Lesson 3.

HISTORY OF FOREIGN FOLK DANCES, COMMON

DANCE TERMS AND FORMATIONS
Lesson Objectives:
At the end of this lesson, you will be able to:
• Discuss briefly the similarities and differences of the Philippine folk dances and foreign folk
dances
• Familiarize the common dance terms in foreign folk dances
• Execute common dance terms, position and formations enthusiastically.
Getting Started:
Folk dances in other countries evolve in a simple remote type of society. It was during the
middle ages in Great British Isles and Continental Europe that folk dancing became visible
where slaves became peasants, having a land and community of their own apart from the court
and minor house.
However, during the colonial period, the people exhausted all their lives in one community. They
did not have any means of amusements like motion pictures, radio, televisions, and photography.
The people did not travel much and anyone could hardly read but, everyone could dance. That is
why, the people danced whenever there were occasions such as good harvest, festival, fair and
holiday celebration, and family and community gatherings.
Discussion:
Characteristics of Foreign Folk Dances
The distinct characteristics of foreign folk dances vary according to the country’s culture, values,
and traditions. For instance, Asian dances frequently tell stories based on myths, historical
events, epic poems, and legends. Thus, their drama, music, and dances are closely linked and
mutually related often depending on symbolic gestures, masks and complicated make ups, and
majestic costumes
Couple dancing, like the quadrille and cotillion that developed firsts as a social diversion among
the aristocrats in Europe, emerged during the 19th century, particularly, in France and Italy.
Meanwhile, American folk dance requires many couples participating in square dance. The
couples are arranged in square (square set), two facing lines or in a circle.

This form of dance is determined by a caller, a non-dancer who names each dance figure
extemporaneously, combining established patterns (chains, stars, clover leafs). In North
America, the natives perform elaborate dance rituals, to ensure social wellbeing, and vision
quest.
Oceanian dances, on the other hand, are dances that use imitative and symbolic gestures and
sinuous body movements, or hand gestures to convey a story like the Hawaiian hula, and
accompanied by chanting. Originally, this is a religious dance mostly performed by warriors and
priestesses.
Dances in Latin America, are actually borrowed directly from African dance movements,
characterizing Spanish movements with Indian dance native elements.
At present, the modern world promotes more borrowing of dances from different countries aside
the creation of new dance forms resulted from a mixture of national styles. Eventually, the
modern method exists, but still preserving those dances. Foreign and contemporary dances can
be preserved for the future generation through the use of films, video tapes and dance notation
system.
Common Terms
1. Address Partner – how to partner. It is the same as “honor” your partner
2. Allemande Left – in quadrille or circle formation, all couples execute it at the same time
manner. The boy turns to the girl at his left and takes her L hand in his L hand and turns her once
around counter clockwise, then both falling back to places.
3. Allemande right – the boy faces his own partner, takes her R hand in his R hand turns her once
around clockwise, then both falling back to places.
4. Clockwise – is like motion of the hands of the clock moving to left when facing the center.
5. Counterclockwise – the reverse direction of clockwise, the hands of the clock moving the right
when facing center of an imaginary circle.
6. Circle right and Circle Left – couples or dancers join right hands for circle right moving
around in clockwise direction. Reverse position in circle left.
7. Closed Ballroom Dance Position – couple’s dance position, where partners face each other.
The right hand of the boy holds the girl’s left hand, while his left hand holds the girl’s right hand.
8. Court Dance – a dance performed in a palace hall.
9. Chivalry –refers to men who are honorable or knightly.
10.Curtsy – to bend knees and body slightly with a bow of the head.
11.Do-Si-Do – two people walk toward each other, passing by the right shoulder, and they step
sideward to the right, and return to position by walking backward, passing by left shoulder.
12.Draw – the free foot is drawn toward the foot which supports the body weight by pressing the
toes against the floor as the close is made with or without transfer of weight.
13.Free foot – the foot not supporting the weight of the body.
14.Free hand – the hand not doing anything.
15.Inside foot – the feet near one’s partner when standing side by side.
16.Outside foot – the foot away from one’s partner when they stand side by side by side.
17.Outside hand – the hand away from one’s partner when standing side by side.
18.Point – touch toe or ball of free foot on the floor and remain.
19.Promenade – partners are side by side, L shoulders towards the center holding in skating
position, (R hands joined over the joined L hands) at waist level or in varsovienne position, they
walk around in a counterclockwise direction until they reach their home position.
20.Set – a dance or unit formation. In square dance formation a set is composed of four pairs
standing on the sides of a hallow square facing the center.
