Folk Dance in Region 1

BINASUAN
The binasuan is a Filipino folk dance in which the performer holds full wine glasses in each hand while
performing balancing tricks. Wine may be used to fill the glasses, but other liquids may be substituted. The
arms are rotated over and under the shoulder in order to keep the palms facing up so as not to spill the
liquid while nevertheless allowing the radius to cross over the ulna via pronation. Binasuan originated
in Pangasinan and is popular at festive events such as weddings.

Since the binasuan inverts the arm through rotation, it is sometimes given as a macroscopic, physical
demonstration of the rotation properties of a spin-½ spinor. As the liquid never spills, the rotation can all
occur within the same plane. Upon a rotation of 2π radians, the elbow changes between pointing up and
down. Upon a rotation of 4π radians, the palm "doubly covers" the shoulder, and the elbow points in its
original direction. The best Binasuan Dancers are the Dancers of Holy Family Center of Studies,
Lavezares, Northern Samar.

Binasuan, a dance originating in the Philippines, primarily involves three drinking glasses that a Binasuan
dancer (usually a woman) gracefully balances–on her head and in the palms of both her hands–as she
moves. Each glass is half-full with rice wine, and a Binasuan dancer's skill is determined by her ability not
to drop a glass or spill any wine over the course of her performance.

HISTORY
The tradition of Binasuan dance originates in the Pangasinan province of the Philippines. Pangasinan is
located on the central western coast of the country, and is host to several national festivals where Binasuan
dance is often featured.

Binasuan dance derived its name from a Pangasinan phrase that literally translates to mean "with the use
of a drinking glass." Though it is not known exactly when Binasuan dance originated, dance has been an
important part of Filipino culture for centuries, beginning as a way for people to express thanks to the gods,
in festivals and traditional celebrations, for blessings and prosperity.

Binasuan dancers are famous for their skill and grace, balancing three glasses of rice wine while turning,
rolling and spinning to fast-paced music. Sometimes dancers introduce other elements, such as weights
placed on their feet, to increase the dance's difficulty–and therefore the dancer's prestige.

Binasuan dance, though formerly a traditional art known only to Filipinos, is now internationally recognized
and sought after, with dance troupes touring around the globe and tourists to the Philippines increasingly
seeking out local performances.

Binasuan dance is a colorful, lively art that is often performed at celebratory occasions in the Filipino
culture, such as weddings and parties. Sometimes, dancers will compete over who can complete the most
skillful moves, while balancing their glasses, for the entertainment of the audience.
COSTUME

COSTUME: Balintawak costume with tapis and soft panuelo.

STEPS
COUNT one, two, three to a measure.
FORMATION. Dancer enters from one side of the room or place where the dance is a be performed and
stops at center, facing front.

FORMATION: Dancer enters from one side of the room or place where the dance Is to be performed and
stops at center, facing front.
NOTE: Throughout the dance the glasses are kept in proper places, on head, and on palms of hands.

ENTRANCE

Music A - Play first time.

Dancer enters from left or right side with one glass on her head and one glass each on the palms of her
hands.

Starting with R foot, take eight waltz steps forward to center of room or stage. Hold glasses in front, elbows
close to waist. Move R hand up to chest level and down at waist or hip level alternately and L hand down at
hip or waist level and up to chest level alternately, that means that when the R hand goes up to chest level,
the L hand goes down to hip level on one count and reverse movement on the next count and so on for
eight measures …………8 M

Music A. Play second time.

Waltz sideward R and L alternately, eight times. Raise R hand to head level and L hand at hip or waist level
when waltzing sideward right. Change position of hands at every measure. There is a slight movement of
hands upward and downward with R hand and downward and upward with the L hand, alternately at every
count ………...8M

II

Music B. Play two times.

(a) Starting with R foot, take four waltz steps obliquely forward right. Raise R hand obliquely upward at
head level, L hand down at hip or waist level for four measures. Both hands are moving slightly
upward and downward alternately at every count as in figure I …............4 M
(b) Repeat (a), moving obliquely backward left to starting place ………......4 M
(c) Repeat (a) and (b), moving obliquely forward left in (a) and obliquely backward right in (b). Reverse
position of hands ..............8 M

III

Music A. Play two times.

As the following steps are being done, the dancer moves counterclockwise.

(a) Step R forward (ct. 1), brush L forward (ct. 2), step L close to R (ct. 3). Repeat same (cts. 1, 2,3).
Raise R hand at head level, L hand at waist level. Do not move hands..................2 M
(b) Waltz turn right (using two waltz steps). By this time the dancer has covered one-fourth of an
imaginary circle. Hold glasses in front at waist level, elbows close to waist .................2 M
(c) Repeat (a), and (b) three more times moving counterclockwise. Finish in proper place, facing front
...........12 M

IV

Music B and A. Play two times each part.

(a) Place weight on L foot, R foot close to L, heel slightly raised. Turn R hand counterclockwise going
gradually upward to overhead. L hand is down at hip level ...................4 M
(b) Reverse turn of R hand, going gradually downward to original position. Same position of L hand
................4 M
(c) Repeat (a) and (b) ..............8 M
(d) Transfer weight to R foot, L heel slightly raised. Repeat all (a-c) with L hand reversing turn. R hand
is down at side at hip level. ...............16 M

Music B. Play two times.

 (a) Execute as many fast (whirl) turns in place clockwise (tiny steps in place, both feet flat on floor).
Hold glasses obliquely forward at chest level without moving hands. Do not hold elbows too close
to waist. Finish facing front. ……………..8 M
(b) Repeat (a), turning counterclockwise. ……………………...8M

VI

Music A. Play two times.

(a) Step R sideward (ct. 1), brush L forward (et. 2), step L close to R. (et. 3). Repeat same two more
times (2 M). Step R sideward (et. 1), brush L forward (cts. 2, 3). Raise R hand at head level, L
hand sideward at waist level or a little bit below waist. Do not move hands. ……………….4 M
(b) Repeat (a), starting with L foot, going sideward left, reverse position of hands.................. 4 M
(c) Repeat (a) and (b). ……………….8 M

VII

Music B. Play three times. Music A. Play two times.

(a) Kneel on R (1 M), kneel on L (1 M), side sit on left (1 M), stretch both legs sideward right and place
back of L hand on floor in front (1 M)…………………..4 M
(b) Turn R hand counterclockwise and raise gradually to overhead as in Figure IV (a). ………………. 4 M
(c) Reverse turn of R hand, going gradually downward to original position as in Figure IV (b)…………..4 M
(d) Repeat (b) and (c)………………8M
(e) Slowly reverse sitting position to side sit on right — bend knees (1 M), kneel on both knees (1 M), side
sit on right (1 M), stretch both legs sideward left and place back of R hand on floor (1 M)…………..4 M
(f) Repeat (b) and (c) two times with L hand, turning hand clockwise first…………….. 16 M

VIII

Music B. Play three times.

