HISTORY OF DANCE

• Dance is an integral part of Filipino culture

that dates to the period before Ferdinand
Magellan stepped foot in the Philippines. The
traditional dances of the Filipinos are vibrant
and colorful, capturing the history of the
archipelago.
Before the Spanish  Various tribes were scattered across the
more than 7,000 islands, each with its own unique traditions and dances. The Igorot tribes
lived in the mountains of Luzon; a handful of these tribes still reside in the mountains, having
successfully resisted Spanish colonization. Many of the dances have been handed down
through the generations. Dance expresses this tribe's love of nature and gratitude to the gods.
To imitate the wonders of nature, dancers often swoop their arms like birds and stomp their
feet to represent the rumbling of the Earth. However, many other tribes in other regions are
disappearing, and only a few of their dances survive. Thanksgiving, worship and prayers for a
bountiful harvest mark the style of these dances.
Voyage to Mindanao In the 12th century, traders and seafarers came to the Philippines long
before the Spanish, bringing the Islamic faith with them. The inhabitants of the southern region
converted to Islam, incorporating their new religion into the fabric of their existing culture. The
dances of the Muslims, known as Moros, are alluring and colorful. Female dancers wear costum
studded with jewels, while male dancers brandish swords and shields. The Moros use languid ar
movements to imitate the world around them such as the wind, the sea and the fish. Each dance
is punctuated by the haunting sounds of the kulintangan, a set of small gongs. Like the Igorots,
the Moros were able to resist Spanish rule, which is why many of their dances continue to
flourish.
Maria Clara  In 1521, Ferdinand Magellan came to the
archipelago, signaling the start of Spanish colonization. However, the Spanish didn't 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.
During this period, Western culture spread through the islands, including such Western dances
as the waltz, fandango and polka. With a little Filipino flare, they quickly became part of the
culture. This "new" style of dance was named Maria Clara after the tragic character in Jose
Rizal's novel "Noli Me Tangere."
• Barrio Fiesta  After toiling in the rice paddies, countryside farmers
would gather to sing and dance. These dances revolve around
everyday items, such as glasses, candles, benches, hats and bamboo
poles. Because the dances are a celebration, they are often referred
to as "a barrio fiesta." One of the more complicated dances is
pandanggo sa ilaw, meaning "dance of lights," which imitates
wandering fireflies. To accomplish the illusion, women delicately
balance three "tinghoy," or oil lamps, on their heads and palms.
• The National Dance  Tinikling, the national dance, is considered the oldest
of the Philippine folk dances. The dance, which comes from the countryside,
takes its name and movements from the "tinikling" bird as it roams between
grass steams, crushes tree branches and avoids traps set by rice farmers.
Dancers skip gracefully back and forth while trying to avoid getting their feet
caught by two bamboo poles.
• There are many tall tales about the dance's origins. According to one story,
Filipino farm workers who displeased their Spanish masters had their feet
smashed by two bamboo poles. When the poles were apart, the workers
would jump to avoid getting hurt. Thus, this dance was born.
Philippine Folk Dances
• The history of Philippine folk dancing
incorporates influences from immigrants and
conquerors while at the same time maintaining
distinctly Filipino roots. Philippine folk dancing
is a true reflection of daily life in past centuries
while enchanting modern audiences at the same
time.
 Tinikling
History:
•      One of the oldest traditional Filipino dances, the Tinikling dance, or bamboo dance, is performed using long bamboo
poles. Originating on the island of Leyte in the central Philippines, the Tinikling dance takes its name from the tikling bird.
The movements of the dance are meant to imitate the bird as it steps through its marshy habitat.
• Starting with the Bird
• The inspiration for the Tinikling dance is the tikling bird, a native of the Philippines. Also known as barred rails (Gallirallus
torquatus), tikling birds are found in wetlands and grasslands. The birds' distinctive movements as they meander through
grass and around tree branches are imitated in the dance. Dancers hop over and around the clapping bamboo poles that
substitute for branches, their quick feet keeping them from being hit by the rhythmically moving bamboo.
