Physical Education
recreation;
INTRODUCTION
 Physical Education, as part of the
educational curriculum has its viewpoint
of promoting the holistic development
of students and developing them
physically, mentally, emotionally,
socially, and spiritually through the
body movements with the selection of
proper physical activities.
 Rhythmic Activities are the reflection of
individuals’ physical, mental, and
emotional response to rhythm whereas
rhythm is a veritable return of accented
and unaccented beats.
 Folk Dancing is designed for normal
healthy individual as a form of
entertainment and enjoyment. This gives
an input to students to find themselves
contented of how they can develop more
of their self-expression.
INTRODUCTION TO PHILIPPINE FOLK
DANCES
 One of the indicative art cases of the
people is its own dances. Giving the
benefits of the doubts, the worst thing
that might happen to lose their identities
is when folk dances lose its track which
should be preserved by their own
people.
 In order to uphold one of the country’s
valuable identities is to convey the
dances from generation to generation.
Folk dances depict the traditions, belief,
occupations, and ways of life admitting
its characteristics of the people living in
a certain country.
 Aside from enhancing rhythmic
movements of students, there are
benefits that can be derived and
developed from the study of Philippine
Folk Dance:
 Patriotism and Nationalism;
 Healthy form of relaxation and
 Well-awakened art appreciation of
folk dances;
 Well-improved posture, graceful
and rhythmic
 coordination of body movements;
 Preservation of native dances of the
different
 regions for the next generations;
 Growth and enhancement of
Philippine Culture;
 Improving body image, self-esteem,
and
 communication skills efficiently;
 Lessen the feeling of being an
outcast;
 Reduces stress, fears, and anxieties;
and
 Forgetting individuals’ self-
consciousness
HISTORY OF PHILIPPINE FOLK DANCES
 Our fatherland is an archipelago
composed of several islands. Because of
the Filipino social groups, our dances
have evolved in each regions being
influenced by regions and conquerors.
 Even though there were traditions in our
dances, yet, there are similarities within
its nature origin.
 Most of the traditional dances were
contrive to thank the Gods of nature and
agriculture such as rain and harvest.
These dances were performed during
festivals having the thoughts of granting
their wishes and desires.
 The Spanish colonization for more than
300 years had influenced Philippine folk
dancing especially when Spaniards
bestowed Christianity to the country.
The Filipino stories and representations
of dances were reflected by its region.
Filipinos acquired the use of Spanish-
style clothes slightly modified with
Filipino elements.
  At present, several Philippine dances are
making their ways on the scene
performed and cultured by different
dance enthusiasts and being taught at
school.
 Various groups of performers such as
the Bayanihan, Filipinescas, Filipiniana,
and Ramon Obusan Folkloric Group are
just some of those who continue giving
importance to our numerous fascinating
Philippine Dances.
CLASSIFICATIONS
 Luzon, Visayas, and Mindanao are the
three major islands that composed the
Philippine archipelago. Those islands
have their own preserved culture handed
down from generation to generation.
 Folk dancing is an art performed with
highly distinctive differences that made
these islands in the southeastern part of
the world respective and historical by
the islands and by the globe.
 There are several dances in the country.
Some of the dance are performed in
different occasions such as wedding,
occupational, festival, war and victory
dances. Those dances display the
Filipino way of life and create a
valuable manner in the development of
nationalism.
 In 1924, Francisca Reyes Aquino, the
Mother of the Philippine Folk Dances
and a National Artist as well made a
contribution by starting the collection of
dances and songs in the country.
 She authored six (6) volumes of books
on different Philippine folk dances.
These dances have been categorized into
non-Christian and Christian dances. The
non Christian orethnic dances are the
highest form of the Filipino dances
because of their incomparable and
beautiful movements.
 Jotas, Pandanggo, Habaneras are some
of the examples of Christian dances.
These dances are influenced by the
Spaniards and other European countries
and have been adopted into our native
culture.
GENERAL CLASSIFICATIONS
A. GEOGRAPHICAL ORIGIN
NATIONAL DANCES
 These are dances found throughout the
islands with little or no modification.
 Rigodon - a dance originated by the
French named after a well known dance
master Rigaud.
 Carinosa - is a Philippine dance of
Hispanic origin from the Mana Clara
suite of Philippine Folk Dances.
 Jota - a Spanish folk dance originated in
the North of Spain (Aragon).
LOCAL DANCES
 These are dances found in specific
locality.
 Tinikling - is a dance which means
"bamboo dance" in English.
 Maglalatik - depict a war between
Moros and Christian over the price
"Latik" or Coconut meat.
 Subli - a dance from Bauan, Batangas
derived from two tagalog word subsub
(stopped or in crouching position) and
bali (broken).
B. NATURE
OCCUPATIONAL DANCES
 These dances depict actions of a
particular occupation industry or human
labor (planting, harvesting, pounding,
winnowing etc.)
 Pabirik - is a dance from Paracale,
Camarines Norte that depicts the
province's gold mining industry.
 Mananguete - is a Visayan occupational
dance in Tolambugan Lanao.
RELIGIOUS/CEREMONIAL
 These are dances influenced with
religion vows and ceremonies.
 Dugsu- is a ceremonial dance among the
Manobo people in Bukidnon, Agusan
and Misamis Oriental.
 Sta. Clarang Pinong-pino- a ritual dance
