Folk Dance

- The oldest form of dance and the earliest form of communication

- The traditional dance of a given country which evolved naturally and spontaneously with everyday activities.
- Folk dance or folk dance is a type of dance or dance of the natives in a place. It is the kind of dance that they
themselves have performed that is influenced by their beliefs, religion and tradition. Many of them were also
influenced by the occupiers in their area.

HISTORY:
The history of Philippine folk dancing incorporates influences from immigrants and conquerors while at
the same time maintaining distinctly Filipino roots. Philippine folk dancing is a true reflection of daily life
in past centuries while enchanting modern audiences at the same time.

 There is no recorded "start" to Philippine folk dance - as long as there have been people on the
islands they have been dancing. In fact, their mythology is filled with many different gods and goddesses
that needed to be placated, implored, or thanked for various natural events like rain and harvests. Many
of these festivals still feature ancient folk dances performed in costume of the tribal period.

It is impossible to know when exactly dancing became a part of life in the Philippines. Many traditional
dances were designed to thank the gods for natural and agricultural events, such as rain and harvests.
The dances were performed during festivals and remembrances of past military victories, and still are
performed at celebrations of births and weddings in modern times. Many modern folk dance festivals
still feature ancient dances performed in costume of the tribal period of the Philippines.

Philippine folk dance mirrors the culture and tradition of the Filipinos. It has also been a source of
culture identify of the people. In this diversified country, there are also great diversity of dances in
different forms and dynamics that grow out of various times, situation and experiences.

OBJECTIVES:
Philippine folk dances are a celebration of daily life, health, peace, war, harvest times and other aspects
of life. According to the National Commission for Culture and the Arts, Philippine folk dances imitate
nature and life because they are rituals for social and spiritual expression.

OBJECTIVES OF PHILIPPINE FOLK DANCES

1. To commit to the ideals of cultural development as a vital factor innation-building.
2. To enhance the cultural values demonstrated in varios folk dancesaesthetically, morally, and
physically.
3. To actively participate in folk dancing for its intellectual, moral, andaesthetic values.
4. To disseminate Philippine traditional dances in its pure and authenticform.
5. To instill the love for performing the folk dances as a cultural legacyand to show to other nations the
identity of the Filipinos as a     people

Geographical origin
1. NATIONAL DANCES - found throughout the islands. (e.g., Rigodon, Carinosa, Jota)
Rigodon - Originated from Spain, this dance is commonly performed at formal affairs like inaugural balls
where prominent members of the government participate and enjoy.
Cariñosa - Cariñosa is a word that describes an affectionate, friendly and lovable woman. This dance is
performed in flirtatious manner with fans and handkerchiefs to assist the dancers hide-and-  seek
movements.
La Jota Manileña - It is a dance named after the capital city of the Philippines, Manila, where an
adaptation of Castilian Jota afloat with the clacking of bamboo castanets played by the dancers
themselves. The costume and the graceful movements of the performers noticeably inspired by Spanish
Culture.

2. LOCAL DANCES - found in specific locality. (e.g., Tinikling-Leyte; Subli-Batangas)

Tinikling - Tinkling is considered the national folkdance with a pair of dancers hopping between two
bamboo poles held just above the ground and struck together in time to music. Originated from Leyte
Province, this dance is in fact a mimic movement of tiklingbirds   hopping over trees, grass stems or
over bamboo traps set by farmers. Dancers perform this dance with remarkable grace and speed
jumping between bamboo poles.

Subli-Batangas - This dance is one of the most popular dances in the Philippines and the favorite in
Batangas. This dance is simply ceremonial in nature, and this is performed as homage to the Holy Cross.
The Holy Cross is known by the locals as the 'Mahal na Poong Santa Krus', and the Holy Cross plays an
important role in the development of the dance. In fact, the Holy Cross is considered at the center of the
dance and without the Holy Cross the dance will not materialize.

