Revised PE 2 Module For College

Physical Education 2: Rhythm and Dance
Dancing is an act of moving the body in rhythm, usually in time with music.
People seem to have a natural urge to express their feelings through rhythmic
movement. People organize the expressive movements of their bodies into rhythmic
and visual patterns.
Dancing is both an art and a form of recreation. As an art, a dance may tell
story, set a mood, or express an emotion. As a form of recreation, dancing has long
provided fun, relaxation, and companionship. Today dancing, either at a party or
gathering continues to be a very popular way of people to enjoy themselves and to
make new friends.
PHYSICAL EDUCATION 2/RST Page 1

Overview
 Module 1: Philippine Folk and Ethnic Dances

 Dances
 Folk Dance and Ethnic Definitions
 The Philippine Dance
 Classification of Philippine Folk Dances
 Benefits of Dancing
 Basic movement skills
 Fundamental Dance Positions, Steps and Dance Terms
 Fundamental Dance Positions and Step
 Dance Terms
 Module 2: Social Dancing
 History of Social Dancing
 The Ballroom Dances
 Elements of Dance Etiquette
 The Waltz, Polka and Foxtrot
 Tango
 The Cha-Cha, Mambo and Salsa
 Rumba and Samba
Module 1: PHILIPPINE FOLK AND ETHNIC DANCES
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Objective
This module is designed for you to:
1. demonstrate understanding of lifestyle and weight management to promote

societal fitness.
2. maintain active lifestyle to influence the community and society to participate in

physical activities.
3. practice healthy eating habits that support an active lifestyle.

What to know?
 This is the first part of the lesson on Philippine Folk Dances and Ethnic
Dances. In this phase, various activities and challenges will enable the
students to review and reveal their knowledge in the upcoming lessons. This
part will surely stimulate their excitement to perform folk dance and ethnic
dance as they get to understand them deeply. Remember to let them
accomplish every activity so that they will have excellent performances in the
next stages.
Activity
 You will be given activities to display and enhance your skills in folk dancing
and ethnic dancing at the same time formulate your understanding as regards
the benefits of such activities to your fitness and well-being. As you go on and
overcome the challenges provided for you, you will learn that together,
dancing activities will be more fun and exciting, without knowing that you are
at the same time improving your fitness and social skills.
Lesson 1: Dances
Lesson Outcomes
At the end of the lesson, you should be able to:
1. describe the nature and background of the dance;
2. execute the skills involved in the dance;
3. monitor periodically one’s progress towards fitness goals.
Introduction
 Despite of differences forced upon them by their respective heritages, the folk
dances different countries often have similarities of rhythm and pattern.
Variations among them are the results of geographical differences.

 In some instances, it may be difficult to draw an exact line between folk and
ethnological dances, but the latter, have developed a distinct traditional style,
a technical terminology, and a clearly defined school of instruction. The
ethnological dance was a folk dance before it became the art of expressions
of a race.
 Folk dancing is a form of social dancing that has become part of the customs
and tradition of a people. Most folk dances developed among people in the
villages and were passed from generation to generation in a particular region.
In many of these dances, group of dancers from such basic pattern as a
circle, line, or curved, moving the line called a chain.
Explore
DANCES
Dance, rhythmic and expressive body movement, usually coordinated into a

pattern and adapted to musical accompaniment. Dance is perhaps the oldest
of the arts, reflecting man’s age-old need to communicate joy, grief, by using
the most immediate instrument at his disposal-his body.
Dance steps are created from man’s basic movement: walk, run, jump, hop,
skip, slide, leap, turn, and sway. Combinations of these have become
traditional dance steps and have been used, often in a stylized manner, for
folk and ethnic dances, social or ballroom dances, ballet, and modern
expressive dances.
Some of the more important features of the dance are rhythm, or the
relatively fast or slow repetition and variations of movements; design or the
arrangement of movements according to a pattern: dynamics, or variations in
the force and intensity of movement and technique; or the degree of body
control and mastery of basic steps and positions. Also important in many
dances are gestures, especially hand movements.
FOLK DANCE DEFINITION
 The traditional recreational dance of an indigenous society showing the

cultural characteristics of a specific people at a given time and place.
 Traditional, social expressions through movements of the community life of
the people of different nationalities.

 The vivid intimate bond of customs, ideals, and traditions of the past through
which a multitude of national characteristics in music, steps, and costumes
are preserved.
 A dance developed spontaneously and naturally by a specific folk, usually
handed down from generation to generation and following a fixed basic
patterns.
ETHNIC DANCES
 The ethnic dances of the Philippines are classified into 2 major categories:
The dances of the Non-Christian Filipinos
a. Dance of the traditionalist or “pagan” groups.
b. Dance of Muslim group
The dances of the Christian and Lowland Filipinos or Western
Influenced
a. Dances are savage, vigorous, and mimetic in character.
b. Some are light-hearted and mimetic.
c. Some are performed without music or melodic accompaniment.
Primitive, indigenous, or ethnic are the dances of the traditional groups.

They require such abilities as agility, nimbleness, and stamina.
THE PHILPPINE DANCE
Dance in the Philippines influences the diversity of our cultural beginnings and
the drama of our everyday lives. It blends exotic customs and cultures in
many countries and races- Indonesian, Malay, Chinese, Indian, Spanish and
American.
Filipinos possess natural grace, an inborn love for music and dance. Dancing
is considered a religious activity among them. They dance at many occasions-
birth, love, courtship, thanksgiving, wedding war, victory, marriage, planting
and harvesting, prosperous voyage, recovery from sickness and to heal the
sick.
Filipinos are also lovers of rituals as shown in ceremonial dances during town
fiestas, Christmas, Easter, Ash Wednesdays. There are dances performed by
the priest and priestesses in thanksgiving for a plentiful harvest, a victorious
battle, to drive away evil spirits and invoking their gods and anitos.

CLASSIFICATION OF PHILIPPINE FOLK DANCES
1. Geographical locations
 National Dances - traditional dances throughout the Philippines with a

common basic movement or pattern but with slight variations.
Examples:
Cariñosa Kuratsa Balitaw
Rigodon Pandango Surtido
 Local or Regional Dances – dances found in certain localities or

regions only.
Examples:
Alcamfor (Leyte)
Maglalatik (San Pablo, Laguna)
Basulto (Pampanga)
2. Nature of the Dance
 Occupational Dances – dances that depict actions, characteristics,

occupations, industries, and phases of human labor.
Examples:
Rice Festival – the largest number of dances.
Pagtatanim Paggapas Paggiik

Paglulugas Paghangin Pagbabayo
Pabirik – Depicts the different stages of gold panning.

