Rhythmic Activities PE2

PREFACE
Dancing is an act of moving the body in rhythm, usually in time to music. People have a
natural urge to express their feelings through the 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 a 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 for people to enjoy themselves and to make new friends.
This module will therefore be especially useful to physical education teachers and
students who do not have experience and source of material teaching. The dearth of teaching
materials in physical education adds much to the dilemma of teachers who have had very little
training or no background in this subject but are assigned to handle physical education activities
in the schools.
Teachers in physical education expressed their need for some instructional materials in
simple rhythms and fundamentals of folk dances and a background of modern dances which they
could understand and interpret to their students. This workbook is intended to fill those needs.
There are also dance terms, suggestions for teaching dance steps, step-and-note-pattern,
music and tempo terms, system and manner of counting, suggestions for making an example of
dance-step combinations.
The Authors
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PART 1
PHILIPPINES FOLK AND ETHNIC DANCES
INTRODUCTION
The Filipinos show the influences of foreign conquerors from China, India, the Arabic countries and
Spain although the mountain tribes still have their magic dance. Folk dance is participation, displaying the
characteristics and temperament of the people who have created it. It is usually a dance of anonymous
origin that has been passed on from generation to generation. Although they are now performed for
pleasure in the cities, folk dances were originally mainly country dances.
Despite the differences forced upon them by their respective heritages, the folk dances of different
countries often have similarities of rhythm and pattern. Variations among them are sometimes the results of
geographical differences.
In some instances, it may be difficult to draw am 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 expression of a
race.
Folk dance is a form of social dancing that has become part of the customs and traditions of a
people. Most folk dances developed among people in villages and were passed on from generation to
generation in a particular region. In many of these dances, groups of dancers form such basic pattern as a
circle, line, or a curved, moving line called chain.
In some folk dances, women and men dance together in couples. But in many other dances, only
men or women perform. Although folk dances are preserved by repetition, they gradually change over the
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years. As a result, folk dances have not only survived in these countries but have changed to suit the
character of local communities.
Today, folk dance classes and societies are stimulating interest in the Philippines. Deed in, folk
dances are performed in costume for entertainment, and so help preserve the heritage of the race.
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MODULE 1
DANCES
Dance is rhythmic and expressive body movements 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 or grief by using the most immediate instrument at his disposal --- his body.
Almost all important occasions in the life of primitive man were celebrated by dancing: birth, death,
marriage, war, a new leader, the healing of the sick, prayers for rain, sun, fertility, protection, and
forgiveness were all expressed through dancing.
Dance steps are created from man’s basic movements: 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 and ballroom dances, ballet, and modern expressive
dances.
Some of the more important features of the dance are rhythm, or the relatively fast or slow
repletion and variation of movements; design or the arrangement of movements according to patterns;
dynamics, or variations in the force and intensity of movement; and technique, or the degree of the 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 expression through movements with rhythmic accompaniment which are
characteristics of the community life of the people of different nationalities.
 The vivid intimate bond of customs, ideals, and characteristics in music, steps, and costumes are
preserved.
 A dance developed spontaneously and naturally by specific folk, usually handed down from
generation and following a basic pattern.
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ORIGIN OF DANCE IN THE PHILIPPINES ACCORDING TO FILIPINO LEGEND
According to Philippine legend, the first man and the first woman went up to the hill to make their
first home. They begot many children and later became the ancestors of diverse tribes.
Several beliefs become their way of life. When death struck, when lightning flashed in the sky, and
when thunder rumbled, the tribes were stuck with fear. They thought that the gods were angry. To placate
their deities, they offered sacrificial rites by way of fire and smoke in the belief that the smoke from fires
they kindled carried their invocation heavenwards.
When illness and pestilence befell the tribes, the people wailed and chanted and danced long into
the night, so that the evil spell might be broken. When the earth caked from drought, they performed a
dance of propitiation so that the divine entities might take pity on them and send rain to their parched fields.
And when the rains came and drenched the soil to assure a bountiful harvest, these children of the gods
danced in the moonlight in joy and thanksgiving.
In the act of imploring, conciliating and giving thanks to the gods, the people of this island created
dance to live forever in themselves, in their children and their children’s children.
THE PHILIPPINE DANCE
Dance in the Philippines influences the diversity of our culture beginnings and the drama of
everyday lives. It blends the exotic customs and cultures of many countries and races --- Indonesians,
Malay, Chinese, Indian, Spanish and American.
The Philippine archipelago had been inhabited by three different racial groups even before the
coming of Magellan in 1521. They were Pygmies, Indonesians and Malays. The Negritos and Proto-Malays
were the descendants of the Pygmies. As early as those days, dancing among Negritos was mostly
pantomimic, performed to deficit the events of the daily chores.
Filipinos possess natural grace, an inborn love for music and dance. Dancing was considered a
religious activity among them. They dance for many occasions--- birth, love, courtship, thanksgiving,
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wedding, war, victory, marriage, planting and harvesting, prosperous voyage, recovery from sickness and
healing the sick.
In places where life is easy, the dances are gay and frolicsome. Dances in places where life is hard
are sad, slow and even mournful.
Filipinos are also lovers of rituals as shown in ceremonial dances during town fiestas, the
thanksgiving for a plentiful harvest, a victorious battle, a prosperous voyage or recovery from sickness, to
drive away evil spirits and in invoking their gods and anitos.
The Philippine folk dances are classified according to:
1. Geographical Location
1.1 National Dances are traditional dances throughout the Philippines with a common basic
movement or pattern but with slight variations.
Examples:
Carinosa Kuratsa Balitaw
Rigodon Pandanggo Surido
1.2 Local or Regional Dances are dances found in certain localities or regions only.
Examples:
Alcampor (Leyte)
Maglalatik (San Pablo, Laguna)
Basulto (Pampanga)
2. Nature of the Dance

2.1 Occupational Dances are dances that depict actions, characteristics, occupations, industries,
and phrases of human labor.
Examples:
Rice Festival – has the largest number of dances
Pagtatanim Paggapas Pagiik
Paglulugas Paghangin Pagbabayo
Pabirik – depicts the different stages of gold panning.
Mananguete – tuba gatherer.
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2.2 Religious or Ceremonial Dances are performed in connection with religious vows, practices,
and ceremonies. A religious dance may be performed to drive away evil spirits, ask for favor to
have a child, give thanks for having recovered from sickness, favors granted and vows fulfilled.
Examples:
Obando Dugso Sinurog
2.3 Courtship Dances are dances that depict love-making or with a love theme.
Examples:
Rogelia Lulay Hele Hele Bago Quiere
2.4 Wedding Dances are 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 or relatives of each side)
Soryano (dance by the parents by the future groom, the visit of the parents of the
2.5 Festival Dances are performed in connection with celebrations, a feast, a barrio fiesta, good
harvest and good fortune.
Examples:
Kuratsa La Jota Putong
2.6 War Dances are intended to show imaginary combat or duel with the use of fighting
implements like bolo, Kris or spear.
Examples:
Inabaknon Sagayan
2.7 Comic Dances are dances with funny and humorous movements mainly intended for
entertainment.
Examples:
Makonggo (movement of monkey)
Kinoton (imitates movements of person bitten by ants)
2.8 Game Dances are dances that have some play elements and are for recreational purposes.
Examples:
Lubi – Lubi Gayong – Gayong Pabo
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2.9 Social Dances are dances during social gatherings.
Examples:
Rigodon Lanceros
5 GROUP CLASSIFICATIONS OF DANCES

FOUND IN THE PHILIPPINES
1. Dances of the Cordillera Groups

BIBAKIIG – acronym for Bontocs, Ifugaos, Benguets, Apayao, Kalinga, Itneg, Illonggot, and
Gaddang.
PESHITS & KANYO – occasions for the presentation of Cordillera dances. Classification:
ceremonial, courtship, war, festival, and imitative in nature.
Some of the Dances
 Takik – a flirtation, love or wedding dance from Western Bontoc.
 Pattong – dance by one or two warriors.
 Dinnuya – from Lagawe Ifugao, a dance festival performed by men and women during a
major feast.
 Tarektek – among the Benguets, a dance imitating the “woodpeckers”
 Bendian – a victory dance.
 Turayen – among the apayaos, a dance imitating a high flying birds.
 Tadeck – a Kalingga word for dance.
 Ragragsakan – a work dance of kalingga women where they carry baskets on their heads
or sometimes layered claypots.
 Takiling – a victory dance performed after a head hunting spree.
2. Dance of the Mindanao Groups
Dances have touches of Hindu, Javanese, Chinese, and Arab- Persian culture.
Some of the Dances
 Kakulangan among the Maranao, is danced with use of beautifully decorated umbrellas.
 Sagayan is a war dance which dramatizes the hero-warrior prince.
 Asik is a doll dance for girls.
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 Silong sa Ganding shows traces of Hindu-Vedic influence, where the five dancers
represent the sounds of the gandingan.
 Pang-alay from Jolo, Sulu, portrays the varied life activities of the people.
 Maglangka is a dance class of noble Samal women.
 Pindulas depicts the movements of the fish.
 Binanog is a Manobo hawk dance.
3. Spanish/European/Western Influenced Dances
3.1 The Westernization of Filipino culture brought changes in the style of dancing among Filipinos.
3.2 Introduction of Pandanggo, Habanera, Jota, Valse, Mazurka, Pasco, Rigodon, Lanceros, etc.
3.3 Some of the dances include:
 Habanera Botolena is a dance of married couple in Botolan, Zambales;
 Pandanggo Rinconada is a festival dance from the province of Bicol depiciting the happy and
contented life of the people.
4. Dance of the Countryside
 If there were for the so-called “bourgoise,” during the Spanish period there were also dances
for the poor farmers and people in the rural areas.
 Dances were light and more informal.
 Frequently, the dances require skills and characters which depict their kind of work.
 Some of the dances are:
 Binasuan is a dance that require a balancing skill with glasses of wine.
 Bati is a dance performed during Easter Sunday.
 Gayong-Gayong is a game dance.
 Binislakan, which means sticks, is a Pangasinan dance that bears Chinese influence.
5. Dances for the Lesser Known Group
 Kadal Blelah is Tiboli dance with mythical bindings imitative of the movements of the birds.
 Karasaguyon is a courtship dance.
 Kadal Tajo is a dance that depicts the movements of a bird in the middle of the forest
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MODULE 2
DANCE TERMS COMMON TO FOLK DANCES
Many of our so-called native dances are Spanish origin. Others show French, English, Malayan,
influences. Our forefathers have performed them for so long, giving them their own interpretation, execution
and expression that they become traditionally Filipino.
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 in other dances.
Arms in lateral position – both arms are at one side, either sideward right or left. This may be done at the
shoulder, chest, or waist level.
Arms in reverse “T” – arms are at the side horizontal, elbows bent at right angles, forearms parallel to
head, palms forward or facing inward, fists loosely closed.
“bilao” - to turn palms of hands up and down alternately, hands at waist level in front, elbows close to
waist.
Brush – weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that
foot is lifted from the floor to any direction.
“Cabeceras” - when dancers are in square formation, the couples occupying the width of the hall are
called “cabeceras” or head couples. This is of Spanish origin.
Clockwise – like the motion of the hands of the clock. Right shoulder is toward the center of an imaginary
circle. When facing center, the movement is toward the left.
Counterclockwise – the reverse direction of clockwise. Left shoulder is toward the center of an imaginary
circle. When facing center, the movement is toward the right.
“Costados” – when dancers are in square formation, the couples occupying the length of the hall are
called “costados” or side pairs. This is of Spanish origin.
Crossed arms – partners are facing each other or standing side by side, girl at the right of boy. They join
their left hands together and their right hands together; either right over left or left over right hands.
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Cross-Over – two couples (the vis-a-vis) are opposite each other. Each couple proceeds a straight line to
the opposite place. The girls pass by their left shoulders between the boys. Boys bow to each other when
they meet at the middle or about one-third of the way, then proceed to the opposite place. Upon reaching
the opposite place, partners turnabout; girls stand at partners’ right side.
Cut – to displace quickly one foot with the other, thus completely taking off the weight of the body from the
displaced foot.
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.
Draw – to pull one foot along the floor close the other which has the weight of the body. The weight may or
may not be transferred.
Free foot – the foot not bearing the weight of the body.
Free Hand – the hand not placed to anywhere or not doing anything.
Grand Chain or Grand Right or Left – partners join right hands facing each other. Boys all move
counterclockwise and girls clockwise. Each boy in starting passes his partner on her right and drops her
hand, joins left hand with the left of the next girl, who advances to meet him, and passes on her left, and
drop hands, joins right hand with the next advancing girl, and so on. The girls do the same giving right and
left hands to each succeeding boy. When partners meet for the first time they continue until they meet for
the second time in their proper places them at turnabout and reverse direction.
Hands on waist – place hands at the waist line (at the smallest part of the trunk), knuckles in, finger
pointing rear.
“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 place or in any direction. The other foot may be
raised in any direction (in front, in rear, sideward or across).
Inside Foot – the foot nearest one’s partner, when partners stand side by side.
Inside Hand – the hand nearest one’s partner, when partner’s stand side by side.
“Jaleo” partners turn once around clockwise (with right elbows almost touching) or counterclockwise (with
left elbows almost touching) using walking or any kind of dance step. The hands near each other are on
waists. This Tagalog term but of a Spanish origin.
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Jump – spring on one foot or both, landing on both any direction.
“Kumintang” – moving the hand from the wrist either in a clockwise or counterclockwise direction. This is
an Ilocano term.
Leap – spring on the supporting foot and land on both feet.
“Masiwak”- to turn the hand from the wrist halfway clockwise then raise and lower wrist once or twice. This
is an ibanag term.
Leap – a spring from one foot, landing on the other foot in any direction (forward, sideward, backward, or
oblique).
Outside Foot – the foot away from one’s partner, when partners stand side by side.
Outside Hand – the hand away from one’s partner, when partners stand side by side.
Opposite – the person standing in opposite across the set.
“Panadyak” – to stamp in front or at side with R (L) foot and tap with the same foot close to the L foot,
weight of the body on L  foot. This is a tagalong term.
Partner – girl to right of boy and boy to left of girl.
Place - to put foot in a certain or desired position without putting weight on it. The sole of the foot rests on
the floor.
Pivot – to turn with the ball, heel, or whole foot, on a fixed place or point.
“Patay” – to bend the head downward and to support the forehead with the R (L) forearm or with the crook
of the R (L) elbow while the L  hand support lightly the palm of the R (L) hand. This is usually done with
the L  foot pointing in rear and knees slightly bent. This is an Ilocano term and the movement is
commonly found in Ilocano dances.
Point – touch the floor lightly with the toes of one foot, weight of the body on the other foot.
“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 tagalong 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 “Saroc”) – cross the R (or L) foot 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.
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.
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Stamp – to bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without
transfer of weight.
Star with Right Hand – four or more people join in R hands at centr and circle around clockwise using
walking or any kind of dance steps.
Star with Left Hand – same as “star with R hand”, but joining L hands and turning counterclockwise.
Step - to advance or recede by raising or moving onr foot to another resting place. There is a complete
transfer of weight from one foot to another.
Supporting to Foot – the foot that bears the weight of the body.
Tap – to rap slightly with the ball or toe of the foot, flexing the ankle joint keeping weight of the body on the
other foot. There is no change or transfer of weight.
Whirl – to make fast turns by executing small steps in place to right or left.
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MODULE 3
DANCE TERMS COMMON TO FOLK DANCES
FUNDAMENTAL DANCE POSITION AND STEPS
FEET POSITIONS
First Position
Feet close and parallel heels
Touching toes at 45 degrees
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Second position
Open parallel stride sideward
Third Position
Feet close- crossed
Heel in-step Touching Knees locked
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Fourth Position
Feet open-crossed
Fifth Position
Feet close-toes
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ARM POSITIONS
First position
Arms encircled in front chest
Level, relaxed, fingers slightly

