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Thursday, September 15, 2022

Folk Dance of Western Visayas Region: Lanceros de Negros




LANCEROS DE NEGROS

During the Spanish times, Lanceros was one of the most popular quadrille dances in the Philippines. It is similar to Rigodon and is danced in important social affairs to formally open a big ball. Unlike the Lanceros as danced in Luzon and in some regions in the Visayas, this version from Silay, Negros Occidental is in longways formation. It is a very lively and colorful dance. 

COSTUME. Girl wears Maria Clara style costume. Boy wears barong tagalog and black trousers. 

MUSIC is divided into four parts A, B, C, and Finale.

COUNT one, two; one, and two; or one, and two, and to a measure

FORMATION. Partners face each other about six feet apart. When facing audience, Girl is at right side of partner. Four to any number of pairs may participate. 

If desired, a square formation may be used, each pair occupying a corner of an imaginary square. 


NEW STEPS USED:

      Brincos Con Puntillas - Jump and land with R (L) foot across the L (R)  in front, both feet flat on the floor (ct. 1), hop on L (R) and foot circle outward in the air with R (L) foot (ct. and), step lightly on ball of R (L) foot in rear L (R) and raise heel of L (R) (ct. 2), spring on  R (L) and land on L (R) and at the same time point R (L) toe in front of L (R) with R (L) knee slightly bent (ct. and).

      Brincos Con Vueltas - Same as brincos con puntillas but make a quarter turn right (left) when hopping on L (R) on the first ct. and. Make another quarter turn right (left) before stepping on the ball of R (L) foot in rear of L (R) on ct. 2. There are two brincos con vueltas to a complete turn (2 M).



                                                                        I

Music A.

      Partners face each other. Throughout this figure, Girl's L hand is placed on waist, R hand holding skirt, Boy's arms swinging naturally down at sides.

     (a) Starting with R foot, take four small steps forward to meet at center (cts. 1, 2, 1, 2) ________________________ 2 M

     (b) Repeat (a) moving backward to proper places ________________________ 2 M

      Face left so that Girl's back is toward audience, Boy faces audience.

     (c) Repeat (a) and (b) _______________________ 4 M

      Face each other.

      (d) Starting with R foot, take four steps obliquely left forward, passing by R shoulders _______________________ 2 M

       (e) Repeat (d), moving obliquely right backward to proper places ________________ 2 M

        (f) Repeat (d), moving obliquely right forward, passing by L shoulders (2 M), and in (e) moving obliquely left backward. Take smaller steps backward so that partners finish near each other (2 M). _____________ 4 M


   II

Music B.

         Face partner and join R hands, free hand of Girl holding skirt and that of Boy is placed on waist.

         (a) Starting with R foot, take eight small change steps forward moving once around clockwise. Bend trunk slightly to right and left side alternately. ---------------------------------------------------- 8 M

         Drop R hands, turn right about join L hands free hands as above.
         (b) Repeat (a), moving counterclockwise -------------------8 M




 III

Music C.

       Partners face each other
       (a) Take four galop steps sideward right. Arms in lateral position, sideward left, shoulder level. Do not put weight on L foot at the fourth galop step _________________________________ 2 M
       (b) Repeat (a) moving to sideward left. Reverse position of arms. _____________________ 2 M
       (c) Execute four brincos con vueltas, turning right and making two turns. Girl holding skirt. Boy places hands on waist _____ 4 M
        Face left so that Girl's back is toward audience. Boy faces audience.
       (d) Repeat all (a-c). Partners pass front to front when doing the galop steps. _____________8 M




   IV

Music B.
      
     Partners face audience. Join inside hands, free hands as in figure II.
     (a) Starting with outside foot, take four change steps forward. Swing the joined hands backward and forward at the same time looking at partner and away from partner, alternately four times ______4 M

     Drop inside hands, turn outward to face about. Join inside hands, free hands as in (a). 
     (b) Repeat (a), starting with inside foot. Start swinging joined hands forward and looking away from partner.____________ 4 M
     
     Drop inside hands. Face each other and join R hands, free hands as in (a).
     (c) Starting with R foot, take four change steps forward, turning once around clockwise _____ 4 M

     Drop R hands, join L hands, free hands as in (a).
     (d) Repeat (c), moving counterclockwise. Drop L hands and finish in proper places _________ 4 M



 V

Music C.

