sam maravilla

NOCHE DE GALA “Gala Night” as it says in Spanish, when referring to the night of public occasion capped with entertainment of different types of performances, usually singing, musicians playing their pieces and the ubiquitous dancing. This dance, named after such occasion portrays the Filipino adaptations of the castanets, and the jingled panderitas while stamping to the familiar jota dance. The women are never outdone with their graceful sway of the famous mantones de Manila – a captivating sight to behold, indeed. PASEO DE ILOILO A dance interpretation of an Ilongga beauty while she entertains four of her suitors while strolling leisurely at the local promenada. Amiably, she dances with each suitor, but her heart is already won over by one! The dance also called Paseo de Andaluz or simply Andaluz, points to a far off origin, the southernmost region of Spain, Andalusia, also the origin of other popular dances such as the flamenco and sevillanas.

HARDINERA Hardinera (meaning, “lady gardener”) is a simple, but beautiful dance from Ilocos Norte province, northern Philippines. It is supposed to depict or reveal the gardening industry in the province. This dance started to become popular in during the war years in Ilocos Norte. TANDA DE VAL: Philippine Folk Dance from Atimonan, Quezon, Philippines Tanda de Val (literally, “series of waltzes” is lovely folk dance from Atimonan, Quezon Province based on waltz steps. In the olden times, the people perform this dance on merry-makings or gatherings after a bountiful harvest. GARAMBAL: Philippine Folk Dance from Camiling, Tarlac, Philippines A corruption of gran valse, the Spanish for “grand waltz.” This Ilocano dance from Camiling, Tarlac, Central Luzon, Philippines is performed by two women who alternately dances with one man. The women flirt with man with the use of either a native hat or a folding fan. The man makes his choice known at the end of the dance. TAGULTOL: Fishing Fe...

MALAGUEÑA DE CATANAUAN More than just an icon, the “Lady of Malaga” (malagueña) is a representative of Old Spain. Spain's culture and traditions, including songs and dances were brought to the islands by the cleric, government officials, sailor-traders and prominent people, over a span of 300 years. Great effort was exerted to make sure that Spanish was Spanish and Filipino was Filipino. But history proved them wrong. From the time, the “Lady of Malaga” invaded the dance floors of big parties and social gatherings, her execution of cubrados, marchas, paseos, vueltas and zapateados were watched and tried by her Filipino counterpart, the native señoritas with a great degree of success. Very driven, very proficient, the Filipino coped with the issue of perfecting herself to stand at par with her Spanish cousin. The result was a new malagueña that transcended the prototype with additional steps from dances already known. Rendered in duple parts and triple measure, the dance was less...

VALSE DE MARIKINA: Philippine Folk Dance from Marikina City Valse or balse in Tagalog was a popular dance in Marikina, Rizal during the Spanish times. Valse means ‘waltz.’ This dance was performed after the “lutrina” (a religious processesion) and the music that accompanied the dancers was played by the “musikong bungbong” (musicians using instruments made of bamboo). Traditionally, the lutrina is usually held when people of a certain community suffer from a long dry season or pestilence of any kind. The participants carry lighted candles and they pray along the way with a statue of their patron saint or a crucifix bringing up the rear of the procession. After the procession, the participants gather at the house or yard of the “hermana” (sponsor) and bags of foods (biscuits, rice cakes, fruits, candies) are distributed to them. During the refreshments or after it, there is dancing and singing by the people gathered there. Originally the female dancers wear “balintawak” style dress wi...

JOTA CAVITEÑA Jota Caviteña is a dance that shows strong Spanish influence. The "jota" being among the most popular of the Spanish dances which were "Filipinized" by the people in many places across Luzon and the Visayas. This version uses unstrung elongated bamboo clickers instead of the Spanish wooden castañuelas. This jota version is from Cavite, hence the name. Popularized by the Bayanihan National Folk Dance Company, the dance has been passed on from one performing group to another incorporating each performing group's reinterpretation as in the case in this video performance of the dance by the Sindaw Performing Arts Guild based in Pasig City, Metro Manila.

JOTA RIZAL During the Spanish regime, the jota dances were among the most popular dances of in the Philippines. This version from Batangas, was very popular during the time Dr. Jose Rizal.

