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Philippine dance has played a tremendous role in Philippine culture. From one of the oldest dated dances called the Tinikling, which originated from the Spanish Colonial Era, to other folkloric dances such as the Pandanggo, Cariñosa, and Subli, and even to more modern-day dances like the Ballet, it is no doubt that dance in the Philippine setting has integrated itself in society over the course of many years and is significantly imbedded in our culture. Each of these dances originated in a unique way and serve a certain purpose, showcasing how diverse Philippine dances are.

Types of Dances

Classified by each Ethnic Group

The presentation of each type of dance in the Philippines is often categorized in ethnic or geographic localization. These localizations are presented in the following:

Dances of the Cordillera Mountains (Igorot)

Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning "knotted rope", the Spanish term refers to the jumbled rolls and dips of this long-range traversing the northern part of Luzon Island.

Today, if one is to generalize one of the six ethnolinguistic tribes as an "Igorot" is considered degrading. Living amidst the rice terraces that tower over Northern Luzon are a people whose way of life existed long before any Spaniard or other foreigners stepped foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes reign over Luzon's mountain terrain.

They are pagan people, living simple lives to appease their gods. Their rituals celebrate their daily lives - a good harvest, health, peace, war, and other symbols of living. Such traditions have survived the changing scope of the Philippines and the tribes continue to maintain their cultures that are a part of the colorful cultural fabric known as Philippine culture.

Type of Dance	Origin	Tribe	Purpose
Banga		Kalinga	"Banga" literally mean pots. The Banga or pot dance is a  contemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illustrate the languid grace of a tribe otherwise known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they trudge to the beat of the "gangsa" or wind chimes displaying their stamina and strength as they go about their daily task of fetching water and balancing the banga.
Bendayan	Benguet Province, Northern Luzon		Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is restaged, keeping true to the dance's context and meaning. Long known as a dance to celebrate the arrival of successful headhunters, the Bendayan has taken a new face. It is part of every Benguet festivity with the circles slowly giving way to other formations and interpretations.
Manmanok		Bago	Three Bago Tribe roosters compete against each other for the attention of Lady Lien. They use blankets depicting colorful plumes to attract her.
Lumagen/Tachok	Luzon	Kalinga	When the Kalinga gather to celebrate a happy occasion like the birth of a first-born baby boy, a wedding, or a budong (peace pact), the Kalinga Festival Dance (Tachok) is performed. This is danced by the Kalinga maiden. The dance imitates birds flying in the air. Music is provided by gangsa, or gongs, which are usually in a group of six or more.
Turayen	Cagayan Valley	Gaddang	Gaddang comes from the word ga, meaning "heat" and dang, meaning burned". The Gaddang live in the middle of Cagayan Valley and speak a language similar to Ilokano. Most of them converted to Christianity, and those who live alongside Christianized Ilokano groups have more or less adjusted to settled agriculture of mixed crops. Small and scattered groups in southeastern Kalinga, eastern Bontoc, and Isabela regions retain their indigenous religion and practice swidden agriculture (the cutting back and burning of existing vegetation to produce temporary farming plots) with supplementary hunting and fishing. In this dance, the Gaddang imitate birds attracted to tobacco trees.
Tarektek		Benguet	Two tarektek woodpeckers vie for the attention of three females. One Male woodpecker rhythmically bang on a brass gong to represent a good voice, while the other swish about a colorful blanket representing beautiful plumage.
Salidsid		Kalinga	The Salidsid is the Kalinga courtship dance, performed by a male and female (and thus is sometimes called the "cayoo" dance). The dance starts when each of the dancers are given a piece of cloth called ayob or allap. Usually the most important people in the village are the second to dance after the host has signified that the occasion is formally open. The background and meaning in this dance is evident. The male simulates a rooster trying to attract the attention of a hen while the female imitates the movements of a hen being circled by a rooster.
Salip		Kalinga	Tribes in the mountain provinces of Luzon preserve their identity, customs and lore. Their dances celebrate important events in life such as birth, wedding, victory in war and thanksgiving. A Kalinga wedding dance is an important celebration. The bridegroom offers the bride the protection and comfort of his blanket. He simulates the movements of a rooster at love play, aspiring to attract and seize his love. The bride's friends are ready to help prepare the bride by offering "bangas" (earthen pots) filled with fresh water from the mountain spring.
Ragsaksakan		Kalinga	This dance portrays the walk of the industrious Kalingga women, carrying water pots on their heads and wearing the colorful hand-woven "blankets of life" around their necks. Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the Philippines.
Uyauy/Uyaoy		Ifugao	The Ifugao people are said to be the "children of the earth." The term Ifugao is derived from the word ipugao which literally means "coming from the earth." The Spaniards, however, changed it to Ifugaw, a term presently used in referring not only to these people but also to their province. This Ifugao wedding festival dance is accompanied by gongs and is performed by the affluent to attain the second level of the wealthy class. Wealthy people (Kadangyan) who have performed this dance are entitled to the use of gongs at their death

