OVERVIEW OF

PHILIPPINE
TRADITIONAL
DANCES
 Community dances that emanates
among the people of the area
commonly with Spanish and American
Influences. These dances were
introduced by Spain to replace ethnic
dances in the different festivities
celebrated in the region.
Dances belonging to group without
Wester n influences. In pre-
colonial days, pagan rites were
practiced all over the islands.
Animistic rituals to celebrate
planting, harvest, birth, death,
and all kinds of community
activity were common
occurrences.
 Five Major
Classifications
of Philippine
Traditional Dances
Classification of
Philippine
Traditional
Dances
 Cordillera Groups

The ethnic dances in the Philippines are

found in the different regions from the
northern part to the southern part of the
country.
Cordillera, a name given by the Spanish
Conquistadors when they first saw the
mountain ranges. Meaning "knotted rope",
the Spanish term refers to the jumbled
rolls and dips of this long-range traversing
the northern part of Luzon Island.
They are pagan people,
living simple lives to
appease their gods. Their
rituals celebrate their daily
lives - a good harvest,
health, peace, war, and
other symbols of living. Such
traditions have survived the
changing scope of the
Philippines and the tribes
continue to maintain their
cultures that are a part of
the colorful cultural fabric
known as Philippine culture.
The Dances of the Cordillera Groups
The Cordillera groups composed of the
Ifugao Benguet, Apayao,
Bontocs, Ifugao,
Kalinga, Itneg, Ilonggot and Gaddang
(BIBAKIIG) has its own unique customs
and traditions reflected in their dance. Most
of the dances are reflections of daily
living.They used metal gongs called ganza
and other percussive instruments to
accompany their dances during rituals,
festivities and other social gatherings.
 Ifugao

Bontocs

Benguet Kalinga
Gaddang Itneg

Apayao / Ilongot
Dances from Cordillera
Kalinga Tribe "Banga" literally mean pots. The
Banga or pot dance is a contemporary performance
of Kalinga of the Mountain Province.This dance
illustrate the grace of a tribe. Heavy earthen pots, as
many as seven or eight at a time, are balanced on
the heads of maidens as they trudge to the beat of
the "gangsa” displaying their stamina and strength
as they go about their daily task of fetching water
and balancing the banga.

Bendayan
Origin: Benguet Province, Northern Luzon
Also popularly called Bendian, this circle dance of
the Benguet of Mountain Province is restaged,
keeping true to the dance's context and meaning.
Long known as a dance to celebrate the arrival of
successful headhunters, the Bendayan has taken a
new face. It is part of every Benguet festivity with
the circles slowly giving way to other formations and
interpretations.
Lumagen / Tachok
Tribe: Kalinga
Origin: Luzon
When the Kalinga gather to celebrate a happy occasion
like the birth of a first-born baby boy, a wedding, or a
budong (peace pact), the Kalinga Festival Dance (Tachok)
is performed. This is danced by the Kalinga maiden. The
dance imitates birds flying in the air. Music is provided by
gangsa, or gongs, which are usually in a group of six or
more.

Manmanok
Tribe: Bago
msthememsthemelist
Three Bago Tribe roosters compete against each other
for the attention of Lady Lien. They use blankets
depicting colorful plumes to attract her.
 Ragragsakan
Tribe: Kalinga
This dance portrays the walk of the industrious
Kalingga women, carrying water pots on their
heads and wearing the colorful hand-woven
"blankets of life" around their necks. Their walk
imitates the climb up the Rice Terraces in the
Mountain Provinces of the

Salidsid
Tribe: Kalinga
The Salidsid is the Kalinga courtship dance, performed
by a male and female (and thus is sometimes called
the "cayoo" dance). The dance starts when each of the
dancers are given a pice of cloth called ayob or allap.
Usually the most important people in the village are the
second to dance after the host has signified that the
occasion is formally open.
Tarektek
Tribe: Benguet

Two tareketek woodpeckers vie for the attention of three

females. One Male woodpecker rhythmically bang on a
brass gong to represent a good voice, while the other
swish about a colorful blanket representing beautiful
plumage.

yaoy / Uyauy
Tribe: Ifugao
The term Ifugao is derived from the word ipugao
which literally means "coming from the earth." The
Spaniards, however, changed it to Ifugaw, a term
presently used in referring not only to these people
but also to their province. This Ifugao wedding festival
dance is accompanied by gongs and is performed by
the affluent to attain the second level of the wealthy
class.
Salip
The Salip of the Kalinga tribe depicts a
warrior claiming his bride by presenting her
with a matrimonial blanket. She follows the
man to connote obedience.

