Fundamentals in Philippine Folk Dance Filipino Cultural Communities

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Philippine folk dance

Text of Fundamentals in Philippine Folk Dance Filipino Cultural Communities

BASIC FUNDAMENTAL POSITIONS IN FOLK DANCE Hand Position Feet Position Performthefundamentalpositionsofthearmsandfeetwithoutmusicfirst.Then,selectany music in 2/4 time and repeat performing the said fundamental positions one at a time. In responding to 2/4timerhythm,take2measuresforeachpositionthenrestfor4measures.Repeatthesame fundamentalpositionbutalternatemovingtheRandtheLarm/footonthe3rdposition,after16 measures. Other positions and movements of the arms: FUNDAMENTAL DANCE STEPS IN PHILIPPINE FOLK DANCE In 2/4 Time STEPEXECUTION Touch steptouch R (ct. 1); close R (ct. 2) 1 M Step pointstep R (ct. 1); close L (ct. 2) 1 M Close stepstep R (ct. 1); close L (ct. 2) 1 M Slide stepslide R (ct. 1); close L (ct. 2) 1 M Step swingstep R (ct. 1); swing L (ct. 2) 1 M Step hopstep R (ct. 1); hop on R (ct. 2) 1 M Gallop stepstep R (ct. 1); cut L (ct. ah); step R (ct. 2); cut L (ct. ah) 1 M Change stepstep R (ct. 1); close L (ct. and); step R (ct. 2) 1 M Cut stepcut or displace R with L (ct. 1) 1 count Heel and toe polkaPolka place R heel (ct. 1); point R toe (ct. 2); step R (ct. 1); close L (ct. and); step R (ct. 2); pause (ct. and) 2 M Polkastep R (ct. 1); close L (ct. and); step R (ct. 2); pause (ct. and) 1 M In 3/4 Time (Some dance steps done in 2/4 time rhythm can also be done in time. Review the step patterns of the following basic dance steps which are done in time and identify which dance step can be done in 2/4 and time signature.) STEPEXECUTION Touch steptouch R (cts. 1,2); close R (ct. 3) or touch R (ct. 1); close R (cts. 2,3) 1 M Step pointstep R (cts. 1,2); point L (ct. 3) or step R (ct. 1); point L (cts. 2,3) 1 M Step swingstep R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3) Step hopstep R (cts. 1,2); hop R (ct. 3) 1 M Close stepstep R (cts. 1,2); close L to R (ct. 3); step R (ct. 1); close L to R (cts. 2,3) 1 M Slide stepslide R (cts. 1,2); close L to R (ct. 3) or slide R (ct. 1);close L to R (cts. 2,3) 1 M Bleaking stepplace R heel (cts. 1,2); close R to L (ct. 3) or place R heel (ct. 1); close R to L (cts. 2,3) 1 M Waltz step R (ct. 1); close L to R (ct. 2); step R again (ct. 3) 1 M Three-step turnstep R (ct. 1) turn and step L (ct. 2); turn and step R (ct. 3); close L to R (ct. 1); pause (cts. 2,3) 2 M Note: These steps can be done in place or while moving. It can also be done starting with the L foot. Sway Balance The first step is usually done obliquely forward, cts. 1,2, the cross-step is done sideward (ct. 3). The succeeding step is done obliquely backward (ct. 2) and the last two counts are done in front, in place. Arms open from the first position to the fourth position R or L arms high. Kumintang R (L) hand when pointing with L (R) foot on cts. 2, 3 of the second measure. STEPEXECUTION Sway balance with a pointstep R, cross step L /step R, point L2M (1, 2 3 1 2, 3) Sway balance with a brushstep R, cross step L /step R, brush L 2M (1, 2 3 1 2, 3) Sway balance with a closestep R, cross step L/step R, close L 2M (1, 2 3 1 2, 3) Sway balance with a hopstep R, cross step L /step R, raise L, hop2M(1, 2 3 1 2, 3) Sway balance with a raisestep R, cross step L /step R, raise L 2M (1, 2 3 1 2, 3) Sway balance with a waltzstep R, cross step L /step R, close L, step R 2M (1, 2 3 1 2 3) DANCE TERMS IN PHILIPPINE FOLK DANCE Bow or saludoKumintangCurtsySalok Hands on waistBilaoDo-si-doPoint Hands holding skirtArms in Reverse T Position Folded armsLink elbows / hook elbows Arms in lateral positionBrushFree FootSalok Hayon-hayonClockwiseFree handPanadyak AbraseteCounter clockwiseInside hand/footSarok JaleoStampOutside hand/footSlide Hayon-hayon (dance in one arm bent on front of waist) Abrasete (To perform: girl at the right side of the boy, holds right arm of the partner with her left hand, free hand down at the side. This term is Spanish in origin and is use in regodon and in other dances.) Kumintang (move the hande from the wrist either in a clockwise or counterclockwise direction.) Bilao (the females mime the act of threshing the ricestalks to separate thegrains and the heaps followed by the males miming the act of pounding the rice stalks) Curtsy (one foot is pointed in front and the body leans forward.) Jaleo (It is danced with limping step , the weight always with the same foot) NATURE OF PHILIPPINE FOLK DANCE Countriesoftheworldhavetheirownculturesmademorecolorful,beautifulandvibrant because of folk dances that are a reflection of who they are and what they are. In the East, the Chinese have their symbolical dragon dance; the Japanese have the ancestral dance Bon Odori. In the West, the Americans have their Square Dance. The Scottish people have their world-famous dances (Highland and CountryDance,JigandReel).Ontheotherhand,thePhilippineswillnotbeleftbehind!ThePearlof