C H A P T E R 1

The Literauture of binatbatan

Binatbatan is an occupational dance from Paoay, Ilocos Norte. It depicts the beating of the cotton pods to
separate the seeds from the fibers with the use of two sticks called batbat in the Ilocos region. Binatbatan, therefore, is
derived from the word batbat. The people of Paoay are known for their skill in weaving the famous Ilocano cloth
called abel. Oftentimes, the weavers engage themselves in a contest as to who could finish first and could produce and
clean more fibers. When the weavers wish to have fun and marrymaking, they sing and dance and use the batbat
(sticks) in the dance. They dance between and out of parallel sticks without stepping on them, showing their ability,
skill and good timing. The speed of beating and the rhythmic sounds produced by the sticks make the dance very
lively, colourful and exciting.

COSTUME: Dancers wear the traditional Ilocano costume.

EQUIPMENT: Two pieces of sticks (preferably rattan) 18 inches

long and about the size of the finger, held at the end, one in each
hand.

MUSIC is composed in two parts : A and B. COUNT one, two, three,

to measure in ¾ time. One, two; or one, two and; or one, and two,
and (accent on count one and on the second and, as 1 and 2 and) to a
measure in 2/4 time.

FORMATION. Partners face each other about six feet apart, Girl at
the right side of Boy when facing the audience. As many pairs would
like to participate may take part in this dance. INTRODUCTION
Music Introduction Partners face each other Kneel on R (ct.1), kneel on L (ct.2), and sit on heels (ct.3).
Strike both sticks on the floor in front (ct.1), pause with sticks down on the floor (ct. 2,3)... 2 measure.
 A
Kneel-sitting position, holding sticks parallel and near each other, about three inches apart.
a) Strike sticks on the floor four times, from right side gradually moving to sideward left (cts. 1,
and, 2, and). Follow the movement of the sticks with the eyes. 1measure. b) Repeat (a) fourteen
more times.... c) Strike the sticks on the floor in front (ct.1), raise sticks about a foot high from
floor (ct. 2). 1 measure.
` II Music A. Same position as in Figure I. a) Girl- Repeat figure 1 for 14 measures only.
Boy- Strike sticks on the floor four times to a measure as in figure I (a) moving sticks from front,
gradually moving backward. Sticks are held apart so that hands can move backwards, R sticks at
right side and L sticks on the left side. Do this movement fourteen times. 14 Measures. b) Boys
and Girls—Half-stand in R foot (cts. 1, 2), stand and put feet together (cts. 1, 2), sticks down at
sides. 2 Measures.
III Music A Face Audience. a) With L foot across R in front, execute Korriti-steps turning
(clockwise) in place. Do a complete turn in four measures. Strike own sticks together three times
to a measure, with R over L, L over R alternately cts. 1, and, 2 to a measure. GIRL—start with
sticks at knee level (1 measure) and head level ( 1 measure) alternately. BOY—do the same
movements of the sticks at head level first ( 1 measure), and knee level ( 1 measure) alternately. 4
measures. b) Repeat (a), doing the turn in three measures only. Finish facing front. 3 Measures...
c) Stamp three times in place (R, L, R) (cts. 1 and 2), pause (ct.and). Hands down at the sides (no
sounds)..... 1 Measure. d) Repeat (a-c), turning counter clockwise, with R across L foot in front (
7 measures) and stamp three times in place starting with L foot ( 1measure). 8 Measures.
IV Music A. Partners turn with R shoulders toward each other. a) With L foot across R in
front, execute korriti steps clockwise. Partners’ backs are toward each other always while turning.
Strike sticks as in figure III. Dancers are at partners’s place at the fourth measure and their own
places at the seventh measure...... 7 measure. b) Repeat figure III (c). 1measure. c) Turn right
about and with L shoulders toward each other and R foot across L in front, repeat (a), moving
counter clockwise. Finish near each other. Do this for 1 measure only.... 6 measure. d) GIRL—
repeat (b) starting with L foot ( 1 measure). Put down sticks on floor (1 Measure)..... 2 measure.
BOY-- do the kneel-sitting position instead of stamping. Kneel on R (ct.1), kneel on L (ct. 2) sit
