PATHFIT2
I. Introduction to Philippine Dance
A. Defining Dance
● 1. As an Inner Impulse: Dance is defined as the inner impulse of a person to respond to
rhythm or music. It's a way of expressing feelings—like joy, moods, or sentiments—and any
other human experience through movement. It's not just motion; it's motion with emotion and
intention.
● 2. As Rhythmic and Expressive Movement: More formally, dance is rhythmic and expressive
body movement, usually coordinated into a pattern and adapted to musical accompaniment.
This definition emphasizes structure (patterns) and the connection to music.
B. The Role and Benefits of Dance
● 1. Health and Physical Benefits: Dance is a powerful form of physical activity. Its benefits
include improved heart and lung condition, increased muscular strength and endurance,
better aerobic fitness, stronger bones (reducing the risk of osteoporosis), weight
management, and enhanced agility and flexibility.
● 2. Cultural Significance and Origins: Folk dances are the traditional dances of a country that
evolved naturally and spontaneously from the daily activities and experiences of the people.
They are a form of "bodily expression" that tells stories of hunting, fishing, religion,
community life, and beliefs. They are a living history of a culture.
C. Key Figures in Philippine Folk Dance
● 1. Francisca Reyes-Aquino: She is a monumental figure, often called the "Mother of
Philippine Folk Dance." A 1973 National Artist of the Philippines for Dance, she authored the
foundational book "Philippine Folk Dances and Games," which documented and preserved
countless traditional dances that might otherwise have been lost. Her work is the primary
reason these dances can be studied and performed today.
D. General Characteristics of Philippine Folk Dance
● 1. Dancer Proximity and Formations: In general, dancers stand apart from each other and do
not have sustained body contact. Many dances are performed in long formations, such as two
parallel lines.
● 2. Role of Hand Movements: Hand movements play a very important and highly expressive
part in the storytelling of the dance.
● 3. The "Saludo": Most Philippine folk dances begin and end with a "Saludo," which is a
three-step turn and bow to the audience, partner, or other dancers. It is a sign of respect and
a formal opening and closing.
II. The Five Elements of Dance (B.A.S.T.E.)
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A. Body: This is the what or who is dancing. The body is the instrument of dance. It can be
still or in motion, using the whole self or isolating specific parts (like only the hands). Dancers
create shapes (e.g., rounded, twisted, symmetrical) and use body systems (e.g., breath,
muscles) to move.
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B. Action: This is what the body is doing. It includes all forms of human movement, from
specific dance steps (like a waltz step) and gestures (like a wave) to everyday movements
(like walking). Crucially, action also includes pauses and moments of stillness, as the absence
of movement can be just as powerful as movement itself.
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C. Space: This is where the dance takes place. Dancers interact with space by traveling from
one point to another or staying in one spot. They use different levels (low, middle, high),
directions (forward, backward, sideways), and sizes of movement (large, small). The path a
dancer takes on the floor is called a pathway (e.g., straight, curved, zigzag).
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D. Time: This is when the dancers move. It's the relationship of movement to rhythm. Key
aspects include speed (fast/slow), duration (short/long), beat (the underlying pulse), and
accent (emphasized movements). Movements can be sequential (one after another) or
simultaneous (at the same time).
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E. Energy: This is how the movement is performed. It's the quality or force of the action.
Energy can be described on a spectrum: force (strong vs. light), flow (free vs. bound/
controlled), and tension (tight vs. loose). For example, a punch is strong, tight, and bound,
while a gentle sway is light, loose, and free-flowing.
III. Common Dance Terms Used in Folk Dance
This section defines the specific vocabulary used in Philippine folk dance instructions.
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Arms in Lateral Position: Both arms are at one side (right or left), at shoulder, chest, or waist
level.
Brush: With weight on one foot, hit the floor with the ball or heel of the other (free) foot, then
lift that foot from the floor in any direction.
Cut: To quickly displace one foot with the other, completely transferring weight.
