Folk Dance of Western Visayas Region: Urukay

In the Philippines, it is customary to have a wedding feast no matter how poor or humble the bride and groom are. This feast is usually held at the bride's house or at the newly-build house of the couple. In this celebration, there is much fun and good-natured teasing. 

In Anini-y, Antique, where this dance originated, the parents of both parties perform the Urukay dance at the wedding feast. 

The Urukay dance is first performed by the father of the groom and the mother of the bride. Then another couple, the father of the bride and the mother of the groom dance the same dance or improvise their own steps.

The Urukay dance is a spirited dance with the male dancer showing off his power and superiority over his female partner by ordering the girl to crawl and pass between his legs in figure IV. The girl retaliates by elbowing the boy. All the time the onlookers cheer and encourage them to show off. 

COSTUME. Girl wears patadyong, camisa or kimona, soft kerchief around neck, and corcho, or chinelas/slippers.

MUSIC. is composed of two parts: A and B

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 stands at the right side of the boy. This is best danced by only one pair. (Second pair repeats the dance after the first pair) 

DANCE OF FATHER OF GROOM AND MOTHER OF BRIDE.

I

Music A.

       Partners face each other.

       (a) Rock R forward (ct. 1), and rock L backward (ct. 2) alternately six times (6 counts). Step R close to L (ct. 1), pause (ct. 2). Girl holds patadyong, boy places hands on waist. _______________ 4M

        (b) Raise L knee in front, L arm bent forward at chest level, sway body slightly backward, R hand holding patadyong, (ct. 1), tap L foot in front, trunk erect. L hand down at side, R hand of girl holding patadyong that of boy is placed on waist (ct. 2) __________________________________________ 1M

        (c) Starting with L foot, take four steps forward to partner's place, passing by L shoulders (cts. 1, 2, 1, 2). Take two steps in place turning left about to face each other. (cts. 1, 2) ___________________ 3M

        (d) Repeat all (a-c), starting with L foot. Reverse position of hands in (b). Finish in proper places, passing by R shoulders in (c). ________________________________________________________ 8M

II

Music B.

      Partners face each other.

      (a) With R foot leading, take eight mincing steps sideward right (cts. 1, and, 2, and, 2 and 1). Girl holds patadyong, Boy places hands on waist. ___________________________________________ 2M

      (b) Bend body slightly to right side, R arm in reverse "T" position and kumintang, L hand on waist (cts. 1, 2). _______________________________________________________________________1M

      (c) Repeat (b), reverse position of hands, bend body to left side. _________________________1M

      (d) Repeat (a-c), L foot leading. Reverse direction and position of hands in (b). _____________4M

      (e) Repeat all (a-d) _____________________________________________________________8M

III

Music A.

      Partners face each other. Boy and Girl do their movements simultaneously.

      Boy. Hold two opposite corners of kerchief diagonally.

      (a). Starting with R foot, take eight change steps forward going around girl clockwise. Start with R hand up, L hand down. Reverse position of hands every measure. __________________________ 8M

      (b) Repeat movements of Girl in (a) below. Hands on waist ____________________________8M

  

    Girl.

      (a) Rock R forward (ct. 1), and rock L backward (ct. 2) alternatively, sixteen times. L hand on waist, R holding patadyong and swinging forward and backward alternately. ______________________8M

      (b) Repeat movements of Boy in (a) above.) Hold kerchief in the same manner ____________8M

IV

Music B. First time.

       Partners face each other.

      (a) Boy stands with feet apart sideward, holding kerchief in front at two opposite corners, and says aloud to Girl, "Suhot, Balaye!" (Pass through, Balaye!) pointing to his open legs at the same time. Upon hearing this, the onlookers also shout, "Suhot, Balaye!" __________________________________8M

      Girl hesitatingly assumes four's base position and crawls between the legs of partner. While she is doing this the onlookers, shout, clap hands and tease girl. ________________________________8M

V

Music B. Second Time

       Partners face each other.

       (a) Starting with R foot, partners execute change steps forward going to any direction. Boy dances nimbly, trying to avoid girl who on her part tries to dig her elbow into him several times as they dance around ________________________________________________________________________8M

NOTE: To end the dance, girl takes her kerchief and puts it around the neck of the other girl (the mother of the groom) and boy puts his kerchief around the neck of the other boy (the father of the bride). The next couple may repeat the same dance or may improvise their own steps and movements. 

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

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 

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.