M1S1: History and Elements of Dance Mental/Emotional o Contributes to the individual's potential for self-

actualization in society
What is Dance? - Dance can be used as intervention in mental health
nursing. They revealed that dance can offer “an acceptable Cultural
- Dance differs from athletic or other daily activities because it way to release emotional and physical pressure. “Since
focuses primarily on “an aesthetic or even entertaining majority of the problems of mental health nurses is in dealing - Dance promotes a place or a country's rich culture
experience”. with their patients, it was suggested that dance may be applied through showcasing the different cultural dances. The
- People dance for many reasons such as: as it is useful in facilitating “non-verbal communication by people around the world are brought to “a closer understanding
o to please the gods; offering a clear structure for being together. (Ravelin et. al., of the lives of the people represented and to an appreciation of
o to please others; 2006) their respective folk cultures “through the folk dances of a
o to please themselves or self-expression; and - Dancing also gives other psychological health benefits as specific country (Duggan, Schlottmann, Rutledge, 1948)
compared to other forms of exercise. A study published in - It is through looking at the different dances of other countries
o build a community within at ethnic group or social
the journal “Neurobiology of Aging” adds to evidence that will one see the value of one's culture.
interaction (Myers, 2005)
exercise can help keep a brain sharp (Keller 2007; Childs, o Promotes cultural values
2007; Ravelin et. al. 2006)
Benefits of Dance and Creative Movement o Helps keep the brain sharp
o Decreases incidence of dementia and Alzheimer's Elements of Dance
Physical
disease
- The human body is living in time and space, and it exhibits
- When done regularly, dancing is a good way to develop o Decrease depressive symptoms
some effort. Thus, all movements occur in time, through
cardiovascular and muscular endurance, body composition o Increases self-esteem and improves body image
space, and with effort (Schrader, 1996)
(Malvar 2006) as well as balance and flexibility (Fine 1981; o Aids in releasing emotional and physical tension - Dance entails a lot of movements, it uses the very same
Keller, 2007; Childs, 2007). elements, space, time, and energy. These elements are
- Dance training also improves coordination (Rickett-Young beneficial to anyone interested in recognizing, analyzing, or
1996) Social
creating movement.
- An increase fitness results in great lowering of the body - Dance provides a unique opportunity for meaningful group
mass index and resting heart rate for those who engage in a involvement as it encourages intense, positive social Space
dance-based fitness activity compared to those who engage in interaction and interpersonal relationships in a working group.
other physical activity. (Flores, 1995) - This is the area the performers occupy and where they
They believe that “it contributes to each individual's potential move. It can be divided into four different aspects, also known
o Develops cardiovascular & muscular endurance for the fullest possible self-actualization in society” (Kraus and
o Improves coordination, balance, flexibility, and body as spatial elements.
Gaufman, 1981) o direction - dance movements can travel in any
composition - It also gives a sense of togetherness in a group. For recent
o Lowers risk of cardiovascular diseases direction. The performers can go forward, side,
years, varieties of dance-based group fitness formats have backward, diagonal, circular, and so on. They may
o Lowers body mass index been formulated and have been in demand. One of the also face any direction while executing a single
o Lowers resting heart rate reasons why there has been a tremendous growth of movement or several phrases.
o Improves lipid metabolism dancebased fitness regimens is the increasing need for
o Enables joint mobility (hop motion and spine selfexpression and social interactions amongst men and o size - movements can be varied by doing larger or
flexibility) women in the new millennium (Childs, 2007) smaller actions
o Helps improve & maintain bone density o Gives sense of togetherness within a group
o helps recover coordination & neuromuscular skills o Encourages positive social interaction and
after injury interpersonal relationship in a group

Arma, Allyssa R.
 o level - movements can be done in a high, medium, o suspended - movements are perched in space or M1S2: Basic Steps of Dance and Fundamental
or low level. hanging on air. holding a raised leg in any direction Positions of Arms and Feet in Folk Dance
is an example of a suspended movement.
o focus - performers may change their focus by 1st Position
looking at different directions. o collapsing - movements are released in tension
and gradually or abruptly giving in to gravity, letting - Raise arms to a circle in front
Time the body descend to the floor. A slow collapse can be - Bring heels close to touch, toes apart
- Movements in timing may be executed in varying tempo. described as a melting or oozing action in a
(speed). Performers move with the tempo of an underlying downward direction. (Minton, 2007)
sound, known as beat or pulse. The timing can be varied by
moving faster or slower than the normal beat. When a
sequence of a movement or group of phrases is done in
varying tempos, they generate rhythmic patterns. The addition
of silences or pauses also adds to rhythmic patterns.
Bodily Shapes

Dance Energies - It refers to how the entire body is molded in space or the 2nd Position
configuration of body parts. The body can be rounded,
- The movements here propelled by energy or force. A force angular, or a combination of two. Other body shapes can be - Open up arms sideward, raised below shoulder level with a
can either initiate or stop an action. Dance uses different from wide to narrow and from high to low. They can be graceful curve
energies and a varied use of these minimizes the monotony of symmetrical and asymmetrical. - Bring feet apart sideward
the movements in a performance. There are six qualities of o symmetrical - balanced shape; movements are
dance energies presented below: practically identical or similar on both sides.
o sustained - movements are done smoothly,
continuously, and with flow and control. It does not o asymmetrical - unbalanced shape; movements of
have a clear beginning and ending. two sides of the body do not match or completely
different from each other.
o percussive - movements are explosive or sharp in
contrast with sustained movements. They are
accented with thrust of energy. They have a clear
beginning and ending Group Shapes 3rd Position

- In this element, a group of dancers perform movements in - Raise one arm overhead while other arm remains in 2nd
o vibratory - movements consist of trembling or different group shapes. They are arranged in ways that are position
shaking. A faster version of percussive movements wide, narrow, rounded, angular, symmetrical, or asymmetrical - Bring the heel of one foot to touch the instep of the other foot
that produces a jittery effect. and are viewed together as a total picture=e or arrangement
within a picture farm (Minton, 2007)
o swinging - movements trace a curved line or an arc
in space. The movements are relaxed and giving in to
gravity on the downward part of the motion, followed
by an upward application of energy.

