PE3 • To provide through dancing, a healthful

form of relaxation and recreation.

What is DANCE? • To develop a graceful and rhythmic
coordination of body movements that will
• the movement of the body in a rhythmic improve posture.
way, usually to music and within a given • To preserve for posterity, folk dances and
space, for the purpose of expressing an music indigenous to the different regions of
idea or emotion, releasing energy, or simply the Philippines.
taking delight in the movement itself.
• To demonstrate the growth of Filipino
• move rhythmically to music, typically culture through the evolution of Philippine
following a set sequence of steps. dances.

FOLK DANCE CHARACTERISTICS OF PHILIPPINE FOLK

• Philippines folk dances speak so much DANCES:
about the heartbeat of our people for 1. In general, dancers stand apart.
they all about our customs, ideas, 2. There is little, if any, bodily contact.
beliefs, superstitions, and events of 3. Most of the dances are done by pairs or
daily living in a certain community. Just couples.
by looking at the costumes, props, and 4. Hand movements play an important part.
implements of a certain group or tribe, 5. Most dances are in long formation.
you can tell the origin of the dance. 6. Most dances begin and end with “saludo.”
• The oldest form of dance and the 7. Dances from the lowlands have more
earliest form of communication - the foreign elements those found in the
traditional dance of a given country uplands.
which evolved naturally and 8. War dances are found among non-Christian
spontaneously with everyday activities tribes.
e.g. occupations, customs, festivals,
rituals
• It is handed down from generation to CLASSIFICATION OF PHILIPPINE DANCES
generation.
I. GENERAL CLASSIFICATION

VALUES OF DANCING A. Geographical extent of origin

1) National dances - found throughout

• Physiological or neuromuscular
the islands with little or no modification.
development of the organic systems of
Examples:
the body.
Rigodon, Carinosa, Jota,
• Cultural – depicts the culture of people.
Balitaw, Pandanggo.
• Character – created by individual or
group.
2) Local dances - found in a certain
• Recreational
locality.
Examples:
TYPES OF FOLK DANCES: Tinikling-Leyte
Maglalatik-Binyang
• National – traditional dances of a given Esperanza-Nabua
country. Subli-Batangas
• Regional – local. Biniganbigat-Abra
• Character – created by individual or group.
B. Nature

OBJECTIVES OF TEACHING PHILIPPINE 1. Occupational - depicting the action of

FOLK DANCES a certain occupation, industry, or
human labor.
• To foster patriotism and nationalism Examples:
through the study of our dance. Planting, Harvesting,
• To arouse better appreciation of Philippine Pounding, Winnowing, Pabirik,
music and folk dances. Mananguete, etc.
 2. Religious or Ceremonial – performed • Long Formation - Lukay, Sakuting
in connection with religious vows and
ceremonies. • Set - consisting of two or more pairs as a
Examples: unit, partners facing each other or standing
Dugsu, Sua – sua, Putong, side by side., Binadyong, Haplik, Kakawati
Sta. Clarang Pinong-pino, etc.

3. Comic dances – depicting funny

II. SPECIAL CLASSIFICATION - group dances
movements for entertainment.
having special distinctive features.
Examples:
Kimbo – kimbo Makonggo, • Dances with Songs - Abaruray,
Kinoton manang biday, Lulay, Rogelia,
Lawiswis Kawayan,
4. Game dances – with play elements
(dance mixers) • Old Ballroom Dances - Polka,
Examples: Mazurka, Chotis, Valse
Lubi – lubi, Pavo
• Dances with Implements -
5. Wedding dances – performed during Maglalatik, Sakuting, Jota Mocadefla,
a wedding feast.
Tinikling, Salakot
Example:
Panasahan, etc.
• Dances of Combined Rhythm -
Surtido, Pantomina, Los Bailes de Ayer
6. Courtship dances – depicting
lovemaking.
Examples:
Hele – hele, Bago Quiere, FACTORS AFFECTING FOLK DANCES
Maramion, Tadek, Daling – daling
• Geographical Location
7. Festival dances – suitable for special • Economic Conditions
occasions or any social gathering. • Climatic Conditions
Examples: • Customs and Traditions
Pandanggo, Habanera,
Jota, Surtido.
DO'S
8. War dances - showing imaginary
combat or duel. • Dance in a natural and simple and direct
Examples: manner
Sagayan, Palu-palo, etc. • Dance with ease, and smoothness
• Use the proper costumes for the dance
• Follow directions and dance instructions as
C. Movements closely as possible
• Dance with feeling and expression
• Active - with fast energetic movements.
Tinikling, Maglalatik, Sakuting, Polkabal
DON'T'S
• Moderate - Carinosa, Tagala, Habanera,
• Do not exaggerate the dance steps.
Purpuri
• Do not make the dance too dainty and
graceful like ballet
• Slow – Pasakat, Amorosa, Tiliday,
• Don't make entrance and exit long
Kundiman
• Don't make steps too elaborate and
complicated
• Slow and Fast - Putritos, Ba-Ingles,
habanera Botolena, Alcamfor • Don’t call a dance a folk dance unless steps
come from traditional dances.

D. Formation

• Square or Quadrille - Rigodon, Los Bailes

de Ayer
FUNDAMENTAL POSITIONS OF ARMS AND FOURTH Position
FEET
➢ One foot in front of the other foot of
These fundamental motions, about a pace distance.
fundamental movements, fundamental rhythms,
or simply "basics" in dance characterize the
essence of a specific dance. It establishes the
dance's tempo. In order to perform successfully
in all dancing activities, it is essential to practice
the fundamental or basic positions of the arms
and feet. All of the motions, hand and body FIFTH Position
gestures, and musical rhythms must be learned. ➢ bring the heel of one foot to touch the
The basic fundamentals of dance are toe of the other.
important for starters because this helps in basic
steps and posture when it comes to folk dance.
Arms and feet movement is important with these
fundamental movements.

