BASIC FUNDAMENTAL POSITIONS IN FOLK DANCE Hand Position Feet Position Performthefundamentalpositionsofthearmsandfeetwithoutmusicfirst.Then,selectany music in 2/4 time and repeat performing the said fundamental positions one at a time. In responding to 2/4timerhythm,take2measuresforeachpositionthenrestfor4measures.Repeatthesame fundamentalpositionbutalternatemovingtheRandtheLarm/footonthe3rdposition,after16 measures. Other positions and movements of the arms: FUNDAMENTAL DANCE STEPS IN PHILIPPINE FOLK DANCE In 2/4 Time STEPEXECUTION Touch steptouch R (ct. 1); close R (ct. 2) 1 M Step pointstep R (ct. 1); close L (ct. 2) 1 M Close stepstep R (ct. 1); close L (ct. 2) 1 M Slide stepslide R (ct. 1); close L (ct. 2) 1 M Step swingstep R (ct. 1); swing L (ct. 2) 1 M Step hopstep R (ct. 1); hop on R (ct. 2) 1 M Gallop stepstep R (ct. 1); cut L (ct. ah); step R (ct. 2); cut L (ct. ah) 1 M Change stepstep R (ct. 1); close L (ct. and); step R (ct. 2) 1 M Cut stepcut or displace R with L (ct. 1) 1 count Heel and toe polkaPolka place R heel (ct. 1); point R toe (ct. 2); step R (ct. 1); close L (ct. and); step R (ct. 2); pause (ct. and) 2 M Polkastep R (ct. 1); close L (ct. and); step R (ct. 2); pause (ct. and) 1 M In 3/4 Time (Some dance steps done in 2/4 time rhythm can also be done in time. Review the step patterns of the following basic dance steps which are done in time and identify which dance step can be done in 2/4 and time signature.) STEPEXECUTION Touch steptouch R (cts. 1,2); close R (ct. 3) or touch R (ct. 1); close R (cts. 2,3) 1 M Step pointstep R (cts. 1,2); point L (ct. 3) or step R (ct. 1); point L (cts. 2,3) 1 M Step swingstep R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3) Step hopstep R (cts. 1,2); hop R (ct. 3) 1 M Close stepstep R (cts. 1,2); close L to R (ct. 3); step R (ct. 1); close L to R (cts. 2,3) 1 M Slide stepslide R (cts. 1,2); close L to R (ct. 3) or slide R (ct. 1);close L to R (cts. 2,3) 1 M Bleaking stepplace R heel (cts. 1,2); close R to L (ct. 3) or place R heel (ct. 1); close R to L (cts. 2,3) 1 M Waltz step R (ct. 1); close L to R (ct. 2); step R again (ct. 3) 1 M Three-step turnstep R (ct. 1) turn and step L (ct. 2); turn and step R (ct. 3); close L to R (ct. 1); pause (cts. 2,3) 2 M Note: These steps can be done in place or while moving. It can also be done starting with the L foot. Sway Balance The first step is usually done obliquely forward, cts. 1,2, the cross-step is done sideward (ct. 3). The succeeding step is done obliquely backward (ct. 2) and the last two counts are done in front, in place. Arms open from the first position to the fourth position R or L arms high. Kumintang R (L) hand when pointing with L (R) foot on cts. 2, 3 of the second measure. STEPEXECUTION Sway balance with a pointstep R, cross step L /step R, point L2M (1, 2 3 1 2, 3) Sway balance with a brushstep R, cross step L /step R, brush L 2M (1, 2 3 1 2, 3) Sway balance with a closestep R, cross step L/step R, close L 2M (1, 2 3 1 2, 3) Sway balance with a hopstep R, cross step L /step R, raise L, hop2M(1, 2 3 1 2, 3) Sway balance with a raisestep R, cross step L /step R, raise L 2M (1, 2 3 1 2, 3) Sway balance with a waltzstep R, cross step L /step R, close L, step R 2M (1, 2 3 1 2 3) DANCE TERMS IN PHILIPPINE FOLK DANCE Bow or saludoKumintangCurtsySalok Hands on waistBilaoDo-si-doPoint Hands holding skirtArms in Reverse T Position Folded armsLink elbows / hook elbows Arms in lateral positionBrushFree FootSalok Hayon-hayonClockwiseFree handPanadyak AbraseteCounter clockwiseInside hand/footSarok JaleoStampOutside hand/footSlide Hayon-hayon (dance in one arm bent on front of waist) Abrasete (To perform: girl at the right side of the boy, holds right arm of the partner with her left