LESSON 1: INTRODUCTION TO PHILIPPINE FOLK
DANCES
For Filipinos, dance is a form of worship and an
expression found in all prospect of their life giving meaning to
rhythmic activities and continues maintaining as a part of the
Philippine Education Program. Aside from enhancing rhythmic
movements of students.
Benefits that can be derived and developed from the study of
Philippine Folk Dances:
1. Patriotism and nationalism
2. Healthy form of relaxation and recreation
3. Well-awakened art appreciation of folk dances
4. Well-improved posture, graceful and rhythmic coordination of
body movements
5. Preservation of native dances of the different regions for the next
generations
6. Growth and enhancement of philippine culture
7. Improving body image, self-esteem, and communication skills
efficiently
8. Lessen the feeling of being an outcast
9. Reduces stress, fears and anxieties
10. Forgetting individuals self-consciousness
Folk dancing is an art performed with highly distinctive differences
that made these islands in the south-eastern part of the world
respective and historical by the islands itself and by the globe.
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.
Non- Christian or Ethnic Dances
The highest form of the Filipino dances because of their
incomparable and beautiful movements.
Christian Dances
These dances are influenced by the Spaniards and other
European countries and have been adopted into our native culture.
Example: Jotas, Pandanggo, Habaneras
Francisca Reyes Aquino classified Philippine Folk Dances
according to the following:
I. GENERAL CLASSIFICATION
A. GEOGRAPHICAL ORIGIN
1.National Dances. These are dances found throughout the islands
with little or no modification.
Examples:
1. Rigodon- a dance originated by the French named after
a well- known dance master Rigaud.
2. Carinosa is a Philippine dance of Hispanic origin from
the Maria Clara suite of Philippine Folk Dances
3. Jota- a Spanish Folk dance originated in the North of
Spain (Aragon).
2. Local Dances. These are dances found in a specific locality.
Examples:
1. Tinikling - is a dance which means "bamboo dance" in
English.
2. Maglalatik - depict a war dance between the Moros and
Christian over the price "Latik" or coconut meat.
3. Subli - a dance from Bauan, Batangas derived from two
Tagalog word subsub (stooped or in a crouching position) and bali
(broken).
B. NATURE
1. Occupational Dances. These dances depict actions of a particular
occupation, industry or human labor (planting, harvesting, pounding.
winnowing etc.)
Examples:
1. Pabirik- is a dance from Paracale, Camarines Norte that
depicts the
province's gold mining industry.
2. Mananguete- is a Visayan occupational dance in
Tolambugan, Lanao.
2. Religious/Ceremonial. These are dances influenced with religion.
vows and ceremonies.
Examples:
1. Dugsu- is a ceremonial dance among the Manobo people
in Bukidnon, Agusan and Misamis Oriental.
2. Sta. Clarang Pinong-pino- a ritual dance that
commemorates the Cebuano's pagan origin.
3. Putong- a dance which originated in Marinduque that
depicts the unique custom of welcoming people.
3. Comic Dances. These are dances which depict humorous
movements designed for entertainment.
Examples:
1. Makongggo- a comic dance which is cultured in Sta.
Maria, Bulacan where a solo performer mimics the movements and
characteristics of a monkey.
2. Kinotan- a comic dance from Ilocos Sur that depicts the
actions of a person bitten by ants.
4. Game Dances. These are dances done with play elements (dance
mixers)
Examples:
1. Lubi-Lubi-a ballroom folk dance in the Bicol region.
2. Pavo- a processional dance common in Europe during
the 16th century.
5. Wedding Dances. These dances are performed during wedding
feasts.
Examples:
II. SPECIAL CLASSIFICATION: GROUP DANCES WITH
1. Panasahan is performed during the desposorio, a SPECIAL DISTINCTIVE FEATURES
Catholic ceremony held at the dawn of the wedding day between 2
and 3 a.m. A. Dances with songs

6. Courtship Dances. These dances depict the art of courtship or Examples: Abaruray, Manang Biday, Lulay, Rogelia,
dances with love themes. Lawiswis Kawayan, etc.

Examples: B. Old Ballroom Dances

1. Maramion - a dance showing courtship and is popular Examples: Polka, Mazurka, Chotis, Valse, etc.
in the islands of Cebu and Bohol. It means fragrant or beautiful.
2. Tadek - a Balbalan ethnic dance. C. Dances with Implements

3. Hele-Hele - a flirting dance carrying out a courting Examples: Maglalatik, Sakuting, Jota Moncadena,
figures but no touch since a part of Spanish system. Tinikling. Salakot, etc.

