Dance is the movement of the body in a rhythmic way, usually to music

within a given space, for the purpose of expressing an idea or emotion,

releasing energy, or simply taking delight in the movement itself.

Dance is apowerful impulse, but the art of dance is that impulse channeled
by skillful performers into something that becomes intensely expressive and
that may delight dance. (Domingo et.al, 2009)

Dance is an art form that shows expressions and is involved with movement.
Dance is normally for fun and entertainment. You usually dance to music. It
is not possible to say when this form of art originated; however, it started
thousands of years ago.

Dance may be participatory, social, performed, ceremonial, or competitive.

It is an important part of ceremonies, rituals, celebrations, and
entertainment. Choreography may be performed solo, with a partner, or
with a group; either way, each dance tells a story.
BRIEF HISTORY OF DANCE

Dance does not leave behind clearly identifiable physical artifacts

such as stone tools, hunting implements or cave painting. It is not possible
to say when dance became part of human culture. Dance has certainly been
an important part of ceremony, rituals celebrations and entertainment since
befo0r the birth of the earliest human civilizations. Archaeology delivers
traces of dance from PREHISTORIC TIMES such as Egyptian tomb painting
depicting dancing figures from circa 3300 B.C and the Rock Shelters of
Bhimbetka paintings in India. One of the earliest structures uses of dance
may have been in the performance and telling of myths. Before the
introduction of written languages, dance was one of the methods of passing
these stories from generation to generation.
It is not known when people began to dance, so it is possible that
dance developed along with the evolution of our species. Written and visual
evidence of dance has survived from ancient Mediterranean and Middle
Eastern Civilization.
Dance often occurs at rites of passage, or ceremonies performed when an
individual passes from one role to another. Dance may also be part of
courtship, worship and or work.
Dance can be seen among all the people and civilizations of the world.
Dances thrived at periods of history and mostly were a result of
intercultural contact. (Alenjandro and Santos-Gana, 2002). It has been a
major form of religious ritual and social expression within primitive
cultures.
The first use of dance was a gesture in order to communicate. People
from
PRE-HISTORIC ERA performed ways they hoped would appease the
forces of nature or give them new powers of their own. Dance has been a
major form of religious ritual and social expression within primitive
cultures. It is:
• was used as way of expressing and reinforcing tribal unity and strength;
• As an approach for courtship and mating;
• As means of worship; communication; and
• Therapeutic experience.

ANCIENT EGYPT
Dance became full blown and was richly recorded; it was reflected in their
wall paintings, reliefs, and the literary record in “hieroglyphs”.
(a written character that looks like a picture ) most of the dances during
this era were chiefly a medium of religious expression rites of passage,
ceremonies passing one role to another.
ANCIENT GREEK
Dance was taught as an aid to military education among the boys in Athens
and Sparta. During this time dance was not only just for religious and
military training but also as a form of entertainment and display.

ANCIENT ROME
During this time, dance was given less important because most performers
were slaves and captives. It stopped valuing such qualities in art as the
nation grew wealthy and powerful. Romans ceased to create and perform
within the arts. Dance became brutal and sensationalized, as their
entertainers were slaves and captives from many nationalities and was used
more often for gruesome purposes. (Causing horror or disgust, awful;
monstrous) dance became an integral part of the corruption in the latter
days of the Roman Empire, resulting in the condemnation of dance by the
early Christians.

DARK AND MIDDLE AGES

The development of the Catholic Church in Europe following the fall of

Rome transformed the history of dance. During this time, the Church was
the sole custodian of learning and education as well as the source of morals.
When the first Christian Emperors came, theatrical entertainment was
prohibited. However dance still existed and performed within the church
during religious ceremonies. Christian fathers. Dances then became part of
worships and church services. Some singers, dancers, poets, actors,
musicians and jugglers continued to wander during the Dark and Early
Middle Ages. They performed Village squares, Castles and Chateaus of
Feudal Lords. At the same time, common people also amused themselves by
doing dances that were social in character. This marked the beginning of
social dance. The Peasants performed 2 basic types of dance:
1. The round dance – dancers hold each other by hand, forming a long chain
and move about in an open/closed circle/extended line.

