PE 103 – REVIEWER The dances in the Philippines are deeply

rooted in our culture. They are a beautiful part

I: Multiple choice (1-15)
of our national and cultural heritage and it
*Overview should be made an important part of every
Brief Historical Background of Dance Filipino child’s school experience.
*Classifications of The Philippine Folk Dances According to Brief Historical Background of Dance
Its Nature
Art and religion were the most serious
*Philippine Costume: Fusion of History, Artistry and
Identity concerns of primitive civilizations. Although
during the primitive times, their concerns were
*Philippine Christian Dances: Female Costume
mainly how to find food and how to increase its
*Dance Abbreviations supply. Unaware of the artistic aspect, they
Test II: Identification (16-25) made use of hunting and fishing as their way of
life.
*Dance Positions
Classifications of the Philippine Folk Dances
Test III: Modified True or False
According to its Nature
*Dance Terms
1. Occupational Dances – depicting action of
Test IV: Enumeration (Remember at least 3
certain occupation, industry, or human labor.
Basic Philippine Folk Dance Steps)
2. Religious or Ceremonial – performed in
connection with religious vows and ceremonies.
Overview:
3. Comic Dances – depicting funny movements
Dance is the mother of arts. It is for entertainment.
concerned with the communication of emotions
4. Game Dances – done with play elements
or ideas through the medium of movement. The
(dance mixers).
basic vehicle of dance is the human body, and
as an art form, dance is expressed in 5. Courtship Dances _ depicting love making.
movement. It attempts to convey ideas or
6. Wedding Dances – performed during
feelings through carefully selected patterns
wedding feasts.
which are arranged in a form judged to be the
best to meet the needs of that particular 7. Festival Dances – suitable for special
communications. occasions or any social gathering.
Dance is a symbol of cultural identity. It 8. War Dances – showing imaginary combat or
is a medium of cultural fusion with a focus on duel.
the intertwining of different cultures. In fact,
dance today is not simply cross-cultural but Chief among the influences as reflected in the
pan-cultural and planetary. style and pattern of the dances are:

Dance will never die because it is being 1. Religion – Claudia Chapline writes of a
reborn through different dancers, different religious dance which purposed to
environments, and different cultures. protect the church from the outer
world.
 2. Occupation – Traditional mimetic by the ancient tapis used as an over skirt, and
occupational dances were taught and eventually by the square kerchief called
depict the processes involved in the alamapay worn so that it covers the bossom.
trade.
B. Maria Clara - In the 1900s was used to refer
3. Climate – The climate of the country
to the 19th century terno. The camisa was
affects the quality of the dance
made of embroidered jusi or piña, its
movement.
bellshaped sleeves gathered at the shoulder
4. Geography – Geography plays an
and flowing out to the wrist, worn with a
interesting and significant influence on
pañuelo of the same material draped around
dance.
shoulders, and with a multipaneled skirt of
5. Costume – is determined by two basic
heavy satin.
factors, climate and geography. A
costume is utilitarian in purpose; C. Traje de Mestiza - The camisa became a
essentially it serves to protect the body clinging bodice. With sleeves pushed up and the
form the elements and to suit the life saya deflated to a slim column. The long train
and work of the owner. which was either pointed, oval or square.
6. Music – Music is the twin sister of
dance. It is intimately related to D. Balintawak - A 1930’s shortened skirt worn
movement in dance. during picnics and other excursion activity into
the countryside and associated to Antipolo, a
PHILIPPINE CHRISTIAN DANCES: FEMALE favorite summer destination for Manila
COSTUME I. Filipino Dress (1890s - 1960) dwellers.
A. Baro’t Saya - Collarless blouse called baro E. Terno - From the Spanish word means “to
and an all-purpose wrap around skirt match”. A one-piece creation with both bodice
metamorphosed into the long skirt called saya. and skirt. pañuelo-less and the bodice became
This two-piece ensemble usually supplemented fitted.