Mananguete- Tuba gatherer
 Religious or Ceremonial Dances – performed in connection with

religious vows, practices, and ceremonies. A religious dance may be
performed to drive away evil spirits, ask for a favor to have a child, give
thanks for having recovered from sickness, favors granted, and vows
fulfilled.
Examples:
Obando Dugso Sinulog

 Courtship Dances – dances that depict love-making or the love
theme.
Examples:
Rogelia Lulay Hele-Hele Bago Quiere
 Wedding Dances – performed by newlyweds, by friends and relatives

of the bride and groom, or by the father of the bride and the mother of
the groom.
Examples:
Pantomina (bride and groom)
Pandang-Pandang (bride and groom friends or relatives
of each side)
Soryano (dance by the parents of the future groom, the
visit of the parents of the bride)
 Festival Dances- performed in connection with celebrations, a feast, a

barrio fiesta, good harvest and good fortune.
Examples:
Kuratsa La jota Putong
 War Dances – intended to show imaginary combat or duel with the use
of fighting implement like bolo, kris or spear.
Examples:
Inabaknon Sagayan
 Comic Dances – dances with funny and humorous movements mainly

intended for entertainment.
Examples:
Makonggo (movements of a monkey)
Kinoton (movements of person bitten by the ants)
 Game Dances – dances that have some play elements and are for
recreational purposes.
Examples:
Lubi-lubi Gayong-gayong Pabo
 Social Dances – dances performed during social gathering.

Examples:
Rigodong Lanceros

BENEFITS OF DANCING
1. Fitness. Dancing is one of the versatile and satisfying activities one

can participate in as a form of expression, recreation, or a form of
exercise to develop fitness.
2. Joy and Satisfaction. The physical well-being of a person who

participates is improved.
3. Grace and Coordination. it improves response to rhythmic patterns.

Constant participation in dance activities will improve one’s
neuromuscular coordination and help one’s acquisition of grace.
4. Self-Expression. It develops poise and good posture.
BASIC MOVEMENT SKILLS
Basic movement skills are the bases of precise dance skills for folk and social
dancing, gymnastics and natural dancing. Locomotion is moving through
space. There are two basic types of movement skills: the locomotor
movements and non-locomotor movements. These movements are simple
and easy to execute but it would be an interesting form of dance expression
when two or more of these steps are combined and performed with music.
These simple steps will make one’s body parts coordinate by the movements
with the music.
Locomotor movements of even rhythmic include walking, running, jumping,

and leaping.
Locomotor movements of uneven rhythmic include galloping, sliding, and
skipping
Non-locomotor movements involve bending, stretching, swaying, swinging,
clapping, shaking, pushing, pulling, falling, and rising.
Walk – a movement through space done by shifting weight from one foot to
the other with a short period of non-support while the body and feet are off the
floor.
Run – a movement through space by transferring weight from one foot to the
other with short period of non-support while the body and feet are off the floor.
The tempo is faster than the walk.
Hop – a spring on one foot and landing on the ball of the same foot.

Jump – a spring on one foot or both feet and landing on both feet. Push off
the floor with the strong foot and knee extension, the heel coming off first and
then the toes. The knees bend to absorb the shock of landing.
Leap- a transfer of weight from one foot to the other foot by pushing off with a
spring and landing on the ball of the other foot. The leap is similar to a run
except that it is executed with greater height or covers a greater distance. The
heel comes down after landing and the knees bend to absorb the shock.
Gallop- a step on one foot followed by a quick close of the other foot just at
the back or side of the leading foot. The rhythm is long on the step forward or
sideward direction and short at the close. One foot is always leading.
Slide- slide to the right foot, slow beat, close the left foot to the right foot,
shifting the weight quickly onto the left foot. The rhythm is long on the leading
foot and short on the closing foot.
Experience
FOLK DANCING QUESTIONNAIRE
Directions: Below is a survey questionnaire that reveals your involvement or

participation in folk dances. Copy it in your worksheet and accomplish by putting a
check mark ( ⁄ ) corresponding to your response in each item.
Folk Dancing and Related Activities YES NO

1. I know the name of the folk dance in our place.
2. I am a member of a group representing our place or school in a folk
dance competition.
3. I usually watch actual folk dancing competitions in other place.
4. I am fond of watching folk and ethnic dances in youtube or in TV shows.
5. I recognize the value of folk dancing to my fitness.
6. I contribute to the success of the Folk Dance in our school.
7. I am proud of the Folk or Ethnic Dance in my place.
8. I am a physically fit individual because I participate in Folk Dancing.
9. I believe folk or ethnic dancing can influence the fitness and well-being
of the community.
10. Culture of the community is drawn and established through Folk and
Ethnic Dancing.

A scale is provided for you below which helps you make meaning of the responses
you have indicated in the survey-questionnaire.
Number of YES Responses Relative Interpretation
1-3 Is inactive in folk dancing acitivities
4-6 Moderately active in folk dancing activities
7-10 Highly active in Folk dancing activities
Examine
 Based on your interpretation of your responses to the survey-questionnaire,

what does this reveal about your fitness and community involvement?
Express and share your answer to the class in 3-5 sentences.
Lesson 2: FUNDAMENTAL DANCE POSITIONS, STEPS AND DANCE TERMS
Lesson Outcomes
1. identify the fundamental positions of arms and feet;
2. appreciate the beauty of folk dance by executing the fundamental positions of the
arms and feet; and
3. execute the five fundamental of the arms and feet in folk dance.
Introduction
 Many of our so-called native dances are of Spanish origin. Others shows
French, English, Malayan influences. Our fore fathers have performed them
for so long, giving them their own interpretation, execution, and expression
that they have become traditionally Filipino.

Explore
FUNDAMENTAL DANCE POSITIONS AND STEP
FEET POSITIONS
FIRST POSITION
Feet close and toes and heels parallel
Touching toes at 45 degrees
SECOND POSITION
Open parallel stride sideward

THIRD POSITION FOURTH POSITION
Feet closed-crossed Feet open-crossed
Heel in-step touching knees locked
FIFTH POSITION
Feet close-toes

ARMS POSITIONS
FIRST POSITION SECOND POSITION

Arms encircled in front at chest level, Arms raised sideward a liitle
relaxed, fingers slightly apart below shoulder level
THIRD POSITION
One arm encircles overhead in the other raised sideways

FOURTH POSITION
One arm encircles like first position; the other arm overhead
FIFTH POSITION
Both arms overhead

COMBINATION OF ARM AND FEET POSITIONS
The dance steps listed below are the fundamental or basic steps most commonly
used in Philippine folk dance. In some cases the names of the steps are the same as
those found in foreign dances, but the manner of execution is entirely different.
Dome dance steps have no English equivalent names, so the native names are
retained, such as “Kurandang,” “Bacui,” “Engano,” etc.

