P.e. Folk Dance

Front 1

Folk dance

Back 1

• performed in an informal get-together of people, with little or no professional training, to traditional music or based on traditional movements;

• originally not designed for public performance on stage, although traditional folk dances were later arrange and set for stage performances

• executive is dominated by an inherited tradition passed on from one generation to another rather than by innovation (although like all folk tradition, there can be also changes over period of time)

• informally learned by new dancers by observing others and/or receiving help from others.

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folk dance

Back 2

The term _________ is sometimes applied to dances of historical importance in European culture and history that typically originated before the 20th century.

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False

latter

Back 3

t/f

For other cultures, the term "ethnic dance" or "traditional dance" is sometimes used, although the former term may encompass ceremonial dances

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"street dance" or "vernacular dance"

Back 4

There are a lot of modern dances such as hip hop, that evolve spontaneously; but the term "folk dance" is generally not applied to them. Rather, the term ___________ or ____________ is used.

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True

Back 5

t/f

the term "folk dance" is reserved for dances which are to a significant degree, bound by tradition, and originated in the times when the distinction existed between the dance of "common folk" and the dances of the "high society"

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Philippine Folk dances

Back 6

have a peculiar combination of Spanish and Oriental movements.

Front 7

True

Back 7

t/f

Our contact with the Spaniards for more than three centuries has greatly influenced our music and dances so that we have adopted much of the Occidental movements.

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True

Back 8

t/f

Folk dances have been increasing its popularity.

Our own native folk dances earned world prestige when Filipino dance troupes toured abroad.

The dances have delighted and entertained people from all walks of life.

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recreation

Back 9

as a form of _______, folk dances help promote national goodwill by depicting the habits and customs of Filipino people over the world.

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Francisca Reyes Tolentino-Aquino

Back 10

is considered the mother of Philippine folk dances.

her interest, skill, and incessant devotion to conduct researches on authentic regional dances paved the way to 24 volumes on Philippine Folk Dances.

She travelled all around the country to gather and record music and steps that were all compiled in these books.

Front 11

University of the Philippines Folk Song and Dance Troupe

Back 11

The original and foremost dance troupe that was organized by Mrs. Tolentino was the?

This group of dancers and singers toured the towns and provinces around Manila to dance and sing for the people.

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Filipiniana, Barangayan, Bayanihan and Filipinescas

Back 12

Other dance groups were also organized later like the?

These groups have gone outside the country dancing their way to win love, admiration and appreciation of our foreign friends.

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Dances in the Cordillera

Back 13

These are dances classified with ceremonial gatherings courtship, war, festival, and imitation of nature.

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Dances in the Mindanao

Back 14

These are dances which have a touch of Hindu, Japanese,Chinese, or Arab-Persian culture.

Front 15

Spanish/European/Western-Influenced Dances

Back 15

The Westernization of Filipino culture brought changes in thestyle of dancing among Filipinos, embracing all new trends and fashions that somehow became classics.

These dances are the well-loved Pandanggo, Habanera,Jota, Valse, Mazurka, Paseo, Rigodon, and Lanceros, which are traditionally passed on inevitably.

These are dances for the so-called "bourgeoisie" or elite during the Spanish period.

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Dances in the Countryside

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There are dances for the farmers and the common people in the rural areas who live in utmost simplicity.

These dances are light and more informal, portraying the life endeavors of thelowlanders.

Frequently, these dances require skills and character thatdepict the kind of work they are involved in.

It is the lowlanders'way to ease their burden--through fun and artistic movements.

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Dances for the Less-Known Group

Back 17

These are dances with mythical bindings imitative of the movements of the birds, monkeys, sea creatures, and other live animals that people find comic and enjoyable. They are also reflective of traditions and mores like courtship practices and forest lives.

Front 18

• Dances in the Cordillera

• Dances in the Mindanao

• Spanish/European/Western-Influenced Dances

• Dances in the Countryside

• Dances for the Less-Known Group

Back 18

Classification of dances in the Philippines

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• Dances of the Non-Christian Filipinos

• Dances of the Christian and Lowland Filipinos or Western-influenced

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Ethnic dances in the Philippines are classified into two major categories:

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Dances of the Non-Christian Filipinos

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These are dances of the traditionalists or "pagan" groups.

