IM PHED 40063 International Dance

POLYTECHNIC UNIVERSITY OF THE PHILIPPINES
COLLEGE OF HUMAN KINETICS

DEPARTMENT OF PROFESSIONAL EDUCATION
INSTRUCTIONAL MATERIALS
FOR PHED 40063
INTERNATIONAL DANCE
AND OTHER FORMS
COMPILED BY:
DR. FERDIE T. LUBIS
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TABLE OF CONTENTS
Overview……………………………………………………………………………………………………………………………..i
Course Outcome
Syllabus ………………………………………………………………………………………………………………………………iv
Chapter 1. DANCE HISTORY …………………………..……………………………………………………………………1

• Learning Outcomes
• Overview
• Course Materials
▪ The Primitive Period…………………………………………………………………………..1
▪ The Ancient Period…………………………………………………………………………….2
▪ The Medieval Period……………………………………………………………………..…..2
▪ The Renaissance Period………………………………………………………………..……3
▪ Philosophy of Dance…………………………………………………………………………..3
▪ Basic Elements of Dance…………………………………………………………………….5
• Activities/Assessments
• Reference
Chapter 2. FOREIGN FOLK DANCE……………………………………………………………………………………..7

• Overview
▪ Formation used in Folk Dance and other Rhythmic Activities…………….7
▪ Basic Partner Positions………………………………………………………………………9
▪ Fundamental Dance Positions…………………………………………………………..10
▪ Basic Steps in 2/4 Time Signature……………………………………………………..12
▪ Basic Steps in 3/4 Time Signature……………………………………………………..13
▪ Terminologies used in Foreign Folk Dance………………………………………..15
• Suggested Media at Home
• Reference
Chapter 3. FOREIGN FOLK DANCES FROM ASIA………………………………………………………………..19

• Overview
▪ Chinese Fan Dance…………………………………………………………………………….20
▪ Japanese Parasol Dance…………………………………………………………………….22
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• Reference
Chapter 4. FOREIGN FOLK DANCE FROM EUROPE………………………………………………………………25

• Overview
▪ Varsovienne………………………………………………………………………………………..26
▪ Tarantella……………………………………………………………………………………………27
▪ Irish Lilt……………………………………………………………………………………………….30
Chapter 5. FOREIGN FOLK DANCE FROM AMERICA……………..…………………………………………….33

• Overview
▪ La Cucaracha………………………………………………………………………………………34
▪ Red River Valley………………………………………………………………………………….36
Chapter 6. OTHER FORMS OF DANCE…………………………………………………………………………………39

• Overview
▪ Ballet………………………………………………………………………………………………….40
▪ Modern Contemporary Dance……………………………………………………………40
▪ Modern Jazz……………………………………………………………………………………….41
▪ Ballroom Dance………………………………………………………………………………….41
▪ Hip-Hop………………………………………………………………………………………………45
▪ Pop Dance………………………………………………………………………………………….46
• Reference
About your Teac…………………………………………………………………………………………………………………..49
OVERVIEW
According to the history, dance is an outlet of different emotions and a pattern of our
daily lives of different society accompanied by certain music. It also refers to the movement set
to music where organization, structure, and pattern merge. It is a composition that implies
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arrangement of parts into a form. In watching the dances from different countries of the world,
it is exciting to see the natural and entertaining movements that are revealed while dancing. They
are changing their movements from very simple to more difficult movements that make the
audience entertain.
One of the most anticipated dances is the folk dance, a cultural art form handed down
from generation to generation. Foreign Folk Dances are the movements of emotions and culture
within a specific country which sometimes declared as the national dance. Those folk dances
don’t include the folk dances of your own country but of the others. Folk dances are based on
the culture and beliefs of the people inhabiting the area and considered to be a wonderful activity
rich in social values, imagination and dramatization.
COURSE OUTCOMES
• Distinguish diverse traditions and culture through the interpretation of dances.
• Appreciate the culture of other countries through the study of their customs, traditions,
and folk dances.
• Analyze dances from the different continents/countries that depicts distinctive
characteristics.
• Interpret the fundamental skills inherent in foreign folk dancing.
• Execute the dance steps and movements correctly with facility and ease.
• Elucidate dance instructions as properly as possible.
• Perform the folk dances according to their distinctive characteristics with proper
coordination, poise, grace, and expression.
• Apply the learned dances through group/class presentations.
• Appreciate the value different international dances for promoting friendship and
understanding among the people of the world.
COURSE SYLLABUS
Institutional Learning Programs Outcomes Course Outcomes

Outcomes
1. Creative and Critical • Demonstrate basic • Distinguish diverse
Thinking fundamental skills of traditions and culture
Graduates use their dance assigned through the
imaginative as well as a interpretation of
rational thinking ability to life • Execute a wide range dances.
situations in order to push of dance techniques • Appreciate the
boundaries, realize and steps of the culture of other
countries through
possibilities, and deepen their dance
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interdisciplinary and general the study of their
understanding of the world. • Share skills in customs, traditions,
2. Effective teamwork or activity and folk dances.
Communication • Analyze dances from
Graduates are proficient in the • Use various the different
four macro skills in educational tools and continents/countries
that depicts
communication (reading, technologies in
distinctive
writing, listening, and everyday lessons to
characteristics.
speaking) and can use these facilitate learning.
• Interpret the
skills in solving problems. fundamental skills
Making decisions and • Develop a sense of inherent in foreign
articulating thoughts when leadership and as a folk dancing.
engaging with people in team player in group • Execute the dance
various circumstances. activities steps and
3. Strong Service movements correctly
Orientation • Value the folk dances with facility and ease.
Graduates exemplify the of different nations as • Elucidate dance
potentialities of an efficient, an activity for instructions as
well-rounded, and responsible promoting friendship properly as possible.
professional deeply committed and understanding • Perform the folk
dances according to
to service excellence. among people of the
their distinctive
4. Community world.
characteristics with
Engagement • Enhance social skill proper coordination,
Graduates are enabled to through folk dancing. poise, grace, and
perform and function in the expression.
society by taking responsibility • Apply the learned
in their quest to know more dances through
about the world through group/class
lifelong learning. presentations.
5. • Appreciate the value
6. Adeptness in the different
Responsible Use of international dances
Technology for promoting
Graduates’ deep sense of friendship and
understanding
national compliments the need
among the people of
to live in a global village where
the world.
one’s culture and other people
culture are respected.
7. Passion to Life-Long
Learning
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Graduates take an active role
in the promotion and
fulfillment of various
advocacies (educational,
social, and environmental) for
the advancement of
community welfare.
8. High Level of
Leadership and
Organizational Skills
Graduates demonstrate
optimized use of digital
learning abilities, including
technical and numerical skills.
9. Sense of Personal and
Professional Ethics
Graduates are developed to
become the best professionals
in their respective disciplines
by manifesting the appropriate
skills and leaderships qualities.
10. Sense of Nationalism
and Global
Responsiveness
Graduates show desirable
attitudes and behavior either
in their personal and
professional circumstances.
COURSE PLAN
Week Topic Learning Methodology Resources Assessment

/Hrs. Outcomes
Orientation: Understand the Lecture PUP Student Handbook N/A
Week school and Discussion 2013 Edition
1 Course Content
classroom policies
3hrs. as well as the Printed Lectures Revised OBE Syllabus
School and
grading system
Classroom Video and Visual
Policies Presentation
vi
Subject Know the
Requirements different subject
and Grading requirements
System
Introduction to Analyze the Lecture discussion Aquino, F. R. (1967). Written quiz

Week International different Group dynamics Foreign Folk Dances Dance
2-8 FolkDances foreign/internatio Demonstration interpretation
21hrs. nal folk dances method https://fdocuments.in/d Dance
according to their ocument/module- performance
Primitive Dance
place of origin. presentation.html
https://youtu.be/yjuaRj
Asian Dance
Distinguish the Vwo0g Chinese fan
costumes and dance
European
instrumentation https://youtu.be/o9fpb
Dance
of each dbia-A Japanese
foreign/internatio Parasole
America
nal folk dance. https://youtu.be/bp-
hDkNcLl4 Varsovienne
Selected foreign
Perform one https://youtu.be/CM-
folk dances;
foreign/internatio B_KL3PFI Tarantella
nal dance per (Italy)
Chinese Fan
region with https://youtu.be/M7qVj
Dance
mastery, grace, _R18Bw La Cucaracha
and poise. https://youtu.be/Qo4sb
Japanese Parasol
yFkzTg The Irish Lilt
Demonstrate https://youtu.be/rqOZv
Varsovienne
patience and self– E7Mo1g Red River
discipline in the Valley
Tarantella
activity.
Express respect to
Irish Lilt
one’s culture by
La cucaracha
performing well
during the
Red River Valley
activity.
Week Mid Term Perform based on Video and Visual Performance
9 Examination the criteria/rubric Presentation Test
3hrs. assessment.
Demonstrate
creativity and
confidence
through
performance
incorporated with
values learned.
Show
enhancement on
the fitness level of
the students.
Week Other Dance Lecture discussion https://www.britannica.co Written quiz
10-12 Forms Group dynamics m/art/ballet/The-era-of-
vii
9hrs. Demonstration the-Ballets-Russes Ballet, Dance
Ballet method Retrieved: September 28, interpretation
Modern 2021 Dance
Contemporary https://teara.govt.nz/en/c performance
Dance ontemporary-dance
Contemporary dance,
Retrieved: September 28,
2021
https://www.masterclass.
com/articles/understandin
g-the-basic-ballet-arm-
and-foot-positions
Understanding the Basic
Ballet Arm and Foot
Positions, Retrieved:
September 27, 2021
https://www.youtube.com
/watch?v=JWLy4IKgd1M
Learn Basic Ballet Vocab
with Demonstration for
Beginners I @Miss Auti,
2021
/watch?v=J79VmSPcJns
Beginner Contemporary
Dance | @Miss Auti,
2021
Modern Jazz Do the Lecture discussion https://sites.google.com/s Written quiz
Week fundamental Group dynamics ite/ugadancehistory/mode Dance
13-17 Ballroom Dance steps and routine Demonstration rn-jazz interpretation
15hrs. of modern jazz, method Modern Jazz Dance
Hip Hop Dance ballroom dance, performance
hip-hop dance https://www.fredastaire.c
Pop Dance and pop dance om/blog/simple-guide-10-
traditional-dances-
Display ballroom-dance/ A Simple
combinations of Guide to the 10 Traditional
basic ballet and Dances of Ballroom Dance,
modern/contemp
orary dance with https://www.youtube.com
mastery, grace, /watch?v=dX7Tz_VBfK0 10
and poise. Basic Jazz Dance Moves,
Demonstrate https://www.youtube.com
diligence and /watch?v=Z3Z6Qii-g2Y Hip
self–discipline in Hop for Beginners- 5 Basic
the activity. Moves
viii
Adheres to the /watch?v=sqija8j0I As
given instructions Most Popular Viral Dance
in the activity. Moves
Show cooperation
and active
participation in
group activities.
Week Final Perform based on Video and Visual Performance
18 Examination the criteria/rubric Presentation/Perf Test
3hrs. assessment. ormance
Demonstrate
creativity and
confidence
through
performance
incorporated with
values learned.
Show
enhancement on
the fitness level of
the students.
Book Reference:
Aquino, F. R. 1967. Foreign Folk Dances
Online References:
i Ambrosio, Nora. Learning about Dance. Iowa: Kendall/Hunt, 2003.
https://artsintegration.com/wp-content/uploads/2014/08/A-VERY-Brief-Overview-of-Dance-History.pdf
http://julstolentino.blogspot.com/2012/03/folkdance-ethnic-and-foreign-dances.html
https://fdocuments.in/document/module-presentation.html
https://www.britannica.com/art/ballet/The-era-of-the-Ballets-Russes Ballet
https://teara.govt.nz/en/contemporary-dance Contemporary dance
https://www.masterclass.com/articles/understanding-the-basic-ballet-arm-and-foot-positions Understanding the
Basic Ballet Arm and Foot Positions, Retrieved: September 27, 2021
https://www.fredastaire.com/blog/simple-guide-10-traditional-dances-ballroom-dance/ A Simple Guide to the 10
Traditional Dances of Ballroom Dance, Retrieved: September 27, 2021
http://julstolentino.blogspot.com/2012/03/module-10-ballet-modern-pop-ballroom.html
http://www.devildancesport.com/dance-syllabus/
https://www.adanceplace.com/hip-hop-dance-history/ Hip-Hop
https://blog.dancevision.com/history-of-ballroom-dance
https://ourpastimes.com/the-history-of-pop-dance-12217837.html
https://sites.google.com/site/ugadancehistory/modern-jazz
https://canada.humankinetics.com/blogs/excerpt/social-dance-positions-and-steps
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Course Grading System
Class Standing 60%

