Publisher

Steven K. Dowd

Contributing Writers
Gat Puno Abon “Garimot” Baet
Barangay Dance Company
Zonia Elvas Velasco
Fiesta Filipina Dance Troupe
Jeff Bado
Rommel P. Serrano
Anamaria Labao Cabato

Contents
From the Publishers Desk
Filipino Folk Dances and the Fighting Arts
The Tinikling
Barangay Dance Company
Southern Philippines: Mindanao, Palawan, Sulu
Fiesta Filipina Dance Troupe - Canada
The Jewel of Silicon Valley . . . Hiyas
Kalilayan Folkloric Group
PASACAT
SAMAHAN
Filipino Folk Dances

Filipino Martial Arts Digest is published and distributed by:

FMAdigest
1297 Eider Circle
Fallon, Nevada 89406
Visit us on the World Wide Web: www.fmadigest.com

The FMAdigest is published quarterly. Each issue features practitioners of martial arts
and other internal arts of the Philippines. Other features include historical, theoretical and
technical articles; reflections, Filipino martial arts, healing arts and other related subjects.
The ideas and opinions expressed in this digest are those of the authors or instructors
being interviewed and are not necessarily the views of the publisher or editor.
We solicit comments and/or suggestions. Articles are also welcome.
The authors and publisher of this digest are not responsible for any injury, which may
result from following the instructions contained in the digest. Before embarking on any of
the physical activates described in the digest, the reader should consult his or her
physician for advice regarding their individual suitability for performing such activity.
From the Publishers Desk
Kumusta

Sayaw (Dance) is a historical and cultural part of the Philippines. Smooth and
graceful, dramatically put together with intricate movements, that flow and is very
entertaining and a true marvel to watch and experience.
You maybe asking yourself, why the FMAdigest is putting forth a Special Edition
on the dances of the Philippines. Even though FMAdigest stands for Filipino Martial Arts
and certain dances were created and used for entertainment of the Spanish to practice
their skills in the fighting arts. The FMAdigest is also wanting to put forth all the cultural
aspects of the Philippine for you the reader should have knowledge of the Philippines as a
whole not just one or two parts.
In this Special Edition, Gat Puno Abon "Garimot" Baet shares some historical
facts of the dances and how they intertwine with the fighting arts of the Philippines. Pete
Kautz tells how the practicing of Tinikling can benefit rhythm and body coordination.
There are several professional dance companies featured which if you ever have the
chance to see them perform you do not want to miss them.
If you are training with a Filipino martial arts instructor, especially from an
instructor, which has been exposed to the Filipino martial arts long enough to understand
the various aspect of the arts. Application can be seen from some of the dances and some
of them can transform into a martial arts form since some of them intentionally hid the
movements. For that the student or the reader needs to speak to their instructor or seek
instruction from a certified instructor, which teaches Arnis, Kali, Eskrima or Estokada.

Maraming Salamat Po
 Filipino Folk Dances and the Fighting Arts
By: Gat Puno Abon “Garimot” Baet

Introduction
Philippines consist of 7,100 islands; each island has names that ring with music
and dance. Each island has its own unique and wealth in tradition and culture. In this
article, I would like to focus and highlights the traditional dances that shows the history,
the people, the custom, and tradition, of the Filipino people in motion arts.
Whenever you visit Philippines
and whatever month it is, somewhere
on the island, someone is having a
celebration festival. Since the People
of the Philippines are natural music
and dance lovers. Festivals are not
complete without the dancing, which
are the people expectation of fun and
dance. It is does not matter weather it
is a Tribal festival, a Christian Festival
or Muslim festival.
The Tribal, Christian, and
Muslim Dances are commonly
The Early Migration in the Philippines portrayed as a cycle of life for each
on early 5th up to 13th Century group of people, from the dance of
pilgrimage, dance of birth, baptism dance, dance of courtship, weeding dance, planting
dance and the dance of harvesting, dance of thanksgiving, or the dance of war preparation
and the war dance, and then the dance of funeral, etc.

“Gintong Salakot Dance”

The historic arrival of Malay
to the Philippines

Since the Philippine was once a melting pot in Asia, different Tribal groups
migrated and different nations were invaded, conquered, and ruled the islands, and
history will self explained how some of the dances are “highlighted” like the war dance
as part of their history. But interestingly, due from “chocking” like feeling from the ruler
the banning of the practice of the Tribal Art of War, forced the natives to hide the art into
the dance sequences. The modern Filipino also adapted the music and step from their
invaders common dances, even the naming of the dance is after the rulers own language.
Thus, resulting in a effective hiding place of the practice of the art of war.

The Arrival of Spaniards 1521 Moro-moro Play (Zarzuelas)

Somehow, even the dances obviously shows the art and the usage of the blade
replaced with the stick or bamboo in their dances. The Spaniards thought it was just a
part of the entertaining. But in 1610, the Friar introduced to the islands the shows called
“Zarzuela” which later the Filipino changed them to the play called “Moro-moro”.
A play is similar to a Broadway show, showcasing the battle of the Christian
against the Moslem Moors, where a mock Battle is the climax of the play. The Filipino
used this play as the Propaganda, for their “Mass Revolution” during the recruitment of
the “KKK” or short for Katipunan in Luzon Island.
Pamamaltacia, Carenza,
Karanza, Halad, Alay and
Sayaw ng Panlaban (shadow
fighting), whatever the name
may be, was called the Filipino
“artistic dance of combat”.
They portray the basic
fundamentals of their particular
style or system in Arnis,
Eskrima, Estokada,
Pananandata, etc. Each player
has to learn or create basic steps
of movements to show the
introduction of his fighting style
and ability in the arts. This
The Centurion Original requires the player to spend a
(formerly Paete Arnis Club 1920) considerable length of time for
practicing and learning to flow
fluidly with his body language. Also, the player must recognize the style of his particular
partner in the battle dance so he can assure the correct defense will be used in this free
flow pattern of “Moro-moro Batalyas.”
But in modern Moro-moro, the pamamaltacia is now pre-arranged to secure the
artistic flow meets both the actor and player’s needs in being a part of the Moro-moro
shows. Pamamaltacia is neither a dance nor does it serve only as an introduction of every
combat dance in Moro-moro.
It also serves as the opening remarks of challenges and acceptance in stick
fighting, the artistic movement of attack and defense practice used in sticks fighting
tournaments.
Which in later years become the curriculum of progression in Arnis, Eskrima and
Estokada. Particularly in the Laguna provinces, in each “Palaro” (Tournament), the
players are required to begin by performing the stick sign language remarking their
challenges and acceptances from the challenger. These stick signed language have been
part of the Pamamaltacia since the beginning of its development. Pamamaltacia allows
each practitioner of the arts to create movements of their own favorite techniques. Thus
giving the Eskrimadores and Arnisadores a chance to perform their personalized dances
of combat both skillfully and to show a lot of pride from their movements.
During the Holy
Week celebration in Paete,
Laguna, they perform a
street play of Moro-Moro
called Cinaculo, which is
known in other regions as
the Moriones Festival. The
players are dressed like
Roman soldiers and the
play attempts to portray the
crucifixion of Jesus Christ:
Roman soldiers gambling The Centurion Original in Paete Laguna
for Jesus’ capture and later (Formerly Paete Arnis Club 1920)
for his clothes. The
“gambling” comes in the form of swordplay which serves as an ideal forum for the
techniques of Arnis and Eskrima. Ultimately Pamamaltacia is used as a vehicle by the
Moro-Moro street play, where each player is required to learn the basic weapon sign
language and serves as words for challenges, acceptance, demanding rules and how to
declined rules set by other players. In this particular Moro-moro, each player has set the
rules that every time they meet at the corner of any street they will perform the combat
dance (Batalyas). When they show each other their Pamamaltacia movements of
challenge and acceptance, this sets up the rules which directs them to what the particular
targets are, how hard will the strikes be and, of course, the time limits for each semi-
realistic combat dance. This tradition is well kept up to this day in Paete, Laguna, and is
managed by the Centurion Original and Paete Arnis Federation along with strong support
from Laguna.
After the Filipino-Spanish War, all of these dances still remain the favorite
entertainment pastime and exercise of the natives. The Philippines might even have loss
the written history of the Philippine, but the natives thru dances marked the past and
present of the Filipino people and their culture.
 The Philippine Revolution in 1896 Philippines Liberation from the Japanese
(Filipino-Spanish War) occupation (1945)

Gat Puno Abon “Garimot” Baet continues to describe some of the Filipino Folk Dances
Click Here

The Tinikling
How Traditional Filipino Dance Can Develop Your Combative Attributes!
By Pete Kautz

It was almost 20 years ago now when I accidentally discovered a secret about the
martial art of Arnis I was studying. It was something so obvious, something we had all
been told about, and even told was important...yet it was something that no one seemed to
be paying any attention to. Can you imagine that?
When all the books and Grandmasters of your art mention that something is
important, shouldn't you at least be tempted to "look into it" a little?

The thing was...it didn't seem to make any sense!

Here we were studying the martial art of Arnis, a powerful stick, knife, and
unarmed fighting system. But all these sources pointed directly to...folk dances???
"Sure," some will scoff, "and what next, maybe eating some adobo will improve
my Arnis skills, too?"
You know, I can't blame the folks who say that, because I felt that way at one
point too. But you know what? Even though I felt that way, I've always been glad that I
decided to take a chance and try it anyhow.
Now, when your instructor says to you "We need a few more people for a demo,
can you help?" how can you respond, but positively? That's how this all got started...how
I stumbled across this training method!
What weapons would we be using I wondered? What kinds of cool demo tricks
would we do? Break some boards? Maybe a self-defense demo with sticks and knives?
These questions and more all raced through my mind as we finished up class that
evening, before the "demo team" would meet.
 The instructors brought in some long staffs, and we got ready. "I'll need a
partner,” the male instructor said, "to help demonstrate the Tinikling (teeh-NEEHK-
lihng)."
Now, as a novice I had NO IDEA what in the world that was, but it just sounded
deadly as hell and I wanted to learn it, so of course ran up to volunteer.

"The Tinikling is based on the movements of birds known as tiklings." Guro John
explained.
Sure, everyone knows how martial arts styles have copied animals, right? So I
thought that maybe this was like a Filipino "crane-style" he was going to be showing us.
"Now crouch down and grab the other ends of these two poles." He ordered.
What kind of wild fighting technique was this? Staff ground fighting? And then
what happens next?
"Now, hit the polls to the ground two times; and then together, you see?"
As we clacked the poles together on the third beat I caught my knuckles on the
sticks. Ouch! This was a lesson in grip on the sticks and how to maneuver them while
shifting the stick in your hand. Quickly one learns to keep the rhythm...1-2-3, 1-2-3, 1-2-
3...and not smash their fingers into the floor or the other staff!
Then the female instructor then came over and started dancing in between the
sticks! I was worried! Wasn't she going to get her ankle caught in the sticks as we clacked
them together? She sensed my nervousness and just laughed, "Now speed it up!"

And then things really got crazy!

Guro Tammy stepped out and told us to pay attention. She and Guro John both
picked up their pairs of rattan sticks. They started to do the double sinawali, the hypnotic
weaving patterns with the double sticks, where both people strike the canes together.
Again, the rhythm was 1-2-3, 1-2-3, 1-2-3.
Then they told us to start the rhythm with the poles again, for the tinikling. They
took up their places on the outside, and then proceeded to do the double Sinawali while
doing the steps of the tinikling! This was amazing! As they wove in and out between the
poles, their sticks clacking loudly, the smell of burnt rattan filled the air.
Finally, they both stepped out with a spin, saluted each other and brought the
dance to a close.

"Now it's your turn!" said Guro Tammy with a wink...

