The document provides information about traditional and ethnic dances in the Philippines. It discusses that ethnic dances are still performed today as they are integral to the beliefs and social systems of ethnic Filipino groups. It notes that according to Basilio Esteban Villaruz, ethnic dances are ancient in origin but still contemporary. The document then provides descriptions of various ethnic dances from different regions of the Philippines, including details on the instrumentation, costumes, and cultural significance. It explains that ethnic dances often imitate nature and wildlife and are performed for rituals, celebrations, and other important events in the community.

1. TRADITIONAL DANCE
(FOLK AND ETHICS)

2. •Rites and dances
• -Are still being performed to this day because they serve the
beliefs and social systems of the ethnic Filipino.
• -These rites are revivified by action and movements, and
by the motives and spirits that inspire or inquire.
• -According to Basilio Esteban Villaruz, ethnic dance is
ancient in origin but contemporaneous.
• -Many of this dances have changed through time, but much
of what it is are still alive in all color and rhythm, in many
modes and observances.

3. WHAT IS ETHNICS?

4. - According to Basilio Esteban Villaruz , ethnic
dance is ancient in origin but
contemporaneous. The forms and
functions are many, performed by a
variety of ethnic groups over the
7,107 islands. Many those dances
have changed through time, but much
of what it is are still alive in all color
and rhythm, in many modes and
observances.

5. ETHNIC DANCE
• -are found among the ethnolinguistic groups scattered all
over the Philippine islands, who was been substantially
Westernized, either Spain or United States.
• -These dances, which are integral community’s way of life,
are: the ritual dance, which connect the material world to the
spiritual; the lifecycle dances, which celebrate an individual’s
birth, baptism, courtship, wedding and demise; and the
occupational dances, which transform defense and livelihood
activities to celebratory performances.

6. • At the base of ethnics dance are those that imitate
nature and life while at the social core are performed
rituals that keep an ethnolinguistic group( or a
convergence of several) which is spirited and
cohesive. Dancing as such is a form of survival as
much as it is spiritual and social expression.
• With islands of mountains, hill and plains, and
kilometric seashores that serve as haven for many
straits and seas, the Philippines is veritably an aviary
and aquarium.

7. •Many birds and fowls easily became the
inspiration for the various ethnics dances
– from the more familiar tikling (adept
rice- preying birds interpreted into
Tinikling ), itik ( ducks, into Itik – Itik ),
kalapati ( doves , into Kalapati and
Sinalampati ) and kilingkingan ( swift,
clicking birds, into a dance named after
them).

8. •Aquatic life like fish and crabs, and the
exotic squirrels, snakes, monkeys and
fireflies also found their way into the
choreography of various ethnics dances.
Such dances enliven the games and feasts
of the people from those of the simple
Negrito or Aeta to that of richly dressed up
Maranaw, Maguindanao, Bagobo, Manobo,
T’boli of Mindanao and Tausug and
Badjaw of Sulu.

9. •This latter groups perform a panoply of dances
that also show off their musical skill ( playing
the Kulintang gongs, bamboo xylophone,
gabbang, boat-shaped guitar haglong, carved
jaws harp kubing, and various drums like the
goblet-shaped dabakan), and their ornate
clothes and ornamentation ( which are
sometimes also musical in design like chiming
bells). All these show a zest for life and
developed habitation in chants,songs, dances
and music-making.

10. KULINTANGGONGS

11. BAMBOO
XYLOPHONE
OR GABBANG

12. •BOAT- SHAPED
GUITAR HAPLONG

13. CARVED
JAWS
HARP
KUBING

14. VARIOUS DRUMS LIKE THE
GABLET-SHAPED
DABAKAN

15. •Many old rituals are still observed, often a
composite of expressive forms and religious
orientations. The people fear and revere the spirits
that dwell in nature( diwatas ) including
ancestors ( anitos ). a community gathers
around a babaylan ( shaman ) who officiates at
rituals. They honor these spirits, ask for their
blessings at plantings or harvest time, at birth or at
dying, and with pleading deflectan ill that may
befall a child, or any person.

