Rhythmic Activities

Marty R. Valero
 Table of Contents

Module 1: History of Dance

Introduction 1
Intended Learning Outcomes 1
Lesson 1. Brief History of Dance 2
Lesson 2. Modes of Dance 4
Lesson 3. Elements of Dance 5
Assessment Task 1 6
Summary 7
References 8

Module 2: Understanding Folk Dances

Introduction 9
Intended Learning Outcomes 9
Lesson 1. Origin and Historical Background 10
Assessment Task 2 13
Summary 15
References 15

Module 3: Basic Movement Processes

Introduction 16
Intended Learning Outcomes 16
Lesson 1. Body Movement 17
Lesson 2. Dance Fundamentals 20
Lesson 3. Dance Terms 2 23
3
Lesson 4. Dance Steps in and 26
4 4
Assessment Task 3 31
Summary 32
References 33

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Course Code: PE 2
Course Description:
This course provides students with opportunities to appreciate and
understand our own culture and other people through dances. It deals with
the fundamental steps in folk and social dancing.

Course Intended Learning Outcomes (CILO):

At the end of this course, the students should be able to:
1. Foster patriotism and nationalism through the study of our dances.
2. Value the historical development of dance in our culture
3. Demonstrate the growth of Filipino culture through the evolution of
Philippine dances.
4. Appreciate and identify the different classifications of dance.
5. Encourage and develop social dancing.
6. Provide, through dancing a healthful form of relaxation and recreation.

Course Requirements:
 Assessment Tasks - 60%
 Major Exams - 40%
_________
Periodic Grade 100%

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 MODULE 1

History of Dance

Introduction

For the primitive people dance was one of the most important interests of life. They
danced because they believed that dances bring magic. They danced when the great events
of life were celebrated, like birth, growing into manhood or womanhood, during marriage and
even death. They danced to persuade nature to bring rain or sun for good crops, or they
danced to drive out illness, misfortune and the evil spirit. They danced to bring good luck in
hunting and fishing. And they danced to increase their courage for battle of war.

Their dance movements were quite free using the whole body to express whatever
feeling was desired. The rhythm was often mounted in excitement and increase in speed,
which made the dancer lose himself on the height of his emotion and movement.

Intended Learning Outcomes

At the end of module 1, students should be able to:

1. Trace the origin and historical background of dance.

2. Identify the different dances from other countries.
3. Recognize the different cultures, through dance, of other countries.
4. Classify the modes and elements of dance.

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Lesson 1. Brief History of Dance
(Perez, Santos, Evangelista, 2006; Perez, Luna, Tomas, 2004; Vergara, 2006)

a. Dance in Ancient Times

The dance rituals in the ancient times became more complicated and elaborate. Only
the priest came to be in-charge of the dance.

The ancient Egyptian dances were mostly for religious worship or for magic in ringing
good crops. There were dances performed privately before kings but these were purely for
entertainment and the dancers were slaves brought from other countries.

Dances of ancient Greece stemmed from the tradition of the Olympic Games
celebrated as a public festival of ace, competition in skill, and rhythmic gymnastics. Since
Greeks worship physical perfection, they considered dance an intelligent and physical
expression of idea through rhythmic movement. This art of gestures, the pantomime became
one of their greatest contributions to the world of theatrical entertainment.

The Romans had religious folk dances, but were mostly copied from other countries.
They danced very little so he dancers from the conquered countries performed dances.

B. Dance in the Middle ages

During the Middle Ages the brutal games of the gladiators were wiped out together
with the pagan rituals they used to cover-up this brutality. The church, to strengthen
Christianity, banned dances. Despite the ban, people continue to do their folk dances on
holidays. After many years the Roman saw the art, drama, music and rhythmic movement
would add interest to religious rituals. Pantomime and dance movements were added to
religious play. Drama and movements were used to tell the lives of saints and other Bible
characters.

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C. Dance of Renaissance
With the wonderful age of the Renaissance, the interest in dance was refreshed. The
nobles of the different castles and countries changed the folk or ritual dances with the court
dances to suit more formal and elegant atmosphere of the court. They danced just for the fun
of dancing; the social dancing called ballroom dancing.

D. Dance in the East

The dance of the Western Asia, or he East was based on the folk dance of Europe,
where most part was religious rites and ceremonies’

1. HINDU DANCE

The Hindus of India developed the language of symbolic hand gestures called mudras.
This gesture accompanied by the rhythm of the feet and appropriate body positions tells the
story. The Hindus believed that dance is the source of joy and discipline through which one
finds spiritual understanding necessary to develop character.

