Philippine dance

Philippine dance has played a tremendous role in Philippine culture. From one of the oldest dated dances
called the Tinikling, which originated from the Spanish Colonial Era, to other folkloric dances such as
the Pandanggo, Cariñosa, and Subli, and even to more modern-day dances like the Ballet, it is no doubt that
dance in the Philippine setting has integrated itself in society over the course of many years and is significantly
imbedded in our culture. Each of these dances originated in a unique way and serve a certain purpose,
showcasing how diverse Philippine dances are.

Types of Dances
Classified by each Ethnic Group
The presentation of each type of dance in the Philippines is often categorized in ethnic or geographic
localization or group.

Type of Dance Origin Tribe Purpose

One popular contemporary performance in the Philippines is

called the “Banga” or pot dance. This performance originated
in the province of Kalinga of the Mountain Province. As
many as seven or eight pots are balanced on the heads of
Banga Kalinga
maidens as they move to the bear of the “gangsa” or wind
chimes while they go about their daily routine of fetching
water while balancing the banga. This is why the tribesmen
are known as fierce warriors.[1]

The Bendayan, which is also referred to as Bendian, is a

dance that was adapted from the tradition of the Benguet
Benguet
Mountain Province in which hunters are honoured. Although
Province,
Bendayan it is an adaptation or rendition of the original, it is still
Northern
included in each festivity in Benguet and its significance
Luzon
remains preserved. Furthermore, the circles lead to an
unambiguous meaning.[1]

Manmanok is a dance that dramatizes three roosters from the

Bago Tribe who compete against one another to be able to get
Manmanok Bago
the attention of a hen, Lady Lien. They try to attract her by
making use of blankets that depict their feathers and wings.[1]

Tachok is a Kalinga Festival Dance that is performed by

Lumagen/Tachok Luzon Kalinga
unmarried Kalinga women who imitate the movement of the
flight of birds as they move through the air. People come
 together and perform this dance to celebrate their birth first-
born baby boy, weddings, or people who are able to make
peace with each other. This dance is accompanied with music
with the use of gongs.[1]

The word Gaddang originated from the combination of two

words which are “ga”, meaning heat, and “dang” which is to
burn. The Gaddang people live in the center of Cagayan
Valley. Furthermore, some of their groups have resided in
Isabela, Kalinga, and Eastern Bontoc. They are mostly
Christian, and are agricultural in nature. Those that have
Cagayan
Turayen Gaddang resided in the areas stated mostly preserved their culture
Valley
which is rooted in indigenous and swidden agricultural
traditions. For an instance, they commonly practice the
burning of existing crops to construct short-term plots for
farming. Additionally, they also practice hunting and fishing.
In the Gaddang dance, the people emulate the movements of
birds that are drawn to tobacco trees.[1]

Tarektek dramatizes two male tarektek woodpeckers who try

to get the attention of three females. The first woodpecker
tries doing this by showing his good voice. This was
Tarektek Benguet portrayed by the banging of a brass gong. On the other hand,
the second tries impress the females by showing off his
feathers. This was portrayed by the use of colorful blankets
that are moved around in bird like movements.[1]

The Salidsid, or the “cayoo dance”, is known as a romantic

dance in which a male courts a female. That being said, it is
commonly performed with one male and a female dancer. It
starts with each of the dancers holding an “ayob” or “allap”
which is a small cloth. Customarily, the most powerful people
in the village are in the dance following the host’s signal of
Salidsid Kalinga
the opening of the affair. Both the context and the
significance of the dance are apparent. Additionally, the male
imitates a rooster that is attempting to gain attention from a
hen which is represented by a female dancer. On the other
hand, the female dancer imitates the gestures of a hen that is
being orbited by a rooster.[1]

Tribes from the mountain provinces in Luzon give great

Salip Kalinga importance to their identity. Thanksgiving, birth, wedding,
and victory in war among others, are some things that these
people celebrate through the art of dance. The Kalinga
 wedding ritual, to be particular, is a dance wherein a bride is
offered protection and comfort by the groom. The man tries to
show his love by imitating the movements of a rooster.
Meanwhile, the bride’s friends prepare “bangas” (earthen
pots) that contain fresh water from the mountain spring to
offer to the groom.[1]