• Quizzes
• Attendance
• Recitation
• Projects/Assignments/Seatwork/Special Report
Midterm / Final Examinations 40%
100%
Midterm Grade + Final Term Grade = FINAL GRADE
Top 10 Guidelines for Digital Citizenship

1. Protect your online privacy.
2. Respect the online privacy of others.
3. Protect your property.
4. Respect the property of others.
5. Respect the rules, values, and policies of your family, religion, community, and school.
6. Understand the values of other cultures, religions, and communities.
7. Build a positive online reputation and portfolio of work.
8. Use online communications in constructive ways.
9. Evaluate the accuracy of any information you find or receive online - or share online.
10. Maintain a healthy balance between your online activities and relationships with your physical world activities
and relationships.
Consultation Hours: TBA
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Chapter 1. DANCE HISTORY
LEARNING OUTCOMES:
At the end of this chapter, the students are expected to:
1. develop knowledge on dance history and the different philosophy of dance;
2. enumerate the elements and aspects of dance;
3. understand the importance of the culture of dance; and
4. appreciate the value of the dance history.
OVERVIEW
This chapter will provide an overview of the many histories and many people that make
up dance in its entirety. None are better, just different; but all manage to employ the following
principles: routine, practice, and discipline. Our bodies are filled with so many techniques with
even more variables to the technique of movement. The body has no essence, it is disciplined to
move, act, and react based on the culture that is given to it. Dance has this great ability to
communicate and evoke emotions without even using words. Dance is, and has been, significant
in the lives of all, whether it’s sacred rituals, professional performances, or just dancing because
it’s fun. It can be found everywhere, in every culture, and for many it is a way of life.
COURSE MATERIALS
Brief Dance History
The Primitive Period
There is evidence of dance that dates back to the Paleolithic period, seen through rock
paintings depicting dance. “Through much research by leading historians and by studying current
uses of dance in several primitive cultures, we know that in these cultures people used dance as
a means of communication and as a way of life. In many primitive societies rituals involving dance
are performed at births, marriages, and deaths. Possibly some of the most significant rituals are
those performed for means of fertility such as food and children. Our ancestors asked, for rain,
sun, harvest, and healthy children. Many of these movements mimicked the nearby animals, the
crazy forces of mother nature, and the hypothesized immortal lives of the Gods. Some of these
rituals lasted many hours, even days, an inconceivable thought to the contemporary dance world.
There are cultures, still today, considered “primitive” The Yanomamo people found in
Venezuela, Brazil, Guyana, and Colombia effectively use dance as a way of life. One example is
the amoamo, a dance performed prior to a hunt “The men in the tribe do this ritual of song and
dance to ensure good luck in capturing and killing animals for food and in anticipation of a feast.
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The Ancient Period
The dances of the ancient civilizations began to acknowledge the aesthetic purposes of
the art. They began to question the way the dance looked and what it meant; what the
movements represented and how they may be interpreted. India, China, and Ancient Greece are
among the first civilizations with recorded anecdotes of dance. Many used dances for religious
purposes, and all required skill, grace, and stamina. Ancient Greece furthered the theatrical
history of dance by using dance in dramas and Greek theatre.
The Medieval Period
Dance was prevalent in the medieval era, otherwise known as the Middle Ages, as well.
The Islamic culture had a heavy influence in the interesting outcomes of dance. It was then that
the familiar art of belly dancing came into play, as did many folk dances still performed today.
Slowly the church became an influence and dance was quickly banned. Dance began to
be seen as pagan activity. The ideals that the body was evil and one should strive for purity in thy
soul redefined dance and its purpose. Religious followers believed the idea that heaven is above
and earth is below, and we should be celebrating the ethereal heavens not the earthly body.
Since dance is a celebration through the body, many practicing religions denied the acceptance
of dance.
Sensuality also quickly became associated with dance, and any form of worship that
approved dance was opposed to by the Christians of the medieval era. Unfortunately, at this time
the black plague (Bubonic) wiped out part of the population and created an association with
witchcraft. Soon the society connected dancing to witches and witches to the Plague and dance
became known as the Dance of Death or the Danse Macabre. Because of this sudden obsession
with death and its direct correlation with dancing, many of the pieces featured figures of death
such as skeletons. Soon theatrical performances returned and dance was reborn.
The Renaissance Period
Dance was revived through folk dancing, court dancing, and the accompaniment of music.
Dance was beginning to be seen as an actual art as opposed to a cultural pastime or ritualistic
necessity. While folk dancing remained a popular expression among the working class, the high
society combined these folk routines with their aristocratic steps of nobility creating the majestic
court dances. Although, the court dances began as a symbolic gesture of royalty, dance soon
revolutionized into what we know today as ballet, an aesthetic genre of dance that originated
from music, literature, paintings, and sculptures. Before long, ballet became a professional art
form and institutions were created to ensure proper aesthetic training.
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Philosophy of Dance
Lesson Objectives:
At the end of the lesson, the students are expected to:
1. discuss the different philosophy of dance;
2. enumerate the different philosophy of dance; and
3. appreciate the value of dance.
Overview
Dance has been present since the beginning of human life, sympathetic magic being one
of the first forms of movement. Primitive man would dance his desires and dreams in hopes that
the energy and emotion put into each step would strengthen the possibility of making those
dreams a reality. This topic deals about the well-known people and choreographers about their
philosophy of dance.
Learning Content:
Rome Cicero
· “Dance helps us to overcome our brutal feelings and take us to the spiritualism.”
· “Dance is a form of yoga and helps to maintain blood pressure and to maintain
physical strength”.
· “Dance helps us to understand life more deeply”.
Maestro Hector Zaraspe

· “From paintings, to music, poetry, and dance, the soul searches for outlets to
put its deepest thoughts and feelings into mediums that will do the human spirit
justice.”
· “Body and soul, music and dance conceive an instrument of expression through
which the spirit communicates.”
Edgar Degas
· “Dance as art is expression given form through movement. Dancers paint
pictures and write poetry with their bodies.”
· “They convey emotion through their birth given instruments.”
· “There exist endless styles, techniques, and theories on dance, each one
credible in its own unique way.”
· “Movement is a visual inspiration that not only provides release for its creator
but motivation for its observer as well.”
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· “Art is not what you see, but what you make others see.”
Martha Graham
· “Dance for me has been a parent since childhood. It has taught me strength,
discipline, and pride. It continues to test my confidence and pushes me to lift
myself beyond what I am capable of.”
· “My imagination can become overwhelmingly full of ideas and thoughts and
movement helps me take those visions and put them onto my own body and
others, communicating these dreams in the best way I know how.”
· “Nothing is more revealing than movement.”
Murray Louis
· “Dance brings me the most joy when I can bring joy to others.”
· “If I can touch a person through my creative power and make them laugh, cry,
or inspire them to feel something more, than I have fulfilled my reason for
dancing.
· “Dancers work and live from the inside.”
· “They drive themselves constantly producing a glow that lights not only
themselves but audience after audience.”
Mary Wigman
· “My dance philosophy is that dance is born in everyone and exists in everyone.”
· “Dance is an outlet for the mind, the body’s other instrument.”
· “There are feelings that cannot be expressed through description with words.
Dance fills in those blanks. Dance should bring joy to those dancing and
observing.”
· “Dance provides release and is every human’s birthright. As long as people walk,
they will dance.”
Basic Elements of Dance

