Direction: direction a dancer faces or

moves.
PhEd 13
Size: Magnitude of shape or action of the
LESSON 1.1
body; from minor to broad movements.
INTRODUCTION TO DANCE
Pathways; Patterns made as a dancer
DANCE (straight, vertical, horizontal, zig-zag)

• Come from an old German word TIME

“Danson” which means “to stretch”.
• Relationship of one movement or
• consists of different movements of the
part of a movement to another.
body to convey feelings and emotions.
• The speed of movements
• an art which normally uses non-verbal
action to construct a shape, order or how FAST or SLOW (tempo) a movement
statement.
“ EVEN or UNEVEN (beat) a movement
• Movement that transcends function and
becomes communication “ LONG or SHORT (duration) a movement
ELEMENTS OF DANCE (the building blocks RELATIONSHIP
of artistic movement styles)
• Connection between entities or
BODY audiences
• Form
• consists of different movements of the
LESSON 1.2
body to convey feelings and emotions
• the bodies function in ways that use of NATURE & HISTORICAL
locomotor and non-locomotor BACKGROUND OF PHILIPPINE FOLK
movements. DANCE
• Dance instrument
Geographical boundaries, the separation
Body Part: part of the body that is performing of indigenous and tribal societies and
the movement. complex presence across different
historical times have resulted in a wide
Body Shape: shapes made by the body range of folk dance, not just in steps and
Body Base: base support of your body weight. gestures, but also in costumes, music, and
spirit. Philippine history stretches back over
ENERGY thousands of years, long before many
• The degree of muscle tension and Asian immigrants arrive.
energy consumption when on the 1. Pygmies from Southern Asia = The
move. first recorded inhabitants of the islands in
• Force ancient times were the pygmies from
• strengths of an action Southern Asia and from there they possibly
came to the Philippines via two major
Dynamics: How the movement is done; how
routes one leading to Luzon from Borneo
the body moves
from Palawan and the other from
Flow: continuity of movement Mindanao, Negros, Panay and perhaps
Southern Luzon.
Weight: Strength and Lightness
2. Indians
SPACE
3. Indonesians = were more developed
• It is where the body moves
physically and spiritually than the pygmies
• Travel
4. Malays = Last to leave the continent of Spanish & American Influence
Asia at least two hundred years before the
The Spanish influences introduced
Christian period was a revolutionary form
Catholicism to the Philippines, with all the
of Mongoloid- Indonesian mixture
changes and usages imposed on personal,
The first to depict the headhunting Malays social and religious life by the Catholic
who are today the ancestors of the Ifugaos, faith. The Filipinos only embraced certain
Bontocs, Kalingas, and Northern Luzon elements of Spanish culture that matched
Bingwans: the second wave were the their Malaysian disposition. For instance,
alphabet-using Malays, the ancestors of they adopted the “fiesta” which was an
the present Tagalogs, Visayans, adaptation of their own ritual feasts.
Pampangos and other Christian Filipinos,
Example
and the third wave were the Malays who
adopted the Islamic faith, the ancestors of 1. Christians’ Dance Moro
the present Mindanao Muslims and Sulu
2. Christian Activities(Pasyon, Senakulo
etc)
Our history and heritage mixed with a
culture deeply influenced by our contact
with the Arabs, Indo-Malayans, Chinese, When the Americans arrived they learned
Europeans and Americans have developed that the Filipinos had a deep literary and
a colour and gesture vocabulary of dance theater heritage. Originally borrowed from
innately Filipino. Pagan or Christian, ritual Spain and the South East Asian nations,
or secular, they give the many aspects of they had evolved theater types into
Filipino art a specific mirror. Most of all, distinctly Filipino types.
they represent the spirit of the Philippines-
which is obviously uninhibited to sing and
dance Hindunized Malays arrived during pre-
Spanish times and implicitly incorporated
The West Arrival in the Philippines features of Indian civilization, as
Despite our regional resemblance to other demonstrated by a significant number of
Southeast Asian countries, the Philippines words originally using Sanskrit in the
is in many respects distinct from the other Philippine languages.
nations and the distinction stems primarily 3 Dominant Influence Evident in
from the degree that the Filipinos have Philippine Folk Dance
embraced and assimilated Western
culture. • Primitive tribal,