They offer it to their deities and reflect their customs andbeliefs.

They also showcase the royalty or power of the group,like the dances of the Muslim groups

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Dances of the Christian and Lowland Filipinos or Western-influenced

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These dances started with savaged, vigorous, and mimetic character.

Some are light-hearted and mimetic. Some are performed without music or melodic accompaniment.

They are often called "rituals" or "religious ceremonies" of the early Christian faith but still retain the authenticity of Filipino culture.

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Dances of Aetas and Negritoes

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The forefathers are focused on the feet and arm movement which are generally simple and free.

Their musical instruments include their body, bamboo and wooden sticks, crappers, shields, native lutes, kuyapi, kettle drums, mass metal drums, and bronze gongs.

These instruments are materials easily available in their environment.

Some are used as raw materials which later on were crafted into more harmonic musical instruments capable of bringing out more impressing sound.

These dances are found in rituals, flirtation, courtship, game dances, animal dances, and duels or war dances

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Dances of the Muslims

Back 23

These dances are products of cultural influences from Hindu, Japanese, Chinese, and Arab-Persian civilizations that are oriental, exotic, and stylized.

The musical instruments used are agong, kulingtangan, bamboo xylophones, and drums.

Front 24

• Ethnic Dances

> Dances of the Non-Christian Filipinos

> Dances of the Christian and Lowland Filipinos or Western-influenced

• Dances of Aetas and Negritoes

• Dances of the Muslims

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ORIGIN OF DANCES IN THE PHILIPPINES

Front 25

First Position

Back 25

ARM POSITION:

Arms are encircled in frontat chest level, relaxed, fingers slightly apart.

Front 26

Second Position

Back 26

ARM POSITION:

Arms are raised sideways a little below shoulder level.

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Third Position

Back 27

ARM POSITION:

One arm encircles overhead while the other is raised sideways.

Front 28

Fourth Position

Back 28

ARM POSITION:

One arm encircles like the first position while the other arm is overhead.

Front 29

Fifth Position

Back 29

ARM POSITION

both arms are overhead.

Front 30

First Position

Back 30

FEET POSITION:

feet closed and heels parallel, touching toes at 45 degrees

Front 31

Second Position

Back 31

FEET POSITION

Open, parallel stride sideward

Front 32

Third Position

Back 32

FEET POSITION:

Heel of one foot at instep

Front 33

Fourth Position

Back 33

FEET POSITION:

One foot forward with heel of front foot inline with big toe of rear foot

Front 34

Fifth Position

Back 34

FEET POSITION:

Heel of front foot close to big toe of rear foot

Front 35

Abresete

Back 35

Hold R arm of partner with L hand, free hands down at thesides.

This term is of Spanish origin and is used in Rigodon and inother dances.

Front 36

Arms in lateral position

Back 36

Both arms are at one side, either sideward right or left. This may be done at shoulder, chest, or waist level.

Front 37

Arms in Reverse "T"

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Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward,fists loosely closed.

Front 38

Bilao

Back 38

Turn palms of hand up and down alternately, hands at waistlevel in front, elbows close to waist.

Front 39

Brush

Back 39

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.

Front 40

Cabeceras

Back 40

When dancers are in square formation, the couples occupying the width of the hall are called ________ or headcouples.

This is of Spanish origin.

Front 41

Clockwise hand movement

Back 41

like the motions of the hands of the clock; R shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left.

Front 42

Counter-clockwise

Back 42

the reverse direction of the clockwise; L shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the right.

Front 43

Costados

Back 43

When dancers are in square formation, the couples occupying the length of the hall are called _______ or side pairs.

This is of Spanish origin.

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Crossed Arms

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Partners are facing each other or standing side by side, girl at the right of the boy. They join their L and R hands together, either Rover L or Lover R hands.

Front 45

Cross Over

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Two couples (the vis-a-vis) are opposite each other. Each couple proceeds in a straight line to the opposite place. The girls pass by the 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 partner's right side.

