�ݺ�ߣ

KADAL HEROYON
T��boli Dance
of Flirtation

Kadal heroyon (Philippine Folk Dance)

Introduction
? The T'boli are of proto-Malayan stock
and are found in the mountain ranges
of South Cotabato and Sultan Kudarat
Provinces.
? They have shown their wealth of craft,
elaborate traditional dresses and
vivacious dances and music.

? They are known for their unusual tie-dyed
and woven abaca cloth called
t��nalak used for dresses during
ceremonies and festivities.
? The intricate process in making
the t��nalak includes dyeing and
painstaking weaving on back-strap looms
in addition to strict folk customs that must
be followed in making this cloth.

? The T'boli women are
known for their body
ornaments.
? During ordinary days, the
women can be seen wearing
several sets of beaded
necklaces, brass or beaded
dangling earrings, and a
wooden comb decorated
with round pieces of mirror
and trimmed with beads and
fibers or horse's hair.

? The men nowadays wear their traditional
dresses made of t��nalak only during
special occasions.
? According to their custom,
��to be a T��boli is to be beautiful�� so
that man and woman could attract each
other

? In T��boli society, a girl
aged 5-6 years is already
well-versed in the art of
cosmetics.
? They learn to pluck their
eyebrows into thin lines,
put on make-up and learn
to arrange their hair in
the traditional hair-do.

? The Kadal Heroyon is dance which
portrays this art of beautification to
attract would be suitors.

Etymology
? Kadal (madal) is the T��boli term
for ��dance��
? Heroyon means ��flirty gesture��
? The dance is about the art of
beautification and subtle flirtation to
attract the opposite sex.

Dance Properties
? Dance Culture �C Highland
Indigenous
? Place of Origin �C Lake Sebu, South
Cotabato
? Ethnolinguistic Group �C T��boli
? Classification �C Mime of
beautification/flirtation

? Props �C ��luwek�� or
tube skirt slung
around the neck
? Music �C provided by
the drum called
t��nonggong,
k��lintang koyo
(wooden xylophone)
and blowon (bossed
gong)
? Time Signature �C
4/4

? Mood �C G: restrained; shy; coy
? B: virile; strong
? Stance �C Very stooped
? Performers �C Solo G ; all G ; G with
B; G group with B
? Formation �C as desired

Costume
? G:
? K��gal nisif, a pull-over dark blue blouse
intricately embroidered in cross-stitches
and embellished with mother-of-pearl
sequins
? Luwek, an ankle-length tube skirt of
Maguindanaon malong; another luwek is
slung around the neck; this could be of
t��nalak

? S��wat, wooden
comb adorned with
strung beads, horse
hair and mirrors
? S��laong
kinibang, wide
conical hat covered
with red cloth
appliqued with
white, blue, black
designs

? Hilet t��noyong,
brass chain-mail belt
with dangling hawk
bells
? Blonso, brass
bracelets
? Leig, beadwork
necklace
? Singkil s��gulong,
metal anklet filled
with metal balls
? Rings and earrings

? B:
? K��gal saro, jacket
of t��nalak cloth
? Sawal taho,
short or long pants
of t��nalak secured
to the waist by a
hilet l��mimot,
beadwork belt with
dangling bells

? Ulew, square cloth
tied as a turban
? S��laong , hat
? The T��boli man also
wears jewelries like
necklaces, bracelets
and rings
? Kafilan, sword in a
scabbard with cord
tied around the waist

Basic Steps and Gestures
? Flat-footed Step stamps (T��boli tiny
steps)
? (B executes this with slight tiptoes)
? Controlled jump (2X per M)
? Heavy walk
? Agam with knee spring, feet in 3rd

? Arms in reverse T with finger flutter
? Hands on waist
? Arms outstretched as if in flying gesture
? Hands holding the lower ends of the
luwek:
? swooping
? circling
? Beautification gestures

Choreographed Sequence
?Note:
?The dance has no standard
pattern in its authentic
form.
?What is presented here is the
theatrical presentation of
the dance

? This choreographed version
depicts several ladies trying to
compete with one another to
attract the attention and
affection of a man; therefore the
performance requires a lot of
improvisation

? Fig 1
? 4M �C jumps ; flip hands down at R
side, move them upward like wings;
return to start position
? 12M �C do this 3x more

? Fig 2
? 4M �C agam L; L hand on waist, R
extended sideward, execute flying
motion
? 4M �C repeat
? 8M �C agam R; flying motions with the
L

? Fig 3
? 4M �C with trunk tilted L, both hands
to the R side, execute up-down
motions; tiny steps moving R
? 4M �C tiny steps turning R
? 8M �C execute same steps to the L

? Fig 4
? 4M �C tiny steps moving fwd; hands
extended downward-sideward
holding the lower end of the luwek
? 4M �C tiny steps doing fast turn R; L
on waist while R is extended
downward-sideward
? 8M �C Repeat; turning L

? Fig 5
? 8M �C R side facing audience; tiny
steps; arm circling while holding the
luwek
? 8M �C repeat, L side facing audience

? Fig 6
? 4M �C Tiny steps moving bwd R; arms
in 2nd holding luwek
? 4M �C Repeat moving bwd L
? 8M �C Turn R with tiny steps;
beautification gestures with forearm
movements

? Fig 7
? G: heavy walks going around to
attract the attention of the B
? B : enters the dance floor, executing
tiny steps; positions himself opposite
the G line

? Fig 8
? B advancing opposite the G line
? 4M �C scooping motion; walk
advancing to exchange places
? 4M �C turn right about; walk bwd to
move away;
? 8M �C repeat to return to places

? Fig 9
? 16M
? As the B goes around the G line to
make his choice,
? G makes the gestures of beautifying
themselves �C fixing their hair, putting
on make up etc.

? Fig 10
? as the B walks around opposite the G
? G:
? 8M �C tiny steps; arms in reverse T
with finger flutter
? 8M �C tiny steps moving a bit bwd;
extend R arm towards the B; finger
flutter

? Fig 11
? 16M
? B approaches the G one by one; first
to G1 (others beautify themselves
once more);
? To G2 -----
? Other girls quarrel

? Fig 12
? with B kneeling at center
? G:
? 16M �C tiny steps; extend R and L
arms downward-sideward alternately
while holding the luwek

? Fig 13
? B stays at the L side of stage
? G:
? 16M �C repeat Fig 1

? Fig 14
? 16M �C Repeat Fig 12; this time the B
swings his luwek as if holding a net
trying to catch his choice; he weaves
in and out of the circle of G
? He places his luwek around the waist
of the G of his choice on the last ct.

? 8M �C B moves (while still tied with
his luwek around her waist) his
choice away from the G group
? The G��s not chosen makes the
gestures of crying while making their
exit on the opposite side of the stage

Source
? Dance Research of
? Prof. Ceasar Amirhassan F. Nimor
presented during the
? 27th PFDS National Folk Dance Workshop
? May 21-25, 2007
? Cebu City
? Demonstrated by the Biokinetics Dance Club

�ݺ�ߣ

Kadal heroyon (Philippine Folk Dance)

More Related Content

Kadal heroyon (Philippine Folk Dance)