WHAT IS DANCE?

Traditional Dances UNIVERSAL CHARACTERISTICS OF DANCE

Content Standards: 1. Use of human body
The learners demonstrates understanding of dance 2. Extends through time
in optimizing ones health: as requisite for PA performance, 3. Exist in space
and as a career opportunity. 4. Exist in force
Performance Standards: 5. Accompanied by rhythm
The learner lead dance events with proficiency and 6. Serves to communicate
confidence resulting in independent pursuit and influencing 7. Has movement and style
others posotively. CLASSIFICATION OF DANCE
What is Dance?
- An art performed by individuals or group of human
beings, existing in time, space, force and flow in
which the human body is the instrument and
movement is the medium - Richard Krauss
- Commonly performed with music or other
accompaniment primary purpose of expressing the
inner feelings and emotions, although it is often
performed for social, ritual, entertainment or other
purposes.
1. Ballet 2. Modern Dance
3. Classification Dance 4. Ethnic Dance
5. Folk Dance 6. Ballroom Dance

7. Exercise Dance 8. Dance Exercise

9. Dance Drama 10. Allied Movement Form

11.Street Dance 12. Interpretative Dance

FOLK DANCE
 Usually performed by a group of consisting of members 3. BANGA- This dance displays the Igorot women, the
of community. Cordillera women on their way to the river to fetch
 It steps and patterns are not creation of an identifiable water for their families. This dance projects show the
choreography but are passed from generation to skill and strength of the women as they carry heavy
another. laiden clay pots (Banga) full of water. Their grace and
Francisca Reyes Aquino- “Mother of Philippine Folk agility while balancing the heavy pots, sometimes
Dancing” stacks five high, is a testament pf the Filipino and how
- She spearheaded the development of Philippine folk hardships become an art from and talent.
dances. 4. IDUDU – The family is the basic structure of family
- She searched for folk dances from all over the life among, presents a typical Itneg/Tinngian people.
country to be used in her classes and was able to The caring for the children is shared by both the
collect a great number of diverse dances, games, mother and the father. While the menare clearing the
and music that reflected the many faceted Filipino fields, the women watch yhe children. Soon as the men
character. are done, they take care of the children while the
- She was supported by her husband, Ramon P. women do back breaking work.
Tolentino, in promoting Philippine folk dance in 5. BINASUAN- An entertaing dance originated at
Physical Education classes. Her friend, Antonio Bayambang, Pangasinan is an entertaining dance that
Buenaventura, assisted her in composing and is usually performed at festive occasions(weddings and
recording the music for the dances. birthdays). Dancers carefully balance three half-filled
Traditional dances can be classified as religion, imitative gasses of rice wine on their heads and hads as they
of animal life, and activities, performed during socialization gracefully spin and roll on the ground. MAGLALATIK-
and celebrations, inherited from colonial masters, and originally performed in Binan, Laguna as a tribute to
performed for tourism programs for both cultural and the patron saint of farmers, San Isidro de Labrador. It
economic use. It can also be folk or ethnic. is a mock-war dance that demonstrates a fight
Folk dances are generally those that express the past between the Moros and the Christians over the prized
and present culture and performed by Christianized rural or latik or coconut meat during Spanish rule.
lowland folks. Ethnic dances are also folk dances in that 6. SAYAW SA BANGKO- native to the barrio of
they also expresses the culture of a certain group; these Pangapisan, Lingayen, Pangasinan, and demands skill
dances, however, are performed by members of the cultural from its performers who must dance on top of bench
minority or those who were not influenced by colonization. roughly six inches wide
LUZON 7. SAKUTING - Dajce of the Ilokano Christians and non-
Luzon is in the northern part of the country. It includes the christians from the province of Abra. Sakuting was
different Cordillera tribes such as Ifugao, Benguet, Bontoc, originally performed by boys only. It portrays a mock
Apayao and Kalinga which contributed much to the dance fight using sticks to train for combat. The stacatto-
trove of the Philippines. inflected music suggests a strong Chinese influence.
