Professional Documents
Culture Documents
Rhythmic Activities
Module #1
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
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 dances
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 or ethnic 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).
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
Set. This consists of two or more pairs as a unit with partner facing each
other or standing side by side.
Binadyong. Haplik, Kakawati, etc.
CHARACTERISTICS
1. In general, dancers stand apart.
2. There is little, if any, body contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with "Saludo".
7. Dances from the lowlands have more foreign elements than those
found in the uplands.
8. War dances are found among non-Christian tribes.
DO’s
1. Dance in a natural, simple and direct manner.
ARMS - Arms are raised forward in a circle in front of the chest with fingertips of
both hands about an inch apart.
FIRST POSITION
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.
SECOND POSITION
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).
THIRD 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.
FOURTH 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).
FIFTH POSITION
FEET - One foot is placed in front of the other foot with the heel close to the toe of the other foot.
FUNDAMENTAL
POSITIONS OF ARMS
AND FEET IN 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.
FIRST POSITION
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 downward.
SECOND POSITION
FEET - The feet position is performed with feet sideward about a pace apart with the other pointed
parallel to each other.
THIRD POSITION
ARMS - Arms are raised on the sides a little below the shoulder level with palms facing upwards.
THIRD POSITION
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.
FOURTH 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.
FIFTH POSITION
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.
SIXTH POSITION
FEET - Stand with one foot forward about a pace distance with toes out.
SEVENTH POSITION
ARMS - Both arms are raised slightly in front of the head (amplified position) from a circle.
SEVENTH POSITION
FEET - Stand with one foot placed in front of the other foot with the heel close to the toe of the
other foot.
EIGHT POSITION
https://www.youtube.com/watch?v=MiBdYHtECPY
COMMON DANCE TERMS USED IN
FOLK DANCING
Please click the link below:
https://youtu.be/4j67PnN12uQ
Arms in lateral position - Both arms are on the sides either right or
left: at shoulder chest, or waist level.
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
Cut - To display quickly one foot with each other.
Free Foot - The foot not bearing the weight of the body.
Jaleo - Partners tum around clockwise, (with L elbows touching) using walking or
any kind of dance of step.
Jump - A spring on one foot or feet landing on booth feet any direction.
Kumintang - Moving the hand from the wrist either in a clockwise or counter
clockwise position.
Leap - A spring on one foot landing on the other foot in any direction
Place - A foot in any position without putting weight on it the sole of the foot rests on
the floor.
Pivot - To sum with the ball, heel or whole foot on a fixed place, or point.
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.
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.
Saludo - Partners with feet together bow to each other, or to the audience, or
to the opposite dancers, or to the neighbors.
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).
Step - To advance or code by moving one fool to another testing place with a
complete transfer of weight from one foot to the other tool.
Supporting foot - The root that bears the weight of the body .
Tap – To tap lightly with the ball or tip of the toe, placing weight of the body
on the foot. There is no change or transfer of weight here.
– Toe or ball of free foot is placed momentarily on floor and lifted again
immediately.