Learning Module 5
Classifications of Dances found in the Philippines
(Dance of the Countryside)
Intended Learning Outcomes:
Understand and inculcate the different dances Spanish/European/Western.
Recognize the different folk dances in Spanish/European/Western.
Administer the different steps of the dances in Spanish/European/Western.
Dances of the Philippine Countryside
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.
Pandanggo Sa Ilaw
This popular dance of grace and balance comes from Lubang
Island, Mindoro in the Visayas region. The term pandanggo comes from the Spanish
word fandango, which is a dance
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.
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.
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
This 'Visayan' dance was found in Leyte where this dance
originated. 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.
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.
Sayaw Sa Obando
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.
Subli
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. It originated some
three hundred years ago in the barrio of Dingin, Alitagtag,
Batangas.
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 thoughout the
dance. They seem to be lame and crooked.
Sakuting
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. The spectators give the
dancers aguinaldos, or gifts of money or refreshments especially
prepared for Christmas.
Tiklos
For centuries tiklos has been a very important factor in the social
life of the peasants of 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. 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 ettiquette 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.