Ragsaksakan dance portrays the walk of the industrious

Kalingga women who climb up the Rice Terraces in the
Mountain Provinces of the Philippines. They carry pots that
Ragsaksakan Kalinga
are placed above their heads. They also wear small hand
woven blankets around their necks which represent the
“blankets of life.”[1]

Coined from the word ipugao meaning “coming from the

earth” is the term Ifugao, pertaining to the people of the
province who are called to be the “children of the earth.” As
well as to the province itself, according to the Spaniards.
Uyauy/Uyaoy Ifugao
Those who belong to the wealthy class, the Kadangyans, have
the privilege to use the gongs that are used at the wedding
festival dance. The same dance is performed by the people
who desire to reach the second level of the wealthy class.[1]

Dances of the Taga-Ummah (Muslim)[edit]

The Taga-Umah are a Filipino Muslim community from Mindanao known for their mysticism, royalty and
beauty as evidenced by their music and dance practices. Mindanao is home to the largest cultural minority, the
Muslims, as brought by the Javanese and Middle Eastern traders further adding to the rich culture in the
regional tribes in the area. Their dance is marked by intricate hand and arm movement, accompanied by their
shimmering costumes, and instruments such as the agong and kulintang.[2]

Type of
Origin Tribe Purpose
Dance

The Panglay, a dance native to the Badjaos meant to highlight

the power of the upper body, is executed through the rhythmic
Zamboanga
Pangalay Badjao bounce of the shoulder while simultaneously waving the arms.
del Sur
Most times, this dance is performed in social gatherings like
weddings.[2]

Burung
Tausug Burung Talo is a dance in the form of martial arts. Performers
Talo
portray a battle between a hawk and a cat. This dance is
 accompanied with lively beats from gongs and drums as the
performers do acrobatic movements.[3]

The Asik is solo dance performance portrays an unmarried

young woman who tries to gain the approval and support of her
sultan master. She can dance for two reasons. The first is to try
Lanao del
Asik Maguindanao to win the heart of her master and the second is to be able to
Sur
make up for a mistake she has done. In this dance, the performer
dances and poses in doll like motionsand is dressed with fine
beads, long metal finger nails, and heavy make up.[4]

Singkil is a Filipino dance that narrates the epic legend of

“Darangan” of the Maranao people of Mindanao. This 14th
century epic is about Princess Gandingan getting trapped in the
forest during an earthquake that was said to have been caused by
the forest nymphs or fairies called diwatas. The name “Singkil”
is derived from the bells worn by the Princess on her ankles.

The dance uses props that are representative of the events in the
Lanao, epic. The criss-crossed bamboos are clapped together to signify
Singkil Marano
Mindanao the falling trees the Princess gracefully dodges as they fall while
her slave follows her around. The Prince then finds her and the
other dancers begin to dance slowly and progress to faster
tempo with fans or their hands moving in a rhythmic manner
which signify the winds in the forest. With skillful handling of
fans, the dancers cross the bamboos precisely and expertly. In
Sulu, Royal Princesses are required to learn the dance. The
Royal Princesses in the dance, specifically in Lanao are usually
accompanied by a waiting lady holding an elaborately
decorated umbrella on her head and follows her as she dances.[2]

Tahing Tahing Baila is a Yakan dance, a low land tribal Philippine folk
Yakan
Baila dance, in which it tries to imitate movements of fish.[2]

From the highlands of Mindanao, is a Musim ethnic group

called the Yakan. They are known to wear body-hugging
elaborately woven costumes. One of their popular dances, called
Pangsak Basilan Yakan
Pangsak, involves a man and his wife performing complicated
hand and foot movements while their faces are painted white to
hide their identity from evil spirits.[2]

To imitate themovements of the beautiful southern bot (the

Panglay
vinta) with colorful sails which journeys through the Sulu Sea,
ha Badjao
the Panglay ha Pattong is a dance performed by a royal couple
Pattong
that balances on top of bamboo poles.[2]
 Panglay sa Agong is a dance that portrays two warriors who try
Panglay
Tausug-Sulu to gain the attention of a young woman. By banging on gongs, it
sa Agong
was the way they showed their courage and skills.[2]

Maranao people from the around the Lake Lanao have a royal
manner of “walking” called the Pagapir. The ladies of the royal
Lanao del
Pagapir Maranao court perform this dance for important events and to show their
Sur
good upbringing. It involves a graceful manipulation of the Aper
(apir) or fan while doing the “Kini-kini” or small steps.[2]

