Republic of the Philippines

Commission on Higher Education

Region VI – Western Visayas
Bacolod City College
Teacher Education Department

Chapter 1: Folk Dance

Cena, Kyla (Leader)

Pontevedra, Jade
Tandog, Glecerine
Consemino, Angel Rose
Dayon, Angel Shane
Areglo, Ester Lyn
Magbanua, Michelle
Raza, Merry Ann
Dela Cruz, Bea Joy

Bachelor of Secondary Education Major in Filipino 1A

Instructor: Mrs. Rose Marie Seballos
Definition of Terms:
• RHYTHM. This is measured motion of flow, characterized by basically regular recurrence
of elements or features as beats, sounds, or accents. This definition implies measurement
of time space, and energy. All works of art require rhythm. One finds rhythm in the design
of a beautifully woven basket or a lovely piece of embroidery, in the lines of a well-
composed poem, in the harmonious notes of song. Rhythm is most clearly seen through
dance the art of movement.
• RHYTHM IS NATURAL TO EVERY INDIVIDUAL. This is so because of a sense of rhythm
which is influenced by the rhythmic beating of his heart, the rhythmic movement of his
lungs as oxygen is taken in and carbon dioxide is forced out of his system, and other
rhythmic movements of the organs of his body.
• The universe works in a system of rhythm. The movement of the earth around the sun
and the moon around the earth create the movement of day and night and that of the
tides. Nature itself is a manifestation of rhythm.
• RHYTHM is a term which denotes an aspect of a quality of movement that is sometimes
thought of as dance. When an individual moves in response to a particular rhythm or
music we call the movements as rhythmic movements or rhythms. Structured forms which
start creative rhythmic movements are sometime called rhythms.
• DANCING. This is a means of expressing one’s emotions through movement disciplined by
rhythm. It is an art of moving rhythmically and expressively to an accompaniment. The
word “dancing” came from an old German word “damson” which means “to stretch,”
Essentially, all dancing is made up of stretching and relaxing.
• DANCE. This refers to movement set to music where there emerges organization,
structure, and pattern. It is a composition that implies arrangement of parts into a form.

Phases of the Dance Program

Creative Rhythms
Creative rhythms are for children in the elementary grades. These activities are sometimes called
fundamental rhythms or natural dances.
Folk Dance
Folk dance is a cultural art form handed down from generation to generation. It communicates
the customs, beliefs, rituals, and occupations of the people of a region or country.

•Examples of folk dances are the rural and country dances, jotas, mazurkas, pandanggos,
•Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras, dances of
the ethnic groups in the Cagayan Valley Region, and the ethnic dances in the Mindanao Regions,
among others.
Social and Ballroom Dance
The setting of the social and ballroom dance is a social gathering with the more formal
atmosphere than the simple and informal parties in which the recreational dances are the usual
forms, generally held in the evenings. The participants are usually in formal attire.
•Examples of social and ballroom dances are cha-cha, fox trot, jitterbug, tango, samba, rumba,
quick step, Viennese waltz, jive, and paso doble.
Recreational Dance

Recreational dance includes dance mixers, square dance, round and couple dances. The setting
of recreational dances is usually informal gatherings and parties, reunions, and the like.
Creative Dance
Creative dance is the highest form of dance. It is the end-product of exploration and improvisation

of movements as the dancer or the choreographer expresses his feelings or emotions, ideas, and
interpretations. Examples of creative dance are ballet, jazz, and modern or contemporary dance

Folk Dance
Definition
1. Folk dances are traditional dances of a country which evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who develop them.
2. Folk dancing is the heartbeat of the people.
3. Folk dances are traditional social expression of the ideals, mores, feelings, thoughts of a people
or group of people through body movement.

4. Dancing is the outburst of people feelings.

Values of Dancing
1. Physiological and neutro muscular development of the organic systems of the body.
2. Cultural-depicts of the culture of people.
3. Social and recreational.
Types of Folk Dance

1. National- traditional dances of a given country

2. Regional- local
Objectives of Teaching Philippine Folk Dances
1. To foster patriotism and nationalism through the study of our dance.
2. To rouse better appreciation of Philippine music and folk dances.
3. To provide, through dancing, a healthful form of relaxation and recreation.
4. To develop a graceful and rhythmic coordination of body movements that will improve posture.
5. To preserve prosperity, folk dances and music indigenous to the different regions of the
Philippines.
6. To demonstrate the growth of Filipino culture through the evolution of Philippine dances .
Do’s in the Folk Dancing
1. Dance in natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume of the dance.
4. Follow directions and dance instructions as closely as possible.

