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  <controlfield tag="003">IPP</controlfield>
  <controlfield tag="005">20181017094508.0</controlfield>
  <controlfield tag="008">181017s2013    xx     d | ||r |||||eng||</controlfield>
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   <subfield code="a">eng</subfield>
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  <datafield tag="100" ind1="1" ind2="#">
   <subfield code="a">Santamaria, MCM</subfield>
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  <datafield tag="245" ind1="1" ind2="0">
   <subfield code="a">From Tortillier to  Ingsud-Ingsud</subfield>
   <subfield code="b">creating new understandings concerning the importance of indigenous dance terminology in the practice and kinaesthetics of the Sama  Igal dance tradition</subfield>
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   <subfield code="c">2013</subfield>
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   <subfield code="b">article</subfield>
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   <subfield code="a">In researching Philippine dance traditions, many scholars often leave out the study of indigenous dance terminology.  A notable exception is Francisca Reyes Aquino. Although mentioning quite a number of indigenous dance terms, her trail-blazing works tend to be rather general in approach to dance research and fail to interrogate the nuances and contextualized meanings of such dance terms.  This paper seeks to study indigenous dance terms in the Sama igal dance tradition by using research approaches from linguistics and cultural studies.  The study of indigenous dance terms is deemed to be important in creating understandings about the practice of the igal as well as the kinaesthetics embedded in it.  The first part of the paper revisits the work of Francisca Reyes Aquino in terms of  her compilation and use of indigenous dance terms as a major component of her development of instructional materials.  It also briefly evaluates gaps in her work that help point the direction for future research.  The second part relates this researcher’s introduction to indigenous dance terms in the Sama igal tradition as a result of investigative forays in the field.  It then presents a selection of dance terms that are deemed to be basic in the said tradition.  The third part presents a linguistic and cultural analysis of these dance terms via movement meaning and cognates, ecological metaphors, and relatedness to other movement terms in the maritime Southeast Asian region.  The fourth part, by way&#13;of conclusion, presents a “socio-cultural linguistic model of dance terminology” as a way of redirecting approaches to dance research in the southern Philippines as well as the maritime Southeast Asian region.</subfield>
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  <datafield tag="650" ind1="1" ind2="0">
   <subfield code="a">Bajau (Southeast Asian People)</subfield>
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   <subfield code="a">Dance (terminology)</subfield>
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  <datafield tag="650" ind1="2" ind2="0">
   <subfield code="a">kinaesthetics</subfield>
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  <datafield tag="650" ind1="2" ind2="0">
   <subfield code="a">Dance ethnography</subfield>
  </datafield>
  <datafield tag="773" ind1="0" ind2="#">
   <subfield code="t">Asian Studies</subfield>
   <subfield code="g">Vol. 49, no. 2 (2013), 1-38 pages</subfield>
  </datafield>
  <datafield tag="852" ind1="#" ind2="#">
   <subfield code="a">UPD</subfield>
   <subfield code="b">DAC</subfield>
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   <subfield code="a">Article</subfield>
  </datafield>
  <datafield tag="950" ind1="#" ind2="#">
   <subfield code="a">FI</subfield>
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