Philippine

Dances

Submitted to: Elmer faller

Submitted by: Quintin Lloyd T. Monteposo

 TABLE OF CONTENTS

Tinikling
……………………………………………………………………………
…………… 1-2

Sayaw sa Bangko
……………………………………………………………………………
3-4

Singkil
……………………………………………………………………………
………………. 5-6

Cariñosa
……………………………………………………………………………
…………… 7-8

Pandanggo sa Ilaw
………………………………………………………………………….
9-10

Pandanggo Oasiwas
……………………………………………………………………… 11-
12
Kuratsa
……………………………………………………………………………
……………. 12-14

Itik-Itik
……………………………………………………………………………
…………….. 15-16

Maglalatik
……………………………………………………………………………
……….. 17-18

Binasuan
………………………………………………………………………….....
.......... 19-20

TINIKLING
 1
The Tinikling dance first appeared in the Philippines, namely on the island of
Leyte, during the Spanish colonial era. The tikling birds avoided the bamboo traps
that the rice farmers in the Visayan Islands often set up to guard their fields from
predators. Locals are said to have created this spectacular traditional folk dance by
mimicking the movements of birds.

"Tinikling" means "to be/perform like tikling" in the original language. This
belongs to the genus Gallirallus, which also includes the slaty-breasted rail
(Gallirallus striatus), the buff-banded rail (Gallirallus philippensis), and the barred
rail (Gallirallus torquatus), among other rail bird species.
According to legend, Tinikling was created when the Spaniards ruled the
Philippines. Large plantations run by the King of Spain used locals as laborers.
Those who didn't produce were made to stand between two bamboo poles as a
form of punishment.

Males wear a barong tagalog uniform, while girls don a balintawak or patadyong
clothing for this traditional folk dance. The patadyong is a pineapple fiber top worn
with checkered skirts, while the balintawak are vibrant costumes with large arching
sleeves. The typical barong tagalog uniform consists of light, long-sleeved shirts
paired with red pants. Dancers perform without wearing any shoes.

Sayaw sa
Bangko
 3

Sayaw sa Bangko, sometimes called "Sayaw Ed Tapew na Bangko," is a Philippine

folk dance that was developed by Jovita Sison in Lingayen, Pangasinan of the
Pangapisan Tribe. A pair on a little bench is doing it while jumping and inching
between the ends of the bench. Dancers demonstrate their abilities as they alternate
positions while dancing on a seat that is just about six inches wide.

The dance, which was originally done by newlyweds for their guests at the
wedding feast, demonstrates how the bride and groom complement and support
one another through a series of intricate moves that keep them from falling off the
bench.
A traditional dance typically performed in public squares that represents a fake
battle ending in triumph. On a single, two-foot-high by eight-inch-wide wooden
seat, the original dance was performed. The benches are typical low-class furniture
items since they are made simply, lack ornamentation, and are used both indoors
and outside on a regular basis. A couple would stand on the bench and alternate
between passing each other across the bench's tight space or having the guy hold
the lady as she leaped through.

Singkil
 5

The Maranao people of the southern Philippines have a highly distinctive

traditional dance known as singkil. It is said that the ancient Hindu epic
"Ramayana" and another legendary work from South East Asia called "Darangen"
served as inspiration. According to legend, the Lake Lanao region on the island of
Mindanao in the southern Philippines is where this "folk" dance first appeared.

This style of dance is thought to have been established and originated by residents
of the Lake Lanao region, according to Filipino cultural history. This dancing style
apparently originated from a tale that was described in the Maranao epic
"Darangen," which was influenced by the Hindu epic Ramayana. Additionally,
women from the royal family were the majority of performers of this dance in its
original form. Additionally, a dance group by the name of "Bayanihan" is credited
with popularizing this dancing style throughout the west by tweaking it to suit
western tastes.

