Folk Dances - Folk Dance Number 9

Folk Dance No. 9

BOLUNTARYO

This native dance according to the historians really started in Alimodian.

The Boluntaryo is a Visayan term in which its equivalent in Spanish is voluntario or in English is volunteer. The boluntaryo in the old days are the Filipino guerillas who fought against the Spaniards in our country.

One native folk dance which local historical accounts definitely established Alimodian as the place of origin is the Boluntaryo which dates back to the few remaining days of the Philippine Revolution (1898). Boluntaryo is the Hiligaynon or Ilonggo term for the Spanish word “voluntario” which has its English equivalent for “volunteer.” 
       
Here's the story of the voluntarios of where the dance take its inspiration from.
 
       At the outbreak of the Philippine revolution, the Ayuntamiento (municipal council) of Jaro was the first to condemn, by way of a resolution, the revolution as "an unpatriotic act." The Ilonggo alta sociedad (also known as Ilustrados Spanish term for upper class society) also responded to the news of revolution with protestation and outrage and evoked pro-Spanish loyalty. The Ayuntamiento of Iloilo followed suit and organized the Iloilo Volunteer Battalion.
      The voluntarios, as members were called, were recruited from among the private population of Jaro and Iloilo and the adjoining prosperous towns of Molo, Arevalo, Oton and Sta. Barbara, and the more distant northern and eastern pueblos. They fought against the army of Gen. Emilio Aguinaldo in Cavite and Pampanga. Illustrious personalities like Martin Delgado, Quintin Salas, Pedro Monteclaro and Adriano Hernandez were among the officers of the battalion. The biggest financial contributors to the Ilongo contingent were industrialist Don Eugenio Lopez and shipping magnate Don Felix dela Rama.

      In the battlefield of Cavite, the voluntarios helped the Spanish forces in the initial defeat of Aguinaldo's forces in 1897. It was the most well-equipped and well-trained contingent on the side of Spain. They helped in the fall of Silang and Imus which led to the collapse of the revolutionaries' defenses in Cavite after a fierce battle for Zapote bridge. The Spanish Crown was elated with that Spanish and the voluntarios' victory. 
       Later voluntarios shared with his compatriots their struggles to overthrow the Spanish sovereignty over this country. Daring exploits of our countrymen of the revolutionary days were recorded in the documentary history of every town in Iloilo province.
      As these “boluntaryos” employed the hit-and-run tactics in their military operations against the enemy, they found enough time to court their fair country maidens, in the hinterlands of Panay. Their romantic advances are portrayed in the performance of this dance.



COSTUME. The girl wears patadyong (native hand woven garment made of hemp used in this case as a skirt) and camisa with soft panuelo over the L shoulder. The boy wears Barong Tagalog and trousers of any desired color.
MUSIC * is divided into two parts: A and B.
COUNT one, two, three to a measure or one, two, three, four, five, six to two measures.
FORMATION Partners stand opposite each other about six feet apart. When facing audience, Girl stands at right side of partner. One to many number of pairs may take part in this dance.

*please refer to the article Alimodian Folk Dances (dated March 18, 2010) on this blog for the notes of the music of this dance.

INTRODUCTION

Music introduction
Partners face each other


   Three-step turn right in place (cts. 1,2,3), feet together and bow to each other (ct. 4 with hold), trunk erect and pause (cts. 5, 6). Girl holds patadyong (garment hand woven made of hemp used as a skirt in this dance), Boy places hands on waist ………………………………………… 2 M


Music A. 
Partners face each other.


(a) Step R (right) sideward (cts. 1, 2) step L (left) across the R in front (ct. 3), step R sideward (ct. 4), point L in front (cts. 5, 6). R arm in reverse “T”position, L arm down at side ……………………………. 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms ………………………………. 2 M
(c) Waltz turn right in place (use two waltz steps). R arm in reverse “T” position and L arm down at side on the first waltz step and reverse position of arms on the second waltz step ………………….. 2 M
(d) Waltz sideward R and L. Arms in lateral position moving sideward right and left …………………. 2 M
(e) Point R foot in front, L knee bent slightly. R arm in reverse “T” position, L hand of Girl holding patadyong, that of Boy is placed on waist. Bend trunk slightly to right side, (cts. 1, 2, 3), pause in this position (cts. 1, 2, 3) …………………………………………………. 2 M
(f) Repeat (a-c) ………………………………………………………………………………. 6 M
(g) Point R foot in front, R arm in reverse “T” position, L arm down at sode, bend body slightly toward the pointing foot (cts. 1, 2), step R close to L foot, arms down at sides (cts. 3) ………………………. 1 M
(h) Repeat (g), pointing with L foot. Reverse position of arms ………………………………………….. 1 M
(i) Repeat all (a-h) ……………………………………………………………………………….. 18 M

II

Music B.
Partners face each other.


(a) Starting with R foot, take three steps obliquely right forward to be about three feet near each other (cts. 1, 2 ,3). Point L foot in front, bend body slightly toward it (cts. 4, 5, 6). Girl holds patadyong, Boy places hands on waist …………………………………………………………………………………… 2 M
(b) Starting with L foot, take three steps obliquely left to be in line at center by R shoulder, passing each other front-to-front (cts. 1, 2, 3). Point R foot in front, bend body toward R foot (cts. 4, 5, 6). Hands as in (a) ……………………………………………………………………………………………………… 2 M
(c) Starting with R foot, take four waltz steps forward moving half-way around clockwise, finishing in one line at center by R shoulders. Arms in lateral position moving sideward right and left alter-
 nately ………………………………………………………………………………………………… 4 M
(d) Point R foot in front, L knee is slightly bent. Arms in reverse “T” position. Partners look at each other over R shoulders ……………………………………………………………………………………….. 2 M
(e) Repeat (a) and (b), going to proper places …………………………………………………………… 4 M
(f) Waltz turn right about to face each other (use two waltz steps). 
Hands as in (a)……………………………………………………………………………………. 2 M
(g) Repeat figure I (g) and (h) ………………………………………………………………………… 2 M
(h) Repeat all (a-g) ………………………………………………………………………………….. 18 M

III

Music A.
Partners face each other.


