RECREATIONAL DANCE

DANCE

AN ART FORM THAT USES THE HUMAN BODY AS ITS INSTRUMENT AND MOVEMENT AS ITS MEDIUM.

DANCE

PERFORMED BY INDIVIDUALS OR GROUPS OF HUMAN BEINGS, EXISTING IN TIME, SPACE, FORCE, AND FLOW.

DANCE

INVOLVES SEQUENCED STEPS AND RHYTHMIC MOVEMENTS.

DANCE

OFTEN ACCOMPANIED BY MUSIC AND SERVES PURPOSES SUCH AS ENTERTAINMENT, RITUAL, AND SELF

FOLK DANCE

TRADITIONAL DANCE OF INDIGENOUS SOCIETY.

FOLK DANCE

REFLECTS THE SOCIAL AND RECREATIONAL EXPERIENCES OF COMMUNITIES AND PRESERVES NATIONAL CHARACTERISTICS IN MUSIC, STEPS, AND COSTUMES.

NATIONAL DANCE

FOLK DANCES WIDELY PERFORMED IN SPECIFIC COUNTRIES.

NATIONAL DANCE

EXAMPLES IN THE PHILIPPINES INCLUDE CARINOSA AND TINIKLING.

ETHNIC DANCE

REVEALS UNIQUE TRIBAL CHARACTERISTICS AND HIGHLIGHTS CULTURAL, RACIAL, AND RELIGIOUS TRADITIONS.

CREATIVE DANCE

A FORM OF DANCE FOR THE PURPOSE OF ENTERTAINMENT.

CREATIVE DANCE

RESULTS FROM EXPLORATION AND IMPROVISATION.

CREATIVE DANCE

SHOWS FEELINGS, EMOTIONS, IDEAS, AND INTERPRETATIONS.

GYMNASTIC DANCE

INTERESTS SKILLFUL PERFORMERS, ESPECIALLY BOYS.

GYMNASTIC DANCE

IS MAINTAINED BY STRENUOUS MOVEMENTS.

GYMNASTIC DANCE

PROVIDES REMARKABLE SATISFACTION.

BALLROOM/SOCIAL DANCE

INCLUDES ARTISTIC AND DECENT FORMS OF DANCE USED FOR RECREATIONAL PURPOSES.

BALLROOM/SOCIAL DANCE

USES FUNDAMENTAL STEPS AS PREPARATION.

BALLROOM/SOCIAL DANCE

EXAMPLES INCLUDE CHA-CHA, SWING, RUMBA, AND REGGAE.

RECREATIONAL DANCE

PERFORMED FOR FUN AND ENTERTAINMENT.

RECREATIONAL DANCE

INCLUDES DANCE MIXERS, SQUARE DANCE, AND ROUND OR COUPLE DANCE.

RECREATIONAL DANCE

HAS SIMPLE DANCE PATTERNS BASED ON COMBINATIONS OF WALKING STEPS.

SINGING DANCE

A COMBINATION OF STEPS AND SONGS PERFORMED IN RHYTHM.

SINGING DANCE

REQUIRES A LOT OF TRAINING TO DEVELOP A SENSE OF RHYTHM.

CHEERDANCE

ALSO REFERRED TO AS CHEERLEADING.

CHEERDANCE

A TEAM PHYSICAL ACTIVITY USING ORGANIZED ROUTINES TO MOTIVATE A SPORTS TEAM.

FESTIVAL DANCE

AN EVENT CELEBRATED BY A COMMUNITY AND CENTERED ON A CHARACTERISTIC ASPECT OF THAT COMMUNITY, ITS RELIGION, OR ITS TRADITIONS.

PHILIPPINE FOLK DANCE

INVOLVES RHYTHMIC MOVEMENT, OFTEN ACCOMPANIED BY MUSIC, THAT REFLECTS THE COUNTRY’S HISTORY, SENTIMENTS, AND CREATIVITY.

PHILIPPINE FOLK DANCE

IS COMPOSED OF RHYTHMIC MOVEMENT SUSTAINED BY TEMPO AND BEAT AND OFTEN ACCOMPANIED BY MUSIC OR KINETIC MOVEMENT.

PHILIPPINE FOLK DANCE

PORTRAYS FILIPINO IDEAS, TRADITIONS, AND FEELINGS THROUGH EXPRESSIVE BODY MOVEMENTS PASSED DOWN THROUGH GENERATIONS.

