DANCE
DANCE
 Dance is a performing art form consisting
of purposefully selected sequences of human
movement.
 This movement has aesthetic and symbolic value and
is acknowledged as dance by performers and
observers within a particular culture.
 Dance can be categorized and described by its
choreography, by its repertoire of movements, or by
its historical period or place of origin.
ELEMENTS OF DANCE
The Elements of Dance are the foundational concepts and
vocabulary that help students develop movement skills
and understand dance as an artistic practice.
1. Body  different types of dances in a few large groups:
 In dance, the body is the mobile figure or shape,
felt by the dancer, seen by others.
 The body is sometimes relatively still and
sometimes changing as the dancer moves in place
or travels through the dance area.  form of communications.
 Dancers may emphasize specific parts of their
body in a dance phrase or use their whole body all
at once.
2. Action
 Action is any human movement included in the act
of dancing— it can include dance steps, facial
movements, partner lifts, gestures, and
even everyday movements such as walking.
 Dance is made up of streams of movement and
pauses, so action refers not only to steps and
sequences, but also to pauses and moments of
relative stillness.
3. Space 
 Space is the area the dancers occupy during
execution of movements.
 It includes the distance they travel within the
performance
> General Space
> Personal Space
 Spatial relationships between dancers or between
dancers and objects are the basis for design
concepts such as beside, in front of, over,
through, around, near or far.
4. Time
 Rhythmic patterns may be metered or free
rhythm.
 Much of western music uses repeating patterns
(2/4 or 3/4 for example), but concepts of time
and meter are used very differently throughout
the world.
 Dance movements may also show different timing
relationships such as simultaneous or sequential
timing, brief to long duration, fast to slow speed,
or accents in predictable or unpredictable
intervals.
5. Energy
 Energy is about how the movement happens.
 Choices about energy include variations in
movement flow and the use of force, tension, and
weight.
 An arm gesture might be free flowing or easily
stopped, and it may be powerful or gentle, tight
or loose, heavy or light.
 A dancer may step into an arabesque position
with a sharp, percussive attack or with light,
flowing ease.
 Energy may change in an instant, and several
types of energy may be concurrently in play.
TYPES OF DANCES
Although there are hundreds of dance styles, for
simplicity, dance has been categorized into
1. Folk dance
 A folk dance is a dance that reflects the life of
the people of a certain country or region.
 Oldest form of dance and one of the earliest
PHILIPPINE TRADITIONAL DANCES
 The folk dances of today are adaptations of the
Old Native Dances
 Filipinos love singing, dancing, and feasting.
 We have dances and songs for all occasions like
birth, courtship, marriage, war, plating, and
harvesting.
Mrs. Francisca Reyes Tolentino
 known today as Mrs. Francisca Reyes Aquino 
 considered the mother of Philippine Folk Dances.
THE PHILIPPINE FOLK DANCE AND ITS
CLASSIFICATIONS
Philippines has a great variety of dances. Due to its
numerous islands, and the scattered position of these
islands.
1. Cordillera Dances
 o Continues to be an expression of community life o They show not only the Artistic Ingenuity of the
that animates the various rituals and ceremonies. natives, but also their beliefs, traditions and life
o They dance to appease their ancestors and gods are reflected in them.
to cure ailments, to ensure success at war, or o These dances have for long survived.
to ward off bad luck or natural calamities. o Sample Dances:
o Sample Dances: •Singkil
✓ Banga (Kalinga Tribe) •Pangalay
✓ Bendayan (Benguet Province) •Dugso
✓ Manmanok (Bago Tribe) •Sagayan
✓ Ragragsakan (Kalinga Tribe) •Karasaguyon
✓ Turayen (Gaddang Tribe) •Asik
✓ Tarektek (Benguet Tribe) •Udol
✓ Uyaoy / Uyauy (Ifugao Tribe)
2. Western Influence Dance (Maria Clara) FUNDAMENTAL DANCE POSITIONS
o Merged Spanish court style (and its stylized I. First position
courtship conventions) with Philippine FEET: Heels closer together, toes apart with an
exuberance.  angle of about 45 degrees.
o Maria Clara is the pure and noble heroine of a ARM: Both raised forward in a circle in front of
novel who represents the finest qualities chest with the fingertips about an inch apart.
of Filipino womanhood.
o The dancers wear European 16thcentury dress.
o Dancers move to the sounds of bamboo
castanets.
o Sample Dances:
✓ Jota Intramureña
✓ Engañosa
✓ La Jota Manileña
✓ Jota Paragua
✓ Polkabal
✓ Putritos
✓ Baston II. Second Position
✓ Timawa FEET: A stride sideward about pace or a foot
distance.
