BAE

KAHULUGAN: Ayon sa isang urban dictionary, acronym daw ito ng pariralang “Before Anyone Else.”
Pero nanggaling daw talaga ito sa pet name ng mga magkasintahan na baby o babe! Naging
popular ito lalo dahil ito ang naging tawag kay Pambansang Bae Alden Richards.

USE IN A SENTENCE: Ang guwapo-guwapo talaga ni Carl! Feeling ko talaga, siya na ang Bae ko!

PABEBE

 
KAHULUGAN: Isa itong pang-uri na ang ibig sabihin ay umarteng parang baby o magpa-baby o
magpa-cute. Tulad din ng salitang Bae, naging popular ang pabebe dahil sa pabebe wave ng Aldub.
Ang pabebe wave ay ang pa-cute o mahinhing pagkaway.

USE IN A SENTENCE: Huwag ka nang mag-pabebe diyan. Gawin mo na ‘yang trabaho mo, ngayon
na!

BEAST MODE

KAHULUGAN: Mala-halimaw ang enerhiya na ipapamalas ng isang tao. Maaring dahil galit o may
nais ma-achieve kaya pursigido! Posible raw nagmula ang mga katagang ito sa video game na
Altered Beast ng Sega, kung saan nagpapalit-anyo ang karakter dito at nagiging halimaw.

USE IN A SENTENCE: Ang dami kong kailangang gawin. Kailangang kong mag-beast mode
mamaya para matapos lahat ng trabaho ko.

NINJA MOVES

KAHULUGAN: Patungkol daw ito sa magaling, mabilis, madiskarte at kalimita’y tahimik na pagkilos.
Nagmula raw ito sa mga “ninja” o mga warrior na mayroong kakaibang galing na maisakatuparan
ang kanilang misyon nang hindi masyadong napapansin.

USE IN A SENTENCE: Bigla na lang nawala ‘yung pagkain ko dito. Mayroon na naman sigurong
nag-ninja moves at kinuha ito.
 
GALAWANG BREEZY

KAHULUGAN: Ito na nga raw ang bagong termino para sa mga pasimpleng diskarte ng mga
kalalakihan sa mga babae. Maaaring hango ito sa salitang breezy na ang ibig sabihin ay mahangin,
at ngayo’y nabigyan ng kakaibang kahulugan bilang pagpapalipad-hangin.

USE IN A SENTENCE: Papalapit nang papalapit si Joshua kay Karen ah. Galawang breezy na
talaga!

WALWALAN

KAHULUGAN: Kadalasan daw naikakabit ang salitang walwalan sa mga inuman at mga tambay.
 Pinaniniwalaang nagmula ito sa mga salitang “walang pakialam,” “walang pangarap” at “walang
kinabukasan.”

USE IN A SENTENCE: Tamang-tama, walang pasok bukas! Walwalan na naman!

EME-EME

KAHULUGAN: Ito raw ay salitang beki na pamalit sa mga terminong hindi masabi o maalala.
Pinaniniwalaang nagmula pa ito noong dekada ‘80, na ang ibig sabihin ay “any-any” o kung ano-ano
lang. Dekada ’90, naging “anik-anik” at ngayon, eme-eme na!

USE IN A SENTENCE: Ano ba ‘yun? Eme-eme lang ang pinagsusulat niya sa script niya.

FOREVER

KAHULUGAN: Ang tunay na kahulugan nito ay “habambuhay” o “walang hanggan.” Ngayon,

naikakabit na ito sa paksa ng pag-ibig. Para sa ilan, ito ay ang estado ng “love life.”

USE IN A SENTENCE: Diamond anniversary na ng nanay at tatay ko. Sila na ang may forever!

1. BAKTOL - ang ikatlong lebel ng mabahong amoy sa kili-kili. Ang baktol ay kapareho ng amoy
ng nabubulok na bayabas. Ito'y dumidikit sa damit at humahalo sa pawis, madalas na naamoy
tuwing registration sa school, sa elevator o FX at sa LRT na hindi aircon.