Dances of the Taga-Ummah (Muslim)

They are known for their mysticism, royalty, and beauty which are evident in their music and dances. Accompanied by the agong and kulintang, Filipino Muslim dance is marked by intricate hand and arm movement along with shimmering costumes.

Aside from the colorful contributions of its regional tribes, Mindanao is home to the largest cultural minority in the Philippines - the Muslims. Brought by Javanese and Middle Eastern traders, Islam is the religion of approximately 20 percent of the Philippine population.

Type of Dance	Origin	Tribe	Purpose
Pangalay	Zamboanga del Sur	Badjao	A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic bounce of the shoulder with simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is commonly performed at weddings and other social gatherings
Burung Talo	Tausug		A form of self defense. The dance like movements show a fight between a hawk and a cat.
Asik	Lanao del Sur	Maguindanao	A solo slave dance performed by the umbrella-bearing attendant to win the favor of her sultan master. The girl wears long metal fingernails and dances and poses in doll-like motions. Asik usually precedes a performance of Singkil.
Singkil	Lanao, Mindanao	Marano	This dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest. The rhythmic clapping of criss-crossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through criss-crossed bamboos. When performed by ladies of the royalty of Lanao, the dancer is usually accompanied by a waiting lady, who holds a beautifully decorated umbrella over the Princess' head wherever she goes. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult and noble dance.
Tahing Baila		Yakan	Yakan dance for a bountiful fish catch where they imitate their movements
Pangsak	Basilan	Yakan	The Yakan are a Muslim ethnic group in the highlands of Mindanao. They wear elaborately woven costumes tightly on their bodies. Their dances involve complicated hand and foot movements. In this dance, a man unties a wrap from his wife-to-be's waist to wrap around her body and dance with. Both of their faces are dotted with white paint, to hide their identity from evil spirits.
Panglay ha Pattong		Badjao	A royal couple balance perilously on top of bamboo poles imitating the movements of the picturesque southern boat (the vinta) with colorful sails gliding across the Sulu Sea.
Panglay sa Agong	Tausug-Sulu		A variation of the Tausug's traditional dance, Pangalay, two warriors vie for the attention of a lass both using gongs to show their prowess and skill.
Pagapir	Lanao del Sur	Maranao	Pagapir depicts a royal manner of "walking" among the Maranao people who live mainly around Lake Lanao. Ladies of the royal court perform this stately dance in preparation for an important event. The ladies gracefully manipulate the Aper (apir) or fan, while emphasizing their small steps, or "kini-kini", which is a sign of good upbringing.
Sagayan	Cotabato	Maguindanao	Performed by very fierce warriors carrying a shield elaborately painted with curlicues, rounds, twirls and mirrors which are attached with shell noisemakers. In their other hand, they carry a double-bladed sword (kampilan) of metal or wood. Sagayan dancers are dressed in three tiered skirts, brightly colored topper and headgear embellished with all the imaginable colors of twine trimmings formed into flowers, balls, sunbursts etc. Long, yellow playful tassels almost hiding the face surround the headgear. The dance involves leaping, turning, jumping, kicking and the rolling movements of a warrior ready to defend his master in battle. Kamanyang fumes inhaled by the sagayan moves him to perform in a magic-like trance. On most occasions, this dance is performed before any celebration or gathering to drive away evil spirits (tunong) and to welcome good fortunes or omen.
Kapa Malong Malong			Also called Sambi sa Malong, this Maranao dance shows the many ways of wearing a malong, a simple tubular yet highly functional piece of cloth. The traditional women’s version shows this cloth of countless colorful designs; used mostly as a skirt, woven in many different ways, depending on the purpose of the wearer. Other ways the women wear malong is as a shawl, a mantle, or a head-piece. During more recent dance documentation, a men’s version was derived. This version shows in masculine rendition, how men don the malong—displaying its use as a sash or waist-band, shorts or bahag, and a head-gear that can be either functional while working in the fields, or decorative as a turban.

