fulfill one of the association's missions to promote
the Philippine culture, develop and enhance the participation
of the youth in learning the Philippine customs and
traditions, the association has formed cultural dance
groups for the youth as part of its Youth Development
Program (YDP). The youth cultural dance group performs
at the association's events and in the community as
ambassadors of goodwill. They also serve as an inspiration
to the young FIL-AM generation to learn their roots
in artistic and enjoyable way. They believe that through
their dance, they can spread goodwill to the community
and be instrumental to the good causes of the organization.
MAGLALATIK(Choreography by Edwin Gombio)
Conrad Giles Jr.
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 baligtaranshowing
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.
(Choreography by Toni Lime)
Kapiil sa Munsala is a Maranao scarf dance in Lanao
province. The Kapiil sa Munsala maybe performed as a
solo or a group dance. The dancer/s are equipped with
two big and colorful scarves which delicately manipulated
in numerous patters. The dance is marked with the dancers'
static poses, sudden wrist flicks and graceful hip-sways.
This dance is usually performed only by females but
in their absence, males may also dance it. The Kapiil
sa Munsala is very similar to the execution of other
Maranao dances like the Asik and the Aparet. All three
dances are danced during Maranao festivities or on welcoming
guests or dignitaries. It is notable there a lot Maranao
scarf dances like the Kapiil sa Munsala. Very popular
are the Katsudoratan (also spelled Kzadoratan), Kakini-kini
remarkable of its stylized walk, and the Kasanduayan.
by Toni Lime)
The Janggay or 'Igal Janggay" is one Badjao dance
that is performed to the tradition of the Pangalay.
Pangalay being a predominant dance form favorite among
the gentle people of the Sulu archipelago.
refers to metal fingernails or claws that the dancers
wear on their hands as the sinuous movements of pangalay
figures are executed. The janggay is supposed to enhance
or magnify the dancer's hand twists and wrist flicks
because it serves like a sort of an extension.
BANGKO (Choreography by Mark Jones)
Sayaw sa Bangko or Sayaw ed Tapew ng Bangko is a folk
dance from Pangasinan, a province from the northern
Philippines. Performers dance on wooden benches, changing
places with each other and at times jumping on and off
(Choreography by Tony Lime)
Singkíl originated from the Maranao people who
inhabit the shores of Lake Lanao. It is derived from
a story in theDarangen, the Maranao interpretation of
the ancient Indian epic, the Ramayana. The name of the
dance itself means "to entangle the feet with disturbing
objects such as vines or anything in your path".
It is a popular dance performed during celebrations
and other festive entertainment. Originally only women,
particularly royalty, danced the Singkíl, which
serves as either a conscious or unconscious advertisement
to potential suitors.
Jota Moncadeña(Choreograph by Aber Gavino)
La Jota Moncadeña is adapted by the Filipinos
from an old Spanish dance. It's a combination of Spanish
and Ilocano dance steps set to Spanish music and castanets.
A more solemn version of this dance is sometimes used
to accompany a funeral procession, but it is also performed