SAYAW SA CUYO A mazurka from Cuyo, Palawan originally performed to the music provided by the tipanu band playing the Cuyonon folk songs “Konsomisyon” and “Taringting.” Originally researched by Mrs. Violeta B. Jutare and Mrs. Fe Tria Fernandez as “Cuyo Mazurka.” The version here, is the all-female one researched by Ramon Obusan, which was also sourced from Mrs. Jutare through then Cuyo, Palawan Mayor Antonio Ponce de Leon. Performed by the Indak Bambino Folkloric Group of Batangas City Taken at the Cultural Center of the Philippines | February 4, 2018

POLKABAL: Philippine Folk Dance from Atimonan, Quezon This dance acquired its name from two well-known steps, polka and valse (waltz), corrupted into one word, polkabal, by the people of Atimonan, Tayabas, where it was found. Luksong Uak, Ensayo, Paseo, Contragansa, Punta y Tacon, Wagayway and Jardin are some of the lively steps and figures in this interesting discovery. In the original dance, the Paseo and the Ensayo are danced as intermission making it rather long and monotonous. These two steps are used as figures, not as interludes. Girls may wear any old-style costume (Maria Clara, serpentina, siete cuchillos, etc.). Boys wear barong tagalog with black trousers. HABANERA BOTOLEÑA: Philippine Folk Dance from Botolan, Zambales This is a very colorful, vivid, and gay dance from Botolan, Zambales. During the early days, this was performed in honor of a departing parish priest. In time, however, it lost that role and became more of a festival dance performed in wedding celebra...

LA JOTA CAGAYANA During the Spanish regime, the jota dances were among the most popular dances of in the Philippines. It is a gay and a lively dance. Undoubtedly, all the jota dances of the Philippines are adaptations from Spanish jotas as performed by the early Spanish settlers in the Philippines. The version here performed is the Ibanag version from the town of Enrile in Cagayan Province, northern Philippine. It is as interpreted by National Artist for Dance Ramon A. Obusan, and performed by the Indak Bambino Folkloric Group from Batangas. The dancers are wearing late 18th to early 19th century Philippine attires taken from the illustrations of famed “tipos del pais”artist Damian Domingo. The girl wears an early version of the modern-day Maria Clara ensemble matched with a Sunday veil, a tight-fitting “tapis” or overskirt, and a flat-topped “salakot”. The Boy wears a that era’s “barong tagalog” and a loose mid-calf reaching pants called the “saya-saya”, a neck scarf and a “tabungaw...

LAVEZARES This traditional dance came from the northwestern part of Samar. It is popular in the municipalities of Capul, Allen and Lavezares. It is also performed by the old folks of Calbayog. In fact, an excerpt from the Lavezares dance (the last ballroom figure) is the "Ti Yadut" of Calbayog. The dance is similar to a surtido because of the assorted folk and traditional dance steps like kuradang , pi'ang-pi'ang, paseo con cambio pareja and valse with patty-cake turns; which are strung to have the dance performed. The dance have been popularized by a an unidentified folk dance group from Calbayog City. Researchers of the Bayanihan came across the Lavezares dance in one of their researches in Samar in the late 1970's. The dance has, since then, became a part of their Spanish-influenced dance repertoire. The music that accompanies the dance is a lovely mix of favorite Waray melodies which are played in this order: (1) the Pandangyado which sounds like Cos...

BLIT-B'LAAN Courtship dance of the B'laan of Davao del Sur imitating forest birds during the mating season. All movements of the Blit-B'laan are done with the knees slightly bent. Figure 1. Male and female dancers move with a light springing of both feet in any direction. Maledancers eneter with a springing movement to chase the female dancers. Both male and female dancers stay in one place. The movements of the female dancers are centered on grooming and making themselves more attractive. The male dancers begin to move. Figure 2. Female dancers move to choose from among the the two male dancers that shows her preference for the white male dancer aversion towards the red male dancer. Al female dancers hop on their heels with one foot crossed slightly in front while males do the same thing but with their feet apart. Figure 3. Female dancers then move to rescue the white male dancer from two male dancers. Male dancers attack and outwit each other through flying kick...

BAGOBO The Bagobo are a tribe in Davao province on the island of Mindano. The dance is a demonstration of footwork with the music provided by a unique instrument called "tagungguan" which consists of a series of small gongs suspended by ropes from a triangular rack. The dancers wear bells around their legs. All movements of the Bagobo are done in any direction. Each figure maybe repeated a number of times. Figure 1. Step right and left foot forward, backward and sideward alternately. Each step is preceded by a stomp in place Figure 2. Stomp right foot twice then the left foot points forward with the body bend and the right shoulder leading. Figure 3. Stomp right foot twice to the back, raise left foot in front with slightly bent knees. Stomp right heel to make the ankle bell sound with left shoulder leading, bend the body forward. Figure 4. Stomp right foottwice to the back. Bend the kneeon the second stomp as the left foot is raised slightly. With the accelerating...