Cariñosa
 7
The cariosa is a traditional folk dance that the Spaniards brought with them when
they came in the 16th century. It is part of the Maria Clara suite of Filipino
traditional dances. These are named after Maria Clara, the main character in Jose
Rizal's work Noli Me Tangere ('Don't Touch Me,' about the Spanish colonization
of the Philippines. Maria Clara is described as a noble and faithful woman who,
upon the novel's publication in the nineteenth century, became the feminine icon of
virtue for Philippina women.

The cariosa is said to have originated on Panay Island, which is part of the Visayan
Islands group. The Spanish came on the island for the first time in 1569. The dance
quickly spread across the Philippines, giving rise to regional variations, such as in
Bicol, where both dancers wear handkerchiefs.

Pandanggo sa
Ilaw
 9
The term "pandanggo" is taken from the Spanish word "fandango," a popular
dance in Portugal. Pandanggo sa Ilaw, like the traditional fandango folk dance,
needs great balance and involves clapping and fast moves done to a three-fourths
tempo. The light alludes to three oil lamps that the female dancers balance on their
heads and behind each hand. Oil lights have long been supplanted by candles in
transparent glasses. Pandanggo sa Ilaw is frequently performed in pairs, with both
men and women dressed in traditional attire.

Pandanggo sa Ilaw mimics the light and movement of fireflies at night or morning.
It describes a young man's courting of a damsel who piqued his fancy. Pandanggo
sa Ilaw is known as "Oasiwas," or swinging, in Lingayen, Pangasinan. Colonel
Antonio R. Buenaventura, a National Artist and professor at the University of the
Philippines' Conservatory of Music, wrote the music for the Pandanggo sa Ilaw
dance.

Pandanggo sa Ilaw, which translates as Dance of Lights, is a waltz-style, joyful

folk dance that exhibits a unique mix of traditional dance styles from the
Philippines and the United States. It originated on Lubang Island in Mindoro,
Philippines, and is typically done at holidays and special events.

10

Pandanggo
Oasiwas
 11
The Pantomina Oasiwas is similar to the Light and is typically done by fisherman
to commemorate a successful catch. The lamps in this form are wrapped in cloths
or nets and swung about while the dancers nagbibilog and swing.

Pandanggo or Pandanggo sa ilaw translates to 'Fandango with the Light' in English.

And, as the name suggests, this is the dance in which the lights are manipulated.
This dance originated on Mindoro's Lubang Island. The phrase 'pandanggo,' which
translates to 'fandanggo,' refers to a dance in which time is marked by the clack of
castanets, the snapping of fingers, and the stomping of the feet in a triple-time beat.
The individual who does this elegant dance is known as a 'pandanggera'. The
'pandanggera' then dances while carrying three oil lights known as the 'tinghoy'

Pandango Oasiwas is a Spanish Fandango dance that originated in the Pangasinan

fishing town of Lingayen. Following a successful catch, the fisherman will often
celebrate by drinking wine and dancing, as well as swinging and circling with the
lighted lanterns on the dancers' hands. The beautiful and dynamic actions of the
dancers inspired the term 'Oasiwas,' which translates to'swinging' in the local
dialect.

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Kuratsa
 13

The Kuratsa is a wooing dance from the Philippines' Visayas area. The Kuratsa
serves as the traditional money dance during weddings and fiestas, with guests
taking turns pinning money on the bride and groom's clothes. This represents
friends' and families' wishes for the couple's future good fortune and success.

The Kuratsa is said to be a Mexican import (perhaps from the Monterrey region of
Mexico's La Cucaracha dance) - the Kuratsa, however, is substantially different in
execution than the Mexican version. Even the most "basic" Kuratsa music is not
based on Mexican or Spanish tunes.

However, Philippine dance specialists identify the "Kigal" and the "Bikal" as the
Kuratsa's "ascendant." The Kigal (spelled "Quigal" in early Spanish texts about
Samar culture and lifeways) is a pair dance that mimics mating birds. The Kigal is
also known as Binanug or Kiglun (Kigalun?) according to a 17th century
Samarnon dictionary compiled by Jesuit missionary to Samar, Fr. Alcazar. It's
worth noting that Banug is the Waray word for hawk.

