Philippine Folk Dance
Philippine Folk Dance
Philippine Folk Dance
A form of dance developed by a group of people Do’s and Don’ts in Folk Dancing
that reflects the traditional life of the people of a
certain country or region. Folk dancing originated in the Do’s in Folk Dancing
18th century to distinguish dance forms of common
people from those of the upper classes. It is a 1. Dance in a natural, simple and direct manner.
traditional dance of a country which were evolved 2. Dance with ease and smoothness.
naturally and spontaneously in connection with 3. Use the proper costume for the dance.
everyday activities and experiences of the people who 4. Follow directions and dance instructions as closely
developed them. as possible.
5. Dance with feeling and expression.
Folk dances, unlike most other dance forms, tend to
have no stringent rules, and are sometimes formed Don’t’s in Folk Dancing
spontaneously among groups of people. The steps of
folk dances are passed through generations, rarely 1. Do not exaggerate the dance steps.
being changed. 2. Do not make the dances too dainty and graceful like
ballet.
Philippine Folk Dance is a cultural art form handed
3. Don’t make entrance and exit long.
down from generation to generations. It communicates
4. Don’t make steps too elaborate and complicated.
the customs, beliefs, rituals, and occupations of the
5. Don’t call a dance a folk dance unless steps come
people of a region or country, fold dancing is usually
from traditional dances.
associated with social activities, although some folk
dances are performed competitively. Folk dancing
History
belongs to the people. It emanates from them. Folk
Filipino folk dance history is not the history of a single
dancing is the heartbeat of the people.
national dance of one or two regions. Dances evolved
Characteristics of Philippine Folk Dances from different regions which are distinct from one
o To foster patriotism and nationalism through another as they are affected by the religion and culture.
the study of our dance.
o To arouse better appreciation of Philippine Many people especially Filipinos are fond of dances. Our
music and folk dances. country is very rich in different native dances like
o To provide through dancing, a healthful form of Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño, etc.
relaxation and recreation. Many of us find it hard to enjoy and get information
about dance at the same time. This proposed system
would make it possible for us to enjoy and learn They dance to appease their ancestors and gods to cure
different native dances here in the Philippines by means ailments, to insure successful war-mating activities or to
of computerizing it. ward off bad luck or natural calamities. They dance to
congregate and socialize, for general welfare and
Folk Dance, recreational or ceremonial dance recreation, and as an outlet for repressed feeling. They
performed usually by members of the community to also dance to insure bountiful harvests, favorable
which the dance is traditional. Varying criteria have weather, and to mark milestones in the cycle of life.
been used to differentiate folk dance from other kinds
of dance: For example, the dancers are said to belong to So the dances evolve as they need them to express their
a certain economic level or come from certain locales; feelings, their sadness and their anger.
the steps are simple and repeated, so that any member
of the community can participate; the dances require Muslim/Moro Dances
no audience; and they are passed down through many
generations. Each of these criteria can be contradicted Mindanao and Sulu were never conquered by Spain.
by dances that are indisputably folk dances, and in each Islam was introduced in the Philippines in the 12th
of these criteria, folk dance overlaps with other kinds of century before the discovery of the islands by Magellan
dance. in 1521.
During the last few centuries many trends have affected The dances in Muslim however predated the Muslim
folk dancing. As the spread of industrialization brought influence. Like Ipat which was a dance to appease
rural people into the growing cities, dances related to ancestral spirits. Before Islam, the Maguindanaons held
agricultural activities or to communal rituals gradually the view that diseases are caused by tonong (ancestral
lost their meaning. In the changing circumstances of spirits).Thus, a folk healer performs the pag-ipat while
urban life, new dances evolved. Colonization also being possessed by the tinunungan (spirit).
affected dances-frequently, indigenous forms fused
with dances of the colonial powers. In the Philippines, Another is the dance baluang which creates the illusion
for example, new dances developed when Spanish of an angry monkey, and is always performed by male
influenced dancers of traditional native forms and dancers. The popularity of this dance comes naturally,
Islamic dance forms and styles. since the baluang, or monkey, enjoys an affectionate
place in Asian folklore.
Types of Folk Dances
Singkil was introduced after the 14th century. It was
National – traditional dances of a given country based on the epic legend of Darangan of the Maranao
Regional – local people of Mindanao. It tells of the story of a Muslim
Character – created by individual or group Princess, Gandingan who was caught in the middle of a
forest during an earthquake caused by the diwatas, or
Classification of Philippine Folk Dances fairies of the forest.
Ex. Dugsu, Sua-Sua, Putong, Sta. Clarang Pinong-Pino, Ex. Lulay, Sakuting
etc.
3. Set – consists of 2 or more pairs as a unit.
3. Comic Dances - depict funny movements
for entertainment. Ex. Binadyong, Haplik, Kakawati, etc.
Arms: Both raised sideward with a graceful curve at 9. Jump – A spring on one foot or both feet landing on
shoulder level. both feet in any direction.
o 3rd Position 10. Kumintang – moving the hand from the wrist either
Feet: Heel of one foot close to in-step of other foot. in a clockwise or counterclockwise direction.
Arms: One arm raised in front as in 2nd position; other 11. Leap – A spring from one foot landing on the other
arm raised upward. foot in any direction.
Arms: One arm raised in front as in 1st position; other 13. Pivot – To turn with the ball, heel or whole foot on a
arm raised overhead. fixed place or point.
o 5th Position 14. Point – Touch the floor lightly with the toes of one
Feet: Heel of front foot close to big toe of rear foot. foot, weight of the body on the other foot.
Arms: Both arms raised overhead. 15. Masiwak – To turn the hand from the wrist half-way
clockwise then raise and lower wrist once or twice.
Common Dance Terms This is an Ibanag term.
1. Arms in lateral position – Both arms are at one side 16. Panadyak – To stamp in front or at the side with the
either right or left, at shoulder, chest or waist level. right foot and tap with same foot close to the left
foot. This is a Tagalog term.
2. Brush – Weight on one foot, hit the floor with the
ball or heel of the other foot and lift that foot from 17. Patay – To bend the head downward and to support
the floor to any direction. the forehead with the R forearm or with the crook
of the R elbow while the left hand supports lightly
3. Crossed Arms – Partners facing each other or the palm of the right hand. This is usually done with
standing side by side join their left hands together the left foot pointing in rear and knees slightly bent.
and the right hands together; either right over left This is an Ilocano term and the movement is
or left over right hands. commonly. Found in Ilocano dances.
4. Cut – To displace quickly one foot with the other. 18. Salok – To swing the arm downward-upward
passing in front of the body as if scooping, the trunk
is bent following the movement of the arm doing heel-place, toe-
10. Heel and Toe
the salok. This is a Tagalog term. point, step, 1,2 / 1 and 2
Change Step
close, step
19. Saludo – Partners bow to each other, to the with both feet
audience, opposite dancers, or to the neighbors 11. Shuffling flat on floor,
with feet together. This is of Spanish origin and is 1 and 2 and
Step take tiny slide
used in almost all Philippine dances. steps
d. Repeat all. (a-c) (8 M) c. Repeat (a) and (b), starting with L foot. (4 M)
a. Cut L backward (ct. 1), cut R forward (ct. 2). Repeat all
(cts. 1, 2) (2 M)