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MODULE 2
Philippine Folk Dances
Lesson 1: How Folk Dance Evolved

Lesson 2: Dance Terms Common to

Folk Dance

Lesson 3: Fundamental dance steps

in 2 and 3 time signature
4 4

Lesson 4: Folk Dance Proper

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MODULE II

PHILIPPINE FOLK DANCES

 INTRODUCTION

This module discusses about Folk Dances. Specifically How Philippine Folk Dances
evolved. Dance terms common to Folk Dance. Fundamental Dance steps in 2 4 and 3 4
time signature and Folk Dances. It is also hopes that you will learn to appreciate
Philippine Folk Dances as a form of fitness and for cultural preservation.

OBJECTIVES

1. To analyze the different information about Philippine folk dances.

2. To execute the common dance steps in 2 4 and 3 4 time signature
3. To interpret the literature of the folk dance given.
4. To dance Philippine folk dances, gracefully and with proper
interpretations.
5. To appreciate and enjoy Philippine folk dances.
6. Provide through dances a healthful form of relaxation and recreation.

There are four lessons in the module. Read each lesson carefully then
answer/execute the exercises/activities to find out how much you have benefited from
it. Work on these exercises carefully and submit your output to your tutor or to the
faculty In-charge.

In case you encounter difficulty, discuss this with your tutor during the face-to-
face meeting. If not, contact the faculty in-charge.

Good luck!!!
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LESSON 1:

 How Philippine Folk Dance Evolved

According to Philippine legend, the first man and the first woman went up the hill to
make their first home. They begot many children’s and later became the ancestors of diverse
tribes.
Several beliefs became their way of life. When lightning flashed in the sky, and when
the thunder rumbled, the tribes were struck with fear. They thought that the gods were angry.
To placate their deities, they offered sacrificial rites by way of fire and smoke in the belief
that the smoke from fires kindled carried their invocation heaven wards.

When illness and pestilence befell the tribes, the people wailed and chanted and danced
long into the night, so that the evil spell might be broken. When the earth caked from drought,
they perform dance of propitiation, so that the divine entities might take pity on them and
send rain to their parched fields. And when the rains come and drenched the soil; to assure a
bountiful harvest, these children of the gods danced in the moonlight in joy and thanksgiving.

In the act of imploring, conciliating and giving thanks to the gods, the people of these
islands created dance to live forever themselves in their children and children’s children.

Dance in the Philippine influences the diversity of our cultural beginnings and the drama
of our everyday lives. It blends the exotic customs and structures of many countries and races-
Indonesian, Malays, Chinese, Indian, Spanish and Americans.

The Philippine archipelago had been inhabited by three different racial groups even
before the coming of Magellan in 1521. They were the pygmies, Indonesians, and Malays. The
Negritos and Proto-Malays were the descendants of the pygmies, As nearly those days, dancing
among the Negritos was mostly pantomimic performed to depict the events of daily chores.

Filipinos possess the natural grace, in born love and music and dance. Dancing was
considered a religious activity among them. They danced for many occasion birth, love,
courtship, thanksgiving, wedding, war, victory, marriage, planting and harvesting, prosperous
voyage, recovery from sickness and to heal the sick.

Also the natural environment has greatly affected our dances. In tropical climate dances
are generally slow. Languorous and energetic. The rice producing regions carry the
characteristics of their occupation-rice planting, harvesting and winnowing. Those living near
the seas, lakes and rivers depict in their dances fishing expeditions, such as the movements of
fish, boat rowing and the like. In the mining regions, the dances depict mining as their
occupation. In the coconut regions, they use coconut shells in their dances.

In place where life is easy, the dances are gay and frolicsome. Dances in places where
life is hard are sad, slow and even mournful.
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Filipinos are also lovers of rituals as shown in ceremonial dances during town fiestas,
Christmas, Easter, ash Wednesdays. There were dances performed by the priests and the
priestesses in the thanksgiving for a plentiful harvest, as victorious battle, a prosperous voyage
or recovery from sickness, to drive away evil spirits and in invoking their gods and anitos.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

• Courtship or Wedding
• Festivals
• Mimic or Imitative
• Occupational Dance
• Religious or Ceremonial Dances

COURTSHIP OR WEDDING:
• It is usually performed by couples or newlyweds together with the relatives of the
bride and groom.
• The movement of the dance depict courtship and love.
• Example of these dances are Habanera de Soltera, Carinosa, and Sayaw sa Pag-ibig.

