FOLK SONG

reflects the life of common, mostly rural Filipinos. has a legend or tells a tale. each folksong may be sung in different ways due to coloring or accent, although the basic tune is maintained. sometimes chanted or recited. "Bahay Kubo

- Credited to have been written by composer and 1997 National Artist for Music Felipe de Leon (1912-1992), it tells of the traditional Filipino rural house, the humble "bahay kubo" or nipa hut, and goes on to enumerate the various vegetables planted in its vicinity. "Pakitong-Kitong

- Also called "Tong Tong Tong Tong Pakitong-kitong," this Filipino folk song has both a Tagalog and Cebuano version. It describes a crab that is delicious to eat, but hard to catch because of its snapping pincers. "Magtanim Ay 'Di Biro

-Credited to Felipe de Leon, "Magtanim Ay 'Di Biro" ("Planting Rice is Never Fun") describes the tedious chore of planting rice. "O Ilaw

-A popular example of the traditional Filipino love song genre "kundiman", this song was made famous by Filipino singer and actor Ruben Tagalog (1920-83). "Sa Ugoy Ng Duyan

-Another collaboration from Lucio San Pedro and Levi Celerio. "Sa Ugoy ng Duyan" ("The Swing of the Cradle") is a haunting and nostalgic lullaby expressing the feelings of a child finding tranquil security in the arms of a loving mother. "Bayan Ko

-Written in 1929 by Filipino poet Jose Corazon de Jesus ("Huseng Batute" 1896-1932) and later set to music by Constancio de Guzman (1903-83), "Bayan Ko" ("My Country") was meant as a patriotic song protesting the American occupation of the Philippines. Since then, it has

practically been a second national anthem for freedom-loving Filipinos, a theme song for some of the most momentous events in Philippine history.

FOLK DANCE
dance that has developed without a choreographer and that reflects the traditional life of the common people of a country or region. performed to folk music. it is possible that they were religious ceremonies in the beginning. theyre not only for gay and happy occasions alone, but even for grim and difficult times.

Maglalatik During the Spanish regime, the present barrios of Loma and Zapote of Bian, Laguna, were separated. With coconut shells as implements the people of these two barrios danced the Maglalatik, or Magbabao, a war dance depicting a fight between the Moros and the Christians over the latik (residue left after the coconut milk has been boiled). The first two parts of the dance, the Palipasan and the Baligtaran show the heated encounter between the two groups. The last two parts, the Paseo and the Sayaw Escaramusa show the reconciliation between the two groups. According to the legend the Moros came out victorious, thus getting the coveted latik. The Christians, not contented with the result of the war, sent an envoy to the Moros to offer peace and to baptize them. The best Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of Bian, the Maglalatik dancers go from house to house performing this dance for money or a gift. In the evening they dance Maglalatik in the religious procession as it moves along the streets. They perform the dance as an offering to the patron saint of the farmers, San Isidro de Labrador. TINIKLING This 'Visayan' dance was found in Leyte where this dance originated. Dancers imitate the tikling birds legendary grace and speed as they skillfully play, chase each other, run over tree branches, or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling. this version of the dance is done between a pair of bamboo poles. SINGKIL Sinkil dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the

"Darangan" of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies or nymph of the forest. The rhythmic clapping of criss-crossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers wearing solemn faces and maintaining a dignified pose being dancing at a slow pace which soon progresses to a faster tempo skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. The dancers weave expertly through criss-crossed bamboos. IDAW This dance sometimes has many names and different versions. Most common is this dance depicts the hunting ritual performed before a tribal war. The tribes men would go out and look up and watch for the scared Idaw bird. Which is said to lead the tribe to victory. Also look at the clothing, Philippines being a very hot climate, plus the use of as little material as possible, the traditional clothing was not made to cover much of the body. ITIK-ITIK At one baptismal party in the Surigao del Norte province, a young lady named Kanang (the nickname for Cayetana), considered the best dancer and singer of her time, was asked to dance the Sibay. She became so enthusiastic and spirited during the performance that she began to improvise movements and steps similar to the movements of itik, the duck, as it walks with short, choppy steps and splashes water on its back while calling to its mate. The people liked the dance so much that they all imitated her. There are six separate foot sequences in the series of Itik-Itik steps.

FOLK ART
result of adapting natural things to human use (giving it beauty and color). showcases the abundant and useful materials found in a place. i.e. carved figures, fabrics, plates, spoons, knives, etc.

Life of the Law

While the law grows with the development of the people, the law can die too with the demise of the nation through the loss of the nations individuality.

BASIC POINTS OF HISTORICAL JURISPRUDENCE

First, the state is regarded as the highest expression or personification of the law. Second, the law is found and not deliberately made.

A. State and Folksoul

The state is the invisible personality of the people originating in the people, through the people, and for the people.

The present existence of the state develops with the immanent necessity from the elements furnished by the past. - Paul Vinogradoff