In the next two weeks I learned enough of the tinikling steps to be able to take
part in the demo, and it was a fun, but the best part was seeing the real Filipino dancers
that were there!
From the first moment they started to dance, their skill and grace was clearly
evident. They had the flow that Professor Remy Presas always spoke of. By comparison,
I think we must have looked like mga baka (cattle) doing the tinikling instead of the fleet-
footed birds the dance is supposed to emulate!
Some of the dances showed balance and fluidity, like the candle dance. Here the
girls had small glass candles balanced on each palm and a third balanced on their head.
Unlike some people I have seen doing this dance, these girls did not "cup" or in any way
hold onto the candles with their fingers. They made a great point of keeping their palms
flat and fingers outstretched. All the while they moved their arms in circles and figure
eights, like in Silat or Pa Kua Chang (Baguajang). They even had movements where they
would kneel, then sit, then roll on the floor...all in a delicate "ladylike manner" and all
without dropping the candles on their head and hands or spilling any wax!
There was also the Maglalatik (mahg-lah-lah-TIHK) or coconut dance, which
seemed more obviously martial in application. The men came out in two groups, half in
red pants and half in blue pants. Each was wearing a vest of 4 or 6 half-coconut shells
and holding a half-coconut in each hand! What the heck was this crazy dance all about???
As the music started, the men all kept the rhythm by hitting the shells in their
hands together, and then hitting them into the shells on their chest. Then the two sides
turned towards each other and started to strike the shells on each other's body. This was a
trapping and boxing method hidden in a dance. They would hit shells in their hands and
then on the body, taking turns as they developed parry and strike combinations and
keeping the beat going. Click Click-a-Click!
Another dance that I did not learn the name of was a courting dance, and had a
funny section where the couples were facing each other and the boys would all step
forward and go to kiss the girls on the cheek...but the girls would use a triangular evasion
step and elbow shield (which was made to look "cute" by the performers, like brushing
the hair) to defend themselves. Then they would both step back to their starting positions,
and the boy would try to kiss her on the other cheek, only to have her slip away with the
same evasion and counter to the other side. This was "Angle 1 and Angle 2 Triangular
Footwork and Elbow Shield Defense Against Kissing!"
By the end of the night when we left, I was sure that I had seen something very
special in the traditional folk dances. Something that perhaps even the dancers were
unaware of. The martial root movements of Arnis.
Since then, over the years I have at various times required my students to learn the
tinikling and have taught it to interested groups of students at seminars as something to
do on breaks. It is a lot of fun, challenging for your footwork, coordination, and
anaerobic capacity, plus it brings out part of the culture and celebrates the art.
The root movements of the tinikling are very easy to learn, much like jumping
rope, and likewise can also be taken to a very high level of technical grace by a skilled
proponent. Do not let the “simple” nature of the tinikling fools you!
Here is how to do the basic footwork of the tinikling. Later on, try adding in the
double Sinawali or other six-beat stick and hand drills (redonda, heaven six, etc.)
First off, you will need two long poles (8 foot is good), two short pieces of 2 x 4
lumber or similar, and at least three people. Two people will work the poles while the
third does the tinikling. The two short pieces of 2 x 4 lumber act as a guide to how far to
spread the poles and make it easier to click them down without hitting one’s knuckles on
the floor.
Start by standing next to the poles in a one-leg stance with the raised foot either in
front or behind you, as you prefer (learn both). The foot that is up should be the one
closest to the poles. So, if the poles are to your right side to start it should be your right
foot that is up.
Listen to the beat (1-2-3 or Down-Down-Up). The poles click the floor twice and
then click together on the third beat. If you are working the poles you want to start with a
steady down-down-up, down-down-up, down-down-up, down-down-up continuous 3-
count rhythm. Do NOT speed it up at first, just seek to play the rhythm smoothly and
evenly.
On the FIRST beat (Down) step your right foot between the poles. If you were
adding the double sinawali this when you would do the first strike.
On the SECOND beat (Down) replace your right foot with your left foot, the right
foot lifting up either to the front or back as this happens. If you were adding the
double sinawali this when you would do the second strike.
On the THIRD beat (Up) step your right foot down outside the poles on the far
side from where you began and simultaneously lift up the left foot so it is not
caught between the poles as they come together on beat three! If you were adding
the double sinawali this when you would do the third strike.

Immediately on the next beat repeat the sequence starting with the left foot and
moving back across. Congratulations, you are now doing the tinikling!

Note: Do not accidentally kick the people working the poles. It is very bad form. Sounds
obvious, but I have seen it happen when people get excited. Usually the person working
the poles that is behind the dancer is the one who gets kicked, so when in this position
always watch out for flying feet! This is why longer (8 foot or so) poles are better for
safety than short ones.

Note: For greater safety when the poles inevitably do catch someone’s ankle, I have seen
groups use long pieces of PVC plastic pipe for their poles. These tend to flex and not hurt
the ankle as badly as the wood poles can. If you were doing this with kids it might be an
idea to explore. Tinikling sets that are made for elementary school use are usually of this
design.

There you have it! This is a very simple dance that can really be a lot of fun and
can add to your enjoyment of the Filipino martial art of Arnis. If you do public demos for
your school, this is also a very lively and interactive dance that you can also invite the
audience to come up and try.

About the author: Pete Kautz is the Director of Alliance Martial Arts and produces
Modern Knives DVD in association with his friend and mentor James A. Keating of
Comtech. Visit AllianceMartialArts.Com and ModernKnives.Com for more articles
and to learn about Modern Knives - a quarterly DVD featuring blade weapon arts from
around the world. Past issues have included instruction in Spanish, Filipino, Indonesian,
German, Italian, Japanese, French, and American styles of combat.
ModernTinikling

Bamboo Hop (Begin with L foot closest to bands)

Beat L L R R L L R R
A
Feet in in out out in in out out
Bamboo Hop Pivot
Beat L L R R L L R R
B
Feet in in out pivot 180 out (far) out (far) out pivot 180
Bamboo Hop / Tinikling Turn Step
Beat L L R R L R L R
C
Feet in in out out in 1/4 turn in 1/4 turn out out
Tinikling Diagonal Step / Bamboo Hops (3 knees back)
Beat R L R R L L R R
D
Feet in in out out in (R knee up) in (R knee up) out out
Bamboo Hops (continuation)(3 knees back)
Beat L L R R L L R R
E
Feet in (R knee up) in (R knee up) out out in (R knee up) in (R knee up) out out
Tinikling Diagonal Step
Beat L R L L
F Begin routine again Start with right foot
Feet in in out out
Routine made from footwork of basic step aerobics.
 Preserve and Promote our Cultural Heritage

Barangay is a nonprofit organization dedicated to

preserving and promoting the rich cultural heritage of the
Philippines through the art of folk dancing.
In August 1987, Bonifacio Valera, Jr. founded
BARANGAY. His avid interest in Philippine folk dancing
began when he attended his first Philippine Cultural Night
while attending the University of California at Berkeley.
Currently, Barangay is under the direction of Eric Solano,
Rona Ronquillo, and Viki Hafalia.
Barangay has actively represented the Filipino
American community at multicultural festivals such as the
Pindulas annual San Francisco Ethnic Dance Festival and Trade
winds Series; in community-sponsored events like the
annual Fiesta Filipina at the Civic Center, Fiesta Musical Islands at Union Square,
Kababayan Fest at Marine World, Pacific Fest at Paramount’s Great America, Monterey
Filipino Festival, and Pistahan at the Yerba Buena Gardens; and in schools, parishes,
centers, and private functions throughout California and Nevada.
To foster the development
of Filipino folk dancing, several
BARANGAY members, including
founder/artistic director Bonifacio
Valera Jr., continue their research in
Philippine folk dance, returning to
the Philippines to interview dance
scholars such as Mr. Ramon
Obusan, a nationally-respected
Filipino dance anthropologist and
founder/director of the
internationally recognized Ramon Uyayi
Obusan Folkloric Group and Dr.
Larry Gabao, chair of the Physical Education Department at Philippine Normal
University and president of the Philippine Folk Dance Society, as well as to train with
Philippine dance groups like the Bayanihan Philippine Dance Company and Ramon
Obusan Folkloric Dance Group.
In addition to interviewing and receiving training from the dance scholars in the
Philippines, Barangay began research by directly visiting and researching the background
of cultural minority group like the T'boli in Lake Sebu. Barangay will continue to directly
go to different cultural minority groups in the Philippines to bring more authenticity of
movements, costumes, and music to most dances presented on stage.
 Barangay repertoire includes dances from the mountain regions of Luzon or
Cordilleras, Barrios, Mindanaoan culture, cultural minority groups, and Spanish influence
dances also called Maria Clara.
Barangay offers free Philippine dance
workshops to the community in its effort to promote
and preserve Philippine culture. Also, Barangay is in
the process of branching outside San Francisco to
create a Barangay family that acts as one. As a result
of this effort, we received support from Mel and
Belle Orpilla of Vallejo's Bayanihan Center and Alex
France of Pamana ng Mandirigman in Pleasanton;
workshops have started in their respected cities.
Workshop participants become part of Barangay and
are able to perform in upcoming events.

Sagayan

For more information or workshop schedule, please contact us at (415) 244-5203

or email - barangaydance@yahoo.com. You may also visit www.barangay.org
 Southern Philippines: Mindanao, Palawan, Sulu
By Zonia Elvas Velasco

The Philippines' southern islands of Mindanao, Palawan and Sulu have withstood
western colonial attacks the most and therefore have retained the culture that was
prevalent before the Spanish (1521-1898) and Americans (1898-1946) arrived in the
country. Although waves of Arab missionary work which started in the late 12th to 13th
centuries also left the influences of Islam, the culture of this area is still quite distinct, and
regarded as older and "purer", compared to the "hispanized" areas of northern and middle
Philippines.
It may also be interesting to note that visits or migrations to these areas from
Indonesia, which was heavily Indic at that time, are seen in dance steps, which have
filtered into some of the Mindanao dances. There are Mindanao dance steps, which bear
strong similarity to classic Indian dance. For example, there is one dance gesture of
putting on the tikka (the red dot on the center of Indian women's forehead). Here, the
dancer puts the middle finger of one hand over the forehead while the other arm is held
outstretched, thumb and third fingers held together.
Mindanao is the land of the Sultans. Indeed, the royal class of Sultans and
Princesses is neither myth nor legend. In fact up to the late 50's, the Dutch occupying
Borneo paid lease for the land to Princess Tarhata of the Sultanate of Sulu. She owned
this land until a United Nations referendum granted Borneo/Sabah its rights to become
what it is today.
When America came to the Philippines, and moved down south to gain control
over its boundaries, these Sultanates withstood their onslaught the longest. They also
fought the hardest, earning for them great respect from their opponents. The battle of Bud
Bagsak, come down history as the most valiant battle ever fought in the Mindanao
against America.
In the guise of civilizing these areas during the American regime, and the
centralization of Philippine government, these Sultanates faded one by one. But the
stories and legends continue, linking the lands of Sulu, Mindanao, Celebes and Borneo
together.
This area is as culturally diverse as other areas of the Philippines. Looking at the
map, the eastern side of Mindanao (i.e. Davao) holds more affinity with Celebes
(Sulawesi), and the western side (i.e. Lanao, Sulu) to Borneo. Exception is the Yakan
tribe of Basilan (Zamboanga), who trace their ancestry to Polynesian islanders.
As one can see, there are endless stories coming from this land... and those are
that which we seek to unfold.
(copyright 1997, all rights reserved)
Zonia Elvas Velasco
Founder and Executive Director
Filipino Folk Arts Theatre, Inc
9640 Webb Chapel Road
Dallas, Texas 75220
(214) 357-3993 / Fax (214) 357-0679
Website

Fiesta Filipina Dance Troupe

Canada

The Fiesta Filipina Dance Troupe (FFDT), established in

1966, is the premier traditional Filipino performing dance company
in North America. FFDT is a non-profit organization and is a
member of the Mississauga Arts Council, the Community Folk Arts
Council of Toronto and Folklore Canada. Led by Executive
Director/Producer Estrellita "Estring" Aguinaldo and Artist
Director, Lynda Sue Aguinaldo, the company is poised to continue
the legacy of the late George Aguinaldo whose unmatched artistic
contribution has helped start and enhance the artistry of many Filipino folk groups. Its
success and mission has made this dance troupe an institution to follow for many up and
coming cultural dance troupes from around the world and for Filipinos and Filipino
culture enthusiasts. Based in Mississauga, Ontario, this acclaimed Filipino Canadian folk
arts ensemble, made up exclusively of volunteers, has been dedicated to promoting,
preserving, and propagating Philippine arts and culture in Canada and the world through
music, song and dance for over 39 years.
Through a wide range of activities, the Fiesta Filipina Dance Troupe has actively
contributed to the knowledge base and to the appreciation of the diversity that exists in
Canada. Its annual participation in the Metro Toronto International Caravan since 1969,
and Carabram, the Multicultural Festival of Brampton as the Filipino-Canadian
representative is a prime example of this company's dedication and contribution to
enhancing Canada's multicultural community. It has also won many awards, with the
latest being, winning Best Entertainment in 2005 in Carabram and The Banaag Award
from the Philippine president last December 2004. The Banaag Award is given to
Filipinos overseas, either individuals or associations, for their contribution, which
significantly benefited a sector or community in the Philippines, or advanced the cause of
overseas Filipino communities. The Banaag Award was given "in recognition of the
remarkable achievements in showcasing the diversity of Filipino heritage through world
class dance and musical performance and bringing the Philippines closer to overseas
Filipinos and the rest of the world."
Since its birth, the dance company has received many accolades. Its world class
shows have earned the company performances to many prominent events, such as the
Olympic Games in Mexico City and Montreal, the Commonwealth Games in Edmonton,
the Montreal Expo as well as the opening festivities of both Ontario Place and Skydome -
- now the Rogers Centre.
Fiesta has also become an Ambassador for both Canada and the Philippines.
Through it international travels, the troupe has enchanted audiences with their
exceptional traditional Philippine folk dance repertoire. In 1991, "Fiesta" burst onto the
international scene as one of Canada's representatives at a folklore festival in Portugal.
The success of this first European appearance led to a flurry of international invitations,
many of which Fiesta accepted. Today, this leading Filipino dance troupe in North
America has performed on stages in France, Italy, Greece, Austria, Spain, USA and the
Philippines.
Behind the grandeur and the accolades of a successful performance lies a tireless
organization. Through their efforts, the members were taught the various forms of
Philippine dance that have been influenced by the archipelago's unique geography and
colorful history. The layers that comprise the Filipino people are told through the
mountain tribes of Banaue Rice Terraces, the aristocracy during Spanish colonization, the
story of courtship between a young Muslim prince and princess, the dances of the various
indigenous tribes and the dances of the lively countryside. George and Estring's inspired
research has taken them across the islands and it has allowed both the dance troupe's
performing artists and audience members to learn more of the Philippines and its people
through music, song and dance.