2. CHINESE DANCE

Chinese dance is the story of Chinese drama and music, the purpose of which is to
preserve the centuries of the legend of gods, heroes and historical events. The basic principle
of Chinese dance is to choreograph for the costume instead of for the body. The Chinese
festivals are full of colorful dance celebrations like the New Year’s Lions Dragon Dances, the
Great Lantern Festival, Dragon Boat Festival and Harvest Festival.

3. JAPANESE DANCE

Japan dance has been linked with the theater, especially with the classical Noh
Drama, known as the theater of the scholars. In the Noh Drama dances are influenced by the
theories of breathing that dictate a tempo for every emotion and with certain movement
reserved in a special part of the stage. Rhythmic stamping of feet, gliding steps, sudden

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shouts and sleeve gestures portray the story. Each step of the foot and each hand gesture is
carefully timed and stylized.

The Kabuki Theater is the theater of the people. The Kabuki Theater includes their
established traditional dances, prayer dances, festival dances historical dances, stories of
daily life dances and some borrowed comic dances from the Noh. There were dance
movements in all their drama but, there were dances in pure form.

Lesson 2. Modes of Dance

(Perez et. al., 2006; Perez et. al., 2004; Vergara, 2006)

The modern world has seven large modes or categories of dance, three of which are
generally executed by professional artist, the ballet, modern dance and classical dance. The
folk and ethnic dances, ballroom, and popular dances involved the participation of everyone
but can also be featured by professional performers on theaters.

1. Ballet is a highly disciplined and codified dance form drawn from the classical
performance with the most choreographic and contemporary approaches This dance
rooted as far as back as the 17 th century on the reign of Louis XIV of France, and
launched as a professional art by Jean Baptiste Lully.

2. Modern Dance refers to a mode of dance that appeared in the 20 th century. It is modern
in the sense that it is a present-day expression of dance, finding new forms, new
movements and new rhythm to create artistic communication. This is a revolutionary
form of dance against the formalism of the traditional ballet.

3. Classical Dance refers to the dances with standard rules and restrictions, dances that
are common in Asian countries. This often narrates stories of historical events,
mythology and legends like the Kabuki of Japan, Dragon Dance and Lantern Festival
dance of China and the Mudras of India.

4. Folk Dance is one performed by group of people from different localities especially for
recreation and for a feeling of togetherness from an ancient ritual.

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 5. Ethnic Dance is highly traditional folk dance usually of religious nature created by
people of certain localities to teach its history, customs, and beliefs.
6. Ballroom or Social Dance is a dance of the 20 th century, which originated during the
17th and 18th centuries from the French courts mainly to entertain guests. There
evolved quite a number of this od of dance but due to the changing moos and inspiration
of the society , many of them turned out short-lived and few remained popular up to the
present especially for several gatherings: these are the waltz, polka, tango rumba,
samba and cha-cha-cha.

Popular Dance or Modern Ballroom is the fashionable short-lived ballroom dance of the
present times. It places strong emphasis on individuality and musical expression. The visual
syncopation is evidenced by the frequent dynamic changes and unexpected movements that
make the dance exciting. Hip-hop, break dancing disco, twist and swing are among the
popular dance crazes done to the music of their times (Perez A, Santos A, Evangelista T,
2006; Perez V, Luna L, Tomas C – 2004; Vergara L, 2006).

Lesson 3. Elements of Dance (Vergara, 2006)

The dance has its own language. We should know more about the elements of dance
if we are to understand what the dance is all about, what feelings it would like to evoke and
the message it communicates so that we can derive much pleasure and enjoyment in viewing
the dance.

CONTENT THEME – a dance usually tells a story, conveys an emotion or expresses an

attitude. It is like drama but instead of using dialogue, the dance uses bodily movements and
gestures to communicate to the audience.

The theme of the dance is the unifying element that holds the dance together.

A dance may not tell a story. It may only be exhibition for the public to admire the ability of
the dancers and the beautiful design and attractive costumes that they wear.

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MOVEMENT – Movement is the fundamental element of dance. Movement is the means by
which the dancer can manifest her emotions and inner feelings to the audience. A dance
movement must convey emotion otherwise, it will seem mechanical and devoid of human
feeling.

Movement must be dynamic. In dance, dynamics refer to contrasts of speed and

energy forces. The movement may be slow or fast, may accelerate or slow down. There is a
balance in contrast, a progress toward a climax showing proper relationships among the
different movements and proper sequences between one movement and the next.

MUSIC – Music should relate to the dance for which it was created. It should not be just an
aid to the rhythmic movement of the dancers.

