MIMAROPA Folk

Dance Concepts
a. Mimetic is a type
of dance that
imitates nature (ex.
Movements of birds).
b. Occupational
depicts the works of
the locals.
c. Social is a type of
dance for social
gatherings or
entertainment
purposes.
d. Skills dance is a
type of dance that
exhibits the
exemplary
movement skills of
the dancers.
MIMAROPA folk
dances use different
symbols and other
forms of
representation that
convey meanings,
social status, and
cultural origins.
These are the
following.
1. ABANIKO (FAN) –
It symbolizes
beautiful
craftmanship,
modesty, and social
status (from high
society). It is noted
as one of the
cultural influences
of the Spanish
regime.
2. BARONG and
BARO’T SAYA – They
represent Filipino
culture and identity
- a traditional
ensemble.
3. LAMBAT (Fishing
net) – It symbolizes
fishing as one of the
sources of livelihood
of Calapeños.
4. MARIA CLARA –
She is a symbol of
the ideal Filipina
woman who
personifies
attitudes of
modesty,
obedience, and
purity.
5. KARATONG – It is
a bamboo prop
decorated with
colored feathers
and ribbons. It
symbolizes
abundance and
celebration.
6. SALUDO – It refers
to the bowing of
dancers to their
partner, audience,
or to neighbor with
feet together to
show respect.
7. WALTZ – It is one
of the cultural
influences of the
Spanish regime. It
portrays elegance,
grace, and romantic
ambiance
8. AGOGOCOY – It is
a white-colored tiny
crab living in the
Romblon Islands.
The Agogocoy
dance steps reflect
the movements and
peculiarities of
these little crabs,
dancing away from
the waves, crawling
away, and hiding in
the holes in the
sand.
9. MARIA CAPRA – It
is a well-known bird
common in the vast
fields of Paluan,
Occidental Mindoro.
The dance steps of
Maria Capra reflect
the flirting motion
with jerky
movements.
10. TUBONG – It is a
ceremony
indigenous to the
islands of
Marinduque. It is
performed as
thanksgiving and
prayer for a long
life. The musical
arrangement used
in Banahaw was
taken from Tubong
itself.
MIMAROPA folk
dances used
different creative
works that is utilized
to create the overall
beauty and
uniqueness of the
dances.
Some of the creative
works involved in the
folk dances are the
following.
1. VISUAL ELEMENTS
- These refers to the
lines, colors, shapes
emphasis that can
be seen from
costume
designs/textiles,
props, and other
stage designs or
backdrops.
Textiles/Props/
Costumes
a. Fabric: such as
cotton, silk, wool,
woven
-means modesty,
simplicity, wealth or
sophistication
b. Pattern: stripes,
florals, or geometric
shapes
Stripes-
harmony,movement
and energy
Floral- joy,
celebration,
abundance
Geometric-balance,
harmony and
wholeness
c. Color: bright and
bold ,plain , dark
colors.
Bright and bold
colors mean energy,
vitality and cultural
identity
Plain colors-
simplicity, humility
and traditional;
culture
Dark colors-mystery
and power
2. MUSICAL
ELEMENTS- These
are the building
blocks of the musical
sound.
a. Dynamics – refers
to the softness and
loudness of the
sound. It also
enhances the
expression and mood
of the music. A soft
dynamics may
suggest intimacy
and emotional depth.
However, the loud
sound means
excitement, energy,
engagement and
strong emotions.
b. Timbre – refers to
the quality of sound.
It could be bright,
sharp, dark or thick,
thin, etc.
Bright and sharp-
clear and articulate
sound. (Celebrations,
festivals dance )
Dark and thick- rich,
full and mellow
sound (Occupational)
Thin- light and airy
c. Rhythm – is a
repeated pattern of
beats and pulses.
Rhythm is associated
with time signatures
and meters like 4, 3,
2 time signatures .
2/4, ¾, 4/4
It influences the
movement and
energy of the dance.
It means lively,
upbeat dances that
require a strong
rhythm and
coordination. The
dance also involve
quick footwork and
turns.-. or kicks
3. DANCE STEPS-
Besides the padyak,
saludo, arms in
lateral position,
hayon hayon,
kumintang, sway
balance, folk dances
also involve waltz,
one of the cultural
influence of the
Spanish regime that
portrays elegance,
grace, and romantic
ambiance.
Basic Folk dance
steps suggest the
following meanings.
1. Joy and
celebration-
celebrations and
festivals
2. Storytelling:
movement,
mimicking everyday
activities like farming
and fishing.
3. Cultural heritage-
preserve cultural
traditions and
customs
4. Emotional
expression: express
a range of emotions,
such as love,
passion, or sorrow.
5. Social bonding-
bring people
together
6. Regional identity:
often specific to a
region reflecting
local customs,
traditions, and
cultural practices.
WALTZ- Its origins
trace back to the
16th century in
Europe. The word
"waltz" comes from
the German word
"Waltzen," which
means "to revolve"
or "to turn around.
It means romance
and intimacy,
elegance,
sophistication and
partnership and
connection among
dancers.
Jota Calapeňa
(Calapan CIty,
Oriental Mindoro)
Meaning: A Jota from
Calapan
Dance Culture:
Lowland Christian
Classification: Social
Dance
History:
Spaniards have
greatly influenced
the lives of Filipinos.
