1. Ginagamit natin ang wika, hindi kaya ginagamit tayo nito?

 Mga Panlahat na Gamit ng Wika

 Sa anumang bagay o gawain, saan mang lugar, o pagkakataon ang wika ay lagi na nating
ginagamit. Ito ang nagbibigay katuparan sa lahat ng ating pagkilos, kinokontrol nito ang ating
pag-iisip maging ang ating pag- uugali. Naglahad sina Michael A.K. Halliday, Roman Jakobson
at W.P. Robinson ng pangkalahatang gamit ng wika upang mapag-aralan natin kung papaano
napapakilos o napagagalaw ng wika ang lahat ng bagay sa mundo.

2. Ayon kay Michael A.K. Halliday  1.Instrumental – Ginagamit ang wika ng tagapagsalita para
mangyari / maganap ang mga bagay-bagay. Pinababayaan ng wikang pagalawin ( manipulate) ng
tagapagsalita ang kanyang kapaligiran. Maaaring humiling ang mga tao ng mga bagay at maging
dahilan ng paggawa at pagkaganap ng mga bagay-bagay sa paggamit ng mga salita lamang. 
Halimbawa:  Mga bigkas na ginaganap (performative utterances) – pagpapangalan/
pagbabansag, pagpapahayag, pagtaya.  Iba pa – pagmumungkahi, panghihikayat, pagbibigay-
panuto, pag-uutos, pagpilit.

3. - Gamit ng wika para alalayan ang mga pangyayaring nagaganap (pag-

alalay o maintenance of control). Maaaring kasangkot ang sarili o iba. Inaalalayan ng wika ang
pakikisalamuha ng mga tao; itinatakda nito ang mga papel na ginagampanan ng bawat isa,
nagbibigay-daan para alalayan ang pakikisalamuha at nagbibigay ng talasalitaan para sumang-
ayon, di-sumang-ayon at pag-alalay at pag- abala (disrupt) sa gawa/ kilos ng iba.  Ito ang gamit
ng wika na nagbibigay sa mga tao para alalayan ang mga pangyayaring nagaganap. 
Halimbawa: pag-ayon, pagtutol, pag-alalay sa kilos/ gawa, pagtatakda ng mga tuntunin at
alintuntunin sa paglalaro, pagsagot sa telepono, pagtatalumpati sa bansa.

4. – Gamit ng wika sa pagpaparating ng kaalaman tungkol sa daigdig,

pag-uulat ng mga pangyayari, paglalahad, pagpapaliwanag ng mga pagkakaugnay-ugnay,
paghahatid ng mga mensahe, atbp.  May nagaganap na pagpapalitan ng kaisipan. May mga
tuntunin upang alalayan ang gawi/ ugaling pangwika kapag may pagpapalitan ng impormasyon
ay dapat maging totoong-totoo at hindi kalahati lamang ang dapat gumawa ng palagay
(assumptions) tungkol sa alam ng tagapakinig; hindi dapat kulang o pumupuri ang impormasyong
ibinibigay; at kung tapat ang intensyon, dapat iwasan ang ano mang misrepresentasyon at
kalalabisan.  Sa mga pagkakataong naiiba(idiosyncratic view) ang pananaw ng isang tao tungkol
sa kung ano ang daigdig; maaaring ituring na naiiba (peculiar) ang mga bigkas na nagsasaad ng
pagkatawan sa daigdig.

5. Magiging dahilan ng pagturing sa isang tao na henyo/ pantas (genius) o nasisiraan ng bait;
mapangarapin o di kaya’y tagapagligtas ang ilang uri ng pagiging iba (peculiarities). Maaaring
mag-iba-iba sa iba-ibang panahon ang isipan ng karamihan (consensus) na nagiging batayan ng
pagpapasya ng iba-ibang kinatawan ng pagbabago sa daigdig (world shifts), patag ang daigdig;
maliliit (particles) ng atom, patay ang Diyos; marumi ang sex, pasalita ang wika, atbp. 
Halimbawa: pag-uulat, paglalahad, pagpapaliwanag, paghahatid ng mensahe, pagbibigay ng
tama/ maling impormasyon, pagsisinungaling, pagpapahayag.  Karamihan sa pang-araw-araw
na gamit ng wika ang gamit na ito.

