P.

E 2-DANCES

LESSON 5: TERMS, STEPS AND COMBINATIONS OF PHILIPPINE FOLK

DANCES

DANCE TERMS USED IN PHILIPPINE FOLK DANCES

1. Brush – weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after
which that foot is lifted from the floor to any direction.
2. Clockwise – like the motion of the hands of a clock. R shoulder is toward the center of imaginary
circle. When facing center, the movement is toward the left.
3. Counter clockwise – the reverse direction of clockwise. L shoulder is toward the center of
imaginary circle. When facing the center, the movement is toward the right.
4. Cut – displace quickly one foot with the other, thus completely taking of the weight of the body
from the displaced foot.
5. Draw – pull one foot along the floor and close to the other which has weight on the body. The
weight may or may not be transferred.
6. Free Foot – the foot not bearing the weight of the body
7. Free Hand – the hand not placed anywhere of doing anything.
8. Inside Foot – the foot is near to one’s partner, when partners stand side by side.
9. Inside Hand – near to one’s partner, when partners stand side by side
10. Outside Foot – the foot is far from one’s partner, when partners, stand side by side.
11. Place – the foot is put at the center or desired position without putting weight on it. The sole of
the foot rest on the floor.
12. Pivot – to turn with the ball, heel or whole foot on a fixed place or point.
13. Set – a dance formation like a square of a unit formation composed of two or more pairs.
14. Stamp – to bring down the foot forcibly or noisily on the floor (like doing a heavy step) with or
without transfer of weight.
15. Step – to advance or recede by raising or moving one foot to another resting place. This is a
complete transfer of weight from one foot to the other.
16. Supporting Foot – the foot that bears the weight of the body.
17. Tap – to rap slightly with the ball or two of the free foot, keeping weight of the body on the other
foot. There is no change or transfer of weight.
18. Whirl – to make fast turns by executing small steps in place to the right or left.

DANCE STEPS AND ARM POSITIONS IN PHILIPPINE FOLK DANCE

A. Arm Positions
1. Amplified – more open positions on foist or fifth position.
2. Lateral – both arms are raised at one side, parallel to each other.
3. “T”Position - both arms are raised sideward, elbows are bent so that the forearms
are raised upward parallel to the head; palm facing in.
4. Reverse “T”- both arms are raised sideward, elbows bent so that the forearms are
raised upward parallel to the head; palms facing in.
5. Hayon-hayon – one arm in bent in front of waist level; other arm is bent also at
waist level.
6. Jaleo– partner’s stand side by side facing opposite direction with R (L) hands on
waist so that (RL) elbows slightly touch each other. (This is starting position for both dancers
to move either clockwise or counterclockwise.
7. Masiwak – moving the hand from the waist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
8. Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction. This is an Ilocano term.
9. Bilao – to turn palms of hands up down alternately, hands and waist level in front.
10. Hapay – to flourish or offer handkerchief, hat or glass wine somebody as a sign of
invation.

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LESSON 6: CARIŇOSA
The dance originated in Panay Island in the Visayan Islands and was introduced by
the Spaniards during their colonization of the Philippines. It is related to some of
the Spanish dances like the bolero and the Mexican dance Jarabe Tapatio or the Mexican Hat
Dance.

BACKGROUND/CONTEXT:
Cariñosa (Spanish pronunciation: [kaɾiˈɲosa], meaning the loving or affectionate) is a
Philippine dance of colonial era origin from the Maria Clara suite of Philippine folk dances,
where the fan or handkerchief plays an instrumental role as it places the couple in romance
scenario.

DANCE PROPERTIES:
Originally, the Cariñosa was danced with María Clara dress and Barong Tagalog for it
is a María Clara Spanish Dance when it was introduced. In addition, Filipino wore the
patadyong kimona and camisa de chino to reveal nationalism. (a native dress of
the Tagalog regions), camisa (a white sleeve) or patadyong kimona (a dress of the Visayan
people) and for boys, a barong Tagalog and colored pants. Because it is the national dance,
the dancers may wear any Filipino costume.

