Yesterday, our crew, Xtreme Level Danz Crew  became a part of a successful event, Piyestahan 2017 organized by the United Filipino Organizations in Qatar (UFOQ) together with the Philippine Embassy of Qatar in Doha at the Asian Town Activity Center in the Industrial Area of Qatar.

It was a fun filled two-day event with different kinds of activities Filipinos only see in the Philippines during “Piyesta” including perya, Filipino dishes, Santacruzan etc. Different Filipino organizations participated and expressed their support in the said event including our group to showcase our talent to all those who are interested to watch since it was a free admission event. 

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Photo Credits to photographers/members of XLDC. Thanks guys for being such selfie-addicts and photo freaks. Love yah all. Without you I won’t have anything to post here.. ♥ ♥ ♥

We wish to express our gratitude to UFOQ for inviting us to be a part of this event. Especially, to our fans (naksss) who watched us perform.

Before sharing with you a video of our performance, I would like to give an introduction of what it was all about. I won’t promise that it would be brief.

MUSIC: Pinoy Summer, Da Best Forever

ABS-CBN’s Summer Station ID in 2012


PERFORMERS (in alphabetical order of First Names):

Aisa May Del Valle

Aislynn Dominique Oblina

Francis Marquez

Junius Jamir Bais

Kristalene Bayudan

Ma. Luisa Pangan

Mary Grace Morales

Moises Datur

Rejen Comia

Rose Analyn Moralizon

The almost 6-minute dance number revolves around the Filipino culture. We thought of showing the traditional dances in a sort of modern way inspired by the Kahayag Dance Company who are also from the Philippines.

The first part was conceptualized as an introduction to the real deal. hehehe.. which are the two traditional dances from the Philippines the Kappa Malong Malong and Subli (minus the boys).

Kappa Malong Malong 


Also called Sambi sa Malong, this Maranao dance shows themany ways of wearing a malong, a simple tubular yet highlyfunctional piece of cloth. The traditional women’s version shows this cloth of countless colorful designs; used mostly as a skirt, woven in many different ways, depending on the purpose of the wearer. Other ways the women wear malong is as a shawl, a mantle, or a head-piece.

During more recent dance documentation, a men’s version was derived. This version shows in masculine rendition, how men don the malong—displaying its use as a sash or waist-band, shorts or bahag, and a head-gear that can be either functional while working in the fields, or decorative as a turban. Philippine Folk Dances



The dance is babylin considered a favourite in the barangays of Bauan, Batangas, as well as other parts of that province in the southwestern part of Luzon. It is a Catholic devotional practise (often described as a “prayer”) honouring the Holy Cross of Alitagtag (Tagalog: Mahál na Poóng Santa Krus) traditionally done in May, the month in which Roodmas fell before the General Roman Calendar was revised by Pope John XXIII in 1960.

The name Sublî is a portmanteau of the Tagalog words subsób (“bent”, “stooped”, also “fall on the face”) and balî (also “bent” or “broken”), referring to the posture adopted by male dancers. Both men and women dancers—called manunublî (meaning “them that Sublî“)—perform in pairs and various formations. The women’s costume includes a straw hat adorned with ribbons, which are waved about, removed, tipped in salute to a copy of the Cross of Alitagtag set on an altar, or used to make other graceful gestures.

Theatrical versions (often performed outside of a devotional context) are set to a rondalla ensemble playing a tune by Juan P. Silos, but in its older form the dance is accompanied only by the constant beating of drums, punctuated by the clacking of wooden castanets used by the men. The frenetic rhythm of the drums is also seen as proof of the custom’s pre-Hispanic origins, in line with the theory that it is a Christianised version of much older, animist rites. A chant to the Holy Cross is sometimes intoned at the beginning of the Sublî, underscoring the dance’s originally religious character. Wikipedia

It was wrapped up again with the Choreographer’s artistic way of showing the two different dances, executing their own routines consecutively with a bit of techno jazz steps conclusion.

So here it is. Hope you’ll enjoy!!!! HAPPY FIESTA EVERYONE!!!


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