Lesson Objective:
1. define the three basic elements of dance;
2. enumerate the three elements and aspects of dance; and
3. apply the movements in the elements of dance.
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Overview
Space, Dynamics, and Rhythm are the three elements of dance. Each element has their
functions and aspects. Space has six aspects namely floor plan, direction, focus, level, dimension
and contour. Dynamics have five aspects namely swinging movement, sustained movement,
percussive movement, suspended movement and vibratory movement. Rhythm has measure,
tempo, underlying beat, phrase, accent and intensity.
Learning Content:
Elements of Dance
1. SPACE
- It is the first element of dance. Dance employs the use of space and requires, utilize a certain
amount of time in the study of space there are six different aspects to be considered.
1.1 Floor Plan
-It develops as an individual or group moves through a pathway in space.
1.2 Direction
-It becomes evident whenever some part of the body is in action.
1.3 Focus
-It involves the conscious attention and movement of the eyes.
1.4 Level
-Graduation of levels may range from the highest possible jump reach to a recumbent position.
1.5 Dimension
-Connotes range of possible change in size within varying limits from the smallest to the largest
movement.
1.6 Contour
-Refers to the body either stationary or moving as outlined against the background of the space.
2. DYNAMICS
-It is the second element of dance. As a second element of dance, it is the force or the way in
which energy is applied or extended. It gives strength or power to the movement.
2.1 Swinging Movement
-In swinging or pendulum movement, the impulse is noticeable. The momentum is continuous,
and follow through is unrestrained.
2.2 Sustained Movement
-In sustained movement, the impetus and the completion of movement are not easily discernible.
2.3 Percussive Movement
-Shows movement with the marked impulse with a completed checked follow through. It is
staccato in quality and is executed against resistance.
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2.4 Vibratory Movement
-The impulse occurs so rapidly that the constructions are relaxation comes very close together.
2.5 Suspended Movement
-Though it is not static in quality, it is characterized by momentary interruption of the continuity
of the movement.
3. RHYTHM
-It is the third element of the dance movement. It came from the Greek word” rhythmos” which
means any measurement or movement.
3.1 Measure
-underlying beat or measure
3.2 Tempo
- rate of speed movement, music and accompaniment
3.3 Underlying Beat
- steady continuous sound that is heard throughout any rhythmical sequence
3.4 Phrase
- long and short beat with feeling of unity
3.5 Accent
- force given to anyone beat in a measure
3.6 Intensity
- quality of movement or music
ACTIVITIES/ASSESSMENT
Activity 1.
Direction: Answer the following.
1. What do you think is the importance of the history of dance in your own life?
2. Choose a philosophy of dance that is suited for you and why?
3. What are the three elements of dance? Explain each of the elements.
References:
https://artsintegration.com/wp-content/uploads/2014/08/A-VERY-Brief-Overview-of-Dance-
History.pdf
http://julstolentino.blogspot.com/2012/03/folkdance-ethnic-and-foreign-dances.html
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Chapter 2. FOREIGN FOLK DANCE
LEARNING OUTCOMES
1. distinguish the different formations used in folk dance and other rhythmic activities;
2. demonstrate the fundamental dance position of the arms and the feet;
3. develop an understanding of some basic steps in foreign folk dance;
4. identify the different terminologies needed in dancing the foreign folk dance;
5. perform the basic steps of foreign folk dancing; and
6. appreciate the value of foreign folk dance.
COURSE MATERIALS
I. Formation used in Folk Dance and other Rhythmic Activities
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Lesson Objective:
1. identify the different simple partner position;
2. execute the simple partner position with conviction; and
3. know the value of the simple partner position.
BASIC PARTNER POSITIONS
Six basic partner positions are used in social dances. These basic dance positions determine how
you relate to your partner during the dance. The man stands on the left side, and the woman is
always on the right side in all these positions.
• Shine position - In this position, the partners face each other without touching.
• Two-hands joined position - Partners stand facing each other. Both the man and the
woman hold their elbows by their sides with their forearms extended. They can both have
their palms facing down, and the man can place his thumb in the woman's palm and wrap
his fingers around the top of her hands, or the man can have his palms facing up and place
his thumb on top of the woman's fingers and his fingers in her palm.
• One-hand joined position - This position is the same as the two-hands joined position
except that each partner uses only one hand.
• Closed position - The partners face each other in this position. The man's left hand holds
the woman's right hand. Palms are touching, and fingers and thumbs are loosely clasped
around each other's hands. The man's right-hand rests on the woman's back, cradling her
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left shoulder blade. The woman's left arm rests on top of the man's right arm, and her
left-hand rests gently on his right shoulder.
• Semi open position - In this position, the partners stand beside each other with their
bodies turned at a 45-degree angle to each other. The man places his right hand below
the woman's left shoulder blade with his elbow slightly bent. The woman's left arm rests
gently on the man's right arm, and her left hand is in front of his right shoulder. Both
partners extend their outside arms and hold hands.
• Inside-hands joined position - The partners stand side by side. The man extends his right
arm and offers his right hand to his partner, and the woman places her left palm in the
man's right hand. Both place their outside hands on their hips.
Two-hands joined position Shine position One-hand joined position
Closed position Semi open position Inside hands join position
Lesson Objective:
1. execute the fundamentals dance positions of the arms and the feet;
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2. perform the fundamentals dance positions of the arms and the feet in dancing foreign
folk dances, and;
3. enjoy performing the fundamentals dance positions.
II. Fundamental Dance Positions
There are five fundamental or basic positions in dance that are commonly termed as positions of
the arms and the feet.
1st Position
Arms: Both raised forward in a circle in front of chest with
the finger tips about an inch apart.
Feet: Heel close together; toes apart with and angle of

about 45 degrees.
2nd Position
Arms: Both raised sideward with a graceful curve at
shoulder level.
Feet: Astride sideward about a pace or 1 foot distance.
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3rd Position
Arms: One arm raised sideward as in 2nd position; another

arm raised upward.
Feet: Heel of one foot close to in-step of other foot.
4th Position
Arms: One arm raised in front as in 1st position; another

arm raised overhead.
Feet: One in front of other foot of a pace distance.
5th Position
Arms: Both arms raised over head.
Feet: Heel of front close to big toe of rear foot.
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Suggested Media at Home:
https://youtu.be/3xdXSwEblZQ Basic Positions in Folk Dance || Simple and Clear AV Instructional
Video || New Normal
Lesson Objective:
1. execute the basic steps with accuracy while dancing;
2. enumerate the basic steps in the different dance patterns: 2/4- and 3/4-time signature;
3. define each basic step; and
4. value the importance different basic dance steps.
The following basic steps are arranged in alphabetical order. It is divided into two groups, the 2/4
and the 3/4-time signature. You will notice that some basic steps are found on both groups, it is
because they can be executed in both time signatures. These steps will be used on the following
chapters.
ABBREVIATIONS USED
Ct. – count
Cts. – counts
L – left
R – right
III. Basic Steps in 2/4 Time Signature
Bleking Step - count 1, 2 to a measure.
Place R heel in front and hop on the L foot (ct. 1), with a spring reverse the position of the feet,
that is L heel is placed in front (ct. 2). This is taking one count for each movement. Place R heel in
front (ct. 1), step R close to L (ct. 2). This is taking two counts for each movement.
Chasse (slides) - count 1, and 2, and to a measure.
Slide R sideward (ct. 1), step L close to R or cut R with the L (ct. and). Two chasse steps or two
slides in one measure.
Pivot Turn - count 1, and 2, and a measure.
Step R foot in fourth in front (or a little close to fifth position in front) and bend the R knee slightly
(ct. 1), execute a quarter turn right with a push on the ball of the L foot and raise the R 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.
12
Rocking Step - count 1, 2 to a measure.
Fall onto L foot forward and raise R foot in rear (ct. 1), fall onto R foot backward and raise L foot
in front (ct. 2). The body is inclined slightly forward and backward in a rocking motion.
Shuffling Steps - count 1, and, 2, and, or 1, ah, and, ah, 2, ah, and, ah to a measure.
Shuffling steps are tiny sliding steps forward on the balls of the feet. Execute as many steps as
necessary.
Step-Hop - count 1, 2 to a measure.
Step R foot forward (ct. 1), hop on the same foot and raise the L foot in front or in rear (ct. 2).
Step-Swing-Hop - count 1, 2 to a measure.
Step R foot sideward (ct. 1), swing the L foot across the R in front and hop on the R at the same
time (ct. 2).
Step-Point - count 1, 2 to a measure.
Step R foot sideward (ct. 1), point L in front or obliquely L forward (ct. 2).
Step-Swing - count 1, 2 to a measure.
Step R foot sideward (ct. 1), swing the L foot across the R in front (ct. 2). This may be executed in
any direction.
Touch Step - count 1, 2 to a measure.
A. Point R foot in front (ct. 1), step R close L foot (ct. 2).
B. Hop on L and point R in front (ct. 1), with a spring reverse the position of the feet (ct. 2). This
is taking the step in one count.
Close steps – count 1, 2 to a measure
Step R in any direction (ct. 1) then close L to R (ct. 2).
Basic Steps in 3/4 Time Signature
Blecking step - count 1, 2, 3 to a measure.
13
Place R heel in front (cts. 1, 2) step R close to L foot (ct. 3). This is taking three counts for each
movement.
Mazurka - count 1, 2, 3 to a measure.

Slide R foot sideward (ct. 1), cut R sideward with the L foot (ct. 2), hop on L and bring the R foot
in front or in rear of the L ankle (ct. 3). This is done with one foot leading and usually in a sideward
or forward direction.
Shuffling Steps -1, and, 2, and, 3, and or 1, ah, and, ah, 2, ah, and, ah, 3, ah, and, ah to a measure.
Shuffling steps are tiny sliding steps forward on the balls of the feet. Execute as many steps as
necessary.
Cross Waltz – count 1, 2, 3 to a measure.
Step R across L in front and raise slightly the L foot across in rear (ct. 1), step L close to R in third
in rear (ct. 2), step R 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 forward or sideward direction.
Waltz Balance - count 1, 2, 3 to a measure.
Step R foot forward (ct. 1), close L to R 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 foot (ct. 3). This may be done in any direction.
Varsovienne Step - Music ¾ time. Count 1, 2, 3 to a measure.
Slide R foot diagonally forward R (ct. 1), step L close to R in third in rear or in first position (ct. 2),
step R sideward (ct. 3). Point L foot in front (cts. 1, 2, 3). Bend the body toward the pointing foot.
Waltz step – count 1, 2, 3 to a measure
Step R sideward (ct. 1) then close L to R (ct. 2) and step R in place (ct. 3)
Redoba – count 1, 2, 3 to a measure
Slide R diagonally forward (ct. 1), cut R with L (ct. 2) and cut L with R (ct. 3).
Step-swing-hop – count 1, 2, 3 to a measure
Step R in any direction swing L (ct. 1), across R in front (ct. 2) and hop on R (ct. 3).
14
Step-hop - count 1, 2, 3 to a measure.
Step R foot forward (cts. 1, 2), hop on the same foot and raise the L foot in front or in rear (cts.
3). This may be done in any direction.
Step-point - count 1, 2, 3 to a measure.
Step R foot sideward (cts. 1, 2), point L in front or obliquely L forward (ct. 3). This step may be
done in all directions.
Step-swing - count 1, 2, 3 to a measure.
A. Step R foot sideward (ct. 1), swing the L foot across the R in front (cts. 2, 3).
B. Step R foot sideward (cts. 1, 2), swing the L foot across the R in front (ct. 3).
Touch step - count 1, 2, 3 to a measure.
A. Point R foot in front (cts. 1, 2), step R close to L (ct. 3).

B. Point R foot in front (ct. 1), step R close to L (cts. 2, 3).
Lesson Objective:
1. define the different terminologies used in foreign folk dancing;
2. apply the term used in dancing foreign folk dance; and
3. value the importance of these terminologies used in foreign folk dance.
IV. Terms used in Foreign Folk Dance
ABBREVIATIONS USED
L – left
R – right
Clockwise
Circling with the R shoulder facing the center. A
Counterclockwise
Circling with the L shoulder facing the center.
15
Hop
Stepping with one foot and going down with the same foot.
Free Foot
The foot without the weight of the body.
Free Hand
The hand not in used and holding nothing.
Curtsy
Slightly bend the knee and the body with the head down as a sign of salute. The weight of the
body is only on one foot; the other foot is cross at the rear of the other foot.
Elbow Swing
Partners are holding hands with the R elbow and swing like a hand of a clock with continues jump.
Folded Arms
Raise the hands up in front of the chest shoulder level with the one arm over the other.
Spin
It is done by turning rapidly with the used of small steps.
Inside Foot
The foot that is nearer to the partner.
Do-si-do
Partners or opposites, facing each other, move forward, pass each at hers R (L), move backward
turning around, and pass each other’s L(R) to original places.
Honor partner
Bow to partner.
16
Promenade
Partners start side by side facing counterclockwise in the circle, R hands placed above L hands
and walk around the set.
Swing partner
Waltz around clockwise with partner in ballroom dance position R to R shoulders and facing
opposite directions.
Inside Hand
The hand close to the partner.
Close Position
The partners are facing each other but the girl is standing in the R side of the boy.

https://youtu.be/GwbwGriZZScFolk Dance Steps | 2/4 & 3/4 Time Signature | Foreign Folk
Dance | K-Explain #5
Reference:
ACTIVITIES/ASSESMENT
Activity 2. Identify the Position of the Arms and Feet
Direction: Write down on your answer sheet the position describes by the statement.
1. Both raised sideward with a graceful curve at shoulder level.