DANCE STEPS TIME SIGNATURE STEP PATTERN
COUNTING
BLEKING 2/4 Spring 1 (R) heel-place close 1,1,2

3/4 Heel-place close (step) 1,2,3
CHANGE STEP 2/4 Step close step 1 and 2
CROSS STEP 3/4 Step cross & slide 1 2,3
CROSS CHANGE 2/4 Cross-step-close-step 1 and 2
CONTRA GANZA 2/4 Leap cross-step step 1 and 2
CHANGING STEP 2/4 Jump 1 foot & other in rear 1
CLOSE STEP 2/4 Step Close 1 2
CUT STEP 2/4 Cut or displace 1
GALLOP 2/4 Step cut step cut 1 ah 2 ah

(There are 2 Galop steps to
1 measure)
6/8 Step 1, 2
Cut 3
Step 4, 5
Cut 6
HABANERA 2/4 Step close step 1,2 and
HEEL & TOE 2/4 Heel-place toe-point/ 1,2/

CHANGE STEP Step close step 1 and 2
KURADANG 2/4 Step close step cross-step/ 1 and 2,3/

Step close step point 1 and 2,3
MAZURKA 3/4 Slide cut hop 1,2,3
PLAIN POLKA 2/4 Step close step pause 1&2&
HEEL AND TOE 2/4 Heel-place toe-point/ 1,2

POLKA Step close step pause 1&2&
HOP POLKA 2/4 Hop & step close step pause 1&2&
SLIDE POLKA 2/4 Slide close slide close 1&2&

Step close step pause 1&2&

SWAY BALANCE 3/4 Step cross-step step point 1,2,3
WITH A POINT
SWAY BALANCE 3/4 Step cross-step step brush 1,2,3

1,2,3
WITH A BRUSH
SWAY BALANCE 3/4 Step cross-step step close 1,2,3

1,2,3
WITH A CLOSE
SWAY BALANCE 3/4 Step cross-step step raise hop 1,2,3

1,2,3
WITH A HOP
SWAY BALANCE 3/4 Step cross-step step raise 1,2,3

1,2,3
WITH A RAISE
SWAY BALANCE 3/4 Step cross-step step close step 1,2,3

1,2,3
WITH A WALTZ
PIVOT TURN 2/4 Step step step step 1&2&

On ball & turn on ball & turn
WALTZ 3/4 Step close step 1,2,3
WALTZ BALANCE 3/4 Step, close L, Raise heel 1,2,3

Heels down (both)
CROSS WALTZ 3/4 Cross-step close step 1,2,3
CHASING 2/4 Step close (step) 1 and
ESCOTIS 4/4 Step close step hop 1,2,3,4
KORRITI 2/4 or (same as mincing step but 1 and 2

3/4 one foot across in front)

DANCE TERMS
ABRASETE- Girl at the right side, holds RIGHT arm of partner with her LEFT hand,
free hands
down at the sides. This term is of Spanish origin and is used in Rigodon and other
dances.
ARMS IN LATERAL POSITION- both arms are at one side, either sideward right or
left. this maybe done at shoulder, chest, or waist level.
ARMS IN REVERSE “T”- arms are side horizontal, elbows bent at right angles,
forearmsParallel to head, palms forward or facing inward, fist loosely closed.
BILAO- to turn palms of hands up and down alternately, hands at waist level in front,
elbows close to waist.
CLOCKWISE- like the motion of the hands of the clock. R shoulder is toward the
center of an imaginary circle. When facing center, the movement is toward the left.
COUNTER CLOCKWISE- the reverse direction of clockwise. L shoulder is toward

the center of an imaginary circle. When facing center, the movement is toward the
right.
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 of
foreign origin and is used in many Philippine dances.
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, hat or glass of wine to somebody as a

sign of invitation.
HAYON-HAYON- to place one forearm in front and the other at the back of the
waist. This is a Visayan term.
HOP- a spring from one foot landing on the same foot in the place or in any direction.
The other foot maybe raised in any direction (in front, in rear, sideward or across).
KUMINTANG- moving the hand from the wrist either in a clockwise or counter
clockwise direction. This term is an Ilocano term.
MASIWAK- to turn the hand from the wrist half way clockwise, then raised and lower
wrist once or twice. This is an Ibanag term.

PIVOT- to turn with the ball, heel, or whole foot, on a fixed place or point.
POINT- to touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
POLKA- Spanish-introduced dance from Germany.
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.
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.
“SALOK” (or “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.
SARONG- a short version of the malong usually worn by Subanon and other
Mindanao men.
SET- a dance formation like a square or a unit formation composed of two or more
pairs.
SLIDE- to glide foot smoothly along the floor. The movement may be finished with or
without transfer of weight.
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.
VALSE- waltz, earliest Spanish-introduced step.
WHIRL- to make fast turns by executing small steps in place to right or left.
Experience
TEST I. I-MOVIE: create your own video performing the Fundamental Dance
position and steps.
The aim of this activity is to:
 Provide an overview of creating and using videos with students

 Help get you started using video or get more out of using videos

Examine
TEST II. COMPLETION TYPE: Below are basic folk dance steps in 2/4 time
which are usually used in folk-based dancing. Supply the missing step pattern
and counting of each basic step enumerated.
BASIC STEPS STEP PATTERN COUNTING

Waltz
Mazurka
Heel & toe change step
Sway Balance in Brush
Sway Balance in Hop
Module 2:SOCIAL DANCING
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Objective
This module is designed for you to:
1. demonstrate understanding of lifestyle and weight management to promote

societal fitness.
2. maintain active lifestyle to influence the community and society to participate in

physical activities.
3.practice healthy eating habits that support an active lifestyle
What to know?
 This is the first part of the lesson in Social Dancing. In this phase, you will be
provided with activities that will activate your prior knowledge as regards the
lesson. From here, follow-up activities will be given to elicit your tentative

understandings. As you go through the rest of the activities, misconceptions
and alternative conceptions you have in mind will be clarified. Finally, your
knowledge, considering its adequacy and relevance, will be assessed at the
end of this phase.
What to process?
 You will be given activities to display and enhance your skills in Social
dancing at the same time formulate your understanding as regards the
benefits of such activities to your fitness and well-being. As you go on and
overcome the challenges provided for you, you will learn that together,
dancing activities will be more fun and exciting, without knowing that you are
at the same time improving your fitness and social skills.
Lesson 1: HISTORY OF SOCIAL DANCING
Lesson Outcomes
2. involve oneself in community service through dance activities: and
3. recognize the needs of others in a real life and meaningful way.
Introduction
 People dance socially mostly for the pure joy of it. For a dance enthusiast,
nothing compares to the thrill of moving with grace and harmony to a beautiful
piece of music with a wonderful partner.
 Social dancing, which is simply group dancing for pleasure or recreation, has
probably existed in some form since the beginning of human society. Most
group dances were originally ceremonial rites grouped around three basics
aspects of human existence: food supply, sexual impulse, and relationships
with the spirit world.
 For primitive people, dancing was a formal expressions of religion or
superstition. When dance abandoned its primitive, pantomimic forms, when it

ceased to be specifically about crops, war, wooing, initiation, or religion, it
became pure social interaction, with no aim or purpose but the participants’
enjoyment.
Explore
Various changes in social dancing through the ages clearly demonstrates its
interdependency with the world around it.
During the 14th century, for example, when social dance and folk dance were
virtually indistinguishable, popular ring dances moved inside English upper-class
homes as part of the evening entertainment. As long as the hearth occupied the
center of the room, the dances retained their circular, and egalitarian form. With
the introduction of the chimney about 1368, however, the hearth could be moved
to a side wall, which cleared the floor of obstacles and allowed processional
dances- then favored in the royal courts where rank determined the order of
procession- to replace the ring informations.
Through the Renaissance and the 16th century, social dance became more firmly
ensconced in the courts, whose members systematically dressed up and
formalized the lusty folk dances to suit their elaborate codes of manners and
attire.
The 17th century minuet was nothing but manners, the final flourish of aristocratic
elegance before national and then industrial revolutions returned social to the
masses. When fine demarcations of rank and title vanished, square formations
like the Cotillion and Quadrille, with partners constantly changing, filled the
ballrooms. The Waltz- whose dizzying speed was derived as much from the
newer, more polished surface of dance floors and the abandonment of hobnailed
shoes as it was from the public’s enthusiasm-also became popular. The
embracing, closed hold of waltz successfully defied the polite convention of the
period.
Advancing technology and two world wars so continually restricted life in the 20 th
century that social dance has been changing almost constantly, quickly altering
with the values and practices surrounding it. The syncopated rhythms of
American ragtime music inspired the foxtrot and shimmy.
After the 19th amendment gave women the vote in 1902, they became
“emancipated” the flapper was born, as well as the Charleston. The jitterbug burst
the swing improvisations of the 1930’s and 40’s. Long playing phonograph
records appeared in 1949; thus, in the 1950’s, the teenagers born during the
postwar “baby boom” could launch the rock ‘n’ roll phenomenon in both music
and dance. By then, the once-shocking waltz position and the sexual attitudes it