Chinese Influence • Arabic- Malayan- Muslim

Chinese ancestry is still a very powerful • Spanish- European folklore of the

group. The Chinese traded with the Cordilleras.
archipelago from at least the seventh RITUALS AND LEGENDS OF THE
century, but only after the arrival of the MUSLIMS
Spaniards, they did not establish
themselves in large numbers on the Our Muslim brothers are considered to be
islands. excellent seaman, skilled fisherman, highly
skilled in metal work. Religion, customs,
and history are significantly different. Our
Muslim brothers are known by different 2. To provide, through dance, a healthful
names, based on their descent from the form of relaxation and recreation.

court or the areas they live in. They are

usually leaders of four major groups:
3. Build a graceful and rhythmic
1. Sulu – 1st and oldest settlement synchronization of body movements which
enhances posture.
2. Tausug - They are mainly maritime-
oriented, and their survival depends on the 4. To stimulate better appreciation of
market. Philippine musical and folk dances
3. Maranao - (the lake's people) are 5. To awaken and hold our children's
clustered along the edge of Lake Lanao curiosity in engaging and watching our own
and along the banks of a narrow river dances.
flowing into it.
6. To retain the folk dances and music
4. Maguindanao - (people from the flood indigenous to the different regions of the
plain) live along banks and in the broad Philippines, for posterity.
valley of the river.
7. To highlight the development of the
Muslim dances identify with the pre-Islamic Filipino culture through Philippine dance
era. However, the dances are mostly evolution.
ceremonial, and are generally
Some of the characteristics of our folk
accompanied by musical instruments.
dances are the following;
Philippine Folk Dance
1. As a custom our dances start and finish
Our own native folk dances received world with a saludo. A saludo is three steps turn
renown when our dance groups were and a bow to either partner or audience.
performing outside the region. Francisca
2. Dancers, on the whole, are well apart. It
Reyes Aquino is considered the mother of
is natural to distance approximately 6 to 8
folk dances in the Philippines. Getting the
feet from one another.
books: Philippine National Dances and five
volumes of Philippine Folk Dances was 3. There is very little, if any, interaction with
due to her curiosity, ability, incessant and the body while it is normal to hold hands.
tireless commitment to the work. The
University of the Philippine Folk Song and 4. The rest of our dances are made in pairs.
Dance Troup was the original and primary Hand gestures play an important role.
dance troupe which paved the way for the 5. Many of our dances are done in long
birth of many dances and troupes. It was formation.
Mrs. Tolentino who later organized the
Filipiniana, Barangay, Bayanihan, Ramon 6. Our dances are performed, by young
Obusan, and much more. These groups and old as well as by both sexes. The
have gone outside the world, dancing their traditional dances in Filipino are classified
way to win our international friends' in this way.
attention, admiration and appreciation. GEOGRAPHICAL EXTENT OF ORIGIN
The following Reasons Folk Dances are A. National Dances-found throughout
Performed the islands with little or no modification.
1. To foster patriotism and nationalism Examples: Rigodon, Carinosa, Jota,
through the study of our dances. Balitaw, Pandanggo.
 4. Wedding Dances
B. Local Dances-found in a certain These are dances done by newlyweds, by
locality. the bride and groom's friends and family, or
by the bride's father and the groom 's
Examples:
parents.
Tinikling-Leyte
Example: Pantomina (Bicol region) The
Maglalatik-Binyang bride and groom danced and the guests
gave some presents in cash or any gifts.
Esperanza-Nabua
5. Festival Dances
Subli-Batangas
These dances are held in conjunction with
Biniganbigat-Abra a festival, a feast, a barrio fiesta, good
harvest and good health.

