Binislakan: Philippine Folk Dance with Asian Influence

Philippine Folk Dances with Asian Influence

• Philippine folk dances reflect a community's customs, ideas, beliefs, superstitions, and daily life events.
• Costumes, props, and implements reveal the origin of the dance.
• These dances contribute to the country's rich culture.

Binislakan (Lingayen)

• Dance researcher is Francisca Reyes-Aquino.
• Signifies "with the use of sticks".
• It falls under the Christian Lowland dance culture, originating from Pangasinan.
• Influenced by China, ethno-linguistic group is Pangasinense, and it is classified as a Social Dance.
• Lingayen, Pangasinan, means looking backward and upward.
• The name was derived from "Li-King-Tung," a Chinese term for Lingayen (capital of Pangasinan).
• Barrio folks from Almazin commemorate Limahong (Chinese pirate who built his kingdom) through this dance.
• Dancers look backward or upward and use two sticks, imitating chopsticks.
• Binislakan in Pangasinan refers to using sticks.
• Females wear Siesgo and kimono with loose, long sleeves and soft panuelo.
• Males wear Camisa de Chino and red pants.
• Music is in two parts (A and B).
• Count is one, two, one and two, and one and two and.
• Partners stand six feet apart in any formation.

Sua-Ku-Sua

• Ramon A. Obusan researched the dance.
• Means "My Pomelo Tree."
• The dance culture is Lowland Muslim (Coastal), originating from Jolo, Sulu.
• Influenced by China, Malaysia, and Indonesia, ethno-linguistic group is Tausug, and classified as Courtship Dance.
• Tausug people are known as warriors, seafarers, and farmers, planting orchards with pomelos and fields with rice/root crops.
• Pomelo fruits are gathered in baskets at harvest time.
• Romanticizes the pomelo's gentle leaves, slender branches, fruits, and flowers to a lady's virtues.
• Couples sing the song while flapping two white fans (resembling leaves rustling in the wind).
• Performers (especially women) cover their faces with rice powder and enhance eyebrows/sideburns with soot for beauty.
• Fans serve as sails, mirrors, butterflies, shields, and leaves.
• Features Tausug traditional steps with Chinese influence.
• Females wear traditional loose blouses with long sleeves, plunging key-hole necklines, and panels decorated with brass buttons. The fabric is cheap printed or plain Chinese silk/cotton.
• Loose Chinese pants with a white band (coco curdo) at the waist, tucked in to form a tight belt and made of cheap Chinese silk or silky material.
• Shoulder band (Siyag) is a separate wrap-around malong.
• Headpiece: gold/brass filigree (tusuk), paper bills on sticks, or pasteboard cut-out (Chinese crown-like).
• Accessories: gold/imitation gold earrings, necklace, bracelets, and brooches.
• They dance in barefoot.
• Males wear short-waist collarless shirts with right panel overlapping (studded with brass buttons).
• His pants are similar to the female version but in darker colors/bolder designs using cheap printed or plain Chinese silk/cotton.
• Other Accessories: money-belt, Sarok hat, pis siyabit (scarf), Kris (knife), or Barong (leaf knife) and they dance barefoot as well.
• Music : 2/4 or 4/4 with parts A, B, and C. Gabbang (bamboo xylophone resembling a small boat) produces three pentatonic scale octaves.
• Count is 1,2 in 2/4 time signature or 1,2,3,4 in 4/4.

Pangalay

• Francisca Reyes-Aquino researched it.
• Signifies "Fingernail".
• Belongs to the Lowland Muslim (Coastal) dance culture in Sulu.
• Influenced by Thailand, Malaysia, Burma, Cambodia, and Indonesia, with Tausug ethno-linguistic group, and it is a Social Dance.
• Also known as Daling-Daling or Mengalai in Sabah.
• Traditional "fingernail" dance of the Tausūg people (Sulu Archipelago and Sabah).
• Dancers require dexterity/flexibility in shoulders, elbows, and wrists (like "kontaw silat," a Malay martial art).
• Pangalay is performed during weddings/festive events.
• "Pangasik" is the male version with martial movements; "Pangiluk" features male and female dancers.
• Based on pre-Islamic Buddhist concept of male/female celestial angels (Vidhyadhari / Biddadari).
• Dancers wear typical Joloana costumes.
• Expert dancers use janggay (extended metal fingernails).
• The rich use gold or silver janggay.
• They dance barefoot.
• Played as many times as necessary counted as one, two or one, and two and to a measure.
• There are no set directions or sequence.

Tiklos

• Francisca Reyes-Aquino researched the dance.
• Signifies "refers to a group of peasants".
• Originates from Panay and Leyte, influenced by China, Burma, and Cambodia, and it is Recreational Dance.
• For centuries, Tiklos refers to peasants working together in Leyte.
• They clear the forest, prepare soil, or do odd jobs.
• People gather to eat lunch and rest at noontime.
• Tiklos music (flute, guitar, and guimbal/tambora drum) is played during this time and to gather peasants before work.
• Dancers wear working costumes with music in two parts (A and B). Count is one, two or one, ah, two, ah or one, and two to a measure.
• Partners stand opposite each other (six feet apart).

Sakuting

• Francisca Reyes Aquino researched it.
• Refers to rhythmic sticks producing the accompaniment for the dance.
• Originated from Abra and Ilocos Norte, influenced by China, classified as Recreational and Social Dance.
• Dance of ethnic people from the western Cordilleras before the Americans.
• During Christmas, young boys/girls with elders dance in front of houses in Abra and Ilocos Norte for gifts while striking the sticks.
• "Sakuting" refers to the rhythmic sticks producing accompaniment.
• One set of dancers form Audience
• Girl wears a native Ilocano kimono with elbow-length sleeves plus bright-colored plaid skirt (ankle-length). Boy wears Camisa de chino, red trousers, and a native hat.
• The music uses 2/4 and 3/4 rhythms and contains 9 parts which are A, B, C, D, E, F, G, H and I.