PANDANGUIADO BURAWEÑO: CULTURE REVISITED

In Partial Fulfillment of the Requirements

For Research in MAPEH Secondary
Education Field of Specialization:
Physical Education

By:
Bea Fermina P. Solayao
Paul Vincent C. Forton
Jona Ann G. Barbosa
Gigi B. Repollo

May 2019
 CHAPTER I

INTRODUCTION

Background and Rationale

Pandanguiado Buraweño is a popular festival dance in the province of Leyte

and Samar. This particular dance originated in Burauen, Leyte and is usually

performed by prominent and skillful dancers at big social functions and important

gatherings. (Aquino, 1960)

According to Aquino (1960) many, many years ago, in the old residents of

Pericohon, a sitio between La Paz and Burauen, there was a certain Filipino

general stationed in that place who invited some people from the town and barrios

around to a Christmas Eve celebration. In that gathering, a couple from Burauen,

hailed as notable dancers, were requested to give a special dance. It was an

interesting and colorful dance that they danced with so much spirit, altogether

different from the dances the local folk were used to seeing. It was well liked by

all and became popular not only in that place but also in other towns of Leyte and

Samar.

Cultural awareness of the general knowledge of Pandanguiado, should be

determined among the folks of Burauen, Leyte since it originated from Burauen.

However, in terms of awareness and preservation of the Pandanguiado, the

concern is noticeably worrying because most of the youth today are evidently more

engaged in contemporary, pop dance and trendy music or dances. Their

engagement in these kinds of dances is an impediment to cultural awareness

among themselves (Lewis, 2012).

Cultural awareness is 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. To

the call of globalization, the Philippines is responding well, but in no time, efforts

towards cultural awareness might be at risked because of the tough competition

from media and the technological landscape that surround the young generations.

(Bengwayan, 2008)

Cultural preservation includes documenting and studying languages;

preserving and restoring relics significant to a culture or heritage; and encouraging

the preservation and use of indigenous or tribal languages and rituals. The term

encompasses several activities surrounding maintaining ancient cultures from

large nations all the way down to small indigenous tribes. Discussion of cultural

preservation does not happen enough. The lack of awareness is causing

(languages and) cultures to die out, a notable loss for humans as a species.

Also, Francisca Reyes-Aquino, a great researcher of Philippine folk dances

once expressed her concern that while the Philippine folk dances do not face

extinction, these are being threatened by distortion. She had no objection to

innovations in the presentation, but she felt that folk dances should be left as they

are because they are of the folk.

 While it is true that people today should acculturate themselves to the

growing world culture, all the more a global citizen must not sacrifice one’s own

culture. It is in their own cultural awareness that they learn moral and ethical

dispositions, which can guide the understanding of individuals or groups of local

and global contexts, and remind them of their relative responsibilities within various

communities. (Bartle, 2010)

Thus, the conduct of this study aims to give awareness to the Buraweño’s

and plans to contribute for strengthening and preserving Pandanguiado Buraweño,

a popular festival dance of Burauen Leyte.

Theoretical Framework

To provide a relevant framework, a theory was reviewed in terms of its

applicability to this study.

This study is patterned with the sociocultural evolution theory of Gerhard

Lenski (1924-2015), a sociologist, who took a very different path of viewing society

and social structure. He focused on the social and cultural elements of society,

maintaining an evolutionary perspective on macrosociology. Macrosociology is the

study of society as a whole, not just small segments of society. Lenski saw human

society as something of a process of change involving a society’s level of

innovation, transmissions and technological advances. He describes this process

as sociocultural evolution.

Sociocultural evolution is an umbrella term for theories of cultural evolution,

and social evolution, describing how cultures and societies have developed over
time. Sociocultural evolution also considers process that can lead to decreases in

complexity (degeneration) or that can produce variation or proliferation without any

seemingly significant changes in complexity.

In support to Lenski’s theory, Cherry (2018) said that sociocultural theory is

an emerging theory that looks at the important contributions that society makes to

individual development. This theory stresses the interaction between developing

people and the culture in which they live.

In this study cultural awareness and general knowledge of Pandanguiado

Buraweño, which originated in Burauen, Leyte should be determined among the

folks of burauen specially the senior citizens or old residents of the town for they

are the direct descendants of the first settlers of Burauen. However, the concern

is the cultural awareness among the youths of Burauen today since most them are

evidently more engaged in contemporary, pop dance and trendy music or dances

through the influence of media and other forms of technology. Also, if the local

community authorities are making ways to promote this culture to the folks of

Burauen. If folks of Burauen are culturaly aware, then they are likely to be informed

about Pandanguiado Buraweño. Meanwhile if they are not aware, then this would

mean they do not know their native dance specifically the Pandanguiado

Buraweño dance.

