PHILIPPINE FOLK DANCE 2. Local Dances – found in certain locality.

Example: Tinikling, Maglalatik,

What is a folk dance? Subli, Esperanza
A folk dance is a traditional dance of a country which were B. NATURE
evolved naturally and spontaneously in connection with
everyday activities and experiences of the people who 1. Occupational – depicting action of certain occupation.
developed them. Example: Planting, Harvesting,
Managuete
History 2. Religious or Ceremonial – perform in connection with
religious vows and ceremonies.
-to express their feelings, people created rhythmic movements Example: Puton, Dugsu, Sua-sua,
by stamping, shaking their bodies, chanting and other bodily Sta. Claran Pinung-Pino
expressions with the use of natural accompaniment. 3. Comic – depicting fancy movements for
entertainment.
-they employed wood, bamboo, dried leaves and other things to Example: Kimbo-kimbo,
accompany their rhythmic movements which were developed Mabombo, Kinoton
into dance by generally perpetuating the movement and passing 4. Game – with play elements (dance mixers)
the tradition to the next generation. Example: Lubi-lubi, Pavo
5. Wedding – perform during marriages
-the interweaving factors of rhythm created the dance and later Example: Pantomina, Sayaw
developed into high quality movement and become part of an Panasahan, Pandang-Pandang
established art form up to this time. 6. Courtship – depicting love-making.
Example: Maramron, Daling-
VALUES OF DANCES daling, Tadek, Hele-Hele, Bago
7. Festival – suitable for special occasion or social
1. Physiological and neuro-muscular development gathering.
2. 2.Cultural-depicts the culture of the people Example: Habanera, La Jota,
3. 3.Social and recreational Surtino, Kuratsa, Pandanggo
8. War – showing imaginary combat or dush.
TYPES OF FOLKDANCES
Example: Sasgayan, Palu-palo
1. National – traditional dances of a given country. C. MOVEMENTS
2. Regional – dances typical in the region or locality.
3. Character – dances are created by individual person 1. Active – with fast energetic movements
or group of persons. Example: Tinikling, Maglalatik,
Polkabal
OBJECTIVES FOR TEACHING PHILIPPINE DANCES 2. Moderate
Example: Tagala, Habanera,
1. Foster patriotism and nationalism through the study Carinosa
of our dance. 3. Slow
2. Arouse better appreciation of Philippine music and Example: Pasakat, Tiliday,
folk dances. Kundiman
3. Provide through dancing, a healthful form of 4. 4.Slow and Fast
recreation. Example: Putritos, Ba-Ingles,
4. Develop a graceful rhythmic coordination of body Alcamfor
movements that will improve posture.
D. FORMATION
5. Preserve for posterity, folk dances and music
indigenous to the different regions in the Philippines. 1. Square or quadrille
6. Demonstrate the growth of Filipino culture through Example: RIgodon, Los Bailes de Ayer
the evolution of Philippine dances. 2. Long formation – two or more parallel lines
Example: Lulay, Sabuting
CHARACTERISTICS OF PHILIPPINE FOLK DANCES 3. Set – consisting of 2 or more pairs, partners standing
side by side or facing each other.
1. As a rule, Philippine folk dances begin and end with Example: Binadyong, Haplik
saludo.
2. In general, dances are far apart. A distance of about II. SPECIAL CLASSIFICATIONS
6-8ft from each other is normal. Group dances having special distinctive features.
3. There is very little, if any, body contact although
holding hands is common. A. Dances with Song – Example: Manag BIday,
4. Most of the dances are done by pairs or couples. Abururay
5. Hand movements play an important part. B. Old Ballroom Dances – Example: Mazurka, Chotes
6. Many of our dances are done in long formation. C. Dances with Implements – Example: Maglalatik,
7. Our dances are performed by both young and old, and Sakuting
D. Dances Combined with Rhythm – Example: Surtido,
by both sexes.
Pantomina
CLASSFICIATIONS OF PHILIPPINE FOLK DANCES
FACTORS AFFECTING FOLK DANCES
I. GENERAL CLASSFICIATION 1. Geographical location
A. Geographical extent of origin 2. Economic conditions
3. Climatic conditions
1. National Dances – found throughout the island with 4. Customs and traditions
little or no modification.
