Philippine dance

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MARTIAL DANCE. Skillful hand movements characterize the maglalatik, a martial dance from Blnan, Laguna, which Is probably a klnd of moros y cristianos. (Sayan/han Philippine Dance Company Collection)

FORMS

The dance spread swiftly throughout Europe in the 19th century. Gradually it became more refined, acquired new patterns and was renamed the mazurka. But though it finally had a name, it was outstanding for its indeterminate and undefined patterns. Henry Cellarius, a foremost dance master of his time, called it "an independent and truly inspiring dance with no set format." The appeal of the mazurka extended to classical dance and music, as in Leo Delibes' Coppelia, Peter I. Tchaikovsky's Swan Lake, and Frederic Chopin Les Sylphides. Chopin redefined its Polish roots and com- posed over 50 mazurka. Other composers like Mikhail Glinka and Karol Szymanowski were equally ena- mored with it. While the mazurka's place in folk dance and ballet remains secure, the vitality of the mazurka as a ball- room dance dwindled with the diminished creative energy of enthusiasts. Like most European dances, the mazurka was in- troduced to the Philippines during the Spanish re- gime. As adapted, it is always performed as a slide on count one, a cut on count two, and a hop on count three. The Western mazurka is danced variously: a step, stamp or glide on count one, a close, rock or close and swing on count two, a hop (with differing place- ment of the working foot) on count three. The mazurka is found in a majority of the Euro- pean dances of the Philippines. It is also a favorite in Philippine character dance, with the arms in fourth position or the hands on waist or skirt. The known mazurka of the Philippines are wide ranging. The mazurka of Cuyo, Palawan, has been danced since the early Spanish colonial period. Another from Bayombong, Nueva Viscaya was also popular dur- ing the era. Its interesting step combinations do not include any mazurka step. Still another from Mindoro has lively variations of different local steps. Also from Mindoro is the mazurka mindoreiia, a beautiful festival dance popular among the elite. The mazurka boholana is short but lively in its step combinations, sequences and floor patterns. The mazur- ka de jagna, also from Bohol, is popular in various social gatherings. The mazurka de jaen of Nueva Ecija has the dancers swaying to the balse and marking the mazurka as do the mazurka valse I and II, both of Negros Occidental. • C.G. Inigo and R.G. Alejandro

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Mimetic dances are dances which imitate move- ments from real life. They may be classified into: ani- mal dances which depict the movements and habits of animals on land, air, and water; and occupational dances which depict community activities such as planting, fishing, war, and headhunting. Birds have often inspired many animal dances among cultural groups. The Ifugao paypayto depicts the agitated movements of high-flying birds. A great number of indigenous and Christian folk dances depict the movements of various birds: tinikling (tikling birds), itik-itik (ducks), kalapati or sinalampati (doves), and pabo (turkeys). In the non-Christian south, the most common bird dance is the Tboli kadal-blilah. The Bilaan banog-banog features a young woman imitating the flight of a hawk by waving a kerchief. The Manobo binanog and Mandaya kinabuwa mimic the swooping movements of the eagle. The Manobo burbudsil (wood- pecker) portrays the hombill' s solicitude for its young. Other animal dances are the Isabela balamban and Tausug kabal kabal which depict the movements of butterflies; the Tausug langka-baluang which imitates the movements of a monkey; and the tahing baila of the Yakan of Basilan which simulates the undulations of a fish in water to ensure a good catch. Many Filipino dances are based on the economic activities of the community. In the Tagalog areas, buhay sa bukid (life on the farm) is a dance on the rice- planting cycle. Pagtatanim (rice planting) shows how tedious the work is, with the dancers bent forward the whole time, lightening their load by singing. Paggapas (harvesting) is danced when the palay (unhusked rice) is ready for harvest-an occasion for rejoicing especial- ly if the harvest is bountiful. Paggiik (threshing) is done by treading barefoot on rice stalks or by striking them against a hard object. In the dance, which also called paglulugas in provinces, such as Laguna, the men flail their arms to simulate the swinging and strik- ing of the rice stalks to guitar accompaniment. In the pahangin (winnowing), women toss the grains up and down with a shallow basket called bilao. Bayuhan (pounding rice) comes after the harvest. In social gatherings, young men and women are invited to par- ticipate. The men pound the rice to musical accom- paniment, usually a guitar. Finally, the women do the winnowing while singing and dancing. In Bulacan, the dance katlo (by threes) is per- formed during harvest season on moonlit nights. The men customarily offer to pound rice wherever there are young ladies to court.

