DANCE

 Is one of the oldest of the arts.

 Since time immemorial, it is believed that dance was performed by tribal societies for battle victory and
hunting success.
 Was also used for religious ceremonies and festivities.
 Movement of the body in a rhythmical manner usually accompanied with music within a given space,
for the purpose of expressing an idea or emotion, releasing energy or taking delight in the movement
itself.
 Also considered as a performing art form consisting of purposefully selected sequence of human
movement.
 An art that uses non-verbal movement in an ordinary way to create a form, order, or statement, a
movement that transcends function and becomes communication.

IMPRTANCE OF DANCE
1. BUILDS CONFIDENCE
 Dance is a great way to connect emotionally with an audience and other people.
 Expression, smiling and reflection will be promoted.
 This creates a health environment in which students can express their feelings in a productive
manner, while learning to control their emotions.
2. HEALTH
 Dance provides the necessary daily physical fitness recommendations of most health care
professionals.
 Promoting physical fitness creates an excellent foundation for future lifelong health and fitness.
3. SOCIAL INVOLVEMENT
 Dance enable one to meet new friends.
 As a result of working on team, partner and solo performances, one can develop comfort in
working independently, a taste of healthy competition and inspiration from peers.
4. FUN ACTIVITY AND RELAXATION
 The number one rule to dancing is to find joy and fun in what we are doing.
 Dancers will feel the freedom of expression, meet new friends and reap the rewards of dancing.
5. CREATIVITY AND IMAGINATION
 Dancers will work on creating shapes and movements through imagination and exploration.
 This is beneficial to all aspects of life, creating endless opportunities for future development.

ELEMENTS OF DANCE
A. SPACE
 The area covered by the dance movements (this includes shape, level, directions and pathways).
 DIRECTIONS: forward, backward, sideways, up, down, etc.
 LEVEL: the distance from the floor (high, medium, low).
 PATHWAYS: patterns that the body makes as it moves through space or on the floor (diagonal,
zigzag, circle, etc.)
 SHAPE: the design of the body as it exists in space.
B. TIME
 How fast or slow (tempo); even or uneven beat and long or short (duration) the movement is
rhythm, freezes, acceleration/deceleration.
C. ENERGY
 Quality, force, effort
D. BODY
 Zones of the body, shapes, base

E. ACTION
  Locomotor & non-locomotor movements

FOLK DANCE
 A dance developed by people that reflect the life of the people of a certain country or region.
Ritual dances are usually called "religious dances" because of their purpose. The terms
"ethnic" and "traditional" are used when it is required to emphasize the cultural roots of the
dance.
 A dance that tells much about a country and its people. They relate or show the traditions, ideas,
superstitions and events of daily living of countries all over the world.
 A type of dance that is a vernacular, usually recreational, expression of a past or present culture.
Francisca Reyes Aquino is the legendary "Mother of Philippine Folk Dancing." It was her dream to promote
the teaching of folk dances in the physical education curriculum of Philippine Schools. Dr. Reyes Aquino
received the "Philippine Republic Award Merit" for her untiring efforts in collecting, compiling, and
propagating folk dances, and for her outstanding contribution to the advancement of Filipino culture in the field
of dance.
She founded the Philippine Folk Dance Society to bring together Physical education students, teachers,
administrators and individuals interested in folk dancing.

CLASSIFICATION OF FOLK DANCES

A. Geographical Classification
1. National Dances – found throughout the islands with little or no modification. Examples: Rigodon,
Cariñosa, Jota, Balitaw, Pandanggo
2. Local Dances – found in a certain locality
Examples:
Tinikling – Leyte
Maglalatik – Binayang
Subli – Batangas
Biniganbigat – Abra
B. Nature
1. Occupational – depicting action of certain occupation, industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete
2. Religious or Ceremonial – performed in connection with religious vows and ceremonies.
Examples: Dugso, Sua-sua, Putong, Sta. Clarang Pinung-pino
3. Comic Dances – depicting funny movements for entertainment.
Examples: Kimbo-kimbo, Mokonggo, Kinoton, Itik-itik
4. Game Dances – with play elements (dance mixers)
Examples: Lubi-lubi, Pavo

