Folk Dances of the Philippines Essay Example

Folk Dances of the Philippines Essay Folk Dances of the Philippines Traditions and Heritage Luzon Region We Shall Never Forget our Heritage LUZON Consisting of the tribes such as Ifugao, Benquet, Kalinga, Bontoc, Apayo, Kalinga, sometimes these are call Igorot. But sometimes that is considered degrading. Cordillera name also used for some parts the Luzon Region Northern most regions of the Philippines, Luzon gets its Cultural influence from Hindu-Buddhist, Spanish and many ethnic religious tribes. All with differences and beliefs. But in all the Cultural and Folk Dances from this region represents all different factions in one way or the other.Dances of Luzon * Dance: Idaw This dance sometimes has many names and different versions. Most common is this dance depicts the hunting ritual performed before a tribal war. The tribes’ men would go out and look up and watch for the scared Idaw bird which is said to lead the tribe to victory. Also look at the clothing, Philippines being a very hot climate, plus the use o f as little material as possible, the traditional clothing was not made to cover much of the body. *Dance: Banga This dance displays the Igorot women on their way to the river to fetch the daily water supply for their families.It shows the skill and strength of the women as they would carry heavy laden clay pots (Banga) full of water. Their grace and agility while balancing the heavy pots, sometimes stacks 5 high, is a testament of the Filipino and how hardships become an art form and talent. As a young girl you would start with only one pot, of course as you become older and more experienced, along with the fact that you could provide more water for your family in one trip. Pots could be stacked as high as 5 or 6. The more pots you could carry showed your skill and also you tanding among the women of that area. They would all gather and march to the river each day, singing a native song which is represented by the flute and banging of bamboo on iron pots in the dance. *Dance: Idudu The family is the basic structure of family life among the Itneg / Tinggian people. The caring for the Children is shared by both the mother and father. While the men are clearing the fields, breaking the soil with bamboo and their feet, the women watch the children. Soon as the men are done, they take care of the children while the women do back breaking work.You can see in the dance how the women will take the bamboo baskets in a shaking fashion like drying the rice, while the men are going in circles in background like they are toiling the land. Then you will see the women put down the baskets fold the cloth into a baby while the husband stands aside. Then the women will turn over the baby to the husband, pick up the bamboo and start toiling the land while the men hold and cradle the babies. *Dance: Ragsaksakan The word means â€Å"Merriment. This dance would be performed after a successful headhunt and also for a peace pact between warring tribes.The colourful hand woven blank ets blankets of life are worn around the neck while baskets to carry produce or rice are worn upon the head. Some versions of this dance use the Banga instead of the basket. Pride and Honour Mindanao Region Filipino is Worth Dying For MINDANAO This is the southernmost region of The Philippines. Being the second largest island in the Philippines, its Culture consists of mostly Muslims or Moro people, also composed of other ethnic groups such as the Maranao, Tausug, Banguingui, and indigenous tribes known as Lumad.You will see a lot of Arabian, and Middle Eastern influence in their costumes and dances. Dances of Mindanao *Dance: Singkil Sinkil dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the Darangan of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle o f a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest.The rhythmic clapping of criss-crossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skilfully manipulate air, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through criss-crossed bamboos. *Dance: Kini Kini Kini means the Royal Walk.Maranao women performed this dance with scarves. The beauty of the scarves and the talent and grace in which it is displayed. Shows their elite social upbringing. *Dance: Pangalay A pangalay native to the Badjao, sometimes known as the â€Å"Sea Gypsies†. Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic bounces of the shoulder with simultaneous alternating waving of arms are the basic movement of this dance. The pangalay is commonly performed at weddings and other social gatherings.You will also see some parts of the Singkil in this dance also. Another part of this dance is also called the Muslim four Bamboos. *Dance: Asik This is performed by a solo maiden, adorned with fine beads and make up, long head scarf. She would dance to win the favour of her Sultan master. Many times the girls would dance to win the hearts of her master or to make up for a wrong she had done. She would give her whole heart and soul into this performance to soften the heart of her master to accept her. LOVE OF LIFE AND COUNTRY VISAYAS REGIONLive Long, Live Happy, Die Proud VISAYAS Being the Central Island of The Philippines, Visayas is also broken down into three sections: Central, Eastern, and Western. Consisting of Austronesians, Negritos, these we Animist Tribal Group. Many others tribes from around surrounding island would come after the downfall or break up of their tribes. Visayas became a melting pot for many different Tribes and Cultural backgrounds. You will find Arabian, Spanish, and some Western influences in the dances of this region.You will see that the dances of the Visayas are more upbeat and exciting, not so much in Drama and tribal meanings as other regions. Visayas Dances * Dance: Sayaw Sa Banko This dance is native to the barrio of Pangapisan, Lingayen, Pangasinan, and demands skill from its performers who must dance on top of a bench roughly six inches wide. * Dance: Tinikling Tinikling 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 â€Å"tikling birds† 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. * Dance : Subli The term â€Å"subli† is from two tagalog words â€Å"subsub† meaning falling on head and â€Å"bali†, which means broken. Hence, the dancers appear to be lame and crooked throughout the dance. This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during fiestas as a ceremonial worship dance to the town’s icon, the holy cross. * Dance: MaglalatikOriginally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule, this dance is also shown to pay tribute to the town’s patron saint, San Isidro Labrador. It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation. Moro dancers wear read trousers while the Christian dancers show up in blue. All dancers are male; with harnesses of coconut shell s attached on their chests, backs, thighs and hips. Pre-colonial dresses of the Philippines

Romeo and juliet -Tybalt essays

Romeo and juliet -Tybalt essays Romeo and Juliet is a play of two "star crossed lovers" whose houses are at war. This hatred causes a tragic ending, in which Romeo and Juliet both end up dead. This tragedy would never have happened if the two houses had not been fighting. Shakespeare never reveals why these two houses are at war making it seem like it is ages old, and that over time they have forgotten why they were fighting. Shakespeare uses primarily one character to relay this hate to his audience; he uses a fiery, irrational, aggressive, hotheaded young man named Tybalt. Without the constant quarreling between the two houses, Romeo and Juliet would have been free to see each other, which would have made for a boring play. Without Tybalt, Romeo and Juliet would have had a fairy tale ending. When Tybalt is first introduced, he is storming into the middle of a huge battle scene (act 1). While Benvolio tries to stop the fighting between the Capulets and the Montagues, Tybalt fires up the situation by saying, in act I, scene I, line 77-79 "What, drawn and talk of peace? I hate the word, as I hate hell, all Montagues, and thee. Have at thee coward!" and they begin to fight. This describes Tybalt's character. He disregards Benvolio's wish to make peace; he mocks him, and then explodes in his face, aching for a fight. In this first scene, Shakespeare introduces the aggression between the houses, which is escalated by Tybalt in every scene that he appears in. The next time Tybalt appears, he is at the Capulet's house for a party. When Romeo arrives disguised, Tybalt recognizes his voice and immediately responds to him as an enemy and someone to fight. He fears he is being mocked. In act I, scene V, line 64-66, Tybalt says, " Uncle, this is a Montague, our foe; a villain that is hither come in spite, to scorn at our solemnity this night." While Tybalt sees only a villain, Capulet sees Romeo as an individual, as he s ...