21.Spin – to make fast turns executing small steps in place.
22.Stamp – to bring down the foot forcibly and noisily on the floor (like doing a heavy step) with
or without transfer of weight.
23.Supporting foot – the foot which supports the weight of the body.
24.Swing partner – partner in social dance position, R shoulder near each other.
25.Varsovienne position – girl slightly in front, right side of the boy. Boy holds the right hand
and left hand with his left. Both bend right arm while left arm is kept straight.

Dance Pattern
FOREIGN FOLK DANCE
Chinese Fan Dance (CHINA)
The traditional Chinese fan dance has been a part of Chinese culture for over 2,000 years. The
dance was first introduced during the Han dynasty and has been a central part of familial life
since that period two millennia ago. The fan dance is considered a folk dance that serves many
different purposes, and there are two primary distinctions in the dance: civilian and military.
The Han Dynasty is considered the first Chinese dynasty that cared about promoting and
preserving artistic tradition. This is the primary reason why the Chinese Fan dance is still
practiced today. The dance is usually learned from an older family member and is often
performed at cultural festivals and other civilian events. This form of the fan dance usually
includes colorful fans and other props. The military form of the dance uses no props, as it uses
coordinated movements and weaponry to demonstrate uniformity and authority. For some, the
fan dance is purely a form of entertainment. Historically, it served as a way to pass down
customs and folklore, as the performer would act out stories and legends for their family and
guests. The costumes worn during the fan dance are often determined by the purpose. For a
civilian fan dance, beautiful costumes are worn, and the dance resembles a ballet performance.
Military fan dances have no costumes, as the soldiers perform in uniform.
Minuet Dance (FRANCE)
Minuet, (from French menu, “small”), elegant couple dance that dominated aristocratic European
ballrooms, especially in France and England, from about 1650 to about 1750. Reputedly derived
from the French folk dance branle de Poitou, the court minuet used smaller steps and became
slower and increasingly etiquette-laden and spectacular. It was especially popular at the court of
Louis XIV of France. Dancers, in the order of their social position, often performed versions
with especially choreographed figures, or floor patterns, and prefaced the dance with stylized
bows and curtsies to partners and spectators. The basic floor pattern outlined by the dancers was
at first a figure 8 and, later, the letter Z.
Musically, the minuet is in moderate triple time (as 3/4 or 3/8) with two sections: minuet and
trio(actually a second minuet, originally for three instruments; it derives from the ballroom
practice of alternating two minuets). Each consists of two repeated phrases (AA–
BB), but the repetition may be varied (AA′–BB′). The overall form is minuet–trio–minuet. The
minuet frequently appears in 18th-century suites (groups of dance pieces in the same key), and in
Mozart’s opera Don Giovanni onstage musicians play a minuet at the close of the first act.
Typically, the third movement of a Classical chamber work (e.g., string quartet) or symphony is
a minuet. In most of his symphonies Beethoven replaced the minuet with a scherzo (although he
did not always use that term as a designation for the movement), similar or identical in form but
much faster and more exuberant. Neoclassical examples of the minuet include Johannes
Brahms’s Serenade No. 1 for orchestra, Opus 11 (1857–58), and Arnold Schoenberg’s Piano
Suite, Opus 25 (1923).
Japanese Parasol Dance (JAPAN)
The Japanese Parasol dance is an example of a simple Japanese dance that uses an umbrella. The
dance is suited for girls making use of shuffling steps that is basic to a typical Japanese. The
Parasol dance is from Kabuki. The song played during the dance is called Mikado (a song in 4/4
time). The costumes worn include brightly colored kimono, a parasol (oil-paper umbrella), and
geta, Japanese wooden shoes that are similar to clogs. Counting used in the dance: one, two,
three, four, one measure. Basic steps used: shuffling steps.
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
Irish Lilt (IRELAND)
Irish dance or Irish dancing is a group of traditional dance forms originating from Ireland,
encompassing dancing both solo and in groups, and dancing for social, competitive, and
performance purposes. Irish dance in its current form developed from various influences such as
French quadrilles and English country dancing throughout the 18th and 19th centuries. Dance
was taught by "travelling dance masters" across Ireland throughout this period, and separate
dance forms developed according to regional practice and differing purposes. Irish dance became
a significant part of Irish culture, particularly for Irish nationalist movements. From the early
20th century, a number of organisations promoted and codified the various forms of dance,
creating competitive structures and standardised styles.