2. KUKURIKAPO - ito ang libag sa ilalim ng boobs, madalas na namumuo dahil sa labis na
baby powder na inilalagay sa katawan. Maari ding mamuo kung hindi tlga naliligo o naghihilod
ang isang babae. Ang kukurikapo ay mas madalas mamuo sa mga babaeng malalaki ang joga.

3. MULMUL - buhok sa gitna ng isang nunal. Mahirap ipaliwanag kungbakit nagkakaroon ng

MULMUL ang isang nunal subalit hindi tlga eto naaalis khit bunutin pa ito, maliban na lamang
kung ipa laser ito.

4. BURNIK - taeng sumabit sa buhok sa puwet, madalas nraranasan ng mga taong nagti-
tissue lamang pagkatapos tumae, ang BURNIK ay mahirap alisin, lalo na kapag natuyo na ito.
Ipinapayo sa mga may mga BURNIK na maligo na lamang upang ito'y maalis.

5. ALPOMBRA - kasuotan sa paa na kadalasang makikitang suot ng mga tindero ng yosi sa

quiapo. Ito'y makipot na kasuotan ng paa, at manipis na swelas, mistulang sandalyas ito ng
babae pero kadalasang suot ng mga lalaki, available in bl ue, red, green etc.

6. BAKOKANG - higanteng peklat, itoy madalas na dulot ng mga sugat na malaki na hindi
ginagamitan ng sebo de macho habang natutuyo.imbes na normal na balat ang nakatakip sa
bakokang, itoy mayroong makintab na balat na takip.

7. AGIHAP - libag na dumikit sa panty o brief. nabubuo ang AGIHAP kung ang panty o brief ay
suot-suot na nang hindi bumababa sa tatlong araw at kapag tinapon ang panty o brief sa
dingding, ito ay hindi mahuhulog pagkat dumikit na ng kusa sa dingding.
 8. DUKIT - ito ang amoy na nakukuha kung kinamot mo ang pwet mo at may sumamang
amoy tae.

9. SPONGKLONG - ito'y isang bagong wikaan na nangangahulugan isang estupidong tao.

10. LAPONGGA - ito'y kahintulad sa laplapan o kaya sa lamasan.

11. WENEKLEK - ito ang buhok sa utong, na kadalasang nakikita sa mga tambay sa kanto na
laging nakahubad. Meron din ang babae nito.

12. BAKTUNG - pinaikling salita ng BAKAT-UTONG.

13. BAKTI - bakat panty.

14. ASOGUE - buhok sa kilikili.

15. BARNAKOL - maitim na libag sa batok na naipon sa matagal na panahon

16. BULTOKACHI - tubig na tumalsik sa pwet kapag nalaglag ang isang malaking tae.
naramdaman ito kasi tumalsik sa pisngi ng pwet ang tubig sa toilet bowl.