Parts of the Filipino Dress:

A. Baro / Camisa - The short collarless upper D. Tapis (Sobre Falda) – A knee length hip-
part or waist length blouse of the Filipino terno, hugging over skirt. As an accent in the ensemble
some were elaborately embroidered on the to keep the lower torso from showing the
edges or allover. pureness of the skirt. E. Manggas Sleeves F.
Under Garments.
B. Saya - Outer clothes worn by women, with
pleats from top to bottom, or from waist to Dance Terms
feet. In some provinces of Spain, a black skirt is
1. Abrasete – Girl at the R side, holds the R arm
called saya.
of partner with her L hand, free hand down at
C. Pañuelo - A term used interchangeably with sides.
alampay. A piece of cloth, more or less a meter
2. Arms in lateral position – both arms are at
square, shape folded into two to a triangle
one side, either R or L.
shape, of different sizes and for various uses.
Set over the shoulders for neck and chest 3. Arms in reverse “T” position – arms are
covering. horizontally sideward, elbows at right angles,
forearms parallel to head, elbows are at
shoulder level, fist slightly closed, facing each each other by the R shoulders; step the L foot
other. across the R foot in front; without turning
around, take three steps backward to proper
4. Bilao – bend elbows close to waist, hand sin
places. Close L to R.
front, fingers point forward, palms down. Turn
hands up and down alternately. 5. Brush – to hit 14. Folded arms – bend arms in front of the
the floor with the ball or heel of one foot after chest and put one forearm on top of the other.
which that foot is lifted from the floor in any
15. Cut – to display quickly one foot with the
direction.
other.
6. Cabeceras – dancers are in a square
16. Free foot – the foot not bearing the weight
formation; the couples occupying the width of
of the body.
the hall.
17. Free hand – the hand not placed anywhere
7. Cast-off – dancers are in a long way
or not doing anything.
formation, head or lead couple counter match
outward to the end of the line where the last 18. Hapay – to flourish or offer a handkerchief
couple was, counter match inward to proper or glass of wine to somebody as a sign of
places. invitation.
8. Clockwise – following the direction of the 19. Hayon-hayon – to place one forearm in
hands of the clock. The R shoulder is toward the front of the waist and the other at the back of
center of an imaginary circle. the waist.
9. Costados – dancers are in a square 20. Inside hand/foot – the hand or foot nearest
formation; the dancers occupying the length of one’s partner when standing side by side.
the hall are called costados or side couple.
21. Jaleo – R hand on waist – elbows almost
10. Counterclockwise – the reverse direction of touching, partners turn around once clockwise
clockwise – the L shoulder is toward the center using any kind of dance steps.
of an imaginary circle.
22. Kewet – with fist slightly closed, thumb
11. Cross-over – two couples are opposite each sticking out turn the wrist around.
other. Each couple proceeds in a straight line to
the opposite place. The girls pass by their L 23. Kumintang – moving the hand from the
shoulders between the boys. Boys bow to each wrist either in a clockwise or counter-clockwise
other when they meet at the middle or about direction.
one third of the way then proceed to the 24. Link elbows – or hook elbows – hook elbows
opposite place. Upon reaching the opposite with partner or any dancer.
place, partners turn R about, girls stand at
partners’ right side. 25. Masiwak – turn the hand from the wrist
counter-clockwise then raise and lower wrist
12. Curtsy – point the R foot in rear of the L once or twice. This is an Ibanag term.
foot: bend knees slightly
26. Outside hand/foot – the hand or foot away
13. Do-si-do (dos-a-dos) – partners are facing from one’s partner when standing side by side.
each other. Starting with the R foot, take 3 27. Panadyak – to stamp, in front or at the side
walking steps forward to partners place passing
with the R foot and tap with the same foot close 10. Opposite - opp
to the L foot.
11. Point - pt
28. Place – to put the sole of the whole foot in a
12. Partner(s) - ptr(s)
desired position without putting the weight on
it. 13. Step(s) - stp(s)
29. Point – to touch the floor lightly with the 14. Sideward - swd
toes, no weight.
15. Toward – twd
30. Salok – to swing the arm downward upward
to fifth position passing in front of the body as if Dance Positions
scooping. The trunk is bent forward following 1. Couple Position – dancers join hands,
the movement of the arm doing the salok. shoulder level
31. Saludo – with feet together, partners bow 2. Escort Position – girl holds the R arm of the
to each other, to audience, or to opposite boy with her L hand
dancer.
3. Conversation Position or Flirtation Position –
32. Sarok – with the weight on the L foot, point girl’s L hand is placed on the R shoulder of the
R foot across the L foot in front, bend the body boy. Boy’s R hand is placed around the girl’s
slightly toward the pointing foot and across the waist.
R arm over the L arm.
4. Facing Position – facing each other, join both
33. Stamp – to bring down the foot forcibly and hands, chest level or a little lower.
noisily on the floor.
5. Wrap Position – partners face audience, boy
34. Tap – flexing the ankle point, rap lightly with stands slightly behind girl. Girl crosses arms (R
the ball or toe of the free foot. over L) in front of the waist. Boy holds the L
35. Whirl turn – rise on toes and make fast hand of the girl with his own L hand and the R
turns by executing mincing steps in place. hand of the girl with his own R hand.

