CHAPTER I

INTRODUCTION

Background and Rationale

Republic Act 7365 an Act creating the National Commission for Culture

and the Arts, establishing National endowment fund for Culture and the Arts, and

for other purposes, in support of cultural preservation. It was stipulated in

SECTION 7. Preservation of the Filipino Heritage. It is the duty of every citizen to

preserve and conserve the Filipino historical and cultural heritage and resources.

The retrieval and conservation of artifacts of Filipino culture and history shall be

vigorously pursued.

The folk dances are '' planned and regular movements, which reflect the

cultural values of the society to which it belongs, which express an event, a

happiness or a sadness, which is accompanied with the music (accompanied by

a musical instrument or without a musical instrument by drumming with organs

such as hands, feet etc.) that is performed by a single person or a group''

(Eroğlu, 1999).

Pandanguiado Buraweño is a popular festival dance in the province of

Leyte and Samar. This particular dance originated in Burauen, Leyte and is

usually performed by prominent and skillful dancers at big social functions and

important gatherings. Many years ago, in the old residents of Pericohon, a sitio

between La Paz and Burauen, there was a certain Filipino general stationed in

that place who invited some people from the town and barrios around to a

1
Christmas Eve celebration. In that gathering, a couple from Burauen, hailed as

notable dancers, were requested to give a special dance. It was an interesting

and colorful dance that they danced with so much spirit, altogether different from

the dances the local folk were used to seeing. It was well liked by all and

became popular not only in that place but also in other towns of Leyte and

Samar. (Aquino, 1960).

Cultural awareness of the general knowledge of Pandanguiado, should be

determined among the folks of Burauen, Leyte since it originated from Burauen.

However, in terms of awareness and preservation of the Pandanguiado

Buraweño, the concern is noticeably worrying because most of the youth today

are evidently more engaged in contemporary, pop dance and trendy music or

dances. Their engagement in these kinds of dances is an impediment to cultural

awareness among themselves (Lewis, 2012).

Cultural awareness is one’s ability to stand back from where he or she is

to become more aware of cultural values, beliefs and perceptions. Strengthening

and preserving these values, beliefs, and traditions can pose a great challenge

especially today when culture has become vulnerable because of globalization.

To the call of globalization, the Philippines is responding well, but in no time,

efforts towards cultural awareness might be at risked because of the tough

competition from media and the technological landscape that surround the young

generations. (Bengwayan, 2008)

Cultural preservation includes documenting and studying languages;

preserving and restoring relics significant to a culture or heritage; and

2
encouraging the preservation and use of indigenous or tribal languages and

rituals. The term encompasses several activities surrounding maintaining ancient

cultures from large nations all the way down to small indigenous tribes.

Discussion of cultural preservation does not happen enough. The lack of

awareness is causing languages and cultures to die out, a notable loss for

humans as a species. (Day Translation, 2017).

Also, Francisca Reyes-Aquino, a great researcher of Philippine folk

dances once expressed her concern that while the Philippine folk dances do not

face extinction, these are being threatened by distortion. She had no objection to

innovations in the presentation, but she felt that folk dances should be left as

they are because they are of the folk. (Aquino, 1960)

While it is true that people today should acculturate themselves to the

growing world culture, all the more a global citizen must not sacrifice one’s own

culture. It is in their own cultural awareness that they learn moral and ethical

dispositions, which can guide the understanding of individuals or groups of local

and global contexts, and remind them of their relative responsibilities within

various communities. (Bartle, 2010)

Allan Johnson (1996) said that culture is the sum total of symbols, ideas,

forms of expressions, and material products associated with a system. It is a

dynamic medium through which societies create a collective way of life reflected

in such things as … dance.

Another important proposition articulated by the Dance Arts Standards for

learning for Virginia Public schools (2006) is the dance teacher’s responsibility in

3
ensuring that students will understand dance arts within the contexts of culture

and history. Students have to examine the interrelationships among current

event, developing technologies and dance in society. By viewing and evaluating

the work of acclaimed choreographers and dance artists, students have to

become aware of the contribution of the dance arts to the quality of human

experience.

Thus, the conduct of this study aims to give awareness to the Buraweῆo’s

and plans to contribute for strengthening and preserving Pandanguiado

Buraweño, a popular cultural dance of Burauen Leyte.

Theoretical Framework

To provide a relevant framework, a theory was reviewed in terms of its

applicability to this study.

This study is patterned with the Sociocultural evolution theory of Gerhard

Lenski. Sociocultural evolution is the process of change in human society

involving society’s level of innovation, transmissions and technological advances.

It describes how cultures and societies have developed over time. (Johnson,

n.d.)

In this study Pandanguiado Buraweño is a dance which existed and

published in 1960 by Francesca Reyes Aquino through her book Philippine Folk

Dances. Researchers observed that the dance is less practiced in Burauen

maybe because Pandanguiado Buraweño is dominated by foreign dances that

are popular. People of Burauen are fascinated or drawn to western music and

4
dance specially the youth. Now, technology and media are also contributing to

the drop-off of the dance. Therefore, folkdances are being compromised because

of these.

Sociocultural evolution is the changes that occur as a society gains new

technology. The greater amount of technology a society has within its grasp, the

faster the cultural change will take place. According to Gerhard Lenski, modern

technology offers expanded human choices but leaves us with new sets of

dangers. (Johnson, n.d.)

Also, this research study is patterned upon Cultural Evolution of Charles

Darwin. Cultural evolution, in the Darwinian sense of variation and selective

inheritance, could be said to trace back to Darwin himself. He argued for both

customs and "inherited habits" as contributing to human evolution. (Richerson,

P.J. and Boyd. R., 2010)

In this study, Pandanguiado Buraweño can be connected in the Cultural

evolution because of the idea that culture change- such as music and dance,

customs, beliefs, knowledge, skills, attitudes, languages, and so on because of

the changes of time and needs of the society.

Statement of the Problem

This study aims to investigate if the people of Burauen know or is aware of

the existence of a dance step that originated in their hometown and if they are

making ways to preserve this dance. Specifically, it seeks to find the answer to

the following questions:

5
 1. Knowledge of Pandanguiado Buraweño dance

a. What is Pandanguiado Buraweño?

b. Are the people of Burauen know or aware of this dance?

2. Attitudes toward the Pandanguiado Buraweño dance; and

a. How aware are you of the Pandanguiado Buraweño dance?

b. How do you feel that Burauen have this kind of dance?

3. Involvement in strengthening and preserving Pandanguiado Buraweño?

a. Are you involved in an organization or program that still practice

Pandanguiado Buraweño?

b. Do you take part in spreading awareness and preserving the

dance? In what way?

c. Does the local government have programs in preserving

Pandanguiado Buraweño?

Scope and Delimitation of the Study

This study focuses on the residents of and from Burauen, Leyte as a

source of information. The researchers will interview 20 folks of Burauen

including elder citizens because they are descendants of the first settlers of

Burauen, Leyte; selected members of Burauen South District Dance Troup

because they are the famous dance practitioners of Burauen; selected teachers

of Burauen Comprehensive National High School because they are the front-

liners of education particularly in teaching the folk dance to the next generation of

6
Buraweños; and selected municipal officials. Researchers chose these

participants because they are knowledgeable of the said dance because it’s a

cultural heritage of Burauen. Once the participant is done with the interview, the

researchers will ask the participant if they know someone who can be potential

knowledgeable of the Pandanguiado Buraweño.

Significance of the Study

Pandanguiado Buraweño: A Dance to Remember, in awareness and

preserving the culture, could enlighten the people of Burauen, Leyte. Among the

sectors that could derive benefits from this work are:

Administrators. School Superintendents, School Principals and Head of

Departments would be able to identify the needs in successfully spreading

awareness and preserving folk dances and to come up with a program that will

promote culture awareness and preservation.

Program Planners will serve as guide for decision-making useful in

strengthening, redirection, revision or improving the preserving practices in

Philippine Folk Dances.

Faculty such as teachers/instructors will be agents of folk dance

awareness and inspire them in their work in preserving folk dances in our

country.

The students will be aware of the importance of Philippine Folk Dances in

the development of his/her self-development, celebration of his/her Filipino

culture identity and diversity and expansion of his/her world vision.

7
 The community will be provided with information of the Pandanguiado

Buraweño that will instill awareness and help them preserve its cultural dance.

Lastly, the findings of this study would provide other researchers insights

into certain other problems that need deeper and closer scrutiny especially on

the reasons for the obvious resistance or indifferences of certain sectors to the

Pandanguiado Buraweño folk dance awareness and preserving practices of

Burauen, Leyte.

Definition of Terms

For a better understanding of the discourse that follows, the following

terms are defined either conceptually or operationally or both.

Cultural awareness. Cultural awareness is one’s ability to stand back

from where he or she is to become more aware of cultural values, beliefs and

perceptions.

Cultural preservation. Documenting and studying languages, preserving

historic relics significant to a culture or heritage, and encouraging the

preservation and use of indigenous or tribal languages or rituals.

Dance Practices. The term refers to the actual application or use of an

idea, belief, or method, as opposed to theories relating to moving rhythmically to

music, typically following a set sequence of steps or dancing. Operationally this

pertain to actual application or use of an idea, belief, or method, as opposed to

theories relating to Pandanguiado Buraweῆo dance.

8
 Knowledge of the Pandanguiado Buraweῆo Dance. The term refers to

the accumulated facts, truths, principles, and information of the Pandanguiado

Buraweῆo Dance.

Pandanguiado Buraweῆo. Pandanguiado Buraweῆo is a popular festival

dance in the province of Leyte and Samar. This particular dance originated in

Burauen, Leyte.

CHAPTER II

REVIEW OF RELATED LITERATURE AND STUDIES

This chapter will present the conceptual literature and related studies

reviewed by the researchers which provided insights and information related to

the present study. These collated research literature serves also as background

of the study as well as the variable involved in the research endeavor.

Legal Basis

Article XIV, of the 1987 Philippine Constitution – Education, Science and

Technology, Arts, Culture and Sports, where Section 14 states, “The State shall

foster the preservation, enrichment, and dynamic evolution of a Filipino national

culture based on the principle of unity in diversity in a climate of free artistic and

intellectual expression.” Section 18, states that: "(1) The State shall ensure equal

access to cultural opportunities through the educational system, public or private

cultural entities, scholarships, grants and other incentives, and community

cultural centers, and other public venues. (2) The State shall encourage and

9
support researches and studies on the arts and culture." (De Leon & De Leon,

2014)

Republic Act 7356 an Act Creating the National Commission for Culture

and the Arts, establishing National endowment fund for Culture and the Arts, and

for other purposes, in support of cultural preservation. It was stipulated in

SECTION. 7. Preservation of the Filipino Heritage. It is the duty of every citizen

to preserve and conserve the Filipino historical and cultural heritage and

resources. The retrieval and conservation of culture and history shall be

vigorously pursued. In addition, Section 12. Mandate. The Commission is hereby

mandated to formulate and implement policies and plans in accordance with the

principles stated in Title I of this Act; d) To preserve and to integrate traditional

culture and its various creative expressions as a dynamic part of the national

cultural mainstream, it shall: 1) help set up or encourage, monitor and subsidize

companion systems at the regional, provincial and local levels, intended to

develop traditional cultures such as arts/crafts centers, preferably in community

settings apart from the usual museums settings, where exponents of living arts

and crafts can practice and teach their art and enrich contemporary designs; 2)

encourage and subsidize cultural research and the retrieval of cultural research

information (e.g. folklore, dance, music, crafts) through the training of students,

teachers, and cultural researchers, and their revitalization by practice and

performance.

Related Literature

10
 Allan Johnson (1996) said that culture is the sum total of symbols, ideas,

forms of expressions, and material products associated with a system. It is a

dynamic medium through which societies create a collective way of life reflected

in such things as … dance.

Cultural awareness is one’s ability to stand back from where he or she is

to become more aware of cultural values, beliefs and perceptions. Strengthening

and preserving these values, beliefs, and traditions can pose a great challenge

especially today when culture has become vulnerable because of globalization.

