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Buot, M.M. 2012. Dance Movement Analysis of

Tinikling: A portrayal of an agrobiodiversity landscape.
Asia Life Sciens 21 (1):167-176.

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ASIA LIFE SCIENCES 21(1): 167-176, 2012
The Asian International Journal of Life Sciences

Dance movement analysis of Tinikling: A portrayal

of an agrobiodiversity landscape

MERITES M. BUOT1

Tinikling is one of the most popular folk dances not only in the Philippines but to many
parts of the world where there are Filipinos. This dance attests the close association of the
Filipinos with the biodiversity in the environment. Tinikling was once the national dance of
the Philippines portraying the attempts of the farmers to catch tikling or Slaty-breasted Rail
(Gallirallus striatus), the worst enemy in the ricefields.
The dance notation of Tinikling reflecting the movements of both farmers and the tikling
was described and analyzed. The notated dance figures are compared with the present dance
movement used. Leaping, hopping, skipping are prevalent movements in Tinikling. In other
countries, a 4/4 tempo is used but in the Philippines we sustain the use of the ¾ tempo. There
is a need to explain fully the variation to avoid confusion.

Key words: tinikling, bio-cultural landscape, cultural environment, geographic influences,

folkdance, tikling, Slaty-breasted Rail, Gallirallus striatus, Philippines

1
Department of Human Kinetics, College of Arts and Sciences, University of the Philippines
Los Baños, College 4031, Laguna, Philippines. e-mail: meritesb@yahoo.com

Received 01 May 2011; Accepted 15 July 2011.

©Rushing Water Publishers Ltd. 2012. Printed in the Philippines
 Buot 2012

INTRODUCTION
One of the cultural treasures that attests the close association of the Filipinos
with the biodiversity in the environment is in the area of Philippine dance. There are
dances that use plants to represent the people’s gratefulness to a Higher Being.
Dance props used in dances directly identify the occupation and means of livelihood
in a certain locality. Sala t’Mais of Isabela points to the abundance of corn (Zea mays
L.) in the province (Buot 2008). Palawan is famous for rain sticks made from bamboos.
A dance in Cuyo, Palawan named Karatong uses rain sticks as musical instrument
during their celebration of the sweet mango fruits in the place (PFDS 2003). The
famous pagdidiwata of the Tagbanua uses palaspas made from anahaw leaf during
the celebration of agricultural harvest (Aquino 1976).
Several dances use bamboo as their major implements. Most notably the Singkil
and Tinikling. Singkil portrays the grandeur of the Maranao royalty while Tinikling,
a dance originating from Leyte is both an occupational and a mimicry dance.
Several Asian cultures including the Philippines have myths and legends related
to bamboos. In our country, folklore mentioned the first man and woman came from
split bamboo stems (Aguilar 2007, Coronel 1968). Bamboo is essential in the Filipino
lives with its numerous uses. Several authorities mentioned the practice of rural
midwives to use razor-sharp bamboo knife (Schizostachyum lima) to cut off the
newly born baby’s umbilical cord, houses built with bamboo splits or woven mats
called “pawali” and bamboo as food (Centro Escolar University 2000). Other countries
also have acknowledged the importance of bamboos in their culture and their life
(Roxas et al. 1998, Soderstrom & Calderon 1979).
The Filipino people showed their recognition of the numerous uses and benefits
of the bamboo not only for physical survival but also for emotional and psychological
survival through the famous dance, Tinikling. A thin-walled bamboos like the ratine
butio (Schizostachyum lumampao) (Revira 1999) are used in the dance to portray the
traps set by the farmers.
Tinikling was once the national dance of the Philippines portraying the attempts
of the farmers to catch the Tikling bird or Slaty-breasted Rail (Gallirallus striatus),
the worst enemy in ricefields (Villapando 1986). It portrays the community effort to
hunt and prevent Tikling, from infesting the ripe rice grains.
The tempo of Tinikling changes from moderate to very fast depicting Tikling,
adding challenge to the dancers. However, the dance movement now varies depending
on the trainor or coach or director. This poses some minor confusion and may lead to
bigger problem if not addressed.
It is the purpose of this paper to analyze the dance movement of Tinikling in
order to better understand the dance symbolisms so that the younger generation can
comprehend well the intricacies of the dance. This will lead to greater appreciation of
the local versions and our folkdance culture as well and hence, a better understanding
of the sociocultural dimension of our environment.

168 Asia Life Sciences 21(1) 2012

Tinikling - an agrobiodiversity analysis

METHOD
Tinikling was described and dance movement notation was analyzed. The
notated dance figures are compared with the present dance movement used.

