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STUDY GUIDE FOR MODULE NO. 2

INTRODUCTION TO DANCE AND RHYTHMIC ACTIVITIES

MODULE OVERVIEW

Module Outline:
PHILIPPINE FOLKDANCE
1. Folkdance and Its Classifications
2. Fundamental Dance Positions of the Arms and Feet
3. Dance Steps and Terminologies

MODULE LEARNING OBJECTIVES

At the end of this Module, you should be able to:

a. Demonstrate the fundamental positions of arms and feet in folk dancing.
b. Demonstrate the different dance terminologies.

LEARNING CONTENTS

ORIGIN OF DANCE IN THE PHILIPPINES ACCORDING TO FILIPINO LEGEND

According to Philippine legend, the first man
and the first woman went up to the hill to
make their home. They begot many children
and later became the ancestors of diverse
tribes.
Several beliefs became their way of life.
When death struck, when lightning flashed in
the sky, and when thunder rumbled, the
tribes were struck with fear. They thought
that the gods were angry. To placate their
deities, they offered sacrificial rites by way of
fire and smoke in the belief that smoke from
fires they kindled carried their invocation
heavenwards.
When illness and pestilence befell the tribes,
the people wailed and chanted and danced
long into night, so that the evil spell might be
broken. When the earth caked from drought, they performed dance of propitiation so that the divine entities
might take pity on them and send rain to their parched fields. And when the rains came and drenched the soil
to assure a bountiful harvest, these children of the gods danced in the moonlight in joy and thanksgiving.
In the acts of imploring, conciliating, and giving thanks to the gods, the people these islands created dance to
live forever in themselves, in their children and their children's children.
ETHNIC DANCES
The ethnic dances of the Philippines are classified into two major categories:
➢ The dances of the Non-Christian Filipinos.
a) Dances of the traditionalists or "pagan " groups
b) Dances of Muslim groups
➢ The dances of the Christian and Lowland Filipinos or Western influenced.
a) Dances are savage, vigorous, and mimetic in character.
b) Some are light-hearted and mimetic.
c) Some are performed without music or melodic accompaniment.
Primitive, indigenous, or ethnic are dances of the traditionalist group. It requires such abilities
as agility, nimbleness, and stamina.
Dances of the Aetas or Negritoes Focused on the feet
➢ The arm movements are simple and free.

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➢ Musical instruments include bamboo and wooden sticks, clappers, shields and native lutes (kudyapi,
kettle drums, mass metal drums, bronze gongs.)

Dances are:
1. rituals
2. flirtation
3. courtship
4. game dances
5. animal dances
6. duel or war dances.

Dances of the Muslims

➢ Has cultural influences on Hindu, Japanese, Chinese, and Arab-Persian civilizations.
➢ Oriental, exotic and stylized
➢ The musical instruments are agongs, kulingtangan, bamboo xylophones and drums.

THE PHILIPPINE DANCE

Dance in the Philippines influences the diversity of our cultural beginnings and the drama of our everyday lives.
It blends the exotic customs and cultures of many countries and races—Indonesian, Malays, Chinese, Indian,
Spanish and Americans,
The Philippine archipelago had been inhabited by three different racial groups even before the coming of
Magellan in 1521. They were the Pygmies, Indonesians, and Malays. The Negritos and Proto-Malays were the
descendants of the pygmies. As nearly those days, dancing among the Negritos was mostly pantomimic
performed to depict the events of daily chores.
Filipinos possess natural grace, in inborn love for music and dance. Dancing was considered a religious activity
among them. They danced for many occasions birth, love, courtship, thanksgiving, wedding war, victory,
marriage, planting and harvesting, prosperous voyage, recovery from sickness and to heal the sick.
In place where life is easy, the dances are gay and frolicsome. Dances in places where life is hard are sad,
slow, and even mournful.
Filipinos are also lovers of rituals as shown in ceremonial dances during town fiestas, Christmas, Easter, Ash
Wednesdays. There were dances performed by the priests and priestesses in the thanksgiving for a plentiful

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harvest, a victorious battle, a prosperous voyage, or recovery from sickness, to drive evil spirits and in invoking
their gods and anitos.
The Philippine folk dances are classified according to:
1. Geographical Locations
1.1. National Dances — traditional dances throughout Philippines with a common basic movement or
pattern but with slight variation.