hand, free hand down at the side. This term is Spanish in origin and is use in regodon and in other dances.) Kumintang (move the hande from the wrist either in a clockwise or counterclockwise direction.) Bilao (the females mime the act of threshing the ricestalks to separate thegrains and the heaps followed by the males miming the act of pounding the rice stalks) Curtsy (one foot is pointed in front and the body leans forward.) Jaleo (It is danced with limping step , the weight always with the same foot) NATURE OF PHILIPPINE FOLK DANCE Countriesoftheworldhavetheirownculturesmademorecolorful,beautifulandvibrant because of folk dances that are a reflection of who they are and what they are. In the East, the Chinese have their symbolical dragon dance; the Japanese have the ancestral dance Bon Odori. In the West, the Americans have their Square Dance. The Scottish people have their world-famous dances (Highland and CountryDance,JigandReel).Ontheotherhand,thePhilippineswillnotbeleftbehind!ThePearlof theOrientboastsofavarietyofPhilippinefolkdances. The Filipinos pay tributes and owe itself to cultural heritage. One way of showing such love and respectforthecountrygavebirthtothedevelopmentofPhilippineethnicfolkdances.Andthereare severalofthese;namely,Binasuan,Sublian,Itik-itik,Tinikling,Maglalatik,Cariosaetc. Binasuan is a native dance of Pangasinan. This dance literally means dancing with glasses. The steps are executed with glasses filled with rice wine balanced on the head and the hands of the dancers. Dancedtoshowbalanceandtoreflectruralgaiety,Binasuanisperformedusuallyinwedding ceremoniesandoccasionsinthebarangay. Sublian owes its meaning to native words subsub meaning to fall with the head and bali or broken.Thismeaningisreflectedinthedancesteps.Thedancersmovefeeblyandtortuouslyasif without vigor. This dance, however, traces its roots to Batangas where it was originally played as a ritual dancewhichevolvedintoasymbolofreligioustraditionperformedduringtownfiestas. Itik-Itik is one of the Philippine folk dances which have an interesting origin. According to stories, aFilipinamaiden-dancerofSurigaodelNortewasaskedtoperformanativedanceinonespecial occasion. She started to improvise new steps and imitate the courtship movements of a local species of duckknownasitik.Thespectatorsbegantoimitateherandthatishowthedancecametobe. Tinikling is another Philippine folk dance that is inspired by an endemic bird called tikling. The steps of this dance are an imitation of the movements of a tikling bird that hops and escapes the traps setbyhunters.Movingwithpoiseandgrace,thedancersskipin-betweentwobamboopolesthatare heldtopoundrhythmicallyagainsteachother.ThisdanceisaspecialtyofLeyte. Maglalatik is danced to mimic the early battle against Christians and Moros to win coconut meat orlatikduringthetimeofSpanishcolonization.Thisisalsoperformedtopayhomagetothetown saint of Bian, Laguna San Isidro Labrador. This dance is divided into four parts: baligtaran, palipasan, paseoandescaramusa.Thisisperformedbyall-maledancerswhowearbluepantstorepresentthe Christians and red pant for the Moros. All dancers, however, have coconut shells mounted on their body parts. These aforementioned Philippine folk dances are ethnic in nature and origin. On the other hand, thereareseveralPhilippinefolkdancesthatwereinfluencedbysomeWesterncountriesassomeof thesehadcolonizedPhilippinesinthepast.OnesuchcountryisSpain.Someoftheso-called influenced Philippinefolkdances are the following: Pandango sa Ilaw, Cariosa, Balitao and Rigodon. To conclude, these folk dances whether ethnic in origin or not reflect the lively culture that the Filipinoshave.Thesedancesmaybediversebutthroughtheseculturalforms,theFilipinosareunified and proud by way of having