Lesson I: INTRODUCTION TO DANCE

Course Description

This course on dance includes rhythmical movement patterns; the promotion and
appreciation of Philippine folk dance, indigenous and traditional dances as well as other
dance forms. 

               
      
DANCE
 
The  word “Dance” come from an Old German word Danson Which means “ to strech”.
All dancing is made up of stretching and relaxing.
Dance Defines...

an art form that generally refers to movement of the body, usually rhythmic and
music, used as a form of expression, social interaction or presented in a spiritual or
performance setting.

 as an art that uses non- verbal movement in an ordinary way to create a form,
order, or statement
 as movement that transcends function and becomes communication.

Each dance elements contains movement concepts that make specific and destinctive.
In order to create and expressive and meaning dance, the dance artist ( or
choreographer) has to make decisions about the look, flow and timing of the
movements, drawing on the broad range of visual designs, qualities of emotion, and
rhythm that are possible in movement. These elements help a dance artist discover
movements which are expressive and unique. These three areas known as:
1. SPACE- encompasses the overall design of movement- where it takes place in the
space, as well as its size and shape.
2. ENERGY ( also called Force) involves the flow of motion- how movements are
animated by kinetic energy in distinctive ways.
3. TIME includes how fast or slows of the movement
ELEMENTS OF SPACE
- Refers to all the overall design of movement
- Both the shapes bodies make, and how the performing space is filled with bodies in
motion

1. Size describes the range of shapes and movements from small to big. In the whole
body warm-up, students extend their bodies into a big shape and make the small shape
by contracting all their muscles. Travelling steps in all sizes. Students may take very
small steps that look like tiny; they may take very large steps in giant, reaching lunges.
2. Level describes how high or low movement takes place in relation to the ground. The
students will explore their personal space by reaching their arms to the top (high), and
to the bottom (low). In a normal standing position, they are at medium level.
3. Shape refers to the designs the body makes in the space. (e.g. curved, straight)
4. Directions refer to both the directions of the body and the directions in the space.
Directions of the body are determined by how you are facing. The front, back, and
sides of the body lead us in motion.
5. Pathway refers to the design of the path made by body parts or the whole body while
travelling through space. (e.g. straight, curved, circular, zigzag).
6. Relationships describe our proximity to people and things. Students can move near
each other in a small place and can be apart to each other in a bigger place.

ELEMETS OF ENERGY
 (also known as force) gives movement varying degrees of expressive intensity by how
it is released in motion.

1. Force is the amount of energy expended in the movement. It can be strong, as

exhibited in the punch, or light, as expressed in a floating movement.
(e.g. strong or weak energy)
2. Weight reflects our relationship to gravity. (e.g. heavy or light movements)
3. Quality refers to the flow of energy in movement. (e.g. smooth, sharp or swing).
4. Stillness refers to the absence of visible motion.
 Active stillness does not move but it’s still filled with energy. Active stillness is the
energy we use when engaging in freeze action.
 Passive stillness refers to the absence of motion and animating energy. Letting all the
energy drain out of the body while either sitting or lying down and let the students relax
and refocus their energy.

ELEMENTS OF TIME
refers to how fast or slow movement is, and how it unfolds rhythmically
1. Speed is like tempo in music and refers to the rate at which movements occur. (e.g.
slow, fast, accelerate and decelerate)
2. Rhythm is the underlying pattern that gives order to music and dance
(Fowler 1994)
Lesson II: INTRODUCTION TO PHILIPPINE FOLKDANCE

 FOLK DANCE
 is a form of dance developed by a group of people that reflects the traditional life of the
people of a certain country or region.
     Objectives of Philippine Folk Dance

1. To commit to the ideals of cultural development as a vital factor in nation-

building.
2. To enhance the cultural values demonstrated in various folk dances aesthetically,
morally, and physically.
3. To actively participate in folk dancing for its intellectual, moral, and aesthetic
values.
4. To disseminate Philippine traditional dances in its pure and authentic form.
5. To appreciate folk dances as a cultural legacy and to show to other nations the
identity of the Filipinos as a people.