Arma, Allyssa R.
 Folk Dance - Time Signature - 2/4
- Rhythmic Counts Per Measure - 1, and 2
- is a form of dance developed by a group of people that - (count 1) step right (left) foot in fourth position in front,
reflects the traditional life of these people of a certain - (count and) step left (right) foot close to right (left) foot in third
century per region position rear or in the first position,
- Set - (count 2) step right (left) foot quickly in fourth position in front
o is a dance formation of two or more couples
- Saludo
o It means to bow
Polka
- Arms in lateral position
4th Position o both arms are in one side at shoulder level - Time Signature - 2/4
- Bend - Rhythmic Counts Per Measure - 1, and 2, and
- Raise one arm in front of chest in semi circle, while other arm o to move the body or part around the wide axis - (count 1) step left (right) foot in fourth position in front,
remains overhead - Padyak - (count and) step right (left) close to left (right) foot in third
- Bring one foot in front of the other foot to walk strike o to stamp or tap with one foot position in rear,
- (count 2) step right (left) foot in fourth position in front, (count
and) pause.
Fundamental Steps in Folk Dance - Bend the body to the same direction of the spot.

Waltz
- Time Signature - 3/4 Mazurka
- Rhythmic Counts Per Measure - 1, 2, 3 - Time Signature - 3/4
- (count 1) Step left (right) foot in fourth position in front, - Rhythmic Counts Per Measure - 1, 2, 3
- (count 2) Step right (left) close to left (right) in first or third - (count 1) slide right (left) foot in second position,
position in rear, - (count 2) cut right (left) foot sideward with the left (right),
5th Positon - (count 3) Step left (right) in fourth position in front. - (count 3) hop on the left (right) foot and beat in rear or in front
the right (left) foot close to the ankle of the left (right) foot.
- Raise both arms overhead in a graceful curve - This is executed with one foot always leading and may be
- Bring the heel of one foot to touch the toe of the other Gallop
done in any direction
- Time Signature - 2/4 Rhythmic
- Counts Per Measure - 1, ah, 2, ah (count 1) step right (left) foot
in fourth position in front, (count ah) cut the right (left) foot with
the left (right) thus displacing it and at the same time taking the
weight of the body with the left (right) foot, (count 2) repeat Sway Balance (with a close, brush, hop, raise, waltz)
counts 1 and ah. This is executed with one foot always leading
- Time Signature - 3/4
and may be done in any direction. There are two gallops to one
- Rhythmic Counts Per Measure - 1, 2, 3 to a measure (2
measure
measures)
- Footwork:
o (count 1,2) step right (left) foot obliquely forward right
Change Step or Two-Step (left),
Arma, Allyssa R.
 o (count 3) step left (right) foot across the right (left) foot Touch Step (2/4 time) - Are the indigenous dances of any specific “folk” or the
in front, common people. They are traditional customary or
- Time Signature - 2/4 time (Allegro) recreational dance forms of a given country which have
o (counts 1,2) step right (left) obliquely backward right
- Rhythmic Counts Per Measure - 1, 2 evolved naturally and were handed down across generations.
o (count 3) close/point/brush/hop/raise/waltz left (right)
- (count 1) point right (left) foot in fourth position in front, - Folk dances are related to everything of importance in our daily
foot in fourth or third position in front. - (count 2) step right (left) foot close to left (right) foot in first
- Arms: lives, such as customs, rituals and occupations of a
position, or; specific group of people. Most of these dances are related in
o In fourth position with right (left) arm high. Kumintang - (count 1) hop on left (right) and point right (left) foot in front,
right (left) hand when pointing with the left (right) foot origin to religious belief, stemming from emotions,
- (count 2) with a spring, reverse the position of the feet, that is, superstitions, festivals, ceremonies of birth, courtship,
on counts 2, 3 of the second measure pointing the left (right) in front and the right (left) taking the marriage, death, war, and countless themes, common to all
weight of the body. This is taking one count for every change people around the world. According to Duggan, Schlottmann
of position of the feet. and Rutledge (1948), “folk dance became the overt
Close Step (2/4 time) expression of emotions and ideas which were peculiarly
- Time Signature - 2/4 significant or the re-enactment of customs and events
- Rhythmic Counts Per Measure - 1, 2 Touch Step (3/4 time) constituting an important part of their history and patterns of
- (count 1) step right (left) foot in fourth position in front, daily living.”
- Time Signature - 3/4 time (Moderato)
- (count 2) close left (right), to right (left) foot in third or first - Lopez (2006) defined Philippine folk dance as “a traditional
- Rhythmic Counts Per Measure - 1, 2, 3
position rear mode of expression that employs bodily movements of
- (count 1) point right (left) foot in fourth position in front,
- Note: When done sideward, one foot leads to the direction of redundant patterns linked to definitive features of
- (counts 2,3) step right (left) foot close to left (right) foot in first
the step rhythmic beats or music.”
position, or;
- (counts 1,2) point right (left) foot in fourth position in front,
- She further stated that Philippine folk dance, to be called such
- (count 3) step right (left) foot close to left (right) foot in first
should have the following characteristics:
Close Step (3/4 time) position.
o It is traditional.
- Time Signature - 3/4 o It has an expressive behavior.
- Rhythmic Counts Per Measure - 1, 2, 3 Three-Step Turn (Waltz Turn) o Simple, basic rhythm dominates the folk dance and
- (counts 1,2) step right (left) foot in fourth position in front, establishes the pattern of movement.
- (count 3) close left (right), to right (left) foot in third or first - Time Signature - 3/4 time (Moderato)
o It is created by an unknown choreographer or by
position rear - Rhythmic Counts Per Measure - 1, 2, 3
communal efforts
- or (count 1) step right (left) foot in fourth position in front, - (count 1) step right (left) foot in second position,
o It performs a function in the life of the (folk) people.
- (counts 2,3) close left (right), to right (left) foot in third or first - (counts 2) turn left (right) about and step right (left) foot to
second, - Oftentimes, the term folk dance is being confused or used
position rear interchangeably with ethnic and national dance.
- (count 3) turn left (right) about and step left (right), to second to
face front.
- (count 1) close right (left) foot to left (right) foot,
Leap - (counts 2,3) pause.
- Time Signature - 2/4 (4/4)
- Rhythmic Counts Per Measure - 1, 2 (1 count per leap)
- A spring from one foot, landing on the other foot in any What are the difference between folk, national, and ethnic dance?
M1S3: History & Culture of Philippine Folk Dance
direction.
- Folk dances are traditional dances found in a certain country
What is folk dance?
while national dances are also traditional folk dances but
Arma, Allyssa R.