that commemorates the Cebuano's pagan
origin.
 Putong- a dance which originated in
Marinduque that depicts the unique
custom of welcoming people.
COMIC DANCES
 These are dances which depict
humorous movements designed for
entertainment.
 Makongggo-a comic dance which is
cultured in Sta. Maria, Bulacan where a
solo performer mimics the movements
and characteristics of a monkey.
 Kinotan- a comic dance from Ilocos Sur
that depicts the actions of a person bitten
by ants.
GAME DANCES
 These are dances done with play
elements (dance mixers)
 Lubi - Lubi- a ballroom folk dance in
the Bicol region.
 Pavo -a processional dance common in
Europe during the 16th century.
WEDDING DANCES
 These dances are performed during
wedding feasts.
 Panasahan - is performed during the
desposorio, a Catholic ceremony held at
the dawn of the wedding day between 2
and 3 am.
COURTSHIP DANCES
 These dances depict the art of courtship
or dances with love themes.
 Maramion- a dance showing courtship
and is popular in the islands of Cebu and
Bohol. It means fragrant or beautiful.
 Tadek - a Balbalan ethnic dance.
 Hele-Hele - a flirting dance carrying out
a courting figures but no touch since a
part of Spanish system
FESTIVAL DANCES
 These dances are suitable for special
occasions or for any social gathering.
 Habanera - is a genre of Cuban popular
dance music of the 19th century.
 Jota Suntido - jota is a genre of music
and the associated dance known
throughout Spain.
WAR DANCES
 These dances show imaginary combat or
duel among tribe members.
 Sagayan - is a war dance performed by
both the Maguindanao and Maranao
depicting in dramatic fashion.
 Palu-palo - is a ritual dance and
classified into creative dance.
MOVEMENTS
*ACTIVE
 Dances which display fast energetic
movements.
 Maglalatik, Tinikling. Sakuting,
Polkabal, etc.
MODERATE
 Dances that show less fast or intense
movements .
 Carinosa, Tagala, Habanera, Puripuri,
etc.
SLOW
 Dances that show lose velocity.
 Pasakat, Amorosa, Tiliday, Kundiman,
etc.
SLOW AND FAST
  Dances that demonstrate a combination
of slow and last movement.
 Puriton Bangles. Habanera Botolena,
Alcomfor, etc.
CHARACTERISTICS OF FOLK DANCE
 In general, dancers stand apart.
 There is little, if any, body contact.
 Most of the dances are done by pairs or
couples.
 Hand movements play an important part.
 Most dances are in long formation.
 Most dances begin and end with
"Saludo".
 Dances from the lowlands have more
foreign elements than those found in the
uplands.
 War dances are found among non-
Christian tribes.
DO’S
 Dance in a natural, simple and direct
manner.
 Dance with ease and smoothness
 Use proper costumes
 Follow directions and dance instructions
as closely as possible.
 Dance with feeling and expression.
FUNDAMENTAL POSITION OF ARMS
AND FEET (5 COUNTS)
*FIRST POSITION
 ARMS - Arms are raised forward in a
circle in front of the chest with
fingertips of both hands about an inch
apart.
 FEET - The feet position is executed
with the heels and toes apart at an angle
of about 90 degrees or more.
*SECOND POSITION
 ARMS - The arms are placed sideways a
little below shoulder level with palms
facing upwards.
 FEET - The feet position is performed
with feet sideward about a pace apart
with heels parallel each other.
*THIRD POSITION
 ARMS - One arm is raised in a semi-
circle slightly in front of the head
(amplified position while the other arm
remains as in second position).
 FEET - The heel of one foot is close to
the in-step of the other foot.
*FOURTH POSITION
 ARMS - One arm is raised in an
amplified position, while the other is as
in first position.
 FEET - One foot is forward about a pace
distance, with toes out.
*FIFTH POSITION
 ARMS - Both arms are raised to form a
circle over and slightly in front of the
head (amplified position).
 FEET - One foot is placed in front of the
other foot with the heel close to the toe
of the other foot
FUNDAMENTAL POSITION OF ARMS
AND FEET (8 COUNTS)
*FIRST POSITION
 ARMS - Arms are placed forward
forming a circle position in front of the
chest and fingertips of both hands are
about an inch.
 FEET - The feet position is executed
with the heels and toes apart at an angle
of about 90 degrees or more.
*SECOND POSITION
 ARMS - The arms are on the sideways a
little below the shoulder level where
 palms are in the position facing *SEVENTH POSITION
downward.
 ARMS - Both arms are raised slightly in
 FEET - The feet position is performed
front of the head (amplified position)
with feet sideward about a pace apart
from a circle.
with the other pointed parallel to each
other.  FEET - Stand with one foot placed in
front of the other foot with the heel close
to the toe of the other foot.
*THIRD POSITION *EIGHT POSITION
 ARMS - Arms are raised on the sides a  Arms – Both arms are placed freely on
little below the shoulder level with side ways.
palms facing upwards.  Feet – Stand with feet together
 FEET - The feet position is performed
with feet sideward about a pace apart
with heels parallel each other.
*FOURTH POSITION

 ARMS - One arm is raised in a semi-

circle position above the head while the
other arm remains the same manner in
third position.
 FEET - Stand with the heel of one foot
is close to the in-step of the other foot.
*FIFTH POSITION

 ARMS - While the arm being raised in

slightly semi-circle circle position
remains above the head, the other arm is
placed and extended in front of the chest
with palm facing downwards.

 FEET - Stand with one foot pointed

forward about a pace distance with toes
out.
*SIXTH POSITION

 ARMS - Remain on the same position of

the arms but this time the arm being
placed in front of the chest with palm
facing downward should be facing
upwards.
 FEET - Stand with one foot forward
about a pace distance with toes out.