Results for : "philippine folk dance" videos

A Waray folk song that has becaome popular throughout the Philippine archipelago. The dance is probably a late choreography to the folk song. There are four versions to the Lawiswis Kawayan dance: one from Kolambugan, Lanao performed by the Waray settlers in that place. Another version from Eastern Samar uses a "bangko/puruk-anan" as an implement to the dancing. The male dancers have a mango leaf on their mouth in one figure of the dance.

The two versios from Leyte are very distinct from each other. One version is performed with female dancers holding two branches of the "kalipayan" bush and are swayed in time to the music. This version is usually done during house blessings. The last version is the one described in the classic Waray stage play "Diri Bata, Diri Ulitawo, Diri Inasaw-an". As described, the dancers hold one internode of a bamboo with leaves on it. The dance ends with a pose holding the nodes into one long bamboo pole.

Given below is the Lawiswis Kawayan song which was traditionally sung alongwith the musicians who play the dance music:

LAWISWIS KAWAYAN
(Tanauan, Leyte version)

Ako magtatanum lawiswis Kawayan
Akon la kan Pikoy palatay-latayan
Salbahis ka Pikoy an imo paghuni
Naghatag ha kalag, hin' ak' kalipayan

Bulahan ka Pikoy, ka Pikoy, tikang panginaun
Nagpili hin sanga,tinugdon, hinapun.
Unina malupad, paglupad iya karantahun
Kundi pagka kulup mabalik guihapon






Watch out for my upcoming videos of the following dances:
Tinikling (Waray)
Itik-itik
Kuratsa Samarnon (Waray)
Lugkat (Waray)
Lukay (Waray)
An Marol (Waray)
Surtido Samareño (Waray)
Ismayling (Amoracion/Amoral) (Waray)
An Lubi (Waray)
An Lab-asero (Waray)
Costurera
Maramyon (Leyte version) (Waray)
Paspe (Waray)
Ginabato (Waray)
Pantomina de Samar (Waray)
Salampati (Waray)
Ti Yadut (Waray)
Lavezares (Waray/Abaknon)
Jota han Kalipay (Waray)
La Jota Samareña (Waray)
Kuradang (Waray)
An Ulitawo (Waray)
Bagol (Waray)
Kadang (Waray)
Ingkoy-ingkoy (Samar version) (Waray)
Pastores (Samar version) (Waray)
Estudiantina (Capul version) (Abaknon)
Mazurka Capuleña (Abaknon)
Panderetas (Tanza, Ilo-ilo version) (Ilonggo)
Engañosa (Pandangyado Mayor) (Waray)
Pandangyado Cariñosa (Samar) (Waray)
Pandagyado Buraweño
Pag-aring (Basey, Samar) (Waray)
Jota Paloana (La Jota Navarra) (Waray)
Paso Doble (Parañaque version) (Tagalog)
Polka Tagala
Culebra (Bulacan) (Tagalog)
Jota Cabangan (Ilocano)
Jota Rizal (Tagalog)
Jota Ibanag (Ibanag)
Chotis Dingreña (Ilocano)
Sangkayao (Bikolano)
Pangkilad (Bikolano)
Flaggey Libon (T'boli)
Madal Tahu (T'boli)
Karal Kafi (Bilaan)
Ati-ati sa Bukid (Cuyo, Palawan) (Cuyunin)
Bendayan (Tchunggas) (Benguet)
Kadal Onuk (T'boli Bird Dance)
Karatong (excerpt) (Cuyunin)
Inday na Kunday (Southern Leyte)
Likod-likod (Ormoc, Leyte)
Gapus-gapusay (Ormoc, Leyte)
Man-manok (Bago)
Sohten (Subanen)
Khinlesung (Subanen)
Pangalitawo (Subanen)
Madrileña (Pangasinense)
Takiling (Kalingga)
Minandagit (Manobo)
Inahaw (Higaonon)
Dugso (Higaonon)
Siring (Tagbanwa)
Sarungkay (Tagbanwa)
Balisangkad (Tagbanwa)
Tugatak (Tagbanwa)
Dagit-dagit (Kinaray-a)
Jota Moncadeña (Ilocano)
Surtido Boronganon (Waray)
Tachok (Kalingga)
Chalijok (Kalingga)
Ballangbang (Applay)
Karasaguyon (T'boli)
Polka Lapis
Apoc (Ilokano)
Pangalay (Sama di Laut/Yakan)
Paunjalay (All girl version) (Yakan)
Silong sa Ganding (MAguindanao)
Kandalamat sa Gandingan (MAguindanao)
Ipat (Demo) (MAguindanao)
Maong a Lalong (Pangasinan)
Palu-palo (Ivatan)
Pawakan (Sabong) (Maranao)
Pinanyuwan (Bontoc)
Buhay sa Bukid (Tagalog)
Pakkong (Benguet)
Buling-buling Pandacan (Tagalog)
Tacon y Punta Danza (Bikolano)
Telipe (Apayao)