Sagayan is a dance often performed before celebrations, and to

get rid of bad spirits and to welcome good ones. The performers
are fierce warriors who portray movements that depict a warrior
trying to protect his master in battle. This means that many
Sagayan Cotabato Maguindanao acrobatic movements are involved in this dance. They carry a
shield on one hand and a kampilan on the other, a double-sided
sword made of either wood or metal. These dancers also wear
bright colored materials for their three tiered skirts, toppers and
headgear.[2]

Type of
Origin Tribe Purpose
Dance

The Kuntaw, which originates from the Malay word

meaning “fist”, is one of Mindanao’s best-kept secrets. It
Kuntaw T’boli is a martial arts dance that includes gestures of the fist,
accompanied by other actions like jumps, kicks, and
knee bends.[7]

The tribe of T’boli is located in a place where there are

vast amounts of wildlife, most especially birds. Kadal
Taho, also considered as the “True Dance of the T’boli,”
is a story about a flock of sister birds who left to look for
Lake Sebu,
Kadal Taho T’boli food and ended up getting lost. During the journey, one
South Cotabato
of the sisters injures her leg and is unable to fly. With
her flock by her side, motivating her and supporting her,
she was able to fly again and they were able to get home
safely.[8]

Lemlosnon, Kadal Blelah is a tribal dance wheres dancers try to

Kadal Blelah T’boli
Cotabato simulate and imitate the different movements of birds.[5]
 The Binalayan dance emulates movements of a hen, her
baby chicks and a hawk. The hawk has always been seen
and symbolized as that which has power over the welfare
Binaylan Higaonon Bagobo
of the entire tribe. Although, one day, the hawk tried to
get one of the baby chicks which led to the hawks death
for it was killed by hunters.[5]

Bagobo Rice Cycle, also known as Sugod Uno, is a tribal

dance which portrays the rice production cycle. This
Bagobo Rice includes the prepping the land, planting rice, watering
Davao del Sur Bagobo
Cycle the rice, and harvesting it. This dance also portrays
rituals to say thank you for the rice that they were able to
harvest.[9]

Performances such as a sacrifice dance rite exists in

provinces wherein religion is given the highest regard,
such as the Higaonon of Bukidnon province in Mindanao
place. “Dugso” is performed as a form of thanksgiving
for good harvest, healing of the sick and for the
community’s overall well being. It is also used to get rid
Dugso Bukidnon Talaindig
of bad spirits, to give luck for victory in battle and used
during the blessing of the newly opened field. Their
costumes are compared to that of the pagpagayok bird
because of the colourful headdresses and the bells
wrapped around their ankles which is considered as the
“best music” to the spirits.[8]

Kadal Heroyon, also known as the dance of flirtation, is

performed by T’boli girl adolescents qualified to get
Kadal Lake Sebu,
T’boli married. Beautification, which was held of high
Heroyon South Cotabato
importance in the tribe, is portrayed through movements
that would imitate how birds flew.[5]

Karasaguyon is a tribal dance that portrays a story of

four sisters who try to get the attention of a polygamous
man who is choosing his next wife. This dance is
Lake Sebu,
Karasaguyon T’boli accompanied with music from the sounds of the beads
South Cotabato
and bells as they clink against each other which are
wrapped around the waists and ankles of the
performers.[8]
 The Kinugsik Kugsik tries to imitate the friendly and
endearing nature of squirrels. The dance portrays an
issue of love between two male squirrels and one female
Santa Maria,
Kinugsik squirrel who run around the forest. They had created this
Agusan del Manobo
Kugsik dance as a remembrance of the time wherein the tribe of
Norte
Manobo lived harmoniously with squirrels who thrived
in their area. They named this dance as such because
they called these squirrels, “kugsik.”[8]

A lawin, Philippine hawk eagle, is endemic in the

Philippine region. The lawin-lawin dance tries to imitate
Lawin-Lawin Davao del Sur Bagobo how the eagle soars the sky by making use of shields to
represent the wings. This is performed by males of the
Bagobo tribe.[8]

Sohten was danced before as a way of asking the gods

for protection and success before going into battle. This
Zamboanga del
Sohten Subanon is now performed by an all males of the Subanon tribe
Norte
who make use of shields and palm leaves to portray this
pre-combat ritualistic dance.[8]