 have a national scope. They are popular and widely dance Examples are Binasuan (Pangasinan) and Daling- classifications to sort out the different dance materials. (Lopez,
throughout a given country, often with a number of regional daling (Muslim courtship dance from Sulu). 2006)
variations.
- The Philippine dances, Cariñosa, Curacha, and Pandango - Occupational dances The three major regional classifications of Philippine folk dances
are examples of national folk dances as they are popular o dances that exhibit work and occupation of the are Tribal dances from the Cordilleras, dances from Lowland
dances throughout the country. Pandango, for example, has Christians, and Muslim dances.
dancers, Examples are Mag-Asik (Cotabato) and
several variations coming from both Luzon and Visayas Mananagat (Cebu) dances. - Tribal dances from the Cordilleras
Islands. Even within one locality, dancers have different ways o included non-Christian dances from the
of performing it. - All national and ethnic dances are folk dances, but not all Cordilleras.
folk dances are considered are considered national or
- Even within one locality, dancers have different ways of ethnic dance. - Lowland Christian dances
performing it. Examples are the following: - The Philippines has very rich and varied folk dances. There o dances coming from places with Western influences
o Pandango Ilocano are hundreds of traditional dance collections found in the such as that of the Tagalogs, Ilokanos,
o Pandango Visayan country that are mostly for all occasions. They come from the Pamapangueños, Pangasinense, Bisayans, and
o Pandango Dumagueteño southern to northern parts of the Philippine island. These Bicolanas. These dances are influenced by
o Pandango Ivatan dances exhibit the customs, ideas, beliefs, superstitions, and Hispanic and European cultures.
o Pandango Rinconada events of daily living in a certain Filipino community. The origin
o Pandango sa Ilaw of the dances may be seen by looking at the costumes, props, - Muslim dances
and implements of a certain group or tribe. o dances from people of the Southern Islands of the
- Ethnic dances or ethnological dances are those performed in - However, due to acculturation, Philippine indigenous Philippines such as in Mindanao and Sulu. These
primitive tribes and have retained their close kinship with dances may have evolved and modified since cultures of dances are influenced by Arabic and Indo-Malayan
religious ritual and community custom. These dances may other countries have greatly influenced these dances. The cultures.
“require a certain level of special performing skills” manifestations can be seen by the kinds of costumes, props,
(Kraus,1962) that are symbolic in meaning, making it harder for music and dance steps used and integrated into some of the - Philippine folk dances, regardless of their classifications,
those outside the group to understand. They can be performed regional and national folk dances of the Philippines. Some of may also be categorized as:
in three different categories, namely, ritual, life-cycle, and these dances were influenced by the neighboring Asian o Life cycle dances
occupational. countries such as Indonesia, Malaysia, and China to name a
 dances that serve as ritual as one passes
- In the Philippines, dancers originating from the Ifugao people few.
to a different stage in life such as from
of the northern Luzon. T’boli tribe from Southern Mindanao, - Acculturation
birth to childhood to adulthood; from
and Tagbanua tribe from Palawan are examples of ethnic o cultural modification of an individual, group, or
singlehood to marriage; and from life to
dances. people by adapting to or borrowing traits from death. Below are the different dances that
another culture. portray life cycle:
 Courtship dances
- Ritual dances Types of Philippine Folk Dances  Wedding dances
o dancers that depict ritual ceremonies. Examples are  Funeral dances
Dugso (Bukidnon) and Pagdidiwata (Palawan) - There are several ways to classify Philippine folk dances.
According to Francisca Reyes-Aquino, folk dances may be
- Life-cycle dances classified by geographical extent of origin, nature, speed of
o dances relating to the cycle of human life such as movement, formation and distinguishing feature. Lately o Festival dances
folkloric specialist merged regional and functional
birthing courtship, wedding, and funeral.
Arma, Allyssa R.
  dances that are either religious or secular  dances that mimic animals, inanimate THE TRADITIONS AND HERITAGE OF LUZON
and are connected with the celebration of objects, or other people. The dancers get
recurring events of special significance. 3. into roles other than themselves and become - Luzon, the northernmost region of the Philippines is rich in
actors totally immersed in the story the traditions and heritage.
o Occupational dances dances tell. The Itik-Itik dance from Surigao - It traces its cultural influences from Hindu, Buddhist,
is an example of a mimetic dance as it Spanish, and many other ethnic religious tribes.
 dances that depict the means of livelihood
imitates the movements of a duck. - There may be differences in some belief patterns, but overall,
of the Filipino people. Palay festival, a
the cultural folk dances from this region represent all the
national dance in rice-growing regions, is an
o War dances different factions or tribal groups in one way or another.
example of an occupational dance wherein
dancers portray different steps in rice  dances that express feud and enmity
growing— from planting to harvesting to wherein two male dancers engage in THE DANCES OF LUZON
threshing, flailing, pounding, airing and physical combat with Spartan-like intensity
winnowing (Aquino 1979). (Lopez, 2006). Maglalatik (Biñan, Laguna) is - BANGA DANCE
an example of war dance as this depicts a o Is a contemporary performance of the Kalinga of
o Ritual and ceremonial dances battle between Muslims of southern the Mountain Province in the Philippines.
 dances performed as part of the rituals and Philippines and the Christian Filipinos of the o Show skill and strength of the women as they carry
ceremonies of a certain tribe or group of lowlands over latik (the residue after coconut heavy laden clay pots or banga full of water
people. boils down).
- IDAW
o Game dances o Social amenities dances o It depicts the hunting ritual performed before a tribal
 derivations from local folk games. One  dances that expresses social graces, war.
example of these dances is the Pukol dance hospitality, and offerings of gifts to o Idaw, meaning “bird” is celebrated because it was
from Aklan and Capiz in the Panay region. friends. All social ballroom dances and most the omen bearer of war.
Pukol means “to strike or bump each other” of the “Filipinized” Western dances that show o Philippines as very humid country, the traditional
(Aquino, 1979) camaraderie merriment belong to this group clothing was made to cover not much of the body
(Lopez, 2006) Examples are Minuete Yano
o Joke and trickster dances (Iriga, Camarines Sur), Alay (Tagalog - IDUDU
 include jokes or tricks played by a dancer regions), and Habanera Botoleña (Botolan, o The family is the basic structure of the family life
