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According to the book of Francisca Reyes-Aquino, Philippine Folk Dances, Volume 2, there is a different version of the cariñosa in the region of Bicol. Reyes-Aquino is a Filipino folk dancer and cultural researcher who discovered and documented Philippine traditional dances, one of which is the Cariñosa. [1]
The Buff-banded rail (Gallirallus philippensis), one of the birds locally known in the Philippines as tikling, which were the inspiration for the movements of the dance. The name tinikling is a reference to birds locally known as tikling, which can be any of a number of rail species, but more specifically refers to the slaty-breasted rail (Gallirallus striatus), the buff-banded rail ...
Tahing Baila is a Yakan dance, a low land tribal Philippine folk dance, in which it tries to imitate movements of fish. [2] Pangsak Basilan Yakan From the highlands of Mindanao, is a Musim ethnic group called the Yakan. They are known to wear body-hugging elaborately woven costumes.
The dance immediately became popular in the province for stage performances and social dancing. Later, Mr. Antonino Arreza, a native of Cantilan and a grandfather of Prospero Pichay, Jr., was believed to be the one who composed the lyrics of Itik-itik. Below is the original version of Itik-itik in native Cantilangnon dialect:
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. While the man manipulates a sword and shield, the woman gracefully twirls a pair of fans. The dance takes its name from the belled accessory worn on the ankles of the Maranao princess
Pandanggo is a Philippine folk dance which has become popular in the rural areas of the Philippines. The dance evolved from Fandango, a Spanish folk dance, which arrived in the Philippines during the Hispanic period. The dance is accompanied by castanets. [1] This dance, together with the Jota, became popular among the illustrados or the upper ...
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.
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. The dance is also a war dance, depicting a fight between Moros and Christians over the latik. [4]