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PE 103-DANCES
JOAN M. PABLO
INSTRUCTOR

Course Code: PE 103 Instructorr: Joan Marzo-Pablo

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LESSON 3

FOLK DANCES

At the end of the lesson, the student should be able to:

 arouse better appreciation of Philippine music and
folk dances
 develop a graceful and rhythmic coordination of
body movements that will improve posture.
 Develop grafecul d rhythmic coordination of body
movements that will improve posture.
 provide through dancing, a healthful form of
relaxation and recreation.
 foster patriotism and nationalism through the study
of our dance.

INTRODUCTION TO PHILIPPINE FOLK DANCE

Folk dance is a form of dance developed by a group of people that reflects the
traditional life of the people of a certain country or region. Folk dancing originated in the 18th
century to distinguish dance forms of common people from those of the upper classes. It is
traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.

Folk dances, unlike most other dance forms, tend to have no stringent rules, and are
sometimes formed spontaneously among groups of people. The steps of folk dances are
passed through generations, rarely being changed.

Philippine Folk Dance is a cultural art form handed down from generation to
generations. It communicates the customs, beliefs, rituals, and occupations of the people of
a region or country. Folk dancing is usually associated with social activities, although some
folk dances are performed competitively. Folk dancing belongs to the people. It emanates
from them. Folk dancing is the heartbeat of the people.
HISTORY
Filipino folk dance history is not the history of a single national dance of one or two
regions. Dances evolved from different regions which are distinct from one another as they
are affected by the religion and culture.

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Many people especially Filipinos are fond of dances. Our country is very rich in
different native dances like Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño, etc. Many
of us find it hard to enjoy and get information about dance at the same time. This proposed
system would make it possible for us to enjoy and learn different native dances here in the
Philippines by means of computerizing it.
Folk Dance, recreational or ceremonial dance performed usually by members of the
community to which the dance is traditional. Varying criteria have been used to differentiate
folk dance from other kinds of dance: For example, the dancers are said to belong to a
certain economic level or come from certain locales; the steps are simple and repeated, so
that any member of the community can participate; the dances require no audience; and
they are passed down through many generations. Each of these criteria can be contradicted
by dances that are indisputably folk dances, and in each of these criteria, folk dance
overlaps with other kinds of dance.
During the last few centuries many trends have affected folk dancing. As the spread
of industrialization brought rural people into the growing cities, dances related to agricultural
activities or to communal rituals gradually lost their meaning. In the changing circumstances
of urban life, new dances evolved. Colonization also affected dances-frequently, indigenous
forms fused with dances of the colonial powers. In the Philippines, for example, new dances
developed when Spanish influenced dancers of traditional native forms and Islamic dance
forms and styles.

Types of Folk dances:

1. National – traditional dances of a given country.
2. Regional – local.
3. Character – created by individual or group.

Characteristics of Philippine Folk dances:

1. In general, dancers stand apart.

2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those found in the uplands.
8. War dances are found among non-Christian tribes.

