Dance Review Q1-PE-3 PDF

DANCE SIZE A form of expression of oneself Movements can be varied by doing through rhythmic movement. larger or smaller action. It is an art of expressing your feelings...

DANCE SIZE A form of expression of oneself Movements can be varied by doing through rhythmic movement. larger or smaller action. It is an art of expressing your feelings DIRECTIONS and emotions using body movements. Dance movement can travel in any direction. REASON OF PEOPLE FOR DANCING The performers can go forward side, TO PLEASE THE GODS backward, diagonal, circular and so TO PLEASE OTHERS on. TO PLEASE THEMSELVES (SELF- TIME EXPRESSION) TO BUILD COMMUNITY WITHIN The movements in timing can be AN ETHNIC GROUP (SOCIAL executed in varying tempo (speed) INTERACTION) Performers move tempo of an underlying sound known as a beat or WHY DO PEOPLE DANCE pulse. It has been used for worship ENERGY It plays a role in courtship It serves as a form of acquaintance Is a force at which we express out for a man and woman body motions. It is an expression of the joy one feels LEVEL As in old times, it brings magical Movements can be done a high, powers to people medium or low level. It brings victory or somehow restore health to life FOCUS It even breaks the monotony of the Performers may change their focus daily activities. by looking at different directions. It serves to entertain others. BODY ELEMENTS OF DANCE Dance is comprised of various body ACTION motions that express feeling and Is any human movement included in emotion. the act of dancing. LOCOMOTOR It can include steps facial movement, partner lifts, gestures Movements that do not change and even everyday movements such location. as walking. EX: walk, run, skip, hap, jump, slide leap or gallop. SPACE NON-LOCOMOTOR This is the area that the performers occupy and where they move. Movements that travel. EX: bend, stretch, twist or swing their body. PHYSICAL CULTURAL DEVOLPS CARDIOVASCULAR Promotes cultural Value. AND MUSCULAR ENDURANCE IMPROVES COORDINATION, BALANCE FLEXIBILITY, AND BODY Five Fundamentals Position of arms and COMPOSITION feet in Folkdances LOWER RISK OF CARDIOVASCULAR DISEASES First Position LOWERS BODY MASS INDEX Raise arms to a circle in front of the LOWERS RESTING HEART RATE chest. IMPOVES LIPID METABOLISM Second Position ENABLES JOINT MOBILITY (HIP open up arms sideward, raised MOTION AND SPINE FLEXIBILITY) below shoulder level with a graceful curve HELPS IMPROVE AND MAINTAIN BONE DENSITY THUS, HELPS Third Position PREVENT OSTEOPOROSIS Raise one arm overhead while other HELPS RECOVER COORDINATION arm remains in 2nd Position. AND NEUROMUSCULAR SKILLS Fourth position AFTER INJURY Raise one arm in front of chest in a MENTAL/EMOTIONAL half circle, while one arm remains Helps keep the brain sharp. overhead. Decreases incidence of dementia Fifth position and Alzheimer’s disease. Decreases depressive symptoms. Raise both arms overhead in a Increases self- esteem and improves graceful curve. body image. Aids in releasing emotional and Fundamentals Position of Feet Physical tension First Position SOCIAL Gives sense togetherness with a group Encourages positive social For the first position, form a V-shape interaction and interpersonal with your feet by bringing your heels relationship in a group together to touch while keeping your Contributes to the individual’s toes away from each other. potential to self- actualization in society Second Position Fifth Position For the second position, move one foot sideward. Your feet should be parallel to each In the fifth position, bring the heel of other while maintaining a distance of the foot in front to touch the toe of the about 12 inches. other. Both feet should still be pointing Third Position outward. THE PHILIPPINE FOLK DANCE TERMINOLOGIES Saludo For the third position, bring your foot’s heel to touch the arch of your other partners bow to each other to the foot, with both feet turned outward. opposite dancers or to the audience. Fourth Position Arms in lateral position place your arm(s) sideward below shoulder level. BRUSH Weight on one foot, swing the free foot in an arch, so that the ball or heel strikes the floor at lowest point of the arch. This may be done In the fourth position, put your foot forward, sideward, or backward. forward while the other foot still retains its position. Hop The distance between the two feet Spring on the supporting foot and should be about 12 inches. land on the same foot STAMP To bring down one foot forcibly on the floor with or without transfer of weight CLOCKWISE hand in 5th position or holding skirt. This is a Tagalog term. Like the motion on the handle of the clock moving to the left, when facing Do-si-Do the center of an imaginary circle. Two people walk toward each other, Right shoulder is toward the center pass by the right shoulder step when moving forward. sideward to the right and return to COUNTER CLOCKWISE position walking backward, passing left shoulder. The reverse direction of clockwise, the