2. The couple dance – was not popular as round dance as it was considered
scandalous when first seen.

AGE OF CHIVALRY

Nobility followed the peasants’ lead in dancing but in a more refined and
courtly form. Court dances emerged as part of the chivalric way of life
because of noblemen and women’s nature of clothing and elaborate
accessories. Dance steps were limited to gliding, curtseying, and posing, as
they were not able to move freely. Noblemen danced in smooth floor or
wood or polished marble called the “Ballroom” while the Peasants’ dances
in contrast, have large movements and wide stepping figures due to less
elaborate costumes allowing bigger movements. They danced also on the
grass or on the beaten earth of the town.

EARLY RENAISSANCE

Dance then was wholly accepted in the courts as gradual increase of the
Capitalist class produced patrons of learning and art in Europe. Dance and
art gained impetus (driving force; impulse) entertainers became valuable
appendage to the courts of Italy and France and they were to serve the
secular goals of the wealthy and powerful nobles who had emerged
throughout Europe.

A vast dance movement occurred throughout the courts of Europe in the

15th and 16th centuries. During this time, new court dances performed by
the nobility came about as well as the rise of the art of Ballet in Italy and
France. Several other dance forms continued to sprout and spread across
several countries. Contemporary dances followed ballet, in which stylistic
variations of ballet emerged and evolved in Europe and so other dances
became known and have been widely recognized worldwide.

PURPOSES OF DANCE
Three purposes of Dance

 Ceremonial Dance - Dancing to show praise or to commemorate

important events. Ceremonial dance is dance performed through
ritual. Some ceremonial dances are religious; some are performed for
birthdays, weddings or other life-altering events

 Recreational Dance – A dance to have fun or to socialize. Recreational

dance styles change with time, societal structures, and group
interests. Examples: Aerobic dance; Line dancing--(Electric Slide or
Boot Scootin’ Boogie); Ballroom Dancing– (Waltz, Foxtrot, Jitterbug,
Swing, Latin, Cha-Cha, Merenque, and Salsa)

 Artistic Dance – Movement that is performed to entertain an audience.

Example – Ballet, Tap, Modern, and Jazz

Dancing is one of the oldest and most popular forms of exercise.

- Several forms of dancing are considered aerobic since they entail

about an hour of continuous exercises, choreographed to music

SPECIFIC BENEFITS OF DANCE AND ITS CREATIVE MOVEMENTS

A. PHYSICAL
✓Develops cardiovascular and muscular endurance
✓Improves coordination, balance, flexibility and body composition
✓Lowers risk of cardiovascular diseases
✓Lowers body mass index
✓Lowers resting heart rate
✓Improves lipid metabolism
✓Enables joint mobility (hip motion and spine flexibility)
✓Helps improve and maintain bone density, thus helps prevent
osteoporosis ✓
Helps recover coordination and neuromuscular skills after injury.

B. MENTAL/EMOTIONAL
✓Helps keep the brain sharp
✓Decreases incidence of dementia (insanity, lunacy) and Alzheimer’s
disease.
✓Decreases depressive symptoms
✓Increase self-esteem and improves body image
✓Aids in releasing emotional and physical tension.

C. SOCIAL
✓Gives sense of togetherness within the group
✓Encourages positive social interaction and interpersonal relationship in a
group
✓Contributes to the individual’s potential for self-actualization in society

D. CULTURAL
✓Promotes cultural values and being able to display the different cultural
dancesand understand the lives of the people represented and to an
appreciation of their respective folk cultures).

HISTORY AND NATURE OF FOLKDANCE

1921 - FRANCISCA REYES-AQUINO was given a task by Dr. Jorge
Bacobo, President of UP, to present a program of Philippine folk dances for
some foreign visitors. The problem was the limited number of documented
folk dances (mostly done by foreign ethnologists) especially those coming
from the lowland regions. The American period, with the rapid influx or
westernization that threatened to modify the lifestyles and cultures of the
Filipinos. The treat of American culture also affected the state of traditional
fewer because they neglected the traditional forma in the favor of
Americans imports like films, baseball, vaudeville, cakewalk and Charleston.
Faced with such challenges, the young Francisca encouraged by Dr.
Bacobo, undertook the task of collecting and documenting the remaining
folk dances of the country.