Classification of Philippine Dances

CLASSIFICATION OF PHILIPPINE FOLK DANCES

 Muslim Dances
 Igorot Dances
 Tribal Dances
 Maria Clara dances
 Rural Dances

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Igorot Dances
Long before the Spaniards, the indigenous people in the mountainous regions had
already their folk dances which reflect their worship, their celebrations, their wars and even
their everyday lives. Scholars refer to them as mountain dances which consisted of different
mountain tribes. When Spaniars came, they called them Igorots.
They dance to appease their ancestors and gods to cure ailments, to insure
successful war-mating activities, or to ward off bad luck or natural calamities. They dance to
congregate and socialize, for general welfare and recreation, and as an outlet for repressed
feeling. They also dance to insure bountiful harvests, favorable weather, and to mark
milestones in the cycle of life.
So the dances evolve as they need them to express their feelings, their sadness and
their anger.
Muslim/Moro Dances
Mindanao and Sulu were never conquered by Spain. Islam was introduced in the
Philippines in the 12th century before the discovery of the islands by Magellan in 1521.
The dances of Muslim however predated the Muslim influence. Like Ipat which was a
dance to appease ancestral spirits. Before Islam, the Maguindanaons held the view that
diseases are caused by tonong (ancestral spirits).Thus, a folk healer performs the pag-ipat
while being possessed by the tinunungan (spirit).
Another is the dance baluang which creates the illusion of an angry monkey, and is
always performed by male dancers. The popularity of this dance comes naturally, since the
baluang, or monkey, enjoys an affectionate place in Asian folklore.
Singkil was introduced after the 14th century. It was based on the epic legend of
Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim Princess,
Gandingan who was caught in the middle of a forest during an earthquake caused by the
diwatas, or fairies of the forest.
Tribal Dances
The cultural minorities that live in the hills and mountains throughout the Philippine
Archipelago considered dances as basic part of their lives. Their Culture and animistic
beliefs predated Christianity and Islam. Dances are performed essentially for the gods. As in
most ancient cultures, unlike the Muslim tribes in their midst, their dances are nonetheless
closely intertwined with ceremonials, rituals and sacrifices.
The only dance that is believed to have evolved during the Spanish colonization is
the Talaingod dance which is performed to the beat of four drums by a female, portrays a
virgin-mother bathing and cradling her newborn baby, named Liboangan. She supposedly
had a dream, or pandamggo, that she was to bear such a child. This concept of a virgin-birth
may have been derived from the Catholic faith
Maria Clara Dances
The history of the Philippines is that of a country constantly melding its culture with
that of outsiders, a narrative that is exemplified well by Filipino folk dance history. For
example, the 300-year Spanish occupation of the Philippines profoundly influenced folk
dancing. The ‘Maria Clara’ style of dance is named after a Spanish-style dress, and its
performance includes Spanish footwork with Filipino modifications such as bamboo

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castanets and Asian fans. Contact with ancient Indian civilization is also evident through
Indian-influenced dance, which thrives particularly in the South. Numerous other influences
including Muslim and Indonesian can be found throughout the Philippines.
The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European
cultural ideas spread and the Filipinos adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around the turn of the century, particularly
among urban Filipinos. They are so named in honor of the legendary Maria Clara, who
remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish
influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo
castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.
Rural and Barrio
Perhaps the best known and closest to the Filipino heart are the dances from the
rural Christian lowlands: a country blessed with so much beauty. To the Filipinos, these
dances illustrate the fiesta spirit and demonstrate a love of life. They express a joy in work, a
love for music, and pleasure in the simplicities of life. Typical attire in the Rural Suite include
the colorful balintawak and patadyong skirts for the women, and camisa de chino and
colored trousers for the men. The dances developed during the three hundred years of
Spanish colonization.
A good example of rural or barrio dances is Sinulog. It is a ceremonial dance
performed by the people of San Joaquin, Iloilo, during the feast of San Martin. It originated in
a barrio of San Joaquin called Sinugbahan. It was believed that the image of San Martin was
found at the edge of a beach, and that it could not be removed until the people dance the
Sinulog.
Maria Clara Dances
The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European
cultural ideas spread and the Filipinos adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around the turn of the century, particularly
among urban Filipinos. They are so named in honor of the legendary Maria Clara, who
remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish
influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo
castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.
I. General Classification

A. Geographical extent of origin

1. National dances-found throughout the islands with little or no
modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

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2. Local dances-found in a certain locality.
Examples: Tinikling-Leyte,Maglalatik-Binyan Esperanza-Nabua Subli-Batangas,
Biniganbigat-Abra
Nature
1. Occupational-depicting action of certain occupation, industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
Mananguete, etc.
2. Religious or Ceremonial – performed in connection with religious vows and
ceremonies. Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino,
etc.

3. Comic dances – depicting funny movements for entertainment. Examples:

Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers) Examples: Lubi – lubi,
Pavo
5. Wedding dances – performed during wedding feast. e.g. Panasahan, etc.
6. Courtship dances – depicting love making. Examples: Hele – hele, Bago Quiere
Maramion Tadek ,Daling – daling
7. Festival dances – suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel. Examples: Sagayan, Palu-
palo, etc.

C. Movements
1. Active – with fast energetic movements. Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate - Examples: Cariñosa, Tagala Habanera, Purpuri, etc.
3. Slow - Examples: Pasakat, Amorosa Tiliday, Kundiman, etc.
4. Slow and Fast – Examples: Putritos, Ba-Ingles Habanera Botoleña
Alcamfor, etc.