Dance Abbreviations 6. Back-Crossed Arm Position – same as front

crossed arm position but the arms are crossed
1. Back - bck. at the back.
2. Backward - bckd. 7. Promenade or Skater’s Position or Front
Crossed-Arm Position – partners face audience.
3. Clockwise - cw
Boy holds R hand of the girl with his own R hand
4. Counter-clockwise - ccw and the L hand of the girl with his L hand.

5. Couple(s) - cpl(s) 8. Varsovienne Position – boy stands slightly

behind girl; extend R arms diagonally upward R
6. Count(s) - ct(s)
and L arms in second position.
7. Figure(s) - fig(s)
9. Reverse Varsovienne Position – same as
8. Forward - frd varsovienne position except that the boy stands
in front of the girl. Slightly to the R.
9. Foot/feet - ft
10. Swing-Out Position – join inside hands, ETHNOLOGIC DANCE 4. Dance resulting from
outside hands in second position. Partners face centuries of development within the traditions
slightly toward audience. of a particular ethnic group.

11. Shoulder-Waist Position – partners face BALLET 5. A court dance that developed into a
each other, girl places both hands on boy’s highly stylized theater art that is today. It had it
shoulders. Boy places both hands on girl’s waist. beginning in Italy, developed and nurtured in
France, and perfected in Russia.
12. Close Ballroom Dance Position – partners
are facing each other. Girl’s L hand is placed on MODERN DANCE 6. Concerned with the
the R shoulder of the boy. Boy’s R hand is communication of emotions or ideas through
placed on the L waist of the girl. Outside hands the medium of movement. Sometimes is
joined and are extended toward the audience. concerned simply with movement itself.

13. Open Social Ballroom Dance Position – LOCO-MOTOR MOVEMENT 7. Movements

same as close ballroom dance position except through space that bring the body from one
that the dancers are facing audience. place to another.

14. Star Position – dancers face opposite HOP 8. Spring from one foot landing on the
direction. Inside hands are joined. same foot

AXIAL MOVEMENTS/NON-LOCO-MOTOR 9.
Movements done in place, with one part of the
body serving as an axis or base around which
other parts move.

STRETCHING 10. Full extension of the arms,

legs, or trunk in any direction.

Tempo 1. The speed of the beat.

Meter 2. Beats organized into recognizable

/recurring accent patterns.

Melody 3. The word used to describe the

highness or lowness of a musical sound.

FOLK DANCE 1. Traditional dance of a given Melody 4. Thought of as the art of combining
people. In this form, a definite pattern of dance pitches into chords.
routine is usually specified and followed. Tone-Color 5. The character or quality of a
SOCIAL DANCE 2. Includes all dance forms musical sound or voice as distinct from its pitch
which bring individuals together in dances and intensity.
designed for group participation and Mezzo-Piano 6. Moderately quiet.
enjoyment. It is usually accompanied by popular
music. Rhythm 7. Element of "TIME" in music.

