Philippine Dances PDF

What is dancing? Dance is an expression of an intensified sense of life, arising from an inner perception that stimulates both mind and body. It is man’s natural and primitive means of expression. The truest expression of a people is in its dances and its music. “The body never lies” Dance...

What is dancing? Dance is an expression of an intensified sense of life, arising from an inner perception that stimulates both mind and body. It is man’s natural and primitive means of expression. The truest expression of a people is in its dances and its music. “The body never lies” Dance has been a part of the life of every tribe, society or celebrates through dance. Dance is not only an individual or group experience but also considered as a cultural mirror who wherein the spirit, character and artistry of its time are reflected. According to William Cobbett, Dancing is at once rational and healthful. It is the natural amusement of young people and such it has been from the days of Moses. TYPES OF DANCES Classical Dance Dance with standardized rules and restriction. It can be religious related dances or court and royal entertainment form. Classical Ballet A dance of supreme standards learned from an academe. This originated from Italy from the word Bal-lo meaning to dance flourished in the royal court of France. Modern Dance A deviation from the principles of classical ballet developed by Isadora Duncan. She believed in the principles of naturalness and The expression of the human body and soul. Contemporary Dance This is a combination of ballet and modern dance whereby it uses the varied medium of other dance forms like folks, ethnic, jazz or tribal dance. Popular Dance This is highly recognized as a dance form in television and other dance centers like discotheque houses and social gatherings. Ethnic/Tribal Dance A dance particularly found in a group of people living together in locality with a common belief and customs Ballroom Dance A popular term for dance performed on ballroom areas or for purposes of recreation and entertainment. Folk Dance The term implies the traditional flavours and characteristics of the people, their feeling and sentiments. It is also referred sometimes as traditional dance. Folk dances are the traditional social dances of ethnics groups, rural or urban from all over the world. Types 1. National and Regional dances 2. Occupational dances 3. Religious and Ceremonial dances 4. Courtship dances 5. Festival dances general classification of folk dancing A. Geographical origin 1. National dances – found throughout the islands with little or no modifications.  2. Local dances – found in specific locality B. Nature 1. Occupational dances- depicts actions of labour or of a specific occupation. 2. Religious ceremonial dances – dances with religious vows and ceremonies. 3. Comic dances – depicts funny movements intended for entertainment. 4. Game dances – done with play element. 5. Wedding dances – performed during wedding feast. 6. Courtship dances – depict the act of courtship or dances with love themes. 7. Festival dances – suitable for special occasions or any social gatherings. 8. War dances – show imagery of combat or duel. National Dances- are traditional dances throughout the Philippines with common basic movement or pattern but with slight variation. Ex: Cariñosa Pandango Balitaw Kuratsa Rigodon Surtido 2. Local or Regional Dances- are dance found in certain localities or regions only. Ex: Esperanza (Nakua, Camarines Sur) Alcampor (Leyte) Maglalatik (San Pablo, Laguna) 3. Occupational Dances- are dances that depict actions characterizing occupation industries and phases of human labor. Ex: Pabirik-depicts the difference stages of gold panning Monanguete- tuba gatherer Rice Festival- has the largest number of dances Magtatanim, Paggapas, Paggiik, Pahangin, Pababayo, Pagtatahip 4. Religious or Ceremonial Dances- are performed in connection with religious vows, practices and ceremonies. A religious dance maybe performed to drive away evil spirits and for having recovered from sickness, favors granted and vows fulfilled. Ex: Sinurog Obando Dugso 5. Courtship Dance- are dances that depict making or\ are dances with love themes. Ex: Hele Hele bago Quiere Rogelia Lulay Maramion 6. Wedding Dances- are performed by newlyweds, by friends and relatives of the bride and groom or by the father of the bride and mother of the groom. Ex: Pandang-Pandang Soryano Pantomina 7. Festival Dances- performed in connection with celebration a feast, a barrio, fiesta, good harvest and good future. Ex: Kuratsa La Jota Putong 8. War Dances- are intended to show imaginary combat or duel with the use fighting implements like bolo or spear. Ex: Sagayan Maglalatik Inabaknon 9. Comic Dances- are dances with funny and humorous movements mainly intended for entertainment.  