BULAKLAKAN DANCE

Bulaklaka is a dance of floral garlands, dedicated to the Virgin Mary

during the Roman Catholic celebration of their holy week. It is performed widely during
the month of early May. “Bulaklakan” refers to green orchids and other flowering plants.
The town of Bulacan derived its name after bulaklakan because of the natural floral
growth in that area.(Tagalog Regions) During the month of May, it is custom in many
parts of the Philippines to celebrate the "Santa Cruz de Mayo," a procession usually
followed by a social gathering in the house of the "Hermana Mayor."

In some places, the celebration takes the form of folk dances held in front of a
provisional alter built by the "Hermana Mayor." Bulaklakan, a lovely and attractive
dance, is danced for this occasion. The girls in this dance each hold a garland of leaves
and flowers attached to a wire, bamboo or rattan so that the garland will arch when held
overhead.

Costume
Barong tagalog on top, Brightly clored skirt on th bottom, Arched garlan of leaves and
flowers attached to a bamboos

Steps:
 Sway right and left 16 counts,boys hand at back, girls flowers up (in place)
 Sway right and left 8 counts,boys hand at back, girls flowers up forward
 Sway right and left 2 counts, after that, turn to your right
 Sway right and left on your place
 Girls kneel down, boys turn left
 Boys kneel down, girls turn left
 Make a circle (create a flower)
 Girls right left, then put down your flowers, and put it up (just your like awarding boys)
 Steady at no.3

1. 1. BENDIAN Ibaloi-Kankanaey Festival Dance

2. 2. Introduction  .The Ibaloi (Nabaloi) and Kankanaey are indigenous ethnic groups found in
mountains of the Cordillera Central on the island of Luzon.  There are approximately
55,000 Ibaloi, most of them can be found in the southern part of the province of Benguet.
3. 3.  The Kankanaey live in western Mountain Province, northern Benguet and southeastern
Ilocos Sur.  Both groups perform the ceremony called the Bendian.
4. 4.  Bendian festival celebrated by the Ibaloi and Kankanaey is always big and
extraordinary.  It involves the village circling and dancing around the ulul leader while
executing various arm movements.
5. 5.  Lasting until the wee hours of the night, the bedian ritual ends on the sound of the
loudest oway or war cry.  This version of Bendian centers around the maiden's part of the
circle.
6. 6.  Bendian is performed for many reasons.  Some of which are to heal a prolong illness,
relieve natural calamities such as famine and drought, and to celebrate a bountiful harvest.
7. 7.  However, in the past the biggest Bendian was to celebrate a victory in war and a
successful headhunt.  Nowadays the festival is held for important festive occasions.
8. 8. Etymology  Bendian, Bendaan or Bendayan literally translates to “ let’s see who gets
tired first” is a circle dance “to celebrate a victory”
9. 9. Dance Properties  Dance Culture – Highland Cordillera  Place of Origin – Benguet 
Ethnolinguistic Group – Ibaloi and Kankanaey  Classification - Festival
10. 10.  Props – none  Mood – jovial  Stance – erect  Performers – all girls  Formation -
circle
11. 11.  Music – Ganza (flat gong), sulibao (drum), takik (triangle steel bar) and bunkaka
(bamboo buzzer)  Time Signature – 2/4
12. 12. Costume  Kambal – long sleeved jacket of abel Iloko (Ilocano weave) with broad stripes
of blood red, bottle green, blue, black and white accented with strips of checkered cloth 
Aken (Divet) – knee-length wrap- around skirt of the same material as the jacket.
13. 13.  Donas – cloth belt to secure the skirt on the waist  Headband of abel Iloko  Akon –
coin necklace/or seed bead necklace; tabing – gold earrings; anas – bracelet, complete the
attire
14. 14. Basic Steps  Step on ball of L and brush-kick R obliquely backward right (ct. 1) Feet
together (ct. and) Repeat (ct. 2 and) Heavy walk
15. 15. Basic Gestures  Various arm movements and positions based on the command of the
ulul or leader
16. 16.  Djinungluan (watch over) – arms raided obliquely forward upward, palms down 
Dimbabaw (display and observe) – arms stretched laterally, palms down  Kinetangan
(satisfaction) – hands in alms position
17. 17.  Pinaposan – palms facing front over chest  Inabaya – Open palms stiffly placed
behind butt, flipped outwards and inwards like a bird’s tail  Kiniyakan (dig) – like alms
position but both hands directed to one side
18. 18. Choreographed Sequence  Entrance - 15M – Djinungluan (flipped); brush kick to
formation  Figure 1 –  8M – Dimbabaw; brush kick  8M – Dimbabaw; brush kick – four
walls
 19. 19.  Figure 2 –  16M – Inabaya; trunk slightly stooped; brush kick moving CW/CCW; end
forming circle, facing center
20. 20.  Figure 3 –  8M – Diagonal arms (R obliquely upward R), brush kick turning R in place
 8M – reverse arm position; turn L
21. 21.  Figure 4 –  Facing center of circle  4M – Djinungluan; brush kick  4M –Turn right
about; repeat  8M – Repeat
22. 22.  Figure 5 –8M –  R stretched obliquely forward upward; L on waist; brush kick, move
CW  8M – Reverse arm position; move CCW  End in two columns
23. 23.  Figure 6 –  16M – Kinetangan forward; brush kick  Figure 7 –  8M - Kiniyakan R;
brush kick turning R  8M – Reverse arm position; turn L
24. 24.  Figure 8 –  8M – Alternate diagonal arms; feet in 3rd  8M – same arm movement;
brush kick
25. 25.  Figure 9 –  8M – Pinaposan; arms flapping motion; feet in 3rd  8M – Pinaposan;
brush kick moving to a column formation
26. 26.  Figure 10 –  Heavy steps, lead girl execute djinungluan; girl behind holds leading
girl’s waist; 3rd girl hold 2nd girl’s; so on
27. 27. Source PFDS Sayaw Volume 3 pp. 11-15  Dance Researcher – Mr. Ramon A.
Obusan