FESTIVALS:
• These dances are perform during fiestas as a thanksgiving ritual or a bountiful
harvest or good fortune.

MIMIC OR IMITATIVE:
• The purpose of these dance is for entertainment
• It is usually depicts animal movements with funny and numerous actions.
• Examples are itik-itik, tinikling, kalapati, and the mariposa.

OCCUPATIONAL DANCE:
• These dances are performed to characterize occupation of a certain locality.
Examples are the Maglalatik, the Binatbatan, thePagtatanim-Pagaspas, the
pagpapahangin, and the pagbabayo.

RELIGIOUS DANCES:
• These are performed as rituals
• Example is the Subli

BENEFITS OF FOLK DANCING

• PHYSIOLOGICAL
- Folk dances help you posture and alignment of your body, motor skills, and
positioning.
- It is makes you more flexible, makes you last longer, and makes you feel more
confident.

• SOCIAL
- It will help you gain more meaningful interactions, social skills, cooperation, and
motivation.
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• CULTURAL
- it will learn to cross cultures and deepen your understanding of your own cultural
identity.

• ARTISTIC
- It will help you ,more creative and artistic.

• RECREATIONAL
- You will have fun when you do folk dancing

THINK ABOUT IT !

NOTE: FOLK DANCE – is one of the oldest form of art. It is also considered a traditional
dance or ethnic dance of a given country. It relates to the customs, traditions and daily
lives of a certain community or locality.
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LESSON 2:

 Dance Terms Common To Folk Dance

Bow or Saludo
Partners bow to each other to the opposite dancers or to the audience.
This is a Spanish Origin

Brush
Weight of one foot swing the free foot in an arch, so that the ball or heel strikes the
floor at the lowest point of the arch. This may be done forward, backward, or sideward.

Cabeseras
When the dancers are in square formation, the couples occupying the width of the hall
are called”cabeseras” or head couples. This is a Spanish origin.

Clockwise
Like the motion of the clock moving to the left, when facing center whwn moving
forward.

Counter Clockwise
The reverse direction of clockwise, the hands of the clock moving to the right, when
facing the center. Left shoulder is toward the center of the imaginary circle when
moving forward.

Cut
Quick change of weight from one foot to the other displacing the supporting foot.
(maybe forward, backward, or sideward,)

Cross-Over
Two couples ( the vis-à-vis) are opposite each other. Each couple proceeds in a straight
line to the opposite place. The girls pass by their left shoulders between the boys. Boys
bow to each other when they meet et the middle or about one-third of the way., then
proceed to the opposite place. Upon reaching the opposite place, partners turn about,
girls stand at partners ‘left shoulder.

Dosido or Dos-a-dos
Two people walk toward each pass by the right shoulder step sideward to the right and
return to position walking backward, passing left shoulder.

Draw
The free foot is drawn toward the foot, which supports the body weight, by pressing the
toes against the floor as the close is made. With or without transfer of weight.
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Free Foot

The foot not supporting the weight of the body

Free Hand
The hand not doing anything
Hop
To spring from one foot and land on the same foot.

Inside Foot
The foot near’s one partner

Inside hand
The hand near’s one partner

Jump
To spring from one or two feet and land on the other foot

Leap
To spring on the supporting foot and land on the other foot

Outside Foot
The foot away from one’s partner when they stand side by side.

Outside Hand
The hand away from one’s partner when they stand side by side.

Opposite
The person standing opposite across the set
Partner
The girl to the right of the Boy and Boy to the left of the girl

Place
To put the foot (flat) in any desired position without putting weight on it

Set
A unit formation of two or more couples
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A. COMMON TERMS FOR ARMS AND HANDS

Abrasete
This term is of Spanish origin. Girl at the right side of Boy. Holds his R arms with her L
hand, free hands down at the sides.

Bilao
Hands in front parallel to each other at waist level, elbows close to the waist, palms
down. Reverse the position of the hands with palms up and down alternately

Hapay
To flourish or offer a handkerchief, a hat or a glass of wine. This is a Tagalog dance term

Hayon-Hayon
This is a visayan term meaning to place one forearm I front and the other behind the
waist

Jaleo
Partners stand with R (L) elbows almost touching. Using walking or any kind of dance
steps they turn once around clockwise (counterclockwise). This is a Tagalog term of
Spanish origin.

