PHILIPPINE FOLK DANCES
Division: Adult Large Group Team Name: The Philippines Performing Arts Company of Tampa Bay Dance: SINGKIL Represent: The Philippines From: Tampa, FL, U.S.A.
Kuratsa Orihinal Samar-Leyte Traditional Couple Dance
Ирландский танец. Выступление на взрослом Отчетном концерте 2013г. Обучение в школе танцев МАРТЭ в Москве, хореограф Любовь Марчукова http://marte.ru/teacher/29/
A Waray folk song that has becaome popular throughout the Philippine archipelago. The dance is probably a late choreography to the folk song. There are four versions to the Lawiswis Kawayan dance: one from Kolambugan, Lanao performed by the Waray settlers in that place. Another version from Eastern Samar uses a "bangko/puruk-anan" as an implement to the dancing. The male dancers have a mango leaf on their mouth in one figure of the dance. The two versios from Leyte are very distinct from each other. One version is performed with female dancers holding two branches of the "kalipayan" bush and are swayed in time to the music. This version is usually done during house blessings. The last version is the one described in the classic Waray stage play "Diri Bata, Diri Ulitawo, Diri Inasaw-an". As described, the dancers hold one internode of a bamboo with leaves on it. The dance ends with a pose holding the nodes into one long bamboo pole. Given below is the Lawiswis Kawayan song which was traditionally sung alongwith the musicians who play the dance music: LAWISWIS KAWAYAN (Tanauan, Leyte version) Ako magtatanum lawiswis Kawayan Akon la kan Pikoy palatay-latayan Salbahis ka Pikoy an imo paghuni Naghatag ha kalag, hin' ak' kalipayan Bulahan ka Pikoy, ka Pikoy, tikang panginaun Nagpili hin sanga,tinugdon, hinapun. Unina malupad, paglupad iya karantahun Kundi pagka kulup mabalik guihapon Watch out for my upcoming videos of the following dances: Tinikling (Waray) Itik-itik Kuratsa Samarnon (Waray) Lugkat (Waray) Lukay (Waray) An Marol (Waray) Surtido Samareño (Waray) Ismayling (Amoracion/Amoral) (Waray) An Lubi (Waray) An Lab-asero (Waray) Costurera Maramyon (Leyte version) (Waray) Paspe (Waray) Ginabato (Waray) Pantomina de Samar (Waray) Salampati (Waray) Ti Yadut (Waray) Lavezares (Waray/Abaknon) Jota han Kalipay (Waray) La Jota Samareña (Waray) Kuradang (Waray) An Ulitawo (Waray) Bagol (Waray) Kadang (Waray) Ingkoy-ingkoy (Samar version) (Waray) Pastores (Samar version) (Waray) Estudiantina (Capul version) (Abaknon) Mazurka Capuleña (Abaknon) Panderetas (Tanza, Ilo-ilo version) (Ilonggo) Engañosa (Pandangyado Mayor) (Waray) Pandangyado Cariñosa (Samar) (Waray) Pandagyado Buraweño Pag-aring (Basey, Samar) (Waray) Jota Paloana (La Jota Navarra) (Waray) Paso Doble (Parañaque version) (Tagalog) Polka Tagala Culebra (Bulacan) (Tagalog) Jota Cabangan (Ilocano) Jota Rizal (Tagalog) Jota Ibanag (Ibanag) Chotis Dingreña (Ilocano) Sangkayao (Bikolano) Pangkilad (Bikolano) Flaggey Libon (T'boli) Madal Tahu (T'boli) Karal Kafi (Bilaan) Ati-ati sa Bukid (Cuyo, Palawan) (Cuyunin) Bendayan (Tchunggas) (Benguet) Kadal Onuk (T'boli Bird Dance) Karatong (excerpt) (Cuyunin) Inday na Kunday (Southern Leyte) Likod-likod (Ormoc, Leyte) Gapus-gapusay (Ormoc, Leyte) Man-manok (Bago) Sohten (Subanen) Khinlesung (Subanen) Pangalitawo (Subanen) Madrileña (Pangasinense) Takiling (Kalingga) Minandagit (Manobo) Inahaw (Higaonon) Dugso (Higaonon) Siring (Tagbanwa) Sarungkay (Tagbanwa) Balisangkad (Tagbanwa) Tugatak (Tagbanwa) Dagit-dagit (Kinaray-a) Jota Moncadeña (Ilocano) Surtido Boronganon (Waray) Tachok (Kalingga) Chalijok (Kalingga) Ballangbang (Applay) Karasaguyon (T'boli) Polka Lapis Apoc (Ilokano) Pangalay (Sama di Laut/Yakan) Paunjalay (All girl version) (Yakan) Silong sa Ganding (MAguindanao) Kandalamat sa Gandingan (MAguindanao) Ipat (Demo) (MAguindanao) Maong a Lalong (Pangasinan) Palu-palo (Ivatan) Pawakan (Sabong) (Maranao) Pinanyuwan (Bontoc) Buhay sa Bukid (Tagalog) Pakkong (Benguet) Buling-buling Pandacan (Tagalog) Tacon y Punta Danza (Bikolano) Telipe (Apayao)
