PEH3 QUARTERLY REVIEWER Action - any human movement included in the act of

dancing— it can include dance steps, facial movements,

1 NATURE OF DANCE
“Before man can do anything, you must draw breath, you
must move. Movement is the source and condition of
life. To dance is to be out of yourself. Larger, more
beautiful, more powerful. This is power, it is glory on
earth and it is yours for the taking.” Agnes de Mille (1963)
Dance
• a rhythmic and expressive body movement, usually
coordinated into a pattern and adapted to musical
accompaniment.
• differ from athletics or other daily activities because
it focuses primarily on “an aesthetic or even
entertaining experience” (Myers, 2005)
• an interesting past time, which is entertained and
asked by many people around the world. Dancing is
fun, and it has important benefits to our body as
part of our health both physically and mentally.
Anyone can learn to dance if he wants to. He can do
it with a simple movement with the beat or music.
Simple Steps on Learning How to Dance
• Learn how to dance with music.
• Learn how to dance by using your head.
• Learn how to dance to a beat.
• Learn how to dance to your arms.
• Learn how to dance with few steps.
Elements of Dance
Body
partner lifts, gestures, and even everyday movements
such as walking. Dance is made up of streams of
movement and pauses, so action refers not only to steps
and sequences, but also to pauses and moments of
relative stillness.
Space - Dancers interact with space in myriad ways. They
may stay in one place or they may travel from one place
to another. They may alter the direction, level, size, and
pathways of their movements.
Time - When? Human movement is naturally rhythmic in
the broad sense that we alternate activity and rest.
Energy - how the movement happens. Choices about
energy include variations in movement flow and the use
of force, tensi on, and weight.
A dancer moves through space and time with energy.
(Body) (Action) (Space) (Time) (Energy)
Benefits of Dancing
Fitness - Dancing is one of the versatile and satisfying
activities one can participate in as a form of expression,
recreation or a form of exercise to develop fitness.
Joy and Satisfaction - The physical well-being of a person
who participates is improved
Grace and Coordination - It improves response to
rhythmic patterns. Constant participation in dance
activities will improve one’s neuromuscular coordination
and help one’s acquisition of grace.

Self-expression - It develops poise and good posture.

