Preliminary Flashcards

(123 cards)

0
Q

Every person responds to rhythm through-

A

Body movement

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1
Q

They are merely physical response of an individual, expressing his emotional and mental response to rhythm.

A

Rhythmic activities

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2
Q

It is a sign of life and as old as mankind.

A

Dance

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3
Q

It is rhythmic and expressive body movements usually coordinated into a pattern and adapted to musical accompaniment.

A

Dance

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4
Q

It is perhaps the oldest of the arts, reflecting man’s age-old need to communicate joy or grief by using the most immediate instrument at his disposal-hid body. It consists of rhythmic movements, considered as a non-verbal communication, as means for social interaction and self-expression.

A

Dance

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5
Q

It is also an expressive folk art which shows man’s traditional and contemporary feelings. It also reflects many societies in many stages of life and in every country in the world.

A

Dance

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6
Q

Dance is classified into different forms such as:

A
Creative rhythmic
Folk dance
Social dance
Modern jazz/modern dance
Creative dance
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7
Q

It gives life to every movement

A

Music

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8
Q

Almost all important occasions in the life of primitive men were celebrated by-

A

Dancing

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9
Q

They are created from man’s basic movements.

A

Dance steps

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10
Q

Some of the more important features of the dance are rhythm or the relatively fast or slow repetition and variations of movements:

A

Design/Arrangement of movements according to a pattern
Gestures
Dynamic/Variation in the force and intensity of movements
Technique/Degree of body control and mastery of basic steps and positions

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11
Q

The word “dance” comes from the _____ word “ _____” which means to ____

A

Greek
Danson
Stretch

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12
Q

It is made up of stretching and relaxing.

A

Dancing

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13
Q

The term “sayaw” which easily lead to one, that derives from the word “_____“which means _____

A

Saya

Happy

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14
Q

It brings dance closer to people especially to the young generation. It has greatly affected the development and enhancement of dance productions.

A

Modern technology

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15
Q

Through this, dance performance, it is upgraded benefiting dance artists, instructions or trainors, choreographers and dance enthusiasts.

A

Modern technology

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16
Q

Meaning of dance:

A
  1. Physical expression of rhythm and music.
  2. Union of movement rhythm and arts of life
  3. Pure expression of the dancer’s thoughts and feelings
  4. Union of mind and body expressions the intangible thought, the medium of time and space
  5. Man’s primitive and natural self-expression.
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17
Q

Scope of Dance

A
Character Dance (Tap Dance)
Folk Dance 
Classical Dance (Ballet)
Ballroom Dance
Modern Dance
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18
Q

It influences the diversity of our cultural beginnings and the drama of our everyday lives. It blends the exotic customs and culture of many countries and races-

A
Spanish
Indonesia
Malay
Indian
Chinese
American
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19
Q

The Philippine archipelago had been inhabited by three racial groups even before the coming of Magellan in 1521:

A

Pygmies
Indonesians
Malays

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20
Q

They were the descendants of the Pygmies

A

Negritos and Proto-Malays

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21
Q

They possess natural grace, an inborn love for music and dance. Dancing was considered a religious activity among them.

A

Filipinos

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22
Q

Examples of popular Philippine folk dances:

A
Binasuan
Rigodon
Itik-Itik
Pandanggo sa Ilaw
Sublian
Maglalatik
Kuratsa
Tinikling
Maria Clara
Cariñosa
La Jota Manileña
Sakuting
Pantomina
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23
Q

Originated in Pangasinan Province “meaning with the use of drinking glasses”