Statement of the Problem

This study will evaluate and analyze the Pandanguiado Buraweño: Culture

Revisited. Specifically, it seeks to answer the question:

 1. What is the status of the cultural awareness of the following areas

concern?

a) Knowledge of Pandanguiado Buraweño dance,

b) Attitudes toward the Pandanguiado Buraweño dance, and

c) Involvement in strengthening and preserving Pandanguiado

Buraweño?

Scope and Delimitation of the Study

This study focuses on the residents of Burauen, Leyte as a source of

information. This study will utilize snow ball sampling. It is a type of sampling where

the researcher selects one or more research participants who will fit the selection

criteria. This is used usually when you do not know well the people that you wish

to include in your research study. Once you identify one or two participants, you

simply request them to help you find other potential research participants that meet

your present selection criteria (WamBaleke, 2018). Basically, through the folks of

Burauen more specifically the senior citizens, who are the descendants of the first

settlers of the place as the main interviewee of the study. Also, the selected Dance

Practitioners from this town, selected teachers, and community officials, in order

to know the culture awareness and preservation of the community.

Significance of the Study

Pandanguiado Buraweño: Culture Revisited, in awareness and preserving

the culture, could enlighten the people of Burauen, Leyte including program

planners, School Administrators, Local and Provincial authorities, Regional

Councils, the Sub-commissions, and National Commission for Culture and Arts.

Among the sectors that could derive benefits from this work are Administrators.

School Superintendents, School Principals and Head of Departments would be

able to identify the needs in successfully spreading awareness and preserving folk

dances and to come up with a program that will promote culture awareness and

preservation. Program Planners will serve as guide for decision-making useful in

strengthening, redirection, revision or improving the preserving practices in

Philippine Folk Dances. Faculty such as teachers/instructors will be agents of folk

dance awareness and inspire them in their work in preserving folk dances in our

country. The students will be aware of the importance of Philippine Folk Dances

in the development of his/her self-development, celebration of his/her Filipino

culture identity and diversity and expansion of his/her world vision. The

community will be provided with information of the Pandanguiado Buraweño that

will instill awareness and help them preserve its cultural dance. Lastly, the findings

of this study would provide other researchers insights into certain other problems

that need deeper and closer scrutiny especially on the reasons for the obvious

resistance or indifferences of certain sectors to the Pandanguiado Buraweño folk

dance awareness and preserving practices of Burauen, Leyte.

Definition of Terms

For a better understanding of the discourse that follows, the following terms

are defined either conceptually or operationally or both.

Pandanguiado Buraweño. Pandanguiado Buraweño is a popular festival

dance in the province of Leyte and Samar. This particular dance originated in

Burauen, Leyte.

Attitude. Conceptually, it refers to the opinions, ideas, or feelings

concerned with the cultural awareness.

Dance Practices. The term refers to the actual application or use of an

idea, belief, or method, as opposed to theories relating to moving rhythmically to

music, typically following a set sequence of steps or dancing. Operationally this

pertain to actual application or use of an idea, belief, or method, as opposed to

theories relating to Pandanguiado Buraweño dance.

Degree of Involvement. This refers to the degree of attention, support,

and dedication played by the people of Burauen, Leyte in the preserving

Pandanguiado Buraweño Folk Dance.

Knowledge of the Pandanguiado Buraweño Dance. The term refers to

the accumulated facts, truths, principles, and information of the Pandanguiado

Buraweño Dance.

Cultural awareness. Cultural awareness is one’s ability to stand back from

where he or she is to become more aware of cultural values, beliefs and

perceptions.
 Cultural preservation. Documenting and studying languages, preserving

historic relics significant to a culture or heritage, and encouraging the preservation

and use of indigenous or tribal languages or rituals.

Globalization. The development of an increasingly integrated global

economy marked especially by free trade, free flow of capital, and the tapping of

cheaper foreign labor markets.

 CHAPTER II

REVIEW OF RELATED LITERATURE AND STUDIES

This chapter will present the conceptual literature and studies reviewed by

the researchers which provided insights and information related to the present

study. These collated research literature serves also as background of the study

as well as the variable involved in the research endeavor.

