Philippine Folk Dance

1. TAGUNGGO
(Manobo-Kidapawanen
Dance)

3. Background Info
• According to a Manobo folktale, the
epic hero Tuwaang after his exploits
of battle and moments of loneliness,
loved to watch this dance performed
by ladies of the tribe so as to drive
off his sorrows.

4. Etymology
• Meaning of Title : “tagunggo” is taken
from the musical instrument called
“tagunggoan”, a set of 8 large gongs
suspended from a triangular frame with
rope webbing, which is the most
common instrument used to accompany
dances of the Manobo and Bagobo
groups of Davao and Cotabato.

6. Dance Properties
• Dance Culture : Highland Traditionalist
• Place of Origin : Kidapawan, Cotabato
• Ethnolinguistic Group – Manobo-
Kidapawanen
• Classification – Festival
• Mood – Jovial
• Stance – slightly stooped

8. • Music :
• Provided by the tagunggoan and large agung
• Time Signature :
• 4/4 (counts 1 2 1 2 or 1 2 3 4)
• 2/4 (counts 1 and 2 and)
• Props :
• Square piece of cloth (G)
• Kuglong (boat lute) (B)
• Performers - Girls

9. • Costumes :
• G :
• Ompah – abbreviated blouse with bell
sleeves (usually in black, red, blue or
yellow combination) accented with
appliques in crosses and zigzags
• Detdet (knee-length tube skirt of abaca
fiber cloth in striped patterns)

11. • B :
• Kumbala – Appliqued long-sleeved shirt
open in front (usually red or blue)
• Sawa - Knee-length tight-fitting pants
(usually of detdet material or matches
the shirt in color accents)
• Tankulu (head scarf folded into a
triangle)

13. • Both sexes wear strung bead accessories
:
• Anklets
• Kneelets (tikos)
• Bracelets
• Necklaces
• Earrings

14. • Basic Steps :
• Tagunggo (2/4 time): Face obliquely L (R)
and step R (L) fwd (ct 1); close L (R) to R
(L) (ct and); immediately face obliquely R
(L) and step R (L) bwd (ct 2); close L (R)
to R (L) (ct and)

15. • Bad-Bad Step (4/4 time) : Place R (L) heel
fwd with weight on L (R) (ct 1), reverse
foot positions (ct 2); Repeat the
movement cts 3 4)
• Ap-pad (4/4 time): On a stride position
trunk slightly bent fwd with weight on R
(L) foot, tap the other foot in time with
the beat

16. • Gumpas (2/4 time) : Step R (L) in place
(ct 1); step on ball of L (R) raising R (L)
foot slightly (ct and); repeat (cts 2 and)

17. Choreographed Sequence
• Girl’s Dance
• Fig 1 (16M)
• 8M – Bad-bad steps moving to position; arms
swinging freely at the sides (scarf tucked in
the R waist by one corner)
• 8M – Bad-bad steps facing audience; hands
on waist (slowly get the scarf with the R hand
and hold the two upper corners with both
hands)

18. • Fig 2 (16M)
• 4M – Bad-bad steps moving fwd; bring both
arms upwd
• 4M – Bad-bad steps moving bwd; bring both
arms dnwd; turn R about
• 8M - repeat

19. • Fig 3 (16M)
• 8M – Tagunggo steps R and L alternately
moving LOD; sway scarf swd R and L
alternately (two corners held by both hands)
• 2M – Tagunggo step R;
• 2M – 4 step turn L
• 2M – Tagunggo step L;
• 2M – 4 step turn R

20. • Fig 4 (16M)
• Ap-pad R foot tap/Scarf held by R hand
• 2M - sway R arm swd R
• 2M – sway L arm swd L
• 2M – raise R arm upwd
• 2M – lower R arm dnwd
• 4M – Gumpas turning CW
• 4M – Gumpas turning CCW

21. • Boy’s and Girl’s Dance
• Fig 5 (16M)
• Gumpas steps
• B follows G
• Scarf held by both hands at upper corners

22. • Fig 6 (16M) Partners facing each other
• 4M - Gumpas, exchanging places passing R to
R; face each other at last M
• 4M – Tagunggo R and L
• 8M – repeat returning to proper places

23. • Fig 7 (16M)
• B kneels on R looks at G as she moves around
• G:
• 8M bad-bad steps moving around B CW; R hand
holding the scarf; sway R arm swd R and L
alternately
• 8M – bad-bad steps moving around B CCW;
strike B shoulder with scarf at the last M

24. • Fig 8 (20M)
• Gumpas steps, G leading; sway R arm R and L
alternately

26. Enjoy
Dancing