• Creating the Dance
Developed around the time the Spanish occupation of the Philippines began in 1565, the Tinikling dance traces its origins to
the island of Leyte. The wet climate of the island made it highly suitable for growing crops such as rice. Farmers and field
hands working in the rice paddies had ample opportunity to observe the behavior of the tikling birds that lived in the area as
they searched for food along the field edge. Imitating the hopping movements at home proved to be an entertaining
pastime.
• Evolving the Dance
Originally more of a playful activity similar to that of jumping rope, the Tinikling dance eventually became a more formal
traditional dance. Although still retaining the fun element, modern performers have a specific order of steps to perform. The
barefoot dancing couples, male and female, wear traditional Filipino costumes. The male dancer wears a barong-tagalog, a
loose, long-sleeved embroidered tunic. His female counterpart wears a balintawak, consisting of a dress with butterfly
sleeves and a scarf worn over the left shoulder.
• Continuing the Legend
While the origin of the dance is attributed to the tikling bird, there is another origin legend that persists. It has its roots in the
Spanish occupation, when the Spanish seized farms and forced the former owners to work them. According to this legend, as
a punishment for working too slowly, workers were forced to stand while their feet were beaten with freshly cut bamboo
poles. To avoid bruised and bloodied feet, the workers practiced dodging the bamboo poles, creating the movements that
eventually became the Tinikling dance.
 Carinosa
• HISTORY:
• The cariñosa is a much-loved folk dance in the Philippines. Spanish in origin, it is regarded as a national dance by scholars,
and the characteristic shy behavior of the female dancer is said to represent the mannerisms of Philippina women. The
cariñosa is a popular folk dance that was introduced to the country by the Spaniards when they arrived in the 16th century.
It belongs to the Maria Clara suite of Philippine folk dances. These are so named in honour of Maria Clara, who was the
main character in Jose Rizal's novel Noli Me Tangere, ('Don't Touch Me'), about the colonisation of the Philippines by the
Spanish. In it, Maria Clara is portrayed as a noble and loyal woman, who after the publication of the novel in the 19th
century became the female symbol of virtue for Philippina women.
• Geography
It is believed that Panay Island, located in the Visayan Islands group was the original home of the cariñosa. The Spanish first
arrived on the island in 1569. The dance soon spread around the Philippines, giving rise to different versions in different
regions, such as in Bicol, where both dancers carry handkerchiefs.
• Features
It was traditional for a Spanish 'Maria Clara' costume to be worn, which consisted of a long dress and a long-sleeved short
embroidered dress made from pineapple fibers. Now more traditional Philippine dress is usual. Men wear white shirts and
colored trousers, while the women wear native dresses.
The music is Spanish-influenced, with three-quarter rhythms that resemble a bolero or a waltz in both speed and style.
Ensemble orchestras comprising banjos, mandolins, strings and drums are typical. The orchestras were once mainly
composed of men, however more and more women are starting to take part.
• The dance
To dance the cariñosa, a man and a woman dance together, taking slow steps around the room, similar to those of a waltz.
The female holds a fan or handkerchief, which she coyly hides behind. The dance itself is intended as a courtship dance, and
is of a flirtatious nature. Cariñosa literally means "she that is loving" as the verb ending indicates it refers to a woman.
• Misconceptions
During the Marcos regime, the cariñosa was named the national dance of the Philippines. To this day school text books still
claim this; however, the Philippine government maintains it is another dance called "tinikling," which is a native dance.
Today, the cariñosa is performed at social gatherings and festivities.
 Itik - itik
• HISTORY:
itik-itik is popular in visayan settlers of surigao del
norte and this particular dance is similar to duck
movement with the imagery of short choppy steps
and splashing water onto it's back while attracting a
mate. It is said to have originated from the sibay
dance w/ dejado music, ...
 Sayaw sa Bangko
• HISTORY:
   Sayaw ed Tapew na Bangko (dance on top of a
bench), is a dance which originates from Pangasinan
and researched by Jovita Sison. It is performed by a
couple on a narrow bench, inching and hopping from
one end to another. Dancer show skill in staying up
the bench as they exchange places by moving their
way around or the girl thrown in the air while boy
moves to the other end. They do not compete but
rather complement each other so that no one falls. It
is usually performed during town fiestas.