       Partners face each other. Partners do their movements simultaneously.
       (a) Girl. Execute two brincos con vueltas making a complete turn right once (2 M)

            Boy. Clap hands five times on cts. 1, 2, 1, and 2______ 2 M
       (b) Repeat (a), Boy dancing and Girl clapping hands____ 2 M

       Partners face each other and assume crossed-arm position, R over L.

       (c) Take four brincos con puntillas moving toward audience - Jump and land with foot away from audience across in front and hopping on foot toward audience.  ______________________ 4 M

       Drop hands.
       (d) Repeat (a) and (b) __________________________________________________ 4 M
       (e) Repeat (c), starting with other foot and moving away from audience. __________________ 4 M





SALUDO
(Bowing)

Music Finale.

        Partner faces each other.
        (a) Pause_______________________________________1 M
        (b) Execute a three-step turn right in place (cts. 1, 2, 1), pause (ct. 2) Arms in fourth position, R arm high. __________________________________________________ 2 M
        (c) Repeat (b), turning left. Reverse position of arms. ________________________________ 2 M
        (d) Join R hands, free hand of Girl holding skirt, that of Boy is placed on waist. Girl whirls making right turns under the arch of arms. Boy stands in place. ___________________________________ 2 M
        (e) Face each other. In crossed-arm position, R over L, pull away from each other. __________ 1M
        (f) Girl passes under R arm of Boy and finish in front and a little bit to the left side of Boy. Partners look at each other. ___________________________________________________1 M





Music of Lanceros de Negros



Sunday, June 19, 2022

First Filipino Blog

The First Filipino blog is a blog that compiles a list and biographical information of individual Filipino men and women who made a trailblazing feat in their respective fields, accomplishments and achievements who brought honor and glory to the Filipino nation. Visit and discover interesting stories of Filipino who made such an impact that they will be forever be etched in the memories of many and in the annals of Philippine history. 


First Filipina Bloghttp://firstfilipina.blogspot.com/


Wednesday, May 4, 2022

Ang Pangarap Mo'y Naghihintay Sayo

This song was composed, arranged and performed by Henry Alburo of Marikina City, Metro Manila, Philippines. He performed this song as his contest piece for the Bombo Music Festival 2018 and was released on October 22, 2018. Bombo Radyo Music Festival, a songwriting competition created, organized by the radio station Bombo Radyo starting in 1985 originally as an Ilonggo Christmas Music Festival Song Writing Competition and has since evolved into Western Visayas regional song writing competition and eventually a National Songwriting Competition. 

Historically, the Bombo Music Festival was born out of Bombo Radyo Philippines’ commitment to bring to higher heights the awareness and love for our own music and culture, widen the avenue for development of Filipino musical talents, and eventually bring prestige to the Filipinos. This commitment has become a tradition of our people.

Here is the music and lyrics of the song below and it's English translation (sorry for my dismal attempt to translate this in English language).






Ang Pangarap Mo'y Naghihintay Sa'yo
by Henry Alburo


I
Kay rami mang balakid
Sayong daraanan
Sadya mang matinik
Ang kailangan mong lakaran
Ubod man ng bigat
Ang iyong pinapasan
Huwag kang mag-alinlangan
Kayang-kaya mo yan


Chorus
Huwag kang umatras
Huwag kang huminto
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo


II
Kay hirap mang abutin
Ng nais mong marating
Malalim man ang suliranin
Kailangan mong tawirin
Kung napaiyak ka man
Ng iyong nararanasan
Huwag kang mag-alinlangan
Kayang kaya mo yan


