additional concepts on folk dancing

8/17/2019 Additional Concepts on Folk Dancing

1/8

Additional Concepts on Philippine Folk Dance

Most Philippine dances were originally patterned after European dances during the Spanishregime. Pandanggo Sa Ilaw, Cariñosa, Rigodon and Balitao are eamples of these dances !ilipinosare "nown for. #side from these western$in%uenced dances, ethnic$created dances such as

&ini"ling made its way to nationwide recognition. 'espite its apparent adaptation to westerndances, still !ilipinos pay tri(ute to their cultural roots. E)ery district in the islands has its ownfol" dance, interpreted attracti)ely in festi)als and local shows, which ha)e added to thecountry*s reputed contri(ution to world*s illustration of traditional arts.

Choreographer !rancisca Reyes$#+uino is recognied for pioneering research in thedocumentation of Philippine fol" dances and founding the Philippine !ol" 'ance Society. Shecodi-ed the fol" dances into steps, directions, and musical arrangements that are taught inphysical education classes in most schools. #mong other fol" dance troupes, the BayanihanPhilippine 'ance Company formerly the Bayanihan !ol" #rts Center/ and the !ar Eastern0ni)ersity !ol" 'ance 1roup perform stylied adaptations of fol" dances in local and internationaltours. Informal fol" dancing is performed for a )ariety of occasions, such as har)ests, weddings,and religious cele(rations.

&he following are eamples of popular Philippine fol" dances2

• Binasuan $ 3riginated in Pangasinan Pro)ince 4meaning with the use of drin"ing glasses5,this )i(rant dance (asically shows o6 (alancing s"ill of the performers. 1lasses -lled with ricewine are placed on the head and on each hand carefully maneu)ered with gracefulmo)ements. &his dance is common in weddings, -estas and special occasions.

• Rigodon $ 3riginated from Spain, this dance is commonly performed at formal a6airs li"einaugural (alls where prominent mem(ers of the go)ernment participate and en7oy.

• Pandanggo sa Ilaw $ &he word pandanggo comes from the Spanish dance4fandango5characteried with li)ely steps and clapping while following a )arying 8 (eat.Pandanggo re+uires ecellent (alancing s"ill to maintain the sta(ility of three tinggoy, or oillamps, placed on head and at the (ac" of each hand. &his famous dance of grace and (alanceoriginated from 9u(ang Island, Mindoro.

• Sublian $ &he term 4su(li5 is from two tagalog words 4su(su(5 meaning falling on head and4(ali5, which means (ro"en. :ence, the dancers appear to (e lame and croo"ed throughoutthe dance. &his )ersion is originally a ritual dance of the nati)es of Bauan, Batangas, which isshown during -estas as a ceremonial worship dance to the town*s icon, the holy cross.

• Kuratsa $ Commonly performed during festi)als in Bohol and other ;isayan towns, this danceportrays a young playful couple*s attempt to get each other*s attention. It is performed in amoderate walt style.

• Itik-itik $ #ccording to history of this dance, a young woman named with harnesses of coconut shells attached on their chests, (ac"s, thighs and hips.


2/8

• aria Clara $ Maria Clara is the main female character in ?ose Rial*s =oli Me &angere $aliterary piece that features the colonial situation of the !ilipinos during the Spanish regime.She was characteried as a !ilipina woman of )irtue and no(ility. &his dance is a mi of Spanish gracefulness and customied nati)e props, such as (am(oo castanets and #sian fan.!emale dancers wear Maria Clara dress that typi-es the European style, while men are in(arong tagalog, a traditional !ilipino em(roidered long$slee)e shirt made of pineapple -(er.

• Cari!osa $ Cariñosa is a word that descri(es an a6ectionate, friendly and lo)a(le woman.

&his dance is performed in %irtatious manner with fans and hand"erchiefs to assist thedancers* hide$and$see" mo)ements.

• "a #ota anile!a $ It is a dance named after the capital city of the Philippines, Manila, wherean adaptation of Castilian ?ota a%oats with the clac"ing of (am(oo castanets played (y thedancers themsel)es. &he costume and the graceful mo)ements of the performers noticea(lyinspired (y Spanish Culture.

