LESSON 1: Introduction to Philippine Folk Dances

One of the indicative art cases of the people is its own dances. Giving the benefits of the
doubts, the worst thing that might happen to lose their identities is when folk dances lose its track
which should be preserved by their own people. In order to uphold one of the country’s valuable
identities is to convey the dances from generation to generation. Folk dances depict the
traditions, beliefs, occupations, and ways of life admitting its characteristics of the people living
in a certain country.

Benefits derived from the study of Philippine Folk Dances:

 Patriotism and nationalism

 Healthy form of relaxation and recreation
 Well-awakened art appreciation of folk dances
 Well-improved posture, graceful and rhythmic coordination of body movements
 Preservation of native dances of the different regions for the next generations
 Growth and enhancement of Philippine culture
 Improving body image, self-esteem, and communication skills efficiently
 Lessen the feeling of being an outcast
 Reduces stress, fears and anxieties
 Forgetting individuals self-consciousness

Brief History of Philippine Folk Dances

Our Fatherland is an archipelago composed of several islands. Because of the Filipinos

social groups, our dances have evolved in each regions being influenced by religions and
conquerors. Even though there were transitions in our dances yet there are similarities within its
nature and origin.

The aforementioned origin was the true manifestation of daily life in the past centuries
and a form of mesmerizing the audiences showing distinct moves at the same time. Most of the
traditional dances were contrive to thank Gods of nature and agriculture such as rain and harvest.
These dances were performed during festivals having thoughts of granting their wishes and
desires.

At present, several Philippine dances are making their ways on the scene performed and
cultured by different dance enthusiasts and being taught at school. Various groups of performers
such as Bayanihan, Filipinescas, Filipiniana and Ramon Obusan Folkloric Dance Troupe are just
one of those who continue giving importance to our numerous fascinating Philippine dances.

Classification of Philippine Folk Dances

Luzon, Visayas, and Mindanao are the three major islands that composed the Philippine
archipelago. These islands have their own preserved culture handed down from generation to
generation. Folk dancing is an art performed with highly distinctive differences that made these
islands in the south-eastern part of the world respective and historical by the islands itself and by
the globe. There are several dances in the country. Some of the dances are performed in different
occasions such as wedding, occupational, festival, war and victory dances.

In 1924, Francisca Reyes Aquino, the Mother of the Philippine Folk Dances and a
National Artist as well made a contribution by starting a collection of dances and songs in the
country. She classified Philippine Folk Dances according to the following:
I. General Classification

A. Geographical Origin

1. National Dances – these dances are found throughout the islands with little or no
modification.
2. Local Dances – these dances are found in a specific locality.

B. Nature

1. Occupational Dances – these dances depict actions of a particular occupation,

industry or human labor.
2. Religious/Ceremonial – these dances are influenced with religion, vows and
ceremonies
3. Comic Dances – these are dances which depict humorous movements designed
for entertainment.
4. Game Dances – these are dances done with play elements.
5. Wedding Dances – these dances are performed during the 16th century.
6. Courtship Dances – these dances depict the art of courtship or dances with love
themes.
7. Festival Dances – these dances are suitable for special occasions or for any social
gathering.
8. War Dances – these dances show imaginary combat or duel among tribe
members

Characteristics of Philippine Folk Dances

1. In general, dancers stand apart.

2. There is little, if any, body contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo”.

Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.

