Elements of Dances

1. Dancer
 It is the most important element of dance. Since, he/she is
the performer, there won’t be a dance without him/her.
He/she executes the steps, follows the instructions of the
choreographer, wears the costumes, and carries the props.
2. Choreography
 Is the dance director. He/she does the overall design of the
dance, assigns the steps to be executed by the dancer/s, selects
the costumes and props that go with the dance, and determines
the set designed for the dance. To be a good choreographer, one
must be a good dancer.
3. Subject
Is the message of the dance. Simply put, it tells what the dance
is about.
4. Design
Is the planned organization or pattern of movements in time and
space. It involves the movements and the positioning of the dancers,
and the steps executed by them. An outstanding dance performance
is always dependent on the design of the dance. 
5. Movements
Are classified into steps, gestures, and facial expressions.
Steps are the dancers’ movements from one point on stage to
another; these includes leaps, turns, rolls, and somersaults.
Gestures are the movements of their heads, hands, feet, and
other body parts; these include swaying, head shaking, foot
stomping, and clopping. Facial expressions are the
movements of their facial parts, as exemplified by the raising
of eyebrows, pouting of lips, and crumpling of forehead.
6. Technique
Is the style or way of executing the movements.
For example, the grind may be done singly or doubly
or the twist may be done quickly or slowly.
7. Costumes
Are the things worn by the dancers during their performance.
These include the head gear, the upper garments, the lower
garments, and the footwear. Hats, caps, fez, bonnets, helmets,
crowns, turbans and hoods are among the head gear. Blouses,
kimono, kimono, baro’t saya, malong, patadyong, traje, gowns,
Maria Clara dresses, skirts, bloomers, and the like are garments
for female dancers, white shirts, camisa de chino, barong Tagalog,
shorts, long pants, trousers, G-strings, and the like are garments
for male dancers. Their footwear may be shoes, slippers, sandals,
socks, and stockings.
8. Properties
More commonly called props, properties are the things carried
by the dancers as they perform. These include the glasses with
lighted candles (pandanggo sa ilaw), sombreros (pandanggo sa
sambalilo), fans (fan dance), umbrellas (umbrella dance), sticks
(sakuting),pots (banga), spears and shields (singkil), gongs,
towels, torches, and so on.
9. Set Design
Is the setting or the background that indicates the place
of action for the dancers. Vintas are placed as backdrop
for singkil, a vintage Spanish- inspired house for jota,
and nipa huts for tinikling.
10. Other Theatrical Elements
Elements such as lightning effects, sound effects, visual
effects, and the like form part of a dance performance
when the dance is performed as part of a musical play or
when it is a theatrical dance.
PHASES OF THE DANCE PROGRAM

1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative
rhythm is an end product of exploration and improvisation of movements as
children learn to move the parts of their body and to use them as instruments of
expression.
2. Folk/ Ethnic dance
Is a cultural art form handed down from generation to generations. It
communicates the customs, beliefs, rituals, and occupations of the people of a region
or country. Folk dancing belongs to the people. It emanates from them. Ethnic tribes
have their specific tribal art forms originated and danced by the people of the tribe.
Examples of folk dances are the rural and country dances, jotas, mazurkas,
pandanggos, among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of the
Corilleras, dances of the ethnic groups in the Cagayan Valley Region and the ethnic
dances in the Mindanao Regions.
3. Social and Ballroom Dance
The setting of the social and ballroom dance is a social gathering with
the more formal atmosphere than the simple and informal parties in which
the recreational dances are the usual forms. Social and ballroom dancing
are generally held in the evenings. The participants are usually in formal
attire.
4. Recreational Dance
Includes dance mixers, square dance round and couple dances. Many
of these dances have simple patterns and combinations of walking steps,
polka step and the waltz step. The setting is usually informal gatherings
and parties, reunions etc.
5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and
improvisation of movements as the dancer or the choreographer expresses his
feelings or emotions, ideas, and interpretations. This is a dance with a definite
form, a beginning and an ending. The principles of art form are all observed in
the composition of the dance.
Examples of creative dance are ballet, jazz, and modern or contemporary
dance.
VALUES OF
DANCING
1. Physical Fitness

2. Cultural

3. Social

4. Recreational
 The Basic Natural Movements
• Locomotor movements
Are those that move the body in space in any direction with the feet as the moving
base.
Examples: walking, running, jumping, hopping, skipping, leaping, galloping and
sliding
• Non-locomotor
Are those in which various parts of the body move in space with a fixed base. The
base may be standing, kneeling, sitting or lying.
Non-locomotor movements:
• Flexion - Bending or shortening of a body part occurring at a joint.
• Extension - Turning, twisting or circling
• Pendular - Swinging/ swaying arms forward, backward or sideward.
• Percussive - Striking and hitting: pushing and pulling.
• Vibratory - Shaking and beating.
• Sustained - A slow, smooth flowing movement with a balance of movement
throughout the entire series.
 FOLK DANCES
Are traditional dances of a country which were evolved naturally and
spontaneously in connection with everyday activities and experiences of
the people who developed them.
Folk dancing is the heartbeat of the people.

Types of Folk dances:

• National – traditional dances of a given country.
• Regional – local.
• Character – created by individual or group.
OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

1. To foster patriotism and nationalism through the study of our dance.

2. To arouse better appreciation of Philippine music and folk dances.
3. To provide through dancing, a healthful form of relaxation and
recreation.
4. To develop a graceful and rhythmic coordination of body
movements that will improve posture.
5. To preserve for posterity, folk dances and music indigenous to the
different regions of the Philippines.
6. To demonstrate the growth of Filipino culture through the evolution
of Philippine dances.
Characteristics of Philippine Folk dances:

• In general, dancers stand apart.

