The Art of Dancing

Dancing is the rhythmical movement of the body, usually with music, to express an idea
or emotion, to narrate story or simply to enjoy and take pleasure in the movement itself. It
seems that dance impulse started with man’s own life. Dance may have been the very first
means of communication. Even in sophisticated sectors, children would delightfully dance
before they know how to express their feeling in words. This is instinctive dancing of toddlers.

It can be traced that Dance as an art from the moment it was harnessed to a rhythm,
probably the stamping of the feet and clapping of the hands. It is an art ever present in the
performers’ bodies ‘till they die. It was a only used in films and in television shows.

Throughout recorded history, there is static evidence of dancing men in paintings,

drawings and sculptures. Onlookers only guess how the dancers moved from one pose to
another. Scholarly attempts to reconstruct social dances of the 13 th and 14th centuries were
made, but no description or statement could be secured. Yet, it is components and
development in various ways of life and also to describe the kinds of dancing that can be seen
today.

Dance of the earliest times differ from those of the present times, the dance of the
barrio folks different those of the city. There are primitive and non primitive dances. Indians
dance to give thanks for a harvest, the Mexicans to celebrate the religious festival, teenagers
dance at parties, both young and old go discoing and children everywhere dance because it is
pleasurable to express joy through bodily movements or body language. In its expressive
aspects, dance is uniquely able to intensify moods and emotions and to deepen and dignify the
feelings of all.

Origin of the Functions of the Dance

Dancing has primitive beginning. It can be deduced from the behavior of primitive tribes
surviving today that the rhythm that spurred on the dances mostly came from the beat
sustained through the stamping of the feet on the ground. Footwork is a regular recurrence of
beats or shouts as the dancers roused themselves to a frenzy of activity. The earliest dances
may have been simple expression of pleasure or acts related to courtship, a theory supported
by the fact that the birds and the animals, even the spiders dance to attract and impress a
mate. Soon, dance was used for purpose of affecting the whole tribe; Hunting dance to depict
the capture of a prey or a warlike dance to show the defeat of an enemy. There were dances of
thanksgiving for a good harvest, good weather and wanted rain. Rain dances have survived in
some parts of the world until today.
 In biblical dances, the Old Testament attests that Miriam, the sister of Moses, led the
women in a dance of joy after the Israelites escaped from Egypt King David danced before the
Ark of the Covenant to express thanksgiving. Psalm 149 says, “Let them praise HIS name in the
dance.

The Bible tells us when people danced, but it does not tell how they danced. The
Hebrew religion forbade the making of images. Thus there are no paintings or statues to help
reconstruct the dances of Miriam or David.

In earlier times, a supplication to the Gods was the beginning of the religious aspect of
dancing. Dances have been utilized through history before written books, as a means of
communication between religious leaders and the people. In the East, temple dancers
preserved the style and tradition of ancient cultures. In the West, the most sophisticated of
professional dancers put their art at the service of religion taking part in celebrations in great
cathedrals or in humble churches. Dancing has played an important role in the social life of all
civilizations.

It is believed that the more grotesque kind of dancing in plays and spectacles were
developed by the Romans. This brought the theatrical form of dancing into disrepute.
Daughters of the nobility received dancing lessons, thus recognizing their social
accomplishments. In the East as well as in the West, dancing was developed as a social grace.
Various kinds of religious, social and theatrical dances evolved slowly in the dances today.
Generally, western dance techniques are based mostly on footwork, while the Eastern forms of
art dance, depending upon footwork to sustain the rhythm, derive their greatest beauty and
subtle meanings from the infinite variety of delicate movements of the upper part of the body,
especially the head, neck and hands. In the East as in the West, dance was indigenous to
religious ceremony, and was used for entertainment.

From antiquity to renaissance, it was considered by the Greeks that the art of dancing is
an essential element in their ideal in creating a sound mind in a sound body. Plato, the great
Greek Philosopher demanded a place for the dance in his “ideal republic” saying that it would
help towards acquiring noble, harmonious and graceful attitudes. The implication is that dance
was already appreciated for its own sake, as an expression of beauty and movement.

