Chapter 8

Philippine Folk Dances

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Classification of Folk Dances in the Philippines

Traditional Dances in the Philippines are referred to as folk

dances. Although the term ethnic dance could apply to all
folk dances for the reason that folk dances developed from
a particular cultural community inhabiting a particular
place, many regard ethnic dance as those coming from the
non-Christian groups of the country.
4 Filipino Folk Dances According
to Dance Scope
 Regional Dances are those that developed
from a community within a locality, province
or region or coming from a particular ethno-
linguistic group within a region of the
country.
 National Dances. Folk dances common to
many areas of the country or those with
scope that cross regional boundaries are
classified as national dances. Since 1986, the
official national dance of the Philippines is
the Cariñosa with its various versions in
many lowland ares of the country.
 It replaced the lively Tinikling which
originally started as a regional dance from
Leyte but evolved into a national dance due
to its popularity as a folk dance performed
in many fiesta celebrations.
 The Rigodon de Honor, “Filipinized” import
from the French’ Rigaudon is another
national dance performed by the elite in
urban areas to open grand balls. One version
of the Rigodon called Rigodon Royale is
from Zamboangita, Negros Oriental and its
therefore classified as regional instead of a
national dance.
Lowland Christian Dances more than 80%
of the Filipinos such as the Cebuano,
Ilocano, Tagalog, Kapangpangan, Ivatan,
Chavacano and Bikol live in the lowland
areas and descended from ancestors who
embraced Christianity during the arival of
the Spaniards.
 Highland Traditional/Indigenous Dances
these are the archetypal ethnic dances of the
Philippines with its spectacle of lavish
costumes and accessories,simple but
vigorous dances of highly therical
presentations, solemn ritual dances,
percussive accompaniment and primitive
origins, considered as the original dances of
the country.
The Highland Dances :
1. Luzon Cordillera also called Cordillera Administrative
Region and inhabited by communities like the Kalinga,
Isneg, Ifugao, Kankana-ey, Ibaloi and Bontok

