FOLK DANCE - LESSON PDF

PHYSICAL EDUCATION 3 WHAT IS PHYSICAL EDUCATION ?  PHYSICAL EDUCATION As Andin (2010) defines Physical Education is an integral part of the educational program designed to promote the optimum development of an individual physically, mentally, socially, emotionally, and s...

PHYSICAL EDUCATION 3 WHAT IS PHYSICAL EDUCATION ?  PHYSICAL EDUCATION As Andin (2010) defines Physical Education is an integral part of the educational program designed to promote the optimum development of an individual physically, mentally, socially, emotionally, and spiritually through total body movement in the performance of properly selected physical activities. FOLKDANCE  Basic Concept of FOLKDANCE  Folk dancing is the oldest form of dance probably one of the earliest forms of communication.  It is a self–expression that separates folk dancing from the functional aspects of games and gymnastics in the physical education program. CHARACTERISTICS OF PHILIPPINE FOLK DANCES CHARACTERISTICS OF PHILIPPINE FOLK DANCES  As rule, dances begin and end with a Saludo. A Saludo is a three-step-turn in place and a bow to either partner or audience.  In general, dancers are far apart. A distance of about 6-8 feet from each other is normal.  There is very little, if any, body contact although holding hands is common. CHARACTERISTICS OF PHILIPPINE FOLK DANCES  Most of the dances are done in pairs. Hand movements play a very important role.  Most of our dances are done in long formation.  Our dances are performed by both young and old and by both sexes. CLASSIFICATION OF PHILIPPINE FOLK DANCES CLASSIFICATION OF PHILIPPINE FOLK DANCES Geography National Dances – These are the traditional dances throughout the Philippines with a common basic movement or pattern but with light variation. Examples are: Carinosa, Kuratsa, Balitaw, Rigodon, Pandanggo, and Surtido. CLASSIFICATION OF PHILIPPINE FOLK DANCES Geography Local or Regional Dances – these are dances found in certain localities or regions only. Examples are: Esperanza (Nabua, Camarines Sur), Alcampor (Leyte), Rogelia (La Union), Maglalatik (San Pablo, Quezon) and Biniganbigat (Abra). CLASSIFICATION OF PHILIPPINE FOLK DANCES Nature Occupational Dances –depicting action of certain occupation, industry or human labor. Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete,etc. Religious or Ceremonial Dances –performed in connection with religious vows and ceremonies. Examples: Dugsu, Sua-ku-Sua, Putong, Sta Clarang Pinong-pino. CLASSIFICATION OF PHILIPPINE FOLK DANCES Nature Comic Dances –depicting funny movements for entertainment. Examples: Makonggo, Kinoton. Game Dances –with play elements (dance mixers) Examples: Pabo, Sineñalan, and Lubi – Lubi. Courtship Dances – depicting love making. Examples: Hele-Hele, Bago Quire, Maramion, Tadek, Daling-Daling, Rogelia, Lulay. CLASSIFICATION OF PHILIPPINE FOLK DANCES Nature Wedding Dances – performed during wedding feast. Examples: Pandang-Pandang, Soryano and Pantomina. Festival Dances – suitable for special occasion or any social gathering. Examples: Kuratsa, La Jota, Pandanggo, Surtido. War Dances – showing imaginary combat or duel. Examples: Sagayan, Palu-Palo.  COMMON DANCE TERMS  COMMON DANCE TERMS 1. Arms in Lateral Position – both arms are at one side, either right or left; at shoulder, chest, or waist level. 2. 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. 3. Bilao – to turn palms of hands up and down alternately, hands at waist level in front, elbows close to waist.  COMMON DANCE TERMS 4. Cabeceras - the couples occupying the width of the hall when the dancers are in square formation (head couple). 5. Clockwise – like the motion of the hands of the clock. R shoulder is toward the center of an imaginary circle. 6. Counterclockwise – the reverse direction of clockwise, L shoulders toward the center. Movement is toward right when facing center of  COMMON DANCE TERMS 7. Costados – the couple occupying the length of the hall when dancers are in square formation (side pairs). 8. Crossed Arms – Partners facing each other or standing side by side join their L hands together and the R hands together; either R over L or L over R hands. 9. Cut – to displace quickly one foot with the other.  COMMON DANCE TERMS 10. Do- si- do - Partners advance forward, pass each other’s right (or left) side, step across to the right (or left) move backwards without turning around , pass each other left (or right) side to proper places. 11. Free Foot – the foot not bearing the weight of the body. 12. Free Hand – the hand not placed anywhere, or not doing anything.  COMMON DANCE TERMS 13. Hayon – Hayon – to place one forearm in front and the other at the back of the waist. 14. Hop – a spring from one foot landing on the same foot in place or in any direction. 15. Inside Foot – the foot nearer the partner when partners stand side by side. 16. Jaleo – partners turn around clockwise or counterclockwise using walking or any kind of dance step.  COMMON DANCE TERMS 17. Jump – a spring on one foot or both feet landing on both feet in any direction. 18. Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise direction. 19. Leap – a spring from one foot, landing on the other foot in any direction. 20. Outside Foot – the foot away from one’s partner, when partners stand side by side.  COMMON DANCE TERMS 21. Outside Hand – the hand away from one’s partner when partners stand side by side. 22. Place – to put foot in a certain position without putting weight on it; the sole of the foot rests on the floor. 23. Pivot – to turn with the ball, heel, or whole foot; on fixed place or point. 24. Point – touch the floor lightly with the toes of one foot, weight of the body on the other foot.  