A few among those Philippine dances which can be classified as a "national" folk dance. This dance is also available in versions from Ilo-ilo, Mindoro, Laguna and Leyte.

The version from Leyte appeared in the book "MGA AMBAHAN" (1906) by the famous Waray writer Vicente de Veyra.

All versions of the Lulay use the same "basic" melody. The melody first appeared in the book "Bajo los Cocoteros" (Under the Coconut Trees?). It ranks among the popular love songs in the country at the close of the 19th century. It was also published in Madrid by Graciano Lopez-Jaena (from Ilo-ilo, ring any bell?) in Aires Felipinas (Philippine Airs).

The most popular version of the Lulay song is probably the one from the Tagalog region which runs:

Anong laking hirap kung pakaiisipin
Ang gawang umibig sa babaeng mahinhin
Lumuluhod ka na'y 'di ka pa mandin pansin
Sa hirap ikaw'y kanyang susubukin.

Another Tagalog version from Laguna have this for the first stanza:

Sa silong ng langit nitong bayang sinta
Ang mga dalaga ay mahinhi't maganda
Kung susuyuin mo ay magtapat kang talaga
At iibigan ka magpawalang-hanggan.

The Waray version is used as a melody for the Balitaw where dancers sing and dance respective parts in a joust of "siday" done to the tradition of the Amoracion oe Ismaylingay, the following line sung by a male "mag-ismaylingon" was recorded in Samar:

Kamakakukuri hinin akon kabutang
Sugad hin natungtung hinin anud nga batang
Waray sasabuta inin akon kapalaran
Kun hain mga bungto ako sasampigan

The Lulay is also sung in Bicolano as part of their 'pastores' traditional music. National Artist for Dance Ramon Obusan recorded one version using the Lulay music in the Christmas shepher dance called "Pastores Maliliput" from Maliliput town in Albay.

Two Lulay dance versions are found in the island of Panay alone. One version is the Lulay dance from Bingawan, Ilo-ilo. Another version (or excerpt) of the Lulay is found in the "Salidsid" dance also from Ilo-ilo. The seventh figure of the "Salidsid" is the Lulay.

During the American occupation some folksongs were translated to English, the Lulay was published but was entitled "Boanerges Serenade". The first stanza goes:

I was poorly born on the top of the mountains
Caressed by the motherly love of the lighting
Playing with the wonderful fire of the lightning
Thrilling, thrilling kiss of love is always mine

Its Filipino language text was entitled "Harana ni Boanerges":

Ako'y ipnanganak sa tuktok ng bundok
Kalaro-laro ko'y kulog na matutunog
Dinuyan ko'y ulap sa papawiring bughaw
Halik ng kidlat ang siyang kaulayaw.







Watch out for my upcoming videos of the following dances:
Tinikling
Itik-itik
Kuratsa Samarnon
Lugkat
Lukay
An Marol
Surtido Samareño
Ismayling (Amoracion/Amoral)
An Lubi
An Lab-asero
Costurera
Maramyon (Leyte version)
Paspe
Ginabato
Pantomina de Samar
Salampati
Ti Yadut
Lavezares
Jota han Kalipay
La Jota Samareña
Kuradang
An Ulitawo
Bagol
Kadang
Ingkoy-ingkoy (Samar version)
Pastores (Samar version)
Estudiantina (Capul version)
Mazurka Capuleña
Panderetas (Tanza, Ilo-ilo version)
Engañosa (Pandangyado Mayor)
Pandangyado Cariñosa (Samar)
Pandagyado Buraweño
Pag-aring (Basey, Samar)
Jota Paloana (La Jota Navarra)
Paso Doble (Parañaque version)
Polka Tagala
Culebra (Bulacan)
Jota Cabangan
Jota Rizal
Jota Ibanag
Chotis Dingreña (Ilocano)
Sangkayao
Pangkilad
Flaggey Libon (T'boli)
Madal Tahu
Karal Kafi (Bilaan)
Ati-ati sa Bukid (Cuyo, Palawan)
Bendayan (Tchunggas)
Kadal Onuk (T'boli Bird Dance)
Karatong (excerpt)
Inday na Kunday (Southern Leyte)
Likod-likod
Gapus-gapusay
Man-manok
Sohten (Subanen)
Khinlesung
Pangalitawo
Madrileña
Takiling
Minandagit
Inahaw
Dugso
Siring
Sarungkay
Balisangkad
Tugatak
Dagit-dagit
Jota Moncadeña
Surtido Boronganon
Tachok
Chalijok
Ballangbang
Karasaguyon
Polka Lapis
Apoc
Pangalay
Paunjalay
Silong sa Ganding
Kandalamat sa Gandingan
Ipat (Demo)
Maong a Lalong
Palu-palo
Pawakan (Sabong)
Pinanyuwan
Buhay sa Bukid
Pakkong
Buling-buling Pandacan
Tacon y Punta Danza
Telipe

