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Angelie Fey A.

Ong 12 ABM 5 17 July 2018


I. Dance Terms in Philippine Folk Dance
 Abarsete – Girl at the right side holds R arm of partner with her L hand, free hands
sown at sides. This term is Spanish in origin and is used in rigodon and in other
dances.
 Arms in lateral position – both arms at one side, either right or left; at shoulder,
chest, or waist level.
 Brush - weight on one foot, hit the floor with the ball or heel of the other foot, and lift
that foot from the floor to any direction. 9.
 Cabeceras - the couples occupying the width of the hall when dancers are in square
formation (head couple). 10.
 Clockwise - like the motion of the hands of the clock. R shoulder is toward the center
of an imaginary circle. When facing center, movement is toward the left. 11.
 Counter clockwise - the reverse direction of clockwise, L shoulders toward center.
Movement is toward right when facing center of circle. 12.
 Costados - the couple occupying the length of the hall when dancers are in square
formation (side pair). 13.
 Crossed arms - partners facing each other or standing side by side join their L hands
together and the R hands together; either R over L or L over R. 14.
 Cut - to displace quickly one foot with other. 15.
 Do-si-do - partners advance forward, pass each other’s right (or left) side, step across
to the right (or to the left) move backwards without turning around, pass each other
left (or right)side to proper places. 16.
 Free foot - the foot not bearing the weight of the body. 17.
 Free hand - the hand not placed anywhere, or not doing anything. 18.
 Hands on waist - place hands at the waist line, knuckles in, fingers pointing rear.
 Hapay - to flourish or offer a handkerchief, hat, glass of wine to somebody as a sign of
invitation. 20.
 Hayon-hayon - to place one forearm in front and the other at the back of the waist.
21.
 Hop - a spring from one foot-landing on the other foot in place or in any direction. 22.
 Inside foot - the foot nearer the partner when partners stand side by side. 23.
 Jaleo - partners turn around clockwise (with R L elbows almost touching) or counter
clockwise (with L elbows touching) using walking or any kind of dances. 24.
 Jump - a spring on one or both feet landing on both feet in any direction.
 Kumintang - moving the hand from the wrist either in a clockwise or counter
clockwise direction. 26.
 Leap - a spring from one foot, landing on the other foot in any direction.
 Masiwak -to turn the hand from the wrist halfway clockwise, then raise and lower
wrist once or twice. 28.
 Outside foot - the foot away from one’s partner when partners stand side by side. 29.
 Outside hand - the hand away from one’s partner, when partner’s stand side by side.
30.
 Opposite - the person’s standing across the set. 31.
 Panadyak - to stamp in front or at the side with R (L) foot and top with same foot
close to the L (R) foot. Weight of the body on L (R) foot. This is a tagalong term. 32.
 Partner - girl to right of boy and boy to left of girl. 33.
 Patadyong - a kind of woven material usually of cotton, plaid, multi-colored skirt,
popularized by Miag-ao weavers of Iloilo. 34.
 Place - to put foot in a certain position without putting weight on it; the sole of the
foot rests on the floor. 35.
 Pivot - to turn the with the ball, heel, or whole foot, on a fixed place or point. 36.
 Point - touch the floor lightly with the toes of one foot, weight of the body on the
other foot. 37.
 Salok - swinging the arm downward-upward passing in front of the body as if
scooping; the trunk is bant forward following the movement of the arm doing the
salok. 38.
 Saludo - partners with feet together bow to each other, to the audience, opposite
dancers, or the neighbors. 39.
 Sarok - cross the R(or L) foot infront of the L (or R) bent the body slightly forward and
cross hands down in front with the R (or L) hand over the L (or R) 40.
 Set - a dance formation like a square or a unit formation composed of two or more
pair. 41.
 Slide - to glide foot smoothly along the floor. 42.
 Stamp - to bring the foot forcibly and noisily on the floor. Step- to advance or recede
by moving one foot to another resting place with a complete transfer of weight from
one foot to the other. 43.
 Supporting foot - the foot that bears the weight of the body. 44.
 Tap - to tap slightly with the ball of the foot or toe of the free foot keeping weight of
the body on the other foot. There is no transfer of weight. .
 Whirl - to make fast turns by executing small steps in place, right, or to left.
 Amplified - more open positions on 1st or 5th positions.
 Lateral - both arms raised at one side parallel to each other.
 Hayon- Hayon - one arm bent in front at waist level. The other is bent behind also at
waist level.
 “T” position - both arms at sides and bent at the elbows so that the upper arms re at
shoulder level.
 Reverse “T” position - both arms at sides and bent at the elbows so that the forearms are
parallel to the head, palms facing inwards.
National Artists for Dance
Ramon Obusan ( june 16, 1938 – December 21, 2006)
 Dancer, Choreographer
 Stage Designer , Artistic Director
 Sample work: Vamos a Belen!, Series, Noon Po sa Amin
Francisca Reyes Aquino ( March 9, 1899 – November 21, 1983)
 Folk dance pioneer
 1926 thesis titlde “Philippine folk dances and games”
Leonor Orosa Goquingco (1917-2005)
 Pioneer Filipino choreographer known as “ the trailblazer”
 “the mother of Philippine theater dance”
 Dean of Filipino performing arts critics”
Alice Reyes (1942- present)
 “the mother of Philippine modern dance.”
 Founded Ballet Philippines formerly CCP Dance Company
Lucrecia Reyes Urtula (June 29, 1929 - Agosto 4, 1999)
 National artist for Dance
 The Bayanihan Dance Company of the Philippines

