3. Introduction
Pantomina was originally a wedding
dance from the Bicol provinces.
It is also very popular in the northern
part of Samar especially in towns
of Allen and Capul - both directly facing
Bicolandia.
4. This dance is traditionally
performed during wedding
festivities by the couple and their
visitors.
In fact no social gathering in the
Bicol Region is complete without
the Pantomina.
5. The dance is still very
popular in the Bicol Region
even up to this time.
In fact the dance is synonymous with the
Bicol Express, Mayon Volcano and the
Bicolandia !
6. During a wedding feast, it is customary
for the newly weds to perform the
dance first and while they dance, their
relatives and guests throw coins at
them.
Sometimes a plate is placed on the floor
so that the guests may place money in
it.
7. The dance is performed several times,
by the newly weds and their guests.
Dancers may improvise their steps
when performing the Pantomina.
The dance was among the first folk dances
to have its dance steps notated.
8. The pantomina was featured
in Francisca Reyes Aquino's first-ever
folk dance book, Philippine Folk
Dances and Games, published in
February 1926.
The dance, according to Aquino, was
also called Salampati during the
Spanish Period.
10. Etymology
Pantomina is Spanish for
“pantomime” because of its
courting/wooing movements
Its old name Salampati means
“doves”, hence the dance is
sometimes referred to as the
“dance of the doves”
11. Dance Properties
Dance Culture – Lowland
Christian
Place of Origin – Albay
Ethnolinguistic Group – Bikol
Classification – Social/Nuptial
15. Costume
Couple in traje de boda (wedding
costume) if portraying a wedding feast.
For the guests, any festive Bikolano costume
like:
Kimona /camisa and patadyong/saya
or baro’t saya for the lady and barong
and dark pants for the man.
Sandals for footwear
16.
17. Basic Steps
Paso (leisurely walk):
G executes this with the L hand on the waist while the R
holds and sways the skirt
B swings his arms freely at the sides
Change Steps
Engano with a waltz
Native waltz
Waltz turn
Step Swing
18. Arms:
Lateral position
Forearm turns
First to Fourth Position (used with the
engano)
Arms swinging at sides
19. Figures
Intro Music
B and G meet at the center, B holds the G
with his R hand in abrasete position; both
move forward to position themselves on the
dance floor
They face each other, release hold and
individually make a three-step turn and
execute curtsy to each other
20. Figure 1 Music A
G faces audience; B faces away
4M – 4 paso and change steps R and L
moving fwd
4M – repeat moving bwd; right about
face
8M - repeat
21. Face each other
4M – repeat moving to partner’s place
passing R to R; turn R about
4M – repeat moving bwd/away from each
other
8M – repeat to return to places
4M – repeat while turning CW;
4M – repeat while turning CCW
22. Figure 2 Music B
Pause (2M) – three step turn R
The next step is done with partners
facing each other, moving CCW
12M – 6 engano steps R and L alternately
2M – Waltz R and L; arms in lateral position
2M – Waltz turn R; forearm turns
23. This is done while moving
CW
16M – repeat starting with L
24. Figure 3 Music C
Abrasete position
8M – step swing R and L alternately
6M – waltz R and L alternately, G moves
CCW, while B acts as pivot, also turning
CCW
2M – release hold, individually execute
waltz turn R
25. 8M – R to R hand hold, execute step
swing R and L alternately
6M – release hold; waltz R and L
alternately moving CW;
2M – waltz turn R
26. Figure 4 Music D
Repeat Figure 2
(modification: G faces audience/B
faces away for the first 16M; G faces
away/B faces audience for the
second 16M)
27. Figure 5 Music C
Chasing
14M – Waltz R and L alternately, G moving
ahead of B while tracing a large circle CW;
forearm turns
2M – waltz turn R
16M – Repeat but this time with B ahead of
G
28. Figure 6 Music E
Facing each other
4M – Engano R and L
4M – Waltz R and L alternately
8M – repeat
29. 6M – Waltz R and L moving to partner’s
place passing R to R; forearm turns
2M – waltz turn R
6M – Repeat returning to places
2M – meet at center with several steps; B
extends his R hand to hold the L of G ; at the
same time G turns L under joined hand;
curtsy to audience