(a) Place R elbow on floor in front (1 M), stretch L leg backward (1 M), lie down on stomach and at the
same time stretch R leg (1 M), place L elbow in front on floor (1 M)…………….4 M
(b) Roll over to right side — Lift L elbow and twist body toward right side (1 M), roll on back and place L
elbow on floor (1 M), lift R elbow and twist body toward the right side (1 M), roll over on front to be in
prone-lying position ( 1 M). All the time head is kept erect, and palms of the hands up without spilling
water from glasses or dropping glasses…………….4 M
(c) Repeat (b)………………4 M
(d) Repeat (b) and (c) rolling to left side. Reverse direction and hand positions………………8 M
(e) Return to right side-sit position — Bend knees (1 M), raise L elbow and slowly raise trunk (1 M), raise
R elbow and trunk erect (1 M), stretch legs sideward left(1 M)…………………4 M

IX

Music A. Play two times.

 (a) Repeat Figure IV (a) and (b) , R and L hands doing the movements simultaneously. As the R hand
goes up, the L hand goes down and vice-versa. The R hand goes up first (4 M), and then as it goes
down the L hand goes up at the same time (4 M). Change position of hand every four measures.
Finish with L hand up……………….16 M
X

Music B. Play two times.

(a) Assume standing position — Bend both knees, both hands down at waist level (1 M), kneel on
both (1 M), half-stand on R foot (1 M), stand on both feet (1 M)……………… 4M
(b) Repeat Figure V (a) fast (whirl) turns clockwise (6 M) and (b) fast (whirl) turns
counterclockwise (6 M)………………12 M

EXIT

Music B. Play once or twice.

Starting with R foot, execute close steps forward to exit, R hand at head level, L hand at hip level. Do not
move hands…………………8 or 16 M
 Folk Dance in Region 2
RAGSAKSAKAN DANCE
History
Ragsaksakan means “Merriment”. This dance portrays the walk of the industrious Kalingga women,
carrying water pots on their heads and wearing the colorful hand-woven "blankets of life" around their
necks. Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the Philippines.

This dance would be performed after a successful headhunt Some versions of this dance use
the "Banga" instead of the basket.

This dance portrays the walk of the industrious Kalingga women, carrying water pots on their heads and
wearing the colorful hand-woven "blankets of life" around their necks. Their walk imitates the climb up the
Rice Terraces in the Mountain Provinces of the Philippines.

Costume

Wearing the colorful hand-woven "blankets of life" around their necks.

Pictures
 Folk Dance in Region 3
ABARURAY

HISTORY
"Abaruray" is a contraction of the words "Aba" and "Ruray". "Aba!" is an exclamation which is
equivalent to "Hey!", "Hi!", or "Hail!" in English. "Ruray" is a nickname for Aurora. This dance is known in
the Philippines be several names, such as "Hapayan", "Tagayan", "Pandango sa Baso", and "Abaroray".
In any social gathering in the remote "barrios" of the Philippines, it is customary to offer wine to the visitors.
The offering is usually made by a young lady. She goes around with a glass and a bottle of native wine
offering a drink to the visitors. This wine offering is a signal for the beginning of folk dancing and singing.
The musicians play the introduction of "Abaruray" music. The girl who is offering the wine picks out a young
man from among the guests and offers him a drink. This is her way of hinting at her desire to dance with
him. The young has to accept it or he commits a breach of etiquette and the girl is offended. His
acceptance of the drink will signify that he will dance with the girl. He then stands and they begin dancing,
with the girl leading him on. The girl dances with the glass of wine on her head from which the young man
drinks. Her dancing skill is shown in her ability to keep the glass on her head and in not spilling a drop of
the wine. The audience sing and clap their hands in time with the music. The description given below is the
"Abaruray" from Tayabas.

COSTUME

COSTUME: The girl is dressed in "balintawak" and the boy in "barong tagalog" and long red trousers.
STEP
I.
Music A.
(a) The girl waltzes around in any direction, holding the glass with her right hand. Places the left hand
on the waist. The boy follows the girl closely and he executes the same steps. Places hands on
waist.16 M
II.
Music B.

Girl's Part:
(a) The girl faces the audience. She takes four waltz steps sideward R and L alternately. Holding the
glass in her right hand she moves it sideward R and L alternately.................................4 M
(b) Takes waltz steps forward right and backward left (2 M). One waltz turn-right in place (two waltz
steps) (2 M). Transfers the glass to the left hand. Bends the right arm forward and holds the elbow
in front at shoulder-level. Places the glass on the crook of the right elbow....
........................................4 M
(c) Repeats the same steps as in (a) starting with the L foot. Holds the glass in left hand and moves it
sideward L and R alternately...............................4 M
(d) Repeats (b) starting with L foot. Transfers the glass on the right hand and places it on the crook of
the left elbow.............................................4 M

Boy's Part:

As the girl is doing the above steps, the boys simultaneously executes the following steps around the girl.
(a) Two waltz steps forward (R,L).....................2 M
(b) One waltz-turn right in place (two waltz step). Arms in lateral position moving sideward R and L
alternately.2 M
(c) Repeats (a) and (b) three times more going counter clockwise around the girl......................2 M

III
Music B.

Girl's Part:
She stands in place while doing the following hand movements:
(a) The girl takes the glass from her left elbow and holds it in palm of her right hand. Starting with the R
hand down in front, she turns her head counter clockwise, raising it slowly and gradually upward to
the top of the head. The glass is still in the palm of the hand.4 M
(b) She takes the glass from her head and turns the hand clockwise bringing it slowly and gradually
down to the starting position................................4 M
(c) Repeat (a).......................................4 M
(d) Places the glass of wine firmly on the head......4 M

Boy's Part:
(a) Boy's stands about six feet from the girl, in front of her, with his left shoulder towards the audience.
 (b) He taps with the R foot and at the same time claps hands on the second and third beats of every
measure......16 M

IV
Music A.

Girl's Part:
(a) With the glass of wine in her head, she executes a pivot turn with a point to the right and left
alternately four times. Takes four measures for every complete turn. R arm in fifth position L hand
holding the skirt when pivoting to the right. Reverses the hand position when turning to the left.
"Kumintang" the raised hand clockwise every measure...................................16 M

Boy's Part:

Repeat the steps in figure II...............16 M

V
Music A.

