Philippine dance
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82 JAZZ DANCE. A jazz piece with Afro-American and Carribean rhythms is per- formed by, left to right, Cecile Santos, El Gabriel, and Tina Santos. (Dance Theater Philippines Collection) Romantically expressive, it is danced during weddings and important social occasions. • C.G. Inigo References: Chujoy (ed) 1967; Koegler 1977; Philippine Folk Songs and Dances 1966; Raffe 1964; Reyes-Tolentino 1946; Sixth National Dance Workshop 1945. JAZZ DANCE Jazz dance is fundamentally a popular dance of African-American and Carribean origin utilizing Afri- can dance techniques such as polycentrism, rhythm, and isolation of individual parts of the human body. It also grew out of US vernacular or popular dance and incorporated the charleston, shim sham, Iindy and other similar social dances. The term jazz dance was probably taken in 1917 from the ''The Jazz Dance," a song by W. Benton Over- street. During the 1920s and 1930s, dancers performed with the big jazz bands of Count Basie, Duke Ellington, Benny Goodman, and Louis Armstong. The era was called the Jazz Age and the music was an international craze. In the 1940s, however, the original jazz dances lost their popularity. Modern jazz music replaced big- hand jazz and mass media introduced new varieties of popular music and dancing that eventually gave rise to present-day jazz dance. Modern jazz dance is a highly stylized mix of original jazz dances with steps from dance crazes from the 1950s to the 1980s. It retains the syncopated rhythms, body isolations, and other original move- ments, but is done not only to jazz music, but also to pop, rhythm and blues, rock and disco. Unlike the original jazz dance, which was performed by talented amateurs and self-styled entertainers, mod- em jazz is performed by professionals who may have a background in classical ballet, modem dance, ethnic and folk dance. It cannot be completely defined. Its essence is its ability to absorb the music and dances familiar to the general public, making it entertaining, accessible and popular. Jazz is the most widely viewed dance form in the United States because it is available through many channels: 1V, Broadway, nightclubs, and the concert stage. Philippine jazz dance was first performed in boda- bil shows at the Manila Grand Opera House and Clo- ver Theater. Movies, both Filipino and foreign, also developed the public's taste for the dance. In 1959, Julie Borromeo arrived from the United States after training with Luigi and Matt Matox. She opened her own school and was the first to teach jazz dance formally. Shortly after, she formed the Julie Borromeo Dance Company, the first formal jazz com- pany in the Philippines. Other troupes proliferated: The Allegro Dancers, The Aldeguer Sisters, Tony Fabella Dancers, and the Lito Calzado Dancers, among others. The Frontierettes of New Frontier Theatre were inspired by the Rockettes of Radio City Music Hall. It was headed by choreographer Corazon Generoso- Iil.igo; she also worked with a group at the Araneta Coliseum, which performed with visiting artists. Other forerunners of jazz dance in the Philippines were Rose Borromeo, Alice Reyes, Teofilo Pila, Tina Santos, Jun Dalit, and Joji Felix-Velarde. Jazz dance became extremely popular and was seen more and more often on 1V, variety shows, musical thea- ters, pop concerts, local productions of American musical comedies such as West Side Story, Flower Drum Song, Sweet Charity, and local musicals like I'll Take Manila by Morli Dharam, Nestor Robles, and Levi Celerio. Today, there are a number of third generation jazz dance companies. The Met Dance Company, started by Rene Hofileil.a and later headed by Veda Banez, has performed abroad and continues to perform locally; Whiplash, composed of former Met dancers, and the Adrenalin Dancers who perform regularly in pop con- certs and 1V musical variety shows. One of the most popular groups is Powerdance, headed by choreo- grapher Douglas Nierras, former head of Hotlegs and member of the CCP Dance Company. Many a classical ballet dancer has been lost to jazz dance as demand for it on 1V, in concerts, shows, and 1V advertisements has made it commercially viable. • M.C.M. Garcia References: Audy 1978; Giordano 1978; Pasquin 25 Jan 1981; Steams 1979; Todd 1950; Traguth 1978. JOTA JOTA
