FUNDAMENTAL DANCE STEPS AND MUSICTABLE OF CONTENTS ACKNOWLEDGMENT * TABLE OF CONTEN TERMS ein ne) SBleking Step (4/4. time) ceainche Con Puntillas Brine = Con Vucltus |! we Step... 8 Change Bey ‘Changing Step ("Palit-Pal' \ Chasing Step. Chotis 2 ~Elose Step (2/4 time). “Close Step (3/4 time) | Contra-Gansa ~ Cross Step E Cut Step (2/4 tim Sut Step Ga fig with a Espunti Galop (2/4 time). Galop 6/6 time) Grapevine > Habanera Step | S Hoplite St “Ghionge Step ik Hike Step (2/4 time) + Korriti Step» i Kort sien i time) Mincing Step (2/4 time} , Mineing Step (3/4 time) Mudensa Step . > Papurt Step . * Paso Expaiiol | Polka Step Series: 2 Plain Polkn oe... 2 Mel and Tod Polka’! Hop Polka - Slide Polka’! Redoba Step ...1 Rocking Step Sagamantica Banyle Step witling Slep G/4 Shutting Step (3/4 Une) Slip Step G@/4 time) Sklp Step 78 thne) 22) Slide Stop -(2/4 time) 1 ag th Dg cece come‘ “Slide Siep (9/4 ume). *, Baie? oO, time)... Step-Hop (3/4 time) Step-Point (2/4 time). Step-Point (9/4 tins) ‘Step-Swing Series: Step-Swing (2/4 time) . Step-Swing (3/4 time) .. Step-Swing-Hop ., . Step-Brush-SwingHiop Sway Balance Series: Sway Balance with a Point ... 2 Sway Belance with a Brush | a Sway Balance with a Close.” 54 Sway Balance with a Hop . a 55 Sway Belance with a Waltz vs... 55 Sway Balonce with a Raise Double Sway Balance Syncopated Change Step ‘Three Steps and Point Pouch Step (2/4 timey Touch Step (8/4 time) Turns: Change-Step Turn Four-Step Turn in Gross-Step Turn... Cross Turn ..,. Pivot Tum... Korriti-Step ‘Turn |. Pivot Turn with a see Pivot Turn with “Sarok” Slide Turn (“Piang-Pian, Brush-Step ‘urn ‘Three-Step Turn © Waltz Turn... i i Three-Step Turn Whirl Tums... t i Waltz Series: i Waltz (native) Waltz Balance Gross Walt Tortilller (2/4 time), ‘Toetilller (9/4 time) Chart of Steps (Note end Step Patterns, ote). Fundamental Positions of Feet and Arms / Arm Positions Used in Practice Steps Tempo ‘Terms ......0+4 Abbrovinted Musie ‘Terma juivalent Terms . 56 Suites 50 60 of System of ra est Values 80 Counting and Equivalent Note or Rhythmic Pattern «ss... a Suggestions for Teaching Donce Stepa meget B.. 9 Miwic Terms, stusstintsseseacrseneocierede 92 Suggestions for jance-Step Combinaliong «..sessvesssse, 83 Examples of Danco-Step Combinations «.......s0+.c0ccccccsy, BSG“DANCE\ TERMS Girl at the right side, holds R arn of down at the shies, in other dances, partner with her L hand, tree hands ‘This teria fs of Spanish origin and Is used in Rigodon and Arms in Lateral Position — Both arms are at one aide, , either sldoward right or left. ‘This may be dono at should chest, or waist level Arms in Reverse “I” — Arms are side horlzontal, elbows bent at right ang parallel to head, palms forward or facing inward, fists I “Bilao” — To tum palms of hands up end down alternately, hands et walst level in front, elbows close to waist. es, forearms rely closed Brush — Weight on one foot, hit the floor with the ball or heel of the other foot (the tree foot) after which thet foot i lifted from the floor ty any direction “Cabeceras” — When deneera ore fn sqttare fortaation, th couples occupying the wldth of the hall ate called “eabecera:" or head couples, ‘thin In ot Spanish orlgin Clockwise —- Like the motion of the hands of a clock. R shoulder fe toward the center of an imaginary clrele, When facing center, the movement {s toward the lett, Counterclockwise — The reverse direction of clockwise. I, shoulder is toward the center of an imaginary circle, When fuciny, center, the movement is toward the right, “Costados” — When dancers are in square formation, the couple: 8 occupying the length of the hall are called “eostadus” or side patra, ‘This tu of Spanish origin. Crossed Arms — Vartuers are {acini right of boy. ‘They foin their T, R over L or L over R hands. ich other or standing side by alde, girl at the hands together and thelr hands together; elther CrossOver — Two couples (the vis-a-vis) are opposite each other, Euch couple pro- ceeds in a straight line to the opposite place, The girls pass by thelr L shoulders Petween the boys. Hoys bow to cach other when they mect at the middle or about one-third of the way, then proceed to the opposite place. Upon reaching the op- Posite place, partners turn about, girls stand at partners’ right olde, Cut — To displace quickly one foot with the other, thus completely taking off the weight of the body from the displaced foot, Do-siDo (“Dos-A:Dos")-— The vis-a-vis (opposites) both advance forward, pasa each other's right (or left) slde, step cero to the right (or left), move backward with. out turing around pss exch other's left (or right) side to proper places. ‘Phla ts of foreign origin and ts used in many Philippine’ donces Draw — To pull ono fout along the floor else to the oth er which hna the weight of the tary, "Whe weleht imay ar way soit he tranferred. Free Foot —- ‘The foot not bearing the welght of the body. EC eran oon vn erePenh ue | Free Hand — The hand not Placed/anywhere or not doing anything. Hands on waist — Place hands at the ee line knuckles in, fingers pointing in rear. | *Hopey” — To flourish or offer a handkerchi | siga of invitation. "“Hoyon-Hayon” — ‘To place one forearm in front and the other at the bi ‘This fa Visayan term, (at the smallest part of the trunk), ‘ef, hat or glass of wine to somebody as of the vist. Hop — A spring from one foot landing on the same foot in place or in any dircetion. ‘The other foot may ‘be raised in any direction (in dront, in rear, sideward or eros), Inside Foot — The foot nearest one's partner, when partners stand side by side. Inside Hend — ‘The hand nearest one's partner, when partners stand side by side “Jaleo” ~- Partners tum once around clockwise (With It