Apart.
Second position
Arms raised sideways a little
Below shoulder level
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Third position
One arm encircled overhead,
Other raised sideways.
Fourth Position
One arm encircled on first
position, other arm overhead.
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Fifth Position
Both arms overhead.
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COMBINATION OF ARMS AND FEET POSITIONS
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The dance steps listed below are the fundamental or basic steps most commonly used in
Philippine folk dances. 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. Some dance steps have no
English equivalent names, so the native names are retained, such as “kuradang”, “Bacui”,
“engano”, etc.
DANCE STEP TIME STEP PATTERN COUNTING
SIGNATURE
BACUI ¾ Cross-point step/ 1, 2, 3
Cross-step (rear) step/ 1, 2, 3
Cross-step (front)step/ 1, 2, 3
Close (pause) 1, 2, 3
BLEKING 2/4 /Spring 1 (R) heel-place close 1, 1, 2
¾ heel-place close (step) 1, 2, 3
BRINCOS CON 2/4 Cross –jump 1
PUNTILAS Hop & circle and
Step & heel raise 2

spring & point and
BRINCOS CON 2/4 Cross-jump 1
VUELTAS Hop & turn & foot circle and
Step & turn (heel raise) 2
Spring & point and
CHANGE STEP 2/4 step close step 1&2
CROSS STEP ¾ Step cross & slide 1, 2, 3
CROSS CHANGE 2/4 Cross-step-close-step 1&2
CONTRA-GANZA 2/4 leap cross-step step 1&2
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SIGNATURE
CHANGING STEPS 2/4 Jump 1 foot & other in rear 1
CHOTIS 4/4 Brush, raise,brush, raise 1, 2, 3, 4
Step, step, step (tunning) pause 1, 2, 3, 4
CLOSE STEP 2/4 Step close 1, 2
CUT STEP 2/4 Cut or displace 1
ENGANO WITH ¾ Step cross-step 1,2,3
A CLOSE Step close 1, 2, 3
ENGANO WITH ¾ Step cross step 1, 2, 3
A WALTZ Step close step 1, 2, 3
ESPUNTI ¾ Pivot L ® Pivot R (L) 1, 2, 3
Pivot R (L) pivot L ® 1, 2, 3
GALOP 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
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SIGNATURE
GRAPEVINE 2/4 step cross-step 1, 2
Step cross-step 1, 2
4/4 step cross-step step cross step 1, 2, 3, 4
¾ step cross – step 1, 2, 3
Cross-step step-cross 1, 2, 3
HABANERA 2/4 Step close step 1, 2 and
HAPLIK 2/4 step step/hop hop/ 1, 2 1 & 2
Step step, step (turning) 1&2
Hop hop/ step step step 1, 2 1 & 2
Hop hop/ step step/ 1, 2 & 1, 2
Close (pause) 1, 2
HEEL & TOE 2/4 heel-place toe-point/ 1, 2
CHANGE STEP step close step 1&2
ITIK-ITIK
1 ¾ step heel-raise ball-step slide close 1, 2 & 3
2 heel-step slide-close 1, 2
Ball-step slide-close &3
3 step heel-step slide-close 1, 2 &
Ball-step slide-close 3&
4 step slide L ® slide L ® 1, 2, 3
& slide close slide close
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SIGNATURE
5 cross-step slide L® slide L ® 1, 2, 3
& slide close slide close
6 cross-step slide-close cross-step 1&2&3
KURADANG 2/4 step close step cross-step/ 1 & 2, 3/
Step close step point 1 & 2, 3
MAZURKA ¾ slide cut hop 1, 2, 3

MUDANSA ¾ a. step brush-heel close 1, 2, 3 /1, 2, 3
(heel) (to be executed 12x) 1, 2, 3 /1, 2, 3
b. step close step 1, 2, 3 /1, 2, 3
c. step close step 1, 2, 3 /1, 2, 3
d. step close step turning 1, 2, 3 /1, 2, 3
e. step close step 1, 2, 3 /1, 2, 3
MINCING 2/4 Step step step step 1&2&
Step step step step ……… 1 ah & ah
1 ah & ah
Step step…( tiny steps) 1,2
¾ Step step…( tiny steps) 1&2&3&
PAPURI ¾ Step cross-step cross-point 1, 2, 3, 1, 2, 3
Step cross-step cross-cross 1, 2, 3, 1, 2, 3
PASO ESPANOL ¾ Step R 1
Close L & heels 2
Heels down both 3
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SIGNATURE
Step close R heels 1, 2, 3
PLAIN POLKA 2/4 step close step pause 1&2&
HEEL AND 2/4 heel-place toe-point/ 1, 2
TOE 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&
REDOBA ¾ Slide cut cut 1, 2, 3
ROCKING 2/4 fall on R (L) & raise L ® 1
Fall on L ® & raise R (L) 2
SAGAMANTICA ¾ step close step close 1, 2, 3
Step close raise R heel place 1, 2, 3
SKIP 2/4 Step hop step hop 1 ah 2 ah
6/8 Step hop step hop 1, 2, 3, 4, 5, 6
SLIDE STEP 2/4 Slide close 1, 2
¾ slide close slide close 1, 2, 3, 1, 2, 3
STEP-HOP 2/4 step hop 1, 2
¾ slide close slide close 1, 2, 3, 1, 2, 3
STEP POINT 2/4 step point 1, 2
2/4 step point 1, 2
¾ step point 1, 2, 3
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SIGNATURE
STEP SWING 2/4 step swing 1, 2
¾ step swing 1, 2, 3
STEP SWING BRUSH ¾ step swing hop 1, 2, 3
STEP BRUSH 3/4 step brush swing hop 1, 2, 3
SWING HOP
SWAY BALANCE ¾ Step cross-step brush 1, 2, 3
WITH A POINT
SWAY BALANCE ¾ Step cross-step brush 1, 2, 3, 1, 2, 3
WITH A BRUSH
SWAY BALANCE ¾ Step cross- step step close 1, 2, 3, 1, 2, 3
WITH A CLOSE
SWAY BALANCE ¾ step cross-step step raise hop 1, 2, 3, 1, 2, 3
WITH A HOP
SWAY BALANCE ¾ step cross-step step raise 1, 2, 3, 1, 2, 3
WITH A RAISE
SWAY BALANCE ¾ step cross-step step close step 1, 2, 3, 1, 2, 3
WITH A WALTZ
DOUBLE SWAY ¾ step cross-step 1, 2, 3
BALANCE step point 1, 2, 3
Cross-step step 1, 2, 3
Point 1, 2, 3
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SIGNATURE
TOUCH STEP 2/4 spring & touch or 1
Touch close (step) 1, 2
3/4 Touch close step or 1, 2, 3
Touch close step 1, 2, 3
TURNS: ¾ Step brush step 1, 2, 3
BRUSH STEP TURN (turning in place)
CHANGE STEP TURN 2/4 step close step 1&2
(turning in place)
CROSS TURN ¾ cross turn heels down 1, 2, 3
CROSS-STEP ¾ step cross heels down 1, 2, 3
TURN
PIVOT TURN 2/4 step step step step 1&2&
On ball & turn on ball & turn
PIVOT TURN ¾ turn L & point R 1, 2, 3
WITH A POINT Point close R (L)
(turning in place)
PIVOT TURN ¾ sarok point-close point & turn 1, 2, 3, 1, 2, 3
WITH “SAROK” point-close point and turn
Point-close
AND POINT point & turn point-close 1, 2, 3, 1, 2, 3
SLIDE TURN ¾ step-turn & cross slide-step 1, 2, 3
THREE-STEP TURN ¾ step turn& step turn & step 1, 2, 3
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SIGNATURE
FOUR-STEP TURN 2/4 step turn& step turn & step (close) 1, 2, 1, 2
WALTZ TURN ¾ step close step 1, 2, 3
WHIRL TURN 2/4 step…step…step(R-L alternately) 1 ah & 2 ah
(Turning in place while moving) 2 ah & ah
¾ (same as above) 1 ah & ah
3 ah & ah
WALTZ ¾ Step close step 1, 2, 3
WALTZ BALANCE ¾ step, close L, raise heel both 1, 2, 3
Heels down both
CROSS WALTZ ¾ cross-step close step 1, 2, 3
PARALLEL 2/4 pivot on heels(&turn toes both) 1
TORTILLIER pivot on toes(&turn heels both) 2
¾ pivot on heel(&turn toes both) 1, 2
Pivot on toes(&turn heels both) 2
OPPOSITE 2/4 toes together R-L 1
TORTILLIER heels together R-L 2
¾ Toes together heels together 1, 2, 3
(moving sideward R & L)
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 with 1&2
¾ one foot across in front)
28
KEY TO SYSTEM OF COUNTING
Counting is the most practical way to describe a rhythmic pattern. The note is the unit in musical
rhythm showing the duration in which a tone or movement (in the case of dancing) is taken.
Rest is character used to indicate silence or pause (in the case of dancing) for a certain time.
Note and rest values refer to the musical notation which gives the exact duration values of the
rhythmic pattern.
NOTE AND REST VALUES
29
MODULE 4
SELECTED FOLK DANCES, MUSIC,
COSTUME AND FORMATION
Abaruray
“Abaruray” is a common of the words “aba” and “ruray” “Aba!” is an exclamation which is equivalent
to “Hey!”, “Hi” or “Hail” in English. “Ruray” is the nickname for Aurora.
COSTUME: The girl is dressed in balintawak and the boy in barong tagalog and long, red trousers. Both
dancers are bare footed.
MUSIC is divided into three parts: introduction, A and B.
COUNT: one, two, and three to a measure.
FORMATION: Partners stand opposite each other about eight feet apart. The girl stands at her partners’
right side when facing the audience.
Aetana
This dance is from Santa Cruz, Marinduque. It is snappy, short, and always delights the audience
as well as the performers. The “jaleo” and “lamano” (shaking hands) are the two interesting figures of this
dance.
COSTUME: Girls wear balintawak and boys,barong tagalog and white trousers.
FORMATION: Dances stands in two parallel lines facing the audience about six feet apart.
Girls stand at partner’s right side. From one to any number of pairs may take part.
Audience
X O
X O
X O
MUSIC is divided into two parts: A and B
COUNT: one, two and three to a measure.
30
Alcamfor
The name of the dance was perhaps derived from the plant called camphor for its perfume. It was
originally known as “Alcanfor” but possibly “Alcamfor” is highly appropriate.
COSTUME: The girl is dressed in Maria Clara style. A large embroidered handkerchief hangs at the right
side of the waist. The boy is dressed in barong tagalog and black trousers. He wears a hat.
MUSIC is divided into two parts: A and B.
FORMATION: Partners stand side-by-side facing the audience. The girl stands at the boy’s right side. From
one to any number of pairs may take part in this dance.
Audience
XO XO
XO XO
XO XO
XO XO
Anuncio
This is a wedding dance popular in the provinces of Mindoro and Marinduque. It is usually danced
during a marriage celebration although it may be performed in any social gathering.
COSTUME: Girls wear an old style costume or any native costume, which is appropriate for a wedding
dress; the boy wears barong tagalog and black trousers.
MUSIC is divided into four parts; A, B, C, and D.
FORMATION: The girl is seated. The boy stands on one side, facing the girl.
31
Areuana
This Visayan dance from Janiuay, Iloilo. It is known in other places as Lariajuana or Jota Rojana.
Areuana may have been derived from the Visayan phrase “Are” and “Juana,” meaning “Here, Juana”.
COSTUME: The dancers are dressed in Visayan costume.
MUSIC is divided into five parts: A, B, C, D, and E.
FORMATION: Partners stand opposite each other about eight feet apart. Girls stand at partners’ right when
facing the audience. From one to any number of pairs may take part in this dance.
Aringginding-Ginding
This is simple, delightful, courtship dance from Mindoro. The participants sing as they perform easy
dance steps. The words of the songs, alternately sing by the boy and the girl, speak mostly of love in a
tender but humorous way.
COSTUME: The dance requires “balintawak”. The boy wears barong tagalog and white trousers.
MUSIC is only one part, played eight times.
COUNT: one, two, and three, to a measure.
FORMATION: Once couple perform this dance. They stand opposite each other about eight feet apart, the
girl standing at the boys’ right when facing the audience.
Bakya Dance
“Bakya” means shoes. They are common footwear of the poor in the barrios. During the rainy
season, almost all people wear them. They are made in different materials, colors, and shapes.
COSTUMES: Girls wear balintawak and boys barong tagalog with red trousers. All wear “bakya”.
MUSIC is divided into four parts; A, B, C, and D.
COUNT: one, two and three to a measure of ¾ time and one, two to a measure in 2/4 times.
FORMATION: Partners stand opposite each other about six feet apart. The girls stand at partners’ right
while facing the audience. From two to any number of even pairs may take part.
32
Barangay
Barangay is derived from the tagalog word balangay, a large and swift kind of native boat. The
author for the Barangay Club of Manila especially created this barangay dance. Barangay also refers to the
unit of government of the Filipinos in early times.
COSTUMES: The girls are dressed in Maria Clara style and boys in barong tagalog nad black trousers.
COUNT: one, two three to a measure.
FORMATION: Partners stand side by side with the girl at the right of the partner. Participants stand in
square formation. Eight or sixteen parts may take part in the dance.
1 2 3 4
OX OX OX OX
5 X O5
O X
6X O6
O X
7X O7
O X
8X O8
O X
XO XO XO XO
1 2 3 4
33
Ba-o
“Ba-o” in tagalog, means coconut shell. It can be used for many purposes such as fuels, water,
dippers, food containers, individual saving bank, musical instruments, etc,. each dancer holds two half-
coconut shells, one in each hand. The backs are struck together to produced sounds in different rhythms.
COSTUME: Girls wear balintawak and boys barong tagalog with the red trousers.
MUSIC is divided into four parts: A, B, C, and D.
COUNT: one, two and three to a measure of ¾ time and one, two, or one and, two to a measure of 2/4
time.
FORMATION: Partners stand opposite each other about six feet apart. When facing the audience, girls are
at their partners’ right. Each set composed of three couples. From one to any number of sets may take part
in this dance.
Audience
X O
X O
X O
Baruray
This is simple and interesting dance from the province of Mindoro. It is make up of two movements.
The first is lively 2/4 times. The second is a moderate ¾ rhythm.
COSTUME: Girls are dressed in balintawak; boys in barong tagalog and long trousers, white or colored.
COUNT: one, two to a measure of 2/4 times and one, two, to a measure of ¾ time.
FORMATION: Partners stand opposite each other about eight feet apart. Girls stand at boys’ right when
facing audience. From one to any number of pairs may take part.
34
Bulaklakan
During the month of May. It is the custom in many parts of the Philippines to celebrate the Santa
Cruz de Mayo, a procession usually followed by a social gathering in the house of the Hermana Mayor.
FORMATION: Girls of a group A stands at the right side and those of Group B at the left side of their
partners. From eight to twenty-four pairs may take part. They are divided into two groups. (A, B).
Audience
1XO OX1
2XO OX2
1XO 8 10 OX1
2XO ft OX2
1XO OX1
2XO OX2
1XO CENTER OX1
2XO OX2
35
Bendian
To celebrate a headhunt, harvest, well being, victory. This dance comes from highland Cordillera of
Benguet.
MUSIC is 2/4 composed of six parts: A, B ,C , D , E, and F.
COUNT: one and two to a measure.
FORMATION: any desired formations may be used in this dance.
Audience
1X O OX1
2XO OX2
1XO 8 10 OX1
2XO FT OX2
1XO OX1
1XO CENTER OX1
2XO OX1
Chotis
This ballroom dance was as popular as the waltz, ballroom polka, polka mazurka or mazurka
during the Spanish regime. It could be danced as an ordinary ballroom dance. It nay be used in
demonstrations using different formations.
COSTUME: Dancers are dressed in any old style costume.
MUSIC is divided into 3 parts: A, B, C.
COUNT: one, two, three and four into a measure.
FORMATION: Partners.
36
Esperanza
This is lively dance from Camarines Sur. It was supposedly name after a lovely maiden called
Esperanza. The steps of this dance are simple but interesting.
COSTUME: the girl wears balintawak or patadiong and boy barong tagalog with white trousers.
MUSIC is one, two, or one and two to a measure.
FORMATION: Partmers stand side by side about three feet from each other, facing the audience. The girl
stands partner’s right. Any number of couples may take part.
Garambal
The name of this dance comes from two Spanish words, “gram” and “valse” which
means grand waltz, corrupted into one word, garambal. This dance came from Camiling Tarlac.
Two girls and one boy perform it.
COSTUME: The girls are dressed in Ilocano costume, the boy in barong tagalog and black trousers. The
girls have buri hats on.
FORMATION: the boy stands between the two girls who are about six feet from each other. All face the
audience.
O X O
Diagram A
Habanera Narcisena
In Zambales province, the habanera initially a dance step from Havana, Cuba, was introduced here
via Spain. The step blended perfectly with Ilocano and other Spanish-introduced steps. Habanera
narcisena expresses the town’s sentiment and heart.
COSTUME: the girls are dressed in short blouse, full bell sleeves embroided on the edges, the boy wear
barong Tagalog.
MUSIC is 2/4 and ¾ composed of three parts: A, B, and C.
37
COUNT is 1, 2, and to a measure in 2/4 time. 1, 2, 3 to a measure in ¾ time.
FORMATION: Partners stand opposite each other six feet apart. Girl is at the right side of the boy when
facing the audience. Any number of pairs may take part in the dance.
Kadal Tahu
This is a true dance of the T’boli, Indigenous Hill Community from Lake Cebu, South Cotabato.
COSTUME: Traditional everyday T’boli outfit
MUSIC is 2/4 composed of two parts, A and B.
COUNT: one, two; one, two and to a measure.
FORMATION: No definite formation. One to any number may participate in the dance.
Kandingan
This is a Moro wedding from Jolo, Sulu. Its figures are based on the old, traditional Moro Dances.
COSTUME: The dancers are dressed in typical Joloano costume and barefoot.
MUSIC is divided into two parts: A and B. It is played continuously until the dancers finish. The tempo
increases of the last figure or when the performers are about to end the dance.
COUNT: one, two to a measure.
FORMATION: Partners stand side-by-side facing the audience. They are about eight feet apart. The girl
stands at the right side of the boy.
Audience
X O
Konan
An old one-peso peso silver coin of the 1900 vintage from Lowland Christians of Pangasinan.
COSTUME: Moderately elaborate baro’t saya.
MUSIC is count 2/4 composed of four parts: Introduction, A, B, and C.
FORMATION: Partners stand opposite each other about six feet apart. When facing audience. Girl stands
at the right side of the boy. One to any number of pairs may take part in the dance.
38
La Jota
This is delightful, lively dance from Iriga, Camarines Sur. Its air and figures are very much like the
the Jotas of Spain. The Jota dances have many variations and are as popular as the Fandangos.
COSTUME: Girls are dressed in Maria Clara style and boys in Barong tagalog and black trousers.
MUSIC is divided into four parts: A, B, C. and D.
FORMATION: Partners stand opposite each other six feet apart. Girls stand at partners right when facing
the audience.
Audience
X 1 O
X 2 O
X 3 O
X 4 O
Lanceros de Tayabas
In the 16th century, the Spanish missionaries came to the Philippines with a new religion that
promised salvation. Lanceros takes its name from the chivalrous knights and lancers of king Author fame.
In tayabas, the dance came to be known as Lanceros de Tayabas, noted as a divertissement for the
comedia stage-play also a Spanish import.
COSTUMES: Girl wear baro’t saya of the siete conchillos type and boys wear barong tagalog. With dark
colored pants.
MUSIC: 2/4 composed of seven parts: A, B, C, D, E, F, and G.
COUNT: 1,2 or 1, and 2, and to a measure.
FORMATION: Dancers are arranged in set of four pairs in square formation.
39
Lapay Bantigue
Its place of origin in Bantigue Island, Masbate, classified comic mimetic.
COSTUME: Girls wear a peasant baro’t saya and the boys wear camisa de chino: they dance barefoot.
MUSIC is 2/4; composed of three parts: A, B and C.
COUNT: 1, 2 or 1 and 2 to a measure.
FORMATION: Partners stand opposite each other about six feet apart. One to any number of pairs may
take part in this dance.
Likod-likod
Place of origin is Leyte and this dance used at weddings. The exchange of partners literally
translated as likod-likod.
COSTUME: The girl wears white blouse with full bell sleeves overlaid with borders of the skirt materials, the
boy wears a barong tagalog with dark color pants.
MUSIC is ¾ composed of two parts: A and B.
COUNT:
FORMATION: Partners stand opposite each other about six feet apart. Girl is at right side of the boy when
facing audience.
LOS Bailes De Ayer