Girl's Part:
(a) Places the R foot in fifth position in front and bend the knees slightly. Holds the position for sixteen
measures. Bends the L forearm in front of chest, horizontally, and R forearm upward vertically. The
right elbow rest on the back of the L hand (palm down). "Kumintang" R hand clockwise (cts. 1, 2, 3).
Reverse the position of the hands and "kumintang" counterclockwise with the L hand.
(b) Repeat (a) once more.............................2 M
(c) Arms in lateral position (waist level) moving sideward from right to left alternately four times
"Kumintang" hands as above...................................4 M
(d) Repeats all (a, b, c)............................8 M

Boy's Part:
(a) Repeat the steps of figure 11, starting with L foot and turning clockwise. Finishes at the left side of
the girl............................................16 M

VI
Music B.

(a) Partners stand about eight feet apart facing each other. Take six sway balance steps with a point, R
and L alternately. Arms in fourth position, R and L arms high alternately................................12 M
(b) Starting with the R foot, take 4 waltz steps forward to exchange places. Pass by each other's right
shoulder. Arms in lateral position moving sideward R and L alternately......................................4 M
(c) Repeat all (a and b) finishing in proper places.16 M

VII
Music B.

Girl's Part:
Starting with R foot, execute waltz steps forward going in any direction. Hands holding the "tapis" (apron)or
skirt, wiggling it forward and backward in tym with the music...........................................14 M

Boy's Part:

Starting with R foot, executes two waltz steps and a waltz-turn (R or L) following the girl closely. Turns
around her clockwise or counterclockwise.

In doing the waltz-turn he swoops down like a hawk near the girl. Swing the arm (L or R) downward-
upward. Arms are in lateral position moving sideward R and L (or L and R) when doing the waltz
step...........................14 M
Saludo:
The girl takes the glass from her head. Partners stand side by side with the girl at the right side. Join inside
hands and girl turns counter clockwise under the arch of their joined hands (cts. 1, 2, 3). Both bow to the
audience (cts. 1, 2, 3)..........................2 M

PICTURE
 Folk Dance in Region 4A
MAGLALATIK
HISTORY
The Maglalatik is an indigenous dance from the Philippines in which coconut shell halves that are secured
onto the dancers' hands and on vests upon which are hung four or six more coconut shell halves. The
dancers - all male - perform the dance by hitting one coconut shell with the other - sometimes the ones on
the hands, sometimes, the ones on the body, and sometimes the shells worn by another performer, all in
time to a fast drumbeat.

Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros
and the Christians over the prized latik or coconut meat during the Spanish rule, this dance is also shown to
pay tribute to the town’s patron saint, San Isidro Labrador. It has a four-part performance such as the
palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation.
Moro dancers wear read trousers while the Christian dancers show up in blue. All dancers are male; with
harnesses of coconut shells attached on their chests, backs, thighs and hips.

Like many native Filipino dances, it is intended to impress the viewer with the great skill of the dancer, and
in some Filipino Martial Arts (FMA) circles, it has been noted that the manlalatik "consists of a trapping and
boxing method hidden in a dance." The name of the dance comes from the Filipino word "Latik", which
means "fried coconut milk curd", a coconut product that is used in Filipino cooking, particularly in snacks.

During the Spanish regime, the present barrios of Loma and Zapote of Biñan, Laguna, were separated.
With coconut shells as implements the people of these two barrios danced the Maglalatik, or Magbabao, a
war dance depicting a fight between the Moros and the Christians over the latik (residue left after the
coconut milk has been boiled).

The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter between the
two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the reconciliation between the
two groups. According to the legend the Moros came out victorious, thus getting the coveted latik. The
Christians, not contented with the result of the war, sent an envoy to the Moros to offer peace and to
baptize them.

The best Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of Biñan, the
Maglalatik dancers go from house to house performing this dance for money or a gift. In the evening they
dance Maglalatik in the religious procession as it moves along the streets. They perform the dance as an
offering to the patron saint of the farmers, San Isidro de Labrador.

Ang Maglalatik ay ang digmang sayaw na katutubo sa Binan at Laguna. Gumagamit ng bao ng niyog ang
mga nagsasayaw. Kanilang inilalagay ito sa likod, dibdib, balakang at hita. Pumapalo sila sa mga bao ng
niyog ayon sa tugtog ng Maglalatik.
COSTUME

STEPS
Here are the steps of maglalatik dance:

1. 6 8-counts jogging to get to place

2. 4 steps forward while pounding chest
3. 4 basic clap cycles in place
4. 4 basic clap cycles to get to two rows
5. 8 quick clap cycles to do the ripple effect
6. 8 quick clap cycles to circle around partner
7. circle up 2 8-counts + 1 4-count for first clap
8. clap after 1 8-count 3X Finishing clap
9. 8 high-low clap cycles to move to position
10. 8 cycles of 6 hit clapping
11. 16 counts for tricks with clapping in the background
12. 4 basic to get to two sides
13. 8 quick clap cycles for the battle
14. 4 quick clap cycles to get to end after last clap POSE
PICTURE
 Folk Dance in Region 4B
PANDANGGO SA ILAW

HISTORY
This popular dance of grace and balance comes from Lubang Island, Mindoro. The term pandanggo comes
from the Spanish word fandango, which is a dance characterized by lively steps and clapping that varies in
rhythm in 3/4 time. This particular pandanggo is one of the most difficult of pandanggo, which involves the
presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand. After a good
catch, fishermen of Lingayen would celebrate by drinking wine and by dancing, swinging and circling a
lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan dialect means "swinging." This unique
and colorful dance calls for skill in balancing an oil lamp on the head while circling in each hand a lighted
lamp wrapped in a porous cloth or fishnet. The waltz-style music is similar to that of Pandanggo sa Ilaw.
Ang sayaw na Pandanggo sa Ilaw ay katutubo sa Lubang at Mindoro. May tatlong tinggoy ang nagsasayaw
na babae. Maninimbang siya ng isang tinggoy sa ibabaw ng ulo at dalawang tinggoy sa mga kamay, pero
hindi humahawak ang daliri ng mananayaw. Para sayawin ang pandanggo sa ilaw ng mananayaw,
kailangan niya ng magandang bikas at mahusay na pinambang.

COSTUME

The girl is dressed in "balintawak", the boy in long red trousers and "barong tagalog".
STEPS
Music Introduction.