The Tiruray of Cotabato portray the sowing of seeds in mag-asik, dancing around a large handker- chief. The Bilaan have the maral, a suite of dances de- picting the stages in rice planting, namely: the mabah which depicts the farmer's search for the kaingin area; the almigo which depicts the clearing of the forest; the amla or the planting stage; and the kamto which shows women harvesting the rice. Kin-naras is a dance from Cabugao, Ilocos Sur, depicting the various ways of catching fish. It is a graceful dance, allowing the dancers to show off their skill in trapping and catching fish with their bare hands. From Camiling, Zambales, is another fishing dance called sala ti alat (fish container}, performed after a successful fishing expedition. The Cebuano perform the mananagat which de- picts in pantomime the work of fisherfolk. This long- formation dance features the male dancers carrying paddles and the women carrying bamboo scoops. The women scoop water out of an imaginary banca, and the men paddle. Catbalogan, Samar, abounds in fish and other marine products. The an labasero (fresh-fish vendor) depicts the simple fisherfolk who, after vending fish, merrily dance on their way home. A good sale be- comes an occasion for merrymaking, eating, and danc- ing until the next morning.

MIMETIC DANCE

MIMETIC DANCE. The swift and graceful movements of doves are depleted In the mimetic dance called kalapati. (Boyan/han Philippine Dance Company Collection)

The maglalatik was evolved in the coconut-rich southern Luzon provinces, especially Laguna. The word comes from latik, the residue from boiled coco- nut milk. After the huskers finish their work, they drink and have fun. Using coconut shells attached to various parts of the body as percussive implements, they strike each other's bodies with shells held in the hand. The dance is supposed to be one version of the dance-drama moros y cristianos, a choreographed bat- tle between moros and christians. The Visayan mananguete depicts the stages of tuba (coconut wine) making. The dance starts with the sharpening of the sangot (scythe}, then goes on to cleaning the kawit (bamboo container}, climbing the coconut tree, extracting the sap, squeezing and strain- ing the sap, and finally tasting the tuba. The Bicol pinuhag demonstrates the work of a honey collector, so does the pulot panilan of the Aeta. Another Bicol dance is pabirik, which imitates gold panning. The Ilocano of Paoay, Ilocos Norte, who are noted for weaving a fine cotton cloth called abel, relax after work by dancing the binatbatan. This depicts the beat- ing of cotton pods to separate the seeds from the fibers with the use of two sticks called batbat. The dancers jump and hop outside and between parallel sticks on the floor in time to the song and music. The speed of the beating and rhythmic sounds produced by the sticks varies, depending on the ability of the dancers.

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FORMS

References: Alejandro 1972, 1978, 1985; Fajardo 1961, 1974; Miel 1979; Orosa-Goquingco 1980; Reyes-Aquino 1979; Reyes- Tolentino 1946, 1965; Sison-Friese 1980; Tiongson 1982.

MODERN DANCE

Modem dance is a theatrical dance form of con- temporary approach, technique, or style, emerging from and reflective of the 20th century. In Europe, it is now called contemporary dance. It is not to be com- pared, however, with contemporary social dancing. Modem dance may innovatively ignore the con- ventions of theatrical dance, as it may be performed in informal spaces and outdoors. Technique may come from an individual conception and formulation. More recently, it may arise from an eclectic or combined training system. The style may be original and indi- vidual, or culled from established techniques and approaches in modern dance. Isadora Duncan and Ruth St Denis are considered the founders of American modem dance. Duncan (1877-1927) was inspired by Greek philosophy and art, which she thought to be closest to nature's repre- sentation. She allied her manner of dancing to nature, rejecting constricting clothes and shoes. Duncan danced about ideal humanity as well as the liberation, of the woman and child especially, from all social and sexual constraints. She also freed dance from the use of conventional and limited music, and embodied the poetic ideals of Walt Whitman. St Denis (1879-1968) looked to Egypt, India, and East Asia for her subjects. Her simple ethnographic interest was more specific than that of Ted Shawn (1891-1972), her husband. Shawn's more eclectic approach included international forms and a few American themes. Both had a keen interest in religious