on heels (cts. 1,2) and hold sticks parallel to each other with the farther end touching the
floor........ 2 measure
 V Music A. Play two times. Partners face each other, girl standing near partner and boy
in kneelsitting position. Partners perform their movements simultaneously. BOY a) Open sticks
wide apart (ct.1 ),slide stick to cross, R over L (ct. 2). Open sticks wide apart (ct.1), slide sticks to
cross L over R (ct.2) Do these movements for six more measures. 7 measures. b) Strike own
sticks 3 times on the floor(cts. 1, and 2) . 1 measure. c) Repeat (a) for six measures only. 6
Measures d) Assume standing position as in Figure II (b). Leave sticks on floor..... 2 measures.
GIRL Put weight on L foot. Arms in reverse “T” position. a) Point R foot in front, at center
between Boy’s stick (ct.1), point R foot across at the left side (ct.2). Point R foot at center
between sticks (ct.1), point R foot at right side (ct.2). Kumintang hands inward at every measure,
twisting body slightly to left and right side alternately (toward the pointing foot). 2 measures, b)
Repeat (a) for five more measures. 5 measures. c) Repeat Figure III (c).Hold skirt in front of
thighs........ 1 Measure. d) Repeat (a) three times pointing with the L foot. Reverse direction of
movements. 6 measures. e) Do the kneel-sitting position—kneel on R (ct.1), kneel on L (ct. 2), sit
on heels (cts. 1,2). 2 Measures. BOY and GIRL Exchange movements. Boy performing the
movements of Girl above and vice-versa. Boy’s hands on waist in (c). Leave sticks on floor.... 16
Measures
` VIMusic A Play two times. Same position as in Figure V. Partners perform their
movements simultaneously. BOY a) Repeat same movements as in Figure V (a). 13 measures. b)
Strike own sticks three times on floor (cts. 1, and 2)..1 measure. c) Assume standing position as in
Figure II (b) 2 measures. GIRLS a) Hold skirt in front of thighs. Jump forward to center between
sticks (ct.1), jump backward(ct.2); jump forward to center between sticks(ct.1) jump sideward to
the right side (ct.2); jump to center between sticks (ct.1), jump backward (ct.2); jump forward
between sticks (ct.1) jump sideward to left side (ct.2). Do the above movements for thirteen
measures, jumping to center, R and L side alternately. 13 Measures. b) Stamp, stamp, stamp as in
Figure III (c). Hold skirt in front of thighs.....1 measure. c) Assume the kneel-sitting position. 2
measures. BOY and GIRL d) With hands on waist and holding sticks, boy performs the
movements of Girl and vice-versa (14 Measures). Partners arrange sticks on floor to form a letter
X position, at center between them (2 measures). 16 measures. VII Music B Partners face each
other. a) Take four cross-habanera steps sideward moving little by little toward center, R and L
foot across in front alternately. Start with R arm swinging downward-upward as if sewing a big
needle held between the thumb and forefinger (ct.1), raise R elbow slightly upward (ct.2), lower
elbow (ct. 1 and), L hand at back of L hip. Reverse position of hands at every measure..4
Measures. b) Repeat (a), moving little by little backward to proper places... 4 measures. c) Repeat
(a) and (b). 8 measures. VIII Music A Partners face each other. a) With R foot leading, partners
execute chasing steps forward, moving around clockwise (take two chasing steps for every
measure). Boy following closely behind girl, clapping hands at every count (two claps for every
measure). Girl’s arms in reverse “T” position doing a kumintang inward at every measure 8
measures. b) Turn right about. Repeat (a) moving counter clockwise, Boy in front of girl and
doing the movement of girl and vice-versa. Finish in proper places facing partner 8 measures.
 C H A P T E R 2
WHO IS FRANCISKA REYES AQUINO?

Frances Reyes Aquino, the legendary "Mother of Philippine Dancing," was

born in Lolomboy, Bocaue, in the Philippine Province of Bulacan, on March
9, 1899. She was the eldest of three children of Filipe Reyes and Juliana
Santos Reyes of Manila. She obtained her High School Teacher's Certificate
in 1923 and her Bachelor of Science in Education degree in 1924 from the University of the Philippines.

