PE|1ST QUARTER Flashcards by Alessandra Norie Anne Garillos

is an art form or activity that utilizes the body and the range of movement of which the body is capable.

dance

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ELEMENTS OF DANCE (5)

BODY
ENERGY
SPACE
RELATIONSHIP
TIME

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dance is comprised of various body motions that express feeling and emotion. Our bodies move in ways to express ourselves using locomotor and non-locomotor movements.

1.Body

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the force at which we express our body motions. Are you moving with hard or gentle motions? How do you choose to move?Bounce, shake,explode or sway?

Energy

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THIS IS THE AREA THE PERFORMERS OCCUPY AND WHERE THEY MOVE. IT CAN BE DIVIDED INTO FOUR DIFFERENT ASPECTS,ALSO KNOWN AS SPATIAL ELEMENTS.

3.SPACE

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4 criteria of Space

Direction
Size
Level
Focus

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dance movements can travel in any direction. The performers can go forward, side, backward, diagonal, circular, and so on.

Direction

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movements can be varied by doing larger or smaller actions.

Size

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movement can be done in high, medium, or low level.

Level

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performers may change their focus by looking at different directions.

Focus

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we often dance with other people in a group. Just like with conversation, we communicate and react using motions.

Relationship

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timing is the key to any dance. We follow the rhythm or beat to match our actions with the music

Time

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Primitive dance is considered as a dance in its purest form because this particular dance form has not been refined, developed, trained, or guided by an artist.
To the early Filipinos, dance was an expression of community life that animates the various rituals and ceremonies.

Primitive Era

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Kinds of Primitive Dance (4)

Ritual Dances
Life-cycle Dances
Occupational Dances
Mimetic Dances

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Sustains spiritual and social life of the indigenous Filipinos
Closely attuned to nature, believing in the spirits that keep their environment fruitful

Ritual Dances

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Dances that celebrate an individual’s birth, baptism, courtship, wedding and demise (death)

Life-cycle Dances

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Dances which transform defense and livelihood activities to celebratory performances.

Occupational Dances

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Special dance which are mimetic in nature
The surrounding animal life also easily lends itself to imitative dances that are both graphic and symbolic

Mimetic Dances

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Examples of Ritual Dance (5)

Pagdiwata
Dugso
Sohten
Bendian
Tahling Baila

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Tagbanuas of Palawan perform this dance in gratitude for good harvest, to implore continued protection and favor from the deities and for general well-being

Pagdiwata

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dance of Manobos of Bukidnon, is a thanksgiving for bountiful harvest

Dugso

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the Subanon supplicates the spirits to give strength and courage to a warrior who shakes a shield and palm leaves

Sohten

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is a dance of healing, natural calamities and to celebrate victory in war

Bendian

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a prayer dance for a bountiful fish catch

Tahing Baila

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Examples of Life-cycle Dances (3)

Daling-daling Himog or Death Dance Pangalay Pangantin

displays grace as much as affection. It is considered as a courtship dance.

Daling-daling

ceremonial dance performed by men to ask gods for help in punishing the killer of their warriors

Himog or Death Dance

dance in “Pangalay” style performed by a bride

Pangalay Pangantin

Example of Occupational Dances (2)

Tudak Tauti

acts out a whole sequence of the rice cycle into dance

Tudak

occupational dance which vividly portrays the labors of catching “tauti” (catfish)

Tauti

Example of Mimetic Dances (4)

Sayaw tu Baud Pinuhag Inamo-amo Ninanog

an imitation of flight of pigeons from hunters stalking them

Sayaw tu Baud

imitates movements of a bee gathering honey

Pinuhag

mimicked the movements of a monkey as it bounces and gambles about

Inamo-amo

an imitation of the movements of the hawk as it pounced on its quarry

Ninanog

__________ came to the Philippines on ______________ and colonized the Philippine islands for _____ years

Spaniards March 16, 1521 333

Native dances were modified and used in the rites celebrating Christian holy days and religious fiestas turned to native traditions to become spiritual and communal expressions Dances took on the tempo and temper of the European forms for example,the noted Tinikling (which has had some Southeast Asian beginnings) andbthe Itik-itik (rustic and imitative like the other dances) acquired the tempo of the jota and the polka. European dances like the waltz, mazurka, the Spanish jota, paso doble, fandango and others were transformed to suit the climate and the temperament of the people

