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GR12 Alessandra's 1st Quarter > PE|1ST QUARTER > Flashcards

PE|1ST QUARTER Flashcards

1
Q

is an art form or activity that utilizes the body and the range of movement of which the body is capable.

A

dance

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2
Q

ELEMENTS OF DANCE (5)

A

BODY
ENERGY
SPACE
RELATIONSHIP
TIME

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3
Q

dance is comprised of various body motions that express feeling and emotion. Our bodies move in ways to express ourselves using locomotor and non-locomotor movements.

A

1.Body

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4
Q

the force at which we express our body motions. Are you moving with hard or gentle motions? How do you choose to move?Bounce, shake,explode or sway?

A
  1. Energy
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5
Q

THIS IS THE AREA THE PERFORMERS OCCUPY AND WHERE THEY MOVE. IT CAN BE DIVIDED INTO FOUR DIFFERENT ASPECTS,ALSO KNOWN AS SPATIAL ELEMENTS.

A

3.SPACE

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6
Q

4 criteria of Space

A

Direction
Size
Level
Focus

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7
Q

dance movements can travel in any direction. The performers can go forward, side, backward, diagonal, circular, and so on.

A

Direction

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8
Q

movements can be varied by doing larger or smaller actions.

A

Size

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9
Q

movement can be done in high, medium, or low level.

A

Level

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10
Q

performers may change their focus by looking at different directions.

A

Focus

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11
Q

we often dance with other people in a group. Just like with conversation, we communicate and react using motions.

A
  1. Relationship
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12
Q

timing is the key to any dance. We follow the rhythm or beat to match our actions with the music

A
  1. Time
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13
Q

Primitive dance is considered as a dance in its purest form because this particular dance form has not been refined, developed, trained, or guided by an artist.
To the early Filipinos, dance was an expression of community life that animates the various rituals and ceremonies.

A

Primitive Era

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14
Q

Kinds of Primitive Dance (4)

A

Ritual Dances
Life-cycle Dances
Occupational Dances
Mimetic Dances

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15
Q

Sustains spiritual and social life of the indigenous Filipinos
Closely attuned to nature, believing in the spirits that keep their environment fruitful

A

Ritual Dances

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16
Q

Dances that celebrate an individual’s birth, baptism, courtship, wedding and demise (death)

A

Life-cycle Dances

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17
Q

Dances which transform defense and livelihood activities to celebratory performances.

A

Occupational Dances

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18
Q

Special dance which are mimetic in nature
The surrounding animal life also easily lends itself to imitative dances that are both graphic and symbolic

A

Mimetic Dances

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19
Q

Examples of Ritual Dance (5)

A

Pagdiwata
Dugso
Sohten
Bendian
Tahling Baila

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20
Q

Tagbanuas of Palawan perform this dance in gratitude for good harvest, to implore continued protection and favor from the deities and for general well-being

A

Pagdiwata

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21
Q

dance of Manobos of Bukidnon, is a thanksgiving for bountiful harvest

A

Dugso

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22
Q

the Subanon supplicates the spirits to give strength and courage to a warrior who shakes a shield and palm leaves

A

Sohten

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23
Q

is a dance of healing, natural calamities and to celebrate victory in war

A

Bendian

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24
Q

a prayer dance for a bountiful fish catch

A

Tahing Baila

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25
Q

Examples of Life-cycle Dances (3)

A

Daling-daling
Himog or Death Dance
Pangalay Pangantin

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26
Q

displays grace as much as affection. It is considered as a courtship dance.

A

Daling-daling

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27
Q

ceremonial dance performed by men to ask gods for help in punishing the killer of their warriors

A

Himog or Death Dance

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28
Q

dance in “Pangalay” style performed by a bride

A

Pangalay Pangantin

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29
Q

Example of Occupational Dances (2)

A

Tudak
Tauti

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30
Q

acts out a whole sequence of the rice cycle into dance

A

Tudak

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31
Q

occupational dance which vividly portrays the labors of catching “tauti” (catfish)

A

Tauti

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32
Q

Example of Mimetic Dances (4)

A

Sayaw tu Baud
Pinuhag
Inamo-amo
Ninanog

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33
Q

an imitation of flight of pigeons from hunters stalking them

A

Sayaw tu Baud

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34
Q

imitates movements of a bee gathering honey

A

Pinuhag

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35
Q

mimicked the movements of a monkey as it bounces and gambles about

A

Inamo-amo

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36
Q

an imitation of the movements of the hawk as it pounced on its quarry

A

Ninanog

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37
Q

__________ came to the Philippines on
______________ and colonized the Philippine islands for _____ years

A

Spaniards

March 16, 1521

333

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38
Q

Native dances were modified and used in the rites celebrating Christian holy days and religious fiestas turned to native traditions to become spiritual and communal expressions
Dances took on the tempo and temper of the European forms for example,the noted Tinikling (which has had some Southeast Asian beginnings) andbthe Itik-itik (rustic and imitative like the other dances) acquired the tempo of the jota and the polka.
European dances like the waltz, mazurka, the Spanish jota, paso doble, fandango and others were transformed to suit the climate and the temperament of the people

