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Tinikling is a traditional Philippine folk dance which originated prior to Spanish colonialism in the area. [1] The dance involves at least two people beating, tapping, and sliding bamboo poles on the ground and against each other in coordination with one or more dancers who step over and in between the poles in a dance.
The dance is intended to impress the viewers with the great skill of the dancers. In some "Filipino Martial Arts" (FMA) circles, it is noted that the Maglalatik "consists of a trapping and boxing method hidden in a dance." The name of the dance means "latik-maker", from latik, a coconut product that is used in Filipino cooking.
Leonor Orosa-Goquingco also had native elements in her dances like Noli Dance Suite and Filipinescas: Philippine Life, Legend and Lore in Dance, which had mixed ballet and folk dances into one performance. Due to this trend, many other writers and dancers continued to connect this Western dance style with native influences, motifs, and even ...
Itik-itik is a mimetic folk dance in the Philippines that mimics the movement of ducks. [1] It originated in Cantilan, Surigao del Sur [1] in the Philippines. Itik-itik was discovered in this town by National Artist for Dance Francisca Reyes-Aquino.
Singkil is an ethnic dance of the Philippines that has its origins in the Maranao people of Lake Lanao, a Mindanao Muslim ethnolinguistic group.The dance is widely recognized today as the royal dance of a prince and a princess weaving in and out of crisscrossed bamboo poles clapped in syncopated rhythm.
The binasuan is a Filipino folk dance in which the performer holds full wine glasses in each hand while performing balancing tricks. Wine may be used to fill the glasses, but other liquids may be substituted.
The cultural dance, Buling-Buling, comes from the Filipino word “buling-buli” which locally means well-polished or well-prepared signifying something or somebody well-groomed for an event or occasion. [2] This is manifested in its colorful celebration with graceful and well-practiced dance movements and detailed indigenous costumes.
The name sublî is a portmanteau of the Tagalog words subsób ("bent", "stooped", also "fall on the face") and balî (also "bent" or "broken"), referring to the posture adopted by male dancers. Both men and women dancers—called manunublî (meaning "person that does sublî ")—perform in pairs and various formations.