PE

Occupational Dances

depicting action of certain occupation, industry, or human labor.

Religious or Ceremonial

performed in connection with religious vows and ceremonies.

Comic Dances

depicting funny movements for entertainment.

Game Dances

done with play elements (dance mixers).

Courtship Dances

depicting love making.

Wedding Dances

performed during wedding feasts.

Festival Dances

suitable for special occasions or any social gathering.

War Dances

showing imaginary combat or duel.

Religion

Claudia Chapline writes of a religious dance which purposed to protect the church from the outer world. The ancient Hebrews danced their prayer and praise and were instructed in the Old Testament to “Praise Him with the tumbrel and dance (Psalm 150)”. The earliest Christian ritual, the “Hymn of Jesus”, as described in the apocryphal Acts of John, written about A.D. 120, was a sacred dance in which the Apostles, joining hands, circled slowly around Christ singing a hymn. This mystic circle was used as a symbol for the protection of the Church from the outer world. (Chapline, 1957).

Occupation

Traditional mimetic occupational dances were taught and depict the processes involved in the trade. Passed from generation to generation, they were one means of preserving folk customs.

Climate

The climate of the country affects the quality of the dance movement. The dance movements in countries with colder climates tend to be very vigorous: in the hot humid climates the movements tend to flow and appear effortless. The tempo of dance, however, is not necessarily influenced by the climate since climate vary; more often, it is the purpose

of the dance which determines the tempo.

Geography

plays an interesting and significant influence on dance. People who live in the mountains, by necessity, dance in a very small space. The style of movement is influenced by the actual ground upon which they danced. Mountains, as physical features, have served to preserve folk dances in their original form. Plains, valleys, and rivers, as physical features, are more favourable to interchange of dances.

Music

is the twin sister of dance. It is intimately related to movement in dance. The differences in the dance are largely due to the characteristic features of the music of a particular group of people. It is predominantly music which reveals the often subtle differences in the performance of an otherwise commonly shared step pattern. Further, it is music which gives to a common step pattern, the unique characteristics inherent in a group’s cultural background.

Costume

is determined by two basic factors, climate and geography. A costume is utilitarian in purpose; essentially it serves to protect the body form the elements and to suit the life and work of the owner. Furthermore, as individuals and groups become more sophisticated, costumes were to indicate status, prestige, and wealth. The style and range of dance movement may be unlimited or highly restricted depending upon the material and cut of the foot wear, skirt, trousers, or head gear worn by the dancer. Contrast, for example, the unlimited freedom and balance exhibited by the barefoot dancer of the Cordilleras. The role articles of attire play in forming dance movement is an important element in studying the style and background of the dance.

Baro’t Saya

Collarless blouse called ____ and an all-purpose wrap around skirt metamorphosed into the long skirt called ____. This two-piece ensemble usually supplemented by the ancient tapis used as an over skirt, and eventually by the square kerchief called alamapay worn so that it covers the bossom.

Maria Clara

In the 1900s was used to refer to the 19th century terno. The camisa was made of embroidered jusi or piña, its bellshaped sleeves gathered at the shoulder and flowing out to the wrist, worn with a pañuelo of the same material draped around shoulders, and with a multi-paneled skirt of heavy satin.

Traje de Mestiza

Became popular during American colonial period. The camisa became a clinging bodice. With sleeves pushed up and the saya deflated to a slim column. The long train which was either pointed, oval or square. A recreated tapis displaying dazzling patterns and dexterous beadworks matched the hauteur pañuelo.

Balintawak

A 1930’s shortened skirt worn during picnics and other excursion activity into the countryside and associated to Antipolo, a favorite summer destination for Manila dwellers. Less formal style of Filipina native dress which does not make use of a soft or stiff pañuelo, but soft draped kerchief on the shoulders or neatly folded large kerchief over

one shoulder.

Terno

From the Spanish word means “to match”. A one-piece creation with both bodice and skirt. pañuelo-less and the bodice became fitted. The silhouette of the traditional baro’t saya were modified and stylized. Also known as mestiza dress.

Dance

an art form expressed in movement. It attempts to convey ideas or feelings through carefully selected patterns which are arranged in a form judged to be best to meet the needs of that particular communication.

Choreography

the art of creating ideas.

Dance

An elegant and regular movement harmoniously composed of beautiful body attitudes and contrasted graceful posture of the body and parts hereof to the accompaniment of the music.

Design

patterns in shape and time.

Dynamics

variations, changes, and contrasts within an existing time-space, bringing about excitement and heightened interest.

Energy

strength, power of force for action.

Ethnic

coming from or belonging to the distinctive cultural or aesthetic traditions of a

particular country or people

Folk

Originating among or representative of the common people.

Folk art

the traditional typically anonymous art of the people that is an expression of community life.

Folk Dance

a traditional dance of a given country which had been evolved by them instinctively and spontaneously in conjunction with the everyday activities and experiences of the people who developed them

Gesture

movement used to emphasize idea or emotions.