• Sakuting $ 3riginated in #(ra, this dance interprets a moc" -ght (etween Ilo"ano Christiansand non$ Christians with training stic"s as props. It is traditionally performed during Christmasat the town plaa or from house$to$house as a caroling show. #s a return, the dancers recei)epresents or money locally "nown as 4aguinaldo5.

• Panto$ina $ Meaning @'ance of the 'o)es@, this dance is the highlight of Sorsogon*s


3/8

and a haw". &he haw" is sacred and is (elie)ed that it has the power o)er the well (eing of the tri(e. &he haw" tries to capture one of the (a(y chic"s and is "illed (y the hunters.

• alakas at aganda A Leyte. # &ri(al dance. &his dance depicts the (irth of the -rst manand woman who came out of a (am(oo tree. It has (een said that the woman named4maganda5 (eautiful/ and the -rst man 4mala"as5 strong/ are the parents of the wholecommunity in the island. &he dance demonstrates how a (ird disco)ered the noise comingfrom the inside of the (am(oo and perched until it opened. # man and a woman came out of

the (ig (am(oo tree and, the (irth of this legendary couple is amusingly interpreted in thisdance.

• Burung-Talo A Sulu. &he dance is a uni+ue -ghting dance in a form of martial arts (y the &ausug tri(e. Performers demonstrate a (attle (etween haw" and a cat. ith their acro(aticmo)ements and tough facial epressions, this dance is highlighted with the accompanyingenergetic (eat of drums and gongs.

• Kadal-Blelah$ South Cotabato. # tri(al dance where in the dancers perform simulation of mo)ements of (irds.

• Kadal Tahaw $ Tiboli dance- south cotabato. # tri(al dance performed (y &i(oli tri(e, this

dance that mimics the hopping and %ying (eha)ior of &ahaw (ird is performed to cele(rategood har)est.

• Sa%aw sa Cu%o A Palawan. Cuyo is a small island and capital of Palawan. &here, the feastday of St. #ugustin is traditionally cele(rated with parades, processions and smallperformances (y groups coming from all o)er Cuyo Island and the near(y islets. Islanddances, (lended with strong 3ld Cuyo ethnicity and Spanish$in%uenced steps, are all (roughtout when Cuyo cele(rates its festi)als. &oday, pretty young girls daintily swirl hats to thewalt and other European steps designed to (ring out the freshness and glow of theperformers.

•

Karatong A Palawan. # Muslim dance. 'uring the festi)al of San #gustine in the island of Cuyo, the cele(ration also includes the (lossoming of mango trees. &he parade starts fromthe church patio and ends at the town plaa with ladies wa)ing their colorful props 4Bungamangga5 that sym(olie the %owers of mango tree, while men li)ely stri"e their "aratonginstruments> creating a scene of 7oy among re)eling towns fol".

• Dugso A Bu"idnon. # than"sgi)ing dance from the talaindig tri(e.

• &a%ong-ga%ong A Capi. # Muslim dance. In rural gatherings, this dance o6ers much fun.1ayong is a pet name for 9eodegario. #ccording to the legend and to the words of the song,1ayong and Masiong pet name for 'almacio/ once attended a feast commemorating thedeath of a townsman. hile eating, Masiong cho"ed on a piece of #do(o so he called,

@1ayong 1ayong@ to as" for help to dislodge a (one from the #do(o meal from his throat. Inthis dance, Masiong*s li"ing for feasts and the conse+uence of his gluttony are held up toplayful ridicule.

• Kapa along-along A Cota(ato. # Muslim dance. &his Maranao dance is performed withwomen wearing malong and shawl, mantle or head piece, whereas men wear sash or waist(and, shorts or (ahag and head gear or tur(an traditionally worn in the -elds.

• Pagapir $ 9anao del Sur. &his dance is usually performed to commence an important a6air.'ancers of this dance are usually from the royal court or high society group of 9anaoPro)ince. &hey use apir or fan to coordinate with their small steps called "ini$"ini, which

sym(olies their good manners and prominent family (ac"ground.

• Pangala%$ Dam(oanga 'el Sur. # muslim dance. 3riginally performed (y wealthy familiesduring a wedding cele(ration, this -ngernail dance is now a popular festi)al dance in Sulu.