Dances of the Traditionalist (Lumad)

Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a strong flavor from other lands, there are people who have lived there before it became a breeding ground of foreign trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other groups inhabit the vast regions of Mindanao.

Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials of daily life. What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known for creating colorful sets of jewelry and clothing out of dyed pineapple and banana fibers with are showcased in their traditional dances.

In the lush mountains and forests of Mindanao, indigenous peoples collectively known as Lumads have, for centuries, lived lives defined by a peaceful coexistence with nature and among themselves. The Manobo, Subanen, B’laan, T’boli, Talaandig, Tigwahanon and the thirty other ethnic tribes possess a colorful and rich material culture that is surpassed only by their profound sense of spirituality.

To be Lumad is to be one with nature, and ultimately, with God. This intricate mixture of spirituality and nature has produced a unique culture and ethos expressed through the Lumad’s weaving, sculpture, metal craft, poetry, music and creative movements.

Type of Dance	Origin	Tribe	Purpose
Malakas at Maganda (A National Folklore)			Cradled amidst thick rainforest, shrouded with the mists of legend and ancient traditions, one folklore has it that a weary bird perched on a large bamboo heard strange noises inside. It pecked the bamboo, split open and from inside came the first man and woman, Malakas the strong, Maganda the beautiful, the parents of all peoples of the island.
Kadal Blelah	Lemlosnon, Cotabato	T’boli	Dancers perform a simulation of movement of birds.
Kadal Blidah		T’boli	An ancient Filipino martial arts dance and one of the Mindanao’s best kept secrets.  Kuntaw, comes from the Malay word kuntau meaning “fist.” The Muslims of Mindanao combine precise and gentle gestures of the fist with jumps, kicks and deep knee bends. (http://www.kaloobdance.com/TBoli/Pages/Kadal_Blidah.html)
Kadal Taho	Lake Sebu, South Cotabato	T’boli	The T'boli tribe lives among an assortment of wildlife, most notably birds. Kadal Taho, which means "True Dance of the T'boli," recounts a story of a flock of sister birds that wandered too far in search of food. Finding themselves lost, one of the birds breaks her leg and loses her ability to fly. The flock encourages the injured bird to test her wings once more and they successfully fly to safety. (http://www.hiyas.org/lumad.html)
Binaylan	Higaonon	Agusan	The Bagobo tribe from the central uplands of Mindanao originated this dance which imitates the movement of a hen, her banog, or baby chicks, and a hawk. The hawk is sacred, and it is believed that the hawk has the power over the well-being of the tribe. The hawk tries to capture one of the chicks and is killed by the hunters.
Bagobo Rice Cycle			This Bagobo tribal dance  portrays the cycle of planting and harvesting of rice.
Dugso	Bukidnon	Talaindig	The Higaonon of Bukidnon province in Mindanao place religion in the highest regard. As a sacrifice dance rite, the dugso overlaps as a thanksgiving of a good harvest, healing of the sick, and the overall well-being of the community. As a supplication of the divine deities, it also dispels malevolent spirits while assuring sustenance, victory in battle, and the blessing of a newly opened field. The close association with the pagpagayok bird is representative of the colorful headdress and the bells around the ankle is regarded as the best music to the ears of the spirits. (http://www.hiyas.org/lumad.html)
Kadal Heroyon	Lake Sebu, South Cotabato		Kadal Heroyon translates to "dance of flirtation." It is commonly performed by young adolescent T'boli girls eligible for marriage proposal. Gestures imitate high flying birds along with acts of beautification, which is of high importance to the T'boli.
Karasaguyon	Lake Sebu, South Cotabato		"Karasaguyon" of the T'boli portrays a polygamous male in the process of picking his next wife from among four sisters vying for his attention. The jingling of beads and brass bells around their waists and ankles provide musical accompaniment. (http://www.hiyas.org/lumad.html)
Kinugsik Kugsik	Santa Maria, Agusan del Norte		The Manobo tribe once lived harmoniously with squirrels. They named these squirrels "kugsik" and created a dance to imitate these cuddly and friendly creatures. Now an endangered species, the Manobo tribe continues to dance the kinugsik kugsik to remember the once thriving squirrel community of the region. This dance reenacts a love triangle between two male kugsik and a female kugsik as they scamper about the forest. (http://www.hiyas.org/lumad.html)
