Balatama was young but he was strong and brave, and when the arms of his father were given him to wear on the long journey his heart swelled with pride. More than once on the way, however, his courage was tried, and only the thought of his brave father gave him strength to proceed. Once he came to a wooden fence which surrounded a stone in the form of a man, and as it was directly in his path he drew his fighting knife to cut down the fence. Immediately the air became as black as night and stones rained down as large as houses.
Get Full Essay Get access to this section to get all help you need with your essay and educational issues. Get Access Classifications of Philippine Folk Dances Essay Sample 1 Maria Clara dances — named after a Spanish-style dress, and its performance includes Spanish footwork with Filipino modifications such as bamboo castanets and Asian fans.
Carinosa — is a flirtatious Philippine group dance in the Maria Clara suite of Philippine folk dances where the fan or handkerchief plays an instrumental roll as it places the couple in a hard-to-get romance scenario.
Alcamfor — The Alcamfor dance is classified under Maria Clara dances because of the attire of the dancers which are Maria Clara for the ladies and a barong Tagalog for the men. The dance originated from Leyte, a province in Visayan Region.
It is so named because of the handkerchief the girl holds laced with camphor oil, a substance which suposedly induces romance.
Havanera de Jovencita — A wedding party dance which originated in the town of Botolan in the Zambales Province. Rigodon Royale — This elegant dance was brought to the Philippines by the Filipinos who returned from their travels abroad during the Spanish era.
Members of government, including the President and First Lady, diplomatic corps, and other state officials usually participate in the Rigodon. Traditionally, a ballroom waltz dance would follow the Rigodon.
This dance, from Camarines Sur, has been adapted by the Bicolano people and is characterized by a brush-step-hop movement. Panderetas — It was named after the jingle-less tambourines carried by the females and it originated from Tanza, Iloilo.
They prefer to be called by their respective tribal names rather than the collective term Igorot, which was first used by the Spaniards and later by Christian lowlanders. These tribes were generally unfazed by Spanish colonization.
This homogeneous group is recognized by their common socio-cultural traits. They hold common religious beliefs, generally nature-related, and make propitiatory offerings to anitos, or household gods.
Among these people of the Cordillera, dance continues to be an expression of community life that animates the various rituals and ceremonies.
It serves for self-edification of the performers and entertainment for the spectators. They dance to appease their ancestors and gods to cure ailments, to insure successful war-mating activities,or to ward off bad luck or natural calamities.
They dance to congregate and socialize, for general welfare and recreation, and as an outlet for repressed feeling. They also dance to insure bountiful harvests, favorable weather, and to mark milestones in the cycle of life. Apayao Courtship dance — It comes from the northernmost section of the Mountain provinces.
The couple raise and wave their arms and hands like the wings of a bird in flight, and the ceremonial blanket worn by the woman is lightly wrapped around her.
Bindian — The Ibaloy who inhabit the southernmost mountain regions in Northern Luzon perform victory dances to extol the bravery of the warriors of yesterday. The basic step consists of a stamp by the left foot and a light, forward movement by the right.
Instrumentalists lead the line, followed by male dancers, while the female dancers bring in the rear. Lumagen — This is a dance performed at Kalinga festivals to celebrate Thanksgiving. Dinuyya — A festival dance from Lagawe, it is performed by the Ifugao men and women during a major feast.
Accompanying the dance are three gangsa or gongs: Ragragsakan — It is an adaptation of a tradition in which Kalinga women gather and prepare for a budong, or peace pact. In this dance, Kalinga maidens balance labba baskets on thier heads, wave colorful tribal blankets, and sing short salidumay songs as they snake through the terrace dikes and skip through breaks in the path.
Tarektek — It originated from Benguet where woodpeckers known as tarektek inhabited Mt. These wild and colorful birds gave rise to the tarektek dance. Pattong — Known also as the Bontoc War Dance, Pattong is part of the headhunting and war ceremonials inciting feelings of strength and courage as the warriors prepare to stalk their enemy.
In Central Bontoc, the dance is also performed in February, March, and April, to implore the god Lumawig to send rain, similar in purpose to that of the rain-calling ceremony of Native American tribes. Much of the movements are improvised; two camps of warriors are usually featured pursuing each other, culminating in a melee where a fighter from one tribe kills one of his opponents.
Banga — This is from Kalinga.
The dance shows the Igorot maidens go to the river and prepare for a marriage ceremony.These four points interrelate, but let's start with the most important: the purposes of comparison. You can compare any two things—an apple and an aardvark, or a slug and a skyscraper.
It's easy. THE STORY OF BANTUGAN. Moro. Before the Spaniards occupied the island of Mindanao, there lived in the valley of the Rio Grande a very strong man, Bantugan, whose father was the brother of the earthquake and thunder.
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The Kingdom of Bumbaran were ruled by the old king. But the old king was full envy toward his younger brother, Prince Bantugan. Prince Bantugan was so handsome, good and brave.
Maranaw Epic (Good Prince Bantugan) 3. Identify the characters portrayed by the persons in the selection Topic Knowledge Process and Skills Understanding Total caninariojana.com MOTHER OF PERPETUAL SUCCOR ACADEMY Poblacion.
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