PE Flashcards

1
Q

The dances were performed during festivals and remembrances of past military victories, and are still performed during celebrations of birth and weddings in modern times.

A

Philippine Folk Dance

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2
Q

Before the arrival of foreign influences,the country boasted a rich tradition ofcultural dances rooted in animisticrituals, community celebrations, andwar preparation.

A

Pre-Colonial Era

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3
Q

European influences fused withindigenous expressions, giving rise to anew genre of dances. ChristianizedFilipinos, under colonial rule, oftenengaged in dances centered aroundcourtship and festival celebrations.

A

Colonial Era

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4
Q

The American colonial era in the early 20th century introduced elements of modernization that influenced folkdances. Post-World War II, folk dances became tools of cultural preservation and nationalistic expression.

A

Post-Colonial Era

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5
Q

In the _________ era, Philippine folkdance continues to be an importantpart of the country’s culture. It is beingpreserved and promoted throughvarious festivals, competitions, andother events.

A

Modern Era

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6
Q

RELATION OF HEALTH RELATED FITNESS TO PHILIPPINE FOLK DANCE

Tinikling is a dynamic and rhythmic dance that requires continuous movement, often with quick footwork to avoid getting caught between the clapping bamboo poles.

This sustained activity helps improve ____________ endurance, similar to aerobic exercises like running or cycling.

A

Cardiovascular Endurance

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7
Q

RELATION OF HEALTH RELATED FITNESS TO PHILIPPINE FOLK DANCE

Maglalatik involves rhythmic tapping of coconut shells fastened to the dancer’s body, often requiring strong and repetitive movements.

These movements engage the arms, shoulders, and core muscles, enhancing ______________

A

Muscular Strength and Endurance

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8
Q

RELATION OF HEALTH RELATED FITNESS TO PHILIPPINE FOLK DANCE

Pandanggo sa Ilaw, This dance involves balancing oil lamps on the head and hands while performing fluid movements.

The dance requires a high degree of __________, particularly in the arms, shoulders, and upper body, as dancers must move gracefully without disturbing the balance of the lamps.

A

Flexibility

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9
Q

RELATION OF HEALTH RELATED FITNESS TO PHILIPPINE FOLK DANCE

Singkil, a dance that tells the epic tale of Princess Gandingan, involves intricate foot work and the coordination of the entire body to move in and out of bamboo poles.

Regular practice of this dance can contribute to maintaining a healthy ____________ by burning calories and building lean muscle mass.

A

Body Composition

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10
Q

RELATION OF HEALTH RELATED FITNESS TO PHILIPPINE FOLK DANCE

Sakuting is a dance that simulates a fight using sticks, requiring precise timing, coordination, and balance.

These physical demands help improve overall _____________, key components of health-related fitness.

A

Balance and Coordination

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11
Q

a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning “knotted rope”.

They are pagan people, living simple lives to appease their gods. Their rituals celebrate their daily lives.

A

Cordillera / Cordillera Dances

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12
Q

The costumes depend on where in Cordillera Administrative Region, but the basic costume for boys is “_____”, to mainly cover their bottoms.

A

Bahag

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13
Q

In the Cordillera Administrative Region, There are dances that they wear headdresses. For the girls they wear a skirt called “______” and also wears headdresses.

A

Tap-Is

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14
Q

A contemporary performance of the Kalinga tribe from the Mountain province in the Philippines.

It displays Igorot women on their way to fetch water to the river to supply their families.

The more pots an Igorot woman can carry shows theirs skill and status among the women in the area

A

Banga Dance

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15
Q

came from the Bontoc tribe.

Depicts the hunting ritual performed before a tribal war.

“____” – bird, leads the tribe to victory.

A

Idaw

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16
Q

Came from the Itneg or Tanggian tribe.

It shows the basic structure of the family. Caring for the children is shared by both parents.

Men are clearing the fields while women watch their children, soon as the men are done, they exchange duties

A

Idudu

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17
Q

“____________” was a word borrowed the word from the Ilocanos and means “merriment”.

In this dance, Kalinga maidens balance “labba” or woven baskets on their dance.