Energy Action Basic Movement Skills

Axial Movements Locomotor Movements

Movements done by a part Movements that brings the
or several parts of the body performer from one place
Time Space in a stationary place to the other.
• Bend or Flex • Walk
• Circle • Run
Body – the body is the mobile figure or shape, felt by the • Lift or Raise • Hop
• Stretch, Extend or • Jump
dancer, seen by others. The body is sometimes relatively
Straighten • Leap
still and sometimes changing as the dancer moves in • Swing • Gallop
place or travels through the dance area. Dancers may • Turn or Rotate • Slide
emphasize specific parts of their body in a dance phrase • Twist • Skip
or use their whole body all at once.
 2 FUNDAMENTAL DANCE POSITIONS,
TERMS, AND STEPS
“Dance is an art which deals with the motions of the
human body. “James K. Feibleman
Key System of Counting
Counting is the most critical way to describe a rhythmic
pattern. The note is the unit in musical rhythm showing
the duration in which a tone or movement (in the case or
dancing is taken. Rest is a character used to indicate
silence or pause (in the case of dancing) for a certain
time.
Counting and, of Rhythmic Pattern in 2/4 or 6/8
1,2 - 2/4 time, one measure
1, ah, 2, ah or 1, 2, 3, 4, 5, 6 6/8 time, one measure
(used in cut and rocking steps)
1, and, 2 2/4 time, one measure
1,2, and 2/4 time, one measure
1, and, 2, and 2/4 time, one measure
1, ah, 2 2/4 time, one measure
1,2, ah 2/4 time, one measure
1, ah, 2, ah 2/4 time, one measure or 6/8 time, one
measure (used in skip and galop steps)
Counting and, of Rhythmic Pattern in 3/4
1, 2,3 3/4 time, one measure 3/8 time, one measure
1, and, 2, 3 3/4 time, one measure
1, and, 2, and 3 3/4 time, one measure
1, and, 2, and 3, and 3/4 time, one measure
1,2, and, 3 3/4 time, one measure
1,2, and, 3, and 3/4 time, one measure
Counting and, of Rhythmic Pattern in 4/4
1,2, 3, and 4/4 time, one measure or 2/4 time, two
measures
1, 2, 3, 4, 5, 6 3/4 time, two measures 6/8 time, one
measure (in tap dancing)
1, 2,3, 4, 5, 6, 7, 8, 2/4 time, four measure 4/4 time, two
measure
1,2 and, 3, and, 4, and 4/4 time, one measure
1, and, 2, 3, and, 4, and 4/4 time, one measure
1, and, 2, and, 3, 4, and 4/4 time, one measure
1, and, 2, and, 3, and, 4 4/4 time, one measure
1, and, 2, and, 3, and, 4, and 4/4 time, one measure
Fundamental Dance Positions
Arm Positions
• 1st – Arms are encircled in front at chest level,
relaxed, fingers slightly apart.
• 2nd – Arms are raised sideways a little below
shoulder level.
• 3rd – One arm encircles overhead while the other is
raised sideways
• 4th – One arm encircles like the first positions while
the other arm is overhead
• 5th – Both arms are overhead.
Feet Positions
• 1st – Feet closed and heels parallel, toes at 45 dg
• 2nd – Open, parallel stride sideward
• 3rd – Heel of one foot in front of other foot instep
• 4th – One foot forward with heel of front foot inline
with big toe of rear foot
• 5th – Heel of front foot close to big toe of rear foot.
Dance Terminologies
Abresete - Hold R arm of partner with L hand, free hands
down at the sides. This term is of Spanish origin and is
used in Rigodon and in other dances.
Arms in lateral position - Both arms are at one side,
either sideward right or left. This may be done at
shoulder, chest, or waist level.
Arms in Reverse "T" - Arms are side horizontal, elbows
bent at right angles, forearms parallel to head, palms
forward or facing inward, fists loosely closed.
Bilao - Turn palms of hand up and down alternately,
hands at waist level in front, elbows close to waist.
Brush - Weight on one foot, hit the floor with the ball or
heel of the other foot (the free foot) after which that foot
is lifted from the floor to any direction.
Cut - To displace quickly one foot with the other, thus
completely taking off the weight of the body from the
displaced foot.
Clockwise hand movement - like the
motions of the hands of the clock; R
shoulder is toward the center of an
imaginary circle when facing center, the
movement is toward the left.
Counter-clockwise - the reverse
direction of the clockwise: shoulder is
toward the center of an imaginary
Circle. when facing center, the
movement is toward the right.
Costados - When dancers are in square
formation, the couples occupying the
length of the hall are called " costados
or side pairs. This is of Spanish origin.
Cabeceras - When dancers are in
square formation, the couples
occupying the width of the hall are
called "cabeceras" or head couples.
This is of Spanish origin.
Cross Over - Two couples (the vis a vis) are opposite each
other. Each proceeds in a straight line to the opposite
place. The girls pass by the L shoulders between the boys.
Boys bow to each other when they meet at the middle or
about one third of the way, then proceed to the opposite
place. Upon reaching the opposite place, partners
turnabout, girls stand at partner's right side.
Do si do (Dos A Dos) - The vis a vis (opposites) both
advance forwards, pass each other's right (or left) side,
step across to the right (or left), move backward without
turning around, pass each other's left (or right) side to
proper places. This is of foreign origin and is used in many
Philippine dances.
Set - a dance formation like a square or
a unit formation composed of two or
more pairs.
Crossed Arms - Partners are facing each other or
standing side by side, girl at the right of the boy. They join
their L and R hands together, either R over L or L Over R
hands.
Draw - to pull one foot along the floor close to the other
which has the weight of the body; The weight may or may
not be transferred.
Free hand - the hand not anywhere; not doing anything
Free foot - the foot not bearing the weight of the body
Supporting foot - the foot bearing the weight of the body
Hands on waist - Place hands at the waist line. Knuckles
in, fingers pointing in rear
Hapay - the act of flourishing or offering a handkerchief,
hat, or glass of wine to somebody as a sign of invitation
Hop - a Spring from one-foot landing on the same foot in
place or in any direction; The other foot may be raised in
any direction (in front in rear, sideward or across).
Hayon - Hayon - Place one forearm in front and the other
at the back of the waist. This is a Visayan term.
Leap - a spring from one foot, landing on the other foot
in any direction (forward, sideward, backward, oblique)
Jaleo - Partners turn around clockwise (with R elbows
almost touching) or counter clockwise (with L elbows
almost touching). This is used in walking or any kind of
dance step. The hands near each other are on waists. This
is a Tagalog term but of Spanish origin.
Jump - spring on one foot or both feet, landing on both
in any direction
Kumintang - moving the hand from the wrist either in a
clockwise or counter clockwise direction; This is an
Ilocano term.
Masiwak - Turning of the hand from the wrist half way
clockwise then raising and lowering wrist once or twice.
This is an Ibanag term.
Inside Hand - the hand nearest one's partner, when
partners stand side by side
Outside hand - the hand away from one's partner
Inside Foot - the foot nearest one's partner, when
partners stand side by side
Outside foot - the foot away from one's partner, when
partners stand side by side
Pivot - Turn with the ball, heel, or whole foot, on a fixed
place or point.
Place - put the foot in a certain desired position without
putting weight on it. The sole of the foot rests on the
floor.
Panadyak - Stamp in front or at the side with R(L) foot
and tap with the same foot close to the L (R) foot, weight
of the body on L (R) foot. This is a Tagalog term.
Point - Touch the floor lightly toes of one foot, weight of
the body on the other foot
Salok - Swing the arm downward upward passing in front
of the body as if scooping, the trunk is bent forward
following the move my of the arm doing the " salok. This
is a Tagalog term.
Saludo - Partners bow to each other, to the audience, or
opposite dancers with the feet together. This term is of
Spanish origin and is used in almost all Philippine dances.
Sarok - (or Saroc ) Cross the R (or L) foot in front of the L
(or R), bend the body slightly forward and cross the
hands (forearms) down in front with the R (or L hand)
(forearm) over the L (or R). This a Visayan term.
Patay - Bend the head downward and support the
forehead with the R (L) forearm or with the crook of the
R (L) foot pointing in rear and knees slightly bent. This is
an llocano term and the movement Is Commonly found
in Ilocano dances.
Slide - Glide foot smoothly along the floor. The
movement may be finished with or without transfer of
weight.
Stamp - Bring down the foot forcibly and noisily on the
floor (like doing a heavy step) with or without transfer of
weight.
Step - Advance or recede by raising or moving one foot
to another resting place. There is a complete transfer of
weight from one foot to another.
Tap - Rap slightly with the ball or toe of the free foot,
flexing the ankle joint keeping weight of the body on the
other foot. There is no change or transfer of weight.
Whirl - Make fast turns by executing small steps in place
to right of left.
Star with the right hand - Four or more
people join R hands at the center and
circle around clockwise walking or
doing any kind of dance step.
Star with the left hand - Same as "star
with the R hand, but joining L hands
turning counter clockwise.
Dance Step for Tiklos
• Change step
• Heel and toe Change Step
• Cut Step
• Galop Step
• Touch Step
• Three-Step turn
3 PHILIPPINE FOLK DANCES
Folk Dance
A traditional recreational of dance of an indigenous
society showing the cultural characteristics of a specific
people at a given time and place.
A dance developed spontaneously and naturally by a
specific folk, usually handed down from generation to
generation and following a fixed basic pattern.
Nature of Filipino Folk Dance
• Philippine folk dances have a peculiar combination of
Spanish and Oriental movements. Our contact with
the Spaniards and Oriental movements.
• The contact with the Spaniards for more than three
centuries has greatly influenced our music and dances
so that we have adopted much of the Occidental
movements.
• Folk dances have been increasing its popularity. Our
own native folkdances earned world prestige when
Filipino dance troupes toured abroad.
• The dances delighted and entertained people from all
walks of life. As a form of recreation, folk dances help
promote national goodwill by depicting the habits and
customs of Filipino people all over the world.
Francisca Reyes Tolentino – Aquino Importance of Philippine Folk Dances