When one moves as a result of some strong emotional reaction, one will either shout
or laugh for joy. Strong emotions and feelings motivate the movements of the dancers.

SPECTACLE – The music and sequences of movements by the dancers cast a kind of spell
upon the audience. The scenery and the costumes contribute to the dazzling spectacle and
mesmerize the audience.

The music, stage décor, costumes as well as movement together combine to

communicate a message or tell a story to the audience . These, plus the technical skill and
expressive power of the dancer help to dazzle the audience (Vergara, A., 2006).

Assessment Task 1

Matching Type: Match column A with column B. Write letters only. (Submit your task through
google classroom).

Column A Column B

1. Ancient Greece A. The church banned dance.

2. Middle Ages B. The dance uses bodily movement instead of dialogue.

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 3. Hindu Dance C. Feeling of togetherness from an ancient ritual.
4. Chinese Dance D. Symbolic hand gestures called mundras.
5. Japanese Dance E. The Great Lantern Festival
6. Ballet F. Fundamental element of dance.
7. Modern Dance G. Strong emphasis on individuality.
8. Classical Dance H. Result of some strong emotional reaction.
9. Folk Dance I. Dance linked with Noh Drama.
10. Ethnic Dance J. It is a present-day expression.
11. Ballroom Dance K. Highly traditional folk dance.
12. Popular Dance L. These are the waltz, polka, tango.
13. Content Theme M. Only the priest came to be in charge of dance.
14. Movement N. Launched as a professional art.
15. Music O. Narrates stories of historical events.

Summary

The dance has its own elements: content, theme, movement, music, and spectacle.
Dance is part of many systems of belief about the universe that deal with the nature and
mystery of human existence and involve feelings, thoughts, and actions. From a comparative
worldwide perspective, dance may be human behavior composed (from the dancer's point of
view) of purposeful, intentionally rhythmical, and culturally patterned sequences of nonverbal
body movements in time, in space, and with effort. Different from ordinary motor activities,
these movements have inherent and "aesthetic" values; that is, they have both
appropriateness and competency (Dance: Dance and Religion , 2017).

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 References

Peres, A., Santos, E., & Evangelista, T. (2006). Active MAPEH I. Sampaloc, Manila,
Philippines: Magallanes Publishing House.

Perez, V., Luna, L., & Tomas, C. (2004). MAPEH I. Quezon City, Philippines: St. Bernadette
Publications, Inc.

Vergara, L. (2006). MAPEH for a better you. Quezon City, Philippines: LG & M Corporation.

Dance: Dance and Religion . (2017, Jan 14). Retrieved from www.encyclopedia.com:
https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-
and-maps/dance-dance-and-religion

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 MODULE 2
UNDERSTANDING FOLK DANCES

Introduction

In generic perspective, folk dances ae reflections of any cultural heritage. The music,
steps, sequences of movements, formations and rhythmic patterns are ingrained in the
creation of folk dances. Old and new folk dances express the customs, traditions, sentiments,
and feelings of people. These also serve a primordial function in the treasury of folklore, which
provides wholesome opportunities for relaxation, recreation, fun, enjoyment and
entertainment.

From the age of antiquity to the present times, the development of folk dances in our
country have been nurtured incessantly to keep pace with the element of costumes, work
styles, habits, religious practices, habitual manifestations, climatic conditions, racial identity,
and ethnic rituals. Original styles and rhythmic movements may have been modified or lost
but the cultural expressions exhibited in each dance are distinct and genuine.

Intended Learning Outcomes

At the end of module 2, students should be able to:

1. Define folk dance and ethnic dance

2. Trace the history and origin of folk dances

3. Cite how folk dances can serve as a cultural legacy.

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Lesson 1. Origin and Historical Background (Vergara, 2006)
Ethnic Tradition

Most folk dances originated as the traditional dances of a country that evolve from the
everyday activities and experiences of its people. Before, people developed dances to
celebrate events such as birth, marriage, and even death. In some places, young males
conducted courtship through dances.

Some folk dances are performed to cure disease, to obtain favors as good harvest,
or to celebrate success in battle.

Authorities see no difference between folk dances and ethnic dances which are found
among the ethnic groups all over the Philippines. These dances are: the ritual dances, which
has something to do with the spirit, the life cycle dances, which celebrate an individual’s birth,
baptism, courtship, wedding and death, and the occupational dances.

