part 2 of history

part
 Fiesta means neighborhood celebration, a gathering of Filipino
culture in which different Philippine neighborhoods celebrating
their patron saints, while showing a dance of thanksgiving. One of
the more convoluted moves is Pandanggo sa Ilaw, signifying “move
 of lights,” which mimics meandering fireflies. To achieve the
dream, ladies carefully balance three tinghoy or oil lights, on their
heads and palm. 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
American colonization

The Americans brought in their own commercial and global

culture in 1898 which also influenced the Filipinos. Those
with interest in dance were the ones mainly appealed to by
the more Black-influenced customs of dance and music. With
these Filipino dancers who already know the zarzuela
(sarswela), a Spanish form of stage performance with singing
and dancing and musical comedy, they became more
interested in the American vaudeville (bodabil) or stage show,
which is filled with both theatrical and circus acts, and more
reminiscent of Broadway musicals
 More dynamic dances were incorporated in these zarzuelas during the
1950s to the 1970s, such as the cakewalk, buck-and-wing, skirt dance,
clog, tap, and soft-shoe that were more upbeat and had an American
rhythm to them, as well as social dances like the Charleston, foxtrot,
big apple, one-step, slow-drag, rumba, mambo, samba, cha-cha, and
the Latin-influenced tango. This growth of American-influenced
dances also spawned the increase of cabarets, such as the Santa Ana
Cabaret which was  a huge ballroom dedicated for these
performances  was a huge ballroom dedicated for these performances
Known as the “Dean of Philippine vaudeville,” John Cowper had
brought with him other artists 1911stage manager. As with the growth of
American influence over dance in the country, Filipinos had started
creating their own dance troupes; some of these would be the Salvadors,
the Roques, Sammy Rodrigues, Lamberto Avellana, and Jose Generoso,
to name a few. European classical ballet also gained more popularity
following the American dances. Aside from creating their own groups,
with the new and more advanced transportation system in the country,
the Philippines was now able to be included in the international circuit,
which had led to performances by international acts such as the
Lilliputians with their “ballet girls” and the Baroufski Imperial Russian
Circus showcasing their ballerinas
All over the world, early tribal and folk dances were preserved
to by people who were oppressed, relocated or
disenfranchised. This is particularly significant in South and
North America, where slaves, stripped of everything, and
randomly mixed from different tribal origins, having no
common languages, used percussion and song and dance to
bond, relate, and maintain and reform communities and social
groups. Slave owners typically banned drums and other
attempts to create music. Slaves were largely treated far worse
than animals..
Through generations, millions of African people were forced to work
and live in the most desperate living conditions imaginable, having
only their voices for singing, and their bodies for dancing, and it is
from these roots that much 'Western' and 'Latin' dancing grew,
becoming absorbed and adopted into new national cultures and
identities as slavery declined and ceased, and the new countries of the
Americas were formed. And all the time, these developments were
imported back to Europe, often adapted, and then spread further,
including back to where they'd been first found
The beat goes on

Traditional dance is still performed at celebrations of

births and weddings. Modern folk-dance festivals still
feature ancient dances performed in costumes. Many
local dances use no accompanying of musical
instrument instead they generate their own
accompaniment with stomping and clapping.
• Dance is an artistic expression that joins cadenced
developments of the body and music. It tends to be followed
since the beginning as a piece of customs, festivities,
correspondence, and self-articulation
• Dance is an indispensable piece of Filipino culture that long
before Ferdinand Magellan set foot in the Philippines. The
conventional moves of the Filipinos are energetic, beautiful,
and presenting the historical backdrop of the archipelago
• One of the most popular folk dances in the
Philippines is the Tinikling. Traditionally, it
involves couple of dancers dancing in pair of
bamboo poles on the ground. It is considered as
the oldest folk dance in the country year 19
century when then Spanish colonized the
Philippines
• Tinikling has also been called the national dance of the
Philippines, though a government declaration has never been
made designating either one as official. The word “tinikling” is
named after the long-legged bird called the tinikling This bird
belongs to several rail species, but the name typically refers to
the slaty-breasted rail. Tinikling imitates the movements of
tikling bird as the bird walks over the grass or jump to bamboo
traps set by farmers to protect on vast rice fields
 Contributors of the dances

Francisca Reyes-Aquino (1983) is considered as “Mother of

Philippines Folk Dance”. Born in Bucaue Bocaue, Bulacan, and she
graduated in University of the Philippines with a degree in BS
Bachelor of Science in Education. She presented four folk dances
(Cariñosa, Abururay, Salabat, and Areuana) as her dissertation piece
of her Master’s degree in Physical Education.  She is also the author
of numerous academic books for folk dances  including Philippine
Folk Dances and Games (1927) and Philippine National Dances
(1946).  She presented four folk dances— Cariñosa, Abururay,
Salabat, and Areuana—as her research topic for her thesis in her
masteral degree in Physical Education.  She also authored academic
books in folk dances,
Other contributor of the dance

Leonor Orosa-Goquingco (1917-2005) is the second National Artist

awardee for Dance, after Reyes-Aquino. Born in Jolo, Sulu, the
young Orosa immersed in learning and training herself in artistic
pursuits, specifically in ballet. She graduated summa cum laude with
a degree in Bachelor of Science in Education, major in English
literature at St. Scholastica’s College. She went to Columbia
University and Teachers College in New York where she took up
courses in theater craft, drama, and music. A keen ballet dancer, she
also took courses in professional and teacher training under the best
dance teachers, including Francisca Reyes-Aquino.
• Lucrecia Reyes-Urtula (1929-1999) was born in Iloilo to Leon
S. Reyes, Philippine Constabularly colonel and Antonia
Faustino, a nurse. She studied in Philippine Women’s University
(PWU) where she finished her education degree, major in
physical education. Inspired by the works done by Francisca
Reyes-Aquino, she also taught in PWU where she pursued and
continued her passion in Philippine folk dances, both as a
researcher, dance director, and choreographer
• Reyes introduced many innovations in Philippine
modern dance. In her choreographies, she used
classical music for modern dance and rock music
for ballet. She collaborated with composer Nonong
Pedero in 1972 in staging Tales of Manuvu, which
was based on the story of creation. In 1980, Reyes
worked with Ryan Cayabyab and Bienvenido
Lumbera (National Artist for Literature, 2006) for
the libretto of Rama Hari, based on the Indian epic
Ramayana
2nd Activity

•Folk dance________________ 10 points

•Definition of dance 10 points
• What does the American brought a dance 10 points
What are difference of Spanish and American dances
influence to the Filipinos 10 points
Complete the statement below.
•What I most appreciate about today’s discussion , keep safe