International Dance

Unit I. Overview of the

Unit Objectives
Historical and Socio-Cultural At the end of the unit session, the students must
have:
Development of International  Explained and identified the history and de-
velopment of International dances and other
Dance and its Fundamentals dance forms
of Movement Skill  Discussed the educational, social and cultural
values of the study of selected genre of danc-
es such as foreign folk, contemporary and
With each passing year, customs and beliefs of novelty dances.
groups of people get built little by little, slowly with time  Perform fundamental skills with 95% profi-
forming into traditions. Dances represent one of the
ciency of various Dance Position, Traditional
strongest ways these traditions of countries and regions
Costumes, Dance Terms and Terminologies,
can be showcased to the public.
Dance Steps
This expressive art form usually performed at  Demonstrate choreographic abilities through
social gatherings which can be formed spontaneously or recorded graded performances;
during yearly celebrations that can but are not required to
 Voluntarily and enthusiastically participate in
have a particular dancing stage and are almost always so
simulation activities.
simple to dance that new dancers and amateurs are
encouraged to start dancing with everyone else. Such dances
almost never have an official governing body that is keeping the development of various dance forms and styles.
Instead of that, the morphing of dances in their countries and local regions happens spontaneously by the changes
with local traditions.
In this course, it introduces international dances and other dance forms’ traditions that provides context for
an interdisciplinary examination. Introduces signature attributes common to the different countries' dance traditions,
features and dynamic capabilities of the body as an articulate means of expression focuses on dance skills and
techniques of other dances such as Asian and Western-originated dances from Europe and America. Familiarize,
Explores and contextualizes dance forms like ballet, jazz and social dances of South America culture.
First part of this book is a compilation of dances , specifically by Francesca Reyes-Aquino, that presents and
introduces different international folk dances and other dance forms’ traditions that provide context for an
interdisciplinary consideration. It introduces signature attributes common to the different countries' dance traditions,
features and dynamic capabilities of the body as an articulate means of expression focuses on dance skills and
techniques of other Asian and Western-originated dances. The book compilation allows the students to acquire basic
knowledge on the culture of other countries specifically on Asian and
TABLE OF CONTENTS Western originated dances through the study of their historical, educational
and socio-cultural customs, traditions and folk dances. It will help the
Lesson 1. students analyze and execute the fundamental skills of dance instructions
History and development of dance and with facility and ease according to their innate characteristics and
International dances originated from expression that enhances social competence as they demonstrate
Asian, European and American appreciation of the contribution of other countries in the development of
Countries and their Social and world culture through conducting and showcasing international dances in a
Cultural Values ◊ 3 culminating activity.

Second part is a compilation of other dance forms like ballet , jazz

Lesson 2
Fundamental Dance Skills:
Dance Positions ◊ 4
Dance Terms and Terminologies ◊ 6
Dance Steps ◊ 9
Lesson 3
Traditional Costumes ◊ 14
and ballroom which evolved in the 16th– 21st century that are still being
used and identified by every culture even today. These dances expand the
learners’ appreciation for various performing arts and their relevance in the
modern era. Ballet is consists of choreography that deals with a specific,
recognizable movement vocabulary and music for a production
choreographed and performed by trained ballet dancers. Ballet is a highly
technical dance that follows a rigid forms, techniques and styles. The
learners will be introduced to various ballet terminologies and techniques.
Unlike ballet, Jazz is a free and experimental form of movements uniquely

International Dance 2
from American art that displays smooth and syncopated movements which latter been part broadway production yet
the movements used are the contemporized or accentuated from ballet movements in tune with lively music. In
contrast to the two dances, ballroom will introduce a partner dance that also follows a rigid dance step patterns and
style. This dance presents the various types and styles of ballroom that

Lesson 1. History and development of dance and International dances originated from Asian,
European and American Countries and their Social and Cultural Values.

Dance is a performing art form consisting of

Specific Objectives purposefully selected sequences of human movement.
At the end of the unit session, the students must This movement has aesthetic and symbolic value, and is
have: acknowledged as dance by performers and observers
 Differentiated and described the historical within a particular culture. From its origins and the
development dance specifically international
earliest moments known to human history, dance has
dances and other dance forms and its
evolution. always been with us even before the arrival of written
 Analyzed and enumerated the educational, language and modern history where ancient rituals,
social and cultural values international dances. spiritual gatherings and social events serves as a medium
 Created a timeline of the evolution and for magic, religious activities, entertainment and
development of international dance expression through rituals and ceremonies. As both a
 Expressed appreciation towards the historical
form of social expression and plays an integral part of
development of international dance
religious activities, danced bridged gap between the
human world and that of the spiritual world. Many historians
believe that social, celebratory and ritual dances are one of the essential factors of the development of early human
civilizations and without a doubt, dancing remains one of the most expressive forms of communications that we
know.