Philippine folk dances that are truly one of the bests in the world. CLASSIFICATION OF PHILIPPINE FOLK DANCE 1. Cordillera Dances Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning"knottedrope",theSpanishtermreferstothejumbledrollsanddipsofthislong-range traversing the northern part of Luzon Island. Today,ifoneistogeneralizeoneofthesixethno-linguistictribesasan"Igorot"isconsidered degrading. Living amidst the rice terraces that tower over Northern Luzon are a people whose way of life existedlongbeforeanySpaniardorotherforeignerssteppedfootonthePhilippines.TheBontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes reign over Luzon's mountain terrain. Theyarepaganpeople,livingsimplelivestoappeasetheirgods.Theirritualscelebratetheir daily lives - a good harvest, health, peace, war, and other symbols of living. Such traditions have survived the changing scope of the Philippines and the tribes continue to maintain their cultures that are a part of the colorful cultural fabric known as Philippine culture. Examples: (a)Banga (Kalinga) "Banga" literally mean pots. The Banga or pot dance is acontemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illustrate the languid grace of a tribe otherwise known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they trudge to the beat of the "gangsa" or wind chimes displaying their stamina and strength as they go about their daily task of fetching water and balancing the banga. (b)Bendayan (Benguet Province) Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is restaged, keepingtruetothedance'scontextandmeaning.Longknownasadancetocelebratethearrivalof successful headhunters, the Bendayan has taken a new face. It is part of every Benguet festivity with the circles slowly giving way to other formations and interpretations. (c)Lumagen / Tachok (Kalinga) 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 (Tachok) is performed. This is danced by theKalingamaiden.Thedanceimitatesbirdsflyingintheair.Musicisprovidedbygangsa,orgongs, which are usually in a group of six or more. (d)Uyaoy / Uyauy (Ifugao) The Ifugao people are said to be the "children of the earth." The term Ifugao is derived from the wordipugaowhichliterallymeans"comingfromtheearth."TheSpaniards,however,changeditto Ifugaw, a term presently used in referring not only to these people but also to their province. This Ifugao wedding festival danceis accompanied by gongs and is performed by the affluentto attain the second level of the wealthy class. Wealthy people (Kadangyan)who haveperformed this danceare entitled to the use of gongs at their death. (e)Turayen (Cagayan Valley) Gaddangcomesfromthewordga,meaning"heat"anddang,meaningburned".TheGaddang live in the middle of Cagayan Valley and speak a language similar to Ilokano. Most of them converted to Christianity,andthosewholivealongsideChristianizedIlokanogroupshavemoreorlessadjustedto settled agriculture of mixed crops. Small and scattered groups in southeastern Kalinga, eastern Bontoc, andIsabelaregionsretaintheirindigenousreligionandpracticeswiddenagriculture(thecuttingback 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. 2. Muslim Dances Asidefromthecolorfulcontributionsofitsregionaltribes,Mindanaoishometothelargest cultural minority in the Philippines - the Muslims. Brought by Javanese and Middle Eastern traders, Islam is the religion of approximately 20 percent of the Philippine population. Theyareknownfortheirmysticism,royalty,andbeautywhichareevidentintheirmusicand dances. Accompanied by the agong and kulintang, Filipino Muslim dance is marked by intricate hand and arm movement along with shimmering costumes. Examples: (a)Pangalay (Zamboanga Del Sur) ApangalaynativetotheBadjao,sometimesknownasthe "Sea Gypsies." Pangalayis a