elbows almont touching) or counterclockwise (with I, elbows almost touching) using walling or any lel of dance alep. ‘The honds near each other ary on waits, Thin In a "Tayalog tere but of Spantsis origin, Jump — Spring on one foot or both fect, landing on both in any dlreetion, *Kumintang”,— Moving the hand from the wrist either in a clockwise or counterclock- Wise direction. ‘This is an Nocano term, heap ~ A spring from one foot, landing on the other foot in any direction (forward, sideward, backward, o oblique.) “Mashwak” —— Po turn the hand from (he wrist half-way elactwhse WHE HnOH IE HOI Ne He a thanadt teri then raise and lower Outside Foot — The foot away from one's partner, when partners stand side by side » Outside Hand — The hand away from one’s partner, when partners stand side by side, ‘*Ponadyck” — To stamp in front or at the side with R (L) foot and tap with same foot + ‘yelosa to the I. (R) foot, weight of the body on L (R) foot. This is a Tagalog term, Place — Yo put foot in & certain or desired position without putting weight on it. ‘The eole of the foot rests on tho floor, Pivot — To turn with the ball, heel, or whole foot, on a fixed place ot potnt, “Pathy” —~ To bend the head downward and to support the forchend with the R (La forearm or with the crook of the R (L) elbow while the I (R) hand supports Ughtly the palm of the R (L) hand, ‘This is usually done with the 1. (R). toot pointing In rear and knees slightly bent, ‘This is an Hocano term and the move: ment is commonly found in Jlocane dances, Point — Touch the floor lightly with the toes of one foot, weight of the body an the other fot iy it 8 ,, “Selok” — To swing the aim downward-upward passing in front of the body as If scoop- | 28) the trunk fs bent, forward following the movement of tho arm doing the “ta | OR" Thi ta a Tagalog tert,“Saludo” — Partners bow to each other, to the audience, opp: neighbors with feet together. all Philippine dances, fe dancers, or to the ‘This term is of Spanish origin and is used in elmost "Sarok" (or “Saroc") ~- Crosa the R (or 1) foot in front of the L (or B slightly forward and cross the hands (forearms) down in front hand (forearm) over the L (or R). ‘This is a Viswyan tern, bend the body nthe R (or 1) Set — A dance formation Uke a square or a unit formation. composed of two or more pairs, Stide —To ylide foot smoothly along the floor, ‘The movement may be finksied with or without transfer of weight. Stamp — To bring down the foot forcibly and noisily on the floor. Hike doing # heavy step) with or without transfer of webitht Star with Right Hand -— Four or more people join R hands at center and circle around clockwise using walking or any kind of dance step. Star wah Left Hand - Same as tae with Kohand,” but joining fe hands anc counterclockwise. turning, Step — To advance or recede by rai ig or moving one foot to another resting place Th c is a complete transfer of weight {rom one foot to another, Supporting Foot -~ ‘The foot that hears the weight of the body. ‘Yap -- Yo rap slightly with the ball or toe of the free foot, flexing the ankle joint keep- ing weight of the body on the of! or foot. ‘There is no change or transfer of welght. Whirl =. To make fost turns by executing small steps in place to right or left. RE SARA BEAN NNcFNCA NT TPTRTE RT“BACUI” STEP, Muste: 3/4'time. Count 1, 2, 3, to a measure, (4 measures) “BACUI" RIGHT. (Sarok") Point R_ {pot across the L in front, bend body slightly forward and exoss hands down in front with the I hand over the L hand (e's. 1, 2), R foot in. second position, trnke erect and yaiso 1 aera to fifth position sunpliie. (6 Step the L foot ackoss the Bin rear, close the 1 arn to fifth position (ets, 1, 2), step Rin second position snd open R arm to fifth position amplified (ct. 8). Step L foot sideward right across the R in front, close R arm to fifth position (cts. .1, 2), step Rin second posttion and open R arm to fifth position amplified (et. 3). Close L to R in first position, close B arm to fifth position (cts. 1, 2,3). ‘The L hand remains on walst for the lest thrat mensures, | { ACUD LEFT. Repost the same movements, starting with the L foot, going eide- word left! Reverse the position of the arms, | ‘This Step originated trom the Visayan region,' BLEKING STEP LIGHT (1), LIVELY (2) BLEKING STEP. Music: 2/4 time. Counts 1, 2. Q) Place the R (L) heel in fourth i front (ct, 1), step 1 (14) close to L R) foot mm first position (ct. 2), or @) Hop on L (2) end place RL) heel in fourth in front (et. 1), with a spring reverse the position of the feet (et, 2), that is, placing the L. (Ry h front and the R CL) In position toking the walght of the body. ‘Chia Is taking i in one count. ‘This may be done alno moving forward or bnekward.ALEKING f Pasion tof 91 Po Music: 8/4. thine, Counts 1, 2,3. | @) Place R. wy heel in fourth in front (ts. 1, 2), step R (L) close to L (R) foot in fi ‘This is commonly done, or @) Place R a) heel in| fourth in tront, (« 1), step R (L) close to L (to in || first positton (ets: 2,3).BRINCOS CON PUNTILLAS BRINCOS CON VU BRINCOS CON PUNTILLAS, Musie: 2/4 time. Counts 1, and, 2; and. Jump and lond with R (L) foct across the L. {R) in front, both feet flat on the floor (ct. 1), hop on L (R) and foot circle outward in the air with R (L) foot (ct. and), step Lightly on boll-of (&) foot fn rear of L (Rt) ond reise heel of LL (R) (ct. 2), spring on R (L) end land on L (R) and at the same time point R (L) toe in front of L CR) with R (L) lmee slightly bent (et. and). BRINCOS CON VEULTAS, Muste: 2/4 thine, Count 1, and, 2, « ‘ Zito a mewmare (2 men sures me As briness con puntitlas ba ht (lefty whea hopping on b ‘pping on the ball of R (LU) feot'ta rear of L Qt) om et. 2 There are two brincos ces vucltas to make » complete tun,CHANGE grep | CROSS CHANGE: Srmp SYNCOPATED CHANGE StEpg | ALLEGRETTO i CHANGE STEP (OR TWO-STEP). Musie! 