Talbeng, a lively dance accompanied by a guitarist,

Babuklod,
imitates animals of the region, most especially the
Talbeng Florida Blanca,
monkeys. This dance originated from the Aetas, also
Pampanga
known as the Negritos.[8]

The Bangkakawan, a fishing ritual, originated from the

Tigwahanon Manobos of Bukidnon. A huge log is
Bangkakawan Bukidnon Monobo carved to replicate the shape of a palungan (snake) and is
used to making steady beats and rhythms to make fish
dizzy and less difficult to catch.[10]

Moral Solanay is a dance performed by indigenous

people of B’laan. This dance is performed by women
Southern
Maral Solanay B’laan who portray the spirit of a young lady named Solanay.
Mindanao
Through this dance, they try to show grace, beauty, and
diligence which Solanay represents.[11]

Basal Banal Palawan Palawanon After a Pagdiwata ritual, the basal banal dance is usually
performed. This is a traditional dance of the Palawanons
 wherein they make use of native balasbas and cloth to
make their movements more prominent and
noticeable.[12]

Well respected Obo Manobo warriors, called Baganis,

Palihuvoy Manobo perform this dance which showcase their skills in
fighting.[13]

Sabay Pengalay is a Subanon courtship dance that

Sabay Zamboanga del
Subanon contains pantomimic gestures. It portrays a smitten
Pengalay Norte
bachelor who tries to win the heart of a kerchief.[14]

Siring is a dance performed by the Lambangian tribe.

Their ancestry is from an intermarriage between the
Dulangan Manobo and Teduray, two other indigenous
Siring Maguindanao Lambangians
tribes. The siring is a dance that portrays different
activities that occur in their everyday lives. These
include planting rice and catching fish.[15]

Sout is a Subanen dance which aims to be able to

showcase a warriors skill with the use of a sword and
Sout Zamboanga Subanen
shield (k’lasag) which are covered with different kinds
of shells called blasi.[16]

Talek in a dance usually performed by Subanen women,

Talek Zamboanga Subanen who hold on to kompas or rattan leaves, during festivals
or wedding celebrations.[17]

The Kadal Unok is a dance performed by women that is

depicted through elegant and fluid movements with the
use of the arms that tries to imitate the movements of the
onus bird. They performers make use of heavy make up
Lake Sebu,
Kadal Unok T’boli and adornments which represents the tribes passion for
South Cotabato
beauty and fashion. There passion for beauty and fashion
goes as far as wearing wide brimmed hats that are highly
decorated in the fields and wearing interlocked bronze
belts, helots, whenever they walk or dance.[18]

Balisangkad Tagbanau Balisangkad comes from Madukayan, eastern side of

Mountain Province. It is a type of hunting dance in
 which the dancers movements imitate those of an eagle,
particularly the flight of the eagle.[19]

A ritual meant for the rice harvest, the Pagdiwata was a

nine-day demonstration among the Tagbanuas of
Pagdiwata Tagbanau
Palawan to give thanks. This revolved around the
babaylan or priestess and her ministrations.[20]

The Sayagan is a dance meant for courtship wherein a

man asks for a womans hand by putting his piz cloth on
Sagayan Tagbanau
the ground. For the woman to answer him back, she must
likewise put her own cloth on the ground.[21]

Soryano is a courtship dance that portrays anxious men

holding on to cloths trying to persuade women to turn
around and face them. Instead, these women, turn the
Soryano Palawan Tagbanau
opposite way for fun and make the men chase them.This
dance then becomes a lively and energetic dance of
chase.[22]

During the tambol, villagers summon their guiding spirit,

Tambol Tagbanau Diwata. It is a nine-day ritual of a babaylan or
priestess.[23]

Dances of the Low-land Western-Christians[edit]

The most famous dances in the Filipino culture are ones from the rural Christian lowlands. These dances
illustrate the fiesta spirit and articulate their love of life. The moves express a joy in work, love for music and
their pleasure in the simplicities of life. The traditional attire in these dances include the balintawak and
patadyong skirts for the women, and camisa de chino and colored trousers for the men.[24]

Type of
Origin Tribe Purpose
Dance

The name Bulaklakan originates from the numerous flowers that

grow in the area of Bulacan. The dance is dedicated to the Virgin
Bulaklakan Bulacan
Mary performed widely in the month of May as part of the
celebration of their holy week.[25]