Ex: makonggo- movements of monkey Kinoton- imitates the movements of person bitten by ants 10. Game Dances- are dances that have some play elements and are for recreational purposes. Ex: Pabo Lubi-lubi Sinenalan Gayong-gayong 11. Social Dances- are dances danced during social gathering. Ex: Rigodon Lanceros One of the national dances we should be proud of is the cariñosa. This is a courtship dance that portrays acts of flirtation between a man and a woman and it is known throughout the Philippines with its flirtatious movements. The word “carinosa” means affectionate, amiable, or lovable. There are many versions of this dance, but hide and seek movements using a fan and a handkerchief are the most common. History and Emergence This is a courtship dance that portrays acts of flirtation between a man and a woman. The dancers perform steps resembling hide-and-seek movements. The woman holds a handkerchief or sometimes a fan. The dance originated in Panay Island in the Visayan Islands and was introduced by the Spaniards during their colonization of the Philippines. It is related to some of the Spanish dances like the bolero and the Mexican dance Jarabe Tapatio or the Mexican Hat Dance. The Cariñosa is believed to have replaced the popular Tinikling as the "National Dance of the Philippines" in 1992. However, according to the Philippine Information Agency, the Tinikling is indeed the "National Dance of the Philippines".More than the tinikling, the cariñosa is considered the national dance of the Philippines. A. background/ context This flirtation dance is known throughout the philippines. Carinosa means affectionate, lovable or amiable. With a fan and a handkerchief, the dancers go through hide and seek movements and other flirting acts expressing tender feeling for one another. There are so many versions of this dance but the hide and seek movements are the most common. Costume: Female: Balintawak style costume or patadiong and camisa. Girl has a fan hanging at the right side of waist. Male: barong tagalog, any color of trousers. Boy hasd a handkerchief in his pocket. Time signature : 3/4 Count : one , two, three to a measure. Formation : partners stand opposite and facing each other about six feet apart. When facing the audience girl is at right side of boy. Dance Figures Introduction Partners face each other Execute a three-step turn right in place and bow to each other. Girl holds skirt, boy place hands on waist............................................... 2 M 1. Three Steps and Point a) Starting with your R foot, take three steps sidewards right (cts. 1, 2, 3). Point L foot in front (cts. 1, 2, 3). R hand in reverse “T” position and L hand on waist. Kumintang R hand when pointing L foot................................ 2 M b) Repeat (a) starting with left foot and moving sideward left. Reverse position of hands...........................................................2M c) Repeat (a) and (b) three more times................................ 12 M 2. Pointing Partners face each other. Through this figure, girl holds skirt and boy places hands on waist a) Starting with R foot, take three steps forward to meet at center (cts. 1, 2, 3). Step L close to R (ct. 1), pause (cts. 2, 3)..................................... 2M b) Take four touch steps in front, R and L alternately. Look at each other....... 4 M c) Starting with R foot, take four steps forward to partner's place, passing each other by R shoulders (cts. 1, 2, 3; 1), turn right about to face each other and close R to L foot (cts. 2, 3)..................................................... 2M d) Repeat all (a-c) finishing in proper places............................. 8 M 3. Back-to-Back a) Partners meet at center as in Figure 2 (a) (cts. 1, 2, 3; 1); turn right about to be in back-to-Back position a little bit to the right of partner (cts. 2, 3). Girl holds skirt, boy places hands on waist.............................................. 