2/4 time, Counts 1, and, 2. Step R (L) foot in fourth in front (et. 1}, step Ls (it) close to R (L) foot in third in | Fear pr in first position (et. and), step R (L) foot quicltly in fourth in front (et. 2). ‘This may be executed in any dlrection, CROSS CHANGE STEP. Music: 2/4 time. Counts 1, and, 2. Step R (L) foot across L (it) in front (et. 1), step L (RR) close to R (L), foot in third in rear or in fivat position (et. and), stop R (L) foot quickly in fourth in front (et. 2): “Thls step is commonly done forward and sideward, i SYNCOPATED CHANGE STEP. Music; 2/4 time. Counts 1, and, 4 Step B (L) in fourth in front (et, 1), step L (2) close to R (L) in third in rear or in first position (et. and), make a short slide on R (L) forward placing the weight on the heel aa if doing a "buck" (ct, 2), | e"CHANGING STEP CHASING STEP CHANGING STEP (PALIT-PALIT), Musle: 2/4 Ume, Counts 1, 2 pyith @ tthe ump off the Moor, Ind on both feet wlth the It (1,) in frunt und the 1 A) Foot ta rear (ct. 1), with a title jump Cor afring) reverse the position of the fee (ct. 2). ‘There are two changing steps i CHASING Musle: 2/4 Lune, Counts 4, and, 2, and, Step R (Ly forward (et. 1) wud step L (HY) close (oR (1) in third In rear or first sition (et, and, Tia step tw excented, with one fot lewis i all dieectten, "Phe steps are small. ‘here are two chasing steps in a menure, ounce norman eresobet“OHOTIS ESCOTLS (v. LAMUG ! | ‘CHOTTS, Muste: 4/4 time. Count 2, 2, 4 4 to a measure (2 measures). Brush R (1). obliquely forward or sidewnrd (et, 1) R (i) in fitth im fey | RaeMe ot 2), bruahy CL) ogatn ag in count 1 (ets), ewe Te (Ts) ow dn eount 2 ( | Starting with the R (L) foot, taice three steps turning tight (left) about in place (ets,1, 2.31, | pause: (ct. 4).° This may he done taming to ono direction only or to right and lelt alt | jteron(ely, The turn may be also. full turn around in place to Hehe and left alternately, iW \COTIS, Music: 4/4 time, Counts 1, 2/8, 4. X (Ly) foot sideward (et, 1), step L(A)’ elose to R (1) Cet. 21, step CL) side | gata (et), Rop on 2 CL) in place and raing 1. (F) foot in rear with knve bent (el 4) ‘This may by done in any direction~“ CLOSE STEP MODERATO CLOSE STEP. Music: 2/4 time. Counta 1, 2 Step R (L) foot in fourth in front (et, 1, close L (MR) to R (L) fout In third tn rear of in first position (et. 2). ‘This may be executed in any dirvetion. Note: When done sideward, one foot leads, fe, R foot ieading when moving side- ward right, L foot leading when moving sideward left. ‘There is transfer of weight to the closing foot,: oc i} i I | CLOSE STEP, Music: 3/4 time, punts 12,3. iy Step Rl (L) foot in fourth in front (et " third fn rear or first position (et. 3). This m: 1, 2), close L (R) to R (L) foot in be exceuted in any direction, or (2) Step'R (L) foot in fourth in front (et. 1), close L (Rt) to R (L) foot in third in rear or tn first position (ets, 2,9). ‘This may be executed in any direction, ‘This 1s common- ly dona,"CONTRA - GANSA GRAPEVINE ALLEGRO CONTRA-GANSA, Music: 2/4 time, Counts 3, end, 2, Lesp sideward right (left) onto K (L) foot (et. 1), step L (2 across the R (1) in iront (ct. and), quickly step the R (L) fout in place (ets. 2). ‘This ig most c done sideward, GRAPEVINE, Musi: 2/4 time (Use marie of Contra Gomis). Count 1, toa mea- sure (lwo or more measures), Step R (L) foot in second position (et. 1), step L (2) across the R (L) in front (or in rear) (ct, 2), step R (L) in second (ct. 1),'step L’ (R) across the R (L) tu rear (or in front) (ct. 2), end 20 on. Muri 4/4 Lime (use musts of Chotis, page 10) Count 1, 2, 2 4 to @ measure (vo oF more meusiirea), Same movements ad above, Music; 3/4 time (use musie of Cross Step page 14). Count 1, 2, 3 to a measure (two or more measures). (J) Step R (L) foot-in second position (et. 1), step L (R) ucross the R (L) in front (or in rear) (et. 2), step R (L) in second (et. 3), continue crossing L (2) in front and in tear, and £0 on, or (2) Step R (L) foot in second {ets. 1, 2), step L (R) acrovs the R (L) in front (or in rear} (ct. 3), and so on. Note: This step may be done sleo by erossing the L (ort) foot first in front or tn rear. 13 am| + (eft) across the R-(L) in front (ets. “GROSS STEP CROSS STEP, Muste: 3/4 time, Counts 3, 2, 4. Step KR (1) foot by second position (et, l), step or slide L (R) foot sldewaird right 3). Put the weight on the L (R) foot at the and of the slide on the third count. ‘This is done in series moving to one direction, to sideward right oF left* CUR STEP ROCKING STEP ALLEGRO SE By CUT STEP, Muste: 2/4 or 6/6 time. Counts 1, 2, or Lah, 2, ah Raise R (L) foot in fourth in front in preparation. Cut the TL. (R) back the R (L) foot thus displacing the L foot at the same time placing th he R foot, raising L foot in rear with straight knee (ct 1), Cut 1 (Lyf body ° LAR) faot (et. with This may be done forward wad backward, diegonally forward and backward, and uideward right and leit alternately. ‘Take une cut for every count. ROCKIN EP, Music: 2/4 or 6/8 time, Counts 1, 2 ot 1, ah, 2, ah Fall onto R (L) foot in fourth-in front and raise £ (R) in rear (et 1 L (R) foot in fourth in rear and raise ® (L,) in front (ct. 2). TI ly forward and backward Ina seeking motion ‘Take one rok forward an backward far every nyescure on Fock_ ENGANO With a CLOSE eae 1 | ENGANO witha CLOSE. ~ Music: 3/4 time, Count 1, 2, 3 to ® measure (2 mean: ures): ‘ | Step R (L) toot in second position (cts, 1, 2), step L (R) across the R (L) foot in front (ct. 8). Step R.