  MAGLANGKA 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.

  “Pasigin” or “sabot” is a fishnet used by the Capiznon similar to the scoop net but not quite like the scissors and cast nets. All these nets are handy for shallow and quiet parts of the river. The pasigin’s ring shape makes it a special net for catching only specific fishes and crustaceans. In the hands of skilled fishermen a pasigin assures food for the family. A Filipino’s playful imagination, created the pasigin dance. Using the movements of excited fishermen scooping after schools of fish, intricate footwork and dexterous swishing, swashing, scooping, and sifting gave the pasigin dance that “chase and run” character. The pasigin would have been an ordinary and playful dance had it not been for a comic relief where at the end, the ring-net reveals a hole big enough for the fish to escape. How two people were able to collaborate to make fish and net become one of the country’s favorite dances is why we are extremely thankful to the late Petronila Suarez and the late Crisos...

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.

  Its name is derived from the plant of the same name having a peculiar hot and aromatic smell. Female dancers hold handkerchiefs scented with the "alcamfor" (naphtalene balls) believed to induce romance. The dance came from Leyte. An interesting feature of the dance is its music. The first part is a stately 3/4 music like the French minuet and the second part is a lively music which is actually a composition of German composer Emile Waldteufel Andre Walschaerts entitled "Marinja" (Estudiantina). The book "Philippine National Dances" simply claimed that the second part of the music is lively 'like Spanish dances'.

  The most popular Abaknon (or Capuleño to "outsiders") dance is probably the "Dos Amigos" which is one big favorite among fiestas where its performance serves as a "pasakalyi" or intermissions between scenes in a local Abaknon "komidya". There are however, many folk and traditional dances from the small island: Mazurka Capuleña,Lavezares, Kuratsa (introduced by their Waray relatives) and the Estudiantina. The Abaknon Estudiantina is one of the three available versions of Philippine Estudiantina dances, popular in its broken Spanish name, "Estudiantina de Capuleño". The proper term should have been "La Estudiantina Capuleña". This dance is simply called Estudiantina in the other towns in Samar where it is also popular. The dance could have derived its name from "estudiantina" which is the all-string band that plays the dance music in the many 'baylihan' during the Spanish colonial period. The estudianti...

  Obviously the dance was an offshoot of the Spanish fandango that was introduced to the natives' repertoire of festival dances. The Pandanggo Rinconada derived its name from the sub-region of the Bicolandia where a distinct Bikol dialect is spoken. That subregion comprising the Camarines provinces is called Distrito de Rinconada. the other sub-regions of Bikol are Bikol Estandarte (Naga district), Bikol Albayano, Bikol Catanduanes, Bikol Masbatenyo and the Bikol Sorsogon also called Bisakol due to the heavy Bisayan influence in their language particularly Waray. In fact, some linguists classify the dialect spoken in Gubat, Sorsogan as Waray. The Pandanggo Rinconada is a staple among the Christmas veladas (evening programs or shows) in Nabua, Camarines Sur.

  The  Rigodon de Honor,  an elegant, stately dance was brought to the Philippines  by the Filipinos who returned from their travels abroad during the Spanish era. The  Rigodon de Honor is  so called because it is usually performed to open a state social  function like the President's Inaugural Ball. It is participated in by the President and  the First Lady of the Philippines, high government officials, members of the diploma­tic corps, and other people at high social standing. Sometimes it is also performed in very important or special occasions in the community.  

  The Janggay or 'Igal Janggay" is one Badjao dance that is performed to the tradition of the Pangalay. Pangalay being a predominant dance form favorite among the gentle people of the Sulu archipelago. Janggay refers to metal fingernails or claws that the dancers wear on their hands as the sinuous movements of pangalay figures are executed. To the Sama de Laut people it is called "solengkengkeng". The janggay is supposed to enhance or magnify the dancer's hand twists and wrist flicks because it serves like a sort of an extension. From the usual starting position, the Sinalayan, the dance progresses to different pangalay postures moving to a dampened sound of local gongs. Emphasis is however, not moved away from the janggay, the object of the dance. It is interesting to note that two National Artists for Dance came across the Igal Janggay dance in their researches. Ramon Obusan recorded this version from Badjao women of Arena Blanco, Zamboanga del Sur. Oro...

  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 ...

  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 t...

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. Duri...

  (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...