Paypayto
Ifugao warriors dance portraying birds in
flight alternating with the role of trappers.
The dance means “jump” for the Ifugao, the
Paypayto dance is danced as an exhibition
of skills as the dancers jump in and out of
sticks that are struck in musical
syncopation.
 Lets Review.

Tarektek Ragragsakan Tachok

Uyauy Salidsid Manmanok

Banga" Salip

Bendayan Paypayto
Western Influenced Dances
 Western Influenced Dances
When the Spaniards came to the Philippines in the
16th century, they found out that the level of
civilization was well-defined. Ancient Filipinos had
their own system of writing and government based on
barangay.
They brought with them the Spanish religion and
European arts and culture. The native religion and
culture slowly gave way to Christianity and Western
civilization. The natives started to lose most of their
ancient traditions in the literary, visual and performing
arts. In no time, dances from Spain, France and other
European countries,.
The Rigodon, Virginia and Lanceros were probably the first
dances introduced, they resemble the French dances of the
Middle Age and were preserved for the aristocrat class and
special fiestas.

The BALSE, JOTA,ESCOTIS, and PASEO became fashionable

among different social classes were adopted and adapted to
the tastes and needs of a colonial society and the conditions of
a tropical archipelago.
The costumes and props of the original dances were either adopted or
done away with:
v The rounded castanets transformed into two elongated bamboos.
v To cover shoulder and back, the women used panuelo.
v The Barong Tagalog displaced the French Tuxedo.
The Jota - adaptations and interpretation of the jota vary from
region to region , performed during fiestas and usually by the elite.
Their names were derived from the place where they are originate.

1. La Jota Moncadeña- A
festive dance from Moncada,
Tarlac which was originally
danced during a funeral
procession in the early times.

2. Jota Gumaqueña- A jota

version from Gumaca, Quezon
3 . J o t a C a b a n g a n A 4. Jota Cagayana A lovely dance
cour tship dance for m which is an adaptation from the
Zambales. Spanish Jota performed by the
early Spanish settlers in the
Cagayan valley.
5. Jota de Manila Manila’s
version of the famous Jota
with its typical Spanish
stampas, cobradas and
clicking of bamboo
castanets bearing Hispanic
culture.
6. Jota de Paragua A version of
the Jota, which bears Spanish
stampas and cobradas from
Paragua, the old name of
Palawan.

7. Jota Bicolana A jota version

from Bicol Region performed
during social gatherings.

8. Jota Rizal A jota version from Batangas popular during the

time of Dr. Jose Rizal.

9. Jotabal A festival dance originated in Camohaguin,

Gumaca, Quezon which derived from the words jota and
balse.
Pandanggo - is a lively spanish dance done to a slow to quick
music. It is usually performed for merry making and entertainment

1. Pandanggo Rinconada- A festival

dance from the province of Bicol
depicting the happy and
contented life of the people

2. Pandanggo sa IlawA dance from

Mindoro using tinghoy or oil lamps
placed on the top of the head and
one on each hand.
3. Pandanggo sa Sambalilo
pandanggo dance from
Camiling, Tarlac.

4. Pandanggo Ivatan- a
wedding dance from Batanes

5. Pandang – Pandang- Is an
exciting and extraordinary
wedding dance from Antique.
Valse /Balse- is evident in majority of the Philippines folk dances
1. Valse Vieja- A festival dance from Pangasinan meaning old
waltz.

2. Valse Ybanag - A dance from Camalaniugan, Cagayan

meaning waltz of the Ybanag people.

3. Balse Marikina - A dance performed after the Lutrina, a

religious procession.
4. Cariñosa - The famous national dance of the Philippines
depicting the character of Filipina maiden’s modesty and
humility.