5. Dance with feeling and expression.

Don’ts in Folk Dancing
1. Do not exaggerate the dance steps.
2. Do not make the dances too dainty and graceful like ballet.

3. Don’t make entrance and exit too long.

4. Don’t make steps too elaborate and complicated.
5. Don’t call a folk dance unless steps come from traditional dances.
Suggestions for Teaching Philippine Folk Dance

1. Acquaint the children with the background of the dance.

a.) Origin and meanings.
b.) Kinds of Movement
c.) Customs, traditions, costumes, modes of life and mood of the people.
2. Let the children listen to and enjoy the music in respect to tempo, mood and part of the dance,
teach the words the children.
3. Teach new steps, explain and demonstrate them. Acquaint the children with the terms.
4. Put class in the formation and teach Figure 1, then Figure 2 after which take up 1 and 2.
5. Perform the whole dance and repeat often enough to be enjoyed.

6. Dance with the right expression and correct interpretation.

Characteristics of Philippine Folk Dance
1. In general, dancers stand apart.
2. There is little, if any, bodily contact.

3. Most dances are done by pairs of couples.

4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with saludo.
7. Dances from the lowlands have more foreign elements than those found in the uplands.

8. War dances are found among non-Christian tribes.

Classification of Philippine Dances

General Classification
A. Geographical extent of origin
1. National dances – found throughout the islands with little or no modification.
Examples : Rigodon, Cariñosa, Jota, Balitaw, Pandanggo

2. Local dances – found in a certain locality

Examples : Tinikling – Leyte, Maglalatik – Binyang
Esperanza – Nabua, Subli – Batangas, Biniganbigat – Abra
B. Nature
1. Occupational – depicting action or certain occupation, industry or human labor
Examples : Planting, Harvesting, Pounding, Winowing, Pabirik, Manguete etc
 2. Religious or ceremonial – performed in connection with religious vows and ceremonies
Examples : Dugsu, Sua-sua, putong, Sta Clarang Pinong-pino, etc.
3. Comic dances – depicting funny movements for entairtainment.

Examples : Kimbo-kimbo, Makonggo, Kinoton

4. Gam dances – with play elements (dance mixers)
Examples : Lubi-lubi, Pavo
5. Wedding dances – performed during weddings feast.

Examples : Pansahan
6. Courtship dances – depicting lovemaking
Examples : Hele-hele, Bagoquiere, Maramiom, Tadek, Daling-daling
7. Destival dances – suitable for special occasion or anu social gathering

Examples : Pandanggo, Hanbera, Jota, Surtido

8. War dances – showing imaginary combat or duel
Examples : Sagaya, Palu-palo
C. Movements
1. Active – with fast energetic movements.

Examples : Tinikling, Maglalatik, Sakuting, Pbkabal etc.

2. Moderate – Examples : Cariñosa, Tagala, Hanabera, Purpuri etc
3. Slow – Examples : Pasakat, Amorosa, Ti Liday, Kundiaman etc
4. Slow and fast – Examples : Puritos, Ba-ingles, Hanabera, etc.
D. Formation
1. Square or Quadrille – Examples : Rigidon, Losa Bailes de Ayer etc
2. Long formation (two or more parallel lines) – Examples : Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side
by side.
Examples : Binadyong, Haplik, Kakawati

II Special Classification – Group dances having special distinctive features.

 A. Dance with songs – Examples : Abaruray, Manang Biday, Lulay, Rogelia, Lawiswis
Kawayan etc
B. Old Ballroom Dances – Examples : Polks, Mazurka, Chotis, Valse etc

C. Dances with Implements – Examples : Maglalatik, Sakuting, Jota Moncadenia, Tinikling,

Salakot etc
D. Dances of combined Rhythm – Examples : Surtido, Pantomina, Los Bailes de Ayer etc.
Factors Affecting Folk Dances

1. Geographical locations
2. Economic conditions
3. Climatic conditions
4. Customs and traditions

How to Teach a Dance

1. Give name and background of dance.
2. Let children listen to music.
3. Illustrate or demonstrate dance steps
4. Repeat for clarification.

