LESSON 1: HISTORY & GENERAL CLASSIFICATIONS OF PHILIPPINE FOLK DANCES

PHYSICAL EDUCATION is defined as an integral part of educational program designed to promote the
optimum development of an individual physically, mentally, socially, and spiritually through total body
movement in the performance of properly selected physical activities. Through active participation in properly
selected physical education activities, students will develop good health and maintain their high level of
physical fitness that enables them to enjoy good life. Students may enjoy expressive and constructive activities
in physical education, like sports, gymnastics and rhythms or dances. Rhythmic activities refer to bodily
responses to any type of rhythmic accompaniment that will provide leeway to the students to satisfy their need
for self-expression. It will also provide students opportunities to develop rhythmic accuracy and coordination
that serve an agent in improving and maintaining their good posture. Varied dances activities widen avenues of
students’ social adjustments.
Philippine folk dances have increased popularity and obtained world culture when some Philippine dance
troupes performed in foreign nations. The Philippines has dances entertained and delighted people from all
walks of life. Folk dances promote national food will through describing the habits customs and beliefs of the
people all over the world.
Social dances give opportunities to develop the individual’s ability to communicate, mingle and socialize with
other people. Social dances also prepare the person to basic dance steps, positions, movements and rhythms.
Moreover, ballroom dancing has a unique history which contributes to its current popularity as a recreational
and competitive dance sport. Ballroom dancing is originated in England during the late 18th and early 19th
century. Ballroom dancing is particularly popular among the upper classes who participated in social events at
the balls.
Ballroom Dancing has sustained its popularity through ballroom clubs opened for the enjoyment of the public.
Anyone can enjoy ballroom dancing since there is no restrictions to gender and age. Women can best express
through ballroom dancing. Likewise, men can also enjoy the social benefits of ballroom dancing.

INTRODUCTION TO PHILIPPINE FOLK DANCES

Folk dances are traditionally dancing of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people. These are traditional dances handed down
from generation to generation that describe the traditions, belief, occupations, ways of life and characteristics of
people living in a certain nation through body movements

VALUES DERIVED FROM STUDYING PHILIPPINE FOLK DANCES

Philippine folk dances minor the culture of Filipino ancestors. Thus, studying Philippine folk dances is likewise.
Studying the Filipino heritage. In this manner, students will realize the significance of Philippine Folk Dance in
various ways:
1. Strengthen patriotism and nationalism.
2. Appreciate the aesthetic value of Philippine folk dances.
3. Preserve the Filipino heritage through folk dancing.
4. Promote the Filipino culture through folk dancing.
5. Gain healthy posture through graceful and rhythmic coordination of body movement.
6. Provide a healthy form of relaxation and recreation.
BRIEF HISTORY OF THE PHILIPPINE FOLK DANCES
When the Philippines was discovered by Ferdinand Magellan in 1521, it had been inhabited by different racial
groups: the Indonesians, the Malay’s and Pygmies. The offspring of the Pygmies were the Negritoes whose men
use bolos.
For centuries, dancing and singing have been the principal past time of the people. Th early Filipino considered
dancing as a religious activity. They performed dances in thanksgiving for a fruitful harvest, a victorious battle
and prosperous voyage or recovery from sickness.
During the Spanish period, dancing played an important part in the social activities of the Filipinos. Kumintang,
a pantomimed song and dance was the oldest recorded activity among the Christianized Filipinos. The
Spaniards introduced different dances such as Fandangos, Lanceros, Rigodon, Cariñosa, and Curacha. Western
cultures and dances of other European countries during the 19th century was also introduced, absorbed and
blended in our native culture which later became our traditional folk dances.
Nowadays, folk dancing has been increasing in popularity. There are numerous fascinating Philippine dances
which have already been documented and performed not only in school but also in various dance groups, both
for amateurs and professionals.
The university of the Philippines’ Folk Song and Dances paved the way for the birth of Philippine dances and
the dance troupe as well Organized by Mrs. Tolentino, the UP-Folk Song and dances have performed and
showed their prowess in several towns and provinces nearby Manila.
Furthermore, the Bayanihan, Filipiniana, Barangay, Raon Obusan Folkloric Dance troupes have performed
outside the country, their success obtain admiration and appreciation of Filipino culture through dances from
foreigners. Thus, they have brought pride and prestige to the country.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