(a) Standing on the L foot, tap in front (ct. 1), pause (ct. 2), tap once more (ct. 3). Place left hand
on waist, R hand hanging loosely at the side..................1 M
(b) Repeat (a)..........................................1 M
(c) Three-step turn right in place and bow to the audience. Place both hands on
waist...........................1 M

Music A.

Partners face left.

(a) Take two waltz steps forward (R, L - 2 M.), one waltz turn right (2 M.). Arms in lateral position
moving sideward R and L with forearm turns.................1 M
(b) Repeat (a) three times more moving clockwise around the oil lamps.................................1 M
(c) Turn right about and repeat all (a and b) moving counterclockwise. The girl finishes with the
lamps in front of her, boy at left side............................1 M
II
Music B.

Girl's Part:
(a) Cross R foot in front of L and bend knee slightly (this position is held for thirty-two measures),
arms bent I T position at shoulder level. Move right (1 M.) and left elbows (1 M.) upward twice
on cts. 1, 2 of each measure.
(b) The wrists are relaxed so that the hands dangle at every movement..................................24 M
(c) Place a lamp on the back of the right hand..........8 M

Boy's Part:
(a) Repeat the movements of figure I going clockwise around the girl. Take the same arm
movement of the girl in figure II (a).............................................24 M
(b) Take lamp No. 1 and help the girl place it on the back of her right hand................................8 M

III
Music C.

Cross-waltz step: With a spring, step R (L) forward across L (R) in front, raising the L (R) in rear at the
same time (ct. 1), step L (R) in rear of R (L) (ct. 2), step R (L) in the same place (in front) (ct. 3).
(a) Starting with the R foot, take sixteen cross-waltz steps around the lamps clockwise. Boy's
hands on waist, girl's free hand holding the skirt........................16 M
(b) Turn right about and repeat (a) moving counterclockwise. Finish in proper places facing the
audience........16 M
IV
Music A.
 (a) Starting with the R foot, execute waltz steps (tiny steps) backward. The girl bends left arm
upward and flutters the fingers in time to the music. Boy's hands on waist, girl's free hand
holding the skirt..................8 M
(b) Repeat (a) moving forward to original places........8 M
(c) Boy gets lamp No. 2. Partners repeat (a). Free hand boy on the waist...................................8 M
(d) Take four waltz steps forward (4 M.). Boy puts the lamp on the head of the girl who stands still
(4 M.).....8 M

V
Music B.

(a) Take one waltz step sideward R and L (2 M.), waltz-turn right (2 M.). Arms of boy and L arm of
girl in lateral position at shoulder-level moving sideward R and L alternately, or L hand of girl
holding the skirt....4 M
(b) Repeat (a) three times more moving around the lamp clockwise..........................................12 M
(c) The boy gets the third lamp and places it on the back of the left hand of the girl. The girl stands
still while the boy is placing the lamp on her hand.............8 M
(d) Girl's Part:
(1) Step R across L in front and bend right knee slightly. Raise L foot inrear at the same time (cts.
1, 2), step L in rear or R foot (ct. 3) Step R foot sideward (cts. 1, 2, 3). Hold lamps in front or
obliquely forward at shoulder-level...............................................2 M
(2) Repeat (1) three time more (L, R, L)................6 M

Boy's Part
(1) Continue waltzing around the girl counter clockwise.8 M

VI
Music C. Play once.

Girl's Part:

Stand with feet in third position, R foot in front, knees relaxed. Do the following hand movements, hands
first at shoulder level in front:

(a) Raise R hand and lower L hand slowly (cts. 1-6).....2 M

(b) Reverse the movements of the hands..................2 M
(c) Cross the hands in front, R over the L hand.........2 M
(d) Back to the starting position.......................2 M
(e) Repeat (a) and (b)..................................4 M
(f) Lower both hands and bend the knees slightly........2 M
(g) Raise both hands and straighten the knees...........2 M

Boy's Part
(a) Repeat figure I, going clockwise around the girl...16 M

VII
Music C. Play once.
 (a) Partners execute eight sway balance steps with a point, R and L, moving counter clockwise
little by little, arms in third position, R and L high alternately........16 M

VIII
Music C. Play once.

The boy takes the two lamps from the hands of the girl (one in each hand) leaving one on her head.

(a) Partners repeat the steps of figure I, going in any direction with the boy following the
girl..........14 M
(b) Three-step turn right in place and bow to the audience.2 M

Boy's Arm Movement

(a) The boy moves the lamps one up and the other down (2 M), crosses the hands in front, R over
L (2 M), L over R (2 M), circling R hand clockwise and L counter clockwise (2 M).8 M
(b) Repeats a up to 6 measures..........................6 M
(c) Hands at the sides while bowing.....................2 M

Girl's Arm Movements

(a) Repeat the arm movements of Figure I for 14 measures.14 M
(b) Takes the glass from her head with the R hand opens the hand sideward while
bowing..........................2 M
(c)
PICTURES
Pantomina

HISTORY
Pantomina (Spanish for pantomime) was originally a wedding dance from the towns of Bicol's Estandarte
and Sorsogon subregions. This dance is tradionally performed during wedding festivities by the couple and
their visitors. The dance is still popular in the Bicol Region even up to this time.

The pantomina is very popular in the northern part of Samar especially in towns of Allen and Capul - both
directly facing Bicolandia. Traditionally, musicians accompanying the dancers pause from playing the
pantomina music to allow the dancers to wipe their perspiration. The wiping of perspiration has become a
little flirty, with the male dancer--as expected--offering his own handkerchief for the woman to wipe herself.
The delighted audience would, as expected, tease the couple (especially if the two are young and
unmarried) as doing a "love pantomime" and the musicians would immediately resume playing the music.
After the love pantomine has waned, the focus of the pantomina returns to the dance itself.

Pantomina was among the first folk dances to have its dance steps notated. The pantomina was featured in
Francisca Reyes Aquino's first-ever folk dance book, Philippine Folk Dances and Games, published in
February 1926. The dance, according to Aquino, was also called Salampati during the Spanish occupation.

COSTUME
PICTURES
 Region 6
LANCEROS DE NEGROS
HISTORY

Lanceros de Negros was one of the most popular quadrille dances in the Philippines During the Spanish
times. It is likely Regodon, which is used to open a big ball in significant social gatherings. It is a very
colorful and lively dance.

Lanceros de Negros (pronounced: lahn-SEH-rohs-deh-NEHG-rohs) is a dance of Maria Clara. During the

Spanish era, it was one of the most popular dances in the Philippines. It is similar to the Rigodon de Honor
dance which is played in important societies or gatherings, particularly at the opening of the halls. A version
of this dance is located in Negros Occidental, which is danced with elaborate formation. It comes from
Silay, Negros Occidental.

