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The perception of millenials in traditional folk dances.

Dancing is a particular art that the youth can do. It can help our life span longer.

There are a lot of benefits we can attain in dancing. It is a part of our lifestyle as our

habbit, enjoyment, and passion. Many of us are engaged in dancing in order to show our

talent, to entertain people, and sometimes as a source of income.

As the time goes by, change in different aspects of life also exists. One of the

specific change is the way how we appreciate our own culture. Traditional or Folk dances

plays a very big role in our culture. It was the indigenous way of expressing different

kind of traditional lifestyle.

People created such dance that can truly entertain people. As stated, Folk dances are

composed of numerical footsteps, basic body movement, facial expression attitude or

discipline and purposeful actions it is also danced with old fashioned costume, that

particularly uneasy to find and sometimes are expensive.

Millenials are more fascinated to dance and watch popular dances than to perform

traditional dances. Their perceptions to it was, it’s not as entertaining as that, its music

mase of slow rhythmic pattern and with soft melodies. Another one is, it is being

performed of the right and proper coordination of hand and body which they believed not

so easy to learn.

Some of us do not know what is the importance of dancing it. But in reality

performing folk danceis one of the way in preserving our culture.

Background of the Study

Dr. Panfilo Castro National High School Masalukot I-Annex is one of the

progressive public schoollocates in Candelaria, Quezon, having an enrollment of

approximately six hundred students by school year 2017-2018. it is already under K-12

Curriculum includes such physical activities and practical performances that help

students to enhance their knowledge and skills.

One of the valuable aspects of this education system was to preserve and practice

traditional lifestyle and beliefs. Commonly one of those traditional lifestyle is the “FOLK

DANCE” which contribute a lot to our learnings. However, there is no current research

detailing why some students are not interested in Traditional Folk Dance.

This research aims to study about particular reasons why most students choose

Popular Dance over Traditional Folk Dance. Their perceptions in performing it, and how

they interpret its style of dance.

As a student under the track of Humanities and Social Science (HUMSS) we may

research about a further information causing the youth to miss but on traditional style of

Statement of the Problem

This study aims to find out the reasons why millenials of Dr. Panfilo Castro

National High School Masalukot I-Annex chose to dance pop dance over folk dance. It

will find answer to the following questions:

1. What is the profile of respondents in terms of

1.1 Gender

1.2 Age

1.3 Skills

2. What is the problem have you encountered when it comes in:

2.1 Style of dance

2.2 Type of dance

2.3 Steps

2.4 Music

3. What negative outlook you have in terms of:

3.1 Style of dance

3.2 Types of dance

3.3 Steps

3.4 Costumes

3.5 Music
4. What positive criticisms can you give in having these considerations in folk dance:

4.1 Styles of dance

4.2 Types of dance

4.3 Steps

4.4 Costumes

4.5 Music

5. Is there a significant difference between the factors in dancing Traditional Folk Dance

and respondent profile on perceptiof of millenials in Traditional Folk Dance.


There in no significant difference between factors to consider in dancing traditional

folk dance and respondents profile and the perception of millenials on traditional folk

Conceptual Framework

This study was developed along the Folk Dance data with it’s factor to consider and

respondents profile.

Considered as the independent variables were factors to consider in dancing Folk

Dance which includes styles of dance, types of dance, steps, costumes, and music. Where

as the dependent variable is the “The Perception of Millenials on Traditional Folk


Research Paradigm

Independent Variables Dependent Variables

1. Factors to consider in “The Perception

Dancing folk dance of Millenials on
a. Style of dance Traditional Folk
b. Type of Dance Dance”
c. Steps
d. Costumes
e. Music
2. Respondents Profile
a. Age
b. Gender
c. Skills
Significance of the Study

The study is significance to the researcher as Humanities and Social Sciences

Students. As a part of millenials, the result of this study will give clear insights and good

perceptions in performing folk dances.

This study will be beneficial to the following:

Millenials/Students: The study will benefit those students especially their outlook in Folk

Dance to have an appreciation in our old culture. Furthermore, this will give them

awareness to our history

Teachers: It will help them to recognize the reasons why some students do not want to

dance Folk Dance

Parents: As some of parents came from old generation it will be a great help to them to

recognize their tradition as apart of our living.

