Comprehensive Guide to Philippine Folk Dance: Definitions, Classifications, and Fundamental Techniques, and Terminology (copy)

Definition and Characteristics of Folk Dance

• The Oldest Form of Dance: Folk dance is recognized as the earliest form of communication and the oldest form of dance known to humanity.

• Spontaneous Evolution: It represents the traditional dance of a specific country, evolving naturally and spontaneously alongside everyday activities.

• Generational Transmission: These dances are handed down from generation to generation to preserve cultural heritage.

• Movement Patterns: While folk dances typically follow a fixed movement pattern, these patterns may differ based on the specific area or region where they are practiced.

• Filipino Folk Dance Roots: Specifically in the Philippines, folk dances incorporate the various influences of immigrants and conquerors while simultaneously maintaining distinctly Filipino roots.

• National Costumes:

  • Baro't Saya: The national costume designated for girls.

  • Barong Tagalog: The national costume designated for boys.

Classification of Philippine Folk Dances by Nature and Meaning

• Occupational Dances: These dances depict the actions and movements associated with a particular occupation or labor.

  • Examples: Planting, Punding.

• Religious / Ceremonial Dances: These are associated with religious practices, the fulfillment of vows, and various ceremonies.

  • Examples: Dugsu, Sua-sua.

• Comic Dances: These utilize funny movements specifically intended for entertainment purposes.

  • Examples: Kinotan, Makonggo.

• Game Dances: These are performed with distinct play elements or game-like structures.

  • Examples: Lubi-lubi, Pavo.

• Wedding Dances: These are specifically performed during wedding feasts and celebrations.

  • Example: Panasahan.

• Courtship Dances: These dances depict the artistic motions involved in the act of courtship.

  • Examples: Hele-hele, Tadek, Pantomina.

• Festival Dances: These are suitable for special occasions or large-scale celebrations.

  • Examples: Pandanggo, Habanera.

• War Dances: These show imagery of combat and traditional warfare.

  • Examples: Sagayan, Palu-palo.

Regional Distribution of Philippine Folk Dances

• Luzon:

  • Cariñosa

  • Banga

  • Maglalatik

  • Pandanggo sa Ilaw

  • Balse

  • Jotabal

  • Makonggo

• Visayas:

  • Tinikling

  • Kuratsa

  • Mazurka Boholana

  • Escotis

• Mindanao:

  • Itik-itik

  • Singkil

  • Kandingan

Fundamental Positions of the Feet and Arms

Feet Positions

• First Position: Form a V-shape by bringing the heels together to touch while keeping the toes away from each other.

• Second Position: Move one foot sideward so that the feet are parallel to each other, maintaining a distance of approximately $12 \, \text{inches}$.

• Third Position: Bring the heel of one foot to touch the arch of the other foot, with both feet turned outward.

• Fourth Position: Place one foot forward while the other foot retains its position. The distance between the two feet should be approximately $12 \, \text{inches}$.

• Fifth Position: Bring the heel of the front foot to touch the toe of the rear foot. Both feet must remain pointing outward.

Arms Positions

• First Position: Raise both arms into a circle in front of the chest. Hands should be aligned with the chest, arms slightly curved, and fingertips at least $1 \, \text{inch}$ apart.

• Second Position: Open the arms sideward at shoulder level.

• Third Position: One arm is raised above the head in a slight curve, while the other arm maintains the second position (sideward at shoulder level).

• Fourth Position: The arm previously in the second position is raised forward in front of the chest (as in the first position), while the other arm remains lifted above the head.

• Fifth Position: Both arms are lifted above the head, slightly curving. This posture mimics the first position but is executed above the head.

Basic Body and Arm Movements in Folk Dance

• Saludo: A term meaning to bow to an opposite partner or pair.

• Abrasete: The girl stands at the right side and holds the right arm of her partner, keeping her free hand down at her side.

• Jaleo: Partners place their right hand on their waist with elbows almost touching. They turn around clockwise using any kind of dance steps.

• Arms in Lateral Position:

  • Place both arms on the right side at shoulder level.

  • Transfer both arms to the left side at shoulder level.

  • This is typically repeated eight times in $2$ or $3$ time signatures.

• Hayon-Hayon:

  • Place one forearm in front of the waist and the other forearm at the back of the waist.

  • Perform movements simultaneously and alternately to achieve a wave-like motion in front and back of the body.

  • During the exchange, when arms go to the side, they should appear to be in a "flying motion."

• Bilao:

  • Bend elbows close to the waist with hands in front, fingers pointing forward, and palms down.

  • Turn hands up and down alternately.

  • The speed of execution can be varied during repetition.

• Folded Arms: Bend the arms in front of the chest and place one forearm on top of the other.

• Kewet:

  • With the fist slightly closed, stick the thumb out.

  • Turn the right wrist outward, tracing a check sign in the air with the thumb.

  • Repeat the motion with the left hand.

• Kumintang: Moving the hand from the wrist in either a clockwise or counter-clockwise direction. This is an Ilocano term.

• Masiwak: Turn the hand from the wrist half clockwise, then raise and lower the wrist once or twice.

• Arms in "Reverse T" Position: Arms are in a side horizontal position with elbows bent at a right angle. Forearms are parallel to the head, and palms face forward or inside with fists closely closed.

• Sarok: With the weight on the left foot, point the right foot across the left foot in front. Bend the body slightly toward the pointing foot and cross the right arm over the left arm.

Basic Footwork and Dance Steps

• Place: To put the foot in a certain or desired position without putting weight on it. The sole of the foot rests flat on the floor.

• Change Step:

  1. Step the right foot in front (Count 1).

  2. Step the left foot close to the right foot in the rear (Count and).

  3. Step the right foot quickly in front (Count 2).

• Touch Step / Point: Point the foot, then close (Point, Close).

• Brush Step: A movement consisting of a Step followed by a Brush.

• Cut: To displace one foot quickly with the other, completely taking the weight off the displaced foot.

• Leap: A spring from one foot, landing on the other foot in any direction.

• Pivot: To turn using the ball, heel, or the whole foot on a fixed place or position.

• Stamp / Padyak: To bring the foot down forcibly and noisily on the floor, similar to taking heavy steps.

• Bleking Step: Consists of a heel place followed by a close (Heel place, Close).

• Hop Step: Consists of a step followed by a hop (Step, Hop).

• Slide Step: Consists of a slide followed by a close (Slide, Close).

• Tap: Flexing the ankle joint to tap lightly with the ball or toe of the free foot. There is no transfer of weight in this movement.

• Mincing Step: With heels raised, take as many small steps as desired.

• Habanera Step: A sequence consisting of Step, Close, Step.