Conceptual Literature

Article XIV, of the 1987 Philippine Constitution – Education, Science and

Technology, Arts, Culture and Sports, where Section 14 states, “The State shall

foster the preservation, enrichment, and dynamic evolution of a Filipino national

culture based on the principle of unity in diversity in a climate of free artistic and

intellectual expression.” (De Leon & De Leon, 2014)

Article XIV, Section 18 of the 1987 Philippine Constitution entitled,

Education, Science and Technology, Arts, Culture and Sports, states that: "(1) The

State shall ensure equal access to cultural opportunities through the educational

system, public or private cultural entities, scholarships, grants and other incentives,

and community cultural centers, and other public venues. (2) The State shall

encourage and support researches and studies on the arts and culture."

Republic Act 7356 an Act Creating the National Commission for Culture and

the Arts, establishing National endowment fund for Culture and the Arts, and for

other purposes, in support of cultural preservation. It was stipulated in SECTION.

7. Preservation of the Filipino Heritage. It is the duty of every citizen to preserve

and conserve the Filipino historical and cultural heritage and resources. The

retrieval and conservation of artifacts of Filipino culture and history shall be

vigorously pursued. In addition, Section 12. Mandate. The Commission is hereby

mandated to formulate and implement policies and plans in accordance with the

principles stated in Title I of this Act; d) To preserve and to integrate traditional

culture and its various creative expressions as a dynamic part of the national

cultural mainstream, it shall: 1) help set up or encourage, monitor and subsidize

companion systems at the regional, provincial and local levels, intended to develop

traditional cultures such as arts/crafts centers, preferably in community settings

apart from the usual museums settings, where exponents of living arts and crafts

can practice and teach their art and enrich contemporary designs; 2) encourage

and subsidize cultural research and the retrieval of cultural research information

(e.g. folklore, dance, music, crafts) through the training of students, teachers, and

cultural researchers, and their revitalization by practice and performance.

Preservation of culture includes documenting and studying languages;

preserving and restoring relics significant to a culture or heritage; and encouraging

the preservation and use of indigenous or tribal languages and rituals. The term

encompasses several activities surrounding maintaining ancient cultures from

large nations all the way down to small indigenous tribes. Discussion of cultural

preservation does not happen enough. The lack of awareness is causing

(languages and) cultures to die out, a notable loss for humans as a species.

Cultural awareness is 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. To

the call of globalization, the Philippines is responding well, but in no time, efforts

towards cultural awareness might be at risked because of the tough competition

from media and the technological landscape that surround the young generations.

(Bengwayan, 2008)

While it is true that people today should acculturate themselves to the

growing world culture, all the more a global citizen must not sacrifice one’s own

culture. It is in their own cultural awareness that they learn moral and ethical

dispositions, which can guide the understanding of individuals or groups of local

and global contexts, and remind them of their relative responsibilities within various

communities. (Bartle, 2010)

Philippine folk dance mirrors the culture and tradition of the Filipinos. It has

also been a source of culture identity of the people. In this diversified country, there

are also great diversity of dances in different forms and dynamics that grow out of

various times, situation and experiences.

The history of Philippine folk dancing incorporates influences from

immigrants and conquerors while at the same time maintaining distinctly Filipino

roots. Philippine folk dancing is a true reflection of daily life in past centuries while

enchanting modern audiences at the same time. There is no recorded "start" to

Philippine folk dance - as long as there have been people on the islands they have

been dancing. In fact, their mythology is filled with many different gods and

goddesses that needed to be placated, implored, or thanked for various natural

events like rain and harvests. Many of these festivals still feature ancient folk

dances performed in costume of the tribal period

(https://sites.google.com/site/philippinefolkdancevol1/history). Further, Philippine

folk dances are a celebration of daily life, health, peace, war, harvest times and

other aspects of life. According to the National Commission for Culture and the

Arts, Philippine folk dances imitate nature and life because they are rituals for

social and spiritual expression. Various types of animal movements, such as those

of fish, crabs, snakes and monkeys, have been incorporated into the choreography

of folk dances. The movements enliven the dances and demonstrate a zest for life.

However, dances also are religious ceremonies. Since Filipino people both fear

and revere nature spirits and their ancestors, they have created several folk

dances to honor them. Interestingly, Philippine folk dances exist for nearly all

aspects of life.

Dance Heritage Coalition, Inc. (2006) stated that dance being the highest

form of art receives the least number of research outputs, merely, because of the

lack of availability of resources as well as very few individuals who are passionately

want to do research and documentation. The organization also noted that “with

good record-keeping of the role of dance in art and culture, scholars can better

develop both the theory and the criticism that will ensure dance’s place in the

academe”.