COSTUME

Girls - Maria Clara

Boys - Barong Tagalog
PICTURES
 Region 7
KURATSA
The Kuratsa is highly favored by the Visayan people especially the Waray people of the Eastern Visayan
region in the Philippines. Strictly speaking, The Kuratsa must be done the amenudo-way; that is, only one
couple dances 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 to the
Mexican counterpart. Even the "basic" Kuratsa music is not based on Mexican or even Spanish melodies
but just bolero-inspired lilting music. A very interesting dance caught up the eyes of the beholder.
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?) according to a 17th century Samarnon dictionary by Jesuit missionary to Samar, Fr.
Alcazar. It is interesting that banug is the Waray word for the 'hawk'.

HISTORY
The Kuratsa is 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.
COSTUME

Girl wears patadyong with camisa or kimona, with a soft panuelo; white or any colored trousers and barong
tagalog or camisa de chino for the boy.

STEPS

Music Introduction.

Partners face each other.

Three-step turn right in place. Girl hold skirt, Boy's hands on waist, (cts. 1, 2, 3). Point L foot in
front, R arm in reverse "T" position, L hand on waist (cts. 1, 2, 3). Pause (2 M).........................................4 M
I
Music A.
Partners face each other.

(a) Point R foot in front, (cts. 1, 2), step R foot close to L foot (ct. 3), R arm in reverse "T" position,
L hand on waist..................................1 M
(b) Repeat (a) with L foot, reverse position of arms.1 M
(c) Quarter turn left, with the R foot leading take two chasing steps sideward right to partner's
place arms as in (a) (cts. 1, and, 2, and), step R foot sideward (ct. 3), cross L in front of R foot
(ct. 1) and turn right, salok the L arm in R arm in fifth position (cts. 2, 3) finish the turn facing
each other........2 M
(d) Repeat (a-c) starting with the L foot, reverse position of arms and turn in (c)........................4 M
 Partners face left.
(e) Repeat (a) and (b).............................2 M
(f) Repeat (c) moving obliquely sideward right. Finish the turn facing right..........................2 M
(g) (g) Repeat (d) finishing in proper places..........4 M

II
Music B.

Partners face each other. They do their movements simultaneously.

Girl
(a) Two sway balance steps with a brush (R, L), moving counterclockwise. Arms in fourth position
R and L arm high (4 M). Waltz turn right, arms in lateral position moving sideward right and left,
with a forearm turn (2 M). Finish in partner's place...............6 M
(b) Repeat figure I (c). Finish in proper places...2 M
(c) Repeat all (a-c)...............................8 M

Boy
(a) Two sway balance steps with a hop (R, L). Arms in fourth position R and L arm high............4 M
(b) Waltz turn right. Arms in lateral position moving sideward right and left, with a forearm turn R
and L..............................................2 M
(c) Waltz forward R toward Girl, opening arms as if pleading (cts. 1, 2, 3), waltz backward L,
closing arms to chest (cts. 1, 2, 3)...................2 M
(d) Two sway balance steps with a brush (R, L).....4 M
(e) Waltz forward R, waltz backward L, arms as in (c).2 M
(f) Repeat figure I (c)............................2 M

III
Music A.

Partners face the audience.

(a) Repeat figure I (a-c) starting with the inside foot finish in partner's place.....................4 M
(b) Repeat (a) finishing in proper places.........4 M
(c) Partners face each other. Repeat figure I (a-d).8 M

IV
Music B.
Partners face each other.

(a) Sway balance with a hop (R, L) arms in fourth position R and L arm high..............................4 M
(b) Two waltz turn right to partner's place, arms in lateral position with forearm turn (2 waltz steps
for every turn). Pass each other by L shoulders................4 M
(c) With the girl leading, partners take two waltz steps forward and waltz turn to any direction
arms as in (b)...........................................4 M
(d) Two waltz steps forward to meet at center (2 M), join inside hands, girl executes a waltz turn
inward under arched hands and both bow to audience (2 M)...4 M
PICTURE
 Region 8
TINIKLING
HISTORY
Tinikling is a traditional Philippine folk dance which originated during the Spanish colonial era.[1] The dance
involves two people beating, tapping, and sliding bamboo poles on the ground and against each other in
coordination with one or more dancers who step over and in between the poles in a dance. It is traditionally
danced to rondalla music, a sort of serenade played by an ensemble of stringed instruments which
originated in Spain during the Middle Ages.

The name "tinikling" is a reference to birds locally known as tikling, which can be any of a number of rail
species, but more specifically refers to the Slaty-breasted Rail (Gallirallus striatus), the Buff-banded Rail
(Gallirallus philippensis), and the Barred Rail (Gallirallus torquatus).[2] The term tinikling literally means "to
perform it 'tikling-like."

The dance originated in Leyte, an island in the Visayas in the central Philippines. It imitates the movement
of the tikling birds as they walk between grass stems, run over tree branches, or dodge bamboo traps set
by rice farmers. Dancers imitate the tikling bird's legendary grace and speed by skillfully maneuvering
between large bamboo poles.

Today tinikling is taught throughout the United States. In grades K-12 the dance is used as an aerobic
exercise for physical education classes, to help expand physical movements such as hand coordination,
foot speed, and also rhythm. Tinikling is commonly performed at schools and on special occasions, such as
the Filipino Independence Day, as a celebration of Filipino culture and Filipino pride.[5]

Two or four parallel pairs of bamboo poles, each around 6 to 12 ft (1.8 to 3.7 m) long, are held by two or
more sitting or kneeling people ("clappers" or "clickers"). The poles are used as percussive instruments
accompanying rondalla music played with string instruments (usually bandurrias, guitars, laúdes, octavinas,
or ukuleles). They produce clapping sounds as they are struck against the ground (or two raised pieces of
wood) and each other in a triple metre pattern. Traditionally, the poles are tapped twice on the ground on
the first two beats, then brought together on the third beat.

Two or more dancers then weave through the rapidly moving bamboo poles with bare feet and ankles. The
dancers have to carefully follow the rhythm so as not to get their ankles caught between the poles as they
snap closed. They start the dance with their hands at their hips or clasped behind their backs. The tempo of
the bamboo poles becomes faster as the dance progresses, forcing the dancers closer together as their
movements become more frantic. The dancers hold hands at the last part of the dance, when the tempo is
the fastest. They end the dance by letting go of each other's hands and stepping out entirely of the moving
bamboo poles.

