Classifications of Philippine Folk Dances Essay Sample free essay sample

1 ) Maria Clara dances – named after a Spanish-style frock. and its public presentation includes Spanish footwork with Filipino alterations such as bamboo boness and Asiatic fans. a. Carinosa – is a coquettish Philippine group dance in the Maria Clara suite of Philippine common people dances where the fan or hankie dramas an instrumental axial rotation as it places the twosome in a hard-to-get love affair scenario. Despite popular belief. Carinosa has ever been the national dance of the Philippines. whereas the Tinikling is merely a world-wide favourite. b. Aray – A dance whose words are sung in â€Å"Chabacano-ermitense. † a loanblend of Spanish that was merely spoken in the Ermita territory before the bend of the century and today is nonextant. The dance itself is a coquettish 1 that involves graceful usage of the panuelo. or shawl. and tambourines. Aray means â€Å"ouch† in Tagalog. c. Alcamfor – The Alcamfor dance is classified under Maria Clara dances because of the garb of the terpsichoreans which are Maria Clara for the ladies and a barong Tagalog for the work forces. The dance originated from Leyte. a state in Visayan Region. It is so named because of the hankie the miss holds laced with camphor oil. a substance which suposedly induces love affair. d. Havanera de Jovencita – A marrying party dance which originated in the town of Botolan in the Zambales Province. Typical sequences include the emanation of the bride and groom’s parents. batting order of the maid of honors and groomsmen upstage. and a solo having the nuptials twosome. e. Rigodon Royale – This elegant dance was brought to the Philippines by the Filipinos who returned from their travels abroad during the Spanish epoch. This dance takes its name from its gap public presentations at formal personal businesss such as the President’s Inaugural Ball. Members of authorities. including the President and First Lady. diplomatic corps. and other province functionaries normally participate in the Rigodon. Traditionally. a dance hall walk-in dance would follow the Rigodon. f. Chotis – Chotis ( or â€Å"Shotis† ) was one of the dance hall dances introduced by early European colonists. This dance. from Camarines Sur. has been adapted by the Bicolano people and is characterized by a brush-step-hop motion. g. Panderetas – It was named after the jingle-less tambourines carried by the females and it originated from Tanza. Iloilo. From December 16 to January 6. a group of people in the Visayan parts go from house to house to sing Christmas called â€Å"Daigon. † In some parts the vocal is normally followed by some dances. and â€Å"Las Panderetas† is one of those dances. 2 ) Mountain – Igorot dances – The cragged Central Cordillera part of Northern Luzon includes six ethno-linguistic folks known as the Ibaloy. Kankanay. Ifugao. Kalinga. Apayao. and Bontoc. They prefer to be called by their several tribal names instead than the corporate term Igorot. which was foremost used by the Spaniards and subsequently by Christian Lowlanders. These folks were by and large unfazed by Spanish colonisation. This homogenous group is recognized by their common socio-cultural traits. They hold common spiritual beliefs. by and large nature-related. and do expiatory offerings to anitos. or household Gods. Among these people of the Cordillera. dance continues to be an look of community life that animates the assorted rites and ceremonials. It serves for self-edification of the performing artists and amusement for the witnesss. They dance to pacify their ascendants and Gods to bring around complaints. to see successful war-mating activities. or to guard off bad fortune or natural catastrophes. They dance to congregate and socialise. for general public assistance and diversion. and as an mercantile establishment for pent-up feeling. They besides dance to see big crops. favourable conditions. and to tag mileposts in the rhythm of life. h. Apayao Courtship dance – It comes from the northmost subdivision of the Mountain states. The twosome rise and beckon their weaponries and custodies like the wings of a bird in flight. and the ceremonial cover worn by the adult female is lightly wrapped around her. The man’s motions resemble those of a contending prick in the preening. strutting. and flying-off-the-ground gestures. i. Bindian – The Ibaloy who inhabit the southernmost mountain parts in Northern Luzon execute triumph dances to laud the courage of the warriors of yesterday. In this version from the barrio of Kabayan. manus motions are downward. proposing the people’s affinity with the Earth. The basic measure consists of a cast by the left pes and a visible radiation. forward motion by the right. Instrumentalists lead the line. followed by male terpsichoreans. while the female terpsichoreans bring in the rear. j. Lumagen – This is a dance performed at Kalinga festivals to observe Tha nksgiving. k. Dinuyya – A festival dance from Lagawe. it is performed by the Ifugao work forces and adult females during a major banquet. Attach toing the dance are three gangsa or tam-tams: the tobtob. a brass tam-tam about 