Binatbatan Folk Dance of the Philippines: History, Choreography, Music, and Cultural Significance

The Binatbatan folk dance is a vibrant Ilocano occupational dance originating from Vigan City (Ilocos Sur) and Paoay (Ilocos Norte). It reflects the traditional weaving process of Abel Iloko. The term “Binatbatan” comes from the Ilocano word batbat, referring to the beating of cotton pods with bamboo sticks to separate the seeds from the fiber—an essential step in creating the indigenous abel cloth.

Performed during the Binatbatan Festival of the Arts, part of Vigan’s Viva Vigan Festival, the dance pays tribute to the artistry, heritage, and resilience of the Ilocano people.

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Historical Background & Festival Origins

The Viva Vigan Festival began in 1993, launched by the Save Vigan Ancestral Homes Association to preserve Vigan’s historic architecture and cultural legacy. The Binatbatan Festival was introduced in 2002 to highlight the Abel Iloko tradition and promote cultural awareness through dance. Academic studies confirm the dance's origins in Ilocos, particularly Paoay and Vigan, and detail its evolution through time.

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Cultural Significance & Symbolism

The dance reenacts the panagbatbat—the rhythmic beating of cotton using bamboo sticks. Participants wear costumes made from authentic Abel Iloko fabric. Binatbatan is considered an occupational dance, which means it reflects everyday labor practices. In this case, it celebrates the traditional craft of weaving, which played a vital role in Ilocano livelihood and identity.

The festival promotes cultural preservation, regional pride, and community involvement. It also serves as an artistic platform that blends performance, music, and traditional visual arts.

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Festival Format & Key Events

The Binatbatan Festival is usually held in late April to early May, with key highlights around May 1 and May 3. Activities include:

• Binatbatan Street Dancing Showdown

• Abel Iloko Fashion Shows

• Art Exhibits and Photography Contests

• Kalesa Parade

• Pottery and Recycled Art Competitions

• Food and Trade Fairs

Street dancing follows a parade route from Vigan City Hall to Plaza Burgos, passing through historic sites such as Calle Crisologo. Thousands of spectators witness school and community groups perform, often accompanied by live bands and traditional instruments.

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Volume & Musical Structure

The dance music is divided into two parts:

• Music A: 3/4 time signature, counted in "1-2-3" per measure.

• Music B: 2/4 time, faster and sharper, counted as "1-and-2-and."

Stick-beating follows a 1-2-1-1-2 rhythm, mimicking the actual cotton-beating process.

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Choreography Breakdown & Dance Figures

The dance has eight main figures, performed in pairs:

Figure I - Introduction

• Dancers kneel and beat the ground with sticks in rhythm. Duration: 2 measures.

Figure II

• Still kneeling, they beat sticks in parallel, repeating for 14 measures. They gradually stand and prepare for partner interaction.

Figure III - Korriti Turn

• Dancers turn clockwise using the korriti step, hitting sticks at knee and head level, followed by stamping and pauses.

Figure IV - Partner Circling

• Partners cross paths using korriti steps, turning and reversing roles.

Figures V to VIII

• Include chasing steps, clapping, stamping, stick exchanges, and synchronized turns. Each figure is timed with precise musical counts and dramatic transitions.

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Dance Notation & Educational Use

Dance instructors typically use a combination of textual instructions, tables, and step counts. These are aligned with the music structure and measure-by-measure breakdowns.

Formal notation systems like Labanotation and Benesh Movement Notation are not commonly used but are applicable. For practical purposes, video recordings and instructor-led demonstration are the primary teaching tools.

A simplified notation example:

Measure Count:       1    &   2   &   3   &
Figure I (Intro):   R-kneel (1) L-kneel (2), sit (3), stick strike (1), hold (2-3)
Figure II: repeated sticks right-to-left beats (1&2&), 14×, then high raise (1)

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Musical Score Considerations

Although no formal music score exists, the rhythm and structure of the music align with the choreography. A musical transcription would reflect:

• 14 measures of moderate tempo in 3/4 (for Figures I and II)

• A shift to faster 2/4 sections in the later figures

Stick-beating patterns could be transcribed into rhythmic notation using quarter and eighth notes.

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Educational and Cultural Value

Binatbatan is taught in MAPEH and PE programs across the Philippines. It has been studied for its educational relevance, showing connections between dance, history, physics, and local culture.

The dance also contributes to tourism and cultural preservation, as it brings international attention to the Abel Iloko weaving tradition and Vigan’s historical significance.

The Binatbatan folk dance remains a shining example of how traditional art forms can evolve into powerful expressions of cultural identity, education, and unity. Its rhythms, symbolism, and pageantry continue to inspire generations of Filipinos and cultural enthusiasts around the world.

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References:

Miguel, R. S. P., & Antonio, V. V. (2024). Physics concepts reflected in Ilocano folk dances: Its implications to contextualized physics teaching. International Journal of Religion, 5(11), 3941–3950.

Quilapio, A. F. (n.d.). Binatbatan [Unpublished manuscript].

Quilapio, A. F. (n.d.). Binatbatan (docx) [Unpublished manuscript].

Pineda, A. (n.d.). Understanding Filipino dance notation: A guide for performers. Pinas Culture.

Wikipedia contributors. (2025, June). Dance notation. In Wikipedia.

Wikipedia contributors. (2024, December). Benesh movement notation. In Wikipedia.

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