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Philippines Dance
Philippine dance is influenced by Spanish, American, and Asian dances. La Jota Moncadena is an example of Spanish influence,while Sayaw sa Banco and Tinikling have Southeast Asian influence.
904 Questions
Brief history of pandanggo sa bulig?
pandanggo sa bulig is a traditional Filipino dance came from Pangasinan.
What is the basic concept of dance?
CENTERING:
This is fundamental to your ability to dance well. This is maintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully and freely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to do anything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don't have a sense of home you will probably get lost every time you go out.Your body needs to be balanced like a see-saw. Position fluctuates between individuals. Center for Middle Eastern Dance is in the solar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements for this dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving from your center will make movements easier to control.
GRAVITY:
This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as if someone is pushing you under your buttocks and the base of your spine and directing the energy up through yourbreastbone.
BALANCE:
Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual support among all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not something you do once in awhile. It is constant. A sense of balance whether you are moving or standing. In the actual act of balancing, if you can find inner balance , you are nearly there. If you are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state.
POSTURE:
To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all their dance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn how to stand properly. You will actually feel brighter and more aware.
GESTURE:
Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we show cooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean "show me", fists on hips is even more challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shoulders is a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying.
RHYTHM:
Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All the work going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beat with your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the "threads" which allow you to memorize the structure of the dance.
MOVING in SPACE:
You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible element that you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as a journey through space. You will express thoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire of movement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance.
BREATHING:
Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movements fluency and harmony. It is an expressive tool. Calm slow breathing suggests a certain degree of self-control. Denotes a specific quality of movement. A movement with breath has a controlled and considered extension of time, a clear beginning and end no matter how fast or slow the phrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time. You frequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give a more emotional, organic look.
Here then are the elements of dance which make up the word TECHNIQUE.
A dirty word in a lot of circles. This is the sum total of the tools of DANCE.
What is the history of lawiswis kawayan?
Lawiswis Kawayan is a Filipino folk dance of the Waray people in Visayas. The dance was made as a celebratory dance during house blessings.
Sayaw sa bangko is a traditional Filipino dance that involves various local dance steps using a series of "bangko" or the usual small chair or bench. This is a very joyful dance that is usually dance by pair and during Fiestas.
What is dance steps in salakot?
The dance steps in "Salakot" typically involve a blend of traditional Filipino movements that showcase the cultural significance of the salakot, a traditional wide-brimmed hat. The choreography often includes rhythmic footwork and gestures that mimic everyday activities, reflecting the agricultural heritage of the Philippines. Dancers may also incorporate lively formations and interactions, enhancing the celebratory nature of the performance. Overall, the dance is both a tribute to Filipino culture and an expression of community spirit.
What is the most famous folk dance in the Philippines?
Tinikling is the most famous folk dance in the Philippines.
Specifically, the dance copies the movements of the native Tikling (Rallus philippensis) in trying to elude bamboo traps while feeding on rice crops. It involves two people holding alternate ends of two bamboo sticks and two dancers moving quickly inside and outside the sticks without getting ankles bruised or feet caught. It may have originated in Leyte's eastern Visayan region. Experts tend to think that the dance predates the early sixteenth century arrival of the Spaniards in the archipelago.
What are the example of Philippine folk music from highlands?
opm songs... and the folk song of our country like leron-leron sinta, bahay kubo
What is the meaning of Philippine folk art?
a folk arts is an establish way of doing creative works.:))
The Pigapir dance is a traditional folk dance. It is popular in certain parts of the Philippines especially among the elders.
How did the different folk dances promote the culture of bicolanos?
Different folk dances promoted the culture of bicolanos by keeping traditions alive with the people. Even with many different dances each one represents a different tradition for the bicolanos.
Was dance therapy first used in the 1940s?
Dance therapy began as a profession in the 1940s with the work of Marian Chace
What is the difference between creative dance and pop dance?
the main difference is that with creative dance you make your own movement, there are no right or wrongs and no routines. you use your body as the instrument and through the use of movement you connect and communicate using your personal qualities. :)
Why do people dance Tinikling?
People dance tinikling because it is one of the most famous dances of the Philippines. Tinikling is often performed in big events and celebrations as it is extremely energetic and interactive. Others may practice tinikling simply for the cardiovascular workout that it provides. This dance is good for people's mind and body coordination as it challenges them to think and act, literally, on their feet.
ang binanog-banog ay isang sayaw na galing sa cotabato at sinayaw nila ito!!!!
What are the different kinds of dances in the Philippines and its example?
1.TINIKLING-which is done with 2 bamboos.
