RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

Unit 3 - Social Dance

Social dance is a non-competitive version of ballroom and latin

dancing. It is comprised of all the same dances, like Foxtrot, Tango,
Swing or Cha-cha, but to be used in practical settings. Social
dancing is less formal that exhibition dancing and is meant to be
enjoyed while socializing.

Learning Outcomes

At the end of this unit, you will be able to:

 Familiarized the basic steps of social dancing
 Demonstrates the ability to perform selected social dancing styles

Pretest

ESSAY:
Can anybody dance? Why or Why not?

Note: Write you answer in a Word document not limiting to 150 words. 

Note: Submit your output for this in Google Classroom.

Pass your output on our Facebook Group Page/Google

Classroom. If you have poor connectivity, unavailability of
internet connection and resources (CP, video cam, etc.) please
notify me so I could extend the deadline of the submission of
your output or adjustments with regards to your activity.

The next section is the content of this unit. It contains vital

information of the Social Dance. Please read the content.

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

Content

HISTORICAL BACKGROUND

History of Dance

In the eighteenth and nineteenth centuries, dance as a forum was used as a social
activity with a purpose; Balls and private parties were the deemed the appropriate social dos to
court a lady or to share the new trends in music and dance. Social dances mainly in the realm of
balls allowed politicians to exhibit their wealth, and associate with the influential persons. While
many dances had specific steps and figures, others were themed; military dances were both.

What is Social Dancing?

Social dance is a category of dances that have a social function and context. Social
dances are intended for participation rather than performance and can be led and followed with
relative ease. They are often danced merely to socialize and for entertainment, though they may
have ceremonial, competitive and erotic functions.
Social dance can derive from or be an activity within many different genres. It may be the
folk dances of a particular village performed on the local green or community centre or it may be
old time dancing conducted in a barn or public hall or even ballroom dancing, Latin American,
salsa or rock n roll or any contemporary dance that is public recreation rather than for display or
commercial benefit.
Many social dances are couple dances and the main thing is that people should mix and
regularly change partners. The optimum forms of social dances involve groups of people enjoying
activity within sets where groups and couples regularly change places or even partners. Some of
the main forms of group dancing within sets known as ‘country dancing’ are those in which
couples are aligned in either long ways, circular or columnar formation, or in squares called
‘quadrilles’. Interaction with other couples and sometimes progression of partners is an integral
part of this dance form. There are various categories of these dances within British, Scottish and
Irish traditions percolating across to a similar evolvement within Colonial Australia and
acknowledging an even larger proportion of the European mix of fashionable dances that in turn
developed from national and folk dance to become world-wide ‘crazes’.
Many social dances of European origin are in recent centuries partner dance but this is
quite rare elsewhere, where there may instead be circle dance or line dances, perhaps reserved
for those of a certain age, gender or social position.

Definition of dance

 Ballroom Dancing – a partner dance in a ballroom.

 Social dancing – synonymous of social dancing for recreational purposes and
entertainment. It is designed to bring people together for group participation and
enjoyment.
 Dance sport – a dance term given in a competition.

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SOCIAL DANCING – OBJECTIVE

1. To develop familiarity with different social dances for wholesome enjoyment and
recreation.
2. To promote national and international brotherhood through the study of social
dances and its music.

Values of Dance

1. Dancing Ability

It’s universal and truly portable. With the basic understanding of the fundamentals of dance that
taking dance lessons provides, you can literally dance throughout the world. All forms of dance
have similar foundational principles, and having the dancing ability that comes with building
upon these principles is a valuable skill that is always fun to have at dances and other social
events that involve dancing.

2. Social Interaction

Dance lessons have a way of developing and improving social relationships. Maybe it’s the
respect and control that dance lessons emphasize and teach. Maybe it’s just the camaraderie
of learning something valuable side-by-side with peers in a group setting. Either way, dance
lesions promote the lasting value of quality social interaction.

3. Having A Healthy Hobby

Having healthy hobbies are important to living a well-balanced life. And we all know how
healthy, physically and mentally, that dance can be. Dance lessons teach fitness, coordination,
balance, flexibility, and so much more—all in a fun and low-pressure environment. Mixing these
valuable qualities with the fun and excitement of dance makes for the perfect healthy hobby that
lasts for a lifetime.

4. Lasting Friendships Formed

Speaking of lasting values, what better value in life is there than a great friendship? Through
the social interaction and the diversity found in group dance lessons, it’s hard not to make fast
friends. Having a friendship that shares a common passion like dance is more than a
value…it’s truly invaluable.