Chorus
Huwag kang umatras
Huwag kang huminto
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo

Huwag kang umatras (huwag kang umatras)
Huwag kang huminto (huwag kang huminto)
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo
Naghihintay sayo
Naghihintay sayo
Ang pangarap mo'y naghihintay
Sayo





English Translation



Your Dream Is Waiting For You
by Henry Alburo


I
Though there are so many obstacles
In your path
Though it's really thorny
The road you have to walk
Too heavy a burden
You have to carry
Do not hesitate
You can do it



Chorus
Don't back out
Don't stop
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you


II
Though it's hard to reach
Of the things you want to reach
Though the problem is deep
You have to cross
If it made you cried
Of the things you experience
Do not hesitate
You can do it


Chorus
Don't back out
Don't stop
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you




Don't back out (don't back out)
Don't stop (don't stop)
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you
Waiting for you
Waiting for you
Your dream is waiting
for you




Photo Source:

Bombo Radyo Philippines, Inc.

Saturday, April 30, 2022

Folk Dance Of Western Visayas Region: Kuradang

 KURADANG



The Kuradang is an upbeat dance from Tuburan, Pototan, Iloilo. The people in this barrio are lighthearted and has an intense passion for singing and dancing. The social gathering is not complete without dancing. One of the dances performed during the fiesta or a celebration in Tuburan is the Kuradang. The name of the dance was probably taken from the word "Kudangdang" which means posh, showy, overdressed, extravagant, lavish or luxuriously epicurean. 


COSTUME. The girl is wearing a patadyong, camisa or a kimona with a soft pañuelo over one shoulder. The boy is wearing barong tagalog and colorful trousers. The dancers are all barefooted. 

MUSIC. is composed of two parts: A and B. 

COUNT one, two, or one, and, two to a measure in 2/4 time; one, two, three, or one, two, and three in 3/4 time.

FORMATION. Two couples facing each other,  about six feet apart, form a set. The girls stand on the right side of their respective partners. When facing audience, couple at the left, No. 1, is called mayor and couple at the right, No. 2 is called menor  (see diagram below). Any number of sets may participate in this dance.


Audience

    X                     O
      1   →                    ← 2    
       O                    X  

Kuradang Step (Iloilo) - Music 2/4 time     Count 1, and, 2, 1, 2 to two measures

Change step sideward right (left), R (L) forearm turn to reverse "T" position, L (R) hand down at side. Twist body slightly to right (left) (cts. 1 and 2). Hop on R (L), swing the L (R) foot across the R (L) knee in front obliquely backward right (left), bend arms forward at shoulder level (ct. 1), hop on R (L) and swing L (R) foot obliquely forward left (right). Turn forearms to assume reverse "T" position (ct. 2). This step may be done in all directions. 

NOTE:

1. The music is played continuously with each part played twice.
2. All Kuradang steps should be done with arm movements.
3. There is a slight jogging of the body throughout the dance.


INTRODUCTION    

Music Introduction.

    Face front
       Starting with R foot, take three steps forward, arms down at sides (cts. 1, 2, 3), close L to R (ct. 1), tap L close to R in rear three times and at the same time clap hands in front of chest three times (cts. 2, and 3) ______________________________________ 2M
 

I

    Partners face each other.
      (a) Starting with R foot, take four change steps forward to partner's place, passing by R shoulders. Forearm turn to reverse "T" position, R and L alternately, free hand down at side. Bend trunk slightly to the right and left side alternately _______________ 4M

      (b) Turn right about. Repeat (a), going to proper places. __ 4M

      (c) Girl 1 and Girl 2 face each other. Repeat (a) and (b). In the meantime, Boys clap hands on cts. 1, and, 2, 1, 2, for every two measures __________________________________________ 8M

      (d) Boy 1 and Boy 2 face each other. Repeat movements of Girls, and Girls clap hands as Boys did in (c) __________________  8M


II

Partner face each other. Couples 1 and 2 are doing their movements simultaneously.