10 inches in diameter and played by crushing with unfastened thenars. and the assorted hibat or tam-tams played by crushing the interior surface with a stick of deal. l. Ragragsakan – It is an version of a tradition in which Kalinga adult females gather and fix for a budong. or peace treaty. The Kalingga borrowed the beautiful word ragragsakan from the Ilocano. which means â€Å"merriment. † The two biggest occassions for a ragragsakan in a Kalinga small town are for the homecoming of successful caput takers and the apogee of peace-pact between warring folks. In this dance. Kalinga maidens balance labba baskets on thier caputs. wave colourful tribal covers. and sing short salidumay vocals as they snake through the patio butchs and skip through interruptions in the way. m. Tarektek – It originated from Benguet where peckerwoods known as tarektek inhabited Mt. Data. These wild and colourful birds gave rise to the tarektek dance. In this dance. one tarektek male manipulates a colourful tribal cover representative of the birds’s changeable feather while the other playfully beats on a brass gangsa stand foring impressive bird calls as they conflict for the attending of three tarektek females. n. Pattong – Known besides as the Bontoc War Dance. Pattong is portion of the headhunting and war ceremonies motivating feelings of strength and bravery as the warriors prepare to stalk their enemy. In Central Bontoc. the dance is besides performed in February. March. and April. to beg the God Lumawig to direct rain. similar in intent to that of the rain-calling ceremonial of Native American folk. Much of the motions are improvised ; two cantonments of warriors are normally featured prosecuting each other. climaxing in a scrimmage where a combatant from one folk kills one of his oppositions. o. Banga – This is from Kalinga. The dance shows the Igorot maidens go to the river and fix for a matrimony ceremonial. They display non merely their grace and legerity. but besides their staying power and strength as they go about their day-to-day undertaking of bringing H2O and equilibrating the banga. claypots full of H2O. on their caputs. p. Sakpaya – Sakpaya came from th e name of the birds that populated the universe celebrated Banaue Terraces. The thickened custodies of Ifugao husbandmans dig the difficult dirt and push heavy rocks off drops to do manner for a new rice field. portion of the world-famous Banaue rice patios. High-flying sakpaya birds slide and hover over the patios as the Ifugao labor. In times of plentifulness. the Ifugao husbandmans give thanks to their sakpaya â€Å"gods† by wearing traditional costumes and copying their flight in this dance. 3 ) Muslim dances – The Muslims in the Philippines. besides known as Moros include the the Maranao. Maguindanao. Samal. and Tausug. Because they were able to defy Spanish colonisations. they were able to continue the Islamic life style that markedly differs from the bulk of the Filipino population. The dances are characterized by vivid colourss and rhythmic motions which reflect the influence of Arabian and Indo-Malaysian civilizations. q. Singkil – It is a celebrated Philippine dance of the Maguindanao people. but was popularized by the nearby Maranao peoples of Lake Lanao and subsequently the Bayanihan Philippine National Folk Dance Company. Besides known as the Princess Dance or the Royal Maranao Fan Dance. the dance is based on the Maranao reading of the ancient Indian heroic poem. the Ramayana: the Darangen. The Singkil narrates a scene in which Sita ( Putri Gandingan ) escapes her kidnapper. the devil male monarch Ravana and is lost in the woods of Alangka. thereupon being found by her hubby. Prince Rama. Interesting to observe is that in the original Ramayana heroic poem. Rama selects Hanuman. the Hindu monkey-god. to happen Sita on his behalf ; the fact that in the Singkil it is Rama ( Rajah Bantugan ) who finds her suggests a alteration of the original Hindu narrative in order to hold with monotheistic Islamic political orientation. Kasingkil refers to the art of traveling one’s pess in and out of two snaping bamboo poles in imitation of Putri Gandingan who gracefully avoided the falling trees brought approximately by an temblor. Performers would therefore gracefully measure in and out of bamboo poles. arranged in crisscross manner while pull stringsing either fans or merely their bare custodies. Played at jubilations and festivals. traditionally the dance was performed by a miss of royal blood intend on advertisement herself to would-be-suitors for her future matrimony. The dance is said to hold been named after either the leg watchbands or bobbysocks of Ag. Ni or brass with chiming bells of the same name or the act of voluntarily or by chance miring on one’s pess in either vines or tall grass. r. Sagayan – It is Philippine war dance performed by both the Maguindanao and Maranao depiction in dramatic manner the stairss their hero. Prince Bantugan. took upon have oning his armaments. the war he fought in and his subsequent triumph afterwards. Performers. picturing ferocious warriors would transport shield with shell noisemakers in one manus and