The repertoire of the Fiesta Filipina Dance Troupe is traditionally divided into
five main suites that highlight the cultural diversity of the Filipinos:
Cordillera - These dances are based on the culture and traditions of the mountain tribes
of the Cordillera region in the island Luzon. Known collectively as Igorots, they are the
builders of one of the Forgotten Wonders of the World, the Banaue Rice Terraces. Their
dances are performed to appease their gods, to ward off bad spirits, to ensure bountiful
harvests and peace, and to celebrate successful battles in war.
Spanish - These dances depict the cultural influences of the Spanish conquistadors on the
Filipino people. These dances merge the Spanish jota, the flamenco, and period costumes
of the 18th and 19th centuries with the Filipino culture in the form of bamboo castanets,
bamboo canes and the "abanico," or Asian fan.
Morolandia - These dances are portrayed by the Muslim Filipinos that reside in the
southern island of Mindanao and in the Sulu Archipelago. The dances are known for their
Arabian and Indo-Malaysian influences.
Tribal - These dances are those performed by the various indigenous tribes and cultural
minorities that reside throughout the Philippine archipelago.
Rural - These dances express the joy in life and music of the Philippine countryside in
the predominantly Christian lowlands.

Cordillera Regional

Igorot Salip Sakuting

Morolandia

Muslim Kantao Silat Muslim Singkil

Fiesta Filipina Dance Troupe

Website - www.fiestafilipina.org
Contact:
Estrellita Aguinaldo - (905) 566-5734
Betsy Abarquez - (905) 707-8433
Tess Cusipag - (905) 940-1354
Email
The Jewel of Silicon Valley . . .

In March 2003, a group of

16 folk dance enthusiasts joined
forces with a goal to present the
best in Philippine folk dance and
music. An initiative led my Justin
Mambaje (Artistic-Musical
Director/ Choreographer and Jeff
Bado (Dance Director), both
former lead dancers with a San
Jose based folk dance troupe, this
partnership had the vision to unite
extensive resourcefulness,
experience and talents of
performing artists and musicians to present authentic cultural presentations the Greater
Bay Area community would not soon forget. Following the statement of Philippine
national artist and folk dance research pioneer Francisca Reyes-Aquino, "Let folk dances
be as they are - of the folk. We can not sacrifice heritage for progress," Hiyas strives to
present Filipino folk dance in its most traditional form in an era where authentic steps and
movements are modernized or forgotten. The word "hiyas" (pronounced hee-yahs) means
"jewel", referring to how
members treasure Philippine
folk arts.
Justin Mambaje
provides artistic/musical
direction and choreography for
the company. He launched
Hiyas through impressive
milestones, over 180
performance engagements to
date and numerous workshops
to develop and train his artists, bringing them to "Sariling Atin" translated "Our Very
Own", his first sold out gala, a two-hour theatrical production on the 29th of December
2004 at the Montgomery Theater in Downtown San Jose. His most outstanding
accomplishment; guiding the company successfully through the rigorous World Arts
West auditions in January 2005 where over 100 groups endeavored for this highly sought
after collaborative. Hiyas endorsed a modified version of selections from their rural
repertoire, captivating panelists noted for their dance background, cultural expertise,
reputation in the field who are sensitive to world arts and cultures, and knowledgeable in
dance/theater presentation. Hiyas made their festival debut at the world famous Palace of
Fine Arts in San Francisco's prestigious 27th Ethnic Dance Festival last June 18-19, 2005
reaching a pinnacle of success in Northern California's communities of folk art and
culture. No other Filipino dance group in San Jose can boast of this paramount
achievement. Mr. Mambaje's cutting-edge choreography and impeccable distinction in
costume design are but only a few illustrations of his brilliance. His magnificent
inclination to music is now realized and appreciated by their audiences. In his role as
company music director, the group again became the first and only Filipino dance troupe
in the South Bay to establish their very own touring music ensemble, providing the ethnic
sounds of the ethno-linguistic tribes of the Northern Cordillera and Southern Philippine
archipelago dance repertoires along with the creation of their own live rondalla "Cuerdas
ng Hiyas" translated " "Strings of Jewels" providing beautifully orchestrated acoustic
arrangements for their rural and Spanish repertoires.
The City of Milpitas awarded Hiyas its
Cultural Arts Support Program Grant and the
opportunity to feature favorite dances performed
by a junior folk dance membership comprised of
14 folk dance students, with supporting roles
from the seasoned performing artists, the event
showcased their artistry and love for the arts. For
this event, Hiyas' newly established rondalla
provided live acoustic accompaniment,
consisting of one banduria and one octavina
(both 14 string instruments similar to the
mandolin), one classical guitar and one full
upright bass in a two-hour dance and music
recital in December at the Milpitas Community
Center. This successful endeavor became a
revelation of Hiyas' future generation performing artists in a display of genuine unity as
dance students were given the proper care and guidance from both family and
community, working together to present their best in favorite folk dances. A project plan
is in process that would provide the junior dance company another performance
opportunity in a holiday recital scheduled for early December of this year. Their current
training process requires their involvement in rehearsals with the seasoned group.
Exposure to higher degrees of artistic direction with an introduction to other dance suites
will prepare them to tackle a full two-hour recital designed specifically for the junior
members.
 Hiyas functions as the
cultural component of the
Filipino Youth Coalition, a non-
profit organization providing
assistance in education, cultural
activities, leadership and
community service to Filipino
youth in San Jose's Eastside
Union School District. This affiliation affords the company with access to a newly
renovated facility equipped with a rehearsal studio, office and storage space located at the
Fil-Com Center at 635 North Sixth Street in the heart of downtown San Jose's Japan
town, assets essential for extensive training and workshops needed to develop its artists
and musicians.
Of the twenty-seven dances that are presented, twenty are newly researched
additions to the groups’ current repertoire. This selection of favorite dances will
encompass five major dance suites in Philippine folk dance; Igorot, Maria Clara,
Southern Islands, Lumad and Barrio Fiesta Suites. The production will require a high
degree of difficulty in choreography, execution of movement, projection and form. The
cast will function in both lead and supporting lead roles. Anticipated completion date for
dance instruction and choreography is scheduled for the last week of May. The month of
June will maintain rigorous run-through’s, focusing attention on execution of
choreography and building teamwork.
 Palace of Fine Arts for San Francisco's 27th Annual Ethnic Dance Festival

Hiyas is comprised of Filipinos of all ages with the majority of them being second
generation. Whatever the age or background, all Hiyas members share a love for Filipino
folk dancing! Interested in booking a performance or becoming a Hiyas member?
Contact us today!

Website: www.hiyas.org
General Email: hiyasofsj@aol.com
Artistic Director Email: megatonp@aol.com
Address - Office & Studio:
Hiyas Philippine Folk Dance Company
FIL-COM Center
635 North Sixth Street
San Jose, CA 95112
Phone Number: (408) 799-3554 (ask for Jeff)

Hiyas Presents… Sariling Atin

A Spotlight on Irreplaceable Treasures in Philippine Dance and Music
July 7 & 8, 2006
Montgomery Theater in downtown San Jose

A two-hour Philippine folk dance and music production a spotlight on

irreplaceable treasures in Philippine Dance and Music will showcase a kaleidoscope of
movement highlighting the sights and sounds from eras and regions of the Philippines,
from the anecdotal rituals of the cultural minorities of Mindanao to its portrayal of the
rural life of the countryside. The presentation will provide a glimpse into the rich cultural
ethnology of the islands. A cast of 23 performing artists will seek to inspire audiences of
all ages and cultural diversity through the spectacle of dynamic and authentic dances,
dramatic and brilliant costuming and passionate live musical accompaniment by the
Hiyas Music Ensemble, this talented cooperation will bring the best of Philippine folk
dance and music to life throughout the splendor of its repertoires, funded in part by grants
from Arts Council Silicon Valley and the City of San Jose Office of Cultural Affairs.
Targeted audience for this project are the various diverse communities of Filipino
and non-Filipino residents within the San Jose area and neighboring communities of
Milpitas and Fremont where artists and members live, their families and affiliates at the
schools, colleges, church and private organizations they attend. Promotion for this project
began with an outreach to Filipino senior citizens and veterans of war to arouse interest
and support of Filipino folk arts and culture began with a complimentary forty-five
minute dance and musical production at Eastside Neighborhood Community Center in
San Jose for an event paying tribute to Filipino senior citizens, war veterns and their
wives and other senior's celebrating achievements in the local community. The
company's desire is to offer an exciting, exhilirating and educating cultural experience
with efforts to inspire anyone in the community with a focus to reach out to inner city
neighborhoods, youth, veterens, the retired and aged. The company members share a
feeling of obligation to the communites it serves, to present its best in their artistic
endeavours, by achieving higher standards of excellence in promoting and preserving the
traditions of its people.

