Introduction To Philippine Folk Dances

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INTRODUCTION TO PHILIPPINE FOLK DANCES

Countries all over the world have their own culture that is made more
colorful, beautiful, and vibrant through their folk dances that reflect who they
are. In the East, the Chinese have their symbolic Dragon Dance, while the
Japanese have the ancestral dance Bon Odori. In the West, the Americans have
their Square Dance. The Philippines, known as the “The Pearl of the Orient,”
has variety of Filipino folk dances as well – from the authentic rituals of the
Cordilleras to the Spanish-influence Maria Clara and the Muslim dances.

Filipinos, by nature, love singing, dancing, and feasting which for


centuries have been the prominent aspects of Filipino everyday life. Native
Filipinos have dances and songs for birth, courtship, marriage, war, planting,
and harvesting and even during the pre-Spanish time.

The Philippines consists of 7,107 islands, grouped into three archipelago –


Luzon, Visayas, and Mindanao. Each of these regions has different languages,
history, religion, and traditions given to life I their arts, crafts, and ancestral
dances and are made more spectacular with the styles, costumes, dances, and
talents distinctive in each region. Each of the dances reflect not only the
celebrations but also the experiences, back-breaking tasks, everyday chores
and occupation, and social relationships that Filipinos manage in order to
survive economic and emotional needs.
CHAPTER 1 – NATURE OF PHILIPINE FOLK DANCES

Definition of Folk Dances

Folk Dances – refer to dances that share some or all of the following
attributes:

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 arranged and set for stage
performances;

Execution is dominated by an inherited tradition passed on from one


generation to another rather than by innovation (although like all folk
traditions, there can also be changes over period of time); and

Informally learned by new dancers by observing others and/or


receiving help from others.

The term “folk dance” is sometimes applied to dances of historical


importance in European culture and history that typically originated before the 20 th
century. For other cultures, the term “ethnic dance” or ‘traditional dance” is
sometimes used, although the latter terms may encompass ceremonial dances.

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 “street dance” or “vernacular dance” is used.

Hence, 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”.

Nature of Filipino Folk Dances


Philippine folk dances have a peculiar combination of Spanish and Oriental
movements. 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.

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

Francisca Reyes Tolentino-Aquino 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.

The original and foremost dance troupe that was organized by Mrs.
Tolentino was the University of the Philippines Folk Song and Dance Troupe.
This group of dancers and singers toured the towns and provinces around Manila to
dance and sing for the people. Other dance groups were also organized later like
the Filipiniana, Barangayanan, Bayanihan, and Filipinescas. These groups have
gone outside the country dancing their way to win the love, admiration, and
appreciation of our foreign friends.

Classification of Dances in the Philippines

1. Dances in the Cordillera


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

2. Dances in the Mindanao


These are dances which have a touch of Hindu, Japanese,
Chinese, or Arab-Persian culture.
3. Spanish/European/Western-Influenced Dances
The Westernization of Filipino culture brought changes in the
style 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.

4. Dances in the Countryside


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 the lowlanders.

Frequently, these dances require skills and character that depict the
kind of work they are involved in. it is the lowlanders’ way to ease their
burden – through fun and artistic movements.

5. Dances for the Less-Known Group


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.

Filipino folk dances are classified in the following manner:

1. National Dances – these are traditional dances throughout the Philippines


with a common basic movement or pattern but with slight variations.
Example: Cariñosa, Kuratsa and Balitaw

2. Local or Regional Dances – these are dances found only in certain


localities or regions. Example: Esperanza, Alcamfor and Rogelia

3. Occupational Dance – these are dances that depict actions associated to


occupations, industries, and phases of human labor. Example: Pabirik,
Managuete and Kin-aras

4. Religious or Ceremonial Dances – these are dances that are performed in


connection with religious vows, practices, and ceremonies. They are found
in dances of the ancestors and in the foreign influences. Example: Dugso,
Obando and Sinulog

5. Courtship Dance – these are dances depicting love making or has love
themes. Example: Helehele Bago Quire, Aringguinding-guinding and
Maramion

6. Wedding Dances – these are dances performed by newlyweds with their


friends and relatives, or by the father of the bride or the mother of the
groom. Example: Pantomina, Pandang-pandang and Soryano

7. Festival Dances – these dances are prformed in connection with a


celebration or a feast like barrio fiesta, good harvest or good fortune. These
are found in Kuratsa, Zapateado and La Jota.

8. War Dances – these dances are intended to show imaginary combat or duel
with the use of fighting equipment like the bolo, kris, or spear. These are
evident in Sagayan and Inabaknon dances.

9. Comic Dances – these are dances with funny and humorous movements
mainly intended for entertainment. Kinoton and Pinuhag are examples of
comic dances.

10.Game Dances – these are dances that have some play elements for
recreational purposes. Example: Pabo, Sineñalan and Lubi-lubi.

Origin of Dances in the Philippines According to Filipino Legend:

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

Dances of the Non-Christian Filipinos – these are dances of the


traditionalists of “pagan” groups. They offer it to their deities and
reflect their customs and beliefs. They also showcase the royalty or
power of the group, like the dances of the Muslim groups.
Dances of the Christian and Lowland Filipinos or Western-influenced
– these dances started with savanged, 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.

DANCES OF AETAS AND NEGRITOS


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, clappers, shields, native lutes, kudyapi, kettle drums, mass ,
metal drums, and bronze gongs. These instruments are 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.

DANCES OF THE MUSLIM


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.