“Los Bailes De Ayer” means dance of yesteryears. It is a quadrille combining old ballroom dance
steps and figures, such as the “polka” “chotis” “mazurka” “Paso doble”, etc.
COSTUME: Girls wear any old style costume, and boys wear barong Tagalog and black trousers.
MUSIC is divided into twelve parts: Introduction, A, B, C, D, E, F, G, H, I, J, K, and L.
FORMATION: Partners stand near each other, ladies at partner’s right side. Dancers stands in quadrille
formation all facing in a hallow square. From four to any number of even pairs may take part.
40
III
OX OX
X O
O X
I II
X O
O X
XO XO
IV
Lubi-lubi
Lubi-lubi is a dance, a combination of simple folk and social steps. Literally, “Lubi” means coconut.
A game called lubi-lubi is played with coconut shells. This dance originated in leyte and Samar where it is
still danced like the balitaw. It is also popular in albay and sorsogon.
MUSIC is divided into two parts: A, B.
FORMATION: Partners hold as in the ordinary ballroom dance position. From to any number of couples
may take part, the more the merrier. Partners start to dance at any time and may go in any direction.
Managuete
“Managuete” is a Visayan occupational dance, found in Kolambungan, Lanao, among the settlers
from the Visayan Islands. It depicts a pantomime of all stages of tuba gathering. Sharpening the scythe,
cleaning the bamboo containers, climbing coconut trees, getting tuba, pounding, squeezing and straining
the sap of the mangrove bark, mixing of tuba and tasting is portrayed.
41
COSTUME: The girls are dressed for work patadiong, chambray or kimono and a short skirt. A piece of
cloth or a large neckerchief covers the head. The boys wear colored trousers and shirts. The trousers and
the sleeves are rolled and all are barefoot.
MUSIC is divided into three parts: A, B, and C.
FORMATION: Boy stands in two parallel lines facing the audience. Girls do not enter until figure III. Form
one to any number of pairs may take part in this dance.
Audience
X X
X X
X X
Man-manok
Man-manok is a memetic dance with three warriors each showing off tribal blankets representing colorful
plumage of wild cocks chiang around a maiden dressed in resplendent festive outfit. It comes from Vigan,
Ilocos Sur.
COSTUME: the girl wears a kimona and the boy wears a long sleeved button-down shirt of Ilocano weave.
MUSIC is a 2/4; the dance is accompanied by four ganzas of different sizes held in front of the manok of
every player. The beating of the ganzas is called tuppaya.
COUNT: 1, and 2, and to a measure.
Maramion
This is a courtship dance popular in the Island of Cebu and Bohol. Maramion means fragrant or
beautiful. This dance is usually sung by the performers or by the spectators. It is a courtship story of
pantomime.
COSTUME: girls are dressed in Visayan folk costume; in patadiong, camisa, soft neckerchief over one
shoulder, and zapatilla or chinelas. Boys are dressed in barong tagalong with white trousers.
MUSIC is dividing into two parts: A, B.
COUNT: 1, 2, and 3 to a measure.
42
FORMATION: Dancers stand in two parallel lines with the partners facing each other about six feet apart.
Girls stand at their partners’ right when facin the audience. From one to any number of pairs may take part.
Mazurka de Jagna
A mazurka named after Jagna town, a dance culture from lowland Christians. It comes from Jagna,
Bohol, and this dance is used in festivals.
COSTUME: The girl wears an ampir or umpire style with a scarf and the boy wears a barong tagalog with
dark colored pants and black leather shoes.
MUSIC is ¾ ; composed of four parts; Introduction A, B, and C.
COUNT: 1, 2 and 3 to a measure.
FORMATION: Partners stand opposite each other about six feet part. Girl is at the right side of the boy
when facing audience. Any number of pairs may take part in the dance.
Pahid
Pahid is to wipe off mud from bare feet. It comes from capiz. To anticipate muddy feet entering the
house, doormats are literally laid to welcome the guests, each one wiping of his feet as expected of polite
and respectful farmers.
COSTUME: The girls wear a peasant kimono and patadyong with scarf and boy wear a camisa de chino
with any colored peasant pants, in a barefoot.
MUSIC is ¾ composed of two parts; A and B.
FORMATION: Partners face each other about sixfeet apart. When facing audience, girl stands at the right
side of the boy.
Pagtathip
Pagtatahip is an occupational dance, usually performed after the “ Pounding rice” dance. Generally
, boys do the pounding and girls do the winnowing.
COSTUME: The girls wear short skirts and tapis. For the blouse they may use chambray with long sleeves
or camisa with the sleeves rolled up. A piece of cloth or large neckerchief is tied around the head. Each
dancers is provided with a shallow basket and three or four handfuls of pounded “palay”.
43
MUSIC is divided into two parts A and B.
FORMATION: Dancers stand in two lines eight feet apart. From eight to sixteen girls may take part in this
dance. A amt may be spread in the center of the floor for the cleaned rice.
 O
 O
 O
Palay Dance
Palay literally means either the plant or the grain from which rice is obtained. Husked rice is the
staple food of the oriental people.
This dance was arranged for the agriculture pageant, which the University if the Philippines
presented in 1929 at the phil. Carnival Auditorium.
COSTUME: Dancers are dressed in peasant work costumes. They are barefoot and carry stalks of palay in
both hands.
FORMATION: partners stand opposite each other about eight apart, girls standing their partners’ right when
facing the audience.
Audience
XO XO
XO XO
XO XO

