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Subli Dance: Costumes and Steps Guide

The document provides information about the Filipino folk dance called Subli. Some key points: - Subli is a ceremonial worship dance that honors the Holy Cross and is performed with a crucifix and image of the sun. Its precise origins are unknown. - The dance started hundreds of years ago in a village in Batangas and has since spread to other areas. A folk tale associates the dance with discovering a wooden idol that could only be moved by singing and dancing. - The dance involves pairs of male and female dancers in traditional costumes performing choreographed steps and formations to rhythmic music over the course of about 2-3 minutes.

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0% found this document useful (0 votes)
355 views4 pages

Subli Dance: Costumes and Steps Guide

The document provides information about the Filipino folk dance called Subli. Some key points: - Subli is a ceremonial worship dance that honors the Holy Cross and is performed with a crucifix and image of the sun. Its precise origins are unknown. - The dance started hundreds of years ago in a village in Batangas and has since spread to other areas. A folk tale associates the dance with discovering a wooden idol that could only be moved by singing and dancing. - The dance involves pairs of male and female dancers in traditional costumes performing choreographed steps and formations to rhythmic music over the course of about 2-3 minutes.

Uploaded by

harold
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
  • Introduction to Subli

NOTES FOR SUBLI (INSTRUCTIONAL REPORTING)

WHAT IS SUBLI? (MENTALAR)


Subli is a traditional Filipino folk dance that is still widely performed today. It is a ceremonial
worship dance that honors the Holy Cross (or "Mahal Na Poong Santa Cruz" in Filipino) and is
performed in front of a huge crucifix with a silver image of the sun in its center. Although the
dancers are confident in their understanding of the meaning of certain parts of the dance and
movements, the Subli's origins are unknown. There are many different ideas, and even
professionals and academics debates with this.

FOLKLORIC HISTORY (PERLADA)


Early Filipinos are said to have placed crosses around the volcano's crater to ward off evil
spirits. Subli started some 300 years ago in the barrio (or baryo, rural village) of Dingin in
Batangas and spread to other barrios. Leaving aside the debate among academics over the
precise origins of Subli, the mythology that surrounds it is an essential part of the dancers' and
Filipino people' past. The tale, as well as the dance movements, have been passed down the
centuries. The main premise is that a lady went to a well for water and discovered wood that
was emitting water. A traditional Filipino doll known as a "naaginging" was also on the wood.
People came from all across the neighborhood to view the doll and the wood, but no one could
move it. They discovered they could move the wood by singing and dancing around it. After
that, they sculpted a saint out of the wood. The Subli is the dance that permitted them to
achieve this.

COSTUME AND MUSIC (DE LEON)


Girls wear simple balintawak costume (with tapis and panyo) and a buri hat
Boys wear barong tagalog and red trousers with a pair of bamboo castanets held in each hand.
Both Girls and Boys are barefooted.
The song features a catchy rhythmic melody. A single performance lasts about 2-3 minutes.
Both men and women dancers-called manunubli (meaning them that Subli-perform in pairs and
various formations.

FORMATION (CUNANAN)

After the individual pair dances (if there is) the dancers form two lines, Boys stand about four
feet behind their respective partners. All face the audience.
Girls
(a) Hold hat at top with right hand, move right hand to right side (counts 1, 21) to left side
counts 1,21 to front as if paying respect to audience (counts. 1,21) put hat on head (counts 1,2)
(b) Pause. Hands down at sides.

Boys
(a) Stand still hands on waist for eight measures or (a) Click castanets once with both hands at
right side (cts. 1) pause (cts.26 repeat the same with hands at left side (cts. 1,21, repeat the
same with hands in front of chest (cts 1,2) bow and click castanets once on ct.1 with hands in
second position (cts. 1,2)
(b) Pause Hands on waist

STEPS (GEMPESO)

MUSIC A

Girls
Hat on head.
(a) With heels raised execute mincing- step turn right (once) in place (8 cts.) Kumintang right
hand slowly clockwise (4 cts.) back of left hand under right elbow, do the kumintang once more
clockwise (4 cts.) (b) Repeat (all three times)

Boys
(a) Starting with right foot take eight change steps forward going clockwise around the partner.
arms in hayon-hayon position, right and left arm in front alternately. Click castanets three times
to a measure on cts.
(b) Repeat (all going counterclockwise around partner)

MUSIC B (MARTIN)

Girls
Take off the hat and held top with right hand
(a) Your left hand is on your waist and use right for the hat. Execute mincing-step forward, move
the hat towards the audience while placing it again back to your head, when placing back to
your head, move your mincing step backward (4 cts.)
Repeat this for two rounds

Boys

(a) With right foot leading take four chasing steps forward (4 cts) and four chasing steps forward
with t foot leading (4 cts) Arms in hayon-hayan position with in front for the first (4 cts) and left in
front the next (4 cts.) Click castanets once on every count

(b) Continue doing (a) going clockwise around partner.


(c) Repeat (a) and (b) going counterclockwise around partner

MUSIC C (DINO)

Girls
Hats on head

(a) Execute mincing-step and move sideways, while moving sideways sway your hands
horizontally. (8 cts.) Then do Kumintang right hand (4 cts) and left hand (4 cts) left hand (4 cts)
and right hand (4 cts) Back of other hand supporting elbow of hand doing the Kumintang
Then repeat

Boys

(a) Take four hops forward on right foot (4 cts) and four hops on L (4 cts) alternately (two times)
going clockwise around partner. Click castanets once on every count position of arms as in
figure Il
Repeat
FINALE (JARATA)

Music A to Finale

Girls

Hold hat with two hands

(a) Starting with R foot, take eight change steps forward. Move hat sideways right and left
alternately
(b) Face right. Repeat (all moving forward to exit)

Boys

(a) Starting with right foot, take eight change steps forward. Move castanets sideward right and
left alternately
(b) Face left. Repeat (a) moving forward to exit.