For the dance, females traditionally wear a dress called balintawak or patadyong, and males wear an
untucked embroidered shirt called the barong Tagalog. The balintawak are colorful dresses with wide
arched sleeves and the patadyong is a pineapple fiber blouse paired with checkered skirts. The barong
Tagalog is usually light long sleeved shirts and worn with red trousers. Dancers wear no footwear while
performing.

Modern variants of the dance can include innovations like increasing the number or arrangement of the
poles (including switching poles mid-dance), changing the number of dancers, or using different music and
choreography.

COSTUME

STEP
All the dance steps are combination of only three basic 4/4 tinikling steps. These steps are called Singles,
Doubles, and Hops.
Four people should be two boys and two girls. The first couple performs the dance and the other couple
operate the bamboo poles by hitting them together and also tapping them on the floor in rhythm to the
music. When the first couple dancing makes an error in their dance steps, the other couple takes their turn
and this is where the fun starts especially when the dance speed gets faster and faster. Further, tinikling is
very similar to jump rope, but instead of a spinning rope, two bamboo poles are used.
WARNING: Ensure that very flexible poles are used. Use hollow bamboo, not rattan, which is similar
looking, but solid.
1. Singles: When the poles are on the dancers right side (right foot lead) the foot work of two
Singles steps would be as follows:

Count 1 - Hop on left foot outside poles

Count 2 - Hop again on left foot outside poles
Count 3 - Step on right foot between poles
Count 4 - Step on left foot between poles
Count 1 - Hop right foot outside poles
Count 2 - Hop again on right foot outside poles
Count 3 - Step on left foot between poles
Count 4 - Step on right foot between poles

2. Doubles: The foot work for two Doubles Steps (with right side next to poles) would be:

Count 1 - Hop on both feet outside poles

Count 2 - Hop again on both feet outside poles
Count 3 - Hop on both feet between poles
Count 4 - Hop again on both feet between poles
Count 1 - Hop on both feet outside (straddling) poles
Count 2 - Hop again on both feet outside poles
Count 3 - Hop on both feet between poles
Count 4 - Hop again on both feet between poles

3. Hops: The footwork for two Hops steps (right foot lead) would be as follows:

Count 1 - Hop on left outside poles

Count 2 - Hop again on left foot outside poles
Count 3 - Hop on right foot between poles
Count 4 - Hop again on right foot between poles
Count 1 - Hop on left foot outside poles
Count 2 - Hop again on left foot outside poles
Count 3 - Hop on right foot between poles
Count 4 - Hop on right foot between poles
PICTURES
 Region 9
PANGALAY
HISTORY
Pangalay (also known as Daling-Daling or Mengalai in Sabah) is the traditional "fingernail" dance of the
Tausūg people of the Sulu Archipelago and Sabah. The dance also means offering from its Sanskrit origin
pang-alay. Mangalay, which also means dance, is very similar to classical Balinese and Thai dances.

The dance is the most distinctively Asian of all the southern Philippine dances because dancers must have
dexterity and flexibility of the shoulders, elbows, and wrists – movements that strongly resemble those of
"kontaw silat". The Malaysian art of Buah Pukul is classified as silat despite its Yunnan origin, kuntao is
"way of the fist", from kun 拳 meaning fist and tao 道 meaning way. This term was originally used for
Chinese martial arts in general. The Pangalay is predominantly performed during weddings or other festive
events.The male equivalent of the Pangalay is the Pangasik and features more martial movements, while a
pangalay that features both a male and female dancer is called Pangiluk.

The original concept of the Pangalay is based on the pre-Islamic and Buddhist concept of male and female
celestial angels (Sanskrit: Vidhyadhari, Tausug: Biddadari) common as characters in other Southeast Asian
dances.

Neighboring Samal and Bajau peoples call this type of dance, Umaral or Igal, and they sometimes use
bamboo castanets as substitutes for long fingernails.

Pangalay also means “temple of dance” in Sanskrit. Pangalay antedates Christianity and Islam in the
Philippines. Among Philippine indigenous dances, the pangalay dance style has the richest movement
vocabulary. It is the closest to a classical form.

Pangalay is a living link to the traditional dance cultures of Asia with closest affinity to the Indian, Javanese,
Thai, Burmese and Cambodian styles of classical dancing.

A living artifact such as the pangalay must be danced constantly, or else it dies. The beauty of the pangalay
dance style is that it can be danced to any type of music, Asian as well as Western. The pangalay can be
danced by anyone and everyone in the community, regardless of age or status. It can be danced in any
space, be it on a boat, on a house-porch or on the beach.

Pangalay is basically pure dancing. A sense of anti-linear time pervades the slow, refined, meditative,
elegant and almost hypnotic movements. The continuously flowing or seamless unfolding movement from a
central core is consistent with the pre-modern mode and Eastern sense of multi-level or anti-linear time that
has no definite beginning or ending. This is opposed to the Western concept of time or the metempsychosic
scale.

The dancer’s serious face with downcast eyes creates a mask-like expression, matched by a countenance
generally refined, dignified but without stiffness.
The dancer’s torso is slightly bent forward, a stance seen in Asian dance forms, Unnecessary hip and torso
movement is tabbo. The knees are slightly bent or flexed. Male dancers also splay the knees. Performers
achieve the illusion of lightness by the very subtle springing motion from the knees.

Feeling is conveyed chiefly through the arms and hands. Fingers are customarily held stiffly together and
curled back towards the dancer’s wrists with controlled energy, thumbs apart and thrust forward. Fingers
may flick, flip or flutter. The janggay or metal claws amplify eloquent hand movements.

Shifting arm positions to assume new postures or gestures is accomplished by turning the hands from the
wrists with one outward-inward movement, two outward-inward motions or inward-inward motions.

Postures and gestures suggest emotional metaphors and symbols that offer a broad range of expression.
For instance: outstretched palms and arms can stand for salutation, welcome or joy; or, as a symbol of
things in nature such as a palm leaf, flowers, sea waves, the wind, sea weeds, a bird and a flutter of wings.

Crossed arms and hands at chest or face level signal a protective or playful impulse. Overhead hand
positions display triumph, extreme happiness, jubilation or sudden increase in status.

Sculpture-like poses, cross-legged and kneeling stances, coupled with flowing gestures with the arms
extended farthest away from the body convey a sense of infinite distance and timelessness.

COSTUME
STEPS
Movements/Steps Particular to Dance: There are no definite directions, sequence of figures, number and
kinds of steps, hand movements and positions used when performed by the natives. For teaching purposes
the figures of this dance may be created and dancers may form their own combinations.