(Version on the video is the popular Kuratsa Binisaya from Tacloban Leyte' found on the book Philippine Folk Dances V.1 by Francisa Reyes-Aquino but the music used is the Kuratsa Bago (from Bago City, Negros Occidental, notation foun in the "Visayan Folk Dances V1" by Libertad Fajardo)
The Kuratsa is highly favored by the Visayan people especially the Waray people of the Eastern Visayan region in the Philippines. Strictly speaking, only one couple dance it at a time. Believed to be a Mexican import (supposedly from La Cucaracha dance typical to Monterrey region of Mexico)- the Kuratsa is however, very different in the manner of execution than the Mexican counterpart. Even the "basic" Kuratsa music is not based on Mexican or even Spanish melodies.

Philippine dance researchers, however, point either to the "Kigal" and the "Bikal" as the 'ascendant' of the Kuratsa. The Kigal (spelled "Quigal" in early Spanish writings on Samar culture and lifeways) is a sort battle-of-sexes couple dance that imitate mating birds. The Kigal is in fact called by another name: Binanug or Kiglun (Kigalun?) that's according to a 17th century Samarnon dictionary by Jesuit missionary to Samar, Fr. Alcazar. It is interesting that Banug uis the Waray word for the hawk.

The Bikal is rather believed to be the fore runner of the Waray Balitaw because of the strict emphasis on "joust" of impromptu songs interspersed with dancing. The bikal is survived by the Ismaylingay and many versions of this art is preserved by aging "magsiriday" in Samar and to a lesser extent Leyte.

The Kigal dance step called 'sabay' is in fact very similar to the Kuratsa dance step called 'dagit' or when more daring the 'sagparak'. Dagit means swoop while sagparak is descriptive of a heated 'bulang' (cockfight). The block and chase portion of the Kuratsa (called 'palanat') is never seen in the Mexican social dance La Cucaracha but is very common among Samar 'amenudo' (or couple dances) like the Ismaylingay, Amoracion, Alimukon, Kuradang and Pantomina.

Popular versions of this dance exist in Samar can be classified as the Kuratsa Menor (the usual favorite) and the many versions of the daring Kuratsa Mayor. New genres of Kuratsa evolved as a result of necessity, like-as the name implies- Kuratsa kanan Kadam-an and a very funny Kuratsa nga Pinayungan appropriate for rainy days.

KURATSA
(Tacloban, Leyte)

Introduction.
Partners join inside hands, free hands down at the sides. Starting with the R foot, take three steps forward (cts 1,2,3). Put feet together and bow to partner or audience (ct 1).....[2M]
Dancers separate about six feet apart. The last two counts of the music are not played until the partners are in their proper places.