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.
HISTORY
The dance originated in Panay Island in the Visayan Islands and was
introduced by the Spaniards during their colonization of thePhilippines. It is
related to some of the Spanish dances like the bolero and
the Mexican dance Jarabe Tapatio or the Mexican Hat Dance.

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 theTagalog 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 Philippinessimilar 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.

hilippine Dance)
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.

This is a courtship dance that portrays acts of flirtation between a man and a woman.
The dancers perform steps resembling hide-and-seek movements. The woman holds a
handkerchief or sometimes a fan.

Chotis is one of the ballroom dances learned by the Filipinos from the early European
settlers. This version of "Chotis" originated from Negros Occidental.

Chotis-FolkDance from Luzon-Camarines Sur

(CHOH-tees)
Chotis (or “Shotis”) was one of the ballroom dances introduced by early
European settlers. This dance, from Camarines Sur, has been adapted by the
Bicolano people and is characterized by a brush-step-hop movement.
In Madrid, the chotis, chotís or schotís is considered the most typical dance of the city since the 19th
century and it is danced in all the traditional festivals. Some of the tunes, as "Madrid, Madrid,
Madrid" by the Mexican composer Agustín Lara, became very well known in all Spain. The authors
of the zarzuelas created a host of new chotis and strengthened their popularity

Esperanza is a lively dance from Camarines Sur. It was supposedly

named after a lovely maiden called Esperanza. The steps of this dance
are simple but interesting. For costume, the girl wears "balintawak" or
"patadyong" and the boy "barong tagalog" with white trousers. Music is
divided into two parts: A and B. Formation: Partners stand side by side
about three feet from each other, facing the audience. The girl stands at
partner's right. Any number of couples may take part.
Garambal is derived from the Spanish words "gran" and "valse" which means grand waltz. It
is performed by two girls and one boy.

The Habanera is a folk dance that originated from Cuba. It is also known
as danza or danza habanera. The habanera is a social dance in duple time and performed
in a ballroom or on a stage. This dance first became popular in the town of Botolan,
Zambales. It is performed at weddings and includes a procession of the bride and groom’s
parents, the bridesmaids, and groomsmen; and a solo performed by the newlyweds.