DANCE
Hand on Waist – Place hands at the waist line (at the smallest part of the trunk), knuckles
History of dances is filled with interesting events that shaped its foundation, investor that
created new styles, periods of the time when dance and music were put in the forefornt of
innovations, which all enabled it to become the popular social pastime of today.
As our civilazation traveled through millennia, dance was modifield to the point of being
popular means of expression, health, communication and competition.
Dances teaches children about the music, rhythym and beat. Students have a better
understanding of spatial relationships and learn to think with both sides of the brain. All
these skills enchance a child's academic performance, as well as their physical well-being.
TRADITIONAL (FOLK AND ETHNIC) DANCE
The Philippines consist of 7, 107 islands, and is broken down in the three groups of island
the Luzon, Mindanao and Visayas. Each of the region contains different languages, history,
religion and traditions with each region having different influences in their arts, crafts, and
ancestorical dances.
NATURE OF OUR FOLK DANCES
Our folk dances have a perculiar combination of Spanish and Oriental movements. Our
contact with the Spaniards for more than three cdenturies has influences our music and
dances so that we have absorbed mush og the Occidental movements.
Folk dances have been increasing in popularity. Our own native folk dances earned world
acclaim when our dance groups tourned abroad. The dances have delighted and
entertained people of all walks of time. as aform of reacreation, folk dances help to
promote national goodwill through depicting the habitd and customs of the people all over
the world.
Mrs. Francisca Reyes Tolentino then, and now Mrs. Francisca Reyes Aquino, is considered
the mother of Philippines folk dances. It was because of her interest, skill, incessant and
tireless devotion of work that we have the books; Philippines National Dances and Five
volumes of the country gathering music and steps for the dances found in these books.
SOME OF THE CHARACTERICTICS OF OUR FOLK DANCES ARE THE FOLLOWING
1. As a rule, our dances begin and end with a saludo. A saludo is a three step turn in place
and a bow to either partner or audience.
2.Dancers are far apart. A distance of about 6 to 8 feet from each other is normal.
3.There is very little, if any, body contact althrough holding hands is common.
4. Most of our dances are done in pairs. Hands movements play a very important role.
5. Many of our dances are done in long formation.
6. Our dance are performed by both young and old by both sexes.
GEOGRAPHY AND NATURE
1. NATIONAL DANCES. These are traditional dances throughout the Philippines with a
common basic movement or pattern but with slight variations.
Ex: Carinosa, Kuratsa, Balitaw, Rigodon, Pandango, and surtido.
2. LOCAL OR REGIONAL DANCE. These are the dances found in cwertain localities or regions
only. Ex: Esperanza (Camarines Norte), Rogelia (La Union), Maglalatik (San Pablo), and
Binganbigat (Abra)
3. OCCUPATIONAL DANCES. These are dances that depicts the different stages of gold
panning. Example:
Pabirik (Camarines Sur) which depicts the different stages of gold panning.
Mananguete depecting the different movements and actions of a tuba gatherer from the
sharpening of his sangot (scythe) to climbing a coconut tree and finally tasting the native
wine. Tuba is a liquid dripping from coconut bud
Kin-aras (Cabungao, ILocos Sur) depicts the different stages in mudfish in fields.
Rice Festival has a largest number of dances. It starts with Pagtatanim (Rice Planting),
Paggapas (Rice Harvesting), Paggiik (Rice Threshing), Paglulugas (Rice Flailing), Paghangin
(Airing), Bayuhan (Pounding Rice), Pagtatahip (Winnowing Rice).
4. RELIGIOUS OR CEREMONIAL DANCES. These are dances that are performed in connection
with religious vows, practices, and ceremonies.
Philippine Folk Dance :Dance Terms
• Abracete – Girl at the right side, holds Right arm of partner with her Left hand, free hands
down at the sides. This terms is of Spanish 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” position – Arms are side horizontal, elbows bent at right angles,
forearms parallel to head, palms forward or facing inward, fists loosely closed.
