pe talaka

dance

performing art form consisting of purposely selected sequences of human movement

categories of dance is based on

choreography

repertoire of movements

historical period

place of origin

elements of dance

the foundational concepts and vocabulary that help develop movement skills and understand dance as an artistic practice

BASTE

Body

Action

Space

Time

Energy

Body

the mobile figure or shape felt by the dancers and seen by others

action

any human movement included in the act of dancing not only to steps and sequences but also pauses and moments of relative stillness

space

the area dancers occupy during execution of movements and the distance traveled within the performance

general space

when dancers use locomotor movements to travela round the space they share with others

personal space

when dancers use non-locomotor movements to dance in place

time

rhythmic patterns that may be metered or free rhythm

energy

how the movements happen choices include variations in the movement flow

types of dances

folk dance

ballet

modern and contemporary dance

hiphop or street dance

latin, ballroom, and social dance

folk dance

dance that reflects the life of the people in a certain country or region

folkdance

the oldest form of dance

mrs. francisca reyes tolentino (aquino)

the mother of philippine folk dances

variety of philippine dances

cordillera dances

western influence dance

rural dances

muslim and non-muslim dances

cordilera dance

an expression of community life that animates the various rituals and ceremonies to appease their ancestors and gods

banga

kalinga tribe

bendayan

benguet province

manmanok

bago tribe

ragragsakan

kalinga tribe

turayen

gaddang tribe

tarektek

benguet tribe

uyaoy/uyauy

ifugao tribe

maria clara dances

merged spanish court style with philippine exuberance

maria clara

the pure and noble heroin of a novel who represents the finest qualities of filipino womanhood

western influece sample dances

jota intramureña

engañosa

lo jota manileña

jota paragua

polkabal

putritos

baston

timawa

habanera botoleña

originally from botolan zambales, a fusion of filipinoa nd spanish techniques useually perofrmed in grand celebrations

rural dance

the best known and closest dance to the filipino heart that illustrate the fiesta spirit and demonstrate a love life

tinikling

leyte

itik-itik

surigao del norte

maglalatik

biñan laguna

binasuan

pangasinan

kappa malong-malong

maranao mindanao

cariñosa

panay island

muslim and mindanao dance

mirror the people’s expressions showing the artistic ingenuity of the natives and their beliefs and traditions

muslim and mindanao sample dances

singkil

pangalay

dugso

sagayan

karasaguyon

asik

udol

1st position

feet heels close together toes apart about 45 degrees

arms both raised forward in a circle in front of chest fingertips an inch apart

2nd position

feet stride sideward a foot distance

arms both raised sideward with a graceful curve at shoulder level

3rd position

the heel of one foot is close to in-step of other foot

one arm raised upward the other still in 2nd position

4th position

one foot in front of the other foot in pace distance

the raised arm still in place while the other is at 1st position

5th position

heel in front of foot close to big toe of rear foot

both arms raised over head

abrasete

girl at right side of boi holds his r arm with L hand, free hands down at side

arms at side

arms hang from shoulders at the side of he body

arms in T position

arms at side horizontal elbows bent at right angles forearms parallel to body facing downward

lateral position

both arms at one side right or left at shoulder/chest/waist level

reverse T position

the arms are parallel to head rather than the body

bilao

hands in front parallel to each other at waist level elbows close to waist palms down and up alternately

bleking

heel place close

brush

weight on one foot hit the floor with heel of the other foot and lift

cabeceras

the head couples occupying the width of the hall when dancers are in square position

chasing

execute successive close steps with one foot leading

clockwise

r shoulder toward center of an imaginary circle towards the left

costados

the side couple occupying the length of the hall when dancers in square position

counter clockwise

L shoulders toward center movement toward right

crossed arms

partners face each other join both their hands together and raise one joint hands over the other

cross over

two couples opposite each other each couple proceeds to opposite place girl pass by their L shoulder between the boys

cut

to displace quickly one foot with the other

do si do (dos a dos)

partners advance forward pass each other’s R or L side

draw

the free foot is drawn toward the foot which supports the body weight

free foot

foot not bearing the weight of the body

free hand

the hand not placed anywhere or not doing anything

gallop

step R foot forward cut with the L foot

hands holding skirt

arms at side fingers holding skirt

hands on waist

knuckles of hands placed at the smallest part of the waist

hapay

to flourish offer a handkerchief, hat or glass of wine

inside foot

foot nearer to partner

inside hand

hand nearer to partner

jaleo

partners turn around clockwise with r elbows almost touching

jump

spring one foot or both feet landing on both in any direction

korriti

with one foot closed in front of the other, take as many steps as desired

kumintang

moving the hand from the wrist clockwise/counter direction

leap

spring one foot landing on the other foot

masiwak

to turn the hand from wrist halfway clockwise then raise lower wrist once or twice

mincing

feet in 5th position and heels raised take many tiny steps sideward

outside foot

foot away from one’s partner

outside hand

hand away form one’s partner

opposite

person standing in the opposite across the set

panadyak

bodyweight on L foot, stamp R in 4th position then tap foot close to L

patay

to bend the head down so that the forehead touches the R forearm

pivot

turn with the foot on a fixed position

place

to put foot in certain position without weight

rocking step

Fall onto R (L) foot incline body slightly forward, raise L (r) in rear (ct.1), fall into L (R) foot in rear, incline body backward, raise R (L) forward (ct.2)

salok a

Swinging the arm downward- upward passing in front of the body as if scooping; the trunk is bent forward following the movement of the arm doing the salok

salok b

Swinging the arm downward- upward passing in front of the body as if scooping; the trunk is bent forward following the movement of the arm doing the salok

saludo

partners with feel together bow each other

sarok

Cross the R (or L) foot in front of the L ( or R), bend the body slightly forward and cross the hands down in front R (or L) hand over L (or R)

set

A dance formation like a square or a unit formation composed of two or more pairs.

shuffle

To step right (L) foot in place count left foot in place ah step right (L) foot in place count ah and step left foot in place count ah./ With both feet flat on floor, make tiny slide steps forward

skip step

Step R (L) in 4th in front (ct.1), hop on R (L) in place (ct. ah). This is executed in any direction

slide

to glide foot smoothly along the floor

stamp

to bring the fot forcibly and noisily on the floor

step

to advance or recede by moving one foot to another resting place with a complete transfer of weight from one foot to another

supporting foot

foot that bears the weight of the whole body

tap

to tap slightly with the toe of the free foot keeping weight of the body with no transfer of weight

touch

tap with point

whirl

to make fast turns by executing small steps

touch step

point r close r to l

bleking

heel place r close to l