Pandanguiado Buraweño is a popular festival dance in the province of Leyte

and Samar. This particular dance originated in Burauen, Leyte and is usually
performed by prominent and skillful dancers at big social functions and important

gatherings. (Aquino, 1960)

According to Aquino (1960) many, many years ago, in the old residents of

Pericohon, a sitio between La Paz and Burauen, there was a certain Filipino

general stationed in that place who invited some people from the town and barrios

around to a Christmas Eve celebration. In that gathering, a couple from Burauen,

hailed as notable dancers, were requested to give a special dance. It was an

interesting and colorful dance that they danced with so much spirit, altogether

different from the dances the local folk were used to seeing. It was well liked by

all and became popular not only in that place but also in other towns of Leyte and

Samar.

Research Literature

The study of Purlan et al., (2014), on Strengthening and Preserving

Practices of Philippine Folk Dances in Relation to Cultural Awareness of

Secondary Students of Davao City reveals the following results: 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 of secondary students of Davao City. The respondents of the

study were the 37 MAPEH teachers and 1,896 secondary school students of

School Year 2011-12 teaching or enrolled, respectively, in public high schools in

three congressional districts of Davao City. The mean was used to describe the

levels of practices concerning the strengthening and preserving of Philippines folk

dances and Pearson-r was employed to test the relationship between each of

these variables and cultural awareness. A researcher-made survey questionnaire

was constructed and tested for validity and reliability. A 20-item multiple choice

test was also administered to the student respondents of the study. Findings

revealed that there is a high level of strengthening and preserving practices for

Philippine folk dances with an overall mean of 3.69 and 3.64, respectively, and

level of cultural awareness of students is good as quantified by a mean score of

11.03. Further, strengthening practices, such as being careful but allowing

students to explore Philippine folk dance, was encouraged while preserving

practices, such as resisting any alteration of folk dances and reading literature

before the dance, are also prevalent among MAPEH teachers. On the other hand,

students are more knowledgeable of the dance literature than about folk dances.

However, strengthening and preserving practices by the MAPEH teachers have

no significant relationship with the general knowledge as a measure of cultural

awareness of the student of Philippine folk dances.

Maturo et. al. (2013) studied the Role of Folk Dance in the Processes of

Individual and Social Wellbeing: A Comparison with Other Popular Recreational

Activities Through Models of Decision Theory and Game Theory, thus resulted

with the following outcomes: A qualitative and quantitative study, in which the
individual benefits and social benefits of folk dance are compared with those

obtained from the most popular recreational activities and regenerative properties,

physical and mental, individual and social, is presented. Our starting point consists

in the definition of the basic objectives of each individual for achieving the physical

and mental wellbeing and a satisfactory placement in a pleasant and stimulating

social environment. Moreover, we compare some bodily activities, mental and

otherwise designed to get these goals. Our present study is based on a qualitative

analysis, quantitative models of decision theory, and a collection of opinions of

experts and practitioners. In this framework we show that both subjective and

objective benefits of folk dance practice are higher than those deriving from other

activities taken in consideration, with respect to the same set of objectives.

Furthermore, the folk dance has positive effects over the individual in the strict

sense (improvement of physical and mental activities and personality) and in his

relations with others. Our interpretative hypothesis of the achieved results is that

the folk dance has some specific features that are present only in part in other

activities, characteristics linked to the intimate nature of human beings that

integrate and enhance each other.

 CHAPTER III

METHODOLOGY

This chapter will present the research design, research locale, research

participants, research instruments, data gathering procedures, analysis of this

study.

Research Design

The study will utilize qualitative study approach. Qualitative study,

according to Zainal (2007), enables one to closely examine the data within a

specific context and selects a small geographical area or very limited number of

individuals as the subject of the study. Ethnography in design because it deals with

culture, and culture is very complex to study. This study approach and design is

suited to this research because this aims to know more of the people of Burauen,

Leyte and the Pandaguiado Buraweño dance. Further, it seeks to find out how

aware and in what ways do the Buraueño people preserve the Pandaguiado

Buraweño dance. That is despite of the fact that the new generation is surrounded

by foreign influences such as media, technology, and the likes.

Researchers will utilize the snowball sampling strategy. As sources of our

data, the researchers will conduct an interview to each targeted participants. This

will be done on one-on-one basis between the researcher and the research

participant. A demographic profile of the participants will be asked through an

interview with a researcher-made answer list that will be provided. Demographic

profile includes the following; name (optional), age, gender, race, education,

profession, occupation, and marital status. Pictures will also be taken while

conducting the interview specially if it will be relevant to the research project.