hands of the clock moving to the HAPAY right, when facing center of an To flourish or offer a handkerchief, a imaginary circle when moving hat or a glass of wine. This is a forward. Tagalog dance term. ABRASETE Hayon-Hayon This term is of Spanish origin. Girl at This is a Visayan term meaning to the right side of Boy, holds his R arm place one forearm in front and the with her L hand, free hands down at other behind the waist the sides. KUMINTANG BILAO Moving the hand from the wrist either Hands in front, parallel to each other clockwise or in counter clockwise at waist level, elbows close to the direction. This is an Ilocano dance wrist, palms down. Reverse the term. position of the hands with palms up PLACE and down alternatively. To put the foot (flat) in any desired DRAW position without putting weight on it. The free foot is drawn toward the POINT foot, which supports the body weight, by pressing the toes against Touch toe or ball of free foot on floor the floor as the close is made. With and remains there briefly or without transfer of weight. TAP PATAY Toe or ball of free foot is placed To bend the head down so that the momentarily on floor and lifted again forehead touches the R (L) forearm immediately. or the crook of the R (L) elbow while SALOK the L (R) hand supports lightly the palm of the R (L) hand. This is To scoop or swing the arm usually done with the L (R) foot downward upward in front of the pointing in rear and knees slightly body, the trunk following the bent. This is an Ilocano dance term. movement of the scooping arm. Free FOLK DANCES The fingers express feelings and emotion A folk dance is a dance that reflects Uses shimmering costumes. the life of the people of a certain Maranao- “singkil’ country or region. Not all ethnic Tausug- “pangalay” dances are folk dances. For example, ritual dances or dances of ritual origin are not TRIBAL DANCES considered to be folk dances. Intricate craftmanship in metal, clothing and jewelry. 5 Major Classifications of Philippine Folk Reflects rituals and animals beliefe in Dances “spirit” & shamans nature – “anito” Animal sound human singing, Cordillera Dances indigenous materials. Spanish Influenced Dances Also known as ethic dances Ethnic Muslim Dances minorities found in different parts of Tribal Dances the Philippine (T’boli, Bilaan, Rural Dances Manobo, Bagobo etc) CORDILLERA DANCES LAPAY Bontoc, Ifugao, Benguet, Apayao and Lapay Bantigue Dance Festival It is Kalinga tribes. celebrated annually during the City A people who way of life existed long Anniversary on 30th day of before any Spaniard or other September. foreigners stepped foot in the This event highlights the traditional Philippines. folk dance created by "Lola Felisa" Gongs, Ganza many years ago, when she imitated Dances reflect rituals which celebrate the graceful movement of the seagull their daily lives – a good harvest, (locally known as Lapay). health, peace, war and other symbol The dance has evolved and is now of living. recognized by the Cultural Center of SPANISH INFLUENCES DANCES the Philippines as one of the official folk dances of the country. Dances reflect Christianity is a mimetic dance that refers to lapay Philippine aristocrats created filipino or sea gulls which are bountiful in adaptations of European dances. Bantigue, a coastal province of Jotas, fandangos, mazurkas waltzes Masbate. Danced by young socialities to the Similar to the Kalapati (dove) and Itik- stringed music of the rondalla. itik (ducks), it copies the movements MUSLIM DANCES of the gulls like overly bending back till the head is near the floor. Influence by malay, Javanese and middle eastern traders (Islam) Mysticism, royalty and beauty Uses intricate hand and arm movement.  BASIC DANCE STEPS NO. 1 Step. After Completing each of the four counts, you and your partner will LUPAD change positions, meaning you Raise your both arms side wards partner will do the kumintang and you will dance around Him. Shoulder Level 3rd Step TUKA And You are going to Flap your arms gracefully. While facing your partner, place the back of your palm on your forehead and do a pecking motion with your BASIC DANCE STEPS NO. 2 bent. Do this for 8 counts. Then while still doing this step go opposite ways KUMINTANG e.g. You going to the front and your partner going to the back. Do this for Place your right Foot at the back of four times. your left Foot Place your Arms in a reverse T position Place your Left arm at your back. Raise Circular Motion Outward you are going to do this in a 4 measure. BASIC DANCE STEPS NO. 3 TUKA Execute a Foot Movement Step your right foot forward Your knee Slightly Bent Hip throw DANCE COMPETENCIES 1ST Step: LUPAD Flutter Your arms gracefully and step sideways for 16 counts. After this Face your partner and Do this step again for 16 counts. 2nd Step KUMINTANG Raise your right arm and do a horizontal thumbs up. Rotate your hand wrist four counts clockwise. While doing this your partner will go around you while doing the “Lupad”