www.kalilayan.com

The term Kalilayan, an old name of

Tayabas (now Quezon Province), is a fitting name
for this folkloric group that traces its humble
beginnings in Quezon and promotes the rich
traditions of the region. Formed in 1997, the
Kalilayan Folkloric Group (KFG) is composed of
talented locals from Catanauan, Quezon that seeks
to preserve Filipino folk dance and music through
the performing arts.
Led by founder Rommel P. Serrano, the
Kalilayan Folkloric Group is a proud recipient of
many awards and citations. A former member of
the Ramon Obusan Folkloric Group, Rommel
formed the Kalilayan Folkloric Group from among
dedicated students of the Manuel S. Enverga
Sayaw sa Bangk University Foundation in his hometown,
Catanauan.
Beyond entertaining different generations of Filipinos with folk dance and music,
Rommel and the rest of the Kalilayan Folkloric Group members hope to inform and
inspire the audience on the vibrant but vanishing culture of Filipinos. In this modern age
where the Western way of life dominates indigenous cultures, the Kalilayan Folkloric
Group believes that by promoting Philippine folk songs and dances to Filipinos, it can
contribute in protecting the fading cultural traditions of the country.
Kalilayan Folkloric Group’s most
important contribution is the holistic growth
of its members who at their young age are
exposed to the colorful roots and traditions of
their province and country. By dancing to
Filipino folk music, the young members from
small town Catanauan learn to appreciate their
national identity and culture and develop pride
in their heritage. Undergoing rigorous
training, the young artists are also taught the
value of perseverance and discipline, making
each performance a winning result of their
hard work and commitment.
One of the group’s memorable performances was the 1998 Hiyas ng Quezon, a
show that featured different renowned dance groups from Quezon, and where KFG
received a resounding ovation for its performance. Then still a young group, the KFG
found the warm reception an overwhelming experience that added inspiration to its
members. To this day, the group continues to be a consistent top placer in various dance
competitions in Quezon.
Other neighboring provinces like Laguna and
Cavite soon heard of the group’s rousing
performances, and invited the Kalilayan Folkloric
Group to grace their cultural events. Before long, the
group was dancing in many events in Manila,
including at the Cultural Center of the Philippines
(CCP). The group was first invited to perform at the
CCP in 2000 at the December Fiesta Celebration,
after winning second place at the Timpalak Indakan,
a folk dance competition sponsored by Nayong
Pilipino.
The group’s painstaking efforts paid off when
it garnered the overall first place in the following
year for the same Nayong Pilipino competition. The
success earned them a prestigious rank among the
best cultural dance groups in the country. As a result,
Rigodon de Honor
the CCP invited them again for a solo performance in
its annual December Fiesta.
In 2002, the group participated in the opening celebration of the National Arts
month at the CCP grounds. The group launched its world premier of Binyagan at the
2002 Sari-saring Sayaw, Sama-samang Galaw at the CCP main theater and at the Concert
at the Park in Luneta. Also in the same year, the Kalilayan Folkloric Group was again
invited at the CCP to take part in the Ramon Obusan Folkloric Group’s ‘Vamos A Belen:
Christmas Practices in the Philippines’.
In 2004, the group has just come back from a successful performance of Sulyap 2:
A Glance in Our History in Boracay Island. The KFG today continues to perform in its
home province Quezon, and in Manila, gracing various cultural events, awards nights,
trade fairs, international conferences, etc.
In 2005, the group was again invited in the Cultural Center of the Philippines’
dance production, Sari-saring Sayaw, Sama-samang Galaw 2005: Mga Tradisyon at
Interpretasyon. Together with other top Filipino folk dance groups from all over the
country, the KFG rendered lively interpretations of Philippine folk dances as part of the
celebration of 2005 National Arts Month. The KFG showcased in this prestigious event
the unique folk dances and music of Catanauan, Quezon, a world premier of Las Flores A
Maria La Madre Nuestra (Flowers for Mary, Our Mother), a celebration of flores de
mayo, pays faithful tribute to the original dances of the tradition-rich Catanauan.
Now on its ninth year, the university-based Kalilayan Folkloric Group has opened
its doors to other young aspiring dancers in Catanauan. Joined by other senior Kalilayan
Folkloric Group dancers and ROFG members, Rommel tirelessly trains new members
with the hope that the next generation will persevere in Kalilayan Folkloric Group’s
commitment: to instill discipline, confidence and good values to its young members, and
to promote our dying cultural traditions to the greatest number of Filipinos.

Dancing into the hearts of people with the tune of the Filipino rhythm and harmony

Christian Dance Suites

Abaruray Jota Cagayana Lapay Bantigue Polka Biana
Balamban Jota Gumaqueña Maglalatik Polkabal
Bayluhan Jota Manileña Malagueña Putritos
Binasuan Jota Quirino Mazurka Boholana Putungan
Birginia Jotabal Nazareno Rigodon de Honor
Bulaklakan Kalapati Oasiwas Rigodon Royale
Buling-Buling 1 Karatong Pandanggo sa Bulig Sabong
Buling-Buling 2 Kuratsa Pandanggo sa Ilaw Sakuting
Cariñosa La Estudiantina Paseo de Iloilo Sayaw sa Bangko
Engañosa La Jota Pasiguin Sayaw sa Cuyo
Estudiantina Moncadeña Pastores Bool Sinakiki
Inalimango La Jota Paragua Pastores Bungiawon Sublian
Infantes Lanceros de Lingayen Pastores Talisay Tiadot
Itik Itik Lanceros De Tayabas Pastores Tubog Tinikling
 Cordillera Suite Lumad Suite

Bendian Salip Binaylan Banog Matigsalug

Dinuya Tadek Dugso Pandamgo
Idudu Tajok Gin-Um Pangamote
Ngilin Takiling Kadal Tahu Pigagawan
Pattong Tarektek Karasaguyon Sohten
Paypayto Tuntak Lagudas Sugod-Uno
Ragragsakan Uyaoy Malakas at Talbeng
Maganda Tawgon Hapnon

Muslim Suite Asik Pansak

Bulah-bulah Pig-Apir
Burong-Talo Pindulas
Buti-Buti Sagayan
Janggay Singkil
Kariala Sirong sa
Kinakulangan Gandingan
Mag-igal Sua ko Sua
Pangalay Tauti
Pangalay sa Agong Tupukan sa Malong

For inquiries about Shows, Choreography Rommel Padillo Serrano

and Workshops please contact: Blk. 8, Lot 2, Talisay Street
Narra Homes Pag-asa I, Imus, Cavite
Email Address: contact@kalilayan.com,
kfg_catanauan@yahoo.com
Tel. No. (046) 4711276
Note: The Kalilayan Folkloric Group Barangay 5, Boncan St.
invited to perform this December in the Catanauan, Quezon
2006 Asian Games in Doha, Qatar. (920) 9118391, (02) 9125707 loc. 79181
 PASACAT
Philippine-American Society and Cultural Arts Troupe
By Anamaria Labao Cabato

PASACAT is a Philippine folk

dance, but in San Diego, it began as the
acronym for the Philippine-American
Society and Cultural Arts Troupe.
Today, PASACAT's mission is to
preserve and promote the Asian Pacific
culture through the arts, thereby,
extending goodwill and enhancing
cultural understanding.
On September 7, 1969, during a
salute to San Diego's 200th Pangalay
Anniversary by the Filipino-American Community Association of San Diego County,
with Delfin Labao as President, San Diego witnessed the birth of this performing arts
group in the first Philippine Cultural Extravaganza held at the Organ Pavilion, Balboa
Park. Paz Marquez Uro and Dr. Bill Yumul choreographed and instructed fifty Filipino-
American youths in Philippine dance for this three-hour tribute. The enthusiasm from this
performance was tremendous as was the response to continue Philippine folk dancing. In
November 1970, PASACAT became the first formally organized Philippine Dance
Company in San Diego.
PASACAT is comprised of three
major performing components - Senior
Company, Junior Dancers and
Rondalla/Percussion Instrumentalists.
The repertoire consists of folk dances
and traditionally based dances reflecting
the history, geography and cultures of
the 7,100-island republic. Dances are
from the Cordillera of Northern Luzon,
the coastal and mountain regions of
Mindanao, Spanish era influences and the central countryside and coastal regions.
Under the artistic direction of George Ragaza, from 1985 to 1989, the Senior
Company presentations were enhanced tremendously by his expertise in Philippine dance
technique and styles, costuming and ethnic music. Joji Ramirez Castro, former member
of the world famous Bayanihan Philippine Dance Company, joined PASACAT's artistic
staff in 1986 and has guided the development of the energetic and eager Junior
PASACAT Dancers. Since 1990, she has taken the position of PASACAT
Choreographer/Dance Director lending her expertise in authentic Philippine dance. In
1992, PASACAT's Extravaganza concerts began to receive a string rave reviews
describing PASACAT as "exuberant" for its "smooth and well paced choreography, " a
"touring professional company, with young and fresh, skilled and well drilled dancers;
the choreography as "total visual delight." CNN International featured PASACAT on
Inside Asia, February 1996, airing in 226 countries. Footage from the 1994 Extravaganza
and interviews with the Anamaria Labao Cabato, Executive Director and Castro, drew the
conclusion that Philippine dance is a "looking glass in which present generations can peer
for clues to understanding themselves better.
The six-minute segment
made PASACAT an internationally
recognized Philippine dance
company. Veronica Pedroza
summarized how "PASACAT uses
the dance floor as classroom....
From mimicking animals to pagan
worship and tribal ritual, the dances
have evolved into art and a kind of
looking glass into the past through
which present generations can peer "Singkil" performed prior to the 1997 Rose Parade
for clues to understanding
themselves better."
August 2002, PASACAT had the distinct honor of performing at the Cultural
Center of the Philippines, with the Bayanihan Philippine National Dance Company in
celebration of its 45th Anniversary. Seventeen Company members were given music and
dance workshop from Bayanihan a first for any U.S. Philippine dance company.
PASACAT was also given workshops with Ramon Obusan, a recent Philippine
National Artist known for his dance and cultural research in the remote regions of the
Philippines. "To know Philippine dance you have to totally immerse yourself in it,"
proclaimed Obusan of the Ramon Obusan Folkloric Group, and former member of the
Bayanihan Philippine National Dance Company. This was his suggestion as he addressed
the first Philippine Dance Gathering in San Francisco, July 1999. With PASACAT's
artistry and longevity in delivering consistent programming, they hope to energize the
Philippine dance community in coming together as one in the spirit of love and passion
for the richness of the culture of the Philippines at the Philippine Dance Gathering and
Workshops-V, summer of 2007.
PASACAT's Education Outreach Program, Sayaw Pang Aral, recently completed
workshops at eight high schools (Castle Park, Eastlake, Mar Vista, Mira Mesa, Morse,
Otay Ranch, Southwest and Sweetwater) and two elementary schools (Ira Harbison and
Palmer Way year-round after-school programs) in San Diego County. One hundred sixty-
five students were taught traditional Philippine dances as after-school programs and in-
school programs during Tagalog classes from January through April. The high school
students completed the program as PASACAT presented Salinlahi a ninety-minute
concert featuring one hundred twenty-five students. Non-performing students were
assigned to provide pictures and descriptions of various dances on presentation boards,
which were displayed in Theatre lobby.
"Philippine dance has been a way of building community and building bridges
between children, parents, grandparents and other cultures," stated Anamaria Labao
Cabato, Executive Director of PASACAT. "I've attended all the PDGW's and what
strikes me most is to see the enthusiasm and intensity of the participants learning the
dances," Cabato continued. "Above all, was the spirit of connecting with each other
through the vehicle of Philippine dance."
PASACAT’s upcoming productions:

September 30, 2:00 PM and 7:30 PM ~ PASACAT Extravaganza

A theatrical presentation of traditionally based Philippine dance at its best ~ and known
for the strong skills and entertainment in bringing the Philippines to the stage with
exciting musical accompaniment and colorful costumes.
Joan B. Kroc Theatre ~ 6611 University Avenue
Tickets $15 - $25.00 Reserved Seats
December 2, 2006 - 5 PM Parol Philippine Lantern Festival
Experience a Philippine Christmas with traditional Philippine dance, music and song.
Guests will be provided native food and drink, pabitin for the children and the display of
various Parol lanterns.
$12.00 (Discounts for Students, Seniors & Active Military)
July, 2007 Philippine Dance Gathering & Workshops - V
Location, Dates and Times TBD
A conference for Philippine dance enthusiasts, musicians, board members where
workshops of traditional Philippine dance and music for beginning & advance levels will
be provided and discussions on developing your non-profit arts organization.

Above photo’s from Extravanganza 2004

By Delfin Perena
Company Dancers in: IDAW, SINGKIL, and SUBLI

Above photo’s from 19th Annual PASACAT Junior Concert

May 6, 2006
Kalinga Wedding Dance
Panambitan
Pasodoble
PASACAT
Asian Pacific Arts
102 East 16th Street
National City, CA 91950
(619) 477-3383
admin@pasacat.org
www.pasacat.org
 SAMAHAN Philippine Dance Company

The Samahan Philippine Dance Company was organized in July 1974 under the
direction of Lolita Diñoso Carter, Ph.D. Dr. Carter, a dance instructor at Grossmont
College, El Cajon, CA. at that time. Volunteering her services to organize a performing
ensemble as a contribution to the growing Philippine Community of San Diego. Her
knowledge of Philippine Dance and Music came naturally from her experiences growing
up in the Philippines and being involved in all facets of Filipino life in a small town
including activities of a large extended family, church and its numerous religious
observances, school programs and community celebrations specially town fiestas. Formal
education in Philippine Folk Dance at the University of the Philippines and classes with
Francisca Reyes Aquino, eminent authority on Philippine Folk Dance provided Carter
with a solid background in Philippine Folk Dance.
The Samahan Philippine Dance
Company started out as part of the
Youth Program of the Council of
Pilipino-American Organizations of San
Diego County. The purpose of the
program was to provide Filipino youth
opportunity to gain knowledge and
appreciation of their cultural heritage.
The name Samahan (meaning
working together) was selected by the
participants who were mostly students
Left: Artistic Director, Ruby Pearl B. Chiong
from the area, junior and senior high Right: Executive Director, Lolita D. Carter
schools, and San Diego State
University. The educational and recreational program soon became an amateur
performing group besieged with requests for performances from various organizations,
institutions and individuals.
In 1975, Ruby Pearl Chiong joined the Dance Company as a dancer, teacher and
choreographer. Fresh from the Philippines, she brought with her a rich repertoire of
dances reflecting her experiences with the Far Eastern University Dance Troupe and
work with several dance companies in Manila. Her knowledge of dances from the
mountain provinces of Northern Luzon and the Southern Philippines further enriched the
Company's repertoire.
In 1978, Samahan obtained status as a non-profit, public benefit corporation. Its
founding directors were Grace P. Blaszkowski, Juanita F. Caccam, Ruby Pearl B.
Chiong, Juanita C. Santos, Jesse G. Quinsaat and Lolita D. Carter. Soon after, it obtained
its first grant from the National Endowment for the Arts, which was matched by Tawfiq
and Rachel Khoury of Pacific Scene, Inc. In 1979, the Dance Company was invited to
perform in the inauguration of the East County Performing Arts Center. The performance
initiated annual performances in that theater which lasted for 7 years.
The musical components of Samahan were formed in 1980 with the assistance of
Bayani Mendoza De Leon, well-known Filipino ethnomusicologist and composer. Under
his expert tutelage, Samahan's Rondalla, Gangsa and Kulintang Musical Ensembles were
formed. A grant from Parker Foundation enabled the Company to obtain musical
instruments from the Philippines.