Folk dancing is a very wholesome form of recreation enjoyed by everybody. Significantly, part of the rich
Filipino culture and arts is folk dance. There are several dances for all occasions, i.e., wedding, occupation,
festival, war and victory.
Francisca Reyes Aquino, the Philippine’s national artist and Mother of Philippine Folk Dances started the
collection of dances and songs as early as 1924. She authored six (6) volumes of the books in different
Philippine Folk dances and many other unpublished books. These dances have been categorized into non-
Christian or their ethnic dances and Christian dances. The ethnic dances are described as the highest form of art
of the Filipino dances because of their innate, unique and beautiful movements. The Christian dances mostly
adopted the Spanish and other European influences, and mixed the native Filipino culture. These Christian
dances includes Jotas, Pandanggo, and Habaneras.
Francisca Reyes Aquino identified the Philippine Folk dances based on general and special classifications.
GENERAL CLASSIFICATION SPECIAL CLASSIFICATION
Dances of
Old Ballroom Dances with
Geography Nature Movements Formation Combined
Dance Implements
Rhythm
NATIONAL OCCOPATIONAL ACTIVE SQUARE OR  Polka  Magla-  Surtido
 Rigodon  Planting  Tinikling QUADRILLE  Mazurka latik  Pantomia
 Cariñosa  Harvesting  Maglalatik  Rigodon  Chotis  Sakuting  Los
 Jota  Ponding  Sakuting  Los Bailes  Valse  Jota Bailes de
 Balitaw  Winnowing  Polkabal De Ayer Madeoa Ayer
 Pandanggo  Pabirik  Tiniling
 Manguete MODERATE LONG  Salakot
LOCAL  Cariñosa FORMATION
 Tinikling RELIGIOUS  Tagala  Lulay
 Maglalatik  Dugsu  Habanera  Sakuting
 Esperanza  Sua-sua  Puripuri
 Suli  Putong SET
 Biniganbigat  Sta. Clarang SLOW  Binadyong
  Pinong-pino  Pasakat  Haplik
 Amorosa  Kakawati
COMIC  Tiliday
 Kumbo-kumbo  Kundiman
 Makonggo
 Kioton SLOW
&FAST
GAME  Putritos
 Lubi-lubi  Ba-ingles
 Pavo  Habanera
 Botoleoa
COURTSHIP  Alcomfor
 Hele-hele
 Bago Quire
 Maramion
 Tadek
 Daling-daling

Festival
 Pandanggo
 Habanera
 Jota
 Suntido

WAR
 Sagayan
 Palu-palo
DESCRIPTIONS
NATIONAL DANCES – present throughout the island with little or no modification.
LOCAL DANCES – present in certain localities only.
OCCUPATIONAL – dances depicting action of certain occupation, industry or human labor.
RELIGIOUS OR CEREMONIAL – dances being performed in connection with religious vows and
ceremonies.
COMIC DANCES – depicting funny movements for entertainment.
GAME DANCES – having play elements (dance mixers).
WEDDING DANCES – dances being performed during wedding feast.
COURTSHIP DANCES – dances depicting love-making.
FESTIVAL DANCES – dances fitting for special occasion r any social gathering.
WAR DANCES – dances showing imaginary combat or duel.

CHARACTERISTICS OF PHILIPPINE FOLK DANCES

Philippine Folk Dances are described in terms of the following:
1. Dances stand apart.
2. Partners stay apart at 6’ away.
3. There is little, if any, bodily contact.
4. Most dances are in long formation.
5. Most of the dances are done by pairs or couples.
6. Hand movements play an important part.
7. Most dances begin and end with “saludo”
8. Dance from the lowlands have more foreign elements than those found in the uplands.
9. War dances are found among non-Christian tribes.
Do’s in Folk Dancing
Folk Dancing will require the following tips;
1. Dance in natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costumes for dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