THEATRICAL DANCE 3. Dance performed in Fortissimo 8. Very loud

theaters or on stage to entertain spectators.
Adagio 9. Adagio
Crescendo10. Gradually getting louder 9.Both arms raised over-head.

1.It is a dance position that shows that your 10.Arms raised sideward at shoulder levels.
arms in “T”position with semi-opened palm and
Give 5 examples of Basic Dance Steps of Folk
index fingerpointing upward.
Dance.
a. Hayon-Hayon b.Kumintang 
11.
c.Sway Balance d.Salok 
12.
2.This is a kind of folk dance originated in Suriga
13.
o thatshows dancers move like a duck wading
and swimming. 14.
a.Maglalatik b.Itik-itik 15.
c.Singkil d.Tinikling  Give 5 examples of Arm/Hand Positions.
3.A dance that shows dancers battle for the lati 16.
k orcoconut meat.
17.
a. Maglalatik b.Itik-itik
18.
c.Singkil d.Tinikling
19.
 4.Is a dance originated from a place that highlig
hts it’s cultural roots. 20.

a.Traditional dance  c.Love Dance Give 5 examples of popular Folk Dances in the

Philippines.
b.Modern Dance d.None of the above 
21.
5.Dancing can be fun if done properly.
22.
a.True  b.False
23.
 c.Maybe  d.None of the above
24.
6.The following are benefits that we can get fro
m dancing except one; 25.

a.Balance and posture improved. b.Social life 1. Which of the following is a term used to refer
may improve. to dances primarily intended to get to know
otherpeople in a certain formal or semi-
c.You easily get angry. d.Confidence is formal occasion?
developed.
a. ballroom dances  b. dancesport 
(7-10- Identify what position in arm and feet.
Answer with 1st, 2nd, 3rd, 4th, 5th, 6th,7th) c. festival dances  d. social dances

7.One foot forward, with heel of front foot in lin 2. What is the general term referring

e withbigtoe of rear foot.  to the DOs and DON’Ts in social dancing?
8.Heels closed, toes opened. 
a. behavior  b. character  c. I will share my skills by teaching community
folks, young and old, about social dances
c. dance demeanor  d. dance etiquette
d. I will coordinate with community officials in
3. Social dances are of two classifications
conducting a social dancing program for
namely, Latin American and Modern Standard
thecommunity
Dances. Which of the following is an example of
Modern Standard Dances? 8. How do social dances contribute to one’s
fitness and well-being?
a. cha-cha-cha b. jive c. rumba d. waltz
a. They help make one physically engaged and
4. Which of the following is the attire
active preventing lifestyle diseases
appropriate for males in Modern Standard
Dances? b. They cure lifestyle diseases

a. black/white shirt  c. black/white sweat shirt c. The help prevent sedentary lifestyle-related

diseases
b. black/white long sleeves  d. coat and tie
d. They develop one’s talent in dancing
5. Social dancing can prevent some diseases,
caused by sedentary lifestyle, if regularly 9. “It takes two to Tango.” What does this quote
performed. Which of the following does NOT mean?
belong to the group?
a. A Tango requires two individuals to dance
a. diabetes  b. lung cancer 
b. One cannot exist without the other
c. obesity  d. weight gain
c. It takes two to make any endeavor work
6. Which of the following best describes social
d. There should always be two individuals
dances?
dancing the Tango
a. Social dances are for pairs only
10. The following are dance etiquettes that
b. Social dances can be competed should be considered in a social dancing
activityEXCEPT ONE:
c. Social dances are dances that improve social
skills and fitness a. Wear appropriate dancing attire

d. Social dances are dances that entertain b. Insist in executing difficult dance steps
people in attendance to a social function including aerial combinations with your partner