6. - (Phatic communion ayon kay Malinowski) Gamit ng wika upang

mapanatili ang pakikipagkapwa-tao. Bahagi nito ang phatic communion; iyong mga di-pinupuna/
walang kabuluhang (meaningless) pakikipagpalitan na nagsasaad ng isang bukas na tulay
 (channel) ng pakikipagtalastasan kung kinakailangan.  Sa isang malawak na kaisipan,
tumutukoy ang gamit na ito sa lahat ng gamit ng wika upang mapanatili ang mga lipon/ grupo:
salita ng mga teenager; mga biruan ng pamilya/ mag-anak; mga katawagan sa bawat propesyon
(jargon), mga palitan sa mga ritwal; mga wikang panlipunan at panrehiyon, atbp.  Dapat
matutuhan ng mga tao ang mga iba’t ibang uri ng gamit ng wika kung nais nilang makisalamuha
nang mahusay sa iba.

7. Nangangailangan ang matagumpay na interaksyon ng wastong pag-uugali (good manners),

wastong pagsasabi sa wastong paraan at paggawa ng mga bagay ayon sa kinagawian (presented
way).  Madaling makita ang mga paglabag sa kaugalian, maging malaswang salita (dirty words)
sa maling tagpuan o di pagtayo sa ilanga pagkakataon. Maaaring parusahan ang mga ito nang
higit pa sa pagkadulas sa pangyayari.  Halimbawa: pagbati, pagpapaalam, pagbibiro,
panunudyo, pag-aanyaya, paghihiwalay, pagtanggap, atbp.

8. – Gamit ng wika para ipahayag ang katauhan ng isang tao, alam ng bawat isa na
bahagi ng kanyang katauhan ang wika. May “tinig” o kinalalaman ang mga tao sa nangyayari sa
kanila. Malaya silang magbuka ng bibig o hindi, magsabi ng marami o magsawalang-kibo kung
nais nila, ang pumili ng kung paano sasabihin ang kanilang sasabihin.  Binibigyan din ng wika
ang bawat tao ng paraan ng pagpapahayag ng damdamin maging ito ay sa anyo ng mga
padamdam, pagrerekomenda, pagmumura o sa pamamagitan ng maingat na pagpili ng salita.
Maaaring ding magkaroon ng pagkukuyom sa sarili o pagbubulas ng damdamin.  Halimbawa:
pagsigaw, pagrerekomenda, pagmumura, pagpapahayag ng galit, paghingi ng paumanhin.

9. Totoong may gamit na personal ang wika ngunit napakahirap itong ilarawan nang buo. Sa gamit
na ito, nagsasama-samang gumagalaw sa mga paraang walang nakaaalam ang wika, ang isipan,
ang kalinangan/ kultura at ang katauhan/ personalidad.

10. – Gamit ng wika bilang kagamitan sa pagkatuto ng mga kaalaman at pag-unawa.