Common questions

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The Subli dance is imbued with historical and mythological narratives that reflect deep-rooted Filipino values and beliefs. The origin myth of a lady discovering miracle wood with a traditional doll (naaginging) highlights themes of faith, community, and divine intervention, demonstrating how Filipinos historically attribute natural phenomena to spiritual causes. The subsequent sculpting of a saint out of the wood represents transformation and devotion, reflecting values such as resilience, communal effort, and reverence for the divine. These narratives preserved through dance reinforce the cultural identity and collective memory of the Filipino people .

The Subli dance holds significant cultural and religious importance as it is a ceremonial worship dance honoring the Holy Cross, known as "Mahal Na Poong Santa Cruz" in Filipino. It reflects the cultural practices of early Filipinos through its origins linked to a myth involving a miraculous piece of wood and a traditional doll, demonstrating a form of religious devotion combined with indigenous beliefs. Additionally, the dance serves as a historical narrative that has been passed down through generations, embodying ancient rituals of placing crosses around volcano craters to ward off evil spirits .

The formation in a Subli performance, where dancers form two lines with boys standing four feet behind their partners, contributes significantly to the dance's ceremonial nature and visual symmetry. By facing the audience and executing synchronized gestures, such as girls handling their hats and boys clicking castanets, the dance visually portrays unity and reverence, enhancing its cultural impact as a communal worship and storytelling tradition .

Subli dance steps like the mincing-step, kumintang, and the alternating footwork of the boys are deeply rooted in Filipino traditional dance elements. The mincing-steps, where dancers turn or move forward and backward in delicate, small steps, offer a visual narration and ritualistic homage, common in indigenous dances. Kumintang movements, characterized by the hand's circular motion, highlight grace and fluidity as an expression of cultural nuance. Boys' steps involve rhythmic progression and castanet clicks, adding to the ceremonial and communal feel of the performance .

Music plays a pivotal role in the Subli dance, with its division into distinct parts (Music A, B, and C) guiding the choreography and flow of the performance. Each segment introduces variations in tempo and rhythm that dictate specific movements and formations for the dancers. Music A defines initial steps and formations, where dancers execute foundational movements. Music B transitions into more dynamic interactions, such as mincing steps and hat placements, which accentuate the dance's narrative progression. Music C drives fluidity and enhances expressive sway in movements, maintaining engagement and visual storytelling throughout the performance .

Gender roles in the Subli dance are distinctly manifest through costume, movement, and responsibilities within the performance. Females, dressed in vibrant attire and modestly handling hats, demonstrate elegance and respectfulness, reflecting traditional gender expectations of grace and modesty. Males, costumized with barong tagalog and involving in assertive footwork and castanet clicking, project protective and leadership qualities symbolizing masculinity. These elements underscore the gender dynamics rooted in traditional Filipino society, where defined roles were expressed through cultural practices and contributed to a structured societal order .

In a traditional Subli dance performance, female dancers wear a simple balintawak costume with a tapis and panyo, and a buri hat, while male dancers wear a barong tagalog paired with red trousers and bamboo castanets in each hand. All dancers are barefoot. The music features a catchy rhythmic melody, accompanying the dance with its ceremonial tone .

As a medium for cultural expression, the Subli dance encapsulates Filipino traditions, beliefs, and history in a performative context, serving as a potent symbol of cultural continuity. Its ceremonial nature and ritualistic elements provide a platform for expressing respect and homage to revered symbols like the Holy Cross. The preservation of dance movements, costumes, and music serves as cultural continuity, reinforcing identity and communal values across generations. By participating and witnessing Subli, individuals engage with their heritage, understanding its evolution and significance within the broader Filipino socio-cultural tapestry .

The Subli dance exemplifies the fusion of indigenous and colonial influences through its blend of traditional Filipino rituals and Christian symbology. While indigenous movements such as the mincing steps and kumintang are preserved, reflecting pre-colonial performing arts, the dance’s devotion to the Holy Cross indicates an overlay of Catholic practices introduced during Spanish colonial occupation. This fusion is further visible in the costumes featuring Filipino textiles alongside Spanish-influenced designs like the barong tagalog. Such elements highlight the adaptive nature of Filipino culture, merging external influences with local traditions .

Props like hats and castanets are essential to the Subli dance, as they serve both functional and symbolic roles. The empty hats held by girls symbolize humility and piety, while their gestures—such as raising and lowering the hats—are key in engaging the audience and showing respect. Castanets, used by the boys to maintain rhythm and emphasis, bring a percussive layer that reinforces the devotional and traditional tone of the performance. These props also allow for rich storytelling by emphasizing cultural attributes and allowing dancers to convey emotions and narrative through sound and motion .

NOTES FOR SUBLI (INSTRUCTIONAL REPORTING) 
 
WHAT IS SUBLI?     (MENTALAR) 
Subli is a traditional Filipino folk dance that i
Girls 
(a)   Hold hat at top with right hand, move right hand to right side (counts 1, 21) to left side 
counts 1,21 to front
(a) Your left hand is on your waist and use right for the hat. Execute mincing-step forward, move 
the hat towards the audien
FINALE (JARATA) 
 
Music A to Finale 
 
Girls 
 
Hold hat with two hands 
 
(a) Starting with R foot, take eight change steps

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