To the call of globalization, the Philippines is responding well, but in no time,

efforts towards cultural awareness might be at risked because of the tough

competition from media and the technological landscape that surround the young

generations. (Bengwayan, 2008)

While it is true that people today should acculturate themselves to the

growing world culture, all the more a global citizen must not sacrifice one’s own

culture. It is in their own cultural awareness that they learn moral and ethical

dispositions, which can guide the understanding of individuals or groups of local

and global contexts, and remind them of their relative responsibilities within

various communities. (Bartle, 2010)

Preservation of culture includes documenting and studying languages;

preserving and restoring relics significant to a culture or heritage; and

encouraging the preservation and use of indigenous or tribal languages and

rituals. The term encompasses several activities surrounding maintaining ancient

cultures from large nations all the way down to small indigenous tribes.

11
Discussion of cultural preservation does not happen enough. The lack of

awareness is causing (languages and) cultures to die out, a notable loss for

humans as a species. (Day Translation, 2017).

Dance Heritage Coalition, Inc. (2006) stated that dance being the highest

form of art receives the least number of research outputs, merely, because of the

lack of availability of resources as well as very few individuals who are

passionately want to do research and documentation. The organization also

noted that “with good record-keeping of the role of dance in art and culture,

scholars can better develop both the theory and the criticism that will ensure

dance’s place in the academe”.

Philippine folk dance mirrors the culture and tradition of the Filipinos. It

has also been a source of culture identity of the people. In this diversified

country, there are also great diversity of dances in different forms and dynamics

that grow out of various times, situation and experiences. (Aquino, 1960)

The history of Philippine folk dancing influences from immigrants and

conquerors while at the same time maintaining distinctly Filipino roots. Philippine

folk dancing is a true reflection of daily life in past centuries while enchanting

modern audiences at the same time. There is no recorded ‘start’ to Philippine folk

dancing. In fact, their mythology is filled with many different gods and goddesses

that needed to be placated, implored, or thanked for various natural events like

rain and harvests. Many of these festivals still feature ancient folk dances

performed in costume of the tribal period. Further, Philippine folk dances are a

celebration of daily life, health, peace, war, harvest times and other aspects of

12
life. According to the National Commission for Culture and the Arts, Philippine

folk dances imitate nature and life because they are rituals for social and spiritual

expression. Various types of animal movements, such as those of fish, crabs,

snakes and monkeys, have been incorporated into the choreography of folk

dances. The movements enliven the dances and demonstrate a zest for life.

However, dances also are religious ceremonies. Since Filipino people both fear

and revere nature spirits and their ancestors, they have created several folk

dances to honor them. Interestingly, Philippine folk dances exist for nearly all

aspects of life. (Philippine Folk Dance, n.d.)

Related Studies

The study of Purlan et al., (2014), on Strengthening and Preserving

Practices of Philippine Folk Dances in Relation to Cultural Awareness of

Secondary Students of Davao City reveals the following results: Cultural

awareness is the foundation of literate national communication. It involves one’s

ability to stand back from where he or she is to become more aware of cultural

values, beliefs and perceptions. Strengthening and preserving these values,

beliefs, and traditions can pose a great challenge especially today when culture

has become vulnerable because of globalization. It is on this ground that this

study was conducted to determine the levels of practices in strengthening and

preserving Philippine folk dances and general knowledge of folkdances as a

13
measure of cultural awareness of secondary students of Davao City. The

respondents of the study were the 37 MAPEH teachers and 1,896 secondary

school students of School Year 2011-12 teaching or enrolled, respectively, in

public high schools in three congressional districts of Davao City. The mean was

used to describe the levels of practices concerning the strengthening and

preserving of Philippines folk dances and Pearson-r was employed to test the

relationship between each of these variables and cultural awareness. A

researcher-made survey questionnaire was constructed and tested for validity

and reliability. A 20-item multiple choice test was also administered to the student

respondents of the study. Findings revealed that there is a high level of

strengthening and preserving practices for Philippine folk dances with an overall

mean of 3.69 and 3.64, respectively, and level of cultural awareness of students

is good as quantified by a mean score of 11.03. Further, strengthening practices,

such as being careful but allowing students to explore Philippine folk dance, was

encouraged while preserving practices, such as resisting any alteration of folk

dances and reading literature before the dance, are also prevalent among

MAPEH teachers. On the other hand, students are more knowledgeable of the

dance literature than about folk dances. However, strengthening and preserving

practices by the MAPEH teachers have no significant relationship with the

general knowledge as a measure of cultural awareness of the student of

Philippine folk dances.

Maturo et. al. (2013) studied the Role of Folk Dance in the Processes of

Individual and Social Wellbeing: A Comparison with Other Popular Recreational

14
Activities Through Models of Decision Theory and Game Theory, thus resulted

with the following outcomes: A qualitative and quantitative study, in which the

individual benefits and social benefits of folk dance are compared with those

obtained from the most popular recreational activities and regenerative

properties, physical and mental, individual and social, is presented. Our starting

point consists in the definition of the basic objectives of each individual for

achieving the physical and mental wellbeing and a satisfactory placement in a

pleasant and stimulating social environment. Moreover, we compare some bodily

activities, mental and otherwise designed to get these goals. Our present study is

based on a qualitative analysis, quantitative models of decision theory, and a

collection of opinions of experts and practitioners. In this framework we show that

both subjective and objective benefits of folk dance practice are higher than

those deriving from other activities taken in consideration, with respect to the

same set of objectives. Furthermore, the folk dance has positive effects over the

individual in the strict sense (improvement of physical and mental activities and

personality) and in his relations with others. Our interpretative hypothesis of the

achieved results is that the folk dance has some specific features that are

present only in part in other activities, characteristics linked to the intimate nature

of human beings that integrate and enhance each other.

Tingzon of 2011, studied Sociocultural and Affective Factors and Creative

Dance Competence Among Instructors of Selected High Schools in Leyte. The

study aimed to find out the relationship of the socio-affective factors and creative

dance competence among instructors of selected high schools in Leyte Division.

15
Dance instructors from different public and private high schools in the Leyte

Division were the respondents of the research. With the use of purposive

sampling, both the private and public schools in Leyte Division were included as

the respondents of the research. They were selected on the basis on their

participation on the seminar workshop on the teaching of dance. Data were

culled using three sets of instruments, and were analyzed using descriptive and

inferential statistics.

The findings of the study revealed that the respondents’ overall attitude

towards dance is favorable, and their overall self-esteem rating is moderate.

Their overall creative dance competence level 2, 3, 4, which is interpreted as a

fair level of creative dance competence. Sociocultural factors and affective

factors have significant correlation to the level of creative dance competence. All

the sociocultural factors have significant correlation to the respondent’s attitude

towards dance and self-esteem. The significant correlation between the

sociocultural factors in the level of creative dance competence among instructors

implies that dance education and training in the future should consider such

factors in order to achieve better outcomes.

The study recommends that dance education and training should

consider sociocultural, affective and competence in order to achieve better

outcomes in the creative dance endeavor of instructors in selected high schools

in Leyte. Other methods of measuring dance competence such as the use of

rubrics should also be tried out and consider other variables. Dance curriculum

planners and program coordinators may integrate the cultivation of positive

16
attitude towards dance and the development of self-esteem before accepting

new participants in a dance program.

Downey, in 1994, investigated children’s attributions for their performance

in creative dance and folk dance. Eighty-six grade 5 and 6 children from a

suburban of elementary school participated in five creative dance and five folk

dance lessons as part of their regular physical education program. After

participation in each dance type, children completed a questionnaire which

assessed their perceived success and attributions for their performance. After

rating their perceived success in creative or folk dance, children gave an open-

ended attributional statement for their performance and then their statement

along the four casual dimensions (personal control, low cost of casualty, stability,

eternal control).

In the said study of Downey (1994), thirteen dance lessons were video-

taped and the teacher’s behavior was analyzed. Results showed that children in

both creative and folk dance tend to: (a) perceived their performance as

successful, and (b) make functional attribution by attributing their performance to

factors which they perceived as being personally controllable, internal, and not

under the control of other people. Results indicated no significant effects on

dance type or gender for perceived success and the four casual dimension.

However, two significant effects were found for grade, as the grade 5’s perceived

their performance to be more successful than the grade 6’s, and also attributed

their performance to factors that were less under the control of other people.

Results from children’s open-ended attributional statements and the

17
observational recordings of the teacher’s behavior supported the notion that

creative dance and folk dance are two distinct forms of dance. The overall results

appear to have a positive implication with respect to the influence of creative

dance and folk dance on the motivation of children.

CHAPTER III

METHODOLOGY

This chapter will present the research design, research locale, research

participants, research instruments, data gathering procedures, analysis of this

study.

Research Design

This study will utilize qualitative narrative research. Qualitative study,

according to Zainal (2007), enables one to closely examine the data within a

18
specific context and selects a small geographical area or very limited number of

individuals as the subject of the study.

Qualitative research is an approach for exploring and understanding the

meaning individuals or groups ascribe to a social or human problem. The

process of research involves emerging questions and procedures, data typically

collected in the participant’s setting, data analysis inductively building from

particulars to general themes, and the researcher making interpretations of the

meaning of the data. The final written report has a flexible structure. Those who

engage in this form of inquiry support a way of looking at research that honors an

inductive style, a focus on individual meaning, and the importance of rendering

the complexity of a situation. (Creswell,2013)

Qualitative narrative research is a design of inquiry from the humanities in

which the researcher studies the lives of individuals and asks one or more

individuals to provide stories about their lives (Riessman, 2008). This information

is then often retold or restoried by the researcher into a narrative chronology.

Often, in the end, the narrative combines views from the participant’s life with

those of the researcher’s life in a collaborative narrative (Clandinin & Connelly,

2000).

Further, it seeks to find out how aware and in what ways do the

Buraweños preserve the dance. That is despite of the fact that the new

generation is surrounded by foreign influences such as media, technology, and

the likes.

19
 This study will utilize snow ball sampling. According to WamBaleke,

(2018), snowball sampling is a type of sampling where the researcher selects

one or more research participants who will fit the selection criteria. This is used

usually when the researcher doesn’t know well the people that he/she wishes to

include in the research study. Once one or two participants are identified, the

researcher simply requests them to help find other potential research participants

that will meet the present selection criteria. As sources of our data, the

researchers will conduct an interview to each targeted participants. This will be

done on one-on-one basis between the researcher and the research participant.

Participants will be questioned through a researcher-made interview-guide

questionnaire. Demographic profile will be inquired yet name will be optional, as

well as age, gender, race, education, profession, occupation, and marital status.

Pictures will also be taken (optional) while conducting the interview specially if it

will be relevant to the research project.

The variables that will be considered for analysis are demographic profile

response of the participants regarding status of the cultural awareness following

areas of concern: knowledge of Pandanguiado Buraweño dance, attitudes

toward the Pandanguiado Buraweño dance, and involvement in strengthening

and preserving Pandanguiado Buraweño. The same participants will declare their

levels of practices in strengthening and preserving Pandanguiado Buraweño.

Research Locale

20
 This study will be conducted in Burauen, Leyte because Pandanguiado

Buraweño originated from this place. This study aims to know the origin, the

existence and awareness of, and how they preserve their folk dance.

Map 1. Map of Burauen, Leyte where Pandanguiado Buraweño originated

The locale of the study will be residents of and from Burauen, Leyte. They

will be selected participants that will limit to 20 Buraweños including elder citizens

of Sta. Ana Street Poblacion District 1, La Purisima Street Poblacion District 2,

San Juan Street Poblacion District 3, selected members of Burauen South

District Dance Troup, selected teachers of Burauen Comprehensive National

High School, and selected Municipal Officials who are currently serving.

Research Participants

The participants of this research will be the residents of and from Burauen,

Leyte. They are those who are residing and formerly resided in Burauen, Leyte.

Also, dance practitioner’s or person or group of persons engaged in actual

dancing profession, teachers and community officials who are employed and

21
serving the municipality of Burauen. The researchers choose these participants

because they are the ones who are directly affected in the folk dance awareness

and preserving practices of Pandanguiado Buraweño.

Research Instrument

The instrument that will be used in this study will be a research- structured

interview guide. The interview guide contains questions that are open-ended in

which according to Martin (2016) with prompts, provides the interviewer to ask

the clarification or further information if necessary. The answer to the questions

undergone an in-depth analysis of the study in order to find out answers as to

how aware, and in what ways of preservation do the residents of Burauen, Leyte

will take into action.