Maaaring gamitin ang wika para malaman ang mga bagay sa daigdig. Nagbubunga ng sagot ang
mga tanong, konklusyon ang pangangatwiran, mga bagong tuklas na pagsubok sa hypothesis,
atbp.  Ang gamit na ito ang batayan ng kaalaman sa iba-ibang disiplina. Binibigyan ng wika ang
tao ng pagkakataong magtanong tungkol sa kalikasan ng daigdig na pinananahanan nila at bumuo
ng mga posibleng sagot. Isang paraan para ipakilala ang kabataan sa gamit na ito ng wika ang
pormal na edukasyon. Karaniwan nang isang sistemang abstraktong nagpapaliwanag ng isang
bagay ang kinalalabasan nito. Kaya isang resultang kailangan sa paglikha ang simbolismo ng
metalanguage – isang wikang ginagamit sa pagtukoy sa wika na naglalaman ng mga katawagan
tulad ng tunog, pantig, kayarian, pagbabago, pangungusap, atbp.
11. Halimbawa: pagtatanong, pagsagot, pangangatwiran, pagbibigay-konklusyon, paggawa ng
hypothesis, pagbibigay katuturan, pagsubok/pagtuklas, pagpapaliwanag, pagpuna, pagsusuri,
pagbuo, pageeksperimento, pagsang-ayon, di- pagsang-ayon, pag-uulat, pagtaya.  Naging
institusyon na ang gamit na ito ng wika sa mga kalagayang pang-edukasyon at sa mga gawaing
pangkaalaman ngunit patuloy pang makapupukaw ng iba- ibang panananaliksik ang mga
posibleng paraan ng pagkaalam sa pamamagitan ng wika at hindi paggamit ng wika. Isa ring
suliranin ay kung pano nabubuo, inaaayos at nililinang ang kaalaman. Mahalaga ang papel ng
wika sa mga pagbabagong nangyayari sa retorika ng iba-ibang disiplina.
12. – Gamit ng wika sa pagbuo ng isang sistema ng haraya maging mga akdang
pampanitikan, sistemang pampilosopiya, o huwarang pangarap (utopian visions) sa isang dako o
pangarap at pag-iisip ng walang magawa sa kabilang dako.  Ito rin ang wikang ginagamit para
sa kasiyahan sa paggamit ng wika bilang tunog; pag-iingay ng sanggol ( baby’s babbling), pag-
awit ng isang mang-aawit at ang paglalaro ng malikot na isip ng makata. Mga larong pangwika,
 panunukso, panunudyo, pagsasalaysay nang labis. Ilan lamang ito sa mga pagkakataong gamit ng
imahinatibo ng wika upang aliwin ang sarili o ibang tao.  Pinahihintulutan din ng gamit na ito
ng wika na pansinin di lamang ang tunay na daigdig kundi pati na ang mga posibleng daigdig at
marami pang imposibleng daigdig.

13. Pinahihintulutan din nito ang paglalagay ng sarili sa katauhan ng mga nababasa/ nakikita sa
telebisyon at sine: nakikinig sa radyo, cd player, MP3 player (vicarious experience). 
Tinutulungan ding matugunan ang maraming estetiko at artistikong pangangailangan (urges).
Pinahahalagahan ang gamit na imahinatibo kung nagbubunga ito ng artistikong paglikha ngunit sa
karamihan, nagsisilbi itong isang susi sa mga pagkakataon sa paglikha at pagtakas sa
katotohanang ipinahihintulot nito.

