FOLK DANCE

FOLK DANCE

•It is defined as a traditional

dance.
• It has a definite pattern or
action routine that is precise
and religiously followed by their
people.
• Are traditional social expressions of
the ideals, moral, feelings, and
thoughts of the people or group of
people through body movement.
• Are recreational or emotional dance
usually performed by members of the
community to which the dance is
traditional.
• It depicts the character
of the people traditions and
culture.
• It is great exercise and a
fun recreational activity for
people of all ages.
HISTORY OF FOLKDANCE
discovery of the Philippines of
Magellan in 1521
1. the Pygmies
2. the Indonesians
3. the Malays.
 Negritos - depict the events of daily
chores.
First dance, Sinulog, was a primitive duel
dance between two men using bolos.
Dancing was considered a religious
activity among the early Filipinos. Dances
were performed by the priest and priestess
in thanksgiving for the plentiful harvest,
victorious battle, prosperous voyage or
recovery from sickness.
the Spanish regime dancing played an
important part in the social activity of the
people. Among the Christianized Filipino
groups, the Komintang was the oldest
dance and song.
Second dance Pampango characterized
by the movements of the loins and the and
clapping of hands.
new dances such as
fandango, lanceros, rigodon
,carinosa, and curacha were
introduced by Spaniards.
As a people, Filipinos love
singing, dancing and feasting.
The Philippine is composed
of numerous islands, and
because of the scattered
position of these island a
great variety of dances are
found.
VALUES OF DANCING
1. Psychological and neuro-
muscular development of the
organic system.
2. Cultural-depicts the culture of
the people.
3. Social and recreational
CLASSIFICATION OF PHILIPPINE
DANCES
•A. National dances. These are the
traditional dances throughout the
Philippines with a common basic
movement or pattern but with slight
variations.
•-found throughout the islands with little
or no modification.
EXAMPLE
• Carinosa-is a word that describes as affectionate, friendly and
lovable woman. This dance is performed with flirtatious manner
with fans and handkerchief to assist the dancers’ hide and seek
movements.
• Kuratsa- commonly performed during festivals in
Bohol and other Visayan towns. This dance portrays a young
couple’s attempt to get each attention. It is performed in moderate
waltz style.
• Tinikling- is considered the national folk dance with
a pair of dancers hopping between two bamboo poles held just
above the ground and struck together in time to music. Originated
from Leyte Province,
•B.Local or Regional Dances.
These are dances found in
certain localities or regions only.
EXAMPLE
• Maglalatik or Magbabao- Originally performed in
Binian, Laguna as a mock-war dance that
demonstrate a fight between the Moros and the
Christians over the prized latik or coconut meant
during the Spanish Rule. This dance is shown to
pay tribute to the town’s patron saint, San Isidro
Labrador. Esperanza (Nabua, Camarines Sur),
Alcamfor (Leyte), Rogelia (La Union), Maglalatik
(San Pablo, Laguna), and Binganbigat (Abra).
•C.Occupational Dances. These
are dances that depict actions
characterizing certain
occupation, Industries, and
phases of human labor.
Examples:
• Pabirik (Camarines Sur) which depicts the different stages
of gold panning.

• Mananguete (Tuba Gatherer) depicting the different

movements and actions of a tuba gatherer from the
sharpening of his sangot (scythe) to climbing a coconut
tree and finally tasting the native wine. Tuba is the liquid
dripping from the coconut bud.

• Kin-aras (Cabugao,Ilocos Sur) depicts the different stages

in catching mudfish in the field, mud holes, brooks, and
ditches.
 Religious or Ceremonial
• D.