 Binasuan
• HISTORY:
     Binasuan dance derived its name from a
Pangasinan phrase that literally translates to
mean "with the use of a drinking glass." Though it
is not known exactly when Binasuan dance
originated, dance has been an important part of
Filipino culture for centuries, beginning as a way
for people to express thanks to the gods, in
festivals and traditional celebrations, for blessings
and prosperity.
 Pandanggo sa ilaw
• HISTORY:
Pandanggo sa ilaw / Oasis Origin: Lubang Island, Mindoro
(Visayas) This popular dance of grace and balance comes from Lubang
Island, Mindoro in the Visayas region. The term pandanggo comes from
the Spanish word fandango, which is a dance characterized by lively
steps and clapping that varies in rhythm in 3/4 time. This particular
pandanggo involves the presence of three tinggoy, or oil lamps, balanced
on the head and the back of each hand. After a good catch, fishermen of
Lingayen would celebrate by drinking wine and by dancing, swinging and
circling a lighted lamp. Hence, the name "Oasiwas" which in the
Pangasinan dialect means "swinging." This unique and colorful dance
calls for skill in balancing an oil lamp on the head while circling in each
hand a lighted lamp wrapped in a porous cloth or fishnet. The waltz-
style music is similar to that of Pandanggo sa Ilaw.
 Maglalatik
• HISTORY:
 Maglalatik or Magbabao is a war dance representing in a picture a battle between
the Moros and the Christian over the latik, the remainder left after the coconut milk
has been boiled. At some time in the course of Spanish rule, with coconut shells as
tools, the people of the barrios of Loma and Zapote in the town of Biñan in the
province of Laguna danced the Maglalatik.

•      The Palipasan and the Baligtaran, the first two portions of Maglalatik, reveal the
hot combat between the Moros and the Christians. The Paseo and the Sayaw
Escaramusa display the reconciliation between the legends, the two groups. As
stated by the legend, the Moros won and got enviously wished latik. The dissatisfied
Christians sent a representative to the Moros to offer peace and baptism to them.
During the town fiesta of Biñan, Laguna, the Maglalatik dancers are carrying out this
dance from house to house for money or a gift in the daytime, and in the evening,
they perform Maglalatik in the religious procession as it goes from one place to
another along the streets as a sacrifice to San Isidro de Labrador, the patron saint of
the farmers.
 Kuratsa
• HISTORY:
• The Kuratsa is actually remarkably popular with this Visayan man and women specially this Waray
man and women of the Western Visayas region in the Philippines and illustrates every critical
special occasion inside Western Visayas residential areas.
• The Kuratsa maybe the dancing of courtship from the Visayas region of the Philippines. At
marriage ceremony and fiestas, this Kuratsa serves for the reason that standard income dancing
whereby visitors carry turns pinning income on the woman and groom’s clothes. That stands for
friends’ and families’ wants once and for all chance and affluence inside couple’s future.
• The dancing is completed with several pieces, using several distinct tempos. The dance several
begin this efficiency having a ballroom waltz. The actions resemble the mild waltz style. Kuratsa is
normally done during festivals with Bohol as well as other Visayan areas, this dancing symbolizes a
fun couple’s make an effort to get each and every other’s awareness.
• Then the songs adjustments to your faster defeat with the “chasing” picture, that the woman
dancer flees and also the guy pursues the woman’s all across this dancing floorboards. The pace
accumulates even more with the final aspect, that they run after coming to an end having a
flabbergasted flirtatious picture. The female features received above, and also the guy imitates
the showy chook in a very mating dancing.
• Firmly talking, only one several dancing it at the same time. Thought to be the Philippine
importance (supposedly through La Cucaracha dancing usual of the Monterrey region of Mexico)
– this Kuratsa is actually even so, differences in the way of setup compared to a Philippine
opposite number. Even this “basic” Kuratsa songs just isn’t depending on Philippine as well as The
Spanish language tunes.
 Polkabal
• HISTORY:
•      The dance got its name from two popular dances in
the late 1800s: the polka and balse (waltz). Though the
balse is mentioned in the name of this dance, there is
no single waltz step used in this dance. The steps of this
dance are identified as the luksong uwak (jumping
crow), wagayway (fluttering), hardin (garden), punta y
tacon (heel and toe), corrida (bullfight), paseo (leisurely
walk), ensayo (practice), contragansa (hop-cross) and
the contragansa doble (double hop cross).