(a) Repeat figure (a) and (b) …………………………………………………………………….. 4 M
(b) Waltz turn obliquely forward right to be in one line at center with Girl’s back toward audience
and Boy facing audience. Arms as in figure I (c) ……………………………………………………… 2 M
(c) Waltz sideward, R and L. Arms in lateral position moving sideward right and left ………………….. 2 M
(d) Point R foot in front, L knee is slightly bent. Girl shields face with two hands placed about one foot
In front of face, palms facing partner, finger tips pointing upward as if to say “no” Turn face away from partner. Boy in the meantime looks at partner, with hands crossed in front of chest as if to say “pity me” …………………………………………………………………………. 2 M
(e) Repeat figure (a) and (b) ……………………………………………………………….. 2 M
(f) Waltz turn right going to partner’s place. Hands as in figure I (c) …………………………………… 2 M
(g) Repeat figure (g) and (h) ……………………………………………………………………… 2 M
(h) Repeat all (a-g). Finish in proper places in (f) ………………………………………………… 18 M

IV

Music B.
Partners face audience.


(a) Starting with R foot, take three steps forward, arms down at a sides (cts. 1, 2, 3), point L foot in front, R arm in reverse “T” position, L arm bent forward at chest level (cts. 4, 5, 6) ………………………. 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms on counts 4, 5, 6 ……………………………. 2 M
(c) Girl – Waltz turn right in place (use two waltz steps). R arm in reverse “T” position, L arm down  at side on the first waltz step and reverse position of arms on the second waltz step (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Point R foot sideward raise both hands to shield face again from Boy as in figure III (d) (2 M).


   Boy – I the meantime, waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Waltz turn right in place (use two waltz steps). R arm in reverse “T” position. L arm down at side on the first waltz step (2 M). Point R foot sideward, bend body toward partner, raise hands in front, palms up as if pleading (2 M) ……………………………………………………………………………………….. 6 M


(d) Repeat (a) and (b) going backward ……………………………………………………………. 4 M
(e) Partners waltz turn right in place, Hands as in (c) …………………………………………… 2 M
(f) Repeat figure (g) and (h) ……………………………...……………………………………. 2 M
(g) Repeat all (a-f). Finish in proper places and facing each other in (f) ……………………………….. 18 M

V

Music A.
Partners face each other.


(a) Step R foot sideward (ct. 1), brush L forward (ct. 2), step L close to R (ct. 3), step R sideward (ct. 4), brush L forward (cts. 5, 6). R arm in reverse “T”position, L and arm bent forward at chest level ……………………………………………………………………… 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms ……………………………………………… 2 M
(c) Girl – Step R foot backward (ct. 1), point L in front (cts. 2, 3). Repeat same three more times, L, R, L, hands holding patadyong (3 M). Bend body slightly to right and left side alternately. Place both hands again in front to shield face as in figure IV (c) R foot still pointing in front (2 M).


     Boy – In the meantime, starting with R foot, take four waltz steps forward. Place both hands in front, palms up, as if imploring (4 M), reach out hands nearer to Girl as if pleading further (2 M) ……….. 6 M
(d) Repeat (a) and (b) …………………………………………………………………………….4 M
(e) Starting with R foot, partners exchange places by taking two waltz steps forward, passing by R shoulders. Arms in lateral position moving sideward right and left ……………………………….. 2 M
(f) Take one waltz step turning right about to face each other (1 M), point L foot in front, R knee slightly bent and bend trunk slightly toward L foot (1 M). R arm in reverse “T” position, 
L arm down at side …………………………………………………………………………… 2 M
(g) Repeat (a-f), starting with L foot, pass by L shoulders in going back to proper places in (e). 


Reverse position of arms in (a), (b), (e) and (f)

VI

Music B.
Partners face each other.


(a) Repeat figure I (a) and (b) ………………………………………………………………. 4 M
(b) Girl – Waltz turn in place (use two waltz steps). Same arm position as in figure I (c) (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Point R foot in front, L knee bent slightly. Open arms in front, palms up, showing pity to Boy (2 M).


      Boy – Waltz turn right (use two waltz steps) towards front of Girl. Same arm position as in figure I (c) (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Kneel on L, half-stand on R foot. Bend head down and R hand supporting forehead, expressing disappointment. Place R elbow on palm of L hand which is placed on R knee (2 M) ………………… 6 M


(c) Girl – Waltz R forward toward Boy, bend trunk slightly forward. Hands in front, palms up, as if welcoming and accepting Boy (1 M). Waltz L backward, cross hands in front of chest as if in love, trunk erect (1 M). Repeat same (2 M).


Boy – In the meantime, stay in the same position as above in (b) in disappointment (4 M) ……… 4 M


(d) Girl – Take Boy’s hands and slowly help Boy to stand, Boy stand up with help of Girl ………………. 2 M
(e) Partners release hands. Take a three-step turn right to proper places, both smiling and bowing with each other at the last measure. Girl holds patadyong, Boy places hands on waist …………………… 2 M
(f) Repeat all (a-e) ………………………………………………………………………. 18 M




Partners face each other.