2. Dance with ease and smoothness.
3. Use proper costume.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

LESSON 2: Common Dance Terms Used in Folk Dance

1. Arms in lateral position – both arms are on the sides, either right or left; at shoulder,
chest, or waist level.
2. Brush – weight on the foot hits the floor with the ball or heel of the other foot. One foot
carries the weight while the other foot slightly hits the floor.
3. Clockwise – movement like the motion of the hands of the clock, R shoulder toward the
center of an imaginary circle.
4. Counter clockwise – the reverse direction of clockwise, L shoulder toward center.
 5. Crossed Arms – partners facing each other or standing side by side join their L hands
with their R hands together’ either R over L or L over R hand.
6. Do-si-do (Dos-a-dos) – partners advance forward, pass each other’s right (or left) side
across to the right (or left), move backward without turning around, then pass each
other’s left (or right) side back to other places.
7. Free foot – the foot not bearing the weight of the body.
8. Free hand – hand not placed anywhere, or not doing anything.
9. “Hayon-hayon” – to place forearm in front while other is at the back of the waist.
10. Hop – a spri g from one foot landing on the same foot in place or in any direction.
11. Inside foot – the foot near the partner when partners stand side by side.
12. “Jaleo” – partners turn around clockwise, (with L elbows touching) suing walking or
any kind of dance step.
13. Jump – a spring on one foot or both feet landing on both feet any direction.
14. “Kumintang” – moving the hand from the wrist either in a clockwise or counter
clockwise position.
15. Outside foot – the foot away from one’s partner when partners stand side by side.
16. Outside hand – the hand away from one’s partner when partners stand side by side.
17. Point – to touch the floor with the toes of one foot, with the ball of the floor and the
weight of the body on the other foot
18. Saludo – partners with feet together bow to each other, or to the audience, or to the
opposite dancers, or to the neighbours.
19. Slide – to glide smoothly among the floor.
20. Stamp – to bring the foot forcibly and noisily on the floor.
21. Step – to advance or recede by moving one foot to another resting place with a complete
transfer or weight from one foot to the other foot.
22. Tap – to tap slightly with the ball or toe of the free foot.

LESSON 3:

Basic Dance Steps in the 2/4 or ¾ time signature

DANCE STEPS STEP PATTERN COUNTING NO. OF MEASURE

1. Bleking Heel-place close 1,2 1
2. Close step Step close 1,2 1
3. Brush step Step brush heel forward 1,2 1
4. Step swing Step swing 1,2 1
5. Cut step Cut or displace 1,2 1
6. Hop step Step, hop 1,2 1
7. Touch step Point, close 1,2 1
8. Pivot Step on the ball and 1, and 2 and 1
turn, close
9. Cross step Step, cross step 1,2 1

Basic Dance Steps in the 2/4 time signature only

DANCE STEPS STEP PATTERN COUNTING NO. OF MEASURE

1. Change step Step, close, step 1 and 2 1
2. Cross change step Cross, step, close, step 1 and 2 1
3. Heel and toe change Heel in front, point toe 1,2,1 and 2 1
step and step, close, step
4. Change step turn Step, turn, close, step 1 and 2 1
Polka Series

DANCE STEPS STEP PATTERN COUNTING NO. OF MEASURE

1. Plain polka Step, close, step (pause) 1 and 2 and 1
2. Hop polka Hop, step, close, step 1 and 2 and 1
(pause)
3. Heel and toe polka Heel place, point toe; 1,2,1 and 2 and 1
step, close, step (pause)
4. Slide polka Slide, slide, step, close, 1,2,1 and 2 and 1
step (pause)

Basic Dance Steps in the 3/4 time signature only

DANCE STEPS STEP PATTERN COUNTING NO. OF MEASURE

1. Mazurka Slide, cut, hop 1,2,3 1
2. Redoba Slide, cut, cut 1,2,3 1
3. Step swing hop Step R, swing L, hop 1,2,3 1
4. Step brush swing hop Step R, swing L, hop 1,2,3 1
5. Waltz step Step, close, step 1,2,3 1
6. Waltz balance Step, rise, down 1,2,3 1
7. Cross waltz Cross, step, close, step 1,2,3 1

Sway Balance Series

1. Sway balance with a Step, cross, step, point 1,2,3 2

point
2. Sway balance with a Step, cross, step, brush 1,2,3 2
brush
3. Sway balance with Step, cross, step, raise 1,2,3 2
raise
4. Sway balance with Step, cross, step, close 1,2,3 2
close
5. Sway balance with Step, cross, step, hop 1,2,3 2
hop
6. Double sway balance
Step, cross, step, point, 1,2,3 4
cross, step, step, point
7. Sway balance with Step, cross, step, close, 1,2,3 4
waltz step