5. Sayaw Sta. Isabel - A dance performed during thanksgiving

feasts after a good harvest, during balaihan, weddings, or
religious occasions.
Habanera – is a piece of music named after Havana
in Cuba. Most of habanera dances come from Pangasinan and
Ilocos Region.
1. Habanera Narcisena A Habanera named after San Narciso town
in Zambales.

2. Habanera BotolenaA dance which was supposedly performed in

the earlier days in honor of a departing priest.

3. Habanera De Soltera A dance performed by betrothed couple

during one of the ceremonies before the wedding.

4. Habasinan From the word “haba” in habanera and “sinan” form

Pangasinan is a courtship dance.
 Dance of the Muslim
Groups

•Down in the southern part of the country are the muslim

groups. The ethnic groups are the Maranao,
Maguindanao, Tausug, Yakan, Samal, Java
Mapun and Badjao.
•The dances performed by these groups describe the
everyday living of the people.
•Common to their dances are the use of fingers to
express feelings and emotions.
•Some believe that muslim dances are influence by
Malay and Indonesian due to its geographical setting.
Maranaos are a major Muslim groups who live in the region of
Lake in Lanao del Sur. They are dedicated Muslims, steeped in tradition.

1. Singkil A Marano dance derived from the sounds of the bell anklets worn
by the Princess as she leaps in and out of the criss-crossed bamboo poles

2. Kakulangan Maranao women walk nobly with their distinctive movements

particularly their graceful sway
3. Pig-apir A fan dance of Maranao maidens showcasing their
simplicity and character.

4. Sagayan A warrior dance that depicts the hero – warrior

prince Bantugan’s preparation for the war, the actual combat
and the victory.
Maranaos
5. Karatong A dance in memory of Bantugan’s fighting evil spirits whom he can
hear but can’t see.

6. Kappa Malong Malong Also called Sambi sa Malong, this Maranao dance
shows the many ways of donning the malong, a tabular circle of cloth used as
skirt, shawl or mantle.

7. Kapiil sa Munsala A handkerchief dance from Lanao commonly performed by

girls.
Maguindanao
Asik - A doll dance for girls
Badjao
Tauti A dance of fishing scenario
Yakan
1. Paunjalay- A pre-nuptial dance of the Yakan
tribe of Basilan. performed by the bride
2. Pindulas A dance depicting the movements of
fish at it wades in the water.
Tausug
1.Pangalay ha Patong- A dance imitating the graceful movement
of the swift vinta as well as of the birds and fish of the Tausug
world.
2. Janggay- A Tausug female dance using extended fingernails
3. Sua – ku - Sua -A dance from Jolo, Sulu with an influence of
Chinese movements meaning “my pomelo tree”.
(Samal )
Maglanka A Samal dance class of girls and women. This dance
depicts the training of Samal girls and women on the languid and
flexible movements of the arms which signifies good breeding.
 Dance of the Ethnic or Lesser Known
Groups
•Also known as the lesser-known-groups are ethnic groups
living in the different locations in the country that are
untouched and never been influenced by the westerners.

•These tribal groups are the Bukidnons,

Bagobo,
Manobo, Tiboli or Tagabili, Tagbanua,
Mansaka, Mandaya, B’laan, Tagakaolo and
Tiruray.
•These ethnic groups believe in “shamans” or spirits which
primarily reflected in most of their dances.
Bagobo
1. Todak - A Bagobo dance on the rice planting and harvesting cycle.
2. Baliti A Bagobo dance representing the quivering of the leaves of the baliti
tree
T’boli
1. Kadal Taho is a traditional dance from the T’boli tribe, from Lake Cebu in
the South Cotabato province. This dramatic dance is performed during their
planting and harvesting seasons and depicts the movements of an injured
bird among its flock.
2. Kadal Iwas A dance imitating the movements of the monkey
Bukidnons
1. Dugso -A dance by women commonly wearing a bell anklets done
during thanksgiving for driving away bad spirits.
2. Hinaklaran -A festival and ritual dance of three Kaamulan datus, with
chanting and dancing around an altar.