2.CARINOSA
3.ETHNIC DANCES
What is a brief history of sway dancing in the Philippines?
sway dancing in the philippines- it is an old way to do rhythm wityh whatever tune you hear...the natives do it...so i guess it goes way way back....it is a good way to stay balanced while standing for a long while...you sway or shift your weight from one foot to the other...everyone does it...right? thanks....
Dance terms of francesca Aquino Reyes?
Her book on terminology and dance steps is quite lenghthy to list here. That book might be quite hard to come by. You would have to check the book store dealers in the Philippines. I was quite lucky to have gotton one from her back in the sixties.
History
The dance originated some three hundred years ago in the barrio of Dingin, Alitagtag, Batangas. According to a research made by Dr. Elena Mirano, the word "subli" came from the old Tagalog word "sobli" meaning "salisi" or "exchange of place". Exchange of place is a prominent feature of the dance subli.
Subli is the dance portion of a devotion performed in honor of the Mahal ng Poong Santa Cruz, a large crucifix of anubing wood with the face of the sun in silver at the center. The icon was discovered in the early decades of Spanish rule in what is now the town of Alitagtag, Batangas. The Mahal na Poong Santa Cruz is the patron of many towns in the area, notably the ancient town of Bauan, Batangas.
The subli consists of a long sequence of prayers in verse, songs, and dances, performed in a fixed sequence. The verse recounts the first journey of the early subli performer, or manunubli, through the fields, hills, and rivers of Batangas in search of the miraculous cross. Sections of verse are sung to a fixed skeletal melody, or punto, which may be elaborated on in a different way by a different subli troupe.
About five of these punto are used in a complete subli performance. These sections may be divided further into various fixed dance patterns involving one, two or eight pairs of men and women. These numbers seem to be the norm in Bauan, although other towns may have formations involving three pairs at a time. The stances, gestures, and movements of the male dancers are freewheeling and dramatic, consisting of leaping, striking the ground with wooden bamboo clappers held in both hands known as kalaste, and other movements suggesting the martial arts. The women circle on half-toe, performing the talik, small refined gestures with wrists and fingers, their fingers grazing their small-brimmed hats and alampay, a triangular scarf worn loosely over the shoulder, that are the essential parts of their costume. They dance and sing to the rhythm beaten out by a stick on the tugtugan, a goblet-shaped, footed drum of langka wood with a head made of iguana skin. E.R. Mirano
source: http://www.accu.or.jp/ich/en/arts/A_PHL4.html
The province of Batangas has a rich cultural tradition especially in the field of dance and music. Among these traditions is the Subli of which, it was told, originated in the town of Bauan, Batangas.
According to Miguela "Mila" Maquimot, there once lived a couple in Dingin, Alitagtag. The husband was of the jealous type and a drunkard. The wife was the one who mainly did the work, one of which was fetching water from a well to the water jar wherein they drank water from. One time, the husband went home drunk and there was no water in the big water jar so the wife went to the well to get some.
By the well was wood from which sprung water. And on that wood, the woman noticed a naaginging doll. Because of this, many towns sought to get the wood but no one could lift it. So the people from Bauan, together with their parish priest, went to the well and looked at the doll. They sang and danced the subli, and were gladdened when they were able to lift the wood. They carved the wood into a saint. Their patron saint is Sta. Elena, but is referred to as Sta. Cruz.
The dancing of subli was passed on from their ancestors who were once subli dancers. They watched the performances of their elders veteran in dancing the subli. Afterward, the youngsters would gather and dance bit by bit until they learn the dance steps. And whenever they dance, they dance before their saint.
Ms. Maquimot was only 12 years old when she became a subli dancer. According to her, she and her co-dancers are no longer struck by stage fright whenever they dance the subli because they are already used to performing before an audience. She and her co-dancers were discovered on Batangas City Day, where they participated and won in a subli dance competition.
From then on, they have gone to many places to dance the subli, with the help of Ed Borbon, who was the organizer or manager of the group. As director of cultural affairs in Batangas, Borbon would contact Ms. Maquimot whenever there are occasions for them to dance in.
The group has danced at the Manila Hotel, Intramuros, Folk Arts Theater, Nayong Pilipino, Cultural Center of the Philippines, and even in places outside the Philippines. The group of Miguela Maquimot at Abdon Cruzat have gone to Washington, D.C. from June 21 to July 5 as representatives of the Philippines.
The Philippines was the only place that performed as an independent nation. The USA was represented by Wisconsin, while the Baltic nations were represented by Estonia, Latvia, at Lithuania.