17. BUTUYTUY - etits ng bata.

18. JABARR - pawis ng katawan

19. KALAMANTUTAY - mabahong pangalan.

20. McARTHUR - taeng bumabalik after mong i-flush! 

2. Abuloy — bayad sa nahigop na kape at nanguyang biskwit sa nilamayang sakla.
Akala —- alam na alam daw.
Aginaldo - inaasahan na makukuha sa araw ng Pasko na mas okay sana kung pera na lang.
Ama —— pamilyadong gustong maging binata
Bakasyon - sandaliang pahinga sa trabahong hingal lang ang pahinga.
Bakit —- tanong na laging mahirap masagot.
Bakya —- tsinelas na may takong. Baga —– lutuan ng mga hindi makabili ng microwave.
Bagoong — masarap na ulam ng mga walang maiulam.
Baldado — hindi mamamatay-matay na mukhang hindi na mabubuhay.
Bale —– suweldong inutang.
Binata —— lalaking gustong maging ama
Biyenan —— anay ng tahanan
Kaaway — ikli ng ‘kaibigan na Inayawan
Kababata - dating gelpren na may ibang boypren
Kabag —- dighay at utot na naghalo sa tiyan
Kabayo — hayop na sinasakyan Ng kalesa
Kabit —— asawang nakatira sa iba
Kalbo —- gupit ng buhok na korteng itlog
Dalaga ——— babaeng gustong maging ina
Dalaginding - dalagang hindi pa nagsusuot ng bra
Dighay ——- Utot na lumabas sa bunganga
Dilim —- liwanag na maitim
Ginang — asawa ni ginoo na mukha nang tsimay
Ginoo —- asawa ni ginang na may asawang iba
Gipit —- kalagayan ng tao na suki na ng sanglaan
Ha ——- sagot ng nagbibingi-bingihan
Halakhak - tawang bukang-buka ang ngala-ngala
Handaan — magdamagan na Palakihan ng tiyan
Handog — bigay na laging may kapalit
Hipo —– haplos na may malisya
Hudas —- tapat na manloloko
Ibon —– hayop na lumalangoy sa Hangin
Imposible - pagtaas ng unano
Ina ——– pamilyadang gustong maging dalaga
Insulto — walang hiyang biro
Isda —— hayop na hindi nalulunod
Itlog ——- pagkaing amoy uto
Ita ——- negrong Pinoy
La ——– ikli ng ‘lalalalala’ sa kinakantang hindi maalala
Lalawigan - syudad ng kahirapan
Langaw —- kulisap na bangung-bango sa amoy ng basura
Ma ——– tawag sa gelpren na mukhang nanay na
Malusog — hitsura ng tumatabang balat
Mama —— tawag sa sosyal na ina
Mano —— kaugaliang Pinoy na nakapupudpod ng noo…. at bulsa
Mantika — katas ng piniritong taba
Mayabang ——– abusadong tanga
Maybahay — dominanteng utusan sa bahay
Nanay —- Ilaw ng tahana
Nakaw —– hiram ng walang paala
Naku —— ikli ng ‘nanay ko, nanay na ako.
Nitso —– bahay ng mga patay
Nobya —– gelpren na laking probinsya
Ngalngal — iyak ng walang ipen
Ngisi —– tawang tulo-laway
Ngiti —– tawang labas ipen
Paa ——- bahagi ng katawan na amoy tuta
Paaralan — dito itinuturo kung ano, alin o sino ang mapipiling bobo
Panata —- dasal na nakatataba ng tuhod
Regla —– masungit na panahon ng pagkababae
Sabon —– mabangong bagay na ipinapahid sa mabahong katawan
Sakristan - utusan ng pari
Sampal —- haplos na nakatitigas ng mukha.
Ta ——– ikli ng ‘tita’ o lalaking may bra
Tamad —– taong hindi napapagod sa pahinga
Tatay —– haligi ng tahanan
Utot——– Dighay na lumabas sa puwit
Ulol ——– sobrang matalino
Wala ——- salitang tagalog na minana ng mga ingles
Yaya ——– alaga ng ama ng inaalagaang bata
 Rhythm And Dance
Rhythm and dance are deeply linked in history and practice. The American dancer Ted Shawn wrote;
"The conception of rhythm which underlies all studies of the dance is something about which we could
talk forever, and still not finish."[13] A musical rhythm requires two main elements; first, a regularly-
repeating pulse (also called the "beat" or "tactus") that establishes the tempo and, second, a pattern
of accents and rests that establishes the character of the metre or basic rhythmic pattern. The basic pulse
is roughly equal in duration to a simple step or gesture.