Sakuting Abra Sakuting was originally performed by male dancers only. It

originates from the province of Abra, performed by both Ilokano
 Christians and non Christians. It depicts a mock fight with sticks for
training and combat. The music style suggests Chinese influence.
During Christmas, the dance is performed in town plazas or dancers
will go door to door. Spectators give them aguinaldos or money or
refreshments.[26]

For the past centuries, an important part of peasant social life is the
gathering of peasants who collectively work together to do labor
intensive jobs for the community. Once a week they would gather to
clean the forest, till the soil, do farm work, etc. Every noon time,
Tiklos Leyte
after the peasants have eaten and started to rest, the Tiklos is usually
performed. When the peasants start to hear the Tiklos music from the
flute, guitar, guimbal or tambora, they start dancing the Tiklos
together.[27]

Social gatherings in communities call for customaries that come in

the form of offering wine to guests. The offer is made by a young
lady who chooses a young man from the guest to dance with. In
accepting a glass of wine, the young man also accepts dancing with
Abaruray
the lady. It is not advisable to turn down the offer as it is offensive to
the community’s etiquette and the lady. As they dance, the girl’s
ability is shown through balancing the glass of wine without spilling
a drop. The audience claps with the music.[28]

In the separation of Loma and Zapote of Binan, Laguna during the

Spanish regime, the two barrios danced the maglalatik. The
Maglalatik or Magbabao is a war dance in portrayal of a fight over
latik between Moros and Christians. There are four parts of the
dance, namely, the Palipasan and Baligtaran, Paseo and Sayaw
Escaramusa. In order, the former two parts depicts the heated
relationship between the two groups mentioned previously while the
Maglalatik
latter two parts showcases their reconciliation. Following the legend,
the Moros won in the fight, but the Christians, uncontented, sent an
envoy and offered peace and baptism to the Moros.

The dancers go house to house to dance the Maglalatik in exchange

for money or a gift. Come night time, the dancers dance in a religious
procession as an offering to San Isidro de Labrador, patron saint of
the farmers.[29]

The tinikling is named after the tikling bird. The dancers imitate the
bird’s flight in grace and speed as they play and chase each other, run
Tinikling Leyte
over tree branches or dodge farmer’s traps. The dance is done with a
pair of bamboo poles.[30]
 The tinikling dance has evolved from what is called ‘Tinikling Ha
Bayo’ which the older people claim to be a harder dance to perform.
Originally, the said dance was done between bayuhan, wooden
pestles used to pound husks off of rice grain.[31]

Subli is a famous dance in barrios of the municipality of Bauan,

Batangas. It is a ceremonial dance performed in fiestas every May in
Barrio of
homage to Mahal Na Poong Santa Cruz.[29]
Dingin,
Subli
Alitagtag, The name comes from the Tagalog words “subsub” (stooped) and
Batangas “bali” (broken). Hence, the male dancers are positioned in a “trunk-
forward-bend” way seemingly lame and crooked throughout the
dance.[30]

The Sayaw sa Obando is performed in honor of Santa Clara, patron

Sayaw Sa Obando, saint of the childless. It is the childless women usually from Malabon
Obando Bulacan and Navotas who participate in the dance as part of a ritual to ask the
said saint to grant their wishes to have a child.[27]

Cariñosa is a well known dance around the Philippines with the

meaning of the word being affectionate, lovable, and amiable. The
Cariñosa dancers use a handkerchief and go through the motions of hide and
seek or typical flirtatious and affectionate movements. The dance
comes in many forms but the hide and seek is common in all.[32]

During the Spanish regime, Karutsa was one of the popular and best
liked dances in the country. There are many versions across different
regions in Ilocos and Bicol. Currently, the one being performed is a
Kuratsa
Visayan versions from Leyte. Performed in a moderate waltz style,
the dance has a sense of improvisation that mimics a young playful
couple trying to get each other’s attention.[27]

Lubang Coming from the Sapnish word “fandango”, the dance is

Pandanggo Island, characterized by steps and clapping that varies in rhythm in 3/4 time.
Sa Ilaw Mindoro, The Pandanggo sa Ilaw demands three oil lamps balanced on the
Visayas heads and the back of the hands of each dancer.[33]