MATUD NILA LYRICS IN ENGLISH

MATUD NILA -ACCORDING TO THEM

They say that I shouldn't
Wish for your love
They say you will not be happy
For I have no treasure to give you

Pure love is all that I pledge
A treasure more precious than gold
They say that your love and caresses
Would only be wasted on me

This feeling won't fade
Even though that would be justice
Because what else is this life worth
If your love isn't there

Tell me that you won't believe
The insults that they tell about me
Tell me that you won't deny
My dream and faith in your love

Tell me that you won't believe
The insults that they tell about me
Tell me that you won't deny
My dream and faith in your love.

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USAHAY lyrics in English version

USAHAY -SOMETIMES

Sometimes I am dreaming
That you and I love each other
Why are you the one I dream of
Always dream of my loneliness

Sometimes I'm disappointed
Why still live in this world
Why jest about it
My love is for you, only you

That you and I love each other
Always dream of my loneliness
Sometimes I'm disappointed
Why still live in this world

Why jest about it
My love is for you, only you
Why jest about it
My love is for you, only you.


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DIWA NG PASKO lyrics

DIWA NG PASKO




[zum-zum (4x)]

Masdan natin ang sinag ng tala
Sa tapat ng belen
Bayan ng ating Birheng dangal
At sumilang doon ang sanggol na mahal
Mananakop ng buong katauhan

Magsaya tayo kapatirang banal
Ipagdiwang lugod sa puso
Si Hesus natin syang tanging maykapal
Lumuhod tayo sa harap niya

Magsimba tayo siyam na simbanggabi
Uwian ay bukang-liwayway
Ang buong bayan ligid-ligiran
Mga tindahan, kakainan

[lalala]

Masdan natin ang sinag ng tala
Sa tapat ng belen
Bayan ng ating Birheng dangal
At sumilang doon ang sanggol na mahal
Mananakop ng buong katauhan

Ang durungawan puspos ng ilaw
Luntian at pulang kulay na masaya
At ang pintuan pinagsabitan
Parol na tunay sa paskuhan

Ang maganda nating bihisan
Ay isuot kahit na minsan
At ang gintong hikaw at singsing
Ay linisin bago gamitin

[papapapam]

Masdan natin ang sinag ng tala
Sa tapat ng belen
Bayan ng ating Birheng dangal
At sumilang doon ang sanggol na mahal
Mananakop ng buong katauhan

Mano po lolo, mano po ninong
Ang sadya po sana'y mamasko
Kung wala ma'y salamat din po
Sa tatlong-hari na'ng balik ko

[lalalala lalalala]
Buong tao'y muling nagdaan
At sa bawat ninyong tahanan
Diwa ng pasko nawa'y makamtan

At sa bawat ninyong tahanan
Diwa ng pasko nawa'y makamtan!
[lalalala lalalala]

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Basic Dance Steps for Philippine Folk Dance

Basic Dance Steps of Philippine Folk Dance

Dance steps among primitive Philippine people include a variety of hopping, leaping,dancing, pivoting , shuffling and brushing steps.

Description of dance steps

Hopping- Springing into the air from one foot and landing on the same foot

jumping- Movement without a point of support or Spring into the air off both feet and land on both feet

leaping-A transfer of weight from one foot to the other. Push off with a spring and land on the ball of the other foot, letting the heel come down Bend knee to absorb the shock

pivoting-A traveling turn executed with thighs locked and feet apart in extended fifth position

shuffling-A triple step similar to a Polka step with no lilt for example step forward left and bring the right foot up yo the heel of the left foot.


brushing-To brush, sweep or scuff the foot against the floor

Kumintang, a simple, classic gesture of rotating the hand and wrist and movement of arms which was believed to have been inspired by arnis.

Sarok or salok is an elaborate bow which must have been inspired by the woman acitivity of fetching water from a well.

