Regional Dances with Asian Influence - PDF

Here is the markdown output of the image: # Regional and National Dances with Asian Influence Philippines is near by countries in Asia. Picture of Asia with the country of the Philippines highlighted. ## BINISLAKAN (Lingayen) * Dance Researcher: Francisca Reyes * Meaning: With the use of sticks *...

Here is the markdown output of the image: # Regional and National Dances with Asian Influence Philippines is near by countries in Asia. Picture of Asia with the country of the Philippines highlighted. ## BINISLAKAN (Lingayen) * Dance Researcher: Francisca Reyes * Meaning: With the use of sticks * Dance Culture: Christian Lowland * Place of Origin: Pangasinan * Country of Influence: China * Ethno-linguistic Group: Pangasinense * Classification: Social Dance ### Background: Lingayen in Pangasinan means having to look backward and upward. It was derived from “Li-King-Tung”, a Chinese word given to the name Lingayen, the capital of Pangasinan, by the Chinese settlers of this place a long time ago. The barrio folks who lived at Almazin, a small place between barrio Pangasinan (Pulong) and Maniboc danced this to commemorate the stay of Limahong, a Chinese pirate who built his kingdom here. The dancers look backward or upward in some of the movements; hence, the name Lingayen. They also use two sticks to produce rhythms imitating the chopsticks used by the Chinese in eating, so the dance is also called Binislakan, which in Pangasinan means, with the use of sticks. ### Dance Properties: * Costume *Female*: Siesgo and kimono with loose and long sleeves and soft panuelo *Male*: Camisa de Chino and red pants * Music: 2/4 composed of two parts: A and B * Count: One, two, one and two, and one and two and * Formation: Partners stand about six feet apart. One or more pairs in a set can take part in the dance, in any formation desired. ## SUA-KU-SUA * Dance Researcher: Ramon A. Obusan * Meaning: My Pomelo Tree * Dance Culture: Lowland Muslim (Coastal) * Place of Origin: Jolo, Sulu * Country of Influence: China, Malaysia and Indonesia * Ethno-linguistic Group: Tausug * Classification: Courtship Dance ### Background/Context: The Tausug of Sulu, Southern Philippines, though known as fearsome warriors are also better known as sturdy seafarers and hardy farmers. Extensive orchards are planted with coconuts and pomelos and fields with staples like rice and root crops. At harvest time, pomelo fruits are gathered in big baskets before they are sent away. The Tausugs depend strongly on the income the pomelo bring them and this relationship is romanticized by comparing the sua's gentle leaves, slender branches, attractive fruits and fragrant flowers to the virtues of a lady. Put to music, it is this song that is sang by couples while flapping two white fans each resembling leaves rustling in the wind in the Sua-Ku-Sua Dance. Sua-ku-sua performers, some men but especially women come to the festivities with face thickly covered with finely ground rice powder and their eyebrows and sideburns enhanced with soot- all for beauty's sake. ### Movements/Steps Particular to Dance: Creative imagery: Fans transform into tiny sails, face mirrors, butterflies, shields and leaves. Tausug traditional steps with Chinese influence. ### Dance Properties: *Costume* *Female*: *Top (Barawasi)*: Traditional loose blouse, long sleeves wit deep, plunging key-hole neckline. Extra panels attached to the right and left chest decorated with many tiny brass buttons. *Material*: Cheap printed or plain Chinese silk or *Pants (Sawal or Kantiu)*: Loose Chinese pants with a 10-inch soft white band (coco curdo) attached to a wide waist. To tuck the pants in, the white band is overlapped in front, one side on top of the other and rolled out to form a tight belt. *Material*: Cheap Chinese silk or any silky material preferably in navy blue, sunshine yellow, grass green, red or orange colors. *Shoulder band (Siyag)*: A separate wrap-around malong of rich material strung over the right shoulder crossing the chest and hanging on the left side. *Headpiece*: There are three choices: 1. Gold or brass filigree called tusuk; 2. Paper bills pasted on slender sticks; and 3. Pasteboard cut-out, the front tip 8 to 10 inches high, similar to Chinese