COMMON DANCE TERMS 25. 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. 26. Saludo – partners with feet together bow to each other, to the audience, opposite dancers, or the neighbors. 27. Slide – to glide foot smoothly along the floor.  COMMON DANCE TERMS 28. Sarok – cross the R (or L) foot in front of the L (or R) bend the body slightly forward and cross the hands down in front with the R (or L) hand over the L (or R). 29. Set – a dance formation like a square or a unit formation composed of two or more pairs. 30. Stamp – to bring the foot forcibly and noisily on the floor.  COMMON DANCE TERMS 31. Step – to advance or recede by moving one foot to another resting place with a complete transfer of weight from one foot to another. 32. Supporting Foot – the foot that bears the weight of the body. 33. Tap – to rap slightly with the ball or toe of the free foot keeping weight of the body on the other foot. There is no transfer of weight. 34. Whirl – to make fast turns by executing small steps in place, to right, or to left.  FIVE FUNDAMENTAL POSITIONS OF THE FEET FIVE FUNDAMENTAL POSITIONS OF THE FEET First Position For the first position, form a V-shape with your feet by bringing your heels together to touch while keeping your toes away from each other. FIVE FUNDAMENTAL POSITIONS OF THE FEET Second Position For the second position, move one foot sideward. Your feet should be parallel to each other while maintaining a distance of about 12 inches. FIVE FUNDAMENTAL POSITIONS OF THE FEET Third Position For the third position, bring your foot’s heel to touch the arch of your other foot, with both feet turned outward. FIVE FUNDAMENTAL POSITIONS OF THE FEET Fourth Position In the fourth position, put your foot forward while the other foot still retains its position. The distance between the two feet should be about 12 inches. FIVE FUNDAMENTAL POSITIONS OF THE FEET Fifth Position In the fifth position, bring the heel of the foot in front to touch the toe of the other. Both feet should still be pointing outward.  FIVE FUNDAMENTAL POSITIONS OF THE ARMS FIVE FUNDAMENTAL POSITIONS OF THE ARMS First Position For the first position, raise your arms into a circle in front of your chest. Your hands should be aligned in front of your chest with both arms slightly curved, and your fingertips should be at least 1 inch apart. FIVE FUNDAMENTAL POSITIONS OF THE ARMS Second Position For the second position open your arms sideward at shoulder level. FIVE FUNDAMENTAL POSITIONS OF THE ARMS Third Position For the third position, one arm is raised above your head, while the other arm maintains the second position. The arm that was raised should be slightly curved as well. FIVE FUNDAMENTAL POSITIONS OF THE ARMS Fourth Position For the fourth position, the arm in the second position would be raised forward in front of your chest again, similar to how it was in the first position. The arm that is lifted above your head will still maintain its position. FIVE FUNDAMENTAL POSITIONS OF THE ARMS Fifth Position For the fifth position, both arms should be lifted above your head, slightly curving. The posture is similar to that of the first position but raised above the head instead. Performance Task No.1 Directions: After practicing each separately, you can now try to perform both the arms and feet positions simultaneously. Step 1: For the first position, your arms should form a circle in front of your chest with an inch distance between the tip of your fingers, while your feet form a V-shape position. Step 2: For the second position, both your arms and feet open sideward. Performance Task No.1 Step 3: For the third position, one arm is raised upward while the heel of one foot touches the arch of the other. Step 4: The other arm is brought to the front, and the foot moved is also brought to the front. Step 5: The fifth position, both arms are raised upward, and the heel of the same foot will go back to touch the toe of the other foot. Performance Task No.1 Note: You shouldn’t be too tense when performing these exercises. I hope you were able to understand the information given and execute the steps well. You will be graded by the following criteria: Criteria Score Execution 50 % Accuracy 25% Mastery 25% Total 100%  JOTA BATANGUEÑA JOTA Jota is a genre of music with fast movement that originated in Spain. All Jota studied have similar line formation and direction employed, however, they also have their own direction and formations used. Provincia de Batangas  Kumintang.  Pueblo and River  Batang  Don Agustin Casulao  The folkloric story on the origin of the town of Batangas around which this article is written from “History and Cultural Life of the Poblacion (Batangas Town),” author(s) and date of publication unknown.  “The Structure of Pueblos de Indios in the Philippines during the Spanish Colonial Period,” by Luis Ángel Sánchez Gómez, Madrid 1989. Online at Academia. JOTA BATANGUEÑA A courtship dance With emotional Steps Spaniards Costume: Woman wears a Balintawak dress with a Zapatilla or slipper as their footwear. Man wearing Barong Tagalog white trousers and black shoes. JOTA BATANGUEÑA Music: Composed of five parts A, B, C, D, and E. Count: 1, 2, 3 to a measure. Formation: Partners stand opposite each other about 1 Feet apart. Both men and women are standing in set of two pairs. Form one to any set of pair may take part in this dance. JOTA BATANGUEÑA FEET PATTERN  Three-step turn  Mincing  Sway Balance with a Point  Running Step  Cut and Turn  Saludo JOTA BATANGUEÑA ARM PATTERN  Freehand  Kumintang and Masiwak  First Arm Position  Second Second Position  Fourth Arm Position