2 M b) Point R foot in front and shake R index finger at partner over R shoulder, L hands on waist (cts. 1, 2), step R sideward to be side-by-side with partner by L shoulder, place R hand on waist (ct. 3). Repeat three more times, pointing L, R, L and shaking L, R, index finger alternately at partner. Partners are standing by each other's R shoulder when shaking R index finger to partner and by L shoulders when shaking L index finger to partner. Free hands on waist............................. 4 M c) Turn right about and exchange places as in figure 2 (c).................. 2 M d) Repeat all (a-c) finishing in proper places............................. 8 M 4. Hide and seek with Fan a) Partners meet at center as in Figure 2 (a)............................ 2 M b) Girl: Hold and open fan with R hand Point R foot in front and cover face with fan, L hand holding skirt (cts. 1, 2) step R close to L and put R hand down (ct. 3), repeat the same three more times, pointing L, R, L. Cover face with fan. Hands on waist... 4 M c) Exchange places as in Figure 2 (c)................................... 2M d) Repeat all (a-c), finishing in proper places............................. 8 M 5. Kneeling and Fanning a) Startingwith R foot, take three steps forward to center, girl holds skirt, boy places hands on waist (cts. 1, 2, 3). Girl knees on R while boy passes around on right of girl to stand behind her and faces the same direction as girl. Partners place hands on waist (cts. 1, 2, 3).................................................. 2 M b) Boy: Points R and L foot four times alternately in front, looking at girl over her R and L shoulder alternately. Girl: Looks at partner over her R and L shoulder alternately. Both place hands on waists........................................................... 4 M  c) Boy: Turn right about. Girl: Stands and exchange places as in Figure 2 (c)..................... 2 M d) Repeat all (a-c) but this time boy kneels down and girl fans boy over his R and L shoulder alternately as she points her R and L foot alternately. Finish in proper places.................................................................8 M 6. Hide and seek with handkerchief a) Partners meet at center as in figure 2 (a) (cts. 1, 2, 3; 1), boy takes handkerchief from pocket. Partners hold handkerchief at corners in a perpendicular position between their faces with boy's hands on top at face level (cts. 2, 3).......... 2 M b) Partners point R and L foot alternately four times as in Figure 2 (b). Invert handkerchief at every measure, that is, one measure with boy's hands on top while pointing R foot and the next measure with girl's hands on top while pointing with L foot. When own hands are down look at partner's face from below and when up, look above handkerchief................................................ 4M c) Girl releases handkerchief. Partners exchange places as in Figure 2 (c).... 2 M d) Repeat all (a-c) finishing in proper places. This time girl keeps handkerchief at the end of this figure.................................................. 8 M 7. Flirting with Handkerchief a) Partners turn R shoulders toward each other. Starting with R foot, take eight waltz steps forward moving around clockwise. Girl holds handkerchief at one corner and place it over her R and L shoulder alternately at every measure, looking back at boy at the same time. Boy follows behind girl, stretching out R and L hand alternately as if trying to catch the free and of the handkerchief........................... 8 M b) Turn right about and repeat (a) counterclockwise, girl leads again. Finish in proper places........................................................... 8 M 8. Flirting a) Starting R foot, take two waltz steps to meet at center. Girl's arms in lateral position moving sideward right and left, boy's hands on waist....................... 2 M b) With girl leading in front, partners take six waltz steps forward moving around clockwise. Same position of hands as in (a) but girl's fingers fluttering in time with the music as she looks over her R and L shoulder alternately at boy who is following her......................................... 6M c) Turn right about. Repeat (b) counter clockwise. This time boy leads. Girl hold skirt, boy's arm in lateral position, fluttering fingers. Wink at girl occasionally. Finish side- by-side, girl at right side of boy........................................ 6 M Saludo Execute three-step turn right in place and how to each other, girl holding skirt, boy's hands on waist..................................................... 