Data Gathering Procedure

Prior to the actual field interview of this study, one of the group members

will conduct a pre-survey visit to the research locale for them to know as to when

is the available and convenient time of the participants for the actual interview. A

letter will be given to the Municipal Mayor signed by all members of the group

and by the research adviser to realize all the necessary activities.

Before the interview, the interviewer will ask permission about the

participants’ confidentiality of their names, if they will remain anonymous or just

use their real name in this study. The interviewer will also ask if he can record the

entire duration of the interview. During the interview, the interviewer will use

audio and visual recording tools in order to assure accuracy and not to miss any

single detail of information from the interviewees in case the secretary will not be

22
able to follow writing the answers the participants. Transcription of recording will

automatically be done by the other members of the group so that, they can

analyze and easily record the information in soft and hard copies.

Only one interviewer of the group will conduct the actual interview for the

purpose of not repeating questions by and not be bias in the pattern of

interviewing. There will be persons assigned in recording audio, video,

transcription, analyzing and encoding the information coming from the

participants. This will be done on a two-day schedule visit since the research

locale and availability of the participants is very far to some researchers.

Data Analysis Procedure

Qualitative data analysis will be done after the intensive and

comprehensive interviews.

The transcripts will be broken down into more specific information and will

be analyse using Collaizi’s seven steps of data analysis.

The Collaizi’s process of data analysis involve the following steps

(Saunders, 2003; Speziale & Carpenter, 2007)

1. The transcript should be read and re-read in order to obtain a general

sense about the whole content.

2. For each transcript, significant statements that pertain to the study will

be extracted. This statement must be recorded on a separate sheet of

paper noting their line and page number.

3. Meanings should be formulated from this significant statement.

23
 4. The formulated meanings should be sorted into categories, clusters of

themes, and themes.

5. The findings of the study should be integrated into an exhaustive

description of the study.

6. The structure of the phenomenon should be described.

7. Finally, validation of the findings should be sought from the research

participants to compare the researcher’s descriptive results with their

experiences.

And until there is no significant answers extracted from the participants.

Ethical Considerations

The researchers will make further arrangement from the different target

participants concerned for the conduct of the study in their respective places,

regarding the schedule of administering the research instruments.

 Know the availability and convenient time of the participants. One of the

group members will conduct a pre-survey visit to the research locale for

them to know as to when is the available and convenient time of the

participants for the actual interview.

 Letter will be provided for the municipal mayor. A letter will be given to the

Municipal Mayor signed by all members of the group and by the research

adviser to realize all the necessary activities.

 Confidentiality of the participant’s names. The interviewer will ask

permission about the participants’ confidentiality of their names, if they will

remain anonymous or just use their real name in this study.

24
  Ensure privacy and anonymity of the participants. The interviewer will tell

the participants that pseudonyms will be used if there is a need to mention

participants.

 Ask permission to record the entire duration of interview. The interviewer

will ask if he can record the entire duration of the interview.

 Only one interviewer will conduct the interview. Only one interviewer of the

group will conduct the actual interview for the purpose of not repeating

questions by and not be bias in the pattern of interviewing.

Treatment of Data

The data gathered will be analyzed and used by the researchers and shall

be the means to develop a narrative exposition of the findings on determining the

status of awareness of Pandanguiado Buraweño dance following the areas of

concern; on the knowledge of Pandanguiado Buraweño dance; on the attitudes

toward the Pandanguiado Buraweño dance; on the extent of involvement in

strengthening and preserving Pandanguiado Buraweño; and on the level of

practices in strengthening and preserving Pandanguiado Buraweño.

CHAPTER 4

ANALYSIS, RESULTS AND DISCUSSION

This chapter presents the findings about the data analysis, results and

discussion drawn out from the answers of the participants during the interview. In

the analyzed data, the different responses from the interview were classified into

25
themes. These themes are directly connected to the research questions.

Selected quotes are included to assist the development of the themes.

Knowledge of Pandanguiado Buraweno.

Knowledge and awareness of Pandanguiado Buraweño was highly

recognized in Burauen, Leyte by teachers because they are the ones who had

first-hand experienced the dance. Some of them have met, were taught and

became students of Mr. Bernardo Pedere. Most of these participants have

danced the Pandanguiado Buraweño. They are the ones that had major

awareness or knowledge of Pandanguiado Buraweño.

Effron (2004), asserts that given the definition of knowledge as “the fact or

condition of knowing something with familiarity gained through experience or

association”, it is “impossible to acquire “knowledge” without either experiencing

something yourself or interacting with someone else who has”. The following

participants are those who have danced the Pandanguiado Buraweño. They

showed great knowledge of the dance.

According to Participant 3, “yes, we danced it when I was in elementary

and in high school also (pause) Elementary (pause) 19- (pause) I was in grade 3

or grade 4. 1984. No, 6 years ano ha elementary? So I graduated at 1990. So

mga 1988 something. Tapos han high school gehap”.

(Yes, we danced it when I was in elementary and in high school.

Elementary, 19-- I was in grade 3 or grade 4. 1984. No. 6 years in elementary

26
right? So, 1998 something and then during high school too). She learned the

dance through her teacher.

According to Participant 4, a retired teacher of Burauen Comprehensive

National High School, “Yes, it’s from Burauen and the first to have this dance is

my former teacher Mr. Bernardo Pedere.” According to her she performed the

dance during her 2nd year college.

According to Participant 6, “I learned the dance when I was in elementary

because we used in a contest”.

And according to Participant 7, “As far as the literature is concerned

Burauen talaga kaya nga Pandanguiado Buraweño hiya. Me and sir Herbert

were given the opportunity to dance Pandanguiado Buraweño through Sir

Bernardo Pedere.

Theme 1: The Origin of Pandanguiado Buraweño.

Dances can be identified after their places of origin, like "Pandanguiado

Buraweño is from the town of Burauen, island of Leyte.” (Society of Folk Dance

Historians, n.d.)

Pandanguiado Buraweño is a dance that originated from Burauen, Leyte.

It was not accidentally named after Burauen. Names are so special that people

carefully chose a term for it for they believe that it speaks of who that person,

(what that) thing or (where the) place is. It is a reflection of their values and

aspiration that define who they are. (Alsena and Bravo, 2016)

Researchers found out that there is no other place in the Philippines that

has a name Burauen or Burawen. This supports the idea that the dance did really

27
came from Burauen, Leyte. Taken from the book, Philippine Folk Dances’

historical background of the dance Pandanguiado Buraweño, it is a popular

festival dance in the province of Leyte and Samar. This particular dance

originated in Burauen, Leyte and is usually performed by prominent and skillful

dancers at big social functions and important gatherings. (Aquino, 1960) Also, in

the book of Aquino, Volume V, in the acknowledgement section, Mr. Bernardo

Pedere was one of the names mentioned as source of knowledge of the dances

compiled by the author. According to Mr. Bernardo Pedere, Pandanguiado

Buraweño is like Pandango. It’s derived from the Spanish Dance Pandango.

Pandango is a lively couple’s dance. It is a courtship dance. Clearly from the

statement of Mr. Pedere, “Pandanguiado is like Pandango. Buraweño is

Burauen.” Therefore, Pandanguiado Buraweño means dance from Burauen or

dance of the Buraweños.

Furthermore, as to the characteristics of the dance, according to Aquino

(1960), it was an interesting and colorful dance that they danced with so much

spirit, altogether different from the dances the local folk were used to seeing. It

was well liked by all and became popular not only in that place but also in other

towns of Leyte and Samar. The following statements from the participants are

found connected to the characteristics of the dance.

According to participant 1, “It’s a way of courtship, para ha akon. Kay an

iya steps, movements, gestures, is like courting a lady”.

28
 Participant 2, “Pandanguiado Buraweño ginpapakita ini an mga Leyteños.

Akon pakabaro hini ginpapakita hini an kinabuhi han mga Burawanon.

Ginpapakita ini han dancing. Ha courtship ini hiya nga klase nga sayaw”.

Also, according to participant 6, “Pandanguiado…it’s a courtship dance”.

Theme 2: Pandanguiado is a courtship Dance

It is said that folk dances are '' planned and regular movements, which

reflect the cultural values of the society to which it belongs, which express an

event, a happiness or a sadness, which is accompanied with the music

(accompanied by a musical instrument or without a musical instrument by

drumming with organs such as hands, feet etc.) that is performed by a single

person or a group'' (Eroğlu, 1999). So, researchers have tried to find study as to

the meaning of the dance. The following are excerpts from the interview of the

participants as well as Mr. Bernardo Pedere.

According to Mr. Pedere, “the main step is like Pandanggo but the main,

the core of the dance is my own because I want to get all the basics, all the

popular steps, all the style comes from me… don’t ever dance this if you are not

aware what this, why is this called Pandanguiado Buraweño...Pandanguiado

Buraweño is like Pandango. It’s derived from the Spanish dance Pandango.

Pandango is a lively couple’s dance. It is a courtship dance.”

According to participant 8, “Pandanguiado Buraweño ginpapakita ini an

mga Leytenos. Akon pakabaro hini ginpapakita hini an kinabuhi han mga

Burawanon. Ginpapakita ini han dancing. Ha courtship ini hiya nga klase nga

sayaw.”

29
 According to participant 6, “Pandanguiado is a local dance from Burauen.

It’s a courtship dance”.

Theme 3: The Proponent of Pandanguiado Buraweño Dance

Mr. Bernardo Pedere is the acclaimed Father of Pandanguiado Buraweño.

Born in Burauen, Leyte on the 11th of November 1932. He is a descendant of

Burauen, a family that are dance enthusiasts. Later he migrated to US due to

need of work. He was a dancer, a choreographer, and a member of a well-known

dance troupe or dance company which is the Filipiniana Dance Troupe (whose

name means “things Philippine”) which was formed in 1969. A group that

originally started with four couples. Their group has performed during Pope John

Paul’s visit to San Francisco and the Golden Gate Bridge 50 th Anniversary. Mr.

Bernardo Pedere and the group performed in 1998 for the Traditional Arts

Program of the California Academy of Sciences. (worldartswest.org, n.d.)

Bernardo is a former dancer with the National Philippine Dance Company

and through his efforts, a dynamic cultural immersion sustained Philippine

cultural practices among all members of the dance company and their families,

extending a legacy for future generations. Bernardo said: “In essence, Philippine

30
folk dances capture the mood, character, and temperament of the people of the

7102 island archipelago bonded by the multi-cultural fabric of a variety of

influences”. (worldartswest.org, n.d.)

He is not only a local choreographer but also have been an international

choreographer in the US. He was an awardee of the World Arts West: The

Malonga Casquelourd Lifetime Achievement Award for Excellence in Ethnic

Dance and Music on June 11, 2016. Mr. Bernardo did not just make

Pandanguiado Buraweño. Dances that Mr. Pedere has taught include Alahoy,

Alegrito, An Marol, Ba-Ingles, Baruray, Binislakan, Esperanza, Himig Sa Nayon,

Jota Pangasinana, Jotabal, Lubi-Lubi, Magkasuyò, Manang Biday, Panchita,

Paso Doble, Paso Doble Buraweño, Polka sa Nayon, Polka Sala, Pukol,

Sakuting, Tacon y Punta Danza, Tiklos, and Tinolabong. (worldartswest.org, n.d.)

Researchers were given privileged to interview the proponent. During the

interview, Mr. Bernardo Pedere is freely giving statements regarding

Pandanguiado Buraweño and his stories of success as well. He is already 87

years old at this time. Due to his age, his memories are somehow unstructured

yet the information, the researchers incurred from him are very essential in

strengthening the claim of authority and proprietor of Pandanguiado Buraweño

dance. According to him when the dance Pandanguiado Buraweño was

renowned Dr. Francisca Reyes Aquino made ways to meet him.

“Mrs. Aquino, Francisca Reyes Aquino, is the foremost authority of

Philippine Folk Dance. When I went to college, who is Bernardo? She went to

Burauen primarily to see and meet me because Burauen…I hate to keep saying,

31
Bernardo is making a name. He is known. Burauen is known because of the

dances I’ve introduced and choreographed and popularized.”

Theme 4: Pandanguiado Buraweño Is from My Native Members of Family

For the purpose of creating the dance, the researchers will try to answer.