(L) foot in second |pesition (et. 1), close E, (R) to R (L) foot in first (cts, 2, 9). Do not put welght on the IL. () foot when closing on counts 23. Arms in third or fn fourth position, RCE) arm high or one arm in reverse “I and the wther bent: forward at shoulder level, | [his step originated from the Bicol rogion, edENGANO with a WALTZ MODERATO ENGARO with a WALTZ. Music: 3/4 time. Count.1. 2.3 to a measure (2 meas- ures), Step R (L) foot in second position (ets. 1, 2), step L (R) aeross the R (L) fost in front (et. 3). Stop R (L) foot in second position (et. 1), step L (R) close to R (1) foot (ct. 2), step R (L) tn place (et. 3) (waltz step in place). Arms in third position, R (L) arm high, or one arm in reverse “T” position and the other bent forward at shoulder level, or in fourth position, R (L) arm high. ‘This step originated from the Bicol region.ESPUNTI SS = SESPUNTH" STEP, — Music: 3/4 time, Count 1, 2, 8 to 9 measure, (As many meas: urea as required), TO LEFT, Starting position—feet in Uist position, Move the L heal sldeward left without fing the toex ¢plvottng or pushing on the Yall of the L foot) and point R foot sideward right (ct 1), Itt the toe of the L foot and move it sideward left. (pivoting or pushing on the heel of the L foot) at the sume time point the R foot to fourth position in front © (els, 2, 3). Repeat as many times as required. ‘This may be done also by pointing sideward for two counts and pointing for one court ‘TO RIGHT: Repeat above starting with the other foot moving to sideword right Pivot on the R foot and potnt with the L foot ‘This step originnted from the Visayan region~ GALOP STEP ALLEGRETTO GALOP STEP. Music: 2/4 tite, Counts 1, ah, 2 ah. (1) Step B (L) foot in fourth in front (et. 1) and cut the R (L) foot with the E(B) ft and at the some time talking the weight of the body with the E (RI) we are two golops to one measure, ‘This is exeented with one foot leading ‘and may be done in ony direction (2) ‘The same movements as (2) on page 2| | | / | GALOP, STEP, Musle: 6/0 time. Chunts 1, eh, 2 al \ ial \ | (‘The anne movement as (1)/on mag 2) Step RK (L) foot in second position (ct, 1), cut # (L) with the L fodt (et. ah). ‘Thete are wo galop steps to one meastire,) This may be dong in any direction, one foot | Jelding. 4 i 3: | i : ;MABANERA STEP. Musie: 2/4 time. Counts 1, 2, and. Step R (L) fn fourth in front (ct. 1), step L (R) close to R (L) in first position (et. 2), step R QL) in place (ct. and). ‘This may be executed in. any direction.“HAPLIK?, STEP, Musi yeas 2/4 time, Count 1, 2, or 1, and, 2 to a measure (B meas- et | 4a) Take two steps Couward CR, L) (ets. 1) 2) + (bt Mop oh 1, vatse the R knee in front ond swing the R foot to left (6 z te I), hop ogni on the Land swing the R foot obliquely iorward right (e ; (c) Make a thrée-stop turn right in ploce, starting with the R foot (ct (@) Repeat (), hopping on the R aid swinging the 1 foot. {e) Repent (e), turning left, starting with the 1 foot, (0) Repeat (b), . () Take two steps backward (RL), (cts, 1, 2), (h) Close, R to L foot in first position (et. 1), pase (et, 2). . 2). ZEEEEES iHEEL AND TOR CHANGE STEP ALLEGRETNO T. LAMUG eral HEEL AND TOS CHANGE STEP, Music: 2/4 time. Counts 1, 2, 1, aad, 2 (2 measures). Place the R (1) heel in fourth in front (et. 2), touch the R (L) toe in rear (et. 2), Take one change step forward, starting with the R(L) foot (cts. 1, end, 2), Thi be exceuted forward and backward and in oblique directions,Wi | ‘oy WRIKATIK STEP.» pate et = “ITIK-ITIK” STEP, Music: 3/4 time, (1) Step, Batt-close, Ball-close, counts 4, 2 and, 3 i Step L (R) forward (ct. 1), raise the heel of the L, (12) foot and slide the (L) “cloie to the L, (R) in fifth or in third position in-rear (ct. 2), small step forward on the bball of the L (R) foot (ct. and) and slide K (L) close to L (8) in third position in rear (et. 3). ‘This step i done with one foot’ leading, going forward, (2) Heel, Close-ball, Close. Counts 1, 2, and, 3. Step with the L (R) heel forward (ct. 1), slide the R (L) close to the’L (R) in fifth or thitd position in vear (ct. 2), small step forward with the ball of the L (R) foot (ct end), slide-the R (L) close to the L. (R) in fifth or third position in rear (et. 3). ‘This is done with one foot leading, going forward. (a) Step, Heet-ctose, Dall-close. Counts 1, 2 and, 3, and, Step T, (R) forward fel. 1), atop forward on tho heel of the Te (L,) foot (et. 2), slide the L (R) close to the R (L}’In iifth or third position In rear (ct. and), small step forward on the ball of the R (L) foot. (ct. 3), slide the L (R) to elose with the R (L) in fifth or third position in rear (ct. and). This is dono with alternate foot, going to any direction. (@) Step, Slidesctore, Stide-close, Counts 1, % 3. Sonall step R (L) forward anc what body slightly to right (eft) (et. 1), bring the be (R) foot in fousth in front and slide backward with the ball and simultaneously with a spring, slide R (L) forward to close with the L (R) in first (et. 2), repeat et. 2 (ct. 3). The L. (A) foot bears no weight on ets, 2, 3. This stop is done with alternate foot, ing to ony direction, \ (5) Crose-step, Slide-close, Slide-cloie, Counts 1, 2, 3. E Same os No. 4, except that the step on ct. 1 4s done across the other foot in front (6) Crosslstep, Stide-close, Cross-step, Slide-close, Cross-Step. | ints 1, ond, 2, ond, 3. Step R (L) across L (R) in front (ct. 1), slide with ball of L (R) foot close to heel ‘of R (L) foot (ct, and), short slide or small 'step with R (L) foot sideward left (right) fagross L (R) in front (et. 2), repeat ct. and (ct. and), short slide or small step with R (L) foot sideward left (right) across L (R) iu irnnt (et. 3) Note: The knee of the closliig or sliding foot in rear remains straight. ‘There are many