LESSON 3- DANCE EDUCATION PROGRAM IN THE

PHILIPPINES

Brief History of Dance Education in the Philippines

Dance is an integral part of Filipino culture that dates to the period before
Ferdinand Magellan stepped foot in the Philippines. The traditional dances of the
Filipinos are vibrant and colorful, capturing the history of the archipelago.

Before the Spanish: Various tribes were scattered across the more than
7,000 islands, each with its own unique traditions and dances. The Igorot tribes
lived in the mountains of Luzon; a handful of these tribes still reside in the
mountains, having successfully resisted Spanish colonization. Many of the dances
have been handed down through the generations. Dance expresses this tribe's love
of nature and gratitude to the gods. To imitate the wonders of nature, dancers often
swoop their arms like birds and stomp their feet to represent the rumbling of the
Earth. However, many other tribes in other regions are disappearing, and only a
few of their dances survive. Thanksgiving, worship and prayers for a bountiful
harvest mark the style of these dances.

Voyage to Mindanao: In the 12th century, traders and seafarers came to the
Philippines long before the Spanish, bringing the Islamic faith with them. The
inhabitants of the southern region converted to Islam, incorporating their new
religion into the fabric of their existing culture. The dances of the Muslims, known
as Moros, are alluring and colorful. Female dancers wear costumes studded with
jewels, while male dancers brandish swords and shields. The Moros use languid
arm movements to imitate the world around them such as the wind, the sea and the
fish. Each dance is punctuated by the haunting sounds of the kulintangan, a set of
small gongs. Like the Igorot's, the Moros were able to resist Spanish rule, which is
why many of their dances continue to flourish.

Maria Clara: In 1521, Ferdinand Magellan came to the archipelago,

signaling the start of Spanish colonization. However, the Spanish didn't get a
foothold in the Philippines until 1565. Three centuries of Spanish rule left an
imprint on the Filipinos. Many of them were converted to Catholicism and forced
to take Spanish surnames.

During this period, Western culture spread through the islands, including
such Western dances as the waltz, fandango and polka. With a little Filipino flare,
they quickly became part of the culture. This "new" style of dance was named
Maria Clara after the tragic character in Jose Rizal's novel "Noli Me Tangere."

Barrio Fiesta: After toiling in the rice paddies, countryside farmers would
gather to sing and dance. These dances revolve around everyday items, such as
glasses, candles, benches, hats and bamboo poles. Because the dances are a
celebration, they are often referred to as "a barrio fiesta." One of the more
complicated dances is pandanggo sa ilaw, meaning "dance of lights," which
imitates wandering fireflies. To accomplish the illusion, women delicately balance
three "tinghoy," or oil lamps, on their heads and palms.

The National Dance: Tinikling, the national dance, is considered the oldest
of the Philippine folk dances. The dance, which comes from the countryside, takes
its name and movements from the "tinikling" bird as it roams between grass
steams, crushes tree branches and avoids traps set by rice farmers. Dancers skip
gracefully back and forth while trying to avoid getting their feet caught by two
bamboo poles. There are many tall tales about the dance's origins. According to
one story, Filipino farm workers who displeased their Spanish masters had their
feet smashed by two bamboo poles. When the poles were apart, the workers would
jump to avoid getting hurt. Thus, this dance was born.

LIST OF PHILIPPINE FOLK DANCE

The history of Philippine folk dancing incorporates influences from

immigrants and conquerors while at the same time maintaining distinctly Filipino
roots. Philippine folk dancing is a true reflection of daily life in past centuries
while enchanting modern audiences at the same time.

1. TINIKLING

History: One of the oldest traditional Filipino dances, the Tinikling dance,
or bamboo dance, is performed using long bamboo poles. Originating on the island
of Leyte in the central Philippines, the Tinikling dance takes its name from the
tikling bird. The movements of the dance are meant to imitate the bird as it steps
through its marshy habitat.

STARTING WITH THE BIRD

The inspiration for the Tinikling dance is the tikling bird, a native of the
Philippines. Also known as barred rails (Gallirallus torquatus), tikling birds are
found in wetlands and grasslands. The birds' distinctive movements as they
meander through grass and around tree branches are imitated in the dance. Dancers
hop over and around the clapping bamboo poles that substitute for branches, their
quick feet keeping them from being hit by the rhythmically moving bamboo.
CREATING THE DANCE

Developed around the time the Spanish occupation of the Philippines began
in 1565, the Tinikling dance traces its origins to the island of Leyte. The wet
climate of the island made it highly suitable for growing crops such as rice.
Farmers and field hands working in the rice paddies had ample opportunity to
observe the behavior of the tikling birds that lived in the area as they searched for
food along the field edge. Imitating the hopping movements at home proved to be
an entertaining pastime.