2. Both arms raised over head.
3. One arm raised sideward as in 2nd position; another arm raised upward.
4. Both raised forward in a circle in front of chest with the finger tips about an inch apart.
5. One arm raised in front as in 1st position; another arm raised overhead.
6. Identify the Position of the Arms and Feet
7. Write down on your answer sheet the position describes by the statement.
8. Both raised sideward with a graceful curve at shoulder level.
9. Both arms raised over head.
10. One arm raised sideward as in 2nd position; another arm raised upward.
17
Activity 3. Fill in the Blanks
Direction: Complete the sentence with the appropriate word or phrase.
1. 4th position: One arm ________ in front as in 1st position; other arm raised over head.
2. 1st position: Heel close together; toes apart with or angle of about ________ degrees.
3. 2nd position: Astride sideward about a pace or ________ distance.
4. 3rd position: One arm raised sideward as in ________; another arm raised upward.
5. 4th position: One in front of other foot of a ________ distance.
6. 5th position: Both arms raised ________.
7. 5th position: Heel of front close to big toe of ________ foot.
8. 2nd position: Both raised sideward with a graceful curve at ________ level.
9. 3rd position: Heel of one foot close to ________ of other foot.
10. 1st position: Both raised ________ in a circle in front of chest with the finger tips about
an inch apart.
Activity 4
Direction: Answer the following.
1. What are the basic steps you had encountered in Foreign Folk Dance that are also basic
steps in the Philippine Folk Dance? Differentiate each.
2. Which is easier the Philippine Folk Dance or the Foreign Folk Dance? Explain.
Activity 5. Basic Step or Dance Term
Direction: Tell whether the following words falls under the basic steps or dance terms.
1. Clockwise
2. Pivot Turn
3. Free Foot
4. Free Hand
5. Cross Waltz
6. Chasse
7. Counterclockwise
8. Rocking Step
9. Skip Step
10. Curtsy
18
Chapter 3. FOREIGN FOLK DANCES FROM ASIA
LEARNING OUTCOMES
1. demonstrate understanding of foreign folk dances in the different countries of Asia;
2. apply the basic dance steps and the terminologies to be used in the dances originated
from Asia;
3. react actively upon the meaning of the dance and its symbols;
4. exhibit attitude while dancing;
5. appreciate the beauty of foreign folk dances in the different countries of Asia; and
6. present the dances from Asia with the accuracy of steps and proper attire (costume),
music, and formations.
OVERVIEW
Each country throughout Asia has their own special forms of dances based on their culture,
tradition and history. Life style, social & living environment also play a great role in many ethnic
dances. The music and instrument reflect the difference and uniqueness of each region. Their
dances are more on ritual such as in wedding, feast of a saint and/or thanksgiving for a good
harvest. The dances reflect the enjoyment they feel when they are doing the dances.
COURSE MATERILAS
I. Chinese Fan Dance
II. Japanese Parasol Dance
I. Chinese Fan Dance

This is a simple but interesting dance especially suitable for girls.
Lesson Objective:
1. interpret Chinese fan dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Chinese fan dance;
3. perform the Chines fan dance with confidence; and
4. appreciate the beauty Chinese fan dance.
19
COSTUME:
Girl – Chinese blouse and long, loose drawers of any color. Chinese
sandals and a big fan.
MUSIC - divided into six parts: A, B, C, D, E, and finale.
COUNT - one, two or one, and, two to a measure.
FORMATION
One to any number of participants may take part in this dance. If many are taking part they may
be arranged in any desired formation.
Figure 1
Music A - play once
Pause (2M)
(a) Shuffling steps forward to place. Arms folded in front; hands tucked inside sleeves. The fan is
kept in one pocket or left hanging at the right side of the waist. The body is swayed very slightly
to right (1M) alternately for seven measures. (7M)
Figure 2
Music B - play two times
(a) Take small jump forward, bending knees slightly. Arms are still in front. Bend head
Forward as the jump is made (cts. 1, 2). Slowly straighten knees and raise head to erect position
(cts. 1, 2). (2M)
(b) Repeat (a) three more times. (6M)
(c) Repeat (a) and (b), jumping backward. (8M)
Figure 3
Music C - play once
(a) Swing R foot forward (ct. 1), swing the same foot sideward right (ct. 2), three steps in place
(R, L, R) (cts. 1, and, 2). Arms still folded in front. Twist the body a little to the right as the R foot
is swing the side. (2M)
(b) Repeat (a) to the left, starting with the L foot. (2M)
(c) Repeat (a) and (b). (4M)
Figure 4
Music C - play once
20
(a) Step R foot sideward (ct. 1) close L to R foot (ct. 2). Arms in reverse “T” position, forefingers
pointing upward (the other four fingers are loosely close). (1M)
(b) Bend knees slightly at the same time, dipping both hands toward the chest without the
lowering the elbows and nodding head forward (ct. 1), straighten knees and head, hands return
to first position (ct. 2). (1M)
(c) Repeat (a) and (b) to left side, starting with the L foot. (2M)
(d) Repeat all (a-c). (4M).
Figure 5
Music D - play two times
(a) Take fan and open. Hold with the R hand and cover face so eyes just show. Turn head right
(cts. 1, 2), turn to front (cts. 1, 2), turn to left (cts. 1, 2), turn to front again (cts. 1,2). (4M)
(b) Close the fan and strike it lightly against the palm of the L hand (four taps for every count).
Move L hand from sideward left – overhead - sideward right (4M). The fan is continuously tapped
against the palm. (4M)
(c) Kneel and sit on heels. (1M)
(d) Repeat all (a and b) in kneeling position. (8M)
(e) Stand and keep fan. (1M)
Figure 6
Music E - play once
(a) Point R foot in intermediate in front (obliquely), bend 1 knee slightly. Point R (b) forefinger to
R foot and look at the R foot at the same time (ct. 1). Put the feet together and straighten knees,
arms in reverse “T” position, forefingers pointing upward (ct. 2). Raise the heels (c. 1) lower heels
(ct. 2). (2M)
(b) Repeat (a) with L foot and L hand. (2M)
(c) Repeat (a) and (b). (4M).
Figure 7
Music F - play once
(a) Take fan and open with the R hand, starting with the R foot, execute shuffling forward moving
clockwise. Hold fan at chest level, fanning vigorously. Bend the body slightly forward. (8 cts.).
(4M)
(b) Turn right about. Repeat (a), counterclockwise (8 cts.). (4M).
Finale
Music Finale
(a) Close fan and keep. Bow low (1M), straighten trunk (1M). Repeat once more (2M). (4M)
(b) Three-step turn right in place and bow low. (3M).
https://youtu.be/yjuaRjVwo0g Chinese Fan Dance
21
II. Japanese Parasol Dance
This is a very colorful, easy dance for girls. It is customary with Japanese girls to use
umbrella for rain and sunshine.
Lesson Objective:
1. interpret Japanese Parasol dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Japanese Parasol dance;
3. perform the Japanese Parasol with confidence; and
4. appreciate the beauty Japanese Parasol.
COSTUME:
Girls - Bright color kimono, bright colored

flowers in hair, a Japanese parasol, and Japanese wooden shoes.
https://www.alamy.com/japanese-woman-
in-a-traditional-kimono-dress-in-kyoto-
japan-asia-image259862501.html
MUSIC - composed of three parts: A, B and C. The Music used here is “Mikado”.
COUNT - one, two to a measure or one, two, three, four to two measures.
22
FORMATION - In groups of four facing the audience. The open parasol is held with two hands
over the head, the hands holding the handle at chest level. They stand about four feet away from
each other. One to any number of sets may take part in this dance.
O O O O O O O O
1 2 3 4 1 2 3 4
O O O O
1 2 3 4
Figure 1
Music A
(a)Starting with the R foot, execute shuffling steps forward. Twirl the parasol overhead (8 cts.)
(4 M)
(b) With shuffling steps turn around in place clockwise. Twirl the parasol over the R shoulder (4
cts.) (2M)
(c) Repeat (b) turning counterclockwise. Transfer parasol to the L shoulder (4cts.) (2M)
(d)Turn right about and repeat (a) going to proper place. Twirl the parasol overhead. Finish
facing front (4M)
(e) Repeat (b) and (c) (4M)
Figure 2
Music B
(a) Step R sideward (ct. 1), step L close to R foot (ct.2), bend knees slightly (ct. 3), straighten
knees (ct. 4). Bend the head slightly to the right side, parasol resting on the R shoulder (do not
twirl) (2M)
(b) Repeat (a) to the left side, starting with the L foot. Transfer the parasol to the L shoulder
(cts. 1-4) (2M)
(c) Repeat (a) and (b) (4M)
(d) With No.1 leading, execute shuffling steps moving clockwise. Each group makes its own
circle. Twirl parasol on the R shoulder (8 cts.) (4M)
(e) Turn right about and repeat (d) counterclockwise. Transfer parasol to the L shoulder (4M).
Figure 3
Music C
(a) All bend forward and drop on knees. Place the parasol behind. Bend trunk slowly forward
until the head touches the floor (obeisance) (8cts.) (4M)
(b) Raise the trunk slowly and take parasol with both hands and place it in front (8 cts.) (4M)
23
(c) In kneeling position, sit in heels (Japanese Fashion). Raise the head and look around the
parasol at the right side (4 cts.) and to left side (4 cts.)4M
(d) Repeat (c) (4M)
Figure 4
Music A
(a) Each girl rolls her own parasol around self -clockwise (4cts.) and counterclockwise (4cts.)
(4M)
(b) Roll it in front to sideward right (2cts.), and to sideward left (2cts.)2M
(c) Repeat (b) (2M)
(d) Repeat (a) and (b) (6M)
(e) All take parasol and stand up with the R foot first (4cts.) (2M)
Figure 5
Music B
(a) All face right, holding parasol with two hands at thigh level (top toward the audience, handle
toward the rear).
(b) Execute shuffling steps forward, twirling parasol clockwise (4cts.) (2M)
(c) Turn left about, repeat (a), parasol top toward audience (4tcs) (2M)
(d)Turn right about, (a) and (b) (4M).
(e) Execute shuffling steps forward to form a square, each girl occupying a corner, facing a
common center (4M).