Francisca Reyes-Aquino (March 9, 1899 – November 21, 1983) was a Filipino folk dancer and academic
noted for her research on Philippine folk dance. She is a recipient of the Republic Award of Merit and the
Ramon Magsaysay Award and is a designated National Artist of the Philippines for Dance.

Francisca was born in Bocaue, Bulacan on March 9, 1899. Reyes-Aquino studied Physical Education and
graduated with a BS Education degree from the University of the Philippines and Sargent College in Boston.
Among Reyes-Aquino's most noted works is her research on folk dances and songs as a student assistant at the
University of the Philippines (UP). Pursuing her graduate studies, she started her work in the 1921 traveling to
remote barrios in Central and Northern Luzon. 
She published a thesis in 1926 entitled "Philippine Folk Dances and Games" where she noted on previously
unrecorded forms of local celebration, ritual and sports. Reyes-Aquino discovered and taught dances through
her books such as Tinikling, Maglalatik, Lubi-lubi, Polka sa Nayon. Her thesis was made with teachers and
playground instructors from both public and private institutions in mind. This work was expanded with the
official support of UP President Jorge Bocobo in 1927. She then served at the university as part of the faculty
for 18 years. 
She served as supervisor of physical education at the Bureau of Education in the 1940s. The education body
distributed her work and adapted the teaching of folk dancing in an effort to promote awareness among the
Filipino youth regarding their cultural heritage. President Ramon Magsaysay conferred her the Republic
Award of Merit in 1954 for her “outstanding contribution toward the advancement of Filipino culture”. Her
contributions to physical education also introduced the subject to the American school curriculum. 
Reyes-Aquino also had other books published including Philippine National Dances (1946), Gymnastics for
Girls (1947), Fundamental Dance Steps and Music (1948), Foreign Folk Dances (1949), Dances for all
Occasion (1950), Playground Demonstration (1951), and Philippine Folk Dances, Volumes I to VI.

Francisca died on November 21, 1983 in Manila, Philippines. 

Reyes-Aquino received recognition for her works such as the Ramon Magsaysay Award for Government
Service in 1962 and her designation as National Artist of the Philippines for Dance in 1973. 
Francisca was posthumously honored with a Google Doodle designed of her popular traditional Filipino dance
and it was unveiled on March 9, 2019, to celebrate her 120th birth anniversary and for her very excellent
contributions in Filipino dancing. 

RAMON OBUSAN
National Artist for Dance (2006)
(June 16, 1938 – December 21, 2006)

Ramon Obusan was a dancer, choreographer, stage designer, and artistic director. He achieved
phenomenal success in Philippine dance and cultural work.* He was also acknowledged as a researcher,
archivist and documentary filmmaker who broadened and deepened the Filipino understanding of his
own cultural life and expressions. Through the Ramon Obusan Folkloric Grop (ROFG), he had effected
cultural and diplomatic exchanges using the multifarious aspects and dimensions of the art of dance.

Among the full-length productions he choreographed are the following:

“Vamos a Belen! Series” (1998-2004) Philippine Dances Tradition

“Noon Po sa Amin,” tableaux of Philippine History in song, drama and dance
“Obra Maestra,” a collection of Ramon Obusan’s dance masterpieces
“Unpublished Dances of the Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration of Life
Saludo sa Sentenyal”
“Glimpses of ASEAN, Dances and Music of the ASEAN-Member Countries”
“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in Dance”

Since 1986, the Ramon A. Obusan Folkloric Group has remained one of the resident dance companies of
the Cultural Center of the Philippines. The ROFG’s presence in the acclaimed institution served as the
avenue where it could showcase the researched materials into season productions and further the
objective of introducing traditional performances into mainstream theater. Thru these productions,
cultural awareness had a means to flourish thanks to the accessibility of various sectors to witness and
experience shows sponsored by the national theater. Cultural outreach bolstered the programs so that
other areas of the country could also enjoy the performances outside the confines of the CCP. Through
its National Tours, both performers and audiences alike benefited from the exposure and interaction. It
was an ideal win-win situation, shared experiences that rewarded both parties and attained the
objective of bringing arts to the people, firsthand