Manobo
1.Binabua-bua Fertility dance and courtship dance among the Manobos.
2. Binanog Version of a hawk dance.
3. kinugsik kugsik A dance imitating the movements of the squirrel.
Higaonon
1. Binaylan - banog A typical dance of the Higaonons
depicting a mother hen and her chicks being
attacked by a ferocious hawk, three hunters save the
hen from the clutches of the “Banog” or hawk
Subanon
1. Sohten An all male dance that dramatizes the strength
and stoic character of the Subanon male. The Subanon
warrior calls the attention of the diwatas with the sound
of the leaves.
Mandaya
1. Kinabua A dance imitating the movements of a hawk
Mansaka
2. Inamo sa Sayaw A monkey dance for two
Talaandig
1. Pig-Agawan Young women of the Taalandig tribe try to
outdo each other in attracting an eligible man with the
use of colorful scarves.
 Rural Life
There are dances which have managed to steer clear
of European influences and to this day without visible
foreign characteristics. Such as dance like the
“Maglalatik” a tagalong war dance.

The subject matter of this dance is open combat

between Christian and Muslim soldier over “Latik” or
coconut residue. What is unique is that no sword or
dummy are used. Instead each combatant has eight
coconut shells tied to his body on the chest, behind
the shoulders, above the knees, and on the hips. In
addition each combatant has a pierce of shell in each
hand.
Rural/Barrio
Perhaps the best known and closest to Filipino heart are the
dances from the rural Christian lowlands: a country blessed
with so much beauty. To the Filipinos, these dances illustrate
the fiesta spirit and demonstrate a love of life. They express
joy in work, a love for music, and pleasure in the simplicities
of life. Typical attire in the Rural Suite includes colorful
Balintawak and Patadyong skirts for the women, and Camisa
de Chino and colored trousers for the men.
 Dances of the Countryside
•Dances that typically characterize the nature
and kind of work of the people.
•Commonly performed by ordinary group of the
people depicting daily activities.
•Dances were light and more informal.
Dances of the Countryside
Binasuan
Meaning "with the use of drinking glasses",
this vibrant shows off balancing skill of the
performers. Glasses filled with rice wine
are placed on the head and on each hand
carefully maneuvered with graceful
movements.

tik-itik
According to history of this dance, a young
woman named Kanang (short for
Cayetana), began improvising her steps in
the middle of her performance imitating the
movements of an "itik", a duck, as it walks
with choppy steps and splashes water on
its back.
Pandango sa Ilaw
The word pandanggo comes from the
Spanish dance "fandango" characterized
with lively steps and clapping, and "ilaw" is
the Filipino word for "light", hence, the
dance of lights.

Sayaw Sa Salakot
The girls of the village show off their
colorful farm hats.

Tinikling
Tinikling is considered the national
folkdance. Originated from Leyte Province,
this dance is in fact a mimic movement of
"tikling birds" hopping over trees, grass
stems or over bamboo traps set by
farmers. Dancers perform this dance with
remarkable grace
Other examples of rural dances:
· Bagol
· Binatbatan
· Binoyugan
· Itik-itik
· Kalapati
· Kalatong
· Kilingkingan
· Pandanggo sa Tapis
· Pandanggo sa Ilaw
· Pateado
· Regatones
· Sakuting
· Sapatya
· Sayaw sa bangko
· Sinulog
· Subli
· Tinikling
· Tinolabong
THE NATIONAL ARTISTS AWARD
The Order of the National Artists Award (Orden ng Gawad Pambansang Alagad
ng Sining) is the highest national recognition given to Filipino individuals who have
made significant contributions to the development of Philippine arts; namely, Music,
Dance, Theater, Visual Arts, Literature, Film and Broadcast Arts, and Architecture
and Allied Arts. The order is jointly administered by the National Commission for
Culture and the Arts (NCCA) and Cultural Center of the Philippines (CCP) and
conferred by the President of the Philippines upon recommendation by both
institutions.
CHARACTERISTICS OF PHILIPPINE FOLK DANCES

1.As rule, dances begin and end with a saludo. A saludo

is a three-step-turn in place and a bow to either partner
or audience.
2.In general, dancers are far apart. A distance of about
6-8 feet from each other is normal.
3.There is very little, if any, body contact although
holding hands is common.
4.Most of the dances are done in pairs. Hand
movements play a very important role.
5.Most of our dances are done in long formation.
6.Our dances are performed by both young and old and
by both sexes.
 National
Dances
Geography
Local or
Regional
Dances
Classification
of Phil. Folk
Dances Occupational Festival