Do-si-do: Two dancers, facing each other, advance forward, pass each other's right side,
step across to the right, move backward without turning, and pass each other's left side to
return to their original places.
Free Foot/Hand: The foot or hand not bearing the weight of the body or not doing anything.
Hayon-hayon: A Visayan term for placing one forearm in front and the other at the back of
the waist.
Hop: A spring from one foot, landing on the same foot.
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Inside Foot/Hand: The foot or hand nearest to one's partner when standing side by side.
Jaleo: A Tagalog term of Spanish origin where partners turn once around clockwise (with
right elbows almost touching) or counterclockwise (with left elbows almost touching).
Jump: A spring on one or both feet, landing on both feet.
Kumintang: An Ilocano term for moving the hand from the wrist in either a clockwise or
counterclockwise direction. This is a key hand movement.
Outside Foot/Hand: The foot or hand away from one's partner.
Place: To put a foot in a certain position without putting weight on it. The sole rests on the
floor.
Pivot: To turn on the ball, heel, or whole foot on a fixed point.
Point: To lightly touch the floor with the toes of one foot, with the body's weight on the other
foot.
Salok: A Tagalog term for swinging the arm downward-upward in front of the body as if
scooping, with the trunk bending forward with the arm.
Saludo: A term of Spanish origin meaning "to bow." Dancers bow to the audience, partner,
etc.
Sarok: A Visayan term where the dancer crosses the R (or L) foot in front of the L (or R) foot,
bends the body slightly forward, and crosses the hands down in front.
Slide: To glide a foot smoothly along the floor.
Stamp: To bring the foot down 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.
Supporting Foot: The foot that bears the weight of the body.
Step pattern: refers to the movement or movements done for each of the dance steps
IV. The Five Fundamental Positions of Arms and Feet
These positions are the classical foundation for most folk dances.
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B. Arm Positions
. First Position: Arms are raised to form a circle in front of the chest, with fingertips
about an inch apart.
. Second Position: Arms are opened up sideward, raised below shoulder level with a
graceful curve.
. Third Position: One arm is raised overhead while the other arm remains in the second
position.
. Fourth Position: One arm is raised in front of the chest in a half circle, while the other
arm remains overhead.
. Fifth Position: Both arms are raised overhead in a graceful curve.
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C. Feet Positions
. First Position: Heels are close together, touching; toes are apart, with feet forming a Vshape.
. Second Position: Feet are apart sideward, about a pace distance.
. Third Position: The heel of one foot touches the instep of the other foot.
. Fourth Position: One foot is in front of the other foot, about a pace distance apart.
. Fifth Position: The heel of the front foot touches the toe of the rear foot.
V. Classification of Philippine Folk Dances
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A. By Geographical Origin
○ 1. National Dances: Found throughout the islands with little to no modification.
Examples: Cariñosa, Jota, Balitaw.
○ 2. Local Dances: Found in a specific locality or region. Examples: Tinikling (Leyte),
Maglalatik (Laguna), Subli (Batangas).
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B. By Nature
○ 1. Occupational: Depict the actions of a particular occupation, industry, or labor.
Example: Pabirik (depicts gold mining).
○ 2. Religious/Ceremonial: Influenced by religion, vows, and ceremonies. Example:
Dugsu (a ceremonial dance of the Manobo people).
○ 3. Comic: Depict humorous movements designed for entertainment. Example:
Makonggo (mimics the movements of a monkey).
○ 4. Courtship: Depict the art of courtship or have love themes. Example: Tadek (an
ethnic dance), Hele-hele(a flirting dance).
○ 5. War: Show imaginary combat or duels. Example: Sagayan (a Maranao and
Maguindanao dance).
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C. By Major Cultural Groups
○ 1. Cordillera Groups: Dances from the mountainous regions of Northern Luzon.
Example: Banga (Kalinga), Bendayan (Benguet).
○ 2. Muslim Groups: Dances from the Islamic cultures of Mindanao. Example: Singkil
(Maranao), Pangalay(Tausug).