FORMATION: Partners stand opposite each other about eight feet apart, girls standing their partners’ right
when facing the audience.
44
Pampilpilalecan
This dance comes from Pangasinan and is used in courtship. The amorous touch that may last for
even an enchanted moment is what pampilpilalecan is all about. Palalecan is danced around the ballroom
performing conquettish hide-and-seek movements.
COSTUMES: the girl wears a Maria Clara of the Colegiala variation with beaded cocho slippers and the
boy wears a barong tagalog with dark colored pants and black leather shoes.
MUSIC: is composed of three parts: A, B and C.
COUNT: 1, 2, 3 to a measure.
FORMATION: Partners stand opposite each other about six feet apart. Girl is at right side of boy when
facing audience.
Pandang-Pandang
This is a very popular wedding dance in the province of Antique. The bride and the groom perform
it only during the wedding feast.
COSTUME: The dancers will appear more natural if they wear the old style wedding dress. If such dresses
cannot be secured the girl may be dressed in any old style dress. The boy wears barong tagalog with black
trousers.
MUSIC is divided into two parts : A and B.
FORMATION: Partners stand opposite each other four feet apart. When facing the audience, girls should
be at partners’ right. Only one pair should dance but if desired any number may take part.
Pandango
(ILOCANO)
This Fandango or Pandanggo is very popular. Although it is a danced in any different versions,
lively motion is always present. The fandango described below is found in Camiling, Tarlac.
MUSIC is one part only, repeated six times. Start counting on the 2 nd M after the intro.
COUNT is 1, 2, and 3 to a measure.
45
FORMATION: This is a single couple dance but may be prformed by several couples. Partners stand at
one side or corner of the room. Girl stands at partner’s right.
Pandanggo
(VISAYAN)
The Pandanggo is so popular that it is found in many places in the Philippines. The pandanggo
described below is from the province of Leyte.
COSTUME: Girl wears patadiong and boy, barong tagalog with white or red trousers.
FORMATION: Partrners face each other about six feet apart. Girl stands at boy’s right when facing the
audience. Only one couple dances.
Pandango sa Ilaw
This version of Pandango sa Ilaw, from Mindoro is the most difficult of all the pandanggos. It is
quite unusual and colorful.
COSTUME: the girl is dressed in balintawak, the boy in long red trousers and barong tagalog.
MUSIC is one, two and three to a measure.
FORMATION: Partners stand about six feet apart facing the audience. The three lighted oil lamps are
placed on the floor between them. The girl stands at partners’ right. The oil lamps are of two sizes, the one
to be placed on the head being larger than the two for the hands.
1 2 3
X O
Paruparong – Bukid.
Paru parong bukid is a very popular folk song. Little boys and girls love its easy, catchy, melody
and the story behind the song.
COSTUME: The dancers are dressed in balintawak. The skirt must have a long train, sometimes tucked in
the waistband, petticoat, and tapis. A large comb is also worn.
COUNT: 1, 2 and 3 to a measure.
46
FORMATION: The dancers stand four feet apart in one line or in a semi circle facing audience. Any number
of dancers may take part.
OOOOO O O
A O O
O O
Pitik Mingaw
This dance which has a touch of lonliness comes from Roxas city, Capiz, it is classified as a
courtship dance.
COSTUME: Girl wears a gown with bodice attached to the skirt, full bell sleeves with a skirt and boys wears
a barong tagalog with dark colored pants and black leather shoes.
MUSIC is 2/4 & ¾ ; composed of seven parts: A, B, C, D, E, F, and G.
COUNT: 1, 2 or 1, 2, and to a measure in 2/4 time signature 1, 2, 3 to a measure in ¾ time signature.
FORMATION: Partners stand opposite each other about six feet apart. Girls is at the right side of the boy
when facing audience. Any number of pairs may take part I the dance.
Pasakat
This is a French ballroom quadrille which was introduced in the Philippines by the Spaniards and
by the Filipinos who returned from travels during the later part of the nineteenth century. It was originally
known as “Pas de Quarte” or “Paso de Cuatro” but Filipinos later on corrupted the word to “Pasakat”.
COSTUME: Ladies wear the Maria Clara; gentlemen wear black trousers with a white embroidered barong
tagalog or a long barong tagalog with a black jacket.
MUSIC is divided into six parts: A, B, C, & D.
COUNT: One, two, three, four to a measure in 4/4 time and one and two and, to a measure in 12/8 time.
FORMATION: Dancers stand in square formation. Each couple takes a corner of the square, ladies stand
at partners right always. Only four pairs are in one square, but any number of squares may take part.
47
4 3
OX O
X XO 4 3
O OX O
1 2 X
Audience X
Diagram 1 O XO
Audience
Diagram 2
Polkabal
This dance derived from two well-known steps, “polka” and “valse”, was corrupted into one word,
polka bal or polkabal by the people of Atimonan, tayabas, where it is found. “Luksong Uak”, “Ensayo”,
“Paseo”, ”Contra Gansa”, “punta y tacon”, “wagayway”, and “Jardin” are some of the lively steps and
figures included in this interesting discovery.
COSTUME: Girls may wear any old style costume, serpentine, etc. boys wear barong tagalog with black
trousers.
MUSIC is divided into two parts: A and B. it is repeated four times and played in regular 2/4 tempo.
COUNT: 1, and 2 and or one, two.
FORMATION: Partners stand opposite each other four feet apart. Girls stand at partners right facing the
audience. Two pairs make set or form a square in this dance. One to any number of sets may take part.
48
Audience
1X O1 1X O1 1X O1
I II III
2X O2 2X O2 2X O1
Diagram A
Polka Sala
This is an old ballroom dance found in Calapan, Mindoro. During the Spanish regime the polka was
very common and was sometimes combined with other ballroom dance steps like the polka mazurka and
the polka-valse. It is simple and interesting figures make it an enjoyable experience.
COSTUME: Girls may wear any old style costumes and boys barong tagalog with black trousers.
MUSIC is divided into three parts: A, B & C.
COUNT: one, and two and, to a measure.
FORMATION: Partners hold as in ordinary ballroom dance position. The extended arms remain straight in
the old style position. Partners may go in any direction but formations may be arranged if desired. Form
one to any number of pairs may take parts.
Purpuri
This dance is found in many parts of the Philippines under different names and in various versions.
It is sometimes known as “La Jota pur-puri” and “purpuri”. “Purpuri” is coined from Potpouri, which means a
medley or mixture. This is an Ilocano dance found in Camiling, Tarlac.
COSTUME: the dancers are dressed in typical Ilocano costume.
MUSIC is divided into five parts: A, B, C, D, and E.
FORMATION: Partners face each other about six feet apart. When facing the audience, girls stand at
partner’s right. From one to any number of pairs may take part.
49
Redoba
The redoba is an old lively ballroom dance found in Mindoro. According to a story, the foreigners
who came from the old world. Originally introduced it in the Philippines around 1860, originally spelled
“Redowa”; it was later changed to “Redoba” as pronounced by the natives.
COSTUMES: Girls wear old style costumes, boys barong tagalog with black trousers..
FORMATION: dancers hold in old ballroom dance position, arms straight down and close to the body.
Dancers may go in any direction, or formations may be arranged to make staging more effective.
Rigodon
A dancing master named Rigaud first introduced this dance to the court of Louis XIII from
Marseille. Introduced in the Philippines, Rigodon has become the most popular of the Quadrilles. It is
usually performed at the beginning of formal dances, with government officials and people of high social
standing in the community participating. The music is a lively 2/4 or 6/8 rhythms.
COSTUME: Evening dress should be worn if the rigodon opens a formal dance, but ay kind of Filipino
costume may be used on other occasions.
MUSIC is divided into six parts; A, B, C, D, E and F.
COUNT: 1, 2 & 3 to a measure.
FORMATION: Partners stand side by side with the ladies always on the right side unless otherwise
indicated. The dancers are arranged in a square formation. From four to any number of even pairs may
take part. Couples 1 and 2 are head pairs of cabeceras, 3 and 4 are side pairs or costados.
3
OX
1 X O2
O X
XO
50
Rogelia
This is a courtship dance from the province of La Union. Rogelia is the name f a girl whom a boy
loves. Alternate singing by the boys and girls is a unique feature.
COSTUME: The girls may be dressed in typical Ilocano checkered skirt. A white camisa with white soft
panuelo hangs over one shoulder. The boys wear the barong tagalog of Ilocano material and black or white
trousers.
MUSIC is divided into seven parts: A, B, C, D, E, F, and G.
FORMATION: partners stand opposite each other about six feet apart. When facing the audience, girl
stands at partner’s right. Two couples make set. From one to any number of sets may take part.
1X O1
2X O2
Sakuting
The sakuting is a folk dance of the Ilocanos and of the non-Christian people in the mountain
provinces. The dance described here is found in Abra among Christian Filipinos.
COSTUME: girl wear balintawak style with siesgo skirt. The boys wear red trousers and barong tagalog.
Made of coarse, cheap material. Each dancer hold two sticks with which to procedure rhythmic sounds, in
time with his steps. The stick is about one and one-half feet long and tapers at the end like a candle. It is
held at the big end.
MUSIC is divided into ten parts: A, B, C, D, E, F, G, H, I, and J.
COUNT: one, two, or one and two, to a measure of 2/4 time and one, two, three to a measure of ¾ time.
FORMATION: Partners stand opposite each other about four feet apart. They placed according to height,
with the smallest couple in front. Four couples make a set or group. From one to any number of sets may
take a part.
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Audience
1X O2
2O GROUP I X2
3X O3
4O X4
1X O1
2O GROUP II X2
3X O3
4O X4
1X O1
2O GROUP III X2
3X O3
4O X4
Sala Ti Mais
This is the dance of the com. It came from the lowland Christians Province of Isabela and Ilocano
Ibanag.
COSTUME: Blouse of pinukpok abaca with chosen version of mantilla over shoulders and skirt with simple
gold fancy jewelry.
MUSIC is ¾ composed of two parts: A and B.
COUNT: one, two, three, to a measure.
FORMATION: Partners stand opposite each other about six feet apart. Girls stand at the right side of the
boy when facing audience. One to any number of pairs may take part in the dance.
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Salakot
The salakot is a wide brimmed hat. It protects the Filipinos from the sun’s heat from the rains. In
this dance the salakot is used to enhance the dance steps. Figures and hand movements. Only girls dance
it, but it may be performed by both boys and girls. The dance steps were arranged for play day 1935,
University of the Philippines.
COSTUME: Girls are dressed in balintawak and bakya. If boys are taking part, they are dressed in barong
tagalog with long red trousers and bakya.
MUSIC is divided into three parts: A, B and C.
COUNT: one, two or one, and, two to a measure of 2/4 time and one, two and three in ¾ time.
FORMATION: partners stand in front of each other eight feet apart. When facing the audience the girls
stand at the boy’s right. Any number of pairs may take part.
Audience
X O
X O
X O
Sayaw Kasiyahan
A good harvest is an occasion for feasting, singing, and dancing. The Filipinos are traditionally fond
merrymaking; hence the “dance of Contentment” symbolizes or deficits our country folk in these proper
mood for a general celebration.
COSTUME: Girls wear balintawak and bous barong tagalog with white trousers.
FORMATION: Partners stand opposite each other about eight feet apart. Girls stand at partners’ right when
facing the audience. Dancers are grouped together in sets of two pairs. From one to any number of sets
may take part.
X O X O
X O X O
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Sayaw sa Cuyo
This is a dance of the cuyo islanders from Cuyo, Palawan; this dance is used for Entertainment.
COSTUME: The girl wears a Maria Clara, the gored type- short blouse with moderately loose sleeves and
cuffs.
MUSIC is ¾; composed of five parts; Introduction, A, B, C, and D.
FORMATUON: Dancers are paired and stand about six feet apart from each other. One to any number of
pairs may take part.
Sinublihan
This dance means to go back and forth. It comes from Zambales and this is classified as a game.
COSTUME: The girl wears a peasant baro’t saya and the boy wears a Camisa de Chino with a long
sleeves, buttoned down, checkered and collarless and colored peasant pants.
MUSIC is a 2/4; composed of 2 parts; A and B.
COUNT: 1, 2 or 1 and 2, to a measure.
FORMATION: Girls stands in front of boy, both facing audience. Any number of couples may participate in
this dance.
X X X X
4 3 2 1
O O O O
Sothen
This is an all male dance Subanon traditional dance, that comes from Margo sa Tubig, Lapuyan
District, Zamboanga del Norte and classified as a War dance.
COSTUME: the male wears traditional Subanon black shirt and pants ensemble.
MUSIC is 2/4.
COUNT: 1, 2, or 1 and 2 or 1 and 2, and to a measure.
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Sau- Sau
This dance from Jolo, Sulu. Lietarally Sau-Sau means a small orange plant and is the name of a
courtship dance and its accompanying song. According to Moros of the older Generalizations, the
movements in this dance have been modified and nodernized. There is no doubt, however, that some parts
are based on typically old Moro dances.
COSTUME: The dancers are dressed in typical Joloano costume, an open fan in each hand.
MUSIC is divided in four parts: A, B, C, and D.
COUNT: one, two to a measure.
FORMATION: One couple dances this but any number may take part. The dancers hold the open fans with
he second and third fingers on one side towards the top, and the thumb, fourth, and little fingers under the
other side. Partners stand opposite each other about eight feet apart.
Surtido
Literally, surtido means assortment. The dance is most interesting because it contains steps and
figures found in the folk dances of many provinces. The surtido described here is a mixture of Visayan,
Ilocano, Pampanga, Tagalog and Bikol dance steps and music.
COSTUME: The girls may be dressed in balintawak style or patadiong and boys in barong tagalong with
white trousers.
MUSIC is divided into eight parts: A, B, C, D, E, F, G, and H.
COUNT: one, two and three to a measure of ¾ time and one, and two or one, two to a measure of 2/4
times.
FORMATION: The girl stands at the right side of the boy. Two pairs standing opposite each other about
eight feet apart make a set.
Audience
1(X O(2
( )
1(O X)2
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Tagala
“Tagala” is the name given to the women from tagalong regions.

