RHYTHMIC

DANCE
Presented by: GROUP 1
Baby May Saturnino Joshua Turiano
Gene Lorzano Silvano
Diana Jane Vibar
Jordel Clorado Soriano
 ESENTATION OUTLIN
PR E
HISTORY OF DANCE
THE BEAT GOES ON ALICE REYES (1942-)
IN THE PHILIPPINES
FORMATION DANCE LUCRECIA REYES-
PRE COLONIAL
URTULA (1929-1999)
MUSLIM CONTRIBUTORS TO
MERCHANTS THE PHILIPPINES FOLK DANCES
SPANISH FOLK DANCE
RAMON OBUSAN
COLONIZATION
FRANCISCA REYES- (1938-2006)
AQUINO (1899-1983)
LEONOR OROSA-
AMERICAN
GOQUINGCO (1917-
COLONIALISM
2005)
RHYTHMIC
DANCE
HISTORY OF DANCE IN
THE PHILIPPINES
Dance has been important part of ceremony, rituals,
celebration, and entertainment since before the birth
of the earliest human civilizations.
Majority of Philippines dances derived from popular
European dances during the time of Spanish regime.
The Filipino express in their dances through
movements and impersonating creatures, and doing
daily works.
Filipino rituals depends on beliefs.
 Pre-colonial
PRE-COLONIAL
• Prior to the written history of the Philippines, before
the Spanish conquistador vanquished and Christianized
the mases, from the punctual control of this volcanic
archipelago, the individuals migrates.
• They proceed to settle the divine beings, to carry and
support from good spirits, to command a chase or gather,
to imitate the extraordinary life that give them a good
harmony for their life.
 • They believed that the ritual ceremonies had a
transitional experiences in their life and had become a
legend and history.
• Country moves include the high-stepping Tinikling,
which impersonates a winged animal, and the Gaway-
gaway, which highlights the developments of youngster
pulling the stalks of the gaway roots during an abundant
collect.
• Today, traditional dance like Dugso, Sohten, and Lawin-
lawin are deliberately archived and kept alive by the
Filipino folk dance troupes and social organization.
MUSLIM MERCHANTS
• In the 13th century, merchants and sailors went
to the Philippines well before the Spaniards.
• The occupants of the southern locale were
changed over to islam
• The dance of Muslim, known as Moros, are
appealing bright color of dress
- Females wear ensembles studded with pearls and
gold
- Males used swords and shield as a sign of valor.
 • The Moros utilized listless arm development to
impersonate their general surroundings.
• Each movements is punctuated by eerie hints of
kulintangan, a lot of little gongs.
• Like with Igorots, the Moros opposed Spanish
colonization which is the reason many of their dances
have thrived.
• Muslim traders from Malay Archipelago reached
Philippines in the 13th century, well ahead of the
European.
 • Muslim were more interested in
commerce than colonization.
• They were also created folkdance in
areas they were settled.
- Singkil is one of the most famous of
these dance.
 SPANISH
COLONIZATION
In 1521, Ferdinand Magellan came
to the archipelago, however, the
Spanish did not get a foothold in the
Philippines until 1565.
Three centuries of Spanish rule left
an imprint on the Filipinos. Many of
them were converted to
Catholicism and forced to take
Spanish surnames.
Society dance, endured the
European attack, and the artist
adjusted forced Christian conviction
and culture to their very own moves.
AMERICAN
COLONIALISM
Just like in the Spanish colonization,
the Americans brought in their own
commercial and global culture in
1898 which also influence the
Filipinos.
Those with interest in dance were
the ones mainly appealed to by the
more Black-influenced customs of
dance and music.
Filipino dancers who already know
the zarzuela (sarswela), they
become more interested in the
American vaudevelli (bodabil).
 THE BEAT GOES ON
• Traditional dance is still performed at celebrations of
birth and weddings.
• Modern folk dance festivals still feature ancient dances
performed in costumes of the Philippine tribal dance
includes the repertoty of sacred traditional dances of the
Philippines, notable its combination of grace and vigor.
• Other dances include blend of Spanish, Arabic,
American, and other cultures that influenced traditional
and contemporary styles.
