enjoy

1. Good Morning,
Class!

2. Good Afternoon,
Class!

3. PRAYER

4. CHECKING OF ATTENDANCE

5. CLASSROOM RULES
1. Listen
attentively
3. Raise your hand
before speaking
4. Be respectful
5. Collaborate
positively
2. Follow
directions
6. Ensure the
cleanliness of the
classroom

6. ACTIVITY
Blind Artist

7. MECHANICS
> Each group will select pairs of players and be given an image that
their partner will not see.
>The student with the image describes it to their partner without
showing it.
>The partner listens carefully and attempts to recreate the image
based solely on verbal descriptions.
>The recreating student must use their non-dominant hand to draw.
>Both groups will draw at the same time and will be given 1 minute to
finish the drawing.
>The winning group will be given a plus points according on how
accurate their drawing.

8. Specific Objectives:
a. Define the history and culture of Janggay.
b. Acknowlede the costumes, and instruments used in
Janggay.
c. Execute the figures/steps of the dance properly.

9. JANGGAY

10. From the Sama laut’s two traditional dance forms - igal and
Pangalay. The Badjao have evolved their own Igal Janggay,
taking its name from the metal Janggay or solakengkeng
metal fingernails made of either gold, silver, brass and
lately of aluminum and stainless steel. Igal means to dance
and pangalay the dance form shared by the Sama, Tausog
and Badjao.
Background

11. By tradition only women use the janggay nails, but some men use
them too. Inner Intensity, style, studied moves, highly articulated form
and restrained strict facial gestures characterize the Igal Janggay and
other similar dances of the Badjao. It is the most popular of all-women
dance, crossing age lines from that of grandmothers, who
undoubtedly are the best dancers, to toddlers learning their first steps
from proud mothers. The Janggay dance style is smooth hand flowing,
sometimes broken by gentle bouncing movements, raising and
dipping as knees bend and extend. Meticulous attention is given to
the placement of each finger in relation to the palms and wrist twists.
Igal Janggay, like all Badjao dances starts with the Sinalayan.
Background

12. The dance prospers into various figures of the pangalay in no
particular sequence. The dance Is basically for entertainment and
exhibition, to mark life’s milestone such as births, ear piercings,
male and female circumcision rituals, weddings and celebration of
the month of Ramadan. If the wedding is consummated in a lepa
or houseboat, female quests stand in Ine in the “bride boat’
performing igal janggay. The bride performs her janqgay soon
after music comes from a band playing the agung gongs, a
crudely fashioned two-faced drum and bamboo xylophone called
gabbang. Janggay is dance with both female pairs.
Background

13. Costume
Top: (Allabingband/Sablay/Badjuh) Topper with any color with ¾
loose sleeves in silk or rich brocade, similar to the bajo kurong of
Malysia. Worn tucked out.
Pants: (Sawwal Kanchu) Loose pajama-type of the same top
material. It’s very loose on the waist, but kept in place by an
overlap fold and rolled outwards. Belts are used sparingly.

14. Accessories
Patadyong – A malong tube-skirt hung on the right
shoulder crossed over the body. Used as extra accessory.
Janggay or Sulakengkeng – Metal nails
Tusok Sangglo – Metal filigree, combs and flared hair
decors usually made of brass, gold or silver.
Paper bills in sticks – Stuck on hair buns in three’s or
four’s in combination with tusok sanggol.

15. Dance Researcher : Ramon A. Obusan
Resource Person : Ramon A. Obusan
Meaning - Metal claws or fingernails
Dance Culture: Coastal Community
Place of Origin: Arena Blanco, Zamboanga del Sur
Ethnolinguistic Group: Bajao
Classification: Entertainment
Performers: Women

16. GABBANG
DAMBRA
AGUNG
ENSEMBLE

17. LET’S DANCE

18. Rhythm A
ENTRANCE
(a) Dancers will enter from one side of the stage, one behind
the other. With R forearm bent in front at chest level, palm
facing front and L arm down at side, palm facing down at
finger tips pointing forward, take 36 walking steps
alternately. They move in serpentines to any direction ending
up in their proper places side by side facing audience. Girl 1is
at the R side of Girl 2. (12 M)
(b) Take 12 more walking steps in place. (4 M)