more variations of this step found in Surigao where the dance was dis- covettd,as KURADANG STEP- “KURADANG” STEP. Musle: 3/4 time, Count 1, and, 2,3, to a measure (2 meas- ures). Change step obliquely forward R (L) (cts. 1, and, 2), step L (R) across the R (L) in front (ct. 3), change step obliquely backward R (L) (ets. 1, ond, 2), point L (R) in front (et. 3). ‘This step eriginated from the Visayan repion,“7 MAZURKA 7 ) MAZURKA STEP, Music: 3/4 time. Counts 1, 2, 3. Slide RL.) foot in second (et. 1), eut R (L) sideword with the L (R) foot (ct. 2), hop on the L (R) foot and beat In rear or in front the R (L) foot close to the ankle of the L (R) foot (ct. 3). This step may be executed forward, obliquely forward, sideward of going around also with one foot leading. Note: It ia most important that the cut be finished with an absolutely straight knee in order that the final action may bring out the knee-bent position,“MINCING STEP KORRIT] STEP p alzscrerro MINCING Mueslos 277 tne, Comat 1, or dad, 2 oand ot ty ath and, aly 2, ait, and ah, twas measite (as wiy sssacnttes dee oeiaret) ertine, pesition RO) fet i (alts iw fiunt, vied 2 wath the leading font Mat on the luor ute tiny les yas many tines as necessary, It nay be done with a one, owe oF ps th Gne count, ‘This may te done alsa forward and backward, In non-Christian dances the mincing step is usually done with both feet flat on the foot or the hoct of rear foot slightly raised ORRIT! STEP. Muste: 2/4 time. Count 1, and, 2, and to a mensure Cas many "es a5 required). ing position: BR (14) foot across in front of 1. (RD, heel of 1, (RY foot slightly xecute Uny steps sideward left Cright) ay many times as requited, Take tour Y measure (cts. 1, and, 2, and). Going sideward left, R foot is across and trunk is siightly bent to right side. Going sideward right, L foot ls across 1d bend trunk slightly to left._ MINCING srEP- KORRITL STEP ALLEGRETTO | MINCING STEP. Music: 9/4 tle. Count 1, 2, 3, or 1, and, 2, and, 3, and or Tah, and. ah, 2 eh, and, ch, 8, ah, and, ah to a measure, (ao many measures ay required) « ‘The came movements as on page 27, |< KORRITI STEP. Musle: 3/4 time, Count 1, and, 2, and, 3, and tou measure (oa many measures as required). \ i ‘ i ‘The rome mevemont ex on poge 27, |MUDANSA STEP. — Music: 3/4 time. Count 1, 2, 3, lo a measure (1G measures) {e) Step B (L) obliquely forward right and at the same time face haif-right (holflefi) (et, 19, brush L. (R) heel obliquely forward right (left) (et. 2) the L (R) heel obliquely forward right (eft) (et. 3). 8 heel (et. 1), brush f (i) heel obliquely forward right (left) (et. 2), step on the ep on lep R (L) close to Ls L (R) heel obliquely forward right (leit) (ct. 31. Step Re (L.) close to T, (Ft) heel (et. 1), brush L (R) heel forward (ets. 2.2). ae eee a (b) Repeat (a) three more times, starting L, R, L (R, L, R) and facing obliquely left, right, left (right, loft, right). . ‘ : 5 (e) Take two waltz steps backward R, L (L, WD. (@) Waltz tum right (left) to sterting place (use two E(B) hand on waist and R (L) hand holding pands on Waist, ‘This step starts with the sme foot alway: tart with allernate foot, omit the lst step and pause only on cotnt 4 of the cise teenth measure, atep originated from the Tocor regionPAPURI STEP | SPAPURT} STEP. Moste; 3/4 time) Count 1, 29 to a measure, (4 mensure). | fa) Step it (1) foot in soma pai (els. ty a step the L (R) sidew: right (ett) eros the RCL) ar Ae Wiens eee tet (Fight) across the TR) tn rent (aa Ba) Seat 200 Repeat (a) onee sore putting the welght ofthe body on the R(L) fot ast three counts, cr on et. 3 of the sevond measure ++. vsse5 aM ‘This step originated from the aiguil region.“PASO ESPANOL” Music: 2/4 time. Count 1, 2,3 to a mearnee. (4 taeesurea) fa) Waltz balance forward R (eli 2 Me backward Le (cts, 1, 2, 3). a ne 2M ) Se hop forward WR (ets. 1, 2,3) and the same with the foot (ets. 1, 2, 3) :PLAIN POLKA, Music; 2/4 time, -Counts 1, and, 2, and (1 measure). Step Ls (R) foot in fourth in front (et. 1), step R (L)'elose to Ly (B) foot in third in rear (ct. end), step L (R) In fourth In front (et, 2), pause (ct, and), Bend the body to the same direction of the step, ‘This may be executed in any direction. iHEEL AND TOE POLKA Er pr a Perit Musie: 2/4 time. Counts 1, 2, 1, and, 2, and tho 1, (Il) hieel ti fourth in front (el, 1), touch the LR) toe Jn fourth 2). ‘Take one plnin polka step forward, starting with the L (B) foot end). ‘This may be executed forward and backward and in oblique direc.ALLEGRETTO His) oh. esata eipin’pethe Ibveccled! bia on hefore tho first count of the musi. ‘The hop | ty the destgpnted nm the musle by 9 groge mote. Exesute the step In the sume snanner as ihe plain * flea! i Hop on the L(g) ae and ee R (1) forward (ct. 1), step L (R) close to'R (L) in third in rear (et, and), step R (L) foot forward (et. 2) and pause (et. and). This may he executed in any direction. | | | , | HOP POLKA, Music: 2/4 dite Gounts 1, and, 2 and (1 measure). | A i i | iSLIDE POLKA ANDANTINO © SLIDE OR GLIDE POLKA, Muste: 2/4 ime. Count 1, and, 2, and to a mesa- ture (2 measures) ‘ake two slide steps forward and a plain polka: Slide L (It) foot in fourth in dront” (et Dy Jose R (L) to L (R) foot in third in rear (ct. and), slide R (L) foot in fourth in front (ct. 2), close L (R) foot in third in'rear’(et. and). ‘Take one plain polka forward starting with the L. (R) foot (cts. 1, and, 2, and). This may be executed in any direction.REDORA STEP. Slide R GL) fect in second position . 