RESULTS AND DISCUSSION

Tinikling dance movement. The dance is composed of at least two people depicting
as farmers as clappers, holding and hitting the two parallel bamboo poles in the air
and on the ground with a rhythm and a pair of dancers hopping and leaping between
the bamboo poles representing the tikling. Skill in dancing Tinikling is very important
to avoid being caught between the poles. The original intent of the dance was for
fun, thus getting the feet caught between the bamboo poles resulting to laughter
(Aquino 1976).
The oldest and the most difficult of the available versions is the Tinikling Ha
Bayo (Aguino 1976). This version uses two wooden pestles instead of bamboos.
There are eight (8) figures for the entire dance set but can be repeated as many times
depending on the occasion and the people dancing this version.
The first figure identified by Aquino (1976) as leap and step is as follows:
Partners face each other.
(a) Hop on L outside of pestles, hands down at sides (count 1). Step Right
between pestles and raise Left foot in rear (counts 2, 3). Bend trunk
. slightly forward, raise Left hand overhead, Right hand down at knee
level, palm up on counts 2,3...1 M)
(b) Straighten trunk, leap on Left outside of pestles obliquely backward
left. Bring hands near each other at chest level (count 1). Step on
Right foot between pestles. Same position of trunk and arms as in (a)
(counts 2, 3)...1M)
(c) Repeat (b) five more times...(5 M)
(d) Repeat count 1 of (b) turn right about and step Right between pestles
at the same time (count 2), hop on Right foot between pestles and at
the same time turn right about to complete turn (count 3) to finish
facing partner. Girl holds patadyong, Boy places hands on waist or
both hands at sides...(1 M)
(e) Repeat all (a-d)...(8 M).

Leap is springing from one foot, landing on the other foot in any direction while
the hop is spring from one foot landing on the same foot in place or in any direction
(Aquino 1957). Several hops and leaps characterize the first figure which aptly
portrayed the ideal rural agricultural landscape with the community people in the
spirit of Bayanihan, seriously yet cheerfully looking for means to prevent tikling
from infesting rice farms (Buot 2008). The movement of tikling while it hopped around
the farm picking out the ripened grains is well illustrated. In the local setting, the
farmers would place some bitik (si-ay or patibong in Samar and Leyte), traps made of
bamboo to catch the annoying birds.
Asia Life Sciences 21(1) 2012 169
 Buot 2012

In the immediate past to present, pestles were not used anymore in the dance
repertoire. Bamboos replaced the wooden pestles due to practical reasons such as
the availability of the material and for safety. A thin-walled bamboo like the ratine
butio (S. lumampao) is identified as an excellent species to represent the traps used
in the dance (Revira 1999). This kind of bamboo is quite flexible thus lessen the cases
of injury of the foot.
Figure II is titled heel and toe (Aquino 1976) with this notation.
Partners face each other. Throughout this figure, Girl holds patadyong. Boy
on waist. As the following steps are being done partners are moving little by little
forward to meet at center (a-c) and to partner’s place (d-f).
(a) Leap on L outside pestles (ct. 1), place or touch R heel between pestles
(ct. 2), touch toes on same place (ct. 3)...(1M)
(b) Repeat (a) starting with R foot, leaping outside other pestle….(1M)
(c) Repeat (a) and (b). By this time partners are close to each other at
center...(2 M)
(d) Take a big leap forward with L foot outside pestle to exchange places,
passing by R shoulders (ct. 1), repeat (cts. 2,3) of (a) above...(1 M)
(e) Repeat (b)...(1M)
(f) Repeat (a) and (b) moving forward to partner’s place...(2M)
(g) Repeat (a-c), moving little by little backward to center in back-to-
back position...(4M)
(h) Repeat (d-f), moving backward to proper places...(4M)

This dance movement is a common gesture in some of the Jota dances in the
Philippines (Buot 2002, Buot & Aguilar 2009). While the Jota dances were described
as courtship dances, Tinikling has this quality too. The playfulness of the participants
is easily seen in the dance movements. Placing their foot as a bait challenges the
catchers to be more vigilant. The same is true with the characteristics of the tikling
portrayed by the dancers challenging the real farmers to be more creative in order to
claim their prize. Gocuingco (1980) described Tinikling as a game dance because of
the gay emotions produced once a foot gets caught in the pair of clapping bamboos.
The life of a simple farmer exposed to numerous challenges while in the farm quickly
adapts to its environment and becomes merry during group gathering (Gianan 2007,
Goquingco 1980).
Figure III is the tinikling steps (Aquino 1976) which goes like this:
Partners face each other.
(a) Leap on L outside pestles (ct. 1), leap on R between pestles (ct.2), leap
on L between pestles (ct.3). R arm in reverse T position and kumintang,
L hand of G holding patadyong and that of B is placed on waist...(1M)
(b) Repeat (a) six more times, R and L alternately. Reverse position of arms
in every measure...(6M)
(c) Leap on R outside pestles (ct. 1), leap on L between pestles (ct.2), hop
on L to turn left about. G holds patadyong, B places hands on waist.
Finish in back-to-back position...(1M)