(a) Step R foot sideward ( cts. 1, 2), step L across in front (cts. 3), step R sideward (ct. 4), close L foot to R (cts. 5, 6). Girl holds patadyong, Boy places hands on waist …………………………………………….. 2 M
(b) Repeat (a), starting with L foot …………………………………………………………………… 2 M
(c) Waltz turn right to be near each other about two feet apart (use two waltz steps). Arm position as in figure I (c) …………………………………………………………………………………………………. 2 M
(d) Waltz sideward, R and L. Arms in lateral position moving sideward right and left ……………… 2 M
(e) Girl – Take both hands of Boy and bring them close to her heart at the same time pointing R foot in front. Bend body slightly to right side (2 M).


   Boy – In the meantime, let Girl takes his hands close to her heart. Step R forward toward Girl (ct. 1), step close to R (cts. 2, 3), pause in this position (cts. 4, 5, 6). Partners are smiling and looking at each other all the while …………………………………………………………………………………………. 2 M


(f) Release hands. Repeat (a) and (b) ………………………………………………………… 4 M
(g) Starting with R foot, take two waltz steps forward to exchange places, passing by L shoulders. Arms in lateral position moving sideward right and left. …………………………………………………………… 2 M
(h) Take one waltz step turning right about to face each other (1 M). Point L foot in front, R knee slightly bent and bend trunk slightly toward L foot (1 M). R arm in reverse “T” position. L arm down at die …………………………………………………………………………………………… 2 M
(i) Repeat all (a-h), starting with L foot. Pass by R shoulders in going back to proper places in (g). Reverse position of arms in (c), (d), (g) and (h) ………………………………………………………………….. 18 M

VIII

Music B. Play last two measures slowly.
Partners face each other.


(a) Girl – Point R foot in front and clap hands on cts. 1, 3, 1 two times (4 M). Boy – In the meantime perform figure I (a) and (b) ………………………………………………………………………… 4 M
(b) Partners waltz R forward, swing R arm forward-upward, L hand of Girl holding patadyong, that of Boy is placed on waist (1 M), waltz L backyard and swing R arm down to chest (1 M). Repeat same (2 M) …………………………………………………………………………………….. 4 M
(c) Point R foot in front, R arm in reverse “T” position, L handoff Girl holding patadyong, that of Boy is placed on waist. Bend body toward R foot ……………………………………………………………………… 2 M
(d) Repeat (a) ……………………………………………………………………………………….. 4 M
(e) Starting with R foot, take two waltz steps forward to partner’s place, passing by R shoulders. Hold each other’s R hand momentarily while passing each other, L hand down at side ……………… 2 M
(f) Release R hands, turn right about to face each other. Point R foot in front and bow to each other R arm in reverse “T” position, arm down at side …………………………………………………………………… 2 M
(g) Repeat all (a –e), this time Girl doing the movements of Boy in (a) and vice-versa …………….. 16 M
(h) Face front, join inside hands at waist level. Bow to audience, free hand of Girl holding patadyong, 
that of Boy is placed on waist ………………………………………………………….... 2 M

Folk Dances - Folk Dance Number 8

Folk Dance No. 8

PALMERITO

During the old times, it is a custom practice by the people of Janiuay, Iloilo to sing and dance when celebrating an occasion. They are creating songs that is related or connected to the trees, flowers, birds and other things they see in their environment. One of them is the "Palmerito" that refers to a crab. They sing five stanzas of this song while dancing.

The first stanza states the lifting of seven burly men of the heavy claws of the crab. The men were paid twenty-five (25) cents each.

The third stanza states the hind legs of the crab that were made into flutes for the children of the dancers.

Folk Dances - Folk Dance Number 7

Folk Dance No. 7

HAPLIK

This upbeat dance is common in Iloilo and Antique. This dance is named after the dance step "haplik" which is used in the third part.

COSTUME. The girl is wearing a patadyong, camisa and a soft panuelo or handkerchief over her shoulder while the boy is wearing a barong tagalog and white trouser.

Folk Dances - Folk Dance Number 6

Folk Dance No. 6



The first version is shown on the link below. The owner of the video disabled embedding of the video on other sites but you can watch it on the link below:

Kuradang Folk Dance - https://www.youtube.com/watch?v=vAY9HCbJLfU

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 dance performed during the fiesta or a celebration is the Kuradang. The name of the dance was probably taken from the word "Kudangdang" which means posh, extravagant, lavish or luxuriously epicurean. 

COSTUME. The girl is wearing a camisa or a kimona with a soft panuelo on its shoulder. The boy is wearing a barong tagalog and colorful trousers. The dancers are all barefooted. 

Folk Dances - Folk Dance Number 5

Folk Dance No. 5

KATALANA

The dance is probably brought by the Spanish migrants from Catalonia, Spain during the first half of 17th century. This is an upbeat, festive and artistic dance which is popular in Iloilo.

COSTUME. The girl wears patadyong and kimona. The boys wear trousers and barong tagalog.

Folk Dances - Folk Dance Number 4

Folk Dance No. 4

BUCASOY

 The Bucasoy is a favorite dance of the old people of Alimodian, Iloilo. 

COSTUME: The girl wears patadyong (native hand woven garment made of hemp used in this case as a skirt) and camisa with soft panuelo over the L shoulder. The boy wears barong tagalog and trousers of any desired color.

Folk Dances - Folk Dance Number 3

Folk Dance No. 3

BINADYONG 

The Binadyong is an upbeat and lively dance from the province of Iloilo. The term "badyong" refers to the unstable cadence footsteps of the tipsy or the inebriated. This kind of movement is found in the second part of the dance where the dancers is swinging back and forth in performing the "cut step". 

COSTUME: The girl is wearing a patadyong and camisa while the boy is wearing a barong tagalog and trousers or pants of any color.