• Alca$'or $ 9eyte comes this couples dance in which the girl holds a hand"erchief laced withcamphor oil, a su(stance which supposedly induces romance.

• Andalu( $ #lso "nown as Paseo de Iloilo, for its pro)ince of origin, this is one of the mostsophisticated courtship and %irtation dances of the Spanish era. &he gentlemen compete


4/8

among each other to win the heart of the dalaga, or young lady, (y eemplifying chi)alry,grace, and con-dence.

• Ara% $ # dance whose words are sung in @Cha(acano$ermitense,@ a hy(rid of Spanish thatwas only spo"en in the Ermita district (efore the turn of the century and today is etinct. &hedance itself is a %irtatious one that in)ol)es graceful use of the pañuelo, or shawl, andtam(ourines. #ray means @ouch@ in &agalog.

•

Balse $ 'eri)ed from the Spanish @)alse@ walt/, this dance was popular in Mari"ina, Rialpro)ince, during the Spanish times. Balse was performed after the lutrina a religiousprocession/, and the music that accompanied the dancers was played (y the musi"ong(ung(ong musicians using instruments made of (am(oo/.

• Cari!osa $ &his %irtatious dance is "nown throughout the Philippines. Cariñosa meansa6ectionate, lo)a(le, or amia(le. ith a fan or hand"erchief, the dancers go through hide$and$see" mo)ements and other %irting acts epressing tender feelings for one another. &hereare many )ersions of this dance, (ut the hide$and$see" mo)ements are common in all.

• Chotis $ &he Chotis or @Shotis@/ was one of the (allroom dances learned (y the !ilipinos fromthe early European settlers. &his dance, from Camarines Sur, has (een adapted (y the

Bicolano people and is characteried (y a (rush$step$hop mo)ement.

• )scopiton alandog $ #ccording to legend, two (oys named Esco and Piton introduced thisdance during the inauguration of the founding of San ?ose de Buena)ista. E)entually thedance was called Escopiton. &his (eautiful dance originated from Malandog, a (arrio of :amtic in #nti+ue.

• )studiantina $ # )ery li)ely and gay dance. 'uring the old days, this dance was a fa)orite insocial gatherings and was performed (y the estudiantinas, women who were students of pri)ate schools and colleges in Manila. &hey are seen holding a (oo" in one hand throughoutthe dance.

• *abanera $ # wedding party dance which originated in the town of Botolan in the Dam(alesPro)ince. &ypical se+uences include the procession of the (ride and grooms parents, lineup of the (ridesmaids and groomsmen upstage, and a solo featuring the wedding couple.

• I$unan $ # courtship dance of Ilo"ano origin. # (eauty enters for an afternoon promenadewith her suitors. #t the end of the dance, the lo)a(le and charming lady cannot select fromany of her suitors.

• "a #ota $ &he 7ota encompasses a )ariety of Spanish$in%uenced dances accompanied (y theuse of (am(oo castanets, held loosely and unstrung. &here are many forms of 7ota in thePhilippines whose names are deri)ed from their regions of origin. # common progression inthe 7ota is a +uic" F li)ely )erse, followed (y a slow (ridge, and ending with a )erse in thesame li)ely tempo as in the (eginning.

• #ota )spa!ola $ :ighlighted (y castanets, a(anicos, and tam(ourines.

• #ota &u$a+ue!a $ 3nce )ery popular among the well$heeled families of 1umaca, &aya(asnow Gueon/. # well$"nown local musician at the time, Señor :erminigildo 3mana,introduced this dance. It (ecame popular with the young people and was handed down(etween generations.

• #ota anile!a ,anila $ It originated in the capital city around the Hth century.

• #ota oncade!a ,oncada. Tarlac $ # com(ination of Spanish and Ilocano dance stepsand music.

• #ota Pangasinana ,Pangasinan pro/ince $ 'emonstrates the %air of stomping feetculminating with the cry of @3lJ@

• #ota de Paragua ,Cu%o. Palawan $ 'isplays a Castillan in%uence with Dapateadosfootwor"/, 9o(rados arms/, and Se)illana style of dress. &he ladies wa)e their mantKn, ordecorati)e shawl, while the gentlemen "eep (ris" pace with (am(oo castanets.