From the evidences and proofs of old cave paintings, stone carvings, written word and related artifacts,
dance evolved in different forms, functions, nature and purpose in ones innate culture of the community. From
prehistoric times to the 20th century, dance became a customary activity that plays an important and capturing
essence as it is today. Technically international dance emerged from the traditional dances or folk dances of every
culture and migrated to influenced by other culture at the same time. This traditional dances or folk dances are
overlaid with foreign influences reflecting cultures introduced by invaders and conquerors. The result evidences of
what is folk dancing today portrays the unique styles of different peoples of their religion, customs, geography,
history and expression. This International dances known to us is more than just of a cultural profile of a given
people.

International folk dance developed in the immigrant communities of the United States of America during the
first half of the 20th century. Traditional dances such as branles, polkas, quadrilles and others have been done
internationally for hundreds of years. however, the creation of international folk dance as such is often attributed
to Vytautas Beliajus, a Lithuanian-American who studied, taught, and performed dances from various ethnic
traditions in the 1930s.

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Activities
Look for suggested readings or online articles on the historical development and origins of dance or
international dance and its innate social and cultural values/ importance. Also, from the suggested readings or
online articles ,create a timeline of the historical development of dance or international dance.
Fill out the matrix format developing deeper perspective of dance or international dance in the Google
classroom
Assessment
Answer the check-up questionnaire matrix about history, development, origin, perception and perspective
of dance in the Google classroom.

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International Dance 3
Lesson 2. Fundamental Movement Skills: Dance Positions and Traditional
Costumes, Dance Terms and Terminologies and Dance Steps

This specific lesson is divided into sections comprise of dance positions, traditional costumes, dance terms
and terminologies, and dance steps. Each section defines specific meaning that clarifies the manner in which the
steps and dance movements commonly used in folk dance are to be executed seemingly the same or as exact to
being authentic.

Specific Objectives
At the end of the unit session, the students must have:
 Identified and differentiated various dance positions, dance terms and terminology, and dace steps used
in international dance.
 Achieved an accurate performance of Dance Position, Dance Terms and Terminologies and Dance Steps
with mastery, grace and fluency of movements
 Executed and achieved an accurate performance of Dance Positions, Dance Terms and Terminologies
and Dance Steps in its correct mechanics.
 Shown appreciation in the execution and performance of the movements.

DANCE POSITIONS

Boy Girl
Couple -Stands at the left side of the girl when -Stands at the right side of the boy when
Position facing the audience facing the audience
- Right hand holding the left hand of the -Left hand holding the right hand of the
girl boy
-Free hand on the waist or down at the -Free hand holding the skirt or down at
side the side

Escort -Stands at the left side of the girl when -Stands at the right side of the boy when
Position facing the audience facing the audience
- Right hand down at the side -Left hand holding the right arm of the
-Free hand on the waist or down at the boy
side -Free hand holding the skirt or down at
the side

Facing Position -Face partner -Face partner

-Join both hands at chest level -Join both hands at chest level

Butterfly -Face partner -Face partner

Position -Join both hands -Join both hands
-Extend arms sideward -Extend arms sideward

Conversation or -Stands at the left side of the girl when -Stands at the right side of the boy when
Flirtation facing the audience facing the audience
Position -Right hand is placed around the girl’s -Left hand is placed on the right shoulder
waist of the boy
-Free hand on the waist or down at the -Free hand holding the skirt or down at
side the side

Swing-Out -Stands at the left side of the girl, body is -Stands at the right side of the boy, body
Position facing a little to the right is facing a little to the left
-Arms in second position, the right hand -Arms in second position, the left hand is
is hold the left hand of the girl hold the right hand of the boy

International Dance 4
 Boy Girl
Shoulder-Waist -Face partner -Face partner
Position -Boy places both hands on the waist of -Girl places both hands on the shoulders
the girl of the boy

Close Ballroom -Face partner -Face partner

Dance Position -Left hand is holding the right hand of the -Right hand is holding the Left hand of
girl extending the arms sideward the boy extending the arms sideward
-Right hand is placed on the girl’s right -Left hand is placed on the right boy’s
waist right shoulder

Open Social -Same as close ballroom dance position -Same as close ballroom dance position
Ballroom Dance except that the body is facing the except that the body is facing the
Position audience audience

Star Position -Face the opposite direction, the left
shoulder is towards the girl
-Left hand is holding the left hand of the
girl
-Free hand on the waist or down at the
side
-Face the opposite direction, the left
shoulder is towards the boy
-Left hand is holding the left hand of the
boy
-Free hand holding the skirt or down at
the side