14. Ayon kay / reperensyal/ Pangkaisipan –

Pagpaparating ng mensahe at impormasyon.  Conative – Paghimok at pag-impluwensya sa iba
sa pamamagitan ng mga pag-uutos at pakiusap.  Emotive – Pandamdamin, Pagpapahayag ng
mga saloobin, damdamin at emosyon.  Phatic – pakikipagkapwa-tao  Metalinggwal – paglinaw
sa mga suliranin tungkol sa mga layunin (intensyon) ng mga salita at kahulugan.  Poetic –
patula, paggamit ng wika para sa sariling kapakanan.
15. Ayon kay – Paggamit ng wika sa paglikha ng panitikan. 
Ludic – Pagtutugma, paggawa ng mga salitang walang katuturan o kawawaan, pagsubok sa mga
posibilidad ng wika habang natututuhan ito, pagbibiro.  Pag-alalay sa pakikipagsalamuha at
pakikipagkapwa-tao – paggamit ng wika upang simulan, alalayan at tapusin ang pagkikita (
nangyayari kapag ang dalawa o higit pang tao ang nagkikita), mga ritwal sa wika
(kumusta/pagbati), wika bilang kagandahang –asal (kumusta ka?); pagbati, pasasalamat,
pagpapahayag ng kalungkutan o pakikiramay.
16. – Paggamit ng wika upang alalayan o impluwensiyahin ang kilos o
damdamin ng iba – paggamit ng mga tuntunin at ekspresyon ng tungkulin/ obligasyon – pag-
uutos, pakiusap, pagbababa, pagpuna, pagpapalakas ng loob, panghihikayat, pag-aanyaya,
pagpapahintulot, panghihiram, pagtawad.  Pag-alalay sa sarili – Kaugnay ang ugali at damdamin
“Pagkausap sa Sarli” nang tahimik o mag-isa, pagpaparating sa iba ng ating iniisip, pagbibigay ng
opinyon, pangangatwiran, pagpapaliwanag.
17. – Pagpapahayag ng sarili, katauhan at damdamin – tuwiran
sa pamamagitan ng pandamdam, paggamit ng mga salita tungkol sa damdamin; di-tuwiran sa
pamamagitan ng bilis, taas ng tinig, tunog ng tinig (voice quality).  Pagtatakda sa tungkulin o
Papel sa lipunan – paggamit ng wika upang itakda o ipahayag ang kaugnayang pansosyal ng mga
tao – mga ginagamit kapag nakikipag-usap sa isang tao at mga ginagamit kapag nagsasalita
tungkol sa iba (G. Gng. Bb…)
18. – a) Pagkilala
(discrimination) – pagkilala at pagpapahayag ng kaibhan at pagkakatulad ng mga bagay. b)
Pagbuo (organization) – pag-uuri-uri at pagbibigay – katuturan sa mga kaugnayan ng mga bagay
sa ibang bagay.  Pagtuturo – Paggamit ng wika sa pagpaparating (imparting) ng bagong
impormasyon at kasanayan.  Pagtatanong at Panghuhula – Pagtataka, paghahanap, paghingi ng
impormasyon at panuto, pagbuo ng haraya (imagining) pagpapasubali (suppoising). 
Metalangguage - Paggamit ng wika sa pagtalakay.
Quinones Ariel D.

BSIT,1 A P.E2

11-29-19
 (dance with oil lamps), this version from
Mindoro, is the most difficult of the all the Pandangos. It is quite
unusual and colorful. The female dancer gracefully and skilfully
balances three lighted "tinghoy" or oil lamps - one on her head and
one on the back of each hand. A few boys and girls may take part as
townsfolk or onlookers. They clap their hands in time to the music,

adding life and gaiety to the dance.

At the start of this dance, the poles are placed on the left sides of two dancers. They have the left foot
lead.

Do these steps outside the bamboo poles:

1. Hop on your right foot.

2. Hop another time on the right foot.

Perform these steps between both poles:

3. Step on the left foot.

4. Step on the right foot.

Do these steps outside the poles:

5. Hop on the left foot outside the poles.

6. Hop again on the left foot outside both poles.

Return to between the poles for these steps:

7. Step on your right foot.

8. Step on your left foot.

For the foot work for these Tinikling steps, both dancers should start to the right side by the bamboo
poles.

Do these steps outside the bamboo poles:

1. Hop on both feet.

2. Hop another hop on both feet.

Hop between the poles for these steps:

3. Hop on both feet.

4. Do another hop using both feet.

Straddle the poles as you jump outside them for these steps:

5. Hop on both feet.

6. Again, hop on both feet.

Go between the poles again to finish the dance:

7. Hop on both feet.

8. Do another hop on both feet.

These are the basics of the Tinikling, though the dance can be embellished with other steps for both
singles and doubles, including arm movements.

The Binasuan is performed by dancers as they carry full wine glasses in both hands and on top of their
heads. Wine is traditionally used in the dance, but any dark-colored beverage will do. The dance often
involves balancing tricks, so there are no specific moves that are set in stone. If you'd like to try the
Binasuan though, these steps will get you started. Consider practicing with empty, plastic cups until you
get the hang of the movements.

