College of Education, Arts and Sciences

PED 112 PHILIPPINES TRADITIONAL DANCE

Prof. Francis John Degala
Course Facilitator

Topic: Philippine Dances: A Heritage from Early Filipino

Sub Topics:

 Introduction

 Phases of dance

 Folk dancing

 Influences of folk dancing

 Dance terminologies

 Values of Folk Dancing

 Characteristics of Philippine Dances

 Classification of Philippine Folk Dance

 Do’s in Folk Dancing

 Don’ts in Folk Dancing

Folk Dances

Are traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.

Types of Folk dances:

 National – traditional dances of a given country.

 Regional – local. Character – created by individual or group. Folk dancing is the
heartbeat of the people.

PHASES OF DANCE

1) Fundamental Rhythms
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The Fundamental rhythm program sets the basis for rhythmic movements in all forms of
dance activities through its stress on fundamental skills done in rhythm. If centers on
locomotor, non-locomotor or axial movements, and manipulative skills, with most
attention given to the locomotor types.

The general purpose of a program of fundamental rhythms is to provide a variety of

fundamental movement experiences, so the child can move effectively and efficiently and
develop a sense of rhythm in connection with these movements.

The skills in a fundamental rhythm program are important in setting the basis for the more
precise dance skills of folk, social, and creative dances. It is also related to effective
movement in all forms of living.

A) Locomotor Movements - are movements through space that bring the body from one place
to another. It involves special patterns namely:

i) Walk - a series of steps where one foot is always in contact with the floor and the feet move
alternately. The weight of the body is transferred from the heel to the ball of the foot and then
to the toes for the push-off for the next step.

ii) Run - is a fast walk. Running as contrasted to walking, is to move more rapidly in such a
manner that for a brief moment both feet are off the ground. Running should be done lightly
on the balls of the feet. It should be done with a slight body lean. There is more knee action in
running than in walking.

iii) Hop is a spring from one foot landing on the same foot. In hopping, the body is sent up
and down by one foot. Hopping can be done in place or traveling in space.

iv) Jump - a spring from one or both feet, landing on both. On landing, the balls of the feet
touch the floor first, then the heels come down, the knees bend to absorb shock of landing.
The knees and ankles are bent before the take off to achieve more force from muscle
extension.

v) Skip - is a series of fast step-hops done with alternate feet. Skipping should be done on the
balls of the feet. vi) Slide-a glide followed by a quick close. The movement should be done
on the balls of the feet.

vi) Leap - a spring on one foot landing on the other foot. Leaping should emphasize graceful
flight through space.

vii) Gallop - a series of stepping and cutting movements done either sideward or forward with
one foot always leading.

The locomotor movements are classified into:

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 Evene.g.. are walking, running, jumping, hopping, and leaping.
 Uneven-e.g., are skipping, galloping, and sliding.

B) Non-locomotor or Axial Movements - are movements done in place, with one part of the
body serving as an axis or base around which other parts move. The base of support may be
formed by standing. kneeling, sitting or lying on the floor.

i) Bending or Flexing - a movement around a joint, either forward. blackward or sideward.

ii) Stretching - a full extension of the arms, legs, or trunk in any direction.

iii) Swinging the arms, legs, head, trunk are moved in an arc alternating the directions, or in a
full circle around a stationary center.

iv) Twisting - the rotation of one part of the body around the base of support. It can only take
place at the spinal, neck, shoulder, hip, and wrist joints. (a rotation movement).

v) Turning the rotation of the body around the base of support In a continuous line of
direction. (rotational).

vi) Swaying - the weight is transferred from one base of support to another with a rocking
motion.
vii) Resistive actions:
 Pushing an effort to move an object, real or imaginary. In space away from the body
against resistance.
 Pulling an effort to bring an object, real or imaginary, in space toward the body
against resistance.
 Lifting-change of body level or any part of the body or an object, real or imaginary,
from a lower to a higher level. Both the locomotor and non-locomotor movements
may be performed
 in a natural way, or they may be exaggerated to produce a desired effect. Practice in
these activities is directed toward:

1) Improving the quality of movement;

2) Extending the range of body movement;
3) Exploring the possibilities for expression through movement; and
4) Increasing rhythmic accuracy.

C) Manipulative Object Handling is one in which a child handles some kind of play objects
usually with the hands, but it can involve the feet and other parts of the body. E.g.
tambourines, hoops, wands, sticks, balls, etc.

2) Creative Rhythms
Creative rhythms provide a special area in the rhythmic program where
creativity is the goal and functional movement is secondary. The goal is to communicate
feelings through movement guided by rhythm.
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A) Fundamental Motor Rhythms - creativity can be developed through problem-solving
activities involving the incorporation of various locomotor movements into varied patterns,
changes in direction, changes to other kinds of activities and the like.

B) Expressive Movements
Children can express moods and feelings and show their reaction to colors and sounds by
improvising dances, movements which demonstrate different aspects of force, and gestures
which depict different feelings. Moods which can be expressed are being happy, gay, sad,
brave, fearful, cheerful, angry, solemn, silly, stately. sleepy, funny, cautious, bold and
nonchalant.