dancethatemphasizestheagilityoftheupperbody.Therhythmicbounceoftheshoulderwith simultaneousalternatingwavingofarmsarethebasicmovementofthisdance.Thepangalayis commonly performed at weddings and other social gatherings. (b)Asik (Lanao Del Sur) A solo slave dance performed by the umbrella-bearing attendant to win the favor of her sultanmaster.Thegirlwearslongmetalfingernailsanddancesandposesindoll-likemotions.Asik usually precedes a performance of Singkil. (c)Singkil (Lanao) SinkildancetakesitsnamefromthebellswornontheanklesoftheMuslimprincess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the "Darangan" oftheMaranaopeopleof Mindanao.Thisepic,writtensometimeinthe14thcentury,tellsthefateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by thediwatas,orfairiesornymphoftheforest.Therhythmicclappingofcriss-crossedbamboopoles representthetreesthatwerefalling,whichshegracefullyavoids.Herslaveloyallyaccompaniesher throughoutherordeal.Finally,sheissavedbytheprince.Dancerswearingsolemnfacesand maintainingadignifiedposebeingdancingataslowpacewhichsoonprogressestoafastertempo skillfullymanipulateapir,orfanswhichrepresentthewindsthatprovetobeauspicious.Thedancers weave expertly through criss-crossedbamboos. When performed by ladies of theroyalty of Lanao, the dancerisusuallyaccompaniedbyawaitinglady,whoholdsabeautifullydecoratedumbrellaoverthe Princess'headwherevershegoes.RoyalprincessestothisdayintheSuluArchipelagoarerequiredto learn this most difficult and noble dance. (d)Kapa Malong Malong AlsocalledSambisaMalong,thisMaranaodanceshowsthemanywaysofwearinga malong, a simple tubular yet highly functional piece of cloth. The traditional womens version shows this cloth of countless colorful designs; used mostly as a skirt, woven in many different ways, depending on the purpose of the wearer. Other ways the women wear malong is as a shawl, a mantle, or a head-piece. During more recent dance documentation, a mens version was derived. This version shows in masculine rendition, how men don the malongdisplaying its use as a sash or waist-band, shorts or bahag, and a head-gear that can be either functional while working in the fields, or decorative as a turban. 3. Tribal Dances Mindanao, thePhilippines' southernmostisland, is the country's cultural melting pot. It houses influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a strong flavor from other lands, there are people who have lived there before it became a breeding ground of foreign trade.TribessuchastheT'boli,Bilaan,Manobo,Bagobo,andothergroupsinhabitthevastregionsof Mindanao. Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials of daily life. What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known forcreatingcolorfulsetsofjewelryandclothingoutofdyedpineappleandbananafiberswithare showcased in their traditional dances.Examples: (a)Malakas at Maganda (National Folklore) Cradledamidstthickrainforest,shroudedwiththemistsoflegendandancient traditions, one folklore has it that a weary bird perched on a large bamboo heard strange noises inside. It pecked the bamboo, splitopen and from insidecame the first man and woman, Malakas the strong, Maganda the beautiful, the parents of all peoples of the island. (b)Binaylan (Agusan) TheBagobotribefromthecentraluplandsofMindanaooriginatedthisdancewhich imitatesthemovementofahen,herbanog,orbabychicks,andahawk.Thehawkissacred,anditis 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. 