COSTUME: The girls are dressed in balintawak and the boys in barong tagalog with white trousers.
MUSIC is divided into three parts: A, B, and C.
FORMATION: Partners stand opposite each other about eight feet part. The girls stand their partners’ right
when facing the audience. From one to any number of pairs may take part.
Ti Liday
This is an Ilocano dance from Camiling, Tarlac. It was formerly known as “Contrabandista” but was
changed to “Ti Liday” (Sorrow) at the same suggestion of Sen. Camilio Osias, because of the movements
in this dance with expresses sorrow.
COSTUME: The dancers are dressed in Ilocano costume.
MUSIC is divided into five parts; A, B, C, D and E.
COUNT: one, two three in a measure.
FORMATION: Partners stand opposite each other six feet apart. When facing the audience. The girls stand
at the boys’ right. From to any numbers of pairs may take part.
Audience
X O
X O
X O
Tinikling
This dance is a favorite in the Visayan islands, especially in the province of leyte. The tikling is a
bird with long legs and a long neck. The Tinikling dance, therefore, imitates the movements of the Tikling as
they walk between grass stems or run over tree branches. A song usually accompanies this spectacular
dance.
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COSTUME: The girls wear balintawak or patadiong. Boys wear barong tagalog and long red trousers with
one leg rolled up. They dance barefoot.
FORMATION: dancers stand at the left side of the bamboo poles, girls in front, facing the audience.
Valse Vieja
This dance means old waltz, its place of origin is pangasinan and it is classified as a festival dance.
COSTUME: the girl wears a short blouse with full bell sleeves embroidered on the edges with white corpino
and the boy wears a laced barong tagalog silhouette of the European male dress shirt with dark colored
pants and black leather shoes.
MUSIC is ¾; composed of three parts; A, B and C.
FORMATION: Partner stand opposite each other about six feet apart. Girls is at the right side of the boy
when facing audience. Any number of pairs may take part in the dance.
Valse Vieja
This dance means waltz of Ybanag people; its place of origin is Camalaniugan, Cagayan, and it is
considered as a festival dance.
COSTUME: the girl wears a short blouse with full bell sleeves embroidered on the edges with white corpino
and the boy wears a laced barong tagalog silhouette of the European male dress shirt with dark colored
pants and black leather shoes.
MUSIC is ¾; composed of three parts; A, B and C.
FORMATION: dancers are arranged in sets of four pairs. Partners stand opposite each other about six feet
apart.
O X O X
X O X O
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Yano Pandonino
Overwhelming Pandonino of the coastal community from Pandan, Antique.

COSTUME: Maria Clara elegant style with black or dark pants with black leather shoes. Boy wears an
elegant barong tagalog with b Lack or dark pants with black leather shoes.
MUSIC is composed of four parts: A, B, C and D.
FORMATION: This dance is performed in a set of pairs. See diagram A.
Audience
1 2
XO XO
4 3
XO XO
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PART 2
MODERN DANCES
Most people dance simply to have fun or to entertain others. But dancing also serves many other
purposes. For many people, dancing provides one of the most personal and effective means of
communication.
A dancer can express such feelings as a joy, anger or helplessness without saying a word. Many
schools and private studios after classes in modern dance. These classes encourage the students to
express themselves through rhythmic movement. The field of dance therapy uses modern dance to treat
physically handicapped and emotionally disturbed people.
In many societies, dancing plays a role in courtship. It serves as a way for men and women to
become acquainted before they marry. In most Wesern countries, secondary schools and university
students get to know one another at dances.
HISTORICAL BACKGROUND
Modern dance developed in early 1900s. the leaders of the modern dance movement believed that the
techniques of ballet were artificial and meaningless. They searched for fresher, more personal ways to
express ideas through dancing. Pioneers of the movement included Isadora Duncan, Louie Fuller, and
Ruth St. Denis of the United States; Emile Jaques-Dalcroze of Switzerland, Rudolf von Laban of Hungary,
and Gertud Bodenwieser in Australia.
Isadora Duncan was one of the free-spirited modern dance pioneers. She danced in her feet and
wore loose fitting garments that allowed her freedom of movement. She permitted no scenery onstage,
which might draw attention from her dancing. Duncan ignored the formal, set movements of ballet. Her own
flowing movements were inspired by nature, classical music, and Greek drama and sculpture. Duncan’s
ideas greatly influenced the development not only of modern dance but also of ballet.
Oriental religions inspired the dances of Ruth St. Denis. She won fame during a tour of Europe
from 1906 to 1909. In 1915, St. Denis and her husband, Ted Shawn, opened the famous Denishawn
School of Dancing.
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Mary Wigman became Europe’s first great modern dancer. She founded an influential dance in
school in her native Germany in 1920.
Since the 1940’s, creativity in modern dance has centered on US dancers and dance companies.
The most experimental dancers have incuded Merce Cunningam. Alwin Nickolais, Paul Taylor and Twyla.
Modern dance places less importance on emotion and personal expressions. Instead, it explores
movement for its own sake. For example, dancers may make patterns with their bodies merely to form
interesting pictures. Dancers may also use movements, such as walking, that are more natural than the
movements used by earlier performers. Today’s dances even include tumbling, rolling, and other
acrobatics. Ballet companies have adopted some modern dance techniques and have begun to invite
modern dance choreographers to work with them. As a result, the gulf between ballet and modern dance
has narrowed greatly.
POPULAR AND MODERN DANCE
Cha- cha is a form of mambo to rumba beat, originated by the Cuban orchestras. It was developed
by a group or orchestra called the Charangas or Orquestra. Danzoneras, and introduced to the United
States by tourists. The basic beat consists of slow, slow, quick, slow, the last three beats corresponding to
the non-sense syllable cha-cha-cha. The first cha-cha records were all labeled mambo. The rhythm section
was gradually augmented. Dancers responded to the new slow rhythm by doubling time on the 4 and 1
count, and by turning subtle hip movements into three steps; it took four years until with the typical Cuban
hip Sway. As with most Latin dances, the charm lies in subtlety and ease rather than in intricacy.
Charleston, a modern social dance of the jitterbug variety, originated in Charleston, S.C. and,
around 1925, conquered the dance halls all over the world. The rhythm section is sharply accentuated, the
dancers place special emphasis on the syncopated upbeat. They twist the balls of their feet inward and
outward, creating hazardous side steps comparable to those of the ancient galliards. The earliest
composers of the Charleston were North American Negroes, like Cecil Mack and James P. Johnson. Erwin
Schulhof introduced it into art music.
Cotillion, a dance popular during the late eighteenth and early nineteenth centuries, is named after
the French word for petticoat, found in then popular song. Originating in France, the cotillion spread to
England and America, where it was danced at the close of a set of country- dances or, later, of quadrilles.
The leading couple executed a variety of steps and figures to music of almost any type either in duple or
triple meter, and other dancers imitated these.
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Country-dance or square dance is an English of folk like character originating in the seventeenth
century. In the country-dance two facing lines, one of men and the other of women, perform a great variety
of movements derived from one or more specific dance types. The word country was in France changed to
Contre, hence the German name Kontra-tanz, which, like the French, alters the original meaning. About
1685 the country-dance came from England to Netherlands and France, and from then on it became
Europe’s favorite dance. At first the tunes of country-dances resembled the English gigues, as shown by
George Muffat’s Florilegium secundum (1698), but during the eighteenth and nighteenth centuries, the
melodies were adopted for composition of Contradenses. The best source of such tunes is John Playford’s
the English Dancing Master (1651), which was followed by numerous works of similar content. Famous
country-dances appear in Rameau’s Zaroastre and Mozart’s Don Giovanni. A French Contredanse became
the popular “ Ca Ira” of the French revolution.
Courante is a dance in duple time at first pantomimic, originating in the sixteenth century. The
dance is mentioned in Arbeaus Orchesographie (1588) and several times by Shakespeare. Gradually the
courante developed into triple time and in the seventeenth century became the after dance of allemande.
One of the characteristic features of the seventeenth-century courante was frequent shift from 3/2 to 6/4
time or vice versa, corresponding succession of its two steps, the pas de courante and the Pas De Coupee.
Musically speaking, two different types of courante’s may be distinguished: the Italian Corrente with running
passages and the slower French Courante, with its delicate texture, derived from the technique of the
French lutensits of the seventeenth century. Bach’s Courante’s follow the latter pattern. About 1700, the
courante was a stately, dignified dance preceding the minuet, but after 1720, disappeared as a dance
proper and was henceforth written only in stylized form.
Mambo is an American Social dance derived from the rumba. The musical count is 4/4 and the
dance count is 4/4. The dance begins with hip sway on I; the first step is taken on 2.
Meringue is a Latin-American dance of Dominican origin, introduced to the United States. Dancing
in 2/4 meter, the dancers emphasize the first step with travelling step, and then taken inward-bent knee-
drag on two. The gay tune is symmetrically constructed of two periods of sixteen bars each, the rhythm
characterized by Modrate Mynocopation. A typical merengue
Redowa is an early nineteenth-century Czech dance in moderate triple meter, derived from the
Czech folk dance, rejdovak. In the middle of the nineteenth century it became fashionable in Paris dance
halls, and from there it spread throughout Europe and the United States. A variant was played in 2/4 times,
like a polka.
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Rigaudon is a French provencal dance of the seventeenth and eighteenth centuries, in quick duple
meter with an eight note upbeat. The name Rigaudon is probably derived from the rigoletto, an Italian round
dance. The Rigaudon ia a serious dance as it appears in C.W. Glucks Iphigene en Tauride (1799) and
other operas. As a comic dance we find it in the seventeenth-century ballets and suites of J.B. Lully. Andre
Campra and J.P. Rameau. Henry Parcel wrote a Rigaudon as early as in the middle of the seventeenth
century Among modern composers of Rigaudons are Gieg, Ravel, and Raff. In Spain the quadrille is
frequently called Rigaudon.
Rumba is a contemporary Cuban dance of Negro origin. The rumba is in square time, the rhythm
frequently varying in every bar, and is characterized by syncopation and indefinite repetitions. in the
Havana slums it is often accompanied by ensembles made up of domestic utensils, such as bottles,
spoons, and pots. The basic theme usually has eight measures, and rhythm is predominant, whereas
melody and text seem to be of minor importance. The rumba was introduced into American popular music
about 1930.
Samba is a Brazilian dance in duple meter; also, in a broader sense, a term used for all Brazilian
dances. Two different types of sambas are found: the rural samba, characterized by greatly emphasized
syncopation; and the city samba, which is more monotonous in rhythm. The Samba Carioca is a more
stylized urban dance. Heitor Villa-lobos and Camargo Guarniero introduced the samba into art music. It
was brought to the United States around 1938.
Tango is leisurely measured ballroom dance in duple meter executed by couples and
characterized by the rhythm, against which the melody is often syncopated. The tango first appeared about
1900 among dockhands and other slum dwellers in Buenos Aires and elsewhere around the mouth of the
La Plata River. Most of these people were migrant West Indian and Central American Negroes. It seems
evident that the tango developed out of earlier and very similar West Indian dances, such as the habanera
and the Tango, from the latter of which the tango may have inherited its name. By about 1910 the tango
was a favorite in Argentine ballrooms, and within a decade it had become popular in Europe and to a lesser
degree in North America, although not without opposition from churchmen and purists, who considered its
suggestive movement. Among Europeans the melancholy music and unhurried elegance of the tango,
although they have now become somewhat refined and stylized. They have made it as leading ballroom
dance; but in North America it has never lost its exotic flavor and remains largely an exhibition dance.
During the 1920’s especially European composers were fond of introducing stylized tangos into art music.
The Spanish tango, a fiery solo dance of the flamenco type, belonging rather to Spanish gypsies than to
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true Spaniards, seems to have nothing in common with the Argentine tango described above save the
coincidence of name.
Waltz is a dance in moderate triple time originating in old Austrian and South German folk dances.
The name is derived from German Walzen. The Viennese writer Felix Von Kurz, about 1754. Very likely
one predecessor of the waltz was the Weller; a dance mentioned around 1525 by the Meistersinger Kunz
Haas. The first musical documents containing waltz, like dances, however, are Viennese manuscripts of
17th century. They were also used as court entertainments in the 17th century. In keeping with the wide
steps and vigorous movements of the Alpine dances, we find these melodies wide intervals and emphatic
rhythms. the yodel, too, influenced this type of music. The immediate predecessors of the waltz were the
quicker German dance and slow waltz Calles Landler, which become popular around 18oo. German
dances were greatly favored by Haydn, Mozart, and Beethoven. The waltz first came into notice around
1770, but its beginnings met strong opposition between both purist and dancing masters. For some time
the waltz was a favorite among the ballroom dances of Vienna, Paris, and New York. The classical masters
of the waltz were Josef Lanner (1801-1843), who established it as a cyclic form with numerous sections, an
introduction, and a coda. Johann Strauss; his son, Johann Strauss Jr., who developed the waltz to it is
highest peak with his Beautiful Blue Danube, Southern Roses, and Tales from the Vienna Woods and
many other composers, including Emile Waldteufel, Franz Lehar, Oskar Straus, and Robert Stolz. A definite
distinction should be made between the dancing waltz and the cicert waltz, the latter being less regular in
tempo and more elaborate in form. Both Berlioz and Tchaikovsky introduced waltz movements into
symphonies, while Schubert, Chopin, Brahms, and others wrote sets of waltz that rate high among their
works. At the beginning of the waltz era stands Weber’s Invitation to the dance (1819); at the end Richard
Strauss’ waltz in his opera Der Rosenkavalier (1911) and Maurice Ravel is tone poem, La Valse (1920).
The true Viennese waltz is distinguished not only by the waltz rhythm but also an indescribable lilt imparted
by playing the second beat in the accompaniment slightly before it is due. Slow waltz called “Boston” or
“Hesitation” waltzes, with less obvious rhythm and more sophisticated accompaniments, became popular in
American ballrooms around 1915, and after World War I they were introduced into Germany and found a
place in art music of the pseudo-jazz type.
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GLOSSARY
Achongan – expensive cigar shaped agate beads used by the Bago, Kalinga and Gaddang groups of the
Cordillera highland for Necklaces, Chokers, headbands or shoulder bands.
Agong – Thick side brass gong with raised nipple or knob at the center usually played in pairs. It is popular
among traditionalist and Muslim groups of Mindanao.
Alibangbang – Traditional and Badjao blouse of cheap Chinese silk, with loose long sleeves, plunging
keyhole neckline, extra panels attached to the right and left chest, decorated with many brass buttons.
Albong takmun – B’ laan blouse, ¾ sleeves, usually open in front, tie dyed abaca or thick black material
embellished with mother-of-pearl platelets some adorned with small hawk’s bells.
Alta Sociadad – High society.
Ampir/ Umpir – Fashion popularized by Josephine, Napoleon Bonaparte’s wife. It consists of a rather short
blouse and a skirt that starts from the lower bust line reaching down to the ankles.
Appliqué – a style of decorating where tiny designs of a thicker material are hand sewn over a flimsy plain
field.
Baksa / Panuelo – soft or stiffened scarf or bandana folded in a triangle.
Bakya – wooden clogs.
Bago – a marginal Itneg and Ilocano ethno logistic group living in the foothills of Ilocos Norte.
Bailes – grand balls and social dancing.
Balintawak – long dress with stiff butterfly sleeves. The more elaborate version worn with a colorful tapis
with decorations that match those on the sleeves.
Barong Tagalog - long sleeved shirt of flimsy material like pina, jusi, pounded abaca or nylon. Variations
range from plain to elaborate, sinuksok to lace.
Baro’t saya – blouse and skirt ensembles that range from simple to elaborate with a scarf or bandanna to
match.
Baybayon – seashore or riverbank.
Binoa – Badjao type of singing.
Binlang – B’laan tie-dyed abaca skirt, knee-length, brown, mocha, black, rust combination.
Buslo – a small fish basket.
Binodbodan – Ifugao tie-dyed weaving, resists dyeing employed to obtain desired pattern on finished
product.
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Bunga mango – “Flower of the Mango.” Against sunburst looking prop used in the Karatong Festival in
Cuyo Island, Palawan.
Buti – buti – Badjao dugout; small boat.
Butong – Ifugao side bag with long tassels.
Cabizera - the head line in the Rigoudon Royale.
Camisa De Chino - collarless Chinese shirt. Plain, floral, checkered or stripped or typical of farmers and
fishermen. The commercial camisa in T-shirt materials is found in bright colors.
Camisa – top baro’t saya or Maria Clara. Also called baro, kandungan, or kimona.
Camiseta – semi stretch material usually used as T-shirts and similar wear.
Cadena – grand chain.
Cadenilla – small chain.
Cast net –fish net thrown out by a single person landing in the water in a big circle weighed down by leads
sinkers.
Coco crudo –better known as katcha, off white cotton.
Cocho –slippers for women made of felt and embellished with floral and foliage designs in multicolored
beads.
Conquistadores –Spanish conquerors who came in the 16th century.
Chotisii –Spanish introduced steps.
Corpino – top of chemise, usually of cotton; oftentimes with fine embroidered neckline.
Costado – the side line in the Rigoudon Royale.
Dadabwan –Maranao standing drum played as part of the kumintang ensemble.
Dalagang Bukid –country lass. A kind of dress ensemble with butterfly sleeves, an Alampay scarf and a
matching tapis over skirt.
Diwata –benevolent nature gods prayed to for various reasons.
Fandango –Spanish introduced steps that later became the Filipino Pandanggo.
Gabbang –Badjao bamboo xylophone in the shape of a boat with 3 octaves in the pentatonic scale.
Ganza –a set of six flat brass gongs; commonly used by Northern Luzon cultural communities like Itneg,
Kalinga, and Ifugao to accompany dancing.
Goad –paddles.
Ginit –mesh-like flower sheath of the coconut used to make character masks for the Karatong players.
Gimbal –two-nose drum used by Tausog, Samal, Badjao and other ethno linguistic groups of Mindanoa.
65
Ginoto –Ifugao bolo and belt ensemble.
Giri –a rooster skirting stance.
Habanera –dance step from Havana, Cuba, introduced via Spain.
Ilocano – ethno linguistic group living in the Ilocos provinces.
Inagua –skirt part of a long chemise with a wide hemline of imported or crocheted lace.
Itneg –also known as Tingguian, an ethno linguistic group inhabiting the provinces of Abra and Ilocos
Norte.
Jota –popular dance form from the Andalucian region of Spain introduced to the Philippines in the 1700’s.
Jusi –fine banana fiber for clothing material.
Karatong –musical instrument, bamboo internodes, rhythmically struck in syncopation with two sticks.
Kundiman –a form of singing popularized in 1920’s.
Kango –Ifugao male headdress with a woodpecker-head centerpiece.
Karatong –musical instrument, bamboo internodes, rhythmically struck in syncopation with two sticks.
Kanya maso –Imported mash material, used for the stiffened butterfly sleeves and its Alampay
counterpart.
Kapeng Barako –best known coffee product of Batangas.
Kewet –typical movement fond in Pangasinan dances featuring an outward wrist twist of loosely closed fist,
thumb sticking out.
Kimono/Kimono –short, ruffled, sleevesless blouse.
Kola –tail of the skirt.
Konan –an old Spanish silver coin.
Kumintang –wrist twist, outward or inward, open palm or closed fist,
Lapay –seagull.
Lanceros –dance introduced from France via Spain.
Leleng – one of the Badjao’s types of singing.
Likod-likod –back-to-back or opposite partnering.
Mabuhay –an expression for long life, good wishes.
Mambunong –Benguet priest or shaman.
Maria Clara –a kind of baro’t saya gown popularized in the late 1800’s inspired by the heroine Maria Clara
in Rizal’s novel Noli Me Tangere.
Mazurka –a dance step brought to the Philippine by the Spaniards.
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Ngayo –Benguet for headhunt.\
Ong-ong –choker or headband of camelian, agate, chevron and other stones used by men and women of
several Cordillera groups.
Oway –war cry of Benguet warriors.
Pandanggo –filipinized fandango, a Spanish import.
Pasigin –Ring nets popularly used in the west Bakya Dance.
Paso Doble –Spanish step popularized in the 19th century.
Patadyong – a kind of woven materials usually of cotton, plaid, multi-colored skirt, popularized by Miag-ao
weavers of Iloilo.
Pilakid – large trade beads strung in two separate strands, each passed over one shoulder, crossed over
the chest to hang on the opposite waist. Popular among the Kalinga and Bago tribes.
Pinukpok – woven abaca material pounded with wooden clubs to create a softer finish.
Polka – Spanish introduced dance from Germany.
Redoba – Spanish introduced step.
Rigoudon – Spanish for Rigoudon, a walk dance usually performed for opening important social gatherings
featuring the who’s who of the town.
Rondalla – a stringed band composed of the Banduria, Octaviana, Laud, Piccolo, Guitar and Banjo,
introduced from Spain and Mexico.
Sadok – small Bago cap embellished with beads and feathers.
Sakpaya – high flying birds, eagles and hawks swooping over the Ifugao rice terraces.
Sala – hallway or receiving room.
Saliyew/Saliyaw – hawk’s eye brass bells of the T’boli.
Sampaguita – national flower of the Philippines, of the jasmine family.
Sarong – a short version of the Malong usually worn by Subanon and other Mindanao men.
Sapatilla – heeled slippers, closed on the toe end, open on the heels, usually white.
Sawal/Kantiu – loose pantaloon used by the Tausog, Samal and Badjao en and women showing strong
Chinese influence.
Sayay – betel chew kerchief.
Saya – skirt.
Siboti – hand-held net.
Siete Cuchillos – a dress cut with seven triangular inserts from the hemline pointing upwards.
67
Sinamay – abaca material with varied consistency and texture.
Singkil – brass anklets worn by many indigenous ethnic women in Mindanao.
Sobre Falda – overskirt, a part of baro’t saya or Maria Clara ensemble; ranging from siple to elloborate.
Shoten – generic term for all male dances of the Subano.
Subanon/Subanen – a cultural community living around the Western Mindanao.
Tadek – a type of Ganza music playing .
Tagalong – ethno linguistic group living in the north and south of Manila.
Tapis – plain, checkered, or striped material. Wrapped around the waist and gathered on the left side
reaching below the other five Ganza.
Tausog – ethno linguistic group living in the Sulu archipelago and Palawan.
Tangungo – set of metal gongs in graduated sizes hanging on a vertical harness, 8 to 10 pieces tuned to
the pentatonic scale.
Tinali – wide wristbands made up of thousands of tiny tube beads.
Tuba – fermented coconut wine.
Tubao – a wide square piece of cloth.
Tugtugan – standing drum with lizard skin membrane. Main instrument to accompany the Sublian dance.
Tuppaya – a kind of Ganza gong beat, produced by open palm slaps on the surface of a single gong in
syncopation with the other five Ganza.
Tusok – impressive brass or imitation gold headdress used by the Tausog, Samal or Badjao ladies.
Ulol – Benguet for a successful head taker.
Valse – waltz, earliest Spanish-introduced step.
Yogad – large ethno-linguistic group living in Echague, Isabela province.
68
APPENDIX A
WRITTEN TEST
DANCE TERMS
69
Name:______________________________________ Time/Day:___________
Course/Major:________________________ Score:______________
Direction: Describe briefly how the following dance terms are executed:
*Note: The dance terms will be selected by the teacher and/ or may be done through a drawing of
lots.
Dance Terms
1.___________________ 18.__________________
2.___________________ 19.__________________
3.___________________ 20.__________________
4.___________________
5.___________________
6.___________________
7.___________________
8.___________________
9.___________________
10.__________________
11.__________________
12.__________________
13.__________________
14.__________________
15.__________________ Checked By:
16.__________________ __________________
PE INSTRUCTOR
70
APPENDIX B
PRACTICAL TEST
FUNDAMENTAL DANCE POSITIONS AND STEPS
71
Name:______________________________________ Time/Day:___________
FUNDAMENTAL POSITIONS OF FEET AND ARMS
*Note: Selection of the different positions may be done by the instructor through drawing of lots
instead of stating in ascending or descending order or by choosing any of the fundamental arms
and feet positions. Scores below 5 need to retake the practical test.
 CORRECT X INCORRECT
FEET POSITIONS
1ST [ ]
2ND [ ]
3RD [ ]
4TH [ ]
5TH [ ]
ARMS POSITIONS
1ST [ ]
2ND [ ]
3RD [ ]
4TH [ ]
5TH [ ]
COMBINATION OF FEET & ARMS POSITIONS
1ST [ ]
2ND [ ]
3RD [ ]
4TH [ ]
5TH [ ]
TOTAL SCORE
72
Name:______________________________________ Time/Day:___________
DANCE STEPS
Direction: Give the time signature, step pattern and counting of the following dance steps:
(dance steps to be announced during the examination date by the Instructor).
DANCE STEPS TIME SIGNATURE STEP PATTERN COUNTING
1. _______________ _________________ ________________ __________