The jota is a dance in 3/4 teii).po. Some varieties in the Philippines have 2/4 or 414 tempo sections. Its main triple tempo makes it similar to the waltz. The Philip- pine jotabal fuses the two. The 16th-century courtship dance, canaries, is the "parent of jota" (Franks 1963:63); the canaries, in tum, is the "slow form of the gigue" (Horst 1972:109). The canaries used to be about death and only later about love and courtship (Buckman 1978:87). The jota itself is a couple dance performed to a song called cuartela, a four-line stanza of eight syllables to a line, and castanets. The Aragonese claim the dance; it is derived from the Andalusian fandango and was brought to Aragon by the exiled poet, A ben Jot. Its steps are "rapid hops, springs and athletic foot work" (Buckman 1978:258), or more specifically, a jump into matalarana or a leap landing on one foot while point- ing the other, followed by a pas de bourrie natural, a transitional travelling step (La Meri 1948:163). There are perhaps hundreds of jotas in the Philip- pines, not all documented and some newly concocted for special occasions. Some, such as the jota ilocana from Ilocos Norte and the jota echaguefta from Isabela, require the bride and groom to dance. In the mascota and pantomina, the dancing bridal couple is showered with coins. In Zambales, the jota cabangan, also called the jota sinansinan, is done on the eve of a wedding. The Ia jota san joaquin from Iloilo and the famous Ia jota moncadefta from Tarlac are done to the rhythm of bamboo castanets. The moncadeil.a is unique for a passage called patay or desmayo, where the man and woman seem to commiserate with and console each other in a funereal tempo. The jota bicolana uses a decorative fan, while the Ilocano jota zapatilla is done to the clatter of women's footwear. As in the la jota yogad, the men wear chinelas (closed slippers). The cabangan mimes courtship, lovers whispering by win- dows and secretly touching each other's feet under the table. The jota ha kalipay ("of happiness") from Samar is done by just one couple or amenudo. Jotas are usually done by enough pairs to make up a quadrille, or even more. Regardless of the number of the coupless, most of the figures involve meeting at the center, changing places, circling together as pairs, or a cadenilla (small chain) as in the jota rizal from Batangas. The lbanag Ia jota filipina from Lal-lo, Cagayan, specifies its figures as pasakalye (meaning intermission), originally related to the chaconne (a pre- classic dance in triple time), benya (bowing), poppo (clapping), and buelta (turning). 83
FORMS Clapping is done in the jotabal of Quezon, the Ia jota of Camarines Norte, the Ia jota concordiana of iloilo, and the jota filipina. Clapping is paralleled by panadyak (stamping) in the jota batangue:fta, the Ia jota, and jota bicolana from Bicol, the a Ia jota and jota italiana from Laguna, the jota pangasinan, the Ia jota samare:fta, the la jota from Negros Occidental, the jota rizal, and the jota- bal. In the jota gumaque:fta, there is also clicking of heels. Many of the jotas employ sway-balance, waltz and waltz-tum steps. Korriti (mincing) is done in jota batanguena and jota paloana from Leyte. The charac- teristic Bicolano enga:fto step, which is similar to the sway-balance, is done in the jota rojana; the typically Visayan espunti step, or the shuffle on one foot while pointing the other, in the laota and the ese-ese step, also Visayan, and consisting of three steps and a stamp, in the la jota san joaquin; the llocano mudansa or oblique steps with heel brushes in the la jota from Paoay, llocos Norte; and the piang-piang or sliding quarter turns in the jota ha kalipay. Some jotas employ the sarok or crossing feet and arms with body bent, cross-step, step-swing, step- brush (often with a hop), and a variety of turns. Some of these steps may lead to a do-si-do or changing places in a small square or back to back, as in the pangasi- nan, jota rizal and laota, or to a regular ballroom hold as in the jota cagayana and the jota pangasinan. Some jotas employ other hand gestures besides clapping, such as the kumintang or wrist circling and salok or scooping down with one hand. Most jotas are named after their places of origin, such as the jota navarra, originally from Spain and now called jota paloana in Leyte. Depending on the region, the women dancers are dressed in maria clara, mascota or Ilocano costume or even patadyong. There are many other popular jota: the Tagalog manile:fta, cavite:fta and mindorena; the de olongapo from Zambales and the ecijana from Nueva Ecija; the Ilocos Norte vintarina, sarrate:fta, and laoague:fta; the lalloque:fta and cagayanon from Cagayan; and the sevillana from Iloilo. The European triple tempo agreed so much with Filipinos that the jota spread throughout the country. The jota de olongapo shows influences of the Amer- ican square dance. The jota marks special occasions, such as fiestas, weddings, and baptisms. But they also have deeper implications when danced during the guling-guling, the mardi gras on the day before Ash Wednesday, or the tambora which is held on Christ- mas eve. • B.E.S. Villaruz References: Buckman 1978; Fajardo 1961-1975; Franks 1963; Horst 1937; Meri 1948; Miel 1979; Philippine Folk Dances and Songs 1966; Reyes-Aquino 1953-1975; Reyes-Tolentino 1946; Sison-Friese 1980; Suarez 1971; Wilson 1974. 84
