Local and indigenous philippine folk dance

3. DANCE

5. 1.Use of human body
2.Extends through time
3.Exist in space
4.Exist in force
5.Accompanied by
rhythm
6.Serves to
communicate
7.Has movement and
style

9.  In Bukidnon there are the hinaklaran (offering)
festival and the ritual of the three datu. In the first
there is chanting and dancing around an altar.
The women dance the well-known dugso while a
baylan ceremoniously chants her own invocation.
 The ritual can go on for some six hours to assure
the blessings of the spirits, a good harvest or
good fortune. Also for everyone’s well-being, the
rite of the three Kaamulan datu (chieftain) enacts
a regional unity where the datu offer chicken of
various colors, pouring their blood beside
offertory water and coins.

10. Ethnic dance

11. The Aeta of Zambales stage the
anituan to drive away the evil spirits
that cause sickness. The patient or
patients are covered with a red cloth
and are surrounded by the shaman
and the patient’s relatives. They
threaten the spirits to go away with
their bows and arrows, spears and
sticks.

12. The Occupational Dances
Life in the ethnic communities is
characterized by a variety of
activities relating to livelihood or
defense. These activities are joyfully
celebrated in mime and dance. Most
common to the varied ethnic
cultures of the Philippines is the
transformation of the rice cycle into
dance.

13. Countries in the world have their
own cultures made more
colorful, beautiful and vibrant
because of Folk Dances that are
reflection of who they are.

15. o meaning the loving or affectionate one
o 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.

16.  This dance sometimes has many names and
different versions. Most common is this dance
depicts the hunting ritual performed before a
tribal war. The tribes men would go out and
look up and watch for the scared Idaw bird.
Which is said to lead the tribe to victory. Also
look at the clothing, Philippines being a very
hot climate, plus the use of as little material as
possible, the traditional clothing was not made
to cover much of the body....

17. This dance displays the Igorot women on
their way to the river to fetch the daily
water supply for their families. It shows
the skill and strength of the women as
they would carry heavy laiden clay pots
(Banga) full of water. Their grace and
agility while balancing the heavy pots,
sometimes stacks 5 high, is a testament
of the Filipino and how hardships
become a art form and talent.

18. This dance displays the Igorot women on
their way to the river to fetch the daily
water supply for their families. It shows
the skill and strength of the women as
they would carry heavy laiden clay pots
(Banga) full of water. Their grace and
agility while balancing the heavy pots,
sometimes stacks 5 high.

19.  The family is the basic structure of family life
among the Itneg / Tinggian people. The caring
for the Children is shared by both the mother
and father. While the men are clearing the
fields, breaking the soil with bamboo and their
feet, the women watch the children. Soon as
the men are done, they take care of the children
while the women do back breaking work.

20. The Binasuan is an entertaining dance
that is usually performed at festive social
occasions like weddings and birthdays.
Dancers carefully balance three half-
filled glasses of rice wine on their heads
and hands as they gracefully spin and roll
on the ground. The dance originated in
Bayambang in the Pangasinan province.

21. Originally performed in Biñan, Laguna
as a mock-war dance that demonstrates a
fight between the Moros and the
Christians over the prized latik or
coconut meat during the Spanish rule.
This dance is also shown to pay tribute to
the town’s patron saint, San Isidro
Labrador.

22. It has a four-part performance such as the
palipasan and the baligtaran showing
the intense battle, the paseo and the
escaramusa- the reconciliation.
Moro dancers wear read trousers while
the Christian dancers show up in blue.
All dancers are male; with harnesses of
coconut shells attached on their chests,
backs, thighs and hips

23.  The Kuratsa is described as a dance of
courtship and is often performed at weddings
and other social occasions. The dance has three
parts. The couple first performs a waltz. In the
second part, the music sets a faster pace as the
man pursues the woman around the dance floor
in a chase. To finish, the music becomes even
faster as the man wins over the woman with his
mating dance.

24. This dance is native to the barrio of
Pangapisan, Lingayen, Pangasinan,
and demands skill from its
performers who must dance on top
of a bench roughly six inches wide.

25. 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 stacatto-inflected
music suggests a strong Chinese influence.
The dance is customarily performed during
Christmas at the town plaza, or from the
house-to-house.

26. The
Visayas
Region

27.  Tinikling is considered the national folkdance with
a pair of dancers hopping between two bamboo
poles held just above the ground and struck
together in time to music. Originated from Leyte
Province, this dance is in fact a mimic movement
of “tikling birds” hopping over trees, grass stems
or over bamboo traps set by farmers. Dancers
perform this dance with remarkable grace and
speed jumping between bamboo poles.

28. Mazurka Boholana is a Spanish-inspired
ballroom dance from the Bohol province of
the Philippines. Although the mazurka is the
Polish national dance, it was wildly popular
throughout Europe in the 19th century and
even in colonized lands overseas. The
Philippine dance is ordinarily performed by
men and women partners.

29. The Polkabal shows some European
influence in its steps. The dance is
composed of nine different steps which
include various movements such as:
fluttering, stepping heel-to-toe, a
reenactment of a bull fight, and even a
leisurely walk.

30. The
Mindanao
Region

31.  Singkil 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.

32.  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, or fans which represent
the winds that prove to be auspicious. The
dancers weave expertly through criss-crossed
bamboos.

33. Kini means the Royal Walk. Maranao
women performed this dance with
scarves. The beauty of the scarves and
the talent and grace in which it is
displayed. Shows their elite social
upbringing

34.  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. You will also see some
parts of the Sinkgil in this dance also. Another part
of this dance is also called the Muslims four
Bamboos.

35.  This is performed by a solo maiden, adorned
with fine beads and make up, long head scarf.
She would dance to win the favor of her Sultan
master. Many time the girls would dance to win
the hearts of her master or to make up for a
wrong she had done. She would give her whole
heart and soul into this performance to soften
the heart of her master to accept her...
End.