KABILAW
Dance Researcher: Joven H. Gabor
Key Informants: Luz S. Susarno
Romulo P. Bugna
Josephine S. Deliliarte
Genevieve S. Huesca
Dance Annotator: Joven H. Gabor
Music: Ramon S. Velasco
Meaning: Bat
Dance Culture: Lowland Christian
Place of Origin: Cabilauan, New Lucena, Iloilo
Ethnolinguistic Group: Ilonggo
Classification: Festival
Background/Context:
The distinct feature of Cabilauan, in particular town, is the presence of a family of
“bats,” and the place is named after this kind of bird.
The animal-loving people of this place have adapted and are inspired by the flying
and flipping of the bird’s movement. Through the years, folk people of Cabilauan have
kept on imitating bird like movement and have since become part of their rhythmical
moves. Today, Kabilaw's inspiration is reflected in their dance, which has flourished to
become a festival in New Lucena, Iloilo.
Movements/Steps Peculiar to Dance
1. “Katin-katin” step- Bend both knees. With heels raised bend trunk
forward.Step R foot sideward (cts. 1 and) Step L foot close to R foot
(ct. 2) ..................................................................................................................... 1M
2. “Kapay-kapay” step- Bend trunk forward, Flip R arm in front and L arm in
rclip at the back (cts. 1 and2) ......................................................................... 1M
3. “Dapun-dapun” step-Leap on R (L) foot forward alternately (ct. 1) Step L (R)
foot close to R foot (ct. and) Step R (L) foot in place (ct.2)
Raise R and L arm upward and downward alternately
flexing wrist inward on count 1 of every measure ............................................... 2M
4. “Kahig-kahig” Step- (a)Scratch twice, with R foot in (cts.1,2) Scratch twice,
with the L foot (cts 1,2) (b) Bend trunk forward taking three steps forward and
backward Arms place on both hips (2M)....................................................... 4M
Costume:
Female:
Girl wears a ball cut Sleeve “Barot Saya” in earth colors preferably, in colour
off white or cream, and the skirt with tail in colour black or brown, with checkered tapis,
and soft alampay can be worn. The upper blouse is permanently attached to the skirt.
Footwear: None
Male:
“camisa de chino” with neckerchief and black or brown trousers.
Footwear: None
Accessories:
“Pulos”- a piece of cloth to covered the whole head
Music: 2/4 composed of three parts A, B, and C
Count: one, two, one, and two, and to a measure
Formation: Partners stand opposite each other. One to any number of pairs may take
part on this dance.
Composition: This can be danced by Male and Female or Female only.
Introduction
(a) Face audience, starting with right foot take four change step R and L alternately.
Boy arms on waist Girl holding skirt ........................................................................... 4M
(b) Take three steps turn to R in place (cts.1 and 2) Step R foot in rear (cts.1 and)
Point L foot in front and bow to audience (ct.2) Arms in second position
......................................................................................................................................... 2M
I
Music A
Face audience
(a) Take two cross change step R and L alternately towards audience. Arms as in
“kapay-kapay”
movement...................................................................................................................... 2M
(b) Leap on R foot (ct.1) Step L foot across to the R foot (ct and) Step R foot close to
l foot (ct.2) and) R and L hand flopping alternately sideward-upward-
downward ......................................................................................................................1M
(c) Repeat (b) starting with L foot………………………………………………………….1M
(d) Take two step hop steps on R and L alternately turning R in place Arms in second
position flopping side ward (cts.1 and2).…............................................................. 4M
(e) Execute six running steps forward towards audience (ct. 1 and 2) Hands on hips
fluttering fingers… ....................................................................................................... 4M
(f) Repeat(a)….................................................................................................................. 2M
(g) Raise both heels bringing the arms to fifth position palms facing outward
(cts. 1 and 2) Execute “katin-katin” position. Immediately bring both arms
downward with hands touching knees (cts. 1 and 2) … .......................................... 2M
(h) Repeat(a-g) … .......................................................................................................... 16M
II
Music B
Face Partner
(a) Take four change steps forward to partners’ place (cts. 1and 2) Arms as in Fig. I
(a). .................................................................................................................... 4M
(b) Take two gallop steps to the right (ct. 1 and 2) Arms as in fig I(c)… ................... 2M
(c) Repeat(b) to the L......................................................................................................... 2M
(d) Repeat (a) going to proper place. End up facing audience.................................... 4M
(e) Repeat Fig I (b)… ..........................................................................................................2M
(f) Execute three running steps forward towards audience (ct. 1 and 2) Hands on
hips fluttering fingers…............................................................................................... 1M
With heels raise bring arms to amplified fifth position palms facing outward
(cts.1 and) Bend both knees. Trunk forward raising R foot in rear of L foot (cts. 2
and.)