Dances. These are dances that

are performed in connection
with religious vows, practices,
and ceremonies. A religious
dance may be performed to:
EXAMPLE
• 1. Drives away evil spirit like Sinurog.
• 2. Ask for a favor to have a child like Santa Clarang Pinong
Pino.
• 3. Give thanks for having recovered from sickness, for
favors granted as Dugo, and for vows fulfilled.
• 4. Offer first fruit of harvest; for example, the farms in
Capiz refrain from eating their yield without first observing
this dance ritual.
• This dance starts when everybody attending the ritual is
already a bit drunk from native wine tuba-Panurong-Sarong.
• 5. Performed by Apply Tribe to supplicate for rain when a
dry spell or drought sets in Anannit (Bondoc, Mt. Province).
•E. Courtship Dances-
Depict love making or
are dances with love
themes.
Examples:
• Timawa- “Forsaken Love” from Lamot, Capiz.
• Alcamfor- derived from the plant called camphor or
from its perfume from Leyte.
• Imunan- “Jealousy” from San Jacinto, Pangasinan
• Komintang- originated from Batangas portraying the
modest behavior as well as its flirtatious movements of
the girl while being courted by an admirer.
• La Simpatika- “The loving, gracious and charming”
from Pangasinan.
• Helehele Bago Quirre, Rogelia, Lulay, Aringguinding-
guinding, Marimion.
•F.Wedding Dance. These are
dances performed by
newlyweds, by friends and
relatives of the bride and
groom, or by the father of
the bride and the mother of
the groom.
Examples:
• Sinurog- is a dance wherein the male dancers beat
drums, shout dance, perform stunts or anything to
drive evil spirits that may harm or make the newlywed
unhappy.

• Pandang-pandang (Antique) is danced only by the

bride and the groom, and the friend and the relatives
of the bride to ask for her hand.