1. Step in a flowing motion onto the center of your performance area. As you step, balance the wine
glass carefully on your head. Also, keep your hands turned up to balance both wine glasses.
2. Sway your hips to the right while lifting the wine glasses high above your head.
3. Sway your hips to the left while lifting the wine glasses high above your head.
4. Twirl in place quickly while balancing the wine glasses for thirty seconds, concluding the twirl with
your face to the audience.
5. Step forward with your right foot and bring your right arm forward in a flowing motion.
6. Step forward with your left foot and bring your left arm forward in a flowing motion.
7. Rotate your arms over your shoulder in small, circular motions as you step from left to right in
small, quick motions for 30 seconds.
8. Twirl and rotate your arms below shoulder height.

The Sinulog is a ritual dance that is performed in honor of Santo Niño. It's now a part of the annual
Sinulog festival, and dancers wear brightly colored, traditional costumes for it. Drum music must
accompany this entire dance.

1. Stand straight and offer candles (real or symbolic) towards a painting or other depiction of Santo
Niño.
2. Recite a prayer to the saint.
3. Using slow, steady movements, bounce with your torso in a wave-like, circular motion.
4. Continuing the flowing movements, take two steps forward.
 5. Take one step backward as you try to keep the steady movements.
6. Repeat steps 4 and 5 for as long as the drums are playing.
7. Conclude the dance with a prayer.

The Seedling dance pays homage to the rich history of farming within the culture. Before the start of this
dance, take a round basket in your arms. A wicker or wooden basket best represents the feel of the
traditional dance.

1. Bend your knees as that represents climbing and descending.

2. Keeping your knees bent, step forward with one foot, then with the order. Go left and right as you
do this.
3. In a fluid motion, lift the basket to the left. Doing the same motion, lift the basket to the right. Keep
your steps alternating between stepping to your left and stepping to your right. When you step to
your left, coordinate the lifting of the basket to the left. When you step to the right, lift the basket to
the right. The fluidity of motion is key to doing the dance correctly.
4. Repeat step 3 multiple times - the length will depend on the music. You should appear to be
effortlessly carrying the basket.
5. Keeping your movement fluid, sit the basket down in front of you. Step to the left and step to the
right around it. Never stop moving. You may improvise in your dance around the basket.
6. Take the pretend "seeds" from the basket and make tossing movements as you would offer them to
Diwata, a dryad-like spirit in Philippine mythology.

As part of the Dugso, the Dinatag serves as the introduction to the dance. For the Dinatag, dancers should
join arms in a T-shaped position and movements should be as fluid as possible.

1. Brush your left foot backwards, then bring your left foot to meet your right foot.
2. Step to the left with your left foot, bringing your body sideways.
3. Brush your left foot backwards from your new position, then bring your left foot to meet your right
foot.
4. Step to the left again with your left foot, bringing your body sideways again, so you are now turned
around from your original position.
5. Step to your right, then tap your left foot to meet your right foot.
6. Step to your left in a sideways motion.
7. Step to your right again, then tap your left foot to meet your right foot.
8. Step to your left in a sideways motion.
9. Brush your right foot backward, then tap your right foot to meet your left foot.
10. Step to your right in a sideways motion.
11. Step your left foot across in front of your right foot.
 12. Tap your right foot to meet your left movement, moving to the right.
13. Step your left foot behind you, across your right foot.
14. Step to the right sideways.
15. Step your left foot behind you again, across your right foot.
16. Step to the right sideways.
17. Repeat all steps 1 to 16.

Have fun with this dance. The Itik-Itik is sometimes described as humans making the motions of a duck,
so feel free to improvise along with these basic steps.

Step to your left and raise your left arm up in a flowing motion.
Step to your right and raise your right arm up in a flowing motion.
Repeat steps 1 and 2 seven times.
Step forward and bring your hands into your chest, bending your elbows and making sure to point your
hands inward. Repeat seven times.
Step in a circle as you sway your arms to the right, then to the left.
Raise your arm and step hop to the left.
Raise your arm and step hop to the right.
Repeat steps 6 and 7 five times.
Sway to the right, then to the left. Repeat six times.
Repeat all steps three times.
COSTUME. The girl is dressed in "balintawak", the boy in
long red trousers and "barong tagalog".