Couple 1.
(a) Starting with R foot, take four kuradang steps forward to exchange places passing by R shoulders __________________ 8M
(b) Turn right about. Repeat (a), going to proper places ______ 8M
(c) Repeat movements of Couple 2 as in (a) below. _________16M

Couple 2.
(a) Take eight kuradang steps sideward, R and L alternately __16M
(b) Repeat movements of Couple 1 as in (a) and (b) above. ___16M


INTERMISSION

Partner face each other.
  Take eight kuradang steps sideward, R and L alternately ___16 M


III

  Couples 1 and 2 face each other. They do their movements simultaneously.
  (a) Couple 1. Starting with R foot, take three kuradang steps to front of Couple 2 __________________________________ 6 M
       Couple 2. Starting with R foot, take three kuradang steps turning around in place clockwise ___________________________ 6 M
  (b) Girl 1 and Boy 2. Starting with L foot, take one kuradang step to exchange places, passing by R shoulders. Take big steps. In the meantime, Girl 2 and Boy 1 execute one kuradang in place starting with L foot _______________________________________ 2 M

   At the end of the fourth kuradang step, the Girls are all on one side (right side) and the Boy are on the other side (left side).

  (c) Girls and Boys face each other. All execute four kuradang steps sideward, R and L alternately. _________________________ 8 M
  (d) Girl 1 and Boy 2. Starting with R foot, take four kuradang steps moving little by little forward to return back to their proper places. Take small steps ____________________________________ 8 M

In the meantime, Girl 2 and Boy 1, starting with R foot execute four kuradang steps turning around in place clockwise _________ 8 M


IV

Partners face each other.
  (a) Couples 1 and 2 takes two kuradang steps sideward, 
       R and L  _______________________________________ 4 M
  (b) Boy 1. Starting with R foot, take two kuradang steps forward to
 front of Couple 2. In the meantime, Couple 2 executes two kuradang steps, starting with R foot, turning around in place clockwise. Finish facing Boy 1. Girl 1 stay in place and clap hands on cts. 1, and 2, 1, 2, two times. _______________________________________ 4 M
  (c) Boy 1 and Couple 2. Starting with R foot, take six kuradang steps forward, moving around clockwise. Finish in starting place. Girl 1 clapping hands as in (b) _________________________ 12 M
  (d) Boy 1. Turn right about. Starting with R foot, take two kuradang steps forward to proper place. Girl 1 clapping hands as in (b) __ 4 M

 Couple 2. Starting with R foot, take two kuradang steps turning around in place clockwise ______________________________ 4 M
  (e) Repeat all (a-d) with Girl 2, starting in (b) going to front of Couple 1 while Boy 2 does the clapping _________________ 24 M


V

Repeat Figure I _____________________________________ 24 M



FINALE

All face front.

      Repeat Introduction  ______________________________ 2 M





Music Of Kuradang 


Thursday, April 14, 2022

Gay Filipino In History: Tapar Of Iloilo

There are a number of uprisings and revolt throughout the centuries of Spanish colonial period over abuse, excessive taxation on local products, corrupt and ill system of government among others. There are also some rebellion which was ignited by people's faith and beliefs. One such religious revolt took place in Panay caused by convergence of faith. This religious revolt is led by a certain Tapar from Iloilo in 1663.

Tapar or Tapara is a native babaylan from the town of Oton in Iloilo province in the island of Panay who was a new convert of Catholicism. He was known for founding a religious cult that merged Catholic religious practices with traditional rituals a modified form of Christianity. He persuaded the locals to join his group and attracted many followers with his stories about his frequent conversation with a demon. He proclaimed himself "God Almighty" and went around garbed in a woman's dress. According to Fray Juan Fernandez, who chronicled important events in some Iloilo pueblos, described Tapara as a mystic who dressed and acted like a female.

Tapar taught taught his followers to worship idols, performed prodigies resembling miracles, and became a prophet. He promised the natives:

a. a life of abundance (weaves fish, coconut fiber into linen)

b. that they won't be hit/won't die when hit by Spanish muskets; those who will die in the rebellion will live again.