2. _______________ _________________ ________________ __________
3. _______________ _________________ ________________ __________
4. _______________ _________________ ________________ ___________
5. _______________ __________________ ______________ ___________
6. _______________ __________________ _______________ ___________
7. _______________ __________________ _______________ ___________
8. ______________ __________________ _______________ ___________
9. ______________ __________________ _______________ ___________
10. ______________ __________________ _______________ ___________
11. ______________ __________________ _______________ ___________
12. ______________ __________________ _______________ ___________
13. ______________ __________________ _______________ __________
14. ______________ __________________ _______________ ___________
15. ______________ __________________ _______________ ___________
16. ______________ __________________ _______________ ___________
17. ______________ __________________ _______________ ___________
18. ______________ __________________ _______________ ___________
19. ______________ __________________ _______________ ___________
20. ______________ __________________ _______________ ___________
73
APPENDIX C
DANCE INTERPRETATION
OF
SELECTED FOLK DANCES
74
Name:______________________________________ Time/Day:___________
Course/Major:________________________ Group No. :______________
Folk Dance
(Group Presentation)
_____________________________
DANCE SELECTED
Dance Interpretation (40%) ___________
Form and Style (20%) ___________
Coordination/Teamwork (15%) ___________
Costume/Materials (15%) ___________
Spontaneity (10%) ___________
Total
Evaluated by:
________________________________________
75
APPENDIX D
POPULAR/MODERN DANCE
GROUP PRESENTATION
76
Name:______________________________________ Time/Day:___________
Course/Major:________________________ Group No. :______________
Modern/Popular Dance Selected
(Group Presentation)
 Please check
[ ] Tango [ ] Cha Cha [ ] Rumba [ ] Samba [ ] Waltz [ ] Mambo
[ ] Cotillion [ ] Other pls. Specify __________________________.
Dance Interpretation (40%) ___________
Form and Style (20%) ___________
Coordination/Teamwork (15%) ___________
Costume/Materials (15%) ___________
Spontaneity (10%) ___________
Total
Evaluated by:
________________________________________
77
APPENDIX E
SAMPLES OF NATIVE COSTUMES
AND SELECTED FOLK DANCES
78
ALCAMFOR
79
BALINTAWAK
80
MARIA CLARA/ BARONG TAGALOG
81
ILOCANA/PEASANT DRESS/CAMISA DE CHINO
82
CARINOSA
83
AGALALUKAN
(Subic, Zambales)
In the town of Subic, Zambales, the town folks celebrate an occasion as a tribute to the sea which
provide one of our staple foods. During the affair, there is singing and dancing together with the
presentation of the live fish. Agalalukan, which literally means dance of the calm gatherers, is one of the
dances performed during the occasion of merry making.
COSTUME: Girls wear siesgo skirt and a white loose blouse called chambray. Boys wear colored
trousers and camiseta.
MUSIC is composed of three parts: A, B, C.
COUNT one, two, three to a measure in ¾ time.
FORMATION Dancers stand in two line facing audience with girls in front of Boys, a little to the
right of their partner.
Audience
O O O O
X X X X
DANCE STEPS:
Waltz Step. Step R (L) foot on fourth position (ct. 1), close L ® to R to (L) in rear (ct. 2) step R (L) in front
(ct. 3).
Waltz Turn. Executive two waltz steps to make a complete turn.
Close step. Step R (L) foot sideward (ct. 1), step L ® close to R (ct. 2).
Three-step turn (2 M). step R (L) foot sideward (ct. 1), turn R (L) about and step L ® sideward (ct 2), turn R
(L) about and step R (L) to face front (ct. 3); close L ® to R (L) foot (ct. 1), pause (cts. 2,3).
ARM MOVEMENTS:
Arms in lateral – to bring both arms at one side, either sideward R or L
Figure of 8 – from second position palm up, turn R (L) forearm inward-outward (2 M), raise and circle arm
overhead counterclockwise. (2 M)……………………… (4 M), this movement may be done in 2 measures. It
may also be executed with both hands at the same time.
EQUIPMENT:
A pair of clam strung together like castanets. They are held by each hand and clicked oncounts (2 ,3) and
(1, 3) of every measure.
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INTRODUCTION
Music Introduction.
(a) Take a three-step turn R in place (cts. 1, 2, 3)…….. 1 M

