Singkil Literature The Maranao dance calledSingkil is in the repertory of all Filipino dance troupes.

There are many interpretations of this dance. According to Maranao legend, the Singkil derives its name from the feat of a certain Princess Gandingan. While she was walking in the forest, diwatas (fairies) caused the earth to quake and shake the trees and rocks; Princess Gandingan, however, skipped nimbly from one place to another so that her feet did not touch the fallen trees and rocks. Originally, in Singkil (Maranao word for "getting a leg or foot entangled in an object") a solo female performer danced in and out of crisscrossed bamboo poles, keeping time to the syncopation of the poles, at the same time manipulating two fans (apir). The dance had no music other than the beating of the poles and had a moderate and static rhythm. In today's versions of the dance a retinue follows the star performer skillfully skip in and out of crisscrossing bamboo poles that are rhythmically clapped to the beat of an ensemble of kotiyapi (bamboo guitar), insi (bamboo flute), kobing (harp), and tintikan (metal sticks). Costumes and Instruments The lead dancer, in the role of Putri Gandingan (the Darangen name for Sita), graciously step in and out of closing bamboos poles arranged in either a parallel, rectangular, or criss-cross fashion while manipulating either apir (fans), mosala (scarves), or even just their bare hands. Akulintang and agung ensemble always accompanies the dance. While often erroneously referred to by non-Maranaos as a "Muslim dance", the Singkl is in fact secular in nature, performed by the Ummah communities of the Maranao and Maguindanao. Initially, the dance was performed with just one pair of bamboo poles, eventually adopting the use of two criss-crossing pairs. Movements Further adaptation divided the dance into 4 movements:  First movement- Asik, where the slave with umbrella is introduced. Second movement- entrance of Putri Gandingan, the entourage of female fan (sometimes scarves) dancers, and the Prince.  Third movement- Patay, which is a slow section, and is a structural dance convention often found in Western performances.  Fourth movement- the climax in which all dancers dance to the crescendo of music.

Time Signature: 3 4

Classification: Ritual Dance

Tinikling Literature Tinikling (means tikling-like) is the official Philippine National Dance according to the Philippine Information Agency (PIA.gov.ph). It is the most popular Philippine folk dance abroad. This dance is a favorite in the Visayan Islands especially in the provinces of Leyte and Samar. The dance derived its name from the bird tikling because the dance steps are mimetic of that bird's movements. The tikling is a bird with long legs and neck. The birds are considered as the worst enemy of the Waray farmers because they molest the rice fields as they prey on the ripening rice grains. To prevent this, the farmers would place some bitik (calledsi-ay or patibong in Samar), traps made of bamboo to catch the annoying birds. The birds, however, would still manage to escape from the traps. The tinikling dance imitates the movements of the tikling birds escaping from the bamboo traps set by the farmers. The bamboo poles are indeed used to try to trap the dancers feet for fun. This spectacular dance is usually accompanied by a folk song about the trap-setters. Costume: The most popular costume used in tinikling dance are patadyong kimona and camisa de chino but some used barong tagalog and baro't saya. Time Signature: 4 4 Classification: Folk Dance

La Jota Paragua Literature Origin: Cuyo, Palawan La Jota Paragua is a lively jota introduced by the Spaniards to the Philippines. The golpes, stampas, cubrados, and the feet stamping, show the Hispanic influence of the dance. Displays a Castillan influence with Zapateados (footwork), Lobrados (arms), and Sevillana style of dress. The ladies wave their mantn, or decorative shawl, while the gentlemen keep brisk pace with bamboo castanets. Paragua was the original name of the Island of Palawan. A dance originating from Zamboanga, displays steps with very strong Castillian influence, but using Philippine bamboo castanets held loosely. The woman in Jota de Paragua waves a shawl called manton. Costume: The sevillana dress is worn by artistes who perform sevillana, a colourful and exciting style of song and.. This style of dance is performed at fiestas of all kinds throughout Spain, especially during the feria, when women wear the colourful sevillana polka-dotted dresses (traje gitanas), that gives the dance a swirling quality and grace. Time Signature: 3 4 Classification: Social Dance