1. Ritual Dances.

a. The DUGSO among the Higaonon is a thanksgiving for a bountiful harvest, the birth
of a male child and for victory in war.

b. The PAGDIWATA of Palawan involves offerings during a festival to solicit a good

harvest.

c. The CANAO in the Cordilleras offers chicken, pig and carabao as sacrifice.

d. The SANGHIYANG OF Alfonso,Cavite is a ritual dance over a fire.

e. The HINAKLARAN of Bukidnon is an offering, festival and ritual dance of the three
datus.

f. The MANDADAWAK or ALPOGAN of Tinguian in the maountains of Abra worship

their anito, the spirits, ancestral dead and their great god.

g. The ANITUAN of the Aeta of Zambales drive away the evil spirit that cause sickness.

h. The MANDAYA of Davao hold various rituals to court the favors of various
environmental spirits.

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 i. The BAGOBO of Davao believes in Pamulak Manobo who created heaven and the
earth, and molded the first man named Taglai and woman named Toglibon.

j. The ISNEG of the northeast Cordillera are as colorful in their clothes as they are in
their feasts.

k. The BUKLOG of Subanon is a very old rite; a communal celebration, an offering of

the gods, and a spiritual experience.

2. Life-cycle Dances.

a. The Bilaan of Davao and Cotabato are rich in ritual imagination. Cradles called
ASLOLOG ABAN hel on mat is a common ritual object in the south and blanket in
the north. The parents assured the marriage of their children..

b. In the Cordilleras, the Ifugao boys may play with their flat tops or learn the dexterous
rhythm of their music and dances like the DINNUYYA.

c. The gliding INAGONG and hunting dance in Bukidnon a d Kabanglasan in Mindanao

can be learned.

d. Girls from Bukidnon, Tigwahanon, Matigsalug, and Higaonon join adults to learn a
range of dances that stimulate painting, wave parallel hands to bamboo guitars or
saluray, display a flag-like palm leaves or lukay and imitate hawks a in banog-banog.

3. Courtship

It is enacted by adventurous young men and attractive maidens whenever the

Matigsalug play the saluray and kuglong, haglong, faglong and sing and dance together.

4. The Occupational Dances

a. The Bilaan people act out a whole sequence from men, choosing and clearing a field
to women bringing food. The men digging the ground with poles, while the woman

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 sowing seeds from their baskets, and finally harvesting, to a more leisurely rhythm
of the haglong and gongs.

b. In Bukidnon, the planting is done using their tudak or the digging poles, seed, harvest
baskets and pestles for pounding. They are dancing with their musical instrument s
and open-mouthed bamboo kalatong.

c. The Bilaan dramatically acts or expresses themselves using gestures alone and
dance out the fishing activity with fisg traps.

d. The lakulak or frogs are the imaginary objects of the hunt in the Matigsalug panulo.

e. A man dances with his bolo, while a woman attends with a basket to store his takings.

5. Spanish Colonial Tradition

a. The Pandanggo is a favorite dance of Filipinos during the Spanish period. In Spain,
the fandango is a lively Spanish dance done to a slow-to-quick rhythm.

b. The habanera is a piece of music named after Havana in Cuba where it originated.
It is danced in slow duple meter with a step-close-step-pattern.

c. The rigodon or rigodon de honor is the best ceremonial dance to the Filipinos. It was
introduced to the French court by a dancing master named Rigaud and was first
known as Rigaudon, in Britain, it was called rigadoon. The dance got to Manila in
the 19th century and was called rigodon.

6. American Colonial Traditions

a. Bodabil is introduced by the Americans among the many forms of entertainment

which featured song, dance routines, and comedy skits as well.

b. Ballet is an noriental dance and taught by Luva Adameit to the first generation of
Philippine ballet teachers and choreographers

c. Modern Dance – A significant event in Phikippine modern dance history was the
Manila Grand Opera House performance of Denishawn in 1926.

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 d. Folk and Social Dances

The former Folk Arts Festivals and the annual Pang-alay at the CCP help keep
folk dance alive. Francisca Reyes Aquino’s research has been expanded by the
different folk dance associations and dance companies like the Philippine Folk
Dance Society, Dance Education Associations of the Philippines, Bayanihan
Philippine National Dance Company, Ramon Obusan Folkloric Group, Philippine
Barangay Dance Company, UP Diliman Dance Company, PNU Kislap Sining Dance
Troupe, UE Dance troupe and many more ( Vergara, 2006).

Assessment Task 2

A. Completion Type. Fill in the blanks with word or words to complete the sentence.
(Submit your task through google classroom).

1. The ________ among the Higaonon is a thanksgiving for a bountiful harvest, the birth
of a male child and for victory in war.