KUMINTANG The kumintang is the name given to several dis- tinct styles, techniques and forms in music and dance probably originating in the areas used by early Spanish cartographers and chroniclers to denote a large province centering around what is now known as Batangas. Early 19th-century travelers' accounts often mention the kumintang as a Tagalog "chant national," describing them as dance-songs performed by pairs of men and women, with texts concerning love and courtship. All accounts mention a glass of native coconut wine passed from hand to hand by the dancers as they sing. Jean Baptiste Mallat describes it as a pantomimic dance where the man runs around and gestures to a woman (not always decently), and finally pretends ill- ness to get the woman's full attention (Mallat 1846:437- 438). In the 20th century, Francisca Reyes-Aquino dubbed as kumintang the circular hand and wrist movement also known as the kunday. Among present-day aficionados of musical and dance events called awitan and pandang- guhan in and around the city of Batangas, kumintang also refers to a guitar-plucking style, considered the most KURADANG. Waltz steps are used In the kuradang. VIllareal, Samar, ca 1960. (Franc/sea lleyes-Aqulno Collection) KURATSA. Wedding rites and other festive occasions are usually capped by a performance of the kuratsa. San Pedro, Antique, 1937. (Francisco Reyes-Aqu/no Collecffon) melodious and beautiful of all guitar styles accom- panying the old kinanluran style of pandangguhan dance songs. • E. R. Mira no References: Alvarez Guerra 1878; De los Santos 1593-1886; Mallat 1846; Retana 1888; Reyes-Aquino 1953; Walls y Merino 1892. KURADANG The kuradang is a dance found mainly in the Visayas. It is also a step combination in 3/4 time stan- dardized in Philippine folk dance. The term is derived from kurandang, literally meaning showy or over- dressed. The movement is composed of a rhythmic change step--one foot steps diagonally forward, the other foot displaces it at the rear, and the first foot steps forward again all in two counts, and with a step across by the second foot to carry the weight on the third count. This combination is also done diagonally backwards, i.e., in reverse, but with pointing across the second foot, in- stead of a transfer of weight. A Visayan variety from Iloilo does the combination with hops, leg swings, and KURATSA body twists, but set in duple time. As a full dance with many variations, the kura- dang is done during fiestas and occasions like wed- dings, mainly in the Visayas. A very simple kuradang recorded in Cebu and Bohol by Francisca Reyes- Aquino involves changing places and circling around. Another one, native to Loboc, Bohol, is similar but makes use of complex combinations of step-hops, two- foot jumps, parallel tortiller (a kind of sideway shuf- fling), and stamping embellishment. There are also contrasting steps for separate couples, simultaneously done in one figure. In Samar, the kuradang is made up of waltz steps, done with or without the normal ballroom-dancing hold (face to face) and without specified formation. Another Samar kuradang was recorded in Villareal by Juan C. Miel; a "ballroom folk dance," it is made up of waltz steps elaborated on with sway balances, hops, cross steps (a foot crossing over) and turns. It is accom- panied by a song sung by onlookers and is about the solicitude of one Inday (a common Visayan name for girls and young women) who is compared to a shady tree or prized chick coveted by a hawk. A kuradang in 2/4 time from Pototan, Iloilo, uses the Visayan step combination above, with much clap- ping from the dancers. Even if the dancers are barefoot (which they often are, unless shod in corcho or slippers, or shoes), there is much meeting and changing of places in the manner of the formal quadrille. It is quite sophisticated in choreography; the two couples are called mayor and menor, sometimes dancing different steps simultaneously in one figure. Most female kuradang dancers wear patadyong with camisa or kimona, or a saya with a cola (train) tucked into the waist to show off the sapad or binabaye (embroidered chemise). The men usually wear a camisa de chino or barong tagalog. • B.E.S. Villaruz KURATSA The kuratsa is an indigenized form of the la cucar- acha (the cockroach), a Mexican courtship dance. It is believed to have been introduced by Mexican soldiers and traders when Mexico had administrative and trade relations with the Philippines. The music used in all Visayan versions is similar, in two parts and 3/4 time. Speed may vary, depending on the style and ability of the dancers. With agile dancers, the sway balance is performed with a brush or a hop. Cross and waltz turns are done briskly. Chasing steps accent the dance figures. The woman performs movements to attract her partner, while the man responds in kind. All 85 FORMS
