Folk Dance Flashcards

1
Q

Where was Polka sa Nayon Popular

A

Batangas

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2
Q

When was Polka sa Nayon Popular

A

Spanish time, usually during town fiestas and social affairs

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3
Q

Costume for Polka sa Nayon

A

Women: Maria Clara
Men: Barong Tagalog

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4
Q

3 Types of Folk Dance

A

Traditional, Ethnic, National

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5
Q

Mother of Philippine Dancing

A

Francisca Reyes-Aquino

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6
Q

Examples of Philippine Folk Dances

A
  • Life Cycle
  • Festival
  • Rituals and Ceremonial
  • Occupational
  • War
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7
Q

See polka steps in ppt

A
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8
Q

is an expression of the body, following rhythmic patterns, and is accompanied by music.

A

Dance

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9
Q

Benefits of Dance

A
  • Physical
  • Social
  • Mental/Emotional
  • Cultural
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10
Q

are the indigenous dances of any specific “folk” or the common people. They are traditional customary or recreational dance forms of a given country which have evolved naturally and were handed down across generations.

A

Folk Dance

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11
Q

performed in primitive tribes and have retained their close kinship with religious ritual and community custom. These dances may require a certain level of special performing skills that are symbolic in meaning, making it harder for those outside the group to understand.

A

Ethnic Dance

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12
Q

are dances that depict ritual
ceremonies examples of these are
Dugso (Bukidnon) and Pagdidiwata (Palawan).

A

Ritual Dances

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13
Q

are related to the cycle of human
life such as birthing, courtship, wedding, and funeral. Examples are Binasuan (Pangasinan) and Daling-daling (Muslim courtship dance from Sulu).

A

Ethnic Dances

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14
Q

exhibit work and occupation of dancers like Mag-asik(Cotabato) and Mananagat (Cebu) dances.

A

Occupational Dances

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15
Q

popular and widely danced throughout a given country, often a
number of regional variations

A

National Folk Dance

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16
Q

Filipino folk dancer and academic
noted for her research on Philippine
folk dance. She is a recipient of the
Republic Award of Merit and the
Ramon Magsaysay Award and is a
designated National Artist of the
Philippines for Dance.

A

Francisca Reyes-Aquino

17
Q

three major regional classifications of Philippines folk dances

A
  1. Tribal Dances from the Cordilleras - nclude non-Christian dances from Cordilleras.
  2. Lowland Christian Dances- dances coming from places with Western influences such as that of theTagalogs,Ilokanos, Bisayans and Bicolanas. These dances are influenced by Hispanic and European cultures.
  3. Muslim Dances- dances from the people of the Southern Islands of the Philippines such as in Mindanao and Sulu. These dances are influenced by Arabic and Indo Malayan cultures.
18
Q

dances that serve as ritual as one
passes to a different stage of life such as from birth to childhood to adulthood or from life to death. Examples of the portray life cycle dances are courtship, wedding and
funeral dances.

A

Life-cycle dances

19
Q

dances that are either religious or
secular and are connected with the celebration or recurring events of special significance

A

Festival Dances

20
Q

dances performed as part of the rituals and ceremonies of a certain tribe or group of people.

A

Ritual and Ceremonial Dances

21
Q

dances that express feud and enmity wherein two male dancers engage in physical combat with Spartan like intensity. Maglalatik (Binan, Laguna) is an example of a war dance. In this dance, the Muslim won and Christians sought conciliation in order to convert Muslim Moros to Christianity (Aquino,1979).

A

War Dances

22
Q

dances that depict the means of
livelihood of the Filipino people. Palay festival, a national dance in rice-growing regions, is an example of this wherein dancers portray different steps in growing- from planting to harvest (Aquino, 1979).

A

Occupational Dances