numbers: Kuntao, Kazilimut, Vinta, Singkil)
time: 10 minutes
starts with a Prince and Princess professing their love for each other.
The Prince was called to battle and when he returned he had no word
about the Princess. He then went to a voyage searching for his
beloved princess. Overcoming many obstacles in the course of his journey
across the seas, the suite comes to a fitting finale when
the prince discovers his princess and together they sail back to his
kingdom to live in love and peace ever after.
- An instrumental interlude highlighting the ancient manner of
playing the Maranaw Kulintang accompanied by a gong and dabakan drum.
- Visitors arriving from Marawi pay respects to the sultan by
executing graceful walk movements and demonstrating the various ways of
wearing the "kumbong" - a Mindanao headdress of head cover.
A martial dance demonstrating skill in self-defense as well as
artistry in using vigorous and powerful movements, leaps and deep
The settling of the Philippine Archipelago by pre-Hispanic immigrants
has been described as the greatest maritime feat ever: the
crossing of the open seas in open boats. Vinta is the name of such
boat used by the Muslims. In this dance, dancers balance
perilously on top of poles i8mitating the movements of the Vinta.
- Bayanihan's signature number featuring the Maranao Princess
who is pursued by a prince amidst the clapping of criss-crossed bamboos
in syncopated rhythm. As the princess moves with precision and
unconcern through the complicated perilous pattern, excitement
amounts to a crashing finale. This number choreographed by the
late Philippine National Artist for Dance, Lucrecia R. Urtula, was
premiered at the Winter Garden Theater on Broadway in 1959 and won the
unanimous acclaim of critics.