While conducting the study, researchers formulate an idea that would somehow

trace as to how Mr. Pedere and Francisca Aquino became acquainted and how

Pandanguiado Buraweño dance came to be. These facts will support the

construct ideas of the researchers.

Francisca S. Reyes-Tolentino Aquino, the mother of Philippine folk

dances, began her search for folk dances as “early as 1921 to 1923, Francisca

began her search for folk dances to use it in classes while she was a Student

Assistant in Physical Education. She traveled to remote barrios (rural

communities) in Central and Northern Luzon. In 1924, she became an Assistant

Instructor. She quickly saw that, with further impact of Western culture, many

dances would be lost or extensively modified.” (society of folk dance historians,

n.d.)

“Later on, she was asked to chair a committee at the university that

would go to the most remote areas of the Philippines to gather material directly

from the old people who used to dance them in their younger days. The

hundreds of dances were collected and transcribed with close attention to their

authenticity and local color, then presented to the Manila public at various dance

recitals. The university offered dance classes in the physical education

32
department and a folk dance troupe was formed that toured the provinces to

acquaint the people with the various folk dances of the country.” (society of folk

dance historians, n.d.)

On the other hand, the following statement of Mr. Bernardo Pedere were

found connecting to the research where Aquino was asked to do.

“Yeah, I research it and it became popular”. – Mr. Bernardo Pedere also

conducted research about the dance.

“Pandanguiado Buraweῆo is from my, ah, well primarily from, ah… my

native ah… members of family and Pandanguiado is like Pandango” - states that

Bernardo Pedere had this dance in his family or his relatives and friends. Where

the researchers have theorized that, his family, relatives and friends where the

pioneers of this dance.

“Mrs. Aquino, Francisca Reyes Aquino, is the foremost authority of

Philippine Folk Dance. When I went to college, who is Bernardo? She went to

Burauen primarily to see and meet me” – this statement proves that they have

met.

“I don’t give the authority to somebody who want to introduce my dance if

you don’t hook it on to style like you saw it somewhere and then do it the way

they would and it has to come from my own step. It has to come from my own

style. The hand movements the fluent hand movements” – the statement shows

that Mr. Bernardo Pedere has the authority of the dance. The declaration that the

movements of the dance as his own, and the steps must not be modified

33
because he does not authorize it. Therefore, stating himself as the author of the

dance.

“The main step is like Pandanggo but the main, the core of the dance is

my own because I want to get all the basics, all the popular steps, all the style

comes, from me.”- states the purpose how movements of the dance came to be.

He explains how Pandanguiado was made and his inspirations, where he

integrated some movements where inspired from the dance, Pandanggo

(Fandanggo) of Spain, to be specific.

“Don’t ever dance this if you are not aware what this, why is this called

Pandanguiado Buraweño. Pandanguiado Buraweño is like Pandango. It’s

derived from the Spanish dance Pandango”. Pandango is a lively couple’s dance.

It is a courtship dance.” – states a clear definition of the meaning of the dance

from the author itself.

“I am very proud that this is my dance.” – a closing statement from the

proponent with sense of ownership.

II. Attitude of the People of Burauen towards the Pandanguiado

Buraweno

34
 Participants of this study who have great knowledge of Pandanguiado

Buraweño are very proud of what has become of the dance. It is eminent in

Philippines as well as other countries. Therefore, there is a need to preserve the

dance because it does not only contribute to local identity but national culture

identity as well.

Theme 1: Preserve Pandanguiado Buraweño for the Coming Generation.

The need to preserve the dance is important. Cultural heritage affirms our

identity as a people because it creates a comprehensive framework for the

preservation of cultural heritage including cultural sites, old buildings,

monuments, shrines, and landmarks that have cultural significance and historical

value. Culture and its heritage reflect and shape values, beliefs, and aspirations,

thereby defining a people’s national identity. It is important to preserve our

cultural heritage, because it keeps our integrity as a people. (Austalian

Multicutural Foundation, n.d.)

According to participant 1, “(I’m) proud siyempre”. When researchers

asked if he wishes the dance to be preserved, he replied, “of course yes, para an

matiarabot na mga henerasyon mabaro ngan makasabot.”

In addition to that, participant 2 also said, “Baga nalilipay ako kay siring pa

mayda tatak it Burauen ha culture. I’m very much thankful kan sir Pedere nga iya

ini natagan gihapon in panahon nga magka may ada hin dungog or tatak it

Burauen ha larangan hin cultural arts”.

35
 According to participant 4, “We, Buraweños should be proud for we have

our own dance. Very much proud talaga. We should be aware that this dance will

not be forgotten. Even from one generation to generation.”

According to participant 3, “Being a Buraweña, I feel proud that we have

our own. We have a dance that originated in our town.

According to participant 6, “Parang it’s fulfilling na I know” and he wishes it

to be preserve, “Yes, because it’s part of our culture.”

Theme 2: Preserve Pandanguiado Buraweño from Alteration

Due to the influence of other culture, she, Francisca Reyes Aquino,

quickly saw that, with further impact of Western culture, many dances would be

lost or extensively modified.” (society of folk dance historians, n.d.)

Participants said that Pandanguiado Buraweño dance in Burauen is

modified, rarely performed and in the long time run “may be” forgotten. This

analysis is grounded on the following statements.

According to participant 2, “Nanunumdum pa ako pero diri baga an

authentic type of dance kay gin modify na ini”.

Researchers deliberate what the participant meant was there had already

been modifications made to the dance Pandanguiado Buraweño due to the

influence of the culture of others. This may include knowledge, technology, etc.

According to participant 3, a teacher, forty-one (41) years old,

Pandanguiado Buraweño is only performed during special occasions in Burauen

Leyte. She said, “When I was in high school. Before, we had cultural

36
presentation. Now, we have retro and the likes. Before, it was pure cultural

dances. Waray-waray songs were sang. I was in third year.”

Researchers contemplate that Pandanguiado Buraweño was performed

often in school programs during her younger years and so with other cultural

dances. They were more on to cultural dances. However today, youths’ choice of

dance during special occasions in schools are more on contemporary dances.

They choose to showcase trendy music and dance. Cultural dances are least

presented.

Another statement from Participant 5, who is an SPA teacher, when asked

if Buraweños know this dance she answered, “Just a few kasi hindi talaga siya

sinasayaw often.”

Researchers opinion is Pandanguiado Buraweño will not continue to exist

in Burauen, Leyte if few only knew the dance and if the young generations don’t

know the dance, what will become of the coming generations. How will they

learn.

According to participant 6, this dance is no longer performed in fiestas or

special occasions in Burauen. “Parang hindi because festivals man an

‘ginkukuan’ hin priority.”

Researchers think that Pandanguiado Buraweño is dying due to the

influence of other dances like festival which is now being given more priority in

Burauen, Leyte.

According to participant 8, “Baga diri, diri gud hiya. Pero kun ipapaagi

hiya ha school based competition napupuydi. Pero masiring nga ginprapraktis?

37
Amo iton nga usa nga plano ha tourism specially nga baga adi man ako hini nga

linyada an pagsayaw nga amon talaga ini paniniguruhan nga aton ini mapreserve

nga sayaw labot la han Pandanguiado Buraweño”.

Researchers think that Pandanguiado Buraweño is hardly known to

Burauen residents specifically the students or the young generation but if there

will be programs of the LGU such as cultural dance competition in Burauen then

maybe there will be more awareness of the dance.

Researchers conclude that in order to restore Pandanguiado Buraweño,

the knowledge and awareness of the dance, education is one of the means of

restoring it. Schools and the LGU are responsible in transmitting the culture of

the nation as well as the local heritage. Also, magazines, books and other

means of literature, if circulated, promoted, or publicized can help revive

Pandanguiado Buraweño dance.

According to participant 2, “As of now amon ini task talaga nga ipaabot

ngadto han mga iskwelahan kay amo talaga ini it magdudumara hit

Pandanguiado Buraweno. To educate ini nga mga kabataan”.

According to participant 3, “If the teacher will keep on performing the

dance, teaching to the students then it will be preserved. And it should be also

available in magazines or books. And that is locally circulated in our town to

promote. Dapat ganon.”

According to Crystal, 1987 & Schutze & Stuffer, (2007) influence of other

culture depends on the willingness of the people to adopt it. The rate of change

depends on the number of people in the community embracing it. The more

38
members willing to adopt the new culture the greater possibility of affecting it

(culture).

III. Perpetuation Means of Burauen Municipality to Preserve Pandanguiado

Buraweño with the coordination of the Local Government Unit and Schools
in Burauen.
Researchers have observed that the Municipal of Burauen is making ways

to preserve the Pandanguiado Buraweño dance and all cultural related matters

related to Burauen. A nationwide program called Culture Mapping is trailed by

the municipality of Burauen for the reason of exploring, gaining and expanding

their historical knowledge of the said place leading to the preservation of their

culture.

Culture awareness and preservation programs will be successful when the

community comes onward to support, encourage and start cultural heritage

interconnected activities. This is conceivable when the native individuals to whom

the heritage have its place comprehends its principles, values, takes pride and

create a sense of feeling right (Shankar & Swamy, 2013).

Theme 1: NEDA Philippine Development Plan

According to participant 8, “We will have because eventually kasi there is

a law. There is a memorandum circular given by the DILG, tapos an ira ito source

is the Philippine Development Plan of 2017-2022. Chapter 7 of the that

development plan is about our cultural heritage where in all municipalities,

LGU’s, cities, and provinces, everything are being enjoined to at least make a

39
budget a portion of that for the preservation of cultural heritage because cultural

heritage of a place because it depicts a story of who we are and of that place”.

Theme 2: Culture Mapping

According to participant 2, “Ada na kami ha parte siring pa hit siyahan nga

pitad para kami mahingadto hit amon mga plano. Pero damo talaga it aton yana

diri la tubtub han mga sayaw kundi nagka may ada na kita pitad kay nag kuan na

kita hin cultural mapping pati an aton mga kinaiya, an atun mga patutuo-patutuo,

and then kinabuhi han hadto kun ano gud kita nga klase, anon aton mga

gintulinan as Burawanon. So amo iton nga nag ka may ada na kita cultural

mapping na pinangungunahan hit tourism office dinhi Burauen ngan kaupod

natun ini an mga brgy. officials, committee on tourism, tikang ha academe, ngan

labi labi na yana baga nag burubaskug na ini ngan masmaupay an pag research

kay kaupod na an mga SK. So kaupod na ini hira. At the same time ini nga

kabataan gintagan namun hin higayun nga hira talaga an magmamangulo hini

nga research kay para hira mismo masayod kun ano an mga gintulinan han

Burauen”.

Theme 3: Preservation through Education

Education is an endless course of learning, particularly in school, college

and university; it is a continuous process of assisting in the gaining of knowledge,

ideas, values, skills, beliefs, theories, and habits (Dewey, 2008). Davis, (2000)

define education is a principal approach for transferring society’s knowledge,

morals, ethics, values, principles and beliefs.

40
 In a paper “Multiplicity of School Functions in the New Century” presented

at the conference jointly organized by Educational Research Association

Singapore and Australian Association for Research in Education, Yin Cheong

Cheng (1996) suggest that there are multiple school functions and these includes

the cultural function. It refers to the contribution of schools to cultural

transmission and development at different levels of society. At the institutional

level, schools act as a place for systematic cultural transmission to and

reproduction of the next generation, cultural integration among the multiple and

diverse constituencies, and cultural revitalization of the outdated poor traditions.

According to P5, to preserve the Pandanguido Buraweno dance, “I am

more so nga igintutudo ko iton. At the same time gin-e-encourage ko talaga it

akon mga co-teachers’ ha MAPEH nga igtutudo talaga iton.

(In our locality, yes I am. More so because I teach it at the same time I

encourage it to my co- teachers in MAPEH to teach it as well).

According to participant 2, “As of now amon ini task talaga nga ipaabot

ngadto han

mga iskwelahan kay amo talaga ini it magdudumara Pandanguiado Buraweno.

To educate ini nga mga kabataan”.