16. •Distinct is the Pagdiwata of the Tagbanwa of
Palawan which is a thanksgiving ritual and is linked
with harvest time and full-moon. A respected
babaylan is endowed with an “ aura of magic-
religious potential” ( Robert Fox, 1982 ). Before an
altar laden with offerings, she dances armed with a
hood, palaspas ( fronds), kris or dagger, to the
accompaniment of gongs. Dancing or swaying in a
swing, she goes into a trance to commune with a
spirits, specially the one called Maguindusa.

17. •Another such ritual is done in the open field. The
Subanons of Zamboanga set up a platform
above ground, centered around a long pole
(pathaw) that digs like pestle into a log (dulugan)
that serves as a resonating mortar from below.
On such a height, they dance the buklog that is
also officiated by a Babaylan to address the
spirits. In their epic Sundayo, the people
bounces up and down and around to sound out
a communal call to the gods and ancestors.

18. • Other ethnic groups dance the rituals of the Dugso of Bukidnon, the Anito
Baylan of the Mandaya , the Bawi of the Itneg and the curative Anituan of the
Negrito of Luzon. The Manobo of Bagobo initiate their brave warriors by
cleansing them in Gin-um. The headhunter of the Kalinga or Apayao
celebrate manhood or heroism through dancing.
• The people’s life-cycle is also danced out: blessing a child among the Bago (
an Itneg group) is done in the Gabbok, where officiating mandadawak (the
north’s babaylan )dances; the coming of age of the girl is dramatized in the
Pandamgo of the Matigsalug ( culminating in the deathly combat between
suitors); the Pangalay and Lunsay dances of the Tausug and Jama Mapum
exhibits a slow spectacle or a game ; the Ifugao’s Talip is a courtship dance
that approximates those of the fowls; marriages are always with dances as
the Yakan’s Pagkawin, Bagobo’s Kasal sa Banig and Pagasawa-uy of the
Matigsalug.

19. • In the Idudo, the Itneg men raise up their babies with singing and dancing,
while their woman till the fields. A musical log called udol of the Tagkaolo is
beaten and around it they dance to call on the dead spirits to come home
from a distance or battle. Likewise, works in the field to plant, harvest, or
even fishing and hunting, have also been adopted into various
choreographies.
• Significantly, ethnic dance has also been a resourse for contemporary
ballets. These have inspired National Artist Leonor Orosa Goquinco and
Lucrecia Reyes Urtula, Alice Reyes, Tony Fabella, Basilio, Agnes Locsin,
Denisa Reyes, Kristin Jackson and many more to stage their folkloric or
modern ballets. Either in its pristine or translated forms, ethnic dance still
forms part of the ritual, social and theatrical fabric of Filipinos today.

20. • Here are the lists of some of the
various folk/ethnic dance in our
country:
• CARINOSA
• ALITAPTAP
• PANGDANGGO SA ILAW
• SALAKOT
• SINGKIL
• ITIK-ITIK
• BINASUAN
• MAGLALATIK
• LA JOTA MONCADENA
• POLKABAL
• PANTOMINA
• IDUDU
• KASANDUAYAN
• BLIT B’LAAN
• PANDERETAS
• SINAKIKI
• KALATONG
• ALCAMFOR
• JOTA QUIRINO
• PUTUNGAN

21. • PASIKAT NA BASO
• PISTA
• JANGGAY
• JOTA CABANGAN
• ZAMBOANGA
• MANANG BIDAY
• KATAKA- TAKA
• DANZA
• BANGA
• RAGSAKSAKAN
• PANGALAY
• SUBLI
• PARU-PARONG BUKID
• PANDANGGO SA BULIG
• LAWISWIS KAWAYAN
• TINIKLING
• TIKLOS
• BAKYA
• MAGKASUYO
• SAYAW SA BANGKO
• PANDANGGO OASIWAS
• KURATSA
• SUTRTIDO
• HABANERA BOTOLENA
• BENDIAN
• UYAOY

22. • MAGLANGKA
• MANOBO
• KUMINTANG
• SANTA CLARA
• PASODOBLE
• POLKA SA PLAZA
• MALAGUENA
• KINARANZA
• PANURONG-SURONG
• PASIGIN
• TUTUP
• LERON LERON SINTA
• SARONG BANGGI
• LULAY
• ABARURAY
• IDAW
• KINIKINI
• ASIK
• KAPPA MALONG-MALONG
• SAYAW PANASAHAN
• DUWAWANG MALIN AWA
• ATIN CU PUNG SINGSING

23. FUNDAMENTAL POSITION OF
ARMS

24. 1st POSITION
- Bend both arms at chest level.
Elbow rounded, fingers slightly
pointing downward.
ARMS POSITION
2nd POSITION
-Open both arms sideward,elbows rounded
finger slightly pointing downward.