5. Dance first by the number, then with the music.

6. Teach next figure.
7. Repeat I and II, tech Fig. III, repeat Fig. I-III etc.

Fundamental Dance Position in Folk Dance

• 1st position:

Feet; heel close together, toes apart with an angle of about 45 degrees.
Arms; both raised forward in a circle in front of chest with the fingertips about an inch apart

• 2nd position:

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

Arms; both raised sideward with a graceful curve at shoulder level

• 3rd position:
Feet; Heels of one foot close to in step of other foot
Arms; one armed raised sideward as in 2nd position, other arm raised upward.

• 4th position:

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

Arms; one armed raised in front as in 1st position, other armed raised over head.

• 5th position:

Feet; heel of front foot close to big toe of rear foot

Arms; both arms raised over head

THE BASIC NATURAL MOVEMENTS
•Locomotor movements are those that move the body in space in any direction with the feet
as the moving base.
•Non-Locomotor movements are those in which various parts of the body move in space with
a fixed base. The based may be standing, kneeling, sitting or lying.
Locomotor Movement
•Walking- Moving at moderate pace on feet, lifting one foot only after the other foot has
touched the floor or ground.

•Running- Moving on foot with springing steps at rapid pace for an instant both feet are off
ground during each step.
•Jumping- springing and taking off with one foot landing on both feet.
•Hopping- springing on one foot and landing on the same foot.

•Skipping- same procedure in hopping but bouncing lightly with alternative steps and hops.
• Leaping- springing on one foot and landing on the other foot.
•Galloping- moving in continuous forward or sideward direction with one foot landing.
•Sliding- Gliding along the floor with either foot.
Flexion- bending or shortening of a body part occurring at a joint.

Percussive- striking, hitting, pushing and pulling

Extension- Turning, twisting or circling
Vibratory- Shaking and beating
Suspended- A sharp movement followed by a series of slow or prolonged movements until
peak is reached.
Sustained- A slow, smooth flowing movement with a balance of movement throughout the
entire series

Rhythmic Fundamentals
In the field of dance, there are fundamental knowledge and rhythmic skills considered
important for proficiency and efficiency in bodily movements. These facilitate the learning of
dances, improvisational movement and interpretation of creative work. These are elements
of rhythm, elements of movement space, and qualities of movement.
A. ELEMENTS OF RHYTHM
Allow movements are affected by the elements of rhythm. These elements which
should be learned and understood in relation to dance are underlying beat; measure;
rhythmic pattern; tempo; accent; phrasing and intensity.
1. Underlying Beat or Pulse Beat – is the steady continuous sound that is heard or felt
throughout any rhythmical sequence. This constant steady pulsation is sometimes called
“pulse beat”. It exists in all movements. It is this steady sound which serves as the constant
unit of measure upon which all rhythmic structure or relationship depends. It determines
the time signature of a piece of music or movements.
2. Measure – refers to the identical grouping of underlying beats. This group of notes is
between two bar lines.
3. Rhythmic Pattern – is a definite grouping of sounds or beats related to the underlying
beat. A particular pattern of unequal sounds or beats must fit within a unit of underlying
beats. Sometimes the rhythmic pattern is also called “melody pattern” because the
rhythmic pattern follows the words or melody. There is a relationship between the word
pattern, rhythmic pattern, and underlying beat.
4. Phrasing – A musical phrase is a group of measures that gives the feeling of unity. It can
be likened to a sentence or an idea in itself. Learning to identify or recognize phrases is
essential to learning and creating dances. The end of a phrase may suggest a change in
direction or movement.
5. Accent – is the force or emphasis given to any one beat in a series of pulse beats in a
measure.
6. Tempo – is the rate of speed of the movement, music, or accompaniment. It may be fast
as in running; it may be moderate as in walking; or it may be slow as in ordinary sliding.
7. Intensity – is the quality of the movement or music. It refers to dynamics or force, such as
heavy and light.
B. ELEMENTS OF MOVEMENT SPACE
An understanding of the space elements that affect movement is very important. These
elements are direction, level, range, and floor pattern.
1. Direction – is the line of movement taken which may be forward, backward, sideward,
diagonal, upward, or a combination of those mentioned.
2. Level – is movement through space that may be done at a high, low, or medium level.
3. Range – refers to the area covered as the body moves. It may be small, as when the
movement is done in one’s place; or large when movement covers a wide area as when
getting away from one’s place.
4. Floor Pattern – The path or design on floor that is made while moving in space is what is
termed as floor pattern. It may take a form of a circle, square, straight line, or zigzag.
C. MOVEMENT QUALITIES
Movement expression is attained through the elements of time, force, and space.

