PHILIPPINE FOLK DANCE

Disco in a party, dance contest usually interpretative and other type of popular dance,
which is either a form of exercise because of some stunts yet cannot be classified as gymnastic
dance now zest of the contemporary dance performance. Along with this modern feature of
dance, there is what is called nobility songs where existence is very short.

Generation belonging to this type of dance performance could only see Philippines folk
dance during national celebration of culture particularly the" Linggo ng Wika". Here young
Filipinos see the distant different between the dance they usually do and the dance that
embodies their national identities.

Identify is the core feature of the Philippine folk dance. Performed in regular rhythmic
movements, they portray certain item of the people's lives, animals and resources, the everyday
sight of the country. Philippine folk dances are tapestry of Filipino sentiments, creativeness and
feelings. A scholar who wants to go deeper into the culture of the Filipinos could study the folk
dances. The body movements in dances tell the nation's ideals, thoughts, feelings, and
mores. These dances adhere to the famous Reader's Digest line which says, " if you want to
understand the culture of the people, then listen to their folk songs and look at their
dances and don't pay attention to their politicians."

To make this more concrete and particular listen below are facts why folk dances are
included in the Physical Education curriculum.

Readings: WHY PHILIPPINE FOLKDANCE?

When the Philippines were discovered by Ferdinand Magellan in 1521, it had
been inhabited by different racial groups: the Indonesians, Malays and Pygmies. The
offspring of the Pygmies were the Negritoes whose dances describe their daily activities
like the Sinulog, a dual dance where two
men use bolos.

For centuries, dancing and singing

have been the principal past time of the
people. The early Filipinos considered
dancing as a religious activity. They
performed dances in thanksgiving for a
fruitful harvest, a victorious battle and
properous voyage or recovery from
sickness. Figure 11
 During the Spanish period, dancing played an important part in the social
activities of the Filipinos. Kumintang, a pantomimed song and dance was the oldest
recorded activity among the Christianized Filipinos.

The Spanish introduced different dances such as Fandangos, Lanceros,

Rigodon, Cariñosa and Curacha. Western cultures and dances of other European
countries during the 16th century were also introduced, absorbed and blended in our
native culture which later became our traditional folk dances.

Nowadays, folk dancing has been increasing in popularity. There are numerous
fascinating Philippines dances which have already been documented and performed not
only in school bur also in various dance groups, both for amateurs and professionals.

The University of the Philippine's Folk Song and Dances paved the way for the
birth of the Philippine dance troupe as well. Organized by Mrs. Tolentino, the UP Folk
Song and dances have performed and showed thier prowess in several towns and
provinces nearby Manila.

Furthermore, the Bayanihan, Filipinescas, Filipiniana, Barangay, Ramon Obusan

Folkloric Dance troupes have performed outside the country, their success obtain
admiration and appreciation of Filipino culture through dances from foreigners. Thus,
they have brought pride and prestige to the country.

Classification of Philippine Folk Dances

Folk dancing is a very wholesome form of recreation enjoyed by everybody. Significally,
part of the rich Filipino culture and arts is folk dance. There are several dances for all occasion,
i.e wedding, occupation, festival, war and victory.

Francisca Reyes Aquino, the Philippine's

national artist and mother of Philippine Folk Dances
started the collection of dances and songs as early as
1994. She authored six (6) volumes of books in
different Philippine Folk Dances and many other
unpublished books. These dances have been
categorized into non-existent Christian or their ethic
dances and Christian dances. The ethic dances are
Figure 12
described as the highest form or art of the Filipino
dances because of their innate. Unique and beautiful movements. The Christian dances mostly
adopted the Spanish and other European influences, and mixed the native Filipino culture.
These Christian dances include Jotas pandaggo, and Habaneras.
 Francisca Reyes Aquino identified the Philippine Folk Dances based on general and
special classifications. n

Table 1. CLASSIFICATION OF PHILIPPINE FOLK DANCES

Geography Nature Movement Formation Old Dances Dances Of

s Ballroom With Combined
Dances Implement Rhythm
s

National Occupational Active Square or •Polka •Maglalatik •Surtido

quadrille
•Rigodon •Planting •Tinikling •Mazurk •Sakutimg •Pantomi
•Rigodon a a
•Cariñosa •Harvesting •Maglalatik •Jota
•Los Bailes •Chotis •Los
•Jota •Pounding •Sakuting De Ayer Macadeòa Bailes de
•Valse Ayer
•Balitaw •Winnowing •Polkabal Long •Tinikling

•Pandaggo •Pabirik Moderate Formation •Salakot

Local •Mananguet •Cariñiosa •Lulay

e •Sakuting
•Tinikling •Tagal,
Religious Set
•Maglalatik •Habanera
•Dugsu •Binadyon
•Esperanza •Puripuri
•Sua-Sua g
•Subli Slow
•Putong •Haplik
•Biniganbiga •Pasakat
t •Sta. Clarang •Kakawati
•Amorosa
•Pinong-pino
•Tiliday
Comic
•kundiman