LESSON 2: FUNDAMENTAL DANCE POSITIONS, TERMS AND FORMATIONS

FUNDAMENTAL POSITIONS OF ARMS IN FOLK DANCING
The fundamental positions of the arm in folk dancing include five positions.
First Position Arms are raised forward forming circle in front of the chest with fingertips of both hands about
an inch apart.
Second Position The arms are placed sideways a little below shoulder level with palms facing up.
Third Position The right arm is raised above the head forming half a circle (amplified position), while the left
arm remains in the second position.
Fourth Position The right arm is still raised and remains in an amplified position, while the left arm is placed
in front of the chest, as in the first position.
Fifth position Both arms are raised forming a circle over the head in an amplified position.
FUNDAMENTAL POSITIONS OF THE FEET IN FOLK DANCING
Folk dancing requires the five fundamental positions of the feet.
First Position Both heels are together while toes are apart at an angle of about 45˚ or more.
Second Position Both feet apart sideward about a pace distance. Heels are parallel to each other.
Third Position The right heel of the foot is close to the instep of the left foot.
Fourth Position The right foot is forward about a pace distance with toes out.
Fifth Position The right foot is placed in front of the left foot with the right heel close to the toes of the left
foot.
Fundamental positions of the arms and feet in Folkdance | Folkdance Library - YouTube

COMMON DANCE TERMS USED IN FOLK DANCING

The following terms are necessarily in understanding the principles of folk dancing and executing the
steps.
1. ARMS IN LATERAL POSITION Both arms are at one side, either right or left, at
shoulder, chest, or waist.
2. BRUSH Weight on one foot, hit the floor with the ball or heel
of the other foot and lift that foot from the floor to
any direction.
3. CABECERAS The couples occupying the width of the hall when
dancers are in square formation (head couple)
4. CLOCKWISE Like the motion of the hands of the clock, right
shoulder toward the center of an imaginary circle.
When facing center, movement is toward the left.
5. COUNTER CLOCKWISE The reverse direction of clockwise, L shoulder
toward center. Movements are toward right when
facing center of the circle.
6. “COSTADOS” The couples occupying the length of the hall when
dancers are in square formation (side pairs).
7. CROSSED ARMS Partners facing each other or standing side by side
join their L hands together and the R hands together;
either R over L over R hands.
8. CUT To displace quickly one foot with the other.
9. DO-SI-DO (DOS-A-DOS) Partners 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 left
(or right) side to proper places.
10. FREE FOOT The foot not bearing the weight of the body.
11. FREE HAND The hand not placed anywhere, or not doing
anything.
12. “HAYON-HAYON” To place one forearm in front and the other at the
back of the wrist.
13. HOP A spring from one foot landing on the same foot in
place or in any direction.
14. INSIDE FOOT The foot nearer the partner when partners stand side
by side.
15. “JALEO” Partners turn around clockwise (with R elbows
almost touching) or counter clockwise (with L
elbows touching) using walking or any kind of dance
step.
16. JUMP A spring on foot or both feet landing on both feet in
any direction.
17. KUMINTANG Moving the hand from the wrist either in a clockwise
or counter clockwise direction.
18. LEAP A spring from one foot. Landing on the other foot in
any direction.
19. OUTSIDE FOOT The foot away from one’s partner stand side by side.
20. OUTSIDE HAND The hand away from one’s partner stand side by side.
21. PLACE A foot in a certain position without putting weight on
it; the sole of the foot rests on the floor.
22. PIVOT To turn with the ball, heel, or whole foot, on affixed
placed or point.
23. POINT To touch the floor highly with the toes of one foot,
 weight of the body on the other foot.
24. “SALOK” Swinging 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”.
25. “SALUDO” Partners with the feet together bow to each other, to
the audience, opposite dancers, or the neighbors.
26. “SAROK” Crossing the right (or left) foot in front of the left (or
right) bend the body slightly forward and cross the
hand down in front with the right (or left) hand over
the left (or right).
27. SET A dance formation like a square dance or a unit
formation composed of two or more pairs.
28. SLIDE To glide foot smoothly along the floor.
29. STAMP To bring the foot forcibly and noisily on the floor.
30. STEP To advance or recede by moving one foot to another
resting place with a complete transfer of weight from
one foot to the foot.
31. SUPPORTING FOOT The foot that bears the weight of the body.
32. TAP To rap slightly with the ball or toe of the free foot
keeping weight of the body on the other foot. There is
no transfer of weight.
33. WHIRL To make fast turns by executing small steps in place,
to right, on to left.