A basic tango rhythm

Dances generally have a characteristic tempo and rhythmic pattern. The tango, for example, is usually
danced in 2
4 time at approximately 66 beats per minute. The basic slow step, called a "slow", lasts for one beat, so
that a full "right–left" step is equal to one 2
4 measure. The basic forward and backward walk of the dance is so counted - "slow-slow" - while many
additional figures are counted "slow - quick-quick.[14]
Just as musical rhythms are defined by a pattern of strong and weak beats, so repetitive body movements
often depends on alternating "strong" and "weak" muscular movements. [15] Given this alternation of left-
right, of forward-backward and rise-fall, along with the bilateral symmetry of the human body, it is natural
that many dances and much music are in duple and quadruple meter. However, since some such
movements require more time in one phase than the other - such as the longer time required to lift a
hammer than to strike - some dance rhythms fall equally naturally into triple metre.[16] Occasionally, as
in the folk dances of the Balkans, dance traditions depend heavily on more complex rhythms. Further,
complex dances composed of a fixed sequence of steps always require phrases and melodies of a
certain fixed length to accompany that sequence.

The very act of dancing, the steps themselves, generate an "initial skeleton of rhythmic beats" that must
have preceded any separate musical accompaniment, while dance itself, as much as music, requires
time-keeping[17] just as utilitarian repetitive movements such as walking, hauling and digging take on, as
they become refined, something of the quality of dance. [15]
Musical accompaniment therefore arose in the earliest dance, so that ancient Egyptians attributed the
origin of the dance to the divine Athotus, who was said to have observed that music accompanying
religious rituals caused participants to move rhythmically and to have brought these movements into
proportional measure. The same idea, that dance arises from musical rhythm, is still found
in renaissance Europe in the works of the dancing master Guglielmo Ebreo da Pesaro who speaks of
dance as a physical movement that arises from and expresses inward, spiritual motion agreeing with the
"measures and perfect concords of harmony" that fall upon the human ear, [15] while, earlier, Mechthild of
Magdeburg, seizing upon dance as a symbol of the holy life foreshadowed in Jesus' saying "I have piped
and ye have not danced",[18] writes;
I can not dance unless thou leadest. If thou wouldst have me spring aloft, sing thou and I will spring, into
love and from love to knowledge and from knowledge to ecstasy above all human sense [19]

Thoinot Arbeau's celebrated 16th century dance-treatise Orchésographie, indeed, begins with definitions
of over eighty distinct drum-rhythms.[20]

Helen Moller

As has been shown above, dance has been represented through the ages as having emerged as a
response to music yet, as Lincoln Kirstein implied, it is at least as likely that primitive music arose from
dance. Shawn concurs, stating that dance "was the first art of the human race, and the matrix out of
which all other arts grew" and that even the "metre in our poetry today is a result of the accents
necessitated by body movement, as the dancing and reciting were performed simultaneously" [13] - an
assertion somewhat supported by the common use of the term "foot" to describe the fundamental
rhythmic units of poetry.
Scholes, not a dancer but a musician, offers support for this view, stating that the steady measures of
music, of two, three or four beats to the bar, its equal and balanced phrases, regular cadences, contrasts
and repetitions, may all be attributed to the "incalculable" influence of dance upon music. [21]
Émile Jaques-Dalcroze, primarily a musician and teacher, relates how a study of the physical movements
of pianists led him "to the discovery that musical sensations of a rhythmic nature call for the muscular and
nervous response of the whole organism", to develop "a special training designed to regulate nervous
reactions and effect a co-ordination of muscles and nerves" and ultimately to seek the connections
between "the art of music and the art of dance", which he formulated into his system of eurhythmics.[22] He
concluded that "musical rhythm is only the transposition into sound of movements and dynamisms
spontaneously and involuntarily expressing emotion".[23]
Hence, though doubtless, as Shawn asserts, "it is quite possible to develop the dance without music
and... music is perfectly capable of standing on its own feet without any assistance from the dance",
nevertheless the "two arts will always be related and the relationship can be profitable both to the dance
and to music",[24] the precedence of one art over the other being a moot point. The common ballad
measures of hymns and folk-songs takes their name from dance, as does the carol, originally a circle
dance. Many purely musical pieces have been named "waltz" or "minuet", for example, while
many concert dances have been produced that are based upon abstract musical pieces, such as 2 and 3
Part Inventions,  Adams Violin Concerto and Andantino. Similarly, poems are often structured and named
after dances or musical works, while dance and music have both drawn their conception of "measure" or
"metre" from poetry.
Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in
differentiating and combining time durations, pauses and accents "according to physiological law", that of
"plastic rhythm" (i.e. dance) "is to designate movement in space, to interpret long time-values by slow
movements and short ones by quick movements, regulate pauses by their divers successions and
express sound accentuations in their multiple nuances by additions of bodily weight, by means of
muscular innervations".
Shawn nevertheless points out that the system of musical time is a "man-made, artificial thing.... a
manufactured tool, whereas rhythm is something that has always existed and depends on man not at all",
being "the continuous flowing time which our human minds cut up into convenient units", suggesting that
music might be revivified by a return to the values and the time-perception of dancing. [25]
The early-20th-century American dancer Helen Moller stated simply that "it is rhythm and form more than
harmony and color which, from the beginning, has bound music, poetry and dancing together in a union
that is indissoluble