7. Festival Dances. These dances are suitable for special occasions CHARACTERISTICS OF PHILIPPINE FOLK DANCES
or for any social gathering.
1. In general, dancers stand apart.
Examples:
2. There is little, if any, body contact.
1. Habanera is a genre of Cuban popular dance music of
the 19th century 3. Most of the dances are done by pairs or couples.

2. Jota Suntido- jota is a genre of music and the associated
dance known throughout Spain.
8. War Dances. These dances show imaginary combat or duel
among tribe members.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with "Saludo".

Examples: 7. Dances from the lowlands have more foreign elements than those
found in the uplands,
1. Sagayan- is a war dance performed by both the
Maguindanao and Maranao depicting in dramatic fashion. 8. War dances are found among non-Christian tribes.

2. Palu-palo- is a ritual dance and classified into creative DO'S IN FOLK DANCING
dance.
1. Dance in a natural, simple and direct manner.
C. MOVEMENTS
2. Dance with ease and smoothness.
1. Active. Dances which display fast energetic movements
3. Use proper costumes.
Examples: Maglalatik, Tinikling, Sakuting, Polkabal, etc.
4. Follow directions and dance instructions as closely as possible.
2. Moderate.Dances that show less fast or intense movements
5. Dance with feeling and expression.
Examples: Carinosa, Tagala, Habanera, Puripuri, etc.
LESSON 2:
3. Slow. Dances that show lose velocity
FUNDAMENTAL POSITIONS OF ARMS IN DANCING
Examples: Pasakat, Amorosa, Tiliday, Kundiman, etc.
 First Position
4. Slow and Fast. Dances that demonstrate a combination of stow
and fast movements. Arms are raised forward in a circle in front of the chest
with fingertips of both hands about an inch apart.
Examples: Puritos, Ba-Ingles, Habanera, Botolena,
Alcomfor etc.  Second Position

D. FORMATION The arms are placed sideways a little below shoulder level with
palms facing up.
1. Square or Quadrille.Dances form a square in their dancing.
 Third Position
Examples: Rigodon, Los Bailes de Ayer, etc.
One arm is raised in a semi- circle slightly in front of the
2. Long Formation. Dancers form two or more parallel lines. head (amplified position while the other arm remains as in second
position).
Examples: Lulay, Sakuting  Fourth Position

3. Set. This consists of two or more pairs as a unit; with partner One arm is raised in amplified position, while the other is
facing each other or standing side by side. as in first position.