Kumintang
Moving the hand from the wrist either clockwise or in a counter clockwise direction.
This is an Ilocano dance term

Kunday-Kunday
This is similar to kumintang but done twice for every movement on a faster beat (2
kunday in 1 measure).

Masiwak
To turn the hand from the wrist half-way clockwise then raise and lower wrist once or
twice. This is an Ibanag term

Lateral Arm Position

To place both arms on one side of the body either right or left side.
In can be done on chest, shoulder, and waist line.

Salok
To scoop or swing the arm downward, upward in front of the body, the trunk following
the movement of the scooping arm. Free hand in 5th position or holding skirt. This a a
tagalog term.

Sarok
Cross the (R) foot in front of the L foot, bend the body slightly forward and cross the
hands down in front R (L) over L (R). This is a Visayan term.
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B. COMMON MOVEMENTS OF THE FOOT OR STEPS

Pivot
Turning on ball, heel of one or both feet on a fixed place. There are pivot with a point,
pivot turn and cross pivot.

Slide
To glide the foot forcibly on the floor with or without transfer of weight.

Stamp
To bring down one foot forcibly on the floor with or without transfer og weight

Step
With the weight on one foot, shift the weight into the other foot

Supporting foot
The foot carrying the weight of the body

Tap
Toe or ball of foot is placed momentarily on floor and lifted again immediately.

Touch
See point

Whirl
To turn fast by executing small steps in place to right of left.

Panadyak
To Stamp in front or at the side with same foot close to the l foot (R) weight of the body
on l foot. This is a Tagalog term

THINK ABOUT IT!

LEARNING ACTIVITY;

INSTRUCTION: Choose 10 common dance terms (choose from A and B)

and demonstrate/execute it during face to face scheduled or send your
videos in the google classroom.
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LESSON 3:

 Fundamental dance steps in 2 and 3 time signature

4 4

A. TRADITIONAL FOLK DANCE STEPS IN 2 TIME SIGNATURE

4
The dance steps used in Philippine traditional dances are combinations of the basic
natural movements. Listed below are the dance steps in 2 4 time which are grouped according
to note patterns and their corresponding counts as suggested by the number of movements.

A. Note Pattern I d d I = 1 measure

Count 1 2

1. Touch Step Point R (frd./swd./bckd.); close R to L

Ct. 1 ct. 2
2. Bleking Step Heel place R(fwd./swd.); close L to R
Ct. 1 ct. 2
3. Bleking step Step R (any direction); close L to R
Ct. 1 ct. 2
4. Cross Step Step R; (cross and step L across R
Ct. 1 ct.2
5. Hop Step Step R( any direction); hop on R
Ct.1 ct.2
6. Brush Step Step R (any direction); brush L
Ct. 1 ct.2

7. Slide Step Slide R (swd./fwd.); close L to R

Ct 1 ct.2

8. Swing Step Step R(swd./frd.); swing L across R

Ct. 1 ct.2

B. Note Pattern I d d d I = 1 measure

Count 1 and 2

1. Change Step Step R(any direction); close L to R, step R

Ct.1 ct. and ct.2
2. Cross Change StepCross and Step R across L; close L to R; step R across L
Ct.1 ct.and ct.2
3. Contraganza Leap R to swd R; cross and step L across R; step R
Ct.1 ct.and ct.2
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C. Note Pattern I d d d I = 1 measure

Count 1 and 2

1. Habanera Step Step R(any direction); close L to R: step R in place

Ct.1 ct.2 ct. and

D. Note Pattern I d d d I = 1 measure

Count 1 and 2 and

1. Plain polka Step R(fwd./swd,/bckd.); closeL to R step R; raise L

Ct.1 ct. and ct.2 ct.and

E. Note Pattern I d d d d d d I= 1 measure

Count 1 and 2 and 3 and

1. Mincing Steps With feet in 5th position and heels raised, take as many
tiny steps fwd. ( 1 step on every count)

2. Shuffling steps With feet flat on floor, make small slides frd. (1 slide on
every count)

3. Chasing steps With one foot leading, execute successive close steps to
any direction.

F. Note Pattern I d d d d I d d d dI =2 measure

Count 1 and 2 3 1 and 2 3

1. Kuradang step Step R(diagonally forward);close L to R; step R diagonally

fwd; cross-step
Ct. 1 ct. and ct.2

L across R; step R diagonally bkwd R; close L to R; step R; point L

Ct.3 ct.1 ct.and ct.2 ct.3
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B. TRADITIONAL DANCE STEPS IN 3 TIME

4
Listed below are the basic dance steps in 3 time that are grouped according to
note patterns and their corresponding counts as suggested by the number of movements.