○ 3. Tribal Groups: Dances from non-Islamic, non-Christian indigenous groups, often
called "lumad." Example: Dugsu (Bukidnon), Binanog-banog (Manobo).
○ 4. Countryside/Rural Groups: Dances associated with the Christian lowlands and rural
life. Example: Itik-Itik, Tinikling.
○ 5. Western-Influenced: Dances that show the influence of Spanish and other
European cultures. Example: Pandanggo sa Ilaw (Fandango), Polka sa Nayon (Polka).
4. Comparisons & Distinctions
Concept 1
Concept 2
The Difference
How the Exam
Might Confuse
These
National Dance
Local Dance
Scope: National
dances are
performed
nationwide (e.g.,
Cariñosa). Local
dances are
specific to one
region (e.g.,
Tinikling is from
Leyte).
The exam might
ask you to
classify a wellknown dance.
You must know if
its origin is
specific or
widespread.
E.g., "Tinikling is
an example of
what type of
dance by
geographical
origin?"
(Answer: Local).
Hop
Jump
Feet Used: A
hop is a spring
from one foot
and landing on
the samefoot. A
jump is a spring
from one or both
feet and landing
on bothfeet.
Questions often
test the subtle
difference in
landing.
Remember: Hop
= One to One.
Jump = One/
Two to Two.
Place
Point
Foot Contact:
To "place" is to
put the entire
sole of the foot
on the floor
without weight.
To "point" is to
Both actions
involve no
weight transfer,
but the part of
the foot used is
without weight.
To "point" is to
touch the floor
only with the
toes.
but the part of
the foot used is
different. Look
for "sole" vs.
"toes" in the
question's
description.
Step
Stamp
Weight &
Sound: A "step"
is a simple
transfer of
weight. A
"stamp" is a
forcible, noisy
action on the
floor, which can
be done with or
without
transferring
weight.
All stamps are
audible and
forceful, but not
all steps are. A
stamp is for
emphasis. An
exam might
describe a
movement and
ask you to name
it. If it says
"noisy and
forceful," think
stamp.
Inside Foot
Outside Foot
Position
Relative to
Partner:When
side-by-side,
the "inside" foot
is the one
closest to your
partner. The
"outside" foot is
the one farther
away.
This is simple
but crucial for
partner dance
instructions. The
exam might give
a scenario:
"Dancer A and B
are standing
right-shoulder to
right-shoulder.
away.
Kumintang
Hayon-hayon
Body Part &
Origin:
Kumintang is a
hand-only
movement from
the wrist
(Ilocano).
Hayon-hayon is
a full-arm
position (one in
front, one
behind) at the
waist (Visayan).
right-shoulder to
right-shoulder.
Which is Dancer
A's inside foot?"
(Answer: The left
foot).
The exam could
ask you to
identify the term
based on a
description or to
match the term
to its region of
origin.
Remember:
Kumintang =
Wrist. Hayonhayon = Waist.
5. Processes & Mechanisms (Step-by-Step)
Process 1: Executing a Do-si-do
● Trigger: A dance call or musical cue for two facing dancers to exchange places and return.
● Step 1: Advance. Both dancers walk forward towards each other.
● Step 2: Pass Right Shoulders. They pass each other, keeping their right shoulders adjacent.
They do not turn around.
● Step 3: Step Across. After passing, each dancer takes a step to their right side.
● Step 4: Move Backward. Still facing their original direction, they move backward to their own
side of the formation.
● Step 5: Pass Left Shoulders. They pass each other's left shoulders as they move backward.
● Result: Both dancers have returned to their original starting positions without ever turning
their bodies around.
Process 2: Transitioning Through the Five Arm Positions (1 to 5)
● Trigger: Practicing the fundamental positions in sequence.
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Step 1 (Start at First): Begin with arms in a circle in front of the chest.
Step 2 (Move to Second): From first, smoothly open both arms sideward to shoulder level,
maintaining a graceful curve.
