PE Flashcards
is a type of art that generally involves movement of the body, often rhythmic and to music. It is performed in many cultures as a form of emotional expression, social interaction or exercise.
Dance
A traditional dances of a country which were evolved naturally and spontaneously in connection with everyday activities and experiences of the people who developed them.
Folk Dances
Types of Folk Dances
National
Regional
Character
Values of dancing
- Physical fitness
- Cultural
- Social
- Recreational
found throughout the islands with little or no modification.
National dance
National dances examples
• Rigodon
• Carinosa
• Jota
• Balitaw
• Pandanggo
Local Dances examples
• Tinikling- Leyte
• Maglalatik- Laguna
• Esperanza-Nabua, Camarines Sur
• Subli-Batangas
• Binigan bigat-Abra
Nature dances
- Occupational Dance
- Religious or Ceremonial Dances
- Comic Dances
- Game dances
- Wedding Dances
- Courtship Dances
- Festival Dances
- War Dances
depicting action of certain occupation, industry, or human labor.
Occupational Dance
Occupational Dance examples
• Planting
• Harvesting
• Pounding
• Winnowing
• Pabirik
• Mananguete
performed in connection with religious vows and ceremonies.
Religious or ceremonial dances
Religious or Ceremonial Dances examples
• Dugsu
• Sua – Sua
• Putong
• Sta. Clarang Pinong-Pino
depicting funny movements for entertainment.
Comic Dances
Comic Dances examples
• Kimbo – Kimbo
• Makonggo
• Kinoton
with play elements (dance mixers).
Game dances
Game dances examples
• Lubi lubi
• Pavo
performed during wedding feast.
Wedding dances
Wedding dances examples
• Panasaan
• Curacha
depicting love making.
Courtship dances
Courtship dances examples
• Hele – Hele
• Bago Quiere,
• Maramion
• Tadek
• Daling-Daling
suitable for special occasion or any social gathering.
Festival Dances
Festival dances examples
Pandanggo, Habanera, Jota, Surtido
War dances examples
Sagayan, Palu-Palo
showing imaginary combat or duel.
War dances
Classifications of Philippine dance
A. Geographical extent of origin
B. Nature
C. Movements
D. Formation
Formations
- Square or Quadrille
- Long formation
- Set
Square or Quadrille examples
Rigodon, Los Bailes de Ayer
Long Formation (two or more parallel lines) examples
Lulay, Sakuting
consisting of two or more pairs as a unit, partners facing each other or standing side by side.
Set
Set examples
Binadyong, Haplik, Kakawati
group of dances having special distinctive features
Special classification
Special classification
A. Dance with songs
B. Old ballroom dances
C. Dances with implements
D. Dances of combined rhythm
Dance with songs examples
Aburaray,
Manang Biday,
Lulay,
Rogelia,
Lawiswis Kawayan
Old ballroom dances examples
Polka,
Mazurka,
Chotis,
Valse
Dances with implements examples
Maglalatik,
Sakuting,
Jota
Moncadena,
Tinikling,
Salakot
Dances of combined rhythm examples
Surtido,
Pantomina,
Los Bailes de Ayer
Factors affecting
Folk Dances
• Geographical location
• Economic conditions
• Climatic conditions
• Customs and traditions
Do’s in Folk dancing
- Dance in a natural, simple and direct manner.
- Dance with ease and smoothness.
- Use the proper costume for the dance.
- Follow directions and dance instructions as closely as possible.
- Dance with feeling and expression.
Don’ts in Folk dancing
- Do not exaggerate the dance steps.
- Do not make the dances too dainty and graceful like ballet.
- Don’t make entrance and exit long.
- Don’t make steps too elaborate and complicated.
- Don’t call a dance a folk dance unless steps come from traditional dances.
Girl at the right side, holds R arm of partner with her L hand, free hands down at the sides. This term is a Spanish origin and is used in Rigodon and in another dance.
Abrasete
– Both arms are at one side, either sideward right or left. This may be at done at shoulder, chest, or waist level.
Arms in Lateral Position
– Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed.
Arms in Reverse “T”
– To turn palms of hands up and down alternately, hands at waist level in front, elbows closed to waist.
Bilao
– 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.
Brush
– 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.
Cabeceras
– Like the motion of the hands of a clock. R shoulders toward the center of an imaginary circle. When facing center, the movement is towards the left.
Clockwise
– The reverse direction of clockwise. L shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the right.
Counterclockwise
– Partners are facing each other or standing side by side, girl at the right of boy. They join their L and R hands together either R over L or L over R hands.
Crossed Arms
– To displace quickly one foot with the other, thus completely taking off the weight of the body from the displaced foot.
Cut
– The vis-à-vis (opposites) 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 a foreign origin and is used in many Philippine dances.
Do-si-do (“Dos-A-Dos”)
– To pull one foot along the floor close to other which has the weight of the body. The weight may or may not be transferred.
Draw
– The foot not bearing the weight of the body.
Free Foot
– The hand not placed anywhere or not doing anything.
Free Hand
– Place hands on waistline (at the smallest part of the trunk). Knuckles in, fingers pointing in rear.
Hands on waist
– To place on forearm Infront and the other at the back of the waist. This is a Visayan term.
Hayon-hayon
– A spring from one-foot landing on the same foot in place or in any direction. The other foot may be raised in any direction.
Hop
– The foot nearer one’s partner, when partners stand side by side.
Inside Foot
– The hand nearest one’s partner when partner’s stand side by side
Inside Hand
– Moving the hand from the wrist either in a clockwise or counterclockwise direction. This is an Ilocano term.
Kumintang
– The foot away from one’s partner, when partners stand side by side.
Outside Foot
- The hand away from one’s partner, when partner stand side by side.
Outside Hand
– To put foot in a certain or desired position without putting weight on it. The sole of the footrests on the floor.
Place
– To turn wit the ball heel, or whole foot, on a fixed place or point.
Pivot
– Touch the floor lightly with the toes or one foot, weight of the body on the other foot.
Point
– Partners bow to each other, to the audience opposite dancers, or to the neighbors with feet together. This term is a Spanish origin and is used in almost all Philippine dances.
Saludo
– A dance formation like a square or a unit formation composed of two or more pairs.
Set
– To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of weight.
Stamp
– To advance or recede by raising or moving one foot to another
Step
– The foot that bears the weight of the body.
Supporting Foot
– To rap slightly with the ball or toe of the other foot. There is no change or transfer of weight.
Tap
– To make fast turn by executing small steps in place to right or left.
Whirl
