P.

E 2
(List of Philippine Folk dances:3rd Reporter)

Submitted by: Christer Joy R. Mansayon

BSA 1 – Sched 1

Submitted to: Mrs.Maraia Claudette I. Relente

P.e 2 Instructor
Christer Joy R. Mansayon BSA-1 sched 1

The Kappa Malong-malong

 Also called as Sambi sa Malong
 A dance originates from the Maranao tribes of Mindanao in
the Philippines.
 The dance shows many ways to wear a “malong”, simple
tubular yet highly-functional piece of cloth.
 The malong is a traditional “tube skirt” made of hand-woven
and sometimes machine made, a multi-colored cotton cloth,
bearing a variety of geometric or ‘okir’ designs – term used
for geometric and flowing de-signs.
 Performed with women wearing malong and shawl, mantle or
head piece, whereas men wear sash or waist band, shorts or
bahag and head gear or turban traditionally wear in fields.
The Habanera Botolena
 A traditional Filipino folk dance influenced by the Spanish.
The dance steps of habanera botolena have a flamenco touch
in it.
 Originated in Botolan,Zambales, has Filipino and Spanish
dance steps combination.
 Before, being danced during the departure of the parish priest
or important official of the town but as time pass by it
become a dance being performed during the wedding,
baptism and other special occasions.
 It is composed of female dancers and male dancers. The
female dancers wear a Maria Clara costume while the male
dancers wear a Barong Tagalog and black pants.
 The dance is being accompanies by he rondalla instrument.
The Pantomina
 Bicol region is the home of Pantomina. Pantomina, is a
Spanish for pantomime, movements imitating the courtship
of the rooster and hen. It shows the ardent pursuit of a lover
to his beloved. Also called as “Salampati”.
 Pantomina is originally a wedding dance from the town of
Bicol’s Estandarte and Sorsogon subregions. Traditionally
performed during a wedding festivities by the couple and
their visitors.
 Traditionally, musicians accompanying the dancers pause
from playing the pantomina music to allow the dancers to
wipe their perspiration. The wiping of perspiration has
become a little flirty, with the male dancers offering his own
handkerchief for the woman to wipe herself.
The Cariñosa
 A Philippine dance of colonial era origin from Maria Clara
suite of Philippine folk dances, where the fan or handkerchief
plays an instrumental role as it places the couple in romance
scenario.
 The dance originated in Panay Island in the Visayan Island
and was introduced by the Spaniard during their colonization.
 Originally, it was danced with Maria Clara dress and Barong
tagalog. Filipino wore patadyong kimono and camisa de
chino to reveal nationalism.
The Surtido
 Another folk dance inspired by Spanish. A Visayan folk
dance particularly in the province of Bantayan, Cebu. It is a
square dance that has a Spanish, Mexican and French
influence.
 The dance is composed of dancers in pair. The head pair is
called “cabeceras” while the other pair of dancers is called
 “cotados”,guiding the others dancers in varied quadrille
formations. A dance being accompanied by Visayan folk
songs.
The Singkil
 Originated from the Maranao people living in lake Lanao. It
is the re-telling of an episode from the Maranao epic legend
Darangen involving the rescue of Princess
Gandingan(abducted by diwatas) by the legendary Prince
Bantugan.
 Originally only women, particularly royalty, dance the
Singkil which serves as either conscious or unconscious
advertisement to potential suitors.
 The name Singkil takes it name from the heavy rings worn on
the ankles of the Muslim princess.
 A kulintang and agung ensemble always accompanies the
dance.
 Maranaw costumes is mainly worn in this form of dancing.
The female lead dancer wears an elaborate dress of a princess
and holds a decorated fans in both hands, while the male lead
dancer hold a handkerchiefs in both hands and in some cases
a sword and a shield.
 The musical instrument used in this dance form are the
kotiyapi i.e.. bamboo guitars, bamboo flutes. etc.