This dance portrays the industrious Kalinga women, carrying water pots on their heads and wearing hand woven “blankets of life”

A

Ragragsakan

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18
Q

Includes the repertory of sacred and secular traditional dances of the Philippines, notable for its combination of grace and vigor.

Dancers imitate the graceful movements of nature, celebrate fertility in vigorous movements to the accompaniment of resonant drumming or gongs, and welcome visitors in delicate swaying dances using fans and scarves

A

Tribal Dances

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19
Q

Cradled amidst thick rain forest, shrouded with the mists of legend and ancient traditions, one folklore has it that a weary bird perched on a large bamboo heard strange noises inside. It pecked the bamboo, split open and from inside came the first man and woman, ______ the strong, ______ the beautiful, the parents of all peoples of the island.

A

Malakas at Maganda

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20
Q

Tiboli dance is the south cotabato in a tribal dance performed by Tiboli tribe.

This dance that mimics the hopping and flying behavior of Tahaw bird is performed to celebrate good harvest

A

Dugso

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21
Q

A mix of Spanish gracefulness and customized native props, such as bamboo castanets and Asian fan.

Female dancers wear Maria Clara dress that typifies the European style, while men are in barong tagalog, a traditional Filipino embroidered long-sleeve shirt made of pineapple fiber.

A

Spanish Influenced Dances

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22
Q

Costume of women in Spanish Influenced Dances

A

Baro at Saya

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23
Q

Costume of men in Spanish Influenced Dances

A

Barong Tagalog and Slacks

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24
Q

t was named after the jingle-less tambourines carried by the females and it originated from Tanza, Iloilo.

From December 16 to January 6, a group of people in the Visayan regions go from house to house to sing Christmas called “Daigon.”

In some regions the song is usually followed by some dances, and “Las __________” is one of those dances

A

Panderetas

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25
Q

Philippine folk dance of Hispanic origin.

It is closely associated with the island of Panay and the Visayas region in general.

The word _______ is from the Spanish ______ meaning the affectionate one.

-Courtship dance

A

Carinosa

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26
Q

It was adapted from an old Spanish dance.

It is a combination of Spanish and Ilocano dance set to Spanish music and castanets.

A more solemn version of the dance is sometimes used to accompany a funeral procession, but it was also performed at the festival

A

La Jota Moncadena

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27
Q

It is used mostly as props in Maria Clara dances.

A

Castanets

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28
Q

a couples dance from Leyte, a province of the Philippines located in the Visayas group of islands.

In this dance, the girl holds a handkerchief laced with camphor, a substance that is locally thought to induce romance. She flirts with the man by waving her scented handkerchief in front of his face

A

Alcamfor

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29
Q

A Spanish-inspired dance where the young female students carry a book or a fan, or other items (flowers) associated with female students

The ladies wear Maria Clara-style dresses.

A

Estudiantina

30
Q

To the Filipinos, these dances illustrate the fiesta spirit and demonstrate a love of life.

They express joy in work, a love for music, and pleasure in the simplicities of life.

A

Rural Dances

31
Q

Costume of women in Rural Dances

A

Kimona and Patadyong or Balintawak

32
Q

Costume of men in Rural Dances

A

Barong or camisa de chino and colored trousers

33
Q

a folk dance that originated in Bayambang, Pangasinan.

The word “_______” means “with the use of drinking glasses.”

A

Binasuan

34
Q

It was originally performed in Binan, Laguna.

A mock-war dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule.

This dance is also shown to pay tribute to the town’s patron saint, San Isidro Labrador

A

Maglalatik

35
Q

This dance comes from the province of Batangas.

In the old days it was very popular and was usually danced at all the big social affairs and at the town fiestas

A

Polka sa Nayon

36
Q

a very popular folk dance in the Philippines. It is said to have originated from Mindoro.

The word _________ is from the Spanish fandango. The phrase _____ is Tagalog for “in light” and it refers to the three oil lamps that a dancer has to balance — one on the head and one on the back each hand.

The oil lamp is called tinghoy.

A

Pandanggo sa Ilaw

37
Q

They are known for their mysticism, royalty, and beauty which are evident in their music and dances.

