What Is Dance? A Deep Dive Into Philippine Dance Evolution PDF

What is Dance? Dance is an art form consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of orig...

What is Dance? Dance is an art form consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of origin. Why do People Dance? 1. Dancing allows an individual to express oneself. 2. A sense of community is found within the dance. 3. Dancing provides physical/mental refreshment and relaxation. 4. Laughter and fun—dancing can provide a lot of entertainment. 5. Dancing is a form of exercise. 6. Dancers find inspiration and motivation as they become lost in the dance. 7. Dancing allows professional dancers to form affiliations EVOLUTION OF DANCE The Primitive Era Primitive dance is a dance which is considered as a dance in its purest form because this particular dance form has not been refined, developed, trained, or guided by an artist. To the early Filipinos, dance was an expression of community life that animates the various rituals and ceremonies. Primitive Dances are classified into the following: 1. Ritual Dance 2. Life Cycle Dances 3. Occupational Dances 4. Mimetic Dances  1. Ritual Dances Sustains spiritual and social life of the indigenous Filipinos. Closely attuned to nature, believing in the spirits that keep their environment fruitful. EXAMPLES OF RITUAL DANCES Pagdiwata The Tagbanuas of Palawan perform this dance in gratitude for good harvest, to implore continued protection and favor from the deities and for general well-being (Alejandro, 1978). Dugso The dance of Manobos of Bukidnon, is a thanksgiving for bountiful harvest, birth of male child or victory of a war (Alejandro, 1978). Sohten Of the Subanon supplicates the spirits to give strength and courage to a warrior who shakes a shield and palm leaves (Villaluz and Obusan, 1992) Bendian Of Benguet is a dance of healing, natural calamities and to celebrate victory in war. Tahing Baila From the Yakan People of Basilan Province is a prayer dance for a bountifula fish catch (Bocobo-Olivar, 1971). 2. Life-Cycle Dances Dances that celebrate an individual’s birth, baptism, courtship, wedding and demise (death). EXAMPLES OF LIFE-CYCLE DANCES Manmanok Of the Bagos- courtship dance of two mating fowls; Uses blankets spreading out with their hands or hips. Daling-Daling Of the Tausug displays grace as much as affection. It is considered as a courtship dance. Himog or Death Dance Is a ceremonial dance performed by men to ask gods for help in punishing the killer of their warriors.  Is a Samal- Badjao Pangalay dance in “Pangalay” Pangantin style performed by a bride. The bridegroom follows behind the curtain to signify his readiness to defend the bride. The highlight of the dance is the flicking of the janggay used by the bride. 3.Occupational Dances Are dances which transform defense and livelihood activities to celebratory performances.  EXAMPLES OF OCCUPATIONAL DANCES Tudak Of Bukidnon acts out a whole sequence of the rice cycle into dance. Tauti Is an unusually exciting occupational dance which vividly portrays the labors of catching “tauti” (catfish). 3. Mimetic Dances Special dance which are mimetic in nature. The surrounding animal life also easily lends itself to imitative dances that are both graphic and symbolic. EXAMPLES OF MIMETIC DANCES Sayaw tu Baud Is an imitation of Also known as the flight of pigeons pigeon dance. from hunters stalking them. Pinuhag It imitates movements of a bee gathering honey. Inamo-amo mimicked the movements of a monkey as it bounces and gambles about. Binanog is an imitation of the movements of the hawk as it pounced on its quarry. SPANISH COLONIAL PERIOD The Spaniards came to the Philippines on March 16, 1521 and colonized the Philippine islands for 333 years. Native dances were modified and used in the rites celebrating Christian holy days and religious fiestas turned to native traditions to become spiritual and communal expressions. Dance became an important teaching aid in the Spanish educational process (Alejandro, 1978). Spain restructured the Filipino’s lives in terms of politics, economics, religion and culture. This hispanization pervaded even the musical and choreographic practices of the people. Dances took on the tempo and temper of the European forms. For example, the noted Tinikling (which has had some Southeast Asian beginnings) and the Itik-itik (rustic and imitative like the other dances) acquired the tempo of the jota and the polka. Aside from modifying ritual, occupational and imitative dances, the Spaniards brought in their own dances. The most popular was the jota, later taking on numerous regional variations. Another was the fandango that was re-styled as pandanggo, a dance that was once prescribed in Spain by Rome, it rivaled the jota in popularity. A step so common in many dances is the waltz, such as that found in the Cariñosa. Many of these dances would have been obscured with the influx of American influence at the turn of the Century. But with the pioneering research of Francisca Reyes Aquino and her followers, many of these dances were revived and documented. Francisca Reyes-Aquino was a Filipino folk dancer and academic noted for her research on Philippine folk dance. She is a recipient of the Republic Award of Merit and the Ramon Magsaysay Award and is a designated National Artist of the Philippines for Dance. Starting at the University of the Philippines under the presidency of Jorge Bocobo, Aquino went out into the field and renewed the life of these dances through a folk- dance group. AMERICAN COLONIAL PERIOD In 1898, the United States colonized the Philippines. Contributory to the people’s eventual surrender was an ongoing armed struggle against Spain. Inevitably, the Americans’ entry into the country brought with it their cosmopolitan and commercial culture. Their Black-influenced music and dances appealed to the terpsichorean (performer who dances professionally) bent of the Filipinos. Already schooled in the zarzuela, they found fascination in the vaudeville (later called the stage- show) which is a mix of the theatrical, minstrel and circus acts that attracted both the elite and the masses. The cakewalk, buck-and-wing, skirt-dance, clog, tap, and soft- shoe were performed in the zarzuela theaters, later with the cinema shows. Social dances also became part of the repertoire on stage, such as the Charleston, foxtrot, big apple, one-step, slow-drag, the Latin- influenced tango, rumba, samba, mambo, and cha-cha.  John Cowper was called “dean of Philippine vaudeville,” and with him came other American and European artists. With improved transportation, the Philippines became part of the big international circuit. Filipinos increasingly experienced the ballet. The development of dance in the Philippines is generally credited to the efforts of Francisca Reyes Aquino and Leonor Orosa Leonor Orosa Goquinco Goquinco. Aquino pioneered in the research and revival of Philippine folk dance and music in the 1920’s and is regarded as the foremost authority on Philippine folk dances. Francisca Reyes Aquino