MUSIC
The music of Carinosa . It is 3/4 in rhythm like some of the Spanish dances. The
Philippine Rondalla are playing this music of the dance where it is an ensemble or
an orchestra of string instruments in the Philippines similar to the Spanish musicians in Spain
that comprises bandurrias, mandolins, guitar, basses, drums, and banjos. Mostly men are
playing rondalla instruments but women may also take part.

VIDEO PRESENTATION:
https://www.youtube.com/watch?v=TX1YBQenmxA
You can click the link above to watch the video of the dance CariŇosa.

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LESSON 7: ILOCANA A NASUDI

Source : PHILIPPINE FOLK DANCES AND FOLK SONGS
Bureau of Public Schools, Dept. of Educ., 1965
Presenter : Corazon O. Agustin
Meaning : The lovely Ilocana
Dance Culture : Lowland Christian
Place of Origin : Dingras, Ilocos Norte
Classification : Festival

BACKGROUND/CONTEXT
Ilocana a Nasudi means the lovely Ilocana. This dance originated from Naglayan,
Dingras, Ilocos Norte. Originally, this dance was accompanied by a Kutibeng (a five-stringed
instrument).
Before the Cultural Research Team of the Bureau of Public Schools went to Dingras
to review or records the dance, young dancers performed this to the Italian folk tune,
Marianina. Further inquiry from the old folks brought the Ling-Lingay, a simple folk tune
from Dingras, which could be used to accompany this dance instead of the foreign folk
melody.

DANCE PROPERTIES:
Costume:
Female: Checkered skirt, white camisa with soft sleeves, sort panuela around
neck.
Male: Barong Tagalog and rayadillo trousers. A man’s handkerchief is tied
around the head.
Footwear: Slippers
Music: 2/4 Composed of two parts: A and B
Count: One, Two ,or one and two to a measure.

FORMATION:
In a set of 4 pairs arranged in square formation, each pair occupies a side of an
imaginary square. Partners are facing each other. Girl’s R shoulders and Boy;s L shoulders
and Boy’s L shoulders centre of set. (see diagram below)

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INTRODUCTION

MUSIC INTRODUCTION
Partners face each other
(a) Pause. Look at each other…………………...............................................................2M
(b) Bow to partner, open arms in second position ………………….............................2M

I (MUSIC A)
Play once. Partners face each other.
(a) Step R Obliquely forward right (ct. 1), point L foot close to R (ct. 2). Execute a R
forearm turn finishing with knuckles up elbow at side...............................................1M
(b) Step L across R in front (ct. 1) Point R foot close to L (ct. 2). Girls reverse position of
arms, Boys salok L hand to reverse “T” position, R arm down at
side..............................................................................................................................1M
(c) Step R backward (ct. 1), point L foot close to R (ct.2). Same arm movement as in (a)
………………………………………………………………………………….1M
(d) Repeat (a-c) starting with L foot, moving obliquely left forward. Reverse position of
arms………………………………………………………………………………….3M
(e) Repeat (a-b) two more times………………………………………………….........12M
(f) Three step turn right in place. Girls hold skirt, Boys place hands on
waist……………………………………………………………………………….2M

II (MUSIC B)
Play once. Partners face each other. Throughout this figure, arms are in reverse “T”
position.
(a) Point R foot in rear and twist body slightly to right (ct.1), close R foot to L without
putting weight on it and untwist body (ct. 2), Kumintang
hands………………………………………………………………………………1M
(b) Repeat (a) three more times, placing weight on R foot at the third
time………………………………………………………………………………….3M
(c) Repeat (a) and (b) starting with L foot, twisting body slightly to left on count 1 and
untwisting on count 2 of every
measure……………………………………………………………………………….4
M
(d) Repeat all (a-c)…………………………………………………………………........8M

III (MUSIC A)
Play once. Partners face each other, throughout this figure, girls hold skirts, boys place
hand on waist
(a) With L foot across R in front, execute korriti steps moving counterclockwise, partners
facing each other. R hands of girls are raised a little bit high to show petticoat. Bend
trunk slightly to left side. Finish in proper
places………………………………………………………………………………8M
(b) Repeat (a) with R foot across L front, turning clockwise, L hands of girls are raised a
little bit higher to show petticoat. Bend trunk slightly to right
side……………………………………………………..........................................…8M
(c) Repeat (a). Each individual dancer turns around counterclockwise in own
place……………………………………………………………………………….4M