According to participant 3, “If the teacher will keep on performing the

dance, teaching to the students then it will be preserved. And it should be also

available in magazines or books. And that is locally circulated in our town to

promote. Dapat ganon”

41
 Researchers conclude that in order to restore Pandanguiado Buraweño,

the knowledge and awareness of the dance, education is one of the means of

restoring it. Schools are responsible in transmitting the culture of the nation as

well as the local heritage. Also, magazines, books and other means of literature,

if circulated, promoted, or publicized can help revive Pandanguiado Buraweño

dance.

The learning of culture takes place through language(education). These

things are shared and transmitted from generation to another through the

process of socialization. (Panopio et al, 1992)

Theme 4: Special Program in the Arts

One of the mandates of the Department of Education (DepEd) is to

preserve and teach the arts to subsequent generations of artistically-inclined or

adept pupils and students. In line with this, DepEd implements a special program

for the arts in selected schools in the country. (DO 56, s. 2012)

According to P5, Buraweños preserve the dance, Pandanguiado

Buraweño through a specialization program in school called Special Program in

the Arts or SPA and it is the main goal of Special Program in the Arts to preserve

the cultural heritage of Burauen.

According to participant 7, “Yes. Actually we have our SPA. So, pioneering

iton hira yana. When we had our recital this is clear kay validation man it hiya ha

division. A challenge on my part kay an tutdo han akon teacher ha SPA was the

‘gaway-gaway’ dance. Para natun ma boost it culture hit Burauen, sige ako it

42
matutdo Pandanguiado Buraweno ak gintutdo just for the recital. Gintutduan ko

an mga grade 7 though makuri gad kay grade 7 pala iton."

Theme 5: Dance Troupe and Folk Dance Competitions

Researchers observe that creating dance troupe can help preserve

the Pandanguiado Buraweño dance. According to Suzie Moya Benitez (2015),

folklore and dancing is an integral part of a country’s culture. It shows how

people lived in a particular region or era. It is by showcasing this dance during

fiestas, competitions, and special events in and out Burauen Leyte that they can

promote the dance and make it known to the community. According to Helen

Benitez (2015), founder of the Bayanihan Dance company, the purpose and

vision of the company was to study and bring the story of the Philippines and

make it known to the world—to preserve our tradition. Also, involving the

Buraweños especially those young generations will have a deeper and

meaningful appreciation of their culture through dance. According to participant

1, by involving in an organization such as Burauen South District Dance Troup

(he) can help spread awareness and take part in preserving the Pandanguiado

Buraweño dance. “Ginsasayaw iton namun labi na kun may mga katitirok ngan

imbitasyon. According to participant 2, "Amo ini yana it programa hit Burauen ha

tourismo. Ikaduha nga amon programa amo an education. Amo iton nag

patindog kita hin Burauen Community College. So Usa hiya nga kaparte han

tourismo kay siring pa an pagpakilala anay han bungto through festival amo iton

43
nga pinaningkamutan natun na mag participate han Kasadyaan (festival) kay

amo man gud hiya an baga dapat anay buligan. Kun mag daog ka dida amo tim

pakatamak ha national competition amo an Aliwan. So kun baga adto nga mga

inop nakuha naman namun, natun han Burauen. So magbibiling liwat kita hin

mga higayaon kun ngain pa kita makapagpasalida. Actually mayda na mga

invitation.

Folk Dance competitions can also help the perpetuation of the

Pandanguiado Buraweno dance. According to P5, Burauen has programs in

preserving Pandanguiado Buraweno, “As far as I know, as of now, it looks like its

starting because of activities such as contests…I hope this will sustain”.

According to participant 7, “Yes, seemingly now na observe ko la iton kun

mayda kita dinhi ha aton it fiesta gin ku-an iton hiya nga bagat folk dance

competition somewhat hiton LGU.”

Pandanguiado Buraweño is a dance from Burauen, Leyte, created by a

Burawanon and is a cultural heritage of Burauen and of the nation. To be kept

alive, tangible cultural heritage must remain relevant to a culture and be regularly

practiced and learned within communities and between generations.

Safeguarding measures to ensure that intangible cultural heritage can be

transmitted from one generation to another are considerably different from those

required for protecting tangible heritage (natural and cultural). There is a risk that

certain elements of intangible cultural heritage could die out or disappear without

help, but safeguarding does not mean fixing or freezing intangible cultural

heritage in some pure or primordial form. Safeguarding intangible cultural

44
heritage is about the transferring of knowledge, skills and meaning. (Australian

multicultural foundation, n.d.)

CHAPTER V

CONCLUSSIONS AND RECOMMENDATIONS

This chapter contains the summary, conclusions and recommendations

related to the results of the study.

Summary of the study

In this study, researchers have sought to investigate if people of Burauen
still know about Pandanguiado Buraweño. If they are aware that they have this
kind of dance and if they (Buraweῆo’s) are making ways to preserve
Pandanguiado Buraweño because it’s their own dance and it is part of their
heritage. A reason that should be given great priority in culture preservation.
This study utilized a qualitative narrative design. Researchers conducted
interview to participants particularly people of and from Burauen, Leyte who are
knowledgeable of the said dance.
The following are the themes that emerged from the data gathered;
1. Four themes emerge in relation to the knowledge of the people of
Burauen to Pandanguiado Buraweño. These incudes origin of the
Pandanguiado Buraweño, Pandanguiado is a courtship dance, the
proponent of Pandanguiado Buraweño and the dance came from “my”
native family.
2. Positive attitude was observed from the people of Burauen towards
Pandanguiado Buraweño dance which gives them to the desire to

45
 preserve Pandanguiado Buraweño for the coming generation and from
alteration.
3. The people of Burauen are making ways or means to preserve
Pandanguiado Buraweño. Four themes emerged in relation to the
means of preservation of Pandanguiado Buraweño dance. These
include National and Local Government intervention such as NEDA
Philippine Development Plan, Culture Mapping, Education, Special
Program in the Arts (SPA), and Dance Troupe and Folk Dance
competitions.

Conclusions
Based on the findings of the study the following conclusion were
formulated:
1. Knowledge of the Pandanguiado Buraweño is confined mostly to the
teachers of Burauen.
2. Buraweños are proud of this dance, Pandanguiado Buraweño. At the
same time there is manifestation of worriedness because of the
possibility of disappearance of the dance.
3. The eagerness to preserve to preserve the dance is highly observed.
4. Programs are already formulated and, or deliberated towards the
perpetuation of cultural dances of Burauen.

Recommendations

For the sole purpose to preserve, enrich and perpetuate the

Pandanguiado Buraweño dance which is one of Burauen’s historical and cultural
heritage, this study recommends the following:

1. School administrators, staffs, school heads, principals and teachers of

all educational institutions within Burauen in both elementary and
secondary levels, should formulate and implement a subject mainly
about this heritage that will be taught not only to the SPA students but

46
 to all students in those schools. It is for the purpose of passing to the
younger generation the knowledge and essence of this heritage and
the continuous practice of this dance. Pandanguiado Buraweῆo should
be one of the highlights of the subject MAPEH so that the students will
have a knowledge about their own dance.
2. It must not only be seen on special gatherings or grant occasions. It
must also be performed during school activities and presentations in
ordinary programs or events. Through these practices, residents of the
town of Burauen will be much aware or knowledgeable of the said
dance and to observe appreciation towards the dance.
3. The literature, musical piece, and manuscript of the Pandanguiado
Buraweño dance should be compiled and filed in the municipality of
Burauen and kept within the town's tourism office for preservation.
4. The municipality officials, barangay officials, residents, students and
teachers should collaborate and help each other to create a dance
group or institution that will practice Pandanguiado Buraweño dance
for it to be really preserved and perpetuated.
5. The Municipality of Burauen should have competition that showcase
their own folkdance Pandanguiado Buraweῆo and their other folkdance
to spread awareness to the resident of Burauen, Leyte.

47
 APPENDIX A

Letter of Transmittal

48
 Republic of the Philippines
LEYTE NORMAL UNIVERSITY
MAPEH UNIT
P. Paterno Street, Tacloban City

June 6, 2019

HON. JUANITO E. RENOMERON

Mayor
Burauen, Leyte

Sir,
Good Day!
The undersigned are students of the Leyte Normal University, Tacloban
City, taking BESD- major in MAPEH. In compliance with the requirement of our
course, we will be conducting a research study entitled “Pandanguiado
Buraweῆo: Culture Revisited”.
The study aims culture awareness and preservation of Pandanguiado
Buraweῆo dance in Burauen, Leyte since it originated in this place.
In order to realize this research endeavor, we would like to conduct an
interview to some residents of Burauen, Leyte such as the following: senior
citizens, community officials, school teachers, and dance practitioners.
In this light, we would like to request your permission from your good
office to conduct the above mentioned activities.
Praying for a favorable response to this request.
Thank you very much.
Very truly yours,

SOLAYAO, BEA FERMINA P.

FORTO, PAUL VINCENT C.
BARBOSA, JONA ANN G.
REPOLLO, GIGI B.
Researchers
Recommending Approval:

49
PROF. DENNIS M. BAUTISTA, M.A.T.
Research Adviser

HON. JUANITO E. RENOMERON

Burauen Municipal Mayor

APPENDIX B

Guide Questionnaire / Survey Questionnaire

50
 PANDANGUIADO BURAWEÑO: CULTURE REVISITED
Interview Guide for the Participants of the Study

I. Opening
A. (Establish Rapport) Good day ma’am/sir! We are students of Leyte
Normal University. My name is ________________________ and these are my
group mates.
B. (Purpose) we would like to ask you some questions about your
knowledge of the Pandanguiado Buraweῆo, its origin, founder, and awareness to
preservation of the Burauen people towards this dance.
C. (Motivation) We hope to use the information which we will gather from
you for us to answer the problem of our study.
D. (Time Line) The interview may take at least 10-20 minutes. Are you
willing to respond to some questions at this time?
(Transition: let us begin by asking you some questions about your personal
background. We assure you that whatever you will be giving us will be
confidential.)

II. Body
A. General Demographic Information

B. Interview Questions

1. Are you a resident of Burauen?

51
 ______________________________________________________
___________________________________
2. How long have you lived in Burauen?
______________________________________________________
____________________________________
3. In what generation do u belong?
______________________________________________________
____________________________________
4. Do you know Pandanguiado Buraweño?
______________________________________________________
______________________________________________________
____________
5. What is Pandanguiado Buraweῆo?
______________________________________________________
______________________________________________________
____________
6. What does it mean?
______________________________________________________
______________________________________________________
____________
7. Did it really come from this place?
______________________________________________________
______________________________________________________
____________
8. Do you know who created/founded the dance?
______________________________________________________
______________________________________________________
____________
9. Do you know the dance?

52
 ______________________________________________________
______________________________________________________
____________
10. How did you learn the dance?
______________________________________________________
______________________________________________________
____________
11. Do Buraweῆo’s know the dance?
______________________________________________________
______________________________________________________
____________
12. Do you teach the dance to your children?
______________________________________________________
______________________________________________________
____________
13. Is this dance still learned by the youth?
______________________________________________________
______________________________________________________
____________

14. Is this dance performed during fiestas or special events in Burauen?

______________________________________________________
______________________________________________________
_____________
15. How do you feel that you have this kind of dance? Do you wish this
dance to be preserved?
______________________________________________________
______________________________________________________
____________

16. What ways do Buraweῆo’s preserve this dance?

53
 ______________________________________________________
______________________________________________________
____________
17. Are you involved in an organization or program that still practice
Pandanguiado Buraweño?
______________________________________________________
______________________________________________________
_____________
18. Do you take part in spreading awareness and preserving the
dance? In what way?
______________________________________________________
______________________________________________________
____________
19. Does the local government have programs in preserving
Pandanguiado Buraweño?
______________________________________________________
______________________________________________________
_____________
20. Do you know someone who knew this dance or formerly perform this
dance?
______________________________________________________
______________________________________________________
____________

(Note: Follow up questions may be raised when necessary.)

(Transition: It has been a pleasure for us since you have spent your precious
time with us.)

III. Closing

54
 We appreciate the time you took for this interview. As promised, we will
keep your personal information secured and confidential. This will be a big help
for the accomplishment of our study. Thank you again.

APPENDIX C

Transcription of Interviews

55
 Participant 1
(Burauen South Dance Troupe, 35 y.o.)

Researcher: Are you a resident of Burauen?