A

Binasuan

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24
This vibrant dance basically shows off balancing skill of the performers . Glasses filled with rice wine are placed on the head and on each hand carefully maneuvered with graceful movements. This dance is common in weddings, fiestas and special occasions.
Binasuan
25
Originated from Spain, this dance is commonly performed at formal affairs like inaugural balls where prominent members of the government participate and enjoy
Rigodon
26
This comes from the Spanish dance "fandango" characterized with lovely steps and clapping while following a varying 3/4 beat.
Pandanggo sa ilaw
27
It requires excellent balancing skill to maintain the stability of three tinggoy, or oil lamps, placed on head and at the back of each hand. This famous dance of grace and balance originates from Lubang Island, Mindoro.
Pandanggo sa Ilaw
28
The term "subli" is from two tagalog words "subsub" meaning falling on head and "bali" which means broken. Hence, the dancers appear to be lame and crooked throughout the dance.
Sublian
29
This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during fiestas as a ceremonial worship dance to the town's icon, the holy cross.
Sublian
30
Commonly performed during festivals in Bohol and other Visayan towns, this dance portrays a young playful couple's attempt to get each other's attention.
Kuratsa
31
It is performed in moderate waltz-style
Kuratsa
32
According to history of this dance, a young woman named Kanang (short for Cayetana) happened to best performer in the province of Surigao del Norte. At one baptismal reception, she was asked to dance the Sibay, and began improvising her steps in the middle of her performance I mitigating the movements of an "itij", a duck, as it walks with hoppy steps and splashed water on it's back while attracting its mate. Because of its unusual steps and fascinating interpretation, the audience began imitating her.
Itik-itik
33
It's considered the national folk dance with a pair of dancers hopping between two bamboo poles held just above the ground and struck together in time to music.
Tinikling
34
Originated from Leyte Province, this dance is in fact a mimic movement of "tikling birds" hopping over trees, grass stems or over bamboo traps set by farmers.
Tinikling
35
Dancers perform this dance with remarkable grace and speed jumping between bamboo poles
Tinikling
36
Originally performed in Biñan, Laguna as 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, San Isidro Labrador.
Maglalatik
37
It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa-the reconciliation.
Maglalatik
38
Moro dancers wear red trousers while the Christian dancers show up in blue. All dancers are male; with harnesses of coconut shells attached on their chests, backs, thighs and hips.
Maglalatik
39
It is the main female character in Jose Rizal's Noli Ne Tangere-a literary piece that features the colonial situation of the Filipinos during the Spanish regime. She was characterized as a Filipina woman of virtue and nobility.
Maria Clara
40
This dance is a mix of Spanish gracefulness and customized native props, such as bamboo castanets and Asian fan.
Maria Clara
41
Female dancers where _____ dress that typifies the European style, while men are in barong tagalog, a traditional Filipino embroidered long-sleeve shirt made of pineapple fiber.
Maria Clara
42
It is a word that describes an affectionate, friendly and lovable woman.
Cariñosa
43
This dance is performed in flirtatious manner with fans and handkerchief to assist the dancers' hide-and-seek movements.
Cariñosa
44
It is a dance named after the capital city of the Philippines, Manila, where an adaptation of Castillian Jota afloats with the clacking of bamboo castanets played by the dancers themselves. The costume and the graceful movements of the performers noticeably inspired by Spanish culture
La Jota Manileña
45
Originated in Abra, this dance interprets a mock fight between Ilokano Christisns and non-Christians with training sticks as props.
Saluting
46
It is traditionally performed during Christmas with training sticks as props
Sakuting
47
It is traditionally performed during Christmas at the town plaza or from house-to-house as a caroling show. As a return, the dancers receive presents or money locally known as "aguinaldo"
Sakuting
48
Meaning "Dance of Doves"
Pantomina
49
This dance is the highlight of Sorsogon's Kasanggayahan Festival every third week of October.
Pantomina
50
Groups of participants, mainly elderly in colorful costumes, dance to the tune of this song
Pantomina
51
It is courtship dance originated from imitating the courtship and lovemaking of doves that then showed during the dance where men attempt to please the woman.
Pantomime
52
Kinds of phases of dance:
``` Folk dance Ethnic dance National dance Natural dancing Creative movement Gymnastic dancing Social dancing Modern dancing Recreational dance Singing dance Creative training Philippine folk dance ```