Future Millenials: This study will pursue on encouragement to the Future Millenials to

know the importance of traditional dances. In addition, I can preserve our culture as the

days passed.
Scope and Limitation of the Study

The goal of the study is to know the perception of millenials about folk dance.

The study will encourage everyone to know the value of recognizing traditional lifestyle

as our ancestors and forefathers did.

As a particular study, it certainly uses self-made questionnaire to get the views

and understanding about those said topics. The researchers use an understandable and

easy question that may help them to find the answer vividly.

Respondents are those under 12-18 years of age of Dr. Panfilo Castro National

High School Masalukot 1-ANNEX, that consist of 70 students.

Definition of Terms:

Tradional Folk Dance

 A certain kind of dance traditionally performed

A kind of dance with different purposes. Dance inherited from ancestors.


 A person born in 1980’s or 1990’s

The people who live in a present generation.

Styles of Dance

 A particular way in which the dance done, created or performed

Types of Dance

 A particular kind or group of dance


 A movement made by lifting your foot and putting it down in a different place


 The clothe that are worn by someone in a particular event place or celebration


 Sounds that are sung by voice or played on musical instruments.


 The amount of the time during which a person or animal has lived.


 The state of being a male or/and female


 The ability to do something that comes from training, experience or practice.

Research Methodology

The chapter presents the research the research design respondents of the study, the

research instrument the research procedure and the statistical treatment of the data.

Research Design

The study will use descriptive analysis to find out the reasons behind the

millennials choice about folk dances.

In this study, some variables such as gender, age, and skills will also be

considered for more accuracy of the result.

Respondent of the Study

Respondents of this study is composed of fifty (50) Junior High School students

and twenty (20) Senior High School students of Dr. Panfilo Castro National High School

Masalukot I-Annex.

Research Instruments

The instrument to be used by the research in questionnaire consist of 2 parts:

Part I – The Respondents Profile

Part II – Descriptive questionnaire

Research Procedure

A letter of request for the conduct of the study will be prepared for the approval of

the schools teacher in charge as well of the Senior High School coordinator.

After the approval, the researcher will target the date of process. Proceed to the

administration of questionnaire. Then the researcher will take charge to the analysis of

answer. Lastly is the summarization or tallying of the result.

Statistical Treatment of the Study

The frequency count and percent will be applied to determine the general

information pertaining to the profile of the respondents.

The result will depend upon the respondents decision and answer to the

Review of Related Literature

The perception of millennials on the Traditional Folk Dances

According to the article “Ethnic and Non-Native Philippine Folk Dance”,

countries of the world have their own culture and it is said that folk dances made it more

colorful, beautiful, and vibrant that are a reflection of who they are and what they are.

Philippines will not be left behind in terms of folk dances. Filipinos show such love and

respect for the country gave birth to the development of the Philippine Ethnic Folk


(, Jose Maria Abada)

According to the article about folk dances, folk dance, generally, a type of dance

that is a vernacular 9relating to the common style of a particular time, place, or group)

usually recreational expression of a past of present culture. In the article it is said that the

term folk dance was accepted until the mid – 20th century, when this and other categories

of dance were questioned and their distinction became subject to debate.

(Folk dance, Joann W. Kealiinohomoku)

National or traditional dance is a term use for those folk dances mostly wide or

use popularly danced in the country such as in the Philippines. Folk dancing reflects

man’s old interest in courtship, war, work, and culture.

(Cayme, 1967 p. 187)

Most folk dance originated as form of celebration, religion worship or a method

of controlling mysterious forces. The form and movements of many of these dances were

based on superstitious beliefs. For example a number of early folk dances were

performed in a circle because people believe this shape and magical powers. In some

cultures, circular motion was thought to bring good luck or drive away evil.

(Scottfetzer, 2012, p. 320)

The dances are said to “have a charm of their own are not too far removed from

present tendencies so that they represent a rare and welcome opportunity for foreigners to

look into a past that is fast receding into oblivion”. Here we see the beginning of the

metanarrative of folk dance in the Philippines. Filipinos will feel proud and foreigners

will be impressed by the folk dances. This narrative also allows, even in the collecting

stage, for the collect.