5/8

• #o/encita - # dance typical of a womans de(ut or e)en her wedding. &he accompanying lo)e(allad was written (y Maestro =itoy 1onales when he was courting ?o)ita !riese, who thenchoreographed the graceful and (eautiful ha(anera dance that accompanies it. ?o)encitameans @young lady@ in Spanish.

• "anceros de 0egros - 'uring the Spanish time, this dance was one of the popular +uadrilledances in the Philippines. It is similar to the stately Rigodon de :onor and is danced inimportant social a6airs to formally open a (ig (all. 3ne )ersion from Silay, =egros 3ccidental,

is performed in a lengthwise formation.

• a(urka Boholana - &his dance is a traditional (allroom dance popular in Bohol and in otherpro)inces during the Spanish times.

• Panderetas - &his dance, named after the 7ingle$less tam(ourines carried (y the females,originates from &ana, Iloilo. !rom 'ecem(er HL to ?anuary L, a group of people in the;isayan regions go from house to house to sing Christmas called @'aigon.@ In some regionsthe song is usually followed (y some dances, and @9as Panderetas@ is one of those dances.

• Paso Doble - Meaning @two$step,@ the name is actually a misnomer, as it is an ordinarywal"ing or marching step called the @one$step.@ &he term refers to the stirring marchingmusic played as (ac"ground music at (ull-ghts and -estas throughout Spain.

• Polkabal $ # dance in%uenced (y two distinct European styles2 pol"a and )alse.

• Putritos $ # festi)al dance from #timonan, &aya(as now Gueon pro)ince/, featuring acouples %irtatious and playful interaction. It is danced in alternating slow and fast walttempos and culminates in a )i)id twirling se+uence (y the girl.

• Rigodon de *onor $ &his elegant dance was (rought to the Philippines (y the !ilipinos whoreturned from their tra)els a(road during the Spanish era. &his dance ta"es its name from itsopening performances at formal a6airs such as the Presidents Inaugural Ball. Mem(ers of

go)ernment, including the President and !irst 9ady, diplomatic corps, and other state ocialsusually participate in the Rigodon. &raditionally, a (allroom walt dance would follow theRigodon.

• Sabalan "ula% $ &he dance @9ulay,@ li"e the "uratsa, 7ota, pandango, and pol"a, is performedin many parts of the Philippines. &his dance originated from Malamig (arrio of the town1loria, 3riental Mindoro. It is part of a wedding ritual which has four phases2 sa(alan,pamalaye, sa(og and dapit. &he dance (egins with the gentleman dancing around hispartner as she e)entually gi)es in to dancing with him.

• Saguin-Saguin $ !rom the Bicol region comes this courtship dance which tells the story of a

lum(eryard owner, who threw a dance for his wor"ers. # girl who was related to one of thewor"ers was o6ered to the owner as a dance partner. :e too" to her )ery "indly, ande)entually serenaded her.

• Ti$awa $ Meaning @forsa"en lo)er,@ &imawa is a courtship dance, usually performed (ywomen, and is originated in 9amot, a (arrio in Capi. &he story recounts of a man and awoman, (oth timawas, who met at a social gathering and (ecame ac+uainted with eachother. In the course of their con)ersation, they disco)ered that they (oth had the samemisfortune> therefore, turning to each other for sympathy and comfort.

Basic Dance Steps o' Philippine Folk Dance

*opping $ Springing into the air from one foot and landing on the same foot #u$ping $ Mo)ement without a point of support or Spring into the air o6 (oth feet and land on(oth feet"eaping $ # transfer of weight from one foot to the other. Push o6 with a spring and land on the(all of the other foot, letting the heel come down. Bend "nee to a(sor( the shoc"Pi/oting $ # tra)eling turn eecuted with thighs loc"ed and feet apart in etended -fth positionShu1ing $ # triple step similar to a Pol"a step with no lilt for eample step forward left and(ring the right foot up yo the heel of the left foot.Brushing $&o (rush, sweep or scu6 the foot against the %oorKu$intang $ a simple, classic gesture of rotating the hand and wrist and mo)ement of armswhich was (elie)ed to ha)e (een inspired (y arnis.