double-bladed blade in the other trying turn overing motions to support their maestro. s. Pangalay – A popular festival dance in Sulu. it is performed in marrying jubilations among the flush households. They may last for several yearss or even hebdomads depending on the fiscal position and understanding of both households. Dancers perform this dance to the music of the kulintangan. gabbang. and agongs during the nuptials banquet. t. Asik – A solo slave dance performed by the umbrella-bearing attender to win the favour of her sultan maestro. Asik normally precedes a public presentation of Singkil. u. Maglangka – This dance which originated from Jolo. Sulu is classified under Muslim Dance. Literally intending â€Å"to dance. † the maglangka is used to model the adolescent misss into ladies of good genteelness and accomplished dancing accomplishments. The misss are purely taught to gracefully put to death motions copying birds in flight. fish swimming in the sea. or subdivisions rocking in the air while staying in the confines of a square fabric. these motions require intense concentration and unconditioned manner as the ladies express emotions and entertain invitees. 4 ) Rural and Barrio dances – Possibly the best known and closest to the Filipino bosom are the dances from the rural Christian lowlands: a state blessed with so much beauty. To the Filipinos. these dances illustrate the fete spirit and show a love of life. They express a joy in work. a love for music. and pleasance in the simplenesss of life. Typical garb in the Rural Suite include the colourful balintawak and patadyong skirts for the adult females. and camisa de chino and colored pants for the work forces. These dances are lively and integrate a deep grasp for music. Often they include feasts such as equilibrating jars of oil on the caput and weaponries while dancing gracefully. v. Kalapati – It originated from from Cabugao. Ilocos Sur state. It symbolizes peace and is represented by copying the motions of a graceful dove. It portrays the typical traits of the Ilokanos: simpleness. naturalness. and shyness. w. Kuratsa – It originated from Bohol. Visayas but it has besides a version in the Ilocos Region which is popular at Ilokano festivals. This dance commands a sense of improvisation which mimics a immature playful couple’s effort to acquire each other’s attending. It is performed in a moderate walk-in manner. x. Tinikling – The dance originated in Leyte as an imitation of the legendarily fast and graceful motions of the tikling birds as they dodged bamboo traps set by rice husbandmans. An alternate account says that the dance originated from Spanish colonisation. where field workers who worked excessively easy were punished by holding to stand in topographic point and leap over two bamboo poles clapped together against their mortise joints ; it is said that from a distance the jumping workers looked like tikling birds. [ 1 ] Often. this dance is erroneously coined as the national dance of the Philippines alternatively of the Carinosa. The dance consists of at least one squad of two people hitting two parallel bamboo poles on the land. raising them somewhat. so clapping the poles against each other near the land with a beat. Meanwhile. at least one terpsichorean hops over and around the clashing poles in a mode non wholly unlike leap roping. Normally the terpsichoreans use certain beat or stairss. y. Pandanggo sa Ilaw – The term pandanggo comes from the Spanish word fandango. which is a dance characterized by lively stairss and clapping that varies in beat in 3/4 clip. This peculiar pandanggo involves the presence of three tinggoy. or oil lamps. balanced on the caput and the dorsum of each manus. Another version of this is called Oasiwas from Lingayen. Pangasinan. After a good gimmick. fishermen would observe by imbibing vino and by dancing. vacillation and circling a lit lamp. Hence. the name â€Å"Oasiwas† which in the Pangasinan idiom means â€Å"swinging. † This unique and colourful dance calls for accomplishment in equilibrating an oil lamp on the caput while circling in each manus a lighted lamp wrapped in a porous fabric or fishing net. The waltz-style music is similar to that of Pandanggo SA Ilaw. z. Itik – itik – It originated from Surigao del Norte. Mindanao. Philippines. Harmonizing to the narrative. a immature adult female named Kanang ( short for Cayetana ) was the best terpsichorean in that state. At one baptismal jubilation. she introduced new stairss which were improvisations of the dance Sibay. She imitated the motions of the ducks or itik. Because of its unusual stairss and intriguing reading. the audience began copying her. { . Sayaw sa Bangko – It is native to the barrio of Pangapisan. Lingayen. Pangasinan. and demands skill from its performing artists who must dance on top of a bench approximately six inches broad. | . Maglalatik – It is a mock war dance between the Muslims and the Christians that originated from Binan. Laguna. Philippines. The dance is about a battle for the latik or coconut meat during the Spanish epoch. Today. this dance is performed in award of the town’s frequenter saint. San Isidro Labrador. All