Wrap Position -Stands slightly behind the girl facing the
audience
-Boy’s left hand is holding the right hand
of the girl, right hand is around the waist
the girl holding the girl’s left hand
- Stands slightly in front of the boy facing
the audience
-Girl crosses arms in front at waist level,
right over left, the right hand is holding
the left hand of the boy, and the left
hand is holding the right hand of the boy

Promenade or -Stands at the left side of the girl when -Stands at the right side of the boy when
Skater’s or facing the audience facing the audience
Front Crossed- -Right hand is holding the girl’s right -Right hand is holding the boy’s right
Arm Position hand, and left hand is holding the girl’s hand, and left hand is holding the boy’s
left hand in front at waist level left hand in front at waist level

Back-Crossed -Same as front Crossed Arm Position but -Same as front Crossed Arm Position but
Arm Position are done at the back are done at the back

Varsovienne -Stands slightly behind the girl facing the
Position audience
-Right hand is hold the right hand of the
girl and Left hand is holding the girl’s left
hand
-Extend right arm diagonally upward right
and left arm at the side or second posi-
tion
- Stands slightly in front of the boy facing
the audience
-Right hand is hold the right hand of the
boy and Left hand is holding the boy’s left
hand
-Extend right arm diagonally upward right
and left arm at the side or second posi-
tion

International Dance 5
 DANCE TERMS AND TERMINOLOGIES
Address Partner. Bow to partner. It is the same as to honor your partner. Facing partner, boys bow bending
slightly from the waist and girls do curtsy.

Allemande Left. In quadrille or circle formation all couples execute it at the same time and manner. The boy turns
to the girl at his left and takes her L hand to his L hand and turns her once around counterclockwise, then both
falling back to places.

Allemande Right. The boy faces his own partner, takes her R hand in his and turns her once around clockwise,
then both falling back to place.

Cast Off. Dancers in a long formation, the lead dancer or head couple countermarch outward using any dance steps
or movements.

Clockwise. Move towards like the direction of the clock.

Close Position. Partners facing each other and hold in ballroom dancing position.

Counterclockwise. The reverse direction/movement of clockwise.

Cross-Over. In square formation, couples move forward towards the opposite couples’ place in a line. The girls
pass between the boys and by each other’s left shoulders. Upon reaching the opposite place, the girls turn right
about while the boys move around the partner to stand on the right side of her.

Curtsy. To bend knees and body slightly with a bow of the head. The weight of the body is on one foot, and the
other foot is pointing in rear across or in third position of the other foot.

Dip. Partners are in open ballroom dancing position, a forward dip is done by bending slightly the knee of the foot in
front with the weight of the body on it. The leg in rear is raised. The backward dip is done in reverse manner.

Do-si-do. Partners are facing each other. Move forward passing each other by the R (L) shoulders, step L(R) across
the right (left) and walk backward to original place without turning around, passing with L(R) shoulders.

Draw. When one foot is pulled along the floor in the direction of the foot with weight of the body on it. The weight
may or may not be transferred, according to the step used.

Elbow Swing. Two dancers link R elbows and swing clockwise either with springy movement or buzz steps.

Folded Arms. Raise arms at shoulder level with one forearm on the top of the other.

Free Foot. The foot not bearing the weight of the body.
Free Hand. The hand not placed anywhere or nit doing or holding anything.

Grand Right and Left. Partners join R hands facing each other. Boys all move counterclockwise, and girls clock-
wise. Each boy in starting passes his partner on her right and drops her hand, joins L hand with the L of the
next girl, who advances to meet him and passes her on her left and drops her hand, joins R hand with the R of
the next advancing girl and so on. In square dances, when partners meet half-way they hold in promenade posi-
tion and promenade around counterclockwise to their home position. In other dances, when partners meet for
the first time they continue until they meet for the second time in their home positions. Then they may all turn
about and reverse direction.

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Hop. A spring on one foot, landing on the same foot in place or in any direction. The free foot is raised in front in
rear.

Inside Foot. The foot nearest one’s partner, when partners stand side by side.

Jump. A spring on one foot or both feet, landing on both feet in any direction.

Inside Hand. The hand nearest one’s partner when partner stand side by side.

Leap. A spring from one-foot landing on the other foot.

Ladies Chain. Girls exchange places offering R hands as they pass. Girls join L hand with L of opposite Boy who
places his R hand around her waist and turning her half way around. Girls return to original places giving R
hands to each other as they pass and give L hands to partners who turn them around, as the opposite boys, to
their original places.

Link Elbows. Hook L (R) elbow with partner or any dancer.

Open Position (ballroom dancing). Partners hold in ballroom dancing, facing one direction, toward the extended
arms.

Outside Foot. The foot away from one’s partner, when partners stand side by side.

Outside Hand. The hand away from one’s partner, when partner stand side by side.