• Pantomina (Bicol Region) is danced by the bride and

the groom and the visitors give any gift in kind or in
cash.
•G. Festival Dances. These
dances are performed in
connection with celebration, a
feast, a barrio fiesta, good
harvest, and good fortunes.
Examples:
• Ayaoy- “Grand Festival” from
Mayaoyao, Ifugao.
•Kuratsa- commonly performed during
festivals in Bohol and other Visayan
towns. This dance portrays a young
playful couple’s attempt to get
attention. It is performed in a moderate
waltz style
•H. War Dance. These dances are
intended to show imaginary combat
or duel with the use of fighting
implements like bolo, kris or spear.
Examples are Sagatan (Maranao),
Inabaknon (Aeta), Negrito Duel and
War Dances (Mts. Of Zambales and
Bataan).
EXAMPLE
•Maglalatik. This is a very interesting
dance depicting the fight between the
Christians and the Moros over the tasty
“latik” (the residue of boiled coconut
milk). Coconut shells are tied and well
spread over the body are used as
fighting instruments.
• I. Comic Dances. These are dances with funny
and humorous movements mainly intended for
entertainment. Examples are Makongo, when
the dancers imitate the movements of a
monkey. Kinoton, where the dancers imitate
the movements of a person bitten by ants; and
Pinuhag, where a dancer imitates the
movements of a person bitten by bees while
gathering honey.
•J. Game Dances. These are
dancers that have some play
elements and are for
recreational purposes
Do’s and Dont’s in Folkdance
• DO’s
• 1. Dance in natural , simple and direct manner
• 2. Dance with ease and smoothness
• 3. Use the proper costumes for the dance
• 4. Follow directions and dance instructions as
closely as possible
• 5. Dance with feeling and expression.
Dont’s
•1. Do not exaggerate the dance steps
•2. Do not make the dance too dainty and
graceful like ballet
•3. Don’t make entrance and exit long
•4. Don’t mess steps too elaborate and
complicated
•5. Don’t call a dance a folkdance unless
steps come from traditional dance.
COMMON DANCE
TERMS
•1. ABRASETE – a girl at the right side
holds R arm of the partner with her L
hand, free hands down at the sides. This
term is a Spanish origin and is used in
Rigodon and in other dances
•2. ARMS IN LATERAL POSITION – both
arms are at one side, either right or left,
at shoulder, chest or waist level.
•3. ARMS IN REVERSE “T” – arms are
side horizontal, elbows bents bent at
right angle, forearms parallel to head,
palms forward of facing inwards, fist
loosely closed.
•4. BILAO – to turn palms of hands up
and down alternately, hands at waist
level in front elbow close to waist.
•5. BLEKING – heel place and close
•6. BRUSH – weight on the foot, hit
the floor with the ball or heel of the
other foot (the free foot) after
which that foot is lifted from the
floor to any direction.
•7. CABECERAS – when the dancers are in
square formation, the couples occupying
the width of the hall are called “cabeceras”
or head couples, this is Spain origin
•11. COSTADOS – when dancer is in
square formation, the couples occupying
the length of the hall are called costados or
side pair. Spanish origin.
•9. CLOCKWISE – like the motion of the
hands of the clock R shoulder is toward the
center an imaginary circle. When facing
center, the movements is toward the left.
•10. COUNTER CLOCWISE - the reverse
direction of clockwise L shoulder is toward
the center of an imaginary circle. When
facing center, the movement is toward right.
•8. CHASING – execute successive
close steps with one foot leading.
•13. Cut – to displace quickly one
foot with the other, does
completely taking off the weight of
the body from the displaced foot
•12. Crossed arm – partners are facing
each other or standing side by side, girl at
the right of the boy. They join their L hands
together and their R hands together; either
R over L or L over R hands.
•14. Crossed-over – two couples (the vis-
à-vis ) are opposite to each other. Each
couples proceeds.
• 15.Do-si-do (“Dos-A-Dos”) the vis-à-vis
(opposite) both advance forward,pass each
others 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. This is a foreign origin and is used in
many Philippine classes.
• 16.Draw - to pull one foot alone the floor closes
to the other wich has 5the weight of the body.
The weight may or may not be transferred.
•17. Free foot – the foot not
bearing the weight of the
body.
•18. Free- hand – the hand
not place anywhere or not
doing anything.
•19. Hands on waist – place hands
at the waistline (at the smallest
paert of the trunk) knuckles in,
fingers pointing in rear.
•20. Hapay – to flourish or offer a
handkerchief, hath or glass of wine
to somebody as a sign of invitation.
•21. Hayon-hayon – to place one
forearm in front of the other at the
back of the waist. This is a Visayan
Term.
•22. Hop – a spring from one foot
landing on the same foot in place or
any direction. The other foot may be
raise in any direction
•23. Haplik – leap sideward into R(L) (ct.1),
step R(L) across in front of R(L) and quickly
step the R(L) foot in the place (ct.2).
•26. Jaleo – prteners turn once around
clockwise (with R elbows almost touching)
or counter clockwise ( with L elbows almost
touching ) using walking or any kind of
dance step. The hand near each other are on
waists. This is a Tagalog term of Spanish
origin
•24. Inside foot – the foot
nearest one’s partner, when
partner stand side by side.
•25. Inside hand – the hands
nearset one’s partner, when
partners stand side by side.
•27. Jump – spring on both feet
landing both in any direction.
•28. Komintang – moving the
hand from the wrist either in a
clockwise or counter clockwise
direction. This is an Ilocano
term.
•29. Leap – a spring in one foot in
any direction (forward, sideward,
backward, or oblique).
•30. Masiwak – to turn the hand
from the wrist half-way clockwise
then raise and lower wrist once or
twice. This is an Ibanag term.
•32. Outside foot – the foot away
from one’s partner, when partners
stand side by side.
•33. Outside hand - the hand
away from one’s partner, when
partners stand side by side.
•31. Minching – with feet in 5th
position and heels raised, take
as many tiny steps sideward
(one step in every count).
•34. Place – to put in a certain
or desired position without
putting weight on it.
•35. Pivot – to turn with the
ball, heel, or whole foot on fixed
place or point.
•36. Point – touches the floor
lightly with toes of one foot,
weight on the body on the floor.
•37. Salok – to swing 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.
This is a tagalog term.
•38. Saludo – partners vow to each other
to the audience, opposite dancers or to the
neighbors with the feet together. The term is
of Spanish origin and is used in almost all
Philippine dance.
•39. Sarok – cross the R or L foot in
front of the L(R), bend the body slightly
forward and across the hands
(forearms) down in front with the R or
(L) hand (forearm) over the L(R). this is
an Visayan term.
•40. Set – a dance formation like a
square or a unit formation composed of
wo or more pairs.
•41. Slide - to glide the foot smoothly on
the floor the movement may be finished with
or without transfer of weight.
•42. Star with R hand – four or more people
join hands at the center and circle around
using walking or any kind of dance step.
•43. Star with the L hand – same as “star
with the R hand” but joining left hand and
turning counter clockwise.
•44. Step- to advance or to recede by
raising or moving one foot to another by
resting place. There is a complete transfer of
weight from one foot to another.
•45. Stamp – to bring the foot forcibly and
noisily on the foot.
•46. Supporting foot – the foot that bears
the weight of the body.
•47. Tap – to rap slightly with the
ball or toe of the free foot ,flexing
the ankle, joint, keeping the weight
of the body on the other foot.
•48. Whirl-to make pass turns by
executing small steps in the place,
to right or to left.
•Sway balance
•Waltz
•Gallop