This document summarizes several traditional Philippine costumes and dances that reflect the country's diverse cultural traditions: 1) Philippine costumes represent the cultural influences of early Filipinos, Spanish colonizers, Chinese immigrants, and Muslims. Traditional ensembles include the barong tagalog worn by Filipino men and dresses like the Maria Clara and baro't saya. 2) Philippine folk dances mirror the traditions of different ethnic groups. Cordillera dances like Tinikling and Singkil originated from rice terraces communities and Muslim cultures of Mindanao. Tribal dances feature costumes and customs of groups like the Kalinga, B'laan and Bukidnon. 3) These traditional costumes and dances

1. Philippine Costumes and Tradition
BAHAG
Pre-Colonial Period
Early Filipinos used bark or plain woven fabric as material for bahag. The bahag
was wrapped around the waist line.
CAMISA De CHINO
18th Century
The camisa de chino is a collarless garment with long cuffless sleeves, worn first by Indios who had to labor under tropical
heat. The shirt cut evokes its Chinese origins.
BARONG TAGALOG
19th Century
The barong tagalong has become the national Filipino costume for men, worn for all significant events.
TAPIS
Early Spanish Colonial Period
The tapis was used first by tagalong women who had to wrap a thicker material over skirts made of sheer fabric. It was
usually worn with the opening in front, and with colors that contrasted with the skirt.
BARO'T SAYA
Circa 17th Century
The baro, a collarless blouse, was influenced by the costume of statues by the Blessed Virgin brought by Spanish
missionaries. The saya was adapted from the basic lines of European skirt styles during the 1600s.
MARIA CLARA
Late 19th Century
The Maria Clara, named after Jose Rizal’s heroine in Noli Me Tangere, consists of the bell sleeved camisa, floor-length saya,
the panuelo and the tapis, or overskirt.
BALINTAWAK
1930s
The Balintawak consisted of a skirt, butterfly sleeves and a low-cut bodice. Filipinas wore the ensemble during visits to the
countryside, particularly Antipolo, Rizal, a popular summer destination for Manila residents.
TERNO
Early 20th Century
The Filipino “terno” evolved from the baro’t saya and the Maria Clara, and pertains to the matching of blouse and skirt,
forming a one-piece creation made of a homogeneous material throughout.
Barong Tagalog Costume
The Barong Tagalog, this is the official national costume of Filipino men, originated from the northern
part of the Philippines, and is originally made of jusi or pineapple cloth called “pina” (woven from
pineapple leaves). It is worn over a Chinese collarless shirt called camisa de Chino. It exhibits the loose,
long lines of its Chinese sources, the airy tropical appearance of Indo-Malay costume, the elongated
effect of Hindu dressing, and the ornamental restraint of European men's clothing.
Today, barong tagalong can come from different materials and different colors. It is usually used for
formal occasion and meetings Mestiza The Mestiza Dress is a formal dress made of expensive lace and
fabric adorned with embroideries. It is the sophisticated version of the national costume, the baro't saya
(blouse and skirt). Made more popular by former Philippine First Lady Imelda Marcos, some even called
it Imelda dress or terno. Mestiza dress is known for its elegance and butterfly sleeves. It is usually worn
for formal occasion.
Maria Clara Costume
The Maria Clara, this dress was named after a mestiza heroine of one of the novels of the Philippine
National hero Dr. Jose Rizal. Its origin was the national costume of Filipino women which is baro't
(shirt) saya (skirt). The Maria Clara gown features a floor-length paneled skirt of silk or satin and it
consists of four separate pieces: the collarless waist-length, bell sleeved camisa; the bubble-shaped,
floor-length saya; the stiff, neck-covering pañuelo; and the hip-hugging, knee length tapis, or overskirt.