on another or a group of dancers who is Zambales) dances. Minuete Yano, for among the Itneg or Tinggian people.
one of them. The intention is to render that instance, is performed by people from high o Caring for the children is shared by both the mother
individual “to a physical or mental indignity or social standing in the community during and father.
discomfort” (Lopez, 2006). Example of these special occasions honoring high government o While the men are clearing the fields, women watch
is the Pandanggo sa Sambalilo dance from officials and church dignitaries. (Aquino the children.
the Tagalog regions wherein a girl teases 1979) o Soon as the men are done, they take care of the
her male partner by playing with his hat then children while the women do back breaking work.
pushes him when he is about to succeed in
getting back and putting on his hat from the VISAYAS
M1S4: History & Culture of Philippine Folk Dance
floor.
LOVE OF LIFE AND COUNTRY – VISAYAS REGION
LUZON
o Mimetic or drama dances - The central islands of the Philippines, the Visayas, are grouped
into three sections: Central, Eastern, and Western.
Arma, Allyssa R.
 - The dances of the Visayas are more upbeat and exciting, not It is a type of dance that is done smoothly, continuously, and with
so much in drama and tribal meanings as other regions. - KINI KINI flow and control. It does not have a clear beginning and ending –
o Means the Royal Walk Sustained
o Maranao women perform this dance with scarves
A _____ can either initiate or stop an action – Force
THE DANCES OF VISAYAS (shows their elite social upbringing)
Which of the following is the correct interpretation of Waltz Step?
- MAGLALATIK - PANGALAY
o Is an indigenous dance from the Philippines with the o Native to the Badjao, who are also known as “Sea i. Step left (right) foot in fourth position in front
used of halves of coconut shell. Gypsies.” ii. Step right (left) close to left (right) in first or third position in
o Originally performed in Biñan, Laguna as a mock-war o It emphasizes the agility of the upper body. rear
dance that demonstrates a fight between the o Sometimes called the Muslim Dance of Four iii. Step left (right) in fourth position in front – iii, ii, i
Moros and the Christians Bamboos Which of the following is the correct time signature or mazurka step?
–¾
- SAYAW SA BANGKO
o Or Sayaw ed Tapew na Bangko (dance on top of a 3rd Position of the feet – Bring the heel of one foot to touch the
bench) M1: Formative Questions instep of the other foot
o It is performed by a couple on a narrow bench.
The following are the benefits of dance – Physical, Which of the following is the correct interpretation of mazurka step
o Usually performed during town fiestas
Mental/Emotional, Social
i. Hop on the left (right) foot and beat in rear or in front the
- SUBLI People dance for many reasons, which of the following is NOT one right (left) foot close to the ankle of the left (right) foot
o “subli” is from two Tagalog words of them – to please the community ii. Cut right (left) foot sideward with the left (right)
o “subsub” meaning “falling on one’s head” iii. Side right (left) foot in second position – iii, ii, i
These are movements that can be varied by doing larger or smaller
o and “bali”, which means “broken”
actions – Size 4th position of the arms – Raise one arm in front of chest in semi-
o Is a ceremonial worship dance to the town’s icon,
circle, while another arm remains overhead
the Holy Cross. Dancing also gives other psychological health benefits as
compared to the other forms of exercise – Mental/Emotional 2nd position of the arms – Open up arms sideward, raised below
shoulder level with a graceful curve
Which of the following is a physical benefit of dancing? – Improves
MINDANAO lipid metabolism 5th position of the arms – Raise both arms overhead in a graceful
- Is the southernmost region of The Philippines. curve
The performers can go forward, side, backward, diagonal, circular,
- Is the second largest island group and its cultural groupings and so on – Direction 1st Position of the arms – Raise arms to a circle in front
consist of mostly Muslim or “Moro” people
Performers may change their ____ by looking at different directions. – 2nd Position of the feet – Bring feet apart sidewards
Focus
Which of the following is NOT a reason why people dance – to please
THE DANCES OF MINDANAO An increase fitness results in great lowering of the body mass index nature
- ASIK and resting heart rate for those who engage in a dance-based fitness
activity compared to those who engage in other physical activity. The It refers to how the entire body is molded in space of the
o This dance performed by a solo maiden, adorned
following statement was quoted by – Flores, 1995 configurations of body parts – Bodily Shapes
with fine beads make-up, and a long head scarf.
o She would perform to win the heart of her master Which of the following is the correct time signature of change steps
or to make up for a wrong doing. or two-step? – 2/4
Arma, Allyssa R.
Dancing is a good way to develop cardiovascular and muscular It is a type of dance that came from the people of the Southern o the stretching of the body.
endurance – Physical Islands of the Philippines – Muslim Dances
- HOLD
Which of the following is the correct interpretation of sway balance? It is a type of dance that performs spiritual and sacred of a certain
o the correct position of the body with the partner in
tribe or group of people – Ritual or ceremonial dance
i. Step right (left) obliquely backward right closed position.
ii. Step right (left) foot obliquely forward right (left) It is a dance that relates to the series of human life – Life-cycle
iii. Step left (right) foot across the right (left) foot in front - POISE
iv. Close/point/brush/hop/raise/waltz left (right) foot in fourth It is performed by a couple on a narrow bench usually performed o the stretch of the woman's body upwards and
or third position in front – iii, I, ii, iv during fiestas – Sayaw sa bangko outwards and the leftwards into the man's right arm to
Dancing also gives other ______ health benefits compared to other achieve balance and connection with his frame.
It can be varied by moving faster or slower than the normal beat.
When a sequence of movements or group of phrases is done in a forms of exercises – Psychological
- TOGETHERNESS
variety that generates rhythmic patterns – Timing It is a dance formation of two or more couples – Set o dancing of two people as one on the dance floor
Which of the following is the correct interpretation of the polka step? Which of the following is the correct time signature of sway balance –
- MUSICALITY & EXPRESSION
i. Step right (left) close to left (right) foot in third position in ¾
o the basic characterization of the dance with the
rear 4th Position of the feet – Bring one foot in front of the other foot to particular music being played and the choreographic
ii. Step left (right) foot in fourth position in front walk strike adherence to musical phrasings and accents.
iii. Step right (left) foot in fourth position in front, (count and)
paus – ii, i, iii Indigenous dances that common people dance – Folk