EVOLVING THE DANCE

Originally more of a playful activity similar to that of jumping rope, the

Tinikling dance eventually became a more formal traditional dance. Although still
retaining the fun element, modern performers have a specific order of steps to
perform. The barefoot dancing couples, male and female, wear traditional Filipino
costumes. The male dancer wears a barong-tagalog, a loose, long-sleeved
embroidered tunic. His female counterpart wears a balintawak, consisting of a
dress with butterfly sleeves and a scarf worn over the left shoulder

CONTINUING THE LEGEND

While the origin of the dance is attributed to the tikling bird, there is another
origin legend that persists. It has its roots in the Spanish occupation, when the
Spanish seized farms and forced the former owners to work them. According to
this legend, as a punishment for working too slowly, workers were forced to stand
while their feet were beaten with freshly cut bamboo poles. To avoid bruised and
bloodied feet, the workers practiced dodging the bamboo poles, creating the
movements that eventually became the Tinikling dance.
2. CARIÑOSA

History: The cariñosa is a much-loved folk dance in the Philippines.

Spanish in origin, it is regarded as a national dance by scholars, and the
characteristic shy behavior of the female dancer is said to represent the
mannerisms of Philippina women. The cariñosa is a popular folk dance that was
introduced to the country by the Spaniards when they arrived in the 16th century. It
belongs to the Maria Clara suite of Philippine folk dances. These are so named in
honour of Maria Clara, who was the main character in Jose Rizal's novel Noli Me
Tangere, ('Don't Touch Me'), about the colonization of the Philippines by the
Spanish. In it, Maria Clara is portrayed as a noble and loyal woman, who after the
publication of the novel in the 19th century became the female symbol of virtue for
Philippina women.

GEOGRAPHY

It is believed that Panay Island, located in the Visayan Islands group was the
original home of the cariñosa. The Spanish first arrived on the island in 1569. The
dance soon spread around the Philippines, giving rise to different versions in
different regions, such as in Bicol, where both dancers carry handkerchiefs.

FEATURES

It was traditional for a Spanish 'Maria Clara' costume to be worn, which

consisted of a long dress and a long-sleeved short embroidered dress made from
pineapple fibers. Now more traditional Philippine dress is usual. Men wear white
shirts and colored trousers, while the women wear native dresses. The music is
Spanish-influenced, with three-quarter rhythms that resemble a bolero or a waltz in
both speed and style Ensemble orchestras comprising banjos, mandolins, strings
and drums are typical. The orchestras were once mainly composed of men,
however more and more women are starting to take part

THE DANCE

To dance the cariñosa, a man and a woman dance together, taking slow steps
around the room, similar to those of a waltz. The female holds a fan or
handkerchief, which she coyly hides behind. The dance itself is intended as a
courtship dance, and is of a flirtatious nature. Cariñosa literally means "she that is
loving" as the verb ending indicates it refers to a woman.

MISCONCEPTIONS

During the Marcos regime, the cariñosa was named the national dance of the
Philippines. To this day school text books still claim this; however, the Philippine
government maintains it is another dance called "tinikling," which is a native
dance. Today, the cariñosa is performed at social gatherings and festivities,

3. ITIK-ITIK

Itik-itik is popular in visayan settlers of surigao del norte and this particular
dance is similar to duck movement with the imagery of short choppy steps and
splashing water onto it's back while attracting a mate. It is said to have originated
from the sibay dance w/ dejado music,
4. SAYAW SA BANGKO

Sayaw ed Tapew na Bangko (dance on top of a bench), is a dance which

originated from Pangasinan and researched by Jovita Sison. It is performed by a
couple on a narrow bench, inching and hopping from one end to another. Dancer
show skill in staying up the bench as they exchange places by moving their way
around or the girl thrown in the air while boy moves to the other end. They do not
compete but rather complement each other so that no one falls. It is usually
performed during town fiestas.

5. BINASUAN

Binasuan dance derived its name from a Pangasinan phrase that literally
translates to mean "with the use of a drinking glass." Though it is not known
exactly when Binasuan dance originated, dance has been an important part of
Filipino culture for centuries, beginning as a way for people to express thanks to
the gods, in festivals and traditionalcelebrations, for blessings and prosperity.