Watch out for my upcoming videos of the following dances:
Tinikling
Itik-itik
Kuratsa Samarnon
Lugkat
Lukay
An Marol
Surtido Samareño
Ismayling (Amoracion/Amoral)
An Lubi
An Lab-asero
Costurera
Maramyon (Leyte version)
Paspe
Ginabato
Pantomina de Samar
Salampati
Ti Yadut
Lavezares
Jota han Kalipay
La Jota Samareña
Kuradang
An Ulitawo
Bagol
Kadang
Ingkoy-ingkoy (Samar version)
Pastores (Samar version)
Estudiantina (Capul version)
Mazurka Capuleña
Panderetas (Tanza, Ilo-ilo version)
Engañosa (Pandangyado Mayor)
Pandangyado Cariñosa (Samar)
Pandagyado Buraweño
Pag-aring (Basey, Samar)
Jota Paloana (La Jota Navarra)
Paso Doble (Parañaque version)
Polka Tagala
Culebra (Bulacan)
Jota Cabangan
Jota Rizal
Jota Ibanag
Chotis Dingreña (Ilocano)
Sangkayao
Pangkilad
Flaggey Libon (T'boli)
Madal Tahu
Karal Kafi (Bilaan)
Ati-ati sa Bukid (Cuyo, Palawan)
Bendayan (Tchunggas)
Kadal Onuk (T'boli Bird Dance)
Karatong (excerpt)
Inday na Kunday (Southern Leyte)
Likod-likod
Gapus-gapusay
Man-manok
Sohten (Subanen)
Khinlesung
Pangalitawo
Madrileña
Takiling
Minandagit
Inahaw
Dugso
Siring
Sarungkay
Balisangkad
Tugatak
Dagit-dagit
Jota Moncadeña
Surtido Boronganon
Tachok
Chalijok
Ballangbang
Karasaguyon
Polka Lapis
Apoc
Pangalay
Paunjalay
Silong sa Ganding
Kandalamat sa Gandingan
Ipat (Demo)
Maong a Lalong
Palu-palo
Pawakan (Sabong)
Pinanyuwan
Buhay sa Bukid
Pakkong
Buling-buling Pandacan
Tacon y Punta Danza
Telipe

Capiz Folk Dance


Watch out for my upcoming videos of the following dances:
Tinikling
Itik-itik
Kuratsa Samarnon
Lugkat
Lukay
An Marol
Surtido Samareño
Ismayling (Amoracion/Amoral)
An Lubi
An Lab-asero
Costurera
Maramyon (Leyte version)
Paspe
Ginabato
Pantomina de Samar
Salampati
Ti Yadut
Lavezares
Jota han Kalipay
La Jota Samareña
Kuradang
An Ulitawo
Bagol
Kadang
Ingkoy-ingkoy (Samar version)
Pastores (Samar version)
Estudiantina (Capul version)
Mazurka Capuleña
Panderetas (Tanza, Ilo-ilo version)
Engañosa (Pandangyado Mayor)
Pandangyado Cariñosa (Samar)
Pandagyado Buraweño
Pag-aring (Basey, Samar)
Jota Paloana (La Jota Navarra)
Paso Doble (Parañaque version)
Polka Tagala
Culebra (Bulacan)
Jota Cabangan
Jota Rizal
Jota Ibanag
Chotis Dingreña (Ilocano)
Sangkayao
Pangkilad
Flaggey Libon (T'boli)
Madal Tahu
Karal Kafi (Bilaan)
Ati-ati sa Bukid (Cuyo, Palawan)
Bendayan (Tchunggas)
Kadal Onuk (T'boli Bird Dance)
Karatong (excerpt)
Inday na Kunday (Southern Leyte)
Likod-likod
Gapus-gapusay
Man-manok
Sohten (Subanen)
Khinlesung
Pangalitawo
Madrileña
Takiling
Minandagit
Inahaw
Dugso
Siring
Sarungkay
Balisangkad
Tugatak
Dagit-dagit
Jota Moncadeña
Surtido Boronganon
Tachok
Chalijok
Ballangbang
Karasaguyon
Polka Lapis
Apoc
Pangalay
Paunjalay
Silong sa Ganding
Kandalamat sa Gandingan
Ipat (Demo)
Maong a Lalong
Palu-palo
Pawakan (Sabong)
Pinanyuwan
Buhay sa Bukid

Tiklos (also called "pintakasi") is the Waray equivalent to the "bayanihan". Groups of people work for somebody without hoping for anything in return. They work odd jobs like clearing forests, digging the earth for wells, moving a nipa hut to a new location or even building a house! In all these for free. Of course grateful benefactors would offer drinks and food; but it is not always expected. The peasants cooperate for the social and economic progress of their community.

The Tiklos is a native peasant dance of Leyte. Very early in the morning, the leader of the tiklos beats the tambora, a kind of drum made from a hollow trunk of a tree with a carabao hide head. Next comes sounds of the subing (bamboo flutes) and the guimbal-a small snare drum with a head of a parchment made from the skin of a wildcat.

