Bañes, Nathaniel A.

Physical Education 3

HUMSS 12 – Efficiency Mrs. Hernandez

WEEK 7
1. Characteristics of Philippine Folk Dances
 Hand movements play an important part. Most dances are in
long formation. Most dances begin and end with “saludo”.
Dance from low land have more foreign elements than those in
upland.
 In general, the dancers, stand apart.
 There is less body contact, if any.
 Most dances are done by pairs.

2. Classification of Philippine Folk Dances

There are five types of folk dances in the Philippines. Namely: Maria
Clara Dance, Cordillera Dance, Muslim Dance, Rural Dance, and Tribal
Dance.
Maria Clara Dance named after the chief female character of Jose
Rizal's Noli Me Tangere; Spanish influenced "Filipinized" by the use
of bamboo castanets and abanico. Originated in Luzon and Visayas.
Rural Dance illustrate the fiesta spirit and love of life; best known
type of Filipino dance. dance attire: girls - colorful balintawak and
patadyong skirts, boys: camisa de chino and colored trousers.
Originated in Luzon.
Cordillera Dance is done to celebrate victories, festivals, religious
rituals, thanksgiving, etcetera; musical instruments include nose
flute, bamboo guitar, drums, gongs and wooden sticks. Originated in
Northern Luzon.
Muslim Dance characterized by vivid colors and rhythmic movements
which reflect the influence of Arabian and Indo-Malaysian cultures.
Originated in Southern Mindanao.
Tribal Dance performed essential "for the gods" ceremonial and ritual
type dances. Originated in Mindanao.

3. Geographical Extent of Origin

National dances - found throughout the islands with little or no
modification.
Local dances - found in a certain locality.

4. Nature of Philippine Folk Dances

OCCUPATIONAL DANCES - depict actions of a particular occupation. (e.g.
Planting, Punding)
RELIGIOUS/CEREMONIAL - associated with religion, vows and ceremonies.
(e.g. Dugsu, Sua-sua)
COMIC DANCES - depict funny movements for entertainment. (e.g.
Kinotan, Makonggo)
GAME DANCES - done with play elements. (e.g. Lubi-lubi, Pavo)
WEDDING DANCES - performed during wedding feasts. (e.g. Panasahan)
COURTSHIP DANCES - depict the art of courtship. (e.g. Hele-hele,
Tadek, Pantomina)
FESTIVAL DANCES - suitable for special occasions. (e.g. Pandanggo,
Habanera)
WAR DANCES - show imagery combat. (e.g. Sagayan, Palu-palo)

5. Commonly Used Formation

Square or Quadrille
Long formation (two or more parallel lines)
Set – consisting of two or more pairs as a unit, partners facing each
other or standing side by side.

6. Factors Affecting Folk Dances

 Geographical location
 Economic conditions
 Climatic conditions
 Customs and traditions.

7. Do’s and Don’ts

DO

 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’T

 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.

8. Common Dance Terms

A. Arms in lateral position – Both arms are at one side either right
or left, at shoulder, chest or waist level.
B. 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.
C. 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.
D. Cut – To displace quickly one foot with the other.
E. 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.
F. Hayon-hayon – To place one forearm in front and the other at the
back of the waist.
G. Hop – A spring from one-foot landing on the same foot in place or
in any direction.
 H. 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.
I. Jump – A spring on one foot or both feet landing on both feet in
any direction.
J. Kumintang – moving the hand from the wrist either in a clockwise
or counterclockwise direction.
K. Leap – A spring from one-foot landing on the other foot in any
direction.
L. Place – To put foot in a certain position without putting weight
on it.
M. Pivot – To turn with the ball, heel or whole foot on a fixed place
or point.
N. Point – Touch the floor lightly with the toes of one foot, weight
of the body on the other foot.
O. Masiwak – To turn the hand from the wrist half-way clockwise then
raise and lower wrist once or twice. This is an Ibanag term.
P. 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.
Q. 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.
R. 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.
S. 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.
T. 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.
U. Slide – To glide foot smoothly along the floor. The movement may
be finished with or without transfer of weight.
V. Stamp – To bring the foot forcibly and noisily on the floor with
or without transfer of weight.
W. 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.
X. Whirl – To make fast turns by executing small steps in place to
right or left.

References:
https://sites.google.com/site/philippinefolkdancevol1/characteristics#
:~:text=Characteristics%20of%20Philippine%20Folk%20Dances&text=Hand
%20movements%20play%20an%20important,elements%20than%20those%20in
%20upland
https://www.slideshare.net/AllanAlaurinReal/charasteristics-of-
philippine-folk-dance
https://sites.google.com/site/folkdancesofthephilippines/philippine-
folk-dance/classifications-of-philippine-folk-dance
https://sites.google.com/site/philippinefolkdancevol1/natu
http://hnupe.weebly.com/pe-2.html