As early as 1921 to 1923, Francisca began her search for folk dances to use in classes while a Student
Assistant in Physical Educatiion. She traveled to remote barrios (rural communities) in Central and Northern
Luzon. In 1924, she became an Assistant Instructor. She quickly saw that, with further impact of Western
culture, many dances would be lost or extensively modified.

She continued gathering folk dances, songs, and games for her master's thesis at the University of the
Philippines in 1926. She revised her work in 1927, and published it as Philippine Folk Dances and Games. In
this and later collections, the great diversity of dance type, tempo, and music reflected a many-faceted Filipino
character.

She was asked to chair a committee at the university that would go to the most remote areas of the
Philippines to gather material directly from the old people who used to dance them in their younger days. The
hundreds of dances were collected and transcribed with close attention to their authenticity and local color,
then presented to the Manila public at various dance recitals. The university offered dance classes in the
physical education department and a folk dance troupe was formed that toured the provinces to acquaint the
people with the various folk dances of the country.

From 1929 to 1931, Francisca's teaching and research were interrupted by two years of study at
Boston University as a University of the Philippines Fellow. Receiving a Certificate in Physical Education, the
experience broadened her professional interest in the dance as an art form and also equipped her for more
intensive field research upon her return.

In 1934, Francisca married Professor Ramon P. Tolentino, Jr., then Assistant Director of the
Department of Physical Education, who shared her dream of promoting Philippine folk dances in the physical
education curriculum of Philippine schools. In that same year, university president Jorge Bocobo gave
tangible support to Frances Reyes Tolentino's research proposal, enabling her, her husband and a university
colleague, Antonio Buenaventura, to study native dances in Mindanao, Leyte, and Mountain Province and
record songs with the aid of a Victor recording machine. The expedition gathered material on 38 folk dances
and 33 songs and airs. This research inspired compositions by Mr. Buenaventura and other members of the
music faculty and a number of public performances which President Bocobo enthusiastically endorsed. In
Leyte, they found the Tinikling, danced between rapidly clapped, bamboo poles and named after a long-legged
bird, the tikling, seen in rice paddies. Tinikling has since become a national favorite of both children and
adults. In 1935, they made complete notes on 33 folk songs and dances in Mountain Province, 8 in Ilocos
Norte, 14 in Ilocos Sur, and 4 in Abra.

Typical of her willingness to make an extra effort so that others might know her country better, Mrs.
Reyes Tolentino organized the Filipiniana Folk Dance Troupe which performed for servicemen as a part of
the United States Army Special Services for seven months in 1945. The death of her husband, in 1939, after
four and half years of a close personal and professional partnership, tested Mrs. Reyes Tolentino's devotion to
her self-imposed mission to enrich Philippine culture by the propagation of performing folk arts. Her faith, her
daughter, and her deep interest in her lifework, however, carried her through this personal loss to greater
achievements.

In 1947, she married Serafin Aquino, secretary-treasurer of the Philippine Amateur Athletic
Federation, an enthusiastic collaborator in presentation of his wife's work. That same year, Frances Reyes
Aquino became the superintendant of Physical Education, Bureau of Public Schools, Philippine Republic. She
was awarded a Doctor of Sciences degree in Physical Education, Honoris Causa, from Boston University and,
in 1959, a Doctor of Humanities, Honoris Causa, from Far Eastern University in Manila, Philippines. She is
the author of seven books and numerous articles.

In 1949, Dr. Reyes Aquino founded the Philippine Folk Dance Society to bring together physical
education students, teachers, administrators, and individuals interested in folk dancing.

Dr. Reyes Aquino received the "Philippine Republic Award of Merit" for her untiring efforts in
collecting, compiling, and propagating folk dances, and for her outstanding contribution to the advancement
of Filipino culture in the field of dance. Other awards include the Cultural Award, UNESCO of the
Philippines; the Rizal Pro-Patria Award; certificate of merit Bulacan Teachers Association; the Ramón
Magsaysay Award, and an award for outstanding alumna, College of Education, University of the Philippines.

