2012 NCSP.Cultural Influences of Dance in Physical Education

  • 754 views
Uploaded on

Dance as 'embodied identity' provides 'movement artifacts' that showcase the qualities of our being Filipinos. The Western social dance forms that came to our shores were adapted to suit our …

Dance as 'embodied identity' provides 'movement artifacts' that showcase the qualities of our being Filipinos. The Western social dance forms that came to our shores were adapted to suit our temperament, psychological inclinations, our beliefs and customs. Erasing them would mean completely removing the traces of our uniqueness as Filipinos. Handing them down to the current generation allows them to learn about Filipino culture. Presented at the First National Conference on Sports Pedagogy, October 2012, University of the Philippines, Diliman, Quezon City.

More in: Education
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
No Downloads

Views

Total Views
754
On Slideshare
0
From Embeds
0
Number of Embeds
1

Actions

Shares
Downloads
8
Comments
0
Likes
1

Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
    No notes for slide

Transcript

  • 1. CULTURAL INFLUENCESOF DANCE IN PHY SICAL EDUCATION : A CALL TO PRESERVE OUR SOCIAL DANCES Prof. Mynette dR. Aguilar Prof. 1 of Dance in Education College of Human Kinetics University of the Philippines
  • 2.  dance as “embodied identity”  uniqueness of the Filipino
  • 3. Philippine History ExternalInfluences FilipinoDance, Arts & OtherTraditions Filipino Culture
  • 4. DANCE AS “EMBODIED IDENTITY”“Sport and dance . . . share not only a commonstatus as techniques of the body (Mauss 1973), but also avital capacity to express and reformulate identitiesand meanings through their practiced movementsand scripted forms.” (Dyck & Archetti,eds2003)
  • 5. DANCE AS “EMBODIED IDENTITY”“The embodied practices of athletes and dancersafford not merely pleasure and entertainment butpowerful means for celebrating existing socialarrangements and cultural ideals or for imaginingand advocating new ones.” (Dyck & Archetti,eds2003)
  • 6. Zapatilla = named after the footwear of the ladiesAlcamphor = named after the camphor-scentedhandkerchief used by the ladies in the danceHabanera from HavanaMalagueña from MalagaKatalona from Catalonia
  • 7. La Jota Caviteña originating in Cavite provinceJota Moncada from Moncada in Tarlac Provinceindigenized dances with a European flair: • Jotas • Pandanggos • Minuets • Mazurkas
  • 8. FROM WESTERN DANCE FORMS TO DISTINCTFILIPINO DANCE FORMS
  • 9. FROM WESTERN DANCE FORMS TO DISTINCT FILIPINO DANCE FORMSLa Jota Aragonesa La Jota Manilena
  • 10. F I L I P I N O DA N C E S W I T H T H E I R R E S P E C T I V E W E S T E R N RO O T S (ALEJANDRO 1978)Native Dance Where Popularized RootsPasakat Laguna French Quadrille, the Pas de QuatreLanceros Negros, Visayas American Square Dance, LancersMazurka Boholana Bohol Polish MazurkaPandanggo sa Ilaw Pangasinan Spanish FandangoChotis or Escotis Capiz German schottischeBirginia Pangasinan America’s Virginia ReelRigodon National French QuadrilleKuratsa Visayas Islands, Ilocos & Bicol Mexico regionsPateado Marinduque MexicoJota Batangueña Batangas Spanish JotaJota Moncadeña Tarlac Spanish Jota
  • 11. F RO M W E S T E R N DA N C E F O R M S TO D I S T I N C TF I L I P I N O DA N C E F O R M S
  • 12. “Filipinos are easily swayed by the stimulating Western influences. And as fun-loving andmusically inclined people, Filipinos need very little gestation before adapting and popularizing a foreign dance craze to suit the local taste, psychological inclination, and natural feel.” (Alejandro2002)
  • 13. “The indigenization incorporated andsuccessfully conveyed uniquely Filipino traits.” (Alejandro, 1978)
  • 14.  Study of dance and other “structured movement systems” has expanded within anthropology but remains on the margins of the discipline . The field of anthropology needs more specialists in movement and dance. The emergence of the anthropology of dance as a distinct subfield can be traced to the 1960s and 1970s, dance has been the subject of anthropological study since the discipline’s inception. (Reed in Williams 2004)
  • 15. N E O - T R A D I T I O N A L DA N C E S O F Z I M BA B W EThese neo-traditional dances are wonderful keepers of history andchroniclers of time change. As the dances change to reflect culturalchanges such as politics, weather, urbanization, and outside influences,they show the timeline of history in the culture. This also results in ahighly emotional link to the dances and events that they representbecause people are relating to their everyday lives and struggles. (Welsh-Asante, 2000)
  • 16. DANCE IN THEPHILIPPINES MAY STILL BE IN A CONTINUING EVOLUTION…
  • 17. WHAT CAN BE LEARNED FROM FILIPINO SOCIAL DANCES  Filipino Character Traits  Boogie  Philippine/Manila Swing  Filipino Tango  Filipino Concepts of Time  Filipino Concepts of Space  Filipino Concepts of Dynamics
  • 18. A CALL TO PRESERVE OUR DANCESAllow the continuing evolution of the Filipino through itsmovement. It is through our indigenous movements thatothers and even we, ourselves, learn about ‘The Filipino’. Asthe area of movement studies is just developing in ourcountry. Erasing our movements to give way to the newer andmodern dance styles will remove our ‘movement artifacts’.
  • 19. A CALL TO PRESERVE OUR DANCESBy our efforts to preserve our adapted social dances, wemay be able to maintain our integrity in the world of dancejust like others such as the USA, Australia, etc. where theymaintained their own dance forms and is recognized ininternational competitions.
  • 20. A CALL TO PRESERVE OUR DANCESDo we always have to be on the receiving end and learnthe characterizations of the dances from other cultures, butnot let others, even ourselves, learn about ours?We must realize that we do have a lot to offer.
  • 21. THANK YOU! REFERENCES Alejandro, Reynaldo. (1978), Philippine Dance. Manila: Vera-Reyes, Inc. Alejandro, Reynaldo & Amanda Abad Santos-Gana. (2002), Sayaw: PhilippineDances. Manila: National Bookstore, Inc. & Anvil Publishing, Inc. Dyck, Noel & Eduardo Archetti, eds. (2003), Sport, Dance and EmbodiedIdentities. Oxford: Berg. Lapiz, Eduardo M. (1997), Paano Maging Pilipinong Kristiano= Becoming a FilipinoChristian. Makati City: Kaloob. Welsh-Asante, K. (2000), Zimbabwe Dance: Rhythmic Forces, Ancestral Voices: anAesthetic Analysis. Trenton, NJ: Africa World Press Williams, Drid. (2004), Anthropology and the Dance: Ten Lectures. Chicago:University of Illinois Press.