Space: refers to the space through which thedancer's body moves (general or personal space, level,

size, direction, pathway, focus). Time: is applied as both musical and dance elements (beat, tempo,
speed, rhythm, sudden, slow, sustained).

Space: refers to the space through which the dancer’s body moves (general or personal space, level, size, direction,
pathway, focus). Time: is applied as both musical and dance elements (beat, tempo, speed, rhythm, sudden, slow,
sustained). Force/Energy: the force applied to dance to accentuate the weight, attack, strength, and flow of a
dancer’s movement (sharp, strong, light, heavy, bound, free-flow). Relationship: refers to the relationship the
dancers’ body parts have to everything else (spatial relationships, time relationships, relationship to music, and to
each other).
Dance Positions and Dancing Terms

Sacada - a displacement of the feet

Sacadas - displacements.

Salida - a basic walking pattern

Salsa - This is a favored name for a type of Latin music which, for the most part, has its roots in Cuban culture
and is enhanced by jazz textures. The word, Salsa, means sauce denoting a "hot" flavor and is best distinguished
from other Latin music styles by defining it as the New York sound developed by Puerto Rican musicians in New
York. The dance structure is largely associated with mambo type patterns and has a particular feeling that is
associated mainly with the Clave and the Montuno. See also History of Salsa.

Samba - This Brazilian dance was first introduced in 1917 but was finally adopted by Brazilian society in 1930 as
a ballroom dance. It is sometimes referred to as a Samba, Carioca, a Baion or a Batucado. The difference is
mostly in the tempo played since the steps in all three dance are very similar. The style is to bounce steadily and
smoothly in 2/4 meter. The Samba was introduced in the United States in 1939 by the late Carmen Miranda. 
See also History of Samba.

Sarabande - One of the most ancient court dances of the 16th century. It was a stately affair during which
couples paraded forwarded for four steps and then back of four steps in an endless variety of patterns
according to the number of couples taking part.

Schottishe - A dance similar to the Polka. It is characterized by the clapping of hands after having taken three
hopping steps. It is written in 4/4 time.

Second position - feet in a straight line, heels apart.

Set Dances - A set dance is performed to a specific tune which has remained set over time (at least during the
20th Century). Both males and females dance sets in hard shoes. Competitions begin at the level of "Open"
because of the difficulty of the dances. Because the tune is always the same and the dancer knows the tune,
adjudicators expect greater interpretation of the music. (In the jig, reel, and hornpipe competitions, the particular
tune may vary depending on the musician.) The dances can be either in jig or hornpipe time. In one case, "Is the
Big Man Within?" the time changes mid-tune. Regular jigs and hornpipes follow a particular structure of the
number of measures per tune, but sets vary. Sets contain two parts, the first is the "lead around" (from 8 to 16
measures), the second is the "set" (12 to 16 measures). Some tunes are more than 250 years old, but most of the
dances are of more recent origin, developed by dance masters. Also, some of the tunes have accompanying
words.

