Folk Dance Essay Example for Free

Folk Dance EssayIt is unachievable to know when exactly dancing became a part of life in the Philippines. Many usanceal trip the light fantastics were knowing 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 victories, and still atomic number 18 performed at celebrations of births and weddings in modern times. Many modern folk dance festivals still feature past dances performed in costume of the tribal period of the Philippines.Some dances such as the Palok and the Lumagen are performed with traditional percussion section instruments such as the gangsa (a small copper gong), a tobtob (brass gong) or a hibat (a gong played with a soft wooden stick). For many tribal dances there are no external musicians the dancers generate their accept accompaniment with stomping and hand clapping. Later Dances in Philippine History More recent dances d unitary 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 genuine words and movements from those cultures have been integrated into the dances, the Filipino dance genre remains true to its ancient tradition and roots. * Touch Bring your salvage plunk to your lead foot, thusce touch the storey without taking a tonicity or position pack on the kick foot. * Toe Touch the toe of the absolve foot to the floor without shifting weight to the free foot. * Heel Extend the free foot forward, accordingly touch the back of your heel 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 basin vary based on the type of shoe youre wearing and the type of floor. * Point Extend the free foot forward or backwar d and touch your toe 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 partial weight on the ball of your foot. Your supporting leg should be straight and your press leg (free foot) is bent with some pressure (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 outperform 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 Stretch 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 nourishment your toe in contact with the floor without putting weight on it. First position- raises arms to a circle in front of the chest. Second position open up arms sideward, raised at a lower place shoulder level with a lissome curve. ordinal position raise one arm overhead while 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 both arms overhead in a graceful curve. Feet Positions First position look at heels close to touch toes apart. Second position give 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. 3/4 bleak polka trip the light fantastic sway balance with raise mincing redoba three steps and point mazurka cross waltz plain waltz 2/4 Touch Step Step Point Close Step seashore Step Step Swing Step Hop SUBLI Subli 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 money at the center.The icon was discovered in the early decades of Spanish rule in what is now the townsfolk 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 grand cross. Sections of verse are sung to a fixed punto or skeletal melody, which may be lucubrate on in a different way by a different subli troupe.About v of these punto are used in a complete subli performance. These sections may be divided further into discordant fixed dance patterns involving one, two or eight pairs of men and women. These numb ers 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 live and dramatic, consisting of leaping, striking the ground with kalaste (wooden bamboo clappers held in both hands), and other movements suggesting the martial arts.The women circle on half-toe, playacting 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 brake drum of langka wood with a head made of iguana skin. -E. R. Mirano.