Folk Dance
 The dance is all about the “Salakot” a wide brimmed hat worn by farmers
and locals that serves as a protection from the heat of the sun and rain. The dance’s
origin is a likely treasured practice for countryside locals as it reflects their tradition
and culture as native Filipinos. In addition, the dancers graciously gave tribute to the
value or significance of the salakot to the locals in their everyday life, how it enhanced
their working progress and helped them to have easier lives.
 The folk dance, specifically the salakot, symbolizes Filipino identity that is
often depicted as Juan dela Cruz, a national characteristic given to Filipinos. The dance
implies how rich our culture and history is in the time of our ancestors with regards to
being creative and innovative enough to build a protection from the heat that mainly
helped locals avoid the heat and other possible complications in staying under the sun
for too long. Thus, the Salakot dance made way for a more creative form of expressing
our appreciation to the contributions of our ancestors to the Philippine culture and
history.
History of Social Dances
The Cha-Cha Dance is a dance that originated from Cuba and was originally known
as the cha-cha-cha. The dance gained popularity around the 1950's and was created from
two other dances – the 'mambo' and the 'danzon'. While working with the charanga group
'Orquesta America' in Cuba to perform at dance halls in Havana, Enrique Jorrin, a violinist
and composer, realized that most of the crowds related the danzon-mambo rhythm to a
much slower mambo dance and thus had hardship adopting the syncopated rhythms. He
decided to compose music that strongly focused on the first downbeat such that the
rhythm became less syncopated. This caused the crowd dancers to develop a triple step,
creating the sound 'cha-cha-cha' with their dancing shoes, thus the cha-cha-cha was born.

Four Basic Steps in chachacha


1. Walking Steps
2. Forward – Backward or chacha steps
3. Side step
4. Rock step

References:
Tolentino, J. (2012, March 13). FOLK DANCE, FOREIGN AND ETHNIC DANCES. Retreived from
http://julstolentino.blogspot.com/2012/03/module-7-review-of-different.html
Cha cha Dance (n.d.). Retreived from http://www.dance-america.com/history-of-the-cha-cha-
dance-81.html
Camacho, M. (2017, June 27). National Artist. Retreived from
https://www.slideshare.net/MarilouCamacho2/national-artists-77291539
Bedinghaus, T. (2017, September 16) Learn All About the Cheeky and Lively Cha-Cha Dance.
Retreived from https://www.thoughtco.com/cha-cha-dance-1007194