LESSON 3

INTRODUCTION
 
            Rites and dances are still being performed because they serve the belief and
social system of the ethnic Filipino. If life is deemed hard, these rites and dances give
expression and solace to their needs, sometimes give them courage and determination.
These rites and dances are revivified by action and movements, and by the motives and
spirits or require them.

  QUIZ 1 . WHAT ARE THE DIFFERENT FOLK/ETHNIC DANCES

IN OUR COUNTRY? ( click the mark )
 

NATURE OF DANCE
Dancing is the most vibrant and beautiful form of art. Besides this, it's a great way of
social interaction and provides a fun workout, which increases flexibility and
cardiovascular health. It is an act of moving rhythmically and expressively to an
accompaniment. The word dancing came from an old German word “damson” which
means to “stretch”. Essentially, all dancing is made up of stretching and relaxing.
Dance is always a bliss to watch in terms of costumes, elegant moves and music.
Dance forms take centuries to develop and reflect the customs of the society.
Numerous dance styles have evolved over the years and each style has a history
behind it. From medieval to contemporary dance forms, every style has its own meaning
and reason of origination. Dance is regarded as the best stress reliever and also helps
in keeping one's health and fitness in check. For centuries, people around the globe
have expressed themselves through dance, where the practice still continues, today.
Just like any other sport or games, dancing is also a physical activity that can promote
lifelong fitness and wellness. It is good source of exercise that could help develop grace
and poise. It can even help in maintaining good health as it highlights health-related
fitness components such as cardiovascular endurance, flexibility and strength.
With the effect of acculturation, indigenous dances of the Philippines may have been
modified since the culture of other countries has influenced our very own dances. This
is evident in the western style adopted in our folk dances. Along with this are the
influences of our Asian neighbors that have enriched our national dances to a large
extent. It is for this reason why there is a need for you to understand our cultural root by
learning our dances.
This module will introduce you to the different regional and national dances of the
Philippines including our festival dances. We are a part on the on going history of trade
and industry and that part and parcel are influences retained in us like textiles, color of
fabrics, and design reflected in the costumes of the dance.
 

    QUIZ 2 EXERCISE: VIDEO ANALYSIS ( click the mark )

Watch the following dance videos below regarding the evolution of dance. After
watching it, write your observations and compare it using the T-Shirt below.
Click the picture below for the dance video. 
 

Brief History of Philippine

Dance
A. Primitive Era/Pre-Colonial  
 
Before the recorded history of the Philippines, before the Spanish conquistadors
conquered and Christianized the populace, from the earliest occupation of this volcanic
archipelago, the people danced. They danced to appease the gods, to curry favor from
powerful spirits, to celebrate a hunt or harvest, to mimic the exotic life forms around
them. They danced their stories and their shamanic rituals, their rites of passage and
their remembered legends and history.
B. Spanish Era  - Dancing was considered a religious activity among the early Filipinos.
Dances were performed by the priests and priestesses in thanksgiving for a plentiful
harvest, a victorious battle, a prosperous voyage or recovery from sickness.

Estudiantina  
-This is lively dance which originated from Unisan, Quezon province (formerly Tayabas).During
the olden days, this dance was a favorite in social gatherings and was usually by young men and
women who were students of private school and colleges in Manila. The boys were called
Estudiantes by the barrio folks and the girls,Estudiantas.

Mazurka Boholana 
- This traditional ballroom dance was popular in Bohol and in other provinces during the
Spanish time. This was originally performed with couples Scattered informally about the
room with no definite sequence of steps and directions followed.

Mazurka Mindorena 
- This beautiful festival dance from Mindoro was the premiere dance of the high society
of Mindoro during the Spanish period. Don Antonio Luna, considered one of the best
dancers of his time, was responsible for preserving and popularizing this dance in the
Province of Mindoro.
 

Polka sa Nayon  
- This ballroom polka was popular in the province of Batangas during town fiestas and in
big social affairs.