LANCEROS. The lanceros de negros of Sllay Is adapted from the American square dance. (Sayan/han Philippine Dance Company Collection) versions contain varied dance movements in accord- ance with the mood, inspiration and cultural practices of the dancers. It is danced during weddings, baptis- mal celebrations, birthdays, and fiestas. There are as many versions of the kuratsa as there are localities that learned and adopted it as their own. The earliest of the kuratsa recorded by Francisca Reyes-Aquino was popular in Leyte and was called kuratsa visaya. Other kuratsa were later documented from other Visayan regions: boholana from Bohol; bago, pulupandan and bacolod from Negros Occidental; iloilo from New Lucena, Iloilo; culasi, hamtic, san jose, tibiao, and antiqueiia, from Antique. Kuratsa samareiia is similar to the antiquefta, where the bride and groom or performers are showered with coins or have gala or gifts of paper pinned on their holiday clothes. In the Samar version, usually done amenudo (by a couple), a song accompanies one of the figures. The kuratsa iloilo specifies three figures in all six; haylo, estelo (where the man tries to block the woman's way and gestures pleadingly), and padayao- dayao (literally, to praise). The hamtic specifies four figures in all seven: remate, pundo-pundo, ese-ese, and bayong-bayong. Although Reyes-Aquino refers to the kuratsa of Bicol, there is only one documented outside the Visayas: the kuratsa paoay of Ilocos Norte. There, it is finished off with the characteristic ariquenquen dance, and its music shifts from triple to duple time. The Ilocano kuratsa starts very slowly in the ex- ecution of cross steps, moving forward and backward, with hands on waist and holding the skirt. As the dance progresses, the music goes faster as do the movements, until the dance ends with coquettish ges- tures, such as an exaggerated hip movement or a slight raising of the skirt. More kuratsa dances must exist than the ones already recorded. Although of Mexican origin, the di- verting and inventive kuratsa has become Filipino, expressing the people's moods and manners. • C. Andin and B.E.S. Villaruz References: Antique Folk Dances 1968; Fajardo 1961-1975; Miel 1979; Reyes-Tolentino 1927; 86
LANCER OS A quadrille in 2/4 or 6/8 or in combination is the lanceros, short for a ballroom dance called Quadrille des Landers. It was created in 1817 by John Duval, a Dublin master, two years after the introduction of the quadrille to England from Paris by Lady Jersey. He published the descriptions of the figures La Dorset, Lodoiska, La Native, Les Graces, Les Landers, in the Dublin Evening Post. It was first danced at the grand ball of the Countess of Farnham on 9 Apr 1817, to music by Spagnoletti and Yaniewicz. Like the quadrille, the steps of the lanceros were originally complex and difficult. Eventually, these were simplified into walking steps. With the popular- ity of the waltz, the figures were waltzed to current music from musicals, operettas, and operas. This gave rise to the lively kitchen lancers, where the ladies were swung off their feet. Joseph Hart published his Les Lanciers, a second set of Lanciers in 1820, with similar figures and com- posers used by Duval. It was introduced in London by students of Sacre, a fashionable teaching mistress. In 1836, Laborde introduced the lanceros in Paris. In 1957, a Prussian court ballet performed the dance costumed in the uniform of cavalry lancers. By the 1850s, the dance had become prominent. The dance eventually found its way to the Philip- pines through Spain, or possibly later, during the American occupation. Its name was changed to lan- ceros; to date, there are three documented dances. The lanceros of Pagsanjan, Laguna, is performed as a quadrille and is popular in many regions. The figures simulate an American square dance called lan- cers, but it is less like an American square dance, and more like English lancers or the Philippine rigodon. The participants elegantly walk the saludo, chuchilla- da grande, chuchillada pequeiia, desaire, visita, cade- na, and saludo. The lanceros de lingayen is also done in quadrille formation and incorporates Spanish and French influ- ences, imitating the movements of the lancers. In Pan- gasinan, the hands are held in the kewet position. Four figures use walking steps. It incorporates typical Filipino dance patterns and steps, such as clapping while a partner walks and turns, kneeling and holding one hand while a partner walks around, turning under the arch of joined hands, jaleo (solo), change steps, gallops, heel places, do-si-do, foot stamping, and whirl-turns. The lanceros de negros of Silay is documented by both Reyes-Aquino and Fajardo. It was also popular in Luzon and other parts of the Visayas in the Spanish era and as prominent as the rigodon. It is danced in longways formation. The first figure has walking steps in various directions. It proceeds with changing steps, brincos con puntillas, brincos con vueltas, gallops, three-step turns, and whirl turns. It is uncertain whether the lanceros de lingayen and the lanceros de negros are examples of different stages in the development of the lanceros, or whether they are adaptations, or a combination of both. • C. G. hugo LANGKA