2. Rural Costume
The Kimona, this dress originated from the Visayas, can be worn for everyday activities as casual dress
or for formal occasion. Its origin was the baro't (shirt) saya (skirt), the national costume for Filipino
women during the early years. A casual kimona dress is always worn with matching West Visayan wrap
around called "patadyong" as a skirt.
Cordillera Costume
The Igorot, this attire is used by the tribes in Mountain Province of The Cordillera ranges, called Igorots.
They have their own unique costume that makes them distinctive from other tribes in the Philippines.
This costume reflects their way of life, cultures, personalities, religious practices and rituals. Igorot
costume is very simple. The men wear long strips of handwoven loin cloth called "wanes". The woman
wear a kind of wrap-around skirt called "lufid".
Muslim Costume
This attire is worn by the Muslims who live in the southern part of the Philippines. It features long skirts
for the women, frequently woven with metallic threads, and shorter, wrap-around skirts for the men.
The women also frequently have overskirts and scarves draped from the shoulder. Batik design is also
common with this costumes. It shows the mix of Arab, Malaysian and Chinese. Elaborate umbrella
makes a nice fashion statement, usually used by a Muslim princess.
Malong, the malong is traditionally used as a garment by numerous tribes in the Southern Philippines
and the Sulu Archipelago. Its origin is from the ethnical group of Maranao, Maguindanao and T‟boli
located in Mindanao. Handwoven malongs are made by the weavers on a backstrap loom. Very rare
malong designs and styles can indicate the village in which the malong was made. Handwoven malongs,
which are costly- made of cotton and silk, are likely to be used only at social functions, to display the
social and economic status of the wearer. But a malong in royal colours is worn only by Maranao men
and women of royal status. The malong can also function as a skirt for both men and women, a dress, a
blanket, a bedsheet, a hammock, a prayer mat, and other purposes.
Tribal Costume
The Philippine Tribal Costumes Although the Philippines has developed a mixed culture from the
blending of foreign influences with native elements, there are still some ethnological groups whose
culture remains unadulterated. Here are some beautiful images of the Filipinos tribal costumes that still
remain as part of their traditional culture up to this day.
B'laan
The B'laan are one of the indigenous peoples of Southern Mindanao in The Philippines. They are famous
for their brassworks, beadwork and t'nalak weave. The people of these tribes wear colorful embroidered
native costumes and beadwork accessories. The women of these tribes, particularly, wear heavy brass
belts with brass 'tassels' ending in tiny brass bells that herald their approach even when they are a long
way off.
Bagobo
The Bagobo are proud people with proto Malayan features. They have ornate traditions in weaponry and
other metal arts. They are noted for their skill in producing brass articles through the ancient lost-wax
process. These people also weave abacca cloths of earth tones and make baskets that are trimmed with
beads, fibers and horse's hair.
T'boli
The T'boli distinguish themselves from other Tribal Groups by their colorful clothes, bracelets and
earrings, this tribe is famous for their complicated beadwork, wonderful woven fabrics and beautiful
brass ornaments.
Mandaya
The Mandayas are a group of non-Christian tribe, non-Islamic people living in Eastern Mindanao,
Philippines They hand down from generation to generation the art of weaving cloth from the fibers of
abaca plant, colored with root and mud dyes with intricate figures and patterns depicting the folklore
and religion of the tribe.