https://youtu.be/o9fpbdbia-A Japanese Parasole
Activity 6
Direction: Answer the following
1. What are the symbols of the two dances featured in this chapter? Explain why it is the
symbol of the dance.
2. Compare and contrast the two dances, Chinese Fan Dance or Japanese Parasol Dance.
3. Describe the two dances, Chinese Fan Dance or Japanese Parasol Dance.
4. Which do you prepare Chinese Fan Dance or Japanese Parasol Dance? Why?
Activity 7
Direction: Write the step pattern of the following basic steps from the dances Chinese Fan
Dance and Japanese Parasol Dance.
24
1. Shuffling Step
2. Swing Step
3. Close Step
Reference:
Chapter 4. FOREIGN FOLK DANCE FROM EUROPE
LEARNING OUTCOMES
1. demonstrate understanding of foreign folk dances in the different countries of Europe;
from Europe;
5. appreciate the beauty of foreign folk dances in the different countries of Europe; and
6. present the dances from Europe with the accuracy of steps and proper attire (costume),
music, and formations.
OVERVIEW
Europe has a long tradition of dancing. Most of their folk dances are formed for the need
of the people to socialize, interact and enjoy unlike the dances from Asia. You will learn to dance
Varsovienne from Germany, Irish Lilt from Ireland and Tarantella from Italy. The instructions will
be given in English. You will learn to dance to interesting rhythms of authentic traditional music.
The dances are more on feet movement because of the climate. You will learn dances with
interesting symbolic meaning and historic background. You will learn dances only for men, dances
only for women and couple dances.
COURSE MATERIALS
III. Varsovienne
IV. Tarantella
V. Irish Lilt
III. Varsovienne
This is a very delightful dance for girls but boys may take part if desired.
NOTE: the dance may be repeated as many times as desired.
25
Lesson Objective:
1. interpret Varsovienne dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Varsovienne;
3. perform the Varsovienne with confidence; and
4. appreciate the beauty Varsovienne.
COSTUME:
Girls – Short full dark skirt, white blouse, short sleeves, black velvet
bodice, white stockings, colored apron, hair in two braids, large black
bow.
Boys – Black knickers, colored stockings, gray coat, and full shirt,
round green felt hat with ribbons.
MUSIC - composed of two parts: A and B.
COUNT - one, two, three to a measure.
FORMATION - Double circle facing counterclockwise, boys in the inside and girls in the outside
circle. The boy places his R arm across the shoulder of the girl, takes her R hand over her R
shoulder, L hands joined in front. The girl is a little bit to the right of boy. This is known as
Varsovienne position.
Figure 1
Music A.
(a)Starting with the R foot, take eight Varsovienne steps, moving counterclockwise. (16M)
Figure 2
Music B.
(a) Take two mazurka steps diagonally forward right. (2M)
(b) Take one Varsovienne step to right. (2M)
(c) Take two mazurka steps diagonally forward left. (2M)
(d) Take one Varsovienne step to left. (2M)
(e) Repeat all(a-c). (2M)
26
Watch this: https://youtu.be/bp-hDkNcLl4 Varsovienne
IV. Tarantella
A popular dance in Italy, they use tambourine which is hold by the girl.
Lesson Objective:
1. interpret Tarantella dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Tarantella;
3. perform the Tarantella with confidence; and
4. appreciate the beauty Tarantella.
COSTUME:
GIRLS -White skirt with bands of colored ribbons, white blouse,
velvet bodice, red apron, colored kerchief on head.
BOYS - Red knee breeches, full white shirt, red tie, blue stocking
drawn high above the knees, red jersey cap.
MUSIC - is divided into three parts: A, B, AND C
COUNT - one, two to a measure one, two, three, four to measures.
FORMATION - Partners stand side by side, girls at the right of the partners. Each girl carries a
tambourine in her R hand. Two couple Nos. 1 and 2, form a set, one to any number of sets may
take part.
Figure 1
Music A – All face front.
(a) Step-swing-hop sideward R. Raise the R hand over head and swing the L arm across the body
on ets.1,2 [1M]. Repeat to L and reverse the position of arms cts. 3,4, (1M) 2M
27
(b) take four touch steps in front, R alternately. Strike tambourine overhead on every touch step
(one touch step for every count) (2M)
(c) Repeat (a) and (b), starting with the L foot. Reverse the position of arms. (4M)
Figure 2
Music B - All face front.
(a) Hop on the L foot times, making one complete turn to the right (cts. 1-4), the R foot is raised
in front of the L knee. L hand overhead, R hand on waist (2M)
(b) Pivot turn right (cts. 4). Raise R hand overhead, L hand on waist. Strike the tambourine as the
position of the arms are reversed, shake tambourine continuously overhead (2M)
(c) Repeat (a) and (b) starting with the other foot, turning to the left. Reverse the position of arm
(4M)
Figure 3
Music C - Partners turn their backs to each other.
(a) Each dancer takes four slide (chasse) steps clockwise to move one position in the set. Girl 1
moves to position of Girl 2, Girl 2 to Boy 2, Boy 2 to Boy 1; Boy 1 to Girl 1. L hand overhead, R
hand on waist. Take one count for each slide step (2M)
(b) Repeat (b) of figure 1 (touch step) (2M)
(c) Repeat (a) and (b), sliding to the next position clockwise in (a) (4M)
(d) Repeat all, (a-c) finishing in proper places (8M)
Figure 4
Music A - Partner face each other.
(a) Starting with the L foot, four skip step forward to partner`s place. Pass each other by L
shoulders. Hands overhead shake tambourine continuously (2M)
(b) Repeat figure 1 (b) (2M)
(c) Repeat (a) and (b), moving backward in (a), passing by L shoulder again (4M)
(d) Repeat all (a-c) (8M)
Figure 5
Music B
“Matching Pennies.” Boy kneels on his L knee, facing partner. Girl stands close to partner.
(a) Boy slaps his R knee with the L hand (ct.1) and raise one finger (ct.2). At the same time the girl
slaps her L knee with her L hand and raise one finger, R hand on waist (1M)
(b) Repeat (a) three more times, raising two fingers, three fingers and then four fingers (3M)
(c)Girl skips eight times around partner counterclockwise, starting with L foot. With R hand
overhead, L hand waist, shake the tambourine continuously for eight counts. The boy looks at
the partner as she turns around him (4M)
28
Figure 6
Music C - Partner stand back-to-back with both hands raise overhead.
(a)Touch R toe across the L in front (ct. 1), step R close to L (ct. 2). Repeat the same with the L
foot (cts. 1,2) (2M)
(b) Four slides (chasse) clockwise to partner`s place, starting with R foot. Take one for each slide
(2M)
(c) Repeat (a) and (b) finish in proper place (4M)
Figure 7
Music A - Partners face each other.
(a) Repeat figure 1 (a) (2M)
(b) Link or hook R elbow with partner and make one complete turn clockwise with four skipping
steps, starting with R foot. Girls hold the tambourine with the L hand and shake them
continuously (2M)
(c) Repeat (a) and (b), linking L elbow with partner, reverse turn, transfer tambourine to R hand
(4M)
Figure 8
Music B - Partners stand side by side facing front.
(a) Hop on the L foot and the same time place the R heel sideward right (ct. 1), hop on L again
and touch the R toe sideward right (ct. 2). Repeat the same (ct. 3, 4). These four hops are taken
moving sideward right. The L hand is raised overhead, R hand on waist (2M)
(b) Repeat pivot-turn right (figure II - b). R hand overhead, L hand on waist (2M)
(c) Repeat (a), hopping on the R foot, touching with the L, moving sideward (2M)
(d) Pivot-turn left L hand overhead, R hand on waist (2M)
(e) Repeat all (a-d) (8M)
Figure 9
Music C (play once) - Partner face each other.
(a)Pivot-turn right (2 M), pivot-turn left (2 M) hands as above (4M)
(b) Pivot-turn right twice around (4 M)
At the end of this figure, girls hold their final position with the weight on the R foot, L foot pointed
sideward. R hand overhead, L hand on waist. The boys kneel on the L knee, L hand overhead, R
hand on waist. Partners look at each other.
Suggested Media at Home: https://youtu.be/CM-B_KL3PFI Tarantella (Italy)
29
V. Irish Lilt
This is very lively dance especially suitable for girls.
Lesson Objective:
1. interpret Irish Lilt dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Irish Lilt;
3. perform the Irish Lilt with confidence; and
4. appreciate the beauty Irish Lilt.
COSTUME:
Girls – Emerald green blouse, short dark skirt, and white handkerchief on the
head tied under chin, green stockings, flat black shoes.
MUSIC - composed of one part of sixteen measures.
COUNT - one, two, or one, two, and to a measure or one, two, three, four to
two measures.
FORMATION - This is solo dance but any number of participants may take
part. They may be arranged in any desired position.
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0
0 0 0 0
0 0 0 0
Figure 1
Rocking
(a)Take twelve rocking steps forward and backward alternately, starting with the L foot falling
forward (12cts.). Hands holding skirt. (16M)
30
(b) Break: jump to feet apart sideward (ct. 1), jump to feet together (ct. 2), hop on L and raise
the R foot in rear with knee bent (ct. 3), hop on L foot again and kick R foot forward (ct. 4).
Hands on waist. (2M)
(c) Repeat all (a and b), starting with the other foot forward. (8M)
Figure 2
Kick
(a) Hop on R foot and raise L foot in rear (ct. 1), hop on R and kick L foot forward (ct. 2), hop on
L and raise foot in rear (ct. 3), hop on L foot again and kick R foot forward (ct. 4). Hands on waist.
(2M)
(b) Repeat (a) two more times. (4M)
(c) Break – repeat fig. 1 (b). (2M)
(d) Repeat all (a-c). (8M)
Figure 3
Toe and heel
(a) Spring and face to right putting weight on R foot, L toe touching backward (to left of starting
position) (ct. 1), spring and face left about, rotating the leg and placing L heel where the toe was
(ct.2), hop on R to face front and face L toe front and L toe touching near the R foot in 1st position
(ct. 3), hop on R and kick the L foot obliquely forward left (ct. 4). Arms folded in front. (2M)
(b) Repeat (a), starting with the other foot and facing the opposite direction. (2M)
(c) Repeat (a). (2M)
(d) Break – repeat fig. 1(b). (2M)
(e) Repeat all (a-d), starting with the other foot. (8M)
Figure 4
Leg Twist and Kick
(a) Repeat fig. III, except that the toe and the heel are not placed on the floor on (cts. 1, 2). (16M)
Figure 5
Side Steps
(a) Placing the L foot across the R in Front, take six small steps sideward right (cts. 1, and, 2, and,
1, and), step L (ct. 2), hop on L and swing the R leg forward (ct. and). Hold skirt. (2M)
(b) Repeat (a) with R across the L in front, moving sideward left. (2M)
(c) Repeat (a). (2M)
(d) Break as in fig. I (b). (2M)
(e) Repeat all (a-d), starting with the other foot. (8M)
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Figure 6
Kick and Change
(a) Hop on R and L toe touching in rear of R heel (ct. 1), hop on R and kick L foot diagonally forward
left (ct. 2), hop on L and raise R foot in rear (ct. 3), hop L foot and R foot still raised up in rear (ct.
4). Hop on L and R toe touch in rear of L heel (ct. 5), hop on L and kick R foot diagonally forward
right (ct. 6), hop on R raise L foot in rear (ct. 7), hop on R and holding the L foot still up in rear (ct.
8). Hands in waist. (4M)
(b) Repeat (a) (cts. 1-4). (2M)
(c) Break as in fig. 1 (b). (2M)
(d) Repeat all (a-c), starting with the other foot. Finish the break with a stamp on the L foot on
fourth count instead of swinging it forward. (8M
Suggested Media at Home: https://youtu.be/YE_jmaFY_Ng The Irish Lilt
Activity 8 Which Comes First?
Direction: Arrange the following title of the figures of the dance “Irish Lilt” according to the flow
of the dance.
• Toe and Heel
• Rocking
• Leg Twist and
• Side steps
• Kick and Change
• Kick
Activity 9
Direction: Write the step pattern of the following basic steps from the dances Irish Lilt,
Varsovienne and Tarantella.
1. Rocking Step
2. Step-Swing-Step
3. Mazurka
Activity 10
1. Enumerate the three basic steps used in the dance Irish Lilt, Varsovienne and Tarantella.
2. From what country is the dance Varsovienne originated? Do these dances reflect the lives
of their countrymen?
3. What does Tarantella mean?
32
4. Compare and contrast the three dances featured in this chapter.
5. Which of the three dances, Irish Lilt, Varsovienne and Tarantella did you prepare most?
Why?
Reference:
Chapter 5. FOREIGN FOLK DANCE FROM AMERICA
LEARNING OUTCOMES
1. demonstrate understanding of foreign folk dances in the different countries of Latin
America;
from Latin America;
5. appreciate the beauty of foreign folk dances in the different countries of Latin America;
and
6. present the dances from Latin America with the accuracy of steps and proper attire
(costume), music, and formations.
OVERVIEW
In this Chapter, two folk dances will be featured, the La Cucaracha from Mexico and the
Red River Valley from United States of America which is a square dance. You will feel the lifestyle
of the American as you do the dance because it shows the tradition of the American in their daily
life.
COURSE MATERIALS
VI. La Cucaracha
VII. Red River Valley
VI. La Cucaracha
La Cucaracha means “The Little Cockroach.” This is a dance known to all Mexico.
Lesson Objective:
33
1. interpret La cucaracha dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in La cucaracha;
3. perform the La cucaracha with confidence; and
4. appreciate the beauty La cucaracha dance.
COSTUME:
Girl – white short- sleeved blouse heavily embroidered in beads with
a full skirt of green and red (occasionally white). The skirt reaches
down to the ankle. High heeled slippers are worn. Over the blouse a
long sash or scarf called a “roboza” is arranged in a certain way. At
its middle it is drawn straight across the waist of breast, crossed at
the back, and the ends drawn up over the shoulders and left hanging
down loosely each side in front or else the ends are tucked down
each side under the sash in front. The hair is worn in two braids.
Boys – white “blouse” shirt, a low-cut vest, a jacket cut something