ARM: Both raised sideward with a graceful curve
at shoulder level.

o
3. Rural dances or Countryside Dance
o Perhaps the best known and closest to
the Filipino heart
o To the Filipinos, these dances illustrate the
fiesta spirit and demonstrate a love of life.
o Sample Dances:
✓ Tinikling – Leyte. III. Third Position
✓ Itik-Itik – Surigao del Sur. FEET: Heel of one foot close to in-step of other
✓ Maglalatik – Biñan, Laguna. foot.
✓ Binasuan – Pangasinan. ARM: One arm raised sideward as in 2nd position;
✓ Kappa Malong-Malong –Maranao in Mindanao. other is raised upward.
✓ Cariñosa – Panay Island.

IV. Forth Position

4. Muslim and Non-muslim Dances (Muslim and FEET: One foot in front of other foot of a pace
Mindanao Dance) distance.
o Mirror the people’s expression.
 ARM: One raised in front as in 1st position other  Like the motion of the hands of the clock, R shoulder
arm raised over head. is toward center of an imaginary circle. When facing
center, movement is toward left.
12. Costados
 The couple occupying the length of the hall when
dancers are in square formation (side pairs)
13. Counterclockwise
 The reverse direction of clockwise, L shoulders
toward center. Movement is toward right when facing
center of circle.
14. Crossed arms
V. Fifth Position  Partners facing each other or standing side by side
FEET: Heel of front foot close to big toe of rear join their L hands together and the R hands
foot. together; either R over L or L over R hands.
ARM: Both arms raised over head. 15. Cross-over
 Two couples are opposite each other. Each couple
proceeds to opposite place. The girls pass by their L
shoulders between the boys. Boys bow to each other
when they meet at the middle, then follow the girls
to the opposite place. Partners turn right about
upon reaching the opposite place; girls stand at
partner’s right side.
16. Cut
 To displace quickly one foot with the other.
17. Do-si-do (dos-a-dos)
 Partners advance forward pass each other’s right (or
left) side, step across to the right (or left) move
COMMON DANCE TERMS backwards without turning around, pass each other
1. Abrasete (Spanish Origin) left (or right) side to proper places.
 Girl at the right side of the boy, holds his R arm with 18. Draw 
her left hand, free hands down at the sides.  The free foot is drawn toward the foot, which
2. Arms at side supports the body weight by pressing the toes
 The arms hang from shoulders at the sides of the against the floor as the close is made with or without
body transfer of weight.
3. Arms in “T” Position 19. Free Foot
 Arms at side horizontal, elbows bent at right angles,  The foot not bearing the weight of the body.
forearms parallel to body, facing backward. 20. Free hand
4. Arms in lateral position  The hand not placed anywhere, or not doing anything.
 Both arms are at one side, either left or right, at 21. Galop
shoulder, chest, or waist level.  Step R (L) foot forward (sideward) (ct.1), cut the R
5. Arms in Reverse “T” Position (L) with the L (R) thus displacing it, taking the weight
 Arms are at side horizontal, elbows bent at right of the body with L (R) (ct.ah)
angles, forearms parallel to head, fists loosely closed. 22. Hands Holding Skirt
6. Bilao  Arms at the side of the body, fingers holding skirt.
 Hands in front parallel to each other at waist level, 23. Hands on Waist
elbows close to the waists, palm down. Reverse the  Knuckle of hands are placed at the smallest part of
position of the hands with palms up and down the waist.
alternately. 24. Hapay
7. Bleking  To flourish or offer a handkerchief, a hat or a glass
 Heel-place, and close of wine. This is of Tagalog dance term.