Partner’s Side. Partners change with four light running steps passing by the L shoulders. Turn left about to face
partner and return to original position passing by the R shoulders.

Point (Touch). Touch the floor lightly with the toes of one foot, weight of the body on the other foot.

Promenade. Partners are side by side. L shoulder toward the center, holding in skating position (R hands joined
over the joined L hands) at waist level or in varsovienne position (boy’s R arm around back of the girl, holding
her R hand close and at level of her R shoulder, and his L hand holds her L hand in front or t the side) they walk
around in counterclockwise direction until they reached their home position.

Set. A dance or unit formation. In square dance formation a set is composed of four pairs standing on the side of
their respective partners. The distant across the couples in from eight to ten feet.

The couples (partners or pairs) are numbered in a counterclockwise direction with Couple 1 with back to-
wards the “caller” or music. Couple 2 on the right of couple 1 and Couple 3 is the opposite couple facing Couple
1, Couple 4 is opposite of Couple 2.

Partners. Dancers standing side by side with girl at the right of boy.

Head Couples. Couples 1 and 3.

Side Couples. Couples 2 and 4.

Opposites. Partners facing each other – as Couples 1 and 3, Couples 2 and 4 are opposites.

Corners. The girl at the left side of boy and the boy at the right side of the girl are corners.

Home Position. The couple’s original position in the set.

International Dance 7
 Home Couple (or Stationary Couple). When two couples are performing a movement the home couple is the
one whose place the movement is taking place.

Visiting couple or couples are the pairs moving around the set, performing the movement with the home
couple or couples.

Spin (Whirl). To make fast turns executing small steps in place.

Stamp. To bring down the foot forcibly and noisily on the floor (like doing heavy step) with or without transfer of
weight.

Star Right and Left. This is also known as Mill or Wheel. Right and Left. Four dancers put their R hands in the cen-
ter and walk around clockwise (Star Right) and at the callers command they turn about, the L hands together
and walk counterclockwise (Star Left). They hold their R hands together one on top of another or they may each
grip the wrist of the dancer in front of them.

Supporting Foot. The foot which supports the weight of the body.

Swing Partner. Partner’s in social dance position, R shoulder near each other. In this position swing each other
hand other around clockwise by taking quick steps on the L foot and accenting the step on the R foot. The L foot
remains behind the R foot. This step is known as the buzz step. Springy, light steps may also be used.

Turn Single. This is an English term for a step which is done by making one complete turn to the right (clockwise)
with four running steps, starting with R foot.

Counting For Square Dance

Promenade Forward and Back --- 8 cts.

--- 8 cts. (half-way),
--- 16 cts. (complete circle)
Grand Right and Left Do-si-do --- 8 cts.
--- 8 cts. (half-way)
--- 16 cts. (complete circle)
Circle Right/Left Swing Partner --- 4 or 8 cts.
--- for 4 pairs 8 counts
--- for 2 pairs 4 cts.
Cross over --- 8 cts. Allemande Right/Left --- 8 cts
Ladies Chain --- 16 cts. Wheel Right/Left --- 8 or 16 cts.

Abbreviations Used

Back---bck. Backward --- bckd. Clockwise --- cw.

Counterclockwise --- ccw. Couple(s) --- cpl.(s) Count(s) --- ct.(s)
Figure(s) --- fig.(s) Forward --- frd. Foot/Feet --- ft.
Left --- L Right --- R Measure(s) --- M(s).
Opposite --- Opp. Point --- pt. Partner(s) --- ptr.(s)
Step(s) --- stp.(s) Sideward --- swd. Toward --- twd.

International Dance 8
 Fundamental Movement Skills: Dance Steps
Note: R (L) means that either Right or Left may be used.

Accented Running Steps --- Music fast ¾ or 3/8 times. Count 1, 2, 3 to a measure.

(a)Stamp forward on the R (L) foot (ct. 1), two light running steps forward on the balls of the L and R (R,
L) foot (cts. 2, 3).

Bleking Step --- Music 2/4 count 1, 2 to a measure or ¾ time count 1,2,3 to a measure.

(a)Place R (L) heel in front and hop on the L (R) foot (ct. 1), with a spring reverse the position of the feet,
that is L (R) heel is placed in front (ct. 2). This is taking one count for each movement.
(b)Place R (L) heel in front (ct. 1), step R (L) close to L (R) (ct. 2). This is taking two counts for each
movements.
(c)Place R (L) heel in front (cts. 1, 2) step R (L) close to L (R) foot (ct. 3). This is taking three counts for
each movement.

Break Legs --- Music 2/4 time. Count 1, and 2, and to a measure.