• There is little, if any, bodily contact.
• Most of the dances are done by pairs or couples.
• Hand movements play an important part.
• Most dances are in long formation.
• Most dances begin and end with “saludo.”
• Dances from the lowlands have more foreign elements those found in the
uplands.
• War dances are found among non-Christian tribes.
 Classification of Philippine Dances

I. General Classification

A. Geographical extent of origin

1. National dances-found throughout the islands with little or no
modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances-found in a certain locality.
Examples: Tinikling-Leyte
Maglalatik-Binyang
Esperanza-Nabua
Subli-Batangas
Biniganbigat-Abra
B. Nature
1. Occupational-depicting action of certain occupation, industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete,
etc.
2. Religious or Ceremonial – performed in connection with religious vows and
ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.  
3. Comic dances – depicting funny movements for entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers)
Examples: Lubi – lubi, Pavo
5. Wedding dances – performed during wedding feast.
Panasahan, etc.
6. Courtship dances – depicting love making.
Examples: Hele – hele, Bago Quiere
Maramion
Tadek
Daling – daling
 7. Festival dances – suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel.
Examples: Sagayan, Palu-palo, etc.
 
C. Movements
1. Active – with fast energetic movements.
Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate -
Examples: Cariñosa, Tagala
Habanera, Purpuri, etc.
3. Slow -
Examples: Pasakat, Amorosa
Tiliday, Kundiman, etc.
4. Slow and Fast –
Examples: Putritos, Ba-Ingles
Habanera Botoleña
Alcamfor, etc.
 D. Formation

1. Square or Quadrille
Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines)
Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners
facing each other or standing side by side.
Examples: Binadyong, Haplik, Kakawati, etc.
II. Special Classification
Group dances having special distinctive features.

A. Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.
B. Old Ballroom Dances
Examples: Polka, Mazurka Chotis, Valse, etc.
C. Dances with Implements
Examples: Maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot,
D. Dances of Combined Rhythm
Examples: Surtido, Pantomina, Los Bailes de Ayer
Factors Affecting Folk Dances

•Geographical location
•Economic conditions
•Climatic conditions
•Customs and traditions.
Do’s in Folk Dancing
• Dance in a natural, simple and direct manner.
• Dance with ease and smoothness.
• Use the proper costume for the dance.
• Follow directions and dance instructions as closely as
possible.
• Dance with feeling and expression.
 Don’ts in Folk Dancing
• Do not exaggerate the dance steps.
• Do not make the dances too dainty and graceful like
ballet.
• Don’t make entrance and exit long.
• Don’t make steps too elaborate and complicated.
• Don’t call a dance a folk dance unless steps come from
traditional dances.
FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly termed as 1st position,
2nd position, 3rd position, 4th position, and 5th position of the feet and arms.
• 1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tips
about an inch apart.
• 2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.
• 3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised upward.
FUNDAMENTAL DANCE
POSITIONS (cont…)
•  4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised overhead.
• 5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.
COMMON DANCE TERMS
• Arms in lateral position – Both arms are at one side
either right or left, at shoulder, chest or waist level.
• Brush – Weight on one foot, hit the floor with the ball or
heel of the other foot and lift that foot from the floor to
any direction.
• Crossed Arms – Partners facing each other or standing
side by side join their left hands together and the right
hands together; either right over left or left over right
hands.
• Cut – To displace quickly one foot with the other.
• Do-si-do – Partners advance forward, pass each other’s right
( left ) side, step across to the right move backwards without
turning around, pass each other left side to proper places.
• Hayon-hayon – To place one forearm in front and the other at he
back of the waist.
• Hop – A spring from one foot landing on the same foot in place or
in any direction.
• Jaleo – Partners turn around clockwise ( with right elbows almost
touching ) or counterclockwise ( with left elbows almost touching )
using walking or any kind of dance step.
• Jump – A spring on one foot or both feet landing on both feet in
any direction.
• Kumintang – moving the hand from the wrist either in a clockwise
or counterclockwise direction.
• Leap – A spring from one foot landing on the other foot in any
direction.
• Place – To put foot in a certain position without putting weight on
it.
• Pivot – To turn with the ball, heel or whole foot on a fixed place or
point.
• Point – Touch the floor lightly with the toes of one foot, weight of the body
on the other foot.
• Masiwak – To turn the hand from the wrist half-way clockwise then raise
and lower wrist once or twice. This is an Ibanag term.
• Panadyak – To stamp in front or at the side with the right foot and tap with
same foot close to the left foot. This is a Tagalog term.
• Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly
the palm of the right hand. This is usually done with the left foot pointing in
rear and knees slightly bent. This is an Ilocano term and the movement is
commonly found in Ilocano dances.
• Salok – T o swing the arm downward-upward passing in front of
the body as if scooping, the trunk is bent following the movement
of the arm doing the salok. This is a Tagalog term.
• Saludo – Partners bow to each other, to the audience, opposite
dancers, or to the neighbors with feet together. This is of Spanish
origin and is used in almost all Philippine dances.
• Sarok – Cross the R foot in front of the L , bend the body slightly
forward and cross the hands down in front of the R hand over the
L. This is a Visayan term.
• Slide – To glide foot smoothly along the floor. The movement may
be finished with or without transfer of weight.
• Stamp – To bring the foot forcibly and noisily on the
floor 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.
• Whirl – To make fast turns by executing small steps in
place to right or left.