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5. Educational Value

Perhaps the most important value of all is the educational value that dance lessons
promote. Clearly, dance lessons go beyond book learning, though. They also go beyond just
learning the steps and movements that make up dance routines. The educational values of
dance tend to surround learning discipline, responsibility, and respect. And it is through these
lasting values that nearly anything in life is possible.

BASIC PARTNER POSITIONS

Six basic partner positions are used in social dances. These basic dance positions determine
how you relate to your partner during the dance. The man stands on the left side, and the
woman is always on the right side in all these positions.

 Shine position - In this position, the partners face each other without touching.
 Two-hands joined position - Partners stand facing each other. Both the man and the woman
hold their elbows by their sides with their forearms extended. They can both have their palms
facing down, and the man can place his thumb in the woman's palm and wrap his fingers
around the top of her hands, or the man can have his palms facing up and place his thumb on
top of the woman's fingers and his fingers in her palm.
 One-hand joined position - This position is the same as the two-hands joined position except
that each partner uses only one hand.
 Closed position - The partners face each other in this position. The man's left hand holds the
woman's right hand. Palms are touching, and fingers and thumbs are loosely clasped around
each other's hands. The man's right hand rests on the woman's back, cradling her left shoulder
blade. The woman's left arm rests on top of the man's right arm, and her left hand rests gently
on his right shoulder.
 Semi open position - In this position, the partners stand beside each other with their bodies
turned at a 45-degree angle to each other. The man places his right hand below the woman's
left shoulder blade with his elbow slightly bent. The woman's left arm rests gently on the man's
right arm, and her left hand is in front of his right shoulder. Both partners extend their outside
arms and hold hands.
 Inside-hands joined position - The partners stand side by side. The man extends his right arm
and offers his right hand to his partner, and the woman places her left palm in the man's right
hand. Both place their outside hands on their hips.

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FOOT WORK AND FEET OF SOCIAL DANCE

1. Alignment - The direction that the feet are pointing in relationship to the room and to the
line of dance. Alignment can also indicate the direction of the movement.
2. Amount of turn - The amount of rotation of the feet which occurs on one step, or
between two consecutive steps. In the charts, rotation is measured in fractions of a full
turn. Body rotation is indicated only when different from the feet.
3. Arch- The part of the foot between the ball and the heel, which forms the shape of an
arch.
4. Ball -A type of footwork, abbreviated “B”. A “ball” step is taken without the heel in
contact with the floor, but with little or no rise resulting in the body.
5. Ball change - A change of weight from the ball of one foot to the flat of the other foot.
6. Ball-flat - A type of footwork, abbreviated “BF”. A “Ball-Flat” step is taken first with the
ball of the foot in contact with the floor, and then with the whole foot flat.
7. Ball-heel - A type of footwork, abbreviated “BH”. A “Ball-Heel” step is taken first with the
ball of the foot in contact with the floor, and then with the whole foot flat. In the Latin
dances, when a Ball-Heel step is being taken, the heel of the free foot will release from
the floor while the toe maintains contact. In Tango, the heel of the free foot will release,
except on back steps where the toe will release.
8. Brush - The action of closing the moving foot to the standing foot, without changing
weight, between steps.
9. Dig - To touch the ball or heel of the free foot to the floor with a strong emphasis.
10. First position - Feet together, toes forward and slightly turned out
11. Flat - A type of footwork, abbreviated “F”, or “WF” (for whole foot).
12. Flex - To incline the foot in such a way that it is placed at an angle nearly perpendicular
to the leg.
13. Foot positions - Indication of the placement of the feet relative to each other. Examples:
LF Forward, RF Side, LF Diagonally Back.
14. Foot pressure - Pressure applied to the floor through the free foot, often a result of
having partial body weight on it.
15. Foot rise - Elevation of the body through the use of the ankles, by pushing up onto the
balls of the feet.
16. Footwork - The part of the foot in contact with the floor at a specific point in time.
Examples: Ball, Heel, Inside Edge of Whole Foot.
17. Free foot - The foot that does not have the majority of body weight, being free enough
to move.
18. Heel - A type of footwork, abbreviated “H”, or “HF” (for Heel-Flat). A “heel” step is taken
first with the heel in contact with the floor, and then with the whole foot flat. (The “Flat”
is usually implied).
19. Heel lead - A step which is taken commencing with only the heel in contact with the
floor. The toe lowers to the floor when the majority of body weight is placed on it. This
type of footwork is often notated “heel”, or simply, “H”.
20. Heel pull - A type of Heel Turn where the moving foot is “pulled” back and to the side of
the supporting foot, slightly apart. The footwork of the moving foot is as follows: Heel
first, then Inside Edge of Foot, then Whole Foot.