8. Brush 25. Inside foot
 Weight on one foot, hit the floor with the ball of the  The foot nearer the partner when partners stand
other foot, and lift that foot from the floor to any side by side.
direction. 26. Inside hand
9. Cabeceras  The hand nearer the partner when partners stand
 The couples occupying the width of the hall when side by side.
dancers are in square formation (head couples) 27. Jaleo
10. Chasing  Partners turn around clockwise (with R elbows
 Execute successive close steps with one foot leading almost touching) using walking or any kind of dance
(1 step on evert ct.) step.
11. Clockwise
28. Jump scooping arm. Free hand in fifth position or holding skirt.
 Spring on one foot or both feet landing on both feet in This is a tagalog term.
any direction. 45. Saludo
29. Korriti  Partners with feet together bow each other to the
 With one foot crossed in front of the other, take as audience, opposite dancers or the neighbors. Make a
many step as desired. three-step turn and bow to partner or audience.
30. Kumintang 46. Sarok (a)
 -Moving the hand from the wrist either in a clockwise or  Cross the R (or L) foot in front of the L ( or R), bend
counter clockwise direction. the body slightly forward and cross the hands down in
31. Leap front R (or L) hand over L (or R).
 A spring from one foot, landing on the other foot in any 47. Sarok (b)
direction.  Cross the R (L) foot in front of the L (R) foot, bend
32. Masiwak the body slightly forward and cross the hands down in
 To turn the hand from the wrist halfway clockwise then front R (L) over L (R). This is a Visayan term.
raise and lower wrist once or twice. This is an Ybanag 48. Set
dance term.  A dance formation like a square or a unit
33. Mincing formation composed of two or more pairs.
 With feet in 5th position and heels raised, take as many 49. Shuffle/shuffling
tiny steps sideward (1 step on every count)  To step right (L) foot in place count left foot in place
34. Outside foot ah step right (L) foot in place count ah and step left
 The foot away from one’s partner, when partners foot in place count ah./ With both feet flat on floor,
stand side by side. make tiny slide steps forward (1 small slide on every ct.) 
35. Outside hand 50. Skip Step
 The hand away from one’s partner, when partners  Step R (L) in 4th in front (ct.1), hop on R (L) in place (ct.
stand side by side. ah). This is executed in any direction.
36. Opposite 51. Slide
 The person standing in the opposite across the set.  To glide foot smoothly along the floor.
37. Panadyak 52. Stamp
 With body weight on L (R) foot, stamp R (L) foot in  To bring the foot forcibly and noisily on the floor.
fourth position, in front, then tap same foot close to L 53. Step
(R), arms in reverse “T” position, hands doing the  To advance or recede by moving one foot to another
Kumintang on the stamp. resting place with a complete transfer of weight from
38. Patay one foot to another.
 To bend the head down so that the forehead touches the 54. Supporting foot
R (L) forearm or the hook of the R (L) hand. This is  The foot that bears the weight of the body.
usually done  55. Tap
with the R (L) foot pond lightly bent. This is an Ilocano  To rap slightly with the ball or toe of the free foot
dance term. keeping weight of the body on the other foot. There is no
39. Pivot transfer of weight.
 To turn with the ball, heel or whole foot on a fixed place 56. Touch
or point.  The same with point.
40. Place 57. Whirl
 To put foot in a certain position without putting weight on  To make fast turns by executing small steps in place
it; the sole of the foot rests on the floor.
41. Point
 Touch the floor lightly with the toes of one foot, weight
of the body on the other foot.
42. Rocking Step
 Fall onto R (L) foot incline body slightly forward, raise L
(r) in rear (ct.1), fall into L (R) foot in rear, incline body
backward, raise R (L) forward (ct.2). 
 Rock may be taken in place, forward and backward or
from side to side.
43. Salok (a)
 Swinging the arm downward- upward passing in front of
the body as if scooping; the trunk is bent forward
following the movement of the arm doing the salok.
44. Salok (b)
 To scoop or swing the arm downward, upward in front of
the body, the trunk following the movement of the
BASIC DANCE STEPS, STEP PATTERN IN 2/4 AND
¾ TIME