19. Rhythm A
INTRODUCTION
(a) From arms in 1st position, palms up, bring them down and
open sideward to 2nd position (cts. 1,2,3) (1 M)
(b) Raise arms upward, wrist leading so that hands are close to
each other, palms facing sideward (cts. 1,2,3). (1 M)
(c) Turn hands so that palms face each other, fingers pointing
upward (ct. 1), pull hands down to chest level (cts. 2,3). (1 M)
(d) Open arms to amplified first position (cts. 1,2,3). (1 M)

20. Rhythm A
FIGURE I
Partners face audience
(a) With R foot in 3rd position in front, both feet flat on the floor,
execute the creeping movement, taking a quarter of a turn right in
place. Raise R arm overhead, wrist leading. End up with the palm
up, L arm down in front, palm up, finger tips pointing sideward
right (cts. 1,2,3). (1 M)
(b) Repeat (a) reversing position of arms (cts. 1,2,3). (1 M)
(c) Repeat (a) and (b). Finish facing front. (2 M)
(d) Repeat arm movements in (a) and (b) twice without the foot
work, with the left knee slightly flexed. End up with both hands
overhead, palms up, finger tips inward. (4 M)

21. Rhythm B(1)
FIGURE II
Partners face clockwise in an imaginary circle.
(a) Step R forward, bending knees slightly, arms in 2nd position (ct.
1), straighten knees and starting with L foot take 5 steps forward,
raising L arm upward flattering fingers (cts. 2, and 3, 4, and). (1 M)
(b) Repeat (a). (1 M)
(c) Repeat (a) and (b). Finish facing each other in a diagonal
formation. (2 M)

22. Rhythm B(1)
FIGURE III
Face partner.
(a)Twist trunk to the left and point R foot across L in front, arms
crossed in front R over L,palms down (cts. 1,2), step R sideward
right and open arm from 2nd position to 5th position, plms facing
sideward-outward (cts. 3,4). (1 M)
(b)Step L forward bending knees slightly (ct. 1), straighten knees
and take 5 steps forward (cts. 2,and,3,4,and), arms are sideward in
2nd position, palms up. Repeat (b) raising arms overhead as in (a).
(1 M)
(c)Repeat (b). Girl turns right about on the last two counts.(1 M)

23. Rhythm B(2)
FIGURE IV
Partners face each other as in Figure III
Girl 1
(a) Place R foot forward and lean slightly back, arms in reverse “T” position, palms facing
front with fingers spread out (cts. 1,2), transfer weight on R, bend trunk forward and push
arms forward, palms down (cts.3,4). (1 M)
(b) Kneel on L, half-stand on R, pulling arms to reverse “T” position, palms facing front
(cts.1,2), bend trunk forward and push arms forward (cts. 3,4). (1 M)
(c) Lean back and pull arms to reverse “T” position (cts. 1,2), bend forward and stretch L arm
backward and stretch R arm forward (cts. 3,4). (1 M)
(d) Lean back again, arms in reverse “T” position (cts. 1,2), stand up, L arm extended
backward and R arm extended forward (cts. 3,4). (1 M)
Girl 2 Stand with feet apart, R foot in front and the other in rear. (cts. 3,4)
(a) Bend trunk forward and push arms forward (cts. 1,2), lean backward and pull arms to
reverse “T” position, palms facing front (cts. 3,4). (1 M)
(b) Repeat (a) three times more. (3 M)

24. Rhythm B(2)
FIGURE V
Partners face clockwise in an imaginary circle.
(a) Starting with the R foot, take 4 walking steps forward with knees
slightly bent traveling half-way clockwise, pushing R arm forward
palms facing outward, then pull it backward while the other arm does
it in a reverse direction (cts. 1,2,3,4). (1 M)
(b) Repeat (a) finishing in proper places. (1 M)
(c) Repeat (a) and (b) three times more. Finish in one column facing
front with G1 in front of G2. (6 M)
2
1
Audience