C. American Colonization    
 In 1898, the United States colonized the Philippines. Contributory to the people’s
eventual surrender was an ongoing armed struggle against Spain. 
 Inevitably, the Americans’ entry into the country brought with it their cosmopolitan and
commercial culture. Their Black-influenced music and dances appealed to the
terpsichorean bent of the Filipinos. Already schooled in the zarzuela, they found
fascination in the vaudeville (later called the stage-show) which is a mix of the theatrical,
minstrel and circus acts that attracted both the elite and the masses.
 
The history of dancing in the Philippines is a long and rich story that shows how
intertwined the dances are with daily life and important events.
 
Classification of Philippine Dances

1. Geographical:

 National Dances – found throughout the island with little or no modification

Example: Rigodon, Cariñosa, Balitaw Pandango

 Local Dances – found in some locality.

Example: Tinikling-Leyte, Subli-Batangas, Maglalatic-Binyag
 

Nature of Dances
A. Occupational Dance ( click
the photos for dance
references )
            Depict the lifestyle and daily work of the people living in various topographies.
The fishing villages from north to south of the archipelago developed folk dances
depicting their customs in the workplace. 
Examples:

1. Panulo  
  -  which literally means fishing at sea in the night with only the petroleum gas as light
This dance offers wholesome enjoyment to the barrio folks of Cadiz, Negros Occidental
after an abundant catch during fine weather. 

2. Binatbatan 
- this depicts the beating of cotton pods to separate the seeds from the fibers with the
use of two sticks called batbat. The dancers jump and hop outside and between parallel
sticks on the floor in time with the song and music. The stick beaters interchangeably
perform with the dancers and vice-versa. The musical accompaniment follows the fast
or slow beating of the stick beaters.
(Source: Philippine Occupational Dance by Dr. Larry Gabao)

B. Religious or Ceremonial
Dance
            Performed in connection with religious vows and ceremonies.
Examples:

1. Subli  
- is considered a favorite of the people of the barrios of the municipality of Bauan,
Batangas. It is a ceremonialworship danceperformed in homage to the Holy Cross
referred to in the vernacular as Mahal Na Poong Santa Cruz.

2. Dugso  
- is a dance which originated from Bukidnon in Northeast Mindanao. Dancers perform
this as an entertainment for the dieties, to make them feel more comfortable during the
fiesta that was organized for them. It was originally thought that this dance was
performed only during harvest time or upon the birth of a male heir. Women would wear
colorful feathered head dresses, plaid costumes, and anklets.
(Source:  https://lovefolkdance.wordpress.com/ (Links to an external site.))

 C. Comic Dance
      Depict funny movements for entertainment.
Examples:

1. Kinnoton  
- is a comic dance from Ilocos Sur. It depicts the movement of a person bitten by ants.
2. Mokonggo -- A comic dance which originated in Sta. Maria, Bulacan. A solo
performer imitates the movements characteristic of a monkey, its gestures and
grimaces.
(Source:  https://lovefolkdance.wordpress.com/ (Links to an external site.))

 D. Game Dance
            Are those that are done with play elements.
Example:

1. Lubi-Lubi  
- is a bicolano dance which is a combination of a simple folk and social steps. Literally,
lubi means coconut. According to the BIkolanos this dance originated in Leyte and
Samar where it is still danced like the Balitaw. It is also popular in Albay and Sorsogon.
(Source:  https://lovefolkdance.wordpress.com/ (Links to an external site.))
 

 E. Wedding Dance
Are those dances that are performed during wedding feasts. 
Example:

1. Pagkawin 
- the festivity opens with the Pahanda or presentation of dowry. Relatives of the groom
present to the relatives of the bride traditional dowries that usually include that Salap-
pa, A bras box containing money, jewelry, other valuables, and all-important betel nut.

2. Binasuan  
- Binasuan is a folk dance that originated in Bayambang, Pangasinan,. The word
“binasuan” means “with the use of drinking glasses.” The dancers balance glasses on
their heads and in their hands as they move. The glasses are filled with rice wine, which
makes any misstep a messy mistake. People dance binasuan at weddings and
festivals. 
(Source:  https://www.bayambang.gov.ph/about-us/binasuan-folk-dance/  (Links to an
external site.))
 

