Kayumanggi, the Tagalog word meaning "brown-skinned" is a Filipino dance troupe at Stanford. We are open to all and no experience is necessary. We perform traditional Filipino folk dances that are as diverse as the many different islands in the Philippines. Kayu aims to promote awareness of Filipino culture through dance, art, music, and drama. We hope to create an outlet for self-exploration and discovery, encouraging inclusiveness and openness not just among Filipino-Americans, but with the greater Stanford and Bay Area community. Kayumanggi performs throughout the year for numerous Stanford University events as representatives of Filipino culture. The year culminates in an annual Spring Show, where we showcase our repertoire of dances framed by a dramatic skit that addresses several aspects of Filipino identity.
The Pilipino Cultural Night, or PCN, is a show that combines dance, song, and drama into one grand evening spectacle. Usually put on at the end of the year, the show represents the culmination of the year's work.
This year's PCN is titled Magalab: Carry the Flame and will be held May 15th, 2015 at 7:30pm in Dinkelspiel Auditorium.
Kayumanggi had its first PCN the year of 2011, entitled Home.
An annual NSO event showcasing the diversity of Stanford students and their experiences here.
An annual cultural showcase hosted by Sanskriti, Stanford's South Asian undergraduate student organization, in winter quarter.
This popular annual event provides parents with a glimpse of their student's life at Stanford. PASU features an open house with student and parent speakers along with special presentations in which KAYU performs at.
An event celebrating the lunar new year with activities, food, and performances hosted by teh Stanford Vietnamese Student Association.
A new cultural event and parade launched in 2012 by Latinos Unidos. Carnaval is one of the most celebrated festivals throughout all of Latin America. Therefore, in collaboration with MEChA, Latinos Unidos would like to introduce “El Carnaval” to the Stanford campus. It will be a festival to unite the campus in a community celebration that will give students, student groups, and community centers a chance to participate and/or perform. The event involves a parade around White Plaza, music, dancing, costumes, elaborate decorations, food, games and performances.
A night of food and entertainment brought to us by the Taiwanese Culture Society
Each year the Office of Undergraduate Admission invites its most recent class of admitted students to visit Stanford during Admit Weekend. The weekend is an opportunity for admitted students to begin to explore Stanford's opportunities and resources through innovative programs and activities. Admitted students are housed as guests in student residences and are introduced to Stanford's community by student volunteer hosts, who facilitate an enthusiastic and vibrant atmosphere throughout the weekend. Each year, KAYU performs at the Dance Expo, an event that showcases the myriad of dance outlets produced on campus.
Part of 2012-2013 repertoire. Formerly the national dance of the Philippines, this 'Visayan' dance originates in Leyte. Dancers imitate the tikling bird's legendary grace and speed as they skillfully play, chase each other, run over tree branches, or dodge bamboo traps set by rice farmers. Hence it is named after the bird, tikling. However, there are many ways to perform the dance. In one version, the dance is done between a pair of bamboo poles.The older people claim that the 'Tinikling Ha Bayo' from which the tinikling dance evolved is more difficult to perform. It is originally danced between 'bayuhan', two wooden pestles used to pound the husks off the rice grain.
Originating in the town of Jaro in Leyte, where planting the gaway is the predominant occupation of the barrio folks, this harvest dance celebrates the bountiful harvest of the gaway--a plant of the taro family that is grown both for the vegetable and its roots. The female dancer hold a nigo (bilao in Tagalog) laden as she dances. Gaway is harvested by pulling the stalk off the ground. Hence, the pulling of the stalks leads to the unavoidable hitting of each other's elbows, which has been adapted into a peculiar characteristic of the dance called siko-siko. After a bountiful harvest, young boys and girls celebrate by imitating the harvesting of gaway. In their merry-making, dancers tease each other by finishing the dance with a parayao (showing off).
Part of 2012-2013 repertoire.
A dance interpreting toil in the life of the fishermen in the river called Pasig. Manifesting the native means of catching the fish.