(a)Jump to feet apart sideward (ct. 1), spring to face right (left) and kneel on L (R) and half-stand on R (L)
foot (ct. 2)
Chasse (Slides) --- Music 2/4 time. Count 1, and 2, and to a measure.

(a)Slide R (L) sideward (ct. 1), step L (R) close to R (L) or cut R (L) with the L (R) (ct. and). Two chasse
steps or two slides in one measure.

Dutch step --- Music ¾ time. Count 1, 2, 3 to a measure.

(a)Step R (L) foot sideward (ct. 1) brush L (R) heel obliquely forward right (left) with toes pointing upward
(ct. 2), hop on the R (L) in place (ct. 3).

Gallop --- Music 2/4 time. Count 1, ah, 2, ah to a measure.

(a)Step R (L) foot sideward (ct. 1), cut R (L) foot with the L (R) thus, displacing it and at the same time tak-
ing the weight of the body on the L (R) foot (ct. ah). There are two gallop steps in one measure. This is
executed in any direction with one foot leading.

Grapevine Step --- Music 2/4 time. Count 1,2 to a measure. This is a step in which one foot crosses in rear and in
front of the other foot alternately. This step may be performed by stepping sideward first then across in
front or in rear.

(a)Step L (R) foot across the R (L) in rear (ct. 1), step R (L) sideward (ct. 2), step L (R) across the R (L) in
front (ct. 1), step R (L) sideward (ct. 2), and so on. Execute as many steps as necessary.

----Music ¾ time. Count 1, 2, 3, to a measure.

(a)Step L (R) foot across the R (L) in rear (cts. 1,2) step R (L) sideward (ct. 3), step L (R) across the R (L) in
front (cts. 1,2), step R (L) sideward (ct. 3), and so on.
(b)Step L across the R in rear (ct. 1), step R sideward (cts. 2,3), step L across the R in front (ct.1), step R
sideward (cts. 2,3), and so on.

International Dance 9
Hopsa --- Music 2/4 time. Count 1, and, 2, and to a measure.

(a)Leap sideward R (L) on to R (L) foot (ct. 1), step L (R) in front or across the R (L) (ct. and), step R (L)
close to L (R) foot (ct. 2), pause (ct. and). This is commonly done sideways.

Hungarian Turn --- Music 2/4 time. Count 1, and 2, and to measure.

(a)Partners face each other with R shoulders near each other, place R arm around the waist of partner, L
arm encircle overhead. Hop on R (ct.1), small step on L (ct. and), small step on R (cts. 2, and), and so on
until a complete turn is made (usually in four measures).

Jumping Jack --- Music 2/4 time, Count 1,2 to a measure.

(a)Full-knees bend with knees apart, cross hands down in front (ct.1), jump to standing positions with feet
apart sideward landing on the heels of the feet, toes pointed upward and fling arms obliquely upward,
palms facing front (ct. 2).

Mazurka --- Music ¾ time. Count 1, 2, 3 to a measure.

(a)Slide R (L) foot sideward (ct. 1), cut R (L) sideward with the L (R) foot (ct.2), hop on L (R) and bring the
R (L) foot in front or in rear of the L (R) ankle (ct. 3). This is done with one foot leading and usually in a
sideward or forward direction.

Mincing Step --- Music 2/4 or ¾ time. Count 1, and, 2, and or 1, ah, and, ah, 2, ah, ah, ah to a measure in 2/4
time and count 1, and, 2, and, 3, and or 1, ah, and, ah, 2, ah, and, ah, 3, ah, and, ah, in ¾ time.

(a)With the feet in fifth position execute tiny steps sideward right with R foot in front and to sideward left
with the L in rear. Execute as many steps as necessary. This is done with the leading foot flat on the floor
and the rear foot with the heel raised or with both heels raised. This step is done in all directions. When it
is done forward, R and L foot are alternated.

Minuet Step --- Music ¾ time. Count 1, 2, 3 to a measure.

(a)Starting with the R (L) foot, take three steps forward on the balls of the feet (cts. 1, 2, 3), point L (R) in
front or obliquely forward and bring the heel of the R foot down (cts. 1, 2, 3). The steps are light and
dainty.

Opposite Tortillier or Pigeon Toes --- Music 2/4, ¾, or 4/4 time. Count 1, 2, or 1, and, 2, and to a measure in
2/4 time; 1, 2, 3, or 1, and, 2, and, 3, and in ¾ time and 1, 2, 3, 4, or 1, and, 2, and, 3, and 4, and in 4/4
time.

(a)When Travelling Left – Invert the toes so that toes touch together (ct.1), pivot on the heel of the L and
on the ball of the R so that heels touch together (ct. 2), pivot on the ball of the L and on the heel of the
R so that toes touch together (ct. 3), pivot on the heel of the L and on the ball of the R so that heels
touch together (ct. 4), and so on according to the number of steps required. When Travelling Right – Re-
verse the footwork.