Basic Movements Skills

There are two types of body movements: axial movement and locomotor
movement.

1. AXIAL MOVEMENTS – movements done by a part or several parts of the


body in a stationary place

 Bend or flex – to move the body or part of the body around a


wide axis
 Circle – to move a body around a point
 Lift or Raise – to elevate a part of the body or the whole body
to a desired level
 Stretch, Extend, or Straighten – to lengthen a part of the body
 Swing – to move continuously from one point to the other
 Turn or rotate to change direction to move around on axis
 Twist – to move a body around a long axis
2. LOCOMOTOR MOVEMENTS – movements that brings the performer
from one place to the other

 Walk – a movement done by shifting weight from one foot to


the other without losing contact with the floor
 Run – a movement done by transferring weight from one foot to
the other with a short period of non-support while the body and
feet are off the floor, the tempo is faster than the walk
 Hop – a spring on one foot and landing on the ball of the same
foot
 Jump – a spring on one foot or both feet and landing on both
feet; push off the floor with strong foot and knee extension, the
heel coming off first and then the toes. Upon landing, the ball
of the foot touches the floor first and then the heel comes down.
The knees bend to absorb the shock of landing.
 Leap – a transfer of weight from one foot to the other foot by
pushing off with a spring and landing on the ball of the other
foot.
The leap is similar to a run except that it is executed
with greater distance. The heel comes down after
landing and the knees bend to absorb the shock.
 Gallop – a step on one foot followed by a quick close of the
other foot just at the back or side of the leading foot.
The rhythm is long on the step forward or sideward direction
and short at the close. One foot is always leading.
 Slide – slide the right foot, slow beat, close the left foot to the
right foot, shifting the weight quickly onto the left foot.
The rhythm is long on the leading foot and short on the closing
foot.
 Skip – step right foot in fourth in front, hop on right in place.

Formation

1. Square or quadrille (rigodon, lanceros)


2. Long formation or line formation (palay aetana, papuri)
3. Set formation (kakawati, rogelia, bakya, bulaklakan)

Before teaching the native dance steps, the fundamental position of the arms
and legs should be learned first.
The Importance of Philippine Folk Dance

Philippine folk dance is an important part of the physical education program.


Folk dances are taught for the following reasons:

1. To foster patriotism and nationalism through the study of our dances;


2. To arouse better appreciation of Philippine music and folk dances;
3. To provide, through dance, a healthful form of relaxation and recreation;
4. To develop graceful and rhythmic coordination of body movements that
improves posture;
5. To arouse and keep the interest of our children in taking part and
enjoying our own dances;
6. To preserve the posterity the folk dances and music indigenous to the
different regions of the Philippines; and
7. To demonstrate the growth of Filipino culture through the evolution of
the Philippine dances.

Characteristics of Folk Dances

Philippine folk dances have prominent characteristics that make it


identifiable. Showcasing these characteristics makes our dances stand out.
As a rule, the dances begin and end with a saludo. A saludo is a 3-step-turn
in place and a bow t either partner or audience. This is done to show respect and
recognition the Filipinos have for one another.
In general, dancers are positioned far apart from one another, usually a
distance of about 6 feet to 8 feet. The space between each performers allow them
to be visible to the audience. This is also to show that they are all of equal
importance and should be given equal recognition.
There is very little, if any, body contact among performers, although holding
hands is very common. This reflects the very modest and demure Filipina who in
early times, preserves her “purity” by not allowing any man to touch her, even the
tips of her fingers.
Most Filipino folk dances are done in pairs, hand movements also play a
very important role because they distinguish the men from women performers.
Women move their hands with grace and poise while men move their hands with
masculinity and visible agility and firmness.
Many of the dances are done in long formation. This is to show the essence
of variety. It also emphasizes the essence of socialization, mobility, and
grandiosity of space.
The dances are performed by both young and old and by both sexes. These
are dances for all people from all walks of life.

Benefits of Folk Dance

1. Fitness – dancing is one of the most versatile and satisfying activities one
can participate in as a form expression, recreation, or exercise to develop
fitness.
2. Joy and Satisfaction – dancing improves the physical well-being of a person
who participate in a dancing activity. One can find satisfaction as he
complete the phasing of the dance.
3. Grace and Coordination – dancing improves response to rhythmic patterns.
Constant participation in a dance will improve one’s neuro-muscular
coordination and will help one’s acquisition of grace with precision.
4. Self-Expression – dancing develops poise and good posture. One can
communicate socially, emotionally, and intellectually through the physical
expression with grace and poise.

QUIZ #1:

Instructions: Write in the yellow pad paper the questions and your correct answer.

__________________ 1. Refer to dances that share some attributes.


__________________ 2. The latter terms used for a ceremonial dances.
__________________ 3. Have a peculiar combination of Spanish and Oriental movements.
__________________ 4. Considered the mother of Philippine folk dances.
__________________ 5. These are dances classified with ceremonial gatherings, courtship,
war, festival and imitation of nature.
__________________ 6. Dances which have a touch of Hindu, Japanese, Chinese or Arab-
Persian culture.
__________________ 7. These dances are the well-loved Pandanggo, Habanera, Jota,
Valse, Mazurka, Paseo, Rigodon, and Lanceros, which are
traditionally passed on inevitably.
__________________ 8. These dances are light and more informal, portraying the life
endeavors of the lowlanders.
__________________ 9. 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.
__________________ 10. These dances are found in rituals, flirtation, courtship, game
dances, animal dances and duels or war dances.

Enumerate the 10 classification of Filipino Folk Dances.

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