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IV (MUSIC B)
Play once. Partners face each other.
(a) Pivot turn clockwise – pivot on ball of L foot turning right, about one-eighth of an
imaginary circle at the same time placing R heel in front (ct. 1), point (ct. 1), point R
foot across L in front (ct. 2). R hand of Girls is overhead doing a kumintang, L hand
holding skirt; Boy’s hand are placed on waist………………………………………1M
(b) Repeat (a) seven times to complete the turn clockwise. Step R close to L on count 2 of
eighth measure………………………………………………………………………7M
(c) Repeat (a) and (b) turning counterclockwise and pivoting on ball of R foot. Girls
reverse positionof arms….........................………………………………………….8M

V (MUSIC A)
Play once.All face center of set. Throughout this figure, girls hold skirt, Boy’s hands on
waist.
(a) With L foot across R in front, All execute Korriti steps, the whole set moving around
counter clockwise. Bend trunk slightly to the left side.............................................. 8M
(b) Repeat (a) turning clockwise, R foot across L in front. Finish in proper places. Bend
truck to right……......………………………………………………………………8M
(c) Each individual dancer turns around counter clockwise in place, doing korriti
steps………………………………………………………………………………..4M

VI (MUSIC A)
Play twice.All face center of set. Girls hold skirt, Boy’s hands on waist. As one pair is
exchanging places, the whole set is moving around counter-clockwise continuously for
twenty measures.
Exchange places, passing front-to-front, executing korriti steps (L across R in front) in
the following order) in the following order:
(a) Boy 1 exchange place with Girl 3……………………………………………….......4M
(b) Boy 2 exchange place with Girl 4…………………………………………………..4M
(c) Boy 3 exchange place with Girl 1…………………………………………………...4M
(d) Boy 4 exchange place with Girl 2…………………………………………………4M
(e) Continue moving counterclockwise (Finish in proper places)……………………4M
(f) Repeat all (a-e). The whole set moving clockwise with R foot across L in front (Finish
in proper places)……………………………………………………………………20M

VII (MUSIC B)
Play once.
(a) Partners stand with L elbows near each other. Girls holding skirt with L hand, R arm
in reverse “T” position doing a kumintang at every measure Boys place hands on
waist. With L foot a little bit ahead of R, Execute korriti steps forward, moving
counter clockwise. Partners. Look at each other…………………………….......….8M
(b) Turn right about and Girls reverse position of arms. Repeat (a) turning clockwise, R
foot a little bit ahead of L…………………...........………………………………….8M

VIII (MUSIC B)
Play last two measures slowly. Boys kneel on L, half-stand on R foot. Girls sit on R
thigh of partner with their feet near the kneeling knee of partner. Boys hold waist of
partner.
(a) Girl’s arms in reverse “T” position, both hands doing a Kumintang, twist body to right
(ct. 1), and left (ct. 2) alternately at every measure. In the meantime, boys look at

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partner, right and left side alternately. This movement called sirig-
sirig……………………………………………………..................................…….12M
(b) Partners join hands. Girls help partner to stand (1M)
(c) Boys stand (1M)…………………………………………………………………… 2M
(d) Release hands, look at each other. Point L foot in front, arms in fourth position. R arm
high………………………………………………………………………………..2M

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CHALLENGE YOUR MIND AND BODY

PERFORMANCE TASK 3 (100 points)

Direction: Encourage your family members/friends/neighbors and perform your own

dance choreography using the Cariñosa music through a video presentation. Be guided
with the following criteria of evaluation. THERE IS NO TIME LIMIT.

CRITERIA PERCENTAGE
Correct Interpretation 30%
Mastery 30%
Grace and Poise 20%
Timing 20%
TOTAL 100%

Don’t forget to put your name and section in your video performance.
Include also this TITLE “CARIÑOSA”
Submit your video presentation in our group chat.
DEADLINE: April 30, 2021, 5pm.

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