Examples:
Cariniosa Kuratsa Balitaw Rigodon Pandanggo Surtido
1.2 Local or Regional Dances — are dances found in certain localities or regions only.
Examples:
Alcamfor (Leyte)
Maglalatik (San Pablo, Laguna)
Basulto (Pampanga)
2. Nature of the Dance
2.1. Occupational Dances — are dances that depict actions, characteristics, occupations, industries, and
phases of human labor. Examples:

Rice Festival — has the largest number of dances.

Pagtatanim Paggapas Paggiik
Paglulugas Paghangin Pagbabayo
Pabirik — depicts the different stages of gold panning.
Mananguete — tube gatherer
2.2 Religious or Ceremonial Dances — are performed in connection with religious vows, practices, and
ceremonies. A religious dance may be performed to drive away evil spirits, ask for a favor to have a child,
give thanks for having recovered from sickness, favors granted and vows fulfilled.
Examples:
ObandoDugso Sinurog
2.3 Courtship Dances — are dances that depict love making or with love theme.
Examples:
Rogelia Lulay Hele-Hele Bago Quiere
2.4 Wedding Dances — are performed by newlyweds, by friends and relatives of the bride and groom or
by the father of the bride and the mother of the groom.
Examples:
Pantomina (bride and groom)
Pandang-Pandang (bride and groom and friends or relatives of each side)
Soryano (dance by the parents of the future groom, the visit of the parents of the bride)
2.5 Festival Dances — performed in connection with celebrations, a feast, a barrio fiesta, good harvest,
and good fortune.
Examples:
Kuratsa La Jota Putong
2.6 War Dances — are intended to show imaginary combat or duel with the use of fighting implement like
bolo, kris or spear.
Examples:
Inabaknon Sagayan
2.7 Comic Dances — are dances with funny and humorous movements mainly intended for entertainment.
Examples:
Makonggo (movements of monkey)
Kinoton (imitates movements ofperson bitten by ants)
2.8. Game Dances — are dances that have some play elements and are for recreational purposes.
Examples:
Lubi-Lubi Gayong-Gayong Pabo

2.9. Social Dances — are dances danced during social gathering.

Examples:
Rigodon Lanceros

FIVE (5) GROUP CLASSIFICATION OF DANCES FOUND IN THE PHILIPPINES

1. Dances of the Cordillera Groups
BIBAKIG — acronym for Bontocs, Ifugaos, Benguets, Apayao, Kalinga, Itneg, Ilonggot, and Gaddang.

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PESHITS & KANYAO — occasions for the presentation of Cordillera dances.

Classification: ceremonial, festival and imitative in nature.

Some of the Dances

➢ Takik — a flirtation, love or wedding, dance from Western
Bontoc
➢ Pattong — danced by one or two warriors,
➢ Dinuyya — from Lagawe, Ifugao, it is a dance festival
performed by men and women during a major feast.
➢ Tarektek — among the Benguets, is a dance imitating
the "woodpeckers" > Bendian — is a victory.
➢ Turayen among the Apayaos, a dance imitating a high-
flying bird.
➢ Tadeck — is a Kalinga word of dance.
➢ Ragragsakan — is a work dance of Kalinga women
where they carry baskets on their heads or sometimes
layered claypots.
➢ Takiling — is a victory dance performed after head
hunting spree.
2. Dance of the Mindanao Groups

Dances had touches of Hindu, Javanese, Chinese, and Arab-Persian Culture.