Dance entails to a lot of movement, it uses the very same elements,

space, time, and energy. These elements are beneficial to anyone - PRESENTATION
interested in recognizing, analyzing, or _______ movement – creating M2S1: Characteristics of Dance Sport o how the couple presents their dancing to the
audience as well as the proper costuming and
Dance training also improves _____ (Rickett-Young, 1996) – What is Dance Sport? grooming.
Coordination
- Is a combination of art and sport. It was called competitive
- POWER
It is a cultural modification of an individual, group, or people by ballroom dancing in the past. This goes with partners
o the energy that is controlled and not wild
adopting to or borrowing traits from another culture – Acculturation competing against other partners dancing on the floor at one
time.
A dance that exhibits work and livelihood of the dancers – - FOOT & LEG ACTION
Occupational o the use of lower extremities that creates balance,
Characteristics of Dance Sport beauty and strength.
It is an indigenous dance from the Philippines with the used halves of
coconut shell – Maglalatik - POSTURE - SHAPE
o enables a dancer to stand out on the floor, which o the combination of turn and sway to create a look
What example of dance is the Pukol that came from Aklan and Capiz shows sophistication and confidence.
in the Panay Region? – Game or a position

Idaw means ___ that is celebrated because omen was the bearer of - TIMING - LEAD & FOLLOW
war – Bird o dancing on time with music o the non-verbal communication of the man and
lady through shape, visual and body weight.
- LINE
Arma, Allyssa R.
 second beat. (dancelovers.com accesed by o was developed from the dance “jitterbug” from
- FLOOR CRAFT July 16 2015) America. After the origination of the jive dance in the
o the abiltiy to avoid bumping into other couples  Contrasting Rhythm: 1 2, 1 a 2, 1 a 2 a 1 a United States. It slowly spread to the European
and continue dancing without pause when boxed in. 2, 1 2 3, SQQ, SQQQQQQ, QQS, SSQQS countries and in the United Kingdom. The
popularity of this dance from coincided with that of
- INTANGIBLES - Cha cha cha Rock n' Roll (lebanondance.com, date accesed July
o how a couple “look” together in performing their o is a new comer in Latin American dances with 16 2015)
dances. origin only in the fifties but it became popular shortly  Time Signature - 4/4 with accent on the first
after Mambo was introduced beat, second beat and fourth beat of each
 Time Signature - 4/4 with the accented beat bar.
on the first and fourth of each bar  Contrasting 1 2 3a4 3a4. Count 1 = 1 beat.
3 Types of Dance Syllabus  Counting in beats 2 3 4 and 1. Count 2 = 1 Count 2 = 1 beat. Count 3 = 3/4 beat. Count
- Gold beat. Count 3 = 1 beat. Count 4 = 1 beat a = 1/4 beat. Count 4 = 1 beat.
o Highest level Count and = syncopated. Count 1 = 1 beat. (
- Silver 2, 3 ,4 and 1)
o Intermediate level Modern Standard Discipline
- Rumba
- Bronze
o originates primarily from Cuba in the sixteenth - Slow waltz
o Starting level
century, which has its roots in African rhythms, o was introduced in England in 1874 but it was in
brought to America by the slaves. It is composed of 1922 that it became as fashionable as Tango.
three rhythms: the Guaguanco, the Yambu, and Waltz's steps have already undergone change and
Dance Sport Styles Columbia (bailasociety.tv, date accessed July 16, improvements as well and as a result of this, many
- The International Standard and International Latin techniques 2015) more variations became possible. These results have
were codified by the Imperial Society of Teacher of Dance  Time Signature - 4/4 with an accent on the been standardized eventually by the ISTD
(ISTD) to come up with a unified syllabus for all those first beat and fourth beat of each bar.  Time Signature - 3/4 with the 1st beat
interested in learning ballroom dancing. This has become the  Contrasting in beats 2 3 4 1. Count 2 = 1 accented.
source in the development of dance sport in the world. beat. Count 3 = 1 beat. Count 4,1 = 2 beats  Each step = 1 beat