represented were passé. Because everyone performed the steps individually,
men no longer always “led” women, and couples were not essential. The
emergence of disco dance styles in the 1970’s and later popular dance not forms
continued this trend, although some of the more formal dances required partner.
In a world that pride itself on the speed of its transformations, new forms are
inevitable. Social dance no doubt will continue to evolve as society does.
THE BALLROOM DANCES
A. THE WALTZ
B. POLKA
C. TANGO
D. FOXTROT
E. SWING
F. RUMBA
G. QUICKSTEP
H. PASO DOBLE
I. SAMBA
J. MAMBO
K. CHA-CHA
L. JIVE
ELEMENTS OF DANCE ETIQUETTE
In the following we touch on a few of the more important aspects of dancing. For
more details see the accompanying article “Elements of Dance Etiquette.”
 Never blame your partner for anything that may happen on the dance
floor. Not if you want him/her to dance with you again.
 A request for a dance must be accepted under almost all circumstances. If
you decline a dance, you yourself cannot dance until the end of the music.
 No unsolicited teaching on the dance floor! There is a good chance this
will make your partner feel small and humiliated. Not exactly a great way
of encouraging him/her, or others, to dance with you.
 Do not monopolize a partner on the dance floor. Dancers are polite and
rarely say no to a dance, but this is no carte blanche to impose on their
kindness. Dance with everyone, and let everyone dance.

 On the floor, be considerate of other couples. Exercise good floorcraft: do
not cut other couples off: no aerials or choreographed steps on the dance
floor.
Lesson 2: THE WALTZ, POLKA AND FOXTROT
Lesson Outcomes
2. involve oneself in community service through dance activities: and
3. recognize the needs of others in a real life and meaningful way.
Introduction
 The Waltz is a dance born in the suburbs of Vienna and in the Alpine region
of Austria.
Explore
THE WALTZ
During the middle of the 18th century, the allemande form of the waltz was
very popular in France. By the end of the 18 th century, this old Austrian
peasant dance had been accepted by high society, and three-quarter rhythm
was here to stay.
In July of 1816, the waltz was included in a ball given in London by the Prince
Regent.
Around the close of the 19th century, two modifications of the waltz were
developed. The first was the Boston, a slower waltz with long gliding steps.
The second was the hesitation, which involves taking one step to three beats
of the measure. Hesitation steps are still widely used in today’s waltz.

The American waltz is similar to the international style except it has both open
and closed dance positions. This allows the American style dancer a unique
freedom of expression, including the ability to showcase character and
theatrical presentation.
The slow waltz is danced to music written 3/4 meter with 30-32 measures per
minute.
RISE AND FALL is unique to the waltz. If possible, all the steps in the waltz
should be long. On the first step forward, the weight is taken on the heel, then
on to the ball of the foot. A gradual rise to the toes should be started at the
end of the first beat, and continued to the second and third beat bar of music.
Lower to the normal position at the end of the third time beat by lowering to
the heel of the foot which is carrying the weight.
WALTZ LEFT FOOT CHANGE STEP
Man’s foot position
Start position (facing line of dance rhythm- One, two, and three).

WALTZ RIGHT FOOT CHANGE STEP
Start position (facing line of dance rhythm-One, two and three).
WALTZ BOX STEP
Start/finish position
Rhythm- one, two, three

WALTZ FORWAR PROGRESSIVE STEP
Start position (face line of the dance)

Rhythm- One, Two, three

WALTZ PROMENADE STEP
Start position (face diagonal to wall)

Rhythm- One, Two, three

WALTZ STEP 2
WALTZ LEFT TURN STEP


One basic is 6 steps

WALTZ RIGHT TURN STEP
Start position
Proceed with a left foot change, then 2 right turns and finish with a right foot change.

WALTZ WHISK
Start position:
1. Left foot forward
2. Right foot side
3. Left foot crosses behind right foot
WHISK-LADY’S FOOT POSITION

POLKA STEPS
POLKA is defined as vivacious couple dance of bohemian origin in duple time; was
a basic pattern of hop-step-close-step; a lively Bohemian dance tune in 2/4 time.
The Polka was originally a Czech peasant dance, developed in Eastern Bohemia
(now part of Czechoslovakia). Bohemian historians believe that the polka was
invented by a peasant girl (Anna Slezak, in LAbska Tynice in 1834) one Sunday for
her amusement. It was composed to a folk song “Strycek Nimra Koupil Simla (Uncle
Nimra brought a white horse). Anna called the step “Madera” because of its
quickness and liveliness.
The dance was first introduced into the ballrooms of Prague in 1835. The name of
the dance (pulka) is Czech for “half-step”, referring to the rapid shift from one foot to
the other.
The popularity of the polka led to introduction of several other dances from central
Europe. The simplest was the gallop or galoppade which was introduced in England
and France 1829. Dance position was the same for the waltz or polka, with couples
doing a series of fast chasses about the room with occasional turns. Music was in
2/4 time, often merely fast polka. The gallop was particularly popular as the final
dance of the evening.
For years, the polka remained popular, with its variance in style from robust to
smooth short, glide steps and every happy music. One of the most popular versions
of the polka is the “heel and toe and away we go” due to it ease to execute.
Polka is a popular dance in the country and western sector. Polka and schottische
are competitive country and western dances.
THE POLKA STEPS
The basic polka steps consist of a preparatory hop followed by a chase done first to
the left and then to the right.
The polka is primarily a fast dance. It is danced to music written in 2/4 time with the
first beat more heavily accented. Polka music may also be written in 4/4 time. It is
generally danced to a quick, quick, slow rhythm.
POLKA STEPS

