Provinces of the Philippines and Spanish Influence Origin

SUBMITTED BY Vince Carlo M. Payumo II-St. Martin Submitted To Ms. Fatima Mall(a)ari NATIONAL CAPITAL REGION (NCR) * ARAY lawsuit Spanish order credit line Ermita, Manila orthoepy (ah-RAHY) The Aray is a Philippine form of the Spanish jota accompanied by sprightly steps. The bound, itself, is flirtatiousand involves the liquid enforce oftambourines by wowork force. * PASIGIN cause Rural ethnic music melody Pasig Pasigin came from the contrive Pasig that is mentioning the name of the river. The saltation was interpreting and inspiring the life of the fishermen. * PAYPAY DE MANILA quality Spanish twist line of merchandise ManilaA trip the light fantastic performed by lovely immatureladies carrying scented fans and flirts with materialization men with canes and straw hats. Ladies bounds their way to the heart of the men they desire through the use of a fan. Cordillera Administrative Region (CAR) * BANOG image Cordillera dancing spring Ifugao This jump depicts hunt ers protecting their hen andchicks in Binaylan from a hungry hawk. The hunters trap the hawk and kill it in the end. * BENDAYAN instance Cordillera bounce livestock Benguet This is a circle dancing, which is being performed to celebrate thearrival of successful head teacherhunters. It is in addition popularly known asBendian. * DINUYYATYPE Cordillera Dance ORIGIN Ifugao pronunciation (dih-NOOH-yah) This is a festival dance from Lagawe. It is performed by the Ifugao men and women during a major feast. incidental the dance be three gangsa or campanas the tobtob, a brass gong about ten inches in diameter and played by flagellation with open palms, and the various hibat or gongs played by beating the midland surface with a stick of softwood. * LUMAGEN TYPE Cordillera Dance ORIGIN Kalinga PRONUNCIATION (looh-MAH-gehn) A dance performed at Kalingafestivals to celebrate Thanksgiving and occasions suchas the feature of a first-born child, victories in battle, and marriage. SALIP TYPE Cordillera Dance ORIGIN Kalinga PRONUNCIATION (SAH-lihp) A Kalinga wedding dance that depicts a warrior claiming his bride presenting her with a matrimonial cape. The wo human beings responds by balancing several clay pots upon her head. * SALISID TYPE Cordillera Dance ORIGIN Kalinga A courtship dance being done to symbolize a shaft trying to attract the charge ofa hen. This is performed and portrayed by both(prenominal) male and female which serves as the rooster and hen respectively. The dance starts when for each oneof them atomic number 18 givena voice of cloth known as ayob or allap * TAKILING TYPE Spanish InfluenceORIGIN Lubuagan, Kalingga The homecoming of triumphant head hunters later on asuccessful kayaw ofheadhunting, done to avenge the death or offensive done to a family member or relative is celebrated with the playing of special gongs called gangsa. The minger or successful warriors atomic number 18 honoured by their female relatives with apply of feath er of lawi,beads or bongon and bright g-string scalled ba-ag. Victory songs are sung bythe by the villagers charm the minger dance with closed fists plot the bodan or the unsuccessful members of the headhunting group are demoted toplaying the gangsas. * TAREKTEKTYPE Cordillera Dance ORIGIN Benguet A woodpecker courtship dance which imitates the movements of the dollys, with a one-sided blanket for a prop. * UYAOY / UYAUY TYPE Cordillera Dance ORIGIN Ifugao PRONUNCIATION (OOH-yah-OOHY) An Ifugao wedding festival dance,which makes use of gongs andis usuallyperformed by the affluent wealthypeople. Those who have performed this dance areentitled to the use of gongs at their death. Ilocos Region (Region I) * LA SIMPATIKA TYPE Spanish Influence ORIGIN Pangasinan Simpatika kernel demure, charming, and lovable, which are the qualities of asenorita deeply in love.The flavor and context of La Simpatika centers on loveexploits of gentlemen suitors who are later on the love of their life. In the Philippineswhere moral rules are strict and binding, society calls for the ladies to be impeccablydemure and gentlemen to be prim and proper. * MANMANOK TYPE Cordillera Dance ORIGIN Ilocos Norte PRONUNCIATION (mahn-mah-NOHK) A dance featuring tribe roosters from theBagone Tribe competing for the guardianship ofLady Lien. They use blankets designed with colorful plumes as a means to attract her. * OASIWAS TYPE Christian Dances ORIGIN Pangasinan PRONUNCIATION (wah-SEE-wahs)After a in force(p) catch, fishermen of Lingayen would celebrate by drinking get aheade and bydancing, swinging and circling a illumine lamp hence the name Oasiwas, which in the Pangasinan dialect means swinging. Thisunique and colorful dance calls for skill in balancing