THEORETICAL ORIENTATION TO DANCE

DANCE
The word “Dance” comes from the Greek word “danson” which means to
stretch. All dancing is made up of stretching and relaxing. Thus, a simple
analysis of the term “sayaw” which easily lead one to say that it must have
derived from the word “saya” which means happy. A person who is very happy
or in the rhythmical movement is an outward expression of his feeling.
The present emphasis on the preservation and revival of our culture
makes it imperative for us to study our folkdances as an essential part of our
Filipino soul and identity of the Filipino character.

MEANING OF DANCE

 Dance of many types is the physical expression of rhythm and music.

 It is pure expression of the dancers’ thoughts and feelings.
 It is the union of movement, rhythm and arts of life.
 It is the union of minds and body expressing the intangible through the
medium of time and space.

PHASES OF DANCE

FOLK DANCE
The traditional dance of an indigenous society that depicts the cultural
characteristic of a specific people of a given time and place.
Folk dance deals with the usual traditions of the past by which a
multitude of national characteristic in music steps, and costumes are
preserved.

ETHNIC DANCE
These dances reflect the peculiar characteristics of specific tribes
specially their cultural, racial; religious and traditional similarities. Although
the movement patterns are not specific this dance is seldom classified as a
folkdance.

NATIONAL DANCE
This refers to the type of folkdance found most widely done in a specific
country. Some examples are England’s Virginia reel, Italy’s Tarantella,
Scotland’s Highland Fling, or Philippine Tinikling and Cariñosa.

NATURAL DANCE
This refers to a type of dance, which makes use of the basic locomotor
and axial movements.

CREATIVE DANCE
The highest form of dance for the purpose of entertainment. It is the end
product of exploration and improvisation of movements as the dancer or
choreographer expresses feelings or emotions, ideas and interpretations. It has
a defined form, beginning and ending.

GYMNASTIC DANCE
This form of dance appeals to the more skillful performers specially the
boys, because of the stunt elements present. Interest is maintained by vigorous
movements. Participants experience tremendous satisfaction.

SOCIAL/ BALLROOM DANCE

This includes the wholesome and artistic form of dancing used for
recreation purposes. Fundamental steps are given as preparation for ballroom
dancing.
Examples of social and ballroom dance are cha cha cha, foxtrot, waltz,
paso doble.
MODERN DANCE
This is a deviation from the traditional ballet by young American dancers
like Isadora Duncan who gradually introduced whole technique of dance
movements based on ideas that such movements begin at the center of the
body and follow sequentially out to the limbs. This is a contrast to the classical
or traditional ballet.

RECREATIONAL DANCE
This includes dance mixers, square dance and round or couple. Many of
these dances have simple dance patterns based on combination of walking
steps.

SINGING DANCE
Valuable activities depict the early years of the life of a child. The dance
step require simple technique skills but give a lot of training in developing the
sense of rhythm.

PHILIPPINE FOLK DANCE

Philippine Folk Dance, in general, is a dance consisting of rhythmic

movement, sustained by a regular tempo, beat or music, conceived as a
nonverbal communication or kinetic movement to relieve tension, as a cultural
mirror in which spirit, character and artistry of its time us reflected when
placed on historical perspective.

CLASSIFICATION OF PHILIPPINE FOLK DANCE

I. GENERAL CLASSIFICATION
A. Geographical extent of origin
1. National Dance – are found throughout the islands with little or no
modification.
2. Local Dance – are found in certain locality
 Examples: Tinikling - Leyte
Maglalatik - Binyang
Esperansa - Nabua
Subli - Batangas
Biniganbigat - Abra

B. Nature
1. Occupational Dances – depicts action of certain occupation,
industry or manual labor.
Examples: Planting Harvesting
Pounding Winowing
Pabirik Managuete
2. Religious or Ceremonial Dances – are performed in connection with
Religious vows and ceremonies.
Examples: Dugsu Sua Ku Sua
Putung Santa Clara pinong pino
3. Comic Dances – depict funny movement for entertainment
Examples: Kimbo-kimbo Makongo
Kinoton
4. Wedding Dances – are performed during wedding feast
Examples: Panasahan
5. Game Dances – express play elements (dance mixers)
Examples: Lubi-lubi Pabo
6. Courtship Dances – depict a flirting, affectionate movements.
Examples: Hele-hele bago quire Maramion
Tadek Daling Daling
7. Festival Dances – are suitable for special occasion or any social
gathering.
Examples: Pandango Habanera
Jota Surtido
 8. War Dances – show imaginary combat or duel.
Examples: Sagayan Palo-Palo

C. Movements
1. Active with fast energetic movement
Examples: Tinikling Sakuting
Maglalatik Polkabal
2. Moderate
Examples: Cariñosa Habanera
Tagala Purpuri
3. Slow
Examples: Pasakat Habanera
Amorosa Alcamfor
4. Slow and Fast
Examples: Putritos Tiliday
Ba-Ingles Kundiman

D. Formation
1. Square or Quadrille
Examples: Rigodon
Los Balles de Ayer
2. Long Formation
Examples: Lulay
Sakuting
3. Set – consists of two or more pairs as a unit, partners facing each
other or standing side by side.
 DANCE POSITIONS/ DANCE STEPS

COMMON DANCE TERMS

Arms in Lateral Clockwise – R shoulder Kumintang - move the
Position – Both arms at is toward the center of an hand from the wrist
one side, either right or imaginary circle. either in a clockwise or
left, at shoulder, chest, counterclockwise
or waist level. direction.

Hayon-Hayon – to place Counterclockwise- the Point – touch the floor

one forearm in front and reverse direction of lightly with the toes of
the other at the back of clockwise, L shoulder is one foot. Put the weight
the waist. toward center. of the body on the other
floor.

Sarok – Cross the R (or Do-si-do – Partners
L) foot in front of the L advance forward, pass by
(or R) bend the body each other’s right (or left)
slightly forward and side, step across to the
cross the hands down in right (or left) move
front with the R (or L) backwards without
hand over the L (or R). turning around and pass
by each other’s left (or
right) side to proper
places
Salok – swing the arm
downward – upward
passing in front of the
bidy as if scooping. The
truk is bent following
the movement of the
arm doing the salok.

Forearm Turn – From 1st Free foot – the foot not Outside foot – is the
position, extend the R bearing the weight of the foot away from one’s
diagonally forward (cts. body. partner, when partners
1, 2, 3) Reverse arm stand side by side.
position to the L (cts. 1, Free hand – the hand
2, 3), (as the left arm is not placed anywhere, or Outside hand – is the
extended R arm goes not doing anything. hand away from one’s
back to first position) partner, when partners
stand side by side.
 FUNDAMENTAL DANCE POSITION

ARMS POSITION

2nd Position
1st Position
Open both arms
Bend both arms
sideward, elbow
at chest level
rounded fingers
Elbows
slightly pointing
rounded, fingers
downward
slightly pointing
downward

3rd Position
Raise the right
arm sideward
Elbow rounded
and L arm
upward, Elbow
slightly bent.

4th Position 5th Position

Raise the left Raise both arms
arm upward, upward, elbow
Right arm in rounded
front.
FEET POSITION

1st Position 2nd Position

Place heels together Place the right foot
Toes of both feet sideward in line with
turned out. the heel of the left foot

3rd Position
Draw the heel of the
right foot to the instep
of the left foot

4th Position 5th Position

Place the right foot Draw the heel of your
obliquely forward right to the toes of
right toes pointing your left.
outward