Kulintang Music

Danongan Sibay Kalanduyan, master artist/teacher of Kulintang Music became a

guest teacher and artist with the Company from 1989-1991 and 1994-97. Born in Datu
Piang, Cotabato, he learned his music from early childhood playing with members of his
family, relatives and town mates. He introduced Samahan to the authentic music of the
Maguindanao people as well as to the music of the Maranao people. Together with the
late Musiban Guiabar, a talented Maranao singer, he performed with Samahan at
Sherwood Auditorium and the Educational Cultural Complex Theater. In 1995,
Kalanduyan was honored as a recipient of the prestigious National Heritage Fellowship
Award by the National Endowment of the Arts. He continues to work with Samahan as a
guest teacher.
In 1991, George Ragaza joined Samahan as artistic director sharing
responsibilities with Ruby Chiong. Under his leadership, Samahan performed at the
Poway Center for the Performing Arts for four consecutive years. His collection of
authentic and well-designed costumes and exquisite accessories greatly enhanced the
professional quality of Samahan's performances. He premiered several new dances
including "Kaamulan" - A Manobo Rite of sharing in 1993. In 1994, he presented an
outstanding Gala at the Poway Center for the Performing Arts which gained him very
good reviews by Anne Marie Welsh of the San Diego Union Tribune and Aurora Cudal
of the Filipino Press. He also started Samahan's active association with Young Audiences
of San Diego.
 In 1979, Samahan initiated the
Philippine Folk Festival, which was held
at the Scottish Rite Memorial Center,
Mission Valley, San Diego. The Festival,
which lasted for six years, was a showcase
of Philippine Performing Arts in Southern
California. The Festival, renamed
Philippine Cultural Arts Festival, was
revived and moved to an outdoor central
location in Balboa Park in 1996. The
Santacruzan was a special feature of the 1997 Festival, which was held May 3, and 4 in
the same location. A growing number and variety of guest performing artists makes the
Samahan Philippine Cultural Arts Festival an outstanding showcase of Philippine
Cultural Arts and a very important Philippine Community Event.
In 1998 the name was changed to Samahan Filipino American Performing
Arts & Education Center. There are four performing groups: Philippine Dance
Ensemble, Kulintang Music and Dance Ensemble, Philippine Rondalla String Orchestra,
and Polynesian Dance Troupe.

Rondalla Music

In addition to its busy performance schedule, Samahan has a strong educational

and outreach program. It provides free workshops and performances in many area
schools and is especially involved in multi-cultural programs. It has conducted two
successful Neighborhood Arts Programs in two different neighborhoods in San Diego,
which are geared to youths at-risk and funded in part by the City of San Diego under a
program administered by the Commission for Arts and Culture. Samahan also provides
performances for seniors, festivals and disadvantaged groups. Its theater performances
include a Gala Performance, a Christmas Program and a program of original dances
based on folk tales and legends of the Southern Philippine Islands. It has performed in
many theaters of San Diego County including the City College Theater, Sherwood
Auditorium, the Educational Cultural Complex Theater, Mayan Hall, East County
Performing Arts Center, Mandeville Auditorium, Joan Kroc Performing Arts Center, and
Lyceum Theater. Samahan recently performed at the Seattle Opera House as a featured
performer in the Northwest Folklife Festival. The Samahan Philippine Dance Company
takes great pride in its contribution to the preservation, development and presentation of
the traditional performing arts of the Philippines and its respected position as a member
of performing arts of San Diego.
On 13th March 2004, Samahan celebrated their 30th Anniversary.
 SAMAHAN
Filipino American Performing Arts & Education Center
1442 Hillsmont Dr.
El Cajon, CA. 92020
(619) 444-7528
(619) 422-3695
For more information visit: www.samahanphilippinedance.com

Filipino Folk Dances

By: Gat Puno Abon “Garimot” Baet

Through the long history of the Philippines, we Filipino are trying to forgive and
forget, what the Spaniards and other foreigner have done to us. Nothing left with us only
this Dances the shadows of our pass and how we fought for our rights. Even a simple
dance can translated in different meaning, it could be translated as Courtship and
wedding dances, it could be called a Tribal, Regional, Rural, Muslim, and Burial. But in
the deeper meaning of such dances were the hidden combative Arts incorporated to the
fluid movements called Folk Dance. Today even among Filipino this hidden Arts thru the
dance is considered the loss Arts.
My intent here is to list some of the Filipino Folk Dances that make us
remembered the Filipino Culture, our past, our present and in reference to the future.

Courtship and Wedding Dance

The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism.
European cultural ideas spread and the Filipinos adapted and blended to meet the local
conditions. These dances reached their zenith in popularity around the turn of the century,
particularly among urban Filipinos. They are so named in honor of the legendary Maria
Clara, who remains a symbol of the virtues and nobility of the Filipina woman. Maria
Clara was the chief female character of Jose Rizal's Noli Me Tangere. Displaying a very
strong Spanish influence, these dances were, nonetheless, "Filipinas" as evidence of the
use of bamboo castanets and the abaniko, or Asian fan. Typical attire for these dances is
the formal Maria Clara dress and barong Tagalog, an embroidered long-sleeve shirt made
of pineapple fiber. From this dances you still can mirror some of the traditional
combative fluid motion into their dancing sequences. It’s evidently shrouded the Filipino
Fighting Arts of the native people, and the traditional movements were transformed into a
fluid artistic dance that perfectly matched the rhythm of the accompanying music.
 Alcamfor
(ahl-kahm-FOHR)
From Leyte comes this couples dance
in which the girl holds a handkerchief
laced with camphor oil, a substance
that supposedly induces romance. (This
dance is showcase the use of (Flexible
weapon in the Filipino Martial Arts)

Ifugao Dance
Andaluz
(Ahn-dah-LOOHS)
Also known as Paseo de Iloilo, for its
province of origin, this is one of the most
sophisticated courtship and flirtation dances
of the Spanish era. The gentlemen compete
among each other to win the heart of the
dalaga, or young lady, by exemplifying
chivalry, grace, and confidence. (These
dance taught you the passing footwork used
in Arnis or Eskrima) also the following
dances has similar array of techniques
hidden in it.

Aray
(Ah-RAHY)
A dance whose words are sung in "Chabacano-ermitense," a hybrid of Spanish that was
only spoken in the Ermita district before the turn of the century and today is extinct. The
dance itself is a flirtatious one that involves graceful use of the pañuelo, or shawl, and
tambourines. Aray means "ouch" in Tagalog.

Balse
(BAHL-seh)
Derived from the Spanish "valse" (waltz), this dance was popular in Marikina, Rizal
province, during the Spanish times. Balse was performed after the lutrina (a religious
procession), and the music that accompanied the dancers was played by the musikong
bungbong (musicians using instruments made of bamboo).

Cariñosa
(kah-reehn-YOH-sah)
This flirtatious dance is known throughout the Philippines. Cariñosa means affectionate,
lovable, or amiable. With a fan or handkerchief, the dancers go through hide-and-seek
 movements and other flirting
acts expressing tender feelings
for one another. There are
many versions of this dance,
but the hide-and-seek
movements are common in all.

Chotis
(CHOH-tees)
The Chotis (or "Shotis") was
one of the ballroom dances
learned by the Filipinos from
the early European settlers.
This dance, from Camarines Sur, has been adapted by the Bicolano people and is
characterized by a brush-step-hop movement.

Escopiton Malandog
(ehs-koh-PEEH-tohn-mah-LAHN-dohg)
According to legend, two boys named Esco and Piton introduced this dance during the
inauguration of the founding of San Jose de Buenavista. Eventually the dance was called
Escopiton. This beautiful dance originated from Malandog, a barrio of Hamtic in
Antique.

Estudiantina
(ehs-tooh-deeh-ahn-TEEH-nah)
A very lively and vibrant dance, during the old days, this dance was a favorite in social
gatherings and was performed by the estudiantinas, women who were students of private
schools and colleges in Manila. They are seen holding a book in one hand throughout the
dance.

Habanera
(hah-bah-NEH-rah)
A traditional wedding dance that
originated in the town of Botolan in
the Zambales province, typical
sequences include the procession of
the bride and groom's parents, lineup
of the bridesmaids and groomsmen
upstage, and a solo featuring the
wedding couple.

Imunan
(eeh-MOOH-nahn)
A courtship dance of Ilokano origin, a beauty enters for an afternoon promenade with her
suitors. At the end of the dance, the lovable and charming lady cannot select from any of
her suitors.
La Jota
(lah-HOH-tah)
The jota encompasses a variety of Spanish-influenced dances accompanied by the use of
bamboo castanets, held loosely and unstrung. There are many forms of jota in the
Philippines whose names are derived from their regions of origin. A common progression
in the jota is a quick & lively verse, followed by a slow bridge, and ending with a verse in
the same lively tempo as in the beginning.

Jota Española
Highlighted by castanets, abanicos, and tambourines.

Jota Gumaqueña
Once very popular among the well-heeled families of Gumaca, Tayabas (now Quezon), A
well-known local musician at the time, Señor Herminigildo Omana, introduced this
dance. It became popular with the young people and was handed down between
generations.

Jota Manileña (Manila)

It originated in the capital city around the 19th century.

Jota Moncadeña (Moncada, Tarlac)

Audio sample (moncaden.wav)
A combination of Spanish and Ilocano dance steps and music.

Jota Pangasinana (Pangasinan province)

(pahng-gah-seeh-NAH-nah)
Demonstrates the flair of stomping feet culminating with the cry of "Olé!"

Jota de Paragua (Cuyo, Palawan)

(pah-RAHG-wah)
Displays a Castillan influence with Zapateados (footwork), Lobrados (arms), and
Sevillana style of dress. The ladies wave their mantón, or decorative shawl, while the
gentlemen keep brisk pace with bamboo castanets.

Jovencita
(hoh-vehn-SEEH-tah)
A dance typical of a woman's debut or even her wedding. Maestro Nitoy Gonzales wrote
the accompanying love ballad when he was courting Jovita Friese, who then
choreographed the graceful and beautiful habanera dance that accompanies it. Jovencita
means "young lady" in Spanish.

Lanceros de Negros
(lahn-SEH-rohs-deh-NEHG-rohs)
During the Spanish time, this dance was one of the popular quadrille dances in the
Philippines. It is similar to the stately Rigodon de Honor and is danced in important
social affairs to formally open a big ball. One version from Silay, Negros Occidental, is
performed in a lengthwise formation.

Mazurka Boholana
(mah-ZOOR-kah-boh-hoh-LAH-nah)
This dance is a traditional ballroom dance popular in Bohol and in other provinces during
the Spanish times.

Panderetas
(pahn-deh-REH-tahs)
This dance, named after the jingle-less tambourines carried by the females, originates
from Tanza, Iloilo. From December 16 to January 6, a group of people in the Visayan
regions goes from house to house to sing Christmas called "Daigon." In some regions the
song is usually followed by some dances, and "Las Panderetas" is one of those dances.

Paseo de Iloilo
(pah-SEH-oh-deh-eeh-loh-EEH-loh)

Paso Doble
(PAH-so-DOH-bleh)
Meaning "two-step," the name is actually a misnomer, as it is an ordinary walking or
marching step called the "one-step." The term refers to the stirring marching music
played as background music at bullfights and fiestas throughout Spain.

Polkabal
(POHL-kah-bahl)
A dance influenced by two distinct European styles: polka and valse.

