like inaugural balls and the likes.
 Mariposa

RURAL SUITE
Buhay sa Nayon. Perhaps this suite is the best known and closest to the Filipino heart. This suite
illustrates the fiesta spirit and demonstrates a love of life. These dances express a joy in work, a love for
music and pleasure in the simplicities of life. These dances are lively and incorporate a deep appreciation
of music.

 Lovers Dance – A couple dance whose movements are simultaneous and in coordinated manner.
This dance illustrates how the male dancer courts the female dancer and how they express a joyful
love.

 Pasiguin – locally called Sabot Capiz. This is a lively and frolicking dance representing fishermen
trying to capture fishes getting out from the torn fishnets.

 Kalapati – Originated from Cabugao, Ilocos Sur. It is a lovely dance patterned after the graceful
movements of kalapati or dove. It symbolizes peace and portrays simplicity and naturalness of the
Ilokanos.

 Pandanggo sa Ilaw – Originated from Lubang Island, Mindoro. The word Pandanggo comes from
the Spanish dance “Fandango” characterized with lively steps and clapping while following a varying
¾ beat. This dance requires excellent balancing skill to maintain the stability of three oil
lamps/glasses with light or fire; one is place on the head and the other two are on the hands.

 Oasiwas – Another version of Pandanggo from Lingayen, Pangasinan. Oasiwas means “Swinging”.
Just like Pandanggo sa Ilaw, this dance calls for an excellent balancing skill, they also shared a
similar beat. In this dance, the oil lamps/glasses with light or fire are wrapped in a porous cloth.

 Binasuan – Originated in Bayambang, Pangasinan. Binasuan means “with the use of a drinking
glass”. In this dance, the dancers display excellent balancing skill of glasses filled with rice wine. The
dancers execute graceful yet careful movements just like sitting, rolling on the floor and continuous
fast turns while balancing the glasses. This dance is usually performed at weddings, fiestas and as
entertainment to the farmers after a good harvest.

 Palaro – A fiesta scene in rural areas/barrios showing the native Filipino games.

 Bulaklakan – A lovely and attractive dance that uses arch full of flowers and bamboos with flowers
on top; dedicated to the Virgin Mary and is performed during the month of May to celebrate Santa
Cruzan/Flores de Mayo.

 Karatong - A ceremonial dance with lively and fast rhythm. It is dance to bring good luck and drive
away evil spirit.

 Subli – Originated from Alitagtag, Batangas. The term Subli comes from two tagalog words; “Subsub”
which means stooped or crouch position and “Bali” which mean broken. This is a ceremonial worship
dance performed in homage to the Holy Cross referred in the vernacular as Mahal Na Poong Santa
Cruz. Male dancers use castanets while the female dancers use hat and move gracefully while their
hands move swiftly and in a tip-toe manner. It is performed with the accompaniment of a kalatong or
tugtugan.

 Maglalatik – Originated in Binan, Laguna. This is performed as a tribute to the patron Saint of the
farmers, San Isidro de Labrador. This is a mock-war dance that depicts a fight between the Moros
(Muslims) and Christians over the prized latik or coconut meat. It has four-part performance:
Palipasan and the Baligtaran, showing the intense battle; the Paseo and Escaramusa, the
reconciliation.

 Sayaw sa Bangko – From Lingayen, Pangasinan. It is also called as “Sayaw ed Tapew na Bangko”.
A very popular Filipino dance performed by a couple on the top of the bench, most likely 7 benches,
they dance and hop from one end to another. “Taong bayan” where also present in -here; to cheer
the couple, hold the benches so that it won’t move and make the dance more lively and joyful.

 Tinikling – Honored as the Philippine national dance. This dance originated from Leyte and truly one
of the most famous Philippine folk dances. The dance imitates the movement of the tikling birds as
they walk between grass stems, run over tree branches and dodge over bamboo traps set by the
farmers. Dancers show grace and speed by skillfully mimicking the movements of tikling birds
hopping over the bamboo poles.

 Jota Batangueña – Another type of Jota that originated from Batangas. This dance illustrates the
gracefulness and elegance of the Filipina and gallantry of the Filipinos. Most of its steps are the Dutch
step, Sway balance and Kumintang.