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21. Heel turn - A turn taken with the weight over the heel of the supporting foot. The
movement commences with back step (Toe-Heel). The turn begins when the free foot
closes to the supporting foot, being held parallel throughout the turn. The weight then
transfers to the closing foot at the end of the turn.
22. Heel-ball - A type of footwork, abbreviated “HB”. A “heel-ball” step is taken commencing
with only the heel in contact with the floor. The toe lowers when the majority of body
weight is placed on it. The heel then disengages from the floor without body weight,
although not enough to cause any rise of the body.
23. Heel-ball twist turn - A type of Twist Turn taken with the weight distributed equally
between feet, on the heel of one foot, and the ball of the other. The turn is executed by
crossing one foot either in front of or behind the other, and then twisting in the direction
of the forward foot. When the turn is complete, the feet will have closed into first
position, having turned approximately 3/4 of a full turn.
24. Heel-toe - A type of footwork, abbreviated “HT”. A “heel-toe” step is taken commencing
with only the heel in contact with the floor. The toe lowers when the majority of body
weight is placed on it. Near the end of the step, the heel lifts from the floor, causing the
body to rise.
25. inside foot - The foot which is closer to the partner when in Promenade, Outside Partner,
or Side-by-Side Position.
26. Instep - The part of the foot which is on the inside edge, between the ball and the heel.
27. Moving foot - The foot that does not have the majority of body weight, being free
enough to move.
28. No foot rise - An action of rise which is taken through the knees and body only, but not
through the feet. When backward walks are indicated as having no foot rise, the toe of
the forward foot should release from the floor, allowing the heel to remain in contact as
it draws inward toward the standing foot.
29. Outside foot - The foot which is farther away from one’s partner when in Promenade,
Outside Partner, or Side-by-Side Position.
30. Point - An extended position of the foot which is achieved when the toe or ball is still in
contact with the floor, but the heel is not.
31. Pointing - Refers to the alignment of the feet when different from the direction the body
is facing or moving.
32. Pronate - To roll the foot so that the top angles inward (inside edge to the floor).
Pronation is a common technique in Latin and Rhythm styles.
33. Sickle - To roll the foot so that the top angles outward (outside edge to the floor). This is
almost always considered poor technique. Also known as supination.
34. Split - The feet move apart with the weight evenly distributed over both feet.
35. Standing foot - The foot which bears the majority of the body weight.
36. Supinate - To roll the foot to the outer edge.
37. Supporting foot - The foot which bears the majority of the body weight.
38. Toe release - The action of lifting the toe of the front foot from the floor, and maintaining
contact with the heel of the front foot while taking a backward walk
39. Toe-heel - The footwork used on a lowering action, abbreviated “TH”. Commencing from
a position of rise, the foot moves first with the toe in contact with the floor. The heel is
then lowered to the floor, and the body lowers and weight shifts over the foot.

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40. Tracking - The placement of the feet created by passing the free leg under the body
along very narrow imaginary tracks.
41. Turnout - A position of the feet in which the toes point away from each other.

Important Skills for Good Social Dancing

Leading and Following - The most important skill for good social dancing is Leading and
Following. This is the non-verbal communication from the leader to the follower indicating the
direction, timing, and style, among other things.

Posture and Dance Frame - If Leading and Following is a message, then good posture and
dance frame are the antenna broadcasting the signal.

Multi-Tasking - Ultimately, social dancing is having the ability to converse while dancing. Being
able to multi-task, like chatting about work or the weather while Waltzing, takes some practice
but allows dancing to develop into natural use much quicker.

SOCIAL DANCES/ BALLROOM DANCING TERMINOLOGIES

1. Ballroom Dance – a partner dance typically dances in ballroom.

2. Ball-change – two weight changes. First stepping back then and forward from the ball of
one foot onto the other.
3. Brocken rhythm – combination of slow and/ or quick beats that takes one or more
measure.
4. Carriage – correct alignment of boy part while moving
5. Downbeat – the 1st count of any measure.
6. Free foot – foot without any weight on it.
7. Inside foot – foot closest to the partner
8. Line of Direction – an imaginary line refers to the flow of traffic which is
counterclockwise around the perimeter of the room.
9. Outside foot – foot farthest
10. Schottische – combination of 3 walking steps and a hop
11. Shine position – facing position with partners standing approximately 2 feet apart
without touching.
12. Social dance – a partner dance for recreational purposes
13. Step – a transfer of weight from one foot to the other
14. Tempo – the speed of the music
15. Upbeat – the last beat of the measure which is often called and count when starting to
move with the music
16. New York – crossing R foot (for girl) of L foot (for boy) over L or R foot, arms at shoulder
level while the inside hand joined together.
17. Hand to hand – the outside foot is placed backward while doing the inside hand and
repeat to the opposite side.
18. Spot turn – a pivot turn to R or L shoulder and chasse to the L and repeat to the
opposite
19. Volta – crossing either R or L over L or R foot moving to L or R sideward and point
sideward

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LINE DANCING

Line dancing is exactly what its name implies: people dancing in lines to music. Line
dances are choreographed dances with a repeating series of steps that are performed in unison
by a group of people in lines or rows, most often without the dancers making contact with one
another.