Putritos
(pooh-TREEH-tohs)
A dance for festival from Atimonan, Tayabas (now Quezon province), featuring a
couple's flirtatious and playful interaction of each other, It is danced in alternating slow
and fast waltz tempos and culminates in a vivid twirling sequence by the girl.

Rigodon de Honor
(reeh-goh-DOHN-deh-oh-NOHR)
The Filipinos who returned from their
travels abroad during the Spanish era
brought this elegant dance to the
Philippines. This dance takes its name
from its opening performances at
formal affairs such as the President's
Inaugural Ball. Members of
government, including the President
and First Lady, diplomatic corps, and
other state officials usually participate
in the Rigodon. Traditionally, a ballroom waltz dance would follow the Rigodon.

Sabalan Lulay
(sah-BAH-lahn-LOOH-lie)
The dance "Lulay," like the kuratsa, jota, pandango, and polka, is performed in many
parts of the Philippines. This dance originated from Malamig barrio of the town Gloria,
Oriental Mindoro. It is part of a wedding ritual which has four phases: sabalan,
pamalaye, sabog and dapit. The dance begins with the gentleman dancing around his
partner as she eventually gives in to dancing with him.

Saguin-Saguin
(SAH-geehn-SAH-geehn)
From the Bicol region comes this courtship dance, which tells the story of a lumberyard
owner, who threw a dance for his workers. A girl who was related to one of the workers
was offered to the owner as a dance partner. He took to her very kindly, and eventually
serenaded her.

Timawa
(tih-MAH-wah)
Meaning "forsaken lover," Timawa is a courtship dance, usually performed by women,
and is originated in Lamot, a barrio in Capiz. The story recounts of a man and a woman,
both timawas, who met at a social gathering and became acquainted with each other. In
the course of their conversation, they discovered that they both had the same misfortune;
therefore, turning to each other for sympathy and comfort.

Thanksgiving Dance of Ifugao Festival Dance

Bumayah
(booh-mah-YAH)
Thanksgiving festivals are one of many occasions for tribal celebrations. The movements
in this dance of the Ifugao tribe, imitating those of a rooster scratching the ground,
symbolize a thanksgiving prayer to the god Kabunian for a bountiful harvest of rice. Both
men and women express their joy in this thanksgiving.

Bumbuwak
(BOOHM-booh-wahk)
The Gaddang live in the middle of Cagayan Valley and speak a language similar to
Ilokano. Most of them converted to Christianity, and those who live alongside
Christianized Ilokano groups have more or less adjusted to settled agriculture of mixed
crops. Small and scattered groups in southeastern Kalinga, eastern Bontoc, and Isabela
regions retain their indigenous religion and practice swidden agriculture (the cutting back
and burning of existing vegetation to produce temporary farming plots) with
supplementary hunting and fishing. In this dance, the Gaddang imitate birds attracted to
tobacco trees.

Chumnu
(CHOOHM-nooh)
Originated from the outpost municipality of Benguet,
this female dance is performed at celebrations of tribal
victory and to give thanks for a bountiful harvest.

Dinuyya
(dih-NOOH-yah)
A festival dance from Lagawe, the Ifugao men and
women perform it during a major feast.
Accompanying the dance are three gangsa or gongs:
the tobtob, a brass gong about ten inches in diameter and played by beating with open
palms, and the various hibat or gongs played by beating the inner surface with a stick of
softwood.

Idaw
(eeh-DAHW)
This Bontoc dance depicts a war ceremony performed by warriors of rivaling tribes.
Idaw, meaning, "bird," is celebrated because it was the omen bearer of war.

Lepanto
(leh-PAHN-toh)
This dance is performed the Kankanay
of northern Benguet and the people of
Western Bontoc. It is usually danced
at wedding celebrations (when it
signifies the well-wishing of the bride
and groom) and also after a harvesting
season, when thanksgiving is rendered
to Benguet god Kabuniyan for the
bountiful harvest of the year.
Kayaw
(kah-YAHW)
The most revered tradition within the Kalinga is headhunting. A budong or peace pact is
made between ili or village clusters to maintain peaceful relations and security. Breaking
this pact by causing blood to flow will inevitably result in kayaw or headhunting. The
offended village has the right to raid their transgressors and indiscriminately taking as
many heads as they can as trophies. Mangayaw or listening to Idao, a mysterious bird, is
supposed to lead a group to a successful headhunt.

Lumagen
(looh-MAH-gehn)
This is a dance performed at Kalinga festivals to celebrate Thanksgiving.

Manerwap
(MAH-nehr-wahp)
In times of severe drought, the Bontoc would perform this pagan ritual imploring
Kabunian (God) to open the sky and allow raindrops to water the rice terraces and the
mountains. Participants in the Manerwap climb the mountain to reach a sacred place
called fawi where they offer a piece of meat and some rice wine to God. Tribal folk rule
that participants in the Manerwap must be physically strong to withstand the fast required
during the rites, when they're allowed only water and no food. Senior members of the
tribe perform the rain dance for two days and two nights, incessantly beating gongs
throughout the vigil.
Manmanok
(mahn-mah-NOHK)
Three Bago Tribe roosters
compete against each other for
the attention of Lady Lien. They
use blankets depicting colorful
plumes to attract her.

Palakis
(pah-LAH-keehs)
This courtship dance originates
from Western Bontoc and is
usually performed at weddings
and during festivals like the begnas, celebrated by the community before a harvest or
planting. The dance is characterized by free-form interactions between male and female
dancers, with each dancer carrying a square-meter piece of brightly colored cloth, held or
shaken to convey sentiments such as flirtation or desire. A set of four gongs accompanies
this dance.
Pattong
(PAH-tohng)
Also called the Bontoc War
Dance, Pattong is part of the
headhunting and war
ceremonials inciting feelings
of strength and courage as
the warriors prepare to stalk
their enemy. In Central
Bontoc, the dance is also
performed in February,
March, and April, to implore
the god Lumawig to send
rain, similar in purpose to
that of the rain-calling ceremony of Native American tribes. Much of the movements are
improvised; two camps of warriors are usually featured pursuing each other, culminating
in a melee where a fighter from one tribe kills one of his opponents.

Ragragsakan
(rahg-rahg-SAH-kahn)
This is an adaptation of a tradition in which Kalinga women gather and prepare for a
budong, or peace pact.

Sakpaya
(sahk-pah-YAH)
The calloused hands of Ifugao farmers dig the hard soil and push heavy stones off cliffs
to make way for a new rice field, part of the world-famous Banaue rice terraces. High-
flying sakpaya birds swoop and hover over the terraces as the Ifugao toil. In times of
plenty, the Ifugao farmers give thanks to their sakpaya "gods" by donning traditional
costumes and imitating their flight in this dance.

Kalinga Tribal Dance

Salip
(SAH-lihp)
The Salip of the Kalinga tribe depicts a warrior claiming his bride by presenting her with
a matrimonial blanket. The woman responds by balancing several clay pots upon her
head. She follows the man to connote obedience. He simulates the movements of a
rooster at love play, aspiring to attract and seize his love. A version of this dance has two
warriors competing for the approval of the fair maiden.

Tachok
(tah-CHOHK)
When the Kalinga gather to celebrate a happy occasion like the birth of a first-born baby
boy, a wedding, or a budong (peace pact), the Kalinga Festival Dance is performed. The
Kalinga maiden dances this. The dance imitates birds flying in the air. Music is provided
by gangsa, or gongs, which are usually in a group of six or more.

Takik
(TAH-kihk)
The Bontoc tribe performs this flirtation-type dance with five or more male dancers who
provide music and rhythms for a male dancer and a female dancer doing a love or
courtship dance. The dancers are in single-file forming circular or spiral patterns, and are
led by the male dancer, who is immediately followed in the circular path by the chief
gong beater, who usually displays steps more fanciful than those of the rest of his fellow
gong beaters. At one point, he holds his foot sideward in the air, in an eloquent pause.

Takiling
(tah-KEEH-lihng)
Kalinga men chant and dance while beating gangsa (brass gongs) and leap around. This is
part of the colorful religious ritual of thanksgiving for a bountiful harvest.

Uya-uy
(OOH-yah-OOHY)
This is an Ifugao wedding festival dance accompanied by gongs and is performed by the
affluent to attain the second level of the wealthy class. Wealthy people who have
performed this dance are entitled to the use of gongs at their death.

Bangibang
(bahng-EEH-bahng)
On the occasion of a violent death, the Ifugao community proceeds to the house of the
deceased. The men shake their spears and shields and continually hop or jog all along the
way, while some mean strike resonant sticks called bangibang. When they reach the
house, they all shout "Ha-ha-gui-yoo," circling around the victim and even striking him,
urging him earnestly to take his revenge. Both men and women are adorned with the read
leaves of the dongla plant, symbolic of war.

Bindian
(BIHN-deeh-ahn)
The Ibaloy who inhabit the southernmost mountain regions in Northern Luzon perform
victory dances to extol the bravery of the warriors of yesterday. In this version from the
barrio of Kabayan, hand movements are downward, suggesting the people's affinity with
the earth. The basic step consists of a stamp by the left foot and a light, forward
movement by the right. Instrumentalists lead the line, followed by male dancers, while
the female dancers bring in the rear.

Muslim/Moro Dance

Music Instruments of Mindanao (Kulintang and Gong)

Muslim Folk Dancer

Almost one million Filipinos are Muslims who reside primarily in the southern
island of Mindanao and the Sulu Archipelago. By the end of the 12th century, traders and
settlers from the Malay Peninsula and Borneo introduced Islamic faith to the islands. The
Muslims in the Philippines, also known as Moros, were able to resist Spanish conquest.
Thus, they preserved the Islamic lifestyle that markedly differs from the majority of the
Philippine population. The ethno-linguistic groups who are primarily considered Muslim
are the Maranao, Maguindanao, Samal, and Tausug. The dances are characterized by
vivid colors and rhythmic movements, which reflect the influence of Arabian and Indo-
Malaysian cultures.

Asik
(ah-SIHK)
A solo slave dance performed by the umbrella-bearing attendant to win the favor of her
sultan master. Asik usually precedes a performance of Singkil.

Ipat
(EEH-paht)
The pag-ipat (deliverance) is
believed to be a pre-Islamic ritual
which survives to this day
because of the compulsion of the
Asal (traditional ancestry) which
binds particular families to hold it
during illness of a family
member. The Maguindanao
traditional worldview holds that
diseases are caused by tonong
(ancestral spirits) who need to be
appeased. Thus, a folk healer performs the pag-ipat while being possessed by the
tinunungan (spirit). The ritual may be performed for a day, seven days, or a fortnight,
depending on the patient's illness and economic status. It is an activity where the entire
community participates.

Kapamalong-malong
(KAH-pah-MAH-long-MAH-long)
Also called Sambi sa Malong, this
Maranao dance shows the many
ways of donning the malong, a
tubular circle of cloth used as a skirt,
shawl, or mantle.

Kapit Tendong
(kah-PEEHT-TEHN-dohng)
A Yakan ribbon dance, featuring a
tendong (ribbon) attached to a stick.
Dancers manipulate these into various shapes that represent the motion of waves, birds,
and snakes.
Katsudoratan
(kaht-sooh-doh-RAH-tahn)
Katsudoratan depicts a royal manner of
"walking" among the Maranao people
who live mainly around Lake Lanao.
Ladies of the royal court perform this
stately dance in preparation for an
important event. The bright colors and
flowing handkerchiefs add to the
drama of the dance.

Langka-baluang
(LAHNG-kah-BAHL-wahng)
This dance creates the illusion of an angry monkey, and is always performed by male
dancers. The popularity of this dance comes naturally, since the baluang, or monkey,
enjoys an affectionate place in Asian folklore.

Paunjalay
(POWN-jah-lahy)
A pre-nuptial dance of the Yakan tribe of Basilan performed by the bride and groom prior
to their wedding ceremony in the langal or church. Both of their faces are dotted with
white paint, to hide their identity from evil spirits.

Pangalay
(pahng-AH-lahy)
A popular festival dance in Sulu, it is performed in wedding celebrations among the
affluent families. They may last for several days or even weeks depending on the
financial status and agreement of both families. Dancers perform this dance to the music
of the kulintangan, gabbang, and agongs during the wedding feast.

Pangalay ha Agong
(pahng-AH-lahy-hah-ah-
GOHNG)
Two Tausug warriors vie for the
attention of a fair maiden using
their agong (large, deep, brass
gongs) to show their prowess
and skill.