The domination of the Roman Catholic Church in Europe after the fall of Rome, virtually
extinguished theatrical dance, but it was reborn together with other arts of Italy. From
restrictions of the Middle Ages plus a love of beauty and knowledge, the Italians incorporated
dance into their lavish spectacles and court entertainments. The art of dancing in modern times
stems from Italian dancing masters.
Components of the Dance

1. The Dancer- It is through the body of dancer that the art of dancing is portrayed, and
the physical, emotional, and natural characteristic of the dancer determine the
quality and the nature of the dance. The way in which dancers perform depends
greatly on the land of their origin, the dance styles, the national dress, even the
climate. The woman, for instance, tends to be more supple than men, but they do
not usually have equal strength and stamina. Dance throughout the world are
different for men and women. In most national dances, the men demonstrate their
strength and virility, the women their charm and femininity. The trained dancer
brings his body to a high state of flexibility, control and alertness, which makes him a
better and expressive dancer than the untrained one. The trained dancer’s body is
more erect so that he can achieve the harmony of movement which is essential in
the art of dance.
2. The Choreographer- He is the arranger of dances, either for a soloist or for a group
and is the most important figure in dance history. He has a creative mind that
invents the order and combination of steps, the pattern of group dances, the
communication of narrative through dance and the extension of dance techniques
by using familiar actions in new and more complex ways. With trained dancers, a
choreographer can set them into motion in an almost unlimited number of ways.
3. Accompaniment to the Dance- Dance can be accompanied by all kinds of sound. On
the other hand, it may need no sound for the dancer who is blessed with conscious
rhythm and can perform highly complex and stylish movements in silence. It is
reasonable to believe that the first accompaniment were stamping, clapping, and
chanting and then possibly drumming. Song has also played an important part at the
time of opera ballets of the 17th and 18th centuries in Western Europe, where the art
of music, dance and song were inseparably linked.
4. Theatrical Effects- Where dance is a spectacle, every device of consume, make- up,
and theatrical effect can be used. Make- up and costumes of the ancient dances of
Japan, China and India are astounding in their complexity and significance that each
part of the costume and the painting of the face plays in the dance dramas. Today,
choreographers use every kind of lighting and mixed media in their production. They
use film projections. Passage of time in years can be suggested by aging the
characters, lighting can different times of the day.
Kinds of Dances

The art of dancing stretches from the simplest forms of pure expression performed by
an individual for his own satisfaction, through the complexities and subtleties of Eastern dance
to the most sophisticated, modern and large scale production in which dance is the dominant
factor.

1. Natural or Untutored Dance- Being a natural impulse, dance can be enjoyed both by
the trained and untrained dancer. The untrained may derive personal pleasure
having to obey rules, but will be restricted by the lacked technique, a vocabulary of
movement. At sometime, untrained dancers have danced for pure pleasure,
spontaneously leaping and running to release an intoxication of high spirits. This is
“creative dance” now encourage in schools that frown upon what they call unnatural
and rigid disciplines of formal dance training. A trained body, however is a more
articulate instrument than an untrained one.
2. Solo or Group Dance- The solo dance, performed by a single dancer is for a specific
purpose- to demonstrate a particular technique or style of dancing. Group dances
are categorized as folk dance, ballroom dancing and ballet.
3. Ethnic Dance- Dance that is indigenous to a certain race or country.
4. Court Dance- Social accomplishments polished from materials usually found among
folk dances and used for court entertainment.
5. Ballroom Dance- Social or popular dance performed by couples.
6. Theatrical Dance- Classical dance like ballet, performed by highly trained and
physically, the most eloquent form dance.
7. Modern Dance- Group dancing as in dicotheque.

Philippine Folk Dances

Folk Dances in the Philippines are the visualization of the grace and beauty of the
country lasses going through the intricacies of a courtship dance with their barrio swains. It is
wearing the merry laughter of simple barrio folks dancing happily, lost to guitar strumming and
finger snapping or clapping of hands timed with the music. The Filipinos are basically lovers,
endowed with talent for dancing. Folk dancing is an effective tool for entertainment as well as a
vehicle for the preservation of the Filipino culture. It is a creative expression of our culture.