• Bilao – To turn hands up and sown 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.
• Clockwise – Like the motion of the hands of the clock. Right shoulder is toward the center
of an imaginary circle. When facing center, the movement is toward the left.
• Counterclockwise – The reverse direction of clockwise. Left shoulder is toward the center
of an imaginary circle. When facing center, the movement is toward the right.
• Crossed arms – Partners are facing each other or standing side by side, girl at the right of
boy. They join their Left hands together and their Right hands together either Right over Left
or Left over Right hands.
• 
in, fingers pointing in rear.
• Hapay – To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of
invitation.
• Hayon –Hayon – To place one forearm in front and the other at the back of the waist. This
is a Visayan term.
• Hop – A spring from one foot landing on the same foot in place or any direction (in front, in
rear, sideward or across).
• Kumintang – Moving the hand from the wrist either in a clockwise or counterclockwise
direction. This is an Ilocano term.
• Point – Touch lightly with the toes of one foot, weight of the body on the other.
• Sarok – Cross the Right (or left) foot in front of the Left (or right), bend the body slightly
forward and cross the hands down in front with the Right (Left) hand over the Left(Right).
• Stamp – To bring down the foot forcibly and noisily on the floor (like doing heavy steps).
• Tap – To tap lightly with the ball or tip of the toe, placing weight of the body on the foot.
There is no change or transfer of weight here.
Cariñosa -(Spanish: meaning the loving or affectionate one) is a Philippine dance of Hispanic
origin from the Maria Clara suite of Philippine folk dances, where the fan or handkerchief
plays an instrumental role as  it places the couple in romance scenario.
History of Cariñosa
Dances in the Philippines are a melting pot of indigenous, Asian, American, Latin and
European styles. The cariñosa is a popular folk dance that was introduced to the country by
the Spaniards when they arrived in the 16th century.
The cariñosa dance is a popular folk dance performed throughout the Philippines. It
belongs to the Maria Clara suite of Philippine folk dances. These are so named in honor of
Maria Clara, who was the main character in Jose Rizal's novel Noli Me Tangere, ('Don't Touch
Me'), about the colonization of the Philippines by the Spanish. In it, Maria Clara is portrayed
as a noble and loyal woman, who after the publication of the novel in the 19th century
became the female symbol of virtue for Filipina women. The cariñosa is a much-loved folk
dance in the Philippines and the characteristic shy behavior of the female dancer is said to
represent the mannerisms of Filipina women.
During the Marcos regime, the cariñosa was named the national dance of the
Philippines. To this day school text books still claim this; however, the Philippine government
maintains it is another dance called "tinikling," which is a native dance. Today, the cariñosa
is performed at social gatherings and festivities.
Origin of Cariñosa
Cariñosa was introduced to the country by Spanish colonizers. It is believed that
Panay Island, located in the Visayan Islands group was the original home of the cariñosa. The
word Cariñosa is from a Spanish word which literally means "she that is loving" (the verb
ending indicates it refers to a woman). As such, it is a slow dance where a man and a
woman dance together. Its style bears resemblance to a bolero or a waltz. The Spanish first
arrived on the island in 1569. The dance soon spread around the Philippines, giving rise to
different versions in different regions. In Bicol, two handkerchiefs are used and both dancers
point their feet forward as their hands go up at the same time. In Visayan, the couple goes as
far as combing each other's hair. The hide and seek movements are common to all the
versions. One variation performed at weddings involved the man dancing around the woman
until she consents to dance with him.
Dance Steps of Cariñosa
The basic footwork is similar to the steps used in a waltz: You move around the floor
by stepping to the side with your left foot, then moving your right foot next to your left. You
finish off this series of three movements by tapping your left foot on the floor. Repeat this
sequence of steps, this time beginning by stepping to the side with your right foot.