Lawin-Lawin	Davao del Sur		The Lawin-Lawin features males of the Bagobo tribe mimicking high flying eagles or Lawin. Tribal shields are used to imitate wings of an eagle as it swoops and glides through the open sky. (http://www.hiyas.org/lumad.html)
Sohten	Zamboanga del Norte		Sohten is a general term for an all male dance of the Subanon tribe. This version of sohten is performed with a shield and dried palm leaves and was once danced as a pre-combat ritual to supplicate the nature gods for protection and success. (http://www.hiyas.org/lumad.html)
Talbeng	Babuklod, Florida Blanca, Pampanga		The Aeta, also known as the Negritos, are thought of as the aboriginal tribe of the Philippines. Talbeng is a dance in which the performers playfullly imitate cohabitating animals of the region, most notably the monkeys. A guitarist accompanies this comedic and lively dance. (http://www.hiyas.org/lumad.html)
Bangkakawan			This is a fishing ritual among the Tigwahanon Manobos of Bukidnon wherein a huge log Bangkakaw carved in the shape of a palungan (snake) is brought to the river and beaten profusely in a steady rhythm to make the fishes dizzy for an easy catch. (http://www.kaloobdance.com/Bangkakawan.html)
Maral Solanay			A dance depicting the maiden spirit Solanay, performed by women who are inspired by the B’laan ideals that she represents: grace, beauty, and diligence (http://www.kaloobdance.com/Maral_Solanay.html)
Basal Banal		Palawanon	This traditional dance of the Palawanons is part of merrymaking after a Pagdiwata ritual. Dancers use balasbas and a native cloth to accentuate the movements of the dance. (http://www.kaloobdance.com/Palawanon/Pages/Basal_Banal.html)
Palihuvoy			Baganis, revered Obo Manobo warriors ceremoniously performs a dance showing their skills in warfare. (http://www.kaloobdance.com/Palivuhoy.html)
Sabay Pengalay			A Subanun courtship dance where the smitten bachelor tries to romance a kerchief to win the lady’s heart. (http://www.kaloobdance.com/Sabay_Pengalay.html)
Siring			The Lambangians of Maguindanao come from a lineage of Dulangan Manobo and Teduray intermarriage. This dance is a depiction of movements of scenes from everyday life such as planting rice and catching fish. (http://www.kaloobdance.com/Siring.html)
Sout			A subanen dance in Zamboanga showcasing the fighting skills of a warrior using a sword and a k’lasag (shield) adorned with shells called blasi. (http://www.kaloobdance.com/Sout.html)
Talek			A dance among Subanen women performed while holding kompas or rattan leaves. This is a dance performed during wedding celebrations and other festivals. (http://www.kaloobdance.com/Talek.html)
Kadal Unok		T’boli	A dance of the T’boli group from South Cotabato featuring women imitating the movements of the onuk bird. It is characterized by graceful movements of the arms and hands. The T’boli are known for their passion for beauty and fashion marked by familiarity with the concept of cosmetics at an early age as well as heavy ornamentation in dressing. That is why intricately decorated slaongs or wide-brimmed hats are a part of their day-to-day work in the fields. The T’boli are also known for their helot or a belt of fine interlocking bronze chains that gives a shrill sound as they walk or dance. (http://www.kaloobdance.com/TBoli/Pages/Kadal_Unok.html)
Balisangkad		Tagbanau	Another dance that imitates the movements of the eagle, from Madukayan, eastern side of Mountain Province. (http://www.kaloobdance.com/Tagbanua/Pages/Balisangkad.html)
Pagdiwata		Tagbanau	A crystallized presentation of an ancient nine-day ritual of thanksgiving among the Tagbanuas of Palawan for a rice harvest focused on the babaylan or priestess and her ministrations. (http://www.kaloobdance.com/Tagbanua/Pages/Pagdiwata.html)
Sagayan		Tagbanau	A courtship dance in which the smitten man lays his piz cloth on the ground, a gesture asking the lady for her hand. To signify her approval, the lady likewise puts down her cloth on top of the mans cloth. (http://www.kaloobdance.com/Tagbanua/Pages/Sagayan.html)
Soryano		Tagbanau	A courtship dance by the Tagbanua people of Palawan where the men holding cloths frantically pursue and coax the women to face them.  In response, the ladies playfully turn away to the opposite direction, turning the dance into a spirited dance of chase. (http://www.kaloobdance.com/Tagbanua/Pages/Soryano.html)
Tambol		Tagbanau	A traditional dance of a babaylan or priestess. This dance is part of a nine-day ritual wherein the villagers gather during full moon to invoke Diwata, their guiding spirit. (http://www.kaloobdance.com/Tagbanua/Pages/Tambol.html)