http://filipinosongsatbp.blogspot.com/2007/12/basic-dance-steps-for-philippine-folk.htmlhttp://filipinosongsatbp.blogspot.com/2007/12/basic-dance-steps-for-philippine-folk.html


6/8

Sarok or salok $ is an ela(orate (ow which must ha)e (een inspired (y the woman aciti)ity offetching water from a well.Swa% $ # tilt of the chest to the side, without lowering the torso Stretching from the side upwards2alt( steps $ # (allroom dance in NO time which -rst de)eloped in ;ienna as a fast paceddance to the Strauss music of the time, and e)entually e)ol)ed into the slower )ersion we now"now as alt or Slow alt/.

Folk Dance Steps Co$binations in 345 Ti$e

!acial epressions can con)ey the mood of a person. hen dancing, the mood of thedance is also shown (y facial epressions of the dancers as well as the mo)ements of the(ody. &he gracefulness of the dancers is a6ected (y the facial epression of the dancers. &his istrue in all "inds of dances especially in fol" dancing.:ow en7oya(le it is to participate in fol" dancing #side from propagating our own culturalheritage, it ma"es us forget our worries in life.Step Patterns2

a. &ouch Step A touch R ct. H/> close R ct. Q/ A H M(. Step Point A step R ct. H/> close 9 ct. Q/ A H Mc. Close Step A step R ct. H/> close 9 ct. Q/ A H Md. Slide Step A slide R ct. H/> close 9 ct. Q/ A H Me. Step Swing A step R ct. H/> swing 9 ct. Q/ A H Mf. Step :op A step R ct. H/> hop on R ct. Q/ A H Mg. 1allop Step A step R ct. H/> cut 9 ct. ah/> step R ct. Q/> cut 9 ct. ah/ A H Mh. Change Step A step R ct. H/> close 9 ct. and/> step R ct. Q/ A H Mi. Cut Step A cut or displace R with 9 ct. H/ A H count

7. :eel F &oe Pol"a$ place R heel ct. H/> point R toe ct. Q/> step R ct. H/> close 9 ct. and/>step R ct. Q/> pause ct. and/ A Q M

". Pol"a A step R ct. H/> close 9 ct. and/> step R ct. Q/> pause ct. and/ A H M

Note: These stes can be done in lace or while !o"ing. #t can also be done starting with the L$oot.

Folk Dance Steps Co$binations in 645 Ti$e

Some dance steps done in QO time rhythm can also (e done in 8 time.Re)iew the steppatterns of the following (asic dance steps which are done in 8 time and identify which dancestep can (e done in QO and 8 time signature.

a. &ouch Step A touch R cts. H,Q/> close R ct. N/ or touch R ct. H/> close R cts. Q,N/ A H M(. Step Point A step R cts. H,Q/> point 9 ct. N/ or step R ct. H/> point 9 cts. Q,N/ A H Mc. Step Swing A step R cts. H,Q/> swing 9 ct. N/ or step R ct. H/> swing 9 cts. Q,N/d. Step :op A step R cts. H,Q/> hop R ct. N/ A H Me. Close Step A step R cts. H,Q/> close 9 to R ct. N/> step R ct. H/> close 9 to R cts. Q,N/ A H Mf. Slide Step A slide R cts. H,Q/> close 9 to R ct. N/ or slide R ct. H/> close 9 to R cts. Q,N/ A H

Mg. Ble"ing A place R heel cts. H,Q/> close R to 9 ct. N/ or place R heel ct. H/> close R to 9 cts.

Q,N/ A H Mh. alt A step R ct. H/> close 9 to R ct. Q/> step R again ct. N/ A H Mi. &hree$step turn step R ct. H/ turn and step 9 ct. Q/> turn and step R ct. N/> close 9 to R

ct. H/> pause cts. Q,N/ A Q

Note: These stes can be done in lace or while !o"ing. #t can also be done starting with the L$oot.

#ll Sway Balance A &he -rst step is usually done o(li+uely forward, cts. H,Q, the cross$stepis done sideward ct. N/. &he succeeding step is done o(li+uely (ac"ward ct. Q/ and the last twocounts are done in front, in place. #rms open from the -rst position to the fourth position R or 9arms high.


