PED002 - DANCE

UNIT II: Rhythmic Training

and Movement
Fundamentals

Lesson 5:
Common
Dance Terms
and
Movements
Used in Folk
Dancing
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PEd002/P.E. 2 - DANCE

UNIT II: RHYTHMIC TRAINING AND MOVEMENT FUNDAMENTALS

Lesson 5 Common Dance Terms and Movements Used in Folk dancing

Objectives: At the end of the lesson, you are expected to:

1. Identify and describe common dance terms and movements used in folk
dancing;
2. Familiarize and perform properly the dance terms and movements;
3. Recognize the importance of mastery of the dance terms and movements in
learning Philippine folk dances;
4. Display interest and enjoyment in learning the dance terms and movements;
and
5. Appreciate the learning experience through movement.

In learning any kind of dance, basic dance terms and movements are very
important. Just like in Philippine Folk and Ethnic dances, familiarity and mastery of its
common dance terms and movements are the keys to success in learning the dances
itself. These would be helpful also in the interpretation of the Philippine folk and ethnic
dance literature especially in maintaining the originality and authenticity of the dance
and its meaning to the people. The following below are the common dance terms and
movements used in folk dancing.

Common Dance Terms and Movements

a. Dance Terms

1. SET. A dance formation like a square or a unit formation composed of two

or more pairs.

2. CABECERAS. When dancers are in a square formation, the couples

occupying the width of the hall are called “cabeceras” or head couples.
This is of Spanish origin.

3. COSTADOS. When dancers are in a square formation, the couples

occupying the length of the hall are called “costados” or side pairs. This is
of Spanish origin.
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4. CLOCKWISE. Like the motion of the hands of a clock, R shoulder is
toward the center of an imaginary circle. When facing center, the
movement is toward the left.

5. COUNTERCLOCKWISE. The reverse direction of clockwise, L shoulder

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

6. SUPPORTING FOOT. The foot that bears the weight of the body.

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

10. OUTSIDE FOOT. The foot away from one’s partner, when partners stand
side by side.

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

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

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

b. Individual Hand Movements

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

2. HANDS ON WAIST. Place hands at the waist line (at the smallest part of
the trunk), knuckles in, and fingers pointing in rear.
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3. 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.

4. 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.

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

6. MASIWAK. To turn the hand from the wrist half-way clockwise then raise
and lower wrist once or twice. This is a Tagalog term.

7. KUMINTANG. Moving the hand from the wrist either in a clockwise or

counterclockwise direction. This is an Ilocano term.

8. HAPAY. To flourish or offer a handkerchief, hat, or glass of wine to

somebody as a sign of invitation.

9. 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.

10. 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.

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

c. Individual Foot Movements

1. BRUSH. Weight in 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.
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2. PLACE. To put foot in a certain or desired position without putting weight
on it. The sole of the foot rests on the floor.
3. POINT. Touch the floor lightly with the toes of one foot, weight of the body
on the other foot.

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

5. 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.

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

7. 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).

8. JUMP. Spring from one foot or both feet, landing on both feet in any
direction.

9. LEAP. A spring from one foot, landing on the other foot in any direction
(forward, sideward, backward, or oblique).

10. 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.

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

12. 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.

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

14. WHIRL. To make fast turns by executing small steps in place to right or
left.
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15. PIVOT. To turn with the ball, heel, or whole foot, on a fixed place or point.

d. Pair/Group

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

2. 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.

3. CROSS OVER. Two couples (the vis-à-vis) are opposite each other. Each
couple proceeds in a straight line to the opposite place. The girls pass
their L shoulders between 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’ turnabout, girls stand
at partner’s right side.

4. DO-SI-DO (“DOS-A-DOS”). 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 a foreign origin and is used in many
Philippine dances.

5. 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.

6. STAR WITH RIGHT HAND. Four or more people join R hands at center
and circle around clockwise using walking or any kind of dance step.

7. STAR WITH LEFT HAND. Same as “star with right hand”, but joining L
hands and turning counterclockwise.

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