Sevillanas - A Spanish folk dance consisting of seven "Coplas." Each Copla is a little dance in itself divided into
three parts and consisting of twelve measures of music. Each part begins with an "Entrada" and ends with a
"Pasada". It is performed by couples and furnished an excellent foundation for all forms of Spanish dance.

Shag - Not to be confused with the Carolina Shag which is a slow laid back type of Swing, became popular in
the late 30's along with the Jitterbug and Lindy Hop. The dance was done to up tempo Swing or Foxtrot music
and was instantly recognizable by the flicking of the feet backwards with a pronounced hopping action.

Shape (ballroom) - the combination of turn and sway to create a look or position.

Shimmy - Started as an African American dance of the late 1880's. It is a shaking of the shoulders and a whole
body. First recreated by Gilda Gray.

Shim Sham - A lazy shuffling "soft shoe" step produced by the dancers at the Old Cotton Club in Harlem.

Single Jig - Dancers perform single or soft jigs in soft shoes.

Slip Jig (soft shoes) - is the most graceful of Irish dances and features light hopping, sliding, skipping and
pointing. Only women dance the slip jig. Slip jigs are in 9/8 time

Slow Waltz - International Waltz is counted in ¾ time, and has a classic swooping rise and fall.

Son - A Cuban dance similar to the Bolero except that it is wilder in rhythmic accent and more violent in step
pattern. It is the Son which first served as a basis for the Mambo which in turn became the triple Mambo, now
known as Cha Cha. This slow rhythmic dance was originally in 2/4 time. It became Americanized and is usually
played in 4/4 time.

Spanish Waltz - A smoothly danced waltz in open position using the arm movements of the classic Spanish
dance.

Spot Dance - A dance in which there is little or no movement along a Line of Dance.

Spotting - A fixing of the eyes on one spot as long as possible during turns to avoid dizziness and to keep one's
orientation.

Square Dance - An American folk dance with an even number of couples forming a square, two lines, or a circle.
The dance is comprised of figures announced by a caller.

Step (ballroom) - one change of weight. Means by which the body is moved. Taking a step means committing
all of your body weight onto the forward portion (the ball) of the foot.

Step Dancing - is distinctively Irish, combining artistry, grace, and physical ability. It has followed the Irish and
Irish missionaries wherever they traveled including North America, Australia, New Zealand, Brittany France,
Singapore, and Africa. Eight measures or bars of music are called a "step".

Suzy-Q - A figure in which the hands are clasped in front of the body at knee level with the body poised
forward from the waist and the dancer moving sideways with the arms swinging in opposition. It was
popularized by Vaudeville Entertainers and used in many types of routines eventually achieving most of its fame
when it was incorporated into tap routines at the Cotton Club in Harlem in the 30's.

Swing - Popular blend of several African American dances, which include Lindy and Ragtime Jazz and Blues, as
well as all the other dance music to accompanying dances of the past ninety years. Today it generally refers to
the ballroom and night club version which is based on two slow and two quick counts or the slow and two quick
counts of rhythm dances. See also History of Swing

Sword Dance - One of the three chief English dances of Medieval times. It was a ritualistic and ceremonial
drama danced by men with swords and elaborate costumes while parading through the streets. It depicted the
death of the old year, of Winter, and of scarcity. It heralded in the New Year, with hope of Spring and plenty. To
symbolize the death of Winter, someone must always "die" and be brought to life again as a portrayal of death
and resurrection.
Tack Annie - A step used in the Shim Sham Shimmy. Supposedly, the name springs from an incident in Harlem
when a woman named Annie was being arrested by the police. As she was resisting, the children watching cried
out, "They're 'tackin' Annie!" The side to side movement of the woman's struggle was mimicked by tap dancers
in the step, and so the step got its name.