1), cut R QL) foot aldeward with the LR) {et 2), cut (R) with the RB (E) foot an Gt 3). : raise the L {R) foot In rear of the R (1) knee37 SAGAMANTICA STEP SAGAMANTICA STEP, Musie: 9/4 time. Count 1, 2,3 to a measure (4 meas- ures). Step R (L) forward (et. 1) close L (R) to R (L) (els. 2, 3), step L (2) forward (ct. 1), close R (1) to Ls (R) (ets. 2, 2). Step RL) buckwae (ct. 1), close L dR) ta B CL) eta, 2,8). Raise LR) foot in front with knee straight. {et 1) L (it) heel in front (ets. 2, 3), This step originated from the {locos resion.MobEny \ SANGIG STEP. Musiey 3/4 time, — Counts 1, 2,3. i Step R.(L) foot sideward (ct. 1), step L (R) close to R (L) in first position (et. 2), foot circle inward in the air with R (L) foat (ct. 3). This step starts always with the sume Foot, W originated from the Visayan region, SHUFFLING STEP ALLEGRETTO | z { SHUFFLING STEP, Musle: 2/4, Count 1, and, 2, and or 1, ah, and, ah, 2, ah, and, ti oh to a meamure (as many measures as required), 4] Execute Uny sliding steps on the balls of the feet as many times as required. This tn usually done forward,SHUFFLING STEP ALLEGRETTO Aly Le Lely TER. Muete; 3/4 time. Count 1, and, 2, and, 3, ond or 1, ah, and, ah, ah, tou measure (ax meny measures as required>, . ‘The same movements aa on, page 28,it SKIP STEP. Must; 2/4 time, Counts 1, ah, 2 ah. ‘Step B (1) In fourth in front (et. 1), hop on R (L) in place (ct. ah). ‘here wre two tips to a measure in 2/4 time, ‘This te executed In-any direction. | a a iNet elie cess hier Me yes en ancien e | geelSKIP STEP SKIP STEP, Musie: 6/8 time. Count 1, ah, 2, ah. Step L. (R) in fourth in front (ct. 1), hop on I. (22) in place (et. ahd. There are two skip steps to one measure. It may be executed in any direction,ne 7 SLIDE STEP = ah SSS SLIDE STEP. Music: 2/4 time. Counts 1, 2 or 1, and, 2, and. | (Q) Slide of glide R (L) Jn fourth position in front, (et. 1)s close L (RD 19 RW) | foot in third position in rear or in first position (ct. 2), ‘This may be executed in ony direction, o 1) (2) Slide or gilde R (1) In second posltfon (ct. 1), step LCR) close to R (1) foot In first position (ct. and). ‘This is not common in Philippine dances Note; When executed sldeward, one foot leads, fe., R foot lends when moving side ward right and L foot leads when moving sideward leftSLIDE STEP MODERATO teas SLIDE STEP Musie: 3/4 time. Counts 1, 2 3. (1) Slide or glide R (Ly fot in fourth position in front (eta. 1, 2), close Tf (R) to RCL) foot in third position in rear (et. 3) This may be executed in any direction, of (2) Stide ov glide RCL) foot ty fourth in front (et. 1), close L, (R) to R (L) foot in third In rear (ets, 2,3). ‘This may be executed in any direction,STEP-HOP. Music: 2/4 time, Counts 1, 2 Step L (2) foot in fourth in fro1 nt (et. 1), hoy foot in front or in rear (et. 2), ‘Thi P ou the same foot and ralse the R (Ly) is may be executed in ony direction,STEP - HOP MODERATO STEP-HOP, Musle: 3/4 time, Counts i, 2, 3. Step L (Qt) foot in fourth in front (ets, 1, 2), hop on the samo foot and ralse the R (1) foot tn front or in rear (et. 3). ‘This may be exeeuted in any direction,STER-POINT, —Musle: 2/4 the, Counts 1, 2. () Step R (L) foot in fourth in front (ct. ‘This ofep i cxeeute(! in oll directions, The pxSTEP - POINT MODERATO STEP-POINT, Music: $/4 ume. Counts 4,3, 3. (1) Step Hi 4) foot in fourth in front (et. 1), point i (2) ia fourth in front (ets. 2, 8), or a (et. 8), ep R (lo) foot in fourth in front (ets. 1, 2), point L (R) in fourth te front This atep ts executed fn all directions, The poiuting 1 always done Ja front,STEP-SWING, Mus we, Counts 1, 2. (ek 1), swing the L (RY foo Bip B eye across ey in front “pen ca tie ae straight ov slightlySYEP-SWING. Musi ime. Counts 1, 2, 3. () Step (hy f (el 1, wing the 1 GQ. aevays in front (ets. 2, 4), or f50 STEP - SWING - HOP MODERATO STEP-SWING-HOP, Musle: 3/4 thme, Counts 1, 2 3. Stop. K(f) foot In fourth tn feont (et, 1), raise the T, (BR) knee tn front (et. 2), hop on the B QL) foot at tho exme time swinging the L (it) foot outward (obliquely forward. loft or right) (et. 2). Thin may be executed in any siirection,STEP - BRUSH - SWING - HOP MODERATO RUSHL-SWING-HOP, Minie: 3/4 time, Coun (L) toot in fourth in front (et. 1), brush L(y ard and swing it RK (L1 in front (et. 2), hop on the R (L) (ct. 3) may be exeeuted inSWAY BALANCE with a POINT MODERATO S SWAY BALANCE with a POINT, Musle; 3/4 time. Count 1, 2, 4 to » measure (2 measures). {a) Step R (L) foot obliquely £ across the R (L) foot in front (et. (a) Step R (L) obliquely backward right (left) ( in front (ets. 2, 3). Arma in fourth post the F(R) foot | Bapratas seg tot aa Pi nea pony on ane e mN p ED mY EE 1 KI ETTORE A MRT RT eS Te OTE53 SWAY BALANCE with a BRUSH MODERATO SWAY BALANCE with a BRUSH, Music; 8/4 tlme. Count 1, 2, 2 to a measure (2 measures) {a) Repeat the same movements as in sway balance with « point (a) (ets. 1, 2, 3) R (L) obliquely backward right (eh 1), brush Le (i) foot forward (ete. 2.8), ‘The same arm movements os in sway bulance with a point.Sod 9 apn souepoG fioms uy Ke wyyoutosOUL ura MNES OL GZ BA) POHEA FAY (AL) “TOME GEA IWOAZ AHP woMTHWOA pal Jo ate UE CTS IL OF (UN) Too “CT va) AHA pawanrag AlonbaGa CT) YL Mong (4) “GST MA) (8) auFod BY dynNJDq fHoMe UY su sjUDIULAoUE oUIES OY Yaday, (0) i sysommsmout 3) sunsuout 9 OF £ 'E"T Juneg “sum ¥/s ISM “GSOID & PIM FONVIVE AVAIS. OLVETGON MR a apenas ASOT & WA GONVIVE AVASSWAY BALANCN with a HOP SWAY BALANCE with a WALZ i MODERATO SWAY BALANCE with a HO! GE measures) {a) Repeat the same moven SWAY BALA with a WALTZ. Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures). (a) Repeat the same movements as in sway balance weith a point (a) (ets. 1, 2.4 {h) Step KR (L) obliquely b right (el 1) LUD clase to {el 2), step RCL) in place (ct. 3), ‘The same arm mor (sna in stwuy Malance with oSWAY BALANCE with a RAISE, Music: 3/4 time. Count 1, 2, 3 to a measure 2 measures) (a) Repeat the same movements aa in sway balance with a point (a) (ets. 1, 2, 2). (b) Alep RG.) obtiquoly backward aight est) (ot 1), raine T. Y) knen be front (ela d, 3). Bend body allyhtly forward on et. 1, and ralss gradually upward to erect po- sition on ets. 2, 3 Opea exms sidewerd at shoulder level on the first three counts (eta 1, 2, 3), bend forearms forward and bring hands close to chest on the next three counts (cis, 1, 2, 8), or arms in fourth position, R (1) arm high. Ii desired, forearm tums may be done on the second measure.DOUBLE SWAY BALANCE 7 DOUBLE SWAY BALANCE STEP. Music: 3/4 time, Count 1, 2 2,9 to a measure (4 measures), (a) Repeat u nls in sway balence with a point (a anh) with the seme ann Movements (7 measures), LGU) sideward right (left) across R (13) foul tn front (ets. 1,2), step R (L) foot in second posttion (ct. 3). 4) Point 1 (R) in fourth in front (eto. 1, 2, 8). Girls holding their skirts, hove bands on walsts for the last two measures (b and c).| THREE STEPS and POINT MODERATO \peatetelees gercntaces THREE STEPS and VOINT (BRUSH OR STAMP). Music: 3/4 time, Count 1, 2 9 to a mensure (2 measures) Storting with the R (L.\ foot, take three! steps sideward right (left) (cts. ea point (brush or starap) 1. (R) foot in fourth position in front (ets. 1, 2, 9). Thi be done also forward, backward and in oblique directions. Brush free foot forward oF stamp close to the other foot,TOUCH STEP ALLEGRETTO (1) ALLEGHO ( ‘TOUCH § 4 Une: Counts 1, 2. (Q) Point RL) foot in four fa front (et. 1), step Ko (L) clove to L. (8) fn first « position (et. 2}. This és commonly dune in front, or @) [Link] & (R) and point R (L) foot in fourth in front (et. 1), with a spring reverse the position of the feet (et. 2), that is, pointing the L {B) in front and the R (L} talking the welght of the body. This fs taking ono count for every change of posl- lon of the feet. ‘This may be done also moving forward and backwardi * " ¥ ‘TOUCH STEP ‘TOUCH STEP)” Muste: 3/4 time, Counta 1, 2, 3 (2) Point BL) foot in fourth in front (ct. 1), step R (L) close to L (R) in first position (cts, 2 3). This commonly done in front. (2) Point R (L) foot in fourth in front (ets. 1, 2), step Ke (L) close to L (K) in first position (et, 3). ‘This is commonly done this wey sud in front.CHANGE - STEP TURN LOUR-STEP TURN in PLAC: MODERATO pie EP TURN. Music /4 time, Count 1, and, 2 to a measure (1, 2 or 4 measures). (1) If a moderste turn is desired, execute two change steps (R, L or LR) around clockwise (to right) or counterclockwise (to left) (2 M). (2) Xa fast turn is dastrea, execute anly one -change either to left or right (LM) (3) If a slow turn ta desited, execute either to right or left (4M). step to make a complete tuen four change step to make on2 complete tura Note: This step may be dane in place or moving. FOURSTEL TURN in PLACE, Music 2/4 time, Count 1, 2, to a measure (2 meesures), Execute four steps in place turning right or left (cts, 2, 2, 2, 2). Start vith R foot when turning right and with L foot when turning lefta . CROSS -STEP TURN CROSS TURN MODERATO ihe GROSS-STEP TURN. Musie: 3/4 time. Count 1, 2, 3 to a measure (1 or 2 meas ures). ! Step R_{L) foot in second position (et. 1), eress the L (R) im front of the R (1), tise on toes ‘of both feet and make a complete turn pivoting on the balis of the fe: Fight (left) (ct, 2), lower heols ond finish the tum with the R (L) foot in fifth position in front or, with feet elore together (et. 3). Pause (cis. 1, 2,3). ‘This may be done without 0 Pavse, In one measure, CROSS TURN, Muste: 3/4 time, Count 1, 2,3 to a measure (1 or 2 mensures). Cross R (L) foot in front of L (R) (ct. 1), turn lett (right) pivoting on the balls of the feet (ct. 2), lower heels down (ct. 3). Pause (cts. 1, 2, 3). ‘This may be done without a pause, in one measure,63 “PIVOT ‘TURN KORRITLSTER TURN MODERATO PIVOT TURN, — ntaste: 2, Commit 1 aud, 2 () Step CL) foot im fourth Whe 1 ha the T(t) the floor (et front (orn tittle ely ee ture viygh land Taide the and) (b) Repeat all (a) (@ storting poattion. Land, 2, and). Kinish faving ‘This step ds also executed with both feet flat on the floor, KORRr 4 measures), ‘STEP TURN. Music 2/4 time. Count 1, and, 2, and tn a mensure, (2 oF With R (L) across L.(R) in front, » execute korriti steps (4 steps to a measure) tum. ing left Gright) in place,© PIVOP TURN wiih a POIN'T MODERATO PIVOT TURN with a POINT, —Muste: 3/4 tne TO RIGHT OR CLOCKWISE (4 measures). Aeight of the kody on tho ls foot. Pivot on J. hech to face right and point R foot apliaucly forward, (ets, 1, 2), point R close to 1, foot in first position (et. ). Pivot ee fee keel making & quartertum right nd at the same time pointing It font colin Count 1, 2 3 to a measure forward (ets. 1 2), point R close to I. foot in first position (et. 8). Hepeat twie ea, ntl a full turn ie made. Finish factng front, ‘To reverse the turn put Weight eo the Te foot on ct, 3 of the fourth measure, TO LEFT OR COUNTERCLOCKWISE (4 measures), Repeat the same movements pointing with the L foot and pivoting on the X heel. Note: “This step may be done elso in this manner — 1 front and two counts for pointing close to the other foot. male the turn smooth, ‘The turn may be done alvo in eight points for elght mengures, fake one count for pointing in | Always pivot on the heel toPIVOT TURN with “SAROK” and POINT MODERATO ZT Tissinga PIVOT TURN with “SAROK” and POINT. ausie: 3/4 time. ures), Count 1, 2,3 to a measure (4 mens R ilon (et, 3), R (L.) foot elsee to y nt ( he done also tn eight meastires, © (8M). This maySLIDE TURN BRUSH - STEP TY MODERATO SLIDE TURN or “PIANG-PIANG”, Music: 3/4 time. Count 1, 2,3 to a meas- ure (& measures), i (a) Step R (1) foot, in second posttion at the same time tasking » quarter-tumn right (lett) (eh. 1), Ade the f, (R) foot’ forward (et, 2), and sllde ft backward contin uously close ta the R(L), in first postition putting: weight of the body on tt nt the end of the slide (et, 8) (1M), ‘The slide is made on the ball or toes of the L (Ri foot. (b) Repeat (a) three more times making a quarter-turn every measure (3 M) Note: ‘This may be done also with the sliding foot crossing the other foot in front ‘on counts 2,3, Put welght on the sliding foot on ct. 3 “Plang-Piang” {5 a Viseyan term. BRUSH-STEP TURN may be done in the same manner, but brushing forward on ct. 2 and stepping close to the otler foot on et. 3. ‘The same music may be used. ‘Thla may be done also tn elght messures.