an oil lamp onthe head while circling in each hand a lighted lamp wrap in a porous cloth or fishnet. The waltz-style music is standardised to that ofPandanggo sa Ilaw. Cagayan Valley (Region II) * JOTA CAGAYANA TYPE Spanish Influence ORIGIN Cagayan This dance originated from Spain and lay out its way into many places in the islands.Although it is Filipinized in many ways, Jota Cagayana still displays the depose and fury of its atomic number 63 an origin. It is performed by the Ibanags situated in the Cagayan Valley. The steps are similar to that of the famous European dance steps such as the mazurka, polka, gallop and waltz. * JOTA ISABELA TYPE Spanish Influence ORIGIN Isabela An Ilocano dance performed by Ilocano settlers of the woodlands of old Isabela. * TURAYEN TYPE Cordillera Dance ORIGIN Cagayan Gaddang originated from the record ga and dang which means heat up and burned respectively. The Gaddangs live in the middle of the Cagayan Valley.Their dialect is similar to that of the Ilokanos. or so of them are Christian converts and into agri shade. In this dance, the Gaddang imitates the domestic fowls attracted to tobacco trees. Central Luzon (Region III) * HABANERA JOVENCITA TYPE Spanish Influence ORIG IN Zambales PRONUNCIATION (ah-bahn-NYER-rah deh hoh-vehn-SEEH-tah) A graceful and beautiful habanera dance usually performed at a womens debut or wedding. Jovencita means young lady inSpanish. CALABARZON (Region IV-A) * ABARURAY TYPE Spanish Influence ORIGIN Quezon PRONUNCIATION (ah-bah-ROOH-rahy)The name of this dance came from a contraction of the words Aba and Ruray. Such dance is performed by the girls who balances the glass of wine on their head from which the young man drinks. * BALSE TYPE Spanish Influence ORIGIN Rizal PRONUNCIATION (BAHL-seh) Derived from the Spanish word valse, that means waltz, the dance was popular in Marikina and Rizal province during the Spanish times. Balse was performed after the Lutrina a religiousprocession, and the music that accompanied the dancers was played by the musikong bungbong ormusicians using instruments made of bamboo. MAGLALATIK TYPE Rural common people ORIGIN laguna PRONUNCIATION (mahg-lah-lah-TIHK) A native dance, which makes useof coconut shells as props. any themale dancers were using harnesses of coconut shells positioned on their backs, chests, hipsand thighs. * MALAGUENA TYPE Spanish Influence ORIGIN Quezon A favorite dance of the people from Laguna and Quezon during the Spanish times. * POLKABAL TYPE Christian Dances ORIGIN Atimonan, Quezon PRONUNCIATION (POHL-kah-bahl) A dance influenced by twodistinct European styles polka and valse. SUBLIAN TYPE Rural Folks ORIGIN Batangas Subli came from two Tagalogwords, the subsub means stooped or in acrouching position and bali means broken. The dance was first seen many years ago in the barrio of Dingin, Alitagtag, Batangas. It was done during the townsfolk and barrio fiestas in the month ofMay. This is sacred anddance as ceremonial worship performed in homage to the Holy fall into place that referred to Mahal na Poong Santa Cruz. MIMAROPA (Region IV-B) * JOTA PARAGUA TYPE Spanish Influence ORIGIN Palawan PRONUNCIATION (pah-RAHG-wah)A dance originating from Za mboangawhich makes use of Philippine bamboo castanets being held loosely anddisplays steps with genuinely strong Castillian influence. * KARATONG TYPE Islamic Dance ORIGIN Palawan The annual order ofSan Agustine includes the celebration of blossoming mangotrees that grow abundantly on the island of Cuyo, the former slap-up of the Palawan province. Starting at the church patio and ending at the town plaza, groups of ladies sway their colorful bunga manga, which aremeant to represent the flowers ofthe mango tree while themen strike lively, syncopated beats with theirkaratong.Bicol Region (Region V) * PANTOMINA TYPE Spanish Influence ORIGIN Bicol A dance imitating the complex stages of love and courtship. This is to a fault a popular dance at any social gathering. westerly Visayas (Region VI) * GAYONG GAYONG TYPE Moslem Dance ORIGIN Aklan, Capiz In country gatherings, this dance offers much fun. Gayong is a pet name for Leodegario. According to the figment and to the words of t he song, Gayong and Masiong (pet name for Dalmacio) once attended a feast mark the death ofa townsman. While eating, Masiong choked on a piece of Adobo so he called, Gayong Gayong to ask for help to dislodge a lift from the Adobo meal from his throat. In this dance, Masiongs likingfor feasts and the consequence of hisvoracity are held up to playful ridicule * PASEO DE ILOILO TYPE Spanish Influence ORIGIN Iloilo PRONUNCIATION (PAH-say-oh deh eeh-loh-EEH-loh) The most sophisticated courtship and flirtation danceof the Spanish Era. This