A. Note Pattern I d d d I = 1 measure

Count 123

1. Waltz step Step R (Frd./swd./bkwd.);close L to R; step R in

Place
Ct. 1 ct.2 ct.3
2. Cross Waltz Cross-step R across L; close L to R; step R in place
Ct.1 ct.2 ct.3
3. Waltz Balance Step R(swd./frd.); close L to R and raise both heels; heels
down
Ct 1 ct.2 ct.3
4. Redoba Slide R(diagonal frd); cut R to L; cut L with R
CT.1 ct.2 ct.3
5. Mazurka step Slide R; cut (displace) R with L; hop L and swing R
backward in front of L
Ct.1 ct.2 ct.3
6. Step-swing-Hop Step R (any direction); swing L across R in front;
hop on R
Ct.1 ct.2 ct.3
7. Step Brush Step R(frd./swd.); brush L and swing frd; hop R
Ct 1 ct.2 ct.3

B. Note Pattern: I d d I = 1 measure

Count 1-2 3

1. Touch Step Point R(frd./swd./bckd.); close L to R

Cts.1-2 ct.3

2. Bleking Step Heel place R (frd./swd.); close L to R

Cts. 1-2 ct.3
3. Close Step Step R (any direction); close L to R
Cts.1-2 ct.3
4. Slide Step Slide L (any direction); close L to R
Cts.1-2 ct.3
5. Cross Step Step R swd.; cross step L across R
Cts.1-2 ct.3
6. Hop step Step R (swd./frd.); hop on R
Ct.1-2 ct.3
7. Brush Step Step R (frd./swd.); brush L
Ct.1-2 ct.3
8. Swing step Step R (swd./frd.); swing L across R
Cts.1-2 ct.3
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C. Note Pattern I d d d d I = 2 measures

Count; 1-2 3 1 2-3

1. Sway Balance with a point Step R (diagonally frd.);cross-step L across

R; step R
cts.1-2 ct.3 ct bckd.;
point L in front
cts.2-3

2. Sway Balance with a raise Step R (diagonally frd.); cross-step across R;

cts.1-2 ct.3
step R bckd; raise and swing left infront
ct.1 cts.2-3

3. Sway Balance with a brush step R(diagonally frd.); cross-step L across

cts. 1-2 ct. 3
R; step R bckd; brush L frd
Ct.1 cts. 2-3

4. Sway Balance with a hop Step R(diagonally frd.); cross-step L across

R;
cts. 1-2 ct. 3
step R bckd; hop on R
ct.1 cts. 2-3
5. Sway Balance with a close Step R (diagonally frd.); cross-step L across
cts. 1-2 ct. 3
R; step R bckd; close L to R
ct. 1 cts. 2-3
6. Engano with a close Step R swd; cross-step L across R; step R fwd;close
LtR
cts. 1-2 ct. 3 ct. 1 ct. 2-3

THINK ABOUT IT !

LEARNING ACTIVITY;

INSTRUCTION: Choose 5 Traditional Folk Dance Steps from A and choose

5 Traditional Folk Dance Steps from B. Demonstrate/execute it during face to
face scheduled or send your videos in the google classroom.
 P a g e | 14

LESSON 4:


Folk Dance Proper
NOTE: SIMPLIFIED RULES IN FOLK DANCE

1. Tell the name of the dance and the country where it originated. Mention also
what kind of dance it is, whether it is festival, wedding, courtship, war, etc.

2. Give the historical background in relation to the origin, if there is any, customs,
traditions, modes of life and mood of the people who originated it.
*
3. Let the students hear and enjoy the music and analyze it in respect to tempo (
slow, fast, lively, etc.} mood or feeling (gay, sad, etc.) phrases and parts of
music ( one, two, etc. ), time signature.