Tiklos (also called "pintakasi") is the Waray equivalent to the "bayanihan". Groups of people work for somebody without hoping for anything in return. They work odd jobs like clearing forests, digging the earth for wells, moving a nipa hut to a new location or even building a house! In all these for free. Of course grateful benefactors would offer drinks and food; but it is not always expected. The peasants cooperate for the social and economic progress of their community. The Tiklos is a native peasant dance of Leyte. Very early in the morning, the leader of the tiklos beats the tambora, a kind of drum made from a hollow trunk of a tree with a carabao hide head. Next comes sounds of the subing (bamboo flutes) and the guimbal-a small snare drum with a head of a parchment made from the skin of a wildcat. The peasants come out with grass hooks, bols and other garden tools and farm implements. Led by the band, they march together to work in the fields. During breaks the peasants enjoy themselves with tuba (a native wine) and the rest dance the tiklos accompanied by the subing (plawta), guimbal and tambora drums or when available, the "sista" played by the band. The Tiklos music is also played to call them back to work. SOURCE: Philippine Folk Dances V4, by FR Aquino DAGAW: Eastern Visayan Culture, by Saiaopinoi Programs of Philippine Folksong and Dances Manila, 1937, page 1
A few among those Philippine dances which can be classified as a "national" folk dance. This dance is also available in versions from Ilo-ilo, Mindoro, Laguna and Leyte. The version from Leyte appeared in the book "MGA AMBAHAN" (1906) by the famous Waray writer Vicente de Veyra. All versions of the Lulay use the same "basic" melody. The melody first appeared in the book "Bajo los Cocoteros" (Under the Coconut Trees?). It ranks among the popular love songs in the country at the close of the 19th century. It was also published in Madrid by Graciano Lopez-Jaena (from Ilo-ilo, ring any bell?) in Aires Felipinas (Philippine Airs). The most popular version of the Lulay song is probably the one from the Tagalog region which runs: Anong laking hirap kung pakaiisipin Ang gawang umibig sa babaeng mahinhin Lumuluhod ka na'y 'di ka pa mandin pansin Sa hirap ikaw'y kanyang susubukin. Another Tagalog version from Laguna have this for the first stanza: Sa silong ng langit nitong bayang sinta Ang mga dalaga ay mahinhi't maganda Kung susuyuin mo ay magtapat kang talaga At iibigan ka magpawalang-hanggan. The Waray version is used as a melody for the Balitaw where dancers sing and dance respective parts in a joust of "siday" done to the tradition of the Amoracion oe Ismaylingay, the following line sung by a male "mag-ismaylingon" was recorded in Samar: Kamakakukuri hinin akon kabutang Sugad hin natungtung hinin anud nga batang Waray sasabuta inin akon kapalaran Kun hain mga bungto ako sasampigan The Lulay is also sung in Bicolano as part of their 'pastores' traditional music. National Artist for Dance Ramon Obusan recorded one version using the Lulay music in the Christmas shepher dance called "Pastores Maliliput" from Maliliput town in Albay. Two Lulay dance versions are found in the island of Panay alone. One version is the Lulay dance from Bingawan, Ilo-ilo. Another version (or excerpt) of the Lulay is found in the "Salidsid" dance also from Ilo-ilo. The seventh figure of the "Salidsid" is the Lulay. During the American occupation some folksongs were translated to English, the Lulay was published but was entitled "Boanerges Serenade". The first stanza goes: I was poorly born on the top of the mountains Caressed by the motherly love of the lighting Playing with the wonderful fire of the lightning Thrilling, thrilling kiss of love is always mine Its Filipino language text was entitled "Harana ni Boanerges": Ako'y ipnanganak sa tuktok ng bundok Kalaro-laro ko'y kulog na matutunog Dinuyan ko'y