5. Wedding Dances – performed during wedding feasts.

Examples: Panasahan, Pantomina
6. Courtship Dances – depicting love making
Examples: Tadek – Daling-daling, Hele-hele, Bago Quiero, Maramion
7. Festival Dances – suitable for special occasion or any social gatherings
Examples: Pandanggo, Habanera, Jota, Surtido
8. War Dances – showing imaginary combat or duel
Examples: Maglalatik, Sagayan, Palu-palo

C. Movements

1. Active (fast energetic movements)

Examples: Tinikling, Maglalatik, Sakuting, Polkabal
2. Moderate
Examples: Carinosa, Tagala, Purpuri, Habanera
3. Slow
Examples: Pasakat, Amorosa, Tiliday, Kundiman
4. Slow and Fast
Examples: Putritos, Ba-Ingles, Habanera Botolena, Alcamfor

D. Formation

1. Square Quadrille
Examples: Rigodon, Los Bailes de Ayer
2. Long Formation (two or more parallel lines)
Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side by side
Examples: Binadyong, Haplik, Kakawati

E. Special Classifications
These are group dances that have special distinctive features.

1. Dances with Songs

Examples: Abaruray, Manag Biday, Lulay, Rogelia, Lawiswis Kawayan
2. Old Ballroom Dances
Examples: Polka, Mazurka, Chotis, Valse
3. Dances with Implements
Examples: Maglalatik, Sakuting, La Jota Moncadena, Tinikling, Salakot
4. Dances of Combined Rhythm
Examples: Surtido, Pantomina, Los Bayles de Ayer
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Type Origin Description Examples

Maria Clara Luzon and Named after Maria Clara from Noli Me Tangere; Spanish La Jota, Paseo
Dance Visayas influence “Filipinized” with bamboo castanets and banico de Iloilo
Fiesta spirit and love of life; girls wear colorful balintawak and
Binasuan,
Rural Dance Luzon patadyong skirts, boys wear camisa de chino and colored
Tinikling
trousers
Muslim Southern Vivid colors and rhythmic movements reflecting Arabian and
Singkil, Vinta
Dance Mindanao Indo-Malaysian cultural influences
Tribal Dance Mindanao Ceremonial and ritual dances performed “for the gods” Udol, Mandaya
Celebrations of victories, festivals, religious rituals,
Cordillera Northern
thanksgiving; instruments include nose flute, bamboo guitar, Uya-uy
Dance Luzon
drums, and wooden sticks

Philippine Folk Dances

 Maglalatik
 Carinosa
 Pandango sa Ilaw
 Tinikling
 Itik Itik
 Sayaw sa Bangko
 Singkil
 La Jota Moncadeña
 Maranao Dance
CARIÑOSA
 The cariñosa is a popular folk dance that was introduced to the country by the Spaniards when they
arrived in the 16th century.
 These are so named in honour of Maria Clara, who was the main character in Jose Rizal's novel Noli Me
Tangere.
 In it, Maria Clara is portrayed as a noble and loyal woman, who after the publication of the novel in the
19th century became the female symbol of virtue for Filipina women.
 The Cariñosa originated in Panay Island in the Visayas region of the Philippines
 It's believed to be influenced by Spanish dances like the bolero and the Mexican Jarabe Tapatio
(Mexican Hat Dance).
 To dance the cariñosa, a man and a woman dance together, taking slow steps around the room, like those
of a waltz. The female holds a fan or handkerchief, which she coyly hides behind. The dance itself is
intended as a courtship dance and is of a flirtatious nature.
STEPS
• Three-step and Point - A basic movement consisting of three steps to the side, followed by a
pointed foot. This is often repeated in various directions.
• Touch Step - A light touch of the opposite foot to the front. This adds a delicate and flirtatious
quality.
• Three-step Forward and Back - Three steps forward, followed by three steps back. This creates a
flowing and rhythmic movement.
• Hide-and-Seek - The use of a fan or handkerchief to playfully hide the face, a key element of the
courtship aspect of the dance. This can involve peeking around the prop or using it to create a
playful barrier between partners.
• Kneeling and Fanning - the female dancer kneels while gracefully fanning herself, adding a touch
of coy flirtation.
MATERIALS:
• For woman the balintawak style costume or patadyong and camisa.
• For man, barong tagalog and trousers (any color)
• Woman has a fan hanging at her right side of wais
• Man has a handkerchief in his pocket.