Example: Rigodon, Carinosa, DO’S IN FOLK DANCING
Pandanggo, Balitaw 1. Dance in a short, simple and direct manner
 2. Dance with ease and smoothness
3. Dance with expression
4. Use the proper costume for the dance
5. Follow directions and dance instructions as closely as
possible
DONT’s IN FOLK DANCING
1. Do not exaggerate the dance steps
2. Do not walk the dances too dainty and graceful like
ballet
3. Don’t make entrance and exit too long
4. Don’t make steps too elaborate and complicated
5. Don’t call a dance a folk dance unless steps come from
traditional dances
SUGGESTIONS FOR TEACHING PHILIPPINE FOLK
DANCES
1. Acquaint the children with the background of the
dance.
a. Origin and meanings
b. Kinds of movements
c. Customs, traditions, costumes, modes of life
and mode of people
2. Let the children listen to and enjoy the music with
respect to tempo, mood, and parts of the music and
allow them to clap or beat the rhythm. If there is a song
accompanying the dance, teach the words to the
children.
3. Teach new steps. Explain and demonstrate them.
Acquaint them with the terms.
4. Put a class into formation and teach Figure I, the
Figure II, after which take up I and II. Review features
taken before introducing a new figure.
5. Perform the whole dance and repeat often through to
be enjoyed.
6. Dance with the right expression and correct
interpretation.
DANCE FORMS
1. Classical Dance – dances with standardized rules and
restriction. It can be religious related dance for court
and royal entertainment.
2. Classical Ballet 0 a dance of supreme standards
learned from an academe. This was originated form
Italy from the word Bal-lo meaning to dance and
flourished in the royal court of France.
3. Modern Dance – a deviation from the principles of
classical ballet developed by Isadora Duncan. This is
characterized by natural and true expression of the
human body and soul.
4. Contemporary Dance – a combination of ballet and
modern dance.
5. Folk Dance – a cultural art form handed down from
generation to generation. It communicates the
customs, beliefs, rituals, and occupation of a region or
country. Folk dancing belongs to and emanates from
the people.
6. Ethnic and Tribal Dance – a dance particularly found
in a group of people living together in a locality with
common beliefs and customs.
7. Recreational Dance – includes dance mixers, square
dancing and round and couple dances.
8. Social and Ballroom Dance – a dance set in a social
gathering with more formal atmosphere than the
simple and informal parties in which the recreational
dances are the usual forms. This is usually held in the
evenings and participants are usually in formal attire
for purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the
purpose of entertainment. It is the end product of
movement exploration and improvisation as the dancer
or choreographer expresses his/her feelings, ideas and
interpretation. The principles of an art form are all
observed in the composition of this dance.
10. Popular Dance – highly recognized as dance form in
television and other dance like disco houses and social
gatherings.
DANCE TERMS
1. Abrasete – Girl at the right side, holds R arm of partner
with L hand, free hands down at the sides. This term is
of Spanish origin and is used in Rigodon and in other
dances.
2. Arms in Lateral Position – Both arms are at one side
either sideward right or left. This may be done at
should, chest or waist level.
3. Arms in Reverse “T” – Arms are side horizontal,
elbows bent at right angles, forearms parallel to head,
palms forwards or facing inward, fists loosely closed.
4. Bilao – To turn palms of hands up and down
alternately, hands at waist level in front, elbows close
to waist.
5. Brush – Weight on one foot, hit the floor with the ball
or heel of the other foot (the free foot) after which that
foot is lifted from the floor to any direction.
6. Cabeceras - When dancers are in square formation, the
couples occupying the width of the hall are called
“cabeceras” or head couples. This is of Spanish origin.
7. Clockwise – Like the motion of the hands of a clock.
R shoulder is toward the center of an imaginary circle.
When facing center, the movement is toward the left.
8. Counterclockwise – Like the motion of the hands of a
clock. L shoulder is toward the center of an imaginary
circle. When facing center, the movement is toward
the right.
9. Cotados – When dacners are in square formation, the
couples occupying the length of the hall are called
“costados” or side pairs. This is of Spanish origin.
10. Crossed Arms – Partners are facing each other or
standing side by side, girl at the right of boy. They join
their L hands together and their R hands together,
either R over L or L over R hands.
