What can you say about this dance? How did you get here? (Paano po kayo napadaan dito?) Wag po kalimutang mag iwan ng comment! Please share your thoughts! For more information about this dance check this link: The Pangalay Folk Dance of the Sulu Archipelago - Meaning, Music, Design and History [Traditional Yakan Dances of the Philippines] - www.yodisphere.com/2022/05/Pangalay-Folk-Dance.html
Good day! May concern lang po ako regardind sa title. This is not a muslim music nor muslim heritage. This is tausog culture/music po. Muslims also exist in other parts of the world at walang ganito sa kanila so it is only proper to call this a tausog/mindanaon inspired music/dance.
@@PineappleOnPizza69 Thank you for your comment. We temporarily revised the descriptive title to "[Filipino Muslim Tausug Tribal Music] - hopefully this is now politically correct po?
@@HoyTaraTravel Muslims are people practicing Islamic religion and Islam doesnt have certain dance. Religion and culture are separate thing pls do ur own research, religion can influence culture but this dance definitely didnt come from Islam. So many things are wrong in this video starting with the title.
The costumes used in this video are not from the Tausugs. I'm a Tausug from Mindanao. The clothing design comes from the Yakan Tribe. Kindly correct this so as not to create confusions! :)
This is not actually a pangalay from tausug the description or the title is misinformation This dance is actually the dance of yakan tribe And also the beat of agong and kulintang The sound beat of kulintangan of tausug for pangalay is quite fast
atin muling pausbungin ang sayaw at ang kulturang PILIPINO....MABUHAYYY..ang galing niyooo.... naalala ko tuloy sumayaw ng mga FOLK & CULTURAL dance sa mga events...
I'm confused . It's not even pangalay. It's a fusion of different yakan dances? The costume was a modified yakan costume but far from the original. Example. The cloth on the male shoulders was obviously a table runner. In a wedding dance , it is a 2 piece rounded formed yakan cloth for men. . Another is the women's details piece on the chest. It is usually full of metallic buttons. The trousers of both should be much tighter on the lower legs with tussles. I'm just disturbed as a citizen who lives in the province of the Yakan tribe - Basilan. Anyway, the dancers did a good job on the execution.
hindi natin kailangan gayahin ang sinabing hindi iyan, hindi ganito ang sayaw ni ganoon , ni ganito They create their own style as long they dance gracefully and they creatively. I appreciate their dance.
Bang, Saya orang Indonesia tapi suka sekali menonton budaya-budaya Melayu dari Filipina ini. Saya senang sekali melihat gerakan-gerakan tari Pangalay ini. kalau memungkinkan anda memberikan informasi tentang apa itu tari Pangalay. Orang Tausug dari Filipina ini juga termasuk rumpun Melayu. Salam dari Jakarta, Indonesia.
Hi I am doing a movement analysis using a biomechanical approach to look into the possible risk of injuries among the dancers particularly the knee locomotion movement of the male performer. May I ask if there is a specific dance term (local term) in that movement. Thank you.
Research articles doesn't espicifically mentioned the name of that movement, but here's more info about this dance: Pangalay, like the langka or martial dance style, bears close affinity to the Thai, Cambodian, and Balinese forms. It can be danced in open spaces like beaches and community plazas, or small confined spaces like the boats and houses. It is a meditative dance executed with downcast eyes and a dignified facial expression. Performed by both men and women of all ages on celebratory occasions, pangalay consists of the deceivingly simple but intricate postures and gestures basic to the traditional dances of the Sulu Archipelago. Knees are perennially bent with a slow and subtle bouncing motion that achieves the appearance of lightness and undulating motion of gentle waves. Knees of male dancers are apart while female dancers are close together while dancing. Hip and torso movements are very minimal. The torso is relaxed and slightly bent forward to a point of equilibrium, similar to stances in Asian martial arts and Asian traditional dances. The dancer’s arms and hands express images and feelings combined with various footwork. Arms and hands placed above the head may express joy, and over the face and chest may express resistance or protection. Gestures of arms and hands may convey visual metaphors of the wind, sea waves, flowers, butterflies, and birds. It takes constant exposure to the numerous pangalay variants to distinguish the levels and lines of the direction of movement, the subtle dance flourishes, the peculiar entry and exit stances, the creeping or shuffling footwork, the seductive flip and flutter of hands and fingers. For instance, before doing the traditional hand turn that consists of outward-inward or inward-inward motion from the wrist, the dancer may execute several gesture variations: flicking, flipping, or cupping the fingers; abruptly flicking the hand itself from the wrist; or pressing the tips of thumb and index fingers together, leaving the three other fingers in the usual upturned position. Courtship and wedding dances are included in the pangalay dance style. The pangilok and the eringan are similar Sama courtship dances, although the latter uses janggay or metal claws, which are also called sulakengkeng and saling-kuku. The igal ha agung is a subtly teasing dance where a man rolls, crawls, kneels, and follows a woman about, all the while beating an agung. In the pangasig, a Sama male plays the tungtung (the smallest gong in the kulintang set), teasing and dancing around a female partner who pretends not to notice his advances. The pangalay pangantin is performed by a bride shielded with a bridal curtain called a tabil. The bridegroom follows behind the curtain to signify his readiness to defend the bride. The highlight of the dance is the flicking of the janggay used by the bride. The over-vigilant groom quickly retrieves every janggay that falls to the floor, and then ceremoniously returns the whole set to the bride at the end of the dance. When performed in the open, this dance has the backdrop of colorful flags called sambulayang, which is also another name for pangalay pangantin. The pangalay/pamansak is also part of the Yakan wedding ceremony called pegkawin or pagkawin. At the start of the elaborate ritual when the groom