Examples: Binadyong, Haplik, Kakawati, etc.  Fifth Position


Both arms are raised to form a circle over and slightly in
front of the head (amplified position)
FUNDAMENTAL POSITIONS OF THE FEET IN DANCING
 First Position
The feet position is executed with the heels and toes apart
at an angle of about 90 degrees or more.
 Second Position
The feet position is performed with feet sideward about a
pace apart with heels parallel each other.
 Third Position
The heel of one foot is close to the in-step of the other foot.
 Fourth Position
One foot is forward, about a pace distance, with toes out.
 Fifth Position
One foot is placed in front of the other foot with the heel
close to the toe of the other foot.
FLOWING MOVEMENTS OF THE FUNDAMENTAL
POSITIONS OF HANDS AND FEET IN EIGHT COUNTS
FUNDAMENTAL POSITIONS OF THE ARMS IN DANCING
 First Position
Arms are placed forward forming a circle position in front
of the chest and fingertips of both hands are about an inch apart.
 Second Position
The arms are on the sideways a little below the shoulder
level where palms are in the position facing downward.
 Third Position
Arms are raised on the sides a little below the shoulders
level with palms facing upward.
 Fourth Position
One arm is raised in a slightly semi-circle position above
the head while the other arm remains the same manner in third
position.
 Fifth Position
While the arm being raised in a slightly semi-circle
position remains above the head, the other arm is placed and
extended in front of the chest with the palm facing downward.
 Sixth Position
Remain in the same position of the arms but this time the
arm being placed in front of the chest with palm facing downward
should be in the position where palm facing upward
 Seventh Position
Both arms are raised slightly in front of the head
(amplified position) forming a circle.
 Eighth Position
Both arms are placed freely on sideways.
FUNDAMENTAL POSITIONS OF THE FEET IN DANCING
 First Position
Stand with heels together and toes apart about ninety
degrees angle or more.
 Second Position
Stand with feet placed sideward about a pace apart with the
other foot pointed parallel to each other.
 Third Position
Stand with feet are positioned sideward about a pace apart
with heels parallel to each other.
 Fourth Position
Stand with the heal of one foots close to the in-step of the
other foot.
 Fifth Position
Stand with one foot pointed forward about a pace distance
with toes out.
 Sixth Position
Stand with one foot forward about a pace distance with
toes out.
 Seventh Position
Stand with one foot placed in front of the other foot with
the heel close to the toe of the other foot.
 Eight Position
Stand with feet together.
LESSON 3: COMMON DANCE TERMS USED IN FOLK
DANCE
1.Arms in lateral position - Both arms are on the sides, either right
or left, at shoulder, chest, or waist level.
2.Brush - Weight on the foot hits the floor with the ball or heel of the
other foot. One foot carries the weight while the other foot slightly
hits the floor
3.Cabeceras - The people occupying the width of the hall when
dancers are in square formation
4.Clockwise - Movement like the motion of the hands of the clock, R
shoulder toward the center of an imaginary circle. When facing
center, movement is toward left.
5. Counter Clockwise - The reverse direction of clockwise, L
shoulder toward center. Movements toward right when facing the
center.
6. Costados - The couple occupying the length of the hall when side
join their L hands with their R hands together; either Rover L or
Lover R heads
7. Crossed Arms - Partners facing each other or standing side by
side join their L hands with their R hands together; either Rover Lor
L over hands.
8. Cut - To display quickly one foot with each other. 33. Whirl - To make fast turns by executing small steps in place to
the right or to the left.
9.Do-si-do (Dos-a-dos) - Partners advance forward, pass each other's
right (or left) side across to the right (or left), move backward LEGEND:
without tuming around then pass each other's left (or right) side back
to other places. GREEN- GENERAL CLASSIFICATION
BLUE-CLASSIFIED PHILIPPINE FOLK DANCES BY
10. Free Foot - The foot not bearing the weight of the body. FRANCISCA REYES AQUINO
 GENERAL CLASSIFICATION
11. Free Hand - Hand not placed anywhere, or not doing anything.  II. SPECIAL CLASSIFICATION: GROUP DANCES WITH
SPECIAL DISTINCTIVE FEATURES
12. "Hayon-hayon" - To place forearm in front while other is at the
back of the waist.

13. Hop - A spring from one foot landing on the same foot in place
or in any direction.

14. Inside foot - The foot nearer the partner when partners stand side
by side.

15. "Jaleo" - Partners turn around clockwise, (with L elbows

touching) using walking or any kind of dance of step.

16. Jump - A spring on one foot or both feet landing on booth feet
any direction.

17. "Kumintang" - Moving the hand from the wrist either in a

clockwise or counter clockwise position.

18. Leap - A spring on one foot landing on the other foot in any
direction.

19. Outside foot - The foot away from one's partner when partners
stand side by side.

20. Outside hand - The hand away from one's partner when partners
stand side by side.

21. Place - A foot in any position without putting weight on it, the
sole of the foot rests on the floor.

22. Pivot - To turn with the ball, heel or whole foot, on a fixed place,
or point

23. Point - To touch the floor with the toes of one foot, with the ball
on the floor and the weight of the body on the other foot

24. Salok - Swinging the arm downward-upward passing in the front

of the body as if scooping; the trunk bent forward following the
movement of the arm doing the "salok".

25. Saludo - Partners with feet together bow to each other, or to the
audience, or to the opposite dancers, or to the neighbors.

26. Sarok - Cross the R (or L) foot in front of the L (or R), bend the
body slightly forward and across the hands down in front with the R
(or L) hand over the L (or R).

27. Set - a dance formation like a square or a unit formation

composed of two or more pairs.

28. Slide - To glide smoothly among the floor.

29. Stamp - To bring the foot forcibly and noisily on the floor.

30. Step - To advance or recede by moving one foot to another

resting place with a complete transfer of weight from one foot to the
other foot.

31. Supporting foot - The foot that bears the weight of the body.

32. Tap - To tap slightly with the ball or toe of the free foot, keeping
weight of the body on the other foot. There is no transfer of weight.