Accompanied by the agong and kulintang, Filipino _______ dance is marked by intricate hand and arm movement along with shimmering costumes.

There costumes are usually made with the shiny fabric called “silk”.

Accessories like bracelets, anklets, and headresses are usually worn.

A

Muslim Dances

38
Q

This dance is performed by a solo maiden, adorned with fine beads, make up, and a long head scarf.

The maiden would dance to favor the Sultan master for her wrong doing.

A

Asik

39
Q

means “The Royal Walk”.

Maranao women perform this dance with scarves.

The beauty of scarves and the talent and grace in which it is displayed shows their elite social upbringing.

A

Kini Kini

40
Q

Native to Badjao or “Sea Gypsies”.

This dance emphasizes the agility of the upper body.

It is also called as the “Muslim Dance of Four Bamboos”

It is commonly performed at weddings and other social gatherings

A

Pangalay

41
Q

It took its name from the bells worn on the ankles of the Muslim princess.

It is perhaps one of the oldest of the truly Filipino dances, the _______ recounts the epic legend of the “Darangen” of the Maranao people of Mindanao

A

Singkil

42
Q

It’s a technique almost always taught in dancing that involves mainly the arms and feet.

it serves as training for beginners.

helps improve memory.

helps practice timing and coordination.

used in different kinds of dance genres.

It has five basic positions

A

Fundamental Dance Positions

43
Q

For this position, form a V-shape with your feet by bringing your heels together to touch while keeping your toes away from each other

A

First Position (Foot)

44
Q

For this position, move one foot sideward. Your feet should be parallel to each other while maintaining a distance of about 12 inches

A

Second Position (Foot)

45
Q

For this position, bring your foot’s heel to touch the arch of your other foot, with both feet turned outward.

A

Third Position (Foot)

46
Q

In this position, put your foot forward while the other foot still retains its position. The distance between the two feet should be about 12 inches.

A

Fourth Position (Foot)

47
Q

In this position, bring the heel of the foot in front to touch the toe of the other. Both feet should still be pointing outward..

A

Fifth Position (Foot)

48
Q

For this position, raise your arms into a circle in front of your chest. Your hands should be aligned in front of your chest with both arms slightly curved, and your fingertips should be at least 1 inch apart

A

First Position (Arms)

49
Q

For this position, open your arms sideward at shoulder level.

A

Second Position (Arms)

50
Q

For this position, One arm is raised above your head, while the other arm maintains the second position. The arm that was raised should be slightly curved as well

A

Third Position ( Arms)

51
Q

In this position, the arm in the second position would be raised forward in front of your chest again, similar to how it was in the first position. The arm that is lifted above your head will still maintain its position.

A

Fourth Position (Arms)

52
Q

For this position, both arms should be lifted above your head, slightly curving. The posture is similar to that of the first position but raised above the head instead.

A

Fifth Position (Arms)

53
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

54
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 Reverse “T”

55
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

56
Q

Partners face each other, or stand side by side with the girl on the right of the boy. They join their left hands together and their right hands together; either right over left or left over right hands

A

Crossed Arms

57
Q

The foot not bearing the weight of the body.

A

Free Foot

58
Q

The hand not placed anywhere or not doing anything.

A

Free Hand

59
Q

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

A

Hands in Waist

60
Q

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 (in front, in rear, sideward, or across).

A

Hop

61
Q

The foot nearest one’s partner, when partners stand side by side

A

Inside Foot

62
Q

The foot nearest one’s partner, when partners stand side by side

A

Inside Hand

63
Q

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

A

Jump

64
Q

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

A

Kumintang

65
Q

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

A

Place

66
Q

To turn with the ball, heel, or whole foot on a fixed place or point.

A

Pivot

67
Q

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

A

Point

68
Q

To swing the arm downward-upward passing in front of the body as if scooping, the trunk is bent forward following the movement of the arm doing the “_____”. This is a Tagalog term

A

Salok

69
Q

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

A

Saludo

70
Q

To glide foot smoothly along the floor. The movement may be finished with or without transfer of weight.

A

Slide

71
Q

To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of weight.

A

Stamp

72
Q

To tap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight of the body on the other foot. There is no change or transfer of weight

A

Tap