POLKA BASIC FORWARD STEPS
START POSITION
POLKA BASIC BACK STEP

START
POLKA LEFT TURN STEP


FOXTROT

Foxtrot originated in the summer of 1914 by vaudeville actor Harry Fox. Born Arthur
Carringford in Pomona, California, in 1882, he adopted the stage name of “Fox” after
his grandfather. Harry was thrown on his own resources at the age of fifteen. He
joined a circus for a brief tour and he also played professional baseball for a short
while.
A music publisher liked his voice and hired him to sing songs from the boxes of
vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in
a comedy entitled “Mr. Frisky of Frisco”. After the San Francisco earthquake and the
fire of 1906. Harry Fox migrated East and finally settled in New York.
The Fox-trot originated in the Jardin de Danse on the roof of the New York
Theatre. As part of his act downstairs, Harry Fox was doing trotting steps to
ragtimemusic, and people referred to his dance as “Fox’s Trot”. In the rise to fame of
the Vernon Castles, exhibition dancers of outstanding talent and charm, there was
no doubt that the foxtrot was the most original and exciting of their various dances.
As a result of the great popularity which ballroom dancing was enjoying, it was
necessary to evolve a form of dance that could express the slow syncopated 4/4
rhythm and yet could remain “on the spot”.
The foxtrot was the most significant development in all of ballroom dancing. The
combination of quick and slow steps permits more flexibility and gives much greater
dancing pleasure than the one-step and two-step which it has replaced. There is
more variety in the foxtrot than in any other dance, and in some ways it is the
hardest dance to learn! Variations of the foxtrot include the Peabody, the Quickstep
and Roseland foxtrot. Even dances such as the lindly and the hustle are derived to
some extent from the foxtrot.
FOXTROT STEPS

FOXTROT BASIC FORWARD
Start facing line of dance

Rhythm- slow, slow, quick, quick
FOXTROT BASIC BACKWARD

Start position
Rhythm – slow, slow, quick, quick
FOXTROT ROCK LEFT TURN

Rhythm- slow, slow, quick, quick
FOXTROT FORWARD PROGRESSIVE

Start
FOXTROT PROGRESSIVE STEP

FOXTROT PROMENADE STEP

Man’s and Lady’s foot position
Start
Rhythm – slow, quick, quick

FOXTROT LEFT TURN
Start position
FOXTROT TWINKLE
FOXTROT BOX STEP

FOXTROT RIGHT & LEFT TURN

FOXTROT QUARTER TURNS


Experience
 ACTIVITY: SOCIAL DANCING AND FITNESS
In this activity, you will be provided with a review on the implication of dancing
activity to your fitness by way of determining your range of Target Heart Rate.
Here’s how:
This is how to determine your THR (Target Heart Rate) range. Follow the
steps provided and you’ll arrive at your own PMHR and THR which you could
use in determining the intensity of your dancing activity and raising it to a
higher level if necessary.
STEP 1: Find your PMHR in beats per minute by subtracting your age from
220:
 220 - _________________________= (Your Predicted Maximum Heart

Rate)
Example:
 220- 15 = 205 (PMHR of a 15 year-old individual)
STEP 2: you need to work out your lowest Target Heart Rate that you need to
aim for during exercise by multiplying your PMHR by 60% (or .6):
 ______(PMHR) x 60% (or .6) = (Lowest Target Heart Rate)
Example:
 205 x .6 = 123 beats/minute (Lowest THR of 15 year-old individual)
STEP 3: lastly, you need to work out your Highest Target Heart Rate that you
can aim for during exercise by multiplying PMHR by 80% (or .8):
 ______(PMHR) x 80% (or .8) = (Highest Target Heart Rate)
Example:
 205 x .8 = 164 beats/minute (Highest THR of 15 year-old individual)

So, when you are dancing, you are aiming for the range of two figures you
have come up with in steps 2 and 3. In the example given, the Target Heart
Rate of 15 year-old individual is from 123 to 164 beats per minute during
exercise. To maximize the benefits you can derive from social dancing in
relation to cardio-vascular fitness, you need to know your Target Heart Rate
Range. This helps you determine the intensity or level of exerted effort you
are pouring into your dancing.
PROCESSING ACTIVITY:
1. Perform the Social dancing routine simultaneously 4 times with the music.
2. Stop and get your heart rate by placing your middle and pointing fingers in
your carotid pulse located just below your jaw, beside your throat. In 15
seconds, take your pulse. Multiply it by 4.
3. So, have you reached your minimum THR? If not yet, 5 repetitions is not
enough. Let’s dance more.
4. Do the same process in getting your THR.
Examine
Processing Questions: (Write your answer in a whole Sheet of paper)
 How essential is knowing how to get your THR range?

 How can Social Dancing contribute to a healthier lifestyle?

Lesson 3: TANGO
Lesson Outcomes
1. describe the nature and background of the dance;
2. execute skills involve in the dance;
3. involve oneself in community service through social dancing activities.
Introduction
 When talking about the history of the Tango, the reader should consider that
although there were many influences in the creation and life of the Tango, it is
very important not to assume that it was some form a linear development. So
the idea that you start with this dance or piece of music and along comes this
piece or step, and overnight the whole thing changes, is very wrong.
 While dances and music from around the world have had some influences,
this rather detracts from the people who really created and from whom the
Tango evolved its current form. These are the people of Buenos Aires, who in
the bars, cafes and dance halls created the Tango, danced the Tango, lived,
loved and at times died for Tango.

Explore
TANGO HISTORY
Tango (the dance with the stop “Baille Con Carte” is one of the most fascinating of
all dances. Originating from Spain or Morroco, the Tango was introduced to the new
world by the Spanish settlers, eventually coming back to Spain with Black and
Creole influences.
In the early 19th Century, the Tango was a solo dance performed by a woman. The
Andalusian Tango was later done by one or two couples walking together using
castanets. The dance was considered so immoral with its flirting music.
Ballroom Tango originated in the lower social class of Buenos Aires, especially in the
“Barrio de las Ranas”. Clothing was dictated by full skirts for women and gauchos
with high boots and spurts for men.
The dance spread throughout Europe in the 1900’s. Originally popularized in New
York in the winner of 1910-1911, Rudolph Valentino made the Tango a hit in 1921.
As time elapsed and the music became more subdued, the dance was finally
considered respectable, even in Argentina.
Styles vary in Tango: Argentine, French, Gaucho and International. Still, Tango has
become oneof our American “Standards” regardless of its origin. The Americanized
version is a combination of the best parts of each version. The principles involved
are the same for any good dancing. First, the dance must fit the music. Second, it
must contain the basic characteristic that sets it apart from other dances. Third, it
must be comfortable and pleasing to perform.
Phrasing is an important part of Tango. Most Tango music is phrased to 16 or 32

beats of music. Tango music is like a story. It contains paragraphs (Major phrases);
sentences (minor phrases); and the period at the end of the sentence is the Tango
close.
For exhibition dancing, a Tango dancer must develop strong connection with the
music, the dance and the audience. The audience can only feel this connection if the
performer feels and projects this feeling.
“The Tango is the easiest dance. If you make a mistake and get tangle up, you just
Tango on.”