Because of the rigorous focus on "joust" of impromptu songs intermingled with

dance, the Bikal is said to be the forerunner of the Waray Balitaw. The
Ismaylingay have kept several variations of the bikal, as have aged "magsiriday" in
Samar and, to a lesser extent, Leyte.

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Itik-Itik
 15
The Itik-Itik dance is popular among the Visayans in Surigao del Norte region. It
includes several step variants from which the dancers can select and mix. Its
motions resemble those of a duck (itik, in Filipino), as it moves with short, choppy
steps and sprays water on its back to attract a partner. It is utilized in folk dances
around the Philippines.

The dance is thought to have developed from a dance performed by Sibay to

Dejado music. The Sibay is a bird dance from the nearby Visayan Islands.
Reynaldo Gamboa Alejandro, a Philippine dance specialist, recognized Samar as
the Visayan Island. True, because a book authored in 1668 by Fr. Ignacio Alzina (a
Jesuit missionary in Samar at the time) described the Sabay, a 'bird imitation dance'
common in Samar at the time. Father, according to Fr. The dance of Alcina
imitates flying birds. An image in the same book included the text "su danza para
hombre y mujer" (dance for man and woman), which was quite fitting for the
typical Waray amenudo dances.

It is said that the dance evolved from a dance done by Sibay to Dejado music. The
Sibay is a neighboring Visayan Islands bird dance. Samar was identified as the
Visayan Island by Reynaldo Gamboa Alejandro, a Philippine dance specialist.
True, according to a book written in 1668 by Fr. The Sabay, a 'bird imitation dance'
widespread in Samar at the time, was reported by Ignacio Alzina (a Jesuit
missionary in Samar at the time). 'Father,' says Fr. Alcina's dancing resembles
soaring birds. The caption "su danza para hombre y mujer" (dance for man and
woman) appeared on an illustration in the same book, which was extremely suited
for the usual Waray amenudo dances.

16

Maglalatik
 17
The Maglalatik is an ancient dance from the Philippines that involves the dancers
holding coconut shell halves and hanging four or six more coconut shell halves
from their vests. The dancers, who are all male, do the dance by hitting one
coconut shell with the other - sometimes on the hands, sometimes on the torso, and
sometimes on the shells worn by another performer - all in rhythm to a quick
drumming. It is designed, like many traditional Filipino dances, to amaze the
observer with the dancer's considerable talent, and in certain Filipino Martial Arts
(FMA) circles, the manlalatik "consists of a trapping and boxing method hidden in
a dance."

The dance's name is derived from the Filipino term "Latik," which meaning "fried
coconut milk curd," a coconut product utilized in Filipino food, notably in snacks.
Originally performed in Binan, Laguna as a mock-war dance depicting a battle
between Moros and Christians over the treasured latik or coconut flesh under
Spanish control, this dance is now also done to honor the town's patron saint, San
Isidro Labrador. It comprises four parts: the palipasan and the baligtaran, which
depict the hard struggle, the paseo, and the escaramusa, which depict the
reconciliation. Moro dancers wear red pants, whereas Christian dancers wear blue.
All of the dancers are men, and they wear coconut shell harnesses around their
chests, backs, thighs, and hips.

18

Binasuan
 19
Binasuan is a Filipino dance that largely consists of three drinking glasses that a
Binasuan dancer (typically a woman) expertly balances on her head and in the
palms of both her hands while she walks. Each glass is half-full of rice wine, and
the talent of a Binasuan dancer is determined by her ability not to drop a glass or
spill any wine during her performance.

The Binasuan dance tradition originated in the Philippines' Pangasinan region.

Pangasinan is located on the country's central western coast and hosts various
national events where Binasuan dance is frequently included.

Although it is unknown when exactly Binasuan dance first appeared, dance has
been a significant part of Filipino culture for centuries, starting as a way for people
to express gratitude to the gods, in festivals and traditional celebrations, for
blessings and prosperity. The name of the dance comes from a Pangasinan phrase
that literally translates to mean "with the use of a drinking glass."

20