PEHDEH3-1

LESSON 1: HISTORY AND GENERAL CLASSIFICATION OF PHILIPPINE FOLK DANCES Physical Education is defined as an integral part of an educational program designed to promote the optimum development of an individual physically, mentally, emotionally, socially and spiritually through total body movement in the performance of properly selected physical activities. Philippine folk dances have increased in popularity and obtained world culture when some Philippine dance troupes perform in foreign nations. The Philippine dances entertained and delighted people from all walks of life: Folk dances promote national goodwill through describing the habits, customs and beliefs of the people all over the world. Social dances give opportunities to develop the individual's ability to communicate, mingle and socialize with other people. Social dances also prepare the person to basic dance steps, positions, movements and rhythms. ● For example, ballroom dancing has a unique history which contributes to its current popularity as a recreational and competitive dance sport. ● Ballroom dancing originated in England during the late 18th and early 19th century. ● Ballroom dancing is particularly popular among the upper classes who participated in social events at dance balls. ● Ballroom Dancing has sustained its popularity through ballroom clubs opened for the enjoyment of the public. Anyone can enjoy ballroom dancing since there are no restrictions to gender and age. Women can best express themselves through ballroom dancing. Likewise, men can also enjoy the social benefits of ballroom dancing. Introduction to Philippine Folk Dances Folk dances are traditionally a dance of a country which evolved naturally and spontaneously in connection with the everyday activities and experiences of the people. These are traditional dances handed down from generation to generation that describe the traditions, beliefs, occupations, and ways of life and characteristics of people living in a certain nation expressed through body movements. Values Derived from Studying Philippine Folk Dances Philippine folk dances mirror the culture of Filipino ancestors. Studying Philippine folk dances is likewise, studying the Filipino heritage. Significance of Philippine Folk Dance in various ways: 1. Strengthen patriotism and nationalism. 2. Appreciate the aesthetic value of Philippine folk dances. 3. Preserve the Filipino heritage through folk dancing. 4. Promote the Filipino culture through folk dancing. 5. Gain healthy posture through graceful and rhythmic coordination. 6. Provide a healthy form of relaxation and recreation. Brief History of the Philippine Folk Dances When the Philippines was discovered by Ferdinand Magellan in 1521, it was inhabited by different racial groups: the Indonesians, Malays and Pygmies. ● The offspring of the Pygmies were the Negritos whose dances describe their daily activities like the Sinulog, a dual dance where two men use bolos. For centuries, dancing and singing have been the principal pastime of the people. ● The early Filipinos considered dancing as a religious activity. ● They performed dances in thanksgiving for a fruitful harvest, a victorious battle and prosperous voyage or recovery from sickness. During the Spanish period, dancing played an important part in the social activities of the filipinos. ● Kumintang, a pantomimed song and dance, was the oldest recorded activity among the Christianized filipinos. ● The Spaniards introduced different dances such as Fandangos, Lanceros Rigodon, Carinosa and Curacha. ● Western cultures and dances of other European countries during the 16th century were also PHEDEH3-1 PRELIMS REVIEWER AGUDA, STEPHEN DAVID M. XII-FARADAY introduced, absorbed and blended in 'in' our native culture which later became our traditional folk dances. Nowadays, folk dancing isincreasing in popularity. ● There are numerous fascinating Philippine dances which have already been documented and performed not only in schools but also by various dance groups, both by amateurs and professionals. The University of the Philippines' Folk Song and Dances paved the way for the birth of Philippine dances and dance troupes well organized by Mrs. Tolentino. ● The UP Folk Song and dances have performed and showed their prowess in several towns and provinces nearby Manila. Furthermore, the Bayanihan, Filipinescas, Filipiniana, and others like the Barangay, Ramon Obusan Folkloric Dance troupes have performed outside the country, and their success obtained admiration and appreciation of Filipino culture by the foreigners. Thus, they have brought pride and prestige to the country. Classification of Philippine Folk Dances Folk dancing is a very wholesome form of recreation that we can enjoy. Significantly, part of the rich Filipino culture and arts is folk dance. Francisca Reyes Aquino (Philippine's national artist and Mother of Philippine Folk Dances) - started the collection of dances and songs as early as 1924. - She authored six (6) volumes of books in different Philippine Folk Dances and many other unpublished books. These dances have been categorized into non-Christian or their ethnic dances and Christian dances. ● The ethnic dances are described as the highest form of art of the Filipino dances because of their innate, unique and beautiful movements. ● The Christian dances mostly adopted the Spanish and other European influences, and mixed the native Filipino culture. ○ These Christian dances include Jotas, Pandanggo, and Habaneras. - Francisca Reyes Aquino identified the Philippine Folk Dances based on general and special classification. Description 1. National Dances - present throughout the island with little or no modification. 2. Local Dances - present in certain localities only. 3. Occupational - dances depicting action of certain occupation, industry or human labor. PHEDEH3-1 PRELIMS REVIEWER AGUDA, STEPHEN DAVID M. XII-FARADAY 4. Religious or Ceremonial - dances being performed in connection with religious vows and ceremonies. 5. Comic Dances - depicting funny movements for entertainment. 6. Game Dances - having play elements (dance mixers). 7. Wedding Dances - dances being performed during wedding feasts. 8. Courtship Dances- dances depicting love-making. 9. Festival Dances - dances fitting for special occasions or any social gathering. 10. War Dances - dances showing imaginary combat or duel. Characteristics of Philippine Folk Dances Philippine Folk Dances are described in terms of the following: 1. Dancersstand apart. 2. Partnersstay apart at 6' away. 3. There is little, if any, bodily contact. 