All the dancers performing a line dance face the same direction and perform the steps at
exactly the same time. Although there are usually several lines, small groups may only form one
line, but it's still considered a line dance even if only two people are participating.

From the American immigrants' adaptation of polka and the waltz in the 1800s that
developed into square dancing to folk dances in schools of the 1900s, the origins of this dance
format are widespread. Discover more about this centuries-old dance format and how to line
dance below.

Line Dancing History

Although many popular line dances are set to country music, the first line dances did not
originate from country-western dancing. Line dancing is believed to have originated from folk
dancing, which has many similarities.

Contra dancing, a form of American folk dance in which the dancers form two parallel lines and
perform a sequence of dance movements with different partners down the length of the line,
probably had a huge influence on the line dancing steps we are familiar with today.

During the 1980s and 1990s, line dances started being created for popular country songs. One
example is a dance made for Billy Ray Cyrus' 1992 smash hit "Achy Breaky Heart." Even pop
music began to see an upswing in line dances in the 1990s, with "the Macarena" serving as a
sort of hybrid folk-pop dance number that swept the world by storm.

Line Dance Format

Basic line dances focus on movements of the legs and feet, with more advanced dances
including the arms and hands. The movements of a line dance are marked as "counts," where
one count generally equals one musical beat. A particular movement or step takes place at
each beat.

A line dance will have a certain number of counts, meaning the number of beats in one
complete sequence of the dance. For example, a 64-count dance would contain 64 beats. The
number of beats does not necessarily equal the number of steps, however, as steps can be
performed between two beats or over more than one beat.

Line dances are made up of a certain number of steps, with each step identified by a catchy
name. The Texas Two-Step, the Tush Push, the West Coast Shuffle, the Redneck Girl, and the
Boot Scootin' Boogie are all well-known line dances still performed in country-western bars
today.

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Line Dancing Today

Because its steps are simple and don't involve dancing with a partner, line dancing is
ideal for singles and people who don't normally dance. Line dancing is taught and practiced in
country-western dance bars, social clubs, and dance halls around the world.

One of the most popular line dances performed today is the "Cha-Cha Slide," whose
easy-to-follow steps are dictated right in the lyrics to the song, though you may be unfamiliar
with certain moves like the Charlie Brown. The "Cupid Shuffle" also became largely popular at
high school dances in the early 2000s and is still played in clubs.

Wherever the line dance originated, one thing's for certain: this easy-to-learn group
dance format isn't going anywhere anytime soon!

Line dances are defined by three things: level of difficulty, walls and count.

 Level of difficulty is divided into beginner (simple dance, easy to learn), intermediate (getting
harder, but without many tricky steps, even though the music may be fast) or advanced (tricky steps
and/or fast music).
 Walls are a requirement. You always turn or do part of a turn during a line dance sequence. The
number of 'walls' tells you how many sequences you do before you end up facing in the original
direction. It may give you an indication of how far you turn during each sequence, but this is by no
means a hard-and-fast rule. 'Walls' will always be one, two or four.
 Count is the number of beats one sequence of the dance runs over. The count will usually be a
multiple of eight or 16. Common counts are 16, 32, 40 and 48. Occasionally you will find a line dance
with a count that's a multiple of four or two, but these are less common. Generally speaking, the
higher the count the more difficult the dance is likely to be, as there will be more steps to remember.

Now that you had learned about line dancing, do the succeeding learning activities. If you
have questions regarding the activity, you may contact/message me on my educational
Facebook page (JHONNY ALMIROL).

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Learning Activities

Activity 1: Create!
 Make a 4 figure of basic dance step of cha-cha-cha. 16 counts of each figure.
 Make a 2 figures of a full turn combination. 16 counts each figure.
 Send your finish activity on our Facebook Group Page.
 Go to page 32 for the rubric.

Pass your output on our Facebook Group Page/Google

Classroom. If you have poor connectivity, unavailability of
internet connection and resources (CP, video cam, etc.) please
notify me so I could extend the deadline of the submission of
your output or adjustments with regards to your activity.

You did a great job! If you have not completed the task, or you
have difficulty in accomplishing the activity, please send me a
message at my educational Facebook page (JHONNY ALMIROL).