Solo Irish dance includes the most well-known form of Irish dance, Irish step dance, which was
popularised from 1994 onwards by dance shows such as Riverdance, and which
is practised competitively across the Irish diaspora. Step dance is characterised by the rigid upper
body and intricate footwork of its performers. Other forms of solo Irish dance include sean-nós
dance, a relaxed and social dance style involving improvised steps, and festival Irish dance, a
style which separated from step dance in the mid-20th century.
Irish dancing in groups is made up of a number of styles and traditions, which developed from
French and English dances and formations. Ceili dance, practised both competitively and
socially, is performed by groups of two to sixteen people, and often uses traditional or codified
dances and formations. Its footwork is simple, and emphasis is placed on the figures and
formations of the dances. Set dance is primarily a social tradition, for groups of four dancers, and
includes elements of the intricate footwork found in step dance.
La Cucaracha (MEXICO)
La Cucaracha ("The Cockroach") is a traditional Spanish folk song. It is unknown when the song
came about. It is very popular in Mexico, and was performed especially widely during the
Mexican Revolution. Many alternative stanzas exist. The basic song describes a cockroach who
cannot walk.
The song's earliest lyrics, from which its name is derived, concern a cockroach that has lost one
of its six legs and is struggling to walk with the remaining five. The cockroach's uneven, five-
legged gait is imitated by the song's original 5/4 meter, formed by removing one upbeat
(corresponding to the missing sixth leg) from the second half of a 6/4 measure:
La cu-ca- | ra-cha, la cu-ca-ra-cha
| ya no pue-de ca-mi-nar
por-que no | tie-ne, por-que le fal-tan
| l-as dospa- titas "de" a-trás.— [nb 1]
("The cockroach, the cockroach / can no longer walk / because she doesn't have, because she
lacks / a hind leg"; these lyrics form the basis for the refrain of most later versions. Syllables
having primary stress are in boldface; syllables having secondary stress are in roman type;
unstressed syllables are in italics. Measure divisions are independent of text line breaks and are
indicated by vertical barlines; note that the refrain begins with an anacrusis/"pickup".)
Tarantella (ITALY)
Tarantella, couple folk dance of Italy characterized by light, quick steps and teasing,
flirtatious behaviour between partners; women dancers frequently carry tambourines. The music
is in lively 6/8 time. Tarantellas for two couples are also danced. The tarantella’s origin is
connected with tarantism, a disease or form of hysteria that appeared in Italy in the 15th to the
17th century and that was obscurely associated with the bite of the tarantula spider; victims
seemingly were cured by frenzied dancing. All three words ultimately derive from the name of
the town of Taranto, Italy. Tarantellas were written for the piano by Frédéric Chopin, Franz
Liszt, and Carl Maria von Weber.
Galopede (ENGLAND)
In dance, the galop, named after the fastest running gait of a horse (see gallop), a shortened
version of the original term galoppade, is a lively country dance, introduced in the late 1820s to
Parisian society by the Duchesse de Berry and popular in Vienna, Berlin and London. In the
same closed position familiar in the waltz, the step combined a glissade with a chassé on
alternate feet, ordinarily in a fast time. The galop was a forerunner of the polka, which was
introduced in Prague ballrooms in the 1830s and made fashionable in Paris when Raab, a
dancing teacher of Prague, danced the polka at the Odéon Theatre, 1840. In Australian bush
dance, the dance is often called galopede. An even more lively, faster version of the galop called
the can-can developed in Paris around 1830.
The galop was particularly popular as the final dance of the evening. The Post Horn Galop,
written by the cornet virtuoso Herman Koenig, was first performed in London, 1844; it remains a
signal that the dancing at a hunt ball or wedding reception is ended.
Numerous galops were written by the "Waltz King" Johann Strauss II. Dmitri Shostakovich
employed a "posthorn galop" as the second, Allegro scherzo of his Eighth Symphony, 1943.
Franz Schubert also composed the fourth movement of his Symphony No. 2 on the galop.
Particularly famous is the "Devil's Galop" by Charles Williams. The "Infernal Galop" from
Orpheus in the Underworld by Jacques Offenbach and the "Comedians' Galop" from The
Comedians by Dmitry Kabalevsky are two other well-known galops. Danish composer Hans
Christian Lumbye (1810–1874) wrote several galops, of which the "Champagne Galop" (1845)
is particularly famous. Other notable works include the "Copenhagen Steam Railway Galop"
(1847) and the "Telegraph Galop" (1844). George Gershwin composed the galop French Ballet
Class for two pianos for his score to the film Shall We Dance. Some galops were also written by
Nino Rota. Émile Waldteufel also wrote several galops, of which Prestissimo (1877) is
particularly famous.