7. How would you best use the knowledge and c. Ask someone promptly if you wish to dance
skills learned in social dancing to enhance your with him or her
community’s fitness?
d. Always follow counterclockwise as line of
a. I will render an intermission number with my direction social dancing
partner during fiestas
11.“May I have this dance?” This line implies…
b. I will make social dancing my lifetime fitness
a. A boy who treats a girl with respect even in
activity
dancing

b. A boy forcing a girl to dance

c. A boy with no one to dance with pleading

d. A boy who wishes to dance with somebody

12. Which of the following, aside from fitness,

can be developed if one engages in social
dancing activities?

a. Respect  b. sense of community

 c. courtesy  d. all

13. The following are reasons why fitness is a

universal concern EXCEPT ONE:

a. We face different challenges everyday and it’s

just but proper to keep ourselves fit all the time
if we are to overcome them

b. Everyone needs to be physically fit to meet

daily physical challenges

c. One can influence the community fitness

consciousness effectively if he or she fosters
fitnessand well-being

d. To be a good athlete or player in a certain

sport.

14. What happens if one doesn’t have a

physically active lifestyle?

a. He/she is prone to weight gain, obesity which

may lead to diabetes and other cardio-
vasculardiseases

b. He/she will not be physically fit

c. He/she will become sickly

d. He/she will become fat

15. In social dancing, a boy leads while a girl

follows. What values can be developed in
suchtraining?

a. Leadership b. obedience c. respect d. all
 a. Place the R ct. 1 or cts. 1, cts. 1
heel in fourth 2. 1
Basic Philippine Folk Dance Steps in front
1. Touch 2/4 3/4 b. Close the R ct. 2 or ct. 3 or cts. 2,3
Step foot to L
a. Point R ct. 1 cts. 1, 2 or ct. (Simplified: Heel place, close or heel place,
foot in fourth 1 close) 1 2 1, 2 3
in front
Fast Bleke 2/4 3/4
b. Step R ct. 2 cts. 3 or cts.
a. Hop on L ct. 1
close to L 2, 3
and place R
(Simplified: Point, Close or Point, Close) 1, 2, 1,
heel in fourth
2, 3 in front
Step point 2/4 3/4 b. With a ct. 2
a. Step R in ct. 1 ct. 1 or cts. 1, spring,
fourth in 2 reverse the
front position of
b. Point L in ct. 2 cts. 2, 3 or 3 the feet
fourth in
front Close Step 2/4 3/4
(Simplified: Step, Point or Step, Point) 1 2, 3 1, a. Step r ct. 1 cts. 1, 2
2, 3 fourth in
front
Hop-Step 2/4 3/4
b. Close L to ct. 2 ct. 3
a.Step R in ct. 1 cts. 1, 2
R foot
fourth in
front (Simplified: Step, Close or Step, Close) 1 2 1, 2 3
b. Hop on the ct. 2 2, 3 Slide Step 2/4 3/4
same foot a. Glide or ct. 1
and raise The slide R foot in
L foot in fourth
front or in position in
the rear front
(Simplified: Step, Hop, or Step, Hop) 1 2 1, 2 3 b. Close L ct. 2
Step-Swing 2/4 3/4 foot in third
position in
a. Step the R ct. 1 cts. 1, 2
rear or in
foot in
first position
second
position (Simplified: Glide, Close) 1 2
b. Swing the ct. 2 2, 3 Cut Step 2/4 3/4
L foot across a. With the R ct. 1
the R foot in foot slightly
front. raised in
(Simplified: Step, Swing or Step, Swing) 1 2, 1, 2 front,
3 displace the L
foot with the
Slow Bleke 2/4 3/4
 R foot Step or Palit-
backward Palit
b. Displace R ct. 2 a. With a ct. 1
with the L little jump off
foot forward the floor,
Note: Cut step can be done sideward or land on both
diagonally backward and forward Feet with the
R in front and
. Rocking 2/4 3/4 the L in rear
Step b. Reverse ct. 2
a. Raise R ct. 1 the position
foot slightly of the feet
in front in
preparation:
Fall onto the
R foot in
Cross Step 2/4 3/4
front raising
the L foot in a. Step R foot ct. 1
rear sideward
b. Fall onto ct. 2 b. Step L foot ct. 2, 3
the L foot in across the R
rear and foot in front
raise R foot (Simplified: Step, Cross-Step) 1 2, 3
in front Change Step 2/4 3/4
Note: The movement is done in a rocking a. Step R foot ct. 1
motion. in front
Shuffling 2/4 3/4 b. Step L foot ct. and
Step – Count close to the R
1&2& foot in rear
Shuffling c. Step R foot ct. 2
steps are quickly in
usually done front
forward. As (Simplified: Step, Close, Step) 1 & 2
the step is Cross Change 2/4 3/4
done on the Step
balls of the
a. Step the R ct. 1
feet, raise foot across
heels slightly.
the L foot in
. Execute tiny front
gliding steps
b. Step L foot ct. and
on balls of close to R in
feet as many
rear
times as
c. Step R foot ct. 2
desired.
in place in
front
Changing 2/4 3/4 (Simplified: Cross-step, Close, Step) 1 & 2
 Fitness Side of Social Dancing