Some of the Dances

➢ Kakulangan — among Maranao, is danced with the use beautifully decorated
umbrella.
➢ Sagayan — is a war dance which dramatizes the hero-warrior prince.
➢ Asik — is a doll dance for girls.
➢ Silong sa Ganding — shows traces of Hindu-Vedic influence, where the five
dancers represent the sounds of the gandingan.
➢ Pang-alay—from Jolo, Sulu portrays the varied life activities of the people.
➢ Maglanka — is dance class of noble Samal women.
➢ Burong Talo — is a martial arts dance in the Langka tradition of Mindanao
dances.
➢ Pindulas — depicts the movements of the fish.
➢ Binanog — is a Manobo hawk dance.
3. Spanish/European/Western Influence Dances
3.1 The Westernization of Filipino culture
brought changes in the style of dancing
among Filipinos.
3.2 Introduction of Pandanngo, Habanera,
Jota, Valse, Mazurka, Paseo, Rigodon,
Lanceros, etc.
3.3 Some of the dances include:
➢ Habanera Botolena is a dance of
married couple in Botolan, Zambales.
➢ Pandanggo Rinconada is a festival
dance from the province of Bicol
depicting the happy and contented life
of the people

4. Dance of the Countryside

➢ If there were dances for the so-called "nourgoise," during the Spanish period, there were also dances
for the poor, farmers, and people in the rural areas.
➢ Dances were light and more informal.
➢ Frequently, the dances require skills and character which depict their kind of work.

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➢ Some of the dances are:

• Binasuan is a dance that require a
balancing skill with glasses of wine.
• Bati is a dance performed during Easter
Sunday.
• Gayong-Gayong is a game dance.
• Binislakan which means sticks is a
Pangasinan dance that bears the Chinese
influence.

5. Dances for the Lesson Known Group

➢ Kadal Blelah is a Tiboli dance with Mythical
bindings imitative of the movements of the
birds.
➢ Karasaguyon is a courtship dance.
➢ Kadal Tajo is a dance that depicts the movement of a bird in the middle of the forest.

FUNDAMENTAL DANCE POSITIONS AND DANCE STEPS

FEET POSITIONS

First Position
Feet close and parallel heels
Touching toes at 45 degrees

Second Position
Open parallel stride sideward

Third Position
Feet close-crossed
Heel in-step touching.
Knees locked.

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Fourth Position
Feet open-crossed

Fifth Position
Feet closed toes.
ARM POSITIONS

First Position
Arms encircled in front Chest level, relaxed, fingers slightly apart.

Second Position
Arms raised sideways a little below shoulder level.

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Third Position
One arm encircles overhead other raised sideways.

Fourth Position
One arm encircles on first position, another arm overhead.

Fifth Position
Both Arms Overhead

COMBINATION OF FEET AND ARMS POSITION

FUNDAMENTAL DANCE STEPS

The dance steps listed below are the fundamental or basic steps most used in Philippine folk dances.
In some cases, the names of the steps are the same as those found in foreign dances, but the manner of
execution is entirely different. Some dance steps have no English equivalent names, so the native names are
retained, such as "kuradang," "Bacui," "Engano," etc.

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Dance Step Time Step Pattern Counting Signature

Cross-point step/
Cross-step (rear) step/
BACUI 3│4 1,2,3/1,2,3/1,2,3/1,2,3
Cross-step (front) step/
Close (pause)

2│4 Spring I (R) heel-place close Heel- 1, and 2

BLEKING
3│4 place close (step) 1,2,3
Cross-jump 1
BRINCOS CON Hop & circle and
2│4
PUNTILLAS Step & heel raise R 2
Spring & point and
Cross-jump 1
BRINCOS CON Hop & turn & foot circle and
2│4
VUELTAS Step & turn (heel raise) 2
Spring & point and
CHANGE STEP 2│4 Step close step 1 and 2
CROSS STEP 3│4 Step cross & slide 1,2,3
CROSS CHANGE 2│4 Cross-step-close-step 1 and 2
CONTRA-GANZA 2│4 Leap cross-step step 1 and 2