And now, you are ready for the assessment.

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Assessment: Perform!
 Memorize and perfect activity 1
 Use the dance combination that you made in activity 1 to make a line dancing formation.
 Send output on our Facebook group page.

Pass your output on our Facebook Group Page/Google

Classroom. If you have poor connectivity, unavailability of
internet connection and resources (CP, video cam, etc.) please
notify me so I could extend the deadline of the submission of
your output or adjustments with regards to your activity.

You did a great job! If you have not completed the task, or you
have difficulty in accomplishing the activity, please send me a
message at my educational Facebook page (JHONNY ALMIROL).

Congratulations! You have just finished all your activities!

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RUBRIC

Weight Musicality Degree of Difficulty Characterization

(timing, dynamics, (complexity and Intricacy in (behavior during
and mastery) the use of Rhythmic performance)
Patterns in Various Meters)

40% 40% 20%

5 MASTERFUL: performs SKILLFUL: creates skillful MATURE: demonstrate
rhythmic composition composition of complex and proper characterization
with high level of intricate rhythmic patterns in and appropriate behavior
musicality while double, triple, and quadruple in the performance and
observing proper timing, meters with high level of
dynamics and mastery. confidence.
4 STRATEGIC: performs COMPETENT: creates SENSITIVE:
rhythmic compositions certain degree of skillful demonstrate proper
with a certain level of composition of complex characterization and
musicality, while rhythmic patterns in double, appropriate behavior in
observing proper timing, triple and quadruple meters. the performance and
and mastery, but with with a certain level of
limited ability to perform confidence
dynamics
3 ABLE: performs PRACTITIONER: create a AWARE: demonstrates
rhythmic compositions commonly accepted generally acceptable
with mastery and limited composition of simple characterization and
but growing ability to rhythmic patterns in double, proper behavior toward
perform with timing and triple and quadruple meters. the performance and
dynamics. with a certain level of
confidence.
2 APPRENTICE: APPRENTICE: creates DECENTRING:
performs rhythmic rhythmic patterns but could demonstrate inconsistent
compositions with hardly distinguish differences characterization and
general mastery but among double, triple and demonstrate low level of
could hardly adapt to quadruple meters. confidence.
varying dynamics in
timing.
1 NOVICE: performs NOVICE: cannot create any EGOCENTRIC:
rhythmic patterns with rhythmic pattern at all. demonstrate little or no
low or no mastery, characterization and
timing, and dynamics behaves in appropriately
toward the performance.

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GLOSSARY
A–K
Ball change
is a movement where the dancer shifts the weight from the ball of one foot to the other and
back.[1] We mostly use this in jazz and jive
Basic (step / figure / movement / or pattern)
A basic figure is the very basic step that defines the character of a dance. Often it is called just
thus: "basic movement", "basic step" or the like. For some dances it is sufficient to know the basic
step performed in different handholds and dance position to enjoy it socially.

Box step

The box step is a dance figure named so because the steps rest in the four corners of a square.
It is used, e.g., in American style ballroom dances: rumba, waltz, bronze-level foxtrot. The leader
begins with the left foot and proceeds as follows.
First half-box: Forward-side-together
Second half-box: Backwards-side-together

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Every step is with full weight transfer. During the second and fourth step it is advised the
foot to travel along two sides of the box, rather than along its diagonal.
Rhythm varies, e.g., it is "1-2-3,4-5-6" in Waltz and "slow quick quick, slow quick quick"
in Rumba.
Chaînés / chainé turns / chaines turns.
French for "chain", a series of quick turns starting from second position going to first position
alternating on either flat feet or on releve with progression along a straight line or circle.
Chassé
(French, "to chase") is a dance step with a triple step pattern used in many forms of dance. It is
a gliding, flowing step with the feet essentially following a step–together–step pattern. Timing and
length of steps vary from dance to dance.
Closed change
is a basic step in the waltz. The man steps forward on either foot whilst the lady steps backward
on the opposing foot (e.g.: the man steps forward on his right foot whilst the lady steps back on
her left). They will then step to the side on the other foot, and conclude the figure by closing the
first foot beside the second (hence the name "closed" of the step). Each step takes up a full beat
of the music.
Cross-body lead
Cross-body lead is a common and useful move in latin dances such as salsa, mambo, rumba
and cha-cha-cha. Basically, the man on counts 2 and 3 of his basic step (assuming dancing on
1) does a quarter-left turn (90° counter-clockwise) while still holding on to the woman. On counts
4 and 5, he leads the woman forward across him, firmly leads her with his right hand on her back,
so that she travels across and turns around and faces the opposite direction she was facing. At
the same time, the man does another quarter-left turn as necessary in order to follow the woman
and face her. At the end of the move, the dancers have their positions exchanged.
The cross-body lead can be done with single-hand or double hand hold, with or without a woman's
underarm turn, or leading the woman to do a free spin.
Dos-à-dos / dosado
is a circular movement where two people, who are initially facing each other, walk around each
other without or almost without turning, i.e., facing in the same direction (same wall) all the time.
Double reverse spin
is a full left (counter-clockwise) turn in one measure of music. It is danced in waltz, quickstep and
tango.
Enchufla
This is a dance movement common in salsa, where the two dance partners facing each other
change positions. The dance partners keep contact with one or two hands while stepping to rotate
concentrically over 180 degrees around the same point in opposite directions.
Feather step
is a basic figure in international style foxtrot, in which the man makes three or four steps basically
forward, with the third one (right foot) done outside the lady.
Free spin

