BANGA

STEPS:

Dancers walk in a small Bouncing steps with a banga on their head held by a dikin
while the right arm.
Dancers walk with straight bouncing movements as they turn around and move from
side to side Footwork always begin with the right foot. The arm movements are very
slight.
Take a step and turn right with the same arm position walk to the center to merge.
Stand straight face the audience and stretch arms sideward with palm facing front
and 5 Kneel on both feet as hands move downward to the lap Stand slowly making
one.
Stomp to the right with the ball of the foot and brush to the left while in place.
Dancers step and turn to form two lines Continue the movement as the dancers
present.
Repeat some of the arm movements and stomping movements before the dance
ends Dancers walk one after, the other. then exit.

Costume: Filipiniana Dress for women and Kamisa de Chino for me

Glossary: Igorot maidens go to the river and prepare for a marriage ceremony. They display not only
their grace and agility, but also their stamina and strength as they go about their daily task of fetching
water and balancing the banga, claypots full of water, on their heads.

PANDANGGO
Steps:

Touch Step - touch R; close R or touch R close R - 1 M

Step Point - step R ;point L or step R; point L - 1 M
Step Swing - step R ;swing L or step R ;swing L ; Step Hop - step R ;hop R - 1 M
Close Step - step R ; close L to R ;step R ; close L to R - 1 M
Slide Step - slide R ;close L to R or slideR ; close L to R - 1 M
Bleaking - place R heel ;close R to L or place R heel ; close R to L - 1 M
Waltz - step R ; close L to R ; step R again - 1 M
Three-step turn step R ; turn and step L ; turn and step R ; close L to R ; pause - 2 M

Costume: The girl is dressed in "balintawak", the boy in long red trousers and "barong tagalog".
Formation: Partners stand about six feet apart facing the audience. The three lighted oil lamps are
placed on the floor between them. The girl stand at partner's right. The oil lamps are of two size, the
one to be placed on the head being largeer than the two for the hands.

Glossary: This popular dance of grace and balance comes from Lubang Island, Mindoro in the Visayas
region. 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 involves the
presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand.

KURATSA
Steps:

Dosido
Starting with R foot, take four steps forward to be in line with each other at center by L
shoulders, arms swinging naturally at sides
Transfer weight to R foot in rear (ct. 2), transfer weight to L foot in front (ct. 3). R arm
overhead, L hand on waist on cts, 2, 3 when transferring weight
Tarting with R foot, take four steps forward to partner's place (cts. 1, 2, 3, 1), two-step turn
right about to face partner (cts. 2, 3). Girl holds patadyong, Boy places hands on waist.
Repeat (3) and (4), partners stand by R shoulders at center. Same arm positions. Finish in
proper places
Waltz sideward, R and L alternately, four times. Start with forearm turn R to reverse "T"
position and I, hand on waist. Reverse position of arms at every measure.
Take one waltz turn right going toward partner's place, passing by L shoulders (using two waltz
steps) (2 M) and one waltz step forward to partner's place and finish with back toward partner
(1 M). Hands as in fa) for 3 M. Execute a cross turn right about to face each other( L foot across
the R when turning) salok with L hand, R arm overhead
Repeat (a) and (b). Finish in proper places
Repeat all (6-8)
Starting with R foot, take eight waltz steps forward moving clockwise. Arms as in Figure II
Turn right about. Repeat (a) moving counterclockwise. Finish facing each other.
Partners face each other and do their movements simultaneously.

Costume: Girl wears patadyong, camisa with stiff sleeves or kimona, and a soft kerchief over one
shoulder. Boy wears barong tagalog and trousers of any color.

Formation: Partners stand opposite each other about six feet apart, Girl standing at partner's right
side when facing audience.

Glossary: A dance originating from Bohol, Visayas, it is popular at Ilokano and Visayan festivals. This
dance commands a sense of improvisation which mimics a young playful couple's attempt to get each
other's attention. It is performed in a moderate waltz style.

ITIK ITIK
Steps:

stepping out with the heel of one foot while taking two small steps toward the starting foot
The dancer must push out her hips opposite from her starting point on count 1 and bring it
back to center for counts 2 and 3.
The arms are extended with one arm above shoulder level and the other below shoulder level.
The arms flap to shoulder level ticking on every count.
There is an obvious tilt in the head towards one shoulder on count 1.
The dancer can also sway a waltz step while extending her arms from side to side with
fluttering fingers.

Costume: Girls wear patadyong or balintawak style costume and Boy wear barong tagalog or camisa
de chino and white trousers

Formation : If performed s a ballroom dance, couples are scattered around the room. For
demonstration, partner stand about six feet apart, Girl at right side of partner when facing audience or
front. One to any number of pairs may take part in this dance.

Glossary : At one baptismal party in the Surigao del Norte province, a young lady named Kanang
(the nickname for Cayetana), considered the best dancer and singer of her time, was asked to dance
the Sibay. She became so enthusiastic and spirited during the performance that she began to

improvise movements and steps similar to the movements of itik, the duck, as it walks with short,
choppy steps and splashes water on its back while calling to its mate. The people liked the dance so
much that they all imitated her. There are six separate foot sequences in the series of Itik-Itik steps.

SINGKIL
Steps :

Step R foot inside between bamboo poles (ct. 1), step L foot close to R (ct. 2), step R foot
outside the right bamboo poles (ct. 3), tap L close to R foot (ct. 4)
Step L foot inside between bamboo poles (ct. 1), step R foot close to L (ct. 2), step L foot
outside the left bamboo pole (ct. 3), tap R close to L foot (ct. 4)
Strike bamboos that are under against the board a foot or a little bit more apart (ct. 1), repeat
same two more times (cts. 2, 3), immediately raise the bamboos a few inches high and strike
them together against each other (ct. and), pause in same position (ct. 4) strike them together
again while still up (ct.And)
The bamboo poles on top are struck in the same manner simultaneously with the bamboo
poles under.
Strike bamboo poles that are under against board a foot or a little bit apart (ct. 1), repeat same
four more times (cts. and, 2, and, 3), immediately raise bamboo poles a few inches high and
strike them together against each oher (ct. and), pause in same position (ct. 4), strike them
together again while still up (ct. And)

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.

Formation : The bamboo poles are arranged in cross formation. Poles on areas 1, 3, 5 are on top of
poles on areas 4, 5, 2. The ends of the under poles rest on the boards. The four boys and girls who clap
the bamboos are seated on the floor holding the ends of two bamboo poles.

Glossary : This dance takes its name from the bells worn on the ankles of the Muslim princess.
Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the
"Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells
the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake
caused by the diwatas, or fairies of the forest. The criscrossed bamboo poles represent the trees that
were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal.
Finally, she is saved by the prince. Dancers skillfully manipulate apir, or fans which represent the winds
that prove to be auspicious. Royal princesses to this day in the Sulu Archipelago are required to learn
this most difficult and noble dance.
There are other versions of Singkil. Perhaps the version more widely performed by dance companies is
the "Garden Singkil." The story goes that the princess goes into her garden, accompanied by her
slave, and plays with the butterflies, which are represented by the fan dancers. The movements of the
fans supposedly represent those of the butterflies, as opposed to the diwatas. In another popular
version, the prince uses a scarf instead of a sword.