dance portrays the men competing against each other in order to win the heart of a young lady. Central Visayas (Region VII) * MAZURKA BOHOLANA TYPE Spanish Influence ORIGIN Bohol Mazurka Boholanais a Spanish-inspired ballroom dance from the Bohol province of the Philippines.The country was to a lower place the rule of Spain for more than three hundred years, during which time local culture was markedly influenced. Although the mazurka is the Polish n ational dance, it was wildly popularthroughout Europe in the 19th century and even in colonized lands overseas. The Philippine dance is ordinarily performed by men and women partners. Eastern Visayas (Region VIII) * ALCAMFOR TYPE Muslim Dance ORIGIN Leyte PRONUNCIATION (ahl-kahm-FOHR) This is a twins dance in which the girl holds a handkerchief laced with camphor oil, a spunk that supposedly induces romance. * MALAKAS AT MAGANDATYPE Tribal Dance ORIGIN Leyte This is a caption and ancient tradition dance wherein it has been said that aweary bird perched on a huge bamboo because it heard some strange noises inside. It pecked the bamboo, distinguish open and there came from the inside, Malakas the first man and Maganda the first woman. Malakas (The Strong) and Maganda (The Beautiful) are the parents of all the people of the island. * TIADOT TYPE Christian Dances ORIGIN Samar A South American inspired dance. Gaily-dressed couples show off thefashion of the period, long tailed skirts and American Serrada suits.Zamboanga Peninsula (Region IX) * PANGALAY TYPE Muslim Dance ORIGIN Zamboanga del tire PRONUNCIATION (pahng-AH-lahy) A popular festival dance in Sulu. This is a conventional fingernail dance being performed at wedding celebrations held by the affluent families. Northern Mindanao (Region X) * DUGSO TYPE Tribal Dance ORIGIN Bukidnon PRONUNCIATION (DOOHG-soh) A thanksgiving dance from the Talaindig Tribe. Davao Region (Region XI) * BAGOBO RICE CYCLE TYPE Tribal Dance ORIGIN Davao del Norte A tribal dance from the Bagobo Tribe which portrays the cycle of planting and harvest of rice.SOCCSKSARGEN (Region XII) * KADAL TAHAW TYPE Tribal Dance ORIGIN South Cotabato A Tboli bird dance. This is being done to celebrate the good planting and harvesting which simulates the flights and hop of the tahaw bird. * KAPA MALONG MALONG TYPE Muslim Dance ORIGIN Cotabato PRONUNCIATION (KAH-pah MAH-long MAH-long) A traditional Maranao dance performed by women wearing a malong, shawl, mantle or a head-piece whereas themens version uses a sash or waist-band, shorts or bahag, and a head-gear or a turban which can also be used while working in the fields. * SAGAYAN TYPE Muslim DanceORIGIN Cotabato A Maranao war dance performedby fierce warriors. They carry a rampart elaborately painted with curlicues, rounds, twirls and mirrors. This is alsoperformed before any celebration or gathering as a means to drive away the repulsiveness spirits as well as to welcome the good fortunes or omen. Caraga Region (Region XIII) * BINAYLAN TYPE Tribal Dance ORIGIN Agusan PRONUNCIATION (bih-NYE-lahn) This is a ritual dance, which originated from the Bagobo tribe living in the central uplands of Mindanao, imitating the movements of a hen, her banog or baby chicks, and a hawk.The hawk is sacred and is believed that it has thepower over the offbeat of the tribe. The hawk tries to capture one of the baby chicks and is killed bythe hunters. * ITIK-ITIK TYPE Rural Folks ORIGIN Su rigao del Norte PRONUNCIATION (EEH-tihk-EEH-tihk) This dance is performed at a baptismal fellowship held in the province of Surigao del Norte. Such dance improvises the movements and steps thatis typical of how an itikor the dunk acts and walks. Autonomous Region in Muslim Mindanao (ARMM) * ASIK TYPE Muslim DanceORIGIN Lanao del Sur PRONUNCIATION (ah-SIHK) A Bagobo Festival dance wherein the girl wears long surface fingernails while holding an umbrella and posing in doll-like motions. * PAGAPIR TYPE Muslim Dance ORIGIN Lanao del Sur This dance is being performed by the ladies of the purple court in preparation for an important event. These ladies gracefully manipulate the Apir or fan while doing small steps or the so-called kini-kini which for them is a sign of having a good upbringing. * PANGALAY HA PATTONGTYPE Muslim Dance ORIGIN Tawi-Tawi PRONUNCIATION (pahng-AH-lahy-hah-pah-TOHNG) A dance performed by a royal couple balancing on top of bamboo poles and imitating the movement s of a southern boatwith colorful sails or the so-calledvinta. * PANGALAY SA AGONG TYPE Muslim Dance ORIGIN Sulu A Tausugs traditional dance wherein two warriors compete againsteach other for the attention of ayoung woman. They use gongs to show th eir prowess and skill. * PANGSAK TYPE Muslim Dance ORIGIN Basilan