PICTURES
 Region 10
SINGKIL

History

The Maranao dance called Singkil is in the repertory of all Filipino dance troupes. There are many
interpretations of this dance. In 1958 the Bayanihan Dance troupe started with a simple version and has
since developed it into a theatrical and stylized spectacle to the point of its becoming the troupe's signature
piece.

According to Maranao legend, the Singkil derives its name from the feat of a certain Princess Gandingan.
While she was walking in the forest, diwatas (fairies) caused the earth to quake and shake the trees and
rocks; Princess Gandingan, however, skipped nimbly from one place to another so that her feet did not
touch the fallen trees and rocks. Originally, in Singkil (Maranao word for "getting a leg or foot entangled in
an object") a solo female performer danced in and out of crisscrossed bamboo poles, keeping time to the
syncopation of the poles, at the same time manipulating two fans (apir). The dance had no music other
than the beating of the poles and had a moderate and static rhythm. In today's versions of the dance a
retinue follows the star performer skillfully skip in and out of crisscrossing bamboo poles that are
rhythmically clapped to the beat of an ensemble of kotiyapi (bamboo guitar), insi (bamboo flute), kobing
(harp), and tintikan (metal sticks).

(Maranao, Mindanao) Coming from the Lake Lanao region, the Singkil is a popular dance performed during
celebrations and other festive entertainment. Performed as a female only dance, the Singkil serves as
either a conscious or unconscious advertisement to would-be suitors for her future marriage. The ladies
graciously step in and out of clashing bamboos poles arranged in either a parallel, rectangular, or criss-
cross fashion while manipulating either apir (fans), mosala(scarves), or even just their bare hands. Singkil
means to entangle the feet with disturbing objects such as vines or anything in your path. It takes its name
from the epic tale that the Maranaw people trace the origin of their culture.

Singkil is originally originated from the Maranaw of Lake Lanao (Ranaw). It is derived in a story from the
Darangen epic of the Maranaw. As with many other Southeast Asian and South Asian bamboo dances, the
dance now popularly known as Singkil has its roots as a communal dance in which women show their
grace in manipulating a fan or at times a scarf and precision skills of interweaving into the clapping
bamboos. While the woman dances, an ensemble of kulintang musicians play for the dance. While the
dance is often referred to as a Muslim dance, it is, however, a secular dance performed by the Ummah
communities of the Maranao and Magindanao. Performed at celebrations and festivals, traditionally the
dance was performed by a girl of royal blood intent on advertising herself to would-be-suitors for her future
marriage. Traditionally, Singkil was performed by only women, inclusive of the clappers and the individual
in the role of Putri Gandingan. Initially, the dance was perform with just one pair-set of bamboos. Then, it
grew to two criss-crossing pair-sets of bamboos.
COSTUME

COSTUME. Dancers are dressed in typical Maranaw costume. The girl holds an open fan in each hand and
the boy holds a brightly colored piece of cloth or handkerchief in each hand by a corner s that he can easily
wave it or snap it back and forth.

STEPS
I.
SINGKIL STEP

Bamboo Rhythm I

Partners face each other. Girl in area A and Boy in area C.

(a) Do singkil step, starting with R foot (I M), repeat with L foot (1 M)...............................2 M
(b) Repeat (a), seven more times. Finish in proper places.........................................14 M

Hand movements:

Girl
L hand down at side, R arm bent upward at shoulder level doing a horizontal figure of eight (8 )
in this manner: loop inward (ct. 1), loop outward (ct. 2), bring fan inward with a half loop only (ct. 3), bring
fan close to chest in vertical position, knuckles of R hand in front of waist (ct. 4). Repeat and L alternately
for sixteen measures.
Boy
L hand down at side. R arm bent upward R hand at shoulder level doing a horizontal figure of
eight ( ) in this manner: loop inward (ct. 1), inward ( ct. 2), outward (ct.3) flip kerchief over R shoulder
(ct. 4). Repeat same with L hand, R hand down at side (cts. 1, 2, 3, 4). Do this hand movement, R and L
alternately for sixteen measures.

II
SINGKIL STEP AND TURNING ABOUT

Bamboo Rhythm I,

Same position as in figure I.

(a) Step R foot inside between bamboo poles (ct. 1), step L close to R foot (ct. 2), turn right and at
the same time step R outside the right bamboo pole (ct. 3), step L close to R foot (ct. 4)...1 M

(b) Repeat (a) fifteen more times, turning about outside left and right bamboo poles alternately...15 M

Hand movements:

Girl
Arms sideward at shoulder level, both hands doing a
horizontal figure of eight, looping toward front (ct. 1),
toward rear (ct. 2), repeat (cts. 3, 4). Do this movement
for sixteen measures.

Boy
Hold kerchiefs in front at chest level. Open hands
sideward (ct. 1), cross hands in front of chest with R over L
hand (ct. 2), open hands again (ct. 3), flip kerchiefs upward
(ct. 4) perform this movement for sixteen measures.

III
COUNTERCLOCKWISE AND CLOCKWISE

Bamboo Rhythm I.
Same position as in figure I.
(a) Step R foot inside between poles (ct. 1), step L
close to R foot (ct. 2), face counterclockwise
toward the next area and step R foot outside on
area B for Girl and on area D for B (ct. 3), step
L close to R foot or nearer next bamboo poles
(ct. 4)........................................1 M

(b) Face in so that partners face each other gain. Repeat

 cts. 1, 2 movements in (a), Girl in area 3 and Boy
in area 1 (cts. 1, 2), move counterclockwise again
and repeat cts.3, 4 movements as in (a), Girl in
area C and Boy in area A.......................1 M

(c) Partners repeat (a), Girl steps to areas 4 and D

while Boy steps to areas 3 and C (1 M). Do not put
weight on L foot on ct. 4 of fourth measure....2 M

(d) Repeat all (a-c). reverse position moving clockwise

and starting with L foot. Do not put weight on R foot
on ct. 4 of the eight measure..................4 M
Hands movements:

Girl
Arms in lateral position sideward right, make a continuous
figure of eight as in figure II (cts. 1, 2, 3, 4). Do this movement
for eight measures, arms in lateral position, right and left side
alternately.

Boy
Hold hands in front at chest level. Flip R kerchief
upward and flip L kerchief downward (cts. 1, 2), reverse position
of hands (cts. 3, 4). Do this movement for eight measures,
reversing position of hands every two counts.