C) Identification
There are endless sources of subjects for identification and interpretations with the child in
his own mind taking on the identity of a familiar character, creature, or object.

The following ideas will be found useful:

 Animals  Machine
 People  Play objects
 Make-believe world  The circus
 Nature

D) Dramatization
Some ideas useful for dramatic rhythms are:
 Celebrating holidays like Christmas, Flores de Mayo, Dinagyang, etc.
 Acting out stories which include fairies, firemen, teachers, acrobats, etc.
 Interpreting familiar stories like Little Red Riding Hood, Puss in Boots, The Three
Little Pigs, etc.

E) Singing Movement Songs include action songs and singing games. In these rhythmic
activities, the children usually sing verses, and the verses tell the children how to move.

 Hickory Dickory Dock  Horsey-horsey

 The Thread Follows the Needle  Ten Little Indians
 The Little Ducks  Baa Baa Black Sheep

3) Folk Dance
A folk dance is defined as a traditional dance of a given people. In this form, a definite
pattern of dance routine is usually specified and followed.

Folk dances have been handed down from generation to generation in the manner of all
traditions. These dances are native to them and evolved by them instinctively and
spontaneously. Folk dance is communal in purpose and unique in that it is predicated upon
the principle of group participation.

Chief among the influences as reflected in the style and pattern of the dances are:

1. Religion.
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Claudia Chapline writes of a religious dance which purposed to protect the church from the
outer world.

The Ancient Hebrews danced their prayer and praise and were instructed in the Old
Testament to "Praise Him with the timbrel and dance "(Psalm 150). The earliest Christian
ritual, the "Hymn of Jesus", as described in the apocryphal Acts of John, written about A.D.
120, was a sacred dance in which the Apostles, joining hands, circled slowly around Christ
singing a hymn. This mystic circle was used as a symbol for the protection of the Church
from the outer world. (Chapline, 1957).

2. Occupation
Traditional mimetic occupational dances were taught and depict the processes involved in the
trade. Passed from generation to generation, they were one means of preserving folk customs.

3. Climate
The climate of a country affects the quality of the dance movement. The dance movements in
countries with colder climates tend to be very vigorous: in the hot humid climates the
movements tend to flow and appear effortless. The tempo of a dance, however, is not
necessarily influenced by the climate since climate vary: more often, it is the purpose of the
dance which determines the tempo.

4. Geography
Geography plays an interesting and significant influence on dance. People who live in the
mountains, by necessity, dance in a very small space. The style of movement is influenced by
the actual ground upon which they danced. Mountains, as physical features, have served to
preserve folk dances in their original form. Plains, valleys, and rivers, as physical features,
are more favorable to interchange of dances.

5. Costume
Costume is determined by two basic factors, climate and geography. A costume is utilitarian
in purpose; essentially it serves to protect the body from the elements and to suit the life and
work of the owner. Furthermore, as individuals and groups become more sophisticated,
costumes serve to indicate status, prestige, and wealth. The style and range of dance
movement may be unlimited or highly restricted depending upon the material and cut of the
foot wear, skirt, trousers, or head gear worn by the dancer. Contrast, for example, the
unlimited freedom and balance exhibited by the barefoot dancer of the Cordilleras. The role
articles of attire play in forming dance movement is an important element in studying the
style and background of the dance.

6. Music
Music, the twin sister of dance, is intimately related to movement in dance. The differences in
the dance are largely due to the characteristic features of the music of a particular group of
people. It is predominantly music which reveals the often subtle differences in the
performance of an otherwise commonly shared step pattern. Further, it is music which gives
to a common step pattern, the unique characteristics inherent in a group's cultural
background.
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Folk Dancing

The term "folk dance" is sometimes applied to dances of historical importance in European
culture and history; typically originating before the 20th century. For other cultures the
terms "ethnic dance" or "traditional dance" are sometimes used, although the latter terms
may encompass ceremonial dances.

The early Filipinos considered dancing as a religious activity. They performed dances in
thanksgiving for a fruitful harvest, a victorious battle and prosperous voyage or recovery
from sickness. During the Spanish period, dancing played an important part in the social
activities of the Filipinos.

Folk dance was invented several centuries back. About the origin of folk dance, very little
detail is available. Nobody can even imagine how folk dancing looked like about two
thousand years ago. Historians of folk dancing are very much sure that it already existed at
that time.

Who discovered folk dance in the Philippines?

Francisca Reyes-Aquino

(March 9, 1899 – November 21, 1983)

She was a Filipino folk dancer and academic noted for her research on Philippine folk dance.

DANCE TERMINOLOGIES

1. Dance - an elegant and regular movement harmoniously composed of beautiful body

attitudes and contrasted graceful posture of the body and parts thereof to the accompaniment
of the music.

2. Dance - an art form expressed in movement. It attempts to convey ideas or feelings through
carefully selected patterns which are arranged in a form judged to be best to meet the needs
of that particular communication.

