2012 NCSP.Cultural Influences of Dance in Physical Education
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Transcript of 2012 NCSP.Cultural Influences of Dance in Physical Education
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CULTURAL INFLUENCESOF DANCE IN PHYSICAL
EDUCATION :A CALL TO PRESERVEOUR SOCIAL DANCES
Prof. Mynette dR. Aguilar
Prof. 1 of Dance in Education
College of Human Kinetics
University of the Philippines
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dance as “embodied identity”
uniqueness of the Filipino
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PhilippineHistory
ExternalInfluences
FilipinoDance, Arts
& OtherTraditions
FilipinoCulture
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DANCE AS “EMBODIEDIDENTITY”
“Sport and dance . . . share not only a common
status as techniques of the body (Mauss 1973), but also a
vital capacity to express and reformulate identities
and meanings through their practiced movements
and scripted forms.” (Dyck & Archetti,eds2003)
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DANCE AS “EMBODIEDIDENTITY”
“The embodied practices of athletes and dancers
afford not merely pleasure and entertainment but
powerful means for celebrating existing social
arrangements and cultural ideals or for imagining
and advocating new ones.” (Dyck & Archetti,eds2003)
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Zapatilla = named after the footwear of the ladies
Alcamphor = named after the camphor-scented
handkerchief used by the ladies in the dance
Habanera from Havana
Malagueña from Malaga
Katalona from Catalonia
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La Jota Caviteña originating in Cavite province
Jota Moncada from Moncada in Tarlac Province
indigenized dances with a European flair:• Jotas• Pandanggos• Minuets• Mazurkas
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FROM WESTERN DANCEFORMS TO DISTINCT
FILIPINO DANCE FORMS
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FROM WESTERN DANCEFORMS TO DISTINCT
FILIPINO DANCE FORMS
La Jota Aragonesa La Jota Manilena
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Native Dance Where Popularized RootsPasakat Laguna French Quadrille, the Pas de
QuatreLanceros Negros, Visayas American Square Dance,
LancersMazurka Boholana Bohol Polish Mazurka
Pandanggo sa Ilaw Pangasinan Spanish Fandango
Chotis or Escotis Capiz German schottischeBirginia Pangasinan America’s Virginia ReelRigodon National French QuadrilleKuratsa Visayas Islands, Ilocos & Bicol
regionsMexico
Pateado Marinduque MexicoJota Batangueña Batangas Spanish JotaJota Moncadeña Tarlac Spanish Jota
FILIPINO DANCES WITH THEIRRESPECTIVE WESTERN ROOTS
( A L E J A N D R O 1 9 7 8 )
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FROM WESTERN DANCEFORMS TO DISTINCT
FILIPINO DANCE FORMS
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“Filipinos are easily swayed by the stimulating
Western influences. And as fun-loving and
musically inclined people, Filipinos need very little
gestation before adapting and popularizing a
foreign dance craze to suit the local taste,
psychological inclination, and natural feel.”(Alejandro2002)
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“The indigenization incorporated and
successfully conveyed uniquely Filipino
traits.” (Alejandro, 1978)
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Study of dance and other “structured movement systems” hasexpanded within anthropology but remains on the margins of thediscipline .
The field of anthropology needs more specialists in movement anddance.
The emergence of the anthropology of dance as a distinctsubfield can be traced to the 1960s and 1970s, dance has beenthe subject of anthropological study since the discipline’s inception.(Reed in Williams 2004)
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These neo-traditional dances are wonderful keepers of history andchroniclers of time change. As the dances change to reflect culturalchanges such as politics, weather, urbanization, and outside influences,they show the timeline of history in the culture. This also results in ahighly emotional link to the dances and events that they representbecause people are relating to their everyday lives and struggles. (Welsh-
Asante, 2000)
NEO -TRADITIONAL DANCESOF ZIMBABWE
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DANCE IN THEPHILIPPINES MAY
STILL BE IN ACONTINUINGEVOLUTION…
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Filipino Character Traits Boogie Philippine/Manila Swing Filipino Tango
Filipino Concepts of Time
Filipino Concepts of Space
Filipino Concepts of Dynamics
WHAT CAN BE LEARNED FROMFILIPINO SOCIAL DANCES
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Allow the continuing evolution of the Filipino through itsmovement. It is through our indigenous movements thatothers and even we, ourselves, learn about ‘The Filipino’. Asthe area of movement studies is just developing in ourcountry. Erasing our movements to give way to the newer andmodern dance styles will remove our ‘movement artifacts’.
A CALL TO PRESERVE OURDANCES
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By our efforts to preserve our adapted social dances, we
may be able to maintain our integrity in the world of dance
just like others such as the USA, Australia, etc. where they
maintained their own dance forms and is recognized in
international competitions.
A CALL TO PRESERVE OURDANCES
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Do we always have to be on the receiving end and learn
the characterizations of the dances from other cultures, but
not let others, even ourselves, learn about ours?
We must realize that we do have a lot to offer.
A CALL TO PRESERVE OURDANCES
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Alejandro, Reynaldo. (1978), Philippine Dance. Manila: Vera-Reyes, Inc. Alejandro, Reynaldo & Amanda Abad Santos-Gana. (2002), Sayaw: PhilippineDances. Manila: National Bookstore, Inc. & Anvil Publishing, Inc. Dyck, Noel & Eduardo Archetti, eds. (2003), Sport, Dance and EmbodiedIdentities. Oxford: Berg. Lapiz, Eduardo M. (1997), Paano Maging Pilipinong Kristiano= Becoming a FilipinoChristian. Makati City: Kaloob. Welsh-Asante, K. (2000), Zimbabwe Dance: Rhythmic Forces, Ancestral Voices: anAesthetic Analysis. Trenton, NJ: Africa World Press Williams, Drid. (2004), Anthropology and the Dance: Ten Lectures. Chicago:University of Illinois Press.
THANK YOU!R E F E R E N C E S