A

SPANISH COLONIAL PERIOD

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39
Q

had some Southeast Asian beginnings

A

Tinikling

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40
Q

rustic and imitative like the other dances

A

Itik-itik

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41
Q

Acquired the tempo of the jota and the polka

A

Tinikling and Itik-itik

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42
Q

European dances (5)

A

waltz
mazurka
Spanish jota
paso doble
fandango
and others

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43
Q

In _____, the United States colonized the Philippines

A

1898

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44
Q

The cakewalk, buck-and-wing, skirt-dance, clog, tap and soft-shoe were performed in the zarzuela theaters, later with the cinema shows
John Cowper was called “dean of Philippine vaudeville,” and with him came other American and European artists.
Filipinos increasingly experienced the ballet.
The development of dance in the Philippines is generally credited to the efforts of Francisca Reyes Aquino and Leonor Orosa Goquinco. Aquino pioneered in the research and revival of Philippine folk dance and music in the 1920’s and is regarded as the foremost authority on Philippine folkdances.

A

AMERICAN COLONIAL PERIOD

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45
Q

were performed in the zarzuela theaters, later with the cinema shows (6)

A

cakewalk
buck-and-wing
skirt-dance
clog
tap
soft-shoe

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46
Q

was called “dean of Philippine vaudeville,” and with him came other American and European artists.

A

John Cowper

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47
Q

The development of dance in the Philippines is generally credited to the efforts of: (2)

A

Francisca Reyes Aquino
Leonor Orosa Goquinco

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48
Q

pioneered in the research and revival of Philippine folk dance and music in the ______ and is regarded as the foremost authority on Philippine folkdances.

A

Francisca Reyes Aquino

1920’s

49
Q

the art of creating dances

A

Choreography

50
Q

coming from or belonging to the distinctive cultural or aesthetic traditions of a particular country or people

A

Ethnic

51
Q

a dance unit or formation

A

Set

52
Q

the traditional typically anonymous art of people that is an expression of
community life

A

Folk art

53
Q

originating among or
representative of the common people

A

Folk

54
Q

a folk dance which is popularly danced in most parts of a specific country.

A

National dance

55
Q

grouping of beats

A

Measure

56
Q

variations, changes, and contrasts within an existing time, space, bringing about
excitement and heightened interest

A

Dynamics

57
Q

movement used to emphasize idea or emotions.

A

Gesture

58
Q

strength, power of force for action.

A

Energy

59
Q
  • both arms are at one side, either Right or Left
A

Arms in lateral position

60
Q

with fist slightly closed, thumb sticking out turn the wrist outward.

A

Kewet

61
Q

to hit the floor with the ball or heel of one foot after which that foot is lifted from the floor in any direction.

A

Brush

62
Q
  • following the direction of the hands of the clock
A

Clockwise

63
Q
  • the reverse direction of the clockwise.
A

Counter-clockwise

64
Q
  • the foot not bearing the weight of the body
A

Free foot

65
Q
  • the hand not placed anywhere or not doing anything
A

Free hand

66
Q
  • the hand or foot nearest one’s partner when standing side by side.
A

Inside hand/ foot

67
Q
  • the hand or foot away from one’s partner when standing side by side
A

Outside foot/ hand

68
Q
  • to bring down the foot forcibly and noisily on the floor.
A

Stamp

69
Q
  • flexing the ankle joint, tap lightly with the ball or toe of the free foot
A

Tap

70
Q
  • to touch the floor lightly with the toes, no weight.
A

Point

71
Q
  • rise on toes and make fast turns by executing mincing steps in place
A

Whirl turn

72
Q
  • with feet together, partners bow to each other, to audience, or to opposite dancer
A

Saludo

73
Q
  • moving the hand from the wrist either in a clockwise or counter-clockwise direction.
A

. Kumintang

74
Q
  • to place one forearm in front of the waist and the other at the back of the waist.
A

Hayon-hayon

75
Q

bck.

A

Back

76
Q

bckd.

A

Backward

77
Q

cw

A

Clockwise

78
Q

ccw

A

counterclockwise

79
Q

cpl. (s)

A

couple (s)

80
Q

ct. (s)

A

Count (s)

81
Q

fig. (s)

A

Figure (s)

81
Q

fwd

A

Forward

81
Q

opp.

A

Opposite

81
Q

pt.

A

Point

81
Q

ft.

A

foot/feet

82
Q

ptr. (s)

A

Partner (s)

83
Q

stp. (s)

A

Step (s)

84
Q

swd.

A

Sideward

85
Q

twd.

