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hais Flashcards

1
Q

The Following are the common Dance Terms in Philippine Folk Dance:
• – Girl at the right side, holds Right arm of partner with her Left hand, free hands down at the sides. This terms is of Spanish and is used in Rigodon and in other dances.

A

Abracete

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2
Q

• – both arms are at one side, either sideward right or left. This may be done at shoulder chest or waist level.

A

Arms in Lateral Position

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3
Q

• – Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed.

•

A

Arms in Reverse “T” position

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4
Q

– To turn hands up and down alternately, hands at waist level in front, elbows close to waist.

•

A

Bilao

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5
Q

– Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that foot is lifted from the floor to any direction.
•

A

Brush

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6
Q

– When dancers are in square formation, the couples occupying the width of the hall are called “cabeceras” or head couples. This is of Spanish origin.

A

Cabeceras

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7
Q

• – Like the motion of the hands of the clock. Right shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left.

A

Clockwise

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8
Q

– The reverse direction of clockwise. Left shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the right.

A

Counterclockwise

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9
Q

– When Dancers are in square formation, the couples occupying the length of the hall are called “costados” or side pairs. This is of Spanish origin.

A

Costados

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10
Q

– Partners are facing each other or standing side by side, girl at the right of boy. They join their Left hands together and their Right hands together either Right over Left or Left over Right hands.

•

A

Crossed arms

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11
Q

– Two couples (the vis-à-vis) are opposite each other. Each couple proceeds in a straight line to the opposite place. The girl pass by their Left shoulders between the boy. Boys bow to each other when they meet at the middle or at about one-third of the way, then proceed to the opposite place. Upon reaching the opposite place, partners turn about, girls stand at partners’ right side.

•

A

Cross- Over

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12
Q

– To displace quickly one foot with the other, thus completely taking off the weight of the body from the displaced foot.

•

A

Cut

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13
Q

– The vis-à-vis (opposite) both advance forward, pass each other’s right (or left) side, step across to the right (or left), move backward without turning around pass each other’s left (or right) side to proper places. This is of foreign origin and is used in many Philippine dances.
•

A

Do-Si-Do(“Dos-a-Dos”)

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14
Q

– To pull one foot along the floor close to the other which has the weight of the body The weight may or may not be transferred.

A

Draw

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15
Q

– The foot no bearing the weight of the body.
•

A

Free Foot

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16
Q

– The hand not place anywhere or not doing anything.
•

A

Free Hand

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17
Q

– Place hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing in rear.
•

A

Hand on Waist

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18
Q

– To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of invitation.

•

A

Hapay

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19
Q

To place one forearm in front and the other at the back of the waist. This is a Visayan term.

A

Hayon –Hayon –

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20
Q

– A spring from one foot landing on the same foot in place or any direction (in front, in rear, sideward or across).

•

A

Hop

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21
Q
  • The foot nearest one’s partner, when partners stand side by side.
    •
A

Inside Foot

22
Q

– The hand nearest one’s partner, when partners stand side by side.
•

A

Inside Hand

23
Q

– Partners turn once around clockwise (with right elbows almost touching) or counter clockwise with left elbows almost touching) using walking or any kind of dance step. The hands near each other are on waists. This is a tagalong term but is of Spanish origin.

•

A

Jaleo

24
Q

– Spring on one foot or both feet, landing on both in any direction.
•

A

Jump

25
Q

– Moving the hand from the wrist either in a clockwise or counterclockwise direction. This is an Ilocano term.
•

A

Kumintang

26
Q

– A spring from one foot landing on the other foot in any direction(forward, sideward, backward or oblique)
•

A

Leap

27
Q

– To turn the hand from the wrist half-way clockwise then raise and lower wrist once or twice. This is an Ibanag term.
•

A

Masiwak

28
Q

– The foot away one’s partner, when partners stand side by side.

•

A

Outside Foot

29
Q

The hand away from one’s partner, when partners stand side by side

A

Outside Hand

30
Q

– bend the head downward to support the forehead with the right(left) forearm or with the crook of the right or left elbow , while the left (right) hand supports lightly the palm of the right (left) hand. This is usually done with the left (right) foot pointing in rear and knees slightly bend.

A

Patay

31
Q

• – To put the foot in a certain or desired position without putting weight on it. The sole of the foot rests flat on the floor.
•

A

Place

32
Q

– Touch lightly with the toes of one foot, weight of the body on the other.

A

Point

33
Q

– Turn the ball, heel, or whole foot on a fixed place or point.
•

A

Pivot

34
Q

–partner bow to each other, to the audience, opposite dancers, or to the neighbor.
•

A

Saludo

35
Q

– Cross the Right (or left) foot in front of the Left (or right), bend the body slightly forward and cross the hands down in front with the Right (Left) hand over the Left(Right).

A

Sarok

36
Q

– To swing the arm downward-upward passing in front of the body as if scooping, the trunks is bent forward following the movement of the arm doing the “salok”.

A

Salok

37
Q

• – A dance formation like a quadrille or a unit composed of two or more pairs.
•

A

Set

38
Q

– To bring down the foot forcibly and noisily on the floor (like doing heavy steps).
•

A

Stamp

39
Q

– Four or more people advance to the center and join Right hands and circle around clockwise using walking or change or any other step.
•

A

Star with the Right Hand

40
Q

– To advance or recede by raising and moving one foot to another resting place. There is a complete transfer of weight from one foot to the other
•

A

Step

41
Q

– same as “Star with the Right hand” only join Left hands and counterclockwise.
•

A

Star with the left hand

42
Q

– To tap lightly with the ball or tip of the toe, placing weight of the body on the foot. There is no change or transfer of weight here.

A

Tap

43
Q

– to make fast turns by executing small steps in place to right or left.

A

Whirl

44
Q

KINDS OF DANCE
1.​Traditional
a.-: A dance developed by people in a certain region.
b. – An indigenous dance from a certain race or country.

A

Folk dance

Ethnic dance

45
Q

2.– It showcases tumbling, jumps, tossing, pyramid, stunts, and dance during competition.

A

Cheer dance

46
Q

3._________
✓______- A dance created to give more attention to self-expression and individual creativity than technical expertise.
✓____ – It may include techniques that are found in ballet and modern dance such as floor work, fall and recovery, improvisation, etc.

A

Modern and Contemporary

Modern dance

Contemporary dance

47
Q
    • It is a type of dance where individuals without professional dance training but with a natural instinct for movement brought dancing to the streets.
      ✓_____ is energetic, expressive, improvisational, and social.
      .
A

Hip hop/Street dance

48
Q
    • It is a set of partner dances, which are enjoyed both socially and competitively.
      6.
A

Ballroom dance (recreational and competitive)

49
Q

– It is a cultural dance performed to the strong beats of percussion instruments by a community of people sharing the same culture and is usually done in honor of a Patron Saint or thanksgiving of a bountiful harvest.

A

Festival dance

50
Q

– It is a recreational activity and competitive sport composed of an organized routine with required performance elements and skills in dance and gymnastics.

A

CHEER DANCE

51
Q
  • a dance that originates as ritual among and is characteristic of the common people of a country and that is transmitted from generation to generation with increasing secularization.
    the “Mother of____,”_______ lived a life dedicated to preserving Filipino heritage through studying and teaching folk dances. Reyes-Aquino is the first National Artist for Dance
A

FOLKDANCING

Philippine Dancing

Francisca Reyes-Aquino

pe (2 decks)

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