During that period, they danced constantly. And on October 21, they danced again in Manila. They also dance in Batangas during the senior citizens day, Batangas Day and women's organization day.
Aside from that, they also teach subli in various schools including Sta. Teresa College, Lyceum and PBMIT.
They have attained various awards such as a plaque of appreciation from the CCP, trophies and certificates. Even those whom they have taught have also won first place in the subli competition back in July 25, 1995.
Many sulbi dancers begin learning subli at the age of 12, during the start of teen years when young girls and boys are not yet getting married and are merely at the stage of courtship. Subli is not mainly a courtship tradition, but courtship has become an element of the dance. The dance movements reflect the good actions and attitude that is expected of these young girls and boys as they grow into adulthood.
According to Ms. Maquimot, subli is a religious vow in exchange for blessings, such as the passing of board examinations or the healing of the sick.
source: http://www2.mozcom.com/~batangan/news/schools/ojt/subli.htm
THE subli is not just a dance or sayaw; it has also been described as a kaugalian which implies something more enduring and a panata that hints at spirituality, specially because the panata or vow is to the Mahal na Poong Santa Krus. In Lumang Bauan (southern tip of the Taal volcano area in Batangas) it is also called a laro which, in turn, is composed of tula, dasal, sayaw at musikang pantinig. But to fully understand the significance of the subli in our national repertoire of dances, one is advised to study the kalikasan around it, which I think means, its social context and gawaing panlipunan.
My source of information is Dr. Elena Rivera Mirano's edifying book, Ang mga Tradisyonal na Musikang Pantinig sa Lumang Bawan Batangas. This work, an original and valuable contribution to cultural studies, was published in 1997 by the National Commission on Culture and the Arts. I cannot imagine reading and studying about the subli in a language that is not native to these islands. Unfortunately, I have to write most of this article in English which is so alien to the subli.
The Mahal na Poong Santa Krus plays a central part in the subli; the emblematic and decorative installations, performances and other art forms related to the subli revolve around the wooden cross draped with a white fabric similar to the stole placed on the Holy Cross of Jesus during Easter. According to Dr. Mirano in ancient times natives living around the Taal volcano area would plant wooden crosses around the crater, or even immerse these in the crater itself to ask the Poon to save them from Nature's wrath. Could that have been a tradition even before the Spaniards came? Is the cross (two pieces of wood tied together) a universal design shared by many civilizations? After all, the crucifixion was already the death penalty even before Jesus Christ was born. Spotting all those wooden crosses impaled on the Taal Volcano, the early Spanish missionaries must have been amazed at the coincidence and re-shaped the tradition to fit the Christian mold. My conjecture, according to Dr. Mirano, cannot be proven by documentary evidence.
The Poong Santa Krus was first described in Gaspar de San Agustin's Conquista De Las Islas Filipinas (1565-1615) as "una cruz muy grande…por ser de una pesada madera llamada anivion…" which in the local dialect was anubing. Fr. San Agustin also wrote that in 1611, natives placed the cross in the mouth of the crater to silence the volcano. Consecuently, he concluded inhabitants of Alitagtag used the cross to ward off evil spirits; they believed it had innate powers, that it could travel, summon stars to surround it with dazzling light and reduce or increase its weight depending on the message it meant to impart. In Juan Noceda and Pedro San Lucar's VOCABULARIO DE LA LENGUA TAGALA (1860), subli was defined as "…pasear cruzando por alguna calle…hurtar el cuerpo a quien le quiere hablar…las mudanzas de baile, o danzar cruzando. Magsoblian cayong sumayao. La persona por quien sinosoblian…" Imagine, Spangalog in the XIXth century!
More recently, a study of native dances by Francisca Reyes-Aquino, published in 1935 and reprinted in 1953, attempted an etymological analysis of "subli" as coming from the word "subsob" and "bali" which was how the male subli dancers looked. Mislead by that description, Quijano de Manila (Nick Joaquin, National Artist for Literature) considered the subli irrefutable evidence that the Philippines is a matriarchal society. Dr. Mirano's research has belied both Aquino and Joaquin. In her book, Elenita Rivera Mirano celebrates the mysterious refinements of the subli which is all of sayaw, panata, laro, kaugalian, ritwal and musikang pantinig. The good news is that the tradition is kept alive in many towns in Batangas. (by Gemma Cruz Araneta)
source: http://www.mb.com.ph/issues/2007/05/29/OPED2007052994877.html
We need to dance a folk dance called kumintang how could we dance it?
move the hande from the wrist either in a clockwise or counterclockwise direction.
