Philippine Traditional Dances Comprehensive Notes

Objectives

  • By the end of this lesson you should be able to:

    • Explain the nature, history, characteristics, classifications and fundamental steps of the different Philippine dances.

    • Articulate the cultural value of these dances in preserving national identity and diversity.

    • Correctly categorize any given Philippine dance by nature, geographic origin and form.

Core Definition: Traditional Dances

  • Traditional dances are choreographies of indigenous communities that reflect the cultural traits of a people at a specific place and time.

  • Characteristics

    • Customs, traditions, music and costumes are all preserved in the dance.

    • Patterns are fixed and handed down from generation to generation.

    • Function as living archives of folk history and social structure.

Two Primary Forms of Philippine Traditional Dance

  • Ethnic Dances

    • Developed among non-Christian Filipino groups (pagan highlanders and Muslim lowlanders).

    • Some variants have no melodic accompaniment (e.g., aetas’ foot stamping, certain Muslim martial forms).

  • Folk Dances

    • Derive from Christian/lowland communities.

    • Classification scheme:

    • Geographical scope

      • National – common basic steps across the archipelago with minor local flavorings.

      • Local/Regional – unique to one locality (e.g., Tinikling of Leyte).

    • Nature / Function

      • Occupational, religious-ceremonial, courtship, wedding, festival, war, comic, game, social.

The Philippine Folk Dance Concept

  • Evolves naturally and spontaneously out of daily life (work, courtship, ritual, festivity).

  • Passed on orally and visually rather than through formal notation.

  • Ethnic / ethnologic dances are a subset performed by indigenous tribes with strong ties to ritual and animistic belief.

Key Historical & Scholarly Notes

  • Folk dance is humanity’s oldest form of dance and earliest non-verbal communication.

  • Movement patterns stay largely fixed but differ slightly province-to-province.

  • Francisca Reyes-Aquino – honored as “Mother of Philippine Folk Dance” for pioneering research and documentation.

  • Essential characteristics listed by Lopez (2006):

    • Traditional, expressive, rhythmically simple, and communally choreographed (original choreographer unknown).

The Five Major Classifications

  • 11. Cordillera Dances (Northern Highlands)

  • 22. Spanish-Influenced Dances (Lowland Christian Elite)

  • 33. Rural Dances (Barrio / Peasant Life)

  • 44. Muslim Dances (Southern Sultanates)

  • 55. Tribal Dances (Animistic Upland & Mindanao Peoples)

1. Cordillera Dances

  • Practitioners: Bontoc, Ifugao, Benguet, Apayao & Kalinga tribes.

  • Themes: agricultural rites, wedding feasts, healing, peace-pacts, head-hunting victory.

  • Accompaniment: gangsa (flat gong) ensembles.

  • Signature pieces & props:

    • Bontoc “Pattong” – gong circling dance.

    • Kalinga “Banga” – women balance clay pots to celebrate grace & stamina.

  • Symbolism: gongs = heartbeat of the mountains, unity of village.

2. Spanish-Influenced Dances

  • Historical roots: 16th16^{\text{th}}–19th19^{\text{th}}-century colonial ballroom transplanted by friars & ilustrados.

  • Typical forms: jota, fandango, mazurka, waltz.

  • Musical backing: rondalla (bandurria, laud, guitar, octavina, bajo).

  • Cultural themes: courtship under Catholic morality, social status display, Christian feast days.

  • Examples:

    • “Jota” – hybrid Castilian-Ilocano footwork with bamboo clappers.

    • “Habanera” – slow triple-meter wedding procession.

3. Rural Dances

  • Locale: rice and coconut farming barrios; Tagalog lowlands as template but present nationwide.

  • Mood: gaiety, fun, community solidarity; performed during fiestas to honor the patron saint and pray for bountiful harvest.

  • Musical traits: lively rondalla, hand-clapping, bamboo percussion, use of everyday farm tools.