53
The traditional dance of an indigenous society showing the cultural characteristic of specific people, of a given time and place.
Folk dance
54
Traditional social expression through movement with rhythmic accompaniment, which are characteristics of community life and different nationalities.
Folk dance
55
It is vivid, deals with tradition of the past, through which a multitude of nation characteristic in musical steps and costumes are preserved.
Folk dance
56
Danced that reflect the peculiar characteristics of specific tribe specially their cultural, racial, religous, and traditional similarities.
Ethnic dances
57
The movements of pattern are no specific type; dance is seldom classified as a folk dance.
Ethnic dances
58
Refers to the type of folk dance found most widely done a specific country.
National dance
59
Refers to the type of dance, which makes use of the basic movement, the locomotor and the axial movement.
Natural Dancing
60
The highest form of dance for the purpose of entertainment.
Creative Movement
61
It is the end product of exploration and improvisation of movement as dancer or choreographer express his feelings or emotions, ideas, and interpretation. It has definite form, beginning as well as ending.
Creative movement
62
This form of dancing appealed to the more skillful specially the boys, because of the stunts element present.
Gymnastic Dancing
63
Interest is maintained because of the vigorous movements and participants experienced tremendous satisfaction.
Gymnastic dancing
64
This includes the wholesome and artistic form of dancing used by society for recreation purposes.
Social dancing
65
Fundamental steps are given as preparation of the ballroom dance.
Social dancing
66
A deviation from the traditional ballet by young American dancer Isadora Duncan who gradually involved whole technique of dance movements based on ideas that contrast the classical or trafition dance.
Modern dancing
67
Includes dance mixers, square dancing and round couple. Many of these dances have simple pattern with the combination of walking steps.
Recreational dance
68
Valuable activities during the early years of life, because they require and tell simple technique skills but give a lot of trainings in developing the sense of rhythm.
Singing dance
69
They combined movements and singing both done together in rhythm.
Singing dance
70
It's actually for children in elementary grade, sometimes called fundamental mutual dance.
Creative training
71
It is the end product of exploration and improvisation of movements as a child learns to move the parts of his body and to use an instrument of explorations.
Creative training
72
It is a dance that consists of rhythmic movement sustained by regular tempo, beat of music, conceived as a way of nonverbal communication of kinetic movement to relieve tension.
Philippine Folk Dance
73
Means for social and individual or group experience but also a cultural mirror in which spirit, character and artistry of its time is reflected when placed on historical perspective.
Philippine folk dance
74
It can be viewed both as creative act and cultural institution
Dance
75
It's displaying the characteristics and temperament of the people who have created it.
Folk dance.
76
It is usually a dance anonymous origin that has been passed on from generation to generation.
Folk dance
77
Although they are nor performed for pleasure in the cities, they were originally mainly country dances.
Folk dances
78
It is a form of social dancing that becomes part of the customs and traditions of a people.
Folk dancing
79
Objectives of Philippine a Folk Dance:
Foster patriotism and nationalism through the study Arouse better appreciation of the Philippines music and folk dances Providehealthful form of relaxation and recreation Develop a graceful and rhythmic coordination of body movements that will improve posture Preserve the posterity, folk dance and music, indigenous to the different regions of the Philippines Demonstrate the growth of Filipino culture through the evolution of Philippines dances
80
Definitions of folk dance:
Heartbeat of the people Traditional social expression of ideas of people through body movement Outburst of people's feelings Traditional dances of our country evolving naturally and spontaneously
81
Values of folk dancing:
Physiological and neuro-muscular development of the organic system of the body Cultural depict: the culture of the people Social and recreational
82
Factors affecting folk dances:
Costume and tradition Geographical location Economic condition Climatic condition
83
General Classifications of Philippine Folk Dance:
A. Geographical extent of origin 1. National Dance (BCRJ) 2. Local Dance (BaTlEnMbSb) B. Nature of Dance 1. Occupational Dances (RPM) 2. Religous/Ceremonial Dances (DOS) 3. Courtship Dances (RLH) 4. Wedding Dances (PP) 5. Festival Dances (KLP) 6. War Dance (SIP) 7. Comic Dances (MK) 8. Game Dances (LGP) 9. Social Dances (LR)