Traditional Folk Dance Steps in 2-4 Time

The dance steps used in Philippine traditional dances are combinations of
the basic natural movements. Listed below are the dance steps in 2-4 time which
are grouped according to note patterns and their corresponding counts as
suggested by the number of movements.
Dance Step Combinations
The following are the dance step combinations which may be used for interpretation
from either verbal instruction or from printed form.
Combination One
a. 4 change steps forward; hands on waist
b. 4 touch steps in front alternately R, L

c. Repeat (a) and (b) moving backward

Combination Two
a. 4 Bleking step alternately sideward R, L; hands on waist
b. 4 close steps forward; hands on waist

c. Repeat (a)
d. Repeat (b) moving forward
Combination Three
a. 2 contraganza steps sideward R, L, hands on waist
b. 2 slide steps forward R, L

c. Repeat (a)
d. Repeat (b) moving backward
e. Repeat all (a – d)
Combination Four

a. 2 heel-and-toe change steps forward R, L; hands on waist

b. Tournabout and repeat (a)
c. Tournabout and make 4 slide steps to the right
d. 4 slide steps to the left

Combination Five
a. 4 plan polka steps forward: hands on waist
b. 4 step wings sideward R. L.
c. Repeat (a) and (b) moving backward
Combination Six

a. 4 habanera steps forward

b. 2 brush steps sideward R and 2 brush steps sideward L
c. Repeat (a) and (b) moving backward
Combination Seven
a. 4 change steps forward; hands on waist
b. 3 hop steps sideward R, L.
c. Repeat (s) backward
d. 2 mincing steps to sideward R and 2 mincing steps to sideward. Left; arms in 5th position

Combination Eight
a. 4 cross change steps forward; hands on waist
b. 4 close steps backward R, L, alternately
c. 4 gallop steps to sideward L
d. 4 steps in place R, L, alternately

TRADITIONAL DANCE STEPS IN ¾ TIME

Listed below are the basic dance steps in 3 time that are grouped according to note patterns
and their corresponding counts as suggested by the number of movements.

A.Note Pattern = measure Count 1 2 3

1. Waltz Step – step R (L); 1 close L ®; 2 step R (L) 3
2.Cross waltz – cross step R (L); 1 close L ®; 2 step R (L) 3
3.Waltz balance – step R (L); 1 close L ® and raise both heel; 2 heels down 3

4.Redoba – slide R; 1 cut R (L); 2 cut L ® 3

5.Mazurka – slide R; 1 cut R (L); 2 hop L ® and swing R (L) 3
6.Step-swing-hop – slide R; 1 swing L ®; 2 hop R (L) 3 7.Step-Brush-swing-hop – slide R; 1
swing L ® and swing; 2 hop R (L) 3

B.Note Pattern = measure Count 1-2 3

1.Touch Step – point R (L); 1-2 close L ® 3
2.Bleking Step – heel place R (L); 1-2 close L ® 3
3.Close Step – step R (L); 1-2 close L ® 3
4.Slide Step – slide R (L); 1-2 close L ® 3

5.Cross Step – cross step R (L); 1-2 close L ® 3

6.Hop Step – step R (L); 1-2 hop R (L) 3
7.Brush Step – step R (L); 1-2 brush L ® 3 8.Swing Step – step R (L); 1-2 swing L ® across 3
b. Note Pattern Count 1-2 3 = measure