THE TANGO STEPS
Tango dance steps are hot, passionate, and precise. They are also one of the most
popular social dances around. In spite of its reputation, the basic dance steps for
a Tango are quite easy to break down
Tango Dance Steps: The Basic
The easiest way to remember the basic tango dance step is to think of the acronym
T-A-N-G-O, since there are five parts to the basic. At the same time, the steps have
a rhythm and duration that goes as follows: "Slow…slow…quick-quick-slow…"
Like many ballroom dances, the lead and follow mirror each other’s steps in the
basic. Many of the more complicated Tango dance steps give each part their own
specific roles to play. The lead also always begins with the left foot, the follow with
the right, and the lead steps are "heel leads" - that is, the heel of the foot comes
down first, not the toe.
1. T (slow): the lead steps forward with the left foot, the follow mirrors by
stepping back with the right.
2. A (slow): the lead steps forward with the right foot, mirrored again by the
follow's right.
3. N (quick): the lead steps forward again with the left, a slightly smaller step,
preparing to step to the side with the right.
4. G (quick): the lead steps to the right with the right foot, using a technique
known as "collecting" the foot. This simply means that the right foot comes up
alongside the left before stepping to the right, and doesn't move in the diagonal.
5. O (slow): probably the most sultry step in the basic, this is a slow almost-drag
of the left foot towards the right, ready to begin the basic again. For the follow,
it's the joining of the right foot to the left with a slow, deliberate motion.

Lesson 4: THE CHA CHA, MAMBO AND SALSA
The cha-cha-cha (also called cha-cha), is a dance of Cuban origin. It is danced

to the music of the same name introduced by Cuban composer and violinist Enrique
Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The
name of the dance is an onomatopoeia derived from the shuffling sound of the
dancers' feet when they dance two consecutive quick steps (correctly, on the fourth
count of each measure) that characterize the dance.
In the early 1950s, Enrique Jorrín worked as a violinist and composer with
the charanga group Orquesta América. The group performed at dance halls
in Havana where they played danzón, danzonete, and danzon-mambo for dance-
oriented crowds. Jorrín noticed that many of the dancers at these gigs had difficulty
with the syncopated rhythms of the danzón-mambo. To make his music more
appealing to dancers, Jorrín began composing songs where the melody was marked
strongly on the first downbeat and the rhythm was less syncopated. When Orquesta
América performed these new compositions at the Silver Star Club in Havana, it was
noticed that the dancers had improvised a triple step in their footwork producing the
sound "cha-cha-cha". Thus, the new style came to be known as "cha-cha-chá" and
became associated with a dance where dancers perform a triple step.
The basic footwork pattern of cha-cha-cha (one, two, three, cha-cha-one, two, three)
is also found in several Afro-Cuban dances from the Santería religion. For example,
one of the steps used in the dance practiced by the Orisha ethnicity’s Ogun religious
features an identical pattern of footwork. These Afro-Cuban dances predate the
development of cha-cha-cha, and were known by many Cubans in the 1950s,
especially those of African origin. Thus, the footwork of the cha-cha-cha was likely
inspired by these Afro-Cuban dances.
In 1953, Orquesta América released two of Jorrin's compositions, "La Engañadora”
and "Silver Star", on the Cuban record label Panart. These were the first cha-cha-
cha compositions ever recorded. They immediately became hits in Havana, and
other Cuban charanga orchestras quickly imitated this new style. Soon, there was a
cha-cha-cha craze in Havana's dance halls, popularizing both the music and the
associated dance. This craze soon spread to Mexico City, and by 1955 the music
and dance of the cha-cha-cha had become popular in Latin America, the United
States, and Western Europe, following in the footsteps of the mambo, which had
been a worldwide craze a few years earlier.
Basic steps
Cha cha music is composed in 4/4 time (four beats to a bar of music). For each bar
of music there are 2 slow and 3 quick steps, which may be counted as – one, two,
cha, cha, cha or step, step, step, quick step, quick step. The footwork is simple and
mostly focuses on just shifting weight from one foot to another.
Remember, five steps are taken to four beats of music. Also don't forget that the
movements tend to be somewhat flirtatious. This is definitely a party dance

Instructions and Diagrams:
Partners face each other. Gentleman starts with the left foot, lady starts with the right
foot. Basic ballroom hold.
Basic Side Steps for Men
1. Sidestep to the left with your left foot

2. Step backward & left with your right foot
3. Left foot in place, weight shifts to it
4. Sidestep to the right with your right foot
5. Move your left foot to your right foot
7. Step forward & right with your left foot
8. Right foot in place, weight shifts to it
10. Move your right foot to your left foot

Basic Side Steps for Women

2. Step forward & right with your left foot
3. Right foot in place, weight shifts to it
5. Move your right foot to your left foot
6. Sidestep to the right with your left foot
7. Step backward & left with your right foot
8. Left foot in place, weight shifts to it
10. Move your left foot to your right foot
THE MAMBO
The Mambo dance originated in Cuba where there were substantial settlements of
Haitians.
In the back country of Haiti, the "Mambo" is a voodoo priestess, who serves the
villagers as counselor, healer, exorcist, soothsayer, spiritual advisor, and organizer
of public entertainment. However, there is not a folk dance in Haiti called the
"Mambo."

The fusion of Swing and Cuban music produced this fascinating rhythm and in turn
created a new sensational dance. The Mambo could not have been conceived
earlier since up to that time, the Cuban and American Jazz were still not wedded.
The "Mambo" dance is attributed to Perez Prado who introduced it at La Tropicana
night-club in Havana in 1943. Since then other Latin American band leaders such as
Tito Rodriquez, Pupi Campo, Tito Puente, Machito and Xavier Cugat have achieved
styles of their own and furthered the Mambo craze.
The Mambo was originally played as any Rumba with a riff ending. It may be
described as a riff or a Rumba with a break or emphasis on 2 and 4 in 4/4 time.
Native Cubans or musicians without any training would break on any beat.
It first appeared in the United States in New York's Park Plaza Ballroom - a favorite
hangout of enthusiastic dancers from Harlem. The Mambo gained its excitement in
1947 at the Palladium and other renowned places such as The China Doll, Havana
Madrid and Birdland.
A modified version of the "Mambo" (the original dance had to be toned down due to
the violent acrobatics), was presented to the public at dance studios, resort hotels,
and at night-clubs in New York and Miami. Success was on the agenda. Mambo
happy dancers soon became known affectionately as "Mambonicks".
The Mambo craze did not last long and today the Mambo is much limited to
advanced dancers. Teachers agreed that this is one of the most difficult of dances.
One of the greatest contributions of the Mambo is that it led to the development of
the Cha-Cha.
The Mambo is enjoying a renewed popularity due to a number of films featuring the
dance as well as a man named Eddie Torres. Eddie is a New York dance pro and
Mambo fanatic who has launched a crusade to make sure the dance reigns in the
ballroom once again. Torres has become the leading exponent of the style, steadily
building a reputation as a dancer, instructor, and choreographer. He has become
known as the "Mambo King of Latin Dance". Torres is determined to reintroduce
dancers to what he believes is the authentic night-club style of mambo dancing,
which in the 1990's is increasingly known as Salsa.
"It's a great time for Latin American dances," says Torres. "The Mambo is hot now,
like it was in the '50's. It is a dance with many influences -- African, Cuban, Jazz,
Hip-Hop, even some ballet. You'll never run out of steps."
Popular Mambo songs include "Mambo Italiano", "Papa Loves Mambo", "Mambo
#5", "I Saw Mommy Do The Mambo", and "They Were Doin' The Mambo". 'Dance
City', the superb CD album featuring Hernandez and the Mambo Kings Orchestra,
stands on its own as one of the best recordings of its kind in years, an energetic big
band-style session that recalls the glory days of Tito Puente and Tito Rodriguez.
Most people treat Mambo as a very fast dance. In essence, it is a slow and precise
dance that doesn't move very much.