2. Other Parts of Luzon the Caraballo Mountains, Central

Plains and the highlands of the Bicol Region are inhabited
by various Negrito groups known by various names as Agta,
Baluga, Ebeleng, Ayta, Ita and Dumagat.
3. Mindoro the island of mindoro, which is part of Southern
Luzon (Region 4) is home to a Malay group collectively called
Mangyan of the Hanunoo of Oriental Mindoro is most
numerous.
4. Visayas all the larger islands of the Western Visayas (Region
6) have indigenous inhabitants still practicing ancient culture
and performing folk dances which could be considered the
original dance forms of this part of the country.
5. Western mindanao the Zamboanga Peninsula with its three
Provinces of Zamboanga Sibugay, Zamboanga Del Norte and
Zamboanga Del Sur and Misamis Occidental are inhabited by
the indigenous group called Subanen.
6. In Northern Mindanao, several indigenous Manobo groups
inhabit the provinces of Misamis Oriental, Lanao del Norte,
and Bukidnon. Their dances are categorized into four groups:
ceremonial (e.g., Dugso, Pagaspas, Binaylan Haklaran),
festival/mimetic (Pigagan, Imagong, Paralig, Bangkakan, But-
Bua), occupational (Talupak, Pamugas, Pangaso, Panulo), and
martial (Saot). These dances often combine various elements
and include theatrical aspects, such as the Pandamgo, which
depicts a dream where a virgin mother raises her daughter,
who is later courted by two rival suitors.
7. The Caraga Region in northeastern Mindanao,
encompassing Surigao and Agusan provinces, is home to
numerous Manobo groups known for their mimetic dances.
Key dances from this area include the Binanog, which portrays
a hawk preying on chicks, and the Pangaliyag, a courtship
dance similar to the Pandamgo. The Manobos also perform
various dances mimicking birds and animals, warrior dances,
and ceremonial dances by shamans called Baylan. Surigao
City hosts the Bonok Bonok Maradjao Karadjao Festival on
September 10, rooted in the ceremonial dances of the
Mamanwa, the area's sole remaining Negrito community.
8. Central, Southern Mindanao, and SOCCSKSARGEN are home to
vibrant and culturally rich communities, including the T'boli,
B'laan, Ubo, Clata Bagobo, Tagbanwa, Kalagan, Mandaya, Mansaka,
Tiduray, and various Manobo subgroups. These groups are known
for their artistic dances, which are considered among the best in
the Philippines. Their performances are accompanied by gongs,
kolintang, drums, and native guitars, and often depict birds in
flight, monkeys, duels, rivalries, or ladies beautifying themselves.
Notable dances include the Karal Kaft (B'laan bird dance), Kadal
Iwas (T'boli monkey dance), Sayaw (Mandaya trance dance), Tingle
(Tiduray dance of rivalry), Saluray/Kudlong (Bagobo guitar dance),
Todak (Bagobo rice cycle dance), and Erel (Kalagan dance of
revenge and grief).
 Dances of the Muslim Groups. Of the non-
Christian groups of the Philippines, the Muslim
groups are considered the most successful in
retaining their cultures, faith and political
system which are based on the cultures of the
Islamic Indonesia, Malaysia and the Middle East
with some elements of Chinese and other
Southeast arrival of the Spanish colonizers.
 The dances of the Muslim groups in the Philippines, influenced by
centuries of trade with other Asian cultures, are characterized by
restraint, attention to posture and balance, and vibrant costumes
with striking colors and expensive materials. Musical
accompaniment is provided by ensembles featuring suspended
gongs (agong, babendir, gandingan), brass xylophones (kulintang),
two-headed drums (gandang), and goblet drums (debakan). In Sulu
and Tawi Tawi, bamboo xylophones (bintang) and violins (biola) are
also used. The dances often incorporate Chinese elements like open
fans, scarves, white powder makeup, and elaborate headdresses.
Islamic influence dictates gender-segregated dances, though mixed
dancing without physical contact is allowed in Sulu and Tawi Tawi.
The dances of the Muslim
groups could further be
subdivided into:
1. The coastal Muslim groups in the Philippines, including
the Samal, Tauseg, Jama Mapun, and Sama Laut (Badjaw)
of Sulu, Tawi Tawi, Zamboanga City, and Basilan, share
dance traditions with each other and with the natives of
Sabah and Indonesia. Their dances can be categorized into
four styles: Pangalay (entertainment dances with "broken
arm" movements), Langka (martial dances like Silat and
Kuntaw), Lunsay (community song-dances performed on
bamboo flooring), and various ritual dances (Pagjinn, Mag-
emboh, and Magjuwata) that reflect their animistic origins.
2. The Lowland Muslim groups in the Philippines, including the
Iraun of the Illana Bay area and the Maguindanaon of Cotabato
City, Maguindanao, North Cotabato, and Sultan Kudarat, share
traditional dances similar to the inland Maranaw group.
Notable dances include Aper-Aper (welcome fan dance),
Singkil (bamboo dance), Saduratan (scarf dance), and Sagayan
(warrior dance). They also have artistic dances demonstrating
how to wear traditional garments like the tube skirt
(Kapamalong-malong), head scarf (Kadtoba), and veil
(Kadtendong), as well as dances using common items like the
conical hat (Sayap) and food containers (Tudong/Talam),
musical instruments, and rice cycles.
 The Lowland Muslim groups' dances also show animistic
elements in healing dances like Paguipat and Kambabas. Due
to their coastal location and interactions with the Samals and
Tausogs, some dances resemble those from Tawi Tawi and
Sulu, such as Kudindang Sa Tamlang and Kapagasik, similar to
Pangalay or Igal. Indian dance influences are evident in sharp
gestures. The Maguindanaon have the most sophisticated
musical ensemble and have successfully preserved,
developed, and promoted their traditional dances and art
forms through a liberal and progressive attitude, supported
by many dedicated artists and troupes.
3. The Highlands Muslim Group, primarily in Lanao del Sur of ARMM, is
home to the conservative Maranaw, known as the "people of the lake."
Their arts and crafts are similar to those of the Maguindanaon and
Iranun, but with greater artistry and sophistication. The Maranaw
