Traditional, Ethnic, and Folk Dances of the Philippines — Notes

TRADITIONAL DANCE

• Definition and scope

  • Can be another term for folk dance, or sometimes for ceremonial dance. Emphasis on the cultural roots of the dance.
  • Traditional dances are dances of indigenous communities that show cultural traits of peoples in specific time and place. Customs and traditions through dance steps and costumes are preserved in traditional dance.
  • These dances are handed down from generation to generation, with fixed sets or patterns.
  • Dances with a ritual origin or purpose are not usually considered Traditional dances; these are known as Religious dances.
  • Traditional dancing is generally more of a social activity rather than competitive, but it is normally choreographed.
  • Depending on the dance type, Traditional dancing can be either partnered or solo, and are mainly danced in formation.

• Major subsections

  • Ritual Dance
  • Life-Cycle Dance
  • Occupational Dance

• 1) Ritual Dance

  • DUGSO (BUKIDNON)
  • The Dugso shows the Higaonon performing the ritual of hinaklaran wherein the men and women hold hands while moving around in measured steps named after a peculiar body movement.
  • The women are wearing colorful dresses and panikas or feathered combs full of colorful yarns, mirrors, beads and gold spangles.
  • PAGDIWATA (PALAWAN)
  • Pagdiwata is a dance originating from the Tagbanua tribe of Palawan which depicts rituals after a rice harvest.
  • These rites are held as part thanksgiving and part an appeal for continued protection.

• 2) Life-Cycle Dance

  • SALIP (APAYAO)
  • A life-cycle dance performed during important events in life such as weddings.
  • BINASUAN (PANGASINAN)
  • Filipino folk dance that involves dancers balancing glasses of wine on their heads and the palms of their hands.

• 3) Occupational Dance

  • MANANAGAT (CEBU)
  • Occupational dance which originated from Bogo, Cebu. This dance imitates the work of a fisherman and his companions.

• Overview on purpose and social context

  • Traditional dances preserve community identity and heritage.
  • They often reflect social roles, ceremonies, and life events within communities.

ETHNIC DANCE

• Definition

  • This is a dance that is indigenous to a certain race or country.
  • The term ethnic is used to distinguish religious dances, and designed as hymns of praise to a god, or to bring on good fortune in peace and war.
  • Ethnic dances are classified into two major categories:
  • Dances of the Non-Christian Filipinos (pagan groups and Muslim groups).
  • Dances of the Christian and the lowland Filipinos (some of which are savage and vigorous or light-hearted).
  • Some forms have no music nor melodic accompaniment.
  • Examples noted include dances of the Aetas and dances of the Muslims.

• Major types (as presented)

  • 1) Ritual Dance
  • See examples: DUGSO (Bukidnon) and PAGDIWATA (Palawan) under Traditional DANCE, which also illustrate ritual origins and costumes.
  • 2) Life-Cycle Dance
  • See examples: SALIP (APAYAO) and BINASUAN (PANGASINAN) illustrating ceremonies around life events and celebratory rites.
  • 3) Occupational Dance
  • MANANAGAT (CEBU) illustrating work imitation and community skills.

• Key cross-cultural notes

  • These dances reflect the diverse ethno-linguistic and religious landscape of the Philippines, including indigenous beliefs, animist practices, and Islam.
  • They showcase how culture, belief systems, and daily life are expressed through movement, rhythm, and costume.

FOLK DANCE

• Definition and scope

  • According to geographical locations, folk dances can be national (dances with common basic movement, with slight variations) or local/regional (dances unique to certain localities).
  • According to the nature of the dance, folk dance can be: occupational dances; religious or ceremonial dances; courtship dances; wedding dances; festival dances; war dances; comic dances; game dances; and social dances.

• Five Types of Folk Dances in the Philippines

  • 1) Maria Clara Dance
  • During Spanish colonization, Filipinos celebrated class and distinction through Spanish-influenced dances.
  • The era of these dances is referred to as ‘Maria Clara’.
  • Western dances such as the waltz, fandango, and polka spread, with a Filipino flare, becoming part of the culture.
  • This new style was named Maria Clara after the tragic character in Jose Rizal's novel Noli Me Tangere.
  • 2) Cordillera Dance
  • The mountainous Central Cordillera region of Northern Luzon is known as the Philippine Skyland.
  • Six ethno-linguistic tribes inhabit it: Ibaloy, Kankanay, Ifugao, Kalinga, Apayao, and Bontoc.
  • They prefer to be called by their own tribal names rather than the collective term Igorot, which was used by Spaniards and later by Christian lowlanders.
  • These tribes resisted Spanish colonization; they share common socio-cultural traits and religious beliefs, generally nature-related, with offerings to anitos (household gods).
  • Dance in Cordillera serves as expression of community life, animating rituals and ceremonies.
  • It serves for self-edification of performers and entertainment for spectators; also used to appease ancestors and gods to cure ailments, to insure successful war-mating activities, or to ward off bad luck or natural calamities; to congregate/socialize for welfare and recreation; and as an outlet for repressed feeling; also to insure bountiful harvests, favorable weather, and to mark milestones in the cycle of life.
  • 3) Muslim Dance
  • By the end of the 12th century, traders and settlers from the Malay Peninsula and Borneo introduced Islam to the islands; Muslims (Moros) resisted Spanish conquest and preserved Islamic lifestyle.
  • Ethno-linguistic groups primarily considered Muslim: Maranao, Maguindanao, Samal, Tausug.
  • Dances are characterized by vivid colors and rhythmic movements reflecting Arabian and Indo-Malay influences; mysticism, royalty, and beauty evident in music and dances.
  • Accompanied by the agong and kulintang; intricate hand and arm movements; shimmering costumes.
  • 4) Rural Dance
  • Dances illustrate fiesta spirit and a love of life; express joy in work, love of music, and pleasure in simple living.
  • Typical attire: Balintawak and patadyong skirts for women; camisa de chino and colored trousers for men.
  • 5) Tribal Dance
  • Originates in a pre-industrial, subsistence culture; functions as a form of communication with the supernatural, a rite of passage, a courage builder for battle, a celebration of victory, or a mourning ritual in defeat.
  • Like Northern Luzon groups, these tribes honor pagan gods; distinguished by intricate craftsmanship in metal, clothing, and jewelry.
  • They create colorful sets of jewelry and clothing from dyed pineapple and banana fibers used in traditional dances.

• Practical and cultural relevance

  • Folk dances capture regional identity, historical periods, and social practices across the Philippines.
  • They offer a window into how communities celebrate life, work, spirituality, and communal bonds.

• Summary of connections

  • Traditional, Ethnic, and Folk dances collectively illustrate how dance functions as socialization, ritual expression, and cultural preservation across regional diversity.

• Key terms to remember

  • Dugso, Pagdiwata, Salip, Binasuan, Mananagat
  • Maria Clara, Cariñosa, Cordillera, Maranao, Maguindanao, Tausug, Aeta
  • Igorot (terminology caveat), anitos, agong, kulintang

• End-of-section notes

  • Traditional dances emphasize cultural roots and social settings, often with fixed choreographies.
  • Ethnic dances highlight indigenous ethnic and religious diversity with ritual and life-cycle themes.
  • Folk dances organize around geography and social purpose, with five major types outlined above.