THE SALSA DANCE
Origins and History of Salsa
The origins of salsa date back to the 1900s in Eastern Cuba, where musical
elements and rhythms from various styles were combined. Cuban son and Afro-
Cuban rumba, the two main styles, used diverse musical instruments to create the
basis of a rhythm that would later become known as salsa.
Almost 50 years went by before this new rhythm reached Havana. There, salsa
absorbed influences from other local Cuban music and from American jazz and
continued to evolve. Due to the Revolution in Cuba, many musicians relocated to the
United States, especially to New York City. Among the Hispanic community, these
musicians found an ideal environment to develop their rhythm into what we know as
salsa today; this was especially true in ''El Barrio'', also known as Spanish Harlem.
The definite rise and jump to fame of salsa isattributed to Fania Records, a record
label established in 1964 by musician Johnny Pacheco and Italian-American lawyer
Jerry Masucci. This label became extremely famous, producing one huge hit after
another. Many of the artists who signed with this label are now regarded as legends
of salsa, particularly the team of ''Fania All-Stars''. This group included celebrities
such as Celia Cruz, Héctor Lavoe, Cheo Feliciano, and Rubén Blades, among
others.
Fania Records edited the rhythms which originated in Cuba and gave them a sound
that was catchier and more easily acceptable to the New York Latin market. To
better merchandise their music, Fania called this new sound salsa.
Salsa music is a mix of different Caribbean rhythms and instruments; that diversity
provides its unique sound. Salsa dance has similarly evolved and adapted over the
years to better suit the tastes of different localities, leading to the creation
of different regional styles of salsa. Some of the most popular regional styles are:
 Salsa Casino (Cuban style)

 Salsa Casino (Miami style)
 Afro-Latino style
 Cali style (Colombian Salsa)
 Rueda de Casino
 New York style
Considering that a variety of cultures in Latin America contributed to the vast

diversity of styles in salsa, it's only natural that the musical instruments used also
change a bit from style to style. A mix of instruments is used in each regional style.
The most common percussion instruments are bongos, congas, timbales, maracas,
and cowbells. Among the string instruments, used are the bass guitar, guitar, piano,
violin, and electric guitar. The trumpet, trombone, flute, and saxophone are brass
instruments commonly used.
The influence of salsa grew rapidly and it become popular all over Latin America and
within Hispanic communities worldwide.

LESSON 5: RUMBA AND SAMBA
Rumba
The word Rumba is a generic term, covering a variety of names (i.e., Son, Danzon,
Guagira, Guaracha, Naningo), for a type of West Indian music or dancing. The exact
meaning varies from island to island. The word "Rumba" comes from the verb
"rumbear" which means going to parties, dancing, and having a good time.
There are two sources of the dances: one Spanish and the other African. Although
the main growth was in Cuba, there were similar dance developments which took
place in other Caribbean islands and in Latin America generally.
The "rumba influence" came in the 16th
Century with the black slaves imported from Africa. The native Rumba folk dance is
essentially a sex pantomime danced extremely fast with exaggerated hip movements
and with a sensually aggressive attitude on the part of the man and a defensive
attitude on the part of the woman. The music is played with a staccato beat in
keeping with the vigorous expressive movements of the dancers. Accompanying
instruments include the maracas, the claves, the marimbola, and the drums.
As recently as the Second World War, the "Son" was the popular dance of middle
class Cuba. It is a modified slower and more refined version of the native Rumba.
Still slower is the "Danzon", the dance of wealthy Cuban society. Very small steps
are taken, with the women producing a very subtle tilting of the hips by alternately
bending and straightening the knees.
The American Rumba is a modified version of the "Son". The first serious attempt to
introduce the rumba to the United States was by Lew Quinn and Joan Sawyer in
1913. Ten years later band leader Emil Coleman imported some rumba musicians
and a pair of rumba dancers to New York. In 1925 Benito Collada opened the Club
El Chico in Greenwich Village and found that New Yorkers did not know what Rumba
was all about.
Real interest in Latin music began about 1929. In the late 1920's, Xavier Cugat
formed an orchestra that specialized in Latin American music. He opened at the
Coconut Grove in Los Angeles and appeared in early sound movies such as "In Gay
Madrid". Later in the 1930's, Cugat played at the Waldorf Astoria Hotel in New York.
By the end of the decade he was recognized as having the outstanding Latin
orchestra of the day.
In 1935, George Raft played the part of a suave dancer in the movie "Rumba", a
rather superficial musical in which the hero finally won the heiress (Carol Lombard)
through the mutual love of dancing.
In Europe, the introduction of Latin American dancing (Rumba in particular) owed

much to the enthusiasm and interpretive ability of Monsieur Pierre (London's leading

teacher in this dance form). In the 1930's with his partner, Doris Lavelle, he
demonstrated and popularized Latin American dancing in London.
Pierre and Lavelle introduced the true "Cuban Rumba" which was finally established
after much argument, as the official recognized version in 1955.
Rumba is the spirit and soul of Latin American music and dance. The fascinating
rhythms and bodily expressions make the Rumba one of the most popular ballroom
dances.
Understanding Rumba Steps
Regardless of where you find the rumba dance step diagram, it's going to look
something like the one at Dancing4Beginners. The first diagram shows footprints for
the lead, in sequence. The start position is with the feet together and the weight
balanced. The left foot is white and the right foot is a gray shaded color to help
differentiate them.
Download Rhumba lead dance steps Download Rhumba partner dance steps
SOURCE

SAMBA
SAMBA It's a carnival street dance, a ballroom competition dance, a 1930s classic

movie number, and a powerful workout for your pelvis. Samba is a Brazilian dance
with African roots and a global fandom, often performed in little more than sequins
and feathers, but always with a mix of attitude and abandon.
Origins of the Samba
Samba dance is a little bit of this and a lot of that. Originating in Brazil in the 19th
century, samba owes its rhythm and moves to the African slave dances on the
Brazilian sugarcane plantations. The traditional African circle dance with a lone
central performer relied on weight shifts, rapid steps, and slides to a 2/4 percussive
beat, and a fairly still upper body with arms and hands responding to the hip and leg
movements. Once slavery ended, the dancers migrated to the favelas or
shantytowns outside of cities, where freed slaves put together dance troupes
for carnival. The performances were boisterous and uninhibited, generally frowned
upon by Brazil's Portuguese upper class. But samba proved irresistible, its popularity
spilling across classes and borders, its gyrations richly colored by regional and
international influences. Today, it would be impossible to imagine a carnival without
samba. Fred Astaire and Delores Del Rio danced a version of samba, the carioca, in
the 1933 film Flying Down to Rio. Carmen Miranda, a Brazilian dancer who samba'd
her way through That Night in Rio, became synonymous with the dance worldwide.
The 1939 World's Fair cemented the American love affair with samba when the
music and dance was featured in the Brazilian pavilion. Today, the many iterations of
samba are a mainstay of pre-Lenten carnival in Rio De Janeiro and of Latin ballroom
dancing everywhere. Now it's a solo dance, a couple's dance, a street-dancing
exhibition, and a hybrid, merged with rock, acrobatics, and even reggae.
A Selection of Sambas
There has never been one definitive samba; the dance is as fluid as the pelvic
isolations that keep it hot. Solo samba and partner samba styles work off the same
rhythms with fast or slow percussive beats.
Solo Sambas
Samba no pé is traditional solo samba dance with simple, recognizable steps
spontaneously inspired by the music. It follows a 2/4 count with three steps in every
measure, a basic step-ball-change.
1. Begin with your feet together. Relax your knees and keep them soft and
bouncy throughout.
2. Step back onto the ball of the left foot, shifting your weight to that foot.
3. Take a half-step forward onto the ball of the right foot, again shifting your
weight to the stepping foot.
4. "Slide" (step) the left foot to just behind the right foot, landing on the ball of the
foot and taking the weight on that foot.