Parallel Tortillier Left --- Music 2/4, ¾, 4/4 time. Count 1, 2, or 1, and, 2, and to a measure 2/4 time; 1, 2, 3, or
1, and, 2, and, 3, and in ¾ time; 1, 2, 3, or 4 or 1; and 2, and, 3, and 4, and in 4/4 time.

(b)Starting position – feet and knees together. Pivot on the balls of the feet and turn heels to left (ct. 1),
pivot on heels and turn toes to left (ct. 2), pivot on the balls of the feet and turn heels to left (ct. 3), piv-
ot on the heels of the feet and turn toes to the left (ct. 4) and so on according to the number of steps
required.

International Dance 10
Parallel Tortillier Right – Reverse the foot work.

Pas de Basque --- Music ¾ time. Count 1, 2, 3 to a measure.

(a)Half-foot circle in the air with the L (R) foot and leap onto it sideward (ct.1), slide R (L) through first to
fourth position (ct. 2), cut R (L) foot forward with the L (R) foot (ct. 3). This is commonly done forward.

Pivot Turn --- Music 2/4 time. Count 1, and 2, and to a measure.

(a)Step R (L) foot in fourth in front (or a little close to fifth position in front) and bend the R (L) knee slight-
ly (ct. 1), execute a quarter turn right (left) with a push on the ball of the L (R) foot and raise the R (L)
foot slightly off the floor (ct. and). Repeat this movement three more times to complete the turn in two
measures. This may be done in 2 or more measures.

Polka Series --- Music 2/4 time. Count 1, and, 2, and to a measure.

Polka (Old Hop Polka) (1 M) --- Hop on R (L) foot (ct. and of previous M), step on the L (R) foot forward
(ct. 1), step R (L) close to L (R) in third in rear or in first (ct. and), step R (L) forward (ct. 2), hop
(for the next step) (ct. and). This may be executed in any direction.

Cross Polka (1 M) ---With an inward foot circle in the air of the R (L) foot, hop on L (R) (ct. and of previous
measure) and execute the polka step forward crossing the R (L) foot over the L (R) first (cts. 1, and,
2).

Heel and Toe Polka (Old) (1 M) ---Place the R (L) heel in front (cts. 1, and), touch the R (L) toe in rear (cts.
2, and), and execute plain polka forward (cts. 1, and, 2, and). This is usually done forward. The pol-
ka may be preceded by a hop.

Polka (Old) (1 M) ---Step R (L) foot forward (ct. 1), step L (R) close to R (L) foot in the third in rear or in
first (ct. and), step R (L) foot forward (ct. 2), pause (ct. and). This may be executed in all
directions.

Russian Polka (1 M). Tempo is light. --- Step L (R) heel forward (ct. 1), step R (L) close to L (R) heel (ct.
and, step L (R) foot forward (ct. 2), pause (ct. and). This may be done also with the heel brushing
first (on count and of the previous M) before putting weight on it, thus omitting the pause.

Prysiadka --- Music 2/4 time. Count 1, and, 2, and or 1, 2 to a measure. Tempo is light and lively.

(a)Full-knees bend on the R (L) and stretch L (R) leg forward (ct. 1), with a spring reverse the position of
the feet, that is, the R (L) leg is stretched forward and the L (R) knee is bent (ct. 2).

Rocking Step --- Music 2/4 or 6/8 time. Count 1, 2 to a measure.

(a)Fall onto L (R) foot forward and raise R (L) foot in rear (ct. 1), fall onto R (L) foot backward and raise L
(R) foot in front (ct. 2). The body is inclined slightly forward and backward in a rocking motion.

Rubber Legs --- Music 2/4 time. Count 1, 2 to a measure.

(a)Step L (R) across the R (L)in front and twist R (L) foot so that the sole is off the floor facing outward
(ct. 1), transfer weight to R (L) foot and twist the L (R) foot so that the sole is off the floor facing out-
ward (ct. 2).

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Schottische --- Music 4/4 time. Count 1, 2, 3, 4 to a measure.

(a)Step or slide R (L) foot sideward (ct. 1), step L (R) close to R (L) (ct. 2), step R (L) sideward (ct. 3), hop
on R (L) in place and swing the L (R) foot in front (ct. 4). This may be executed in any direction.
The Rheinlaender step in “Rheinlaender for Three” dance is the same as this step.

Shuffling Steps --- Music 2/4 or ¾ time. Count 1, and, 2, and, or, 1, ah, and, ah, 2, ah, and, ah to a measure in
2/4 time and 1, and, 2, and, 3 and, or 1, ah, and, ah, 2, ah, and, ah, 3, ah, and, ah to a measure in ¾ time.