Mother of Philippine Folkdances. Her interest, skills, and
devotion to conduct researches on authentic regional
dances paved the way to 24 volumes on Philippines Folk
Dances. She was organized the original dance troupe of
the University of the Philippines Folk Song and Dance
troupe.
Classification of Dances
Dances in the Cordillera - These are the dances
classified with ceremonial gatherings, courtship, war,
festival and imitation of nature.
Dances in Countryside - These are the dances for the
farmers and the common people in the rural areas who
live in simplicity.
Dances in the Mindanao - These are the dances which
have a touch of Hindu, Japanese, Chinese, or Arab
Persian culture
To foster patriotism and nationalism through study of
our dances.
To arouse better appreciation of Philippine music and
folk dances.
To provide, a healthful form of relaxation and recreation.
To develop graceful and rhythmic coordination of body
movements that improves posture.
To arouse and keep the interests of our children in taking
part and enjoying our own dances.
To preserve the posterity of folk dances and music of
indigenous to the different regions of the Philippines.
To demonstrate the growth of Filipino culture through
the evolution of the Philippine dances.

Dances for the Less-Known Group - These are the

dances with mythical bindings imitative of the
movements of the birds, monkeys, sea creatures and
other live animals that people find comic and enjoyable.

Spanish, European, and Western Influences Dances -

The westernization of Filipino culture brought changes
in the style of dancing among Filipinos, embracing all
new trends and fashions that somehow became
classics.

Classification of Philippine Folk Dances

Geographical Location Nature of Dance

• National Dances • Occupational Dances
• Local or Regional • Religious or
Dances Ceremonial
• Dances
• Courtship Dances
• Wedding Dances
• Festival Dances
• War Dances
• Comic Dances
• Games Dances
• Social Dances