1. Touch Step point R (L); 1-2 close L ® 3

2. Bleking Step heel place R (L); 1-2 close L ® 3
3. Close Step step R (L): 1-2 close L ® 3
4. Slide Step slide R (L); 1-2 cross step R (L) 3

5. Cross Step cross step R (L); 1-2 close L ® 3

6. Hop Step step R (L); 1-2 hop R (L) 3
7. Brush Step step R (L); 1-2 brush L ® 3
8. Swing Step step R (L); swing L ® across 3
C. Note Pattern: 1-2 3 1 2 3 = measures count

1.Sway balance with Step R (diagonally frd); cross step-LA point across R; step R bckd; point
L in front
2 . Sway balance with Step R (diagonally frd); cross-step across R; step R bckd; A raise raise
and swing L in front

3. Sway balance Step R (diagonally frd); cross-step With a brush L across R; step R bckd;
brush L frd.
4. Sway balance with Step R (diagonally frd) cross-step L across R; A hop step R bckd; hop on
R

5. Sway balance with Step R (diagonally frd); cross-step L across R; step R bckd;A close close L
to R;
6. Engano with a Step R swd; cross-step L, across R; step R swd; close L to R Close
D. Note Pattern: 1-2 3 1 2 3 =2 measure
Count:

1. Sway balance with Step R diagonally frd; cross-step A waltz L across r step R bckd; close L
to R; step r in place
2. Engano with waltz Step r swd; cross-step L across R; step rswd; close L to r step r in place
E. Note Pattern 1 and 2 and 3 and = 1 measure

Count:
1. Mincing steps With and heels raised, take as many tiny steps swd. (1 step on every count)
2, Shuffling steps With feet flat on floor, make small slides frd. (1 slide on every count)
3. Chasing steps With one foot leading, execute successive close steps to any direction.

F. Note Pattern: 1 and 2 3 1 and 2 3

Kuradang step- Step R (diagonally forward); close L, to R; step r diagonally fwd; cross-Step L,
across R; step R diagonally bwrd R; close L to R; step R, point L

Folk Dance Steps in 4-4 Time

There are only very few folk dances that contain the traditional dance steps in 4-4 time.
Nevertheless, an analysis of these dance steps deserves a unit space in this book.
 A. Note Pattern: 1 2 3 4= 1 measure
1. Escotis step Step R sideward; close L to R
Ct. 1 Ct.2

Step R sideward; hop on R

Ct. 3 Ct. 4
Raising L. foot in rear

2. Schottische step Step R sideward; close L to R

Ct. 1 Ct.2
Step R sideward; hop on R
Ct.3 Ct.4

Raising L. foot in front

B. Note Pattern:
1. Chotis step
(in closed ballroom position with partners facing slightly towards extended arms)
Brush R; raise same foot with

Ct. 1 Ct.2
Knee bent; brush same foot;
Ct. 3
Raise same foot again; step R;

Ct.4 Ct. 1
Step L.; step R turning clock-
Ct. 2 Ct.3
Wise; pause

Ct. 4
Note: The above steps are for the girl; the boy does these steps with the opposite foot.
Note Pattern:
1. Chotis step (Ilocano version)
 Step R sideward, close L to R, ct. 1 ct. and
Step R sideward, hop on R, ct. 2 ct. and
Step L sideward, close R to L ct. 3

Step L sideward, hop on L, ct. 4 ct. and

Four hop steps R,L alternately ct. 1 and 2 and 3 and 4 and
In place or turning around ct. and

Dance Step Combinations

The following dance step combinations are suggested for practice in interpretation of written
instructions:

Combination One
a. 2 escotis steps sideward R, L
b. 4 hop steps forward
c. Repeat (a) and (b) moving backward
d. Repeat all (a-c)
Combination Two
a. 2 schottische steps sideward R, L.
b. 4 hop steps turning clockwise in place
c. 2 schottische steps sideward L, R
d. 4 hop steps turning counter clockwise in place 2M
e. Repeat all (a-c)
Combination Three
a. With a partner, hold in closed ballroom position, make 1 chotis step
moving half-around clockwise…
b. Repeat (a)
c. Face partner and join both hands; make 4 hop steps together with boy
moving backward and girl forward
d. Repeat © with girl moving backward and boy forward
e. Repeat © and (d) f. Repeat all (a-e)