 Lapay Bantigue

 Tisilaw

 Inalimango

TRIBAL SUITE
Pockets of cultural minorities live in the style of their forbearers in the hills and mountain throughout the
Philippines’ archipelago. There are people who have lived before our country becomes a breeding ground
of foreign trades, tribes such as the T’boli, Bilaan, Manobo, Bagobo and other groups. Like their Northern
Luzon counterparts, these groups honor pagan gods for the fruits and trials of daily life.

T’boli – T’boli comes from the “Tau-bili”; Tau meaning “small human creature” and Bili meaning “fruit of the
wild vine”. Other state called this tribe as “Taga-bili” (buyers).

B’laan – A pro-Malayan indigenous group. Their name was derived from Bila meaning “house” and An
meaning “people”.

Tagbanua – The term Tagbanua comes from the words Taga meaning “people from” and Banua meaning
“countryside”. Tagbanua are the most widely distributed group on the Palawan Island.

Manobo – Manobo means “people”. This tribe belongs to the original stock of proto-Austronesian people
who came from South China thousands years ago.

Bagobo – The Bagobo were the first ethnic group in Mindanao encountered by the Spaniards at the end of
19th century. Its name was derived from the words Bago meaning “new” and Obo meaning “grow”.

Mandaya - Is a group of non-Christian and non-Islamic people. The word Mandaya is derived from Man
meaning “first” and Daya which means “upstream”.

What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal,
clothing and jewelry. Their dances are nonetheless closely intertwined with ceremonials, rituals, sacrifices
and life.

 Aral Khafi – This Talaingod dance is performed by female dancers, they portray a mother bathing
and cradling her newborn baby while singing Uyayi (lullaby song).

 Kadal Tahaw of T’boli – From the T’boli tribe. This dance originated from Sebu, South Cotabato.
This is a bird dance which imitates the hoping and flying behavior of the Tahaw bird to celebrate good
harvest. It is dance by using a malong and salakot (traditional hat).

 Kadal Taho - From the T’boli tribe. This dance portrays the story of the Tahaw bird that was injured.

 Blit B’laan – Originated from Davao del Sur. This is a courtship dance in which the dancers mimic
the behavior of forest birds during the mating season. Two male dancers represent richly-plumed birds that
eye on three female birds. The females try to hide but still, the males aggressively pursue them by means
of their tubular malong which they use to catch the females.

 Bagobo Rice Cycle – Also known as Sugod Uno. It is a tribal dance performed by the Bagobo
people of Davao del Sur. For the Bagobo, this dance is called Miyamas neng Ommoy. The dance portrays
the step-by-step cycle rice culture; from planting, harvesting up to the thanksgiving rituals for a bountiful
rice harvest.

 Dugso – A Manobo dance that originated from Bukidnon. It is a thanksgiving and ceremonial dance.
Women execute heavy and complex footworks and are dressed with colorful feathered head dress and
plaid costumes. It is dance with no music, Dugso dancers use bells to give rhythm that’s why it
incorporates sensitivity, uniformity and coordination in movements.
 Pagdiwata – from the Tagbanua tribe in Palawan. It is said to be the origins of witchcraft. This is a
thanksgiving and ritual dance against demons. It also serves a dance to seek the help of the deities in
healing the sick. A Babaylan (priestess) lead the ritual. This dance is held in December on a full moon
because they believed that during this time is when the healing is effective and good spirits are strong.

 Makatod – A Mandayan dance that focuses on a young prince who is born high by courtiers and
given a place of honor by his people. A notable prop in this dance is a dried palm frond shredded to tiny
separate pieces. The male dancers mimic the wing movements of an eagle.

 Lawin lawin – A traditional dance of the Bagobo. It traces the metamorphosis of a lawin bird. Also
shows how he is able to grow and find his strength. Tribal shields are used to symbolize the lawin wings.

 Hinugyaw – is a festive dance from the B’laan tribe that depicts celebration of bountiful harvest,
marriage and new born child.