2. The ________ of Palawan involves offerings during festival to solicit a good harvest.

3. The ________ in the Cordillera offers chicken, pig and carabao as sacrifice.

4. The _____ of Alfonso, Cavite is a ritual dance over a fire.

5. The ________ of Bukidnon is an offering, festival and ritual dance of the three datus.

6. The ________ or ________ of Tinguian worship their anito, the spirits, ancestral dead
and their great god.

7. The ________ of Aeta in Zambales drive away the evil spirits that cause sickness.

8. The ________ of Davao hold various rituals to court the favors of various
environmental spirits.

9. The Bagobo of Davao believes in ______________ who created the heaven and the
earth, and molded the first man named ________ and woman named ___________.

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 10. The ________ of Subanon is a very old rite; a communal celebration, an offering to
the gods, and a spiritual experience.

B. TRUE OR FALSE. Write T if the statement is true and F if the statement is false. If false,
make the statement true by supplying the correct answer.

_____ 1. The habanera is a favorite dance of Filipino during the Spanish period.

_____ 2. The cotillion is the best ceremonial dance to the Filipinos.

_____ 3. The rigodon was introduced to the French court by a dancing master named
Rigawud.

_____ 4. Bodabil is an oriental dance and taught by Luva Adameit to the first generation of
Philippine Ballet teachers and choreographers.

_____ 5. A significant event in Philippine modern dance history was the Metropolitan Theater
performance of Denishawn in l926.

_____ 6. Some folk dances are performed to cure diseases, to obtain favors of good harvest.

_____ 7. Before, people developed dances to celebrate events such as birth, marriage and
even death.

_____ 8. Authorities see no difference between folk dances and ethnic dances.

_____ 9. Ritual dances have something to do with the spirits.

_____10. The life cycle dances celebrate an individual’s birth, baptism, courtship, wedding and
death.

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 Summary

Folk dance is a form of dance developed by a group of people that reflects the
traditional life of the people of a certain country or region. Philippine folk dances are
diverse and include religious, ceremonial, courtship, funeral, combative, exorcism, torture
and game dances. Filipino dances evolved from ethnic, Spanish, and American
traditions.

Folk dance is the history of the people in movement. In some cultures, pale
fragments of it survive centuries of invasions. In the Philippines, folk dance is a strong
and enduring indigenous expression.

Reference

Vergara, L. (2006). MAPEH for a Better You. Quezon City, Philippines: LG&M Corporation

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 MODULE 3
BASIC MOVEMENT PROCESSES

Introduction

The human body is the most wonderful and sophisticated organic machine that every
individual has. Its function and development need proper guidance in order to produce
movements of quality and quantity. A properly directed movement makes every experience
something educational and enjoyable.

Intended Learning Outcomes

At the end of module 3, the students should able to:

1. Demonstrate the basic movements of the body.

2. Identify the different dance terminologies, fundamental positions, basic steps and
formations.
3. Perform the fundamental dance positions and basic steps.
4. Identify values which can be acquired through participation in the different dance
activities.

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Lesson 1. Body Movement
(Perez, Santos, Evangelista, 2006; Perez, Luna, Tomas, 2004; Vergara, 2006)

Movement is any change in the body position in space which may be stationary or
dynamic. It is a way of expressing, exploring and interpreting oneself to develop one’s own
capabilities. Because movement is governed by mechanical principles that may limit ability
to move efficiently and effectively, these principles held to be discovered for a person to be
able to move beyond the limit.

What the body can do.

1. BODY AWARENESS refers to how you understand the different parts of the body in
relation to the other parts like:

• Head

• Trunk

• Arms and hands

• Legs and feet

2. BASIC SKILL refers to specific movements that each of the body part can do at any
level. These include the following:

a. Axial or Non-Locomotor Movements. The movements done on stationary place or

around its own axis.

• Flexing or Bending

• Extending or Stretching

• Elevating or Raising

• Rotating or Twisting/turning

• Circumduction or Circling

• Pendular or Swinging/swaying

• Percussive or Accented

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 • Vibratory or Shaking/beating

b. Locomotor movements, the transfer of the body position from one place to another which
includes

 Walking is the transfer of body weight from one foot to the other in a moderate tempo.
 Running a fast walk or an increase speed in walking where neither foot is in contact
with the ground.
 Jump is a spring or push off on one foot or both feet and then landing on both feet.
 Leaping is a spring on one foot and landing on the other foot.
 Galloping is a combination of a step and a cut (displace the stepped foot with the other
on the same spot).
 Skip is a combination of a step and a hop twice in a measure.
 Slide is a glide where the foot is in full contact with the floor.