Tapar known as the "Eternal Father," assigned among his followers a Son, a Holy Ghost, a Virgin Mary, twelve apostles, a Pope, and several bishops. It was at this time when the people felt estranged from the Spanish friars because of their prevalent misdemeanor and misdeeds. 

Tapar's syncretic religion appropriated Catholic terminologies and ignored the Spanish priests because Tapar believed that they had their own "popes", "bishops", and "priests", as well as "Jesus Christ", "Holy Ghost" and "Trinity" who could minister to them in their own nativistic ways.

The growing religious following of Tapar reached the then Spanish parish priest curate (friar) assigned to the town of Ogtong (Oton town today), Fr. Francisco de Mesa and he criticized their unorthodox practices. The followers of Tapar were agitated and they executed the parish priest for condemning their religious movement. Tapar's group burned the church and the priest's house, and fled to the mountains.

The Spanish authority knew about the incident and they launched an attack to quell the emergence of the new religion. Spanish troops were sent to Oton and by employing hired spies, the Spaniards caught up with the principal leaders who, in the process of fighting back, were killed. Their corpses were carried back to the port of Iloilo, then fastened to bamboo poles in the Halawod (Jalaur) River to be fed on by crocodiles. The woman who was named as the group's "Blessed Virgin Mary" (Maria Santisima) was mercilessly impaled on a bamboo stake and placed strategically at the mouth of the Laglag (now Dueñas) river to be eaten also by crocodiles. By 1664, as claimed by the Spaniards, peace had returned to Oton. (Agoncillo 1979, Zaide 1957).



Sources:

Tapar Of Panay Facebook Page - https://www.facebook.com/taparofpanay/posts/tapar-revolt-1663personal-informationname-tapar-of-panaynationality-babaylan-nat/989151497772042/

Tapar Revolt Wiki Pilipinas - https://en.wikipilipinas.org/view/Tapar_Revolt_(1663)

10 Amazing Pinoy LGBTS Who Broke Barriers And Made History, Filipiknow - https://filipiknow.net/lgbt-personalities-philippine-history/

The Tapar Uprising In Oton Iloilo, Bridging The Gap By Henry F. Funtecha The News Today Online Edition - http://www.thenewstoday.info/2007/02/09/the.tapar.uprising.in.oton.iloilo.html

https://sckool.org/the-underlying-causes-and-failures-of-the-philippine-revolts-a.html#Visayan_Revolts_1588_(Cebu,Panay,other_Visayan_islands)__Minor_revolts_against_colonial_policies___1621_(_Bohol)


Gay Filipino In History Introduction


We have known so many men and women in Philippine history which tells of their exploits, heroism, accomplishments and contributions to helped us win our independence and freedom from tyranny, build our nation but most of all gives color to the Pearl of the Orient history.

While we know the stories of some Filipino individuals in history whose contribution or significant body of work gives an indelible mark which makes a big difference and impact through time, some other Filipinos unknown and unheard of by many of today's generations also made some impact and for a time make some noteworthy buzz worthy to be mentioned and be known in our nation's long journey to what we are today. 

Aside from the stories of the unknown straight Filipino men and women there are also members of the gay community in history whose stories are also quite interesting to tell and be heard of. We will now know their unheard stories which can also amuse us and inspire us to be courageous and motivate us to do great now and in the future. 

In the succeeding series, Ocean Breeze blog will feature some of these colorful personalities who made an imprint in our annals chapter of courageous act, heroism and greatness.

Friday, April 8, 2022

Unknown Filipino Heroes Introduction



 

Soon I will be featuring some of the Philippines little known unheralded heroes from the past till the present day which the Ocean Breeze blog believes deserves to be honored and worthy of recognition and attention which contributed significantly in our nation's history and/or have inspired so many Filipinos to be a little hero of their own selves. Their life story that were rarely discussed or featured will be read and known here in Ocean Breeze blog.