 Binukot

 Dumengdingan

 Madal Iwas

 Kinugsik-kugsik

MUSLIM SUITE
Depicts the life in Mindanao; the southern part of the Philippines. The dances are Hindu-Malayan
inspired. The dances under this suite show mysticism, royalty and beauty which are evident in their music.
Mindanao is also the home of one of the largest cultural minority in the country, the Muslims. They’re
dances are marked by intricate hand and arm movements which are gracefully done, as flowy as the
bodies of water that surround them.

This suite is highlighted with vivid and colorful costumes, props, and the mesmerizing sounds of the agong
and kulintangan.

Tausug – The term Tau-sug means “People of the Current”. They are experienced sailors and are known
for their colorful boats or Vintas.

Badjao – Badjao is a Malay-Borneo word which means “Man of the Sea”. They are generally boat dwellers
and are known as sea gypsies.

Maranao – The word Maranao connotes “People of the Lake”. They are famous for their artwork,
sophisticated weaving, wood and metal craft and their epic literature.

Maguindanao – Maguindanaos are part of the Moro ethnic group wherein their name literally means
“People of the flood Plains”.

Sama – Is a cultural group in the Philippines consisting majority of coastal people. The term Sama means
togetherness. Sama members are described as cohesive and peace-loving people.

Yakan – The word Yakan means Dayak origin. They are believed to be from Dayak, an area from
Northeast Borneo long time ago.

 Singkil – From the Maranao tribe. Perhaps, one of the most well-known Muslim dance and oldest of
truly Filipino dances. It recounts the epic legend of the “Darangan” of the Maranao. Singkil means to
entangle the feet with disturbing objects such as vines or anything that’s in your path.

Singkil tells the fateful story of Princess Gandingan, who was caught in the middle of the
forest during an earthquake caused by the nymphs or diwatas. The rhythmic clapping of the criss-
crossed bamboos represents the trees that were falling while the apir (fans) and mosala (scarves) are
the rude winds. The princess is accompanied by his loyal attendant all throughout her ordeal; and
finally she was saved by the prince whose name is Prince Bantongan – Dancers wear solemn faces,
maintaining a dignified pose and movements despite of the hurdles and the progressing tempo of the
music.

 Asik - Originated from Lanao del sur and from the Maguindanao tribe. A solo dance performed by the
umbrella-bearing attendant of Princess Gandingan, she is adorn with fine beads headdress and sash.
Asik usually precedes a performance of Singkil.

 Indarapatra – Depicts an epic tale of Indarapatra and Sulayman from Mindanao. This dance is a
representation of how Raja Indarapatra kills the mythical bird called Pah that said brought destruction
and havoc to the Land of Mindanao.

 Kini-kini – From the Maranao tribe. Kini means “royal walk”. Performed by women with beautiful
scarves. They gracefully walk while flickering their fingers and wrists. It also shows their elite social
upbringing.
 Mangalay Tambour – A dance from Sulu that came from the Tausug tribe. This dance represents
the hurdle of the sailors. In this dance, female dancers wear janggay nails featuring graceful hand
movements that represent the wave in the sea and sometimes lamps that symbolize the light that
guides the sailors while the male dancers use tambours and executes exhibition that is said to be the
thunders.

 Pangsak Pagkawin – from the Tribe of Yakan. Also called as Paunjalay. Is a pre-nuptial dance
where the man unties a wrap/belt from his wife-to-be. Both of their faces are dotted with white paints
to hide their identity form the evil spirit. This dance involves complicated hand and foot movements -
When the bride is escorted by her maidens and the groom by his soldiers it is called as Yakan dance.

 Tahing Baila – An interesting dance among the Yakan of Basilan. The dancers twist their bodies and
squirm in imitation of the movements of the fish. This dance is addressed to their gods for a bountiful
catch.

 Vinta – Also known as Pangalay ha Patong. Came from the Badjao. A royal couple dance from
Mindanao, perilously on top of bamboo poles imitating the movements of the picturesque southern
boat with colorful sails gliding aross the Sulu Sea, the Vinta.

 Lumba – Literally means “colorful decorations” or “displays”. It is a Maguindanao festive dance


performed by female dancers, they shows how to decorate a certain place using a colorful
bunting/cloth called Pandala.