84
Special Classification of Folk Dance:
Dance with Song (MARL) Old Ballroom Dance (BCPM) Dance with implements (LSP) Dance with combined rhythm (LS
85
Movements:
Active (MTSP) Moderate (CTHP) Slow (PKAT) Slow and fast (PHAB)
86
Formation:
Square or Quadrille (LR) Long Formation (LS) Set (BKH)
87
Found throughout the islands with little or no commodification
National dance
88
Found in certain locality
Local dance
89
Are dances that depict actions, characteristics, occupations, industries, and phases of human labor.
Occupational dances
90
They are performed in connection with celebration, a feast, a barrio fiesta, good harvest and good fortune.
Festival dances
91
They are intended to show imaginary combat or duel with the use of fighting implement like bolo, kris or spear.
War dance
92
They are dances with funny and humorous movements mainly intended for entertainment
Comic Dances
93
They are dances that have some play elements and are recreational purposes
Game dances
94
They are dances during social gatherings
Social dances
95
With fast energetic movement
Active
96
Consisting of two or more pairs as a unit, partners facing each other or standing side by side
Set
97
Characteristics of Philippine folk dance:
``` Dancers stand apart (General) Most in pairs War dances found among non-Christian tribes Most in long formation Little bodily contact Hand movements play important part Most begin and end with "saludo" Dances from the lowland have more foreign elements than upland ```
98
Girls at the right side holds the R arm of partner with her L hand, free hands down at the side.
Abrasete
99
This term is of Spanish origin and is used in Rigodon and in other dances.
Abrasete
100
Both arms are one side, either sideward right and left. This mat be done at shoulder, chest or waist level.
Arms in lateral position
101
Like the motion of the hands of the clock. R shoulder is toward the center of an imaginary circle. When facing center, the movements is toward the left.
Clockwise
102
The reverse direction of clockwise. L shoulder is toward the center of an imaginary circle. When facing center, the movements is toward the right.
Counterclockwise
103
The vis-a-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 of foreign origin and is used in many Filipino dances.
Do-si-do (Dos-A-Dos)
104
The foot not bearing the weight of the body.
Free foot
105
The hand not placed anywhere or not doing anything
Free hand
106
Place the hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing rear.
Hands on waist
107
To place one forearm in front and the other at the back of the waist. This is a Visayan term.
Hayon-Hayon
108
The foot nearest one's partner, when partners stand side by side.
Outside foot
109
The hand way from one's partner, when partner stand side by side.
Outside hand
110
Girl to right of boy and boy to left of girl
Partner
111
Touch the floor lightly with tiles of one foot, weight of the body on the other foot
Point
112
Partners bow to each other, to the audience, opposite dancers, or to the neighbors with feet together. This term is Spanish origin and is used in almost all Philippine dances
Saludo
113
A dance formation like a square or a unit formation composed of two or more pairs.
Set
114
The folk dance movements usually start and end in one of these dance positions which are based on the principle of dance movements so that body is properly formed and balanced among the basic positions.
Fundamental positions
115
These standard positions are universally known and reference to these positions are made in the description of folk dance movements and steps.
Fundamental positions
116
Arms position
1st- arms raised forward in a circle in front of chest with fingertips almost touching. 2nd- open up arms sideward raised below shoulder with a graceful curve. 3rd- raise one arm overhead while other arm remains in 2nd position. 4th- raise one arm in front of chest in a half-circle, while one arm remains overhead. 5th- raise both arms overhead in a graceful curve.
117
Feet positions:
1st- feet are placed with heels together and ties apart at an angle of 90 degrees or more. 2nd- bring feet apart sideward. 3rd-bring the heel of one foot to touch the instep if the other foot. 4th- bring one foot in front of the foot to walk strike. 5th- bring the heel of one foot to touch the toe of the other.
118
It is a firefly, a nocturnal winged light-producing insect. They fly from branch to branch sync fein tree to tree. This originated from Batangas.
Alitaptap
119
Costume of Alitaptap
Girls dressed in balintawak style costume | Boys in barong Tagalog and white trousersw
120
Music of Alitaptap
Two part: A and B
121
Count of Alitaptap
One,two,three to a measure
122
Formation of Alitaptap:
Partners stand opposite each other about 6 feet apart. Girl at partner's right side when facing audience