3. Maranaw
Typical Muslim Maranaw costumes (bottom-left photo). The attire of Maranaw prince and princess.
“Maranaw” means „people of the lake‟, referring to lands surrounding Lake Lanao. Descending from
Muslim Malays, the royal families within this tribe are a mix of Arab, Malaysian and Chinese ancestry.
They are famous for their artwork, sophisticated weaving, wood and metal craft, and their epic
literature.
Yakan
Basilan is home to the Yakan Tribes, also known as one of the finest weavers in Philippines. They are
known to weave the most intricate designs in their clothes, purses and other accessories.
Ifugao
The Ifugao, immortalized by their magnificent rice terraces; inhabit the rugged terrain of the extensive
Cordillera Mountain Ranges of Central Luzon Ifugaos have woven on looms and carved works of art from
blocks of woods. The rice terraces is a symbol of their industry that will live through the ages.
Kalinga
The Kalinga are called the “peacocks of the north” because of their attention to appearance and
dressing. Kalinga is a landlocked province of northern Cordillera, Philippines. “Kalinga” means enemy, a
name that the bordering inhabitants called this tribe because of their headhunting attacks. The name
stuck and became accepted by the natives themselves.
Gaddang o Ga'dang
The Gaddang are an indigenous people from the area of Solano, in the province of Nueva Vizcaya, in the
region of Cagayan Valley also known as region II, in the Philippine Islands. The Gaddang tribe was first
discovered by the Spaniards in the early 1600's. An early Spanish report written in 1581 identified them
as one of ten tribes in the mountains of Northern Luzon.
Bontoc
They are the people who live in the mountainous areas of Benguet, Ifugao, Mountain Province and
Kalinga- Apayao. The tribe‟s traditional clothing leaves males and females bare above the waist. But
because of modern influence, younger members of the tribe wear trousers, shirts, dresses and shoes
that lowland Filipinos usually wear samal.
Samal
The Samal are the poorest and least independent of the major Muslim groups. They serve as the "loyal
commoners" in the hierarchy of Muslim minorities. Their lives are literally over the sea, where the
villages stand on stilts above the coastal waters.
Ibaloi
The Ibaloi are the highlanders of Benguet and the city of Baguio. The Ibalois are collectively known as
“Igorot”. They traditionally live by cultivating rice and agriculture.
Aetas
The Philippines‟ aboriginal inhabitants called the Aetas provided the pattern for these rough cotton
costumes. The Aetas or Negritos are nomads, scattered among the isolated mountainous parts of central
Luzon. They are thought to be the earliest inhabitants of the Philippines.
Pulangiyen
Living in the Pulangi River headwaters in the southern part of Bukidnon, the Pulangiyen is one of the
many indigenous natives of the province.
Matigsalug
The Matigsalug are the Bukidnon groups who are found in the Tigwa-Salug Valley in San Fernando,
Bukidnon. “Matigsalug ” is a term, which means “people along the River Salug”. Their men wear short
tight-fitting pants that are of knee length and are hem and turbans for the head decorated with beads
and fringed with goat‟s/horse‟s hair.

4. Philippine Folk Dances
Philippine folk dance mirrors the culture and tradition of the Filipinos. It has also been a source of culture identify of
the people. In this diversified country, there are also great diversity of dances in different forms and dynamics that
grow out of various times, situation and experiences.
How do Philippine folk dances reflect the culture and tradition of Filipinos?
Well, Philippine folk dances are a tradition dance of the people from one generation to another. They are means of
expressing the beliefs, moods and emotions of a people, and have been the mode of communication.
CORDILLERA SUITE
Bindian is an Ibaloy dance. The Ibaloy who inhabit the southernmost mountain regions in Northern Luzon perform
victory dances to extol the bravery of the warriors of yesterday. In this version from the barrio of Kabayan, hand
movements are downward, suggesting the people's affinity with the earth. The basic step consists of a stamp by the
left foot and a light, forward movement by the right. Instrumentalists lead the line, followed by male dancers, while
the female dancers bring in the rear.
Ragragsakan Dance
CORDILLERA SUITE
Ragragsakan dance is an adaptation of a tradition in which Kalinga women gather and prapare for a budong, or
peace pact.
The Kalingga borrowed the beautiful word ragragsakan from the Ilocano, which means "merriment." The two
biggest occassions for a ragragsakan in a Kalinga village are for the homecoming of successful head takers
and the culmination of peace-pact between warring tribes. In this dance, Kalinga maidens balance labba
baskets on thier heads, wave colorful tribal blankets, and sing short salidumay songs as they snake through
the terrace dikes and skip through breaks in the path.
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.
Ragragsakan was discovered by Ramon Obusan in Lubuagan, Kalinga province among the Kalingga
people. Ragragsakan came from the ILOCANO word "ragsak" which means "happy". Ragragsakan
thus, means "merrymaking".
Banga Dance
CORDILLERA SUITE

5. Banga dance is an Igorot maidens go to the river and prepare for a marriage ceremony. They display not only their
grace and agility, but also their stamina and strength as they go about their daily task of fetching water and
balancing the banga, claypots full of water, on their heads
Uyaoy Dance
CORDILLERA SUITE
Uyaoy Dance is an Ifugao wedding festival dance accompanied by gongs and is performed by the affluent to attain
the second level of the wealthy class. Wealthy people who have performed this dance are entitled to the use of
gongs at their death.
Idaw Dance
CORDILLERA SUITE
Idaw is one of Cordillere dance. This Bontoc dance depicts a war ceremony performed by warriors of rivaling tribes.
Idaw, meaning "bird," is celebrated because it was the omen bearer of war.
MUSLIM SUITE