DANCES FROM LUZON The dance is customarily performed during Christmas
1. CARINOSA - Meaning the loving or affectionate one at the town plaza, or form the house-to-house.
Is a Philippine dance of Hispanic origin from Maria
Clara suite of Philippine folk dances, where the fan or
handkerchief plays an instrumental role as it places the
couple in romance scenario. VISAYAS
2. IDAW – This dance sometimes has many names and Traditional and Heritage : The Visayas is a group of
different versions. Most common is this dance depicts islands in the central Philippines. It is considered the
the hunting ritual performed before a tribal war. melting pot of diverse cultures and traditions. Most Visayan
Tribesmen would go out and look up and watch the dances have western, Arabian, and Spanish influences. The
scared idaw bird which is believed to lead the tribe to upbeat rhythm of dances reflects the happy character and
victory. Also look at the clothing, Philippines being a outlook of the people. Their dances frequently draw
very hot climate, plus the use of little material as inspiration from animal movements.
possible, the traditional clothing was not made to cover DANCES FROM THE VISAYAS
much of the body…
1. TINIKLING – considered the national folkdance with a ASIK – is danced solo by a maiden ornamented with fine
pair of dancers hopping between two bamboo poles held beads, makeup, and a long head scarf. She gives her whole
just above the ground and struck together in time to heart and soul throughout the dance to soften and win the
music. originated from the province of Leyte and is favor of her Sultan master or to make up for wrong doing.
considered formerly our national dance. It mimics the She would give her whole heart and soul into this
movement of the tikling bird hopping over shrubs, performance to soften the heart of her master to accept it…
grasses, or bamboo traps set by farmers. Dancers
display remarkable grace while jumping and hopping GENERAL CLASSIFICATIONS OF PHILIPPINE
between two bamboo poles. DANCES
2. MAZURKA BOHOLANA – Mazurka Boholana is a ACCORDING TO GEOGRAPHICAL LOCATION:
Spanish-inspired ballroom dance from Bohol province, is 1. National Dances- traditional dances throughout the
performed using a moderate waltz style. Although the Philippines with a common basic movement or pattern
mazurka is the Polish National dance, it was vividly but with slight variations.
popular throughout Europe in the 19th century and even 2. Local or Regional – dances found in certain localities
colonized land overseas. The Philippine dance is or regions only
ordinarily performed by men and women partners.
3. THE POLKABAL - Shows some European influence in
its steps. The dance is composed of none different steps ACCORDING TO NATURE:
which inclued various movements such as: flutterinf, 1. Occupational dances – show movements of a certain
stepping heel-to-toe, a reenactment of bull fight , and industry or human labor.
even a leisurely walk. 2. Religious or ceremonial dances – performed in
MINDANAO connection with spiritual vows and ceremonies.
Tradition and Heritage :Mindanao lies in the southern 3. Game dances – performed with play components.
part of the country. Its dances often reflect the religion 4. Wedding dances – performed during nuptial feast.
and culture of Muslim Filipinos. 5. Courtship dances – depicting a man expressing his
DANCES FROM MINDANAO love for a woman.
1. SINGKIL – takes its name from the bells worn on the 6. Festival dances – suitable for special occasions or
ankles of the Muslim Princess. Perhaps one of the oldest social gatherings.
of truly Filipino dances, the Singkil recounts the epic 7. War dances – showing imagery combat or duel.
legend of “Darangan” of the Maranao peopleof the 8. Comic Dances – dances with funny and humorous
Mindanao. This epic, written sometimes in the 14th movement mainly intended for entertainment.
century It tells the fateful story of Princess Gandingan 9. Social Dances – dances performed during social
who was caught in the middle of a forest during an gathering
earthquake caused by the fairies of nymph of the forest. ACCORDING TO TYPES OF PHILIPPINE DANCES:
The crisscross rhythmic clapping of bamboo poles 1. Cordillera dances- North Luzon
signifies falling trees which the princess gracefully 2. Muslim dance- South Luzon
avoids. Her loyal slaves accompanies her throughout the 3. Maria Clara dance- Central Visayas
ordeal and finally a prince saves her. The dancers 4. Rural dance- Barangays