SPANISH COLONIAL PERIOD

had some Southeast Asian beginnings

Tinikling

rustic and imitative like the other dances

Itik-itik

Acquired the tempo of the jota and the polka

Tinikling and Itik-itik

European dances (5)

waltz mazurka Spanish jota paso doble fandango and others

In _____, the United States colonized the Philippines

1898

The cakewalk, buck-and-wing, skirt-dance, clog, tap and soft-shoe were performed in the zarzuela theaters, later with the cinema shows John Cowper was called “dean of Philippine vaudeville,” and with him came other American and European artists. Filipinos increasingly experienced the ballet. The development of dance in the Philippines is generally credited to the efforts of Francisca Reyes Aquino and Leonor Orosa Goquinco. Aquino pioneered in the research and revival of Philippine folk dance and music in the 1920's and is regarded as the foremost authority on Philippine folkdances.

AMERICAN COLONIAL PERIOD

were performed in the zarzuela theaters, later with the cinema shows (6)

cakewalk buck-and-wing skirt-dance clog tap soft-shoe

was called “dean of Philippine vaudeville,” and with him came other American and European artists.

John Cowper

The development of dance in the Philippines is generally credited to the efforts of: (2)

Francisca Reyes Aquino Leonor Orosa Goquinco

pioneered in the research and revival of Philippine folk dance and music in the ______ and is regarded as the foremost authority on Philippine folkdances.

Francisca Reyes Aquino 1920's

the art of creating dances

Choreography

coming from or belonging to the distinctive cultural or aesthetic traditions of a particular country or people

Ethnic

a dance unit or formation

Set

the traditional typically anonymous art of people that is an expression of community life

Folk art

originating among or representative of the common people

Folk

a folk dance which is popularly danced in most parts of a specific country.

National dance

grouping of beats

Measure

variations, changes, and contrasts within an existing time, space, bringing about excitement and heightened interest

Dynamics

movement used to emphasize idea or emotions.

Gesture

strength, power of force for action.

Energy

* both arms are at one side, either Right or Left

Arms in lateral position

with fist slightly closed, thumb sticking out turn the wrist outward.

Kewet

to hit the floor with the ball or heel of one foot after which that foot is lifted from the floor in any direction.

Brush

* following the direction of the hands of the clock

Clockwise

* the reverse direction of the clockwise.

Counter-clockwise

* the foot not bearing the weight of the body

Free foot

* the hand not placed anywhere or not doing anything

Free hand

* the hand or foot nearest one’s partner when standing side by side.

Inside hand/ foot

* the hand or foot away from one’s partner when standing side by side

Outside foot/ hand

* to bring down the foot forcibly and noisily on the floor.

Stamp

* flexing the ankle joint, tap lightly with the ball or toe of the free foot

Tap

* to touch the floor lightly with the toes, no weight.

Point

* rise on toes and make fast turns by executing mincing steps in place

Whirl turn

* with feet together, partners bow to each other, to audience, or to opposite dancer

Saludo

* moving the hand from the wrist either in a clockwise or counter-clockwise direction.

. Kumintang

* to place one forearm in front of the waist and the other at the back of the waist.

Hayon-hayon

bck.

Back

bckd.

Backward

Clockwise

ccw

counterclockwise

cpl. (s)

couple (s)

ct. (s)

Count (s)

fig. (s)

Figure (s)

fwd

Forward

opp.

Opposite

pt.

Point

ft.

foot/feet

ptr. (s)

Partner (s)

stp. (s)

Step (s)

swd.

Sideward

twd.

Toward

Arms are rounded&are raised in front of the waist. Palms are facing in, wrists are relaxed. Heels together; feet turned out in 45’ angle

FIRST POSITION

Open arms to the sides, arms are rounded, palms facing each other. Stride stand sideward position, feet about six inches apart.

