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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.
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 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:
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 Bayanihan Philippine National Folk Dance Company is the oldest dance company in the Philippines. [1] A multi-awarded company, both nationally and internationally, [ 2 ] Guillermo Gomez Rivera has called it the "depository of almost all Filipino dances , dress and songs."
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
Lucrecia Faustino Reyes-Urtula (June 29, 1929 – August 4, 1999) was a Filipino choreographer, theater director, teacher, author and researcher on ethnic dance. She was the founding director of the Bayanihan Philippine National Folk Dance Company and was named National Artist of the Philippines for dance in 1988.
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.