(a)Shuffling steps are tiny sliding steps forward on the balls of the feet. Execute as many steps as nec-
essary.

Slide or Glide Step --- Music 2/4 time. Count 1, 2 to a measure. There is a slight bending of the knee of the slid-
ing foot.

(a)Slide R (L) foot forward (ct. 1), Close L (R) to R (L) foot in third in rear or in first position (ct. 2). This
may be done in any direction. Music ¾ time. Count 1, 2, 3 to a measure.
(b)Slide R (L) foot forward (cts. 1, 2), close L (R) to R (L) foot in third in rear or in first position (ct. 3). This
may be executed in any direction.
(c)This step is done also by giving one count for the slide and two counts for closing.

Skip Step --- Music 2/4 or 6/8 time. Count 1, ah, 2, ah, to a measure. The movements are the same as in step-hop,
but done in one count only.

(a)Step on R (ct. 1) and hop on R (ct. ah). There are two skip steps in one measure. This may be executed
in any direction.

Step Curtsy or Bow --- Music ¾ time (minuet tempo). Count 1, 2, 3 to a measure.

(a) Lady’s Curtsy – Step L (R) sideward (ct. 1), point R (L) foot across L (R) in rear bending both knees (ct.
2) straighten knees (ct. 3). The trunk and the head are gracefully bent forward together with the bending
of the knees. Usually the skirt is raised a little bit at the sides at the time of the bending of the knees.
(b) Gentleman’s Bow – Step L (R) sideward (ct. 1), draw the R (L) foot close L (R), relax shoulder, bend
head, and body slightly forward (ct. 2), gradually return to erect position (ct. 3). The R (L) arm is bent in
front at waist level at the time of bowing. In making all the bows the act requires a mark of deference.

Step-Hop --- Music 2/4 time. Count 1, 2 to a measure.

(a) Step R (L) foot forward (ct. 1), hop on the same foot and raise the L (R) foot in front or in rear (ct. 2).
--- Music ¾ time. Count 1, 2, 3 to a measure.
(a) Step R (L) foot forward (cts. 1, 2), hop on the same foot and raise the L (R) foot in front or in rear (cts.
3). This may be done in any direction.

Step Point --- Music 2/4 time. Count 1, 2 to a measure.

(a)Step R (L) foot sideward (ct. 1), point L (R) in front or obliquely left (right) forward (ct. 2).
--- Music ¾ time. Count 1, 2, 3 to a measure.
(a)Step R (L) foot sideward (cts. 1, 2), point L (R) in front or obliquely left forward (right) (ct. 3). This step
may be done in all directions.

Step Swing --- Music 2/4 time. Count 1, 2 to a measure. This may be executed in any direction.

(a)Step R (L) foot sideward (ct. 1), swing the L (R) foot across the R (L) in front (ct. 2).
--- Music ¾ time. Count 1, 2, 3 to a measure.

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 (a)Step R (L) foot sideward (ct.1), swing the L (R) foot across the R (L) in front (cts. 2,3). or
Step R (L) foot sideward (ct.1,2), swing the L (R) foot across the R (L) in front (cts.3).

Step-Swing-Hop --- Music in 6/8 time. Count 1,2 to a measure.

(a)Step R, (L) foot sideward (ct.1), swing the L (R) foot across the R (L) in front or across the R(L) (ct.2)
and hop on the R(L) at the same time (ct.3). This may be done in any direction. The 6/8 time is used in
the Tarantella dance. This may be done in any direction.
--- Music ¾ time. Count 1, 2, 3 to a measure.
(a)Step R, (L) foot sideward (ct.1), swing the L (R) foot across the R (L) in front and hop on the R(L) at the
same time (ct.2).

Step-Brush-Swing-Hop --- Music ¾ time. Count 1,2,3 to a measure.

(a)Step R(L) foot sideward (ct.1), brush L(R) forward and swing it across the R(L) in front (ct.2), hop on R
(L) (ct.3). This may be done in any direction.

Touch Step --- Music 2/4 time. Count 1,2 to a measure.

(a) Point R (L) foot in front (ct.1), step R (L) close to L (R) foot (ct. 2).
Hop on L (R) foot and point R (L) in front (ct.1), with a spring, reverse the position of the feet (ct.2).
--- Music ¾ time. Count 1, 2, 3 to a measure.
(a) Point R (L) foot in front (cts.1,2), step R (L) close to L(R) (ct.3).
(b) Point R (L) foot in front (cts.1), step R (L) close to L(R) (ct.2,3).

Waltz Series --- Music ¾ time. Count 1,2,3 to a measure.