SECOND POSITION

One arm is raised overhead while the other arm is in 2nd position opened at the side Heel of one foot touches the instep of the other foot

THIRD POSITION

One arm is raised overhead (in 5th position) and the other arm is in 1st position From the 3rdposition, slide the front foot diagonally forward and end in a stride stand forward position

FOURTH POSITION

Both arms are raised overhead, arms are rounded, palms facing inward- downward. Heel of one foot touches the big toe of the other foot.

FIFTH POSITION

Dancers joined inside hands, shoulder level

1. COUPLE POSITION

Girl holds the R arm of the boy with her L hand

2. ESCORT POSITION

Girl’s L hand is placed on the R shoulder of the Boy. Boy’s R hand is placed around the girl’s waist.

3. CONVERSATION POSITION OR FLIRTATION POSITION

Facing each other, join both hands, chest level or a little lower

4. FACING POSITION

Partners facing each other, join both hands and extend them sideward.

5. BUTTERFLY POSITION

Join inside hands, outside hands in second position. Partners face slightly toward audience.

6. SWING-OUT POSITION

Partners facing each other. Girl’s hand is placed on the R shoulder of the boy. Boy’s R hand is placed on the waist of the girl. Outside hands joined and are extended toward the audience.

7. CLOSE BALLROOM DANCE POSITION

Same as close ballroom dance position except that the dancers are facing on the audience.

8. OPEN SOCIAL BALLROOM DANCE POSITION

Partners face each other. Girl places both hands on boy’s shoulders. Boy places both hands on Girls waist.

9. SHOULDER WAIST POSITION

Dancers face opposite direction. Inside hands are joined.

10. STAR POSITION

Partners face the audience; boy stands slightly behind girl. Girl crosses arms(R over L) in front of the waist. Boy holds the L hand of the girl with his R hand & R hand of the girl with his own L hand.

11. WRAP POSITION

Partners face audience. Boy holds R hand of the Girl with his own R & the L hand of the girl with his L hand.

12. PROMENADE OR SKATER’S POSITION OR FRONT CROSSED- ARM POSITION

Same as front crossed arm position but the arms are crossed at the back

13. BACK- CROSSED ARMPOSITION

Boy stands slightly behind girl; extend R arms diagonally upward R, and L arms in the second position

14. VARSOVIENNE POSITION

Same as Varsovienne Position except that the boy stands in front of the girl. Slightly to the R.

15. REVERSE VARSOVIENNE POSITION

a. Point R foot in fourth in front b. Step R close L (Simplified: Point, Close or Point, Close)

TOUCH STEP

a. Step R in fourth in front b. Hop on the same foot and raise the L foot in front or in rear (Simplified: Step, Hop or Step Hop)

HOP-STEP

a. Step R in fourth in front b. Point L in fourth in front (Simplified: Step, Point or Step, Point)

STEP-POINT

a. Step R in fourth in front b. Close L to R foot (Simplified: Step, Close or Step, Close)

CLOSE STEP

a. Step R foot in second position b. Swing the L foot across the R foot in front. Knee is slightly bent, toes pointing downwards (Simplified: Step, Swing or Step, Swing)

STEP-SWING-HOP

a. Step R foot in fourth in front b. Brush L foot forward and swing it across the R in front c. Hop on the R foot (Simplified: Step, Brush-Swing, Hop)

STEP-BRUSH-SWING-HOP

a. Glide or slide Rfoot infourthpositioninfront b. Close L foot in third position in rear or in first position (Simplified: Glide, Close)

SLIDE STEP

a. Step R sideward b. Step L across the R foot in rear (or in front) c. Step R sideward R d. Step L across the R foot in front (or in rear) (Simplified: Side, rear, side front or Side, front, side, rear)

GRAPEVINE

a. Step R foot in fourth in front b. Step L close R in third in rear c. Step R in fourth in front (Simplified: Step, Close-Step, Step)

WALTZ

PE|1ST QUARTER Flashcards

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