D. Formation
1. Square or Quadrille Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side. Examples: Binadyong, Haplik, Kakawati, etc.

II. Special Classification-Group dances having special distinctive features.

A. Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

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B. Old Ballroom Dances Examples: Polka, Mazurka Chotis, Valse, etc.
C. Dances with Implements Examples: Maglalatik Sakuting Jota Moncadena
Tinikling Salakot,
D. Dances of Combined Rhythm Examples: Surtido, Pantomina, Los Bailes de
Ayer

Factors Affecting Folk Dances

1. Geographical location
2. Economic conditions
3. Climatic conditions
4. Customs and traditions.

Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

Don’t’s in Folk Dancing

1. Do not exaggerate the dance steps.
2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.

COMMON DANCE TERMS

1. Arms in lateral position – Both arms are at one side either right or left, at
shoulder, chest or waist level.
2. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and
lift that foot from the floor to any direction.
3. Crossed Arms – Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right
hands.
4. Cut – To displace quickly one foot with the other.
5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step
across to the right move backwards without turning around, pass each other left
side to proper places.
6. Hayon-hayon – To place one forearm in front and the other at he back of the
waist.
7. Hop – A spring from one foot landing on the same foot in place or in any
direction.
8. Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or
counterclockwise ( with left elbows almost touching ) using walking or any kind of
dance step.
9. Jump – A spring on one foot or both feet landing on both feet in any direction.

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10. Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction.
11. Leap – A spring from one foot landing on the other foot in any direction.
12. Place – To put foot in a certain position without putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
16. Panadyak – To stamp in front or at the side with the right foot and tap with same
foot close to the left foot. This is a Tagalog term.
17. Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly
found in Ilocano dances.
18. Salok – T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok.
This is a Tagalog term.
19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all
Philippine dances.
20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and
cross the hands down in front of the R hand over the L. This is a Visayan term.
21. Slide – To glide foot smoothly along the floor. The movement may be finished
with or without transfer of weight.
22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer
of weight.
23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of
weight.
24. Whirl – To make fast turns by executing small steps in place to right or left.

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Dance has been used for many purposes throughout the ages and in different cultures. Dance
has been a part of a ritual and religious occassios and is a vital part of self-expression. Dancing is a
great outlet for conveying feelings or emotions.
Through dance, people can identify and express their innermost emotions and bring those
feelings to the surface. In doing so, this can bring about a sense of renewal, feelings of unity and
completenes.
Philippine folk dances are a celebration of daily life, health, peace, war, harvest times and other
aspects of life. According to the National Commission for Culture and the Arts, Philippine folk dances
imitate nature and life because they are rituals for social and spiritual expression.
Thus, dancing can be a tool in improving not only our physical health but also in improving
emotional, mental, psychological and religious life of a person. Learning about dance is not only
learning how to move but learning how to express what cannot be spoken.

Dance Books Vol. 1-10 New Edition

Sayaw Books- Philippine Folkdance Society
Physical Education 2 for College- Tulio, Doris
Dance Education in the School Curriculum, Rex Book Sote Inc. 2004- Andin, Carmen T.
Fundamental dance Steps, 1986- Aquino, Francisca

Online Resources:

huupe.weebly.com>pe2 8/20 2:01pm

http.//en.Wikipedia.org
http.wwwbritania.com./eb/Frederick-Hawkins
www.dances.com
www.social.dances
https://www.slideshare.net/MarvinBronoso1/physical-education-12-nature-of-dance
http://www.dancefacts.net/
http://www.dancefacts.net/dance-types/types-of-dances/
https://www.heritageinstitute.com/danceinfo/descriptions/social.htm
http://hnupe.weebly.com/pe-2.html
https://www.slideshare.net/MaykYam1/pe10-lm-u3
https://grade8.modyul.online/physical-education-quarter-4-module-4a-folk-dances/

Suggested Readings:

Alave, Jun C. Physical Education and Health Book 1, JPS Publication 2016
Gabao, Larry A. PNC, Physical Education2 Handout, 1997
Tolentino, Francisca R.Philippine National Dances, Kayumangi Press Inc. 1993
Andin, Carmen T. Handbook on Rhythmic Activities,1987

Course Code: PE 103 Instructorr: Joan Marzo-Pablo

Descriptive Title: DANCES GmailAccount: joowanatics@gmail.com