Step 3 (Move to Third): From second, keep the left arm in place. Raise the right arm
overhead. (This can be reversed).
Step 4 (Move to Fourth): From third, keep the right arm overhead. Bring the left arm forward
into a half-circle in front of the chest.
Step 5 (Move to Fifth): From fourth, raise the left arm to join the right arm overhead, forming
a graceful curve.
Result: A fluid, controlled progression through all five core arm postures, demonstrating
grace and control.
6. Common Exam Points & High-Yield Facts
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High-Yield Name: Francisca Reyes-Aquino. Know that she is the National Artist for Dance
and the "Mother of Philippine Folk Dance."
● High-Yield Characteristic: Most Philippine folk dances begin and end with a Saludo.
● High-Yield Terms: Be able to define and differentiate Kumintang, Hayon-hayon, Sarok, and
Salok. Pay attention to their regions of origin (Ilocano, Visayan, Tagalog).
● The 5 Positions: These are guaranteed to be on any practical or written exam. You must
know them by heart, both for the arms and feet.
● Classification is Key: You will likely be asked to classify dances. Memorize the key examples
for each category:
○ National: Cariñosa
○ Local: Tinikling (Leyte)
○ Occupational: Pabirik (mining)
○ Religious: Dugsu (Manobo)
○ Courtship: Tadek
○ War: Sagayan
○ Muslim: Singkil (Maranao)
○ Cordillera: Banga (Kalinga)
Exam Danger Zones
● Mixing up Third and Fourth Positions: Students often confuse the third and fourth positions
for both arms and feet because they are asymmetrical.
○ Arm Fix: Remember, in Third, one arm is out (2nd position). In Fourth, one arm is in
front (1st position style).
○ Feet Fix: In Third, the heel touches the instep (middle). In Fifth, the heel touches the
toe (end).
● Confusing National vs. Local: Do not assume a famous dance like Tinikling is a "national
dance" just because it's popular. It is a local dance from Leyte that has gained national
popularity. The classification is based on origin.
● Forgetting No-Weight Terms: Remember that Place and Point are movements where no
weight is transferred. A question might try to trick you by describing a step with weight.
7. Memory Aids & Retention Tools
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Mnemonic for Dance Elements:
○ B.A.S.T.E. -> Body, Action, Space, Time, Energy. Just remember to "baste" the dance
with all five elements!
Logic Shortcut for Arm Positions (1-5):
○ Think of it as a story: "Start with a Circle (1st), Open Wide (2nd), raise One Arm High
(3rd), bring the other Arm In Front (4th), then raise Both Arms High (5th)."
Visual Metaphor for Foot Positions:
○ 1st: A ballerina's "V".
○ 2nd: Standing with your feet shoulder-width apart.
○ 3rd: Hiding the arch of your back foot with the heel of your front foot.
○ 4th: Paused mid-stride while walking.
○ 5th: A very tight "T" shape, heel-to-toe.
Pattern Recognition for Classifications:
○ If the dance name is tied to a specific place (e.g., Jota de Manila, Lanceros de
Tayabas), it's likely a Local or Western-Influenced dance.
○ If the dance mimics an animal or job (Makonggo - monkey, Pabirik - miner), it's a
Comic or Occupationaldance.
"If you only remember one thing..." statements:
○ "...about Francisca Reyes-Aquino, remember that she is the National Artist who saved
our folk dances."
○ "...about the dance elements, remember the acronym B.A.S.T.E."
○ "...about the 5 positions, remember that First is closed/together, Second is open, and
Fifth is the tightest/highest position."
8. Micro-Summaries Per Section
● Micro-Summary (Intro to Dance):
Dance is an intentional, rhythmic expression of human experience. In the Philippines, folk
dances reflect daily life and are characterized by spaced-apart dancers, expressive hand
movements, and the use of a "Saludo." The preservation of these dances is largely credited
to National Artist Francisca Reyes-Aquino. Key terms: Folk Dance, Francisca Reyes-Aquino,
Saludo.