ARMS IN LATERAL POSITION

BOTH ARMS ARE ON ONE SIDE, RIGHT OR LEFT, AT SHOULDER, CHEST, OR WAIST LEVEL.

BRUSH

WEIGHT IS ON ONE FOOT; HIT THE FLOOR WITH THE BALL OR HEEL OF THE OTHER FOOT, THEN LIFT IT IN ANY DIRECTION.

BLECKING

PLACE THE HEEL OF THE FOOT ON THE FLOOR IN FRONT OR ACROSS IN FRONT.

CABECERAS

SPANISH TERM FOR THE COUPLES OCCUPYING THE WIDTH OF THE HALL IN A SQUARE; HEAD COUPLES.

CABECERAS

A TERM OF SPANISH ORIGIN.

CLOCKWISE

LIKE THE MOTION OF CLOCK HANDS; RIGHT SHOULDER TOWARD THE CENTER OF AN IMAGINARY CIRCLE.

CLOCKWISE

MOVEMENT IS TOWARD THE LEFT WHEN FACING THE CENTER.

COSTADOS

SPANISH TERM FOR THE COUPLES OCCUPYING THE LENGTH OF THE HALL IN A SQUARE; SIDE PAIRS.

COSTADOS

A TERM OF SPANISH ORIGIN.

COUNTERCLOCKWISE

THE REVERSE OF CLOCKWISE; LEFT SHOULDER TOWARD THE CENTER.

COUNTERCLOCKWISE

MOVEMENT IS TOWARD THE RIGHT WHEN FACING THE CENTER.

CUT

QUICKLY DISPLACE ONE FOOT WITH THE OTHER, COMPLETELY TRANSFERRING WEIGHT.

DRAW

PULL THE FOOT ALONG THE FLOOR CLOSE TO THE OTHER FOOT; WEIGHT MAY OR MAY NOT BE TRANSFERRED.

FREE FOOT

THE FOOT THAT IS NOT BEARING THE WEIGHT OF THE BODY.

FREE HAND

THE HAND THAT IS NOT PLACED ANYWHERE OR NOT DOING ANYTHING.

GALLOP

STEP THE RIGHT FOOT SIDEWARD, CUT THE LEFT FOOT MOVING SIDEWARD RIGHT; CAN BE DONE WITH THE OTHER FOOT AND DIRECTION.

HAYON-HAYON

VISAYAN TERM MEANING TO PLACE ONE FOREARM IN FRONT AND THE OTHER AT THE BACK OF THE WAIST.

HAYON-HAYON

A VISAYAN TERM.

HOP

SPRING FROM ONE FOOT AND LAND ON THE SAME FOOT; THE OTHER FOOT MAY BE RAISED IN ANY DIRECTION.

INSIDE FOOT

THE FOOT NEAREST ONE’S PARTNER WHEN STANDING SIDE

INSIDE HAND

THE HAND NEAREST ONE’S PARTNER WHEN STANDING SIDE

JALEO

SPANISH TERM WHERE PARTNERS TURN ONCE AROUND CLOCKWISE OR COUNTERCLOCKWISE WITH THEIR ELBOWS ALMOST TOUCHING AND HANDS ON WAISTS.

JALEO

A SPANISH TERM.

KUMINTANG

ILOCANO TERM MEANING TO MOVE THE HAND FROM THE WRIST IN A CLOCKWISE OR COUNTERCLOCKWISE DIRECTION.

KUMINTANG

AN ILOCANO TERM.

LEAP

SPRING FROM ONE FOOT AND LAND ON THE OTHER FOOT IN ANY DIRECTION.

OPPOSITE

THE PERSON STANDING ACROSS THE SET.

OUTSIDE FOOT

THE FOOT AWAY FROM ONE’S PARTNER WHEN STANDING SIDE

OUTSIDE HAND

THE HAND AWAY FROM ONE’S PARTNER WHEN STANDING SIDE

PANADYAK

TAGALOG TERM MEANING TO STAMP IN FRONT OR AT THE SIDE WITH THE RIGHT OR LEFT FOOT AND TAP THE SAME FOOT CLOSE TO THE OTHER.

PANADYAK

WEIGHT IS ON THE OTHER FOOT.

PANADYAK

A TAGALOG TERM.

PARTNER

GIRL ON THE RIGHT AND BOY ON THE LEFT.

PIVOT

TURN WITH THE BALL, HEEL, OR WHOLE FOOT ON A FIXED POINT.