enters the bride’s house, a female dancer performs the pamansak/pangalay along with skillful tumahik martial dancers to the accompaniment of tagungguh musicians playing the megtambul or tumahik rhythm. After the wedding ceremony, the couple will sometimes be requested to dance the pansak pagkawin or wedding dance. The bride and groom execute pamansak movements without any body contact, even as the groom pursues the evasive bride. The groom then uncoils a part of his kandit using some tumahik movements like floor-scratching footwork. He tries to catch his bride with his long belt. The bride tries to slip away from the coil but the groom persists. In the groom’s third attempt, the bride dances in place to signify her acceptance to be the wife. The groom then encircles the bride, twirling half the belt’s length around her waist as a symbol of the groom’s obligation to protect his wife and children at all times. Tawi-Tawi’s pamansak or pangalay/igal ha taas patung is a difficult dance that requires balance, alignment, concentration, strength, and stamina. This variant originated from the Sama of Simunul, Tawi-Tawi. The female dances atop twin bamboo poles borne on the shoulders of two men. One or two male partners join the dance simultaneously or alternately, performing a langka or martial dance while the female dancer is lowered to the ground. There are also pangalay/igal dances that are performed for entertainment. The bula-bula is a Sama Dilaut version of dancing with bula or clappers made of bamboo, hardwood, or shells. Both male and female dancers click the bula to the beat of percussive ensemble music. The tariray is a Sama Dilaut version of dancing with clappers to the staccato accompaniment of brass percussion. The igal ha panyu is performed by young Samal and Tausug men and women seated in a circle, singing a lively folk tune. It is similar to other drop-the-handkerchief games where a dance-chase ensues with a handkerchief or a stick used to touch or “catch” a girl or boy. The pangsangbay or dalling-dalling is a Tausug song dance performed by male and female dancers wearing fantastic makeup, pasteboard crowns, and capes. The lyrics of the song accompaniment are interpreted comically with the aid of a fan. Ritual dances also employ simple igal/pangalay movements, postures, and gestures. The magjinn or pagjinn from the Sama Dilaut of Sitangkai, Tawi-Tawi is performed on the fourteenth moon to appease or to drive away an unfriendly jinn or spirit. The performers take turns dancing until some of them go into a trance. The ritual ends when the ritual leader whips the possessed performers with his yellow headscarf or pis to revive them. Early the next morning, another prayer is recited by the ritual leader before a miniature lepa festooned with miniature flags and laden with food offerings is set to sail. It is believed that the well-provided spirit will be appeased during its long voyage. The magjuwata from Tabawan, South Ubian, Tawi-Tawi, is a Sama ritual dance to drive away spirits that cause illness. All performers are female except the ritual leader. Toward the end of the ritual, the leader whips the patient in the belief that it is the jinn or spirit which receives the blows. Another version from Banaran, Tawi-Tawi, is performed on a Friday evening when the moon is full, either to foretell the future, drive away busung or bad luck, or invoke the help of spirits in recovering stolen property. Magpugot from the Sama of Musu, Siasi, Sulu, is a dance ritual to drive away evil spirits. The ritual performers gather around the patient lying before a ritual accessory made of woven nipa ribs wrapped in yellow cloth with multicolored flags attached to the four corners. The ritual leader’s pis and ritual costumes are hung on a stick tied across the woven ritual accessory. After chanting prayers and performing other preliminaries, the ritual leader dances about, impersonating several spirits, complete with rapid costume changes imitated by all ritual performers. After the patient’s affliction is identified, more frenzied dancing ensues. The ritual leader, now seemingly in a trance, hits the patient with his pis to drive away evil spirits. Dancing slows down when the patient kisses the hand of the ritual leader. The magsalba is a Sama dance ritual from Bulikulul, Siasi, Sulu. One of the six all-male performers officiates as a medium, remaining seated before an incense burner while the others dance around him. Later, he rises and dances in a circle several times each way, followed by the other performers. The ritual ends when the incense smoke peters out. The pangalay/igal tradition also has mimetic forms imitating animals or humans in various occupations. The igal kussa depicts a wild boar tossing about a coconut that will not crack open. The dance, which also invariably elicits much laughter, is danced by a man. The linggisan is a Samal-Tausug interpretation of a bird in flight. Kaba-kaba is a Samal imitation of mating butterflies, and pagkamun of a sea mantis, performed by a man or a woman. The pangasik portrays a mating rooster; this Samal and Tausug dance is usually performed solo by a man and complements a female pangalay performance. The langka baluang is a Samal-Tausug dance that mimics an angry monkey. Postures and gestures in the pangalay and langka-a combat dance sometimes integrated into the pangalay-are humorous and always performed by a man. The igal buwani is a Samal-Tausug dance performed by torch-bearing male dancers who comically depict the hazards of honey gathering. The tawti, originally from Tawi-Tawi, amusingly portrays the difficulties of catching tawti or catfish. The dancer wears a bahag fashioned by securely tucking to the waist the rolled trouser legs of the sawwal kantiu or patajung. In one version, the fisher poisons the water and scoops up the dazed tawti with his bare hands; his big toe is pricked when accidentally stepping on a tawti. He thrashes about in pain, paddles for shore, and skips and jumps home. In another version, fishermen try to put the wriggling fish in a basket, get pricked in the big toe, and make their escape in a boat. The Yakan of Lamitan have a variant called pansak si karendehan or dance of the maidens. This variant is an all-female dance exhibiting languid arm and hand gestures of the pangalay. However, one distinct hand gesture that gives the gandingan or pamansak a Yakan identity is the eddek or hand movements that mimic rice planting.