4. Rural Folks Laughter and gaeity commonly used to describe the Filipino people takes root in the Philippine country-side. Life in the Barrio is simple, but Filipinos always manage to find time to celebrate life's gifts. The annual fiestas to celebrate the patron saints of the barrios symbolize the mixture of pagan and Catholic belief. Fiestas notonlyhonor the patron saint,butgive homageto the barrio's namesake for a good harvest, health, and perserverance. These fiestas are marked with celebrations of holy mass, music, dance and song. Examples: (a)Tinikling (Leyte) This'Visayan'dancewasfoundinLeytewherethisdanceoriginated.Dancersimitate thetiklingbirdslegendarygraceandspeedastheyskillfullyplay,chaseeachother,runovertree branches,ordodgebambootrapssetbyricefarmers.Henceitisnamedafterthebird,tikling.this version of the dance is done between a pair of bamboo poles. TheolderpeopleclaimthattheTiniklingHaBayofromwhichthetiniklingdance evolvedismoredifficulttoperform.Itwasoriginallydancedbetweenbayuhan,twowoodenpestles used to pound the husks off the rice grain. (b)Maglalatik (Laguna) DuringtheSpanishregime,thepresentbarriosofLomaandZapoteofBian,Laguna, wereseparated.Withcoconutshellsasimplementsthepeopleofthesetwobarriosdancedthe Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians over the latik (residue left after the coconut milk has been boiled). (c)Binasuan (Pangasinan) 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 gracefully who whirl and roll on the floor. (d)Itik-Itik (Surigao del Norte) AtonebaptismalpartyintheSurigaodelNorteprovince,ayoungladynamedKanang (the nickname for Cayetana), considered the best dancer and singer of her time, was asked to dance the Sibay.Shebecamesoenthusiasticandspiritedduringtheperformancethatshebegantoimprovise movementsandstepssimilartothemovementsofitik,theduck,asitwalkswithshort,choppysteps 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. 5. Spanish Influence Dances Nearly400yearsofSpanishruleleftanunremovablemarkonthePhilippines.Spainbrought with them all aspects of their culture to the Islands. This includes the Catholic faith, clothing, and dance. The barong tagalog and the terno are Philippine interpretations of Spanish dress made to fit the humid climateofthePhilippines.AsidefromcreatingtheirownversionsofEuropeanfashion,Philippine aristocratscreatedFilipinoadaptationsofEuropeandanceaswell.Theseincludejotas,fandanggos, mazurkas and waltzes that were danced by young socialites to the stringed music of the rondalla. Examples: (a)Paseo de Iloilo This is one of the most sophisticated courtship and flirtation dances of the Spanish era. Thegentlemencompeteamongeachothertowintheheartofthedalaga,oryounglady,by exemplifyingchivalry,grace,andconfidence.Oneofthemostsophisticatedcourtshipandflirtation 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. (b)Jota Paragua AdanceoriginatingfromZamboanga,displaysstepswithverystrongCastillian influence,butusingPhilippinebamboo castanetsheldloosely. The womaninJotadeParaguawavesa shawl called manton. (c)Habanera Jovencita A dance typical of a womans debut or even her wedding. The accompanying love ballad waswrittenbyMaestroNitoyGonzaleswhenhewascourtingJovitaFriese,whothenchoreographed thegracefulandbeautifulhabaneradancethataccompaniesit.Jovencitameansyoungladyin Spanish. (d)Jota Cagayana The Jota brought by the Spaniards from Southern Spain found its way into many places in the islands. One such jota is named after the valley it adapted. Though Filipinized in many ways that one, Jota Cagayana still displays the fire and fury of its European origin. Until the turn of the century the IbanagofCagayanValleyperformthisfasttempodancewhichncludesfamiliarEuropeansteps,the mazurka, polka, gallop and waltz. (e)Danza DanzaisafolkdanceofCubanoriginwhichbecamepopularinthelate19thcentury, also known as habanera or danza habanera. The habanera is a social dance in duple time and performed in a ballroom or on a stage. TheArgentinewriterCarlosVega(1898-1966)tracesitsorigintotheEnglishcontra dance or square dance, which was then assimilated