wearsolemn serious and regal faces and maintaninga ACCORDING TO BASILIO ESTEBAN S. VILLARUZ in
dignified posture from a slow pace progressing to a fast his book “Treading Through : 45 Years of Philippine
tempo while skillfully maneuvering the fans which Dance (2006), Philippine dance is generally
symbolize the wind that prove ot be auspicious. The composed of the following
dancers weave expertly through criss-crossed bamboos. 1. Those that propitiate the spirits
2. KINI-KINI -means the royal walk depicts the social 2. Those that are imitative of animal life or activities
elite upbringing of Maranao women performing this with 3. Those meant for socializing and celebrating
scarves. The dancers display grace in their movements 4. Those that were inherited from colonial masters.
with scarves. The beauty of the scarves and the talent 5. Those mentioned above that have now been performed
and grace in which it is displayed. Shows their elite for tourism programs for both cultural and economic
social upbringing.999999 use.
3. PANGALAY – A pangalay native to the Badjao, BENEFITS OF PHILIPPINE FOLK DANCES
sometimes known as a “Sea Gypsies”. Pangalay is 1. Help cultivate a sense of nationalism and patriotism
a dance that emphasizes the agility of the upper body. through dance
Their dance demonstrates the agility of the upper body, 2. Increase appreciation of Philippine music and folk music
the rhythm bounce of the shoulders, and the 3. Serve as a healthy from of relaxation and recreation
simultaneous alternate waving of the arms. It is 4. Develop and improve posture through graceful and
commonly performed at weddings and other social rhythmic coordination of body movements.
gatherings. You will also see some parts of the Singkil in 5. Preserve indigenous folk dance and music in the
this dance also. Another part of the this dance is also different regions of the Philippines for the future
called the Muslim of Bamboos generation.
6. Show the development of Filipino culture through the
evolution of Philippine dances. Maria Clara Dance – This dance is a mix of Spanish
gracefulness and customized native props, such as bamboo
CHARATERISTICS OF PHILIPPINE FOLK DANCES castanets and Asian fan. Female dancers wear Maria Clara
1. Dancers generally stand away from each other. dress that typifies the European style, while men are in
2. There is little body contact if any. barong tagalog.
3. Pairs or couples do most of the dances. Rural Dance – these dances illustrate the fiesta spirit and
4. Hand movements and gestures play significant part. demonstrates a love of life. They express a joy in work, a
5. Most dances are in long formation. love for music and pleasure in the simplicities of life.
6. Most dances begin and end with saludo or bow.
7. Dances from the lowlands have more foreign features
than those found in the uplands.
8. Non- Christian dances commonly depict conflict and
rivalry.
Glossary
Folk Dances - are generally those that express the past
and present culture and performed by Christianized rural or
lowland folks.
Ethnic dances - are also folk dances in that they also
expresses the culture of a certain group; these dances,
however, are performed by members of the cultural
minority or those who were not influenced by colonization.
Cordillera dances – dances from the mountainous regions
of Northern Philippines.
FIVE FUNDAMENTAL POSITIONS OF THE ARMS AND FEET
The most practical way to describe rhythmic pattern is Third Position
count. A time signature tells you how the counting is done. For the third position, bring your foot’s heel to
It is written at the beginning of musical staff. The top touch the arch of your other foot, with both feet
number tells you how many beats to count, while the turned outward. Right heel close to the left in
bottom number indicates the kind of note that receives one step
beat. Fourth Position
Time Definition In the fourth position, put your foot forward
Signature while the other foot still retains its position. The
2 There should be two counts to a measure distance between the two feet should be about
4 12 inches.
3 There should be three counts to a measure Right fooot in front and left foot in rear with
4 one foot apart between heel and toe.
4 There should be four counts to a measure Fifth Position
4 In the fifth position, bring the heel of the
foot in front to touch the toe of the other.
Both feet should still be pointing outward.
Right heel touches the left big toe(heel and
Fundamental Position of Arms and Feet toe relationship)