            Spins are another fundamental element of cariñosa. They take up the last two bars
of an eight-bar sequence. If you're the male half of the dancing pair, you either fold your
hands behind your back or put your hands on your hips. The best way to think of this
modified hands-on-hips pose is to make sure your thumbs point inward toward your waist
and your knuckles rest on your love handles, even if you don't have them. If you're the
female, hold your skirt up a few inches off the floor by taking each side of your skirt between
your thumb and forefinger. You can either do two turns, one for each three-beat bar, or one
turn on the first three-beat bar. For the latter, you simply stand still for the last three-beat
bar. You'll always turn to the right.
Figures of Cariñosa
The 1st figure is the “Three Steps and Point”. It starts with the right foot, take three steps
sideward right. Point left foot in front. Right hand in reverse “T” position and left hand on
skirt/waist. Kumintang right hand when pointing left foot.
The 2nd figure is “Pointing”. It starts with the right foot, take three steps forward and meet
at the center. Take four touch steps in front, right and left alternately. Take four steps
forward to partner’s place, passing each other by right shoulder. Turn right about to face
each other and close right to left.
The 3rd figure is “Back-toBack”. The partners meet at the center as in figure II. Turn right
about to be in back-to back position, slightly to right of partner. Girl holds skirt; boy places
hands on waist. Point right foot in front and shake right index finger at partner over right
shoulder by left shoulder; left hand on waist. Step right sideward to be side by side with
partner by left shoulder; place right hand on waist.
The 4th figure is the “Hide-and-Seek with Fan”. The girl hold and open fan with right hand.
Point right foot in front and cover face with fan. The boy-point right and left foot alternately
in front and look at partner from underneath the fan, hands on waist.
The 5th figure is “Kneeling and Fanning”. Take three steps forward to the center. Girl kneels
while boy passes around on right of girl to stand behind her and faces the same direction as
girl. Boy points right and left foot four times alternately in front, looking at girl over her right
and left shoulder alternately. Girl looks at partner over her right and left shoulder
alternately.
6th figure is “Hide -and-Seek with Handkerchief”. Partners meet at the center as in figure II.
Boy takes handkerchief at corners in a perpendicular position between their faces with boy’s
hands on top at face level.
The 7th figure is “Flirting with Handkerchief”. Partners turn right shoulders toward each
other. Starting with right foot, take eight waltz steps forward, moving around clockwise. Girl
holds handkerchief at one corner and place it over her right and left shoulder alternately at
every measure, looking back at the boy at the same time. Boy, in the meantime, follows
behind girl, stretching out right and left hand alternately, as though they were trying to catch
the free end of the handkerchief.
The  8th and last figure is “Flirting”. Start by taking two waltz steps to meet at the center.
With girl leading in front, partners take six waltz steps forward moving around clockwise.
Contemporary Dance -refers to the movement of new dances who did not want to follow
strict classical ballet and lyrical dance forms, but instead wanted to explore the area of
revolutionary unconventional movements that were gathered from all dance styles of the
world.
-The origins of this popular dance movement can be traced to several
influential dance masters such as Isadora Duncan, Martha Graham and Merce
Cunningham.
Modern Dance Benefits
Modern dance moves is a very good, safe, place to start.
Modern dance moves are all designed to encourage freedom of movement and personal
interpretation while weaving in many varies and demanding steps and positions.
How to Dance to Modern and Contemporary Art?
1.Understand that when you dance lyrical, your movements show the words.
2.Try to come up with lots of different feelings and moves.
3.Find the stage, an open place, such as a basement, or even outside in your front lawn.
4.Pick a song with deep meaning and flowing music, otherwise it gets a little harder to stay
fluent with your movements.
5. Listen to the song.
6. Do your body a favor; before you dance, make sure you stretch. (Remember do not do
curl ups because they have been proven to harm your back!)
7. Just let your body flow.
whereby open moves such as alternate hand holds, underarm turns, and side-by-side
choreograph can be executed.
3. The Viennese Waltz or the Wiener Walzer in German, is another version of ballroom
waltz. It incorporates various types of rotary dance moves. Which include turning in
clockwise and anti-clockwise directions. When performing these moves, dancers execute
non-rotating change steps.
