Hiya and Collectivism’s Role in Applying Dance/Movement Therapy in the Philippines

Applying dance/movement therapy in new cultural settings requires consideration of values, behavioral patterns, and a group's relationship with dance or movement. Dance/movement therapy was established primarily by White, Western women in the mid-20th century, including Marian Chace and Mary Whitehouse. This period marked a shift from classical dance to modern forms, extending beyond traditional theatrical settings. Recognizing this highlights potential contextual differences when applying it in non-Western settings, where movement and dance hold different cultural meanings. This research focuses on the Philippine context, emphasizing the need to understand its unique historical and cultural background. The Philippines, shaped by centuries of colonization by Spain, America, and Japan, operates within a framework that blends folk practices, Asian ideals, and Western influences. The country consists of 7,107 islands, each with its own dialects and folk traditions. This paper provides an overview of Philippine colonial history to contextualize its impact on Filipino values. It examines the traditional Cariñosa dance, widely considered the national dance, as a manifestation of cultural and historical influences on movement and gesture. The concepts of hiya (sense of propriety) and pakikisama (togetherness or collectivism) are introduced as key considerations for applying dance/movement therapy in this context. Acknowledging the Western roots of this therapeutic practice — grounded in individualism — highlights the importance of adapting its group interventions, humanistic perspectives, and trauma-informed approaches. These cultural nuances shape how the body is used for expression and therapy, emphasizing the need for culturally sensitive techniques that align with Filipino values.