PLACE

PUT THE FOOT IN A POSITION WITHOUT PUTTING WEIGHT ON IT.

POINT

TOUCH THE FLOOR LIGHTLY WITH THE TOES OF ONE FOOT WHILE WEIGHT IS ON THE OTHER FOOT.

POLKA

A DANCE INTRODUCED FROM GERMANY.

SALOK

SWING THE ARM DOWNWARD AND UPWARD, PASSING IN FRONT OF THE BODY AS IF SCOOPING; TRUNK BENT FORWARD.

SALUDO/BOW

FEET TOGETHER; BOW TO EACH OTHER, THE AUDIENCE, OPPOSITE DANCERS, OR NEIGHBORS.

SAROK

CROSS THE RIGHT OR LEFT FOOT IN FRONT OF THE LEFT OR RIGHT; BEND THE BODY SLIGHTLY FORWARD AND CROSS HANDS IN FRONT.

SET

A DANCE FORMATION, SUCH AS A SQUARE OR UNIT FORMATION, OF TWO OR MORE PAIRS.

SLIDE

GLIDE THE FOOT SMOOTHLY ALONG THE FLOOR; WEIGHT MAY OR MAY NOT BE TRANSFERRED.

STAMP

BRING DOWN THE FOOT FORCIBLY AND NOISILY, WITH OR WITHOUT WEIGHT TRANSFER.

STEP

ADVANCE OR RECEDE BY MOVING ONE FOOT TO ANOTHER RESTING PLACE AND COMPLETELY TRANSFERRING WEIGHT.

SUPPORTING FOOT

THE FOOT BEARING THE WEIGHT OF THE BODY.

TAP

RAP SLIGHTLY WITH THE BALL OR TOE OF THE FOOT WHILE FLEXING THE ANKLE; NO WEIGHT TRANSFER.

WALK

A SERIES OF STEPS THAT MOVES THE BODY THROUGH SPACE BY TRANSFERRING WEIGHT FROM ONE FOOT TO THE OTHER.

WHIRL

MAKE FAST TURNS WITH SMALL STEPS IN PLACE TO THE RIGHT OR LEFT.

FIRST ARM POSITION

BEND BOTH ARMS AT CHEST LEVEL.

SECOND ARM POSITION

OPEN BOTH ARMS SIDEWAYS BELOW SHOULDER LEVEL.

THIRD ARM POSITION

RAISE THE RIGHT ARM SIDEWARD WITH A ROUND CIRCLE, ENCIRCLING OVERHEAD.

FOURTH ARM POSITION

RIGHT ARM ENCIRCLES LIKE FIRST POSITION WHILE THE LEFT ARM IS RAISED.

FIFTH ARM POSITION

BOTH ARMS ARE RAISED UPWARD.

FIRST FOOT POSITION

HEELS TOGETHER, 90 DEGREES.

SECOND FOOT POSITION

RIGHT FOOT SIDEWARD.

THIRD FOOT POSITION

HEEL OF RIGHT FOOT DRAWN TO THE INSTEP OF THE LEFT FOOT.

FOURTH FOOT POSITION

RIGHT FOOT PLACED OBLIQUELY FORWARD WITH TOES POINTING OUTWARD.

FIFTH FOOT POSITION

HEEL OF RIGHT FOOT DRAWN TO THE TOES OF THE LEFT FOOT.

TOUCH STEP

POINT, CLOSE; 1, 2.

BLECKING STEP

HEEL-PLACE, CLOSE; 1, 2.

SLIDE STEP

SLIDE, CLOSE; 1, 2.

HOP STEP

STEP, HOP; 1, 2.

SWING STEP

STEP, SWING; 1, 2.

BRUSH STEP

STEP, BRUSH; 1, 2.

CLOSE STEP

STEP, CLOSE; 1, 2.

CHANGE STEP

STEP, CLOSE, STEP; 1, 2.

PLAIN POLKA

STEP, CLOSE, STEP; 1, 2.

PLAIN WALTZ

STEP, CLOSE, STEP; 1, 2, 3.

WALTZ BALANCE

STEP, HEEL-RAISED, DOWN; 1, 2, 3.

CROSS WALTZ

CROSS-STEP, CLOSE, STEP; 1, 2, 3

SINGLE-CIRCLE FORMATION

ONE ROUND IS ARRANGED; PERFORMERS MAY FACE THE CENTER OR FACE OUTWARD.