Folk Dance History in the Philippines Essay

It is impossible to know when exactly dancing became a part of life in the Philippines. Many tralatitious trip the light fantastic toes were designed to thank the gods for natural and agricultural events, such as rain and harvests. The dances were performed during festivals and remembrances of past military machine victories, and still argon performed at celebrations of births and weddings in modernistic times. Many modern folk dance festivals still feature ancient dances performed in habilitate of the tribal period of the Philippines. Some dances such as the Palok and the Lumagen are performed with traditional percussion instruments such as the gangsa (a small copper gong), a tobtob (brass gong) or a hibat (a gong played with a soft woodsen stick). For numerous tribal dances there are no external musicians the dancers generate their admit accompaniment with stomping and hand clapping. Later Dances in Philippine Historyto a greater extent recent dances done in the Philippines derive from historical events such as the arrival of the Spaniards in the 16th century and the conflicts with the Moors. While certain wrangling and trendments from those cultures have been integrated into the dances, the Filipino dance genre frame confessedly to its ancient tradition and roots.* Touch Bring your large-minded rear to your turn tail foot, then liaison the al-Qaida without taking a step or putting slant on the free foot. * Toe Touch the walk of the free foot to the floor without shifting weight to the free foot. * click Extend the free foot forward, then touch the back of your lean to the floor without putting weight on your heel. * Tap Touch the floor with a sharp motion with your free foot, but do not take a step or put weight on the free foot. * Stamp Stomp the flat of your free foot on the floor, but do not put weight on the free foot. Noise can vary based on the type of sideslip youre wearing and the type of floor. * Point Extend the free foot forw ard or backward and touch your toenail to the floor. The ankle should be stretched and the instep arched. Do not step or put weight on the free foot.* Press Step forward with your free foot, putting fond(p) weight on the ball of your foot. Your encouraging leg should be keen and your pressed leg (free foot) is bent with some pres for sure (partial weight) on the floor. Your body should be leaned forward just a bit. * Brush Touch the toe of your free foot to the floor, then move it a short blank toward the supporting foot or move it against the supporting foot, but do not put weight on it. * Draw Touch the toe of your free foot to the floor far from your supporting foot, then move it toward your supporting foot without putting weight on it. * Drag cover your body up, then touch your toe to the floor far from your supporting foot and move it toward your supporting foot without putting weight on it. * Flare Sweep your free foot in an arc, making sure to keep your toe in contact with the floor without putting weight on it.First do- adverts outgrowths to a circle in front end of the chest. Second position open up arms sideward, raised downstairs shoulder level with a graceful curve. Third position raise one arm overhead duration other arm remains in 2nd position. Fourth position raise one arm in front of chest in a half circle, while one arm remains overhead. Fifth position raise some(prenominal) arms overhead in a graceful curve. Feet PositionsFirst position run heels close to touch toes obscure.Second position bring feet apart sideward.Third position bring the heel of one foot to touch the instep of the other foot. Fourth position bring one foot in front of the other foot to walk strike. Fifth position bring the heel of one foot to touch the toe of the other. 3/4plain polka trip the light fantastic toesway balance with raise prissyredobathree steps and pointmazurkacross waltzplain waltz2/4Touch StepStep Point dear StepSlide StepStep Swing Step hop-skipSUBLISubli is the dance portion of a devotion performed in honor of the Mahal na Poong Santa Cruz, a large crucifix of anubing wood with the face of the sun in silver at the center. The icon was discovered in the earliest decades of Spanish rule in what is now the town of Alitagtag, Batangas. It is the patron of many towns in the area, notably the ancient town of Bauan, Batangas. The subli consists of a long sequence of prayers in verse, songs, and dances, performed in a fixed sequence. The verse recounts the first journey of the early manunubli ( subli performer)through the fields, hills, and rivers of Batangas in search of the miraculous cross. Sections of verse are sung to a fixed punto or skeletal melody, which may be elaborated on in a different way by a different subli troupe. About five of these punto are used in a cease subli performance. These sections may be divided further into various fixed dance patterns involving one, two or eight pairs of men and wome n.These numbers seem to be the norm in Bauan, although other towns may have formations involving three pairs at a time. The stances, gestures, and movements of the male dancers are freewheeling and dramatic, consisting of leaping, striking the ground with kalaste (wooden bamboo castanets held in both hands), and other movements suggesting the martial arts. The women circle on half-toe, acting the talik (small refined gestures with wrists and fingers), their fingers grazing the small-brimmed hats and alampay (triangular scarf worn loosely over the shoulder)that are the essential parts of their costume. They dance and sing, to the rhythm beaten out by a stick on the tugtugan, a goblet-shaped, footed drum of langka wood with a head made of iguana skin. -E.R. Mirano