A

Toward

86
Q

Arms are rounded&are
raised in front of the waist. Palms are facing in, wrists are relaxed.
Heels together; feet turned out in 45’ angle

A

FIRST POSITION

87
Q

Open arms to the sides, arms are rounded, palms facing each other.
Stride stand sideward position, feet about six inches apart.

A

SECOND POSITION

88
Q

One arm is raised overhead while the other arm is in 2nd position
opened at the side
Heel of one foot touches the instep of the other foot

A

THIRD POSITION

89
Q

One arm is raised overhead (in 5th
position) and the other arm is in 1st position
From the 3rdposition, slide the front foot diagonally forward and end in a stride stand forward position

A

FOURTH POSITION

90
Q

Both arms are raised overhead, arms are rounded, palms facing
inward- downward.
Heel of one foot touches the big toe of the other foot.

A

FIFTH POSITION

91
Q

Dancers joined inside hands, shoulder level

A
  1. COUPLE POSITION
92
Q

Girl holds the R arm of the boy with her L hand

A
  1. ESCORT POSITION
93
Q

Girl’s L hand is placed on the R shoulder of the Boy. Boy’s R hand is placed around the girl’s waist.

A
  1. CONVERSATION POSITION OR FLIRTATION
    POSITION
94
Q

Facing each other, join both hands, chest level or a little lower

A
  1. FACING POSITION
95
Q

Partners facing each other, join both hands and extend them sideward.

A
  1. BUTTERFLY POSITION
96
Q

Join inside hands, outside hands in second position. Partners face slightly toward audience.

A
  1. SWING-OUT POSITION
97
Q

Partners facing each other. Girl’s hand is placed on the R shoulder of the boy. Boy’s R hand is placed on the waist of the girl. Outside hands joined and are extended toward the audience.

A
  1. CLOSE BALLROOM DANCE POSITION
98
Q

Same as close ballroom dance position except that the dancers are facing on the audience.

A
  1. OPEN SOCIAL BALLROOM DANCE POSITION
99
Q

Partners face each other. Girl places both hands on boy’s shoulders. Boy places both hands on Girls waist.

A
  1. SHOULDER WAIST
    POSITION
100
Q

Dancers face opposite direction. Inside hands are joined.

A
  1. STAR POSITION
101
Q

Partners face the audience; boy stands slightly behind girl. Girl crosses arms(R over L) in front of the waist. Boy holds the L hand of the girl with his R hand & R hand of the girl with his own L hand.

A
  1. WRAP
    POSITION
102
Q

Partners face audience. Boy holds R hand of the Girl with his own R & the L hand of the girl with his L hand.

A
  1. PROMENADE OR SKATER’S POSITION OR FRONT CROSSED- ARM POSITION
103
Q

Same as front crossed arm position but the arms are crossed at the back

A
  1. BACK- CROSSED ARMPOSITION
104
Q

Boy stands slightly behind girl; extend R arms diagonally upward R, and L arms in the second position

A
  1. VARSOVIENNE POSITION
105
Q

Same as Varsovienne Position except that the boy stands in front of the girl. Slightly to the R.

A
  1. REVERSE VARSOVIENNE POSITION
106
Q

a. Point R foot in fourth in front
b. Step R close L
(Simplified: Point, Close or Point, Close)

A

TOUCH STEP

107
Q

a. Step R in fourth in front
b. Hop on the same foot and raise the L foot in front or in rear
(Simplified: Step, Hop or Step Hop)

A

HOP-STEP

108
Q

a. Step R in fourth in front
b. Point L in fourth in front
(Simplified: Step, Point or Step, Point)

A

STEP-POINT

109
Q

a. Step R in fourth in front
b. Close L to R foot
(Simplified: Step, Close or Step, Close)

A

CLOSE STEP

110
Q

a. Step R foot in second position
b. Swing the L foot across the R foot in front. Knee is slightly bent, toes pointing downwards
(Simplified: Step, Swing or Step, Swing)

A

STEP-SWING-HOP

111
Q

a. Step R foot in fourth in front
b. Brush L foot forward and swing it across the R
in front
c. Hop on the R foot
(Simplified: Step, Brush-Swing, Hop)

A

STEP-BRUSH-SWING-HOP

112
Q

a. Glide or slide Rfoot infourthpositioninfront
b. Close L foot in third position in rear or in first position
(Simplified: Glide, Close)

A

SLIDE STEP

113
Q

a. Step R sideward
b. Step L across the R foot in rear (or in front)
c. Step R sideward R
d. Step L across the R foot in front (or in rear)
(Simplified: Side, rear, side front or Side, front, side, rear)

A

GRAPEVINE

114
Q

a. Step R foot in fourth in front
b. Step L close R in third in rear
c. Step R in fourth in front
(Simplified: Step, Close-Step, Step)

A

WALTZ

GR12 Alessandra's 1st Quarter (22 decks)

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