There are folk dances in several regions in the Philippines which depict beautiful
customs and traditions of the people. Among these are:
1. Alay- A dance in the Tagalog Region performed as an offering to a special guest or
honoree as welcome gesture. “Alay” means an offering. It is a beautiful custom of
the Filipinos to offer a small gift of flower, a song or a dance to guests or visitors. The
best that the family can afford are usually offered to the house guests. The girl in an
“Alay” dance wears balintawak- style costume and step- in or “corebo” while boy
wears barong tagalong, white or colored pants and slippers.
2. Escotis- A Visayan folk dance performed in any social gathering of the people
inhabiting the mountains of Capiz and the towns of Panay. The girl wears a siesgo
skirt while the boy wears camisa de Chino and pants of any color. Both boy and girl
are barefooted.
3. Kiniton- A filk dance from the Ilocos Region. This comic dance depicts the movement
of a person bitten by ants. In social gatherings of friendsa and relatives, this dance is
presented to make the people merry. The dancer is a male dressed in Ilocano
peasant costume with a buri hat. Ha is Barefooted.
4. Kumakaret- A courtship dance in Pangasinan Kumakaret is a person who makes
wine, tuba, or vinegar from sasa. The dancers performed the dance with the use of
glasses half- filled with tuba. The girl balances three glasses, one on top her head
and one each on the open palms of her hands. Another glass is placed on top of her
foot. The boy balances Sometimes the glass is at the back of the neck, on top of one
shoulder, or on top of his foot. The girl wears a siesgo skirt with tapis, kimono and
soft panuelo. The boy wears camisa de chino and colored pants. Both boy and girl
are barefooted.
5. Lagundi- Another Visayan dance which originated in Iloilo. Lagundi is a medicinal
plant used as a cure for stomach ache, rheumatism, arthritis, headache, and all other
ailments common to old people. Herb doctors prescribe a drink from the boiled
leaves of lagundi. The steps used in this dance depict the stiff knee and the dragging
foot of the dancer suffering from rheumatism. In the olden times the dancers used
to performed the dance around a potted lagundi plant to show appreciation for the
wonderful medicinal plant. The girl wear patadyong, kimono and soft panuelo over
the left shoulder while the boy wears barong and any colored trousers.
6. Palakis- A courtship dance from Westersn Bontoc Performed at wedding
celebrations and during festivals like the Canio and Begnas. The Begnas is celebrated
before planting or harvesting involving the whole community. Nobody is supposed
to go out or to do anything in the fields during the celebrations. The dancers are
dressed in the traditional Bontoc costume. Each dancer has a piece of brightly
colored cloth, about a meter square. This cloth is held or shaken in such a way as to
convey the dancer’s sentiments- flirtation, appeal and so on.
7. Pangalay- A popular festival dance in Sulu and performed in Wedding celebrations
and at big social affairs. The rich families in Sulu lavishly observed wedding
celebrations which may last for several days or even weeks depending on the
financial status and agreement of both families. Well known dancers perform the
dance while the feasting is going on to the music of the “kulintangan “, “gatbang and
“agong”. Dancers wear typical Joloano costumes. They use “Jangay”- extended
metal fingernails in each finger.
8. National Rice Festival- Depicts the different steps in rice growing as practiced in the
different regions in the Philippines. Different regions may differ in their ways of
doing the work, but they have common traditional way of planting, harvesting,
threshing, airing, pounding and winnowing. Dancers are dressed in ordinary working
costume. Head cover may be worn and legging made of cloth maybe used. The
Festival Dance is divided into four(4) parts:
8.1 Pagtatanim (planting)
8.2 Paggapas (harvesting)
8.3 Paggiik (threshing)
8.4 Pahangin (airing)
9. Singkil- This dance originated from Lanao del Sur. To the rhythmic clapping of
bamboo poles, the dancers weave expertly through criss- crossed bamboo, the
ladies dressed in elegant Muslim costume, waving big fans, and the men flipping
brightly colored handkerchiefs right and left. The dancers wear solemn and maintain
a dignified pose. They begin dancing at a slow pace which progresses to a faster
tempo. The clashing bamboos and the whirling dancers form an audience. There are
many versions of Singkil. When it is performed by ladies of the royalty of Lanao, the
dancer is accompanied by a waiting lady, who holds a beautifully decorated
umbrella over the princess’ head wherever she goes. When the dance is performed
by natives not of the royal blood, the dancers, a boy and a girl, have no attendants.
Singkil is similar to Tinikling, another folk dance which uses bamboos. The
movements of the dancers are lively from poles. The girl wears balintawak while the
boy wears camisa de chino and kundiman (red) pants.

