To 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.
KAPIIL SA MUNSALA (Choreography by Toni Lime)
|Mona abrazado||Angelina Flemming|
|Melanie Pagayonan||Desiree Gavino|
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.
JANGAY (Choreography 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.
Janggay 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.
SA 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 the bench.
SINGKIL (Choreography by Tony Lime)
|Mina Giles||Richmond Pagayonan|
|Anthony Pagayonan||Conrad Giles Jr.|
|Maria Concepcion||Jonathan Vitug|
|Gloria Giles||Lemuel Vitug|
The 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.
La Jota Moncadeña(Choreograph by Aber Gavino)
The 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 at celebrations.