PATHFIT 3

Philippine Folk Dance

Introduction

This lesson is prepared for students to learn new

terminologies and dances, and to realize the creativity and rich
culture of the Philippine regions. This is also intended to
increase the awareness and appreciation of the uniqueness of
every dance.

BRIEF HISTORICAL BACKGROUND OF DANCE

Art and religion were the most serious concerns of

primitive civilizations. Although during the primitive times,
their concerns were mainly how to find food and how to increase
its supply. Unaware of the artistic aspect, they made use of
hunting and fishing as their way of life. As regards to the
religion, they believed that the supernatural beings govern
their fate. So, to express their feelings, they created rhythmic
movements by stamping, shaking their bodies, chanting and other
bodily expressions with the use of natural accompaniment. They
employed wood, bamboo, dried leaves, and other things to
accompany their rhythmic movements which developed into dance by
generally perpetuating the movement and passing the tradition to
the next generation. The interweaving factors of rhythm created
the dance and later developed into high quality movement and
became part of an established art form up to this time.

Pandanggo sa ilaw Estudiantina

Dugso Pangalay

Singkil
CHARACTERISTICS OF PHILIPPINE FOLK DANCE

Folk Dance is a cultural art form handed down from

generation to generation. It communicates the customs, beliefs,
rituals and occupation of a region or country. Folk dancing
belongs to and emanates from the people.
The following are the characteristics of Philippine Folk
Dances:

1. As a rule Philippine folk dances begin and ends with a

saludo.

2. In general, dancers are far apart. A distance of about 6-8

ft. from each other is normal.

3. There is very little, if any, body contact although holding

hands is common.

4. Most of the dances are done in pairs and hand movements play
a very important role.

5. Many of our dances are done in long formation.

6. Our dances are performed by both young and old, and by both
sexes.

A. CLASSIFICATIONS OF THE PHILIPPINE FOLK DANCES ACCORDING TO

ITS NATURE

1. Occupational Dances – depicting action of certain occupation,

industry, or human labor. Examples: Planting, harvesting,
pounding, etc.

2. Religious or Ceremonial Dances – performed in connection with

religious vows and ceremonies. Examples: Putong, Sta. Clarang
Pinong-Pino

3. Comic Dances – depicting funny movements for entertainment.

Example: Kinoton

4. Game Dances – dance with play elements (dance mixers).

Example: Pabo, Lubi-lubi

5. Courtship Dances – depicting love making. Example: Hele-Hele,

Bago
6. Wedding Dances – performed during wedding feasts. Examples:
Pandang-Pandang, Pantomina

7. Festival Dances – suitable for special occasions or any

social gathering. Example: Kuratsa, La jota, Pandango

8. War Dances – showing imaginary combat or duel. Example:

Sasgayan, Palo-Palo

B. CLASSIFICATION OF PHILIPPINE FOLK DANCES ACCORDING TO

GEOGRAPHICAL
EXTENT OF ORIGIN

1. National dances – found throughout the islands with little or

no modification. Example: Rigodon, Balitaw, Pandanggo

2. Local dances – found in a certain locality. Example:

Tinikling – Leyte; Tiksiw – Aklan;
Subli – Batangas; Biniganbigat – Abra

C. CLASSIFICATION OF PHILIPPINE FOLK DANCES ACCORDING TO TEMPO

AND DYNAMICS
OF MOVEMENTS

1. Active – with fast energetic movements. Example: Tinikling,

Maglalatik, Sakuting, Polkabal

2. Moderate – Example: Carinosa, Tagala, Habanera, Purpuri

3. Slow – Example: Pasakat, Tiliday, Kundiman

4. Slow and Fast – Example: Putritos, Ba-Ingles, Alcamfor

FACTORS AFFECTING THE NATURE OF 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 proper costume for the dance
4. Follow directions and dance instructors as closely as
possible
5. Dance with feeling and expression

DON’T’S IN FOLK DANCING

1. Do not exaggerate the dance step
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

VALUES OF DANCING
1. Physiological and neuro-muscular development of the organic
system of the body.
2. Cultural – a creative and expressive way of knowing and
understanding the culture and past of the people.
3. Social and recreational – opportunities for a leisurely way
of knowing and associating with other people.
ELEMENTS OF DANCE

1. Theme – is the main story line of the dance. It tells

what the dance is all about. This can be a love theme, can be
futuristic, can be ritual, etc.

2. Movements – refer to the dance steps and basic body

movements required of a particular dance.

3. Technique – is a system of movements performed by a

dancer. This is developed through constant practice of certain
difficult dance steps.

4. Choreography – pertains to the organization of the

movement and figures in the dance. This makes use of the theme
and movements of dance steps.

5. Music – gives life to the dance. This should be in

accordance with the theme and pattern of movements of the dance.

6. Accessories, Costume, and Properties – accessories are

what the dancers wear in addition to the costume such as the
earrings, necklace, bells, feathers, etc. Costume refers to what
the dancers should wear, and properties refer to the things held
and used by the dancer.

7. Scenery – denotes the background on stage. It completes

the whole setting of the dance. This involves the back draft of
the stage, and the properties placed on stage.

8. Design – refers to the floor pattern in relation to

space.

9. Gravity – is the force that holds you to the earth. It

is a force you have to work with because it constantly inhibits
movement.