Hence, there are
myriad traces of
Hispanic inspirations
in our customs and
tradition. These
includes our music
and dances.
In a sleepy town of
Calapan, the
cabezera of the
province of Mindoro,
Spanish residents
used to hold social
gatherings where
“persona de alta
sociedad” were all in
attendance. This
social function has
lasted for years.
History told that
young men and
women danced all
night with gusto to
the sound of music
of first and only
group in town known
as the “Halcon Band”
which is composed
of Nicasio Brothers
Conrado, Cecilio and
Ernesto, who
belonged to the clan
of musicians . They
accompanied dances
of different genres of
that time e.g. balse,
marcha polkand jota.
The latter dance
caught the fancy and
interest of this
author-researcher
because of its
terpsichorean
characteristics that
defined elegance
and grace.
According to the folk
dance guru and
author-researcher of
he famous Mazurka
Mindoreňa, Mies
Serenidad Acedillo,
jota reflects the
modesty and
simplicity of true
Calapeňos as
depicted by their
splendid and
dignified movements
and gestures. From
that time on, Jota
became a popular
social dance, hence,
the birth of “Jota
Calapeňa”.
Dance Properties:
Costume:
Female: Elegant
Maria Clara
Male: Elaborated
Barong Tagalog,
Black Trouser
Accessories for Girls:
Payneta, Fan,
Necklace, Earrings
Footwear: Leather
shoes or Sapatilla
Music: 3/4
composed of three
parts: A, B, C
Count: One, two,
three to a measure
in 3/4 time signature
Maria Capra Paluaňa
(Kangingiyong) -
Paluan, Occidental
Mindoro
Historical
Background/Context:
Just like any other
towns, the
municipality of
Paluan has vast
fields, thick forests
and mountains
where the well
known birds called
“Kangingiyong” or
Maria Capra could be
found.
These birds usually
stay in the fields
during planting and
harvesting when
they would find
palay for their food.
They could also be
found not only in rice
fields but also in big
trees. Movement is
characterized with a
flirting motion even
while they are
standing. At dawn,
these birds could be
heard in their joyful
and sweet thrill from
afar with their tweet-
tweet melody that
would waken up the
farmers.
The “Tweeting” of
these birds signals a
good time for
planting and
harvesting. It also
connotes a warm
welcome to
strangers in the
place.
These birds prey on
harmful insects like
“baling” and
“atangya” that
destroy the farmers’
crops.
It could be observed
from their neatly-
woven nest their
being systematic
and orderly, just like
the Paluaños.
According to the
local folks a lady who
dances like a flirt is
mimetic to a bird
called “Maria Capra”
because of the jerky
and amorous
movements of the
latter.
Dance Properties:
Costume: Female
Top (Kamisa): A black
Maria Clara blouse,
edge of sleeves and
kamisa adorned with
white feathers or
pleated cloth or
ruffled lace.
Scarf(Panuelo): A
wide black
rectangular piece
accented with
tussles or lace at the
edges.
Skirt (Saya): A black
full balloon(umbrella
cut) with train skirt,
shorter in front edge
of skirts adorned just
like the kamisa.
Footwear: Sapatilla
Male:
Top: White
elaborated barong
tagalog
with Chinese collar,
the front is
decorated with black
beaded lace
on both sides of the
chest
Pants: Black Pants
Footwear: Black
Leather shoes
Music 2/4 and ¾
composed of three
arts: A,B,C
Count: 1, 2, and to a
measure in 3/4
1, 2, 3 to a measure
in 3/4 time signature
Agogocoy (Romblon)
Historical
Background/Context:
As graceful as the
frothy waves that
wash the white
sands surrounding
Romblon islands are
the eye-catching
creatures
scampering for
safety up to drier
land. They are the
white - colored tiny
crabs locally known
as “agogocoy”.
Like a troupe of
miniature
performers,
agogogcoy can be
seen dancing away
from the easing
wave. Their flirty
movements seem to
celebrate their
triumph over the
elements. But at the
slightest sounds or
sight of an intruder,
they freeze and stop
their choreography.
Then shyly ,they
would crawl
sideways and hide
inside their self-
made holes in the
sand.
Agogocoy’s colorful
antics were
translated into a
dance performed
during traditional
wedding reception in
the town and barrios
of Romblon. While
some old folks call
the dance “Kuratsa,”
the steps and
movements seem
particularly reflect
the movements and
peculiarities of these
little crabs.
As years passed, the
people of Romblon
began to call the
dance as
“Agogocoy,” which
combines the
movements of grace
and frolic among
unmarried ladies and
eligible men who
maybe matched
during the wedding
occasion. It became
a festive dance
which is also
performed during
fiestas, pre-planting
and harvesting
season.
Dance Properties:
Costume
Female: Balintawak
with tapis and
alampay over
left shoulder
Male: Barong
Tagalog, Black
Trouser
Footwear: Leather
shoes or Sapatilla
Music: 3/4 composed
of four arts :
A, B, C and
intermission
Count: 1 and 2 and;
1,2 to a measure in
2/4 time
signature
1, 2, 3 to a measure
in 3 time signature
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