Ballroom Waltz (1M) – Step R (L) foot forward (ct.1), slide L(R) foot diagonally forward left (right) passing
through first position (ct.2). Step R(L) close to L(R) to third in rear or in first position (ct.3). This
may be done in any direction.
Box or Square Waltz (2M) –
Boy:Step L forward (ct.1), step R sideward (ct.2), step L close to R (ct.3). Step R backward (ct. 1),
Step L sideward (ct.2), step R close to L (ct.3)
Girl:Step R backward (ct.1), step L sideward (ct.2), step R close to L (ct.3). Step L forward (ct. 1),
Step R sideward (ct.2), step L close to R (ct.3)
Cross Waltz (1M) – Step R(L) across L (R) in front and raise slightly the L(R) foot across in rear (ct. 1.), step
L(R) close to R(L) in third in rear (ct.2), step R(L) forward (ct.3. There is a slight bending of the
knees on ct. 1. Step on the ball of the rear foot on ct. 2. This step is usually done in a forward or
sideward direction.
Waltz or Folk Waltz (1M) – Step R (L) foot forward (ct.1), step L (R) close to R (L) in third in rear or in first
position (ct.2), step R (L) forward (ct.3). This may be done in any direction.
Waltz Balance (1M) – Step R(L) foot forward (ct.1), close L(R) to R(L) in third in rear or in first position and
raise both heels (ct.2), lower heels with the weight of the body on the R(L) foot (ct.3). This may be
done in any direction.
Waltz Turn (2 M) – Execute two waltz steps either to right or left, in place, or moving away from the
starting place. This may be done also in 1 or 4 measure.

Varsovienne Step – Music ¾ time. Count 1, 2, 3 to a measure.

(a)Slide R (L) foot diagonally forward right (Left) (ct. 1), step L (R) close to R (L) in third in rear or in first
position (ct. 2) step R (L) sideward (ct.3). Point L (R) foot in front (cts. 1, 2, 3). Bend the body toward
the pointing foot.

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 ———————————————————————— O ————————————————————————

Activities
1. Using the various fundamental movement skills in lesson 2, create a dance for 3 figure dance with 32
measure each figure. Video record the dance created.
2. Answer or supply the questionnaire matrix or activity sheet posted in the google classroom.
3. In a group of 4 members, collaborate with your classmate then perform, record and create and
instructional video of the different fundamental movement skills.

Assessment
1. Answer the check-up quiz posted in the google classroom.

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Lesson 3. Traditional Costumes

Taridtional costumes helps preserve countries customs, tradition and heritage. These preservation identity
educate every generations of the history and ways of their ancestors. A traditional or folk costume expresses
an identity through costume, which is usually associated with a geographic area or a period of time in history. It
can also indicate social, marital or religious status. If the costume is used to represent the culture or identity of a
specific ethnic group, it is usually known as ethnic costume. Such costumes often come in two forms: one for eve-
ryday occasions, the other for traditional festivals and formal wear.
Asian traditional costume is also known for the unique and classy national costumes. Most of the traditional
are vibrant in colors with intricate designs and patterns. One aspect to identify an Asian women costumes are
wearing of so much jewelries, ornaments and embellishments that depicts various meanings, purpose and identity.
And men are dressed in more magnificent and dignified styles of clothing.
Western countries specifically in America has no traditional national costumes for both men and women and
most of their attires are associated with the observance of festivals and the performances of folk dances. The cos-
tumes have varied distinction from each sections of the country which dictates the folks’ style in accordance with
definite historical periods of the country.
While in European countries, people dress in more or less the same fashions which characterized those of
any other countries of the continent. Regardless of this fact, each maintains its own distinguishing features associat-
ed with performance of respective folk dances. The variations usually be seen in the ornaments and embellishments
of each traditional costumes.
Hence, no matter what country, each costume is more or less associated with the historical functions and
customs of each country. And merely connected in the various folk ways and mores of the country that displays the
identity of the culture and heritage of the country.

Specific Objectives
At the end of the unit session, the students must have:
 Identified and differentiated various traditional costumes of every country.
 Analyzed and compared the historical meanings, style, purpose and functions of traditional costume .
 Displayed and developed a desirable appreciation in the historical meanings, style, purpose and functions
of traditional costume .

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 TRADITIONAL COSTUMES

China Japan

Denmark

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 Ukraine

Sweden
American (Folk)

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French (Louise XV Style) Italian (Folk)

Ireland

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 Scotland Netherlands

Russia
Mexico

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Norway
England

Germany

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 Activities
1. Select 3 countries. Research and explore the various historical description, function and purpose of the
parts or pieces of very garments, adornments and embellishments of the traditional costume.
2. Recreate. Illustrate or sketch a modernized style and design of the selected countries.
3. Answer or supply the questionnaire matrix or activity sheet posted in the Google classroom.

Assessment
1. Answer the essay questions posted in the Google classroom.

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