theOrientboastsofavarietyofPhilippinefolkdances. The Filipinos pay tributes and owe itself to cultural heritage. One way of showing such love and respectforthecountrygavebirthtothedevelopmentofPhilippineethnicfolkdances.Andthereare severalofthese;namely,Binasuan,Sublian,Itik-itik,Tinikling,Maglalatik,Cariosaetc. Binasuan is a native dance of Pangasinan. This dance literally means dancing with glasses. The steps are executed with glasses filled with rice wine balanced on the head and the hands of the dancers. Dancedtoshowbalanceandtoreflectruralgaiety,Binasuanisperformedusuallyinwedding ceremoniesandoccasionsinthebarangay. Sublian owes its meaning to native words subsub meaning to fall with the head and bali or broken.Thismeaningisreflectedinthedancesteps.Thedancersmovefeeblyandtortuouslyasif without vigor. This dance, however, traces its roots to Batangas where it was originally played as a ritual dancewhichevolvedintoasymbolofreligioustraditionperformedduringtownfiestas. Itik-Itik is one of the Philippine folk dances which have an interesting origin. According to stories, aFilipinamaiden-dancerofSurigaodelNortewasaskedtoperformanativedanceinonespecial occasion. She started to improvise new steps and imitate the courtship movements of a local species of duckknownasitik.Thespectatorsbegantoimitateherandthatishowthedancecametobe. Tinikling is another Philippine folk dance that is inspired by an endemic bird called tikling. The steps of this dance are an imitation of the movements of a tikling bird that hops and escapes the traps setbyhunters.Movingwithpoiseandgrace,thedancersskipin-betweentwobamboopolesthatare heldtopoundrhythmicallyagainsteachother.ThisdanceisaspecialtyofLeyte. Maglalatik is danced to mimic the early battle against Christians and Moros to win coconut meat orlatikduringthetimeofSpanishcolonization.Thisisalsoperformedtopayhomagetothetown saint of Bian, Laguna San Isidro Labrador. This dance is divided into four parts: baligtaran, palipasan, paseoandescaramusa.Thisisperformedbyall-maledancerswhowearbluepantstorepresentthe Christians and red pant for the Moros. All dancers, however, have coconut shells mounted on their body parts. These aforementioned Philippine folk dances are ethnic in nature and origin. On the other hand, thereareseveralPhilippinefolkdancesthatwereinfluencedbysomeWesterncountriesassomeof thesehadcolonizedPhilippinesinthepast.OnesuchcountryisSpain.Someoftheso-called influenced Philippinefolkdances are the following: Pandango sa Ilaw, Cariosa, Balitao and Rigodon. To conclude, these folk dances whether ethnic in origin or not reflect the lively culture that the Filipinoshave.Thesedancesmaybediversebutthroughtheseculturalforms,theFilipinosareunified and proud by way of having Philippine folk dances that are truly one of the bests in the world. CLASSIFICATION OF PHILIPPINE FOLK DANCE 1. Cordillera Dances Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning"knottedrope",theSpanishtermreferstothejumbledrollsanddipsofthislong-range traversing the northern part of Luzon Island. Today,ifoneistogeneralizeoneofthesixethno-linguistictribesasan"Igorot"isconsidered degrading. Living amidst the rice terraces that tower over Northern Luzon are a people whose way of life existedlongbeforeanySpaniardorotherforeignerssteppedfootonthePhilippines.TheBontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes reign over Luzon's mountain terrain. Theyarepaganpeople,livingsimplelivestoappeasetheirgods.Theirritualscelebratetheir daily lives - a good harvest, health, peace, war, and other symbols of living. Such traditions have survived the changing scope of the Philippines and the tribes continue to maintain their cultures that are a part of the colorful cultural fabric known as Philippine culture. Examples: (a)Banga (Kalinga) "Banga" literally mean pots. The Banga or pot dance is acontemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illustrate the languid grace of a tribe otherwise known as fierce warriors. Heavy earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they trudge to the beat of the "gangsa" or wind chimes displaying their stamina and strength as they go about their daily task of fetching water and balancing the banga. (b)Bendayan (Benguet Province) Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is restaged, keepingtruetothedance'scontextandmeaning.Longknownasadancetocelebratethearrivalof successful headhunters, the Bendayan has taken a new face. It is part of every Benguet festivity with the circles slowly giving way to other formations and interpretations. (c)Lumagen / Tachok (Kalinga) When the Kalinga gather to celebrate a happy occasion like the birth of a first-born baby boy, a wedding, or a budong (peace pact), the Kalinga Festival Dance (Tachok) is performed. This is danced by theKalingamaiden.Thedanceimitatesbirdsflyingintheair.Musicisprovidedbygangsa,orgongs, which are usually in a group of six or more. (d)Uyaoy / Uyauy (Ifugao) The Ifu