Participant: Yes. I am a proud resident of Burauen.
Researcher: Pira ka na ka tu-ig dinhi nag-ukoy?
(How long have you lived here?)
Participant: 35 years
Researcher: Kakan-o ka gin anak?
(What year were you born?)
Participant: October 30,1984
Researcher: Ika pira ka na nga generation?
(In what generation do you belong?)
Participant: Third generation.

56
Researcher: Maaram ka ba hit Pandanguiado Buraweno?
(Do you know Pandanguiado Buraweño?)
Participant: Yes. I do know about it.
Researcher: Ano it Pangdaguiado Buraweno?
(What is Pandanguiado Buraweno?)
Participant: A local dance coming from Burauen and a folk dance of the
Philippines.
Researcher: Ano it iya meaning it Pandanguiado Buraweno?
(what does it mean?)
Participant: It’s a way of courtship, para ha akon. Kay an iya steps, movements,
gestures, is like courting a lady.
(In my opinion, it’s a way of courtship. Because the steps,
movements, gesture is like courting a lady.)
Researcher: Did it really come from this place?
Participant: Yes. I’m very sure of it.
Researcher: Do you know who created or founded the dance?
Participant: I know but I forgot the name.
Researcher: Buhi pa?
(Still living?)
Participant: Oo ada may district 2. Hi sir… Ignacio? Oo, asya na Ignacio.
(Yes, from District 2. Sir…Ignacio? Yes, Ignacio that’s it.)
Researcher: Hiya talaga naghimo?
(Did he really created it?)
Participant: Hiya iton naghimo.
(He created it!)
Researcher: Ok. Do you know the dance?
Participant: Oo.
Researcher: How did you learn the dance?
Participant: Book based. May copy hiton di la ako maaram hain or hino it
nakapot. basta nakahinumdom ako nga mayda.

57
Researcher: Do Buraweños know this dance?
Participant: oo, damo it maarama hini. Mga kamaistrahan.
(Yes, mostly teachers.)
Researcher: Teacher ka po sir?
(are you a teacher sir?)
Partucipant: diri. (no)
Researcher: Do you teach the dance to your students or pupils?
Participant: Waray pa.
(Not yet.)
Researcher: Is this dance still learned by the youth?
Participant: Yes, it is but not all I think.
Researcher: Why?
Participant: Bangin tungod kay
Researcher: Is this dance performed during fiesta or special events in Burauen?
Participant: Yes. sinasayaw iton namun labi na kun may mga katitirok ngan
imbitasyon.
(Yes, we dance it if there are special events here and even some
other places when invited.)
Researcher: How do you feel that you have this kind of dance.
Participant: Proud siyempre. Having a dance, a folk dance rather nga tikang ha
Burauen nakakaproud talaga.
(Proud, of course. Having a dance, a folk dance coming from
Burauen makes me peoud.)
Researcher: What ways do Buraweῆo’s preserve this dance?
Participant: By teaching pupils, youth.
Researcher: Are you involve in an organization or program that still practice
Pandanguiado Buraweῆo?
Participant: Yes.
Researcher: Anon ngaran han iyo group?
(What organization do you belong?)

58
Participant: Burauen South District Dance Troup.
Researcher: Do you take part in spreading awareness and preserving the
dance?
Participant: Yes, of course.
Researcher: In what ways?
Participant: By teaching gad gehap.
(By teaching also.)
Researcher: Does the local government have programs in preserving
Pandanguiado Buraweno?
Participant: As of now, mayda by tourism office.
(As of now, there are programs by the tourism office.)
Researcher: Do you wish this dance to be preserved?
Participant: Of course, yes para an mga matiarabot nga mga henerasyon
mabaro, makasabot.
Researcher: Mayda ka ba maaram nga nabaro hini nga sayaw?
(Do you know someone who knew this dance?)
Participant: Oo, member of the Burauen South Dance Troup ngan mga teachers
gehap ini hira. Ma’am Janice, Jennifer.
(Yes, they’re members of the South Dance Troup and teachers as
well. Ma’am Janice, Jennifer.)
Researcher: Thankyou sir.

59
 Participant 2
Tourism officer, Member of Burauen South District,

Researcher: Are you a resident of Burauen?

Participant: Resident of Burauen, Leyte. A certified Burawanon.
Researcher: How long have you lived in Burauen
Participant: 44 na
Researcher: Nov 17, 1974
Participant: Ika pira ka na nga generation ha iyo family?
Researcher: Mga ika lima na kami nga henerasyon ha amon family
Participant: Do you know Pandanguiado Buraweno?
Researcher: So Pandanguiado Buraweno, Yes, maaram ako regarding nga
kaparte han Pandanguiado Buraweno. Hi Mr. Bernardo “Nanding”
Pedere usa iton hiya nga hiya talga an author han pndanguiado

60
 buraweno. labot la mayda pa iton duduha nga mga sayaw “An
Marol“ from Burauen iton hiya..mayda pa usa nangalimot la ako hit
title.so sad to say nga Lumihis hiya waray na siguro niya matagi
panahon an Pandanguiado Buraweno pati an duh aka sayaw.. May
ada nag kaada gihapon nag ayad hin research hiya an ginkuhaan
siguro gin write up la gehapon. Mga 1997/ 1998 second to the last
niya nga pag balik, pinanhatag ha akon an tanan nga mga clippings
ambot kun nahinumdum pa kamo han VHS. an iya ginhatag ha
akon is beta max pa. kadaan pa hiya. so an tugon niya ha akon nga
“ig ipaabot ini nga akon sayaw ngadto mga kamaistrahan especially
didi Burauen”. So ginhuram iton iya ha akon nga video pati
gehapon an iya writeup. Naghuruharayu na ngan waray na
hihinumdumi kun hino na an nakakadara. So sayang ngan siring pa
di nahibaruan so sayang ngan siring pa ngan sad to say iba na nga
tawo an nakangaran didto han Pandanguiado Buraweno makikita
niyo ha dance book diri na hi Nanding Pedere an naka ngaran. Mga
3 years before ago han iya pag uli gin hangyo namun an iya family
kun kaya pa niya magsurat han sayaw nga iya penmanship talaga.
amon liwat mismo ihahatag ha munisipyo ngan ididisplay iton hiya
nga pagpamatuod talaga nga Burauen ini nga sayaw. Siring han iya
family danay kunu may time nga nanumdum hiya. Mayda liwat time
nga diri. Pero kun gusto gud niyo nga matukib ini kun gintagan ba
niya hin authority an nag ayad han iya sayaw masasabtan natun.

Participant: What is Pandanguiado Buraweno what does it mean.

Researcher: Pandanguiado buraweno gin papakita ini an kinabuhi han mga
Leytenos, akon pakabarao hini ginpapakita hini an kinabuhi han
mga burawonon ginpakita ini han dancing ha Courtship ini hiya nga
klase nga sayaw.

Participant: Do you know the dance?

61
Researcher: Nanunumdum pa ako pero diri baga an authentic type of dance kay
gin modify na ini. Naka usa ak hini pakasayaw during my
elementary grade and then ikaduha ko an iya siyahan nga pagbalik
nga baga eksakto na nam mga edad So nag invite ini hiya hin
group of teachers ngan usa gehap ako nga ginpabulig niya. Waray
pa adto ka aayad an Burauen. Mga 1992 or 93 adto na time. So
second comeback adto niya.

Researcher: How did you learn the dance?

Participant: Ha iya. I remember nga baga medyo strikto adto an iya pagtutdo.
Pero gud man, mahihibaro ka liwat.
Participant: Do Buraweños know about the dance?
Researcher: As of now amon ito ini task talaga nga ipaabot ngadto han mga
iskwelahan kay amo talaga ini it magdadara Pandanguiado
Buraweño to educate ini nga mga kabataan.

Researcher: Do you teach the dance?

Participant: Waray pa.
Researcher: Is this dance still learned by the youth?
Participant: Baga diri, diri gud hiya. Pero kun ipapaagi hiya ha school based
competiton napupuydi pero masiring nga ginprapraktis. Amo iton
nga usa nga amon plano ha tourism specially nga baga adi man
ako hini nga linyada an pag sayaw nga amon talga ini
paninigurahuan nga aton ini mapreserve nga sayaw labot la hit
pandanguiado buraweno. Basta may ada pagkamatuod gud nga
tikang ha leyte samarnon nga mga sayaw ngan kanta. Aton iton
paghihinay-hinayan. Kay gusto namun nga magka mayada ada hin
guti nga cultural presentation or organization. Amo iton it amon
plano.

Researcher: Is this dance still performed during fiestas or special events in

Burauen?
Participant: oo may-ada.

62
Researcher: How do you feel that you have this kind of dance?
Participant: Baga nalilipay ako kay siring pa mayda tatak it Burauen ha culture.
I’m very much thankful kan sir Pedere nga iya ini natagan gehapon
in panahon nga magka may ada hin dungog or tatak it Burauen ha
larangan hin cultural arts.
Researcher: What ways do Buraweños preserve this dance?
Participant: Ah baga waray ko pa nakikita. Yana nga panahon. Amo la iton hiya.
Ada na kami ha parte siring pa hit siyahan nga pitad para kami
mahingadto hit amon mga plano. Pero damo talaga it aton yana diri
la tubtub han mga sayaw kundi nagka may ada na kita pitad kay
nag kuan na kita hin cultural mapping pati an aton mga kinaiya, an
atun mga patutuo-patutuo, and then kinabuhi han hadto kun ano
gud kita nga klase, anon aton mga gintulinan as Burawanon. So
amo iton nga nag ka may ada na kita cultural mapping na
pinangungunahan hit tourism office dinhi Burauen ngan kaupod
natun ini an mga brgy. officials, committee on tourism, tikang ha
academe, ngan labi labi na yana baga nag burubaskug na ini ngan
masmaupay an pag research kay kaupod na an mga SK. So
kaupod na ini hira. At the same time ini nga kabataan gintagan
namun hin higayun nga hira talga an magmamangulo hini nga
research kay para hira mismo masayod kun ano an mga gintulinan
han Burauen.

Researcher: Are you involved in an organization that still practice Pandanguiado

Buraweño?

Participant: Waray
Researcher: Do you take part in spreading awareness and preservation of the
dance?

Participant: Ako gehap it nagpapaluyo hini labot la han panuyo gehapon natun
ni mayor renomeron so usa ini hiya gehapon nga dako nga
programa nga amon gintatalinguha tubtub hiabtan hit amon kaya

63
 nga ma push ini nga am plano ngadi ha mga eskwelahan labot la
amon gehap gin usa nga plano pati an mg ka-baranggayan nga ig
encourage gehapon ini nga Pandanguiado, ini nga Pandanguiado
Buraweño.

Researcher: Does the local government have programs in preserving the

Pandanguiado Buraweno?

Participant: Amo ini yana it programa hit Burauen ha tourismo. Ikaduha nga
amon programa amo an education. Amo iton nag patindog kita hin
Burauen Community College. So Usa hiya nga kaparte han
tourismo kay siring pa an pagpakilala anay han bungto through
festval amo iton nga pinaningkamutan natun na mag participate han
Kasadyaan (festival) kay amo man gud hiya an baga dapat anay
buligan. Kun mag daog ka dida amo tim pakatamak ha national
competition amo an Aliwan. So kun baga adto nga mga inop
nakuha naman namun, natun han Burauen. So magbibiling liwat
kita hin mga higayaon kun ngain pa kita makapagpasalida. Actually
mayda na mga invitation.

Researcher: Do you wish this dance to be preserve?

Participant: Oo, amo na iton it amon yana.
Researcher: Baga gin kukuan ini hit Burauen South. Mahitungod kay hira ini an
champion. Amo iton hira it grupo.

64
 Participant 3
(Science Teacher, BCNHS, 41 y.o.)

Researcher: Are you a resident of Burauen?

Participant: Yes.
Researcher: How long have you lived in Burauen?
Participant: I’m already 41. Most probably. I worked abroad for four (4) years.
So minus nalang. (so subtract it.)
Researcher: In what generation do you belong in your family? Tim
nahihinumduman.
(according to your memory?)
Participant: My great-great grandparents are from Burauen. Parents of my
parents. Parents han akon lola tas an lola tas tatay ako. Mga five or
six.

