Philippine Folk Dance

1. Itik Itik
Sa
Sibonga

4. If work is imaginatively transformed
into dance, the animals and fowls
associated with work are sure to be
included in the dance.
Symbolic and mimetic dances are the
most popular because graphical
image is what we experience and
imitate.

5. Itik are brown ducks found in paddies.
Their waddling and wiggling fired the
imagination of a colorful mind and a
dance was created, the Itik Itik sa
Sibonga.

6. Sibonga is a town in the southeast
part of Cebu known for its green fields
and verdant hills.
Though rice farming occupies most of
the farmers’ time, caring for ducks
takes second attention.

7. It is by watching the lakaw itik (duck
walk) that gave inspiration to create a
duck dance called Itik Itik.
Light and springy, the dance is best
interpreted by young boys and girls.

8. Itik Itik Sibonga means
“brown duck of
Sibonga”

9. Dance Culture – Lowland Christian
Place of Origin – Sibonga, Cebu
Ethnolinguistic Group – Cebuano
Classification – Mimetic/Festival

11. Music – Provided by
the rondalla (string
ensemble)
Time Signature – 3/4

12. Props - none
Mood – jovial; playful
Stance – erect
Performers – all girls/or B and G pair

13. Girl:
Camisa – blouse with stiff butterfly
sleeves or with wide bell sleeves
(a kimona can be worn in place of the
camisa)

14. Patadyong – calf-length tube skirt of
bold checks
(note: camisa and patadyong may be
of matching material)
Bandana – triangular cloth worn on
the head and folded to resemble
duck’s bill

15. Boy:
Camisa Chino – white collarless shirt
Kalsones – loose pants, preferably
red in color
Panyu – red or any color, folded into a
triangle and worn as neckerchief

17. Lakaw Itik (duck step) – duck waddle
Korriti
Cross step and double hops

18. Gesture 1 - Arms diagonally down, flip
hands inward once) and flip outward
twice
Gesture 2 - R in reverse T; L in T
position; komintang with closed fist
once per measure; reverse arm
position after every measure

19. Gesture 3 - R arm bent upward, back
of L hand touching R elbow; finger
flutter; reverse arm position per
measure

20. Figure 1- Girls’ Dance
8M – Lakaw itik; gesture 1
4M – Lakaw itik, turning R in place;
gesture 3
4M – Lakaw itik, turning L in place;
gesture 3

21. Figure 2 – Boys’ Entrance
8M - Cross step and double hop ,
following G; gesture 1
(G – same figure)
8M – facing partner – cross step and
double hop; gesture 3

22. Figure 3
4M – moving into two separate groups
(G and B groups), korriti; gesture 2
4M – Lakaw itik, turning R in place;
gesture 1
8M – korriti facing audience; gesture 2

23. Figure 4
Approaching partner
4M – Lakaw itik; gesture 1
4M – Lakaw itik; gesture 3
8M – repeat (exchanging places
passing R to R)

24. Figure 5
Facing partner , extend arms to 2nd
position, two hand hold
2M – Brush twice (B with R; G with L)
2M – four step turn (B to R; G to L)
4M – repeat (B with L; G with L)
8M – three hops R/3 hops L to exit

25. PFDS Sayaw
Volume 3
pp. 43-45
Dance Researcher –
Araceli Campos
 Formally presented at the CCP-FAT during the
National Folk Dance Festival 1986