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In lead and follow dance, a dance turn performed without partner contact.
Gancho
"Gancho" means "hook" in Spanish and describes certain "hooking actions" in some dances of
Latin American heritage, in argentine tango(leg action) and salsa (arm action and foot action) in
particular.
Grapevine
The grapevine or vine starts with a side step, then the working leg goes behind, then stepping to
the side, then join.
Heel pull
A variant of the heel turn, in which the feet are kept apart.

Heel turn
A ballroom dance move, which is the turn on the heel of the support foot while the other foot is
held close and parallel to the support one. At the end of the turn the weight is transferred from
one foot to another.
Impetus
The impetus is a kind of leader's heel turn used in Standard dances. In case of the open impetus,
it brings the couple from a closed position into promenade position.
Inside partner step
A step taken forward into the space occupied by the partner, while the partner steps backwards.
During this step feet tracks of both partners overlap. See also outside partner step.
Inside turn
The term is applied to an individual turn of a partner in the couple. Basically, it denotes a turn
where the arm of the partner doing the turn begins by moving towards the "inside" of the couple
(the line running from the center of one partner to the center of the other). The meaning is
intuitively clear, but it may be performed in numerous ways and in different handholds, so that
even accomplished dancers are confused. In dances such as swing and salsa, inside and outside
turns most commonly refer to underarm turns done by the follower. Since in these dances the
follower's right arm is normally used to lead a turn (most commonly by the leader's left arm, but
sometimes by the leader's right arm when a cross-hand or "handshake" position is used), an
inside turn is normally a left (counter-clockwise) turn, while an outside turn is a right (clockwise)
turn. However, if the follower's left arm is used to initiate the turn, the intended direction of turning
may be opposite. (Alternatively, the non-ambiguous terms "left turn" and "right turn" may be used.)

Kick
Moving the knee upwards and then quickly kicking downwards with the foot. The ankle is
stretched, that is, the toes are pointing down.

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L–Z
Lock step
A lock step is an alternative variation of a chassé action which occurs when the moving foot
swings to a stop across the track of the standing foot rather than closing next to it. In the Latin
dances the combination of the crossed position and the turnout of the feet means that the rear
toe will be pointed at the heel of the other foot, while in the Standard dances the lack of turnout
means the feet will be parallel. In Standard the basic locking action is usually preceded and
followed by a left side lead. The Latin lock step is often featured when cha-cha is danced in open
position with a one-hand hold.
Moonwalk
The moonwalk is a dance technique that presents the illusion of the dancer being pulled
backwards while attempting to walk forward.

Natural turn
Natural turns and some other figures are those in which the dance couple rotates to the right
(clockwise).
Open turn
A ballroom dance figure in which during the last step the moving foot passes the support foot,
rather than closes to it.
Outside partner step
A step taken with the partner beside the moving foot (e.g., to the left of the left moving foot).
During this step feet tracks of both partners do not overlap. See also inside partner step.
Outside turn
The term is applied to an individual turn of a partner in the couple. Basically, it denotes the
lead/follow connection directed "outside" of the center of the spinning individual. Inside and
outside terminology can not be determined by relativity to partnership as such position alternates
every 180 degrees of rotation. Connection points and application of active side are consistent
only with regard to the axis of rotation and direction of spin.
Pirouette
A pirouette usually means turning or spinning on one foot while touching the standing leg with the
opposite leg in a bent position.
Reverse turn
Reverse turns and some other figures are those in which the dance couple rotates to the left
(counter-clockwise).

