Notre Dame University Aside from the fact that dance gives joy and exhilaration,
College of Health Science other values of dance are:
Physical Education
Juvelon Arnaiz Manon-og
Dance
 A
r
e a rhythmic and expressive movements, usually
coordinated into a pattern and adapted to musical
accompaniment and may include folk and ethnic dance,
modern dance, social dance and ballroom and other form
of dances.
 Dance is perhaps the oldest form of arts reflecting man’s
age-old need to communicate joy or grief by using the
most immediate instrument.
 Dance is a means of expressing one’s emotions through
movement disciplined by rhythm.
 It is an act of moving rhythmically and expressively to
an accompaniment.
 The word “DANCING” comes from an old German
word “DANSON” which means “to stretch”. Essentially,
all dancing is made up of stretching and relaxing.
 Dancing has been a part of the life of every tribe, society,
and culture. Every part of man’s life has always been
portrayed or celebrated through dance.
 Dance is not only an individual or group experience but
also considered as a cultural mirror wherein the spirit,
character and artistry of its time reflected. Almost all-
important occasions in the life of primitive men were
celebrated by dancing: birth, death, marriage, war, a new
leader, the healing of the sick, prayers for rain, sun,
fertility, protection, and forgiveness were all expressive
through dancing,
 Dancing is an integral part of life itself. As long as
people exist, the desire to dance in response to emotion
is physiological fact. Enjoyment is the only reason while
people dance today. Dancing leads people to learn poise,
manners, and how to relate with people.
Values and Benefits from Dancing
Why do people dance? What do they get out of it? The
answer lies in the internet values of dance to the individual,
to society, and to culture as a whole.
Joy and satisfaction are outcomes of dancing in a group.
As a form of exercise, the well-being of those who
participate are improved. As a form of expression,
desires and feelings are depicted. Grace and
coordination are well-developed response to rhythmic
comes naturally to the young boy or girl. They have natural
love for rhythmic movements but being caught in a
transition age or age of awkwardness, a high school boy
may find his body not responsive to movement expression
through rhythm. In contrast, girls enjoy dancing immensely.
A balance physical education program must include
rhythmic dance activities for both sexes, as it gives great
benefits to them.
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1. It stimulates the creative potential. Perceptions are
sharpened as one begins to master movements and
movement patterns. Improvisation movement provides a
means to exercise imagination and to keep alive the spark of
creativity.
2. It promotes self and social awareness in an all-
involving way. It means more for the individual to express
individuality. Though the emotional, mental and physical
demands of dance, the individual necessarily confronts his
total self, evolves his own integrated self-concept, and learn
to relate openly and cooperatively with others. Dance can
make the individual more aware of his environment, at the
same time, it helps him develop greater confidence in his
own abilities.
3. It serves the interest of health. In the formative years,
dance can serve as a means of developing the child
physically, emotionally, and aesthetically. It can be
therapeutic tool in educating the individual with physical
and mental disabilities, and in helping people overcome or
cope effectively with their problems, but more important is
it can provide a demanding type of exercise that encourage
people to be physically active and fit.
What is RHYTHM?
Rhythm is the regular reoccurrence of accented and
unaccented beats. Every individual has a rhythm. It is found
in all nature. Rhythmic activities are a source of enjoyment
for people of all ages. Through these activities, skills and
sense of rhythm are acquired and developed, feelings are
expressed, basic principle of time, space and force can be
experienced.
Everyone react to music or rhythm in one form or another, a
head swaying, a foot tapping, fingers napping, shoulders and
body are moving while musical piece is played are physical
reactions. Rhythmic activities are also a source of
wholesome reactional pleasures which have a carry-over
value in a person's life.