terpsichoreans are male and are naked to the waist except for the coconut shells attached to their thor axs. dorsums and hips. The Muslim terpsichoreans wear ruddy pants while the Christian terpsichoreans wear bluish. There are besides coconut shells on their thighs and articulatio genuss. As they dance. they touch these shells with their coconut shells on their custodies. } . Gaway – gaway – It originated from a little town of Leyte called Jaro. The dance depicts children’s jubilation of a beautiful crop of the Gaway root harvest. They imitate the pulling of the chaffs. hitting their cubituss in a motion called Siko-Siko. ~ . Bulaklakan – It is a dance that originated in Tagalog Region. During the month of May. it is custom in many parts of the Philippines to observe the â€Å"Santa Cruz de Mayo. † a emanation normally followed by a societal assemblage in the house of the â€Å"Hermana Mayor. † In some topographic points. the jubilation takes the signifier of common people dances held in forepart of a probationary alter built by the â€Å"Hermana Mayor. † Bulaklakan. a lovely and attractive dance. is danced for this juncture. The misss in this dance each hold a Garland of foliages and flowers attached to a wire. bamboo or rattan so that the Garland will curve when held overhead.  Wasiwas – It is version of Pandanggo Sa Ilaw ( Dance Of Lights ) . In this version of Pandanggo Sa Ilaw. the lamps are wrapped in colourful scarves and swayed in synchronised beat. The dance still depicts terpsichoreans equilibrating oil-lit lamps while dancing gracefully to the music. After a good gimmick. fishermen of Lingayen would observe by imbibing vino and by dancing. vacillation and circling a lit lamp. Hence. the name â€Å"Oasiwas† which in the Pangasinan idiom means â€Å"swinging. † This unique and colourful dance calls for accomplishment in equilibrating an oil lamp on the caput while circling in each manus a lighted lamp wrapped in a porous fabric or fishing net. 5 ) Tribal dances – The hillside and inside of Mindanao in the southern portion of the Philippines are inhabited by non-Christian Filipino folks whose civilization and animistic beliefs predate both Islam and Christianity. Dance for them is a basic portion of life. still performed basically â€Å"for the Gods. † As in most ancient civilizations. unlike the Muslim folks in their thick. their dances are however closely intertwined with ceremonies. rites. forfeit. and life. Dugso – Although it originated in Mindanao. this dance falls under Tribal Dances. The dance must hold originated from Bukidnon. northeasterly Mindanao since they are performed as an amusement for the divinities in fetes organized for them. It was originally thought that this dance was performed merely during harvest clip or upon the birth of a male inheritor. Women would have on colourful feathered caput frocks. plaid costumes and bobbysocks. They would step rhythmically around a bamboo arch decorated with newly-gathered palay ( rice chaffs ) and maize. and their motions are emphasized by the clinking sounds from the bobbysocks. Sagayan – It is a Filipino war dance performed by both the Maguindanao and Maranao depiction in dramatic manner the stairss their hero. Prince Bantugan. took upon have oning his armaments. the war he fought in and his subsequent triumph afterwards. Performers. picturing ferocious warriors would transport shield with shell noisemakers in one manu s and double-bladed blade in the other trying turn overing motions to support their maestro. . Tagabili – This is a dance of T’boil. a minority national group from South Cotabato. in southwesterly Mindanao. who is relatively sophisticated in linguistic communication. frock. and mythology. This narrates a narrative about a datu. or prince. who is cursed for killing his brother in jealously over one of his married womans. The datu’s girl is to be wed by a likely suer. but dies as a consequence of the expletive. In fury. the datu sets his small town in fires. . Dumadel – It is a festival dance performed by the Subanons to observe a good crop. . Udol dance – It originated from the Tagakaulo folk of southern Davao comes. This is a ceremonial dance which portrays decease and retaliation. It opens with three adult females walking in with votive tapers. mourning the loss of a comparative. They are followed by work forces playing the udol. a long wooden musical instrument. The adult female make facile gestures of tenderness and desperation such as exerting a lance and thumping the udol in choler. countering the steady beat of the instrumentalists. A male priest so dances. imploring the liquors to steer the psyche of the asleep. Finally. two warriors enter. lances in manus. executing a manic dance in a circle. so vanishing off phase â€Å"to the forests. † seemingly to procure the caputs of their enemies. Karasaguyon – it originated from Lake Sebu. South Cotabato. â€Å"Karasaguyon† of the T’boli portrays a polygamous male in the procedure of picking his following married woman from among four sisters competing for his attending. The jingling of beads and brass bells around their waists and mortise joints provide musical concomitant.