Varsovienne (GERMANY)
The varsovienne, also known as the varsouvienne or varsoviana, is a slow, graceful dance in ¾
time with an accented downbeat in alternate measures. It combines elements of the waltz,
mazurka, and polka. The dance originated around 1850 in Warsaw, Poland. The words
varsovienne and varsoviana are French and Spanish feminine adjectives, respectively, meaning
'from Warsaw'. The dance was popular in 19th-century America, where it was danced to the tune
Put Your Little Foot. It quickly became a favorite folk dance in the Scandinavian countries as
well. The unique armhold by the same name – also known as the promenade hold – is used in
other dance styles such as the American square dance, contra dance, and some ballroom dances.
The Albion Dance Band recorded a varsoviana tune on their 1977 album The Prospect Before
Us. A varsoviana tune plays an important role in Tennessee Williams' play A Streetcar Named
Desire.
Hinky-Dinky Parlee-Voo
The history of dance covers such large period, that is is not strange that some traditional dances
created centuries ago have gone through changes and morphed into new dance forms that are
today enjoyed by millions of dancers from all around the world.
One of such dances that went through its share of adaptations and changes is Square Dance,
originally conceived in the 17th century England and heavily danced all across countries such as
France, Spain, Germany, and Italy.
However, even though this dance changed throughout the centuries, its main form was not
touched. The square dance represents specially choreographed a dance that includes four active
dance couples who are arranged in a square and are all facing toward the center of the square.
While traditional European form received much attention in the past, the modern audiences have
accepted that the most popular form of square dance originates in the western United States and
is closely connected with the culture of Cowboys and the country-western lifestyle.
As many other dances, square dance arrived into the United States during the 19th century, but it
gained its wide popularity during middle of 20th century when square dance became separated
into two distinct North American types – Traditional square dance that covered all dances from
all regions where specific dance routines were used, and Modern
Western square dance that evolved from the “cowboy dance”. The United States and many other
international square dances rely on the “caller”, a main pair of dancers who control the flow of
dance and can “call” for next set of moves.
While the majority of square dances routines danced all around the world demand participation
of exactly four pairs of dancers that are arranged in square positions, there also exist a wide
variety of square dance variations that allow for inclusions of other dancers and dance routines.
For example, square dance can be danced with additional person in the middle of the square
(known as Ninepins variation), one extra dance couple in the middle (Winter Solstice), additional
couples in head positions (Hexitation), additional lady on each side of the square (Twelve Reel),
six couples arranged in hexagon positions (Hexagon dancing, regarded as an advanced technique
for experienced dancers), and most advanced variation called Bigon that has 4 dancers arranged
in a square. Other noncommon variations include additions such as switching partners during the
dance, mid-dance changes in tempo or music genre, “gimmick” moves that are used during
specific songs, and more.
Hula (HAWAII)
Hula /ˈhuːlə/ is a Polynesian dance form accompanied by chant (oli) or song (mele, which is a
cognate of "meke" from the Fijian language). It was developed in the Hawaiian Islands by the
Polynesians who originally settled there. The hula dramatizes or portrays the words of the oli or
mele in a visual dance form.
There are many sub-styles of hula, with the main two categories being Hula ʻAuana and Hula
Kahiko. Ancient hula, as performed before Western encounters with Hawaiʻi, is called kahiko. It
is accompanied by chant and traditional instruments. Hula, as it evolved under Western influence
in the 19th and 20th centuries, is called ʻauana (a word that means "to wander" or "drift"). It is
accompanied by song and Western-influenced musical instruments such as the guitar, the
ʻukulele, and the double bass.
Terminology for two main additional categories is beginning to enter the hula lexicon:
"Monarchy" includes any hula which were composed and choreographed during the 19th
century. During that time the influx of Western culture created significant changes in the formal
Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written
in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.
There are also two main positions of a hula dance: either sitting (noho dance) or standing (luna
dance). Some dances utilize both forms.
In the 1890s and early 1900s, hula dancers and Hawaiian musicians toured the U.S. mainland.
This advertisement appeared in an Ohio newspaper in 1921.Hula dancing is a complex art form,
and there are many hand motions used to represent the words in a song or chant. For example,
hand movements can signify aspects of nature, such as the swaying of a tree in the breeze or a
wave in the ocean, or a feeling or emotion, such as fondness or yearning. Foot and hip
movements often pull from a basic library of steps including the kaholo, kaʻo, kawelu, hela,
ʻuwehe, and ʻami.
There are other related dances (tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati,
Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook
Islands, Samoa, Tonga and New Zealand; however, the hula is unique to the Hawaiian Islands.
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