Name: Ella Marie P.

Mostrales Course/Year: BSED-2 FILIPINO

History Background , introduction of the following foreign dances
discuss also the
1. costumes
2. Music
3. Count
4. Formation
of the following dances
A. Tarantella
● History
The tarantella’s origin is connected with tarantism, a disease or form of hysteria that
appeared in Italy in the 15th to the 17th century and that was obscurely associated with the bite
of the tarantula spider; victims seemingly were cured by frenzied dancing.
Southern Italy serves as the birthplace for the folk dance known as the “Tarantella”
originating as far back as the 16th and 17th centuries yet more prevalent during the Middle
Ages/Renaissance. Primarily this dance form started off as a solo dance to cure disease yet
transitioned into a dance of courtship years later. A cultural experience of the Tarantella comes
from the occurrence of a spider bite from the well known Tarantula. Usually women were
affected by the dangerous spider, possibly because of their work in the fields and also belonged
to the lower class of Italy in most cases. It is believed that once bitten, the venom caused one to
fall into a trance, only curable through a frenzy of dance and music. The non-stop, fast paced
dancing would help the victim sweat out the poison. It is unclear how it transitioned into a
courtship dance however most likely occurred during the later Middle Ages. It can be explained
through the myth that a group of young Italians (males and females) were outside of the church
St.Magnus when they were struck by the Tarantula and disturbed the priest while dancing their
way to a cure. In addition it came to be that it was very unlucky to dance the Tarantella alone for
reasons unknown.
Accompanying this dance form are instruments such as the mandolin, guitar, tambourine
and the accordion. Depending on the location some traditional instruments are used as well such
as the triccabballacco or the puti-pu (resembling a drum). It is upbeat and lively usually in about
6/8 time but can also depend on the region. Traditional costuming includes colorful knee length
skirts paired with a white blouse with loose sleeves under a black yest for the women. Black or
colorful knee length pants paired with long white socks for the men are customary, along with a
white shirt and colorful vests.

The original solo form does not have much documentation as to certain dance techniques
or steps used, however they were known to transition from standing to falling to the ground
multiple times. The courtship form is very different and has evolved into more of a dance of
pursuit between a man and woman through a variety of steps. It varies between crossing the feet
over the other as well as low kicks while transferring the weight and traveling backwards in a
clockwise/counterclockwise position. The woman may have the tambourine first hitting it on her
shoulder and hips while performing the basic tarantella step with her counterpart in a do-si-do
fashion. The man may then take it while kneeling while playing the tambourine as the woman
does a mixture of basic steps in front of him. Then following 16 counts of music the woman
performs eight steps counterclockwise as his tambourine shakes. From there two couples can
face each other reaching up towards the center completing about eight tarantella steps clockwise
and hitting the tambourine on the last step and likewise in the opposite direction. It has been said
that the Tarantella values the woman over the man and her ability to resist or ignore the
admiration of the opposite gender. This could be seen maybe in the way the man kneels at the
woman while she dances above and around him. In my opinion, there could be a connection
between her ability to overcome the tarantula venom and strength to resist the pursuit of males
through dance.

Today, various versions of the Tarantella are performed at traditional Italian weddings
and celebrations, and nuances have become a part of classical ballet repertoire with the use of the
tambourine.

● Music

The Tarantella Dance music is probably the most recognized song of all the Italian
folklore music. It literally means "tarantula" because the dance is done by everyone in a great big
circle going clockwise, until the music in the set changes, becomes faster, then they quickly
change the direction to counterclockwise, this continues several times and is fun to see who
keeps up. It is generally played with a strong mandolin (Italian guitar) presence, yet each region
has its own version. The tarantella is most frequently played with a mandolin, a guitar, an
accordion and tambourines. Flute, fiddle, trumpet and clarinet are also used.The tarantella is a
dance in which the dancer and the drum player constantly try to upstage each other by playing
faster or dancing longer than the other, subsequently tiring one person out first.

