Pantomina (Philippine Folk Dance)

1. 1. A BICOLANO FOLK DANCE Pantomina

2. 2. Introduction  Pantomina was originally a wedding dance from the Bicol
provinces.  It is also very popular in the northern part of Samar especially
in towns of Allen and Capul - both directly facing Bicolandia.
3. 3. This dance is traditionally performed during wedding festivities by the
couple and their visitors. In fact no social gathering in the Bicol Region is
complete without the Pantomina.
4. 4. The dance is still very popular in the Bicol Region even up to this time.
 In fact the dance is synonymous with the Bicol Express, Mayon Volcano
and the Bicolandia !
5. 5.  During a wedding feast, it is customary for the newly weds to perform
the dance first and while they dance, their relatives and guests throw
coins at them.  Sometimes a plate is placed on the floor so that the
guests may place money in it.
6. 6.  The dance is performed several times, by the newly weds and their
guests.  Dancers may improvise their steps when performing the
Pantomina.  The dance was among the first folk dances to have its dance
steps notated.
7. 7.  The pantomina was featured in Francisca Reyes Aquino's first-ever folk
dance book, Philippine Folk Dances and Games, published in February
1926.  The dance, according to Aquino, was also called Salampati during
the Spanish Period.
8. 8. The version described here is from the province of Albay.
9. 9. Etymology Pantomina is Spanish for “pantomime” because of its
courting/wooing movements Its old name Salampati means “doves”,
hence the dance is sometimes referred to as the “dance of the doves”
10. 10. Dance Properties Dance Culture – Lowland Christian Place of Origin –
Albay Ethnolinguistic Group – Bikol Classification – Social/Nuptial
11. 11. Mood – Jovial Stance – Erect Performers – B and G pair ; or several
pairs
12. 12. Music – provided by the rondalla Time Signature – 2/4 and 3/4
13. 13. Costume  Couple in traje de boda (wedding costume) if portraying a
wedding feast.  For the guests, any festive Bikolano costume like: 
Kimona /camisa and patadyong/saya or baro’t saya for the lady and barong
and dark pants for the man.  Sandals for footwear
14. 14. Basic Steps  Paso (leisurely walk):  G executes this with the L hand
on the waist while the R holds and sways the skirt  B swings his arms
freely at the sides  Change Steps  Engano with a waltz  Native waltz 
Waltz turn  Step Swing
15. 15. Arms:  Lateral position  Forearm turns  First to Fourth Position
(used with the engano)  Arms swinging at sides
16. 16. Figures  Intro Music  B and G meet at the center, B holds the G with
his R hand in abrasete position; both move forward to position themselves
 on the dance floor  They face each other, release hold and individually
make a three-step turn and execute curtsy to each other

PANTOMINA (ALBAY)
Figure 1 Music A
 G faces audience; B faces away
 4M – 4 paso and change steps R and L moving fwd
 4M – repeat moving bwd; right about face
 8M – repeat

Face each other

 4M – repeat moving to partner’s place passing R to R; turn R about
 4M – repeat moving bwd/away from each other
 8M – repeat to return to places
 4M – repeat while turning CW;
 4M – repeat while turning CCW

Figure 2 Music B
 Pause (2M) – three step turn R
 The next step is done with partners facing each other, moving CCW
 12M – 6 engano steps R and L alternately
 2M – Waltz R and L; arms in lateral position
 2M – Waltz turn R; forearm turns

This is done while moving CW

16M – repeat starting with L

 Figure 3 Music C
 Abrasete position  8M – step swing R and L alternately
 6M – waltz R and L alternately, G moves CCW, while B acts as pivot, also
turning CCW
 2M – release hold, individually execute waltz turn R
 8M – R to R hand hold, execute step swing R and L alternately
 6M – release hold; waltz R and L alternately moving CW;
 2M – waltz turn R
Figure 4 Music D
Repeat Figure 2
(modification: G faces audience/B faces away for the first 16M; G faces
away/B faces audience for the second 16M)

 Figure 5 Music C

 Chasing  14M – Waltz R and L alternately, G moving ahead of B while

tracing a large circle CW; forearm turns  2M – waltz turn R
 16M – Repeat but this time with B ahead of G

 Figure 6 Music E
 Facing each other
 4M – Engano R and L  4M – Waltz R and L alternately
 8M – repeat

 6M – Waltz R and L moving to partner’s place passing R to R; forearm turns

 2M – waltz turn R  6M – Repeat returning to places
 2M – meet at center with several steps; B extends his R hand to hold the L
of G ; at the same time G turns L under joined hand; curtsy to audience