Brush, Raise, Brush, Raise Step,

CHOTIS 4│4 1,2,3,4
step, step (turning) pause

CLOSE STEP 2│4 Step close 1,2

CUT STEP 2│4 Cut or displace 1
ENGANO WITH A CLOSE 3│4 Step cross-step Step close 1,2,3
ENGANO WITH A WALTZ 3│4 1,2,3
Step cross-step Step close step
Pivot L (R) Pivot R (L) 1,2,3
ESPUNTI 3│4
Pivot R (L) Pivot L (R) 1,2,3
2│4 Step cut step cut (there are 2 galop 1 ah 2 ah
steps to 1 measure)
6│8 Step 1,2
GALOP
Cut 3
Step 4,5
Cut 6
Step cross-step 1,2
2│4
Step-cross step 1,2
GRAPEVINE 4│4 Step cross-step step cross-step 1,2,3,4
Step cross-step, cross-step step 1,2,3
3│4
cross 1,2,3
HABANERA 2│4 Step close step 1,2 and
Step step/hop hop/ 1,2/1 and 2
HAPLIK 2│4
Step step step (turning) 1 and 2

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Hop hop/step step step 1,2/ 1 and 2

Hop hop/step step/ 1,2/ 1,2
Close(pause) 1,2

HEEL & TOE CHANGE 1,2/

2│4 Heel place toe- point/
STEP
Step close step 1 and 2
a. step brush-heel close (heel) (to
1,2,3/,1,2,3
be executed 12x)
b. step close step 1,2,3/1,2,3
MUDANSA 3│4
c. step close step 1,2,3/,123/
d. step close step turning 1,2,3/,1,2,3
e. step close step 1,2,3
Step step step step 1 and 2 and
Step step step step 1 eh and ah
2│4
MINCING 2 eh and ah
Step step... (tiny steps) 1,2
3│4 Step step... (tiny steps) 1 and 2 and 3 and
Step cross-step cross-point Step
PAPURI 3│4 1,2,3 1,2,3 1,2,3 1,2,3
cross-step cross-step
step R 1
close L & heels 2
3│4
PASO ESPANOL heels down both 3
step close R heels 1,2,3
PLAIN POLKA 2│4 Step close step pause 1 and 2 and
Heel-place toe-point/ 1,2
HEEL AND TOE POLKA 2│4
step close step pause 1 and 2 and
HOP POLKA 2│4 Hop & step close step pause 1 and 2 and
Slide close slide close 1 and 2 and
SLIDE POLKA 2│4
Step close step pause 1 and 2 and
REDOBA 3│4 Slide cut cut 1,2,3
Fall on R (L) & Raise L ( R ) 1
ROCKING 2│4
Fall on L (R) & Raise R (L) 2
Step close step close 1,2,3
SAGAMANTICA 3│4
Step close raise R heel place 1,2,3
2│4 Step hop step hop 1 ah 2 ah
SKIP
6│8 Step hop step hop 123456
2│4 Slide close 1,2
SLIDE STEP
3│4 Slide close slide close 1,2,3,1,2,3
STEP-HOP 2│4 Step Hop 1,2
2│4 Step point 1,2
STEP POINT
3│4 1,2,3
Step Point
2│4 Step Swing 1,2
STEP SWING
3│4 Step Swing 1,2,3

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STEP SWING HOP 3│4 Step swing hop 1,2,3

STEP BRUSH SWING 3│4 Step brush swing hop 1,2,3

HOP

SWAY BALANCE WITH A Step cross-step step point 1,2,3

3│4
POINT
SWAY BALANCE WITH A
3│4 Step cross-step step brush 1,2,3
BRUSH

SWAY BALANCE WITH A

3│4 Step cross-step step close 1,2,3 1,2,3
CLOSE

SWAY BALANCE WITHA

3│4 Step cross-step step raise hop 1,2,3 1,2,3
HOP

SWAY BALANCE WITH A

3│4 Step cross-step step raise 1,2,3 1,2,3
RAISE

SWAY BALANCE WITH A

3│4 Step cross-step step close step 1,2,3 1,2,3
WALTZ
Step cross-step 1,2,3

1,2,3
DOUBLE SWAY 3│4 Step point
BALANCE Cross-step step Point 1,2,3
Point 1,2,3
Spring & touch or 1
2│4
Touch close (step) 1,2
TOUCH STEP Touch close step or 1,2,3
3│4
Touch close step 1,2,3
TURNS:

BRUSH STEP TURN Step brush step

3│4 1,2,3
(turning in place)
Step close step
CHANGE STEP TURN 2│4 1 and 2
(turning in place)
CROSS TURN 3│4 Cross turn heels down 1,2,3
CROSS-STEP TURN 3│4 Step cross heels down 1,2,3
Step step step step on ball & turn
PIVOT TURN 2│4 1 and 2 and
on ball & turn
Turn L & point R
PIVOT TURN WITH A
3│4 1,2,3
POINT Point close R (L) (turning in place)

PIVOT TURN Sarok point-close point & turn 1,2,3 1, 2, 3

WITH "SAROK" point-close point
3│4
& turn point-close 1,2,3 1,2,3
AND POINT point & turn point-close 1,2,3 1,2,3
SLIDE TURN 3│4 Step-turn & cross slide-step 1,2,3
THREE-STEP TURN 3│4 Step turn & step turn & step 1,2,3
FOUR-STEP TURN 2│4 Step turn & step turn 1,2 1,2

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& step (close)

WALTZ TURN 3│4 Step close step 1,2,3
Step..step..step (R-L alternately) 1 ah & ah
2│4
(turning in place while moving) 2 ah & ah
WHIRL TURN 1 ah & ah
3│4 (same as above) 2 ah & ah
3 ah & ah
WALTZ 3│4 Step close step 1,2,3
Step, close L, Raise heel both
WALTZ BALANCE 3│4 1,2,3
Heels down (both)

CROSS WALTZ 3│4 Cross-step close step 1,2,3

Pivot on heels (& turn toes both) 1

2│4
pivot on toes (& turn heels both) 2
PARALLEL TORTILLER
Pivot on heel (& turn toes both) 1,2
3│4
Pivot on toes (& turn heels both) 3
Toes together R-L 1
2│4
Heels together R-L 2
OPPOSITE TORTILLIER
Toes together heels together
3│4 1,2,3
(moving sideward right & left)
CHASING 2│4 Step close(step) 1 and 2

ESCOTIS 4│4 1,2,3,4

Step close step hop
2│4 or (same as │ mincing step but with
KORRITI
3│4 one foot across in front) 1 and 2

DANCE TERMINILOGIES
"Abrasete" — Girl at the right side, holds R arm of partner with her 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, sideward right of 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. "Bakya" — Wooden clogs.

"Balintawak" — Long dress with stiff butterfly sleeves. The more elaborate version worn with a colorful tapis
with decorations that match those on the sleeves.

"Barong Tagalog" — Long sleeved shirt of flimsy material like piña, jusi, pounded abaca or nylon. Variations
range from plain to elaborate, sinuksok to lace.

"Baro't Saya" — Blouse and skirt ensembles that range from simple to elaborate with a scarf or bandana to
match.

"Bilao" — To turn palms of hands up and down alternately, hands at waist level in front, elbows close to waist.

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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.

"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.

Camisa —Top ofbaro't saya or Maria Clara. Also called baro, kandugan, or kimona.

Camisa de Chino — Collarless Chinese shirt. Plain, floral, checkered, or striped or typical of farmers and
fishermen. The commercial camisa in T-shirt material is found in bright colors.

Camiseta — Semi stretch material usually used as T-shirts and similar wear.

Clockwise — Like the motion 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.

Counterclockwise — The reverse direction of clockwise. L 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.

Crossed Arms — Partners are facing each other or standing side by side, girl at the right of boy. They join their
L hands together and their R hands together, either R over L or L over R hands.

Cross-Over — Two couples (the vis-a vis) are opposite each other. Each couple proceeds in a straight line to
the opposite place. The girls pass by their 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 partners' right side.

Cut – To quickly displace one foot with the other, thus completely taking off the weight of the body from the
displaced foot.

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.

Draw —To pulls 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 foot — the foot not bearing the weight of the body.

Free Hand — The hand not placed anywhere or not doing anything.

Grand Chain or Grand Right and Left — Partners join right hands facing each other. Boys all move
counterclockwise and girls clockwise. Each boy in starting passes his partner on her right and drops her hand,
joins left hand with the left of the next girl, who advances to meet him, and passes her on her left, and drop
hands, joins right hand with the next advancing girl, and so on. The girls do the same giving right and left hands
to each succeeding boy. When partners meet for the first time they continue until they meet for the second time
in their proper places. Then all turnabout and reverse direction.