The langka is a traditional dance form of Samal origin and the only martial dance for women as well as men. The langka may be integrated into the pangalay, as it is in the langka-baluang, sometimes with spec- tacular results. The square line direction of movement, postures, and gestures closely resemble those of the martial art forms of Malaysia and Indonesia. The movements vary from the slow and flowing to the gracefully virile, energetic, assertive, expansive, sometimes angular, and jerky. The usually empty-handed performer nor- mally begins with a greeting and obeisance. LUNSAY
Langka-kuntaw is the Tausug-Samal art of self- defense. Jumps, kicks, and deep knee bends are com- bined with precise, forceful arm movements similar to the movements in Japanese karate, Chinese kung-fu, and the lai-ka of the Shan States of Burma. Langka-lima is a Samal-Tausug martial-dance variation of slow-paced movement punctuated by a momentary pose at the end of each defense stance. The kerchief sometimes wielded by the performer further accentuates the gestures. The langka-silat is performed throughout the Sulu archipelago. The movements are fast-paced but not as forceful as in the langka-kuntaw. A masterful performer projects effortless grace. The langka-silat has a close affin- ity with the bersilat, an ancient art of self-defense, prob- ably of Sumatran origin, and taught and practiced throughout Indonesia and Malaysia for over 400 years. The magsangkil is a Badjao fight dance. The dan- cers carry spears and fish-shaped shields made of tightly woven rattan. Langka-sayaw is an exciting Samal dance from Sibutu, Tawi-tawi. The dancers car- ry lances and round shields. • L.F. Amilbangsa LUNSAY
The lunsay is a dance form unique to Cagayan de Sulu, Tawi-tawi. An intricate dance, it is the only one in the Philippines accompanied by communal singing, the usual theme of which is love. All the villagers, young and old, married and single men and women, participate in this night-long dance. Performers are free to fall in or out of the dance circle or spiral to eat, rest, or greet newcomers. The dance is performed on a special stage, the lakpan lapis (floor matting), made of wide bamboo slats. The stage produces clapping sounds under the impact of dancing feet, a special effect essential to the dance, which is alternately fast and slow. The I unsay formation is either a circle or a spiral of handholding dancers; the inner coil is always occupied by the women. The male and female ends of the line do not hold hands directly but use a yellow kerchief, a stick, or a piece of string to link hands. The dance invariably starts with the slow movement (clockwise or step-left), matched by plaintive singing. When the singing is accelerated, the steps become vigorous and the movement direction changes to counterclockwise or step-right. A tune from any of the six types of songs intoned by the men is always repeated and echoed by the women, but with appropriate changes in the words so as not to reveal unacceptable thoughts. • L.F. Amilbangsa 87
FORMS MARTIAL DANCE A martial dance is a sporting dance of combative nature, ranging from unarmed execution or to armed stylized confrontation. It is a mimetic dance when enacting a battle to assure an actual victory. Warriors may enter a trance or hypnotic state to give themselves courage and determination. Sometimes, a dancer may be armed with shields, bows and arrows, swords, or sticks that ward off evil spirits and assist in ritual dances. Sword dances are related to fertility dances. Philippine martial dances-war, combat, or mock duel dancing-exhibit mainly a Malay influence and use skillful hand movements to exhibit strength and flexibility. The tradition of martial dances continued during the Spanish colonial period but took on a reli- gious nature. The maglalatik from Zapote and Lorna of Binan, Laguna, is a Christian mock war dance depicting the fight between Moors and Christians over the latik (re- sidue left after coconut milk has been boiled). It is also known as magbabao because shallow halved coconut shells are tied to the various parts of the body of male dancers and struck with handheld shells to produce sharp rhythmic sounds. The first half of the four-part dance shows a heated encounter between the protagon- ists; the last shows their reconciliation. The dance is Download 1.09 Mb. Share with your friends:
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