4. Let them clap their hands, or beat the rhythm, accent, etc.

5. If there is a song accompanying the dance, teach the words of the students.

6. Intricate or new steps that have not yet been learned should be thought first
before taking up the dance. Be sure to give the name of the steps so that the
students will be familiar with the terminology. Explain and demonstrate the
steps, when necessary, Let them try the steps with the teacher, then alone by
themselves.

7. Put the class into formation for the dance.

8. Difficult steps or figures done with partners, may be practiced individually first,
facing front or the teacher before trying it with the partner.

9. First teach the figure I and II, after which proceed to another figure. Always
review the old step or figure before taking up new steps or figures to preserve
the continuity of the dance.

10. Perform the whole dance and repeat open enough to be enjoyed.

11. Follow the written instructions of the dance as closely as possible.

12. Students should be made to feel the music or should understand the dance to be
able to give the right expression and interpretation.
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CARIŇOSA

The title denotes an affectionate, amiable, and romantic girl. This dance portrays the
different ways of tender loving attention and concern for a loved one.
There are as many vertions of this dance as there are regions which have ther own way
of expressing there tender feelings and romantic gestures. These version has been found to be
the most common.

COSTUME; Girl - Balintawak style or long patadiong or camesa: a fan hangs at right
side of the waist.
Boy - barong Tagalog and colored pants with a handkerchief inside pocket.
MUSIC: ¾ rhythm and composed of 2 parts A and B

FORMATION audience
X < ---------------------> O
6’

CARINOSA

INTRODUCTION

Music Introduction; Partners face each other.

3-step turn R, pause Girl-Hold skirt. Boy- Hands on waist. 2 M

Bow to each other on pause.

Figure 1
Music A
( Three-step with a Point);
a. 3 steps --> R,L,R: point L in front. Girl- Hold skirt: Boy- Hands on waist. 2
M
Kumintang R when pointing foot
b. Repeat (a) starting with L and pointing R 2M
c. Repeat (a) & (b) 3X more Same 2M

Figure II
Music B
( Pointing)
a. 3 steps forward to meet partner Girl- Hold skirt
and close L to R
Boy- Hands on waist 2M
b.4 touch steps L, R alternately Same Look at each other lovingly4 M
c.4 fast steps forward to partner’s place Same 2M
Passing right shoulders; turn R about
To face partner and closes feet together
d.Repeat all (a-c) finishing in proper place 8M
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Figure III
( Back-to-Back)
Music A
a.3 steps forward to meet partner: at Girl: Hold skirt
Center: turn right about: to be in back Boy: Hands on waist 2M
To back position almost R to R
Shoulder and feet together.
b.Point R in front(cts 1,2) .step R sideward Twist body to R to look backward 1M
(ct.3) shake R forefinger as if to any
*Be careful*
c. Repeat (b) 3X more starting L,R,L Reverse body twist the finger shaking. 3M
d. Turn R about and 4 fast steps forward to Girl- Hold skirt
2M
partner’s original place, turn R about Boy- Hands on wist
to face partner and to close feet together
e. Repeat all (a-d) finishing in proper places 8M

Figure IV
(FANNING)
Music B
a.3 steps forward to meet partner at Girl- Hold skirt: On close feet take 2M
The center and close L to R fan and open with R hand
Alternately Boy – Hands on waist
b.4 touch steps in front R,L Girl-Cover face with fan when 4M
Alternately pointing foot; L hand hold skirt
Boy-Bend trunk to look; at girl
Underneath fan; hands on waist
c.4 fast steps forward to partner’s original Girl-Hold skirt 2M
Place; turn R about to face Boy-Hands on waist
Partner; close feet together
d.Repeat all(a-c) finishing in 8M
Proper place.

Figure V
(KNEELING AND FANNING)
Music A
a.3 steps forward to center Girl-hold on skirt; On close of feet, take2M
Girl-Kneel on R Boy-continue fan and open R hand
Walking and stand behind girl Boy-Hands on waist
b.Girl-Kneel Look backward at Boy: twist trunk R,L 4M
Alternately
Boy-4 touch steps in front R,L look at girl behind trunk R, L
Alternately alternately
4 touch steps to partner,s original Girl=Hold skirt 2M
c.Place turn R about to face Boy-Hands on waist
Partner and close feet together
d.Repeat all (a-c) finishing in 8M
Proper places.
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Figure VI
(Hide-and-Seek with Handkerchief )
Music B