Hands on waist — Place hands at the waistline (at the smallest part of the trunk), knuckles in, fingers pointing
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 the place or in any direction. The other foot may be

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raised in any direction (in front, in rear, Sideward or across).

Ilocano – Ethno-linguistic group living in the Ilocos provinces.

Inside Foot — the foot nearest one partner, when partners stand side by side.

Inside Hand — The hand nearest one's partner when partners stand side by side.

"Jaleo"— Partners turn once around clockwise (with R elbows almost touching) or counterclockwise (with L
elbows almost touching) using walking or any kind of dance step. The hands near each other are on waists.
This is a Tagalog term but of a Spanish origin.

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

Kimona / Kimono — Short, ruffed, sleeveless blouse.

"Kumintang"— Moving the hand from the wrist either in a glockwise or counterclockwise direction. This is an
Ilocano term. Leap — Spring on the supporting foot and land on both feet.

Maria Clara —A kind of baro't saya gown popularized in the late 1800's inspired by the heroine Maria Clara in
Rizal's novel Noli Me Tangere.

''Masiwak" – To turn the hand from the wrist halfway clockwise then raise and lower wrist once or twice. This
is an Ibanag term.

Leap —A spring from one foot, landing on the other foot in any direction (forward, sideward, backward, or
oblique).

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.

Opposite — The person standing in opposite across the set.

"Panadyak" — To stamp in front or at the side with R (L) foot and tap with same foot close to the L/R foot,
weight of the body on L/R foot. This is a Tagalog term.

Partner — Girl to right of boy and boy to left of girl.

Patadyong – A kind of woven material usually of cotton, plaid, multi-colored skirt' popularized by Miag-ao
weavers of Iloilo.

Pløce — To put foot in a certain or desired position without putting weight on it. The sole rests on the floor.

Pivot — To turn with the ball, heel, or whole foot, on a fixed place or point.

"Patay" — To bend the head downward and to support the forehead with the R (L) forearm or with the crook
of the R (L) elbow while the L/R hand supports lightly the palm of the R (L) hand. This is usually done with the
L/R foot pointing in rear and knees slightly bent. This is an Ilocano term, and the movement is commonly found
in Ilocano dances.

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

Polka — Spanish introduced dance from Germany.

Rigodon — Spanish rigodon, a walk-dance usually performed for opening important social gatherings featuring
the who is who in town.

"Salok" — To swing the arm downward-upward passing in front of the body as if scooping, the trunk is bent
forward following the movement ofthe arm doing the "salok". This is a Tagalog term.

PANGASINAN STATE UNIVERSITY 13

 FM-AA-CIA-15 Rev. 0 10-July-2020

Study Guide in PE 3 – Physical Activities towards Health and Fitness 3 Module No. 2

"Saludo" — partners bow to each other, to the audience, opposite dancers, or to the neighbors with feet
together. This term is of Spanish origin and is used in almost all Philippine dances.

"Salok" (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 is a Visayan term.

Sarong —A short version ofthe malong usually worn by Subanon and other Mindanao men.

Set —A dances formation like a square or a unit formation composed of two or more pairs.

Slide —To glides foot smoothly along the floor. The movement maybe finished with or without transfer of weight.

Stamp — To brings down the foot forcibly and noisily on the floor (Like doing a heavy step) with or without
transfer of weight.

Star with Right Hand — Four or more people join R hands at center and circle around clockwise using walking
or any kind of dance steps.

Star with Left Hand — Same as "star with R hand” but joining L hands and turning counterclockwise.

Step — To 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.

Supporting Foot — The foot that bears the weight of the body.

Tagalog — Ethno-linguistic group in the north and south of Manila.

Tap — To 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.

Valse — Waltz, earliest Spanish-introduced step.

Whirl — To make fast turns by executing small steps in place to right or left.

LEARNING ACTIVITY

• Graded Recitation

Prepared by:

MARC CHRISTIAN P. BLANCO, LPT

Instructor

PANGASINAN STATE UNIVERSITY 14