170 Asia Life Sciences 21(1) 2012

Tinikling - an agrobiodiversity analysis

(d) Repeat all (a-c), starting R foot. Reverse turn in (c). Finish facing each
other...(8M).
Tinikling step, the most prevalent movement in the dance is compared to the
basic figure in jumping rope. Instead of spinning ropes, bamboo poles are used
(Henkel 2008). The 4/4 version, where there are four counts in every measure is
followed in the United States however. The movements are as stated (Henkel 2008):
Singles: When the poles are on the dancers right side (right foot lead)the
foot work of two singles steps would be as follows:
Count 1- Hop on left foot outside poles
Count 2- Hop again on left foot outside poles
Count 3- Step on right foot between poles
Count 4-Step on left foot between poles
Unlike the American version, the original Philippine version has three counts in
a measure putting an accent on the first beat. The dance steps are faster and brisk
aptly showing the swiftness of the bird in evading the traps. The Tinikling tempo
that is used by many in America is that of a marching tempo, quite relax and compose.
The fourth figure of the Tinikling is identified by Aquino (1976) as the “ Knee Dip.”
This is a very difficult movement and requires strong lower extremities and powerful
abdominal muscles to keep the body erect after dipping the knee to the floor. This
movement is not present anymore in any Tinikling I have seen. Although we have
some Philippine dances requiring the knee strength just like the Pantomina de
Sorsogon but unlike Tinikling, this dance only notated a half sit while walking around
the partner (PFDS 2003).
The “knee dip” notations (Aquino 1976) runs this way:
(a) Stand on L outside pestles (ct. 1), dip so that R knee touches floor
between pestles (cts. 2,3). Girl holds patadyong, Boy places hands on
waist...(1M)
(b) Straighten L knee (ct. 1), dip R knee (cts. 2,3)...(1M)
(c) Repeat (b) two more times...(2 M)
(d) Leap on R to opposite side (ct. 1), dip so that L knee touches floor
between pestles (cts. 2,3)...(1M)
(e) Straighten R knee (ct. 1). Dip L knee to touch floor between pestles
(cts. 2,3). Hands as in (a)...(1M)
(f) Repeat (c), two more times...(2M)
(g) Repeat all (a-f), dipping R and L knee alternately at every measure.
Boy leaps to be at left side of partner at last count...(8M).
Kuradang step follows the Knee Dip (Aquino 1976). The notation is as follows:
Partners stand side by side. Girl at right, inside hands joined.
(a) Execute Kuradang step, starting with R foot. R arm of Girl overhead. L
hand of Boy on waist...2M)
(b) Repeat (a), starting L. L arm of Boy overhead, R hand of Girl holding
patadyong...2M)
(c) Repeat (a) and (b), three more times...(12M).

Asia Life Sciences 21(1) 2012 171

 Buot 2012

Kuradang (Aquino 1957) is described by: (a) change step obliquely forward R
or L (cts. 1 and 2), (b) step L (R) across the R (L) in front (ct. 3), (c) change step
obliquely backward R (L) (cts. 1 and 2), point L (R) in front (ct.3).
It is just natural for this dance movement to follow the most difficult of the
dance steps in Tinikling Ha Bayo, the knee dipping to the ground. This will give the
dancers respite after a very challenging dance figure.
Kuradang depicts the tikling resting after a hard struggle with the chasing
farmers. The foot movement of kuradang is almost similar to the footwork of the
sway balance but with an additional time given on the second beat thus the counting
is 1 and 2, 3. A change step begins the kuradang while the sway balance has the
sideward step with the tempo of 1-2-3.
The sixth figure of the dance notation comprises the Tinikling Step Sideways
(Aquino 1976) as follows:
Partners stand side by side, inside hands joined, free hand of Girl holding
patadyong, that of Boy is placed on waist.
(a) Hop on L outside pestle (ct. 1), leap R forward between pestles with R
foot in perpendicular position (ct. 2), leap on L between pestles with
same position of foot (ct. 3)...(1M)
(b) Leap forward on R outside other pestle (ct. 1), leap L backward between
pestles in perpendicular position (ct. 2), leap R between pestles with
same position of foot (ct. 3)...(1M)
(c) Repeat (a) and (b), two more times...(4M)
(d) Repeat (a)...(1M)
(e) Drop hands. Leap on R outside other pestle (ct. 1), hop on same foot at
the same time turning R about (ct. 2), step L close to R (ct. 3). Hands
down at sides...(1M)
(f) Repeat all (a-d)...(7M)
(g) Drop hands. Leap to proper places passing by L shoulders (ct. 1), turn
to face each other (cts. 2, 3). Hands down at sides...(1M).