Sambulayang
(sahm-booh-LAH-yahng)
Also called Pangalay Pangantin,
this is a wedding dance from Sisangat, Siasi. Its name refers to the bridal curtain which
shields the dancing d'nda pangantin (bride) from her l'lla pangantin (groom). The dance is
highlighted by the bride flicking the janggay (metal claws) attached to her fingers, one at
a time. As soon a claw falls to the floor, the attentive groom retrieves it until the whole
set can be returned to the bride for safekeeping.

Sinkil (Muslim Dance)

Singkil
(seehng-KEEHL)
This 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 of a forest during an
earthquake caused by the
diwatas, or fairies of the forest.
The crisscrossed 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
skillfully manipulate apir, or fans, which represent the winds that prove to be auspicious.
Royal princesses to this day in the Sulu Archipelago are required to learn this most
difficult and noble dance.
There are other versions of Singkil. Perhaps the version more widely performed
by dance companies is the "Garden Singkil." The story goes that the princess goes into
her garden, accompanied by her slave, and plays with the butterflies, which are
represented by the fan dancers. The movements of the fans supposedly represent those of
the butterflies, as opposed to the diwatas. In another popular version, the prince uses a
scarf instead of a sword.

Tahing Baila
(TAH-hihng-BAHY-lah)
This dance of the Yakan people depicts the sea-faring people imitating the movements of
fish.

Tauti
(TAHW-teeh)
From Tawi-tawi comes this occupational dance, which vividly portrays the labors of
catching tauti, or catfish. The first version is performed solo and depicts the trials of a
lone fisherman attempting to catch the tauti. The second version has a principal dancer
with two accompanying performers who assist in paddling the canoe and baiting. In both
cases, the fishermen wrestle with the tauti en masse and ultimately get pricked by their
poisonous spines. They ultimately catch a few fish, but not without suffering major pain.
Vinta
(VIHN-tah)
Also called Pangalay ha Pattong, this
dance is named for the picturesque boat
with colorful sails which glide across the
Sulu Sea. Central to this dance are the
Royal Couple who each balance atop a
pair of swaying bamboo poles, simulating
their ride aboard a vinta.

Yakan
(yah-KAHN)
The Yakan are a group of sea-faring
people from the island of Basilan in the Sulu Archipelago, as well as offshore islands of
the Zamboanga Peninsula. Although they are considered Muslims, some of their beliefs
and practices are
nonetheless animistic
in nature. Because
the sea is an integral
part of their daily
lives, this dance
personifies the ocean
through sweeping,
languid movements.
In one version of this
dance, the men travel on their knees alongside the women's sweeping arm sequences, in
interpreting the movement of the sea.
 Regional Dance
Perhaps the best
known and closest to the
Filipino heart are the
dances from the rural
Christian lowlands: a
country blessed with so
much beauty. To the
Filipinos, these dances
illustrate the fiesta spirit
and demonstrate a love of
life. They express a joy in
work, a love for music,
and pleasure in the
simplicities of life. Typical attire in the Regional dance includes the colorful balintawak
and patadyong skirts for the women, and camisa de chino and colored trousers for the
men.

Bagol
(BAH-gohl)
Children at play with a stringed
coconut shell clasped between
the "fingers" of their toes.

Basulto
(bah-SOOHL-toh)
From Victoria, Tarlac, comes
Basulto, a love song presented in
satirical form. This dance of
Pampango influence is usually
performed with the
accompaniment of the song. One verse of the song is sung, and then a figure of the dance
is performed. The singing and dancing are done alternately.

Bayluhan
(bahy-LOOH-hahn)
In Malabon and Navotas, part of
the Bulacan province, childless
women who missed making the
annual pilgrimage to Obando
await the return of their friend
who went to Obando's annual
fertility festival. Upon their
return, they recreate this dance of
fertility.
Binasuan
MIDI File (binasuan.mid)
(beeh-nah-SOOH-ahn)
This colorful and lively dance from Bayambang in the Pangasinan province shows off the
balancing skills of the dancers. The glasses that the dancers gracefully, yet carefully,
maneuver are half-filled with rice wine. Binasuan, meaning "with the use of a drinking
glass" in Pangasinan, is often performed as entertainment at weddings, birthdays, and
fiestas.

Binatbatan
(beeh-naht-BAH-tahn)
An occupational dance from
Paoay, Ilocos Norte, and
Binatbatan depicts the beating of
cotton pods to separate the seeds
from the fibers with the use of
two sticks called batbat in the
Ilocos region. Weavers in Paoay
often engage themselves in abel-
making contests (abel is a cloth
common among the Ilokanos).
Dancers maneuver in and out of parallel batbat sticks, each about 18 inches long. The
rhythm and speed of the beating of the sticks make for a lively and colorful display.

Binoyugan
(beeh-noh-YOOH-gahn)
A dance from the Ilokano region
of Pangasinan, Binoyugan
features women balancing on their
heads a banga or clay pot which
they use to fetch water from the
river or well, or in which to cook
rice. The dance culminates with
the women laying stomach down
on stage, and rolling from side to
side, all while balancing the pot.

Gaway-gaway
(GAH-why-GAH-why)
Originating from a small town of Leyte called Jaro, children celebrate a beautiful harvest
of the Gaway root crop. They imitate the pulling of the stalks, hitting their elbows in a
movement called Siko-Siko.

Itik-itik
(EEH-tihk-EEH-tihk)
At one baptismal party in the Surigao del Norte province, a young lady named Kanang
(the nickname for Cayetana), considered the best dancer and singer of her time, was
asked to dance the Sibay. She became so enthusiastic and spirited during the performance
that she began to improvise movements and steps similar to the movements of itik, the
duck, as it walks with short, choppy steps and splashes water on its back while calling to
its mate. The people liked the dance so much that they all imitated her. There are six
separate foot sequences in the series of Itik-Itik steps.

Kalapati
(kah-lah-PAH-tee)
The dance from Cabugao, Ilocos Sur province, symbolizes peace and is represented by
imitating the movements of a graceful dove. It portrays the typical traits of the Ilokanos:
simplicity, naturalness, and shyness.

Kalatong
(kah-lah-TOHNG)
This dance is named after the three-foot bamboo implement suspended around the neck
or waist. It is beaten in fast rhythm to bring good luck and to drive away evil spirits.

Kandang-Kandang
(kahn-DAHNG-kahn-DAHNG)
This animated wedding dance derived its name from a plant, which grows along Dao
beach in Antique. The parents of the bride and groom usually perform it during the
wedding feast.

Kilingkiñgan
(KEEH-lihng-KEEHNG-yahn)
Kilingkiñgan is a small bird that flies swiftly and lives in caves. As it flies, it produces a
peculiar sound resembling that of bamboo castanets struck together. This dance is
popular among the Ibanag country people of Cagayan province. It is danced in any social
gathering and is usually performed to the accompaniment of sinco-sinco, a five-stringed
guitar found in Cagayan. The dance performed to a lilting 2/4 style.

Kuratsa
(kooh-RAH-chah)
A dance originating from Bohol, Visayas, it is popular at Ilokano and Visayan festivals.
This dance commands a sense of improvisation which mimics a young playful couple's
attempt to get each other's attention. It is performed in a moderate waltz style.
Maglalatik
(mahg-lah-lah-TIHK)
This mock-war dance,
originating from the Spanish
Regime, depicts a fight between
the Moros and the Christians
over the prized latik, or coconut
meat residue. This dance,
originally performed in Biñan,
Laguna, is also performed as a
tribute to the patron saint of
farmers, San Isidro de Labrador.
Maglalatik is a four-part
performance: the palipasan and
the baligtaran showing the intense combat, and the paseo and the escaramusa, the
reconciliation. The Moros of this dance usually wear red trousers, while the Christians
don blue trousers. All of the men use harnesses of coconut shells positioned on their
backs, chests, hips, and thighs.

Oasiwas
(wah-SEE-wahs)
After a good catch, fishermen of
Lingayen would celebrate by
drinking wine and by dancing,
swinging and circling a lighted
lamp. Hence, the name "Oasiwas"
which in the Pangasinan dialect
means "swinging." This unique and
colorful dance calls for skill in
balancing an oil lamp on the head
while circling in each hand a lighted
lamp wrapped in a porous cloth or
fishnet. The waltz-style music is
similar to that of Pandanggo sa Ilaw.

Palu-Palo
(PAH-looh-PAH-loh)
In Laguna, the village labanderas, or washerwomen, spend a relatively calm day doing
their laundry when tsismis, or gossip, among them gets out of hand, and drama ensues.
Through fighting with their palos (laundry paddles) to resolve their disputes, their dance
comes to life.
Pandanggo na Tapis
(pahn-DAHNG-go-nah-TAH-peehs)
In the olden days, a woman's
sapeuy, or skirt, is incomplete
without a tapis, a rectangular
apron. The dancer depicts the
different uses of tapis: courtship,
flirtation, decoration, protection,
wrapping, and driving the birds
away from the rice fields.

Pandanggo sa Ilaw
(pahn-DAHNG-go-sah-EEH-
lahw)
This popular dance of grace and
balance comes from Lubang Island, Mindoro in the Visayas region. The term pandanggo
comes from the Spanish word fandango, which is a dance characterized by lively steps
and clapping that varies in rhythm in 3/4 time. This particular pandanggo involves the
presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand.

Pateado
(pah-teh-AH-doh)
This couples-dance, from Balimbing, Marinduque, features the male partners performing
acrobatic movements, such as bending backwards to pick up a hat from the floor using
only his head. This is combined with characteristics of the pandanggo to make for a lively
exhibition.

Regatones
(reh-gah-TOH-nehs)
During the early days, the regatones, or traveling fish vendors, together with women fish
buyers called lab-aseros used to wait for the arrival of fishermen in the long and bountiful
shoreline in the town of Cadiz, now Cadiz City, Negros Occidental. They would sprint
towards the banca to select and purchase the fish they would like to sell. The regatones
sell the fish with the aid of two paraka (a shallow rounded basket made of bamboo)
attached to both ends of a long flat bamboo strip, or tuwang-tuwangan, balanced on the
shoulder. While waiting for the fishermen to arrive, the regatones and women fish buyers
tease each other by doing some simple dance steps such as leaping over the tuwang-
tuwangan and tricks in maneuvering their tuwang-tuwangan with the paraka.

Sakuting
(sah-KOOH-teehng)
A dance of the Ilokano Christians and non-Christians from the province of Abra,
Sakuting was originally performed by boys only. It portrays a mock fight using sticks to
train for combat. The stacatto-inflected music suggests a strong Chinese influence. The
dance is customarily performed during Christmas at the town plaza, or from the house-to-
house. The spectators give the dancers aguinaldos, or gifts of money or refreshments
especially prepared for Christmas.

Sapatya
(sah-PAHT-yah)
This dance, from Manibaug barrio, Porac, Pampanga, is usually presented by the farmers
during the planting season as an offering for a good harvest. Its name, according to the
elders of the region, must have been derived from the word Zapateado, a dance
introduced in the Philippines by the early Spanish settlers. The dance is usually
accompanied by a corrido, or musical narrative.

Sayaw sa Bangko
(sah-YAHW-sah-bahng-KOH)
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.

Sinulog
(sih-NOOH-lohg)
Sinulog is a ceremonial dance
performed by the people of San
Joaquin, Iloilo, during the feast of
San Martin. It originated in a
barrio of San Joaquin called
Sinugbahan. It was believed that
the image of San Martin was
found at the edge of a beach, and
that it could not be removed until
the people dance the Sinulog.
From that day on, every
November 10th on the feast of San Martin the Sinulog would be danced before the
procession comes out or else, it was believed, the church would be burned. The dance
itself was patterned after the Suluan war dance of the Sulu people, the native name of
Sulu being Sulog, which means strong ocean currents.

Subli
(sooh-BLEEH)
From the province of Batangas comes this ancient dance, originally performed in
veneration of the holy cross of Alitagtag, referred to in the vernacular as Mahal na Poong
Santa Cruz. The word subli is derived from two Tagalog words, subsub (stooped) and
bali (broken). Hence, the men are stooped throughout the dance and appear to be lame
and crooked, while the women dance with hats.
 Tinikling
(tih-NIHK-lihng)
Honored as the Philippine national dance,
Tinikling is a favorite in the Visayan
islands, especially on the island of Leyte.
The dance imitates the movement of the
tikling birds as they walk between grass
stems, run over tree branches, or dodge
bamboo traps set by rice farmers. Dancers
imitate the tikling bird's legendary grace
and speed by skillfully maneuvering
between large bamboo poles.