4. The Foxtrot is a ballroom dance that was popularized by actor Harry Fox. Foxtrot was
originally performed to big band music. In the years that followed, it was split into two
forms, namely, the slow foxtrot, which is now referred to as foxtrot, and the fast foxtrot,
which is now called quickstep.
5. The Quickstep is a ballroom dance which is similar to foxtrot, but the dance patterns very
different. The patterns in quicksteps have an extra half measure as well as multiples of
measure, and the time beat that is usually followed 2/4 or 4/4.
Competitive Dancing -in spite of its historical image as a past time for the privileged: formal
competitions, sometimes referred to as Dance Sport, often allow participation by les
advanced dancers at various proficiency levels.
Recreational Dancing -Refers to any form of dancing that is done primarily for its social,
educational or health benefits; it includes social dance and amateur dance instruction and
performance.
1. Cha Cha -Lively, flirtatious ballroom dance full of passion and energy.
2. Foxtrot A ballroom dance that is lots of fun and simple to learn and an excellent dance for
beginners.
3. Jive -Ballroom dance style that is lively from Swing dance, and a variation of the jitterbug.
4. Lindy Hop - Ballroom dance considered to be the father of all swing dance. It is unique,
athletic style, and often contains aerial jumps, twists and flips.
5. Mambo- One of the most sensual and emotional Latin American Ballroom dances.
6. Paso Doble- One of the liveliest ballroom dances, originating in France.
7. Quickstep -The quick version of foxtrot.
8. Rumba- Considered by many to be the most romantic and sensual of all Latin ballroom
dances.
9. Samba -The most popular of all Brazilian ballroom dance, it is popular with young and the
older generation.
10. Tango- One of the most fascinating of all ballroom dance.
11. Viennese Waltz -Quick rotating ballroom dance with a subtle rise and fall.
12. Waltz -One of the smoothest ballroom dance.

Ballroom Dancing -The term “ballroom dancing” is derived from the word ball, which in turn
originates from the Latin word ballare which means “to dance”.
- Ballroom dancing was “social dancing” for the privileged, leaving “folk dancing”
for the lower classes.
-The term applies to any one of the several dances in which two individuals, a
“leader” and a “follower”, arms depending on the particular variety of dance.

THE ORIGINS - Ballroom dancing traces its origins to the early 20th century, when the West
End establishments were developing the art of ballroom dancing. There were some notable
people who were instrumental in the development and promotion of modern ballroom
dance including Josephine Bradley, the ‘First Lady’ and world class champion of ballroom
dance; GK Anderson who founded the English style; Lady Humphries who helped establish
the Modern Ballroom Dance Faculty of the Imperial Society; and Alex Moore who
contributed to the writing of Technique of Ballroom Dancing.

THE CLOSED HOLD - The dance moves in modern ballroom dancing have now been
standardized, and presently, a dancer needs to pass several levels to be considered a master
of ballroom dance. Although every ballroom dance style has its own particular aesthetics
and rhythms, they still have a commonality that makes them somewhat similar. One
commonality is that they are all performed by a pair of dancers, and they are danced in
“closed hold”. In the closed hold dances, the couples are required to maintain five areas of
contact with each other, with the man’s left hand holding the woman’s right hand, the
woman’s left elbow resting on the man’s right elbow, the woman’s left hand on the right
upper arm of the man, the man’s right hand on the woman’s shoulder, and the right parts of
their chests touching.
1. The Waltz - The name waltz came from the Italian word “volver” which means to turn or
to rotate. The Waltz follows a slow rhythm, and it is danced to about 30 bars or 90 beats per
minute. Usually, one step is taken for every beat, or three steps for every measure.
2. The Tango- is a ballroom dance that originated from Argentina. Today there are two broad
styles of modern-day ballroom tango, which are the American Style and the International
Style. Even though both styles are very popular, the International style is preferred in dance
competitions. The American style, on the other hand, gives the dancers more freedom,