version of the Singkil, a dance of royalty performed by a noblewoman,
is distinctive. Another art form, the Kapagamor Sa Kulintang, features
a lady singing and dance-walking before playing the kulintang skillfully.
Other notable dances include the Kapamalong-malong, Kadsaduratan,
Kapagaper, and Kasunduayan, all characterized by slow, expressive
movements. The Maranaw version of the Sagayan dance usually
precedes weddings. Dance preservation is supported by the Sining
Pananadem and Darangan Dance Troupe of Mindanao State
University.
 4. The Inland Basilan Group, primarily inhabited by the
Yakan Muslims, centers its culture in Lamitan, where their
sultan resides. The Yakan are known for their boat-building
skills and dances that resemble those of the Tausogs,
particularly the Pangalay style, which mimics the
movements of fish and sea birds, reflecting their coastal
origins. Historically, the Yakan moved inland due to the
settlement of coastal areas by the Tausogs, Samals,
Badjaos from Sulu, and Christian Chavacanos from
Zamboanga City.
 5. The southern tip of Palawan is home to various groups collectively
referred to as Palawan. The interior populations, such as the Palawan
and Tau't Bato, tend to be animistic, while some have converted to
Christianity (Palawano). A few coastal inhabitants, known as Palawani,
are Muslims influenced by the Samals and Tausogs in their lifestyle and
arts, with their dances resembling those of the Tausog. Another group,
the Melebuganon, resides on Balabac Island and is also influenced by
coastal Muslim cultures. Additionally, minor groups like the Sangir
(Marore) in Sarangani, Islamized Mansaka in Davao Oriental, and
Islamized Subanen in Zamboanga have dances that require further study
and documentation. There is concern that the original cultural
expressions of these groups may be lost due to the strong influence of
more dominant Muslim groups.
 Filipino Folk Dances
According to Purposes
 1. Festival Dances - Many dances in the
philippines fall into this category. These are the
dances performed by the community for the
purpose of celebrating happy occasion such as
fiesta, wedding feasts, baptism, house
warming, thanksgiving, Christmas, or simply
just a dance to pass the time.
 2. Courtship/ flirtation Dances- This group
includes dances, usually of mimetic character
portraying people or animals involved in the
subject of love: attracting suitors, proposals,
acceptance, rejection, and rivalry between
women or between men.
 3. Nuptial Dances - nuptial or wedding dances
are festival dances performed exclusively by the
bride and groom during their wedding feast. Many
festival dances performed at weddings open as
nuptial dances and many such dances mime the
courting movements of the rooster and hen.
 4. Occupational Dances - There are dances
which are mimes of every day activities and
livehoods common in the area such as the
Pagtatanim (planting rice), Molinero (grinding
mill), Pandango sa Bulig ( catching Mudfish)
etc.
 5. Show- off Dances - some festival and occupational
dances require skills of the performer in manipulating
or balancing items, so that these dances are
sometimes called dances abound, such as Binasuan
and Kumakaret, involving glasses of wine balanced on
the palms and head while the dancers execute fast
twists and turns; Oasioas involving glasses with lighted
candles wrapped in the kerchief and balanced on the
forehead; Binoyugan, with earthen pot on head; and
Sigsilew involving coconut shells with lighted candles.
6. Martial Dances - Chiefly men’s dances, this
group includes dances showing prowess in
combat while executing martial stances,
brandishing weapons or engaging in mock
battles.
7. Ritual Dances - ritual or ceremonial dances are
supplication dances performed in honor of saints
or animistic deities for the purpose of asking for
favors, fulfilment of a vow, or thanksgiving. There
are two groups these dances, those are
performed by the community and trance dances
performed only by the shamans.
 8. Trance Dances - on the other hand are almost
exclusively performed by the shaman in the
attainment of trance- like state in order to heal
physical and emotional sickness, or communicate
with the unseen forces. In this way the shaman
becomes thr intermediary between the natural
and supernatural world.
9. Welcome Dances - a few dances belong to this
country which are performed by a selected group
of dancers to welcome guests to a place as a
gesture of hospitality and blessing.
 10. Dance Drama - Although the philippines has
not evolved classical dancing in its higher form in
the same way as Chinese, Korea, Japanese,
Khmer or Thai cultures have many of its folk
dances contain high elements of theater, thus
could be considered classical. Among the
indigenous communities especially in Mindanao,
the mimetic dances have envolved into dance
dramas, that is, dances which tell stories.
 Authentic Choreographed
and Folk Dance Adaptations
 1. Authentic Folk Dance - Community dances,
performed spontaneously by anyone, are in their
natural environment and do not require production
elements. They are highly participatory, spontaneous,
and do not require skilled performers. Village shamans'
trance dances are also performed without structure or
lavish costuming.
2. Choreographed Folk Dances - Authentic folk dances
are used to create choreographed dances, preserving
their originality. The Ramon Obusan Folkloric Group
has successfully applied choreography to Philippine
and ASEAN region folk dances, gaining international
recognition and being taught by dance masters and PE
teachers.
 3. Folk Dance Adaptations - Some
dances resembling choreographed folk
dances are actually adaptations of
traditional dance steps and music.
The Bayanihan Philippine National Dance Company
is a leading group in theatrical and classical folk
adaptations worldwide. Their dance suits feature
concoctions of various dances and steps based on
folk dances, such as Paso Doble, Tacon y Punta,
Paseo de Iloilo, Señoritas, Cordillera Suite,
Banawol, Idaw, and Salisid. They also feature
adaptations of dances from other cultural regions
in their Rural and Mindanao suites.