Where the Body Moves

Spatial (space)

• Direction – forward and backward, sideward right or left, upward and downward,
diagonal, or around a circle clockwise or counterclockwise.

• Level – low, medium and high

• Size – large and small

• Plane vertical, frontal and horizontal

• Pattern of movement – squae, circle, diamond, rectangle, zig-zag.

How the Body Moves

a. Time

• Speed – slow, moderate fast

• Rhythm – smooth, jerky, even or sudden

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 b. Qualities

• Force – light or heavy, strong or weak

• Flow

- Suspended (bound flow) stops at the end of the movement or a part of

the movement

- Sustained (free flow) link smoothly movements or part of movements

- Expressive flow maybe happy or sad, angry or gay, smooth or rough

- Imitative flow may imitate person, animal or things

With Whom Does the Body Move

a. Individual – by yourself, one person

b. Partner – with somebody, two people

c. Group – with people, three or more

Lesson 2. Dance Fundamentals

(Perez et.al., 2006; Perez et.al., 2004; Vergara, 2006)

All dance forms start with the basic positions. With a slight difference in each dance
form, it is a requirement to master the Five Fundamental Dance Positions. Learning the basics
and understanding why it is so will surely change many things in you = your outlook, your
posture, your movement and your performance. Let us take a look at the Five Fundamental
Dance Positions below.

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 Figure 3.1 Dance Positions (Vergara, 2006)

For you to understand these dance positions better, let us concentrate on each one part by
part. Let’s work on these:

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Figure 3.2 First and Second Dance Positions (Vergara, 2006)

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Figure 3.3 Third, Fourth and Fifth Dance Positions (Vergara, 2006)

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Lesson 3. Dance Terms (Perez et.al., 2006, Perez et.al., 2004;
Vergara, 2006)

ON HANDS AND ARMS

1. BILAO is the movements of the hands turning the palm alternately up and down while held
in front at waist level, elbows close to waist.

2. HAYON-HAYON is a hand movement that sways the forearm alternately front and back at
waist level. As the right arm is placed in front the left is placed behind.

3. KUMINTANG is hand movement that circles the wrist either inward or outward. The Ilocano
Kumintang is usually done outward with a loosely closed fist.

4. ARMS IN LATERAL POSITION sways both arms from side to side with the wrist leading,
passing in front at chest or waist level.

5. MASIWAK is an outward kumintang with two backward snaps from the wrist.

ON FEET

1. BRUSH. Hitting the floor with the ball or heel of the free foot in any direction.

2. CUT. Spring to displace one foot quickly with the other foot.

3. DO-SI-DO. Moving together forward passing by each other’s Right (Left) shoulder,
crossing over back to back, and walking backward by each other’s Left (Right) shoulder.
Then return to proper places.

4. DRAW. Pulling the free foot along the floor close to supporting foot.

5. JALEO. Partners stand by each other’s Right (Left) shoulders, hands on waist with elbows
almost touching, then walk around (hop, skip or any dance step) clockwise
(counterclockwise).

6. PANADYAK. A stamp and a point combination with the Right (Left) foot in front or at the
side of the Left (Right) foot.

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7. PLACE. Putting the free foot in any position with the feet flat on the floor but bearing the
weight of the body.

8. POINT. Touching the floor lightly with the toes of the free foot.

9. STAMP. A heavy or forceful step on the Right or Left foot with or without transfer of body
weight, enough to produce sound or noise against the floor.

10. STEP. A complete transfer of body weight from one foot to the other.

11. TAP. Pat or hit lightly the floor with the toe or ball of the free foot simply by flexing and
extending the ankle joint.

12. WHIRL. A fast turn by means of small steps in place either right or left.

ON ARMS AND FEET COMBINED

1. SALOK. A scooping motion of the hand from the side, moving downward and upward.
The trunk is bent forward and the knees are slightly flexed during the scoop.

2. SAROK. Point the Right (Left) foot across the Left (Right) foot in front, slightly bend Left
(Right) knee, twist trunk to the left (right). Cross Right (Left) arm over Left (Right) arm.

3. PATAY. Point the Right (Left) foot in rear, while the bent Left (Right) foot supports the
body weight. Then arms are flexed holding them in front at shoulder level. Right (Left)
hand on top of the Left (Right)hand. Head slightly turns to rest on the hands.

4. SALUDO. Partners bow to each other (to audience, opposite partner or neighbors) with
feet together.

OTHER DANCE TERMS

1. ABRASETE. A boy’s right arm hooking the girl’s left hand as they walk around.

2. CABECERAS. Pairs or partners that occupy the width of the square or rectangular in a
quadrille formation.

3. CLOCKWISE. Moving around following the direction of the hands of the clock.

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4. COUNTERCLOCKWISE. Moving around following the direction opposite the hands of the
clock.