(Gonzales in Tolen-tino, 1945)

Pangalay: Literally, a gift offering. Pangalay also means, “temple of dance” in

Sanskrit. Pangalay antedates Cristianity and Islam in the Philippines. Among Philippines

indigenous dances, the Pangalay is a living link to the traditional dance cultures of Asia

with closest affinity to the Indian Javanese, Thai, Burmese and Cambodian styles of

classical dancing. A living artifact such as the Pangalay must be danced constantly, or

else it dies. The beauty of the Pangalay dance style is that it can be danced by anyone and

everyone in the community, regardless of age or status. It can be danced in any space, be

it on a boat on a house-porch or on the beach

Pangalay is basically pure dancing. A sense of anti-linear time pervades the slow, refined

meditative, elegant and almost hypnotic movements. The continuously flowing or

seamless unfolding movement from a central core is consistent with the pre-modern

mode and Eastern sense of multi-level or anti-linear time that has no definite beginning or

ending. This is opposed to the Western concept of time or the metapsychosic scale.

(A paper by Ms. Ligaya Fernando-Amilbangsa, Intangible Cultural

Heritage Practitioner, Artistic Director, Alun-Alun Dance Cirle)

Filipino Folk Dance in the Academy 403ing of the researcher assuming a

hierarchical cultural structure with the researcher positioned at the very top. Perhaps the

whole project of “saving” the dances can be descriped in colonial terms, as part of the

orientalist discourse of knowledge and control that Edward said describes in orientalism

(1999[1979]). A “Western” institution gener-ating knowledge defined and controls the

“Orient” and the “Westerned-ized” Filipino elite acquire knowledge of indigenous

cultures in order to “save” them through inscription and definition. The alterations to the

forms of Filipino folk dance that come from being investigated and recorded, which

Ramon Santos (1998) calls “processing” explains how the alteration continue into the

pres-ent days. This “processing” has become so extreme that Teresita Salvador in a 1998

conference paper concerning the teaching of folk dance in Philippine school, argues that

some dances have changed too much and “can no longer be used as a point of reference

to trace the true meaning of our glorious past” (p.108)

For Salvador the dance has a clear function, which days are no longer performing.

That function is connected to the past and to ways to remembering that past and its
singular “true meaning”. Salvador’s idea that the dances somehow represent the past, or

hold the key to understanding it in sented by Gonzales in his introduction to Aquinos

ground breaking work Philippine National Dances.

(Salvador, 2000, p.202)

Classification of Philippines Folk Dance Geographical Origin 1.

National Dances found throughout the islands. (eg. Rigodon, Cariñosa, Jota)

Rigodon is originated from Spain, this dance is commonly performed at formal affairs

like inaugural ball where prominent members of the government participate and enjoy.

Cariñosa is a word that describes an affectionate, friendly and lovable woman. This dance

is performed in flirtatious manner with fans and handkerchiefs to assist the dancers hide-

seek movements.

La Jota Manileña is a dance named after the capital city of the Philippines, Manila.

Where an adoption of Castilian Jota afloats with the clocking of bamboo castanets played

by the dancers themselves. The costume and the graceful movements of the performers

noticeably by the Spanish Culture.

Two local dances found in specific locality.

(e.g. Tinikling-Leyte; Subli-Batangas)

Tinikling is considered the national folk dance with a pair of dancers hopping between

two bamboos poles held just above the ground struck together in time to music.

Subli-Batangas is one of the most popular dance in the Philippines and the favorite in

Batangas. This dance is simply ceremonial in nature and this is performed as homage to

the Holy Cross. The Holy Cross is known by the locals as the “Mahal na Poong Santa

Krus” and the Holy Cross plays an important role in the development of the dance.
Tradition is taught in and out of school, in academic disciplines and in social

practices or costumes. The school teachers formally with Syllabi and systems while the

society teaches in communal activities from rites to games, from work to celebrations.

Both serve to perpetuate tradition by both hows (from steps to dressing up) and whys (for

causes of men and of Gods).Schools can codify folk dancing, while society can continue

to change this in real-life circumstances tradition my not be static but evolve according to

the environment and beliefs of a people.

(Basilio Esteban S. Villaruz (2015) Philippine Dance Education)