4. Most dances are in long formation. 5. Most of the dances are done by pairs or couples. 6. Hand movements play an important part. 7. Most dances begin and end with "saludo". 8. Dance from the lowlands have more foreign elements than those found in the uplands. 9. War dances are found among non-Christian tribes. Do's in Folk Dancing Folk Dancing will require the following tips: 1. Dance in a natural, simple and direct manner. 2. Dance with ease and smoothness. 3. Use the proper costumes for dance. 4. Follow directions and dance instructions as closely as possible. 5. Dance with feeling and expression. LESSON 2: FUNDAMENTAL DANCE POSITIONS, TERMS AND CONDITIONS Fundamental Positions of Arms in Folk Dancing Five Arm Positions: First Position: Arms are raised forward forming a circle in front of the chest with fingertips of both hands about an inch apart. Second Position: The arms are placed sideways a little below shoulder level with palms facing up. Third Position: The right arm is raised above the head forming half a circle (amplified positions), while the left arm remains in the second position. Fourth Position: The right arm is still raised and remains in an amplified position, while the left arm is placed in front of the chest, as in the first position. Fifth Position: Both arms are raised forming a circle over the head in an amplified position. Fundamental Positions of the Feet in Folk Dancing Five Fundamental Feet Positions: First Position: Both heels are together while toes are apart at an angle of about 45° or more. Second Position: Both feet apart sideward about a pace distance. Heels are parallel to each other. Third Position: The right heel of one foot is close to the instep of the left foot. Fourth Position: The right foot is forward about a pace distance with toes out. Fifth Position: The right foot is placed in front of the left foot while the right heel is close to the toes of the left foot. Common Dance Terms Used in Folk Dancing 1. "Abrasete" - Girl at the right side, hold R arm of partner with her L. hand, free hands down at the sides. PHEDEH3-1 PRELIMS REVIEWER AGUDA, STEPHEN DAVID M. XII-FARADAY 2. Arms in Lateral Position - both arms at one side, either right or left; at shoulder, chest, or waist level. 3. Arms in Reverse "T" - arms are side horizontal, elbows bent at the right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed. 4. "Bilao" - to turn palms of hands up and down alternately, hands at waist level in front, elbows close to waist. 5. Brush - weight on one foot, hit the floor with the ball or heel of the other foot and lift that foot from the floor to any direction. 6. "Cabeceras" - the couples occupying the width of the hall when dancers are in square formation (head couple). 7. Clockwise - like the motion of the hands of the clock, the right shoulder is toward the center of an imaginary circle. When facing center, movement is toward the left. 8. Counter Clockwise - the reverse direction of clockwise, left shoulder toward center. Movements are toward the right when facing the center of the circle. 9. "Costados" - the couples occupying the length of the hall when dancers are in square formation (side pairs). 10. Crossed Arms - partners facing each other or standing side by side join their left hands together and the right hands together; either right over left or left over right hands. 11. Cut - to displace quickly one foot with the other foot. 12. Do-si-do (Dos-a-dos) - partners advance forward, pass each other's right (or left) side, step across to the right (or left), move backward without turning around, pass each other left (or right) side to proper places. 13. Free Foot - the foot not bearing the weight of the body. 14. Free Hand - the hand not placed anywhere, or not doing anything. 15. Hayon-hayon - to place one forearm in front and the other at the back of the waist. 16. Hop - a spring from one foot landing on the same foot in place or in any direction. 17. Inside Foot - the foot nearer the partner when partners stand side by side. 18. "Jaleo" - partners turn around clockwise (with right elbows almost touching) or counter clockwise (with left elbows touching) using walking or any kind of dance step. 19. Jump - a spring on one foot or both feet landing on both feet in any direction. 20. "Kumintang" - moving the hand from the wrist either in clockwise or counter clockwise direction 21. Leap - a spring on one foot. Landing on the other foot in any direction. 22. Outside Foot - the foot away from one's partner standing side by side. 23. Outside Hand - the hand away from one's partner stands side by side. 24. Place - a foot in a certain position without putting weight on it; the sole of the foot rests on the floor. 25. Pivot - to turn with the ball, heel or whole foot, on affixed places or points. 26. Point - to touch the floor lightly with the toes of one foot, weight of the body on the other foot. 27. "Salok" - 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". 28. "Saludo" - partners with the feet together bow to each other, to the audience, opposite dancers, or the neighbors. 29. "Sarok" - crossing the right (left) foot in front of the left (or right), bend the body slightly forward and cross the hand down in front with the right (or left) hand over the left (or right) hand. 30. Set - a dance formation like a square or a unit formation composed of two or more pairs. 31. Slide - to glide your foot smoothly along the floor. 32. Stamp - to bring the foot forcibly and noisily on the floor. 33. Step - to advance or recede by moving one foot to another resting place with a complete transfer of the weight from one foot to the other foot. 34. Supporting Foot - the foot that bears the weight of the body. 35. Tap - to tap slightly with the ball or toe of the free foot keeping the weight of the body on the other foot. There is no transfer of weight. 36. Whirl - to make fast turns by executing small steps in place, to right, or to left. PHEDEH3-1 PRELIMS REVIEWER AGUDA, STEPHEN DAVID M. XII-FARADAY Key to System Counting Counting is the most practical way to describe a rhythmic pattern. The note is the unit in musical rhythm showing the duration in which a tone or movement (in case of dancing) is taken. Rest is a character used to indicate silence or pause (in the case of dancing) for a certain time. Suggestions for Teaching Dance Steps 1. Explain and demonstrate steps one at a time. 2. Explain the terms and symbols used. 3. Teach the step by counts, and then execute the steps with music. 4. Teach the step with the arm movement most appropriate to the steps.