3. Dance as an Art
▪Dance is an art of rhythmic bodily
movements that projects ordered
sequence of moving visual
patterns of line, solid shape, and
color (Thomas Munro in Kraus
and Gaufman, 1981).
5. Folk dance
▪Folk dances are the indigenous
dances of any specific “folk” or the
common people.
6. Folk dance
▪ According to Duggan, Schlottmann, and
Rutledge (1948), “folk dance became
the overt expression of emotions and
ideas which were peculiarly significant
or the re-enactment of customs and
events constituting an important part of
their history and patterns of daily
living.”
7.
8. Characteristics of Folk Dance
1. It is traditional.
2. It has an expressive behavior.
3. Simple, basic rhythm dominates the folk dance
and establishes the pattern of movement.
4. It is created by an unknown choreographer or by
communal efforts.
5. It performs a function in the life of the (folk)
people.
9. Differences between folk, national, and
ethnic dances
▪ Folk dances are traditional dances
found in a certain country while
national dances are also traditional
folk dances but have a national scope.
They are popular and widely danced
throughout a given country, often with a
number of regional variations.
10. ▪ The Philippine dances Cariñosa,
Curacha, and Pandango are examples
of national folk dances as they are
popular dances throughout the country.
Pandango, for example, has several
variations coming from both Luzon and
Visayas islands. Even within one locality,
dancers have different ways of
performing it.
17. ▪ Ethnic dances or ethnological dances
are those performed in primitive tribes
and have retained their close kinship
with religious ritual and community
custom.These dances may “require a
certain level of special performing
skills” (Kraus, 1962)
19. Ritual dances
▪dances that depict ritual
ceremonies. Example are Dugso
(Bukidnon) and Pagdidiwata
(Palawan).
20. Life-cycle dances
▪dances relating to the cycle of
human life such as birthing,
courtship, wedding, and funeral.
Examples are Binasuan
(Pangasinan) and Daling-daling
(Muslim courtship dance from
Sulu).
21. Occupational dances
▪dances that exhibit work and
occupation of the dancers.
Examples are Mag-Asik
(Cotabato) and Mananagat (Cebu)
dances.
23. Tribal dances from the Cordilleras
▪include non-
Christian
dances from
the Cordilleras.
24. Lowland Christian dances
▪ dances coming from
places withWestern
influences such as that of
theTagalogs, Ilokanos,
Pampagueños,
Pangasinense, Bisayans,
and Bicolanos,These
dances are influenced by
Hispanic and European
cultures.
25. Muslim dances
▪ dances from the
people of the
Southern Islands of
the Philippines such
as in Mindanao and
Sulu.These dances
are influenced by
Arabic and Indo-
Malayan cultures.
26. Life-cycle dances
▪dances that serve as ritual as one
passes to a different stage in life
such as from birth to childhood to
adulthood; from singlehood to
marriage; and from life to death.
On the next slide are different
dances that portray life cycle:
30. Festival dances
▪ dances that are
either religious or
secular and are
connected with
the celebration of
recurring events
of special
significance.
31. Occupational dances
▪ dances that depict the means of livelihood
of the Filipino people Palay festival, a
national dance in rice-growing regions, is an
example of an occupational dance wherein
dancers portray different steps in rice
growing-from planting to harvesting to
threshing, failing, pounding, airing, and
winnowing (Aquino, 1979).
32. Game dances
▪ derivations from local
folk games. One
example of these
dances is the Pukol
dance from Aklan and
Capiz in the Panay
region. Pukol means
“to strike or bump
each other” (Aquino,
1979).
33. Joke and trickster dances
▪ include jokes or tricks
played by a dancer on
another or a group of
dancers who is one of
them.The intention is
to render that
individual “to a
physical or mental
indignity or
discomfort” (Lopez,
2006).
34. Mimetic or drama dances
▪ dances that mimic animals, inanimate
objects, or other people.The dancers
get into roles other than themselves and
become actors totally immersed in the
story the dances tell.The Itik-Itik dance
from Surigao is an example of a mimetic
dance as it imitates the movements of a
duck.
35. War dances
▪ dances that express
feud and enmity
wherein two male
dancers engage in
physical combat
with Spartan-like
intensity (Lopez,
2006).
36. Social amenities dances
▪ dances that express
social graces,
hospitality, and
offerings of gifts to
friends. All social
ballroom dances and
most of the “Filipinized”
Western dances that
show camaraderie
merriment belong to this
group (Lopez, 2006).
37. Written Output No.1
▪ Search for five different types of Philippine
folk dances and give its description along with
pictures (the maximum is 10 sentences and
the minimum is 5 sentences).
▪ Materials:
–Short bond paper (Printed)
39. Street dance
▪ Hip-hop is more than music. Hip-hop has
crossed cultural boundaries that other music
genres never crossed. Hip-hop is not only the
music you listen to, but the way you walk,
talk, dress and act. Hip-hop is state of mind.
An entire generation, thirty years strong. We
are the hip-hop generation. Rap is what we
do. Hip-hop is how we live!” –KRS One,
rapper and architect of hip-hop.
40. Hip hop
▪Hip-hop culture is from the African-
American group of people who were
looking for a creative outlet to vent
their frustations and disappointments
with society (Dimalanta, 2006).
44. Break dancing (B-boying)
▪an elaborate social dance from that
came from teenage Latino and
African American males in the South
Bronx of NewYork City circa 1970.
52. ▪ The popularity of dance and dance-related
competitions in the recent years saw a concomitant
rise in dance-related injuries. Similar to athletes,
dancers are highly motivated to perform well.They
push their body to the limit and spend hours in
technique training and mastering a choreography. On
the other hand, dancers place great value on their
physique that they often do not get proper
nourishment, a habit that could impede their recovery.
These and other factors predispose a dancer to injury.
53. Factors increase the risk of injury
▪Poor body alignment and technique
▪Excessive training duration and
intensity
▪Hard dance floor
▪Poor shoe design
▪Muscle imbalance
54. Poor body alignment and technique
▪The anatomical alignment and
technique of the dancer are some of
the intrinsic factors that are
commonly associated with injury.
55. Excessive training duration and
intensity
▪Excessive training and limited
recovery impairs the ability to heal
and repair damaged tissues.
56. Hard dance floor
▪A hard floor does not help in
dissipating the impact and returns
the force to the dance.The repetitive
shock absorbed by the foot would
eventually damage the foot or other
parts of the lower extremity.
57. Poor shoe design
▪A shoe that does not fit properly or
has insufficient shock absorption will
significantly contribute to injury risk.
59. Common types of dance-related injuries
▪Ankle Sprain
▪Dancer’s Fracture
▪Back Strain
▪ACLTear
▪Forearm Fracture
60. Strategies that could reduce injury risk
▪ Programmed exercise and training
▪ Adequate recovery
▪ Appropriate environment
▪ Proper footwear
▪ Proper warm-up and technique
▪ Cross training
▪ Early recognition