a. 3 steps forward to meet partner and Boy – Take handkerchief from pocket
2M
Close L to R and give 2 corners to Girl. Hold
2 corners on top and girl below so
That handkerchief is held
Perpendicular at face level.
b. 4 touch steps in front R,L Girl - Raise corners and look at Boy 4M
Alternately over handkerchief Boy – Lower
Corners and look at girl under
Handkerchief. Reverse movements
Alternately with every touch step.
c. 4fast steps forward to partner’s original Girl – Hold skirt; Boy Hands on waist. 2M
Place, turn R about to face
Partner; close feet together
d. Repeat all (a-c) finishing in 8M
Proper places.
Figure VII
( Flirting and Handkerchief)
Music A
a. 8 waltz steps moving around Girl – Hold handkerchief on one corner 8M
clockwise and flip it over R,L shoulder
Alternately looking at boy in a
Flirting manner on every waltz step.
b. Turn R about and repeat (a) 8M
Moving counterclockwise
Finishing in proper places

Figure VIII
(Flirting)
Music
a. 2 waltz step meet to center Girl – Arms in lateral position shoulder 2M
Level, Boy – Hands on waist
b. With 6 waltz steps move around in Girl – Flutter fingers to sideward R and 6M
A circle with girl leading and boy L alternately with arms in lateral
Following closely behind position at waist level look at boy
Turning body slightly R,L alternately in a
Flirting manner
Boy – Hands on waist
c. Turn R about and repeat (b) Girl – Hold skirt; Boy –Flutter finger in 8M
Moving counterclockwise this time lateral position at waist level. Winks
With boy leading and Girl close at Girl once in a while
Behind
 P a g e | 18

d. 2 waltz steps to finish the dance Girl – Hold skirt

2M
Boy – Hands on waist
SALUDO
a. 3-step turn R and pause Girl-Hold skirt 2M
Boy-Hands on waist
Bow to each other on pause 2M
BINISLAKAN (Lingayen)

Source: Pangasinan Folk Dances Volume 1

By: JOVITA SISON FRIESE

Meaning : With the use of sticks

Dance Cultur : Christian lowland
Place of Origin : Pangasinan
Ethnolinguistic Group : Pangasinense
Classification : Courtship

Background/Content
Lingayen in Pangasinan means having to look backward and upward. It was derived
from “LI-KING-TUNG” a Chinese word given to the name Lingayen, the capital of Pangasinan,
by the Chinese settlers in the place of long time ago. The barrio folks who lives at Almazina
small place between barrio Pangapisan(Pulong) and Maniboc danced, this to commemoratethe
stay of Limahong, a Chinese pirate who built his kingdom here.

The dancers look backward or upward in some of the movements, hence, the name
Lingayen. They also use two sticks to produce rhythms imitating two chopsticks used by the
Chinese in eating, so the dance is also called Binislakan, which in Pangasinan means with the
use of sticks.

Dance Properties:

Costume
Female: Siesgo and kimono with loose and long sleeves and soft panuelo
Male : Camisa de Chino and red pants

Music : 2/4 Com posed of two parts: A and B

Count : One, two, one and two, and one and two and

Formation : Partners stand about six feet apart. One or more pairs in a
set can take part in the dance, in any formation desired.
 P a g e | 19

INTRODUCTION
Music Introduction .
Partners face audience.
a. Cross sticks overhead; R-hand stick over L-hand stick and look upward….. 3M
b. Bend trunk forward and bring down point of crossed sticks close to floor.. 1M
I
Music A
Face audience
a. Starting with R foot, take four change steps sideward right and left
Alternately, raising alternately the L foot and R foot slightly above the floor;
Bend trunk sideward right and left alternately. Strike sticks sideward right and
Left alternately, three times to a measure, R,L,R.L.R.L.(cts. 1 and 2)
To every measure…………………………………………………………………………………… 4M
b. Execute mincing steps sideward right. Strikes sticks overhead four times to a
Measure, R,L,R,L,R,L, alternately. Look upward…………………………………….. 2M
c. Bend knees and twist trunk to left; strikes sticks backward right R,L,R
(cts. 1 and 2); look backward right……………………………………………………… 1M
d. Straighten trunk and stamp foot R,L,R(cts. 1 and 2). Strikes sticks R,L,R in
Front of chest…………………………………………………………………………………….. 1M
e. Starting with L foot repeat(a-d) to opposite direction stamp feet L,R,L. 8M