65
 (Parents of my grandparents and great grandparents then my father.
Maybe five or six.)
Researcher: Do you know about Pandanguiado Buraweῆo?
Participant: What I know is it’s a folk dance that was developed by a Buraweῆo.
Researcher: What do you think does it mean, the Pandanguiado Buraweno?
Participant: I have no knowledge about it. The only thing is it’s… from the title
the name of the dance itself is Pandanguiado Buraweno.
Researcher: Did it really come from this place?
Participant: I guess yes because mga Ignacio man siguro.
(I guess yes because it’s the Ignacio’s perhaps.)
Researcher: Do you know who created and founded the dance? An iya ngaran
talaga?
(Do you know who created and founded the dance? The name?)
Participant: Kanang mga Ignacio something.
(The Ignacio something.)
Researcher: Do you know the dance?
Participant: Yes, we danced it when I was in elementary and in high school
also.
Researcher: What year ma’am?
Participant: Elementary…19--… I was in grade 3 or grade 4. 1984.? No, 6 years
ano ha elementary? So I graduated at 1990. So mga 1988
something. Tapos han high school gehap.
(1998 something and then during high school too.)
Researcher: How did you learn the dance?
Participant: Through the teacher.
Researcher: Hin-o na teacher? (who was the teacher) nakahinumdum ka ba?
Participant: Ma’am Suyom? Mrs. Suyom?
Researcher: Azucena?
Participant: Yes, I guess.
Researcher: Do Buraweῆo’s know the dance?

66
Participant: I guess some.
Researcher: Do you teach the dance to your children or students?
Participant: Waray pa. (not yet.) The fact I’m a science teacher not a MAPEH.
I’m not given the chance but if I’m given the chance why not.
(participant laughed)
Researcher: Is this dance still learned by the youth or the students?
Participant: Ah I don’t know but the fact that we already offer SPA in our school.
Perhaps they will be dancing it.
Researcher: Is this dance performed during fiestas or special events here in
Burauen?
Participant: When I was in high school. Before kasi its cultural presentation. So
diri la an mga… Yana mayda naman mga retro, mga sugad... before
cultural talaga. An mga waray-waray songs amo it kinakanta. I was
in third year.
(When I was in high school. Before we had cultural presentation.
Now, we have retro and the likes. Before it was pure cultural dances.
Waray-waray songs were sang. I was in third year.)
Researcher: How do you feel that you have this kind of dance?
Participant: Being a Buraueῆa, I feel proud that we have our own… we have a
dance that originated in our town.
Researcher: What ways do Buraweῆo’s preserve this dance? Or are there ways
that they are making to preserve this dance?
Participant: If the teacher will keep on performing the dance, teaching to the
students then it will be preserved. And it should be also available in
mga magazines or books. And that is locally circulated in our town to
promote. Dapat ganon.
Researcher: Are you involved in an organization or program that still practice
Pandanguiado Buraweῆo?
Participant: No. because I’m into Science.
Researcher: Do you take part in spreading awareness and preserving the
dance?
Participant: If given a chance I will because it’s from our town.
Researcher:Does the local government have programs in preserving
Pandaguiado Buraweno?

67
Participant: I’m not into ano but what they are promoting now is more on...ah
Buraburon and tourism perhaps maybe they have a plan for that. I
don’t know. I am not sure if there is a preservation process but in
terms of ensuring that the dance exists, I believe it is more on the
side of the academe because they are still including that on the PE
classes. But on the perspective of local government I believe they
have this what we call tourism week.
Researcher: Do you wish this dance to be preserved?
Participant: Yes.
Researcher: One last question, do you know someone who knew this dance or
formerly performed this dance? Aside from you.
Participant: Ah teachers from Burauen South. They are dancing the
Pandanguiado Buraweῆo.
Researcher: Any particular person?
Participant: Ma’am Janice Tan, Ma’am Pameniano.
Researcher: Thank you ma’am.
Participant: Sige. (okay.)

Participant 4
(Retired teacher, 65y.o.)

Researcher: Are you a resident of Burauen?

Participant: Yes, very much.
Researcher: How long have you lived in Burauen?
Participant: Since birth, 65 years
Researcher: Ika pira kana nga generation ha iyo family?
Participant: fourth generation
Researcher: Do you know about Pandanguiado Buraweño?
Participant: It is a dance coming from our place.
Researcher: What is Pandanguiado Buraweño?

68
Participant: It is a dance I said from our place Burauen. Dance means it is the
one way of expressing our emotion when we are happy or sad.
Researcher: Did it really come from this place?
Participant: Yes, it’s from Burauen and the first to have this dance is my former
teacher Mr. Bernardo Pedere.
Researcher: Do you know the dance?
Participant: Yes, very much
Researcher: How did you learn the dance?
Participant: During our college days.
Researcher: Ano ka nga year gintutduan hini nga sayaw?
Participant: 2nd year college
Researcher: Do Buraweños know this dance?
Participant: Yes, very much
Researcher: Did you somehow teach this dance to your students?
Participant: Yes.
Researcher: Is this dance still learned by the youth or the students?
Participant: Yes
Researcher: Is this dance still performed during fiestas or special events?
Participant: Yes, very much.
Researcher: How do you feel that you have this kind of dance?
Participant: Happy.
Researcher: What ways do Buraweños preserve this dance?
Participant: We Buraweños should be proud for we have our own dance. Very
much proud talaga.
Researcher: Are you involve in an organization that still practice Pandanguiado
Buraweño?
Participant: Before when I was still young.
Researcher: Do you take part in spreading awareness and preserving the
dance?
Participant: Yes, we should be aware that this dance will not be forgotten. Even
from one generation to generation.

69
Researcher: Does the local government have programs in preserving
Pandanguiado Buraweño?
Participant: yes, very much.
Researcher: Do you wish this dance to be preserve?
Participant: Yes, very much.
Researcher: Do you know someone who know the dance?
Participant: Ok, we have here teachers who are members of the Buraburon
Dance. They are MAPEH teachers actually.

Participant 5
(SPA Teacher, 41 y.o.)
Researcher: Are you a resident of Burauen?
Participant: Yes.
Researcher: How long have you lived in Burauen?
Participant: 41 years
Researcher: Ha imo family ikapira kana nga generation nga nag-ukoy dinhi ha
Burauen?
(In what generation do you belong in your family who lived here in
Burauen?)
Participant: It akon kasi nahihinumduman, it akon lolo, third.

70
 (Because as far as can I remember, my grandfather, third.)
Researcher: Do you know about Pandanguiado Buraweño?
Participant: Yes, just lately.
Researcher: What do you think is Pandanguiado Buraweño?
Participant: It is a folk dance that originated in Burauen by Mr. Pedere.
Researcher: Did it really came from this place?
Participant: According to Ma’am Ceno kasi siya rin ang sumasayaw niyan, oo
daw pero sinasayaw na yan sa ibang lugar.
(According to Ma’am Ceno because she dances it also, yes, but it is
also danced by other places.)
Researcher: Do you know the dance?
Participant: Yes.
Researcher: How did you learn the dance?
Participant: Last year because we had the recital for the SPA, so it was one of
the main dance that our dance students performed.
Researcher: Do Buraweños know about this dance?
Participant: Just a few kasi hindi talaga siya sinasayaw often.
(Just a few because it is not usually performed.)
Researcher: Do you teach the dance to your students?
Participant: Yes, last year.
Researcher: Is this dance still performed during fiestas/special events?
Participant: yes, I believe in the SPA class. During our recital.
Researcher: How do you feel that you have this dance?
Participant: Proud of course. It’s from Burauen.
Researcher: What way do Buraweños preserve this dance?
Participant: Preserving this dance through SPA specialization in school.
Researcher: Are you involved in an organization that still practice Pandanguiado
Buraweño?
Participant: Special Program in the Arts (SPA)
Researcher: Do you take part in spreading awareness and preserving the
dance?

71
Participant: Yes, because that is the main goal of SPA to preserve the cultural
heritage of Burauen.
Researcher: Does the local government have programs in preserving
Pandanguiado Buraweno?
Participant: Yes.
Researcher: Do you wish this dance to be preserved?
Participant: Yes.
Researcher: Do you know someone who know this dance or formerly performed
this dance?
Participant: Yes, Ma’am Ceno and my former students.

Participant 6
Teacher BCNHS

Researcher: Are you a resident of Burauen?

Participant: Yes, I am
Researcher: How long have you lived in Burauen?
Participant: 22 years
Researcher: In what generation do you belong?
Participant: 4th generation or 5th maybe
Researcher: Do you know about Pandanguiado Buraweno?
Participant: Yes, I do.

72
Researcher: What do you think is Pandangiado Buraweno?
Participant: It’s a folk dance.
Researcher: What do you think does it mean?
Participant: Courtship dance siguro.
Researcher: Did it really came from this place?
Participant: I think so because of the name.
Researcher: Do you know who created the dance?
Participant: No
Researcher: Do you know the dance?
Participant: Yes.
Researcher: Did you learn the dance?
Participant: I learned it when I was in elementary because we used in a contest
Researcher: Do Burawenos know the dance?
Participant: I don’t think so.
Researcher: Do you teach it to your students?
Participant: No
Researcher: Is this dance still performed during fiestas/ special events?
Participant: Parang hindi. Because festivals man an ginkukuan hin priority.
Researcher: How do you feel that you have this dance?
Participant: Parang it’s fulfilling na I know…
Researcher: What ways do Burawenos preserve this dance?
Participant: None that I know of kay parang di naman alam ng mga tao ang
dance na ito. I think wala pa silang action but if in therms of
preservation willing yung school to help.
(None that I know of because Ithe people don’t know that this is a
dance. I think they have no action yet ut if in terms of preservation,
willing yung school to help.)
Researcher: Are you involve in an organization that still practice Pandanguiado
Buraweno?
Participant: No.

73
Researcher: Do you think that the local government have programs in
preserving the dance?
Participant: Wala.
Researcher: Do you wish this dance to be preserved?
Participant: Yes, because it’s part of our culture, because it’s part of DNA, our
heritage, and it would be better if a proper literature would be written probably of
the history of the dance.
Researcher: Do you know someone who know this dance or formerly performed
the dance?
Participant: Yes, our coach Ma’am Sudario.

Participant 7
Teacher MAPEH Department Head, BCNHS
Burauen South District Dance Troup member

Researcher: Are you a resident of Burauen?

Participant: Yes, I am.
Researcher: How long have you lived in Burauen.
Participant: I am 43 years old right now.
Researcher: Do you know Pandanguiado Buraweño?
Participant: A little should I say.

74
Researcher: What is Pandanguiado Buraweño?
Participant: As far as I’m concerned Pandanguiado Buraweno is a folk dance
have been authored by Dr. Bernardo Pedere and a dance
originated in Burauen.
Researcher: Did it really came from this place?
Participant: As far as the literature is concerned Burauen talaga kaya nga
Pandanguiado Buraweño hiya.
Researcher: Do you know the dance?
Participant: Sort of.
Researcher: How did you learn the dance?
Participant: Me and sir Herbert was given an opportunity to dance that
Pandanguiado through sir Bernardo Pedere.
Researcher: Do you teach the dance to your students? Children? Or the youth?
Participant: Han nakapot pa ako han dance club, I have been handling our
organization such as the dance club, so nabulig ako hin mga
competitions. Na compete kami hiton hin mga culture and arts
completion in the dvision. So iton nga Pandanguiado pirmi iton asya
it akon piece. Kami iton dayun it na compete hit Dulag.
Researcher: Is this dance still learned by the youth?
Participant: Yes. Actually we have our SPA. So, pioneering iton hira yana.
When we had our recital this is clear kay validation man it hiya ha
division. A challenge on my part kay an tutdo han akon teacher ha
SPA was the ‘gaway-gaway’ dance. Para natun ma boost it culture
hit Burauen, sige ako it matutdo Pandanguiado Buraweno ak
gintutdo just for the recital. Gintutduan ko an mga grade 7 though
makuri gad kay grade 7 pala iton."

Researcher: Is this dance still performed during fiestas or special events?

Participant: Yes, seemingly now na observe ko la iton kun mayda kita dinhi ha
aton it fiesta gin kuan iton hiya nga bagat folk dance competition
somewhat hiton LGU.