3. Choreography - the art of creating dances

4. Design - patterns in shape and time.

5. Dynamics - variations, changes and contrasts within an existing time- space, bringing
about excitement and heightened interest.
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6. Energy - strength, power of force for action

7. Ethnic - coming from or belonging to the distinctive cultural or aesthetic traditions of a

particular country or people.

8. Folk - originating among or representative of the common people.

9. Folk art - the traditional typically anonymous art of the people that is an expression of
community life.

10. Folk dance - a traditional dance of a given country which had been evolved by them
instinctively and spontaneously in conjunction with the everyday activities and experiences
of the people who developed them.

11. Gesture - movement used to emphasize idea or emotions.

12. Improvisation - to simultaneously compose or to perform or to extemporize.

13. Measure - grouping of beats

14. Modern dance - is a theatrical dance of contemporary approach, technique or style,

emerging from and reflective of the 20th century. Isadora Duncan and Ruth St. Denis are
considered the founders of American modern dance.

15. National dance - a folk dance which is popularly danced in most parts of a specific
country.

16. Set - a dance unit or formation.

VALUES OF DANCING

1. Dance is a highly educational activity which provides us with the knowledge and
information of other people's folklore, superstition, legends, rituals, customs, celebrations and
festivals. It also provides us with clues to the temperament, point of views and philosophy of
other people.

2. Dance is part of our culture and its inclusion in the physical education program will help
preserve social customs and traditions by passing them along from one generation to another.

3. Dance is a splendid medium for the development of muscular endurance. strength,

flexibility and organic vigor - in short, physical fitness.

4. Important attitudes and social learnings can be promoted through a well- conducted
program of dance activities. To be at ease with the opposite sex, to learn social graces, and to
make common elements of courtesy a practice, are important goals of a dance program.
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5. Dance activities offer good opportunities for incidental and direct teaching in posture
which can result in the development of grace and poise.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

1) To foster patriotism and nationalism through the study of our dance.

2) To arouse better appreciation of Philippine music and folk dances.
3) To provide through dancing, a healthful form of relaxation and recreation.
4) To develop a graceful and rhythmic coordination of body movements that will
improve posture.
5) To preserve for posterity, folk dances and music indigenous to the different regions
of the Philippines.
6) To demonstrate the growth of Filipino culture through the evolution of Philippine
dances.
Characteristics of Philippine Folk dances:

1) In general, dancers stand apart.

2) There is little, if any, bodily 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.”
7) Dances from the lowlands have more foreign elements those found in the uplands.
8) War dances are found among non-Christian tribes.

Classification of Philippine Dances

I. General Classification

A. Geographical extent of origin

1. National dances-found throughout the islands with little or no modification.

Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2. Local dances-found in a certain locality.

Examples: Tinikling-Leyte

Maglalatik-Binyang

Esperanza-Nabua
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Subli-Batangas

Biniganbigat-Abra

B. Nature

1. Occupational-depicting action of certain occupation, industry, or human labor.

Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete, etc.

2. Religious or Ceremonial – performed in connection with religious vows and ceremonies.

Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.

3. Comic dances – depicting funny movements for entertainment.

Examples: Kimbo – kimbo Makonggo, Kinoton

4. Game dances – with play elements (dance mixers)

Examples: Lubi – lubi, Pavo

5. Wedding dances – performed during wedding feast.

Panasahan, etc.

6. Courtship dances – depicting love making.

Examples: Hele – hele, Bago Quiere, Maramion, Tadek, Daling – daling

7. Festival dances – suitable for special occasion or any social gathering.

Examples: Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or duel.

Examples: Sagayan, Palu-palo, etc.

C. Movements
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1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik, Sakuting, Polkabal, etc.

2. Moderate -

Examples: Cariñosa, Tagala

Habanera, Purpuri, etc.

3. Slow -

Examples: Pasakat, Amorosa

Tiliday, Kundiman, etc.

4. Slow and Fast –

Examples: Putritos, Ba-Ingles

Habanera Botoleña

Alcamfor, etc.

D. Formation

1. Square or Quadrille

Examples: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines)

Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side
by side.

Examples: Binadyong, Haplik, Kakawati, etc.

II. Special Classification-Group dances having special distinctive features.

A. Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

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B. Old Ballroom Dances

Examples: Polka, Mazurka Chotis, Valse, etc.

C. Dances with Implements

Examples: Maglalatik

Sakuting

Jota Moncadena

Tinikling

Salakot,

D. Dances of Combined Rhythm

Examples: Surtido, Pantomina, Los Bailes de Ayer

Do’s in Folk Dancing

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

2. Dance with ease and smoothness.

3. Use the proper costume for the dance.

4. Follow directions and dance instructions as closely as possible.

5. Dance with feeling and expression.

Don’t’s in Folk Dancing

1. Do not exaggerate the dance steps.

2. Do not make the dances too dainty and graceful like ballet.

3. Don’t make entrance and exit long.

4. Don’t make steps too elaborate and complicated.

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5. Don’t call a dance a folk dance unless steps come from traditional dances.