  • Narratives: represent fishing, planting, harvesting, flirtation.

  • Notable pieces:

    • “Maglalatik” – mock-battle of moros & cristianos using coconut shell armor.

    • “Saut sa Rarug” – playful broom dance highlighting household chores.

    • “Oasioas” – Ilocano fisherman’s lamp swinging after a good catch.

4. Muslim Dances

  • Influences: Malay court culture, Javanese hand gestures, Middle-Eastern ornamentation, Islamic epics.

  • Motifs: mysticism, royalty, feminine grace, martial dexterity.

  • Movement vocabulary: intricate wrist rotations, flowing elbow articulations, expressive finger mudras.

  • Costuming: shimmering silk, sequins, malong, “sigpit/sablay” shawls.

  • Examples:

    • Maranao “Singkil” – retells the Darangen epic; princess skips between criss-crossed bamboo poles.

    • Tausug “Pangalay” – pure hand-arm dance emphasizing joint isolation.

5. Tribal (Lumad) Dances

  • Home: non-Muslim, non-Christian minority groups (T’boli, Bilaan, Manobo, Bagobo, etc.).

  • Craftsmanship: brass bells, beadwork, t’nalak weaving, feather headdresses.

  • Function: appease spirits (“anito”), healing, animal imitation, warrior initiation.

  • Acoustic landscape: gong-chime, bamboo slit drums, bird & animal vocalization.

  • Samples:

    • T’boli “Madal Tahaw” – bird-flight metaphor celebrating fertility.

    • Manobo “Bangkakaw” – log-drumming communal rhythm.

Costume Typology

  • 11. Typical Spanish Elite

    • Female: María Clara gown (panuelo shawl, pañuelo yoke, wide saya).

    • Male: Barong Tagalog, black trousers.

  • 22. Rural (Tagalog)

    • Female: Balintawak (checked saya, soft panuelo, wrap-over tapis).

    • Male: Camisa de Chino, colorful trousers.

  • 33. Rural (Visayan)

    • Female: Kimona blouse & Patadyong skirt, light kerchief.

    • Male: Barong or Camisa de Chino, trousers of any color.

  • 44. Rural (Ilocano)

    • Female: Chambra (blouse) & Siesgo (A-line skirt).

    • Male: Camisa de Chino, assorted trousers.

  • 55. Cordillera / Tribal

    • Male: Bahag (g-string), short jacket, shoulder band, feathered headdress.

    • Female: Handwoven hablon wrap, layered bead accessories.

  • 66. Muslim

    • Attire: Patadyong or malong tube, “sigpit/sablay” shoulder sashes, loose silk pants.

Cultural & Educational Significance

  • Preserves intangible heritage in movement, music, costume and narrative.

  • Encourages inter-regional understanding and respect for diversity.

  • Serves as a living laboratory for Philippine history (pre-colonial, colonial, contemporary periods).

  • Ethical dimension: respectful performance safeguards against cultural misappropriation; consult elders.

  • Practical application: PE programs build national pride and holistic fitness; community festivals boost local tourism.

Quick Reference Table (Mnemonic)

  • C – Cordillera (Gongs & Pots)

  • S – Spanish (Rondalla & Fans)

  • R – Rural (Coconuts & Brooms)

  • M – Muslim (Bamboo & Silk)

  • T – Tribal (Brass & Feathers)

Study Tips & Connections

  • Link each classification to its predominant musical instrument for faster recall (e.g., gangsa = Cordillera).

  • Observe similarities: bamboo poles appear in both “Singkil” (Muslim) and “Tinikling” (Rural); note differing symbolism.

  • Compare costumes: María Clara vs. malong to understand colonial vs. Islamic aesthetics.

  • Practice fundamental steps: heel-toe (Spanish), stamp-shuffle (Cordillera), slide-skip (Rural) to internalize rhythm.

  • Reflect on how dances mirror Philippine history—from animism to Catholicism to Islam—and contemporary identity politics.