(b) Step L foot backward and bow to audience, arms down at sides (cts. 1, 2, 3)….. 1 M
I
O O O O
X X X X
Music A.
Girl’s part: this figure is done moving forward to the desired formation.
(a) Starting with R foot, take one waltz step forward, raise arms overhead and click clams on counts 2,
3……………………………………………………………………. 1M
(b) Repeat (a) with the L backward, sway arms obliquely downward, click
clams as in (a)………………………………………………………………… 1M
(c) Waltz turn R in place arms as in (a)………………………………………….. 2M
(d) Repeat ( a – c) 3 times more………………………………………………… 12 M
(e) Turn R to face audience and repeat ( a-d) in place………………………….. 16 M
Boy’s Part:
(a) Pause with arms half bent forward at waist level. Click clams on
cts. 2, 3 of every measure…………………………………………………….. 16 M
(b) Take eight waltz steps forward R & L alternately, arms in lateral position
Moving sideward R and L alternately, click clams as in (a) ………………… 8M
(c) Turn L face audience and repeat in place. Finish behind and in
Between each girl. See diagram below………………………………………. 8M
O O O O
X X X X
II
85
Music B.
Face audience.
Girl’s Part:
(a) Turn R about and take two waltz steps forward turning half-way clockwise
To the R side of boy, arms as in Fig. I (a)……………………………………. 2M
O O O O
X X X X
(b) waltz turn R in place, finish facing audience. Click audience. Click clms in front at waist levev on
cts. 2, 3………………………………………………………………. 2 M
(c) take four touch steps obliquely forward R and L alternately, click clams
On cts. 1, 3………………………………………………………………………… 4 M
(d) Repeat (a-c) going clockwise to proper places……………………………………….. 8 M
(e) Repeat ( a-d) ………………………………………………………………………… 16 M
Boy’s Part:
(a) With feet apart, bend trunk slightly forward, arms in second position,
Execute a figure of 8 with both arms………………………………………………. 4M
(b) Lunge sideward R and repeat arm movement of (a) with the R, L arm
Down at sides……………………………………………………………………… 4M
(c) Repeat (a)………………………………………………………………………….. 4M
(d) Repeat (b) to the L……………………………………………………………….., 4M
(e) Repeat (a-d)……………………………………………………………………….. 16 M
III
Music C
Girl’s part:
(a) Waltz turn R in place, arms as in Fig. II (a) of boy’s part. Arm movement is
done faster………………………………………………………………………… 2M
(b) Repeat (a) three times more……………………………………………………… 6M
(c) Repeat (a & b) turning L………………………………………………………… 8M
(d) Repeat all (a-c)……………………………………………………………………. 16 M
86
Boy’s part:
(a) Take two waltz steps forward to the L side of girl, finish facing her. Arms
Are in lateral position sideward R and L alternately………………………….. 2M
(b) Execute a three steps turn R in place, click clams in front open cts. (1, 2, 3, 1),
Pause (cts. 2, 3)…………………………………………………………………… 2M
(c) Execute two steps sideward R, arms in lateral L, click clams on cts. 1, 2 of
Every measure…………………………………………………………………….. 2M
(d) Take a three step turn L in place, click clams as in (b)…………………………. 2M
(e) Repeat (a-d) moving clockwise around partner to complete the turn. Finish
In proper places facing front……………………………………………………… 8M
(f) Repeat all (a-e)……………………………………………………………………… 16 M
IV
Music A.
Partners do their movements simultaneously. Girls turn L to place R hand on R shoulder of

partner.
(a) With boys leading, take eight steps forward moving clockwise, boys hands on hips, click clams on
cts. 2, 3 of every measure. Girls sway L arm overhead (1 M), sway it sideward at shoulder level (1
M)……………………………………………………………. 8M
(b) Turn R about and repeat (a) moving counter clockwise with girls leading. This time boys sway
outside arm overhead and sideward alternately while the girls click clams on hips. Finish in spoke
formation with girl facing outward and boys facing partner. See diagram
below……………………………………………………………………………… 8M
87
X X
0 0
0 0
X X
(c) repeat (a) and (b)………………………………………………………………… 16 M
Music B.
Girl’s part:
(a) Take a waltz step forward, passing at the L side of boy, arms doing the figure
8………………………………………………………………………………… 2 M
(b) Waltz turn R in place, finish facing same direction, arms as in (a)……………. 2M
(c) Repeat (A&b) moving forward to proper places……………………………….. 4 M
(d) Turn R about to face the cemter of set. Girls join R hands at center and take
Four waltz step forward to the next corner clockwise, swing arms as in (a)……. 4 M
(e) Waltz turn R to proper places, click clams on cts. 1, 2, 3, 1 in front of chest\
…………………………………………………………………………………… 2 M
IV
Music C.
Face partners. Movement of boy and girl are done simultaneously
(a) Take 2 waltz steps f orward to partner’s place, arms as in Figure I (a)……………. 2M
(b) Waltz turn R about arms as in (a)………………………………………………….. 2M
88
(c) Repeat (a-b) moving backward to proper places…………………………………… 4M
(d) Repeat (a-c)………………………………………………………………………… 8M
EXIT
With Boys leading ,repeat Figure IV a Twice To exit…………………………………….. 16 M
RESOURCE PERSON AND RESEARCHER
FRANCO PASTOR
6th NATIONAL FOLK DANCE WORKSHOP
7thPHILIPPINE FOLK FESTIVAL
Folks arts Theater
July 7 to 14;1985
ALITAPTAP
(Tagalog)
Alitaptap is afirefly, a nocturnal winged light-producing insect. On dark nights fire-flies flit from
branch and from tree to tree It is delightfull to see their flickering lights. The simple folk tune used in this
dance originated from Batangas.
COSTUME ; G- Balintawak
; B- barong tagalong and white trousers
MUSIC ; 2/4 -2 parts Aand B
COUNT ; one, two, three to a measure.
FORMATION ; Partners stand opposite each other about six feet apart When fancing audience, Girls
stand at right side of a partner. One or more pairs may take part in this Dance.
89
MUSIC A.
Partners face each other.
(a) Waltz side ward Rand L.Girl holds skirt, Boy places on waist…………………….. 2M
(c) Stand in place and kumintang R (1M) and L (1M) , free hand on waist…….….. 2M
(d) Repeat (a) and (b) three more times, starting L,R,L ……………………..……… 12M
II
MUSIC B.
Face front.
(a) Starting with R foot, take two waltz steps forward. Arms in lateral position sideward R,and L, fingers
fluttering…………………………………………………………….. 2M
(b) Point R foot obliquely forwardR (1M). Point R acroos the L in front (1M).Girl holds skirt,Boys hands
on waist …………………………………………………………… 2M
(c) Repeat (a) moving backward………………………………………………………….. 2M
(d) Execute a three-step turn R in place Hands as in (b)………………………………… 2M
(e) Repeat all (a-d)………………………………………………………………………. 8M
III
MUSIC A.
Partners face each other

(a) Take two close step side ward R Arms in lateral position sideward R Arms in lateral
posisiowithn sideward R kumintang with both hands for every measure ………. 2M
(b) Repeat (a) , sideward L. Reverse arm position …………………………………... 2M
(c) Do – si –do. Starting with R foot,take two waltz steps forward passing by each others R
shoulder and two waltz steps backward passing by each others L shoulders.Girl holds
skirt,Boys hands on waist …………………………………………………..4M
(d) Repeat all(a-c)…………………………………………………………………….. 8M
90
IV
MUSIC B.
(a) Step R sideward(ct.1) tap L twice in front (cts 2,3) repeat the same starting with L foot (1M)
Girl holds the skirt, boys hands on waist………………………….…… 2M
(b) Starting with R foot, take three steps forward, hands in a (a) (1M) Brush L Foot.(1M) Finish in
on line by each other shoulders arms in fourth position, R arm
high………………………………………………………………………………... 2M
(c) Repeat (a) and (b) starting with L foot and moving backward in (b) ......................4M
(d) Repeat (a) and (b)…………………………………………………………………. 4M
(e) Starting with L foot, take two waltz steps backward to proper places. Arms in lateral position,
moving sideward L and R ………………………………………………. 2M
(f) Execute a three -step turn L in place and Bow to each other or to audience.
BA-INGLES
(Ilocano)
This is a lively danvce from Cabugao, Ilocos Sur. Ba-Ingles is derived from the words “baile” and
“ingles” meaning English dance. This dance was perhaps brought by here the early English tradesmen.
Except for the last figure which typically Ilocano in mood and movements, all the other figures are similar in
nature and mood to some English dances.
COSTUME : Ilocano peasant costume.
MUSIC : 2/4 parts; A, B, and C.
COUNT : One, two, or one, and two to a measure.
FORMATION : Partners stand opposite each other about six feet apart.when facing audience.
Girl stands at right side of partner. One or more airs may take part in this dance
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INTRODUCTION
Music Introduction.
Three-step turn R in place and bow to partner or audience, Girl holds skirt,
Boy places hands on waist…………………………………………………………… 2M
Music A.
(a) Starting with R, take four change steps forward to meet partner at center. Kumintang R and L hand
alternately, free hand on waist…………………………………………… 2M
(b) Turn R about and repeat (a) going to proper places. Finish facing
Partner, turning R about……………………………………………………………….. 4M
(c) Repeat (a) and (b)……………………………………………………………………… 8M
II
Music B
The movements of boy and girl are done simultaneously.
Boy:
(a) Starting with R foot, take four change steps forward to partner’s R side(take bigger steps to reach
partner’s side), kumintang hands as in figure I (a)……………………….. 4M
(b) Turn R about and repeat (a) going to proper places. Finish facing
Partner, turning R about…………………………………………………………..... 4M
(c) Repeat (a) to partner’s L side………………………………………………………. 4M
(d) Repeat (b)……………………………………………………………………………. 4M
Clap hands three times to a measure (cts. 1 & 2) throughout this figure…………….. 4M
92
II
Music B.
Throughout this figure, kumintang R and L hand alternately as in Figure I (a).
(a) Partners take two change steps forward, starting with R foot to
Meet at center………………………………………………………………………… 2M
(b) Change step turn R (use two change steps) in place. Finish the turn
In front of partner, facing each other………………………………………………… 2M
(c) Two change steps forward, passing by each other’s R shoulder,
going to partner’s place……………………………………………………………….. 2M
(d) Change step turn R about (using change steps). Finish facing each other……………. 2M
(e) Repeat all (a-d) finishing in proper places…………………………………………….. 8M
IV
Music C Play slowly.
(a) Starting with R foot, partner take four steps forward to mmet at center,
Girl holding skirt, boy’s hands on waist……………………………………………… 2M
(b) Face L and step R foot sideward (ct.1), point L foot across R in rear and bend kneews slightly,
kumintang R hand, L hand on waist (ct.2). partners stand side by side by the R shoulders and
looking at each other…………………………………………………. 1M
(c) Step L foot sideward (ct. 1), turn R about and point R across the L in rear. Bend the knees slightly,
kumintang L hand, R hand on waist (ct.2). partners stand side by side L shoulders and looking at
each other………………………………………………….. 1M
(d) Facing each other and starting with R foot, take four steps backward
To proper places. Hands as in (a)…………………………………………………… 2M
(e) Four steps in place, starting with R foot. Hands as in (a)…………………………… 2M
(f) Repeat all (a-e)……………………………………………………………………….. 8M
93
V
Music A.
Repeat Figure I……………………………………………………………………….. 16M
VI
Music B.
Repeat Figure II. This time girl goes to the R and then to L side of the
Partner, Boy claps hands……………………………………………………………. 16 M
VII
Music B.
Repeat Figure III……………………………………………………………………. 16 M
VIII
Music C.
Repeat Figure IV……………………………………………………………………. 16M
SALUDO
Music Finale.
Three steps turn R in place and bow to partner or audience, girl holding skirt
Boy’s hands on waist…………………………………………………………………. 2M
RESOURCE PERSON: SOURCE:
Mrs. Myrna A. Catangul Philippine Folk Dances, Vol.I
Vice President, PFDS Francisca Reyes Aquino
94
BAKYA DANCE
(Philippine Wooden Shoe Dance)
“bakya” means wooden shoes. They are the common footwear of the poor in the “barrios”. During
the rainy season almost all people wear them. They are made in different materials, colors, and shapes.
This dance is very interesting and lively. In a playful mood, young boys and girls are supposed to
be teasing each other rhythmically with their “bakya”.
COSTUME :G- balintawak
B- barong tagalong and red trousers
All have on “bakya”
MUSIC : 2/4 and ¾ - 4 parts; A, B,C and D.
COUNT : one, two three to measure of ¾ time.
One, two to a measure in 2/4 time.
FORMATION : partners stand opposite each other about six feet apart. When facing
audience, girls stands at right side of partner. From two to any number of
even pairs may take part.
INTRODUCTION
Music Introduction.
With the weight of the body on the L foot, tap R in fourth in front (ct.1), tap in second
(ct.2), stamp on the same foot close to the L in first position (ct.3); stamp L in place
(ct.1), pause (cts. 2, 3)………………………………………………………………..2M
Music A.
(a) Take one waltz step forward R (cts. 1, 2, 3). One waltz step backward L (cts. 1,2,3). Girl holding
skirts, boy’s hands on waist……………………............................................. 2M
(b) Take one sway-balance with a point, starting with the R foot. Arms in fourth position, R arm
high………………………………………………………………………………. 2M
(c) Repeat (a) and (b) starting withy the L foot. Reverse the arm
95
Positions in (b)………………………………………………………………………… 4M
(d) Repeat all (a-c) three times………………………………………………………… 24 M
II
Music B.
(a) Partners take two waltz steps forward (R, L) to meet at center
Arms are in lateral position moving sideward R and L………………………………. 2M
(b) Turn R about to a back-to-back position with partner. Take one waltz step sideward R (cts. 1, 2, 3);
one waltz sideward L (cts. 1, 2, 3). Girls holding their skirts and boy’s hands on waist. Turn head to
R and L to took at partner……………………………… 2M
(c) Turn R about to face each other. Execute one waltz step sideward R (cts. 1, 2, 3); and sideward L
(cts. 1, 2, 3). Hands as in (b)………………………………………………. 2M
(d) Step R foot backward (cts. 1, 2), step L , backward (ct. 3). Close R foot with the L without putting
weight on the R foot (ct. 1), pause (cts. 2, 3).
The steps are heavy like stamping…………………………………………………….. 2M
(e) Repeat all (a-d) three times more………………………………………………… 24M
NOTE: on the fourth time, do heavy steps in place (d)
so that partners are near each other at the end of this figure.
Music A.
Partner take off their wooden shoes and sit down in a semi-squat or full knee bend position facing
each other. Hold one wooden shoe in each hand by the heel.
(a) Girls: strike own “bakya” once (ct.1), strike L “bakya” on the floor followed immediately by the R in
the same manner (ct. 2 or &, 2), strike L “bakya” once on the floor (ct.3)..1M
(b) Girls repeat (a) three times more……………………………………………………… 3M
NOTE: Boys rest and watch the girls as they do this movement (4M).
(c) Boys: repeat (a) and (d)……………………………………………………………… 4 M
(d) Boys and Girls together:
Strike own “bakya” together once (ct. 1), strike L “bakya” once on the floor (ct. 2), R “bakya” once
on the floor (ct.3)………………………………………………………. 1M
96
(e) Repeat (d) five times more……………………………………………………………. 5 M
(f) Partners: strike own “bakya” together once (ct. 1), strike both “ bakya” with partner’s twice (cts. 2,
3); strike own (both) “bakya” on the floor (ct. 1), pause (cts. 2, 3)…… 2M
(g) Repeat all (a-f)………………………………………………………………………… 2M
NOTE: at the last measure, partners stands and quickly go to proper places (last two counts)
IV
Music B.
Partners still hold their own “bakya”.
(a) Starting with the R foot, take two waltz step forward to meet at center. Hands hanging loosely
at the sides…………………………………………………………………. 2M
(b) Strike own “bakya” together once (ct. 1), pause (ct. 2),
girls feigns striking partner’s head with her R “bakya”
while boy bends knees and evades being hit by covering his head
with two “bakya” so that the girl strikes his “bakya”
instead of his head (ct. 3)…………………………………………………………1M
(c) Partners turn R about so that they are in a back-to-back position.
Immediately strike own “bakya” together once (ct. 1), pause (ct. 2), girls strikes L “bakya” of the
boy with her R once (ct.3)…………………………………………..1M
(d) Strike own “bakya” together once (ct. 1), pause (ct. 2) girl strikes the R “bakya” of the boy with
her L once (ct. 3)…………………………………………………… 1M
(e) Turn R about so that partners are facing each other again.
Strike the boy again, this time as if aiming at the face but he evades it by covering the face
and bending the body down (ct.3)………………………………………. 1M
(f) Starting with the R foot, partners take two waltz step backward to places, boy shaking the R
“bakya” to the girl as if saying “beware”…………………………………… 2M
(g) Repeat all (a-f), this time the boys doing the hitting movements
And girls evading the blows……………………………………………………… 8M
(h) Repeat all (a-g)…………………………………………………………………… 16M
NOTE: The hitting movements should be vigorous and natural.
97
V
Music C. play four times.