5. COSTADOS. Pairs or partners that occupy the length of the square or rectangle in a
quadrille formation.

6. FREE HAND. The hand not holding anything or placed anywhere.

7. FREE FOOT. The foot not bearing the weight of the body.

8. INSIDE HAND. The hand nearest one’s partner when standing side by side or facing the
audience.

9. INSIDE FOOT. The foot nearest one’s partner when partners are facing the audience or
when standing side by side.

10. MOVE TOWARDS PARTNER. Partners standing from a distance walk closer towards
each other.

11. MOVE AWAY FROM PARTNER. Partners move backward to proper places or away
from each other.

12. OUTSIDE HAND. The hand is away from partner when standing side by side.

13. OUTSIDE FOOT. The foot away from the partner when standing side by side.

14. PASS BY RIGHT TO RIGHT SHOULDER (Left to Left). Partners facing each other move
forward to exchange places with partners passing by the right (left) shoulders.

15. SUPPORTING FOOT. The foot bearing the weight of the body.

16. STAND FACING EACH OTHER. Partners stand in front of partners.

17. STAND BACK TO BACK. Partners stand with their backs against each other.

18. STAR RIGHT (LEFT). Four or more people extend Right (Left) arm to join Right (Left)
hand at the center and move around clockwise (counterclockwise) using any steps.

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 2 3
Lesson 4. Dance Steps 4 in and 4
(Perez et.al., 2006; Perez, et.al., 2004; Vergara, 2006)

To move out of rhythm is not dancing, because dancing is always accompanied by a

given music. Dancing is easy if you know the step pattern and the rhythmic pattern of each
dance step in a given time signature.

In the following dance steps, “R” means right foot and “L” means left foot.

DANCE STEPS IN 1 MEASURE

Spring Heel- Spring Heel-

Close R Close L
1. BLEKING place R place L

1 2 1 2

Step R(L) Close L(R) Step R(L)

2. CHANGE STEP
1 2 3

* For every second time you do the step, you will use the foot indicated in the parenthesis. This applies for all the
following steps.

For example, in doing Change Step: [First time, your feet are together] Step your right foot to the right, close your
feet using your left foot, then again stepping your right foot to the right. [Second time, your feet are now apart]
Step your left foot to the left, close your feet using your right foot, then again stepping your left foot to the left.
You can repeat this as much as you want.

3. CROSS Cross-step R(L) Close L(R) Step R(L)

CHANGE STEP 1 and 2

Step R(L) Close L(R) Step R(L) Pause

4. PLAIN POLKA
ah 1 ah 2

Hop R(L) Step L(R) Close R(L) Step L(R)

5. HOP POLKA
ah 1 ah 2

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 Step R(L) Close L(R) Step R(L)
6. HABANERA
1 2 and

7. TOUCH STEP Spring-touch R Spring-touch L

Leap R(L) Cross-step L(R) Step R(L)

8. CONTRAGANZA
1 and 2

Step R(L) Step L(R) Step R(L) Step L(R)

9. MINCING STEP
1 and 2 and

Slide R(L) Slide L (R) Slide R(L) Slide L(R)

10. SHUFFLING
1 and 2 and

DANCE STEPS IN 2 MEASURES

Heel-
1. HEEL AND Toe-point Step Close Step
place
TOE CHANGE R(L) R(L) L(R) R(L)
R(L)
STEP
1 2 1 and 2

Heel-
Toe-point Step Close Step Pause
2. HEEL AND place
R(L) R(L) L(R) R(L)
TOE POLKA R(L)

1 2 ah 1 ah 2

Slide Slide L Step Close Step Pause

3. SLIDE POLKA R(L) (R) R(L) L(R) R(L)

1 2 ah 1 ah 2

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 2 3
DANCE STEPS IN BOTH AND TIME SIGNATURES
4 4
Heel-place R(L) Close R(L)

1. BLEKING 1 2

1-2 3

Step R(L) Brush L(R)

2. BRUSH STEP 1 2

1 2-3

Step R(L) Close L(R)

3. CLOSE STEP 1 2

1 2-3

Step R(L) Cross-step L(R)

4. CROSS STEP 1 2

1 2-3

Step R(L) Swing L(R)

5. SWING STEP 1 2

1 2-3

Touch R(L) Close-step L(R)

6. TOUCH STEP 1 2

1 2-3

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 3
DANCE STEPS IN TIME SIGNATURE
4

Dance Steps in One (1) Measure:

Step R(L) Close L(R) Step R(L)

1. WALTZ STEP
1 2 3

Cross-step R(L) Close L(R) Step R(L)

2. CROSS WALTZ
1 2 3

Close L(R)
3. WALTZ Step R(L) Heels Down
Heels Rise
BALANCE
1 2 3

Slide R(L) Cut R(L) / L(R) Hop L(R)

4. MAZURKA
1 2 3

Slide R(L) Cut R(L) / L(R) Cut L(R) / R(L)

5. REDOBA
1 2 3

Step R(L) Close L(R) Circle on air R(L)

6. SANGIG
1 2 3

Dance Steps in Two (2) Measures: The ENGAÑO steps are done sideways in all the series.

Cross-step
Step R(L) Step L(R) Close R(L)
1. ENGAÑO R(L)

1-2 3 1 2-3

2. ENGAÑO Cross-step
Step R(L) Step R(L) Brush L(R)
with a L(R)

BRUSH 1-2 3 1 2-3

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3. ENGAÑO Cross-step
Step R(L) Step R(L) Point L(R)
with a L(R)

POINT 1-2 3 1 2-3

4. ENGAÑO Cross-step
Step R(L) Step R(L) Hop L(R)
with a L(R)

HOP 1-2 3 1 2-3

5. ENGAÑO Cross-step
Step R(L) Step R(L) Close L(R) Step R(L)
with a L(R)

WALTZ 1-2 3 1 2 3

Note: In the SWAY BALANCE SERIES the first step is done diagonally forward and the third
diagonally backward.

Cross-step
6. SWAY Step R(L) Step R(L) Close L(R) Pause
L(R)
BALANCE
1-2 3 1 2 3

7. SWAY Cross-step
Step R(L) Step R(L) Brush L(R)
BALANCE L(R)
with a
BRUSH 1-2 3 1 2-3

8. SWAY Cross-step
Step R(L) Step R(L) Point L(R)
BALANCE L(R)
with a
POINT 1-2 3 1 2-3

9. SWAY Cross-step
Step R(L) Step R(L) Hop L(R)
BALANCE L(R)
with a
1-2 3 1 2-3
HOP

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10. SWAY Cross-step
Step R(L) Step R(L) Close L(R) Step R(L)
BALANCE L(R)
with a
1-2 3 1 2 3
WALTZ

Assessment Task 3

A. Fill the blanks with the correct answers: Send your answers via google classroom.

1. The foot not bearing the weight of the body is said to be the _______________.

2. When partners exchange places with each other passing on the left sie, the term used
is ______________.

3. .The hand away from the partner is _______________.

4. Folk dances starting with a bow to a partner or to the audience, are called
_______________.

5. When partners or couple enter the dance hall together, with the girl’s left hand hooked
on the boy’s right arm, we call this _______________.

6. Compare to a step, this movement is done with force that produces sound
_______________.

7. The couples that occupy the short sides of a quadrille are called _______________.

8. The hand not holding anything is called _______________.

9. To displace quickly the foot that holds the body weight with the other foot is termed
________.

10. To make a fast turn in place through a series of small steps is called
_______________.

11. .To strike the floor with the ball or heel of the foot is a _________________.

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 12. Partners that occupy the length of the rectangle in a quadrille formation is
______________.

13. A complete transfer of body weight from one foot to the other is _________________.

14. A hand movement that circles the wrist either inward or outward is
_________________.

15. An outward kumintang with two backward snaps from the wrist is
__________________.

B. PRACTICUM:

Send your video via google classroom doing the following movements. 10 points each.

1. Perform all the fundamental positions of the hands in correct order.

2. Perform all the fundamental positions of the feet in correct order.

3. Perform the combination of the fundamental positions of both the arms and the feet
to test your body coordination.

Summary

1. Dance is a performance art form consisting of purposely selected sequences of

human movement that have aesthetic and symbolic value and that are acknowledged
as “dance” by performers and observers within a particular culture.
2. Movement is any change in the body position in space which may be stationary or
dynamic.
3. All dance forms start with the basic positions.
4. In folk dance especially Philippine Folk Dance there are arm movements that are
executed based on the fundamental positions.

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 References

Perez A., Santos E., & Evangelista T., (2006). Active MAPEH 1. Sampaloc, Manila,
Philippines: Magallanes Publishing House.

Perez V., Luna L, & Tomas C. (2004). MAPEH 1. Quezon City, Philippines. St. Bernadette
Publications, Inc.

Vergara L. (2006). MAPEH for a better you. Quezon City, Philippines. LG & M Corporation.

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