Dances of the Low-land Western-Christians

Dances that are best known, and closest to the Filipino heart are those from the rural Christian lowlands: a country blessed with so much beauty. To the Filipinos, these dances illustrate the fiesta spirit and demonstrate a love of life. They express a joy in work, a love for music, and pleasure in the simplicities of life. Typical attire in the Rural Suite include the colorful balintawak and patadyong skirts for the women, and camisa de chino and colored trousers for the men.

Type of Dance	Origin	Tribe	Purpose
Bulaklakan			This dance 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.
Sakuting	Abra		A dance of the Ilokano Christians and non-Christians from the province of Abra, Sakuting was originally performed by boys only. It portrays a mock fight using sticks to train for combat. The staccato-inflected music suggests a strong Chinese influence. The dance is customarily performed during Christmas at the town plaza, or from the house-to-house. The spectators give the dancers aguinaldos, or gifts of money or refreshments especially prepared for Christmas.
Tiklos	Leyte		Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest, prepare the soil for planting, or do any odd job on the farm, including the building of a house. This has been a very important factor in the social life of peasants for centuries. At noontime the people gather to eat their lunch together and to rest. During this rest period Tiklos music is played with a flute accompanied with a guitar and the guimbal or the tambora (kinds of drum). The peasants then dance the Tiklos.
Abaruray			Abaruray is a contraction of the words Aba and Ruray. Aba is an exclamation which is equivalent to “Hey!” or “Hi!” in English. Ruray is a nickname for Aurora. In any social gathering in remote communities of the Philippines, it is the custom to offer wine to the visitors. The offering is usually made by a young lady, who goes around with a glass and a bottle of native wine, offering it to the visitors. The wine offering is a signal for the beginning of folk dancing and singing. The girl who is offering the wine picks out a young man from among the guests and offers him a drink. This is her way of hinting at her desire to dance with him. The young man has to accept it or he commits a breach of etiquette and the girl is offended. His acceptance of the drink signifies that he will dance with the girl. While they dance, the girl balances the glass of wine on her head from which the young man drinks. Her dancing ability is shown in her ability to keep the glass on her head and in not spilling a drop of the wine. The audience sings and claps their hands in time with the music.
Maglalatik			During the Spanish regime, the present barrios of Loma and Zapote of Biñan, Laguna, were separated. With coconut shells as implements the people of these two barrios danced the Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians over the latik (residue left after the coconut milk has been boiled). The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter between the two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the reconciliation between the two groups. According to the legend the Moros came out victorious, thus getting the coveted latik. The Christians, not contented with the result of the war, sent an envoy to the Moros to offer peace and to baptize them. The best Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of Biñan, the Maglalatik dancers go from house to house performing this dance for money or a gift. In the evening they dance Maglalatik in the religious procession as it moves along the streets. They perform the dance as an offering to the patron saint of the farmers, San Isidro de Labrador.
Tinikling	Leyte		Dancers imitate the tikling bird’s legendary grace and speed as they skillfully play, chase each other, run over tree branches, or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling. this version of the dance is done between a pair of bamboo poles. The older people claim that the ‘Tinikling Ha Bayo’ from which the tinikling dance evolved is more difficult to perform. It was originally danced between ‘bayuhan’, two wooden pestles used to pound the husks off the rice grain.
Subli	Barrio of Dingin, Alitagtag, Batangas		A favorite dance of the people in nearly all the barrios of the municipality of Bauan, Batangas, in the month of May and during the town and barrio fiestas. It is a ceremonial worship dance performed in homage to the Holy Cross referred to in the vernacular as Mahal Na Poong Santa Cruz. The name Subli is derived from two Tagalog words “subsub” (stooped or in a crouching position) and “bali” (broken). Thus the men dancers are in trunk-forward-bend position throughout the dance. They seem to be lame and crooked.
Sayaw Sa Obando	Obando, Bulacan		Prevalent of the provincial town of Bulakan, especially in its parts, Malabon and Navotas—childless women make a pilgrimage to Obando. A festive event is held in honor of Santa Clara (Saint Claire), patron saint of the childless. It is said that women who wish to have children should participate in the Obando dance, and soon after Santa Clara will grant their wish.
Cariñosa			This flirtatious dance is known throughout the Philippines. Cariñosa means affectionate, lovable, or amiable. With a fan or handkerchief, the dancers go through hide-and-seek movements and other flirting acts expressing tender feelings for one another. There are many versions of this dance, but the hide-and-seek movements are common in all.
Kuratsa			This dance was very popular throughout the country during the Spanish regime. It was one of the liveliest and best liked dances. Different regions have their own version of this dance, being found in the Ilocos and Bicol regions. The one performed today is the Visayan version from Leyte. This dance commands a sense of improvisation which mimics a young playful couple’s attempt to get each other’s attention. It is performed in a moderate waltz style.
Pandanggo Sa Ilaw	Lubang Island, Mindoro, Visayas		The term pandanggo comes from the Spanish word fandango, which is a dance, of grace and balance, characterized by lively steps and clapping that varies in rhythm in 3/4 time. This particular pandanggo involves the presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand.