Tinolabong
(teeh-noh-LAH-bohng)
A favorite dance of the mountain people of the barrios of Panitan and Loctugan, town in
the province of Capiz, the dance imitates the movement of the tolabong bird, a long-
necked, long-winged heron which rides atop a carabao while picking insects off its back.
 Tribal Dance

Pockets of cultural minorities live in the style of their fore bearers in the hills and
mountains throughout the Philippine Archipelago. Non-Christian Filipino tribes whose
culture and animistic beliefs predate both Islam and Christianity inhabit the hillside and
interior of Mindanao in the southern part of the Philippines. Dance for them is a basic
part of life, still performed essentially "for the gods." As in most ancient cultures, unlike
the Muslim tribes in their midst, their dances are nonetheless closely intertwined with
ceremonials, rituals, sacrifice, and life.

Anito Baylan
(ah-NEEH-toh-BAHY-lahn)
The Mansaka are a group in
Davao for whom music and
dancing remain primary sources
of entertainment. The rhythmic
movement of the knees, feet,
arms, and hands characterizes
their dances. In this dance, from
Samal Island, a male spirit healer
and a female medium preside
over a complex healing ritual,
which includes the sacrifice of a
chicken. This healing ritual assumes an aura of pageantry, evident in the waving of palm
fronds and rhythmic movements of flickering lights.

Binaylan
(bih-NYE-lahn)
The Bagobo tribe from the central uplands of Mindanao originated this dance, which
imitates the movement of a hen, her banog, or baby chicks, and a hawk. The hawk is
sacred, and it is believed that the hawk has the power over the well being of the tribe. The
hawk tries to capture one of the chicks and is killed by the hunters.

Blit B'laan
(bliht-bih-LAH-ahn)
A courtship dance of the Bilaan of Davao del Sur imitating forest birds during the mating
season. Two richly plumed male birds eye three female birds. The females scurry to
safety, burying their heads under their wings (represented by the malong, a tubular cloth),
but the aggressive males follow them wherever they go.

Dumadel
(dooh-mah-DEHL)
A festival dance performed by the Subanons to celebrate a good harvest.

Dugso
(DOOHG-soh)
The Bukidnon from northeastern Mindanao perform this dance as an entertainment for
the deities, to make them feel more comfortable during the fiesta that has been organized
for them and consequently more open to the requests of the celebrants. It was originally
thought that this dance was performed only during harvest time or upon the birth of a
male heir. Women would wear colorful feathered headdresses, plaid costumes and
anklets. They would step rhythmically around a bamboo arch decorated with newly
gathered palay (rice stalks) and corn, and their movements are emphasized by the tinkling
sounds from the anklets.

Mandaya
(mahn-dah-YAH)
The Mandaya (from man = "man",
daya = "upriver") live in the
southeastern uplands of Davao
and form the largest ethnic group
in southeastern Mindanao.
Sociopolitical organization is
headed by a headman belonging
to a warrior noble class called
bagani, whose power and
authority are mitigated by a
council of elders called angtutukay. In one dance, the Mandaya, swooping to a drumbeat,
imitate the movements of eagles.

Kadal Tabaw
(KAH-dahl-TAH-bahw)
A bird dance performed by the T'boli during planting and harvesting which simulates the
flights and hops of the tabaw bird.

Pandamggo
(pahn-DAHM-goh)
The Talaingods are a group near Davao del Sur believed to stem from the Manobo tribe.
They are animists, and dancing and music-making characterize weddings and other
religious festivals. This Talaingod dance, performed to the beat of four drums by a
female, portrays a virgin-mother bathing and cradling her newborn baby, named
Liboangan. She supposedly had a dream, or pandamggo, that she was to bear such a
child. This concept of a virgin birth may have been derived from the Catholic faith. The
dance progresses through different stages of the child's growth, from birth to
maidenhood. As a young woman, she must deal with competing suitors, one of whom is
favored by the mother. A heated encounter between the suitors ultimately results in their
death.

Pangalitawo
(pahng-AH-lee-TAH-woh)
From the Subanon tribe of
Zamboanga del Sur in Mindanao
comes this courtship dance,
typically performed during
harvest time and other social
gatherings. The female holds
shredded banana leaves in each
hand, while the male wields a
kalasay, a type of shield.

Pagdiwata
(pahg-dee-WAH-tah)
The Tagbanuas of Palawan perform
this dance to show gratitude for a
good harvest and to implore
continued protection and favor from
the deities.

Sekuting
(seh-KOOH-tihng)
A mock-duel dance of the Baluga
tribe in Zambales and Pampanga,
Sekuting may well have been the
precursor to the rural Sakuting dance. Two pairs of men with sticks start out this dance
from their kneeling position, advancing from knee to knee. Then, standing up and hitting
each other's sticks, each member of the paired dancers encircle each other, as they clash
in a very lively melee-dance sequence.
Slaong Kinibang
(SLAH-ohng-keeh-NEEH-bahng)
The T'boli's headgears with
unique and original ways of
wearing for travel and farm work
protect the T'bolis from the glare
of the sun.

Sugod Uno
(sooh-GOHD-OOH-noh)
From Davao del Norte, the
Bagobo tribe prepares the
cleansing of the spirit and
planting of their next crop.

Tagabili
(tah-gah-BEEH-leeh)
The Tagabili (also called T'boli) are a minority national group from South Cotabato, in
southwestern Mindanao, who is comparatively sophisticated in language, dress, and
mythology. One performance of this tribe narrates a story about a Datu, or prince, who is
cursed for killing his brother in jealously over one of his wives. The Datu's daughter is to
be wed by a likely suitor, but dies as a result of the curse. In rage, the Datu sets his
village in flames.

Talapak
(tah-LAH-pahk)
The Manobo tribe of the headwaters of the Pulangi River in southern Bukidnon has
dances, which are closely influenced by the neighboring Matig Salug. They have dances,
which portray daily activities such as nocturnal hunting for edible frogs and snakes,
hunting of birds and wild boar, and activities connected with the rice cycle. The Manobo
use a tool called a Talapak, which consists of a long stick with its lower end pointed and
its upper end attached to a bamboo clapper about a foot in length. Every time the pointed
end of this stick strikes the ground to make a hole, the bamboo clapper makes a sound
which has a double purpose - to scare off crows a sparrows that might steal the newly-
sown seeds and to call the attention of the field spirits which are believed to become
attracted by the sound produced. The occupational dance of the same name is performed
during the actual sowing of the rice seeds in order to make this backbreaking task fun and
lively.

Talbeng
(TAHL-behng)
A dance performed by the Baluga (Negrito) of Nabuklod Settlement in Florida Blanca.
Each dancer mimes and mimics familiar animals like the woodpecker, monkey, fly, etc.
Exceptional are the gleeful attitudes they take towards life's gifts. A guitarist is
accompanied by striking wood, bamboo, or stone. They play and dance as well.
Talgki
(TAHLG-keeh)
The Bilaan (also called B'laan) tribe of Southern Cotabato and Davao belong to the same
ethnic group as the Manobos, Tagabilis, and Kalayans, but differ in language, theory of
creation, and ceremony. They perform this courtship dance, a prototype of the Tinikling.
As two bamboo poles open and clash in the rhythm of the Singkil, the male dances in
every possible stance, weaving in and out of the clapping bamboo poles; while upright on
his feet; on all fours facing the sky, and so forth. All of these acrobatics are performed to
impress the maiden he is courting.

Tamingan
(tah-MIHNG-ahn)
In this Tagbanua martial dance, the taming (shield) is held in front to cover and protect
the upper portion of the body, while the feet make lively traveling steps, and the sword
makes quick forward thrusts at the unseen enemy.

Tumahik
(TOOH-mah-hihk)
Males of the Yakan tribe,
indigenous to Basilan island,
practice their fighting skills in
this mock war dance which
employs movements borrowed
from Southeast Asian martial
arts. Typical maneuvers include
traveling on the knees, quick
tumbling, and high kicking.

Udol
(ooh-DOHL)
From the Tagakaulo tribe of southern Davao comes this ceremonial dance, which
portrays death and revenge. It opens with three women walking in with votive candles,
mourning the loss of a relative. Men playing the udol, a long wooden musical instrument,
follow them. The woman make eloquent gestures of tenderness and despair such as
wielding a spear and pounding the udol in anger, countering the steady rhythms of the
musicians. A male priest then dances, begging the spirits to guide the soul of the
deceased. Finally, two warriors enter, spears in hand, performing a frenzied dance in a
circle, and then disappearing off stage "to the woods," apparently to secure the heads of
their enemies.
 GAT PUNO ABON “GARIMOT” BAET

Gat Puno Abon “Garimot” Baet is a fifth

generation Arnis Master in the Baet Family
1970 - Was introduce the art of Arnis de Mano
by his father Grandmaster Felipe “Garimot”
Baet.
1974 – 1985 - Studied under seven well-known
Eskrimadores, Maestro and Maestra of Paete
Arnis Club (founded 1920) Paete, Laguna
Philippines.
• Maestro Rufino “Pining” Absin (Siete
Palo, Largo Mano, Arnis de Mano)
• Maestro Jose “Peping” Dimasaka (Siete
Palo, Largo Mano, Arnis de Mano)
• Maestro Tomas “Tom” Cagayat (Nueve
Palo, Sobrada Herada, Arnis de Mano)
• Maestro Victor Afu David (Cinco
Teros, Crossado Corto, Arnis de Mano)
• Maestro Clemente “Ente” Afunngol (Siete Palo, Abaniko, Arnis de Mano)
• Maestro Pedro “Indo” Afunggol (Siete Palo, Herada Corto, Arnis de Mano)
• Maestra Myrna “Mana” Cadang (Siete Palo, Largo Mano and Modern Arnis)
1975 - Studied and become member of Modern Arnis Federation of the Philippines.
1978 - 1985 - Studied under two best Eskrimadores and Maestro of Lumban, Laguna.
• Maestro Alejandro “Andoy”Cacaos (Siete Palo, Sobrada de San Miguel Arnis)
• Maestro Juan “John” Ladiana (Siete Palo, Sobrada de San Miguel Arnis)
1979 – 1982 - Studied under well-known Maestro of San Antonio, Kalayaan, Laguna.
• Maestro Totoy Acuno (Siete Palo, Herada Corto de Payong Arnis de Mano)
1978 – 1985 - Undefeated un-padded Stick fighter of Laguna and Arnis de Mano Stylist
1978 -1985 – Taught Arnis in Paete, Kalayaan, Siniloan, Mabitac, Famy of Laguna, Phil.
1989 – Founded Filipino Martial Arts, Garimot System USA (Miami, Florida).
• Garimot Arnis de Mano (Stick, Blade, Knife and Empty Hands Arts).
• Garimot Harimaw Buno (Filipino Wrestling Arts)
• Garimot Hilot (Filipino Healing Arts and Practiced)
1992 - Started a class under the roof of Miami Karate Academy by Sensei John Segars.
1992 – First Seminar in Garimot Arnis and Filipino Wrestling in Naples, Florida.
• Hosted by GM Baltazar “Bo” Sayoc (Founder of Sayoc Kali)
1993 – Founded Three Organization under Garimot Arnis Training Group International.
• Laguna Arnis Federation International
• US Harimaw Buno Federation
• Hilot Research Center USA
1996 – Inductees in World Christian Martial Arts Hall of Fame (Newark, New Jersey).
1996 – 2006 Member of Cosmopolitan Florida Martial Arts Hall of Fame Brotherhood.
1998 – 2006 Inductees and Member of World Head of the Family Sokeship Council
International Hall of Fame (Grandmaster Instructor of the year).
2002 – Published the first book written in Filipino Wrestling (Harimaw Buno).

Gat Puno was featured in several publication magazines, like Kung-fu Magazines,
Black Belt Magazines, Rapid Journal, Karate Voice, Filipino American Journal, Filipino
Martial Art Digest, The Clarion News Letter, Paetenians News Letter and many more.

Read about Gat Puno Abon “Garimot” Baet

EXE PDF

Gat Puno Abon “Garimot” Baet travels

extensively doing Seminars and Clinics all over the
US, Venezuela, and Germany. He also continues
his support of local Masters and Grandmasters of
the Filipino Martial Arts in the Philippines by
hosting Annual Un-padded Stick Fighting
Tournaments, in Paete, Laguna and Magdalena
Laguna, Philippines.

1240 NW 92nd Ave.

Pembroke Pines, Fl. 33024
(954) 432-4433
Email
www.garimot.com
 Rapid Journal

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