● Count

It is characterized by a fast upbeat tempo, usually in 6/8 time (sometimes 12/8 or 4/4),
accompanied by tambourines.

● Formation
The tarantella is a circle dance alternating from clockwise to counter-clockwise and back
to clockwise as the music progresses. The dance picks up speed as it goes.
With this, the dance is usually created around the music, with small steps in time to the music
and hand gestures to match. The dance is accompanied by a musical instrument.

● Costume
Tarantella is a traditional peasant style costume that features a soft white bodice with
black velvet vest with red ribbon lace-up detail. Layers of red tulle and bright satin ribbon bands
represent the graceful and elegant characteristics of the Italian courtship dance. The traditional
costume for men are specially made shoes, three quarter pants, a black vest and generally a little
cap.
B. La Curacha
● History
“La Cucaracha” is a traditional Mexican/Spanish folk song. The exact origins of “la
Cucaracha” (Spanish: Cockroach) are unknown. It has been suggested that it was composed
following the expulsion of the Moors from Spain on January 2, 1492, whilst others say it is about
Mexican revolutionary Pancho Villa’s car, which frequently broke down and earned the
nickname la cucaracha from villa’s troops. The lyrics consist of independent verses, often
improvised. The one prototypical verse is: La Cucaracha, la cucaracha/ Ya no puede caminar/
porque no tiene, porque le (the cockroach, the cockroach/ he can’t walk anymore/ because he
doesn’t have, because he lacks/ Marijuana to smoke). This version is supposedly about President
Victoriano Huerta, who was a notorious drunk and user of narcotics. To confuse things further,
during the Mexican Revolution, the song was frequently given political lyrics by rebel and
government forces alike. Today, the song is primarily regarded as Mexican, though it was
probably originally written in Spain. All about the Dance La Cucaracha means “The Little
Cockroach ''. This is a dance known to all Mexicans. This dance is usually performed during
social gatherings. There are as many meanings of “La Cucaracha '' as there are versions of it. The
same can be said for the word itself. The word can refer to the insect. It can also be used to refer
to a person derogatorily by association with a cockroach. It has been used as an underworld slang
term for marijuana or a marijuana cigarette stub (hence the American slang term “roach clip”), or
tobacco adulterated with marijuana, or tobacco adulterated with anything. It has been used as
slang for a vehicle or train car without any wheels.
● Music
The music for this dance is divided into two parts. A and B with the counting of one, two
and three to a measure.
● Formation
Couples are arranged informally around the room. The boy clasps his hands around his
back, the girls’ holds her skirt gracefully at the side or the participants may be arranged in any
desired formation. Partners stand side by side, the girl on the right of the boy.
 ● Count- One, two, and three to a measure.
● Costume
The boy or the male wears a “blousy” shirt, a low cut vest, a jacket cut something like a
long bolero, and long rather tightly fitting pants decorated sometimes with silver buttons. On his
head, he has a huge sombrero and on his arm he carries his brightly colored zerape.

C. Chinese Fan Dance

● History
The origins of the fan dance are rooted in the Han Dynasty, which dates to around 200
AD. The Han Dynasty was the first to value and preserve the arts, which is probably why fan
dancing endures today. Its unique placement in history allowed it to be passed on to generations,
causing it to be more of a familial tradition than a studio-focused style of dance.

Historically, the fan dance has been categorized in two ways - civilian and military. Most
who take in a fan dance performance are viewing the civilian form. This is detailed and graceful,
resembling ballet in its pace and form, using fans and other props such as feathered banners to
accentuate the beauty of the dancing. The military-based fan dancing doesn't even use fans at all
- but rather has taken its cue from civilian fan dancing by using coordinated group movements
for military exercises and exhibitions. You will sometimes see military members on display,
using their weapons similarly to how civilian performers use fans, simulating the same
movements in a more rigid and authoritative style.
 ● Music- Divided into six parts: A, B,C,D,E , and finale.
● Count- One, two or one, and, two to a measure.
● Formation- One to any number of participants may take part in this dance. If taking part
they may be arranged in any desired formation.
● Costume- For girls, chinese blouse and long, loose drawers of any color, chinese sandals
and a big fan.