Both arms on hips. End up facing partner… ............................................................ 1M
III
Music C
Face audience.
(a) Starting with the R ft. take two “katin-katin” step to the R. (cts. 1 and 2 and Hands
on hips… .........................................................................................................................2M
(b) Repeat (a) to the L ........................................................................................................ 2M
(c) Take two change step R and L alternately moving forward and backward (cts.1
and 2and) Arms as in fig. I (a)… ................................................................................ 2M
(d) Bend both knees. Execute parallel tortiller step. Trunk forward to the R (cts.1and
2) Arms as in fig. I(c)… ................................................................................................2M
(e) Repeat all (a-d) facing partner. End up facing audience ......................................... 8M
IV
Music B
Face audience.
(a) Take four change steps R and L alternately in place (cts.1 and 2) Arms as in fig.I
(a)… .................................................................................................................................4M
(b) Take one “Kahig-kahig” step R and L alternately in place ....................................... 4M
(c) Repeat (fig II(a) moving around with partner to proper place .................................. 4M
(d) Repeat(b)… ................................................................................................................... 4M
Music A
Face Partner
(a) Boy is facing away the audience, the girl facing towards audience
With R shoulder leading, take six running steps half way around to the girl
to opposite place (cts. 1 and 2) Girl finished facing audience boy facing away
from audience Hands on waist .................................................................................. 2M
(b) Take a four step turn R in place (cts. 1,2,1,2) Finished facing partner… ......... 2M
(c) Execute four “dapun dapun” step (cts. 1 and 2) This time the boy moving counter
clockwise going back to proper place Girl moving towards the center moving
clockwise in proper place ........................................................................................... 4M
(d) Repeat (a- c). Finish facing partner… ...................................................................... 8M
VI
Music C
Face audience
(a) Repeat Figure IV ....................................................................................................... 16M
VII
Music B
Face audience
(a) Take two hop step with R foot sway both arm overhead sideward R (cts.1 and 2
and) ................................................................................................................................. 2M
(b) Repeat(a)to the L .......................................................................................................... 2M
(c) Take two pivot step turning R in place for (cts.1 and 2 and) Girl holding skirt and
boy arms place on waist… .......................................................................................... 2M
(d) Leap on R foot (ct.1) Step L foot across to the R foot (ct and) Step R foot close to l
foot (ct.2) and) R and L hand flopping alternately sideward-upward-
downward........................................................................................................................1M
(e) Repeat (d) starting with the L foot………………………………………………………1M
(f) Repeat all (a-d) Starting with L foot. Facing partner… .......................................... 8M
Finale
Repeat Introduction
ACKNOWLEDGEMENT
Dr. Larry A. Gabao, Goerge Ulit, Adonis Voltaire M. Villanueva,Dr. Marilyn Manaloto, Dr.
Maricor E. Sindingan, Dr. Jeobert Sorolla, Dr. Noime Sumagaysay, Genevieve S. Huesca,
Danel S. Sorolla, Paulita B. Emberga, Ramon S. Velasco Sunny S. Bacus, Hon. Liciel
Mondejar Seville, Dr. Paulo C. Abrico, Dr, Julius Ceazar Marcelo Diaz, Filamer Christian
University, Guimaras State University, Francis John Gabawa, Phillippine Folkdance Society
-Binirayan Chapter, Philippine Folkdance Society-Saot Capiz, Dr. Erwin S. Sustento, Atty.
Sainthia S. Sorilla, Hon. Marites S. Soloveres, Hon. Arthur Defensor, Bombette Marin, Joe
Cyril Jara, Rio Mana-ay, Annaliza P. Suycano,Mary Ann Garete, Madeline H. Fresnillo,
Eden Grace S. Saragena, Gemma E. Elemento, Mark Bacus, Luz Susarno, Cornelio
Espino, Rolando S. Batiduan, Arvin Daniel Salmite.