“THREE ie -STEP TURN WALTZ TURN ALLEGRETTO THRER-STEP TURN, ie: 3/4 time, Count 1, 2.3 to aa Step 1 4B) foot in second position (el. 1), turn left Gight) about an to second (et. 2), turn left (right) about and step Le (R) to second to face front (et. 3). Close R (L) feot to L (R) foot (ct. 1), pause (cts, 2, 3). WALTZ TURN. Music: 3/4 time. Count 1, 2,3 to. meacure (1, 2 or 4 measures). (2) Ita moderate turn is desired, take two waltz stepo turning sround either right or left in place or moving, (2) Téa stow turn is desired, take four walle steps to male # cormplete turn left or right (2) If a fost turn fy desived, (eee one waltz step to right or left to male a compiote turn,LENTO Do all the steps in Three-Step Turn with the et position) (ets. 1, 2, 3) Finish with the feet feet as clese as po: together (ets. 1, 2, VIVACE WHIRL TURN. Muste: 2/4 or 8/4 tne. Count 2, af, and, ah, 2,ah, and, ah to 9 measure in 2/4 time and 1, ah, and, ah, 2, ch, [Link], 3, ak, and, eh to a meusure in 3/4 time, (As mony measures os required) Execute fast turns in place with tiny steps to right (or left), 1 - Tia renanea elena taal erent pennant nanan wis"WALTZ (native) ALLEGRETTO MODERATO WALTZ STEP. Musie: 9/4 thme. Counts 1, 2, 9. Step L (R) foot In fourth in front (et. 1), step B (L) close to L (R) In first of third position tn rear (ct, 2, step L (R) tn fourth tn front (ct. 3) This may be executed in all directions,70 - MODERATO WALT BALANCE, Music: 3/4 tlie, Counta 1, 2, 3. Step R (L) in fourth or intermediate in front (ct. 1), close L (R) foot to R (Ly in first or third position in xear and raise heels (© eels with the weight of the body ‘on the RL) foot (ct. 3). ‘Tho kneos are slightly bent before ralsing the heels ‘This may be executed forword, backward, obliquely forward and backward, sideward right and left. ee eeee | CROSS WALTZ H | cree ' Cm " =o Ao Na Hf. pi 7 i GROSS WALTZ, Music: 3/4 time. Counts 1, 2, 9. Step B (L) foot across the L (R) in front and raise slightly the L rear (ct. 1), step the T. (R) close to Ht (L) in third or fifth postion tn rear (et. 2), step R (L) foot in fourth in iront (ct. 2). Step on the ball of th on the second count, foot cross inYVORTILLIER, Music: 2/4 time. measures as required). PARALLEL TORTILLIER TRAVELING LEV? (1) Starting position —- fect together, toca pointed forward, both fect flat on the floor, Pivot oa heels and turn toss to eideward left (et. 1), pivot on ballsof Yeot and turn heele to aldoward eft (et, 2), and oo on, (2) Stoxt in the seme position as in (1). Pivot on heels and turn toes to side- ward left (ct, 1), pivot on balls of feet and turn heels to sideword left fot. and), Repeat all (cts. 2 and), and so on. Count 1, 2 or 1, and, 2, and to a measure (as many OPPOSITE TORTILLIER TRAVELING LEPT (1) Pivot inward on balls of both fect uo that toes touch together (et. 1), pivot oa the heel of Landon the ball of the R foot co that heels touch together (ct. 2), pivot on the ball of the L, and on the heel of the R to that toes touch together (et. 1), repeat et. 2" (et. 2), and so on. (2) Pivot inward on balls of both fect so that toes touch together (ct. 1), pivot ‘on the hecl of the L and on the ball of the R fyot so that heels touch together (et. and), pivot on tho ball of the L, end on the heel of the R so that toca touch together (ct. 2), repent et. and (ct, end), and 9 on. TRAVELING RIGHT The same movements as above, but reverse direction, NOTE: This atep te found mostly a Non-Chrtetian dances.TORTILLIER MODERATO TORTILLIER. Music: 3/4 time. Count 1, 2 3 or 1, and, 2, and, 3, and te a measure (@c many measures as required) PARALLEL ‘TORTILLIER TRAVELING LEFT (1) Starting position — feet together, loes pointed forward, both feet flat on the floor. Pivot on the heels and turn toss sideward left (ets. 1, 2), pivot on the balls of the feet and turn heels to sideward left (et. 9), and 20 on. (2) Start in the same position as in (1). Pivot on the heels and turn toes to sldaward left (et. 1), plvot on the balls of the fect and tum heels to slde- ard ef (ete, 2 8), and 19 on. mime starting position an in (1). Pivot on the heels end tum toes to Howard left (ct. 1}, plvot on bulls of the fect and tura heels to skdeward elt (et. and). Repeat all twice more (ets. 2, and, 3, and), and so on oprosirEe VILLIER TRAVELING LEFT re) (2) Pivot inward on balls of both feet so that toes toued together (ets. 1, 2), pivot on the heel of Land on the ball of the B so that heels touch together (et. 3), plvot on the boll of the Irand on the heel of the [so chat toes touch together (els, 1, 2), repeat et. 3 (eh 3), and s0 on. (2) Repeat the same iovements as in (1), but giving one count on the first movernent and two counts on the second, and co on. (3) Repeat the same movements as in (1), but giving the following counts tor cack moverent: 1, and, 2, and, 3, and, and so on. ‘TRAVELING RIGHT ‘The came movements as above, but reverse direction No? This step Is found mostly ty Non-Chriotian dances