75
 (Yes, I have observed this when we have fiesta the LGU is
conducting a folk dance competition).
Researcher: How do you feel that you have this kind of dance?
Participant: Well, kun baga ha akon proud gehap ako kay atleast diri man la iton
Pandanguiado Buraweno it sayaw ha Burauen. Of course, as
Burawanun proud ako hito nga Pandanguiado.
(Well, I’m proud though Pandanguiado Burarweno is not the only
dance from Burauen. Of course, as a Burawanon I’m proud of
Pandanguiado.)
Researcher: What ways do Burawenos preserve this dance?
Participant: Kun baga ha akon nga observation usa hiton dida nga way is during
special occasion ginsasayaw hiton hiya para maipapakita gehap
nga this is our own dance.
(In my own observation, one way is showing this during special
occasions to present that this is our dance.)
Researcher: Are you involve in an organization that still practice Pandanguiado
Buraweno?
Participant: As of now, diri.
(As of now, no.)
Researcher: Do you take part in spreading awareness and preservation of the
dance?
Particpant: In our locality, Yes I am. More so nga igintutdo ko iton. At the same
time gin e-encourage ko talaga it akon mga co-teachers ha MAPEH
nga igtutdo talaga iton.
(In our locality, yes I am. More so because I teach it at the same time
I encourage it to my co-teachers in MAPEH to teach it as well.)
Researcher: Does the local government have programs in preserving
Pandanguiado Buraweno?
Participant: As far as I know, as of now, bagat nagtitikang na. kay iton nga part
nga ira pa contest. So usa iton. Sana la masustain.

76
 (As far as I know, as of now, it looks like it starting because of
activities such as contests. So that’s one. I hope this will sustain.)
Researcher: Do you wish this dance to be preserved?
Participant: Yes, of course. Kay it iya hiton literature usa la it author. And we
know for a fact nga it folk dance diri pwede ig revise. There’s no
such revision in folk dance literature. Kun ano it aada amot hiya.
(Yes of course because the literature has only one author. And we
know for a fact that folk dance can’t be revised. There’s no revision
in folk dance literature. What’s in there, that’s it.)
Researcher: Do you know someone who know the dance or formerly performed
the dance?
Participant: Teachers in elementary, taga South nga teachers, Ha EVSU
Tacloban, igintutdo ko liwat iton, Hi Ma’am Santos.
(Teachers in elementatry, teachers from South, in EVSU I’ve also
taught this. Ma’am Santos.)

77
 Participant 8
(Tourism Officer, 56 y. o.)

Researcher: Are you a resident of Burauen?

Participant: Yes, I am.
Researcher: How long have you lived in Burauen?
Participant: For the past 56 years and counting.
Researcher: In what generation do you belong in your family?
Participant: That I do not know.
Researcher: Do you know about Pandanguiado Buraweño?
Participant: Yes, I have a knowledge of that.
Researcher: What is Pandanguiado Buraweño.
Participant: What I can say about Pandanguiado Buraweno is it is a dance. It
was developed purely by a Burawanon.
Researcher: What does it mean, the dance?
Participant: For my personal opinion it depicts how Burawanon feel, act, and like
that.
Researcher: Did it really come from this place?
Participant: Yes, it does really come from this place.
Researcher: Do you know who created or founded the dance?
Participant: Yes, I know that.
Researcher: Do you know the dance?
Participant: Personally I haven’t dance it that but I have read it.
Researcher: Do Buraweños know about this dance?
Participant: Maybe only the teachers, a few.
Researcher: Did you teach the dance?
Participant: No.
Researcher: Is this dance still learned by the youth or students?
Participant: I’m pretty sure that teachers do that. Those teachers that have
knowledge of that. Maybe, but not all the time. Diri naman pirmi
Pandanguiado Buraweño la.

78
Researcher: Is this dance performed during fiestas or special events in
Burauen?
Participant: Yes.
Researcher: How do you feel that you have this kind of dance?
Participant: Of course I’m Proud. It makes me more proud being a Burawanun.
Researcher: What ways do Burawenos preserve this dance?
Participant: For me when you say preserve the dance, para ha akon we haven’t
touch about that but maybe we’re on our way.
Researcher: Are you involve in an organization/program that still practice or
preserve Pandanguiado Buraweno?
Participant: I can say we belong to a group. An usual kasi talaga hiton is
teachers are the one talaga. But when you say we parents we don’t.
Teachers talaga.
(I can say we belong to a group. It’s the teacher who usually do but
when you say parents, we don’t.)
Researcher: Do you take part in spreading awareness and preservation of this
dance?
Participant: Yes, I do. Because di pala maiha nga nag culture map kita and that
is one of the stories ha district three that learned about it.
Researcher: Does the local government have programs in preserving and
spreading awareness and preserve the dance?
Participant: We will have because eventually kasi there is a law. There is a
memorandum circular given by the DILG, tapos an ira ito source is
the Philippine Development Plan of 2017-2022. Chapter 7 of the
that development plan is about our cultural heritage where in all
municipalities, LGU’s, cities, and provinces, everything are being
enjoined to a tleast a budget a portion of that for the preservation of
cultural heritage because cultural heritage of a place because it
depicts a story of who we are and of that place.

79
Researcher: Sir Bernardo is the author of not only Pandanguiado Buraweño
dance. You have also ‘An Marol’ and ‘An Tikbubulang’. Are you
going to preserve or iiupod ba niyo iton?
Participant: We have plans about that because we hired historians because we
really want to know kakan-o gud an Buraruen matukod and
everything. We even don’t have our own hymn. We don’t even have
anniversary, the founding of Brauen. If we don’t have nagtitigu-tigo
la kita so an intervention dida han government, we are able to tap
historian and then put a budget. Siguro ma okay la an kontrata han
local government unit, on its way a siya. Maybe mga August-
September ma start na hiya.
Researcher: Do you wish this dance to be preserved
Participant: Yes of course, upod na an duha ha..An Marol and Tikbubulan.
Researcher: Do you know someone who know the dance?
Participant: Teachers of Burauen South.

80
 Mr. Bernardo Pedere
(87 yrs. old)
(11 Nov 1932- present)

Researcher: Our study is entitled Pandanguiado Buraweῆo. We are here to

interview some residents of Burauen to know if they still know or
have knowledge about Pandanguiado Buraweῆo.

Participant: You are here to talk to somebody who is from Burauen, who had,
had dance experience for years.

Researcher: Yes, sir, exactly. Yes, and knows about Pandanguiado Buraweῆo.

Participant: That’s my dance.

Researcher: That your dance?

Participant: Yeah, I research it and it became popular because I got hit by the
San Francisco Ethnic Dance Festival.

Researcher: Ok.

Participant: And they wanted that known. Pandanguiado Buraweῆo is from my,
ah, well primarily from, ah my native ah members of family and
Pandanguiado is like Pandanggo.

Researcher: Ok.

Participant: Buraweῆo is Burauen. Yeah, I’m from Burauen and if you have, I
may be able to show that. I am trying get the hold of my nephew
who is the owner of this big dance company here.

Researcher: Ok, what’s his name

Participant: What his name ah.

81
Researcher: You forgot it’s ok. It’s okay. Are you somehow talked to Francisca
Reyes Aquino because your dance was published through her
name, I guess in her book of Folk Dances?

Participant: Ah perform. My group is the primarily the Filipiῆana Dance troupe.

Now I cannot take a break. I asked my group well if you can handle
this, I’ll let you handle it but do it well because my name is already
worldwide. It’s not just Burauen. Well I’m introduced by top
companies. They come to me. They are looking for this guy. Who is
Bernardo? Who is he? I got, I don’t want to show-off, the name
because Mrs. Aquino, Francisca Reyes Aquino, is the foremost
authority of Philippine Folk Dance. When I went to college, who is
Bernardo? She went to Burauen primarily to see and meet me
because Burauen…I hate to keep saying, Bernardo is making a
name. He is known. Burauen is known because of the dances I’ve
introduced and choreographed and popularized. Not only here in
America but throughout the world.

Oh my, well the feedbacks of this authority and he kept

telling me honestly Bernardo can you introduce this and can you do
this and I say I don’t allow anyone to just grab a dance, my dance
and then make it up and do something you know… if you give me
the right I mean what the …that I can… you cannot dance unless I
am the authority because … this is mine…and it was produce and
introduced and made known because of its popularity.
“My sister who is also kind of very popular in pushing me,
she is one who also… go get my brother does this. my brother
does that, he knows this, he dances this. I’m so surprise that now
Pandanguiado Buraweño is really known not only here in America
but all throughout Mexico throughout big dance companies
introduced because these text are mine. And whoever want to
introduce Pandanguiado Buraweño you have to be sure that you do

82
it right and do it well. I don’t give the authority to somebody who
want to introduce my dance if you don’t hook it on to style like you
saw it somewhere and then do it the way they would …and it has to
come from my own step. It has to come from my own style. The
hand movements the fluent hand movements”. (Mr. Pedere
dances)
The main step is like Pandanggo but the main, the core of
the dance is my own because I want to get all the basics all the
popular steps all the style comes from me. Don’t ever dance this if
you don’t know what this dance is about. Don’t ever dance this if
you are not aware what this, why is this called Pandanguiado
Buraweno..Pandanguiado Buraweno is like Pandango. It’s derived
from the Spanish dance Pandango”. Pandango is a lively couple’s
dance. It is a courtship dance. (Then Mr. Pedere dances)
“These steps… I am very …doesn’t it make you proud.
Doesn’t it make you proud? Who did I get this? I get this dance from
the very core, the very original author or I’ll say…I say I am very
proud that this is my dance and people who’ll come out from Mexico
and from Spain. They want to come to me. They really want to
know. Are you really sure unless you do not put my name into a
dance that is not mine and I told this people who’d come out like
you will be an authority on this particular dance. Well, how did you
get to know him how did you get him to know the dance? You’ll
have to get the roots of the origin of any dance that you teach.
Hang on to it. Don’t pass it on to somebody who just make a’
hahaha’, I’m a choreographer” and some of them will try to make
them not you after they learned your basic steps. I don’t just pass
on my dances unless I know who you are. How you get to know my
dance? How did you get to know the steps? How did you get to
know the style? I have to investigate. How did you get the costume?
Did you make your own?

83
RESEARCHERS PROFILE

84
PERSONAL INFORMATION

Name: Jona Ann G. Barbosa

Home Address: Brgy. Pawing, Palo, Leyte
Birthday: June 25, 1999
Place of Birth: Tacloban City
Civil Status: Single
Contact Number: 09084235001
E-mail Address: [email protected]
Nationality: Filipino
Religion: Roman Catholic

Educational Background
Elementary
Palo Central School
2011-2012
Secondary
St. Mary’s Academy of Palo
2015-2016
Tertiary
St. Pau’s School of Business and Law
2016-2017

Leyte Normal University

2017-Present

85
PERSONAL INFORMATION

Name: Paul Vincent Furton

Home Address:
Birthday:
Place of Birth:
Civil Status:
Contact Number:
E-mail Address:
Nationality: Filipino
Religion:

Educational Background
Elementary
Secondary
Tertiary
Leyte Normal University
-Present

86
87
PERSONAL INFORMATION

Name: Gigi B. Repollo

Home Address: Brgy. 74 Nulatula,
Tacloban City, Leyte
Birthday: June 14, 1983
Place of Birth: Tacloban City, Leyte
Civil Status: Married
Contact Number: 09264912372
E-mail Address: [email protected] /
[email protected]
Nationality: Filipino
Religion: The Church of Jesus Christ of Latter-day Saints

Educational Background
Elementary
San Fernando Central School
1995-1996
Secondary
Leyte National High School
1999-2000
Tertiary
Leyte Normal University
2016-Present

88
PERSONAL INFORMATION

Name: Bea Fermina P. Solayao

Home Address: Brgy. Dolores Pinabacdao, Samar
Birthday: February 16, 1999
Place of Birth: Pinabacdao, Samar
Civil Status: Single
Contact Number: 09203797010
E-mail Address: [email protected]
Nationality: Filipino
Religion: Roman Catholic

Educational Background
Elementary
Calbiga Central Elementary School
2010-2011
Secondary
Calbiga National High School
2014-2015
Tertiary
Leyte Normal University
2015-Present

89
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artifacts of Filipino

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