IV
RIGHT FOOT ACROSS IN REAR IN FRONT

Bamboo Rhythm I.
Same position as in figure I.
(a) Step R foot inside between bamboo poles (ct. 1),
step L close to R (ct. 2), step R foot outside
of right bamboo poles (ct. 3), step L close to
R foot (ct. 4).................................1 M

(b) Step R foot inside between bamboo poles across L

foot in rear (ct. 1), step L close to R foot (ct. 2),
step R foot outside of left bamboo pole across L in
front (ct. 3), step L close to R foot (ct. 4)..1 M

(c) Repeat (a) and (b), seven more times..........14 M

Hand movements:

Girl
Raise R hand obliquely right upward put L hand obliquely
left downward. In this position make a continuous figure of eight
with both hands (cts. 1, 2, 3, 4). Reverse position of arms at
every four counts. Perform this movement for sixteen measures.

Boy
Hold kerchief in front at chest level. Open hands sideward
(ct. 1), cross hands in front of chest with R over L hand (ct. 2),
open hands again (ct. 3), flip kerchiefs upward (ct. 4). Perform
this movement for sixteen measures.

V
BOY - DIAGONALLY AND OUT
GIRL - COUNTERCLOCKWISE AND CLOCKWISE

Bamboo Rhythm I
Same position as in figure I. Partners perform their
movements simultaneously.

Girl
Face counterclockwise with L shoulder toward center.
(a) Step R foot in perpendicular position in area 2 inside
between bamboo poles (ct. 1), step L close to R foot
(ct. 2), step R foot forward in area B (ct. 3) step L
forward going near area 3 (ct. 4). Repeat same movements
three more times moving counterclockwise to area 3 and
C (1 M), to areas 1 and A (1 M)..................4 M

(b) Turn right about. Repeat (a), moving clockwise. Retrace

steps............................................4 M

Boy
(a) Starting place, area C. Step R foot diagonally forward
to area 5 (ct. 1), step L close to R foot (ct. 2), face
area B and step R diagonally backward to area D (ct. 3),
step L close to R foot (ct. 4). Repeat same movements
counterclockwise; diagonally forward to area 5, diagonally
backward to area A (1 M); diagonally forward to area 5 and
diagonally backward to area B (1 M); diagonally forward
to area 5, diagonally backward to area C (1 M)...4 M

(b) Repeat (a) reverse direction moving clockwise. Retrace

steps............................................4 M
Hand movements:

Girl
R arm sideward at shoulder level, making a continuous figure
of eight; L hand on waist, knuckles in, fan pointing outward (cts.
1, 2, 3, 4). Do this movement for eight measures, R and L arm sideward
alternately.

Boy
Hands in front at chest level.

Flip R kerchief upward and L kerchief downward (ct. 1),

reverse the direction of flip (ct. 2) repeat same two more times
(cts. 3, 4). Flip kerchiefs inward (ct. 1), flip outward (ct. 2)
repeat same (cts. 3, 4). Perform these movements alternately for
eight measures.

INTERLUDE

Bamboo Rhythm I.
Partners stay in their proper places facing audience.
Perform any of the hand movements or dancers may improvise
their own hand movements. Girl goes to area B at the eight
measure....................................................8 M

VI
CROSSING AT CENTER

Bamboo Rhythm II.

Partners perform their movements alternately.

Boy starts at area C, Girl starts at area B, both

facing center.
(a) Boy - Step R foot diagonally forward to area 5
(ct. 1), step L close to R (ct. 2), step R
diagonally forward to area A (ct. 3), step L
close to R foot (ct. 4). Turn right about after
ct. 4..........................................M 1

(b) Girl - from area B, step R foot diagonally forward

to area 5 (ct. 1), step L close to R (ct. 2), step
R diagonally forward to area D (ct. 3), step L close
R foot (ct. 4). Turn right about after ct. 4...M 2

(c) Boy - Repeat (a), stepping into proper place, passing

area 5 to area C. Turn right about after ct. 4.M 3

(d) Girl - Repeat (b), stepping into proper place, passing

area 5 to area C. Turn right about after ct. 4.M 4
 (e) Boy- Repeat (a)................................M 5

(f) Girl - Repeat (b)..............................M 6

(g) Boy - Repeat (c), transfer to D after ct. 4....M 7

(h) Girl - Repeat (d), transfer to A after ct. 4...M 8

(i) Boy - Repeat (a) stepping into area 5 and area B.

Turn right about after ct.4....................M 9

(j) Girl - Repeat (b) stepping into area b and area C.

Turn right about after ct.4...................M 10

(k) Boy - Repeat (a) stepping into area 5 and area D.

Turn right about after ct.4...................M 11

(l) Girl - Repeat (b) stepping into proper places,

passing area 5 to area A. Turn right about after
ct. 4.........................................M 12

(m) Boy - Repeat (i)..............................M 13

(n) Girl - Repeat (j).............................M 14

(o) Boy - Repeat (k)..............................M 15

(p) Girl - Repeat (l).............................M 16

Hand movements:

Girl
Repeat hand movement as in figure I, but placing R and
L alternately on waist with knuckles in on ct. 4 of every measure.
Perform this hand movement for sixteen measures.

Boy
Repeat hand movement as in figure I, placing R and L
alternately on waist with knuckles in on ct. 4 of every measure.
Perform this hand movement for sixteen measures.

VII
TURINING BETWEEN BAMBOO POLES

Bamboo rhythm II.

Same position as in figure I.
 (a) Step R foot inside between bamboo poles at the
same time making a half-turn right (ct. 1), step L
close to R and at the same time making a half-turn
right again (ct. 2), step R foot outside of right
bamboo pole (ct. 3), tap L close to R foot (ct. 4)..1 M

(b) Repeat (a), starting with L foot and making the

half-turns to left..............................1 M

(c) Repeat (a) and (b), three more times............6 M

Hand movements:

Girl
Hold fans in front of chest in a vertical position, elbows
close to waist, forearms parallel with each other. Wave R fan outward
(ct. 1), wave L fan outward (ct. 2), wave both fans inward (ct. 3)
pause (ct. 4). Do these hand movements L and R alternately, every
four counts for eight measures.

Boy
Hold hands in front of chest, elbows close to waist. Flip
R kerchief upward (ct. 1), flip L kerchief upward (ct. 2), flip both
kerchiefs downward (ct. 3), pause (ct. 4). Flip R kerchief downward
(ct. 1), flip L kerchief downward (ct. 2), flip both kerchiefs over
shoulders (ct. 3), pause (ct. 4). Do this hand movements alternately,
every four counts for eight measures.

FINALE

Bamboo Rhythm I in slow tempo and softly.

Both dancers assume a striking pose, facing audience or
each other.............................................2 or 4 M