This mock war dance, originating from the Spanish Regime, depicts a fight between the Moros and the Christians over the latik, or coconut meat residue. This dance, originally performed in BiÃ±an, Laguna, is also performed as a tribute to the patron saint of farmers, San Isidro de Labrador. The Moros of this dance usually wear red trousers, while the Christians don blue trousers. All of the men use harnesses of coconut shells positioned on their backs, chests, hips, and thighs.
A dance of the Ilocano Christians and non-Christians from the province of Abra, Sakuting was originally performed by boys only. It portrays a mock fight using sticks to train for combat. The stacatto-inflected music suggests a strong Chinese influence. The dance is customarily performed during Christmas at the town plaza, or from the house-to-house. The spectators give the dancers aguinaldos, or gifts of money or refreshments especially prepared for Christmas.
This popular dance of grace and balance comes from Lubang Island, Mindoro in the Visayas region. The term pandanggo comes from the Spanish word fandango, which is a dance characterized by lively steps and clapping that varies in rhythm in 3/4 time. This particular pandanggo involves the presence of three tinggoy, or oil lamps, balanced on the head and the back of each hand. After a good catch, fishermen of Lingayen would celebrate by drinking wine and by dancing, swinging and circling a lighted lamp. Hence, the name Oasiwas which in the Pangasinan dialect means swinging. This unique and colorful dance calls for skill in balancing an oil lamp on the head while circling in each hand a lighted lamp wrapped in a porous cloth or fishnet. The waltz-style music is similar to that of Pandanggo sa Ilaw.
This dance is native to the barrio of Pangapisan, Lingayen, Pangasinan, and demands skill from its performers who must dance on top of a bench roughly six inches wide.
Part of 2012-2013 repertoire. Banga hails from Kalinga in the Mountain Province, and literally means 'pot'. Women dance with earthen pots on their head, balancing five or more stacked on top of each other. It demonstrates grace, agility, and strength through the simple but essential task of fetching water from the river for the community. Also from Kalinga, Salip depicts a warrior presenting his bride with a matrimonial blanket, a symbol of his promise to protect her. After receiving banga filled with fresh water to prepare her for the wedding and other ceremonial gifts, the bride responds to the calls of the warrior, who imitates a courting rooster, by following him into marriage.
Part of 2012-2013 repertoire. A dance performed at the largest of feasts in Banaue, Uyaoy reaffirms and celebrates the chieftan's high social status within the community. Men speak to their relationship with both the sky and the earth by imitating the wings of a hawk while also stomping on the ground. Women move similarly with hands in the air and feet scratching the ground.
Lumagen is performed during different types of thanksgiving events in Kalinga--a wedding, the birth of a first born male, or even after a peace pact between two warring tribes. Dancers imitate the movements of a bird both on land and in air, and is accompanied by the beats of the gongs.
The warriors of Bontoc enact this ceremonial dance before going into battle. Depicting the search for the 'idaw' bird, which is said to bring the hunters victory, warriors dance with weapons in hand preparing for the encounter to come.
A bird dance performed by the T'boli during planting and harvesting which simulates the flights and hops of the tahaw bird.
A rite of passage of Tagabawa sub-tribe of Davao-Mandaya focuses on a young prince who is born high by courtiers and given a place of honor by his people. A notable prop in this dance is a dried palm frond shredded to tiny separate pieces. The palm leaves give a faint hissing sound when shaken.
Part of 2012-2013 repertoire. A dance of thanksgiving.
Part of 2012-2013 repertoire. The Bagobo tribe from the central uplands of Mindanao originated this dance which imitates the movement of a hen, her banog, or baby chicks, and a hawk. The hawk is sacred, and it is believed that the hawk has the power over the well-being of the tribe. The hawk tries to capture one of the chicks and is killed by the hunters.
A courtship dance of the B'laan people of Davao del Sur in which the dancers mimic the behavior of forest birds in the mating season. Two male dancers that represent richly-plumed male birds eye three females. The females try to hide from the males, burying their heads under their wings, which are represented by their malongs. Still, the aggressive males pursue them.