Not really, balinese dance has eye and facial movement and it has high arm position called 'ageman'. And also shaking head, shoulder, and hips. But i dont see those things in pangalay movements. And for malay, malay dance has several dance style, the most popular is 'tari zapin melayu'. The movement is like rowing a boat. And based on the music. Its also very different. If you want to compare pangalay with Indonesian dance. I think its more like some dance from Sulawesi or Maluku. If you wanna see some example of Indonesian dances, you can check them in my playlists.
im a tausug and this is our tradition. our ancestors the malayu inhabits and spread throughout the archipelago long before the philippine exist. historians don't refer to us as filipinoes, but instead they called us (Indonesian,malay,filipino) as malay or the Malay world and our language family is called the malayo-polynesian. the word filipino only refers to Spanish born citizens until it was later adopted to entire population of the island so called 'the philiipine'.
@@테오_픽란디카 you need to learn more I guess, the hand movements on Pangalay and this dance is very similar with Malay Classical Dance, zapin is a folk dance and not every Malay have zapin.
@@fizzul15 I know malay classical dance such like makyong, mek mulung, menora, gending sriwijaya, etc. But the most popular is zapin, which is influenced by middle eastern art. And you must look at sulawesian dance too. Their dance kinda similar with pangalay.
Pa umanhin po sa nag post ng video na ito hindo po ito sayaw ng isang Tribo ng Tausug o tinatawag na Pangalay. ito po ay isang sayaw ng Tribong Yakan na nag mula sa Probinsya ng Basilan at ang Tawag sa sayaw na yan ay Paunjalay ang kasuutan na ginamit ng mananayaw ay tinatawag namin na "Semmek Yakan"
Ok po no problem. Please give this video a thumbs up, baka makatulong din sa iba. Also I would appreciate po if you will hit that SUBSCRIBE button. 🙏🌻👌. Goodluck po sa project nyo!
The thing not too many know of, the thing of the past, you can search the universe near and far, deep and beyond, your still going to get the same oh answer, there is a table for two lol but true story, mono to mono, game recognize game, now why is that? , The answer again, TWO!, And in the filipines way it can be tremendous itself, intimate and humble, built and designed.
i did some research; the costumes are definitely yakan and the dance shown here is pansak pagkawin, also a yakan dance, rather than other pangalay choreographies i’ve seen
Thank you for sharing your research and insights! It's always great to learn more about cultural traditions and dances. It's fascinating to hear that the costumes are Yakan and that the dance appears to be more aligned with the Yakan pansak style rather than other pangalay choreographies. Understanding the cultural nuances and distinctions in dance forms adds a rich layer of appreciation to the performance. Your knowledge and willingness to share it contribute to a deeper understanding of these traditions.
Majority of malay in Indonesia Malaysia Brunei thailand and South vietnam peoples wearing tanjak (headband)..... Be proud of your origin don't follow the Spanish culture like Latin American narco gangster neighbourhood.....
It's worth noting that cultures are not static; they evolve and adapt over time, often influenced by interactions with other cultures. Instead of viewing it as "following" Spanish culture, we can see it as an expression of cultural fusion and creativity. Furthermore, equating Latin American culture solely with narco gangs is unfair and ignores the vast diversity and richness of the region's heritage.😊🫰🤗🌻
This is not pangalay. Im a tausog and I dance pangalay too, it's costume is not from our tribe and the dance steps are funny confusing.. That's why I don't usually believe literatute because some are not true about ttibe
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