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PHILIPPINE FOLK DANCE
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Porferia Poralan
Strengthening and Preserving Practices of Philippine Folk Dances in Relation to Cultural Awareness of Secondary Students of Davao City Porferia S. Poralan, Rene M. Babiera, and Rebecca P. Habla University of the Immaculate Conception Abstract Cultural awareness is the foundation of literate national communication. It involves one’s ability to stand back from where he or she is to become more aware of cultural values, beliefs and perceptions. Strengthening and preserving these values, beliefs, and traditions can pose a great challenge especially today when culture has become vulnerable because of globalization. It is on this ground that this study was conducted to determine the levels of practices in strengthening and preserving Philippine folk dances and general knowledge of folkdances as a measure of cultural awareness of secondary students of Davao City. The respondents of the study were the 37 MAPEH teachers and 1,896 secondary school students of School Year 2011-12 teaching or enrolled, respectively, in public high schools in three congressional districts of Davao City. The mean was used to describe the levels of practices concerning the strengthening and preserving of Philippines folk dances and Pearson-r was employed to test the relationship between each of these variables and cultural awareness. A researcher-made survey questionnaire was constructed and tested for validity and reliability. A 20-item multiple choice test was also administered to the student respondents of the study. Findings revealed that there is a high level of strengthening and preserving practices for Philippine folk dances with an overall mean of 3.69 and 3.64, respectively, and level of cultural awareness of students is good as quantified by a mean score of 11.03. Further, strengthening practices, such as being careful but allowing students to explore Philippine folk dance, was encouraged while preserving practices, such as resisting any alteration of folk dances and reading literature before the dance, are also prevalent among MAPEH teachers. On the other hand, students are more knowledgeable of the dance literature than about folk dances. However, strengthening and preserving practices by the MAPEH teachers have no significant relationship with the general knowledge as a measure of cultural awareness of the student of Philippine folk dances. Keywords: cultural awareness, Philippine folk dances, preserving, strengthening, Physical Education, MAPEH Teachers
Abstract: In the Philippines, most people believe that culture depicts dancing as part of customs and traditions, mode of expression, leisure activity, entertainment, and profession. Folk dances have been a part of Philippine culture which makes the country unique from others and have been preserved through documentation. The unavailability of a framework/guideline for folk dance documentation significantly affects the preservation and propagation of Philippine folk dances. Dance authorities, educators, and enthusiasts need effective, innovative, and quality means of documentation process to produce the best results or output.
Kanami Namiki
Abstract Abstract This paper will examine how Philippine folk dance performances by two state-sponsored folk dance groups, the Bayanihan Philippine National Folk Dance Company (Bayanihan) and the Ramon Obusan Folkloric Group (ROFG), both resident companies of the Cultural Center of the Philippines (CCP), has produced and developed the concept of hybridity, a dominant narrative of national identity and art style/form in postcolonial Philippines. The two dance companies have developed different dance styles/forms and staging approaches, representing two contrasting traditions of hybridity, which have brought about different effects to form and inform national identity. By comparing the two groups, I will analyze how they show different perspectives on the concept of hybridity, and hopefully present the specific way in which the two groups and their hybridity form and inform a national identity through Philippine folk dance performance.
Asian Journal of Interdisciplinary Research
Rocelle Agtang
Carolina Juan
Declan Patrick
The SAGE Encyclopedia of Filipina/x/o American Studies
J. Lorenzo Perillo
Dance Research Aotearoa
José Miguel Díaz Rodríguez , Declan Patrick
The Philippines and Colombia share a history of colonial conquest from the same country, Spain. This shared history has influenced the ways in which folk dance has developed. Both countries have a wide folk repertoire, some of which reflects the different ways in which Spanish source material has been processed, adapted, and fused with local material to represent ways in which the past is remembered. Despite the apparent disparity, two dances in particular, the Cariñosa in the Philippines, and the Bambuco in Colombia, share similar features in terms of their choreographic material and narratives. This article explores several meta-narratives in both sets of dances, and the politics of memory behind them, through an interdisciplinary approach, intertwining cultural representation and choreographic politics. Included in this comparative exploration are the choices towards reflecting local identities through folk dance and some of the implications of these representations in both physical and political terms.
Enrique B Picardal Jr
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Philippine Folk Dance is known for showcasing the rich culture of the country. It is, then, anticipated to be enriched in schools. However, preservice teachers who are general education majors ...