There is an additional twist given to the basic Tinikling steps by placing both
feet inside the pestles or bamboo poles (Figure 1). Once both feet are planted inside
the trap, the clappers representing the farmers have more chances to catch the skillful
dancers symbolizing the agile birds. Teasing is apparently shown as the skillful
dancers/birds evaded the traps once more.
The hop with a turn right about is another acumen portrayed by the dancers/
birds to successfully avoid the traps.
The seventh (7th) figure of the dance notation describes as Leap, Leap, Cut
(Aquino 1976) which goes like this:
Partners face each other. Girl holds patadyong (the skirt), Boy’s hands on
waist.
(a) Hop on L outside poles (count 1), leap on R between poles (count 2),
cut R backward with L (count 3)...1 M)

172 Asia Life Sciences 21(1) 2012

Tinikling - an agrobiodiversity analysis

(b) Leap R outside poles (count 1), leap on L between poles (count 2), cut
L backward with R (count 3)... (1 M)
(c) Repeat (a) and (b) alternately leaping on L instead of hopping on
count 1 in a) boy leaps to Girl’s place to be at left side while Girl
stays at right side outside the poles at the last measure...(1 M).

An exchange of position is done by the partners while doing the leap (Figure 2).

Figure 1. Both feet of dancers are inside the poles.

Symbolism of the farmer’s perseverance in catching the tikling was clearly

illustrated by the dancers holding poles (Figure 3). Arm muscles are stressed during
the clapping of bamboos therefore development of muscular endurance is enhanced.
The cross-legged position (Figure 2) and the kneeling position (Figure 3) greatly
resemble some yoga poses such as the lotus and hero poses respectively help the
hip and thigh muscles to be stretched. The fast paced movement throughout the
dance induces the heart to beat faster thereby training the heart to sustain pressures.
The continuous leaping and hopping expectedly increases the heart rates. The heart
rates can easily reveal the health status of an individual (Bryant & Peterson 1999) .
Besides joy, spectators will learn the Filipino value of perseverance and
industriousness. Tinikling is a perfect epitome of the Filipino in their day to day
interaction with nature.

Asia Life Sciences 21(1) 2012 173

 Buot 2012

Figure 2. Leap with partner.

.
Figure 3. Dancers holding bamboo poles (Buot 2008).
174 Asia Life Sciences 21(1) 2012
Tinikling - an agrobiodiversity analysis

CONCLUSION
Leaping, hopping and skipping are prevalent movements in Tinikling. Although
in other countries, a 4/4 tempo is used, in the Philippines, the use of the ¾ tempo is
sustained. Symbolism of the farmer’s perseverance was clearly illustrated by the
dancers holding poles while the swiftness of tikling evading from the traps installed
by farmers is portrayed by the dancers. Other countries may have preferred to use
the more relaxed tempo since they are just adapting the dance.

ACKNOWLEDGMENTS
The author is always grateful to her Philippine folkdance students, especially
Mr. Ralph Alomia, who willingly posed for the photos (appearing as Figures 1 & 2) and to the
Department of Human Kinetics, College of Arts and Sciences, University of the Philippines
Los Baños provided the necessary support.

LITERATURE CITED
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Bryant, C.X. and J.A. Peterson. 1999. Prescribing Exercise for Healthy Adults: An
individualized approach. The Journal of Physical Education, Recreation and Dance 70 (6):
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Buot, M.M. 2002. A comparative study of the five selected Jota dances in the Philippines.
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Buot, M.M. 2008. Integrating local dance knowledge in education to save biocultural landscape.
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Buot, M.M. and M.D.R. Aguilar. 2009. Comparative analysis of geographic and cultural
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Roxas, C.A., F.F. Cartiguerra and C.D. Apolinar. 1998. Bamboo flowering: A Blooming
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