The variables that will be considered for analysis are demographic profile

response of the participants regarding status of the cultural awareness following

areas of concern: knowledge of Pandanguiado Buraweño dance, attitudes toward

the Pandanguiado Buraweño dance, and involvement in strengthening and

preserving Pandanguiado Buraweño, the same participants will declare their levels

of practices in strengthening and preserving Pandanguiado Buraweño.

Research Locale

This study will be conducted in Burauen, Leyte. It is chosen as the research

locale because it is the origin of the folk dance Pandanguiado Buraweño. This

study aims to know the origin, the of awareness, and how they preserve their folk

dance.

Research Participants

The participants of this research will be the people of Burauen, Leyte

specifically the senior citizens who are direct descendants of the first inhabitants

of Burauen, Leyte; dance practitioner’s or person or group of persons engaged in

actual dancing profession; teachers and community officials who are employed

and settlers in Burauen, Leyte. The researchers chooses this participants because

they are the ones who are directly affected in the folk dance awareness and

preserving practices of Pandanguiado Buraweño,.

Research Instrument

The instrument that will be used in this study will be a self- structured

interview schedule. The interview schedule contains questions that are open-

ended in which according to Martin (2016) with prompts, provides the interviewer

to ask the clarification or further information if necessary. The answer to the

questions undergone an in-depth analysis of the study in order to find out answers

as to how aware, and in what ways of preservation do the residents of Burauen,

Leyte will take into action.

Data Gathering Procedure

Prior to the actual field interview of this study, one of the group members

will conduct a pre-survey visit to the research locale for them to know as to when

is the available and convenient time of the participants for the actual interview. A

letter will be given to the Municipal Mayor signed by all members of the group and

by the research adviser to realize all the necessary activities

Before the interview, the interviewer will ask permission about the

participants’ confidentiality of their names, if they will remain anonymous or just

use their real name in this study. The interviewer will also ask if he can record the

entire duration of the interview. During the interview, the interviewer will use audio

and visual recording tools in order to assure accuracy and not to miss any single

detail of information from the interviewees in case the secretary will not be able to

follow writing the answers the participants. Transcription of recording will

automatically be done by the other members of the group so that, they can analyze

and easily record the information in soft and hard copies.

Only one interviewer of the group will conduct the actual interview for the

purpose of not repeating questions by and not be bias in the pattern of interviewing.

There will be persons assigned in recording audio, video, transcription, analyzing

and encoding the information coming from the participants. This will be done on a

two-day schedule visit since the research locale and availability of the participants

is very far to some researchers.

Data Analysis Procedure

Qualitative data analysis will be done after the intensive and comprehensive

interviews.

The transcripts will be broken down into more specific information and will

be analyse using Collaizi’s seven steps of data analysis.

The Collaizi’s process of data analysis involve the following steps

(Saunders, 2003; Speziale & Carpenter, 2007)

1. The transcript should be read and re-read in order to obtain a general

sense about the whole content.

2. For each transcript, significant statements that pertain to the study will

be extracted. This statement must be recorded on a separate sheet of

paper noting their line and page number.

3. Meanings should be formulated from this significant statement.

4. The formulated meanings should be sorted into categories, clusters of

themes, and themes.

 5. The findings of the study should be integrated into an exhaustive

description of the study.

6. The structure of the phenomenon should be described.

7. Finally, validation of the findings should be sought from the research

participants to compare the researcher’s descriptive results with their

experiences.

And until there is no significant answers extracted from the participants.

Ethical Considerations

The researchers will make further arrangement from the different target

participants concerned for the conduct of the study in their respective places,

regarding the schedule of administering the research instruments.

Treatment of Data

The data gathered will be analyzed and used by the researchers and shall

be the means to develop a narrative exposition of the findings on determining the

status of the cultural awareness following areas of concern; on the knowledge of

Pandanguiado Buraweño dance; on the attitudes toward the Pandanguiado

Buraweño dance; On the extent of involvement in strengthening and preserving

Pandanguiado Buraweño; and on the level of practices in strengthening and

preserving Pandanguiado Buraweño.

 References

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Unpublished Materials
Forcinia, Simonetta, Maturo, Antonio, and G.S.Ventrec, Aldo, July 2013. “The
Role of Folk Dance in the Processes of Individual and Social
Wellbeing: A Comparison with Other Popular Recreational Activities
Through Models of Decision Theory and Game Theory”

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Immaculate Conception, May 2014. “Strengthening and Preserving
Practices of Philippine Folk Dances in Relation to Cultural Awareness
of Secondary Students of Davao City”.

Monte, Bulcase, Dumduma, Macayan, and Perez, Jane Mae G. April 2018.
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