Philippine Folk Dance

4.  The Tiruray (Etew Teduray) (literally
“people from the upper part of the
stream”) are another distinct ethno-
linguistic group with clear proto-
Malayan features.
 They are mostly found in
Maguindanao and Sultan Kudarat
Provinces.

5.  The Tiruray have a solid social
structure as reflected by their
socio-economic activities, which
include farming, hunting, fishing
and basket weaving.

6.  While many have adapted to the
political mainstream, a high
number of their population still
believe and practice their
indigenous custom and ritual.

7.  One of the more notable Tiruray
dance is the Mag-asik, performed
by girls in Nuro, Upi,
Maguindanao.
 The dance begins with a large
piece of bright-colored cloth or
scarf placed on the ground or on
the middle of the floor.

8.  The women go around this cloth
with small, heavy steps, their arms
and hands moving about in
graceful fashion.

9. Mag-asik literally means to
sow seeds

10.  Dance Culture – Mindanao
Highland Indigenous
 Place of Origin – Nuro, Upi,
Maguindanao
 Ethnolinguistic Group – Teduray
(Tiruray)
 Classification – Mimetic/Festival

12.  Music – Provided by the kelo-
agung ensemble which is
composed of five shallow-bossed
gongs in graduated sizes.
 These gongs, which have very
delicate sounds, are played by
five men or women.

13.  Time
Signature –
4/4

14.  Props – large square scarf
 Mood – Jovial
 Stance – Erect
 Performers –Any number of girls

15.  Emut (tube skirt), originally of
woven abaca hemp but now
replaced by Maguindanaon
malong worn reaching the calves
 Tight-fitting long-sleeved jacket of
shiny material, with peplum
gathered at the waist; colors may
be bright red, yellow, blue, orange,
purple or black

16.  Another malong is slung on the
right shoulder.
 The hair is tied in a bun and
wrapped with a tubaw (scarf)
folded into a triangle.
 Brass bracelets, bead and silver
coin necklaces and anklets with
hawk bells accentuate the
costume.

19.  Heavy small steps
 Durdur Steps - Small close steps
moving right or left or turning,
with a right foot stamp

20.  Diagonal arms – while right goes
diagonally upward, the left is
diagonally downward; reverse arm
positions every measure

21.  Flying motions – both arms raised,
with hands positioned about two
inches above the shoulders (1M);
then both arms are lowered to
waist level (1M)

22.  Entrance
 G holds the two upper corners of
the scarf and places it on the floor;
she stands behind the scarf

23.  Figure 1
 4M – small heavy steps
approaching the scarf on floor;
diagonal arms, L hand holding
edge of the malong
 4M – turn R in place
 8M – move around scarf CW

24.  Figure 2
 4M – stand in 4th, slightly bend
knees with weight on L; lean to R;
execute flying motions
 4M – durdur steps turning R
 8M – Repeat (lean L)

25.  Figure 3
 8M – pick up the scarf, holding the
upper corners; place it back to the
floor (the scarfs are arranged in a
circle; dancers forming outer
circle facing in)
 8M – repeat figure 1 moving
backward

26.  Figure 4
 Facing audience
 8M – durdur steps forward; flexed
arms with hands close to chest;
raise R as L goes down (reverse
position per measure)
 8M – repeat moving backward

27.  Figure 5
 8M – durdur steps turning R;
parallel arms – from starting
position with both arms directed L,
swing arms to R side (1M); swing
back to L (1M)
 8M – durdur steps turning L

28.  Figure 6
 8M – stand in 4th ; weight on L;
diagonal arms
 8M – R palm close to R cheek, L
holding edge of malong; durdur
steps moving around scarf CW

29.  Figure 7
 4M – pick up scarf holding the
upper corners; tiny steps moving
backward
 4M – durdur steps moving
forward; sway scarf R and L
 8M++ turn R; L hand release hold
of scarf and hold edge of malong;
place scarf on L shoulder at the
end of the dance

30. Philippine National Dances
by
Francisca Reyes-Tolentino
pp. 169-174