• Has power to maintain and/or improve

fitness.

FITT PRINCIPLES

• Frequency

• Intensity

• Time

• Type of Activity
Social Dance Dances that are categorized as Latin-American
Dance
• Are communal dances performed in
social gatherings in any given space. Chachacha Rumba
Samba Salsa
• It is classified as: Modern Standard
Dances or Latin-American Dances Paso Doble Jive
Latin-American Dances Swing Mambo
• Worn costumes that are revealing, tight Merengue
fitting, sexy yet sophisticated.
It can be determined through the costume worn
• Free in movements and can be by the performing.
performed in close or open hold.
It is revealing, tight-fitting, sexy and
Modern Standard Dances sophisticated in nature.
 Wear formal, ankle length gowns and It can be performed in an open or close hold. It
coat and tie. can also be easily determined by the nature of
the movement. The movement shows rhythmic
 Movements are restricted to close
expression, sensual, and spicy style.
ballroom position with partner.
CHACHACHA

It is a lively, fun, cheeky and playful dance

originated in Cuba.
RUMBA

It is recognized for the subtle side to side hip Dance is a performing art form consisting of
movements with the erect torso in Cuba. purposefully selected sequences of human
movement. This movement has aesthetic and
SAMBA
symbolic value and is acknowledged as dance by
It is known to the simple forward and backward performers and observers within a particular
steps and tilting, and rocking body movements culture. Dance can be categorized and
originated in Brazil. described by its choreography, by its repertoire
of movements, or by its historical period or
PASO DOBLE place of origin.
Originated in Spain. It is an energetic dance The Elements of Dance are the foundational
modeled after the drama of the Spanish concepts and vocabulary that help students
bullfight develop movement skills and understand dance
JIVE/BOOGIE as an artistic practice.

It is described as very happy, boppy, lively ▪ Body ▪ Action ▪ Space ▪ Time ▪ Energy
dance, with many of knee-lifting, bending, and BODY
rocking of the hips originated in USA.
In dance, the body is the mobile figure or shape,
SWING felt by the dancer, seen by others. The body is
It is known as an energetic style of dancing in sometimes relatively still and sometimes
which a dancer often lifts, spins and flips his or changing as the dancer moves in place or
her partner originated in USA. travels through the dance area. Dancers may
emphasize specific parts of their body in a
MERENGUE dance phrase or use their whole body all at
It is described as a fun, fast and easy dance once
made up of simple steps. It is composed of a ACTION
non-progressive dance, but can also travel
counter-clockwise around the floor originated in Action is any human movement included in the
Dominican Republic. act of dancing— it can include dance steps,
facial movements, partner lifts, gestures, and
SALSA even everyday movements such as walking.
Originated in Cuba. It is a combination of many Dance is made up of streams of movement and
Latin and Afro-Caribbean dances whose pauses, so action refers not only to steps and
movements was caming from in the Cuban Son, sequences, but also to pauses and moments of
Cha-Cha -Cha, Mambo and other dance forms. relative stillness.

