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Basic Concept of

Fundamentals Position of
Arms and Feet
• The oldest form of dance probably one of
the earliest forms of communication.
• It is self expression of that separates folk
dancing from the functional aspect of
games and gymnastics in the physical
education program.
• Expression of oneself through rhythmic
• It is self expression through patterned of
• Traditional dance of given country which
evolved naturally and spontaneously with
everyday activities like occupation, customs,
festivals, rituals, and innumerable themes.
Five Fundamental
Position of Arms and Feet
Arm Position
• First position- raise arms to a circle in front of the
Arm Position
• Second position- open up arms sideward, raised
below shoulder level with a graceful curve.
Arm Position
• Third position – raise one arm overhead while other
arm remains in 2nd position.
Arm Position
• Fourth position – raise one arm in front of chest in a
half circle, while one arm remains overhead.
Arm Position
• Fifth position – raise both arms overhead in a graceful
Feet Position
• First position – bring heels close to touch; toes apart.
Feet Position
• Second position – bring feet apart sideward.
Feet Position
• Third position – bring the heel of one foot to touch
the instep of the other foot.
Feet Position
• Fourth position – bring one foot in front of the other
foot to walk strike.
Feet Position
• Fifth position – bring the heel of one foot to touch the
toe of the other.
UNIT 4: Philippine Folkdance with
Asian Influence

Dance Researcher: Francisca Reyes
Meaning: With the use of sticks
Dance Culture: Christian-Lowland
Place of Origin: Lingayen
Country of Influence: China
Ethno-Linguistic Group: Pangasinense
Binislakan (Background)
 Lingayen in Pangasinan means
“having to look backward and
 It was derived from Li-King-Tung, a
Chinese word given to a name
Lingayen, the capital of Pangasinan,
Binislakan (Background)
 The dancers look backward or
upward in some of the movements
hence, the name Lingayen.
 They also use two sticks to produce
rhythms imitating the chopsticks
used by the Chinese in eating.
Binislakan Dance Properties
Female: Siesgo and Kimono with
loose and long sleeves and soft
Male: Camisa de Chino and red
Binislakan Dance Properties
2/4 composed of two parts- A
and B
Count One, Two, one and two,
and one and two and so on…
Binislakan Dance Properties
Partners stand about six feet
apart. One or more pairs in a set
can take part in the dance, in
any formation desired.
Dance Researcher: Ramon A. Obusan
Meaning: My Pomelo Tree
Dance Culture: Muslim Lowland
Place of Origin: Jolo, Sulu
Country of Influence: China,
Malaysia and Indonesia
Ethno-Linguistic Group: Tausug
Sua-Ku-Sua (Background)
Pomelo fruit serves as an
important source of income of
the people of Sulu.
Their dependence on pomelo
fruits for their livelihood inspired
them to create Sua-Ku-Sua
Sua-Ku-Sua (Background)
The movement of the dance
compare Sua’s gentle leaves,
slender branches, attractive fruit
and fragrant flowers to a lady.
Dance Researcher: Francisca Reyes Aquino
Meaning: Finger Nail
Dance Culture: Muslim Lowland
Place of Origin: Sulu
Country of Influence: Thailand Burma
Cambodia Malaysia and Indonesia
Ethno-Linguistic Group: Tausug
Pangalay (Background)
Pangalay is also know as Daling-
Daling or Mengalai in Sabah.
It is a traditional fingernail dance
of the Tausug people of the Sulu
Archipelago and Sabah.
Pangalay (Background)
 This dance is the most distinctively
Asian of all the Southern Philippine
dances because dancers must have
dexterity and flexibility of shoulders,
elbows, and wrist – movements that
strongly resembles those of Kontaw
Pangalay (Background)
It is performed during weddings
or other festive event.
Pangasik is the male version of
Pangalay that features more
martial movement.
Pangiluk is the combination of
Pangalay (Background)
The original concept of the
Pangalay is based on the
pre-Islamic Buddhist
concept of male and
Footwear: Barefoot
Accessories: Janggay (extended metal
finger nails).
The rich people have janggay made of
solid gold and silver.

Music: played as many times as necessary.

Dance Researcher: Francisca Reyes Aquino
Meaning: Rhythmic sticks producing
the accompaniment for the dance.
Place of Origin: Abra and Ilocos Norte
Country of Influence: China
Classification: Social Dance
Sakuting (Background)
Dance of ethnic people
living in the western side of
the cordillera way back
before the coming of the
Americans to our country.
Sakuting (Background)
During Christmas, young boys
and girls accompanied by their
elders would go to the lowland,
especially in Abra and Ilocos
Norte to dance in front of the
houses and ask for gifts.
Sakuting (Background)
The young children hold sticks,
one on each hand and strike
them together to make their
dance livelier. The people in the
homes would give them money,
homemade delicacies and other
Sakuting (Background)
 The dancing groups later reached
as far as the coastal towns of Ilocos
region as years went by.
 The rhythmic sounds produced by
the stick attracted other children
and also adults and they also