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FOLK DANCE
The traditional recreational dance of an indigenous society showing the cultural characteristics of a specific people at a given time or place.
Traditional, social expressions through movements with rhythmic accompaniment which are characteristics of a community life of the people of different nationalities.
2 MAJOR CLASSIFICATIONS OF ETHNIC DANCES
Dances of the Non-Christian Filipinos and Upland Filipinos
Dances of the Christian and Lowland Filipinos
THE PHILIPPINE FOLK DANCES ARE CLASSIFIED ACCORDING TO
Geographical Location
Nature of the Dance
Geographical Location
National Dances
Regional Dances
National Dances
dances known throughout the Philippines
Regional Dances
dances found in certain localities or regions only
Nature of the Dance.
Occupational Dance
Religious or Ceremonial Dances-
Courtship Dances
Wedding Dances
Festival Dances
War Dances
Comic Dance
Game Dances
Occupational Dance
depict actions, occupations and human labor.
Religious or Ceremonial Dances
performed in connection with religious ceremonies
Courtship Dances
depicting love makinh
Wedding Dances
performed during wedding feasts
Festival Dances
suitable for special occasions or any social gatherings
War Dances
showing imaginary combat or due
Comic Dance
funny and humorous movements, for entertainment
Game Dances
done with play elements
CHARACTERISTICS OF PHILIPPINE FOLK DANCES
1. folk dances begin and end with Philippine a SALUDO.
2. In general, dancers are far apart. A distance of about 6-8 feet from each other is normal.
3. There is very little, if any, body contact although holding hands is common.
4. Most of the dances are done in pairs and hand movements play a very important role.
5. Many of the dances are done in long formation.
6. The dances are performed by both young and old, and by both sexes.
SALUDO
folk dances begin and end with Philippine a ______.
6-8
dancers are far apart. A distance of about _____ feet from each other is normal.
WEIGHT ON BOTH FEET
body weight is equally distributed on both feet while standing.
TRANSFER WEIGHT
shifting of weight from one foot to the other foot when moving.
SUPPORTING FOOT
the foot carrying the weight of the body when there is a shift of weight.
FREE FOOT
the foot not carrying the weight.
FRONT FOOT
a foot that is placed forward.
REAR FOOT
the other foot that remains on a spot when the other is placed in front.
CROSSED FEET
one foot is placed in front and across the rear foot.
OUTSIDE FOOT
if a dancer stands beside another dancer, this is the foot away from that person.
INSIDE FOOT
if a dancer stands beside another dancer, this is the foot closest to the other person.
ON BALLS
to tiptoe or place more weight on the toes.
BALLS
toes
TAP
to tap the dance floor lightly with the ball of the free foot.
STAMP
to bring down the foot forcibly on the floor.
SPRING
to quickly bend and straighten the knees so that there is a bouncing movement of the body.
CUT
a sudden cut or displacement of one foot by the other foot accompanied by shifting of weight.
SWING
to move free foot side to side like a pendulum.
REVERSE "T" POSITION-
arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward.
FOREARM TURNS
starting with arms in Reverse T, move the arms alternately from the elbow in an outward to inward direction as if tracing imaginary circles.
SALOK
scooping motion with the arms. It starts with bringing the arm 2nd position to downward, inward direction, palm facing the direction of the movement, and bringing it upward as it crosses the chest and then raised to 5th position, and finally outward, sideward.
HAYON-HAYON
swinging of the arms not carrying anything. Starting with arms hanging loosely at the sides, swing the arms alternately forward and backward.
LATERAL POSITION
both arms are at one side, either sideward right or left.
HAPAY
one or both arms raised upward, move one or both sideward right and left. This movement is done while holding offerings like flowers in welcome and courtship dances.
FREE HAND
the hand that is not doing anything
OUTSIDE HAND
the hand awav from the partner. that is when partners stand side by side
INSIDE HAND
the hand closest to the partner, that is when partners stand side by side.
KOMINTANG
moving the hand from the wrist either clockwise or counterclockwise direction.
KIWIT
the thumb sticks out from a closed fist and the hand is moved from the wrist outward-inward.
STIFF FINGERS
fingers are together, held straight and pointed.
Meaning of Cariñosa
Affectionate woman |
Dance Culture of Cariñosa
Christian Lowland
Place of origin (CARIÑOSA)
San Joaquin, Ilo-ilo
Ethno Linguistic group(CARIÑOSA)
Ilonggo
Classification of Cariñosa
Courtship Dance
Meaning of Ba-Ingles
English Dance
Dance culture of Ba-Ingles
Christian Lowland
Place of Origin (Ba-Ingles)
Cabugao,Ilocos Sur
Ethno Linguistic Group of Ba-Ingles
Ilocano
Classification of Ba-Ingles
Entertainment
Balle and Ingles
Ba-ingles is derive from the words
Ilocano Peasant Costume
Costume of Ba-ingles
2/4 Composed of 3 parts: A,B, and C.
Music of Ba-ingles
One, two or one, and, two to a measure.
Counting of Ba-ingles
Formation of Ba-ingles
Partners stand opposite each other about six feet apart. When facing the audience, Girl stands at right side of partner. One or more pairs may take part in this dance.
Female costume in Cariñosa
Patadyong and camisa or kimono with soft pañuelo
Male costume in Cariñosa
Barong Tagalog or camisa de Chino and any color of trousers
¾ Composed of two parts: A and B.
Music of Cariñosa
One, two, three to a measure.
Counting in Cariñosa
Formation of Cariñosa
Partners face each other about six feet apart. The Girl is at the right side of the Boy when facing the audience.
Music A
Figure l
Cross Hands
Figure ll
Palms Touching
Figure lll
Combing
Figure lV
Powdering
Figure V
Hide and Seek with Handkerchief
Figure Vl
Kneeling
Figure Vll
Ballroom Waltz
Figure Vlll
Marilyn Mecenario-Manaloto
Presenter of Ba-ingles
Rodel M. Fronda
Presenter of Cariñosa