Improvisation

to simultaneously compose or to perform or to extemporize.

Measure

grouping of beats.

Modern dance

Is a theatrical dance of contemporary approach, technique or style, emerging from and reflective of the 20th century. Isadora Duncan and Ruth St. Denis are considered the founders of American modern dance.

National dance

a folk dance which is popularly danced in most parts of a specific country.

Set

a dance unit or formation

Abrasete

Girl at the R side, holds the R arm of partner with her L hand, free hand down at sides.

Arms in lateral position

both arms are at one side, either R or L.

Arms in reverse “T” position

arms are horizontally sideward, elbows at right angles, forearms parallel to head, elbows are at shoulder level, fist slightly closed, facing eacho ther.

Bilao

bend elbows close to waist, hand sin front, fingers point forward, palms down. Turn hands up and down alternately

Brush

to hit the floor with the ball or heel of one foot after which that foot is lifted from the floor in any direction.

Cabeceras

Dancers are in a square formation; the couples occupying the width of the hall.

Cast-off

dancers are in a long way formation, head or lead couple counter match outward to the end of the line where the last couple was, counter match inward to proper places.

Clockwise

Following the direction of the hands of the clock. The R shoulder is toward the center of an imaginary circle.

Costados

dancers are in a square formation; the dancers occupying the length of the hall are called costados or side couple

Counterclockwise

the reverse direction of clockwise – the L shoulder is toward the center of an imaginary circle.

Cross-over

two couples are opposite each other. Each couple proceeds in a straight line to the opposite place. The girls pass by their L shoulders between the boys. Boys bow to each other when they meet at the middle or about one third of the way then proceed to the opposite place. Upon reaching the opposite place, partners turn R about, girls stand at partners’ right side.

Curtsy

point the R foot in rear of the L foot: bend knees slightly.

Do-si-do (dos-a-dos)

partners are facing each other. Starting with the R foot, take 3 walking steps forward to partners place passing each other by the R shoulders; step the L foot across the R foot in front; without turning around, take three steps backward to proper places. Close L to R.

Folded arms

bend arms in front of the chest and put one forearm on top of the other.

Cut

to display quickly one foot with the other.

Free foot

the foot not bearing the weight of the body.

Free hand

the hand not placed anywhere or not doing anything.

Hapay

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

Hayon-hayon

to place one forearm in front of the waist and the other at the back of the waist.

Inside hand/foot

the hand or foot nearest one’s partner when standing side by side.

Jaleo

R hand on waist – elbows almost touching, partners turn around once clockwise using any kind of dance steps.

Kewet

with fist slightly closed, thumb sticking out turn the wrist around.

Kumintang

moving the hand from the wrist either in a clockwise or counter-clockwise direction.

Link elbow – or hook elbows

hook elbows with partner or any dancer.

Masiwak

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

Outside hand/foot

the hand or foot away from one’s partner when standing side by side.

Panadyak

to stamp, in front or at the side with the R foot and tap with the same foot close to the L foot.

Place

to put the sole of the whole foot in a desired position without putting the weight on it.

Point

to touch the floor lightly with the toes, no weight.

Salok

to swing the arm downward upward to fifth position passing in front of the body as if scooping. The trunk is bent forward following the movement of the arm doing the salok.

Saludo

with feet together, partners bow to each other, to audience, or to opposite dancer.

Sarok

with the weight on the L foot, point R foot across the L foot in front, bend the body slightly toward the pointing foot and across the R arm over the L arm.

Stamp

to bring down the foot forcibly and noisily on the floor.

Tap

flexing the ankle point, rap lightly with the ball or toe of the free foot.

Whirl Turn

rise on toes and make fast turns by executing mincing steps in place.

Couple Position

dancers join hands, shoulder level

Escort Position

girl holds the R arm of the boy with her L hand

Conversation Position or Flirtation Position

girl’s L hand is placed on the R shoulder of the boy. Boy’s R hand is placed around the girl’s waist.

Facing Position

facing each other, join both hands, chest level or a little lower.

Wrap Position

partners face audience, boy stands slightly behind girl. Girl crosses arms (R over L) in front of the waist. Boy holds the L hand of the girl with his own L hand and the R hand of the girl with his own R hand.

Back-Crossed Arm Position

same as front crossed arm position but the arms are crossed at the back.

Promenade or Skater’s Position or Front Crossed-Arm Position

partners face audience. Boy holds R hand of the girl with his own R hand and the L hand of the girl with his L hand.

Varsovienne Position

boy stands slightly behind girl; extend R arms diagonally upward R and L arms in second position.

Reverse Varsovienne Position

same as varsovienne position except that the boy stands in front of the girl. Slightly to the R.

Swing-Out Position

join inside hands, outside hands in second position. Partners face slightly toward audience.

Shoulder-Waist Position

partners face each other, girl places both hands on boy’s shoulders. Boy places both hands on girl’s waist.

