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DANCE

Francisca Reyes Aquino conducted research on Philippine folk dances in the 1920s, traveling around Luzon to document unrecorded local celebrations, rituals, and sports. Her 1926 thesis and subsequent books helped preserve and spread Philippine folk dances to schools. She is acknowledged as the pioneer of documenting and teaching Philippine folk dances.

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Kristela Mae Coloma
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66 views8 pages

DANCE

Francisca Reyes Aquino conducted research on Philippine folk dances in the 1920s, traveling around Luzon to document unrecorded local celebrations, rituals, and sports. Her 1926 thesis and subsequent books helped preserve and spread Philippine folk dances to schools. She is acknowledged as the pioneer of documenting and teaching Philippine folk dances.

Uploaded by

Kristela Mae Coloma
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PPTX, PDF, TXT or read online on Scribd
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DANCE

Francisca Reyes Aquino is acknowledged as the Folk Dance Pioneer. This Bulakeña began her
research on folk dances in the 1920s making trips to remote barrios in Central and Northern Luzon.
Her research on the unrecorded forms of local celebration, ritual, and sport resulted into a 1926
thesis titled “Philippine Folk Dances and Games,” and arranged specifically for use by teachers and
playground instructors in public and private schools.
Her books include the following: Philippine National Dances (1946); Gymnastics for
Girls (1947); Fundamental Dance Steps and Music (1948); Foreign Folk Dances (1949); Dances
for all Occasion (1950); Playground Demonstration (1951); and Philippine Folk Dances,
Volumes I to VI.
Ramon Obusan was a dancer, choreographer, stage designer, and artistic director. He
achieved phenomenal success in Philippine dance and cultural work.* He was also
acknowledged as a researcher, archivist and documentary filmmaker who broadened
and deepened the Filipino understanding of his own cultural life and expressions.
The name Alice Reyes has become a significant part of Philippine dance
parlance. As a dancer, choreographer, teacher, and director, she has made
a lasting impact on the development and promotion of contemporary
dance in the Philippines. Her dance legacy is evident in the dance
companies, teachers, choreographers and the exciting Filipino modern
dance repertoire of our country today.
Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and “Dean of Filipino
Performing Arts Critics”, Leonor Orosa Goquingco, pioneer Filipino choreographer in
balletic folkloric and Asian styles, produced for over 50 years highly original, first-of-a-
kind choreographies, mostly to her own storylines. These include “TREND: Return to
Native,” “In a Javanese Garden,” “Sports,” “VINTA!,” “In a Concentration Camp,” “The
Magic Garden,” “The Clowns,” “Firebird,” “Noli Dance Suite,” “The Flagellant,” “The
Creation…” Seen as her most ambitious work is the dance epic “Filipinescas: Philippine
Life, Legend and Lore.”
Lucrecia Reyes-Urtula, choreographer, dance educator and researcher,
spent almost four decades in the discovery and study of Philippine folk
and ethnic dances. She applied her findings to project a new example of
an ethnic dance culture that goes beyond simple preservation and into
creative growth.
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Among the widely acclaimed dances she had staged
were the following: Singkil, a Bayanihan signature
number based on a Maranao epic poem; Vinta, a
dance honoring Filipino sailing prowess; Tagabili, a
tale of tribal conflict; Pagdiwata, a four-day harvest
festival condensed into a six-minute breath-taking
spectacle; Salidsid, a mountain wedding dance ;
Idaw, Banga and Aires de Verbena.
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