10. Balance – is concerned with more than balancing on one

leg. Its aim is to achieve and constantly maintain an inner
balance of the whole body. It is a tension of mutual support
among all parts that brings the whole together in a new way.

11. Posture – to achieve this element, you need to change

your perception of your body, since there is often a wide
discrepancy between what feels right and what looks right.
Dancers work their entire dance lives on their posture, also
called alignment. It is the key to balance and movement.
 12. Gesture – involves using the body as an expressive
instrument to communicate feelings and ideas in patterns of
movement. With subtle gestures and postural attitudes, we show
cooperation, give confidence to friends or display aggression to
enemies.

13. Rhythm – finding rhythm is largely a matter of paying

attention. It is something everybody has; though some people are
not as aware or sensitive to it. Our hearts beat to a rhythm,
our lungs breathe to another.

14. Moving Space – you need to be as aware of the space

around you as a cat. You have to move with care and awareness,
gauging the space. Space is not just an empty air but a tangible
element that you move through.

15. Breathing – is crucial to dance. Not only does it bring

oxygen to the body but it also gives your movement fluency and
harmony. It is an expressive tool.
DANCE TERMINOLOGIES

1. Weight on both feet – body weight is equally distributed on

both feet while standing. In biomechanics, this is achieved by
keeping the pelvis aligned with the feet. Positioning the hips
to either side will shift the weight from both feet to only one.

2. Transfer weight – shifting of weight from one foot to the

other foot when stepping or misaligning the waist like in doing
hip-swaying movements.

3. Supporting foot – the foot carrying the weight of the body

when there is a shift of weight.

4. Free foot – the foot not carrying the weight of the body.

5. Outside foot – the foot away from partner when standing side
by side.

6. Inside foot – the foot nearest to one’s partner when standing

side by side.

7. Tap – to tap the dance floor lightly with the ball or heel of
the free foot.

8. Brush – to hit the floor with the ball or heel of the free
foot and after which it is lifted from the floor.

9. Stamp – to bring down the foot forcibly on the floor.

10. Spring – to quickly bend and straighten the knees so that

there is a bouncing movement of the body.

11. Cut – a sudden or quick displacement of one foot by the

other foot accompanied by shifting of weight.

12. Swing – to move the free foot side to side like a pendulum.

13. Place – putting the foot in a desired position without

putting weight on it. The sole of the foot rests flat on the
floor.

14. Heel place – similar to the preceding but with the heel of
the free foot touching the floor and the toes of that foot
raised upward.
15. Touch – to touch the floor lightly with the balls of the
free foot.

16. Lateral position – both arms are at one side, either

sideward right or left.

17. Free hand – the hand that is not doing anything or not
placed anywhere on the body.

18. Outside hand – the hand away from the partner; that is when
partners stand side by side.

19. Inside hand – the hand nearest to the partner; when partners
stand side by side.

20. Kumintang – moving the hand from the wrist either clockwise
or counter clockwise direction
FUNDAMENTAL POSITIONS IN DANCE

Name Arms Feet

Both are raised forward in a circle in front of Heels close together and toes are
the chest with the finger tips about an inch apart with an angle of about 45
apart degrees

Palms face down and back of the hands Weight is on both feet
facing the audience
1st Position In classical ballet positions, the
Wrists are slightly below the level of the toes are turned outward to form
elbows an unbroken horizontal line

Hands at a level between the chest and

waist
Both raised sideward with hands at shoulder Astride sideward about a pace or
level 1 foot apart with toes slightly
turned outward
2nd Position Palms facing upward or facing the audience
Weight on both feet
Elbows are about the level of the chest
One arm is raised sideward as in 2nd while Heel of one foot is close to the
rd
3 Position the other is raised upward with palm facing instep of the other foot
inward
Weight on both feet
One foot is in front of the other a
One arm is raised forward as in 1st position pace distance:
4th Position while the other is raised upward with the
palm facing inward Open Fourth. The heels in direct
vertical line

Crossed Fourth. The heel of the

front foot is in direct vertical line
with the toes of the foot in rear
(toes slightly turned outward)

Weight is on the rear foot

Both arms are raised upward with palms Heel of front foot close to the big
5th Position facing each other toe of rear foot with toes of both
turned outward

Weight on both feet

FUNDAMENTAL DANCE STEPS IN PHILIPPINE FOLK DANCES

The dance steps listed below are the fundamental or basic

steps commonly used in Philippine folk dances. In some cases,
the names of the steps are the same with those in foreign
dances, but the manner of execution is entirely different.

BASIC DANCE STEPS IN 2/4 TIME SIGNATURE

1. Touch Step Point R; close R to L

2. Bleking Step Heel place R; close R to L

3. Close Step Step R; close R to L

4. Cross Step Step R; cross and step L across R

5. Hop Step Step R; hop on R

6. Brush Step Step R; brush L (on floor)

7. Slide Step Slide R; close L to R

8. Swing Step Step R; swing L across R

9. Change Step Step R; close L to R; step R

BASIC DANCE STEPS IN 3/4 TIME SIGNATURE

1. Step-swing-hop Step R; swing L across R; hop on R

2. Waltz (native) Step R; close L to R; step R

5. Mazurka Slide R; cut R with L; hop L

NOTE: R means Right foot; L means Left foot

Prepared by:

MYLYN ORO-FERNANDEZ
P.E. Instructor