It is the traditional recreational dance of an
indigenous society showing the cultural characteristics of a
specific people
BENEFITS OF DANCING
1. Physiological and neuro-muscular development of
the organize system of the body
2. Cultural depicting the culture of the people
3. Social and recreational
TYPES OF FOLK DANCES
1. National – those that are widely danced throughout a
country
2. Regional – Those popular only in a certain part of the
country
THE PHILIPPINE FOLK DANCES ARE 7. Festival Dances – performed in connection
CHARACTERIZED BY THE FOLLOWING: with the celebration a feast, a barrio, fiesta,
good harvest, and good future.
1. Most dances begin and end with “saludo” bow, or Ex: Kuratsa La Jota
curtsy. Putong
2. In general, dancers stand apart from each other at 8. War Dances – are intended to show imaginary
about 6-8 feet. combat or duel with the use fighting
3. There is little, if any, bodily contact although implements bolo or spear.
holding hands is common. Ex: Sagayan Maglalatik
4. Most of the dance are done in pairs or couples Inabaknon
5. Hand movements play an important part or role. 9. Comic Dances- are dances with funny and
6. Most dances are done in long open formation humorous movements mainly intended for
7. Dances from lowlands have more foreign elements entertainment
that those found in the uplands Ex: Makonggo – movements of monkey
8. War dances are found among non-Christian tribes Kinoton – imitates the movements pf
9. Dances are performed by the young and old. person bitten by ants
CLASSIFICATION OF PHILIPPINE DANCES 10. Game Dances – are dances that have some
paly elements and are for recreational purposes
A. Geographical extent of origin
1. National Dances- are traditional dance Ex: Pabo Lubi-lubi
throughout the Philippines with common basic Sinenalan Gayong-gayong
movement or pattern but with slight variation 11. Social Dances – are dances danced during
Ex. Carinosa, Pandango, Balitaw, Kuratsa, social gathering
Rigodon, Surtido Ex: Rigodon Lanceros
2. Local or Regional Dances – are dance found
in certain localities or regions only. DANCE TERMS:
Ex. Esperanza (Najua, Camarines Sur)
Alcampor (Leyte) Arms in lateral position – Both arms are at the sides, right
Maglalatik (San Pablo, Laguna) and left at shoulder position, chest or waist level.

Arms in T position – arms sideward, bend elbow fingers

pointing downward palms, facing inward.
B. Nature
3. Occupational Dances – are dances that Arms in reverse T position – arms sideward, bend elbow
depicts actions characterizing occupation fingers pointing upward, palm facing inward.
industries and phases of human labor
Abrasete – (Spanish origin) Girl at the R of partner, hold or
Ex: Pabirik - depicts the difference stages of
hook R arm of boy partner with her L. hand or arm.
gold panning Mananguate tuba gatherer
Rice Festival – has the largest number of Brush – Weight on one foot, hit the floor with the ball or
dances heel of the other foot, and lift that foot from the floor to any
Magtatanim, Paggapas, Paggiik, Pahangin, direction.
Pababayo, Pagtatahip
4. Religious or Ceremonial Dances – are Cabeceras – (Spanish origin) The head couple or couples
performed in connection with religious vows, occupying the width of the hall in square formation.
practices, and ceremonies. A religious dance
Costados – (Spanish origin) The side pairs in square
maybe performed to drive away evil spirits and
formation and they occupy the length of the room or hall.
for having recovered from sickness, favors
granted, and vows fulfilled. Crossed Arms –Partners facing each other or standing side
Ex: Sinurog Obando Dugso by side join their L hands together and the R hands together,
5. Courtship Dance - are dances that depicts either R over L or Lover R hand.
making or are dances with love themes
Ex: Hele Hele bago Quire Rogelia Cut – To quickly displace one foot with the other foot.
Lulay Maramion Karinosa
Do-Si-Do or Dos-a-Dos or back to back – Two people walk
6. Wedding Dances – are performed by
toward each other, pass by the right shoulder step sideward
newlyweds, by friends and relatives of the
to the right and return to position walking backward, passing
bride and groom or by the father of the bride
left shoulder
and mother of the groom
Ex: Pandang-Pandang Free foot – the foot not bearing the weight of the body.