into Spain as contradanza or danza. Around 1825, it was brought to Cuba in this form where it was combined with Afro-Cuban rhythms; and around 1850, it was transformed into the habanera. (f)Abaruray AbarurayisacontractionofthewordsAbaandRuray.Abaisanexclamationwhichis equivalent to Hey! or Hi! in English. Ruray is a nickname for Aurora. (e)Pandanggo sa Ilaw (Mindoro) ThispopulardanceofgraceandbalancecomesfromLubangIsland,Mindorointhe Visayasregion.ThetermpandanggocomesfromtheSpanishwordfandango,whichisadance characterizedbylivelystepsandclappingthatvariesinrhythmin3/4time.Thisparticularpandanggo involves the presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand. Afteragoodcatch,fishermenofLingayenwouldcelebratebydrinkingwineandby dancing,swingingandcirclingalightedlamp.Hence,thename"Oasiwas"whichinthePangasinan dialectmeans"swinging."Thisuniqueandcolorfuldancecallsforskillinbalancinganoillamponthe headwhilecirclingineachhandalightedlampwrappedinaporousclothorfishnet.Thewaltz-style music is similar to that of Pandanggo sa Ilaw. CULTURAL COMMUNITIES IN THE PHILIPPINES The Majority Group (Christianity as main religion) VisayanThe Visayan people are mainly found in the Visaya region and also in some parts of Mindanao. The Visayans speak a large number of dialects that they collectively call the Bisaya language. There more than 33 million speakers of these languages and most of them are Christians. TagalogThe Tagalog is the most widely spread ethnic group in the Philippines that inhabit Manila, Mindoro, and Marinduque. There are about 22 million speakers of the Tagalog Language that was chosen as the official language of the nation in 1930. Ilocano The Ilocanos inhabit the lowlands and the coastal regions of Luzon. There are 8 million individuals of this group. Most of them are Christians. BicolanoThese are the descendants of the Austronesians who came to the region in the Iron Age. They live in the peninsula of Luzon and speak the Bicol or the Bicolano language. There are about 3.5 million speakers of this language. Most of them are Roman Catholics. KapampanganThe Kapampangan people originated from the central plains of Luzon starting from Bataan and extending up to Nueva Ecija. There are more than 2 million members of this group who are known to have been valiant soldiers in the Spanish Colonial Era. Majority of them are Christians. Pangasinense This is the ninth largest ethnic group in the Philippines. They were the first people of Philippines to have direct contact with the Chinese through trade. The Minorities AngkatagangEthnicGroupaytumutukoysamgagrupongmgataongnagkakamukhasa minananng kalinangan. Maaari silang manggaling sa ibat-ibang lahi. 1.Katangian ng Grupong Etniko a.May sariling wika b.May sariling relihiyon c.Iisang pamantayang panlipunan (social norms) d.May tularang panlipunan (cultural pattern) e.Itinuturing na minority o hindi 2.Mga Paghahanay ayon sa pagkakabuklod-buklod sa Pilipinas a.Ayon sa wika (Tagalog, Ilokano, Bisaya, Kapampangan, Bikolano, atbp.) b.Ayon sa relihiyon (Kristyanismo, Muslim, Buddhist, Hinduist, Pagano, atbp.) c.Ayon sa pamantayang panlipunan (Bagobo, Tasaday, Ilonggot, Mandaya, atbp.) 3.Mga batayan ng kalagayan (status) ng grupong ethniko a.Ang kinalabasan ng digmaan b.Ang pananakop (colonization) c.Ang nakararaming sangkap gaya ng wika, relihiyon, atbp. d.Ang lawak ng hangganang pulitikal at heograpikal e.Ang lakas pangkatawan at pangkatalinuhan f.Ang pandarayuhan Pagnasabingminorityaydikaagadpakakahulugangmasmaliitangbilangnggruposa karamihandahilsaAfrica,angmgaNegro,nanahahanaysaethnicminorityaybumubuong pinakamarami sa kanilang lipunan. SaPilipinasnaman,angMuslimayminoritydahilnakahihigitangrelihiyongKristyanokaysa Islam at dahil din sa tinitirahanglupa