Tango - A social dance in 2/4 time, which after originating in Spain, developed in Argentina, where it was
influenced by black dance style and rhythm. See also History of Tango and Argentine Tango History.

Tango - Continental/English  There are essentially three types of Tango - Argentine, American and International
Style. Argentine Tango: (arrabalero) A dance created by the Gauchos in Buenos Aires. It was actually an attempt
on their part to imitate the Spanish dance except that they danced it in a closed ballroom position. The Tango
caused a sensation and was soon to be seen the world over in a more subdued version. American Tango: Unlike
the Argentine Tango, in which the dancer interprets the music spontaneously without any predetermined slows
or quicks, the American Tango features a structure which is correlated to the musical phrasing. The dance is
executed both in closed position and in various types of extravagant dance relationships which incorporate a
particular freedom of expression that is not present in the International style. International Tango: This is a highly
disciplined and distinctively structured form of the Tango which is accepted worldwide as the format for
dancesport events. The dancers remain in traditional closed position throughout and expresses both legato and
staccato aspects of the type of music appropriate to this style. See International Tango Syllabus

Evolution of Tango - The history of the Tango can be traced surprisingly enough to a country dance of 17th
Century England. The English country dance became the CONTREDANSE in France, and this in turn was called
the CONTRADANZA in Spain or later simply DANZA. When imported by the Spaniards into Cuba, it became the
DANZA HABANERA. During the Spanish American War, a popular dance called the Habanera del Cafe appeared
which was the prototype of the Tango.

Tarantella - Italian folk dance. Sometimes a single dancer gets up and spins alone until a partner joins in.
Sometimes several couples stand up together, like a country dance set, although pairs dance individually. Girls
use tambourines.

Third position - one foot in front of the other, parallel to it, with heel of front foot in hollow instep of back foot.

Tights (ballet) - A close-fitting garment covering the dancer's body from waist to feet, worn both in class and on
the stage.

Timing - dancing on time with the music.

Tour en l'air - A turn in the air, executed as the dancer jumps with the body held vertically straight. Males
perform single, double or triple tours.

Trenchmores - (Irish dance) a big free form country dance.

Truckin - An African American form of shuffling along while shaking the index finger of the fight hand above
the head. Popular in 1937.

Turkey Trot - a dance done to fast ragtime music popular from 1900 to 1910 such as Scott Joplin's Maple Leaf
Rag, etc. The basic step consisted of four hopping steps sideways first on one leg, then the other. It achieved
popularity chiefly as a result of its being denounced by the Vatican. The dance was embellished with scissor-like
flicks of the feet and fast trotting actions with abrupt stops.
Twist - This dance was written by an African American musician in Georgia in 1958. He and his band members
made up some twisting movements for the musicians to do while playing the music. Then in 1960, Chubby
Checker made his first twist record, and made the Twist famous in Philadelphia. Twist came to New York via
Philadelphia and New Jersey and then spread throughout most countries.

Two Step - a simple dance, more or less double quick march with a skip in each step done as rapidly as a
couple can go.

Variation - Any solo performance in a ballet.

Viennese Waltz - With such wonderful composers as Johann Strauss and others, the Waltz became more and
more refined. The steps became smaller with the turns smoother and more compact. Adding the graceful lilt of
the flowing skirts we have today's Viennese Waltz. See International Viennese Waltz syllabus.

Virginia Reel - One of the more popular of the Colonial Barn Dances.

Volte - The Volte was like the Landler, a forerunner of the Waltz. It was brought to the French court by
Catherine de Medici. The man turns his partner around several times and then helps her to take a high spring
into the air.

Zumba - fitness program inspired by Latin dance. Spanish slang for "to move fast and have fun"