half beat  Counting in beats and bars - 1 2 3, 2 2 3, 3
2 3, 4 2 3, etc.

M2S2: Dance Sports Styles and Terminologies - Pasadoble - Tango

o means “double step”, which originated from Spain o was first danced in Europe before World War I. It
and is inspired by bullfighting. The Paso Doble is one originates from Buenos Aires (Argentina) where it
of the most dramatic of all the Latin dances was first danced in “Barrio de Las Ranas,” the
Latin American Discipline
(wikidancesport.com date accessed July 16 2015) ghetto of Buenos Aires (Dance Universe date
- Samba  Time Signature - 2/4 with an accent on the accessed July 3, 2015)
o is the national dance of Brazil, which originated in first beat of each bar.  Time Signature - 2/4, with both beats
Africa. It is danced during carnival time.  Contrasting 1 2. Count 1 = 1 beat. Count 2 accented
 Time Signature - 2/4 with musical accent on = 1 beat.  Each step = 1 beat. “Quick” count = 1/2 beat
the first beat and percussive accent on the  Counting in beats and bars - 1 & 2 & 2 & 2
- Jive & 3 & 2 & 4 & 2 &, etc.
Arma, Allyssa R.
 - Name of the figure o A variation of the closed position where the
- Viennese Waltz o identification of a figure in a dance style. tracking of the man and lady's feet are slightly offset.
o is a controversial dance with so many claims
about its origin but known to be born in the modest - Step Numbers - Promenade position
outskirts of Austria and Bavaria (liquisearch.com, o number of steps in a figure. o A V-shaped dance position where both man and
date accessed July 3, 2015) lady move forward and in the same direction, toward
 Time Signature - 6/8 with the first beat - Alignment the open end of the “V”.
accented o the position of the feet in relation to the room.
 Counting in beats and bars - 1 2 3, 2 2 3, 3 - Closed position
2 3, 4 2 3, etc. - Amount of turn o normal hold where partners stand facing each
o this is measured between the feet. other in body contact slightly offset to the left. In
- Slow Foxtrot Latin, partners stand a few inches apart either directly
o was named after the American performer (Harry - Footwork in front of each other
Fox), which was premiered in 1914. Handy (Father of o refers to the part of the foot in contact with the
the Blues) notes in his autobiogprahy that his “The floor. - Open position
Memphis Blues” was the inspiration for the foxtrot, o any dance position where man and lady stand apart
(W.C. Handy 1969) - Timing or slightly apart, without taking a closed position
 Time Signature - 4/4 with the first and third o the synchronization of actions with the beat of the dance hold.
beats accented music
 ”Slow” count = 2 beats.
 “Quick” count = 1 beat - Line of dance (LOD)
 Counting in beats and bars - 1 2 3 4, 2 2 3 M2S3: Bronze Syllabus of Chachacha & Tango
o the counter clockwise direction around the dance
4, 3 2 3 4, 4 2 3 4, etc. floor International Latin

- Wall
- Quickstep o means the direction perpendicular to the LOD
o was developed during World War I in New York and ChaChaCha
pointing towards the wall of the room (possibly
became popular in ballrooms. It has common origin imaginary). - is a new comer in Latin American dances with origin only in
as that of the Foxtrot (Dance Universe) the fifties but it became popular shortly after Mambo was
 Time Signature - 4/4 with the first and third - Center introduced
beats accented o means the direction perpendicular to the LOD o Time Signature - 4/4 with the accented beat on the
 ”Slow” count = 2 beats. first and fourth of each bar
pointing towards the center of the room
 “Quick” count = 1 beat o Counting in beats 2 3 4 and 1. Count 2 = 1 beat.
 Counting in beats and bars - 1 2 3 4, 2 2 3 Count 3 = 1 beat. Count 4 = 1 beat Count and =
- Open facing position
4, 3 2 3 4, 4 2 3 4, etc. (1 2 3 4 5 6 7 8, 2 2 3 syncopated. Count 1 = 1 beat. ( 2, 3 ,4 and 1)
o A variation of the open position where a man and
4 5 6 7 8)
lady stand apart, facing each other, usually with a one
or two-hand connection.