Folk Dances - Folk Dance Number 2

Folk Dance No. 2

BALITAW

This is a dance about courtship in different places in the Philippines most especially to the Tagalogs and Visayans. The word "balitaw" is coined from a combined two Tagalog words, "balita raw". Balita is Tagalog for news and "raw" is Filipino for "it is said" or "rumored". The balita raw consequently means a rumor or it is rumored. 

In the interpretation or version in the Visayas, the dancers are singing however among the Tagalogs the dancers are not singing. It is shown by the dancers through action the courtship, the flower is used as an expression of their feelings. The giving wholeheartedly of the flower by the lady to the young man symbolizes his acceptance of the young man as a suitor.  There is a folk song included in the balitaw music however the words or lyrics has no connection with the dance.

COSTUME: The girl wears a balintawak while the boy wears barong tagalog and white trousers or pants. There is a rose or any kinds of flower pinned to the camisa of the girl.

Song

Inday, Inday sa Balitaw 

Kahoy nakahapay,

Sandok nakasuksok

Palayok nakataob.

Siyansi nabaluktot

Sinigang na matabang

Kulang sa sampalok.

Inday, Inday sa Balintang

Batang nabalian

Kahoy na sariwa 

Saging na nilaga

Kinuha sa lungga

Binabad sa suka

Gamot sa sikmura.

English Translation

Inday, Inday in the Balitaw

Wood bent low, inclined or flattened to the ground

Ladle worn 

Pot overturned.

Food turner or spatula bent

Bland or tasteless Sinigang stew 

Lacking of Tamarind. (as a sour base)

Inday, Inday sa Balintang

Fractured child

Fresh logs or wood

Hard boiled bananas

Taken from the burrows

Soaked in vinegar 

Medicine for stomach.

Folk Dances - Folk Dance Number 1

Folk Dance No. 1

ALEGRITO

This dance is a heavily favorite dance of the elders of the Barangay Kanipa-an, Janiuay, Iloilo. They usually perform this dance when they have a colorful celebration or pageantry.

The word "alegrito" came from the musical term allegretto which means a fast tempo than the andante but not that fast as allegro. The first part of the music is lively and upbeat while the second part is slow.

Costume: The women wears patadyong and camisa and the men on the other hands, wears white trousers and Barong Tagalog.

Formation: The partners who are standing are facing each other with a distance of about six inches between them. The girl is standing on the right side of its partner. Any number of pairs can participate and perform this dance.

Folk Dances

The Philippines is rich in the materials on native dances. For the Filipinos which is a race who has a deep appreciation for music, the singing and dancing almost consist their entertainment. The people expresses their thoughts through rhythmic movements of the folk dances. Though a lot of the folk dances of the Philippines possesses a ritual attributes there are also beautiful differences related to activities, courtship, for fiesta celebrations and war dances that gives color to a culturally-rich Filipinos, customs, practices and tradition.

There are dances for different occasions. The love is expressed far so in general, the native dances is done relatively small or no such closeness or nearness. The men who are dancing has hankies or the ladies has fans as substitutes to their hands that cannot be held by anyone or the hold-me-not hands.

The Ilonggos are proud of its native dances just like in the succeeding article.





Photo Source:

http://www.ecddancecompany.com/portfolio-view/ragragsakan-cordillera/

https://filipinorennaisance.wordpress.com/2013/06/25/split-bamboo-dance-of-the-perfect-man-and-woman/

DINAGYANG FESTIVAL Official Theme Song Lyrics With English Translation And Video

Hala Bira, Iloilo! - Dinagyang Theme Song
Composed by: Rommel Salvador N. Chiu
Lyrics and Vocals by: Dante Beriong


Sadtong nahauna nga istorya kag panahon
Nakilala ka sa ngalan nga Irong-irong
Puno sang manggad kag sang katahum
Sa idalum ni Datu Paiburong.

Ipabugal ko ang imo ngalan
Ipabugal ko ang mga binuhatan
Sang imong ginikanan kag imong kabataan
Gabuligay pakadto sa kauswagan.

Chorus

Hala Bira ILOILO! Sulong sa pagbag-o!
Hala Bira ILOILO! Matahum nga banwa ko!
Hala Bira ILOILO! Ipabugal ang ngalan mo!
Sa tanan nga panahon ikaw ang palanggaon!

Sa paglakat sang malawig nga tinion
Nakilala ka sa madamong bulohaton
Ang imo nga DINAGYANG kag imo nga KASADYAHAN
Padayon nga ginapasidungga n!

Himuon ko ang tanan nga masarangan
Isinggit ko sa bilog nga kalibutan
Kita mga ILONGGO tunay nga PILIPINO
Mapisan kag dungganon nga mga tawo!

REPEAT CHORUS 2x

Hala Bira ILOILO! Negosyo kag probinsya!
Hala Bira ILOILO! Napun-an ka sang kasadya!
Hala Bira ILOILO! Itib-ong ang kalinungan!
Hala Bira ILOILO! Padayon sa kauswagan!

REPEAT CHORUS 2x

Hala Bira ILOILO! VIVA SENYOR SANTO NINO!
Hala DAGYANG ILOILO! VIVA SENYOR SANTO NINO!
Hala DAGYANG ILOILO! VIVA SENYOR SANTO NINO!
HALA BIRA ILOILO!

ENGLISH TRANSLATION

Hala Bira Iloilo! - DINAGYANG FESTIVAL Official Theme Song

by Dante Beriong


During the old days,
You were known by the name Irong-irong
Lots of treasure and beauty
Under the rule of Datu Paiburong

I will show pride in your name
I will show pride in what you have done
Of your forefathers, generations and your offsprings
United helping hands towards progress.