 Kajilimut – Shows the gracefulness of Muslim ladies while walking and executing various ways of
wearing kumbong, a Mindanao headdress.

 Pasandalan – A Maranao dance that exhibits skillful maneuvers of banners/flags in a celebration.

 Kuntao - Derived from the Sama-Tausug tribe. This is a martial arts dance demonstrating skill in self-
defense as well as the artistry in executing vigorous and powerful movements.

 Linggisan – This dance mimics the local bird called linggisan. It is incorporated with graceful and
flowy movements such as flying and catching fish. It is performed by women.

 Pag apir – Apir is a term that means Fans. This dance is performed by women that exhibit elegance
and gracefulness with glittering fans. It also shows uniformity in using fans.

 Pawakan – This dance depicts a rooster fighting scene. It is performed by men where they uses
colorful headdress that symbolizes the “palong” of the rooster. This dance also shows power and
braveness.

 Kappa Malong-Malong – A Maranao dance that is also called as Sambi sa Malong. It shows
different ways of wearing and using a malong, a simple tabular yet highly functional cloth. It has a
female (slower execution) and male (faster execution) version.

 Sagayan – is a war dance performed by both the Maguindanao and Maranao in honor of their hero,
Prince Bantugan. It is a dance of nobility and gallantry depicting the ferocity of warriors. The dancers
carry blade weapons called "kampilan," as well as shields called "klung" that are adorned with beads
that create distinct sounds with every movement that distracts the attention of the enemies.

 Budyong – a call of Muslim sea gypsies for gathering town folks for a celebration using large shells.
 Kappagonor – An instrumental interlude highlighting the ancient manner of playing the Maranao’s
kulintangan which is accompanied by an agong and dabakan.

 Pansak si Laley at Pansak si Bangku

 Sua Ku Sua

 Tauti

LSFDC Instruments
 Gangsa - Widely regarded as the most valued instrument in the north. Played with padded,
unpadded sticks and with hands. Made out of bronze or brass. Always played as ensembles,
sometimes in twos, but almost never alone.

 Sulibao - Used in the traditional music of indigenous people of Ibaloi of the Northern Philippines.
Class of membranophones. It is made of hard wood and animal skin. It is played with a hand or
fingers.

 Bungkaka/Balimbing - Common in the tribes of Kalinga, Ibaloi, & Igorot. Class of idiophone. A
bamboo tube which is open or split at one end. Played alone or in a group as a “diversion” to drive
away evil spirits along a forest trail.

 Ulibaw - Made from bamboo splinter from which the filament is carefully separated from its body to
produce a vibrating pitch.

 Tongatong - Kalinga tribe instrument. It is played by hitting against the earth. Played as part of
ensembles.

 Spanish Guitar – Commonly used in Maria Clara and Rural suite.

 Banduria – 14-string instrument that has tremulo and primera. Circular in shape.

 Octavina – Also a 14-string instrument, it has a secunda and looks like a smaller version of the
Spanish guitar.

 Hegalong/Kudyapi - Boat shape. Made of wood and frets of beeswax. Two wired string tuned in
“unison”; one serving a drone and the other as melody. Also used as an accompaniment for dances.

 Kalatong/Karatong - A bamboo tube used in sending signals or message to distance by beating it


hard. Carved or constructed from bamboo or wood into a box with one or more slits above. It is used
as an accompanying instrument.

 Kulintang/Kulintangan - A melody instrument played by a single performer or as part of an


ensemble. Consist of eight gongs placed horizontally in a frame. It has a pentatonic or 5 tone scale.
Ascending or descending steps of sounds.

 Agong - A large gong with boss or knob. The most valuable instruments kept in home as family
heirlooms. Serves as a supportive instrument in an ensemble.

 Dabakan- The name was derived from the word “dbak” meaning to “hit or strike”. Class of
membranophone. Primarily used as a supportive instrument in the “kulintang ensemble”. Considered
as a masculine instrument in Maranao and a feminine instrument in Maguindanao.
 Kubing- jaw's harp (Maranao)

 Gabbang - bamboo blades on a frame (Yakan, Batak, B'laan, Badjao, Tausug)