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

Rond
A toe of the straight leg draws a semicircle on the floor. In ballroom dances the direction is usually
from the front to back.
Spin turn
The natural spin turn is a common right-turning move in international standard waltz and
quickstep. It can be used, for example, to navigate a corner of the ballroom.
Thunder clap
The thunder clap is a form of dance that incorporates clapping in the air with a sliding motion. To
perform this dance one must raise one hand and then with the second hand meet the first one
half way making a clapping sound; that hand must then fully extend. This motion is repeated to
the beat of the music.
Time step
In tap dancing, the time step is a recognizable rhythmic tap combination. The term comes from
the time of great tap dancers that used their distinctive time step to tell the band the desired
tempo. Common tap time steps are classified as single, double and triple. The basic rhythm and
tempo remain the same but the number of sounds that happen on the second and sixth count of
an eight-count phrase denotes single (often a single step) double (usually a flap or slap-tap) or
triple (commonly shuffle-step). While these are the universal time steps, dancers often choose to
create their own time steps, following the pattern two bars repeated three times with a two
bar break.

 Time steps is a figure in International Style cha-cha-cha.

 In various rhythmic ballroom/social dances, time step sometimes refers to steps in
place that mark the characteristic rhythm of the dance, "2-3-cha-cha-cha" for Cha-
cha-cha, "1,2,3,4" for pasodoble, "1,2,3,...5,6,7,..." for "salsa on one", etc.
Walk
The walk is probably the most basic dance move. It exists in almost every dance. Walks
approximately correspond normal walking steps, taking into the account the basic technique of
the dance in question. (For example, in Latin-dance walks the toe hits the floor first, rather than
the heel.)
In dance descriptions the term walk is usually applied when two or more steps are taken in the
same direction. A single step, e.g., forward, is called just thus: "step forward".
Walks can be done in various dance positions: in closed position, promenade position, shadow
position, sweetheart position, etc.
Curved walks are done along a curve, rather than along a straight line.
Whisk
The various kinds of whisk are dance moves in International Standard and American Smooth
dances. They are characterised by the partners crossing their outside legs behind their inside
legs, arriving in promenade position.
Wing
The wing is a move in waltz and other Standard dances. Both partners take a step forward, and
then the lady walks in a half-circle in front of the man from his right to his left side.

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

MODERN DANCE GLOSSARY

body roll: A rolling movement through the body.

bridge: Also called a back bend.

chest lift: With back on the floor, chest lifts off the floor.

compass turn: Like an arabesque turn, but the toes stay in contact with the floor.

coccyx balance: Balance on the coccyx, both knees bent with lower legs parallel to ceiling and
feet pointed, torso may tilt slightly backward, arms are parallel with lower legs.

[Horton technique] contraction: Tightening the abdominals, tucking the pelvis, and forming a
“C” with the torso so that the shoulders are over the pelvis.

[Graham technique] fan kick: A high straight leg kick in which the gesture leg makes a
swooping circular arc across the front of the body.

flat back: Position in which the legs are in parallel, the back is kept flat, parallel to the floor, with
the torso hinged at the hips.

[Horton technique] flea slide: Slide on a diagonal line in passé.

forced arch: Weightbearing position of the foot in which the heel is lifted and the knee is bent
with extreme metatarsal dorsiflexion.

Graham technique: A modern dance technique developed by Martha Graham, based on

“contraction and release” as the motivation of all movement. Includes term such as spiral, tilt,
and pitch turn. Used in the choreography of Graham, Ailey, and Elisa Monte companies.

isolations: Moving one part of the body, such as the head, shoulder, ribs, or hips, while the rest
are immobile.

jazz frame: Arms are crossed overhead with fingers in jazz hands.

jazz hand: Fingers are spread.

hinge: Legs are in parallel, pelvis is pressed diagonally forward, torso tilted diagonally
backward, knees are bent and approximately 3” off the floor, heels are raised to 1/4” relevé.

Horton technique: A modern dance technique which was developed from a balance study by
Lester Horton. Includes terms such as flat back, primitive squat, T, table, and stag. Used within
the choreography of companies such as Ailey, Philadanco, and Tristler.

Humphrey technique: A modern dance technique based on the concept of “fall and recovery”,
developed by Doris Humphrey. A predecessor and mentor to José Limón of Limón technique.

knee hinge: A tilt of the torso in which the knees are bent and at a 45° angle, the back is flat,
and the heels are lifted.

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

[Horton technique] lateral: A side stretch of the torso, with legs in 2nd position.

Limón technique: A modern dance technique developed by Jose Limón, which built on the
concepts of Doris Humphrey and is based on the “fall, recovery, and rebound”. Used within the
choreography of Limón, Falco, Muller, and Lubovitch.

lunge: A large, open fourth position in which one knee is bent (usually the front), and the other
is straight. Primitive

squat: Legs are in parallel, torso is straight, knees are fully bent, with heels remaining on the
floor in a squat.