MUSIC is divided into three parts: A, B, C.

COUNT: one, two, three to a measure.

FORMATION. Partners stand about six feet apart facing the

audience. The three lighted oil lamps are placed
on the floor between them. The girl stands at
partner's right. The oil lamps are of two sizes,
the one to be placed on the head being larger than
the two for the hands.

INTRODUCTION

Music Introduction.

(a) Standing on the L foot, tap in front (ct. 1), pause

(ct. 2), tap once more (ct. 3). Place left hand on waist,
R hand hanging loosely at the side..................1 M
 (b) Repeat (a)..........................................1 M

(c) Three-step turn right in place and bow to the audience.

Place both hands on waist...........................1 M

I
Music A.

Partners face left.

(a) Take two waltz steps forward (R, L - 2 M.), one waltz
turn right (2 M.). Arms in lateral position moving
sideward R and L with forearm turns.................1 M

(b) Repeat (a) three times more moving clockwise around

the oil lamps.......................................1 M

(c) Turn right about and repeat all (a and b) moving

counterclockwise. The girl finishes with the lamps in front
of her, boy at left side............................1 M

II
Music B.

Girl's Part:
(a) Cross R foot in front of L and bend knee slightly (this
position is held for thirty-two measures), arms bent I T
position at shoulder level. Move right (1 M.) and left
elbows (1 M.) upward twice on cts. 1, 2 of each measure.
The wrists are relaxed so that the hands dangle at every
movement...........................................24 M

(b) Place a lamp on the back of the right hand..........8 M

Boy's Part:
(a) Repeat the movements of figure I going clockwise around
the girl. Take the same arm movement of the girl in figure
II (a).............................................24 M

(b) Take lamp No. 1 and help the girl place it on the back of
her right hand......................................8 M

III
Music C.

Cross-waltz step: With a spring, step R (L) forward across L

(R) in front, raising the L (R) in rear at the same time (ct. 1), step
L (R) in rear of R (L) (ct. 2), step R (L) in the same place (in front)
(ct. 3).
(a) Starting with the R foot, take sixteen cross-waltz steps
around the lamps clockwise. Boy's hands on waist, girl's
 free hand holding the skirt........................16 M

(b) Turn right about and repeat (a) moving counterclockwise.

Finish in proper places facing the audience........16 M
IV
Music A.

(a) Starting with the R foot, execute waltz steps (tiny steps)
backward. The girl bends left arm upward and flutters
the fingers in time to the music. Boy's hands on waist,
girl's free hand holding the skirt..................8 M

(b) Repeat (a) moving forward to original places........8 M

(c) Boy gets lamp No. 2. Partners repeat (a). Free hand boy
on the waist........................................8 M

(d) Take four waltz steps forward (4 M.). Boy puts the lamp
on the head of the girl who stands still (4 M.).....8 M

V
Music B.

(a) Take one waltz step sideward R and L (2 M.), waltz-turn

right (2 M.). Arms of boy and L arm of girl in lateral
position at shoulder-level moving sideward R and L
alternately, or L hand of girl holding the skirt....4 M

(b) Repeat (a) three times more moving around the lamp
clockwise..........................................12 M

(c) The boy gets the third lamp and places it on the back of
the left hand of the girl. The girl stands still while
the boy is placing the lamp on her hand.............8 M

(d) Girl's Part:

(1) Step R across L in front and bend right knee slightly.
Raise L foot inrear at the same time (cts. 1, 2), step L
in rear or R foot (ct. 3) Step R foot sideward (cts. 1,
2, 3). Hold lamps in front or obliquely forward at shoulder-
level...............................................2 M

(2) Repeat (1) three time more (L, R, L)................6 M

Boy's Part
(1) Continue waltzing around the girl counter clockwise.8 M
VI
Music C. Play once.