6. PANDANGO SA LLAW

Pandanggo sa ilaw / Oasis Origin: Lubang Island, Mindoro (Visayas)

This popular dance of grace and balance comes from Lubang Island, Mindoro in
the Visayas region. The term pandanggo comes from the Spanish word fandango,
which is a dance characterized by lively steps and clapping that varies in rhythm in
3/4 time. This particular pandanggo involves the presence of three tinggoy, or oil
lamps, balanced on the head and the back of each hand. After a good catch,
fishermen of Lingayen would celebrate by drinking wine and by dancing, swinging
and circling a lighted lamp. Hence, the name "Oasiwas" which in the Pangasinan
dialect means "swinging." This unique and colorful dance calls for skill in
balancing an oil lamp on the head while circling in each hand a lighted lamp
wrapped in a porous cloth or fishnet. The waltz-style music is similar to that of
Pandanggo sa llaw.

7. MANLALATIK

Maglalatik or Magbabao is a war dance representing in a picture a battle

between the Moros and the Christian over the latik, the remainder left after the
coconut milk has been boiled. At some time in the course of Spanish rule, with
coconut shells as tools, the people of the barrios of Loma and Zapote in the town of
Biñan in the province of Laguna danced the Maglalatik.

The Palipasan and the Baligtaran, the first two portions of Maglalatik,
reveal the hot combat between the Moros and the Christians. The Paseo and the
Sayaw Escaramusa display the reconciliation between the legends, the two groups.
As stated by the legend, the Moros won and got enviously wished latik. The
dissatisfied Christians sent a representative to the Moros to offer peace and
baptism to them. During the town fiesta of Biñan, Laguna, the Maglalatik dancers
are carrying out this dance from house to house for money or a gift in the daytime,
and in the evening, they perform Maglalatik in the religious procession as it goes
from one place to another along the streets as a sacrifice to San Isidro de Labrador,
the patron saint of the farmers.
8. KURATSA

The Kuratsa is actually remarkably popular with this Visayan man and
women specially this Waray man and women of the Western Visayas region in the
Philippines and illustrates every critical special occasion inside Western Visayas
residential areas. The Kuratsa maybe the dancing of courtship from the Visayas
region of the Philippines. At marriage ceremony and fiestas, this Kuratsa serves for
the reason that standard income dancing whereby visitors carry turns pinning
income on the woman and groom's clothes. That stands for friends' and families'
wants once and for all chance and affluence inside couple's future.

Courtship Dance

Kuratsa

- Commonly performed during festivals in Bohol and other Visayan towns, this
dance portrays a young playful couple's attempt to get each other's attention. It
is performed in a moderate waltz style.

9. POLKABAL

The dance got its name from two popular dances in the late 1800s: the polka
and balse (waltz). Though the balse is mentioned in the name of this dance, there is
no single waltz step used in this dance. The steps of this dance are identified as the
luksong uwak (jumping crow), wagayway (fluttering), hardin (gar den), punta y
tacon (heel and toe), corrida (bullfight), paseo (leisurely walk), ensayo (practice),
contragansa (ho p-cross) and the contragansa doble (double hop cross).
10. HABANERA

The Habanera Botolena is a dance that got its start in Cuba. It is a mix of
Cuban, Spanish and African rhythms and dance moves.

SIGNIFICANCE OF THE DANCE EDUCATION

Dancing is part of the dynamic cultural expression of all societies and every
individual has the potential ability to dance. The inclusion of dancing in the
Physical Education program of schools is simply to develop such potential into
actual skill and to expose everyone, especially the youth to the many benefits of
learning to dance.

1. Dancing promotes personality development since people involved in dance

improve their:

a. Grace and rhythm

b. Posture and biomechanics

c. Discipline

d. Dedication, motivation and determination

e. Self esteem and self-confidence

f. Self-actualization

g. Values of cooperation, resourcefulness, obedience, and respect

2. Dancing provides a happy, fulfilled and satisfying life

3. Dancing improves reflexes and awareness of one's own body and the immediate
environment

4. Dancing, educates oneself and the audience during the performance of a dance

PHASES OF THE DANCE EDUCATION PROGRAM

The dance education informally starts early in life. In fact, in tribal

communities, children at a very young age are exposed to the dances of their
communities as a means of telling stories or stressing social values. Asian
societies, the training of classical and theater dancers start at a very early age.
Formally the dance education program starts as soon as the child goes to school.
The teaching of dance is chronologically arranged from simple rhythm
development to complicated forms:

1. Creative Rhythms- is the end product of the development of movements as

children learn to move the different parts of their bodies as a means of their own
ideas and expression. Because of their imitative nature and being based on creative
interpretation of themes and motifs, creative rhythms are sometimes called
Interpretative Dance.
Creative rhythms can be taught to children using the following themes as bases:

- Nursery rhymes
- Poems
- Activities
- Songs
- Animal/Plant movements
- Domestic/Occupational

2. Folk/ethnic Dance are so called because they have ancient origins from within a
community of people thence, the term folk. These dances are also known as
traditional dances based on the fact that they are handed down from generation to
generation, hence the term tradition, being learned by the younger generations
informally through imitation rather than by formal instruction.

