1.
Discuss the Rudiments of Folk dancing Published and
Unpublished dances
FOLK DANCING is also known as traditional or ethnic dancing, is a type of
dance that is typically performed to traditional music and is rooted in the
culture, traditions, and history of a specific ethnic group or region. These
dances often have specific steps, movements, and gestures that are passed
down from generation to generation and are an important part of the cultural
heritage of the community. Folk dances can be performed solo, in pairs, or in
groups, and they often tell a story or convey a message. Examples of folk
dances include the polka, tango, waltz, and many others from different parts
of the world.
PUBLISHED DANCES are documented in books, manuals, and online
resources, providing structured approaches to teaching and
performing these dances. They often have standardized choreography,
preserving the dance’s integrity and allowing for wider dissemination.
UNPUBLISHED DANCES, on the other hand, are passed down orally,
relying on community memory and participation for preservation. They
may also evolve over time, reflecting changes in the community or the
introduction of new influences. Unpublished dances often incorporate
new elements, styles, or influences, ensuring their relevance and
engagement for new generations.
2. Explain the Classification of Published Dances and Unpublished
Dances.
-Folk dances can be classified into published and unpublished dances based
on their documentation, standardized choreography, and accessibility.
Published Dances are documented in books, manuals, and online resources,
providing a structured approach to learning and performing. They also have
standardized steps and formations, making them easier to teach and
replicate. They play a crucial role in preserving cultural heritage, often used
in educational settings to teach younger generations about their cultural
roots. They are often performed in formal settings, such as festivals,
competitions, and educational programs. Unpublished Dances are passed
down orally, relying on community memory and participation for
preservation. They may evolve over time, reflecting changes in the
community or the introduction of new influences. They can also vary
significantly within the same cultural group, allowing for dynamic expression
and enriching the folk dance tradition. Both categories play a vital role in the
preservation and evolution of cultural expression, ensuring folk dance
remains relevant and vibrant across generations.
3. Identify and explain the importance and differences between
Published and Unpublished Dances.
-Published and unpublished dances are two distinct categories in folk dance,
each playing a vital role in cultural expression and preservation. Published
dances are formally documented and widely recognized, serving as a record
of traditional practices and providing educational resources. They also ensure
consistency in performance, promoting cultural awareness and appreciation.
Unpublished dances, on the other hand, are often passed down orally or
learned through community participation, often lacking formal
documentation.
Published and unpublished dances reflect the dynamic nature of culture,
adapting to contemporary influences and community changes, fostering
social ties and a sense of belonging. They also allow for individual creativity
and innovation, enriching the dance tradition. Both forms are essential to the
vitality of folk dance traditions, with published dances providing a framework
for preservation and education, while unpublished dances celebrate the
fluidity and adaptability of cultural expression.
PUBLISHED DANCE
Name of Dance: Itik-Itik
Location: Cantilian, Surigao del Sur, Mindanao
Dance History: The origins of the Itik-Itik dance can be traced back to the
pre-colonial period in the Philippines. It was believed to have been inspired
by the movements of ducks (itik in Filipino), which were abundant in the
region’s rice paddies and wetlands. The dance was initially performed by
men as a form of entertainment, but it later evolved to include women as
well.
Music: The Itik-Itik dance is typically performed to lively and upbeat music,
often featuring percussion instruments such as the gongs and drums. The
tempo of the music is fast and energetic, matching the rapid foot
movements of the dancers.
Count: The count for the Itik-Itik dance is usually 8 counts per measure. The
dance is divided into measures, with each measure consisting of 8 counts.
The dancers follow a specific rhythm, with each step corresponding to a
specific count.
Costume: Dancers performing the Itik-Itik dance typically wear colorful and
elaborate costumes, often consisting of a long, flowing skirt and a matching
blouse or tube top. The costumes may also include accessories such as a
headpiece or a necklace, and are usually adorned with intricate embroidery
or other decorative elements.
Formation: Itik-Itik dance is usually performed in a line or circle formation,
with dancers arranged in a single file or grouped together. The dancers follow
a specific choreography, with each dancer performing the same steps in
unison.
Common Steps: The Itik-Itik dance involves rapid foot movements, often
involving tapping or slapping of the feet on the floor. The dancers may also
incorporate arm movements and hip swivels into their choreography. The
specific steps and movements can vary depending on the region and the
specific performance
Introduction: The Itik-Itik dance typically begins with an introduction, where
the dancers perform a graceful entrance or curtsy. This serves as a way to
acknowledge the audience and set the tone for the performance.
ITIK-ITIK DANCE
SAYAW SA CUYO
UNPUBLISHED DANCE
1. Name of Dance: Sayaw sa Cuyo
2. Dance Researcher and Resource Person: (Unknown)
3. Meaning: The meaning behind “Sayaw sa Cuyo” might reflect the
traditions, stories, or customs of the culture it originates from.
4. Dance Culture: Sayaw sa Cuyo is likely embedded in a specific
cultural setting with its own practices and beliefs.
5. Place of Origin: The dance “Sayaw sa Cuyo” hails from the island
municipality of Cuyo in the Philippines.
6.
7. Ethnolinguistic Group: Sayaw sa Cuyo may be associated with the
Tagbanua ethnic group indigenous to the region.
8. Classification: The specific classification of Sayaw sa Cuyo within
traditional dance genres is unspecified.
9. Background/Context: The historical background and cultural context
of Sayaw sa Cuyo may be related to rituals, celebrations, or social
events within the community.
10. Movements/Steps Particular to Dance: The unique
movements and steps exclusive to Sayaw sa Cuyo are not outlined
here.
11. Dance Properties:
a. Costume: The traditional costume for Sayaw sa Cuyo may
include vibrant colors and intricate designs typical of Filipino
cultural attire.
b. Music: The music accompanying the dance likely features
traditional Filipino instruments and melodies.
c. Count: The rhythmic count or timing of Sayaw sa Cuyo might
follow a specific beat pattern.
d. Formation: The arrangement of dancers during the performance
could vary, showcasing patterns or formations significant to the
dance.
12. Dance Structure:
a. Introduction:
- Music Introduction: The dance may commence with an
instrumental prelude or a specific musical piece.
- Dance Figure: Dancers may enter the performance area
in a traditional procession or arrangement.
- Interlude: There may be interludes between sections of
the dance performance, allowing for transitions or solo
displays.
- Saludo: The dance might incorporate gestures of respect
or salutations among the performers.
- Music Notes: Certain musical motifs or themes could
enhance the overall presentation of Sayaw sa Cuyo.
2.2.2. Familiarization with Traditional Dance Music:
Exploring traditional dance music can provide insights into the diverse
rhythms, instruments, and styles that characterize cultural dances like
Sayaw sa Cuyo. Embracing the richness of traditional music is crucial for
understanding and preserving the heritage of these dances.