Chorus:

Hala Bira ILOILO! Move forward to a change!
Hala Bira ILOILO! My beautiful homeland!
Hala Bira ILOILO! Take pride in your name!
Be loved at all times!

Through time
Your were known by many of your great works
Your DINAGYANG and your KASADYAHAN
Continuously given honor!

I will do my best
I will shout to the world
We Ilonggos, the real Filipinos
Hard working and dignified people!

REPEAT CHORUS 2x

Hala Bira ILOILO! Business and province!
Hala Bira ILOILO! Full of fun and laughter!
Hala Bira ILOILO! Spread peace!
Hala Bira ILOILO! Continue to progress!

REPEAT CHORUS 2x

Hala Bira ILOILO! VIVA SENYOR SANTO NINO!
Hala DAGYANG ILOILO! VIVA SENYOR SANTO NINO!
Hala DAGYANG ILOILO! VIVA SENYOR SANTO NINO!
HALA BIRA ILOILO!

Alimodian Folk Dances

Bucasoy

   Bucasoy is a favorite dance of the old people of Alimodian, Iloilo.


COSTUME. The girl wears patadyong (native hand woven garment made of hemp used in this case as a skirt) and camisa with soft panuelo over the L shoulder. The boy wears barong tagalong and trousers of any desired color.
MUSIC is divided into two parts: A and B.
COUNT one, two, three to a measure.
FORMATION. Partners face each other about six feet apart. When facing audience, Girls stands at partners right. One to any number of couples may take part in this dance.

INTRODUCTION

Music Introduction
Partners take a three-step turn right in place and bow to each other. Girl holds patadyong, Boy places hands on waist ……………………….. 2 M

I

Music A.
Partners face each other.
(a) Sway balance with a raise R and L. R arm in reverse “T” position, L arm bent forward at shoulder level when going to right and reverse position of arms when going to left side ………… 4 M
(b) Waltz sideward, R and L. Arms in lateral position, moving sideward right and left …………. 2 M
(c) Waltz turn right about in place so that back is toward partner, Girl holding patadyong, Boy’s hands on waist ………………………………………………… 1 M
(d) Step L in place and raise R knee in front at the same time (ct. 1) pause (cts. 2, 3). L arm in reverse “T” position, R arm bent forward at shoulder level …………………………………………. 1 M
(e) Repeat all (a – d), finish facing partner …………………. 8 M

II

Music B
Partners face front.


(a) Starting with R foot, take three steps forward, arms down at sides (cts. 1, 2, 3), point L in front, R arm in reverse “T” position, R arm bent forward at shoulder level (cts. 1, 2, 3) …………………….. 2 M
(b) Repeat (a), starting with L foot. Reverse position of arms ……………………… 2 M
(c) Four touch steps in front, R and L alternately. Start with L arm in reverse “T” position, back of R hand under L elbow. Reverse position of arms every measure ……………………………… 2 M
(d) Repeat all (a-c), going backward in (a) and (b)………………………….. 8 M

III

Music A
Partners face each other.

(a) Waltz R forward and L backward alternately, four times. Swing R arm forward-upward and downward to left side alternately, four times, L hand of Girl holding patadyong, that of Boy is placed on waist ……………………………………………………….. 4 M
(b) Starting with R foot, take three cross waltz steps forward to partner’s place, passing by R shoulders. Girl holds patadyong, Boy places hands on waist ……………………………………… 3 M
(c) Step L forward, turn right about and at the same time point R in front (ct. 1) pause (cts. 2, 3). Hands as in (b)
……………………………. 1 M
(d) Repeat all (a – c) ……………………………………….. 8 M

IV

Music B.
Partners face each other.


(a) Point R foot in front (cts. 1, 2), step R close to L (ct. 3). R arm in reverse “T”position and kumintang, L hand of Girl holding patadyong, that of Boy is placed on waist………………………………. 1 M
(b) Repeat (a) with L foot. Reverse position of arms ……………………... 1 M
(c) Starting with R foot, take three steps forward to be in line with partner by R shoulders, arms down at sides (cts. 1, 2, 3). Point L foot in front and clap hands over L shoulder (ct. 1), pause (cts. 2, 3). Look at partner over R shoulder…………………………. 2 M
(d) Starting with L foot, take three waltz steps forward to partner’s place. Arms in lateral position, moving sideward left and right alternately ………………………………………………. 3 M
(e) Step R forward, turn left about and at the same time point L in front R arm in reverse “T” position, L hand of Girl holding patadyong, that of Boy is placed on waist. (ct. 1), step L close to R foot and pause, arms down at sides. (cts. 2, 3)……………. 1 M
(f) Repeat all (a-e). Finish in proper places…………………. 8 M

V

Music A.
Partners face each other.


(a) Repeat figure I (a) and (b) …………………………… 6 M
(b) Waltz step R forward to meet at center, Girls holds patadyong, Boy places hand on waist ……… 1 M
(c) Step L forward, turn right about and at the same time raise R knee in front (ct. 1), pause (cts. 2, 3). L arm in reverse “T” position after the turn ……………………………………………….. 1 M
(d) Close step sideward right (cts. 1, 2, 3), waltz sideward right (cts. 1, 2, 3). Hands as in (b) ……….... 2 M
(e) Repeat (d), going sideward left……………………………….. 2 M
(f) Starting with R foot, take two waltz step forward to proper places. Hands as in (b)…………………. 2 M
(g) Waltz turn right about to face partner. Hands as in (b) ……………………………………………. 1 M
(h) Step L in place and raise R knee in front (ct. 1), pause (cts. 2, 3). Hands as in (c) …………………….. 1 M

VI

Music B.
Partners face each other.