6. 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 of the forest. The criscrossed 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 skillfully manipulate apir, or fans which represent the winds that
prove to be auspicious. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult
and noble dance.
There are other versions of Singkil. Perhaps the version more widely performed by dance companies is the "Garden
Singkil." The story goes that the princess goes into her garden, accompanied by her slave, and plays with the
butterflies, which are represented by the fan dancers. The movements of the fans supposedly represent those of the
butterflies, as opposed to the diwatas. In another popular version, the prince uses a scarf instead of a sword.
TRIBAL SUITE
Dugso dance is a Bukidnon from northeastern Mindanao perform this dance as an entertainment for the deities, to
make them feel more comfortable during the fiesta that has been organized for them and consequently more often
to the requests of the celebrants. It was originally thought that this dance was performed only during harvest time
or upon the birth of a male heir. Women would wear colorful feathered head dresses, plaid costumes and anklets.
They would step rhythmically around a bamboo arch decorated with newly-gathered palay (rice stalks) and corn,
and their movements are emphasized by the tinkling sounds from the anklets.
TRIBAL SUITE

7. Blit B'laan is a courtship dance of the Bilaan of Davao del Sur imitating forest birds during the mating season. Two
richly-plumed male birds eye three female birds. The females scurry to safety, burying their heads under their wings
(represented by the malong, a tubular cloth), but the aggressive males follow them wherever they go.
MARIA CLARA SUITE
Aray is a dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was only spoken in the
Ermita district before the turn of the century and today is extinct. The dance itself is a flirtatious one that involves
graceful use of the pañuelo, or shawl, and tambourines. Aray means "ouch" in Tagalog.
Binatbatan Dance
RURAL SUITE

8. An occupational dance from Paoay, Ilocos Norte, Binatbatan depicts the beating of cotton pods to separate the seeds
from the fibers with the use of two sticks called batbat in the Ilocos region. Weavers in Paoay often engage
themselves in abel-making contests (abel is a cloth common among the Ilokanos). Dancers maneuver in and out of
parallel batbat sticks, each about 18 inches long. The rhythm and speed of the beating of the sticks make for a lively
and colorful display.
Pandanggo sa Ilaw Dance
Pandanngo sa Ilaw is a 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 three-four time. This particular pandanggo involves the presence of three
tinggoy, or oil lamps, balanced on the head and the back of each hand.
Lapay Bantigue Dance
Like many small islands, Bantigue in Masbate rely on the sea to supply fish to greater parts of the Bicol Region.
Each dawn, Bantigue village awaits the arrival of boats with their catch. Gathered on the beach with the people are
numerous herons called "lapay" flying overhead or moving around waiting for spare fish catch. To while away their
time, people turn their attention to the birds, shooing them or imitating their flight, swoops, dives and glides. This
playful frolicking started the first steps of a spontaneous dance. Music was brought in later to lend order and form.
Itik-Itik Dance

9. At one baptismal party in the Surigao del Norte province, a young lady named Kanang (the nickname for Cayetana),
considered the best dancer and singer of her time, was asked to dance the Sibay. She became so enthusiastic and
spirited during the performance that she began to improvise movements and steps similar to the movements of itik,
the duck, as it walks with short, choppy steps and splashes water on its back while calling to its mate. The people
liked the dance so much that they all imitated her. There are six separate foot sequences in the series of Itik-Itik
steps.
Maglalatik Dance
Maglalatik is a mock-war dance, originating from the Spanish Regime, depicts a fight between the Moros and the
Christians over the prized latik, or coconut meat residue. This dance, originally performed in Biñan, Laguna, is also
performed as a tribute to the patron saint of farmers, San Isidro de Labrador. Maglalatik is a four-part performance:
the palipasan and the baligtaran showing the intense combat, and the paseo and the escaramusa, the reconciliation.
The Moros of this dance usually wear red trousers, while the Christians don blue trousers. All of the men use
harnesses of coconut shells positioned on their backs, chests, hips, and thighs.
Philippine Folk Dances Guide Questions:
1. Why dance?
2. What are the dances that belong to Rural Maria Clara, Cordillera, Tribal and and Muslim ?
3. Compare and Contrast Rural, and Maria Clara? Cordillera and Tribal? Muslim and Maria Clara?
4. Describe the choreography used in each suite?
5. What are the common formations used in the dance?