II
Music B
Face Audience
a. Paw (like scratching foot backward) L foot backward and at the same time
Time step R foot sideward four times, step on R foot with springy
Movements like small leap; bend trunk slightly sideward right; R hand bend in
front in level with head, stick pointing toward audience; L hand down in
Rear; stick pointing sideward left; look at left shoulder ( cts. 1,2,1,2)……. 2M
b. Tap left foot in front two times; bend truck toward that foot and strikes sticks
Twice in front close to the tapping foot ( cts. 1 and);straighten trunk and step
L close to R foot, strike sticks once in front (ct. 2)…………………………………. 1M
c. Repeat (b) with R foot, bend trunk forward R foot……………………………….. 1M
d. Repeat (a-c), in reverse direction and position…………………………………….. 4M
e. Face partner and repeat (a-d)………………………………………………………………. 8M

III
Music A
Face audience
a. Jump forward and bend trunk forward. Cross sticks R stick over L stick below
Knee level……………………………………………………………………………………………. 1M
b. Straighten trunk and raise gradually the sticks overhead, sticks are still
Crossed. Look upward…………………………………………………………………………. 1M
c. Repeat (a) and (b) ………………………………………………………………………………. 2M
d. Execute mincing steps going backward, arms in Reverse “T” position and
Shiver sticks sideward. Bend head sideward right and left every two counts 2M
e. Execute mincing steps turning right about finish facing away from audience(1M)
Raise right kneeand strike sticks once under it.(ct.1) Straighten knee feet
Together and strike sticks once in front (ct. and) raise L knee and strikes sticks
Once under it.(ct.2)………………………………………………………………………………. 2M
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f. Repeat(a-d), facing away from audience……………………………………………… 6M

g. Repeat (e); finish facing audience……………………………………………………….. 2M

IV

Music B
Partners face each other: Boy ang Girl do their movements simultaneously
Girl:
a. Starting with R foot, execute eight change step going clockwise around boy
Strikes sticks overhead and at the back alternately three times to a measure
Strikes sticks R, L, R (cts. 1 and 2). Bend trunk forward when striking sticks
At the back. Kneel on both knees on the last count……………………………… 8M
b. Do the movements of Boy below (a-c). Finish facing audience……………. 8M
Boy:

a. Kneel on both knees and strikes sticks on the floor at the right side three
Times (cts. 1 and 2); strikes sticks overhead three times upward (1M); strike
Sticks at the left side on the floor three times (1M); strikes sticks overhead
Three times (1M)……………………………………………………………………………………. 4M
b. Repeat (a); stand at the last count…………………………………………………………. 4M
c. Repeat movement of girl (a) Finish facing audience………………………………. 8M

V
Music A
Partners face audience
a. Take one change step sideward right (cts. 1,2) raise L foot above the floor in
(ct.2)bend trunk sideward right and strikes sticks to sideward right three times to a
measure R,L,R……………………………………………………………………………….. 1M
b. Repeat (a) three times more, to sideward left and sideward right alternately
Raise R foot above the floor when doing the change step to sideward left and
Strike sticks L,R,L………………………………………………………………………………….. 3M
c. Face partner and strikes sticks on floor in front, full knee bending R knee
Lower than L knee ( cts. 1, ah, 2, and) …………………………………………………. 1M
d. Stand, Straighten trunk , and strike sticks R,L,R,L, in front(cts. as in(c)).. 1M
e. Step right foot forward (ct.1) hop on right foot, raise L foot slightly close
To R foot strike both sticks diagonally right head level ,with partner (ct. and)
Step L foot sideward (ct.2) hop on L foot, and strike sticks diagonally left
With partner (ct. 1)………………………………………………………………………………… 1M
f. Stamp feet R,L,R, strike sticks in front R,L,R, ( cts. 1, and 2)………………….. 1M
g. Repeat (a) and (b), facing audience………………………………………………………. 4M
h. Repeat (c-f), facing partner…………………………………………………………………… 4M