D. Japanese Parasol Dance

● History

According to the researchers who put together the Shurijo Castle Park New Year's
Celebration in 2010, the Higasa Odori is a part of the classical Ryukyuan court dance technique
that developed in the 18th and 19th centuries. The principal function of these dances was to
honor and entertain ambassadors from China. There were five different types of dances:

● Wakashu-odori: "young persons' dance"

● Rojin-odori: "old persons' dance"
● Uchikumi-odori: dramatic dance
● Nisei-odori: men's dance
● Onna-odori: women's dance
 This type of dancing lasted until the prefecture of Okinawa was established, at which
point it became part of the "outlaw" Kabuki theatre. Because the original Kabuki performances
were deemed immoral and unfit for polite Japanese society, the theaters were built far outside the
city walls, sometimes even in the river bottoms. Like many other forms of "outlaw" theatre,
Kabuki became wildly popular, and its dance forms in the Ryukyuan style were handed down
from performer to performer.

The Higasa Odori Is Created

Bridging the 19th to the 20th century was one of the final great masters of the Ryukyuan
tradition of dance, a man named Tamagusuku Seiju. He created an "onna-odori" for a woman
with an Okinawan style costume, from her hair to her delicate white tabi. It was a dance meant to
evoke the summer season and the happy carefree feeling of a maiden playing in the fields. From
its creation in 1934 (a little more than a decade before Tamagusuku Sensei's death) it became
extremely popular, very much in demand and portrayed in many movies, plays, and festivals far
beyond the classic Kabuki theatre.

There are two portions of the dance: the first, to a song called "Hanagasa-bushi", is a
bright and colorful tune where the dancer moves about the floor. Then the second tune, the
"Asatoya-bushi", gives the performer a chance to display grace and dexterity with her parasol
(the "higasa").

The Modern and the Traditional Combined

While it may seem strange to qualify a dance that is almost a century old as "modern",
the Higasa Odori does actually fall into that genre. Unlike many other Okinawan forms that have
very precise movements, the parasol dance provides opportunities for the dancers and
choreographers to add some personal expression to the dance while at the same time maintaining
a connection to the very traditional art forms of their predecessors. In fact, in 2009, the Higasa
Odori was the first dance performed by the senseis of Tamagusuku's school as a tribute to their
founder. It is this combination of exuberant joy combined with the classic elegance and beauty of
Japanese dance that has made the Higasa Odori one of the most popular dances performed both
in Japan and abroad.

The parasol is one such dance that originated in Japan, and has a rich history. The parasol
dance is one such dance that involves dancing with umbrellas. These umbrellas are specially
made for the dance. The dance involves girls shuffling steps and is a very typical Japanese dance.
It might look very easy but it is such an ancient dance that it involves several techniques.

Parasol actually originated from the kabuki. The song that is played while the dance recital
is going on is known as Mikado. Women wear bright colored kimonos and carry a parasol which
is an umbrella and also wear Japanese wooden shoes. These shoes have block heels and give the
women the height. It is very difficult to walk in those shoes for normal people and leave alone
dancing. The music may be played several times during the dance and it can go on for a long
time.

The parasol dance has been followed by the Japanese for more than 600 years now. It is a
very articulate dance and it was once practiced by geishas or what we call them as escorts in the
modern world. Japanese parasol dance is still alive in Japan today, but only very few people are
trained in it. If you get a chance to see one of those performances, then you should consider
yourself lucky.

● Music
The song played during the dance is called Micado (a song in 4/4 time).
● Count
One two, to a measure: one, two, three, four, for two measures basic steps used: shuffling
steps.
● Formation
In groups of four facing the audience. The open Parasol is held with two hands over the
head, the hands holding the handle at chest level. They stand about four feet away from each
other. One to any number of sets may take part in this dance.
 ● Costume
Bright colored Kimono, Bright colored flowers in hair, a Japanese parasol and Japanese
wooden shoes.