1924-1926 - AQUINO made a collection of new folk songs, dances and

games which became the contents of her Master’s thesis which also began
dance notation in the country. The work was revised and published into a
book entitled Philippine Folk Dances and Games. The University Of The
Philippines Folk Songs And Dance Troupe was organized to test and
perform the documented dances

1949 - Organized the Philippine Folk Dance Society, which aimed to

promote the development and teaching of folk dances. To this very day, the
PFDS is actively conducting the Annual Folk Dance Workshop for teachers
and dance enthusiasts and its Regional and Provincial Chapters conducting
Echo Seminar-Workshops all over the country. Many of the folk dances
taught in school today are the results of the efforts of the society to
document more unpublished folk dances with its host of dance
ethnographers like Crisostomo Barrera (Iloilo), Mila Janson (Cebu), Ceasar
Nimor(Cebu), Edwin Masangkay (Aklan), Elsie Padeo (Mt. Province),
Estelita Aquino (South Cotabato), Juan Miel (Samar), and Ramon Obusan
(ROFG of Pasay City). The latter is considered the most prolific
ethnographer to date

1954 - This original Philippine folk dance group sprang the Philippine
Women’s University Dance Group

1957 - Lucresia Reyes Urtula established the predecessor of the world-

famousBayanihan Philippine National Dance Company

UP TO PRESENT - Baranggay Folk Dance Troupe (1946) - Philippine

Normal University UP Filipiniana - The University of the Philippines
Larawan Dance Troupe which laterchanged its name to Ramon Obusan
Folkloric Group (ROFG)

FRANCISCA REYES-AQUINO
o a student assistant then instructor at the University of the Philippines,
Physical Education Department
o The results of all their works became part of the Physical Education
Program of the Philippines.
• LUCRESIA REYES URTULA o director and choreographer
• Ramon Obusan Folkloric Group (ROFG)
o a host of other school-based groups all over the country – all with the
mission of continuing the brilliant began by Madame Aquino.

GEOGRAPHY AND NATURE OF FOLK DANCE

1. National Dance
These are the traditional dance throughout the Philippine with a
common basic movement or pattern but with a slight variation.
Examples are: o Cariñosa, o Kuratsa, o balitaw, o Rigodon, o Pandango,
and o Surtido

2. Local or Regional Dance

These are dances found in certain localities or regions only.
Examples are:
o Esperanza (Nabua, Camarines Sur)
o Alcamfor (Leyte) o Rogelia (La Union)
o Maglalatik (San Pablo, Laguna)
o Biniganbigat (Abra)

3. Occupational Dance
These are dances that depict actions characterizing certain occupations,
industries, and phases of human labor.
Examples are:
o Pabiric (Camarines Sur) - A dance which depicts the different stages of
gold planning
o Manangete (Tuba Gatherer) - It depicts the different movements and
actions of a tuba gatherer from the sharpening of his sanggot (scythe) to
climb the coconut tree and finally taste the native wine. Tuba is the liquid
dripping from the coconut bud.
o Kin-aras (Cabugao, Ilocos Sur) - A dance that depicts the different stages
in catching mudfish in fields, mud holes, brooks, and ditches.
o Rice festival has the largest number of dances. It starts with pagtatanim
(rice planting).
o When the grains are ripe, the paggapas (Rice Harvesting) follows,
o Paggiik (Rice Threshing) which separates the grain from the stalks.
o Paglulugas (rice flailing) is another way of threshing with the use of Toika.
o Pahang in (Airing) is a process of separating the grains from the chaff.
o Bayuhan (pounding rice) removes the husk from the grain and then,
o Pagtatahip (winnowing rice) separates the husk from the grain.

4. Religious dance
These are dances that are performed in connection with religious vows,
practices and ceremonies. A religious dance may be performed to:
o Drive away evil spirits like the Sinulog
o Ask a favor to have child like Santa Clarang Pinong Pino
o Give thanks for having recovered from sickness, for favors granted as
Dugso, and for vows fulfilled
5. Courtship dance
These are dances performed by newlyweds, with love themes. Examples
are Halehele, Bago Quire, Rogelia Lulay, Aringguinding guinding, maramion

6. Wedding Dance
These are dances that are performed by newlyweds, by friends and relation
of the bride and groom or by the father of the bride and mother of the
groom.
Examples are:
o Sinurog - a dance wherein the male dancers, beat drums, by
shout dance, perform stunts or anything to drive evil spirits that
may harm the newlyweds unhappy.
o Pandang pandang (Antique) - a dance only by the bride and groom and the
friends and the relatives of each side compete as to who can throw more
coin or paper bills to the dancing newlyweds.
o Soryano (Aninig Antique) - a dance only by bride and groom as they visit
the parents of the bride to ask for her hand.
o Pantomine (Bicol Regions) - a dance by the bride and groom and the
visitors give any gift in kind or cash.