dance. St Denis was also known for music visualiza- tion, a compositional approach allied to music. From the individual and combined efforts of St Denis and Shawn came dancers of more specific techniques and thematic emphases: Martha Graham (1874-1991), Doris Humphrey (1895-1958), Charles Weidman (1901-1975), and many others. In Europe, dancer and choreographer Mary Wig- man (1886-1973) led in Central European modem dance, dealing with monumental themes that char- acterized German expressionism. A student of Emile Jacques Dalcroze (1865-1950), and Rudolf von Laban (1879-1958), Wigman devoted much time to teaching in Germany and extended her knowledge to the US through her student, Hanya Holm, from 1931. In America, modem dance formed its schooled techniques with Graham's motivation from the breath process, coming out in the "contraction" and "re- lease," and with Humprey's two dynamic arcs of fall and recovery. Holm and Jose Limon (1908-1972) also developed their own techniques. The multimedia works of illusionist composer Alwin Nikolais, and the movement-focused chance method (including the simple simultaneity of dance and music) and the adaptable events of Merce Cunningham remain exceptional to this day. Other approaches and concepts were achieved by Ann Halprin, Yvonne Rainer, Paul Taylor, Twyla Tharp, Meredith Monk, and Mark Morris, some of whom are called postmodemists. They confronted both mythic and popular expressions. Today there are worldwide modem dance outgrowths. A most considerable de- velopment is a new German expressionism, especially in the works of Pina Bausch of Wuppertal. So-called "aesthetic dancing" and skirt dance intro- duced some initial modem dance elements to the Philip- pines. Ada Delroy came in 1900, creating a sensation with her lighting and costuming that suggested the illu- sion of Louie Fuller (1862-1928), the successful American contemporary of Isadora Duncan in Europe. Two Viennese dancers introduced both balletic and Central European modem dance styles in the 1930s: Kaethe Hauser and Trudl Dubsky-Zipper. Hauser be- came the teacher of modem dance soloist and Spanish dancer Manolo Rosado. Dubsky-Zipper founded the Manila Ballet Modeme, which apprenticed Filipinos, and choreographed for the Camargo Society, which helped begin professional ballet in London. Among those leading in Dubsky-Zipper' s produc- tions were Queenie Schrameck, Matilde Fernandes, Frances Lava, Patria Panajon, Ricardo Reyes, and Lucio Sandoval. Her students who furthered modem dance were Rosalia Merino-Santos, Corazon Generoso-

Ifrigo, Maggie Shea, Adina Rigor Ferrer, Remedios Villanueva-Pinon. Pinon writes that Roberta Cassell also taught modern dance. Merino-Santos, a student of Luva Adameit, pur- sued graduate studies in modern dance in the United States. She later founded the Far Eastern University Experimental Dance Group, which disseminated mod- ern dance through her What is Dance? lecture- demonstration. After his European and Mexican career on stage and brief study with Shawn and St Denis in Jacob's Pillow, Massachusetts, Manolo Rosado performed and taught in Manila. For a short while, he directed the University of the East dance group. Teacher Carmen Adevoso attempted to bring modern dance into the public schools, but she soon migrated to the US. Alice Reyes placed modern dance at the forefront by establishing the Alice Reyes and Modern Dance Company at the Cultural Center of the Philippines (CCP) in 1970. The troupe evolved into the CCP Dance Company and the present-day Ballet Philippines. Eddie Elejar, Antonio Fabella, Basilio, Luis Layag, Gener Caringal, Denisa Reyes, and Edna Vida rose from the group's ranks to become modern dance choreo- graphers. The visits of Norman Walker and instruc-