SINGKIL
JOTABAL

Jotabal is derived from the words Jota and valse. Jota is a popular dance introduced in
the Philippines by the Spaniards. Valse means walts, a step or a dance in ¾ time this lively
festival dance originated in Camohaguin, Gumaca, Quezon (formerly Tayabas).

JOTABAL DANCE

SAKUTING- ILOCANO DANCE

Sakuting is a folk dance of the Ilocanos usually performed during Christmas.

Groups of boys and girls perform from house to house receiving many gifts in return. Two sticks
are used to produce rhythmic sound.

SAKUTING-ILOCANO DANCE
 BILAAN DANCE OF COTABATO

Bilaan is a dance that depicts the lively, simple movements of birds in flight,
beautifully portrayed by tribal maidens with costumes typical of ethnic tribe, Bilaan, from
Cotabato.

BILAAN DANCE OF COTABATO

PAGDIWATA DANCE OF PALAWAN

Pagdiwata is a dance originating from the Tagbanua tribe of Palawan which

depicts rituals after a rice harvest. These rites are held as part thanksgiving and part as an
appeal for continued protection.

PAGDIWATA DANCE OF PALAWAN

SUA- SUA DANCE OF JOLO

Sua- sua is a dance from Jolo, Sulu. It is a courtship dance of the lover to his lady
love, accompanied by a song, comparing her to the delicate, little white blossoms of the
pomelo.

SUA-SUA DANCE OF JOLO

BALANGBANG DANCE OF MOUNTAIN PROVINCE

Balangbang is a native victory dance of the Mountain Province, Philippines.

BALANGBANG DANCE OF MOUNTAIN PROVINCE

ITIK- ITIK- A NATIVE DANCE OF THE PHILIPPINES

Itik- itik is a native dance interpreting the playfulness of duckling wading in the
river.

ITIK- ITIK NATIVE DANCE OF THE PHILIPPINES

KUMINTANG DANCE- ANOTHER NATIVE DANCE OF THE PHILIPPINES

Kumintang- The graceful hand movements from the wrist going clockwise or
counterclockwise while dancing. This is a typical characteristic movement of the hands in
Philippine folk dances.

KUMINTANG DANCE- ANOTHER NATIVE DANCE OF THE PHILIPPINES

MUSLIM DANCE

Muslim Dance- The Tausug performed during festivals.

MUSLIM DANCE
NASUDI

Nasudi- An Ilocano dance which depicts the prime industry the region –weaving. The
movement of the arms and the bodies of the dancers suggest the arms and body in motion of
weavers in the process of weaving.

NASUDI

SALAKOT

Salakot- Dance from the Tagalog Region. The dance gives importance to the headwear usually
used by women called Salakot. It is made of bamboo and nipa fashioned as a hat protect the
wearer from the heat of the sun and/ or the cold of the rain.

SALAKOT
MAGLALATIK

Maglalatik- dance from the Tagalog Region. It is depicts the intricate process in the
making of a native delicacy. The “latik”, a mixture of thick coco milk and molasses by constantly
stirring over slow fire.

MAGLALATIK

FOOTWEAR, HEADWEAR, and EQUIPMENT

Bakya
Buri Hat

Abanico
 Bamboo Castinet

Barong Tagalog, White Trousers

Patadyong,Soft Panuelo Left Shoulder