10. 6. Differentiate the expressions of each suite.
7. Which of those dances that shows courtship?
8. Which of the suite you would like to perform? Why?
9. If you are going to choose one of the dances to perform, what would that be and why?
10. Having a film showing about Philippine Folk Dances, does it useful and valuable to you? Why or Why not?
Physical Education: Journal Entry
Friday, August 05, 2011 | Labels: Journal Entry, Physical Education, UbD
Have a journal notebook and answer the following questions:
Physical Education - Journal Entry
Entry#1
 How can you be active enough to have a healthy life?
Entry#2
 Why is it important to develop a regular physical activity and not just use one developed for
someone?
Entry#3
 Why is it necessary to periodically reevaluate your level of fitness?
Entry#4
 why it is important for people to engage in a physical activity?
Entry#5
 Why is it important to be physically fit?
Entry#6
 Create a simple fitness dance routine
 How can one improve and sustain the desired level of physical fitness?
Entry#7
 Write your fitness plan
Entry#8
 What does a physically fit person look like?
A Dance Presentation
Monday, February 28, 2011 | Labels: Dance, Info., Physical Education, Rubrics, Tips, UbD
Instructional Activity with UbD as its framework
Activity 1: Let’s Dance… A Dance Presentation
This activity shall engage the students to master the basic steps through a creation of a simple routine using the
learned steps and movements. Their performance shall be assessed using the criteria on correct, execution, form,
and coordination.
Instruction:
1. groups into 12 to 18 students per group.
2. choose leader and committee to prepare all the necessary materials, props, costume, and
music needed for the mini-folk dance production.
3. review and practice the whole dance of their groups.
4. use the elements of movement, space, and choreography to make presentations creative,
artistic and unique.
5. use improvised costume, props, and accessories.
6. the following criteria/rubrics

11. Rubrics on Dance Presentation:
 Performance
 Choreography
 Costume and Props
 Audience Impact
Rating Score
Criteria/Rubrics:
Performance
(mastery of the steps, showmanship, dynamism, projection, 50%
grace and poise, timing and coordination)
Choreography
(blocking, transition from figure to another, formation, floor 30%
pattern, alignment)
Costume and Props
15%
(authenticity and usefulness)
Audience Impact
5%
(reaction and responses of the audience)
Total 100%
Rubics in Physical Education for a Dance Presentation
Rubrics (Criteria) in Dance Presentation
Folk Dance
Performance--------------40%
(mastery of the steps, showmanship, dynamism, projection
grace and poise, timing and coordination)
Choreography-------------30%
(blocking, transition from figure to another, formation,
floor pattern, alignment)
Costume and Props--------25%
(authenticity and usefulness)
Audience Impact----------5%
-------------
Total 100%
Portfolio Contents
Tuesday, March 08, 2011 | Labels: Games and Activity, Info., Project, Rubrics, Students Presentation
What are the items to prepare in your portfolio?
This work should include the following:
1. Title for your portfolio (name of subject, group name and group number)
2. Checklist (lists of names, and activities)
3. Personal Inventory (Personal data)
4. Sample Works/Activities
5. Procedures
6. Project Plan
7. Projects (photos if you have)
8. Rubrics/Criteria (rating scale)
9. Test Papers
10. Reflection (learnings)
• Music
• Art
• Physical Education
• Health

12. Dance Reflection
Tuesday, March 01, 2011 | Labels: Info., Rubrics, Students Presentation, Tips, UbD
Instructional Activity with UbD as its framework
Reflective Guide Questions:
Answer the following questions after their performances:
1. Were you satisfied with your performance in the culminating activity?
2. What difficulties did you encounter preparing for the dance presentation?
3. What did you do to overcome your difficulties?
IDUDU
Idudu- Abra, Cordillera A tribal dance. This dance stages a common family life in the Itneg or Tinguian society. It
illustrates the family as the main foundation of the tribe’s community. Several traits of an ordinary family are shown. It
depicts a father plowing the field while the mother caring for the children. But as soon as the father finishes work, the
mother takes over on planting, sowing and all the remaining chores to do in the field. At this time the father is left to take
care of the kids. During the dance a Local singer breaks into an Idudu or lullaby to put the baby to sleep. Idudu, a dance
taken from Idudu lullaby, obviously portrays the different roles in a Tinguian family.