(a) Starting with R foot, take one step-brush-swing-hop forward (cts. 1, 2, 3). Lunge L forward with R knee slightly bent, to be in line with partner at center by R shoulders (cts. 1, 2, 3). Swing arms forward-upward to overhead. Look at each other over R shoulders ………………………………………… 2 M
(b) Starting with R foot, take two waltz steps forward to partner’s place. Arms in lateral position, moving sideward right and left. Finish with Girl facing audience and Boy, away from audience …………… 2 M
(c) Waltz R forward and L backward. Arms as in Figure III (a) ………………………………… 2 M

Partners face each other
(d) Repeat (c) ………………………………………… 2 M
(e) Repeat all (a-d), going to proper places and finish facing opposite direction in (b) …………………. 8 M

VII

Music A.
Partners face front.


(a) Starting with R foot, take three steps sideward right (cts. 1, 2, 3), point L in front (cts. 1, 2, 3). Girl holds patadyong, Boy places hands on waist ………………………………………… 2 M
(b) Repeat (a), starting with L foot……………………… 2 M
(c) Starting with R foot, take three step-brush-steps in place turning right about. Do not step on L after the brush at the third time. R arm in reverse “T” about. Do not step on L after the brush at the third time. R arm in reverse “T” position. L hand of Girl holding patadyong, that of Boy is placed on waist (3 M). Step L backward and point R in front, reverse position of arms (ct. 1), pause ( cts. 2, 3) ……………………………………………… 8 M
(d) Repeat all (a-c), finish facing each other......……. 8 M

VIII

Music B
Partners face each other.


(a) Repeat Figure (a) …………………………………………4M
(b) Starting with R foot, take three small waltz steps to be in line with partner at center by R shoulders. Arms in lateral position, moving sideward right and left alternately (3M). Step L sideward at the same tie point R in front, arms lateral left (ct. 1), pause (cts. 2, 3) …………………………………… 4 M
(c) Join R hands, L hand of Girl holding patadyong and that of Boy is placed on waist. Starting with R foot, take three small steps forward (cts. 1, 2, 3) and point L in front (cts. 1, 2, 3). Do this once more to complete the turn half-way around clockwise (2M).
Finish at center facing proper places ………………………… 4 M
(d) Drop R hands. Starting with R foot, take two waltz steps forward to proper places. Girl holds patadyong, Boy places hands on waist ………………………………………………… 2 M
(e) Waltz turn right about (use two waltz steps) to face each other. Hands as in (d) ………………………. 2 M

SALUDO

(Bowing)

Music Finale
(a) Starting with R foot, take three steps forward to meet at center, arms down at sides (cts. 1, 2, 3) …………………………………………………………… 1 M
(b) Join R hands, free hands down at sides. Face front, both bow to audience (cts. 1, 2, 3) …………. 2 M

Bucasoy Folk Dance Video

Alimodian Folk Dances

The Music to the Folk Dance, Boluntaryo

Boluntaryo

           One native folk dance which local historical accounts definitely established Alimodian as the place of origin is the Boluntaryo which dates back to the few remaining days of the Philippine Revolution (1898). Boluntaryo is the Hiligaynon or Ilonggo term for the Spanish word “voluntario” which has its English equivalent for “volunteer.” 
       Here's the story of the voluntarios of where the dance take its inspiration from. 
       At the outbreak of the Philippine revolution, the Ayuntamiento (municipal council) of Jaro was the first to condemn, by way of a resolution, the revolution as "an unpatriotic act." The Ilonggo alta sociedad (also known as Ilustrados Spanish term for upper class society) also responded to the news of revolution with protestation and outrage and evoked pro-Spanish loyalty. The Ayuntamiento of Iloilo followed suit and organized the Iloilo Volunteer Battalion.
      The voluntarios, as members were called, were recruited from among the private population of Jaro and Iloilo and the adjoining prosperous towns of Molo, Arevalo, Oton and Sta. Barbara, and the more distant northern and eastern pueblos. They fought against the army of Gen. Emilio Aguinaldo in Cavite and Pampanga. Illustrious personalities like Martin Delgado, Quintin Salas, Pedro Monteclaro and Adriano Hernandez were among the officers of the battalion. The biggest financial contributors to the Ilongo contingent were industrialist Don Eugenio Lopez and shipping magnate Don Felix dela Rama.

      In the battlefield of Cavite, the voluntarios helped the Spanish forces in the initial defeat of Aguinaldo's forces in 1897. It was the most well-equipped and well-trained contingent on the side of Spain. They helped in the fall of Silang and Imus which led to the collapse of the revolutionaries' defenses in Cavite after a fierce battle for Zapote bridge. The Spanish Crown was elated with that Spanish and the voluntarios' victory. 
       Later voluntarios shared with his compatriots their struggles to overthrow the Spanish sovereignty over this country. Daring exploits of our countrymen of the revolutionary days were recorded in the documentary history of every town in Iloilo province.
      As these “boluntaryos” employed the hit-and-run tactics in their military operations against the enemy, they found enough time to court their fair country maidens, in the hinterlands of Panay. Their romantic advances are portrayed in the performance of this dance.



COSTUME. The girl wears patadyong (native hand woven garment made of hemp used in this case as a skirt) and camisa with soft panuelo over the L shoulder. The boy wears Barong Tagalog and trousers of any desired color.
MUSIC is divided into two parts: A and B.
COUNT one, two, three to a measure or one, two, three, four, five, six to two measures.
FORMATION Partners stand opposite each other about six feet apart. When facing audience, Girl stands at right side of partner. One to many number of pairs may take part in this dance.