5. Step back onto the ball of the right foot, shifting weight again, and repeat the
sequence.
6. You don't "travel" as you step forward and back. As you catch the rhythm and
pick up the pace to match the tempo of the music, your relaxed knees will give
you the samba bounce and your hips will start to move to match the weight
shifts.
7. Allow your arms to swing naturally as you repeat the pattern to the percussive
beat.
Men dance the samba no pé on the flat of the foot. Women, who wear high heels,
dance on the ball of the foot.
SAMBA DANCE STEPS
Basic Samba steps for Gentlemen

BASIC SAMBA STEPS FOR LADIES

Experience
ACTIVITY: SOCIAL DANCING PARTICIPATION QUESTIONNAIRE
Directions: Tick the column that best describe your participation in the activities
below.
SOCIAL DANCING ACTIVITIES ALWAYS SELDOM NEVER
1. I actively participate in social dancing

activities in my community.
2. I am a member of the grand cotillion dance

performed in a friend’s debut/social
gathering.
3. I wear proper attire in social dancing

activities.
4. I am confident in performing social dances

in and outside the school.
5. I insist in doing a dance combination that

my partner could not follow.
6. I don’t follow the lead of my partner

because I have my own style of dancing.
7. I dance vigorously whenever I participate in

social dancing activities.
8. I recognize the advantages of my

engagement in social dancing activities to
my fitness and well-being.
9. I share my social dancing skills with my

friends, and community.
10. I enjoy participating in social dancing

activities.
Assessment
 Summarize in few sentences what the survey revealed about your fitness
habits and attitudes toward social dancing. Write your summary in your
activity notebook.

References
 PHYSICAL EDUCATION 2 for COLLEGE (Dr. Doris D. Tulio)

 PHYSICAL EDUCATION (Teacher’s Material) Department of education
 Cipriano, E (2016). The 21st Century in Mapeh.Manila, Rexbook Store
 SBC Library Textbook available:
 Aquino, Francesca Reyes, Dances for all Occasions, Manila, Philippines,
1996
 Villegas, Ramon N. Batangas-Forged and Fire, Ayala Foundation,
Inc.,/Filipinas Heritage Library , Makati City, 2002
 Gabao, I., (2010). Dance with me . Philippine Normal University Publishing
 Reyes-Aquino F. (1976). Foreifn folk dances
 http://hnupe.weebly.com/pe-2.html
 https://folkdance607.wordpress.com/2017/11/10/folk-dance-in-philippines/
 http://gwhs-stg02.i.gov.ph/~s2govnccaph/subcommissions/subcommission-
on-the-arts-sca/dance/philippine-ethnic-dances/#:~:text=Many%20birds
%20and%20fowls%20easily,a%20dance%20named%20after%20them).
 https://youtu.be/jkAUYA8hUPU Fundamental positions of Arms and Feet
 https://www.arthurmurraylive.com/blog/what-is-social-dancing#:~:text=Social
%20dancing%20is%20a%20non,business%20functions%2C%20or
%20informal%20gatherings.
 https://youtu.be/nhZJsdNlTKk Different types of Social Dances
Book References:
These can be print or e-copy of other recent (preferably published in the last 5
years) or classic books which are supplementary materials that are accessible
to the students. The bibliography entries should follow the APA 7 th edition
format style.
Prepared by: Mr. Rolly S. Tagalog

Instructor 1

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Physical Education 2: Rhythm and Dance

PHYSICAL EDUCATION 2/RST Page 1

 Module 1: Philippine Folk and Ethnic Dances

Module 1: PHILIPPINE FOLK AND ETHNIC DANCES

This module is designed for you to:

1. demonstrate understanding of lifestyle and weight management to promote

2. maintain active lifestyle to influence the community and society to participate in

3. practice healthy eating habits that support an active lifestyle.

PHYSICAL EDUCATION 2/RST Page 2

At the end of the lesson, you should be able to:

1. describe the nature and background of the dance;

2. execute the skills involved in the dance;

3. monitor periodically one’s progress towards fitness goals.

PHYSICAL EDUCATION 2/RST Page 3

Dance, rhythmic and expressive body movement, usually coordinated into a

FOLK DANCE DEFINITION

 The traditional recreational dance of an indigenous society showing the

PHYSICAL EDUCATION 2/RST Page 4

Primitive, indigenous, or ethnic are the dances of the traditional groups.

THE PHILPPINE DANCE

PHYSICAL EDUCATION 2/RST Page 5

 National Dances - traditional dances throughout the Philippines with a

 Local or Regional Dances – dances found in certain localities or

2. Nature of the Dance

 Occupational Dances – dances that depict actions, characteristics,

Pagtatanim Paggapas Paggiik

Pabirik – Depicts the different stages of gold panning.

 Religious or Ceremonial Dances – performed in connection with

PHYSICAL EDUCATION 2/RST Page 6

 Wedding Dances – performed by newlyweds, by friends and relatives

 Festival Dances- performed in connection with celebrations, a feast, a

 Comic Dances – dances with funny and humorous movements mainly

 Social Dances – dances performed during social gathering.

PHYSICAL EDUCATION 2/RST Page 7

1. Fitness. Dancing is one of the versatile and satisfying activities one

2. Joy and Satisfaction. The physical well-being of a person who

3. Grace and Coordination. it improves response to rhythmic patterns.

4. Self-Expression. It develops poise and good posture.

BASIC MOVEMENT SKILLS

Locomotor movements of even rhythmic include walking, running, jumping,

PHYSICAL EDUCATION 2/RST Page 8

FOLK DANCING QUESTIONNAIRE

Directions: Below is a survey questionnaire that reveals your involvement or

Folk Dancing and Related Activities YES NO

PHYSICAL EDUCATION 2/RST Page 9

Number of YES Responses Relative Interpretation

1-3 Is inactive in folk dancing acitivities

4-6 Moderately active in folk dancing activities

7-10 Highly active in Folk dancing activities

 Based on your interpretation of your responses to the survey-questionnaire,

Lesson 2: FUNDAMENTAL DANCE POSITIONS, STEPS AND DANCE TERMS

At the end of the lesson, you should be able to:

1. identify the fundamental positions of arms and feet;

PHYSICAL EDUCATION 2/RST Page 10

FUNDAMENTAL DANCE POSITIONS AND STEP

PHYSICAL EDUCATION 2/RST Page 11

PHYSICAL EDUCATION 2/RST Page 12