- Outside partner position - Bronze Syllabus

Basic Dance Sport Terminologies o Student Teacher

Arma, Allyssa R.
 Close Basic Movement  Finish: LF to side (Open Opp.; LH  Timing: 2 3 4&1
 Start: LF forward T turned out to RH) Timing: 2 3 4&1  NOTE - General Action: Steps 3-5
(Close Opp.; Normal Hold)  NOTE - Timing: Guapacha Timing may be replaced by a Cha Cha
 Finish: RF to side (Close Opp.; may be used. Lockstep fwd (Man) and Cha Cha
Normal Hold)  NOTE - General Action: Cha Cha Lockstep bwd (Lady).
 Timing: 2 3 4&1 2 3 4&1 Chasse to side may be replaced by
 NOTE - General: Steps 1-5 or 6 - a Three Step Turn for Man and  Shoulder to Shoulder
10 only may be used. Lady, or Lady only. It may also be  Start: LF fwd OP, T turned out (L
 NOTE -Couple Position: May be replaced by a Ronde Chasse. Diag. Opp.; w/o Hold)
danced in Open Opposing position  Finish: RF to side (Open Opp.; w/o
with any appropriate hold.  New York to Left Hold) Timing: 2 3 4&1 2 3 4&1
 NOTE - Quantity of turn: Up to ½  Start: RF fwd and across body, T  NOTE - General: Steps 1-5 or 6-10
turn to L can be made turned out (R Side Same; RH to only may be used. Man may dance
LH) Lady’s steps and vice versa.
 Open Basic Movement  Finish: RF to side (Open Opp.; RH  NOTE - Timing: Guapacha Timing
 Start: LF fwd T turned out (Open to LH) Timing: 2 3 4&1. may be used.
Opp.; LH to RH)  NOTE - Timing: Guapacha Timing
 Finish: RF fwd (Open Opp.; LH to may be used
RH)  NOTE - General Action: Cha Cha
 Timing: 2 3 4&1 2 3 4&1 Chasse to side may be replaced by  Hand to hand to Right
 NOTE - General: Steps 1-3 or 4-6 a Three Step Turn for Man and  Start: RF bwd (L Side Same; LH to
only may be used. Lady, or Lady only. It may also be RH)
 NOTE -Couple Position: May be replaced by a Ronde Chasse.  Finish: RF to side (Open Opp.; LH
danced in Close Opposing Position to RH) Timing: 2 3 4&1
 NOTE - General Action/  Sport Turns to Right
Timing/Hold: Steps 3-5 may be  Start: LF fwd and slightly across  Hand to hand to Left
replaced with 3 Cha Cha Locksteps the body (L Side Same; Release  Start: RF to side (Open Opp.; LH to
bwd( 4&1 2&3 4&1) and steps 8 - Hold) RH)
10 may be replaced by 3 Cha Cha  Finish: LF to side (Open Opp.; LH  Finish: RF to side (Open Opp.; LH
Locksteps fwd (4&1 2&3 4&1). The to RH) to RH)
hold may change from RH to RH on  Timing: 2 3 4&1  Timing: 4&1 2&3 4&1
the first Lockstep to LH to LH on the  NOTE - General: Three Cha Cha
second Lockstep and back to RH to Chas to R may replace steps 3-5 of
RH or any other appropriate hold Hand to Hand to R, New York to L,
depending on the following figure. Spot Turn to L, Underarm Turn to
 Sport Turns to Left R, Time Step. Steps 4 -9 only may
 New York to Right  Start: RF fwd and slightly across be danced.
 Start: LF fwd and across body, T the body (R Side Same; Release
turned out (L Side Same; LH to Hold)  Three Chachachas to Left
RH)  Finish: RF to side (Open Opp.; RH  Start: LF to side (Open Opp.; RH to
to LH) LH)
Arma, Allyssa R.
  Finish: LF to side (Open Opp.; RH  Alemana  Timing: QQ
to LH)  Hockey Stick
 Timing: 4&1 2&3 4&1  Natural Top
 NOTE - General: Three Cha Cha  Natural Opening Out Movement
Chas to L may replace steps 3-5 of  Closed Hip Twist  Closed Promenade
Hand to Hand to L, New York to R,  Start: LF to side (Promenade
Spot Turn to R, Underarm Turn to L Tango Position)
and steps 8-10 of Time Step. Steps - was first danced in Europe before World War I. It originates  Finish: RF closes to LF slightly
4 -9 only may be danced from Buenos Aires (Argentina) where it was first danced in bwd (Closed Position)
“Barrio de Las Ranas,” the ghetto of Buenoes Aires  Timing: SQQS
 Three Chachachas to Right (DanceUniverse date accessed July 3, 2015)  NOTE - General: May start from
 Start: RF closed to LF (Close o Time Signature - 2/4, with both beats accented step 2.
Opp.; w/o Hold hold) o Each step = 1 beat. “Quick” count = 1/2 beat  NOTE - Couple position: Man may
 Finish: LF to side (Close Opp.; w/o o Counting in beats and bars - 1 & 2 & 2 & 2 & 3 & 2 turn square to Lady on step 3.
Hold)
& 4 & 2 &, etc.
 Timing: 2 3 4 &1 2 3 4&1  Rock Turn
 NOTE - General: Steps 1-5 or 6 -  Start: RF fwd (Closed Position)
10 only may be used. When all  Finish: RF closes to LF slightly
- International Standard
steps are danced in place it is bwd (Closed Position)
o Student Teacher
known as BASIC IN PLACE. When  Timing: SQQS QQS
steps 3 -5 are replaced with a  Walk  NOTE - General: when a Rock Turn
Merengue Chasse bwd an steps 8 -  Start: LF fwd (Closed Position) follows the Natural Turn from PP,
10 with a Merengue Chasse fwd for  Finish: RF fwd (Closed Position) step 4 of the Natural Promenade
both partners it is known as THERE  Timing: SS NOTE - General: LF or turn becomes step 1 of the Rock
AND BACK RF walk only may be used. Turn. There will be no turn to
 NOTE - Couple Position: May be Promenade Position at the end of
danced in Open Opposing Position  Progressive Side Step step 4 of the Natural Promenade
or Extended Open Opp. Pos.  Start: LF fwd in CBMP (Closed Turn. Continue with steps 2-7 of
 NOTE - Timing, Foot Placement: Position) Rock Turn. Steps 1-4 or 5-7 only
When the Time Step is danced  Finish: LF fwd in CBMP (Closed may be used. Figure may be