like a long bolero, and long rather tightly fitting pants decorated
sometimes with silver buttons. On his head he has a huge sombrero and, on his arm, he carries
his brightly colored “zarape.”
MUSIC – is divided into two parts A and B.
COUNT - one, two, three to a measure.
FORMATION – couples are arranged informally around the room. The boy clasps his hands
around his back; the girl holds her skirt gracefully at the side. For class instruction or
demonstration, the participants may be arranged in any desired formation. Partners stand by
side; the girl is on the right of the boy.
Figure 1
Music A – play once.
Partners stand side by side facing front.
Throughout the figure partners turn slightly away and toward each other. They perform cross-
waltz steps in place. The first step (ct. 1) is strongly accented with a decided “dop” of the knees
in this dance. Starting with the inside foot, take eight cross-waltz steps in place. Girl holding skirt,
boy clasp hands behind (8 M).
Figure 2
Partners face each other and do the cross-waltz steps revolving around each other.
34
Starting with the R foot take eight cross-waltz steps forward moving clockwise. Crossing the R
foot over L, turns the body to the left and brings them into a position touching R elbows. When
L foot is across the R, the left elbows are touching (8M).
Figure 3
Music B – play two times.
Partners stand side by side facing front.
The following direction is for the boy; it is reverse for the girl.
(a) Boy steps sideward L (ct. 1), step R close to L foot (ct. 2), step L sideward left again (ct. 3).
Stamp R foot in place (ct. 1), pause (cts. 2, 3), put weight on the R foot (2M).
(b) Three steps turn L away from partners (cts. 1, 2, 3). Stamp R foot twice, keeping the weight
on the L foot (cts. 1, 2), pause (ct. 3) (2M).
(c) Step R sideward toward partner (ct. 1), step L close to R (ct. 2), step R sideward again (ct.3).
Step L foot on place (ct. 1), stamp R foot twice (cts. 2, 3) (2M).
(d) Starting with the R foot, three steps sideward R to change place with partner. The girl passes
in front of the boy (cts. 1, 2, 3). Stamp L foot (ct. 1), pause (cts. 2, 3) (2M)
(e) Repeat all (a-d) starting with the opposite foot, finish in original position (8M)
Figure 4
Partners are still side by side facing front.
(a) Starting with the outside foot, take seven cross-waltz steps forward. Hands as in figure 1 (a)
(7M).
(b) Boy takes one waltz balance forward R, the girl spins around clockwise (1M)
Figure 5
Music B – play once.
(a) Partners side by side, as this step is being performed couples move little backward.
(b) Starting with the inside foot, take three steps sideward to partner’s place. The girl passes in
front of the boy (cts. 1, 2, 3). Stamp twice with the inside foot (cts. 1, 2), pause (ct. 3) (2M).
(c) Repeat (a) returning to position. The boy passes in front this time (2M).
(d) Repeat all (a and b) (4M).
Figure 6
Repeat figure 1 (8M)
Figure 7
Partners face each other.
Repeat figure 2 at the last measure the boy places his sombrero on the girl’s head (8M).
35
Suggested Media at Home: https://youtu.be/M7qVj_R18Bw La Cucaracha
VII. Red River Valley
A popular square dance in America, dance accompanied with a song lyric. This dance is
traditionally performed with one boy at the middle of two girls in each of three, but can also be
performed with one girl at the middle and two boys at the sides.
NOTE:
(1) Dancers may start with either foot (L or R).
(2) The steps must be light and springy.
(3) The dancers sing “good and loud”.
(4) The whole dance may be repeated as many times as desired.
Lesson Objective:
1. interpret Red River Valle dance with the proper counting, costume and formations;
2. identify the basic steps and terminologies used in Red River Valley dance;
3. perform the Red River Valley with confidence; and
4. appreciate the beauty Red River Valley dance.
COSTUME:
Girls - dressed in gay printed or checkered skirt and white blouse.
Boys - denim trousers, checkered shirts and straw hats. One leg of
the trousers may be rolled up to give a rustic touch.
MUSIC - composed of one part of sixteen measures
COUNTING - one, two to a measure.
https://www.google.com/url?sa=i&url=https%3A%2F%2F
www.youtube.com%2Fwatch%3Fv%3DUsW_gp0M2sA&psi
g=AOvVaw0hgJ-
2cS5ldZwGhuE1LRpq&ust=1633770414867000&source=im
ages&cd=vfe&ved=0CAsQjRxqFwoTCPiYu6O7uvMCFQAAA
AAdAAAAABAD
36
FORMATION - each set of three (two girls at the sides and one boy at the middle) faces another
set of three. There should be an even number of sets. Eight sets make a convenient number but
more sets may participate, if desired.
O O O O O O O O
X X X X X X X X
O O O O O O O O
Red River Valley Song

Verse 1
Now you lead right down to the valley,
And you circle to the left and to the right.
Now you swing with the girl in the valley,
And you swing with your Red River Girl.
Verse 2
Now the girls make a wheel in the valley,
And the boys do – si - do so polite.
Verse 3
Now you lose your girl in the valley,
And you lose your Red River Girl.
Figure 1
Sing verse 1
(a) Dancers of each set join hands. Walk eight steps diagonally forward R, passing the opposite
set by L shoulders and facing a new set (8 cts.). (4M)
(b) Upon reaching the new set, all six join hands in a circle and walk four steps to L (4 cts.) and
four to R (4 cts.). (4M)
(c) Each boy swings his partner at the R while the L partner stands still. (4M)
(d) The boy releases the R girl and goes to the L partner and swings her. The right-hand girl stands
still. (4M)
Figure 2
Sing verse 2
(a) Repeat figure 1 (a). (4M)
(b) Repeat figure 1 (b). (4M)
37
(c) The four girls of the two sets form a R hand star and walk eight steps clockwise. Finish in
proper places (8 cts.). (4M)
(d) The two boys perform do-si-do, passing by each other’s R shoulder first-four steps forward
and four steps backward (8 cts.) (4M)
Figure 3
Sing verse 3
(a) Repeat figure I (a). (4M)
(b) Repeat figure I (b). (4M)
(c) The right-hand girls change places, passing by each other’s L shoulder, by taking eight steps.
(4M)
(d) The left-hand girls do the same, passing each other by R shoulders. (4M)

https://youtu.be/rqOZvE7Mo1g Red River Valley
Activity 11 Complete the Song
Direction: Complete the Red River Valley Song by filling up the missing word.
Red River Valley Song
Verse 1:
Now you _______ with the girl in the valley,
And you _______ with your ______ River Girl.
Verse 2:
Now the girls make a _______ in the valley,
And the boys _______ so _______.
Verse 3:
Now you _______ your girl in the ________.
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Activity 12
Direction: Write the step pattern of the following basic steps from the dances La Cucaracha and
Red River Valley.
1. Cross-Waltz
2. Waltz Balance
Activity 13
1. Enumerate the three basic steps used in the dance La Cucaracha and Red River
Valley.
2. From what country is the dance Red River Valley originated? Do these dances
reflect the lives of their countrymen?
3. What does La Cucaracha mean?
4. Compare and contrast the two dances featured in this chapter.
5. Which of the two dances, La Cucaracha and Red River Valley did you prepare
most? Why?
Reference:
Chapter 6. OTHER FORMS OF DANCE
LEARNING OUTCOMES
1. identify the different classifications of dance;
2. state clearly the meaning of ballet, modern contemporary dance, modern jazz, ballroom,
hip-hop and pop dance;
3. appreciates the different classifications of dance; and
4. create and perform a dance in this chapter with enjoyment.
OVERVIEW
This module talks more about the different classifications of dance. Actually, there are
many classifications of dance, but these 6 classifications are well known and popular. After
discussing this lesson, you will be able to identify the dance whether it is ballet, ballroom,
modern, pop or folk dance. But the only difference is their style and the way they are danced.
39
COURSE MATERIALS
1. Ballet
Ballet is a formalized kind of performance dance, which
originated in the Italian Renaissance courts of the 15th
century, and which was further developed in France and
Russia as a concert dance form. Ballet serves as a backbone
for many other styles of dance. Ballet uses music and dance
to tell stories. The word “ballet” comes from the French
word “ballare” which means “to dance”.
Read this: https://www.britannica.com/art/ballet/The-era-of-the-Ballets-Russes

https://www.masterclass.com/articles/understanding-the-basic-ballet-arm-and-foot-positions
Understanding the Basic Ballet Arm and Foot Positions
https://www.youtube.com/watch?v=JWLy4IKgd1M Learn Basic Ballet Vocab with
Demonstration for Beginners I @Miss Auti

https://www.youtube.com/watch?v=JWLy4IKgd1M Learn Basic Ballet Vocab with
Demonstration for Beginners I @Miss Auti
https://youtu.be/LzPqYihbkFY Swan Lake - Dance of the Small Swans - Pacific Northwest Ballet
1. Modern Contemporary Dance