11. Cross-Over0 Two couples (the vis-à-vis) are opposite
each other. Each couple proceeds in a straight line to
the opposite plane. The girls pass by their L shoulders
between the boys. Boys bow to each other when they
meet at the middle or about one third of the way, then
proceed to the opposite place. Upon reaching the
opposite place, partners turn about, girls stand at
partners’ right side.
12. Cut – To displace quickly one foot with the other, thus
completely taking off the weight of the body from the
displaced foot.
13. Do-si-Do (Dos-A-Dos) – The vis-à-vis (opposites)
both advance forward, pass each other’s right (or left)
side, step across to the right (or left), move backward
without turning around pass each other’s left (or right)
side to proper places. This is of foreign origin and is
used in many Philippine dances.
14. Draw – To pull one foot along the floor close to the
other which has the weight of the body. The weight
may or may not be transferred.
15. Free Foot – The foot not bearing the weight of the
body.
16. Free hand – The hand not placed anywhere or not
doing anything
17. Hands on waist – Place hands at the waist line ( at the
smallest part of the trunk) knuckles in, fingers pointing
in rest.
18. Hapay – To Flourish or offer a handkerchief, hat or
glass of wine to somebody as a sign of invitation.
19. Hayon-Hayon – To place one forearm in front and the
other at the back of the waist. This is a Visayan term.
20. Hop – A spring from one foot landing on the same foot
in place or in any direction. The other foot may be
raised in any direction.
21. Inside Foot – The foot nearest one’s partner, when 46. Whirl – To make fast turns by executing small steps in
partners stand side by side. place to right or left.
22. Inside Hand – The hand nearest one’s partner, when
partners stand side by side.
23. Jaleo – Partners turn once around clockwise (with R
elbows almost touching) or counterclockwise (with L
elbows almost touching) using walking or any kind of
dance step. The hands near each other are on waists.
This is a Tagalog term but of Spanish origin.
24. Jump – Spring on one foot or both feet, landing on both
in any direction.
25. Kumintang – Moving the hand from the wrist either in
a clockwise or counterclockwise direction This is an
Ilocano term.
26. Leap – A spring from one foot, landing on the other
foot in any direction.
27. Masiwak – To turn the hand from the wrist half-way
clockwise then raise and lower wrist once or twice.
This is an Ibanag term.
28. Outside Foot – The foot away from one’s partner,
when partners stand side by side.
29. Outside Hand – The hand away from one’s partner,
when partners stand side by side.
30. Panadyak – To stamp in front or at the skle with R (L)
foot and tap with same foot close to the L (R) foot,
weight of the body on L (R) foot. This is a Tagalog
term.
31. Place – To put the foot in a certain or desired position
without putting weight on it. The sole of the foot rests
on the floor.
32. Pivot – To turn with the ball, heel, or whole foot, on a
fixed place or point.
33. Patay – To bend the head downward and to support the
forehead with the R (L) forearm or with the crook of
the R (L) elbow while the L (R) hand supports lightly
the palm of the R (L) hand. This is usually done with
the L (R) foot pointing in rear and knees slightly bent.
This is an Ilocano term and the movement is
commonly found in Ilocano dances.
34. Point – Touch the floor lightly with the toes of one
foot, weight of the body on the other foot.
35. Salok – To swing the arm downward-upward passing
in front of the body as if scooping, the trunk is bent
forward following the movement of the arm doing the
salok. This is a Tagalog term.
36. Saludo – Partners bow to each other, to the audience,
opposite dancers, or to the neighbors with feet
together. This term is of Spanish origin and is used in
almost all Philippine dances.
37. Sarok (Saroc) – 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
(forearm) over the L (or R). This is a Visayan term.
38. Set – A dance formation like a square or a unit
formation composed of two or more pairs.
39. Slide – To glide foot smoothly along the floor. The
movement may be finished with or without transfer of
weight.
40. Stamp – To bring down the foot forcibly and noisily
on the floor (like doing a heavy step) with or without
transfer of weight.
41. Star with Right Hand – Four or more people join R
hands at the center and circle around clockwise using
walking or any kind of dance steps.
42. Star with Left Hand – Same as star with R hand but
joining L hands and turning counterclockwise.
43. Step – To advance or recede by raising or moving one
foot to another resting place. There is a complete
transfer of weight from one foot to another.
44. Supporting Foot – the foot that bears the weight of the
body.
45. Tap – To tap 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.