 Habanera

• HISTORY:
•      The Habanera Botolena is a dance that got
its start in Cuba. It is a mix of Cuban, Spanish
and African rhythms and dance moves.
Fundamentals of Dance
CENTERING: This is fundamental to your ability to dance well. This
is maintaining a sense of your own body center that holds you
together as you move. It allows you to move gracefully and freely.
This means you have to have the ability to move, to hold, to
organize yourself around your own physical body. If you are centered
you can eventually learn how to do anything. If you are not centered
you may develop beautiful looking arms and legs but never be able
to move well. Liken your center to home. If you don’t have a sense
of home you will probably get lost every time you go out.Your body
needs to be balanced like a see-saw. Position fluctuates between
individuals. Center for Middle Eastern Dance is in the solar plexus. Every
movement has to go through center. This is what makes it Orientale or
eastern. Your natural base is approximately just below the navel but the
movements for this dance form come from the solar plexus. Everything
emanates from there. Start by feeling how your arms and legs work
from the same central point in the back. Moving from your center will
make movements easier to control.
GRAVITY: This is the force that holds you to the earth. It is a
force you have to work with because it constantly inhibits
movement. Try to become aware of the pulls in your own
body. What points are taking the most weight? When you
push on these points can you feel a rise up from them? You
should be holding yourself better. When you dance you want
to feel as if someone is pushing you under your buttocks
and the base of your spine and directing the energy up
through your breastbone.
BALANCE: Balance is concerned with more than balancing on one
leg. Your aim is to achieve and constantly maintain an inner balance
of the whole body. It is tension of mutual support among all parts
that brings the whole together in a new way. It is an inner
relationship between all the points of your body which you hold
in your awareness. It is not something you do once in awhile. It is
constant. A sense of balance whether you are moving or standing. In
the actual act of balancing, if you can find inner balance , you are
nearly there. If you are aware internally the need for the sensation
of balance, you should be able to get it. * Remember, balancing in
both states is an active state.
POSTURE:
To achieve this element you need to change your perception of your
body, there is often a wide discrepancy between what feels right and
what looks right. Dancers work all their dance live on their posture,
also called alignment. It is the key to balance and movement. Your
posture not only reveals your feelings but can also reveal feelings in
you. Learn how to stand properly. You will actually feel brighter and
more aware.
GESTURE:
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. Arms
crossed over chest are a protective wall. Hands on hips mean “show
me”, fists on hips is even more challenging. Anger patterns are
depicted very differently form joy or sadness. Weight on one hip
-waiting. Hands out in front you ready to give or receive. Raising
shoulders is a gesture of not knowing or caring. Shoulders forward
expresses pain. Tapping foot boredom. Observe! Recognize what
the body is saying.
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. Rhythm is essential for a dancer. Pay attention! Generally
the beat is carried by the drum. Make sure you are right on the
beat, not slightly late. All the work going into making a beat has
already been completed by the time you hear it. In fact to get it
right, you have to anticipate the beat slightly. Feel as if you
are making the beat with your body as well as hearing it. Try to be
at one with it, rather than dancing to it. It is the rhythm and the
beat of the dance that form the “threads” which allow you to
memorize the structure of the dance
MOVING in 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 empty air but a tangible element that you move
through. Consider the space an area you must go through.
Consciously go through space. Feel your accomplishment as
a journey through space. You will express thoughts and emotions.
Actually press your feelings out through your torso and limbs in
such a way as to show other people how we are feeling and to
satisfy our desire of movement. Our muscles feel better when they
are used, and once we get used to moving them, the whole body
will respond by working in harmony with itself; to dance.
BREATHING:
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. Calm slow breathing suggests a certain degree of
self-control. It denotes a specific quality of movement. Also a
movement with breath has a controlled and considered extension of
time. A clear beginning and end no matter how fast or slow
the phrase. A phrase without breath looks stiff and mechanical. It is
important to learn how to do two or three things at the same
time. You frequently have to divide your attention while dancing. You
must learn to breathe deeply expanding your ribs at the back of the
body rather than from the front. This will also give a more emotional,
organic look.
THANK YOU
AND
GOD BLESS