Modern dance was born in the early 20th century
is a dance style that rejects many of the strict rules
of classical ballet, focusing instead on the
expression of inner feelings. It centers on a
dancer’s own interpretations instead of structured
steps. Modern dance was created as a rebellion
against classical ballet, emphasizing creativity in choreography and performance.
Read this: https://teara.govt.nz/en/contemporary-dance

https://www.youtube.com/watch?v=J79VmSPcJnsBeginner Contemporary Dance | @Miss
Auti,
https://youtu.be/D4G0RWeZ2gA Modern Contemporary Dance Class (Carsten Lumière Sasse)
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2. Modern Jazz
Jazz dance evolved from early African
American vernacular dances during the
early 1900s. It incorporated unique
moves, elaborate footwork, large leaps,
rapid turns, and imaginative
improvisation to bring an energetic and
entertaining experience. Jazz dance
requires the foundation of classical
ballet to embody balance and agility.
Jazz dance is viewed in the spotlight with
movies, on stage performances, and in urban areas of the streets and clubs. The transformation
of jazz dance into dance theatre and the important role of professional techniques and
choreography, created “modern jazz dance”.
Read this: https://sites.google.com/site/ugadancehistory/modern-jazz

https://youtu.be/dX7Tz_VBfK 10 Basic Jazz Dance Moves
https://youtu.be/BTbglQ2Iii0 STAND | Modern Jazz DANCE
3. Ballroom Dance
Ballroom dance refers to a set of partner
dances, which are enjoyed both socially
and competitively around the world.
Because of its performance and
entertainment aspects, ballroom dance
is also widely enjoyed on stage, film, and
television. In times past, ballroom
dancing was social dancing for the privilege. In competition, ballroom dancers are judged by
diverse criteria such as poise, the hold or frame, posture, musicality and expression, timing, body
alignment and shape, floor craft, foot and leg action, and presentation.
Early Origins
The origins of ballroom dance first appeared in 16th century Europe—French philosopher, Michel
de Montaigne, wrote of a dance that he observed in 1580 in Augsburg, Germany, where dancers
moved together so closely that their faces touched. Waltz, considered the oldest traditional
ballroom dance, originated as a dance style enjoyed by lower classes. Around 1750, a couples’
41
dance called “Walzer,” was popularized by peasants of Bavaria, Tyrol, and Styria. Danced in ¾
time, it eventually spread from the countryside, to the suburbs, and finally into European cities.
As ballroom dance entered cities, upper classes danced the minuets (stately ballroom dances
from the 18th century) to music by Mozart, Haydn and Handel. The styles of upper and lower
classes blended when noblemen, bored by the minuets, stepped away to partake in the balls of
their servants; as peasants and noblemen danced together, novelists took count and
incorporated elements of this Waltz into their writing, often depicting it as both shameless and
indecent.
However, perhaps startling to aristocrats and writers, Waltz grew in Vienna, quickly reached
England, and was introduced to commoners by infantry soldiers in the early 1800s. As composers
picked up on the popular dance style, those such as Johann Strauss and Franz Lanner helped
increase the popularity of the ¾ time Waltz, throughout Austria and Germany. No longer was
Waltz considered scandalous or indecent, the dance was most popular at social gatherings and
parties across Europe, complimented by authors for its grace and beauty.
Across the globe, other forms of social dance emerged. While the origins of the Merengue are
disputed by historians, some attribute its creation in the early 1700s to African slaves of the
Dominican Republic, who combined both African and French minuet dances. After watching
aristocrats dance stoic, waltz-style dances during parties, they mimicked these dances, taking bits
of what they liked, increased the tempo and added their own music and rhythm. By the 1850s,
Merengue was danced at every social occasion in the Dominican Republic and neighboring
Caribbean and South American Countries. Well-suited for crowded rooms or small spaces,
Merengue was introduced to the United States first in New York City, and was easy to dance in
bustling bars or clubs.
Turn of the Century
Around the turn of the century, many dance styles blossomed across all parts of the world.
In the streets of Buenos Aires, Argentina, the dance and the music of Tango developed together,
increasing its popularity at a rapid rate. In fact, many instruments even became known as
traditional “Tango” instruments—guitar, Bandoneon (tango accordion), and ensemble bands
including violins, piano, flute, and bass. In the early 1900s, Tango reached New York City and
Paris, expanding into both lower-class dancers in these areas, as well as wealthy Argentinian
youth traveling in other parts of the world, seeking the comfort of music and dance from their
home country. Tango became a trendy dance and style of music, and was soon danced across
Europe and North America frequently. The North American Tango strayed slightly from the
Argentinian at first, and became more unique over time. Today, the tempo of the music and
movement of the dancers is must faster and typically a 2/4 or 4/4 rhythm.
42
In the United States, inspired by ragtime dances, a smooth and traveling dance called the Foxtrot
was named after entertainer and Vaudeville actor Harry Fox. Around 1914, Harry would typically
perform trotting steps to ragtime music in one of his theater acts in New York City, earning his
dance the name of “Fox’s Trot”. Husband and wife actors, Vern and Irene Castle, also helped
popularize and refine the dance after appearing the the Broadway Show, Watch Your Step, in
1914.
In the 1920s, an energetic dance inspired by contemporary jazz music and popularized by Black
Americans became known as the Swing. Like tango, the music and dance evolved together, and
Swing came to include many other styles—Lindy Hop, Shag, and Charleston. Fast, bouncier swing
dancers, such as Norma "Queen of Swing" Miller, came to introduce the Jitterbug and Lindy Hop,
with incredible displays or jittering movements as they danced. While Lindy Hop and other styles
of Swing are still danced across the country, in Ballroom today, the most popular styles of swing
are defined as “East Coast” and “West Coast” Swing.
As all of these new forms of partner dancing began to evolve around the beginning of the 20th
century, there was a new birth of ballroom dance, inclusive of many of these styles. As the arts
became an integral part of many American origin stories, dancers and other artists became
popular within the media. The Hollywood stars Fred Astaire and Ginger Rogers were only the
start of a dance partnership making the world fall in love. Between their connection on the dance
floor, ability to move as one with music, and creation of routines that viewers remember for
years to come, dancers such as these are the fulcrum of our country’s passion for partner
dancing.
In the 1940s, the origins of Mambo showed great collaboration between dance and music.
Bandleaders, starting to play a new form of music called Mambo, developed a very creative and
expressive dance based off of their new music style. While this dance provided people the
freedom to move their bodies to the flow of the music, it was also characterized by complicated
footwork and interesting patterns. Mambo became so popular that a Puerto Rican dancer, Pedro
Aguilar, who came to be known as “Cuban Pete” even had songs written about him and the way
that he finessed the Mambo, making himself a household name. Although he was not from New
York, he brought his dance style and eccentric dance ability to the Palladium club in New York
city. He is known historically as the “greatest Mambo dancer ever”, presented this title by Tito
Puente, a superstar in Latin dance music.
Alongside the Mambo, the Cuban Rumba was an extremely popular dances within a club setting
or on the streets, danced to the music of local entertainers in Latin America. Similarly to the
Mambo, Rumba is both a style of musical rhythms and a dance. Originating in Africa, this dance
and music style was brought to Latin America through African slave trade to Cuba. In Africa, the
Rumba began as a fast dance, with large hip actions, said to represent the “chase” of a courtship.
The “Son”, a popular Cuban dance, was a similar dance style to the Rumba, but was slower and
more compressed. The wealthy Cuban class also danced a different style to Rumba music, called
43
the “Danzon”, where the hip movements were much smaller and created by bending and
straightening of the knees. As Rumba increased in popularity in South America, the styles began
to blend. The Rumba we know today is a combination of parts of each of these histories, and
even is danced competitively across both the American and International categories.
Ballroom Dance Today
Within the successive years, governing bodies of ballroom dance were formed across the United
States and the entire world in order to collaborate internationally and produce competitive
dancing events. Today, ballroom dance is a phenomenon as a social activity, as well as a
competitive entity, delivering some of our country’s most talented athletes as they blend elite
execution of skill with a beautiful art form. This growing trend of ballroom dance has only been
increased as television shows like Dancing with the Stars have increased in popularity. Ballroom
dance is a unique opportunity to move, share movement with others, and showcase creativity.
Read this:
https://www.fredastaire.com/blog/simple-guide-10-traditional-dances-ballroom-dance/ A
Simple Guide to the 10 Traditional Dances of Ballroom Dance

https://youtu.be/PWiLi22Cq8w4 Basic Elements of Cha-Cha | Cha-Cha Dance
https://youtu.be/x1tDen1HScw Rumba dance steps for beginners - Rumba basic steps
(American Style)
https://youtu.be/CimlZ1Vaqzc Samba dance steps & Technique - For beginners
https://youtu.be/LMilE769YY8 How to Do Basic Jive Steps | Ballroom Dance
https://youtu.be/nN52QECLr2Q Basic Paso Doble TOP TEN STEPS & ROUTINE
https://youtu.be/NBKTN6c_MEQ How To Waltz Dance For Beginners - Waltz Box Step
https://youtu.be/VtYO4tY97r4 Viennese Waltz Basic Steps | Dance Routine and Figures
https://youtu.be/PSTPuzGhhQM Tango dance steps - Tango basic steps for beginners
https://youtu.be/yetQWvaLdPo How to dance Slow Foxtrot | Basic Steps for Beginners
https://youtu.be/sA-5oJmlOfw How To Dance Quickstep / Basic Steps for Beginners
https://youtu.be/h8t1eqZlEoE Final Latin | 2020 WDSF European Championship Ten Dance in
Aarhus
https://youtu.be/W4wwhtPU6sY Final Standard | 2020 WDSF European Championship Ten
Dance in Aarhus
44
5. Hip-Hop
Hip-hop dance is a unique and exciting style of street
dance that is most commonly performed to hip-hop
music. Hip-hop dance is a vibrant form of dance that
combines a variety of freestyle movements to create a
cultural piece of art. Through its three main styles of
popping, locking, and breaking, hip-hop dance has
evolved into one of the most popular and influential
styles of dance.
https://www.adanceplace.com/wp-content/uploads/hip-hop-dance-classes.jpg
Where It All Began
Hip-hop dance began during the late 1960’s and early 1970’s, originally inspired by the
movements of African dancing, and flourished as a new style of dance performed on the street
for the people. Hip-hop incorporates aspects of modern dance, tap, and swing, integrating music
and complex movements to form artistry.
The early history and roots of hip-hop dance are most often associated with its beginning on the
East Coast, specifically New York City. But the West Coast also formed its own style of the East
Coast hip-hop dance around the same time.
East Coast hip-hop began with the unique rhythmic combinations created by Kool DJ Herc, a
Jamaican DJ who moved to Brooklyn at the age of 12 and quickly became one of the most popular
DJ’s of New York City. DJ Herc ingeniously thought to extend dance sections of songs to create
better opportunities to showcase the breaking movements of dancers.
West Coast hip-hop took the dance style from the East Coast and made it its own, transforming
some of the frozen moves and making them more robotic. The West Coast was also where two
of modern hip-hop’s most iconic styles, popping and locking, were born.
East Coast and West Coast hip-hop dance styles were originally meant to be two distinct forms
of dance. However, as hip-hop grew in popularity, the two styles began to merge together into a
unique street dance culture. Over time, hip-hop expanded from the street scene, and its
choreography became a sought-after style in dance studios, clubs, and other venues.
During the 80’s and 90’s, hip-hop dance competitions became increasingly popular with the
emergence of “battles,” one-on-one freestyle competition on the dance floors of clubs
surrounded by a circle of fans. Improvised battles soon led to advertised battles and a higher
level of competition.
45
Modern Hip-Hop Dance
While hip-hop originated as informal street dance meant for the people present, it has further
evolved onto the stage and screen and into an audience favorite. Hip-hop now is a highly sought-
after and dominant style of dance. It is among the most common styles of dance for music videos,
concerts, and dance competitions. It can be found in dance studios of all kinds, teaching its
unique and energetic compilation of movements to young and old.
Hip-hop dance has transformed the world of dance and has taken the dance culture by storm.
Many of its distinctive moves are often integrated into the choreography of more traditional
styles of dance and it has even worked its way into major theatrical and cinematic productions.
Hip-hop dance provides a vibrant means for exercise, art, and movement, creating a platform for
individual expression and undeniable talent.