25. • 4th POSITION
• Raise the left arm
upward, right arm in
front.
• 3rd POSITION
• Place the right arm
sideward Elbow slightly
bent.

26. 4th POSITION
Raise both arms upward
elbows rounded.
5th Position
Raise both arms upward elbows
Rounded.

27. FUNDAMENTAL POSITION
OF FEET

29. OBJECTIVES OF THE PHILIPPINES FOLK
DANCES
1. To foster patriotism and nationalism through the study of our dances.
2. To arouse better appreciation of the Philippine music and folk dances
3. To provide, through dancing, a healthful form of relaxation and recreation.
4. To develop a graceful and rhythmic coordination of body movements that will
improve posture.
5. To preserve the posterity, folk dance and music indigenous to the different regions
of the philippines
6. To demonstrate the growth of filipino culture through the evolution of the philippine
dances.

30. DEFINITONS OF FOLK DANCES
1. Folk dance are traditional dances of a country which were evolved naturally and
spontaneously in connection with everyday activities and experiences of the
people who developed them.
2. Folk dance is the heartbeat of the people.
3. Folk dances are traditional social expressions of the ideals, meres, feelings, and
thoughts of a people or group of people through body movement.
4. Dancing is the outburst of people’s feeling.

31. VALUES OF FOLK DANCING
1. Physiological and neuro-muscular development of the organic system of the body.
2. Cultural depiction of the Filipino people.
3. Social and recreational

32. FACTORS AFFECTING FOLK DANCES
1. Geographical
2. Economic condition
3. Climatic condition
4. Customs and traditions

33. CLASSIFICATION OF PHILIPPINE FOLK DANCES
I. General Classification
A. Geographical extent of origin
1. National Dances – found throughout the island with little or no
modification.
Examples: RIGODON
CARINOSA
JOTA
BALITAW

34. • 2. Local dances – found in certain localities.
Examples: TINIKLING - LEYTE
MAGLALATIK - BINYANG
ESPERANSA - NABUA
SUBLI - BATANGAS
BINIGANBIGAT - ABRA

35. • B. Nature
1. Occupational – depicting action of certain occupation, Industry or manual labor.
Example: Panting Harvesting
Pounding Winnowing
Pabric Mananguete
2. Religious or Ceremonial- performed in connection with religious vows and
ceremonies.
Examples: Dugsu Sua- sua
Putung Santa Clarang pinong-pino

36. • 3. Comic dances- depicting funny movements for entertainment.
Examples: kimbo-kimbo Makongo
Kinoton
4. Wedding dances- performed during wedding feast
ExampleS: Panasahan
5. Game dance- with play elements (dance mixers)
Examples: Lubi-lubi
Pabo
6. Courtship dances- depicting lovemaking
Examples: He le- hele bago quiere Maramion
Tadek Daling- daling

37. • 7. Festival dance- suitable for special occasion or any social gatherings.
Examples: Pandango Habanera
Jota Surtido
8. War dance- showing imaginary combat or duel.
Examples: Sagayan Palo-palo
C. Movements
1. Active- with fast energetic movement
Examples: Tinikling Sakuting
Maglalatik Polkabal
2. Moderate
Examples: Carinosa Habanera
Tagala Purpuri
3. Slow
Examples: Pasakat Tiliday
Amoroso Kundiman

38. • 4. Slow and Fast
Examples : Putritos Habanera
Ba-ingles Alcomflor
D. Formation
1. Square or Qadrille
Examples: Rigodon
Los Bailes De Ayer
2. Long formation
Examples: Lulay
Sakuting
3. Set – consisting of two or more pairs as a unit. Partners facing each other or standing side by side.
Examples: Binadyong Kakawati
Haplik

39. II. Special Classification
A. Dance with songs
Example; Aburay Rogelia
Manang biday Lawiswis kawayan
B. Old ballroom dances
Examples; Polka Chotis
Mazurka Balse
C. Dance of combination rhythm
Examples; Surtido Los Bailes de Ayer