● Micro-Summary (Elements of Dance):
All dance can be broken down into five core elements, remembered by the acronym B.A.S.T.E.
These are Body (the instrument), Action (the movement), Space (where), Time (when), and
Energy (how). Understanding these elements is crucial for analyzing and performing any
dance. Key terms: Body, Action, Space, Time, Energy (B.A.S.T.E.).
● Micro-Summary (Common Dance Terms):
The specific vocabulary of Philippine folk dance includes foundational movements (hop, step,
brush), partner-oriented terms (inside/outside foot), and culturally specific gestures. Key
terms to know are Kumintang (Ilocano wrist turn), Hayon-hayon (Visayan arm position), and
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Saludo (Spanish-derived bow). These terms form the building blocks of dance instructions.
Micro-Summary (Five Fundamental Positions):
The five fundamental positions for arms and feet are the standardized classical foundation for
Philippine folk dances. They follow a logical progression from closed (First) to open (Second)
to asymmetrical (Third/Fourth) to a final high/closed position (Fifth). Mastery of these
positions is a non-negotiable skill for any folk dancer.
Micro-Summary (Classifications of Dance):
Philippine folk dances are categorized by their origin (National vs. Local), nature (e.g.,
Courtship, War, Occupational), and cultural group (e.g., Muslim, Cordillera, Tribal). Knowing
the classification of a dance helps explain its purpose, story, and movements. Most testable
facts involve matching a specific dance (like Tiniklingor Singkil) to its correct categories.
9. Unified Final Summary (One-Page Style)
Chapter 3: Foundations of Philippine Folk Dance - Final Review
Fast Definitions:
● Folk Dance: Traditional dance of a country evolved from the everyday life of its people.
● Francisca Reyes-Aquino: National Artist for Dance; Mother of Philippine Folk Dance.
● Saludo: A bow performed at the beginning and end of a dance.
● Kumintang: Ilocano term for a circular hand movement from the wrist.
● Hayon-hayon: Visayan term for placing one arm in front and the other behind the waist.
● B.A.S.T.E.: The 5 elements of dance: Body, Action, Space, Time, Energy.
Key Comparisons:
| Term | vs. | Other Term | Key Difference |
| :--- | :--- | :--- | :--- |
| National | vs. | Local | Widespread origin vs. Specific regional origin. |
| Hop | vs. | Jump | Land on SAME foot vs. Land on BOTH feet. |
| Place | vs. | Point | SOLE of foot on floor vs. TOES of foot on floor. |
| Step | vs. | Stamp | Simple weight transfer vs. Forceful and NOISY. |
Main Processes: The 5 Fundamental Positions
● ARMS:
. Circle in Front (Chest level)
. Open Sideward (Shoulder level)
. One Arm Up, One Arm Side
. One Arm Up, One Arm Front
. Both Arms Up (Overhead)
● FEET:
. Heels Together, Toes Apart ("V" shape)
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Feet Apart Sideward
Heel to Instep
One Foot in Front (Pace distance)
Heel to Toe
High-Yield Reminders & Classifications:
● Tinikling: LOCAL dance from LEYTE. (Not a national dance!)
● Cariñosa: NATIONAL dance.
● Singkil: MUSLIM dance from the MARANAO group.
● Banga: CORDILLERA dance from the KALINGA group.
● Dugsu: TRIBAL / RELIGIOUS dance from the MANOBO/BUKIDNON group.
● Pabirik: OCCUPATIONAL dance about gold mining.
● Sagayan: WAR dance.
Mnemonics and Shortcuts:
● B.A.S.T.E.: The 5 Elements.
● Arm Positions: Circle -> Open -> One Up/Side -> One Up/Front -> Both Up.
● Feet Positions: "V" -> Apart -> Heel-to-Instep -> Mid-Stride -> Heel-to-Toe.
● Exam Danger Zone: Don't confuse 3rd and 5th foot positions. 3rd is heel to instep (middle);
5th is heel to toe (end).