https://www.youtube.com/watch?v=Z3Z6Qii-g2Y Hip Hop for Beginners- 5 Basic Moves
https://youtu.be/PO8ge101Vb8 PINOY HIPHOP | WORLD SUPREMACY BATTLEGROUNDS |
CLEANMIX 2020
4. Pop/Popular Dance
Dancing performed in public or in private solely
for the enjoyment of the participants is known
as popular dance. It was practiced as early as
3000 years ago at both community and family
levels. Popular dance also defined as the best
interactive audience dance entertainment
participatory activity in the world.
History of Pop Dance
Before you can understand the history of Pop dance, you need to understand what pop music is.
The term "Pop" comes from the word "popular" and refers to the fact that it is delivered to the
masses on a very large scale. This genre of music is very commercialized and record companies
use every kind of media tool available to them, such as television, movies, and the Internet. If
you go to a dance club you will hear a lot of Pop music because it is very easy to dance to. The
evolution of Pop dance goes hand-in-hand with the evolution of popular industrialized music.
46
Vaudeville and Ragtime Dance
The widespread commercialism of music and dance dates back to the turn of the century when
Vaudeville was the popular venue. Vaudeville was a theatrical style of entertainment that lasted
from the 1880s to the 1930s. Since there was no television and you couldn't watch people dance
on a radio, you had to keep up with the popular dances of the time by watching chorus lines and
other stage shows. Ragtime music and dance were also popular during the turn of the 20th
century.
Swing and Jazz Dance

Ragtime evolved into Swing and Jazz dance moves in the 1930s and 1940s. Dance moves became
more informal and ballroom dancing was replaced by the wild dance moves that characterized
Swing and Jazz. These forms of dancing are also traced back to African dance moves that were
blended into American culture. This type of dance was also the new generation's way of rebelling
and expressing their independence from their parents' generation.
Rock And Roll
In the 1950s Swing and Jazz dance steps evolved even more with the birth of Rock and Roll. With
the invention of the first Jukebox in 1951 people no longer had to go to clubs where live bands
were playing. Artists such as Elvis Presley popularized the more risqué hip-shaking style of dance
that is a big part of the Pop dance of the new millennium. Popular culture could now be mass
communicated even more now that most American households owned a television set or a
record player. Dance moves also got more inventive with "The Twist", "The Stroll" and "The
Madison."
Psychadelic and Disco

In the 1960s young people had FM radio to listen to music and watched shows like the Ed Sullivan
Show and American Bandstand to keep up on what was popular in music and dance. From this
time and into the 1970s, rock music started to get more edgy and the psychedelic rock movement
rose in popularity. Popular dance moves were more free-form up until 1975 when Disco dancing
came on the scene. Saturday Night Fever turned the Disco dance style into a sensation, which is
a good example of how mass media determines what is popular and what isn't. Disco dancing
involved a lot of structured arm movement as well as leg work, like the Pop dance moves of the
new millennium.
MTV And the Birth of "Pop"

In the summer of 1979, a protest was held against Disco in Chicago which is referred to as the
"Disco Demolition" and by the year 1980, disco was dead. By now a new, more melodic and
technology-based form of rock began to take the form of the "Pop" music you recognize today.
Performers such as Michael Jackson and Madonna were at the forefront of this kind of music
47
characterized by electronic and choreographed dance moves. These performers pioneered Pop
music, as well as the style that modern Pop dance moves have.
Boy Bands and Pop Divas

"Boy Bands" became the craze in the late 1990s as well as R&B groups such as Destiny's Child and
young female singers like Britney Spears and Christina Aguilera. Backstreet Boys and N*Sync sang
in harmony but their performances were focused mainly on their tightly choreographed dance
routines. The young female "Pop Divas" as well as many Pop singers of the new millennium
employ a lot of dances in their performances and back-up dancers to add to their show. These
dance routines are what we think of when we think about Pop dance. Hip-hop dance moves are
also a big part of Pop dance and these two styles are becoming more and more integrated in the
21st century.

https://www.youtube.com/watch?v=sqija8j0I As Most Popular Viral Dance Moves
https://youtu.be/d6qehs6wizM 90's Dance Hits feat. Manoeuvres, Streetboys, & Universal
Motion Dancers
https://youtu.be/p-rSdt0aFuw The Evolution of Dance - 1950 to 2019 - By Ricardo Walker's
Crew
Activity 14
1. What are the dances featured in this chapter? Define each dance.
2. Choose three dances in this chapter do you prepare? Why?
3. Enumerate the 20 dance terminologies in this chapter that you have encountered and
write their definitions.
Activity 15. Reflective Essay
Direction: Read the questions below and answer it a critical thinking.
What role do you think dance will play in your life after this course? Why do you believe
participating in dance processes will benefit you physically, intellectually, socially, and
emotionally?
Reference:
https://www.fredastaire.com/blog/simple-guide-10-traditional-dances-ballroom-dance/A
Simple Guide to the 10 Traditional Dances of Ballroom Dance
https://www.adanceplace.com/hip-hop-dance-history/Hip-Hop
48
https://www.britannica.com/art/ballet/The-era-of-the-Ballets-Russes Ballet
https://teara.govt.nz/en/contemporary-dance Contemporary dance
https://www.masterclass.com/articles/understanding-the-basic-ballet-arm-and-foot-positions
Understanding the Basic Ballet Arm and Foot Positions
https://www.adanceplace.com/hip-hop-dance-history/ Hip-Hop
https://canada.humankinetics.com/blogs/excerpt/social-dance-positions-and-steps
FERDIE T. LUBIS, LPT, MPES, ED.D. Dr. Lubis is a faculty at the

College of Human Kinetics of the Polytechnic University of the
Philippines. He earned his Doctor of Education in Educational
Leadership at the National Teachers College. He taught
Physical Education for the past 20 years in these reputable
academic institutions, namely, De La Salle-College of Saint
Benilde, St. Scholastica's College-Manila, FEU Institute of
Technology, and De La Salle University-Manila. His field of
specialization is on dance and group exercise for more than
30 years. He is one of the authors of a book entitled Dance
and Recreation for Health A Health-Optimizing Physical
Education for Grade 12. He is also a speaker on dance and
fitness in several Physical Education Associations
seminars/workshops in the Philippines. Aside from teaching
Physical Education, he is also a dance instructor and a
freelance choreographer. He is also one of the board
members of Philippine Maharlika Dance Artist Inc. and a
former PUP Maharlika Dance Artist member of the official
dance troupe of PUP. The author is a lifetime member of the International Association of Physical
Education and Sports Inc., Teaching & Education Research Association (TERA), National Council for
Physical Educators of the Philippines Inc., Physical Educators Association of the Philippines Inc., and Dance
Educator Association of the Philippines to name a few of his membership in Physical Education
organizations.
49

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POLYTECHNIC UNIVERSITY OF THE PHILIPPINES

COLLEGE OF HUMAN KINETICS

Chapter 1. DANCE HISTORY …………………………..……………………………………………………………………1

Chapter 2. FOREIGN FOLK DANCE……………………………………………………………………………………..7

Chapter 3. FOREIGN FOLK DANCES FROM ASIA………………………………………………………………..19

Chapter 4. FOREIGN FOLK DANCE FROM EUROPE………………………………………………………………25

Chapter 5. FOREIGN FOLK DANCE FROM AMERICA……………..…………………………………………….33

Chapter 6. OTHER FORMS OF DANCE…………………………………………………………………………………39

About your Teac…………………………………………………………………………………………………………………..49

Institutional Learning Programs Outcomes Course Outcomes

Week Topic Learning Methodology Resources Assessment

Introduction to Analyze the Lecture discussion Aquino, F. R. (1967). Written quiz

Aquino, F. R. 1967. Foreign Folk Dances

Class Standing 60%

Midterm / Final Examinations 40%

Top 10 Guidelines for Digital Citizenship

Consultation Hours: TBA

Brief Dance History

The Primitive Period

The Medieval Period

The Renaissance Period

Maestro Hector Zaraspe

Basic Elements of Dance

I. Formation used in Folk Dance and other Rhythmic Activities

BASIC PARTNER POSITIONS

Two-hands joined position Shine position One-hand joined position

Closed position Semi open position Inside hands join position

II. Fundamental Dance Positions

Feet: Heel close together; toes apart with and angle of

Feet: Astride sideward about a pace or 1 foot distance.

Arms: One arm raised sideward as in 2nd position; another

Feet: Heel of one foot close to in-step of other foot.

Arms: One arm raised in front as in 1st position; another

Feet: One in front of other foot of a pace distance.

Arms: Both arms raised over head.

Feet: Heel of front close to big toe of rear foot.

III. Basic Steps in 2/4 Time Signature

Bleking Step - count 1, 2 to a measure.

Chasse (slides) - count 1, and 2, and to a measure.

Pivot Turn - count 1, and 2, and a measure.

Step-Swing-Hop - count 1, 2 to a measure.

Step-Point - count 1, 2 to a measure.

Step-Swing - count 1, 2 to a measure.

Touch Step - count 1, 2 to a measure.

Close steps – count 1, 2 to a measure

Step R in any direction (ct. 1) then close L to R (ct. 2).

Basic Steps in 3/4 Time Signature

Blecking step - count 1, 2, 3 to a measure.

Mazurka - count 1, 2, 3 to a measure.

Cross Waltz – count 1, 2, 3 to a measure.

Waltz Balance - count 1, 2, 3 to a measure.

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

Waltz step – count 1, 2, 3 to a measure

Step-swing-hop – count 1, 2, 3 to a measure

Step-point - count 1, 2, 3 to a measure.

Step-swing - count 1, 2, 3 to a measure.

Touch step - count 1, 2, 3 to a measure.

A. Point R foot in front (cts. 1, 2), step R close to L (ct. 3).

IV. Terms used in Foreign Folk Dance

Circling with the R shoulder facing the center. A

Circling with the L shoulder facing the center.

The foot without the weight of the body.

The hand not in used and holding nothing.