•Kumbo-
kumbo
 •Makongga

•Kundiman

Geography Nature Movements Fromation Old Dance with Dances of

Ballroom implements combined
dance rhythm

Game Slow & Fast

•Lubi-Lubi •Putritos

•Pavo •Ba - Ingles

Wedding •Habanera

•Panasahan •Botoleòa

Courtship •Alcomfor

•Hele-Hele

•Bago Quire

•Maramion

•Tadek

•Daling-
Daling

Festival

•Pandaggo

•Habanera

•Jota

•Suntido

War
 •Sagayan

•Palu-Palo

Description
1. National Dances — present throughout the island with little or no modification.
2. Local Dances — present in certain localities only.
3. Occupational — dances depicting action of certain occupation, industry or human
labor.
4. Religious or Ceremonial — dance bieng performed in connection with religious vows
and ceremonies.
5. Comic Dances — decipting funny movements for entertainment.
6. Game Dances — having play elements (dance mixers).
7. Wedding Dances —dances being performed during wedding feast.
8. Courtship Dances — dances depicting love-making.
9. Festival Dances — dances fitting for special occasion or any social gathering.
10. War Dances — dances showing imaginary combat or duet.

CHARACTERISTICS OF PHILIPPINE FOLK DANCES

Philippines Folk Dances are described in terms of the following:
1. Dancers stand apart.
2. Partners stay apart at 6’ away.
3. There is little, if any, bodily contact.
4. Most dances are in long formation.
5. Most of the dances are done by pairs or couples.
6. Hand movements play an important part.
7. Most dances begin and end with “saludo”.
8. Dance from the lowlands have more foreign elements than those found in the uplands.
9. War dances are found among non-Christian tribes.

DANCE TERMS

1. Arm in Lateral Position. Two arms are suspended all together to both sides of the dancer.
2. Bleking. The heel of the foot is placed on the floor.
3. Bow. An act showing salute of honor to the audience or to the partner or opposite dancers;
it is done before and after the dance performance.
4. Brush. An act of sweeping the foot against the floor.
5. Cabeceras. The word is Spanish origins which means head. It refers to the couple of dances
occupying the length of the hall while other dances are making a square formation.
6. Costados. It is also known as side pairs. Couple of dances occupying the width of the dance
hall while other dances are making a square formation.
7. Cut. A quick transferring of a body's weight from one foot to the other.
8. Do si-do. In a moment the dance partners face each other; then, they exchange place
passing either left or right with their shoulders, without turning.
9. Free-foot. Foot without the weight of the body.
10. Free hand. The hands without movements or anything being held, hands resting on the
waist.
11. Hayon hayon- This refers to the swinging of hands.
12. Inside foot. A dancer's foot meet the partner's foot while they stand side by side.
13. Inside Hand. The performer's hand is near that of this partner's standing side by-side.
14. Jaleo. Elbows of dance partner almost touching each other while doing a step or walking.
15. Kumintang. Clockwise or counterclockwise movements of the hands from the waist.
16.Kunday kunday. It is exactly the same with the kumintang only thus one is done in a
faster way.
17.Leap. Ab act of jamping on one foot away from and landing on the other foot.
18. Outside foot. A dancer's foot away from that of the partner's as they stand side by-side.
19.Outside hand. The hand of the performers away from his partner.
20.. Pivot. Turning the body using the ball of the foot that is fixed in a place.
21. Place. Putting the foot on the ground without giving the body's weight on it. Direction of
the foot depends on the desired place.
22. Point. A light touch on the ground of the toes of one of the feet with the weight of the
body on the other foot.
23. Salok or sarok. This a swinging of the arm to a downward and upward direction passing
through the front side of the body; in doing it trunk is bent forward.
24. Set. It is made up of two dancers, the unit of a dance formation.
25. Slide. An act of gliding on the floor in one foot.
26. Stamp. An act of a forceful bringing of the foot to the ground without the weight of the
body in it.
27. Step. An act of transfering the weight of the body from one foot to another.
28. Supporting foot. The foot that carries the weight of the entire body.
29. Whirl. An act of a fast turn using small step.

BASIC ARMS POSITIONS

1. Arm akimbo. At chest level bend elbow rounded while fingers are partly pointing downward
2. Arms raise to a circle at chest level.This is also known as the first position.
3. Open arms sideward. Elbows slightly rounded pointing downward to the ground; it is also
known in dance as a second step.
4. Raise arm sideward. While the other arm stays in the second position the other is raised
overhead. This is the third position.
5. In front of the chest raise one arm while the other remains overhead. This is the
fourth position
6. Raise Both Arms Overhead Forming a Graceful Curve.This is the fifth dance position
BASIC ARM POSITION FIGURE 1
BASIC FOOT POSITIONS

1. Toes of both feet were turned out while the heels of both feet are place together.
This is referred to as the first position.
2. From the first position, the right foot is placed sideward with heels apart from the
line. This is referred to as second position.
3. Pull the heel of the right foot to the instep of the left foot. This is the third position.
4. From the third position, obliquely bring the right foot forward.The right toe points
outward. This is the fourth position.
5. Place the heel of the right foot to the toe of the left. This is the fifth position.