Girl's Part:
Stand with feet in third position, R foot in front, knees
relaxed. Do the following hand movements, hands first at shoulder
level in front:
(a) Raise R hand and lower L hand slowly (cts. 1-6).....2 M

(b) Reverse the movements of the hands..................2 M

(c) Cross the hands in front, R over the L hand.........2 M

(d) Back to the starting position.......................2 M

(e) Repeat (a) and (b)..................................4 M

(f) Lower both hands and bend the knees slightly........2 M

(g) Raise both hands and straighten the knees...........2 M

Boy's Part
(a) Repeat figure I, going clockwise around the girl...16 M
VII
Music C. Play once.

(a) Partners execute eight sway balance steps with a point,

R and L, moving counter clockwise little by little, arms
in third position, R and L high alternately........16 M
VIII
Music C. Play once.

The boy takes the two lamps from the hands of the girl (one in
each hand) leaving one on her head.
(a) Partners repeat the steps of figure I, going in any
direction with the boy following the girl..........14 M

(b) Three-step turn right in place and bow to the audience.2 M

Boy's Arm Movement

(a) The boy moves the lamps one up and the other down (2 M),
crosses the hands in front, R over L (2 M), L over R (2 M),
circling R hand clockwise and L counter clockwise (2 M).8 M

(b) Repeats a up to 6 measures..........................6 M

(c) Hands at the sides while bowing.....................2 M

Girl's Arm Movements

(a) Repeat the arm movements of Figure I for 14 measures.14 M

(b) Takes the glass from her head with the R hand opens the
hand sideward while bowing..........................2 M
 (“dance on a bench”) is a folk dance from the Pangasinan province of the Philippines.
Performers dance on top of a bench that is normally six inches wide.

Bench Tapew ed dance (dance on top of a bench), is a dance Which originates from Pangasinan and researched
by Jovita Sison. It is performed by a couple on a narrow bench, inching and hopping from one end to another.
Dancer show skill in staying up the bench As they exchange places by moving Their way around or the girl
thrown in the air while the boy moves to the other end. They do not Compete but rather complement each other
so that no one falls. It is usually performed During town fiestas.
 Here are the steps of maglalatik dance:

1. 6 8-counts jogging to get to place

2. 4 steps forward while pounding chest

3. 4 basic clap cycles in place

4. 4 basic clap cycles to get to two rows

5. 8 quick clap cycles to do the ripple effect

6. 8 quick clap cycles to circle around partner

7. CIRCLE UP

2 8-counts + 1 4-count for first clap

clap after 1 8-count 3X

Finishing clap

8. 8 high-low clap cycles to move to position

9. 8 cycles of 6 hit clapping

10. 16 counts for tricks with clapping in the background

11. 4 basic to get to two sides

12. 8 quick clap cycles for the battle

13. 4 quick clap cycles to get to end

after last clap POSE

 (Tacloban, Leyte)
Introduction. Partners join inside hands, free hands down at the sides. Starting with the R foot,
take three steps forward (cts 1,2,3). Put feet together and bow to partner or audience (ct
1)…..[2M] Dancers separate about six feet apart. The last two counts of the music are not
played until the partners are in their proper places.
FIGURE I. Music A.
a. Starting with the R foot take three steps forward to be side-by-side (L to L shoulder) at center
(cts 1, 2, 3, 1); transfer weight to R foot in rear (cts 2), transfer weight to l Foot in front (cts 3).
Hands down at the side and swing naturally in time with the music or the girl holds skirt, boys
hand on waist while doing the four steps forward on cts 1, 2, 3 1. Right arm in fifth position and
L hand on waist when transferring weight on cts 2, 3…..[2M] b. Starting with the R foot, take four
steps backward to proper places. Hands as in (a) (4 cts), two-step turn R in place, girl holding
skirt, boy's hands on waist 92cts)…..[2M] c. Repeat (a), this time partners stand by each other's
R shoulder at center…..[2M] d. Starting with the R foot, take four steps forward to partner's
place (4 cts), two-step turn R about to face partner (2 cts)…..[4M] e. Repeat all (a to d), finishing
in proper places, facing each other….[8M]
FIGURE II Music B. a. Sway balance with a raise, R and L. Arms in fourth position, R and L
arms high or bent at shoulder level, opening and closing with a forearm turn…..[4M] b. Execute
three waltz half-turns R to partner's place (one waltz step for every half-turn) Forearm turns R
and L alternately. Finish facing partner. Pass each other by L shoulders…..[3M] c. Repeat (a
and b), finishing in proper places…..[7M] d. Repeat all (a to c)…..[14M]
FIGURE III Music C.
Face L- Boy faces audience, Girl, away from audience. Starting position- R foot in fifth in front.
a. With the R foot leading, take seven mincing steps moving sideward R toward partner's place
(take six mincing steps for the first three counts and only one on the fourth count). R arm in fifth
position, L hand on waist (4 counts). Turn R about on the ball of R foot (2 cts)…..[2M] b. With
the L foot leading, repeat (a) going to partner's place. Reverse position of the arms (4 cts), turn
L about on the ball of L foot (2 cts)…..[2M] c. Repeat (a)…..[2M] d. Cross-turn R. Bend trunk
and knees slightly while turning and straighten them at the close of the turn. Salok L hand
across the body while turning R hand on waist or in fifth position. Finish facing each
other…..[2M] e. Repeat all (a to d), finishing in proper places facing partner…..[8M]
FIGURE IV Music B.
a. repeat Figure II (a)…..[4M] b. Starting with the R foot take 2 waltz step forward to form one
line at center facing audience, girl stand in front of the partner (2M). Pause (1M)…..[3M] c. Take
four waltz steps sideward , R and L alternately. Arms in lateral position, moving sideward Rand
L alternately….[4M] d. Repeat Figure II (b)…..[3M] e. Repeat all (a to d), finishing in proper
places…..[14M]
FIGURE V Music C.
Face L as in Figure III.
a. Execute tiny steps moving to sideward R. The R foot steps forward and backward alternately,
while the L moves little-by-little to sideward R. Partners meet at the center in a back-to-back
position at the end of the fourth measure. R arm in fifth and L bent at shoulder level…..[4M] b.
With partners in back-to-back position and close to each other, continue doing the same step,
turning clockwise in place. Arms as in (a)…..[4M]
Partners face each other. c. Continue doing the same step moving clockwise. Reverse the
position of the arms every 2 measures or on every measure…..[6M] d. Waltz-turn R to proper
places. Arms as in Figure II (b)…..[2M]
FIGURE VI Music B.
a. Sway-balance with a hop, r and L. Arms in fourth position, R and L arm high
alternately…..[4M] b. Take two waltz steps forward to meet partner at the center. Arms in lateral
position, moving sideward R and L (2M). Pause (1M)…..[3M] c. R arm bent forward at shoulder
level, L arm in fifth position. Point R foot sideward (cts 1, 2), point R close to L in first position
and bend body jerkily toward pointing foot and at the same time lowering R elbow close to waist
(ct 3)…..[2M] d. Repeat (c) …..[2M] e. Starting with the R foot, take two waltz step forward to
partner's place. Arms as in (b), passing by R shoulders…..[2M] f. Waltz-turn r about. Finish
facing partner. Arms in Figure II (b) ,,,,,[1M] g. Repeat all (a to f), finish in proper places…..[14M]
FIGURE VII Music B. Play faster and once only.
a. Starting with the R foot, take two waltz step forward to meet at center. Arms in lateral
position, moving sideward R and L…..[2M] b. With the girl leading, partners waltz to any
direction as if the boy is chasing the girl. Girl turns around to face partner once in a while, then
continues to move in any desire direction. Arms as in (a)…..[10 M] c. Partners join inside hands,
Girl standing at the R (1m), bow to each other or to audience (1M)…..[2M]
Quinones Ariel D.
BSIT,1 A P.E2
12-03-19