1. 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.
2. 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.
3. Clockwise- like the motion of the hands of the clock. R shoulder is toward the center
of an imaginary circle.
4. Counterclockwise- the reverse direction of clockwise. L shoulder is toward the center
of an imaginary circle.
5. Cut- to displace quickly one foot with the other, thus completely taking off the weight
of the body from the displaced foot.
6. Do-si-do- the vis-à-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 is used in
many Philippine dances.
7. Free foot- the foot not bearing the weight of the body.
8. Free hand- the hand not placed anywhere or not doing anything.
9. Hands on waist- place hands at the waistline.
10. “Hayon-hayon”- to place one forearm in front and the other at the back of the waist.
This is
a Visayan term.
11. 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).
12. Inside foot- the foot nearest one’s partner, when partner stand side by side.
13. Inside hand- the hand nearest one’s partner, when partner stand side by side.
14. “Jaleo”- partners turn once around clockwise (with R elbows almost 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 of Spanish origin.
15. Jump- spring on one foot or both feet, landing on both in any direction.
16. “Kumintang”- moving the hand from the wrist either in a clockwise or
counterclockwise
direction. This is an Ilocano term.
17. Outside foot- the foot away from the one’s partner, when partners stand side by
side.
18. Outside hand- the hand away from one’s partner, when partners stand side by side.
19. Place- to put foot in a certain or desired position without putting weight on it. The
sole of
the foot rest on the floor.
20. Pivot- to turn with the ball, heel, or whole foot, on a fixed place or point.
21. Point- touch the floor lightly with the toes of one foot, weight of the body on the other
foot. 22. “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.
23. “Saludo” -partners bow to each other, to the audience, opposite dancers, or to the
neighbors
with feet together. This term is of Spanish origin and is used in almost all Philippine
dances. 24. “Sarok”- Cross 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.
25. Slide- to glide foot smoothly along the floor. The movement may be finished with or
without
transfer of weight.
26. Stamp- to bring down the foot forcibly and noisily on the floor (like doing a heavy
step)
with or without transfer of weight.
27. Step- to advance or recede by raising or moving one foot to another resting place.
There is a
complete transfer of weight from one to another.
28. Supporting foot- the foot that bears the weight of the body.

Fundament Arm Position

Fundamental Feet Position 
Fundamental Arm and Feet Position
Fundamental 
Performance Task:
1. The teacher will demonstrate the dance in 2/4 and 3⁄4 time signature.
2. Give them time to practice with their partner to memorize the fundamental dance
steps.
3. Let the students execute the dance steps in 2/4 and 3⁄4 time signature with music.
Touch step- Point R foot in front( ct. 1), step R close to L (ct. 2). This is commomnly
done in front. =1M

Close step- Step R foot (ct. 1), close L to R foot (ct. 2) = 1M This may be executed in
any directions

Change Step- Step R foot in front (ct. 1), step L close to R foot in rear (ct. and), step R
foot quickly in front (ct. 2). This may be executed in any directions.

Step-Point- Step R foot in front( ct. 1), point L foot in front (ct. 2) This step is executed
in all directions.

Plain Polka- Step L foot in front (ct.1), step R close to left foot in rear (ct. and), step L in
front (ct.2), pause (ct. and).

Hop polka- Hop on L foot and step R forward (ct.1), step L close to R in rear (ct. and),
step R foot forward (ct. 2) and pause (ct. and). This may be executed in any directions.
Heel and toe polka- Place L heel in fourth in front (ct.1), touch left toe in rear ( ct. 2),
Take one plain polka step forward, starting with the L foot (ct. 1, and 2, and).
Slide polka- Take two slide step forward and a plain polka: Slide L foot in front (ct. 1),
close R to L foot in rear ( ct. and), slide R foot in front ( ct. 2), close L foot in rear ( ct.
and). Take one plain polka forward starting with the L foot (cts. 1, and 2, and)

Some dance steps done in 2/4 time rhythm can also be done in 3⁄4 time. Review the
step patterns of the following basic dance steps which are done in 3⁄4 time and identify
which dance step can be done in 2/4and 3⁄4 time signature.