7. Festival Dances
These dances are performed in connection with these celebrations, a feast,
a barrio fiesta, good harvest and good fortune.
Examples are Kuratsa, Zapateado, and La Jota.

8. War Dances
These dances intended to show imaginary combat or duel with the use of
fighting implements like the bolo, kris, and spear.
Examples are:
o Sagayan (Maranao)
o Inabaknon (Aeta),
o Hegrito
Duel; and,
o war dances ( Mts. of Zambales and Bataan).
o Maglalatik - this is very interesting dance depicting the fight between the
Christian and the Moros over the tasty “latik” (the residue of boiled coconut
milk). Coconut shells tied and well spread over the body are used as fighting
instrument.

9. Comic Dances
These are the dances with funny and humorous movements mainly intended
for entertainment.
Examples are:
o Mokongo - where the dancers imitate the movement of the monkey.
o Kinoton - where the dancers imitate the movements of the person bitten
by bees while gathering honey.

10. Game Dances

These dances have some play elements and are for recreational purposes.
Examples are Pabo, Sineñahan and Lubi-lubi

5 ELEMENTS OF DANCE
The elements of dance are the building blocks of all creative movements. It
is
also the science behind dance making. The following are the 5 elements of
dance
(B.A.S.T.E.)
Body
- This is WHO we move
- It is the dancer’s materials
- There must be a dancer for there to be a “dance”. Without at least 1
body motion, there is no dance.
- The dancer trains constantly to master and maintain body skills so
they can accurately portray the choreographer’s intent.
- Head, hands, feet. Shoulder, arms, legs, torso. Eyes, fingers
2. Action
- This is WHAT we DO to move
- It is any movement of the body while dancing
- The dancers can stay in place (axial) or travel/in moving (locomotor)
- These can be described as “actions“
- Many of these actions have specific technical names such as
“arabesque” or “jete”
- Open, close, stretch, twist, rise, fall, bend, turn, jump
3. Space
- This is WHERE we move.
- An area the dancers occupies
- This is the space in which the dancer can move in any dimension
- We can move in different places, sizes, levels, directions and pathways
- It is also our relationship with other dancers and/or objects within the
dance.
- Right, left, high, low, backwards, forwards, circular, linear, vertically,
diagonally
4. Time
- This is WHEN we move
- There is a beginning and an end
- The timing of the movements are largely dependent on the beat and
rhythm of the music, the action that you select, the dancer’s ability to
perform it and the choreographer’s intent
- Movements can be performed at various speed, durations, timings
and sequences
- Short, long, fast, slow, steady, unpredictable, before, after, unison,
patterned
- Rhythm, pulse
5. Energy
- This is HOW we move
- This relates to the dancer’s posture, effort, force, expression and
feeling
- These energy components, combined with a superior facilitation of
BODY movements, equates to one very powerful dancer
- Dynamics
o Sharp, smooth, tight, loose, sudden, sustained, light, heavy,
gentle, strong, gracefulness

MAJOR ELEMENTS OF RHYTHM

All movements are affected by the elements of rhythm. These elements
which
should be learned and understood in relation to dance are: underlying beat,
measure, rhythmic pattern, tempo, accent, phrasing and intensity.
1. Underlying Beat or pulse Beat
- The underlying beat is the steady continuous sound that is heard or felt
throughout any rhythmical sequence. This constant steady pulsation is
sometimes called pulse beat. It exists in all movements. It is the steady
sound which serves as the constant unit of measure upon which all
rhythmic structure or relationship depends;
- The underlying beat determines the time signature of a piece of music
of movements.
2. Measure
- Measure refers to the identical grouping of underlying beats. This
group of note is between two bar lines.
3. Rhythmic Pattern
- A rhythmic pattern is a definite grouping of sounds or beats related to
the underlying beat. A particular pattern or unequal sounds or beats
must fit within or underlying beats. Sometimes, the rhythmic pattern is
also called melody pattern because the rhythmic pattern follows the
words of melody. There is a relationship between the word pattern,
rhythmic pattern, and underlying beat.

