Pandanggo sa ilaw (Philippine Folk Dance)

Philippine Folk Dance

1. Pandanggo Sa Ilaw The Classic Dance of Lights

2. Introduction Pandanggo  is a  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.

3. This dance, together with the Jota, became popular among the  illustrados  (upper class) and later adapted among the local communities.

4. In the early 18th century, any dance that is considered jovial and lively was called Pandanggo and those that are related to it are called Pinandanggo .

5. Two of the most popular versions of Pandanggo , as a performing art, are the Pandanggo sa Ilaw from Mindoro, and  Oasioas of Pangasinan . The Philippine national dance,  Carinosa , has Pandanggo as its base dance.

6. Pandanggo is still danced by many people but mostly in religious rituals and processions such as the Pandangguhan sa Pasig, during the procession of St. Martha, and the Sayaw sa Obando of Bulacan .

7. While Fandango in Spain was superseded by its modern version, the Flamenco, it has evolved into a popular folk dance, and as a ritual dance in many religious processions in the Philippines.

8. Pandanggo sa Ilaw  is a very popular folk dance in the Philippines. It is said to have originated from the island of Mindoro. This “dance of lights” simulates fireflies at dusk and at night. 

9. The festival of Calapan , Oriental Mindoro called “ Pandang- Gitab “ was coined from Pandanggo and Dagitab which is synonymous to “ light ”, adapting basic steps of Pandanggo sa Ilaw .

10. Etymology The word  pandanggo  is from the Spanish dance  fandango. The phrase  sa ilaw  is Tagalog for " in light " and it refers to the three oil lamps that a dancer has to balance — one on the head and one on the back each hand.

11. Dance Properties Dance Culture – Lowland Christian (Rural) Place of Origin – Lubang Island, Occidental Mindoro Ethnolinguistic Group – Tagalog Classification - Festival

12. Props – 3 oil lamps called  tinghoy (sometimes, candles in glasses are used instead of an oil lamp)  Mood – jovial Stance – erect Performers – couples Formation - any

13. Music –The rondalla music to which the  Pandanggo sa Ilaw  is now commonly danced was composed by Col. Antonio R. Buenaventura, a National Artist for Music

14. He wrote the music sometime in the early 1930's while teaching at the Conservatory of Music at the University of the Philippines.  Time Signature – 3/4

15. Costume G : Balintawak Ensemble , consisting of a plain baro (blouse) with butterfly sleeves and matching balloon-cut saya (long skirt) Striped rectangular tapis (wrap overskirt) and matching alampay (scarf) draped on one shoulder

16. B: Camisa chino (collarless shirt) of printed material, usually plaid paired with colored (red or blue) or plaid pantalon (pants) rolled to the calfs Red or blue panyu (neckerchief) Dancers perform barefooted

17. Basic Steps Native waltz Accented running waltz Redoba Sway balance with a point

18. Basic Gestures Arms in lateral position Cross/swing fwd- bwd Fourth position T position with elbow jerks

19. How the girl places the glass/ tinghoy on the back of her hand: The bottom of the glass is supported by the middle and ring fingers while the index and little fingers clip the sides of the glass

20. At the start of the dance, the G holds one glass by her R The B has one glass in each hand

21. Basic Dance Sequence Fig. 1 Music A Girl’s Entrance 8M – Native waltz; arms in lateral position 6M – Native waltz; swing R in figure 8 2M – three step turn R; arms in 2nd

22. Fig 2 Music A Boy’s Entrance/Pair B/G: 4M – native waltz; arms in lateral position 2M – waltz fwd- bwd R and L; swing both arms fwd- bwd 2M – Three step turn R; arms in 2nd (G moves to back of B)

23. Facing partner: 6M – running waltz R and L alternately moving CW; arms in 4 th 2M – three step turn R; arms in 2 nd ; end by placing glasses on the floor (between the pair)

24. Fig 3 Music B Danced simultaneously G: 8M - facing center, feet in 4 th ; both arms in T position, execute slight elbow jerk once per M 8M – repeat facing away from center

25. B: 2M - Waltz R and L in place; T position with elbow jerk R and L 2M – three step turn move to back of G 12 – Repeat moving to R of G; front and back to original place (both get the glasses – G – 1; B – 2)

26. Fig 4 Music B Facing audience 8M – native waltz R and L alternately; arms in lateral position 2M – waltz R and L; same arms 2M – three step turn 2M – waltz R and L 2M – G in 4 th ; B places R glass on G’s head/transfers L glass to his R

27. Fig 5 Music C Danced simultaneously G: 8M – Native waltz moving G circle CW; arms in lateral position (B circle moving CCW; redoba R and L alternately) B/G: 6M – pair circle; waltz 2M – B places glass to G’s L hand

28. Fig 6 Music C Danced simultaneously G: 8M – Feet in 4 th ; swing R fwd- bwd , swing L fwd- bwd , swing both fwd- bwd 2X (B: 2M – three step turn passing at the back of G, to G’s R side; 4M - waltz R and L; clapping; 2M - three step turn to original place)

29. Facing each other 8M – Sway balance R and L alternately

30. Fig 7 Music C 2M – B gets the glass on G’s head with his R hand and the G’s L glass with his L hand 12M – Native waltz/or running waltz R and L alternately moving CW, G ahead of B 2M – Three step turn; end with B kneeling on L; G in 4 th position

31. Source Philippine National Dances pp. 214-217 by Francisca Reyes- Tolentino ( Francisca Reyes-Aquino)