Touch step- Point R foot in front( ct. 1 ), step R close to L ( ct. 2, 3 ). This is

commomnly done in front. =1M

Step point- Step R foot in front ( ct. 1), point L foot in front (cts. 2, 3 ) This step is
executed in all directions.

Step swing- Step R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3)Step
hop step R (cts. 1,2); hop R (ct. 3) =1M

Close step- 1) Step R foot ( cts. 1 ), close L to R foot (cts. 2, 3 ) = 1M, ` or

2) Step R foot ( cts. 1, 2 ), close L to R foot (ct. 3) = 1M This may be executed in any
directions
Native waltz- Step L foot in front (ct.1), step R close to L in rear (ct.2), step L in front
(ct.3)
This may be executed in all directions.

Cross waltz- Step R foot across the L foot in front and raise slightly the L foot across in
rear (ct.1), step the L foot close to R in rear( ct.2), step R foot in front (ct. 3). Step on the
ball of the rear foot on the second count.

Waltz balance- Step R in front (ct.1), close L foot to R in rear and raise heels (ct.2),
lower heels with the weight of the body on the R foot (ct.3). The knees are slightly bent
before raising the heels. This may be executed forward, backward, obliquely forward
and backward, sideward right and left.

Three-step turn- step R (ct. 1) turn and step L(ct. 2); turn and step R (ct. 3); close L to
R (ct. 1); pause = 1M

The first step is usually done obliquely forward, cts. 1, 2, the cross-step is done
sideward (ct. 3). The succeeding step is done obliquely backward (ct. 2) and the last
two counts are done in front, in place. Arms open from the first position to the fourth
position R or L arms high. Kumintang R (L) hand when pointing with L (R) foot on cts. 2,
3 of the second measure.
Sway balance with a point- step R, cross step L /step R, point L (1, 2 3 1 2, 3) = 2M

Sway balance with a brush

step R, cross step L /step R, brush L (1, 2 3 1 2, 3) = 2M
Sway balance with a close
step R, cross step L/step R, close L (1, 2 3 1 2, 3) = 2M

Sway balance with a hop

step R, cross step L /step R, raise L, hop (1, 2 3 1, 2, 3) = 2M

Sway balance with a raise

step R, cross step L /step R, raise L (1, 2 3 1 2, 3) = 2M

Sway balance with a waltz

stepR,crossstepL/stepR,closeL,stepR (1,23123) = 2M

(Tagalog)
A successful and bountiful harvest is propitious occasion for celebration.
Kasaganaan which means prosperity is danced at these harvest festivals. It is a
common practice in many regions in the Philippines to hold a harvest festival especially
when the harvest is good it is an expression of thanksgiving. Dancing, singing, feasting
with the traditional lechon, pig roasted whole and drinking tuba, lambanog, or basi are
features of celebration. Good dancers are chosen to start the dance and the
Kasayahan, Alay or any lively dances like Jotas, Pandanggos, Curachas may be
performed in a short program on honor of the hosts. Usually the merrymakers are the
workers and farmhands and the landlords and their families. Generous landlords
oftentimes throw coins at the dancers and distribute money to the children. This
generous gesture is called pasabog or sura in the Tagalog regions.

COSTUME Girl wears the traditional balintawak costume with tapis and panuelo
(panyo) around neck. Boy wears barong tagalong and red, white or any colored
trousers.
MUSIC is divided into two parts: A and B
COUNT one, two, three to a measure.

