Phases of the dance program

1. Creative Rhythms

Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end
product of exploration and improvisation of movements as children learn to move the parts of
their body and to use them as instruments of expression.

2. Folk/ Ethnic dance

Is a cultural art form handed down from generation to generations. It communicates the
customs, beliefs, rituals, and occupations of the people of a region or country.

3. Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with the more formal
atmosphere than the simple and informal parties in which the recreational dances are the usual
forms. Social and ballroom dancing are generally held in the evenings. The participants are
usually in formal attire.

4. Recreational Dance

Includes dance mixers, square dance round and couple dances. Many of these dances have
simple patterns and combinations of walking steps, polka step and the waltz step. The setting is
usually informal gatherings and parties, reunions etc.

5. Creative Dance

Is the highest form of dance. It is the end-product of exploration and improvisation of

movements as the dancer or the choreographer expresses his feelings or emotions, ideas, and
interpretations. This is a dance with a definite form, a beginning and an ending. The principles of
art form are all observed in the composition of the dance.

Examples of creative dance are ballet, jazz,and modern or contemporary dance.

Objectives of Philippine Folk Dances:

• To foster patriotism and nationalism through the study of our dance.

• To arouse better appreciation of Philippine music and folk dances.
• To provide through dancing, a healthful form of relaxation and recreation.
 •
To develop a grateful and rhythmic coordination of the body movement that will
improve posture.
• To preserve for posterity, fold dances and music are indigenous to the different
regions of the Philippines.
To demonstrate the growth of the Filipino culture through the evolution of Philippine
dances.

1. Folk Dances – traditional dances handed down from generation to generation

depicting the way of life (culture/ traditions) of the people.

• Folk Dance is a dance which intimate bond of customs, ideas, and

traditions of the past through which a multitude of national
characteristics in music, steps, customs, and costumes are preserved.

• A traditional dance transmitted from generation to generation.

• DO’S IN FOLK DANCING:

1. Dance in a natural, simple and direct manner.

2. Dance with ease and smoothness.
3. Use proper costumes for the dance.
4. Follow the directions and dance instructions as closely as possible.
5. Dance with feelings and expressions.

DON’TS IN FOLK DANCING:

1. Do not exaggerate the dance steps.

2. Do not make the dance too dainty and graceful like ballet.
3. Do not make the entrance and exit long.
4. Do not make steps too elaborate and complicated.
5. Do not calla dance folk dance unless steps come from traditional dances.

HOW TO TEACH A DANCE:

1. Give the name and background of dance.

2. Let the children listen to the music.
 3. Illustrate the dance steps.
4. Repeat for clarification.
5. Dance first with the number, then with the music.
6. Teach next figure.
7. Repeat I and II, teach figure III, repeat figure I-III and etc.

Characteristics of Philippine Folk Dances:

1. In general, dancers stand apart.

2. There is little, if any bodily contact.
3. Most of the dancers are done by pairs or doubles.
4. Hand movement played an important part.
5. Most dances are in long formation.
6. Most dances begin with end with “SALUDO”.
7. Dancers from the lowlands have more foreign elements than those found in the uplands.
War dances are found among non-Christian tribes.

CLASSIFICATION OF PHILIPPINE DANCES

I. General Classification

A. Geographical extent of origin

1. National Dances- found throughout the island with little or no
classification. Examples: Rigodon, Cariñosa, Jota, Balitaw,
Pandanggo

2. Local Dances- found in certain locality.

Examples: Tinikling-Leyte
Maglalatik-Binan
Subli-Batangas
Biniganbigat-Abra

B. Nature
1. Occupational - Depicting action of certain occupation,
industry, Or human labor
Examples: - Pasiguin , Regatones, Pandango sa
Bulig, Mananguete, Pabirik., Kin-naras &
etc.
- Performed in connection with
2. Religious or religious vows
 and ceremonies.
ceremonial
Examples:
- Dugsu, Sua-sua, Subli, Sayaw sa
Obando, Sala Te Mais
3. Comic dances - Depicting funny movements for dance
entertainment.
Examples: -Kinbo-kinbo, Makonggo, Kinoton
4. Game Dances - With play elements (dance mixers)

5. Wedding Dances - Performed during wedding feast.

Examples: - Pantomina, Habanera Botolena

6. Courtship Dances - Depicting love-making

Examples: - La Jota Moncadena, Carinosa, Kuratsa
7. Festival dances - Suitable for special occasion or any
gatherings social
Examples: - Pandanggos, Karatong,

8. War Dances - Showing imaginary combat or duel

Examples: - Sagayan, Palu-palo, Maglalatik, etc.
- dances mimicking the movements of
9. Imitative Dances any animals
Examples - Lapay Bantigue, Arigay, Kalapati.