Front 46

Cut

Back 46

To displace quickly one foot with the other, thus completelytaking off the weight of the body from the displaced foot.

Front 47

Do-si-do (Dos-A-Dos)

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The vis-a-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 originand is used in many Philippine dances.

Front 48

Draw

Back 48

to pull one foot along the floor close to the other which hasthe weight of the body.

The weight may or may not be transferred.

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Free foot

Back 49

the foot not bearing the weight of the body.

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Free hand

Back 50

the hand not placed anywhere or not doing anything.

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Hands on waist

Back 51

Place hands at the waist line at the smallest part of the trunk. Knuckles in, fingers pointing in rear.

Front 52

Hapay

Back 52

the act of flourishing or offering a handkerchief, hat, or glassof wine to somebody as a sign of invitation

Front 53

Hayon-Hayon

Back 53

Place one forearm in front and the other at the back of the waist.

This is a Visayan term.

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Hop

Back 54

a spring from one foot landing on the same foot in place or inany direction; The other foot may be raised in any direction (in front in rear, sideward or across).

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Inside Foot

Back 55

the foot nearest one's partner, when partners stand side by side

Front 56

Inside Hand

Back 56

the hand nearest one's partner, when partners stand side by side

Front 57

Jaleo

Back 57

Partners turn around clockwise (with R elbows almost touching) or counter clockwise (with L elbows almost touching).

This is used in walking or any kind of dance step. The hands near each other are on waists.

This is a Tagalog term but of Spanish origin.

Front 58

Jump

Back 58

spring on one foot or both feet, landing on both in any direction

Front 59

Kumintang

Back 59

moving the hand from the wrist either in a clockwise or counter-clockwise direction;

This is an Ilocano term.

Front 60

Leap

Back 60

a spring from one foot, landing on the other foot in any direction (forward, sideward, backward or oblique)

Front 61

Masiwak

Back 61

Turning of the hand from the wrist half-way clockwise then raising and lowering wrist once or twice.

This is an Ibanag term.

Front 62

Outside foot

Back 62

the foot away from one's partner, when partners standside by side

Front 63

Outside hand

Back 63

the hand away from one's partner, when the partners stand side by side

Front 64

Panadyak

Back 64

Stamp in front or at the side with R(L) foot and tap with the same foot close to the L (R) foot, weight of the body on L (R) foot.

This is a Tagalog term.

Front 65

Place

Back 65

put the foot in a certain desired position without putting weight on it. The sole of the foot rests on the floor.

Front 66

Pivot

Back 66

Turn with the ball, heel, or whole foot, on a fixed place or point.

Front 67

Patay

Back 67

Bend the head downward and support the forehead with theR(L) forearm or with the crook of the R(L) foot pointing in rearand knees slightly bent.

This is an Ilocano term and the movement is commonly found in Ilocano dances.

Front 68

Point

Back 68

Touch the floor lightly with the toes of one foot, weight of the body on the other foot.

Front 69

Salok

Back 69

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 this.

This is a Tagalog term.

Front 70

Saludo

Back 70

Partners bow to each other, to the audience, or opposite dancers with the feet together.

This term is of Spanish origin and is used in almost all Philippine dances.

Front 71

Sarok (or Saroc)

Back 71

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 a Visayan term

Front 72

Set

Back 72

a dance formation like a square or a unit formation composed of two or more pairs

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Slide

Back 73

Glide foot smoothly along the floor. The movement may be finished with or without transfer of weight.

Front 74

Stamp

Back 74

Bring down the foot forcibly and noisily on the floor (likedoing a heavy step) with or without transfer of weight.

Front 75

Star with the right hand

Back 75

Four or more people join R hands at the center and circle around clockwise walking or doing any kind of dance step.

Front 76

Star with the left hand

Back 76

Same as "star with the R hand," but joining L hands turning counter-clockwise.

Front 77

Step

Back 77

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.

Front 78

Supporting foot

Back 78

the foot that bears the weight of the body

Front 79

Tap

Back 79

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.

Front 80

Whirl

Back 80

Make fast turns by executing small steps in place to right or left.