The western influence brought the sway balance, waltz and tap dance steps.

sway-A tilt of the chest to the side, without lowering the torso Stretching from the side upwards

Waltz steps=A ballroom dance in 3/4 time which first developed in Vienna as a fast paced dance to the Strauss music of the time, and eventually evolved into the slower version we now know as Waltz (or Slow Waltz).

Pasko ay Para sa Lahat

Pasko ay Para sa Lahat



Sanay laging mayroong pag-ibig
Sa apat sa sulok ng daigdig
Pagkakaisa ang mahalaga
Ng pag-asa ay laging nadarama

Wag ipagkait ang pang-unawa
Puso ay buksan sa ating kapwa
Ang nalulungkot ay bigyang pansin
Ang Pasko ay sama-samang salubungin

Di ba’t ang Pasko ay para sa lahat
Magmahalan, magbigayan upang maging ganap
Di ba’t ang Pasko ay para sa mundo
Pag-ibig ay papag hariin nating totoo

Di ba’t ang Pasko ay para sa lahat
Magmahalan, magbigayan upang maging ganap
Di ba’t ang Pasko ay para sa mundo
Pag-ibig ay papag hariin nating totoo.

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DINUYYA-Mountain -Igorot Dances

Dinuyya



(dih-NOOH-yah)
A festival dance from Lagawe, it is performed by the Ifugao men and women 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.

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GAWAY-GAWAY- Rural and Barrio Dances

GAWAY-GAWAY- Rural and Barrio Dances



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(GAH-why-GAH-why)
This is classified under Rural an Barrio Dances. It originated from a small town of Leyte called Jaro. The dance depicts children's celebration of a beautiful harvest of the Gaway root crop. They imitate the pulling of the stalks, hitting their elbows in a movement called Siko-Siko.

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Tagabili-Tribal Dance

Tagabili



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(tah-gah-BEEH-leeh)

The Tagabili (also called T'boli)isclassified under Tribal Dances. This is a dance of T'boil, a minority national group from South Cotabato, in southwestern Mindanao, who is comparatively sophisticated in language, dress, and mythology. This 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.





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Ragragsakan- Mountain-Igorot Dances

Ragragsakan



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(rahg-rahg-SAH-kahn)
This is classified under Mountain-Igorot Dances. It is an adaptation of a tradition in which Kalinga women gather and prepare for a budong, or peace pact.

The Kalingga borrowed the beautiful word ragragsakan from the Ilocano, which means "merriment." The two biggest occassions for a ragragsakan in a Kalinga village are for the homecoming of successful head takers and the culmination of peace-pact between warring tribes. In this dance, Kalinga maidens balance labba baskets on thier heads, wave colorful tribal blankets, and sing short salidumay songs as they snake through the terrace dikes and skip through breaks in the path.

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SINISINTA KITA

Sinisinta Kita

Kung ang sinta’y ulilahin
sino pa kayang tatawagin
Kung hindi si Neneng kong giliw
Naku kay layo sa piling

Malayo man malapit din
Pilit ko ring mararating
Huwag lamang masabi mong
Di kita ginigiliw

Ginigiliw kitang tunay
Alaala gabi’t araw
Pag di na natatanaw
Puso ko’y nalulumbay

Sinisinta kita,
di ka kumikibo,
akala mo yata,
ako’y nagbibiro;
saksi ko ang langit,
sampu ng kanduro,
kundi kita sinta,
puputok ang puso.

Sinisinta kita
ng sintang patnubay,
patnubay na sintang
walang katapusan;
madurog ang bato,
magbangon ang bangkay,
walang ibang sinta,
kundi ikaw lamang.


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Dumadel - Tribal Dance

Dumadel



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(dooh-mah-DEHL)
This is classified under Tribal Dance. It is a festival dance performed by the Subanons to celebrate a good harvest.

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Inday sa Balitaw Lyrics

Inday sa Balitaw

Inday, Inday sa Balitaw
Kahoy nakahapay,
Sandok nakasuksok,
Palayok nakataob,
Sinigang na matabang
Kulang sa sampalok.