Soryano Pantomina
Free hand – the hand not placed anywhere, or not doing
anything.
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Hayon-hayon (Visayan term) – placing one forearm in front
and the other at the back of the waist.
Inside foot – the foot nearer the partner when partners stand
side by side.
Jaleo (Spanish term) – partners stand side by side with
elbows slightly touching each other, and facing opposite
directions, the inside hand on waist
Kumintang (Ilacano, Bicol, Bisaya, Tagalog) – moving the
hand from the wrist either in a clockwise or
counterclockwise direction.
Masiwak - To turn the hand from the wrist half-way
clockwise then raise and lower wrist once or twice. This is
an Ibanag term
Outside foot - The foot away from one's partner when they
stand side by side.
Outside hand – The hand away from one's partner when
they stand side by side
Panadyak – To stamp in front or at the side with the right
foot and tap with same foot close to the left foot. This is a
Tagalog term
Patay – To bend the head downward and to support the
forehead with the R forearm or with the crook of the R
elbow while the left hand supports lightly the palm of the
right hand. This is usually done with the left foot pointing in
rear and knees slightly bent. This is an Ilocano term and the
movement is commonly found in Ilocano dances.
Pivot –Turning on ball, heel, of one or both feet on a fixed
place or point
Place – To put foot in a certain position without putting
weight on it, the sole of the foot rest on the floor
Do-si-do or back-to-back – Partners advance forward, pass
each other’s right ( left ) side, step across to the right move
backwards without turning around, pass each other left side
to proper places.
Promenade – Partners stand side and with their right hands
joined over their left hands, walk around counter clockwise
Point –Touch the Boor lightly with the toes of one foot,
weight of the body on the other foot
Salok – (Tagalog term) Swinging the arm downward-
upward passing in front of the body as in scooping and
bending trunk following the arm movement
Sarok – (Visayan term) Cross Ril) foot over L(R) bending
the body slightly forward and crossing hands down in front
R(L) Lover L(R)
Saludo –Parmers with feet together bow to each other, to
the audience, opposite dancers, or the neighbours
Set – A dance formation like a square or a unit formation
composed of two or more pairs.
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Slide –To glide foot smoothly along the floor.
Stamp – To bring the foot forcibly and noisily on the floor.
Step –To advance or recode by moving one foot to another
resting place with a complete transfer of weight from one
foot to another
Supporting foot – The foot that bears the weight of the
body
Tap –To tap slightly with the ball or toe of the free foot
keeping weight of the body on the other foot. Their is no
transfer of weight
Whirl – To make fast turns executing small steps in place,
to the right or to the left.
Philippine Folkdances
TIKLOS (Visayas)
For centuries tiklos has been a very important factor in the
social life of the peasant of Leyte. Tiklos refer to a group of
peasant who agree to work for each other each week to clear
the forest, prepare the soil for planting, or do any odd job in
the farm, including the building of the house. At noon time,
the people gather to eat their lunch together and to react.
During the rest period, Tiklos music is played with a flute
accompanied with a guitar and the guimbal or the tambora
(kinds of drum). The peasant then dance the Tiklos.
The music of Tiklos is also played to gather the peasant
before they start out for work
Costume: Typical working costume. Music: Is divided into
two parts, A and B Count: One, two or one, ah, two, ah or
one and two to a measure.
CARINOSA (National)
This is an old and most popular courtship dance of Visayan
Islands. This version comes from San Juaquim, IloIlo.
COSTUME: The girl wears patadyong and camisa or
kimona with a soft panuela, the boy, barong tagalog or
camisa de chino and any color of trousers.
EQUIPMENT: Comb, powder puff and handkerchief
MUSIC: is divided into two parts: A and B
COUNT: one, two, three to measure
FORMATION: Parteners face each other about six feet
apart. The girl is at the right side of the boy when facing the
audience.
Dance Sequence Step:
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