 Folk dances
• One of the most popular folk dances in the Philippines
is the Tinikling.
• It considered as the oldest folk dance in the country
year 19th century when Spanish colonized the Philippines.
• Tinikling has also been called the national dance of the
Philippines, though a government declaration has never
been made designating either one as official.
• The word “tinikling” is named after the long-legged bird
called the tikling.
 Contributors to the Philippines folk
dance
• Local dances in modern time are now performed and
appreciated beyond their province of origin. Much of the
credit goes to the different ethno linguistic groups,
considered the culture bearers for continuing their dance
traditions, passing them on from generations to
generation.
• Filipino folk dances have been popularized through the
works of five Filipinos who introduced innovation and
made-well applauded dance performance out of them.
 • Their contribution popularized as well as
revolutionized Philippines folk dance, elevating them
into theater.
• These dances are performed by various dance
troupes in different stages locally and internationally.
• These Filipinos have been conferred with highest
award for creative artistry in the Philippines, the
national artist awards, namely, Francisca Reyes-
Aquino (1973), Leonor Orosa-Goquingo (1976),
Lucrecia Urtula (1988), Ramon Obusan (2006), and
Alice Reyes (2014).
 FRANCISCA REYES-
AQUINO (1899-1983)
• Considered as “Mother of Philippines Folk Dance.”
• Born in Bocae, Bulacan.
• Graduated in University of the Philippines with a
degree in Bachelor of Science in Education.
• She presented four folk dances- Cariñosa, Abururay,
Salabat, and Areuana- as her dissertion piece of her
Master’s degree in Physical Education.
 LEONOR OROSA-GOQUINGCO
(1917-2005)
• She is the second National Artist awardee for dance,
after Reyes-Aquino.
• Born in Jolo, Sulu.
• When she was young, she immersed herself in
learning and training artistic pursuit, specifically in
Ballet.
• Orosa graduated summa cum laude with a degree in
Bachelor of Science in Education, major in English
Literature at St. Scholastica’s College.
 LUCRECIA REYES-
URTULA (1929-1999)
• Born in Iloilo.
• She studied in Women’s University (PWU) where she
finished her education degree, major in physical
education.
• Inspired by the works done by Francisca Reyes-Aquino,
she also taught in PWU where she pursued and continued
her passion in Philippines folk dances, both as a
researcher, dance director, and choreographer.
RAMON OBUSAN (1938-2006)
• “When you talk about dance you just don’t talk
about dance. You talk music, costumes, beliefs,
traditions, purpose, and occupation. Dance is the
brightest jewel in the crown of national heritage.”
According to Ramon, the 2006 National Artist for
Dance.
• The article, entitled The old Man Scholar in the
official webpage of the Ramon Obusan Folkloric
Foundations, Inc. (ROFG), encapsulates Obusan’s
journey as a choreographer, artistic director, and
scholar of dance.
 ALICE REYES (1942-)
• In 2014, Alice Garcia Reyes, became the fifth recipient
of National Artist Award for Dance.
• She started her training in classical ballet at a young age.
• In 1969, Reyes choreographed Amanda, a ballet
performance based on Nick Joaquin’s novel Summer
solstice.
• Amanda premiered in the Cultural Center of the
Philippines in 1970.
 • Reyes founded CCP’s resident dance company, now
known as Ballet Philippines.
• Reyes introduced many innovation in Philippines
modern dance.
• In her choreographies, she used classical music for
modern dance and rock music for ballet.
• She collaborated with composer Nonong Pedro in 1972
in staging Tales of Manuvu.
 FORMATION DANCE
• Formationn dance is a style of partnered dance,
example ballroom dancing.
• It is a pattern or shadow of circular or linear
arrangement by couple routine performances.
• A considerable lot of the means utilized in society
move, a term history specialists use to portray European
customary dances, comprise small bounces and skips;
running advances; and increasingly incredible advance
 • In certain moves the entertainers stay
discrete; in others, they claps hands, connect
arms, or catch each other around the
midsection.
• Steps are typically rehashed in long
arrangement, however, they regularly pursue
very mind boggling and carefully requested
floor designs.
THANK YOU FOR
LISTENING!