FORMATION Partners face each other at six feet apart. When facing audience,
Girl is right side of Boy. Any number of pairs may take part in this dance.
INTRODUCTION
Music Introduction
.
Partners face audience

(a) Close steps sideward, R and L. girl holds skirt, Boy hands on waist ..... 2M
(b) Execute a three-step turn in place (cts. 1, 2, 3). Point L foot in front, Girl holds skirt,
Boy places hands on waist (cts. 1, 2, 3) .......... 2M

-I-

Music A

Partners face each other.

a. Waltz sideward, R and L with the arm in lateral position. Move the arms sideward
right
and left .......... 2M
b. Execute a three-step turn in place (cts. 1, 2, 3). Point L foot in front, Girl holds skirt,
Boy
places hands on waist (cts. 1, 2, 3) .......... 2M
c. Repeat (a) and (b), starting with L foot. Reverse direction of arms in (a) ... 2M
d. Waltz R forward and L backward to the left alternately with the free hand of Girl
holding
the skirt and the Boy’s .......... 2M
e. Grapevine to partners place, passing front-to –front- step R foot sideward (cts. 1, 2),
step L foot across R in rear (ct. 3), step R sideward (cts. 1, 2), step L across R in front
(ct.3). Repeat once more the two measures. Finish in partner’s place. Girl holds skirt,
Boy
places hands on waist
Partners face each other.
Repeat all (a-c). Finish in proper places
II
Music B
Partners face each other.
.......... 4M
.......... 16M
-II-
a. Sarok with R foot over L foot, bend trunk slightly forward and cross. Forearm in front
with R forearm over L in front (cts. 1, 2, 3). Point R foot sideward. Trunk erect, arms in
second position (cts. 1, 2, 3) .......... 2M
b. Waltz R sideward (cts. 1, 2, 3), brush L forward (cts. 1, 2, 3). Arms in fourth position,
R arm high .......... 2M
c. Repeat (a) and (b), starting L foot, reverse position of arms .......... 4M
d. Repeat (a) and (b) 4M
..........
e. Starting with L foot, take two waltz turns, moving sideward left (using two waltz steps
for every turn). Forearm turn, L and R alternately every measure .... 4M
f. Repeat all (a-e) starting with L foot. Reverse direction and position of arms. Finish in
proper places .......... 16M
III
Music A
Partners face each other.
a. Step R foot obliquely right (ct.1), brush L forward (ct.2), hop on R in place (ct.3).
Waltz
L forward to be in line at center by L shoulders (cts. 1, 2, 3). Swing both arms to fifth
position .......... 2M
b. Starting with R foot, take two slide steps backward to proper places. R arm in fifth
position, L hand of Girl holding skirt. That of Boy is placed on waist. Reverse position of
arms on the second slide step .......... 2M
c. Waltz sideward, R and L alternately. Arms in lateral position, moving sideward right
and
left alternately .......... 2M
d. Execute a three-step turn right in place (cts. 1, 2, 3) close L to R foot (ct.1), pause
(cts. 2,
3) Girl holds skirt, Boy places hands on waist .......... 2M
e. Repeat all (a-d), starting L foot, reverse direction and position of arms .
f. Repeat all (a-e)
...... 8M
16M
IV
Music B
R shoulder toward each other.
a. Starting with R foot, take two cross steps sideward right going toward partners place,
passing front-to-front. Girl holds skirt, boy places hands on waist....... 2M
b. Waltz turns to partners place (using two waltz steps), finish facing each other.
Forearm
turn, R and L alternately .......... 2M
c. Take four touch steps in front, R and L alternately. Hands as in (a) ......... 4M
d. Take two double sway balance steps, R and L alternately. Arms in fourth position, R
arm
high on the first two measures and hands of Girl holding skirt, those of Boy are on waist
on the two measure. Reverse position of arms when starting with L foot
..........
Turn R shoulder toward each other.
e. Repeat all (a-d). finish in proper places in (b)
8M
16M

-SALUDO-
Music Finale.
Partners face audience
Pause (cts. 1, 2, 3). Execute a three step turn right in place (cts. 1, 2, 3). Feet together
and pause (cts. 1, 2, 3). Bow to audience (cts. 1, 2, 3), trunk erect pause (cts. 1, 2, 3).
Girl holds skirt, Boy places hands on waist .......... 5M
Pause (cts. 1, 2, 3). Execute a three step turn right in place (cts. 1, 2, 3). Feet together
and pause (cts. 1, 2, 3). Bow to audience (cts. 1, 2, 3), trunk erect pause (cts. 1, 2, 3).
Girl holds skirt, Boy places hands on waist .......... 5M