ng Kristyano ay higit kaysa sa mga Muslim. Ayon sa Pananim Research Center, ang populasyon ng Pilipinas, kahit majority (nakararami) o minorityaykaanibngpantimognagrupoatlahingMongoloid(southernMongoloidracialgroup)at may wika at mga pangungusap na kasama ng pamilya ng Malayo-Polynesian. Ilan sa mga cultural minorities ang ilalarawan dito: 1.MUSLIMS ItoaymgagrupongsumusunodsakaugalianattradisyonngMuslim.Maaaringsa anumang apat na pangkat sila nakasapi: a)Maguindanao b)Maranao c)Tausug d)Samal (Badjao, Yakan, Sangil, Melebugnon, Jama Mapun, Palawani) Ang hangganan ng teritoryo nila ay sa Sulu at Timog Cotabato, at Lake Lanao 2.TASADAY Ang pangalan nila ay hango sa kagubatang tinitirahan nila. Naninirahan sa mga kuweba atkagubatanngTimogCotabato.Gumagamitsilangmgakasangkapangbato.Hindisila nagpapalipat-lipat at di nag-iimbak ng pagkain. Ang pagkain nila ay mga gulay, isda, palaka, alimasag,atulangatpinaghahati-hatiankahitmaliitnapiraso.Karamihansakanilaay magkakamag-anak.Nakikipag-ugnayansaibangtribogayangTasafang,Sabduka,at Manobo.Likassilangtahimikatdipalaaway.Walangnamumuno,atwalanghatianng trabaho. Payak ang kanilang lipunan. 3.MANGYANAngpangalannilaayhangosaMang-yan-san(pangalanngIntsik)atKa-ma-yan(tuwid na salin ng Ka-Mangyan o lupain ng Mangyan). May tatlong pangkat:a)BaybayOksidentalatbundokngPalawanmapayapa,dikaitiman,maymakapalat tsokolateng buhok b)IlogCabraatPinamalayandikaitiman,maymahahabangilongathumpaknamga mukha c)Timog Pinamalayan masisipag, mukhang intsik. 4.TINGGUIAN o ITNEG MulasilasabulubundukinngAbra.Napapangalagaannilaangkanilangkatutubong kulturagayangpananamit,pagpapamilya,atpagsasama-sama.Angpinunongkanilang pamayanan at lakay na inihahalal. Ang paghahalal ay binabatay sa kayamanan, karunungan, katapangan, at kagandahag asal. Ang lakay ay sumasangguni sa konseho ng mga tao. 5.KALAGAN Silaangpinakaminoritysamgaminority.Kulangsa20,000angkanilangbilangat naninirahan sila sa Davao del Sur at Norte at Davao Oriental. Ang pangalan nila ay hango sa pangalanngbayanngKaraga,DavaoOriental.AngmgaKaraganaynakatiramalapitsa dagat.(AngmganakatirasabundokaytinatawagnaMandayatMansaka).Angilansa kanilang kaugalian at ang: pakikipag-ayos sa kasalanan; bigay-kaya; diborsyo; ang polygamy (pakikipag-asawa ng higit sa isa), relihiyong Islam at mga pagsunod sa batas. 6.IBALOI Nakatira sa pinakatimog ng Cordillera, sa gitna ng Hilagang Luzon. Sama-sama, tintawag silang Igorot. Karamihan, ay sa Benguet,at Mt. Provincemakikita. Ang mga pamilya nila ay matriarchalotumitirasabahayngbabae.Silaaynaghahalamanatnaghahayupan.Kilala sila sa paglikha ng rice terraces. 7.NEGRITO Sila ang kauna-unahang tao sa Pilipinas. Tinatawag din silang Aeta, Ati, at Ita. Sila ay mga pandak,matitipuno,maymaitimnabalat,maliliitatsaratnailongatmaymakakapalna kulotnabuhok.Karamihanaynakasaplotngdahonlamangatpalaboy-laboyanguring pamumuhay.Nabubuhaysilasapangingisda,panghuhulinghayopsapamamagitanng busog at pana, at pagtatanim sa kaingin. Walang sistema ang kanilang pamayanan. 8.BONTOK Sila at nakatira sa Bontoc, Mt. Province. Sila sa lahat ang nakapanatili ng kanilang kultura nang di nasasalin ninuman. Nabubuhay sila sa pagsasaka, may tipikal na pamilya, maibigin sa pagdiriwang, may awitan, sayawan at kainan. 9.TBOLI Nakatira sila sa kaitaasan ng Timog Cotabato malapit sa Suralak. Naglalala, nagsasaka, at nagkukuwintasngmgasigaynagamitangpaaatkamay.Angmgadamitngbabaeatmay katangi-tangingTbolizigzagatrick-rackatmgasigayatsequin.Grupo-gruposilakung gumawa.Malakiangmgapamilyadahilangmgalalakiayhigitsaisangasawa.Mahilig mamusturaangmgababae,atmahiligmagmake-upangmgalalaki,atangkukonilaay kinukulayan ng dagtang galling sa berries at ibang halaman. Ang kilay ay ginuguhitan din. Marami silang kuwintas at singsing na suot.