[Link]
1. Active - With fast energetic movements
Examples Tinikling, Maglalatik, Sakuting,
Polkabal, etc.
2. Moderate
Examples Cariñosa, Tagala, Habanera,
Paupuri, etc.
3. Slow
Examples Pasakot, Amorosa, Tiliday,
Kundiman
4. Slow and Fast

Examples Putritos, ba-Ingles, Habanera Botolena,

Alcamfor
D. Formations
 [Link] or quadrille
Examples Rigodon, Los Bailes de Ayer, etc.

[Link] Formation (two or more parallel lines)

Examples Lulay, Sakuting
3. Set Consisting of two or more pair as a unit
partners facing each other or standing side by side.

Examples Enganosa Polka Espanola, Haplik,

Kakaoati, Etc.
II. - group dances having special
Special Classification
distinctive features
A. Dances with songs
Examples Abaroray, Manang Biday, Tinikling, etc.

B. Old Ballroom
Dances
Examples Polka, Mazurka, Chotis, Valse, etc.

[Link] with Implements

Examples Maglalatik, Sakuting, Jota Mocadena, Tinikling,
Salakot, Binasuan
 Literature in Folk Dance
 Basic hand and feet dance position in Folk Dance
Basic Natural Movements (Locomotor and Non-Locomotor Movements)
Francisca Reyes Aquino“Mother of Philippine Dancing” Dance
(1973) Francisca Reyes Aquino is acknowledged as the Folk
Dance Pioneer. This Bulakeña began herresearch on folk dances in the
1920's making trips to remote barrios in Central and NorthernLuzon. Her
research on the unrecorded forms of local celebration, ritual and sport
resulted intoa 1926 thesis titled "Philippine Folk Dances and Games ,"
and arranged specifically for use byteachers and playground instructors in
public and private schools. In the 1940's, she served assupervisor of
physical education at the Bureau of Education that distributed her work
andadapted the teaching of folk dancing as a medium of making young
Filipinos aware of theircultural heritage. In 1954, she received the Republic
Award of Merit given by the late [Link] Magsaysay for "outstanding
contribution toward the advancement of Filipino culture",one among the
many awards and recognition given to her.
This lively dance is popular in the provinces of Iloilo and
Anque. It is named aer the step "Haplik",which is also used in some
other dances. Haplik was taught by Mary Ann Herman at the 1960
IdyllwildFolk Dance Camp. Correct costume for the woman is patadyong,
camisa and a so panuelo over oneshoulder; for the man, barong
tagalog and white trousers.
Cariñosa- An example of a Maria Clara dance. In
the original version, the dancers used the Fan and handkerchiefas the way
to do the hide and seek movement, in Bicol they used two handkerchiefs
holding the twocorners of the handkerchief and doing the hide and seek
movement as they point their foot forward andtheir hands go upward
together with their handkerchiefs.
BINADYONG- It is a lively dance from the province of iloilo.
Badyong refers to the unsteady swaying of the [Link] swaying
movement is seen in gure II when the dancer syways forrward and back
ward when doingthe cut step. BALITAW- It is a courtship
dance in many parts of the Philippines, especially among the Tagalogs and
Visayans. Theword Balitaw is a contracon of two Tagalog words,
balitaraw. Balita means news and raw means it issaid. Balita raw, therefore
means a rumor or it is rumored. The dancers show the pantomime,
aconsdepicng courtship, using the ower as a medium of expressing
their feelings. The girl's giving the owerwillingly to the boy means her
acceptance of him as a suitor Salakot- alakot
dance, the dancers portray the use of the head gear in a graceful, almost
irtaous [Link] in small towns or barrios in the rural side always
nd ways to celebrate nature's bounful gi[Link] dances
evolved from these places. One of them is the Sayaw Sa Salakot, a
dance whereyoung girlsof the village show o  their colorful farm hats.
Then the weavers wish to have fun andmarrymaking, they sing anddance
and use the batbat scks" in the dance. They dance between andoutof
parallel scks without stepping on them, showing their ability, skill and
good ming. The speed ofbeang and the rhythmic sounds produced by
thescks make the dance very lively, colourful andexci ng.
BINATBATAN
Binatbatan is an occupaonal dance from Paoay, Ilocos Norte.
Itdepicts the beang of the coon podsto separate the seeds from the
bars with the use of two scks called batbat in the Ilocos
[Link], therefore, is derived from the word [Link] the
weavers wish to have fun and marrymaking, they sing anddance and use
the batbat scks" inthe dance. They dance between and outof parallel
scks without stepping on them, showing theirability, skill and
good ming. The speed of beang and the rhythmic sounds produced by
thescks makethe dance very lively, colourful and exci ng

The Basic Natural Movements:

1. Locomotor movements Are those that move the body in space in
any direction with the feet as the moving base.
Examples: walking, running, jumping, hopping, skipping, leaping, gallo
ping and sliding
2. Non-locomotor Are those in which various parts of the
body move in space with a fixed base. The base maybe standing, kneeling,
sitting or lying.
Fundamental