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RIGODON ROYALE - Maria Clara dance

Rigodon de Honor or Rigoon Royale

(reeh-goh-DOHN-deh-oh-NOHR)
This elegant dance was brought to the Philippines by the Filipinos who returned from their travels abroad during the Spanish era. 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.




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PHILIPPINE FOLK DANCE HISTORY

Philippine Folk Dance History

Filipino folk dance history is not the history of a single national dance of one or two regions. Dances evolved from different regions which are distinct from one another as they are affected by the religion and culture.

Mountain or Igorot Dances

Long before the Spaniards, the indigenous people in the mountainous regions had already their folk dances which reflect their worship, their celebrations, their wars and even their everyday lives. Scholars refer to them as mountain dances which consisted of different mountain tribes. When Spaniars came, they called them Igorots.

They dance to appease their ancestors and gods to cure ailments, to insure successful war-mating activities,or to ward off bad luck or natural calamities. They dance to congregate and socialize, for general welfare and recreation, and as an outlet for repressed feeling. They also dance to insure bountiful harvests, favorable weather, and to mark milestones in the cycle of life.

So the dances evolve as they need them to express their feelings, their sadness and their anger.

Muslim and Moro Dances

Mindanao and Sulu were never conquered by Spain. Islam was introduced in the Philippines in the 12th century before the discovery of the islands by Magellan in 1521.

The dances in Muslim however predated the Muslim influence. Like Ipat which was a dance to appease ancestral spirits. Before Islam, the Maguindanaons held the view that diseases are caused by tonong (ancestral spirits).Thus, a folk healer performs the pag-ipat while being possessed by the tinunungan (spirit).

Another is the dance baluang which 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.

Singkil was introduced after the 14th century. It was based on the epic legend of Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim Princess, Gandingan who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies of the forest.

Tribal Dances

The cultural minorities that live in the hills and mountains throughout the Philippine Archipelago considered dances as basic part of their lives. Their Culture and animistic beliefs predated Christianity and Islam. Dances are 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 and sacrifices.

The only dance that is believed to have evolved during the Spanish colonization is the Talaingod dance which is 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


Maria Clara Dances

The history of the Philippines is that of a country constantly melding its culture with that of outsiders, a narrative that is exemplified well by Filipino folk dance history. For example, the 300-year Spanish occupation of the Philippines profoundly influenced folk dancing. The ‘Maria Clara’ style of dance is named after a Spanish-style dress, and its performance includes Spanish footwork with Filipino modifications such as bamboo castanets and Asian fans. Contact with ancient Indian civilization is also evident through Indian-influenced dance, which thrives particularly in the South. Numerous other influences including Muslim and Indonesian can be found throughout the Philippines.

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, "Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.


Rural and Barrio

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 Rural Suite include the colorful balintawak and patadyong skirts for the women, and camisa de chino and colored trousers for the men. The dances developed during the three hundred years of Spanish colonization.

A good example of rural or barrio dances is Sinulog. It 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.

Maria Clara Dances

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, "Filipinized" as evidence of the use of bamboo castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.

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LUMAGEN-Mountain-Igorot

Lumagen


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



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Sayaw Sa Bangko-Rural and Barrio Dance

Philippine Folk Dance

Sayaw Sa Bangko


This dance is classified under Rural and Barrio Dances. It 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.






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Maglalatik-Rural and Barrio Dance

Philippine Folk Dance-Maglalatik

This is classified under rural and barrio dances. It is a mock war dance between the Muslims and the Christians that originated from Binan, Laguna, Philippines.



The dance is about a fight for the latik or coconut meat during the Spanish era.

videocredit: Masterscribble

Today, this dance is performed in honor of the town's patron saint, San Isidro Labrador. All dancers are male and are naked to the waist except for the coconut shells attached to their chests, backs and hips. The Muslim dancers wear red trousers while the Christian dancers wear blue. There are also coconut shells on their thighs and knees. As they dance, they touch these shells with their coconut shells on their hands.


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