Impact of Societal Functions to Choreography

Explanation

Dance Over the Years

Tinikling

Pre Colonialism

They danced to appease the gods, to curry favor from powerful spirits, to celebrate a hunt or harvest, to mimic the exotic life forms around them. They danced their stories and their shamanic rituals, their rites of passage and their remembered legends and history.

Various tribes were scattered across the more than 7,000 islands, each with its own unique traditions and dances. The Igorot tribes lived in the mountains of Luzon; a handful of these tribes still reside in the mountains, having successfully resisted Spanish colonization. Many of the dances have been handed down through the generations. Dance expresses this tribe's love of nature and gratitude to the gods. To imitate the wonders of nature, dancers often swoop their arms like birds and stomp their feet to represent the rumbling of the Earth.

Spanish Colonialism

Nearly 400 years of Spanish rule left an unremovable mark on the Philippines. Spain brought with them all aspects of their culture to the Islands. This includes the Catholic faith, clothing, and dance. The barong tagalog and the terno are Philippine interpretations of Spanish dress made to fit the humid climate of the Philippines. Aside from creating their own versions of European fashion, Philippine aristocrats created Filipino adaptations of European dance as well. These include jotas, fandanggos, mazurkas and waltzes that were danced by young socialites to the stringed music of the rondalla.

Spain restructured the Filipino’s lives in terms of politics, economics, religion and culture. This hispanization pervaded even the musical and choreographic practices of the people. Dances took on the tempo and temper of the European forms. For example, the noted Tinikling (which has had some Southeast Asian beginnings) and the Itik-itik (rustic and imitative like the other dances) acquired the tempo of the jota and the polka. Down to the research of Francisca Reyes Aquino, dances that did not have Western harmony were provided melodic accessibility, as in Pandanggo sa Ilaw and Subli. Aside from modifying ritual, occupational and imitative dances, the Spaniards brought in their own dances. The most popular was the jota, later taking on numerous regional variations. Another was the fandango that was re-styled as pandanggo — a dance that was once prescribed in Spain by Rome, it rivaled the jota in popularity. A step so common in many dances is the waltz, such as that found in the Cariñosa, Sayaw Santa Isabel, etc. In that way, the blase proliferated in dances for religious feasts, wedding and other social occasions. Still others were the paseo and the pateado (from zapateado). (https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/dance/philippine-dance-in-the-spanish-period/)

During the Spanish regime, dancing played an important part in the social activity of the people. Among the Christianized Filipino groups, the kuomintang was the oldest dance and song. It was pantomimed song and dance. The Pampangois another dance, characterized by the movements of the lion and clapping of the hands. These dances were set aside with the coming of the Spaniards, but were later revived as new dances such as the fandango, lanceros, rigodon, carinosa and curacha were introduced by the Spaniards. The folk dances of today were adaptations of the old native dances.