NATURE OF PHILIPPINE FOLK DANCE Example: Kuratsa and La Jota

1. Occupational Dance 6. War Dances

These are dances that portray movements These dances are intended to show
of particular occupations, industries and simulated battle or competition using
human labor processes. fighting weapon such as the bolo, kris, or
spears.
Example: Mananguete (Tuba Gatherer)-
To represent the various gestures and acts Example: Inakbanon (Aeta), Negrito Duel,
of a tuba gatherer from sharpening his and
sangot (scythe) to scaling a coconut tree
and finally to drink the native wine. Tuba is
the substance that drips from the coconut LESSON 2.1
seed.
FUNDAMENTAL DANCE POSITIONS
2. Religious or Ceremonial Dances
These are dances done in respect to
religious vows, rituals, and ceremonies. A
religious dance may be done to honor for
healing from illness, or to ask for a favor to
have a child.
Example: Sinurog- performed to drive evil
spirits
3. Courtship Dances
These dances illustrate lovemaking, or are
love theme dances.
Example: Maramion (Cebu & Bohol),
Rogelia (La Union, Alternate singing),
Lulay (San Pablo, Laguna- hide in
handkerchief and handkerchief like
kuratsa), and Aringguinding- guinding
(Mindoro).
 The other foot may be raised in any
direction (in front, in rear, sideward or
LESSON 2.2
across).
COMMON DANCE TERMS 12. Inside foot
- The foot nearest one’s partner, when
partner stand side by side.
1. Arms in lateral position 13. Inside Hand
- Both arms are not side either right or - The hand nearest one’s partner, when
left, at shoulder, chest or waist level. partner stand side by side.
2. Brush 14. “Jaleo”
- Weight on one foot, hit the floor with the - Partners turn once around clockwise
ball or heel of the other foot (free foot) (with R elbows almost touching) or
after which that foot is lifted from the counterclockwise (with L elbows almost
floor to any direction. touching) using walking or any kind of
3. Clockwise dance step. The hands near each other
- Like the motion of the hands of the are on waists.
clock. R shoulder is toward the center - Tagalog term but of Spanish origin
of an imaginary circle. 15. Jump
4. Counterclockwise - Spring on one foot or both feet, landing
- The reverse direction of clockwise. L on both in any direction.
shoulder is toward the center of an 16. “Kumintang”
imaginary circle - Moving the hand from the wrist eitherin
5. Cut a clock or counterclockwise direction.
- To displace quickly one foot with the 17. Outside foot
other, thus completely taking off the - The foot away from one’s partner, when
weight of the body from the displaced partners stand side by side.
foot 18. Outside Hand
6. Do-si-do - The hand away from one’s partner,
- The vis-à-vis (opposites) both advance when partners stand side by side.
forward, pass each other’s right (or left) 19. Place
side, step across to the right (or left), - To put foot in a certain or desired
move backward without turning around position without putting weight on it.
pass each other’s left (or right) side to The sole of the foot rest on the floor.
proper places. This is of foreign origin 20. Pivot
and is used in many Philippines - To turn with the ball, heel, or whole foot,
dances. on a fixed place or point.
7. Free foot 21. Point
- The foot not bearing the weight of the - Touch the floor lightly with the toes of
body one foot, weight of the body on the
8. Free Hand other foot. “Salok” to swing the arm
- The hand not placed anywhere or not downward-upward passing in front of
doing anything. the body as if scooping, the trunk is
9. Hands on waist bent forward following the movement of
- Place hands on the waistline the arm doing the “Salok”. This is a
10. “Hayon- hayon” Tagalog term.
- To place one forearm in front and the 22. “Saludo”
other at the back waist. This is a - Partners bow to each other, to the
Visayan term. audience, opposite dancers, or to the
11. Hop neighbors with feet together. This term
- A spring from one-foot landing on the is of Spanish origin and is used in
same foot in place or in any direction.
 almost all Philippine dances. “Sarok”
Cross the R (or L) foot in front of the L
(or R), bend the body slightly forward
and cross the hands (forearms) down in
front with the R (or L) hand (forearms)
over the L (or R), This is a Visayan term.

23. Slide
- To glide foot smoothly along the floor.
The movement may be finished with or
without transfer of weight.
24. Stamp
- To bring down the foot forcibly and
noisily on the floor (like doing doing a
heavy step with or without.
25. Step
- To advance or recede by raising or
moving one foot to another resting
place. There is a complete transfer of
weight from one to another.
26. Supporting foot
- The foot that bears the weight of the
body