MAMBO TIME

Originated in Cuba. It is recognized as a fast and Rhythmic patterns may be metered or free
spicy dance. The Cuban motion, staccato rhythm. Much of western music uses repeating
movement and expression of rhythm through patterns (2/4 or 3/4 for example), but concepts
the body is noticeable. of time and meter are used very differently
throughout the world. Dance movements may
also show different timing relationships such as
simultaneous or sequential timing, brief to long
duration, fast to slow speed, or accents in
predictable or unpredictable intervals. Philippines has a great variety of dances. Due to
its numerous islands, and the scattered position
of these islands. ✓ Cordillera Dances ✓ Western
ENERGY Influence Dance ✓ Rural dances ✓ Muslim and
Energy is about how the movement happens. Non-muslim Dances
Choices about energy include variations in
movement flow and the use of force, tension,
and weight. An arm gesture might be free The Cordillera dance continues to be an
flowing or easily stopped, and it may be expression of community life that animates the
powerful or gentle, tight or loose, heavy or various rituals and ceremonies. They dance to
light. A dancer may step into an arabesque appease their ancestors and gods to cure
position with a sharp, percussive attack or with ailments, to ensure success at war, or to ward
light, flowing ease. Energy may change in an off bad luck or natural calamities.
instant, and several types of energy may be Sample Dances:
concurrently in play.
✓ Banga (Kalinga Tribe)

✓ Bendayan (Benguet Province)

Although there are hundreds of dance styles,
for simplicity, dance has been categorized into ✓ Manmanok (Bago Tribe)
different types of dance in a few large groups:
✓ Ragragsakan (Kalinga Tribe)
✓ Folk dance
✓ Turayen (Gaddang Tribe)
✓ Ballet
✓ Tarektek (Benguet Tribe)
✓ Modern and Contemporary Dance
✓ Uyaoy / Uyauy (Ifugao Tribe)
✓ Hip-Hop (or street dance)

✓ Latin, ballroom and social dance

Western Influence Dance (Maria Clara)

The Maria Clara dances merged Spanish court

✓ A folk dance is a dance that reflects the life of style (and its stylized courtship conventions)
the people of a certain country or region. with Philippine exuberance. Maria Clara is the
pure and noble heroine of a novel who
✓ Oldest form of dance and one of the earliest represents the finest qualities of Filipino
form of communications. womanhood. The dancers wear European
16thcentury dress but move to the sounds of
bamboo castanets.
Mrs. Francisca Reyes Tolentino (known today
as Mrs. Francisca Reyes Aquino) is considered Sample Dances:
the mother of Philippine Folk Dances. ✓ Jota Intramureña
✓ Engañosa •Asik.

✓ La Jota Manileña •Udol.

✓ Jota Paragua

✓ Polkabal

✓ Putritos

✓ Baston

✓ Timawa

Rural dance (or Countryside dance)- Perhaps

the best known and closest to the Filipino heart
are the dances from the rural Christian
lowlands: a country blessed with so much
beauty. To the Filipinos, these dances illustrate
the fiesta spirit and demonstrate a love of life.

Sample Dances: ✓ Tinikling – Leyte.

✓ Itik-Itik – Surigao del Sur.

✓ Maglalatik – Biñan, Laguna.

✓ Binasuan – Pangasinan.

✓ Kappa Malong-Malong – Maranao in

Mindanao.

✓ Cariñosa – Panay Island.

Mindanao and Muslim dance mirror the

people’s expression. They show not only the
Artistic Ingenuity of the natives, but also their
beliefs, traditions and life are reflected in them.
These dances have for long survived.

Sample Dances: •Singkil.

•Pangalay.

•Dugso.

•Sagayan.

•Karasaguyon.