ulap sa papawiring bughaw Halik ng kidlat ang siyang kaulayaw. Watch out for my upcoming videos of the following dances: Tinikling Itik-itik Kuratsa Samarnon Lugkat Lukay An Marol Surtido Samareño Ismayling (Amoracion/Amoral) An Lubi An Lab-asero Costurera Maramyon (Leyte version) Paspe Ginabato Pantomina de Samar Salampati Ti Yadut Lavezares Jota han Kalipay La Jota Samareña Kuradang An Ulitawo Bagol Kadang Ingkoy-ingkoy (Samar version) Pastores (Samar version) Estudiantina (Capul version) Mazurka Capuleña Panderetas (Tanza, Ilo-ilo version) Engañosa (Pandangyado Mayor) Pandangyado Cariñosa (Samar) Pandagyado Buraweño Pag-aring (Basey, Samar) Jota Paloana (La Jota Navarra) Paso Doble (Parañaque version) Polka Tagala Culebra (Bulacan) Jota Cabangan Jota Rizal Jota Ibanag Chotis Dingreña (Ilocano) Sangkayao Pangkilad Flaggey Libon (T'boli) Madal Tahu Karal Kafi (Bilaan) Ati-ati sa Bukid (Cuyo, Palawan) Bendayan (Tchunggas) Kadal Onuk (T'boli Bird Dance) Karatong (excerpt) Inday na Kunday (Southern Leyte) Likod-likod Gapus-gapusay Man-manok Sohten (Subanen) Khinlesung Pangalitawo Madrileña Takiling Minandagit Inahaw Dugso Siring Sarungkay Balisangkad Tugatak Dagit-dagit Jota Moncadeña Surtido Boronganon Tachok Chalijok Ballangbang Karasaguyon Polka Lapis Apoc Pangalay Paunjalay Silong sa Ganding Kandalamat sa Gandingan Ipat (Demo) Maong a Lalong Palu-palo Pawakan (Sabong) Pinanyuwan Buhay sa Bukid Pakkong Buling-buling Pandacan Tacon y Punta Danza Telipe
Part 2 of Sinulog Festival 2008 series. Itik-Itik is a mimetic dance that depicts the movements of wading and flying itik (ducks). Dancers mimic the short swaying gait of waddling feet and the intense energy of close-cropped flapping wings.
The most popular Abaknon (or Capuleño to "outsiders") dance is probably the "Dos Amigos" which is one big favorite among fiestas where its performance serves as a "pasakalyi" or intermissions between scenes in a local Abaknon "komidya". There are however, many folk and traditional dances from the small island: Mazurka Capuleña,Lavezares, Kuratsa (introduced by their Waray relatives) and the Estudiantina. The Abaknon Estudiantina is one of the three available versions of Philippine Estudiantina dances, popular in its broken Spanish name, "Estudiantina de Capuleño". The proper term should have been "La Estudiantina Capuleña". This dance is simply called Estudiantina in the other towns in Samar where it is also popular. The dance could have derived its name from "estudiantina" which is the all-string band that plays the dance music in the many 'baylihan' during the Spanish colonial period. The estudiantina is more popular as the 'rondalla'. It is also called 'tuna' and 'murga'. In fact, in the present day Spanish world, the term used is either tuna or estudiantina. This dance is usually performed during occasions like baptismal and birthday parties, weddings and even town fiesta. It is very popular in the town of Capul as well as in the nearby towns of Allen, Lavezares and Victoria in Northern Samar. A notation of this dance's music and the literature is found in the book VISAYAN FOLK DANCES volume 2 by Liberatd Fajardo.
Interpretation of a folk dance that originates from Korea. Done by Yoon Minsook Dance Troupe, based in Daejeon, Korea. Recorded in Celanova, Galicia, Spain, on 13/08/2014. Interpretación dunha danza folclórica orixinaria da Corea. Yoon Minsook Dance Troupe, de Daejeon, Corea. Gravado en Celanova, o 13/08/2014 nas XXXI Xornadas de Folclore.
Winning performance of the Folk Studio event at the Malhar 2014 Festival (St. Xavier's College, Mumbai)
SFIS - 5th Annual Day Celebrations - Manapakkam.
Caibiran Fiesta 2007
Courtesy of II-Albert Einstein
Philippine Folk Dance
Lesson Ten of Aquarius Records - 16 Best Philippine Philippine Folk Dances - Volume One. A definite must have VCD for all Filipino's learning their culture! Available at http://www.kabayancentral.com/video/others/cpot16bpfdov.html