FEET ARMS POSITIONS

First Position
First Position For the first position, raise your arms
For the first position, form a V-shape into a circle in front of your chest.
with your feet by bringing your heels Your hands should be aligned in front
together to touch while keeping your of your chest with both arms slightly
toes away from each other, angles curved, and your fingertips should be
45 degrees. at least 1 inch apart.
Second Position Both arms are raised in front of chest with rounded elbows.
For the second position, move Second Position
one foot sideward. Your feet For the second position, open your
should be parallel to each other arms sideward at shoulder level.
while maintaining a distance of Both arms raised sideward with
about 12 inches. rounded elbows
Feet apart about one foot away from each other. Third Position
Right arm is raised above your - A combination of fast step and hop pattern (from one
head, while the left arm maintains foot to another.)
the second position. The arm that 5. LEAPING
was raised should be slightly - A spring home one foot landing on the other foot (similar
curved as well and raised to luksong tinik)
sideward 6. HOPPING
Fourth Position - A spring on one foot landing on the same foot
In the fourth position, Right arm in the 7. GALLOPING
second position would be raised forward - A combination of step cut step pattern
in front of your chest again, similar to 8. SLIDING
how it was in the first position. The arm - Gliding one foot followed with a close with the other foot
that is lifted above your head will still without lifting the foot on the floor.
maintain its position
Fifth Position
For the fifth position, both arms should NON-LOCOMOTOR/ AXIAL MOVEMENT
be lifted above your head, slightly curving. - These are movements that are performed in one point
The posture is similar to that of the first in space without transferring to another point. They
position but raised above the head instead. don't allow you to move from one place to the other.
- Are those in which various parts of the body move in
space with a fixed base.
1. FLEXION
- Bending or shortening of the body parts occurring at a
joint.
2. EXTENSION
- Stretching, circling, twisting, turning
BASIC DANCE SIGNS/SYMBOLS, AND NOTATIONS 3. PENDULAR
FOLK DANCING - Swinging/ swaying forward, backward and sideward
4. PERCUSSIVE
X BOY Ct. count line - Pushing and pulling, striking and hitting
GIRL Forward Column 5. VIBRATORY
clockwise Backward Measure M - Shaking and Beating
Counterclock Sideward R Semi Circle 6. SUSTAINED
wise - Slow motion movements, done with balance throughout
Sideward L the entire series
R right Diagonal R Double Circle 7. SUSPENDED
- A sharp movement followed by a series of slow and
Diagonal L prolonged movements.
AXIAL POSITIONS:
L left Circle Girl always at the R 1) STANDING
side of the npy 2) SQUATTING
when partner 3) KNEELING
facing the audience 4) SITTING
5) LYING DOWN
FUNDAMENTAL MOVEMENTS OR THE LOCOMOTOR MANIPULATIVE MOVEMENTS - these movements may
MOVEMENT use combination of Locomotor or Non locomotor
These are movements that allow you to move from one movements always done with a controlled object to
place to another in any direction: "loco" which means place manipulate to move.
and "motor" which means movemen BASIC HAND AND ARM MOVEMENTS:
ARMS IN LATERAL POSITION – both arms at one side,
either sideward right or left. This may be done at shoulder,
8 LOCOMOTORS chest or waist level.
1. WALKING ARMS IN “T” POSITION– arms are side horizontally,
- It is a transference of weight from one foot to another. A elbows bent at right angles, forearms parallel to waist,
series of steps done in any directions palms forward as facing inward.
2. RUNNING ARMS IN REVERSE “T” POSITION– arms are side
- A series of steps rapidly done horizontally, elbows bent at right angles, forearms parallel
3. JUMPING to head, palms forward as facing inward.
- A spring from one or both landing on both feet CROSS ARMS- Partners face each other or standing side
4. SKIPPING by side, girl always at the right side of the boy. They join
hands together right over left or left over right.
HANDS ON WAIST- Place hands on hips, knuckles in,
fingers pointing in rear.
HAYON-HAYON – to place one forearm in front and the
other at the back of the waist. This is a Visayan term.
KUMINTANG – moving from the hand from the wrist
either in a clockwise or counterclockwise direction. This is
an Ilocano term.
BILAO - to turn the palms of the hands up and down
alternately, hands at waist level in front, elbows close to
waist.
BASIC FEET MOVEMENTS:
BRUSH – weight on one foot, hit the floor with the ball or
heel of the other foot(free foot) after which that foot is
lifted from the floor to any direction.
CUT – to displace quickly one foot with the other, thus
completely taking off the weight of the body from the
displaced foot.
STEP- Advance by raising or moving one foot to another a
transfer of weight from one foot to another.
FREE FOOT- Foot not bearing the weight of the body.
PANADYAK- Stamp in front or at the side with Right or
Left foot and tap with the same foot close to right or left
foot with the weight of the body on the right or left foot
PLACE- Put foot in a certain or desired position without
putting weight on it. The sole of the foot rest on the floor
SAROK– cross the R (L) foot in front of the L (R), bend the
body slightly forward and cross the hands (forearms) down
in front with the R (L) hand forearm over the L (R). This is a
Visayan term.
POINT – touch the floor lightly with the toes of one foot,
weight of the body on the other foot.
STAMP – to bring down the foot forcibly and noisily on the
floor (like doing a heavy step) with or without transfer of
weight.
TAP – to rap slightly with the ball or toe of the free foot,
flexing the ankle joint keeping weight of the body on the
other foot. There is no change or transfer of weight.
HOP – a spring from one foot landing on the same foot in
place or in any direction (in front, in rear, sideward or
across).
CUT – to displace quickly one foot with the other, thus
completely taking off the weight of the body from the
displaced foot.
LEAP - a spring from one foot and landing on the other
foot in any direction (forward, sideward, backward and
oblique).