using the Guapacha Timing, the Position) danced with an Open Finish.
foot placement of steps 1 and 6 will  Timing: QQS
be crossed behind in Latin Cross  NOTE - General: steps 1-2 only  Open Reverse Turn, Lady Outside
Position. may be used.  Start: LF fwd and slightly to side
 NOTE - Quantity of turn: figure may (Closed Position)
 Side Steps be turned up to 3/8 to L.  Finish: RF closes to LF slightly
 There and Back bwd (Closed Position)
 Time steps  Progressive Link  Timing: QQS QQS
 Start: LF fwd in CMBP (Closed  NOTE - General: steps 1-3 or 4-6
o Associate Position) only may be used. Closed Finish
 Finish: RF to side and slightly may be replaced with Open Finish
 Fan
bwd (Promenade Position)
Arma, Allyssa R.
 The non-verbal communication of the man and lady through shape, The stretching of the body – Line
 Back Corte visual, and body weight - Lead and follow
 Start: LF to side (Closed Position) Starting with your LF forward OP, T turned out then finish to right
 Finish: RF closes to LF slightly The correct position of the body with the partner in closed position side.- Shoulder to shoulder
bwd (Closed Position) – Hold
Which of the following is the counting beat in tango? - 1. 2 3 and 4
 Timing: SQQS It is a combination of art and sport – Dance Sport
 NOTE - General: Open Finish may It is the intermediate level of dance syllabus in any dance sport styles.
be used instead of the Closed Dancing of two people as one on the dance floor. - Togetherness – Silver
Finish. Steps 2-4 only may be used.
A variation of the closed position where the tracking of the man and Tango Walk. - Start with LF forward (closed position) then finished
Step 1 only may be used as a
lady's feet are slightly offset - Outside partner with RF forward
preceding figure to Rock on RF.
It is the national dance of Brazil, which originated in Africa. It is To do the spot turn to the left you start with RF forward and
danced during carnival time. Group of answer choices – Samba slightly across the body (R Side Same; Release Hold) then finish to
- Right foot to side
o Associate It is the position of the feet in relation to the room – Alignment
 Open Reverse Turn, Lady in Line Which of the following is the correct interpretation of New York to the
It is the identification of a figure in a dance style - Name of the right? - Begin with LF forward and across body, T turned out (L
 Progressive Side Step Reverse Turn figure
 Open Promenade Side Same; LH to RH)
 Left Foot and Right Foot Rocks It originates primarily from Cuba in the sixteenth century, which has Which of the following is the correct step for close basic movement?
 Natural Twist Turn its roots in African rhythms, brought to America by the slaves. It is - Start with LF forward T turned out then RF to side.
 Natural Promenade Turn composed of three rhythms: the Guaguanco, the Yambu, and
Columbia.- Rumba Starting with your LF to side (Open Opp.; RH to LH) then finish with
LF to side (Open Opp.; RH to LH) - Three Chachachas to right
It is a new comer in Latin American dances with origin only in the
Formative Questions fifties but it became popular shortly after Mambo was introduced.- It is dancing in time with the music – Timing
Chachacha
The use of lower extremities that creates balance, beauty and A V-shaped dance position where both man and lady move forward
strength - Foot and leg action It was developed from the dance “jitterbug” from America. After the and in the same direction, toward the open end of the “V” – Promenade
origination of the jive dance in the United States. It slowly spread to the
How a couple “look” together in performing their dances – Intangibles European countries and in the United Kingdom. The popularity of this It is the ability to avoid bumping into other couples and continue
dance from coincided with that of Rock n' Roll. – Jive dancing without pause when boxed in- Floor craft
The basic characterization of the dance with the particular music
being played and the choreographic adherence to musical phrasings This dance is controversial that many claims about its origin but It is the counter clockwise direction around the dance floor - Line of
and accents. - Musicality and expression known to be born in the modest outskirts of Austria and Bavaria. - dance
The energy that is controlled and not wild – Power Viennese Waltz It was introduced in England in 1874 but it was in 1922 that it became
It was first danced in Europe before World War I. It originates from as fashionable as Tango.- Slow Waltz
The combination of turn and sway to create a look or a position. –
Shape Buenos Aires (Argentina) where it was first danced in “Barrio de Las Starting with your RF backward (L Side Same; LH to RH) the finish
Ranas,” the ghetto of Buenos Aires. – Tango with RF to side (Open Opp.; LH to RH) - Hand to hand right
The stretch of the woman’s body upwards and outwards and
leftwards into the man’s right arm to achieve balance and connection It means “double step”, which originated from Spain and is inspired by Which of the following is the counting beat in chachacha? – 2, 3, 4
with his frame, as well as to project outwards to the audience – Poise bullfighting – Pasodoble and 1

Arma, Allyssa R.
Arma, Allyssa R.