Philippine folk dance began to be collected from the late 1920s by Francesca Reyes Aquino, known before her second marriage as Fran-cesca Reyes Tolentino. After the triumph of Bayanihan at the Brussels World's Fair, folk dance has been performed in the Philippines by folk dance companies in a particular manner. The dances collected have
Folk dances represent part of cultural heritage and their preservation for the next generations appears of major importance. Digitization and visualization of folk dances form an increasingly active research area in computer science. ... Feature papers represent the most advanced research with significant potential for high impact in the field ...
Folk dances include significant limb movements and we recognized the potential to use tDCS before the learning procedure to improve the dance performance. ... competing financial interests or personal relationships that could have appeared to influence the work reported in this paper. ... This research was partially supported by the project ...
In this paper, an overview of the techniques used for the recording of dance moves is presented. The different ways of visualization and giving the feedback to the user are reviewed as well as ways of performance evaluation. This paper reviews advances in digitization and visualization of folk dances from 2000 to 2018.
Filipino Folk Dance in the Academy: Embodied Research in the Work of Francesca Reyes Aquino, Sally Ann Ness and Benildanze ... This "processing" has become so extreme that Teresita Salvador, in a 1998 conference paper concerning the teaching of folk dance in Philippine schools, argues that some dances have changed too much and "can no ...
Folk Dances are significant part of our culture and tradition as Filipino. According to studies and observations, students' interest towards our traditional dances is evidently decreasing, and further investigation must be conducted, and solutions to be provided to further increase students' love for culture and the arts. This correlational study aims to determine the relationship between ...
History The indigenous peoples (IPs) constitute a significant segment of the Philippine society. As defined by the Indigenous Peoples Rights Acts (IPRA), IPs are those groups of homogenous societies identified by self-ascription, who continually lived as organized communities on communally bounded and defined territories which they have occupied since time immemorial, sharing bonds of language ...
This research was carried out with the help of metaphor to determine the perception of folk dances trainers regarding the concept of folk dances. The study was carried out with a total of 141 folk dances trainers (85 men and 56 women), ... Folk dances, which are part of social life, are formed by the socialization of the creations of ...
dance academy concentrated on specialized training program for the cultural and folk dances with the patronage of the national government would substantially advance the level of inclusive cultural understanding, growth, and development. Key Words: Philippine folk dances; dance documentation; folk dance documentation practices 1. INTRODUCTION
Adapting Philippine folk dances as one of the options in staging a dance 2. Being careful not to distort the Philippine folk dance when adapting the figures, music and costumes. 3. Using Philippine folk dance music or katutubong kanta as an accompaniment to creative expression of a dance and using fundamental folk dance steps in my choreography 4.
Philippine Folk Dance is part of the Filipino culture; it shows the country's traditional and cultural folk dances, which are considered an early entertainment of the ancestors, as these folk dances were shaped by tradition, rituals, or a part of the celebration. The Philippine Folk Dance is undoubtedly a cultural heritage.
Keywords: Folk dance, Philippine Folk Dances 1. Introduction defeat. Background of the Study Tulio pointed out that al One great source of the country's cultural traditional is dance. Dance has been from the beginning of time a reflection of the pulse and rhythms of man as a social being.
Prodip Goswami. Research Scholar, Department of C & J, Gauhati University, Assam. Abstract: This paper proposes to offer the information about the traditional practices, beliefs and performance of folk dance 'Bihu' amongst the oldest ethnic community Moran of Assam during Bohag Bihu celebration. Assam, a land renowned for its magical beauty ...
This essay resurfaces the often overlooked precursors to the landmark Philippine Folk Dances and Games (1927)—works by Louis Harvy Chalif and Frederick O. England—and argues that although PFDG is regarded as the wellspring of Filipino expression, it also evidences the debate between dance as a means of choreographing colonial legitimacy and national subjectivity.
research paper . Folk Dance . authors name and surname . 2011 . ... The term "folk dance" is sometimes applied to dances of historical importance in European culture and history; typically originated before 20th century. For other cultures the terms "ethnic dance" or "traditional dance" are sometimes used,
The paper examines the role of traditional couple and group dances of the Skolt Sámi in negotiating their history and identity. The research is based on archival and literal material from Finnish folklore archives as well as ethnographic fieldwork among the Skolts in 2014.
This study analyzed the student's awareness and performance in Philippine folk dances using the descriptive research design. According to Enriquez (2005), descriptive research is characterized as a survey or normative approach to the study of condition, which is an essential guide to one's thinking. ...
Abstract Abstract This paper will examine how Philippine folk dance performances by two state-sponsored folk dance groups, the Bayanihan Philippine National Folk Dance Company (Bayanihan) and the Ramon Obusan Folkloric Group (ROFG), both resident companies of the Cultural Center of the Philippines (CCP), has produced and developed the concept of hybridity, a dominant narrative of national ...