F. Courtship Dance
Depict the art of courtship.
 
Example:

1. Imunan 
-From San Jacinto, Pangasinan. Imunan is a courtship dance. The word “Imunan”
means jealousy. The dance depicts a love triangle, in which the suitor tries to please
both of girls vying for their intention and love. In the end, the suitor succeeds in giving
each girl the attention they sought, ending in a friendship.
(Source:  http://mgakapatid.org/pcndance.html (Links to an external site.))

 G. Festival Dance
Are those which are suitable for special occasions or social gatherings.
 
Examples:

1. Pamulinawen Festival  
-came from the name of a woman made popular in the popular Ilocano folk
song Pamulinawen. The festivalis celebrated in the city of Laoag, Ilocos Norte to
promote camaraderie and sportsmanship.
 
 
 2. Sinulog Festival  
- the festival is done by a dance ritual, in which it tells the story of the Filipino people's
pagan past and their acceptance of Christianity. The word “Sinulog” means
“graceful dance”, wherein it all started in 1980 with a simple dance that represents the
“sulog” (or current) of a river in Cebu.
Source: https://en.wikipedia.org/wiki/Pamulinawen_Festival  (Links to an external site.))
(Source: https://en.wikipedia.org/wiki/Sinulog (Links to an external site.))
 

H. War Dance
            Showing combat or duel but on action phase only.
Example:

1. Sagayan 
- A philippine war dance performed by both the Maguindanao and Maranao depicting in
dramatic fashion the steps their hero, Prince Bantugan, took upon wearing his
armaments, the war he fought in, and his subsequent victory afterwards. 

Philippine Folk Dance

Dance Terms Used in performing Folk
Dance, Philippines.
The Following are the common Dance Terms in Philippine Folk Dance:
• Abracete – Girl at the right side, holds Right arm of partner with her Left
hand, free hands down at the sides. This terms is of Spanish and is used in
Rigodon and in other dances.
• Arms in Lateral Position – both arms are at one side, either sideward right
or left. This may be done at shoulder chest or waist level.
• Arms in Reverse “T” position – Arms are side horizontal, elbows bent at
right angles, forearms parallel to head, palms forward or facing inward, fists
loosely closed.
• Bilao – To turn hands up and sown alternately, hands at waist level in front,
elbows close to waist.
• Brush – 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.
• Cabeceras – When dancers are in square formation, the couples occupying
the width of the hall are called “cabeceras” or head couples. This is of Spanish
origin.
• Clockwise – Like the motion of the hands of the clock. Right shoulder is
toward the center of an imaginary circle. When facing center, the movement is
toward the left.
• Counterclockwise – The reverse direction of clockwise. Left shoulder is
toward the center of an imaginary circle. When facing center, the movement is
toward the right.
• Costados – When Dancers are in square formation, the couples occupying
the length of the hall are called “costados” or side pairs. This is of Spanish
origin.
• Crossed arms – Partners are facing each other or standing side by side, girl
at the right of boy. They join their Left hands together and their Right hands
together either Right over Left or Left over Right hands.
• Cross- Over – Two couples (the vis-à-vis) are opposite each other. Each
couple proceeds in a straight line to the opposite place. The girl pass by their
Left shoulders between the boy. Boys bow to each other when they meet at
the middle or at about one-third of the way, then proceed to the opposite
place. Upon reaching the opposite place, partners turn about, girls stand at
partners’ right side.
• Cut – To displace quickly one foot with the other, thus completely taking off
the weight of the body from the displaced foot.
• Do-Si-Do(“Dos-a-Dos”) – The vis-à-vis (opposite) 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 origin and is used in many Philippine dances.
• Draw – To pull one foot along the floor close to the other which has the
weight of the body The weight may or may not be transferred.
• Free Foot – The foot no bearing the weight of the body.
• Free Hand – The hand not place anywhere or not doing anything.
• Hand on Waist – Place hands at the waist line (at the smallest part of the
trunk), knuckles in, fingers pointing in rear.
• Hapay – To flourish or offer a handkerchief, hat or glass of wine to
somebody as a sign of invitation.
• Hayon –Hayon – To place one forearm in front and the other at the back of
the waist. This is a Visayan term.
• Hop – A spring from one foot landing on the same foot in place or any
direction (in front, in rear, sideward or across).
• Inside Foot - The foot nearest one’s partner, when partners stand side by
side.
• Inside Hand – The hand nearest one’s partner, when partners stand side by
side.
• Jaleo – Partners turn once around clockwise (with right elbows almost
touching) or counter clockwise with left elbows almost touching) using walking
or any kind of dance step. The hands near each other are on waists. This is a
tagalong term but is of Spanish origin.
• Jump – Spring on one foot or both feet, landing on both in any direction.
• Kumintang – Moving the hand from the wrist either in a clockwise or
counterclockwise direction. This is an Ilocano term.
• Leap – A spring from one foot landing on the other foot in any
direction(forward, sideward, backward or oblique)
• Masiwak – To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
• Outside Foot – The foot away one’s partner, when partners stand side by
side.
• Outside Hand – The hand away from one’s partner, when partners stand
side by side.
• Place – To put the foot in a certain or desired position without putting weight
on it. The sole of the foot rests flat on the floor.
• Point – Touch lightly with the toes of one foot, weight of the body on the
other.
• Saludo –partner bow to each other, to the audience, opposite dancers, or to
the neighbor.
• Sarok – Cross the Right (or left) foot in front of the Left (or right), bend the
body slightly forward and cross the hands down in front with the Right (Left)
hand over the Left(Right).
• Set – A dance formation like a quadrille or a unit composed of two or more
pairs.
• Stamp – To bring down the foot forcibly and noisily on the floor (like doing
heavy steps).
• Star with the Right Hand – Four or more people advance to the center and
join Right hands and circle around clockwise using walking or change or any
other step.
• Star with the left hand – same as “Star with the Right hand” only join Left
hands and counterclockwise.
• Step – To advance or recede by raising and moving one foot to another
resting place. There is a complete transfer of weight from one foot to the
other.
• Tap – To tap lightly with the ball or tip of the toe, placing weight of the body
on the foot. There is no change or transfer of weight here.