Part of 2012-2013 repertoire. This dance takes its name from the bells worn on the ankles of the Muslim princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts the epic legend of the 'Darangan' of the Maranao people of Mindanao. This epic, written sometime in the 14th century, tells the fateful story of Princess Gandingan, who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies of the forest. The criscrossed bamboo poles represent the trees that were falling, which she gracefully avoids. Her slave loyally accompanies her throughout her ordeal. Finally, she is saved by the prince. Dancers skillfully manipulate apir, or fans which represent the winds that prove to be auspicious. Royal princesses to this day in the Sulu Archipelago are required to learn this most difficult and noble dance.
A pre-nuptial dance of the Yakan tribe of Basilan performed by the bride and groom prior to their wedding ceremony in the langal or church. Both of their faces are dotted with white paint, to hide their identity from evil spirits.
Also called Pangalay ha Pattong, this dance is named for the picturesque boat with colorful sails which glide across the Sulu Sea. Central to this dance are the Royal Couple who each balance atop a pair of swaying bamboo poles, simulating their ride aboard a vinta.
Part of 2012-2013 repertoire. The dance is a unique fighting dance in a form of the martial arts by the Tausug tribe. Performers demonstrate a battle between hawk and a cat. which their is an acrobatic movements and tough facial expressions, this dance is highlighted with the accompanying energetic beat of drums and gongs.
Pagapir depicts a royal manner of 'walking' among the Maranao people who live mainly around Lake Lanao. Ladies of the royal court perform this stately dance in preparation for an important event. The ladies gracefully manipulate the Aper (apir) or fan, while emphasizing their small steps, or 'kini-kini', which symbolizes their good manners and prominent family background.
Also called Sambi sa Malong, this Maranao dance shows the many ways of donning the malong, a tubular circle of cloth used as a skirt, shawl, or mantle.
Part of 2012-2013 repertoire. This dance features a Castillan influence emphasizing zapateados (footwork), lobrados (arms), and a Sevillana style of dress. The ladies flourish and display their mantÃ³n, or decorative shawl, while the gentlemen execute sharp, technical movements with bamboo castanets and footwork.
Part of 2012-2013 repertoire. Putritos is a festival dance from Atimonan, Tayabas (now Quezon province) performed by a man and a woman who make flirtatious and playful gestures. The dance is performed to alternating slow and fast waltz tempos and ends with the girl twirling energetically.
Part of 2012-2013 repertoire. Imunan, a courtship dance, means jealousy. The dance depicts a love triangle; two girls and one boy. In this dance, the boy tries to please the girls who are trying their best to get his attention and favor. The boy shows an admirable attempt to please both girls by paying attention, flirting, and dancing with them, one after the other. The attempt is successful and at the end of the dance, all is sweetness and harmony among the three dancers.
The Mantones de Seda is a Spanish jota influenced by Filipino culture. The dance shows the many ways of using the Mantones de Manila or Manton, anintricately embroidered Spanish silk shawl worn on festive occasions by Spanish senoritas. In the Mantones de Seda, rhythms are accentuated by the Castilian stamping heels and bamboo castanets. It is danced to the Banduya guitar with a light festive air.
Meaning 'forsaken lover,' Timawa is a courtship dance, usually performed by women, and is originated in Lamot, a barrio in Capiz. The story recounts of a man and a woman, both timawas, who met at a social gathering and became acquainted with each other. In the course of their conversation, they discovered that they both had the same misfortune; therefore, turning to each other for sympathy and comfort.
Carinosa is a word that describes an affectionate, friendly and lovable woman. This dance is performed in flirtatious manner with fans and handkerchiefs. The dancers' hide-and-seek movements are cute and romantic, as the woman plays hard-to-get.
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Currently we are selling Kayumanggi T-shirts and DVD's from last year's PCN, "Wake Up, Stand Tall." To make an inquiry, please fill out the SHOP KAYU Order Form.
Kayumanggi is more than happy perform for all.