[Horton technique]. release: A relaxing or arching movement.

Russian: Also called a toe touch jump in second position.

shimmy: Shoulder shaking: alternating in a rapid motion.

Sixth position: Feet in parallel, and together. (Also known as parallel first).

spiral: Rotation of the torso around the pelvis.

[Graham technique]. stag: Leap in which the forward leg is in parallel passé and the backward
leg is in attitude turned out.

[Horton technique]. “V” Position: Position in which the arms, legs, and body make a “V”
shape.

wrist press: Flexing the hand and pushing the palm away from the shoulder.

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

USERS’ EVALUATION FORM

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

Developed by:
Henedina Zumel Rocamora
Assistant Professor 1
Jose Rizal Memorial State University Main Campus

Took up BSPE at Mindanao State University, Marawi

City. A Graduate of Bachelor of Science in Industrial
Education at Zamboanga City Polytechnique College,
Zamboanga City. A Member of Philippine Folk Dance Society
since 1991 and Dance Education Association of the
Philippines. Trainor and choreographer of the famous Indak
Pinoy Dance troupe during the Wow Philippines held in
Intramus Manila. Director of Jete Performing Arts Studio.

John Rey Rocamora

Part – Time Instructor
Jose Rizal Memorial State University Main Campus

I’m a graduate of Hospitality Industry, Hotel and

Restaurant Management at Saint Vincent’s College, currently
taking masters degree of physical education at Jose Rizal
Memorial State University. A pilates instructor, Classically-
educated ballet, modern, contemporary dancer, jazz, Hip
Hop. A teacher with 11 years of experience. Trained under
Ms. Henedina Rocamora (dance teacher of the well-known
Indak Pinoy dance troupe), Nicolas Pacana (principal dancer,
former artistic director of Atlanta Festival Ballet USA, and the
premier danseur of the philippines ), Mr. Gregory Aaron
former artistic director of Atlanta Festival Ballet USA), Ms.
Johanna Mangubat (former head dance teacher of Ballet
Center Cebu), owner of Cebu Center of Dance), right hand
man of Mr. Miguel Braganza (world-wide known Broadway
and theatre director). Attended various workshops, seminar,
and training on the field of dance. Work as a lead dancer in
Ballet Center Cebu, Russian Ballet School Thailand, Siraya
Music School Thailand. Performed a number of full length
ballet at cinema one Ayala Center Cebu, Teatro Junquera,
provinces of Bohol, Dipolog and Dapitan City, Luce
Audetorium Siliman, theatre and mall shows of various places
in Thailand. Coaches ballet competition abroad and won
Awards (won 3 golds and a silver of Asia Pacific Arts Festival
in Singapore and Vietnam, overall champion of the Acts of
Friendly Dance Competition in Malaysia).

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RHYTHMICAL BUSTLES OF DANCE FOR HEALTH AND WELLNESS

Jhonny Tejada Almirol, LPT

Part-Time Instructor
Jose Rizal Memorial State University Main Campus

A graduate of Jose Rizal Memorial State University,

Main Campus, Dapitan City with the degree of Bachelor in
Secondary Education Major in MAPEH. A pioneering
member, First Official President, Head Choreographer, Lead
Actor and Lead Vocalist of Teyatro Dasuliman, National
Commission for Culture in the Arts – National Committee on
Dramatic Arts member, Cultural Center of the Philippines
recognized for the play, “Silahis” as printed in the CCP official
publication, “ANI”. He has been part of the National Aliw
Awardee Best in Children’s Production (2016), Best in
Instrumentalist (2016), Best Performer in New Concept
Production (2016), Best Cultural Group (2016) and two-time
Best in New Concept Production (2015 & 2016), SINGHAY
DAPITAN. His personal achievements are Best Director at
Handuraw Film Festival 2017, including the team winning
Best Actress, Best Actor, Best Supporting Actress, Best Film,
Best in Cinematography. World Art’s Camp Olympiad 2018
Pulot Pudyot Visual Arts Category Champion. Participated
and Won as First Runner-up in Mindanao Association of State
Universities and Colleges 2017 Short and Sweet Play
Category. Gloria’s Fantasyland 4-Year Performer. JRMSU,
Main Campus 2018 Chorale Conducting - Best Choral
Conductor, Best Choral Piece, Best Chorale Group. Most
Outstanding University Performing Artist 2018 (Anak Diyandi
Awardee). CARAGA Regional Festival of Talents Resident
Judge. Teyatro Dasuliman Professional Marketing and
Recruitment Director. Studies Master of Arts in Physical
Education.

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