MODERN DANCE

tion by Betsy Escandor and Agnes Locsin imparted a solid Graham technique to Filipino dancers. Locsin is now artistic director of Ballet Philippines II. Today, Ballet Philippines presents both classical ballets and modern dances. ·Visiting choreographers like Walker, Pauline Koner, Garth Welch, Takako Asakawa, David Hatch Walker, Grey Veredon, Rosemary Helliwell, and Lynn Gifford have contributed to its repertoire. New choreographers are Nonoy Froilan, Jojo Lucila, Hazel Sabas, Paul Ocampo, Regina Debuque, and Conrad Dy-Liacco. Also from the company, Douglas Nierras combines modern dance with jazz in his own group, Powerdance. The same is done by the Metropolitan Dance Theater, Hotlegs, Whiplash and other contemporary jazz groups. In the universities, Generoso-Inigo, Basilio, Caringal, and Lucila teach and choreograph for cam- pus companies. • B.E.S Villaruz

References: Alejandro 1978; Fernandez and Vidad 1981; Har- tendorp Nov 1939, Dec 1940, Oct 1941; Pifton 1974; Villaruz 1977, 1989; Yu (ed.) 1990.

MODERN DANCE. The Graham technique Is seen In Nonnan Walker's Season of Flight, a modem piece specially choreographed lor Allee Reyes and Manuel Molina. (Rudy Vldod, Ballet Philippines Co/lec#on)

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PANDANGGO

Descended from the Spanish fandango, the pan- danggo is a dance in 3/4 or 6/8 time. It supposedly means "go and dance" and is "the prototype of all Spanish dances." It is one of the most traditional of the Zapotec dances (Royce 1977:29-30) which reached Europe in the 17th century as the Reinos de las Indias of the American Indians (Sachs 1937:98). It has turned up in many varia- tions as the malaguena, rondina, grandina, and murica- na. It could also have come from the Arab and Egyptian ghawazees (dancing girls) and could have been used later both for religious devotion and sexual flirtation where "eye actions" or the "dance of the eyes" are of key importance" (Hanna 1983:148). The Spanish fandango is danced to castanets, guitars, tambourines, and alternate- ly, to verses of love or coplas (Banas 1975:89). The Spanish perfected the courtship dance, and the fandango is a particularly fervent kind. This dance "is an expression of love from beginning to end, from the sigh of desire to the ecstasy of enjoyment" (Buckman 1978:261). No wonder Rome protested at how "so god- less a dance as the fandango should be allowed in pious Spain." But bringing it to court required a demonstration of the dance, which only led to the public joining in. The case was consequently dismissed (Buckman 1978:260). Brought to the islands during the Spanish colonial period, the fandango was indigenized into the local pan- danggo, which is variously called pandangyado, pan- danguedo, pangdangiodo, pandanguiado, pandang- guhan, and pandang-pandang. It has been danced with various properties: sa ilaw (with light) in Mindoro, sa sambalilo (with hat) in Bulacan, sa plato (on a plate) in Laguna, sa tapis (with overskirt) in Nueva Ecija and Pangasinan, and sa bulig (with mudfish) in Bulacan again, involving skill as much as of grace. There are several regional or local variations: pan- danguido buraweno in Samar, pandangiodo sorso- gueno in Bicol, dumagueteno in Negros Oriental, laoaggueM.a and vintarina in Ilocos, ivatan in Batanes, pandanggo in Camiling and Moncada, Tarlac, Sar- rateno in Ilocos Norte, san narciso in Quezon, Leyte, and Davao. There is even a Talaingod pandangguhan which tells of a legendary charismatic leader Emboyag. After bathing in a river, he danced the pandangguhan. After that, he ceremoniously left, saying that he had given the people the dance as a heritage. The sayaw sa obando has an accompanying song that says the dance is a pandang- go. It is danced for fertility, to find a wife or husband, or to seek a good harvest. It honors three saints-Santa Clara (patron saint of the childless), Nuestra Senora de Salambao (the Immaculate Concepcion), and San Pascual

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PANDANGGO. An exhibition ol the dancer's skill and grace Is the popular pandanggo sa ilaw. (National Library Collection)

fan, in the Leyte pandanguiado burawefl.o; or a glass of wine, in the Quezon abaruray. With its attractive lights called tinghoy, the pandanggo sa ilaw from Min- doro, most possibly symbolical or occupational in ori- gin, is the most theatrical and popular of all the pan- danggo today. The pandanggo has been featured by folk dance companies like the Bayanihan Philippine Dance Com- pany, whose pandanggo sa ilaw has always been a showstopper. Contemporary choreographers have also used the pandanggo for their works, as Basilio did in Tropical Tapestry, 1978. • B.E.S. Villaruz

References: Ape! and Daniel (eds.) 1961; Banas 1975; Buckman 1978; Hanna 1983; Miel 1979; Pascua-Ines 1983; Reyes Aquino 1953- 1975; Reyes-Tolentino 1927; Royce 1977; Sachs 1937; Sison-Friese 1980.