 QUIZ 3 PICTURE ANALYSIS Analyze the two pictures below

by comparing them together using a Venn Diagram and look for their similarities. 

      ______________   
  PERORAMANCE TASK 1. CREATIVE DANCE ( TAKE
ACTION )
Individually, create a two-minute dance video presentation through the different nature
of dances. You need to choose one nature of dance only whom you like to present.
Interpret your dance presentation by putting/adding some props to make it interesting
and fabulous.
Record your performance in your cellphone.

RUBRIC FOR DANCE PERFORMANCE

(4)- VERY
CRITERIA (3) - GOOD (2) – FAIR (1) – POOR
GOOD

Most of the
steps are not
The dance flows perfectly
The dance flows
quite perfectly executed
perfectly from
from one step to from one step
one step to the
the next and the to the next.
Dance Execution/Mastery next and the The dance did not work. 
dance can be There is
dance can be
repeated hesitation
repeated without
without between the
hesitation.
hesitation. steps when
repeating the
dance.

Uses body
Uses a highly Uses stylized
movements
Dance Style/ stylized range of creative body
but with no
creative body movements but Did not use
style and
Choreography/ movements to limited only to creative/stylized
cannot
accentuate the accentuate the movements
Creativity accentuate
mood and style mood and style
the mood of
of the music. of the music.
the music.

Rhythmic Ability All movements Some Most of the Needs to work on

 movements
does not
movements correspond to
correspond
correspond not the
exactly to the rhythmic ability. Does
exactly to the underlying
underlying beat. not move to the
underlying beat. beat. It
Differentiates underlying beat of the
Differentiates cannot
between slow music.
between slow differentiate
and quick beats.
and quick beats. between slow
and quick
beats.

Appears to enjoy
dancing and Appears to get
expresses this some enjoyment Appears just Does not appear to enjoy
verbally or from dancing to dance and dance. Is resistant to
Enjoyment/Cooperation/Festiva
nonverbally (as and actively as if dancing and does not
l Impact
observed by participates and participating cooperate well with
others). Good cooperates with actively. others.
group others.
cooperation.

 ASSESSMENT 1
Based on the discussions and activities you’ve made, what are your realization about
the
dances of the Philippines? Are folk and festivals dances reflecting the history of the
pass? Are
the dances representing a particular culture or tradition in a certain topography?