Folk Dance History in the Philippines Essay

It is impossible to know when exactly dancing became a part of life in the Philippines. umteen traditional dances were designed to thank the gods for natural and agricultural events, much(prenominal) as rain and harvests. The dances were performed during festivals and remembrances of past military victories, and still are performed at celebrations of births and weddings in modern times. Many modern folk dance festivals still feature ancient dances performed in costume of the tribal layover of the Philippines. Some dances such as the Palok and the Lumagen are performed with traditional percussion instruments such as the gangsa (a small fuzz gong), a tobtob (brass gong) or a hibat (a gong played with a soft wooden stick). For many tribal dances there are no external musicians the dancers generate their own accompaniment with stomping and hand clapping. Later Dances in Philippine HistoryMore recent dances done in the Philippines derive from historical events such as the arrival of t he Spaniards in the 16th century and the conflicts with the Moors. While certain words and movements from those cultures have been integrated into the dances, the Filipino dance genre remains true to its ancient tradition and roots.* color Bring your expel base of operations to your lead ass, then touch the root word with let out taking a step or roveting slant on the free plunk. * Toe Touch the toenail of the free foot to the coldcock without shifting cant to the free foot. * Heel Extend the free foot forward, then touch the back of your hound dog to the floor without putting slant on your heel. * Tap Touch the floor with a sharp motion with your free foot, but do non take a step or put weight on the free foot. * Stamp Stomp the flat of your free foot on the floor, but do not put weight on the free foot. Noise can vary based on the reference of shoe youre wearing and the type of floor. * Point Extend the free foot forward or backward and touch your toe to the floor. T he ankle should be stretched and the instep arched. Do not step or put weight on the free foot.* Press Step forward with your free foot, putting partial weight on the ball of your foot. Your supporting leg should be straight and your pressed leg (free foot) is bent with some(prenominal) pressure (partial weight) on the floor. Your body should be leaned forward just a bit. * Brush Touch the toe of your free foot to the floor, then move it a short distance toward the supporting foot or move it against the supporting foot, but do not put weight on it. * Draw Touch the toe of your free foot to the floor far from your supporting foot, then move it toward your supporting foot without putting weight on it. * Drag Stretch your body up, then touch your toe to the floor far from your supporting foot and move it toward your supporting foot without putting weight on it. * burst Sweep your free foot in an arc, making sure to keep your toe in progress to with the floor without putting weight o n it.First stick- enkindles outgrowths to a circle in face up of the chest. Second position open up arms sideward, raised below shoulder level with a graceful curve. Third position raise one arm over passing game while other arm remains in 2nd position. Fourth position raise one arm in attend of chest in a half circle, while one arm remains overhead. Fifth position raise both arms overhead in a graceful curve. Feet PositionsFirst position deal heels close to touch toes apart.Second position bring feet apart sideward.Third position bring the heel of one foot to touch the instep of the other foot. Fourth position bring one foot in front of the other foot to walk strike. Fifth position bring the heel of one foot to touch the toe of the other. 3/4plain polkawaltzsway balance with raisemincingredobathree steps and pointmazurkacross waltzplain waltz2/4Touch StepStep PointClose StepSlide StepStep swayStep HopSUBLISubli is the dance portion of a devotion performed in honor o f the Mahal na 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. It 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 rigid sequence. The verse recounts the first journey of the early manunubli ( subli performer)through the fields, hills, and rivers of Batangas in search of the miraculous cross. Sections of verse are render to a fixed punto or skeletal melody, 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, devil or eight pairs of men and women.These numbers seem to be the norm in Bauan, although other towns may hav e 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 kalaste (wooden bamboo clappers held in both hands), 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 the small-brimmed hats and alampay (triangular jack off 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