PANGALAY

Among the Tausug and Samal, the pangalay is usually any kind of dance, regardless of function or form. However, it also refers to one traditional dance form or style which, like the langka or martial dance style, bears close affinity to the Thai and Balinese forms. The term comes from the verb mangalay, meaning, to dance. Performed by both men and women, the pangalay consists of the seemingly simple but intricate postures and gestures basic to most traditional dances of Sulu and Tawi-tawi. It takes constant exposure to the pangalay variants to be able to distinguish the movement relation- ships and subtle dance flourishes-the peculiar entry and exit stances, mincing or shuffling footwork, the seductive flip and flutter of hands and fingers. For instance, before doing the traditional hand turn (outward-inward from the wrist) the dancer may execute several gesture varia- tions: flicking, flipping, or cupping the fingers; abruptly flicking the hand itself from the wrist; or pressing the tips of thumb and index finger together, leaving the three other fingers in the usual position. The pangilok and the eringan are similar Samal courtship dances, although the latter dance uses jang- gay (metal claws). The igal ha agung is a subtly teasing dance where a man rolls, crawls, kneels, and follows a woman about, all the while beating an agung. In the pangasig, a Samal man plays the tungtung (the smal- lest gong in the kulintang set), teasing and dancing around a female partner who pretends not to notice his advances. The bula'bula' is a Samal-Badjao version of dancing with bula' or clappers made of bamboo, hard- wood, or shells. Both male and female dancers click the bula' to the beat of percussive ensemble music. The

PANGALAY

tariray is a Badjao version of dancing with clappers to the staccato accompaniment of brass percussion. The pangalay pangantin or sambulayang of the Samal-Badjao is performed by a bride shielded with a sambulayang (lag) or a tabil (bridal curtain). The bride- groom follows behind the flag or curtain to signify his readiness to defend the bride. The highlight of the dance is the flicking of the janggay worn by the bride. The overvigilant groom quickly retrieves every jang- gay that falls to the floor, then ceremoniously returns the whole set to the bride at the end of the dance. The pamansak or igal ha taas patung originated from the Samal of Simunul, Tawi-tawi. The female dances atop twin bamboo poles borne on the shoul- ders of two men. One or two male partners join the dance simultaneously or alternately, performing a langka (martial dance) while the female dancer is lo- wered to the ground. The langka-baluang is a Samal-Tausug dance that mimics an angry monkey. Postures and gestures in the pangalay and langka-a combat dance sometimes inte- grated into the pangalay-are humorous and always performed by a man. The igal-kussa depicts a wild boar tossing about a coconut that will not crack open. The dance, which also invariably elicits much laughter, is danced by a man. The linggisan is a Samal-Tausug interpretation of a bird in flight. Kaba kaba is a Samal imitation of mating butterflies, and pagkamun of a sea mantis, performed by a man or a woman. The pangasik por- trays a mating rooster; a Samal and Tausug dance usually performed solo by a man, it complements a female pangalay performance. The igal ha panyuh is performed by young Samal- Tausug men and women seated in a circle, singing a lively folk tune. It is similar to other drop-the-handker- chief games where a dance-chase ensues with a hand- kerchief or a stick used to touch or "catch" a girl or boy. The pangsangbay or dalling-dalling is a Tausug song-dance performed by male and female dancers wearing fantastic makeup, pasteboard crowns, and capes. The lyrics of the song accompaniment are inter- preted comically with the aid of a fan. The lunsay is a communal song dance from the Jama Mapun of Cagayan de Sulu. Clapping sounds are produced by the impact of dancing feet on speciallakapan lapis (floor matting) laid crosswise over the bamboo floor of the house. It is the only communal dance in the Philippines with a purely vocal accompaniment. The magjinn or pagjinn from the Badjao of Sitang- kai, Tawi-tawi, is performed on the 14th moon to drive away an unfriendly jinn or spirit. The performers take turns dancing until some of them go into a trance. The