RURAL

DANCE
 RURAL DANCE
There are dances which have managed to steer clear of European
influences and to this day without visible foreign characteristics.
Such as dance like the “Maglalatik” a tagalong war dance. The
subject matter of this dance is open combat between Christian and
Muslim soldier over “Latik” or coconut residue. What is unique is
that no sword or dummy are used. Instead each combatant has
eight coconut shells tied to his body on the chest, behind the
shoulders, above the knees, and on the hips. In addition each
combatant has a pierce of shell in each hand. After the mood of
fighting has been reached, they clash each one aiming blows at the
coconut shells on his opponents’ body creating rhythmic sounds.
Gradually, positions shift and though the shift can be determined
who is beating.
As a great number of folk dance are mimetic in character. A dance
may reenact rice pounding, as in case of ratio of Bulacan, or it may
portray the action of the rice threshers like the Tioka dance of
Laguna. In the coconut region, there is a popular dance the
Mananguete. It portrays how many tuba, a potent brew made from
coconut buds.
Rural/Barrio
Perhaps the best known and closest to Filipino heart are the dances from the rural
Christian lowlands: a country blessed with so much beauty. To the Filipinos, these
dances illustrate the fiesta spirit and demonstrate a love of life. They express joy in
work, a love for music, and pleasure in the simplicities of life. Typical attire in the
Rural Suite includes colorful Balintawak and Patadyong skirts for the women, and
Camisa de Chino and colored trousers for the men.
 KURATSA
A dance originating in Bohol,
Visayas, it is popular at
Ilokano and Visayas festivals.
This dance commands a sense
of improvisation which mimics
a young playful couple’s
attempt to get each other’s
attention.
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 OASIWAS
Oasiwas is a dance in which an oil lamp is
balanced on the dancer's head as he
swings around lighted lamps wrapped in
porous cloth or fishnet. The name of the
dance comes from th word
for swinging. The dance is performed by
fishermen o when celebrating a
good catch. It is accompanied by waltz-
like music.
OASIWAS
 PALU-PALO
In Laguna, the village Labanderas or
washerwomen, spend relatively calm day
by doing their laundry when tsismis or
gossip among them gets out of hand and
drama ensues. Through fighting with their
palos (laundry paddles) to resolve their
disputes, their dance come to life
PALU-PALO
 BINASUAN
This colorful and lively dance from
Bayambang in the Pangasinan province shows
off the balancing skills of the dancers. The
glasses that the dancers gracefully yet
carefully maneuver are half-filled with rice
wine. Binasuan, meaning “with the use of a
drinking glass” in Pangasinan, is often
performed as entertainment at weddings,
birthdays, and fiestas.
BINASUAN
 BAYLUHAN
 The Bayluhan is a dance performed
in Malabon and Navotas by childless
women who were unable to make the
annual pilgrimage to
neighboring Obando to do a prayer-dance
for a child. The women wait instead for
their friends who went to the fertility
festival to return, and then they recreate
the fertility dance.
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 Other examples of rural dances:
 · Bagol
 · Binatbatan
 · Binoyugan
 · Itik-itik
 · Kalapati
 · Kalatong
 · Kilingkingan
 · Pandanggo sa Tapis
 · Pandanggo sa Ilaw
 · Pateado
 · Regatones
 · Sakuting
 · Sapatya
 · Sayaw sa bangko
 · Sinulog
 · Subli
 · Tinikling
 · Tinolabong