INTRODUCTION

Music introduction
Partners face each other


   Three-step turn right in place (cts. 1,2,3), feet together and bow to each other (ct. 4 with hold), trunk erect and pause (cts. 5, 6). Girl holds patadyong (garment hand woven made of hemp used as a skirt in this dance), Boy places hands on waist ………………………………………… 2 M


Music A.
Partners face each other.


(a) Step R (right) sideward (cts. 1, 2) step L (left) across the R in front (ct. 3), step R sideward (ct. 4), point L in front (cts. 5, 6). R arm in reverse “T”position, L arm down at side ……………………………. 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms ………………………………. 2 M
(c) Waltz turn right in place (use two waltz steps). R arm in reverse “T” position and L arm down at side on the first waltz step and reverse position of arms on the second waltz step ………………….. 2 M
(d) Waltz sideward R and L. Arms in lateral position moving sideward right and left …………………. 2 M
(e) Point R foot in front, L knee bent slightly. R arm in reverse “T” position, L hand of Girl holding patadyong, that of Boy is placed on waist. Bend trunk slightly to right side, (cts. 1, 2, 3), pause in this position (cts. 1, 2, 3) …………………………………………………. 2 M
(f) Repeat (a-c) ………………………………………………………………………………. 6 M
(g) Point R foot in front, R arm in reverse “T” position, L arm down at sode, bend body slightly toward the pointing foot (cts. 1, 2), step R close to L foot, arms down at sides (cts. 3) ………………………. 1 M
(h) Repeat (g), pointing with L foot. Reverse position of arms ………………………………………….. 1 M
(i) Repeat all (a-h) ……………………………………………………………………………….. 18 M

II

Music B.
Partners face each other.


(a) Starting with R foot, take three steps obliquely right forward to be about three feet near each other (cts. 1, 2 ,3). Point L foot in front, bend body slightly toward it (cts. 4, 5, 6). Girl holds patadyong, Boy places hands on waist …………………………………………………………………………………… 2 M
(b) Starting with L foot, take three steps obliquely left to be in line at center by R shoulder, passing each other front-to-front (cts. 1, 2, 3). Point R foot in front, bend body toward R foot (cts. 4, 5, 6). Hands as in (a) ……………………………………………………………………………………………………… 2 M
(c) Starting with R foot, take four waltz steps forward moving half-way around clockwise, finishing in one line at center by R shoulders. Arms in lateral position moving sideward right and left alter-
 nately ………………………………………………………………………………………………… 4 M
(d) Point R foot in front, L knee is slightly bent. Arms in reverse “T” position. Partners look at each other over R shoulders ……………………………………………………………………………………….. 2 M
(e) Repeat (a) and (b), going to proper places …………………………………………………………… 4 M
(f) Waltz turn right about to face each other (use two waltz steps).
Hands as in (a)……………………………………………………………………………………. 2 M
(g) Repeat figure I (g) and (h) ………………………………………………………………………… 2 M
(h) Repeat all (a-g) ………………………………………………………………………………….. 18 M

III

Music A.
Partners face each other.


(a) Repeat figure (a) and (b) …………………………………………………………………….. 4 M
(b) Waltz turn obliquely forward right to be in one line at center with Girl’s back toward audience
and Boy facing audience. Arms as in figure I (c) ……………………………………………………… 2 M
(c) Waltz sideward, R and L. Arms in lateral position moving sideward right and left ………………….. 2 M
(d) Point R foot in front, L knee is slightly bent. Girl shields face with two hands placed about one foot
In front of face, palms facing partner, finger tips pointing upward as if to say “no” Turn face away from partner. Boy in the meantime looks at partner, with hands crossed in front of chest as if to say “pity me” …………………………………………………………………………. 2 M
(e) Repeat figure (a) and (b) ……………………………………………………………….. 2 M
(f) Waltz turn right going to partner’s place. Hands as in figure I (c) …………………………………… 2 M
(g) Repeat figure (g) and (h) ……………………………………………………………………… 2 M
(h) Repeat all (a-g). Finish in proper places in (f) ………………………………………………… 18 M

IV

Music B.
Partners face audience.


(a) Starting with R foot, take three steps forward, arms down at a sides (cts. 1, 2, 3), point L foot in front, R arm in reverse “T” position, L arm bent forward at chest level (cts. 4, 5, 6) ………………………. 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms on counts 4, 5, 6 ……………………………. 2 M
(c) Girl – Waltz turn right in place (use two waltz steps). R arm in reverse “T” position, L arm down  at side on the first waltz step and reverse position of arms on the second waltz step (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Point R foot sideward raise both hands to shield face again from Boy as in figure III (d) (2 M).


   Boy – I the meantime, waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Waltz turn right in place (use two waltz steps). R arm in reverse “T” position. L arm down at side on the first waltz step (2 M). Point R foot sideward, bend body toward partner, raise hands in front, palms up as if pleading (2 M) ……………………………………………………………………………………….. 6 M


(d) Repeat (a) and (b) going backward ……………………………………………………………. 4 M
(e) Partners waltz turn right in place, Hands as in (c) …………………………………………… 2 M
(f) Repeat figure (g) and (h) ……………………………...……………………………………. 2 M
(g) Repeat all (a-f). Finish in proper places and facing each other in (f) ……………………………….. 18 M

V

Music A.
Partners face each other.


