Cheer Dance and Philippine Folk Dance — Page-by-Page Quick Reference

Page 1

  • Definition: Cheer dance = a blend of cheer and dance. Cheer = shout/motivate a team; Dance = express emotions through bodily movement in time/rhythm.

Page 2

  • Origin: traced to late 19th century; 1860s Britain—students cheered for athletes; spread to America (timeline reference: 2012).

Page 3

  • Further history: late 1880s—first organized yell on a locomotive style at an American campus; first seen during a college game.

  • 1884: Thomas Peebles (Princeton graduate) brought cheer/yell to the University of Minnesota; first pep clubs established at Princeton.

Page 4

  • Arm/hand movements:

    • Bucket: arms straight, fists down as if holding a bucket handles.

    • Candlestick: arms straight, fists facing each other as if holding lit candles.

    • Blade: arms straight sideways, open palm; fists down; fingers together.

    • Jazz Hands: open palm, fingers spread.

Page 5

  • More arm movements:

    • Touchdown: arms stretched upward; fists facing inward.

    • K Motion: one arm raised; the other downward across to the opposite side.

    • Checkmark: one arm raised diagonally; other elbow bent downward.

    • Overhead Clasp: arms extended upward; hands clasped.

    • Dagger: arms bent; fists clenched facing each other, parallel to shoulders.

    • Box: elbows at shoulder level; fists clenched facing each other.

    • Punch: one arm raised overhead with fist.

    • L Motion: one arm up; other arm raised sideways to shoulder level.

Page 6

  • Diagonal: one arm raised diagonally up; the other diagonally down.

  • High V: both arms raised diagonally upward to form a V.

Page 7

  • Beginning stance: stand straight with feet close together.

  • Cheer stance: stand straight with feet apart.

  • Side lunge: one leg bent, other extended.

  • Squat: knees slightly bent, facing outward.

  • Kneel: supported by the knees.

Page 8

  • Jumps:

    • Tuck Jump: knees to chest during jump.

    • Spread Eagle: arms and legs extended wide.

    • Double Hook: both knees bent sideways during jump.

    • Front Hurdler: lead leg straight to chest between arms; back knee toward ground; land with feet together.

Page 9

  • Side Hurdler: one leg bent forward; the other straight up.

  • Pike Jump: head up; legs folded toward arms; legs parallel to ground.

  • Toe Touch: straddle jump; legs open and parallel.

  • Forward Roll: squat, hands on ground, tuck head, roll to back, stand.

  • Backward Roll: squat from standing, hands near ears, roll backward to squat.

Page 10

  • Cartwheel: one foot forward, hands to ground, transfer weight, legs over, then land.

  • Round-off: from standing, hands to ground, legs over, snap to a standing position with a turn.

  • Genre note: Cheer dance can be integrated with Hip Hop and Jazz/Classical dances.

Page 11

  • Hip-Hop Dance: street dance styles; hip-hop culture; major styles include breaking, locking, popping (popularized by U.S. crews since the 1970s).

  • Basic steps: Bounce, Groove, Pump, Lock.

  • Jazz/Classic Dance: umbrella term linking tap, ballet, jazz, and Afro-American rhythms; basic steps include Tendu, Point, Plié, Grand Plié, Relevé, Chassé, Pirouette, Chaine.

Page 12

  • History & Fundamentals of Philippine Folk Dance:

    • Folk dance = oldest form of dance and a means of communication.

    • Represents traditional culture; linked to daily life, occupations, festivals, rituals.

    • Passed down through generations; generally fixed movement patterns; regional variations exist.

Page 13

  • 5 Major Classifications of Philippine Folk Dances:
    1) Cordillera Dances
    2) Spanish-Influenced Dances
    3) Muslim Dances
    4) Tribal Dances
    5) Rural Dances

  • Cordillera Dances (example tribes: Bontoc, Ifugao, Benguet, Apayo, Kalinga): rituals celebrating harvest, health, peace, war; instruments include gongs and ganza.

Page 14

  • Cordillera Dances examples:

    • Banga-Kalinga (Mountain Province): dancers balance earthen pots on heads to beat of angsa gongs.

    • Ragragsakan (Lubuagan, Kalinga): female dance representing terrace farming; carrying baskets/pots on heads; colorful blankets.

    • Bendayan (Bendian) - Benguet: circle dance celebrating harvests, healings, or victorious warriors; now a modern gathering feature.

    • Uyauy/Uyauoy (Ifugao): wedding festival dance performed by elites using gongs to symbolize wealth.

Page 15

  • Spanish-Influenced Dances:

    • Dances introduced by Filipino aristocracy; forms include Jota, Fandango, Mazurka, Waltz.

    • Reflect Christianity and European culture; often performed with rondalla.

    • Jota: lively footwork; variants like Jota Moncadeña, Jota Caviteña.

    • Cariñosa: flirtatious dance using fans/handkerchiefs.

    • Note: La Jota Moncadaena mentioned as a example.

Page 16

  • Muslim Dances:

    • Influences from Malay, Javanese, and traditional Malong/Malony traditions; reflects mysticism, royalty, beauty.

    • Features intricate hand/arm movements; shimmering costumes; expressive finger work.

    • Dances:

    • Singkil-Maranao (Lanao del Sur): royal dance from the Darangen; fans, intricate steps, clashing bamboo poles.

    • Pangalay-Tausug (Sulu): finger/wrist dance emphasizing grace and flexibility; sometimes on bamboo poles.

Page 17

  • Tribal Dances (Ethnic dances):

    • Performed by ethnic minorities (e.g., T'boli, Bilaan, Manobo, Bagobo).

    • Features craftsmanship in dress/jewelry; reflects beliefs in spirits (anito) and nature; uses indigenous materials; may include animal sounds and communal singing.

    • Examples:

    • Kadal Tahaw - T'boli: imitates tahaw bird; joyful forest life.

    • Bangkakaw - Bagobo: warrior/ritual dance; uses slit drum (gongan) as instrument.

Page 18

  • Rural Dances:

    • Express gaiety, fiestas, patron saints; depict rural life and daily activities; use indigenous materials and instruments (clapping, rondalla, percussion).

    • Examples:

    • Sayaw sa Bangko: dancers balance on narrow benches.

    • Maglalatik: mock war dance depicting battle over latik; dancers wear coconut shells.

Page 19

  • Costumes in Philippine Folk Dance (typical Spanish elite):

    • Female: Maria Clara dress.

    • Male: Barong Tagalog with black pants.

Page 20

  • Royal (Tagalog) and Cordillera/Tribal attire:

    • Royal (Tagalog): Female Balintawak with panuelo and tapis; Male Camisa de Chino with trousers.

    • Cordillera/Tribal: Sigpit or Sablay, Patadyong, Malong; pants.

Page 21

  • Royal (Visayan) and Cordillera/Tribal attire:

    • Royal (Visayan): Female Kimona and Patadyong with a soft kerchief; Male Barong or Camisa de Chino with any color trousers.

    • Cordillera/Tribal: male attire includes G-string with short jacket, shoulder band, feathered headdresses, Bahag (loincloth); female attire includes Hinabi na tela (hablon) and beaded accessories.

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  • Rural (Ilocano) attire:

    • Chambra blouse; Siesgo-a-line skirt.