7/8

(. Sway (alance with a (rush step R, cross step9Ostep R, (rush 9OO QM H, Q N H Q,N/

c. Sway (alance with a close step R, cross step9Ostep R, close 9OO QM H, Q N H Q,N/

d. Sway (alance with a hop step R, cross step9Ostep R, raise 9, hopOO QM H, Q N H Q,N/

e. Sway (alance with a raise step R, cross step9Ostep R, raise 9OO QM H, Q N H Q,N/

f. Sway (alance with a walt step R, cross step9Ostep R, close 9, step ROO QM H, Q N H Q N/

Dance Ter$inologies

H Abarsete - 1irl at the R side holds the R arm of partner with her 9 hand free down atsides.

Q Ar$s in lateral position - (oth arms are at one side, either R or 9.N Ar$s in re/erse 7T8 position - #rms are horiontally sideward, el(ows at right angles,

forearms parallel to head, el(ows are at shoulder le)el, -st slightly closed, facing eachother.

7Bilao8 (end el(ows close to waist, hands in front, -ngers point forward, palms down. &urns hands up and down alternately.

Brush - to hit the %oor with the (all or heel of one foot after which that foot is lifted fromthe %oor in any direction.

L Cabecceras $ dancers are in a s+uare formation> the couples occupying the width of thehall.

Cast-o9 - dancers are in a long way formation, head or lead couple countermarchoutward to the end of the line where the last couple was., countermarch inward to properplaces.

T Clockwise - following the directions of the hand of the cloc". &he R shoulder is toward thecenter of an imaginary circle.

Costados - dancers are in a s+uare formation> the dancers are occupying the length of the hall are called 4costados5 or side couples.

HU Counterclockwise $ the re)erse direction of cloc"wise A 9 shoulder is toward the centerof an imaginary circle.

HH Cross-o/er - two couples are opposite each other. Each couple proceeds in a straight lineto the opposite place. &he girls pass their 9 shoulders (etween the (oys. Boys (ow to eachother when they meet at the middle or a(out one third of the way, then proceed to theopposite place. 0pon reaching the opposite place, partners turn R a(out, girls stand atpartners* right side.

HQ Curts% - point the R foot in rear of the 9 foot> (end "nees slightly.HN Cut - to displace +uic"ly one foot with the other.H Do-Si-Do $ partners are facing each other. Starting with the R foot, ta"e N wal"ing steps

forward to partner*s place passing each other (y the R shoulders> step the 9 foot acrossthe R foot in front> without turning around, ta"e three wal"ing steps (ac"ward, to properplace. Close 9 to R.

H Folded ar$s $ (end arms in front of the chest and put one forearm on top of the other.HL Free 'oot $ the foot not (earing the weight of the (odyH Free hand $ the hand not placed anywhere or not doing anything.HT 7*apa%8 - to %ourish or o6er a hand"erchief or glass of wine to some(ody as a sign of

in)itation.H 7*a%on-*a%on8 $ to place forearm in front of the waist and the other at the (ac" of the

waist.QU Inside *and4Foot - the hand or foot nearest one*s partner when standing side (y side.QH 7#aleo8 - R hand on waist, el(ows almost touching, partner turn around once cloc"wise

using any "ind of dance steps.QQ 7Kewet8 $ with -st slightly closed, thum( stic"ing out turn the wrist outward.QN 7Ku$intang8 $ mo)ing the hand from the wrist either in cloc"wise or counter$cloc"wise

direction.Q "ink elbows A hoo" el(ows with partner or any dancer.Q asiwak $ turn the hand from the wrist counter$cloc"wise then raise and lower wrist once

or twice. &his is an 4I(anag &erm5.QL :utside hand4'oot $the hand or foot away from one*s partner when standing side (y

side.Q Panda%ak $ to stamp, in front or at the side with the R foot and tap with the same foot

close to the 9 foot.QT Place - to put the sole of the whole foot in a desired position without putting the weight

on it.Q Point $ to touch the %oor lightly with the toes, no weight.


8/8

NU Salok - to swing arm downward upward to -fth position passing in front of the (ody as ifscooping. &he trun" is (ent forward following the mo)ement of the arm doing the 4salo"5.

additional concepts on folk dancing

Documents