In 1961, Dr. Reyes Aquino was invited by the International Recreation Association on the Cultural
Exchange Program to lecture, teach, and demonstrate Philippine folk dances in the United States. That same
year, she was given the Rizal Pro-Patria Award, conferred on individuals (Filipino or foreigner), societies,
institutions, and other organizations.
She taught at major folk dance camps and conducted workshops at many universities and colleges; and she
presented Philippine dances and folklore at the Fourth International Congress on Physical Education and
Sports for Girls and Women, Washington, D.C. In 1973, President Marcos gave Dr. Reyes Aquino the
National Artist for Dance Award for her contribution to the preservation and propagation of the folk dances of
the Philippines.

For many years, Dr. Reyes Aquino was consultant to the world famous Bayanihan Folk Dance
Troupe, which continues to perform in the major capitols of the world. The University of the Philippines
Dance Troupe,founded in 1988 by Dr. Reyes Aquino, continues to perform for local audiences. The Cultural
Center of the Philippines has namamed one of their lower basement rehersal halls "Bulwagang Francisca
Reyes Aquino in her honor." The hall is for theater, dance, music arts, and occasionally for lecture-
demonstrations, artists' interactions, master classses, and workshops.

Active in organizations whose programs related to her work, Dr. Reyes Aquino was a member of the
Women's Athletic Committee of the Philippine Amateur Athletic Federation from 1940 to 1954 and again in
1955 to 1956. She also served on the Curriculum Committee of the National College of Physical Education,
the National YMCA Board in 1945 and 1946, the Entertainment Committee of the International Society for
Education in 1960, and as a member of the United Nations Association of the Philippines from 1956 until her
death in 1984.

A Memorial Fund was established in her name and "Lola Kikay," a musical based on her life, has been staged.

Among Dr. Reyes Aquino's publications are

 Fundamental Dance Steps and Music, Manila, 1957.

 Philippine Folk Dances, Manila, Vol. I, 1953.
 Philippine National Dances, New York, 1946.
 Philippine Folk Dance and Games, with Petron Ramos, New York, 1927.

Dances Dr. Reyes Aquino taught include Alahoy, Apat Apat, Ba-Ingles, Basulto, Binadyong, Himig Sa
Nayon, Kalapati, Lubi-Lubi, Maglalatik, Manang Biday, Polka sa Nayon, Tiklos, and Tinikling.
 Immaculate Conception Academy
1s Valdez Batac Ilocos Norte

 Literature of binatbatan
 Who is franciska Reyes Aquino
 Nature of Folk dances

SUBMITTED BY: HERSHEY GWYNETH SUMALDE

SUBMITTED TO: SIR JOHN PAUL PAGDILAO
1.) La Berde
A courtship dance from a mountain
settlement in Talamban, Cebu. In a series of quick
steps and changes, the dance celebrates what is
lush and full of life

2.) Maramion
Is a courtship dance that is popular in the
island of Cebu and Bohol. It is a pantomime of a
courtship story. Female are dressed in visayan folk
costume while males are dressed in barong
tagalog

3.) Lulay
Is a courtship dance. Lulay is the name of
the young girl being courted. From the Ilocos are
of luzon
 C H A P T E R 3
THE NATURE OF TRADITIONAL FOLK DANCES

1.) Pabirik
Depicts the different stages of gold
panning

2.) Monanguete
Reenacts the staging of making tuba
(coconut wine) The dance starts with mimicking the
sharpening of the sanggot (scynthe) and thyen
proceeds to cleaning of the kawit then extracting
the sap and finally tasting the wine

3.) Pasigin/ Pasiguin

A dance interpreting toil in the life of the
fisherman in the river called Pasig. Manifesting
The native means of catching the fish.

1.) Sinurog/ Sinulog

Cebuana for carried along by the current. Believed to
have been originated for a pagan deity was later hispanized
and transformed into a dance worship for sto. nino

2.) Gapnod
Is a worship dance popular among the people of
negros oriental. It is a re-enactment of the discovery by a
fisherman of the image of the st.anthony padua The patron
saint of the town sibulan, negros oriental

3.) Dugso
Is the ceremonial dance among the Manobo people of
bukidnon, Agusan and Misamis Oriental. Usually performed
during important occasions like kaliga (feasts) or kaamulan
(tribal gatherings)