HISTORY OF TINIKLING
The Tinikling dance, a celebrated symbol of Filipino culture, holds its roots in the Leyte province of the
Visayas region in the Philippines. Its origins, however, are cloaked in a blend of historical accounts and
folklore, resulting in two primary narratives.
Tinikling, a dance often linked to the tikling bird, is a symbol of Filipino culture. It involves dancers
stepping over and between bamboo poles, mimicking the bird's agility.
Another interpretation links it to Filipino laborers' struggles during the Spanish colonial era, who
developed the skill to avoid injury. Despite modern adaptations, the dance's fundamental essence remains a
testament to the enduring power of tradition and the spirit of the Filipino people.

PERFORMANCE AND SIGNIFICANCE

Tinikling dance involves two to four performers tapping bamboo poles, creating a lively rhythm.
Dancers skillfully move between poles, requiring coordination, balance, and precision to avoid injury and
avoid getting caught.
 The dance's cultural significance extends beyond its artistic merit. It serves as a potent symbol of Filipino
culture, representing several key values:
Resilience: The dance, regardless of its origins, symbolizes the Filipino ability to overcome hardship.
Resourcefulness: The use of readily available bamboo highlights ingenuity and creativity.
Community: The dance requires collaboration between dancers and those manipulating the poles.
National Identity: Tinikling represents the unique cultural heritage of the Philippines.
Agricultural Heritage: The dance's connection to rice farming (through either the bird or punishment
narrative) reflects the importance of agriculture in Filipino culture.

MAGLALTIK
• The name “Maglalatik” comes from “Latik” (coconut residue) and “Mag-“ ( a prefix denoting
someone doing an action), thus meaning, “latik-maker” or “latik-gatherer”.
• The Maglalatik is a traditional Filipino folk dance that originates from the town of Biñan, Laguna in
the Philippines.
• It is a mock-war dance that symbolizes a conflict over “latik”, a residue produced from coconut
milk, which is a valued cooking ingredient in Filipino cuisine.

HISTORICAL AND CULTURAL BACKGROUND

• The dance dramatizes a fight between Moros (Muslim Filipinos) and Christians over the prized latik.
• The first half of the dance shows the two groups of fighting, while the second half portrays their
reconciliation.
• It is believed to be a symbolic portrayal of historical skirmishes and eventful peace between the two
communities, reflecting the complex religious and cultural dynamics in the Philippines during the
Spanish colonial period.
• The dance is performed by male dancers who wear coconut shells (8 to 10) attached to their bodies—
specifically on the chest, back, thighs, and hips.
• The shells are struck in rhythmic, choreographed sequences that mimic combat movements.
• Maglalatik is known for its fast-paced, acrobatic, and rhythmically precise movements, often requiring
strength, coordination, and timing, making it both a visual and auditory spectacle.
PURPOSE OF THE DANCE
• Since coconut is a major product in the Philippines, especially in Laguna, the dance reflects local
livelihood and cultural identity.
• The dance also serves as a display of Filipino martial arts and agility, with movements mimicking
combat.
• In some traditions, the dance is performed during town festivals honoring San Isidro Labrador, the
patron saint of farmers.
MATERIALS
• Coconut shell halves – main percussive props, worn on hands and upper/lower body (10 shells)
• Vest or harness – holds shells securely around the body.
• Shirtless torso/Camisa de chino – optional lightweight covering for chest.
• Colored trousers – red or blue pants (male dancers), stylized simple attire. Red- Moro, Blue-
Christians.
• Elastic garters/straps – keeps shells firmly attached during movement.
• Drums or beat accompaniment – provide rhythmic framework for striking motions.
STEPS
 1. Hayon-Hayon
2. Clockwise
3. Counter-Clockwise
4. Jump
5. Close step

PANDANGGO SA ILAW
• “Pandanggo” comes from the Spanish word “fandango”, a lively courtship dance.
• “Sa ilaw” means “with light” in English.
ORIGIN
• The dance originated in Lubang Island, Mindoro, Philippines.
PROPS USED
• Oil lamps or candles
• Glasses with candles
DANCE STYLE
• It is a graceful and controlled requiring balance and poise.
COSTUME
• Women wear Maria Clara or Balintawak dresses (traditional Filipino attire)
• Men can wear Barong Tagalog
PURPOSE
• Symbolizes hope, beauty, and the Filipino women’s strength and grace.