3 M 41 FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE: Dorothy Tarn burini and Ruth Ruling POLKA SA NAYON ( Philippine ) Polka Sa Nayon (POHL -kah Sah NAH-yohn) means Polka in the Village. This dance comes from the province of Batangas in the Tagalog Region of the Philippine Islands. In the old days it was very popular and was usually danced at all the big social affairs and at the town fiestas. Ester Tim banc aya learned it in her native Philippines frorn Mrs. Sofia Ravel 10, at Silliman University. She presented it at University of the Pacific Folk Dance Camp, 1960. The costume for the man is the barong tagalog (tah-GAH-10hg) and black or white pants. The Maria Clara or balintawak (bah-leen-tah-WAHK) costume is correct for the woman. MUSIC: Rec Mico MX-342 (45); MICO-TM 006, Side 1, Band 1 Piano: t 'Philippine Folk Dances" VOI Ill, Francisca Reyes Aquino, Manila, Philippines, 1956. FORMATION: Four CPIs in square formation (rather large), facing ctr, W on M R. Throughout the dance, M place back of free hand at waist, W hold skirt, unless othe r wise indicated. STEPS AND Polka: Step L ft fwd (ct l); close R instep to heel of L ft (ct &); step fwd L (ct 2); hold (ct & ). Bend body slightly ST YLING: twd side of leading ft. This step may also begin with R ft and may be executed in any direction. Heel-toe Polka: (2 mea s) Touch L heel diag fwd on floor, toe up (ct 1, hold (ct &); touch L toe diag bwd, heel in, knee slightly relaxed, leg almost straight (ct Z); hold (ct & ). (Look over shoulder at pointing toe. ) Beginning L, take one polka step The Heel-toe polka may begin with either ft and may be danced fwd or bwd, Gallop* MUSIC 2/4 PATTERN Measures INTRODUCTION 1-4 Ptrs assume closed pos, M facing CC W, joined hands extended twd ctr. 5 - 12 Tap ML-WR ft on Cts 1, 2 of every 1112 as (16 taps in all). 1. POLKA AND POINT 1-4 Beginning ML-WR, dance 4 polka steps turning CW and progressing CC W 1/4 around the square. Finish with joined hands (ML-WR) extended twd ctr. 5 Point ML-WR ft s wd twd ctr (ct l); point ML-WR near supporting ft (ct 2). 6 Dance one polka step s wd twd ctr. 7-8 Beginning MR-WL, repeat action of meas 5-6 (Fig I) 1m oving away frorn ctr. 9 - 32 Repeat action of rneas 1-8 (Fig I) three rnore tirnes. 42 POLKA SA NAYON (concluded) 11. HEEL-TOE POLKA Face ctr of square, W on M R, inside hands joined. 1-4 Beginning outside ft (ML-WR), dance 2 heel-toe polka steps fwd twd ctr. 5-6 Move directly s wd with one polka step away from ptr and one polka step twd ptr. 7-8 Release joined inside hands, and with 2 polka steps turn away from ptr (ML- WR) to face out of square, backs twd ctr. Join ML-WRO 9- 12 Beginning inside ft (ML-WR), dance 2 heel-toe polka steps fwd away from ctr. Move directly s wd with one polka step twd ptr and one away from ptr. With 2 polka steps turn twd ptr to again face ctr, changing to MR-WL hands joined. Repeat action of rneas 1- 16 (Fig Il). Finish in closed pos, M facing CC W, joined hands extended twd ctr of square.  111. POLKA AND GALLOP 1-4 Repeat action of Fig I, meas 1-4. 5-6 With 3 gallop steps move swd twd ctr of square (Cts 1, 2, l). Pause without taking wt on last closing step (ct 2), 7-8 Beginning MR-WL, repeat action of rneas 5-6 (Fig Ill) moving away frorn ctr. 9-32 Repeat action of meas 1-8 (Fig Ill) three more times. Finish facing ctr, inside hands joined. POINT AND CIRCLE CW 1-2 Both beginning R, dance one polka step swd R and one polka step swd L. Point R diag fwd R (ct 1); point R in front of L, R heel raised over L ft, knee turned sornewhat outward (ct Z); point R diag fwd R (ct l); step R beside L (ct 2). 5-8 Beginning L, repeat action of rx-mea s 1-4 (Fig IV). Finish with both hands at own waist, R elbows adjacent. 9- 16 Circling with ptr, dance fwd (C W) with 8 polka steps (4 polkas for each tirne around). Finish both facing ctr, inside hands joined, Repeat action of meas 1-16 (Fig IV). FINALE v. SALUDO 1-3 Both beginning R, dance fwd twd ctr with 3 srnall polka steps. 4-7 M follow W with small steps while she whirls CC W under raised joined hands (N'IR-WL) as many times as possible, Finish W on inside, back to ctr, M on outside facing ptr, Release joined hands. 8 Bow to ptr, M hands at waist, W holding skirt.