25. Rhythm B(2)
FIGURE VI
Girl 1
(a) Step R sideward, arms obliquely sideward-downward, palms down (ct. 1), turn the hands
from the wrist downward-upward (inward kumintang) finish with the thumb and forefinger
touching each other, finger tips up like a closed lotus (ct. 2), kneel on L across R in rear (ct. 3),
raise both arms overhead, finish with palms up, finger tips toward each other (ct.4) (1 M)
(b) Stand and repeat (a) sideward left. (1 M)
(c) Repeat (a) and (b). (2 M)
Girl 2
(a) Step R sideward raising arms to obliquely upward (ct. 1) point L foot across R in rear and
turn hands from the wrist downward upward (Inward kumintang) to palms up. Fingertips
inward (ct. 2), bring arms down to obliquely downward, kumintang inward finishing with hands
in a closed lotus as in (a) of Girl 1 (cts. 3,4).
(1 M)
(b) Repeat (a) to the left. (1 M)
(c) Repeat (a) and (b). (2 M)

26. Rhythm B(2)
FIGURE VII
Same position as in Figure VI.
(a) Step R sideward (ct. 1), Girl 1 kneels on L across R in rear while Girl
2 points across R in rear. Double arm circle to sideward right and flat
fingers (cts.2,3,4,1, 2,3,4). (2 M)
(b) Repeat (a) to the left. (2 M)

27. Rhythm B(2)
FIGURE VIII
Same position as in Figure VII.
(a) Step R sideward and place R hand in front of head and L arm in
front at waist level, thumb and forefinger touching each other (cts. 1,
2), point L foot in front and open hands forcefully so that fingers
spread out (cts. 3, 4).
(1 M)
(b) Repeat (a) to the left. (1 M)
(c) Repeat (a) and (b). (2 M)
(d) Repeat all (a-c). (4 M)
Note: G2 does the movements moving little by little obliquely forward
left and finish at the left side of G1 on the first measure.

28. Rhythm B(2)
FIGURE IX
Girl 1 faces audience; Girl 2 turns R about to face away from audience,
swaying.
(a) Step R across the L in front and sway arms to the left doing half of a
figure of (cts. 1, 2), step L across R in front, turn hands and continue the
∞
figure of (cts. 3, 4). (1 M)
∞
(b) Repeat (a). (1 M)
(c) Take 8 walking steps forward, raising forearms forward at chest level,
palms facing backward (cts. 2, 3, 4, 1, 2, 3, 4). (2 M)
(d) Take 8 steps moving backward. Pull elbows backward (ct. 1), push
forward (ct. 2); repeat arm movement three times more (cts. 3, 4, 1, 2, 3, 4).
(2 M)

29. Rhythm B(2)
FIGURE X
(a) Point R foot in 3rd position in front, crossing arms in front of chest (R over L)
(ct 1), step R sideward, open arms a little sideward, palms facing back,
flattening fingers (ct 2), repeat same with L foot (cts. 3,4). (1 M)
(b) Repeat (a), but spread-out fingers on the last count (cts. 3,4). Same with the
L foot (cts. 3,4). (1 M)
(c) Take 8 walking steps turning two times clockwise in place with the arm in
reverse “T” position; fingers spread out, palms facing side out (cts. 1, 2, 3, 4, 1, 2,
3, 4). (2 M)
(d) Repeat (a) and (b) four times traveling half-way clockwise with partner every
measure. (8 M)
(e) Repeat (c). (2 M)
(f) Repeat (d). Finish in proper places. (8 M)
(g) Repeat (c). (2 M)

30. Rhythm B(2)
EXIT
Face audience
(a) Bring down hands to hip level, raise heels and at the same time
raise arms sideward upward to overhead, wrist leading. Finish with
the wrists near each other, palms facing sideward and finger tips
pointing sideward (cts. 1, 2, 3, 4). (1 M)
(b) Partners take a quarter turn to face away from each other. Step R
forward with knees slightly bent, interlocking fingers (ct. 1), straighten
knees, raise heels and take three walking steps moving forward to
opposite directions (cts. 2, 3, 4). (1 M)
(c) Take 4 steps forward with knees slightly bent. (1 M)
(d) Repeat (b) and (c) to exit. (2 M)

31. QUESTION AND ANSWER

32. QUESTIONS:
1.What is the time signature of the dance?
2.Write the costumes Janggay.
3.What are Janggay made of?
4.What are the characteristics of the Janggay
dance?
5.How does rhythm play a role in executing the
steps correctly?

33. PRACTICUM TIME

35. ASSIGNMENT
Write a reflective essay on your experience learning
the Janggay dance, including the challenges and
insights gained. Incorporate research on its cultural
significance and propose how you would teach this
dance to a younger audience, using a problem-
based learning approach.

36. THANK YOU AND GOOD BYE CLASS