9
4. Phrasing
- A musical phrase is a group of measures that gives the feeling of unity.
It can be likened to a sentence or an idea in itself. Learning to identify
or recognize phrases is essential to learning and creating dances. The
end of a phrase may suggest a change in direction of movement.
- Example:
Le ron leron sin-ta umak yat sa pa-pa ya
5. Accent
- Accent is the force of emphasis given to any one beat in a series of pulse
beats in a measure.
6. Tempo
- Tempo is the rate of speed of movement, music or accompaniment. It
may be fast as in running, it may be moderate as in walking or it5 may
be as in ordinary sliding.
7. Intensity
- Intensity is the quality of movement or music. It refers to dynamics or
force, such as heavy and light.
Minor Elements of rhythm
Dance cannot be considered complete without the major element. To
enhance the dance, three minor elements may be added, namely:
1. Music
- Music serves as an accompaniment for a dance performance. It could
be as simple as hand claps, humming or chanting or as complicated
as choral singing or musical ensemble as band orchestra.
2. Costume.
- This refers to the special clothing worn only for dance performance.
Costumes usually defer from ordinary dresses worn daily in terms of
cut, color and materials. Masks and accessories like headdressers,
belts, footwear, jewelries, special hair styles, makeup and other
beautification methods are utilized to give the performer a specific
role of\r character for the performance.
3. Spectacle.
- From the term itself, a spectacle is a certain quality done to the dance
top make it attractive for viewing by an audience. This means lavished
costuming, choreography, movement enhancements, sets, props and
other theatrical elements.
Unlike the major elements which would make dance impossible to exist if
one
id taken out, the dance could still be considered dance without the minor
elements.
10
FIVE FUNDAMENTAL DANCE POSITIONS
OF THE ARMS AND FEET
There are Five Fundamentals positions in folk dancing which are commonly
terms as 1st position; 2nd position; 3rd position; 4th position and 5th
position of the
feet and arm positions are also described here in order to facilitate the
interpretation of dance instruction.
1st POSITION
Feet: Heels close together; toes apart with an angle of about 45 degrees.
Arms: Both raised forward in a circle in front of chest with the fingertips
about
an inch apart.
2nd POSITION
Feet: A stride sideward of about a pace or 1 foot distance.
Arms: Both raised sideward with the graceful curve about waist level.
3rd POSITION
Feet: Heel of the foot close to in-step of the other foot.
Arms: One arm raises sideward as in 2nd position; other arm raised
overhead.
4th POSITION
Feet: One foot in front of the other foot of about a pace distance.
Arms: One arm rose in front of chest in a half circle as in 1st position; other
arm
raised overhead
5th Position
Feet: Heel of front feet close to big toe or rear foot
Arms: Both arms raised overhead

11
OTHER ARM POSITIONS
 Amplified - More open positions on first or fifth positions
 Lateral - Both arm raised at one side parallel ton each other
 T Position - Both arms raised sideward; elbows bent so that the forearms
fall
downward parallel to the sides of the body, palms facing inward.
 Reverse T - Both arms raised sideward, elbows bent so that the forearms
are
raised upward parallel to the head; palms facing in.

6
DANCE TURNS
DANCE TERMS DESCRIPTION
Three-step-turns Make a complete turn with three steps in place or to
sideward right (left). It is
usually finished with a saludo
Four-step turn Make a complete turn with three steps in place or to
sideward right (left). It is
sometimes ended with a saludo
Cross turn Cross one foot across the other in front and make a complete
turn
Cross-step turn Step one foot sideward then execute a cross turn
Brush-step turn Step one foot sideward, brush the other foot in front, and
step brushing foot
close to other foot (1M); repeat movement three time more to make a
complete
turn(3M).
Slide Turn Step one foot sideward, slide the other foot moving in semi-
circle, and step same
foot close to other foot (1M); repeat movement three times more to make a
complete turn (3M)
Change Step Turn 1. Fast- use one change step to make a full turn
2. Moderate- to make two change steps to make a full turn
3. Slow- execute for change steps to make a full turn
Waltz turn 1. Fast- used one waltz step to make a full turn
2. Moderate- make two waltz steps to make a full turn
3. Slow- execute four waltz steps to make a full turn
Whirl turn With very tiny steps make several very fast turns
Pivot turn Using one foot as pivot, push with other foot as many as desired
(usually four
times) to complete a full turn in place
Pivot turn with a close Pivoting on one foot, point one foot sideward or
obliquely forward using one or
two counts, then close same foot to pivoting foot with one count (1 M);
repeat
movement three time more (3 M)