Subli Dance

The term “subli” is from two tagalog words “subsub” meaning falling on head and “bali”, which means broken. Hence, the dancers appear to be lame and crooked throughout the dance. This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during fiestas as a ceremonial worship dance to the town’s icon, the holy cross referred to in the vernacular as Mahal Na Poong Santa Cruz.

Maglalatik Dance

The Maglalatik is an indigenous dance from the Philippines in which coconut shell halves that are secured onto the dancers' hands and on vests upon which are hung four or six more coconut shell halves. The dancers - all male - perform the dance by hitting one coconut shell with the other - sometimes the ones on the hands, sometimes, the ones on the body, and sometimes the shells worn by another performer, all in time to a fast drumbeat.

Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule, this dance is also shown to pay tribute to the town’s patron saint, San Isidro Labrador. It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation. 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.

Sayaw Sa Banko

Sayaw Sa Banko or Sayaw ed Tapew na Bangko (dance on top of a bench), is a dance which originates from Pangasinan and researched by Jovita Sison. It is performed by a couple on a narrow bench, inching and hopping from one end to another. Dancer show skill in staying up the bench as they exchange places by moving their way around or the girl thrown in the air while boy moves to the other end. They do not compete but rather complement each other so that no one falls. It is usually performed during town fiestas.

Kini Kini Dance

Kini means the Royal Walk. Maranao women performed this dance with scarves. The beauty of the scarves and the talent and grace in which it is displayed. Shows their elite social upbringing.

Pangalay

A pangalay native to the Badjao, sometimes known as the "Sea Gypsies." Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic bounces of the shoulder with simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is commonly performed at weddings and other social gatherings. You will also see some parts of the Sinkgil in this dance also. Another part of this dance is also called the Muslium four Bamboos.

Asik Dance

This is performed by a solo maiden, adorned with fine beads and make up, long head scarf. She would dance to win the favor of her Sultan master. Many time the girls would dance to win the hearts of her master or to make up for a wrong she had done. She would give her whole heart and soul into this performance to soften the heart of her master to accept her.

Ragsaksakan Dance

Ragsaksakan means “Merriment”. 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 Philippines.
This dance would be performed after a successful headhunt Some versions of this dance use the "Banga" instead of the basket.

Idaw Dance

This dance sometimes has many names and different versions. Most common is this dance depicts the hunting ritual performed before a tribal war. The tribes men would go out and look up and watch for the scared Idaw bird. Which is said to lead the tribe to victory. Also look at the clothing, Philippines being a very hot climate, plus the use of as little material as possible, the traditional clothing was not made to cover much of the body.

Banga dance

Banga dance displays the Igorot women on their way to the river to fetch the daily water supply for thier familys. It shows the skill and strength of the women as they would carry heavy laiden clay pots (Banga) full of water. Their grace and agility while balancing the heavy pots, sometimes stacks 5 high, is a testiment of the Filipino and how hardships become a art form and talent. As a young girl you would start with only one pot. Pots could be stacked as high as 5 or 6. The more pots you could carry showed your skill and also you standing among the women of that area. They would all gather and march to the river each day, singing a native song which is represented by the flute and banging of bamboo on iron pots in the dance.


The Banga dance is performed during feasts as away to entertain guests. In Philippines, Banga is an earthen pot called “Banga” which are stacked and carried on the heads of the females while dancing.

Singkil

Sinkil dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest.


The rhythmic clapping of criss-crossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through criss-crossed bamboos.

When performed by ladies of the royalty of Lanao, the dancer is usually accompanied by a waiting lady, who holds a beautifully decorated umbrella over the Princess' head wherever she goes. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult and noble dance.

Singkil Dance Steps

• Part One
Start the Singkil dance by using hopping and stepping patterns. Climb onto a designated set of bamboos being held horizontally by two men. Continue hopping and stepping patterns on the bamboo to move around while making body and hand movements.
• Part Two
• 
  Enter making slow point steps while a fan is in each hand. Using the wrists, move the fan in a variety of ways, including up and down movements and swirling movements to tell a story.
  
• Part Three

Enter and dance to the center of the stage with a fan in both hands and moving your hips and arms. In the center, dance in a stationary position. Move only the hips and arms. Use the fan in both hands to make swirls along the body while continually dancing. The men will begin clicking the bamboos; move along the bamboos, avoiding any of the clicking. Continue this when the male dancer comes out to end the courting aspect of the dance.

Cariñosa

One of the national dances we should be proud of is the Cariñosa. This is a courtship dance known through out the philippines with its flirtatious movements. The word “carinosa” means affectionate, amiable, or lovable. Ther are many versions of this dance, but hide and seek movements using a fan and a handkerchief are the most common.

Cariñosa (meaning the loving or affectionate one) is a Philippine dance of Hispanic origin from the 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 was originated in the Panay Islands on the Visayan Islands and it was introduced by the Spaniards during their colonization of the Philippines. It is related to some of the Spanish dances like the bolero and the Mexican dance Jarabe Tapatio or the Mexican Hat Dance.

Costumes

Originally Carinosa was danced with Maria Clara dress and Barong Tagalog for it is a Maria Clara Spanish Dance when it is introduced. However as the Filipino people saw and imitated this dance, they wore the patadyong kimona and camisa de chino to reveal their love as a Filipino and other steps was revised to make it more Filipino but the music did not change at all and reveals a Spanish Influence to the Filipinos. As listed by the book of F.R. Aquino dancers may wear balintawak style (a native dress of the Tagalog regions), camisa (a white sleeve) or patadyong kimona ( a dress of the Visayan of people)and for boys a barong Tagalog and colored pants. Because it is a national dance, the dancers may wear any Filipino costumes.

Music

The music of Carinosa shows a great Spanish influence to the Filipinos. It is 3/4 in rhythm like some of the Spanish dances. The Philippine Rondalla are playing this music of the dance where it is an ensemble or an orchestra of string instruments in the Philippines similar to the Spanish musicians in Spain that comprises bandurrias, mandolins, guitar, basses, drums, and banjos. Mostly men are playing rondalla instruments but women may also take part.

How to dance Cariñosa

What are the basic steps of the carinosa?

• 1. three steps and point
  time signature: 3
  4
  count : 1,2,3 to a measure.
  movement : with the R (L) foot; take three steps sideward right, ct.1 (count 1,2,3)
  point L (R) foot in fourth position in front (ct.1,2,3)
• 2. Touch step.
  Time signature: 3
  4
  Count : 1,2,3 – 2m.
  Movement : point R (L) foot in fourth position in front (ct. 1,2,3)
• 3.Waltz step
  movement : touch R (L) toes forward (cts. 1,2)
  close R (L) ct.3
• 4 .Manipulation of fan.