Religious/
Nature Game
Ceremonial

Comic Courtship

War Wedding
Regional Classification of Published Filipino Dance Terms

Region Dance Terms

Tagalog Bilao
Hapay
Jaleo
Panadyak
Salok
Visayan Hayon-Hayon
Sarok

Ilocano Patay
Kumintang

Ibanag Masiwak
 COMMON DANCE STEPS
Dance&Steps/Time& Counting& Step&Pattern& No.&of&
Signature& Measures&
Polka&Series&–&2/4& & & &
&
Plain&Polka& 1&&&2&&& Step,&close&step&(pause)& 1&
& & & &
Hop&Polka& Ah,&1&&&2&&& Hop,&step,&close&step&pause& 1&
& & & &
Heel&and&toe& 1,&2,&&&2&&& HeelGplace,&toeGpoint;&step,&close& 2&
Polka& & step&(pause)& &
&
Slide&Polka& 1&&&2&&,&1&&&2&&& Step,&close&step&(pause)& 2&

&
Sway Balance
Series
–¾ 1, 2, 3 1 2, 3 Step, cross-step/Step, point 2
•With a point
1, 2 3 1 2 3 Step, cross-step/Step, close. 2
•With a waltz step
1, 2 3 1 2 3 Step, cross-step/Step, raise, 2
•With a hop hop
1, 2 3 1 2, 3 Step, cross-step/Step brush 2
•With a brush
1, 2 3 1 2, 3 Step, cross-step/Step raise 2
•With a raise
1, 2 3 1 2, 3 Step, cross-step/Step close 2
•With a close
1, 2 3 1 2, 3 1, 2 3 Step, cross-step/Step 4
•Double sway 1, 2, 3 point/
balance Cross-step, step/point
• Bacui – ¾ 1,2 3 1,2 3 1,2 3 Cross-point step/Cross-step 4
1,2,3 (rear) step/Cross-step(front)
Step/Close (pause)

• Bleking 2/4 or 12 Heel-place, close 1

3/4 1,2 3 Heel-place, close 1

• Change Step – 1&2 Step, Close, Step 1

2/4

• Cross Change 1&2 Cross-step, close, step 1

Step – 2/4

• Contra-ganza – 1&2 Leap (sideward), cross-step, 1

2/4 step

• Habanera – 2/4 12& Step, close, step 1

• Haplik – 2/4 1 2 1 2 1 & 2 1 2 1 Step, step, hop, hop, step,
& 2 1 2 1 2 1, 2 step, step (turning), hop, 8
hop, step, step, step
(turning) hop, hop, step,
step, close (pause)

• Ku r a d a n g – 1 & 2 3 1& 2 3 Step, close, step, cross-step, 2

3/4 step, close, step, pause

• Mazurka – 3/4 123 Slide, cut, hop 1

• Mudansa – 3/4 1 2 3 (4x) R & L Step, heel-brush, heel-step

alternately (3x to the right) 16
123123 Repeat same to the left
123123 Step, close, step, step, close,
(turning) step
Step, close, step, step, close,
step (turning)

• Redoba – 2/4 123 Slide, cut, cut 1

• Sagamantica 1 2,3 1 2,3 1 2,3 1 Step, close, step, close, step, 4
2,3 close, raise, heel-place

Engaño Series – ¾
•With a waltz 1,2 3 1 2 3 Step (sideward) cross; step, 2
•With a close 1,2 3 1 2, 3 close, step 2
Step (sideward); step, close

• Paso Español 1 2 3 1 2 3 1 2 3 1 Step, close heels up, (forward)

-3/4 23 down; step, close, and heels 4
up, down (backward); Step,
brush-swing hop, step, brush-
swing, hop
• Papuri – 3/4 1,2 3 1,2,3 1,2 3 Step, cross-step,cross-point, 4
1,2,3 step, cross-step, cross-step

• Sangig – 3/4 123 Step, close, circle in air 1

• Escotis – 4/4 1234 Step, close, step, hop 1