VI
Music B.
a. Starting with R foot, execute with two change steps going forward to meet
Partner at center finish in one line. Girl in front of Boy, facing audience.
Strike sticks three times R.L.R overhead (look upward) (cts. 1, and 2); bend
Trunk forward and strike sticks in front L,R,L (cts. 1 and 2)…………………. 2M
b. Starting with R foot, execute six change step right and left alternately,
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Going around clockwise. Strike sticks as in (a) Finish in circle facing center 6M
c. Starting with R foot, take four change step going toward center. Strike
Sticks as in (b)………………………………………………………………………………………. 4M
d. Repeat ( c ) , going backward; finish facing right…………………………………… 4M

SALUDO
Music Finale
a. Execute mincing steps going counterclockwise; finish in line formation
Facing audience as in Figure 1. Arms in Reverse “T” position and shake
Sticks sideward; bend head sideward right and left alternately
Every two counts………………………………………………………………………………….. 3M
b. Stamp feet R,L,R, and strikes sticks overhead R,L,R (cts. 1 and 2), Look
Upward………………………………………………………………………………………………… 1M
c. Mincing steps, turning R slowly; finish facing audience, sticks are still
Crossed overhead and looking upward……………………………………………….. 3M
d. Feet together, bend trunk forward, bringing down the crossed sticks
Below knee. Sticks touch floor in the last count………………………………….. 1M

TUPAY-YA

Source ; By: DR. PAZ CIELO A. BELMONTE

Baranggay Philippines Folk Dance Company

Maening : Celebration
Dance Culture : Highland
Place of Origin : Kalinga, Cordillera Region
Ethnolinguistic Group : Visayan
Classification : Wedding Dance

Background/Content:

The canao is a prestige feast which the wealthy among the Kalinga celebrate at least
once a year on very special occasions like birth, courtship marriage, victory or death,or any
special event. The wealthier the headman the longer the “canao” it may last for one day to
one week. Tupay-ya is a wedding dance held after a brave warrior win in a battle for the hand
of the maiden he loves. This is a dance reseach together with my student major in Physical
Education at the university of sto tomas, Miss Christine Rivera.

Dance Properties:

Costume :
Female: Native woven skirt called kain or gatong, bound tightly at
The waist by a ceremonial belt called wakes with a loose white
blouse with sleeve called silop or sleeveless blouse called putot.
Male : “G”-string with a ballake or kinawet , an Igorot style basket
Hat.
Hand Props : Kalinga Blanket ( Silanbituon)
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Music : 2/4
Count : 1,2,3,4,to a measure, 1,and 2 or 1 and 2 and 3 or Pause.
1 and 2.
Basic Steps : Skip steps
Bouncy tortiller step done by jumping, hop on one foot and
Drag the other foot.

I
1 and 2 and 1 and 2 and 1 and 1 and 2 and

Boy and Girls:

a. Take 4 skip steps forward to center hold big kerchief with both hands
To the right side…………………………………………………………………………….. 2M
b. 4 bouncing tortiller steps to the right kerchief on the left side (2M).
Repeat to left , reverse arm movement (2M)……………………………….. 4M
c. 4 skip steps to exchange places passing by the right shoulders and
Finish facing each other again……………………………………………………….. 2M
d. Repeat (a) to (c) to return to places………………………………………………. 8M

II
Same Rhythm
a. Take 4 skip steps forward to center (2M) , 2 skips backward (1M),
2 skips forward turning and boy flip big cloth over the head of the girls
As they meet at center (1M)………………………………………………………………… 4M
b. 2 skip forward to opposite place and turn about doing to bouncing tortiller
Steps…………………………………………………………………………………………………….. 4M
c. Repeat (a) and (b) back to places………………………………………………………… 8M

III
Boy Place blanket on right arm and face left, right shoulder toward girl

a. Take tortiller step sideward towards the girl, while girl does it in place. When
The boy is near the girl because he extends his right arm as if to offer the
Blanket to the girl. Girl extends arms but quickly withdraws as if in hesitation
And boy skip back to original place…………………………………………………….. 8M
b. Repaet (a) once more and when girl refuses to accept boy withdraw away farther,
Meanwhile the community starts chanting as if the cheer and beg
The girl to accept the token as proposal…………………………………………….. 8M

IV
Rhythm
1 2 3 4

Boy take 4 slow steps forwards the girl and skip forward and back on the right
Side of the girl, girl about, boy skips steps on the left side of the girl: and girl
Turns about. Boy skips back to place………………………………………………………… 8M