crowns covered with gold foil. *Accessories*: Gold or imitation gold earrings, necklace, bracelets and brooches. *Suggested Footwear*: Dancers are in barefoot. *Male*: *Top (Bajo)*: Short-waist collarless shirt. Open at the front with the right panel overlapping the left, studded with many tiny brass buttons and is not intended to close the front but used as an additional shirt decoration. It is allowed to drop on the right side. *Material*: cheap printed or plain Chinese silk or cotton. *Pants (Sawal or Kantiu)*: Similar to the female pants but in darker colors and bolder designs. *Accessories*: Money-belt, Sarok hat, pis siyabit (rectangular hand-woven scarf tied on the head or hung loosely over one shoulder); Kris (wavy knife) or Barong (leaf-knife). * Music : 2/4 and 4/4; composed of three parts: A, B and C. Gabbang- bamboo xylophone shaped like a small boat. Bamboo slats thinned and cut to graduated sizes to produce three octaves of pentatonic scale * Count: 1, 2 to a measure in 2/4 time signature 1, 2, 3, 4 to a measure in 4/4/ time signature ## PANGALAY * Dance Researcher: Francisca Reyes-Aquino * Meaning: Finger nail * Dance Culture: Lowland Muslim (Coastal) * Place of Origin: Sulu * Country of Influence: Thailand, Malaysia, Burma, Cambodia and Indonesia * Ethno-linguistic Group: Tausug * Classification: Social Dance ### Background/Context: Pangalay (also known as Daling-Daling or Mengalai in Sabah is the traditional “fingernail” dance of the Tausūg people of the Sulu Archipelago and Sabah. This dance is the most distinctively Asian of all the Southern Philippine dances because dancers must have dexterity and flexibility of the shoulders, elbows, and wrists movements that strongly resemble those of “kontaw silat,” a martial art common in the Malay Archipelago. The Pangalay is performed mainly during weddings or other festive events. The male equivalent of the Pangalay is Pangasik and features more martial movements, while a pangalay that features both a male and female dancer is called Pangiluk. The original concept of the Pangalay is based on the pre-Islamic Buddhist concept of male and female celestial angels (Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in other Southeast Asian dances. ### Dance Properties: * Costume: Dancer wears a typical Joloana costume * Accessories: Expert and professional dancers use janggay, extended metal finger nails in each finger. The rich people have janggay made of solid gold or silver. * Suggere Footwear: dancers are in barefoot * Music: Played as many times as necessary. * Count: one, two or one, and, two and to a measure. ### Movements/Steps Particular to Dance: There are no definite directions, sequence of figures, number and kinds of steps, hand movements and positions used when performed by the natives. For teaching purposes the figures of this dance may be created and dancers may form their own combinations. ## SAKUTING * Dance Researcher: Francisca Reyes Aquino * Meaning: Refers to rhythmic sticks producing the accompaniment for the dance. * Place of Origin: Abra and Ilocos Norte * Country of Influence: China * Classification: Recreational and Social Dance ### Background/Context: This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country. During the Christmas, young boys and girls accompanied by their elders would go to the lowlands, especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts. These young children hold sticks, one on each hand and strike them together to make their dance more lively. The homes would give them money, homemade delicacies and other things. These dancing groups later reached as far as the coastal towns of Ilocos region as years went by. The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance. “Sakuting“ is an ethnic term which refer to the rhythmic sticks producing the accompaniment for the dance. ### Dance Properties: * Costume * Girl – Native Ilocano kimono style with sleeves of elbow length; skirt of bright-colored plaids shirred at the waist of ankle-length. * Boy - Camisa de chino and red trousers, and a native hat. * Music: 2/4 and ¼ rhythms and composed of 9 parts: A, B, C, D, E, F, G, H and I. ### Formation: Audience | | | | ------------- | ----------- | | X | O | | O | X | | X | O | | O | X | One set of dancers