Close Ballroom Dance Position

partners are facing each other. Girl’s L hand is placed on the R shoulder of the boy. Boy’s R hand is placed on the L waist of the girl. Outside hands joined and are extended toward the audience

Open Social Ballroom Dance Position

same as close ballroom dance position except that the dancers are facing audience.

Star Position

dancers face opposite direction. Inside hands are joined.

Touch Step (Simplified: Point, Close or Point, Close)

a. Point R foot in fourth in front ct. 1 cts. 1, 2 or ct. 1
b. Step R close to L ct. 2 cts. 3 or cts. 2, 3
(Simplified: Point, Close or Point, Close) 1, 2, 1, 2, 3

Step point (Simplified: Step, Point or Step, Point)

a. Step R in fourth in front ct. 1 ct. 1 or cts. 1, 2
b. Point L in fourth in front ct. 2 cts. 2, 3 or 3
(Simplified: Step, Point or Step, Point) 1 2, 3 1, 2, 3

Hop-Step (Simplified: Step, Hop, or Step, Hop)

a. Step R in fourth in front ct. 1 or cts. 1, 2
b. Hop on the same foot and raise The L foot in front or in the rear ct. 2 or 2, 3

(Simplified: Step, Hop, or Step, Hop) 1 2 1, 2 3

Hop-step (Simplified: Step, Hop, or Step, Hop)

a. Step R in fourth in front ct. 1 or cts. 1, 2
b. Hop on the same foot and raise The L foot in front or in the rear ct. 2 or 2, 3
(Simplified: Step, Hop, or Step, Hop) 1 2 1, 2 3

Step-Swing (Simplified: Step, Swing or Step, Swing)

a. Step the R foot in second position ct. 1 or ct. 1, 2
b. Swing the L foot across the R foot in front. The knee is slightly bent, toes pointing downward. ct. 2 or cts. 2, 3
(Simplified: Step, Swing or Step, Swing) 1 2, 1, 2 3

Step-Swing-Hop (Simplified: Step, Swing, Hop)

a. Step R foot in fourth in front ct. 1
b. Raise the L leg across the R knee in front ct. 2
c. Hop on the R foot at the same time
Swinging the L leg across the R knee In front, (toes pointing downward) ct. 3
(Simplified: Step, Swing, Hop) 1 2 3

Step-Brush-Swing-Hop ¾ (Simplified: Step, Brush-Swing, Hop)

a. Step R foot in fourth in front ct. 1
b. Brush the L foot forward and swing it Across the R in front ct. 2
c. Hop on the R foot ct. 3

(Simplified: Step, Brush-Swing, Hop) 1 2 3

Slow Bleke (Simplified: Heel place, close or heel place, close)

a. Place the R heel in fourth in front ct. 1 or cts. 1, 2 or ct. 1
b. Close the R foot to L ct. 2 or ct. 3 or cts. 2,3
(Simplified: Heel place, close or heel place, close) 1 2 1, 2 3

Fast Bleke

a. Hop on L and place R heel in fourth in front ct. 1
b. With a spring, reverse the position of the feet ct. 2

Close Step (Simplified: Step, Close or Step, Close)

a. Step r fourth in front ct. 1 cts. 1, 2

b. Close L to R foot ct. 2 ct. 3

(Simplified: Step, Close or Step, Close)

1 2 1, 2 3

Slide Step (Simplified: Glide, Close)

a. Glide or slide R foot in fourth position in front ct. 1

b. Close L foot in third position in rear or in first position ct. 2

(Simplified: Glide, Close)

1 2

Cut Step

a. With the R foot slightly raised in front, displace the

L foot with the R foot backward ct. 1

b. Displace R with the L foot forward ct. 2

Note: ____ can be done sideward or diagonally backward and forward.

Grapevine (Simplified: Side, Rear, Side Front or Side, Front, Side, Rear)

a. Step R sideward R ct. 1

b. Step L across the R foot in rear (or in front) ct. 2

c. Step R sideward R ct. 1

d. Step L across the R foot in front (or in rear) ct. 2

(Simplified: Side, Rear, Side Front or Side, Front, Side, Rear)

1 2 1 2 1 2 1 2

Contraganza (Simplified: Leap, Cross-Step, Step)

a. Leap sideward R ct. 1

b. Cross the L foot over the R foot in front and step on it ct. and

c. Step the R foot close to the L foot ct. 2

(Simplified: Leap, Cross-Step, Step)

1 & 2

Rocking Step

a. Raise R foot slightly in front in preparation:

Fall onto the R foot in front raising the L foot in rear ct. 1

b. Fall onto the L foot in rear and raise R foot in front ct. 2

Note: The movement is done in a rocking motion.

Mincing Step 2/4

S.P. a. Feet either in third or in fifth position,

R foot in front, heels raised.

b. Execute tiny steps sideward as many time as desired. cts. 1 and 2 and to a measure