LA JOTA MONCADEÑA
HISTORY AND ORIGIN
 La Jota Moncadeña is a Spanish-influenced folk dance that originated in Moncada, Tarlac (hence the
name Moncadeña).
 It is a local adaptation of the Spanish jota, a lively dance from Aragón, Spain.
 During the Spanish colonial period, Filipinos integrated European dances into their own traditions.
They modified the steps, tempo, and music to fit the Filipino style and community celebrations.
 Over time, La Jota Moncadeña became a symbol of Filipino-Spanish fusion culture, reflecting both
colonization and cultural adaptation.
 “Jota” is a Spanish word. It comes from the Spanish dance tradition of Aragón, Spain, where the jota
is one of the most famous folk dances.
 The word “jota” itself is believed to come from the Latin word “saltare” (to jump or to dance), which
later evolved through Old Spanish into “xota/jota.”
 The prefix “La” simply means “the” in Spanish. So “La Jota” translates to “The Jota.”

COSTUME
  Women (Maria Clara style):
o Baro’t saya (traditional blouse and skirt) or Maria Clara gown with pañuelo (embroidered
shawl).
o Usually adorned with a fan, which is also used in the dance.
 Men:
o Barong Tagalog or camisa de chino paired with trousers.
o Sometimes uses a hat (salakot or Spanish-style hat).
PURPOSE
 Performed to celebrate social gatherings, fiestas, and special occasions.
 Served as community entertainment and a way of honoring visitors.
 Showcases the blend of Filipino and Spanish heritage through music, attire, and movement.
MATERIALS
 Props: Fans and handkerchiefs (for women), sometimes hats for men.
 Music: Played with traditional instruments such as bandurrias, guitars, and castanets. Instead of real
castanets, Filipinos often used bamboo or shells to imitate the sound.
 Attire: Traditional Filipino fabrics (piña, jusi, cotton).
SIGNIFICANCE
 Represents the fusion of Spanish and Filipino traditions in dance.
 Shows the creativity of Filipinos in adapting foreign influences to their local culture.
 Preserves Filipino heritage, especially in Tarlac, where it is a source of local pride.
 Highlights the role of dance as a form of identity and cultural continuity.
STEPS
1. Entrance / Saludo (Bow or Curtsy): Dancers enter gracefully, acknowledging each other and the
audience.
2. Basic Jota Step: A quick, lively step pattern with a “one-two-three” rhythm (similar to a waltz but
faster).
3. Kumintang: Rotating the wrist gracefully, often while holding a fan or handkerchief.
4. Castanet Movement: Hands imitate castanets (snapping fingers or tapping bamboo/shell castanets).
5. Paso de Valse: Waltz-like steps moving forward, backward, or sideways.
6. Turns and Spins: Couples turn or spin gracefully in coordination.
7. Fan and Handkerchief Play: Women open/close fans, men may use a handkerchief for style.
8. Exit / Final Pose: Ends with a graceful bow, wave, or coordinated pose of the group.
La Jota Moncadeña is a Filipino-Spanish folk dance from Tarlac that blends European elegance with Filipino creativity. It is
performed with fans, handkerchiefs, and lively music during community celebrations, keeping alive a part of our cultural identity.

The bamboo used to make a sound in folk dances like La Jota Moncadeña (to imitate the castanets) is usually called “bamboo
castanets” or sometimes “kalastnas” in local terms.

 In Spanish dances, they used real castanets (small wooden clappers).

 Since those were not always available in the Philippines, Filipinos made their own version using thin pieces of bamboo cut
and shaped to click together, producing a sharp, rhythmic sound.