Very expressive movements of the feet

and arms characterize Philippine Folk Dances. FUNDAMENTAL POSITION OF ARMS
These movements are combination of the five
fundamental positions of arms and feet whether FIRST Position
the pace of the dance steps is slow or fast. To ➢ Arms raised forward in circle in front of
enjoy certain dances socially, it is appropriate to chest with finger tips about an inch
know the simple steps performed in various apart
hand holds and dance positions. There are 5
basic fundamental movements involving the
arms and legs.

FEET POSITION

FIRST Position

➢ Heels close together; toes apart

making an angle of about 45 degrees. SECOND Position

➢ Arms raised sideward with a graceful

curved a little below shoulder level.
Palm facing facing up.

SECOND Position

➢ Feet apart sideward of about a pace

distance.

THIRD Position

One arm is raised above the head

forming half a circle while other arm remains in
THIRD Position the second position.
➢ Heel of one foot close to in-step of
other foot.

.
FOURTH Position “T” POSITION

➢ Raise one arm in front of chest I a half ➢ Both arms raised at

circle, while one arm remains the sides and bent at
overhead. elbows so that the upper
arms are at shoulder
level.

REVERSE “T” POSITION

➢ Both arms raised at

sides and bent at
elbows so that the
FIFTH Position forearms are parallel to
the head; palm facing
➢ Both arms raised overhead inward.

COMMON DANCE POSITIONS

Partners Standing side by side

OTHER ARM POSITONS

1. Amplified
2. “T” Position
3. Reverse “T” Position

B- hands on waist
AMPLIFIED G- hands on skirt

➢ More often positions on 1st or 5th

positions.

Standing side by side facing away from

audience
 BALLROOM OR SOCIAL DANCE POSITION

Join Hands together facing audience

Partners stand face to face, shoulders and hips
parallel. Boys L/ R hand is placed around Girl’s
waist. Girl’s hand rest lightly against R/L
shoulder. Boy’s L/R hand is raised to the side
holding the Girl’s R /L hand. The fingers of her
R/L hand rest lightly in the palm of Boy’s L/R.

OPEN BALLROOM POSITION

Partners Facing Opposite Direction

VARSOVIENNE

- The man's right hand

holds the lady's right In partner dancing, open position refers to
hand at her right positions in which partners are connected
shoulder; his left holds primarily at the hands as opposed to closer body
her left, extended to contact, as in closed position. The connection is
the left side. through the hands, wrists, and fingers, and
relies heavily on frame and the compression
and tension of both partners' arms.

COMMON DANCE TERMS AND STEPS

PROMENADE
1) Arms in Lateral Position
- both arms are at one side either right,
- Partners stand side left, at shoulder, chest or waist level.
by side, both facing
on the same 2) Hayon-hayon
direction. Girl at right to place one forearm in front and the
of the partner. The other at the back of the waist.
hand crossed in front, 3) Jaleo
R hands joined over - partners turn around clockwise (with
L. right elbows almost touching) or
counterclockwise (with left elbows
 almost touching) using walking or any 15) Cabiseras/Cabeceras
kind of dance step. - the couples (head pairs) occupying
the width of the hall in a square
4) Crossed arms formation.
- partners facing each other or standing
side by side join their left hands 16) Costados
together and their right hands together; - the couples (side pairs) occupying the
either right over left or left over right length of the hall in a square
hands. formation.

5) Kumintang 17) Whirl

- moving the hand from the wrist either - to make fast turns by executing small
clockwise or counterclockwise steps in place to right or left.
direction.

6) Kewet
FOOT MOVEMENTS
- performed outward making a check
1) Brush
7) Salok - Weight on one foot, hit the floor with
- to swing the arm downward-upward the ball or heel of the other foot and lift
passing in front of the body as if that foot from the floor to any direction.
scooping, the trunk is bent following
the movement of the arm doing the 2) Cut
salok. - To displace quickly one foot with the
other.
8) Sarok
- cross the R foot in front of the L, bend 3) Free foot
the body slightly forward and cross the - The foot not supporting the weight of
hands down in front of the R hand over the body.
the L.
4) Supporting foot
9) Forearm turn - The foot carrying the weight of the
- moves hand alternately to turn the body.
forearms.
5) Inside foot
10) Free hand - The foot near one’s partner when they
- the hand not doing anything stand side by side.

11) Inside hand 6) Outside foot

- the hand near one’s partner when - The foot away from the partner when
they stand side by side. they stand side by side.

12) Outside hand 7) DO-SI-DO or DOS-A-DOS

- the hand away from one’s partner - Two people walk toward each other,
when they stand side by side. pass by the right shoulder, step
sideward to the right and return to
13) Saludo position walking backward, passing left
- partners bow to each other, to the shoulder.
audience, opposite dancers, or to the
neighbors with feet together. This is of 8) Hop
Spanish origin and used in almost all - Spring on supporting foot, and land on
Philippine dances, the same foot.

14) Set 9) Jump

- a unit formation of two or more - Spring from one or two feet and and on
couples. both feet.

10) Leap
- Spring on the supporting foot and land
on the other foot.
11) Place
- To put one foot (flat) in any desired
position across the set.

12) Point
- touch toe or ball of free foot on the floor
and remains there briefly.

13) Step
- With the weight on one foot, shift the
weight into the other foot.

14) Pivot
- Turning on ball, heel, of one or both
feet on a fixed place.

15) Slide
- To glide one foot along the floor
smoothly, with or no transfer of weight.

16) Stamp
- to bring down one foot forcibly on the
floor with or without transfer of weight.