(a) Step R foot sideward (ct. 1), brush L forward (ct. 2), step L close to R (ct. 3), step R sideward (ct. 4), brush L forward (cts. 5, 6). R arm in reverse “T”position, L and arm bent forward at chest level ……………………………………………………………………… 2 M
(b) Repeat (a) starting with L foot. Reverse position of arms ……………………………………………… 2 M
(c) Girl – Step R foot backward (ct. 1), point L in front (cts. 2, 3). Repeat same three more times, L, R, L, hands holding patadyong (3 M). Bend body slightly to right and left side alternately. Place both hands again in front to shield face as in figure IV (c) R foot still pointing in front (2 M).


     Boy – In the meantime, starting with R foot, take four waltz steps forward. Place both hands in front, palms up, as if imploring (4 M), reach out hands nearer to Girl as if pleading further (2 M) ……….. 6 M
(d) Repeat (a) and (b) …………………………………………………………………………….4 M
(e) Starting with R foot, partners exchange places by taking two waltz steps forward, passing by R shoulders. Arms in lateral position moving sideward right and left ……………………………….. 2 M
(f) Take one waltz step turning right about to face each other (1 M), point L foot in front, R knee slightly bent and bend trunk slightly toward L foot (1 M). R arm in reverse “T” position,
L arm down at side …………………………………………………………………………… 2 M
(g) Repeat (a-f), starting with L foot, pass by L shoulders in going back to proper places in (e).


Reverse position of arms in (a), (b), (e) and (f)

VI

Music B.
Partners face each other.


(a) Repeat figure I (a) and (b) ………………………………………………………………. 4 M
(b) Girl – Waltz turn in place (use two waltz steps). Same arm position as in figure I (c) (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Point R foot in front, L knee bent slightly. Open arms in front, palms up, showing pity to Boy (2 M).


      Boy – Waltz turn right (use two waltz steps) towards front of Girl. Same arm position as in figure I (c) (2 M). Waltz sideward, R and L. Arms in lateral position moving sideward right and left (2 M). Kneel on L, half-stand on R foot. Bend head down and R hand supporting forehead, expressing disappointment. Place R elbow on palm of L hand which is placed on R knee (2 M) ………………… 6 M


(c) Girl – Waltz R forward toward Boy, bend trunk slightly forward. Hands in front, palms up, as if welcoming and accepting Boy (1 M). Waltz L backward, cross hands in front of chest as if in love, trunk erect (1 M). Repeat same (2 M).


Boy – In the meantime, stay in the same position as above in (b) in disappointment (4 M) ……… 4 M


(d) Girl – Take Boy’s hands and slowly help Boy to stand, Boy stand up with help of Girl ………………. 2 M
(e) Partners release hands. Take a three-step turn right to proper places, both smiling and bowing with each other at the last measure. Girl holds patadyong, Boy places hands on waist …………………… 2 M
(f) Repeat all (a-e) ………………………………………………………………………. 18 M




Partners face each other.


(a) Step R foot sideward ( cts. 1, 2), step L across in front (cts. 3), step R sideward (ct. 4), close L foot to R (cts. 5, 6). Girl holds patadyong, Boy places hands on waist …………………………………………….. 2 M
(b) Repeat (a), starting with L foot …………………………………………………………………… 2 M
(c) Waltz turn right to be near each other about two feet apart (use two waltz steps). Arm position as in figure I (c) …………………………………………………………………………………………………. 2 M
(d) Waltz sideward, R and L. Arms in lateral position moving sideward right and left ……………… 2 M
(e) Girl – Take both hands of Boy and bring them close to her heart at the same time pointing R foot in front. Bend body slightly to right side (2 M).


   Boy – In the meantime, let Girl takes his hands close to her heart. Step R forward toward Girl (ct. 1), step close to R (cts. 2, 3), pause in this position (cts. 4, 5, 6). Partners are smiling and looking at each other all the while …………………………………………………………………………………………. 2 M


(f) Release hands. Repeat (a) and (b) ………………………………………………………… 4 M
(g) Starting with R foot, take two waltz steps forward to exchange places, passing by L shoulders. Arms in lateral position moving sideward right and left. …………………………………………………………… 2 M
(h) Take one waltz step turning right about to face each other (1 M). Point L foot in front, R knee slightly bent and bend trunk slightly toward L foot (1 M). R arm in reverse “T” position. L arm down at die …………………………………………………………………………………………… 2 M
(i) Repeat all (a-h), starting with L foot. Pass by R shoulders in going back to proper places in (g). Reverse position of arms in (c), (d), (g) and (h) ………………………………………………………………….. 18 M

VIII

Music B. Play last two measures slowly.
Partners face each other.


(a) Girl – Point R foot in front and clap hands on cts. 1, 3, 1 two times (4 M). Boy – In the meantime perform figure I (a) and (b) ………………………………………………………………………… 4 M
(b) Partners waltz R forward, swing R arm forward-upward, L hand of Girl holding patadyong, that of Boy is placed on waist (1 M), waltz L backyard and swing R arm down to chest (1 M). Repeat same (2 M) …………………………………………………………………………………….. 4 M
(c) Point R foot in front, R arm in reverse “T” position, L handoff Girl holding patadyong, that of Boy is placed on waist. Bend body toward R foot ……………………………………………………………………… 2 M
(d) Repeat (a) ……………………………………………………………………………………….. 4 M
(e) Starting with R foot, take two waltz steps forward to partner’s place, passing by R shoulders. Hold each other’s R hand momentarily while passing each other, L hand down at side ……………… 2 M
(f) Release R hands, turn right about to face each other. Point R foot in front and bow to each other R arm in reverse “T” position, arm down at side …………………………………………………………………… 2 M
(g) Repeat all (a –e), this time Girl doing the movements of Boy in (a) and vice-versa …………….. 16 M
(h) Face front, join inside hands at waist level. Bow to audience, free hand of Girl holding patadyong,
that of Boy is placed on waist ………………………………………………………….... 2 M