Dancers put on the “bakya” as quickly as possible. The music is not played until they are ready.
Girls holding skirts, boys hands on waist throughout this figure.
(a) Starting with the R foot, take two change steps forward to meet at the center………. 2M
(b) Tap R foot in second position (ct.1), tap tap in fourth front (ct. 2), tap in second (ct. 1), tap in fourth
in front (ct. 2)…………………………………………………………….. 2M
(c) Starting with the R foot, take two change steps backward…………………………….. 2M
(d) Tap R foot in second (ct. 1), tap in fourth in front (ct. 2). Take two stamps in place (R, L) (cts. 1,
2)……………………………………………………………………………….. 2M
(e) Repeat (a) and (b)…………………………………………………………………… 4M
(f) Starting with the R foot , take two change steps forward to opposite place, partners passing by R
shoulders………………………………………………………………. 2M
(g) Starting with the R foot take four steps in place turning R about to face partner…… 2M
(h) Repeat all (a-g). finish in proper places……………………………………………. 16M
IV
Music D.
Dancers group in sets of two couples.
(a) Starting with the R foot, partners take two change steps forward to meet at center. Arms in fifth
position swaying sideward R and L…………………………………………… 2M
(b) Turn to face the center of the set. Take two change steps forward (R,L) to meet at the center (see
diagram A). arms as in(a)………………………………………………….. 2M
(c) All face outward. Take two change steps obliquely forward (R, L) to proper places (see diagram B).
arms as in (a)……………………………………………………………. 2M
(d) Starting with the R foot, dancers of each set take twelve change steps forward moving clockwise.
Arms as in (a). Finish in proper places facing the audience…………….. 12M
98
X 0
X 0
X 0
X 0
Diagram A Diagram B
FINALE
Music Introduction.
Take a three-step turn R in place and bow to the audience…………………………… 2M
RESOURCE PERSON: SOURCE:
Elnora G. Alngohuro Philippine National Dances
Board Member, PFDS Francisca Reyes Tolentino
BASULTO
(pampango)
Basulot is a love song in satirical form. The dance is usually performed with the accompaniment of
the song. One verse of the song is sung, then a figure of the dance is performed. The singing and dancing
are done alternately.
COSTUME : girl wears Balintawak style costume. Boy wears barong tagalong and
White trousers.
MUSIC : is divided into four parts: A, B, C, and D.
COUNT : one. Two three to a measure or one, two, three, four, five, six to two measures
FORMATION : Partners stands about six feet apart, facing audience, girl is at partners right. One or
more pairs may take part in this dance.
99
I
Music A.
(a) Waltz R sideward (ct. 1, 2, 3), point L foot in front (cts. 1, 2, 3). Girl holds skirt, boy places hands on
waist…………………………………………………………………2M
(b) Brush L heel forward (cts. 1, 2, 3). Repeat once (cts. 1, 2, 3). Bend arms upward and snap fingers
when brushing heel on (ct. 1) of every measure……………………………… 2M
(c) Repeat (a) and (b), starting with L foot……………………………………………….. 4M
(d) Repeat all (a-c)…………………………………………………………………………8M
II
Music B.
(a) Step R sideward (ct. 1), step L across R foot in rear (ct. 2), step R sideward (ct. 3), point ron2, 3)
bending forearms to chest (ct. 4), turn forearms to reverse “T” position (cts. 5, 6), snap fingers on
(ct. 5); that is when raising L knee……………………………………2M
(b) Repeat (a), starting with L foot…………………………………………………………2M
(c) Repeat (a) and (b), three more times…………………………………………………12M
III
Music C. hold ct. 2 of M 13.

(a) Six sway balance step with a raise, R and L alternately. Arms sideward at shoulder level (cts. 1, 2,
3) and closing forearms or bending forward in front of chest (ct. 4), turn forearms reverse “T”
position (cts. 5, 6) alternately. Snap fingers when raising foot on (ct. 5) of every two
measures……………………………………………………………12M
(b) Step R sideward (ct. 1), point L in front and pause for five counts (cts. 2 to 6).
100
Raise R arm in fifth position, L arm bent forward at waist level. Bend trunk toward the L
foot…………………………………………………………………………………….. 2M
(c) Sway balance with a raise, starting with L foot. Arms as in (a)……………………….. 2M
NOTE: this figure may be done also in this manner:

Music c. play without hold on ct. 2 of M 13.
Take eight sway balance steps with a raise, R and L
Alternately. Arms as in (a) above…………………………………………………….16M
IV
Music B.
(a) Three-step turn R (cts. 1, 2, 3), point L foot in front (cts. 1, 2, 3).
Girl holds skirt, boy places hands on waist…………………………………………….2M
(b) Repeat (a) L……………………………………………………………………………..2M
(c) Slide turn R, R arm in fifth position and L hand on waist, snap fingers of R hand on the first count of
every measure……………………………..……………………………...4M
(d) Repeat all (a-c), starting L. reverse turn and position of arms in (c)……………………8M
Music D. play last two measure slowly
Partners face audience. Join inside hands, free hands on waists.

(a) Starting with R foot, take three steps sideward R (cts. 1, 2, 3), brush L heel forward (cts. 1, 2,
3)…………………………………………………………………………………...2M
(b) Release hands. Point L across R foot in front (cts. 1, 2), point L in front (ct. 3), R arm high, L arm
bent forward at chest level. Kumintang hands (1M). repeat all once more..2M
(c) Repeat (a) and (b), starting with L foot, going sideward left.
Reverse position of arms………………………………………………………………4M
(d) Repeat all (a-c)………………………………………………………………………….8M
101
BINADYONG
(Visyan)
Binadyong is a lively dance from the province of Iloilo. Binadyong refers to the unsteady
swaying of the drunkard. This swaying movement is seen in figure II when the dancer sways forward and
backward when doing the cut step.
COSTUME : Girls wear patadyong and camisa and boy, barong tagalong and any color of
trousers (see illustration, page VIII).
MUSIC : Divided into two parts: A and B.

COUNT : One, two, or one, and two to a measure.
FORMATION : Partners stand opposite each other about six feet apart. Dancers stand
alternately with boy and girl at left side and girl and boy at right side in one set.
One to any number of set may take part in this dance (diagram (1)).
0 x 1 x 1 0 x 1 0
X x 2 0 2 x 0 2 x
(1). (2). (3).
102
REFERENCE
Books
Aquino, Francisco R. Fundamental Dance Steps and Music. Manila Philippines, 1972.
Tolentino, Francisca R. Philippine National Dances. Reprinted: Kayumanggi Press Inc. Quezon
City 2003.
Basilio Emerita E. Sayaw: Dances of the Philippine Island. Manila: Philippine Folk Dance
Society, Volume 3, May 2001.
Gabao, Larry A. Sayaw: Dances of the Philippine Islands. Manila: Philippine Folk Dance
Society, Volume 5, May 2003.
Villaruz, Basilio Esteban S. Sayaw: Dances of the Philippine Islands. Manila: Philippine Folk
Dance Society, Volume 1, May 1999.
_______________________. Sayaw: Dances of the Philippine Islands. Manila: Philippine

Folk Dance Society, Volume 4, May 2002.
Magazines / Encyclopedia
Collier’s Encyclopedia. Volume no. 7 Canada, 1997.
Dance Magazine. New York, USA. Volume LXXI, No. 9, September, 2003.
The World Book Encyclopedia. World Book International, Volume 5, 1997.
103

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PREFACE

FOLK DANCE DEFINITION

THE PHILIPPINE DANCE

2. Nature of the Dance

Kuratsa La Jota Putong

5 GROUP CLASSIFICATIONS OF DANCES

1. Dances of the Cordillera Groups

2. Dance of the Mindanao Groups

Some of the Dances

Feet close and parallel heels

Touching toes at 45 degrees

Open parallel stride sideward

Feet close- crossed

Heel in-step Touching Knees locked

Level, relaxed, fingers slightly

Arms raised sideways a little

Below shoulder level

One arm encircled overhead,

Other raised sideways.

One arm encircled on first

position, other arm overhead.

Both arms overhead.

COMBINATION OF ARMS AND FEET POSITIONS

DANCE STEP TIME STEP PATTERN COUNTING

BACUI ¾ Cross-point step/ 1, 2, 3

Cross-step (rear) step/ 1, 2, 3

BLEKING 2/4 /Spring 1 (R) heel-place close 1, 1, 2

¾ heel-place close (step) 1, 2, 3

BRINCOS CON 2/4 Cross –jump 1

PUNTILAS Hop & circle and

Step & heel raise 2

BRINCOS CON 2/4 Cross-jump 1

VUELTAS Hop & turn & foot circle and

Step & turn (heel raise) 2

Spring & point and

CHANGE STEP 2/4 step close step 1&2

CROSS STEP ¾ Step cross & slide 1, 2, 3

CROSS CHANGE 2/4 Cross-step-close-step 1&2

CONTRA-GANZA 2/4 leap cross-step step 1&2

CHANGING STEPS 2/4 Jump 1 foot & other in rear 1

CHOTIS 4/4 Brush, raise,brush, raise 1, 2, 3, 4

Step, step, step (tunning) pause 1, 2, 3, 4

CLOSE STEP 2/4 Step close 1, 2

CUT STEP 2/4 Cut or displace 1

ENGANO WITH ¾ Step cross-step 1,2,3

A CLOSE Step close 1, 2, 3

ENGANO WITH ¾ Step cross step 1, 2, 3

A WALTZ Step close step 1, 2, 3

ESPUNTI ¾ Pivot L ® Pivot R (L) 1, 2, 3

Pivot R (L) pivot L ® 1, 2, 3

GALOP 2/4 Step cut step cut 1 ah 2 ah

(there are 2 galop steps

GRAPEVINE 2/4 step cross-step 1, 2

4/4 step cross-step step cross step 1, 2, 3, 4

¾ step cross – step 1, 2, 3

HABANERA 2/4 Step close step 1, 2 and

HAPLIK 2/4 step step/hop hop/ 1, 2 1 & 2

Step step, step (turning) 1&2

Hop hop/ step step step 1, 2 1 & 2