3. Social and Ballroom Dance/Social Dances- are usually done to introduce

people attending a formal social gathering to each other or welcome guest to a
social gathering. Some forms of social dance are ballroom dance, which is
performed by a male and female couple during grand balls. Many ballroom dances
originated as folk dances from Europe such as the polka, waltz, and mazurka, or
had origins from Latin America such as the samba, bossa nova and carioca from
brazil, tango from Argentina, cha cha cha, salsa, rumba, conga and mambo from
Cuba and cumbia from Columbia. Ballrooms favorite like jive, foxtrot, lindy hop,
swing and Charleston are obviously of American origins.

4. Recreational Dances - are informal kind of dances performed in an informal

atmosphere. Dances are done merely for fun and enjoyment.
5. Creative Dances- is the highest phase in the dance program. Original dance
pieces are created by the choreographer. The purpose of creative dance is to
entertain.

THE INTRINSIC VALUE OF EDUCATION IN THE ART OF DANCE

Dance is basic to human nature and is a basic form of individual and cultural
expression. It is pre-verbal, beginning before words can be formed. It is innate in
children before they possess command over language and is evoked when thoughts
or emotions are too powerful for words to contain. Dance can celebrate play,
prayer, courtship, recreation, entertainment, and the human need to communicate
the meaning of life in art. Just as all societies create forms of visual representation
or organize sounds into music, all cultures organize movement and rhythm into one
or more forms of dance. Dance can be a powerful artistic medium for
communicating values and beliefs about the human experience.

To study the art of dance is to learn the language of bodily movement as it

expresses and communicates the essence of humanity. Artistic dance education
serves to stimulate conscious understanding of the language of movement and to
develop aesthetic knowledge and skill in movement expression.
 THE INSTRUMENTAL VALUE OF EDUCATION IN THE ART OF
DANCE

The intrinsic value of dance is not separate from its instrumental benefits.
The byproducts of learning dance include the instrumental benefits of physical
health, emotional maturation, social awareness, cognitive development, and
academic achievement. Learning and growth in each of these areas are embedded
in the standards.

PHYSICAL HEALTH: Dance was first included in educational curricula at

the turn of the century to promote physical well being. It found its home in girls'
physical education as a non-competitive activity that promoted flexibility, strength,
coordination, and gracefulness. Today, we know dance also beneficially addresses
cardiovascular health, childhood obesity, bone formation, join stability,
neurological development, and other physical childhood issues.

EMOTIONAL MATURATION: Participation in dance is an enjoyable

experience for most students, and it promotes self confidence, self-esteem, and a
strong sense of self-identity. When students are able to express feelings and ideas
through artistic movement, they gain self-awareness and often self acceptance.
Creative movement experiences promote both self-reflection and a deeper
appreciation for others. The communal nature of dance learning often helps
students who might otherwise feel isolated or alienated in group settings.
 SOCIAL AWARENESS: Studying dance increases students' social
awareness and skills on many levels. Students become more aware of the values
and beliefs of their own and different societies by performing and analyzing
diverse dances. When dancing together, students learn to be united as a group
through coordinated action and rhythms. Students learn to cooperate with one
another toward mutual goals when working on collaborative movement projects.
They learn to respect one another's efforts and appreciate one another's diverse
cultural heritages.

COGNITIVE DEVELOPMENT. There is anecdotal evidence that early

motor development involves sequences of movements that develop neurology for
later learning. As infants roll, sit, crawl, and walk, cross-lateral movement pattern
engage cross- hemispheric brain functions that stimulate vestibular activities in the
brain and the growth of the corpus callosum. Skill in spatial patterning and even
reading has been known to be affected by this development.

ACADEMIC ACHIEVEMENT: A correlation has been observed between

students who dance and higher standardized test scores (College Board statistics).
Through dance education, students develop focus, concentration, discipline,
creativity, problem-solving skills, self-assessment skills, and the desire to do well.
In addition, students learn to remember patterns, sequences, relationships, forms,
and structures. These transfer into other areas of learning and achievement.
IMPORTANCE OF THE STANDARDS

* Provide a scaffold outlining the breadth and scope of learning and teaching dance
as an art upon which to design curricula and course syllabi.

* Serve as a springboard for creativity for the learning and teaching of dance
making: improvisation, choreography, and composition.

* Define age-appropriate expectations and levels of achievement in the art of

dance.