40. 1.In general, dancers stand apart.
2.There is little to no body contact.
3.Most of the dancers are done by pairs or couples.
4.Hand movements play an important part.
5.Most dancers are long formation.
6.Most dancers begin and end with “saludo”
7.Dancers from the lowland have more foreign elements
than those found in the highland.
8.War dances are found among non-Christian tribes.
Characteristics of Philippine
Folk Dances :

41. Carinosa

42. 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.
Cariñosa

43. History of Cariñosa
> The cariñosa is a popular folk dance that was introduced to
the country by the Spaniards when they arrived in the 16th
century. It belongs to the Maria Clara suite of Philippine folk
dances. These are so named in honour of Maria Clara, who
was the main character in Jose Rizal’s novel Noli Me Tangere,
('Don’t Touch Me’), about the colonisation of the Philippines by
the Spanish. In it, Maria Clara is portrayed as a noble and
loyal woman, who after the publication of the novel in the
19th century became the female symbol of virtue for
Philippina women.

44. >Cariñosa was introduced to the country by Spanish colonizers. It is
believed that Panay Island, located in the Visayan Islands group was the
original home of the cariñosa. The word Cariñosa is from a Spanish word
which literally means "she that is loving" (the verb ending indicates it refers
to a woman). As such, it is a slow dance where a man and a woman dance
together. It’s style bears resemblance to a bolero or a waltz. The Spanish
first arrived on the island in 1569. The dance soon spread around the
Philippines, giving rise to different versions in different regions. In Bicol,
two handkerchiefs are used and both dancers point their feet forward as
their hands go up at the same time. In Visayan, the couple goes as far as
combing each other's hair. The hide and seek movements are common to
all the versions. One variation performed at weddings involved the man
dancing around the woman until she consents to dance with him.
Origin of Cariñosa

45. Other Scopes Of Dance:
1.Ballroom dance
2.Character dance (tap dance)
3.Classical dance (ballet)
4.Folk dance
5.Modern dance
6.Modern jazz

46. Kinds or phases of dances
1. Folk Dance
> The traditional dance of an indigenous society showing the cultural characteristic of a specific people of a
given time and place.
Folk dance is vivid, deals with traditions of the past, through which a multitude of national characteristics in
music steps customes are preserve.
2.Ethnic Dance
> Reflects the peculiar characteristic of a specific tribes specially their cultural, racial, religious and
traditional similarities. The movement pattern are not specific, this dance is seldom classified as a
folk dance.
3. National Dance
> Refers to the type of folk dance found most widely done through specific country. Examples are
England’s Virginia Reel, Italy’s Tarantella, Scotland’s Highland Fling, or Philippines’ Tinikling and
Cariñosa.

47. 4. Natural Dance
> Refers to the type of dance, which makes use of the basic locomotor and axial movements.
5. Creative Movement
> Is the highest form of a dance for the purpose of entairtainment.
6. Gymnastic Dance
> This form of dance appeals to the more skillful performers. Interest is maintained because of the vigorous movements and
participants experience tremendous satisfaction.
7. Social Dance
> This includes the wholesome and artistic form of dancing used by social groups for recreative purpose. Fundamental
steps are given as preparation for ballroom dancing.
8. Modern Dance
>A deviation from the traditional ballet by young American dancer Isadora Duncan who gradually involve whole technique of
dance movements based on ideas that such movement begin at the center of the body and folllow sequentially out to the
limbs. A contrast to the classical or traditional ballet.

48. 9. Recreational Dance
> Includes dance mixers, square dance and round or couple. Many of these dances have simple
dance patterns based on combination of walking steps.
10. Singing Dance
> Shows valuable activities during the early years of the life of a child because they require simple
techniques but require training in developing the sense of rhythm. They combine movement and
singing done together in rhythm.
11. Creative Training
> Sometimes called fundamental mutual dances. It is the end product of the exploration and
improvisation of movement as a child learns to move the parts of their body and to use an
instrument for explorations.
12. Philippine Folk Dance
> Philippine folk dance, in general, is a dance consisting of rhythmic movement, sustained by a
regular tempo, beat or music, conceived as a way of nonverbal communication or kinetic
movement to relieve tension, as a means for social and individual or group experience but also a
cultural mirror in which spirit, character and artistry of it’s time is reflected when placed on historical
perspective.