Philippine Traditional Dance

ABRASETE

Girl at the right side, holds R arm of partner with her L hand, free hands down at the sides. This term is of Spanish origin and is used in Rigodon and other dances

ARMS IN LATERAL POSITION

Both arms are at one side, either sideward right or left. This may be done at shoulder, chest, or waist level.

ARMS IN REVERSE “T”

Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed.

BILAO

To turn palms of the hand up and down alternately, hands at waist level in front, elbows close to waist.

BRUSH

Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that foot is lifted from the floor to any direction.

CABECERAS

When dancers are in square formation, the couples occupying the width of the hall are called cabeceras or head couples.

CLOCKWISE

Like the motion of the hands of clock. R shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left

COUNTERCLOCKWISE

L shoulder is toward the center of an imaginary circle. When facing the center, the movement is toward the right.

COSTADOS

When dancers are in square formation, the dancers occupying the length of the halll are called Costados or side pairs.

CROSSED ARMS

Partners are facing each other or standing side by side, girl at the right of boy. They join their L hands together and their R hands together; either R over L or L over R hands.

CUT

To displace quickly one foot with the other, thus completely taking off the weight of the body from the displaced foot.

DRAW

To pull one foot along the floor close to the other which has the weight of the body. The weight may or may not be transferred.

DO-SI-DO (DOS-A-DOS)

The vis-a-vis (opposites) both advance forward, pass each other’s right (or left) side, step across to the right (or left), move backward without turning around pass each other’s left (or right) side to proper places. This is of foreign origin and used in many Philippine dances.

FREE FOOT

The foot not bearing the weight of the body.

FREE HAND

The hand not placed anywhere or not doing anything

HANDS ON WAIST

Place hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing in rear.

HAPAY

to flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of invitation.

HAYON-HAYON

To place one forearm in front and the other at the back of the waist. This is a Visayan term.

HOP

A spring from one foot landing on the same foot in place or in any direction. The other foot may be raised in any direction (in front, in rear, sideward or across).

INSIDE FOOT

The foot nearest one’s partner, when partners stand by side.

INSIDE HAND

The hand nearest one’s partner, when partners stand side by side.

JALEO

Partner s turn around clockwise (with R elbows touching) or counterclockwise (with L elbows almost touching) using walking or any kind of dance step. The hands near each other are on waists. This is a Tagalog term but Spanish origin.

JUMP

A spring from one or both feet, landing in both in any direction.

KUMINTANG

Moving the hand from the wrist either in a clockwise or counterclockwise direction. This is an Ilocano term

LEAP

A spring from one foot, landing on the other foot on any direction.

MASIWAK

To turn the hand from the wrist half-way clockwise or counterclockwise then raise and lower wrist once or twice. This is an Ibanag term.

OUTSIDE FOOT

The foot away from one’s partner; when the partners stand side by side.

OUTSIDE HAND

The hand away from one’s partner, when partners stand side by side.

PANADYAK

To stamp in front or at the side with R (L) foot and tap with the same foot close to the L (R) foot, weight of the body on L (R) foot. This is a Tagalog term.

PLACE

To put foot in a certain or desired position without putting weight on it. The sole of the foot rests on the floor.

PIVOT

The foot away from one’s partner; when the partners stand side by side.

POINT

Touch the floor lightly with the toes of one foot, weight of the body on the other foot.

PATAY

To bend the head downward and to support the forehead with the R (L) forearm or with the crook of the R (L) elbow while the L (R) hand supports lightly the palm of the R (L) hand. This is usually done with the L (R) foot pointing in rear and knees slightly bent. This is an Ilocano term and the movement is commonly found in Ilocano dances.

SALOK

To swing 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. This is a Tagalog term.

SALUDO

Partners bow to each other, to the audience, opposite dancers, or to the neighbors with feet together. This term of Spanish origin and is used in almost all Philippine dances.

SAROK / SAROC

the R (or L) foot in front of the L (or R), bend the body slightly forward and cross the hands (forearms) down in front with the R (or L) hand (forearm) over the L (or R). This is a Visayan term.

SET

A dance formation like a square or a unit formation composed of two or more pairs.

SLIDE

To glide foot smoothly along the floor. The movement may be finished with or without transfer of weight.

STAMP

To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of weight.

STAR WITH RIGHT HAND

Four or more people join R hands at the center and circle around clockwise using walking or any kind of dance steps.

STAR WITH LEFT HAND

Same as “start with R hand,” but joining L hands and turning counterclockwise.

STEP

To advance or recede by raising, or moving one foot to another resting place. There is a complete transfer of weight from one foot to another.

SUPPORTING FOOT

The foot that bears the weight of the foot.

WHIRL

To make fast turns by executing small steps in place to right or left.

TAP

To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight of the body on the other foot. There is no change or transfer of weight.