American Colonialism

Inevitably, the Americans’ entry into the country brought with it their cosmopolitan and commercial culture. Their Black-influenced music and dances appealed to the terpsichorean bent of the Filipinos. Already schooled in the zarzuela, they found fascination in the vaudeville (later called the stage-show) which is a mix of the theatrical, minstrel and circus acts that attracted both the elite and the masses. The cakewalk, buck-and-wing, skirt-dance, clog, tap and soft-shoe were performed in the zarzuela theaters, later with the cinema shows. Social dances also became part of the repertoire on stage, such as the Charleston, foxtrot, big apple, one-step, slow-drag, the Latin-influenced tango, rumba, samba, mambo and cha-cha. (https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/dance/philippine-dance-in-the-american-period/)

With improved transportation, the Philippines became part of the big international circuit. Filipinos increasingly experienced the ballet. In 1901, the Lilliputians graced the Zorilla with “ballet girls”. The Japanese Infantile Company brought a “Japanese ballet” to Teatro Oriental. In 1902, the Baroufski Imperial Russian Circus advertised 25 “ballet beauties” in a “mammoth production.” (https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/dance/philippine-dance-in-the-american-period/)

Dance influences

Another presentation of dances is through contrasting the influences of Southeast and mainland Asia with the influences of the Spanish and Americans.

• Southeast Asian Influence
• Mainland Asian Influence
• Spanish Influences
• American Influences

Time periods

The time period of each Filipino dance must also be taken into consideration. As culture is constantly evolving, dances often change along with the times. Philippine dances can be categorized in these time periods:

• Pre-colonial
• Spanish Colonial
• American Period
• Modern and Post-Modern

Contemporary outlook

As the popularity of Filipino Cultural Nights and the Folk Arts groups grow, so too does the need to create and recreate Philippine dance forms. Among these contemporary issues are the ideas of bringing the village dance into the stage, the connections among the various Philippine dances, the ownership of world-influence, and the dances of Filipinos from the diaspora.

• From the Village to Stage
• Interconnection of Philippine Dance
• Filipinizing world influences
• Dances from the Diaspora

See also

• Bayanihan Philippine National Folk Dance Company
• Pangalay
• Singkil
• The Vens

References

http://www.kaloobdance.com/LUMAD_SUITE.html

http://nlpdl.nlp.gov.ph:81/CC01/NLP00VM052mcd/v6/v1.pdf

http://www.hiyas.org/lumad.html

http://www.seasite.niu.edu/tagalog/modules/modules/Dances/dances_of_the_philippine_country.htm

http://gwhs-stg02.i.gov.ph/~s2nccagovph/subcommissions/subcommission-on-the-arts-sca/dance/philippine-contemporary-dance/

https://dance.lovetoknow.com/List_of_Philippine_Folk_Dance

http://www.seasite.niu.edu/tagalog/cynthia/dances/tribal_dances.htm

http://www.seasite.niu.edu/tagalog/cynthia/dances/muslim_mindanao_dances.htm

http://www.seasite.niu.edu/tagalog/cynthia/philippine_dances_cordillera.htm

http://www.kaloobdance.com/TBoli/Pages/Kadal_Blidah.html

http://www.kaloobdance.com/Bangkakawan.html

http://www.kaloobdance.com/Maral_Solanay.html

http://www.kaloobdance.com/Palawanon/Pages/Basal_Banal.html

http://www.kaloobdance.com/Palivuhoy.html

http://www.kaloobdance.com/Sabay_Pengalay.html

http://www.kaloobdance.com/Siring.html

http://www.kaloobdance.com/Sout.html

http://www.kaloobdance.com/Talek.html

http://www.kaloobdance.com/TBoli/Pages/Kadal_Unok.html

http://www.kaloobdance.com/Tagbanua/Pages/Balisangkad.html

http://www.kaloobdance.com/Tagbanua/Pages/Pagdiwata.html

http://www.kaloobdance.com/Tagbanua/Pages/Sagayan.html

http://www.kaloobdance.com/Tagbanua/Pages/Soryano.html

http://www.kaloobdance.com/Tagbanua/Pages/Tambol.html