Untitled Quiz

Study Notes

Traditional folk and ethnic dance in the Philippines encompasses rituals, prayers, and celebrations from indigenous tribes.
Originated from various regions: northern dances were ritualistic, while central and southern dances were influenced by animal movements and Muslim culture.
These dances predate Christianity and are integral to beliefs and social systems within ethnic Filipino communities.
Traditional dances provide a sense of determination and courage among performers.

Cariñosa translates to "the loving or affectionate one" in Spanish, reflecting its romantic theme.
This folk dance has roots in the Maria suite of Philippine folk dances and emphasizes the use of fans or handkerchiefs for expressive movement.
Introduced by Spaniards in the 16th century, Cariñosa is linked to José Rizal's character, Maria Clara, in "Noli Me Tangere."
During the Marcos regime, Cariñosa was declared the national dance of the Philippines, originating from Panay Island.

Subli originated approximately 300 years ago in Alitagtag, Batangas, as a dance to honor the Holy Cross.
The dance features male leaping and clapper usage, paired with female dancers executing delicate circular movements on their toes.
Celebrated during the Sublian Festival, held annually on July 23, it reflects the Batangueños' devotion to their patron.
The Subli combines poetry, music, and movement, celebrating indigenous customs and culture.
The festival includes various activities like street dancing, serenades, and sharing traditional delicacies.

Tinikling originated in the 1500s during Spanish colonization, stemming from farmer customs on the Visayan Islands of Leyte.
The name "Tinikling" refers to the mythical tikling bird, showcasing agility through bamboo poles manipulation.
The dance is characterized by dancers skillfully stepping over and between large bamboo poles.
Francisca Reyes Aquino contributed to the documentation and propagation of Tinikling through her educational work in the 1920s.
Tinikling embodies Filipino resilience and cultural values through its unique props and lively movements.

The term "Pandanggo" is derived from the Spanish "fandango," reflecting its lively and rhythmic nature.
Pandanggo sa Ilaw requires dancers to balance three oil lamps on their heads and hands, emphasizing excellent coordination.
Danced in pairs, the movement simulates flying fireflies and depicts courtship between a young man and maiden.
In Lingayen, Pangasinan, the dance is locally known as "Oasiwas" or swinging, showcasing regional variations.