Pandanggo sa Ilaw Literature (Mindoro)This popular dance of grace and balance comes from Lubang Island, Mindoro in theVisayas region. The term pandanggo comes from the Spanish word fandango, which is a dance characterized by lively steps and clapping that varies in rhythm in 3/4 time. This particular pandanggo involves the presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand. After a good catch, fishermen of Lingayen would celebrate by drinking wine and by dancing, swinging and circling a lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan dialect means "swinging." This unique and colorful dance calls for skill in balancing an oil lamp on the head while circling in each hand a lighted lamp wrapped in a porous cloth or fishnet. The waltz-style music is similar to that of Pandanggo sa Ilaw. Pandanggo sa Ilaw is a very popular folk dance in the Philippines. It is said to have originated from Mindoro, the seventh-largest island in the Philippines. This dance of lights simulates fireflies at dusk and at night. The word pandanggo is from the Spanish fandango, a dance in 3/4 time. The phrasesa ilaw is Tagalog for "in light" and it refers to the three oil lamps that a dancer has to balance one on the head and one on the back each hand. The oil lamp is called tinghoy. Sometimes, candles in glasses are used instead of an oil lamp. The music to which the pandanggo sa ilaw is now commonly danced was composed by Col. Antonio R. Buenaventura, a National Artist for Music and a native of Bulacan. He wrote the music sometime in the early 1930's while teaching at the Conservatory of Music at the University of the Philippines. Costume: kimona at saya Time signature: 3 4 Classification: Festival Dance

Maglalatik Literature Maglalatik is danced to mimic the early battle against Christians and Moros to win coconut meat or latik during the time of Spanish colonization. This is also performed to pay homage to the town saint of Bian, Laguna San Isidro Labrador. This dance is divided into four parts: baligtaran, palipasan, paseo and escaramusa. This dance actually tells a story- and it depicts the fight between the Moros and the Christians over the 'latik'. The 'latik' is the residue that is left after the coconut milk has been cooked and boiled. This dance is composed of a four-part performance and the first two performance of the dance is called as the 'Palipasan' and the 'Baligtaran'. In these first two performances, the dance will show the opposing squads in an intense battle. The last two parts of the dance are the 'Paseo' and the 'Sayaw Escaramusa'. These two dances basically show the reconciliation between the two groups and the dance steps of the dancers will show and suggest that the opposing groups are now in good terms. The two groups in this dance is the group of the Moros and the other group is the group of the Christians. All dancers that participate in this classic dance are male and they all harness and use the coconut shells. These shells are attached on many points of the body of the dancers- in the chests, the backs, the thighs and the hips. The dancers will also hold their triangular formed coconut shellsin their hands and they used these shells to tap the coconut shells that are fitted on their bodies and they use these to generate the music that will accompany them when they are dancing. The Moros in this dance will wear the red trousers and the Christian group will wear the blue trousers. This dance will involve some simple movements and simple repetitions Costume: Moro dancers wear read trousers while the Christian dancers show up in blue. All dancers are male; with harnesses of coconut shells attached on their chests, backs, thighs and hips. Time Signature: 2 4 Classification: Game Dance

Reaction for the Folk Dances I am proud of being a Filipino. It is a race of rich culture and vast imagination. As the presentation portrays, we Filipinos inherit the creative and artistic dances of our ancestors. Based on the presentations performed by the SLU Dance troop, all I could say is that Superb. Aside from the bright and colorful costumes used by the performers, the dances were perform flawlessly and carefree. Aside from the costumes, the props and instruments used seem great. With such performance, there are just small recommendations I want to suggest. First of all, it would be better if all the performers are smiling and could enjoy their performance because most of them have no emotional expressions. Secondly, their performance is great its just that some of them are overacting on some of their roles. These performances are our treasures that we still have in spite of our generation. And as a student its a great privilege to be aware of such cultural treasures of ours. As a whole, the performances were well-played and they are amazing.

Physical Education 1
Philippine Dances

January 07, 2012 Submitted by: Malao, Kristine Anna Mei B. Submitted to: Sir Benny Kristoffer Duriano