The peasants come out with grass hooks, bols and other garden tools and farm implements. Led by the band, they march together to work in the fields. During breaks the peasants enjoy themselves with tuba (a native wine) and the rest dance the tiklos accompanied by the subing (plawta), guimbal and tambora drums or when available, the "sista" played by the band. The Tiklos music is also played to call them back to work.


SOURCE:
Philippine Folk Dances V4, by FR Aquino
DAGAW: Eastern Visayan Culture, by Saiaopinoi
Programs of Philippine Folksong and Dances
Manila, 1937, page 1

This dance is also called "Panderetas de Amor". Panderetas means "tambourines" in Spanish. This dance portarays a heavy Spanish influence. Of the two available versions of this dance, this one is more Hispanic in execution. The dance is from Manila.

Bayanihan researches in the early 1950s discovered this dance in the capital city and has been included in their Maria Clara Suite since then. The second version of the Panderetas is the Yuletide folk dance from Tanza, Ilo-ilo called "Las Panderetas". The music used in the later is a typical Visayan "daygon" similar to the pastores musics used in the pastores traditions in Bikol, Cebu, Leyte and Samar.




Watch out for my upcoming videos of the following dances:
Tinikling
Itik-itik
Kuratsa Samarnon
Lugkat
Lukay
An Marol
Surtido Samareño
Ismayling (Amoracion/Amoral)
An Lubi
An Lab-asero
Costurera
Maramyon (Leyte version)
Paspe
Ginabato
Pantomina de Samar
Salampati
Ti Yadut
Lavezares
Jota han Kalipay
La Jota Samareña
Kuradang
An Ulitawo
Bagol
Kadang
Ingkoy-ingkoy (Samar version)
Pastores (Samar version)
Estudiantina (Capul version)
Mazurka Capuleña
Panderetas (Tanza, Ilo-ilo version)
Engañosa (Pandangyado Mayor)
Pandangyado Cariñosa (Samar)
Pandagyado Buraweño
Pag-aring (Basey, Samar)
Jota Paloana (La Jota Navarra)
Paso Doble (Parañaque version)
Polka Tagala
Culebra (Bulacan)
Jota Cabangan
Jota Rizal
Jota Ibanag
Chotis Dingreña (Ilocano)
Sangkayao
Pangkilad
Flaggey Libon (T'boli)
Madal Tahu
Karal Kafi (Bilaan)
Ati-ati sa Bukid (Cuyo, Palawan)
Bendayan (Tchunggas)
Kadal Onuk (T'boli Bird Dance)
Karatong (excerpt)
Inday na Kunday (Southern Leyte)
Likod-likod
Gapus-gapusay
Man-manok
Sohten (Subanen)
Khinlesung
Pangalitawo
Madrileña
Takiling
Minandagit
Inahaw
Dugso
Siring
Sarungkay
Balisangkad
Tugatak
Dagit-dagit
Jota Moncadeña
Surtido Boronganon
Tachok
Chalijok
Ballangbang
Karasaguyon
Polka Lapis
Apoc
Pangalay
Paunjalay
Silong sa Ganding
Kandalamat sa Gandingan
Ipat (Demo)
Maong a Lalong
Palu-palo
Pawakan (Sabong)
Pinanyuwan
Buhay sa Bukid

Part 2 of Sinulog Festival 2008 series.

Itik-Itik is a mimetic dance that depicts the movements of wading and flying itik (ducks). Dancers mimic the short swaying gait of waddling feet and the intense energy of close-cropped flapping wings.

The mission of LIKHA Pilipino Folk Ensemble is to educate and propagate the practice of Philippine folk dance and music traditions. LIKHA was established in May 1992 by a collective of twelve (12) individuals who came together to celebrate Philippine dance and culture. Under the artistic direction of Rudi C. Soriano, former dance soloist with the premier Bayanihan Philippine Dance Company, LIKHA has nurtured a generation of young community dance enthusiasts and now boasts an active membership of over 45 dancers and musicians. All are passionate about LIKHA's mission to educate community members and diverse audiences about Philippine culture through music and dance. LIKHA (pronounced "lick-ha") is a Tagalog root word meaning creation or creativity.

Sayaw Sa Bangko Filipino Folk Dance

Project in mapeh... Fr. mARs About the basic steps for philippine folk dances...
Waltz, Polka, Sway balance.. redoba and mazurka jowk.. Creators: Brian Francia, Meghan DeGuzman, Alyssa Bendana, Johannah Conti.