TABLE 2: DANCE ABBREVIATIONS AND SYMBOLS USED

L Left (foot, arm or hand)
R Right (foot, arm or hand)
ct Count
Cts Counts
fwd
Forward

bwd
Backward

swd
Sideward

M Measure or measures
X Boy
0 Girl

Direction was going or facing

KEY TO SYSTEM 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 case of dancing) is taken.
Rest is character used to indicate silence or pause (in the case of dancing) for a certain time.
TABLE 3: COUNTING AND EQUIVALENT NOTE OF RHYTHMIC PATTERN
COUNTS TIME SIGNATURE/MEASURE
2
1, 2 4 Time, one measure
Time, one measure
6
(used in cut and
8
rocking steps
1, ah, 2, ah, or 1, 2, 3, 4,
 1, and
2
1, 2, 4 Time, one measure

2
1, ah, 4 Time, one measure

3
1, 2, 3 4 Time, one measure

3
1, 2, and 3 4 Time, one measure

3
1 and 2 and 3 4 Time, one measure

Suggestions for Teaching Dance Steps

The following suggestions are necessarily when teaching dance steps:
1. Explain and demonstrate steps one at a time.
2. Explain the terms and symbols used.
3. Teach the step by counts, then execute the steps with music.
4. Teach the step with the arm movements most appropriate to the steps.

Lesson 3
The table presented below is divided into 3 rows, first row is dance steps which indicate the name of the
particular step of the dance that you actually observed in folk dances. Second row is the step pattern and
counting that indicate the instruction/procedure of the step and its actual counting in every step that you
will do. And the third row is the number of measures that indicates how many repetitions of steps that
you will perform nor demonstrate on the actual notation/counting of the step. The measure can also be
seen in the notation of the dance steps in line to its music. The musical notes are your guide in reading the
counting of steps and measures in the dance notated piece.
Be able to familiarize the steps and try to practice it in your own since you have your guide already. If
you still can’t get the step, you can search the step via YouTube.
Table 1. BASIC DANCE STEPS 2, 4
STEP PATTERN AND
DANCE STEPS NO. OF MEASURES
COUNTING
Heel – place, close
Bleking Steo 1
Ct. 1 ct. 2
Step, close
Close Step 1
Ct. 1 ct. 2
Step, brush
Brush Step 1
Ct. 1 ct.2
Step, swing
Step Swing 1
Ct. 1 ct. 2
Cut step Cut or displace 1
Step, hop
Hop step 1
Ct.1 ct.2
Point, close
Touch step 1
Ct.1 ct.2
Cross step, close
Cross step 1
Ct.1 ct.2
Slide, close
Slide step 1
Ct. 1 ct2
Fall & raise, fall & raise
Rocking step 1
Ct. 1 ct. 2
Table 2. BASIC DANCE STEPS 3, 4
STEP PATTERN AND
DANCE STEPS NO. OF MEASURES
COUNTING
Step, close, step
Change step 1
Ct.1 and ct.2
Cross step, close, step
Cross change step 1
Ct.1 ct. and ct.2
Leap, cross step, close
Contragansa 1
Ct. 1 ct. and ct.2
Heel in front, point tow bwd. Step,
Heel and toe change step close, step ct.1 ct.2 2
Ct.1 ct. and ct.2

Table 3. POLKA SERIES

DANCE STEPS STEP PATTERN AND COUNTING NO. OF MEASURES
Step R (fwd/swd/bwd), close L to R, ct.1
Plain polka 1
Ct.1 and step R; raise L ct.2 ct. and
Hop-step R fwd, close L to R; step R fwd; ct.1
Hop polka 1
Ct. and ct.2 pause ct. and
Heel place R(infront), toe-point in rear; ct.1
Heel and toe polka ct.2 raise -step R; close L to R; step R;pause 1
ct.1 ct.2 ct.2 ct.and
Slide-tep R fwd; close L to R, step fwd ct.1
Slide polka 2
Ct. and ct2 pause ct. and

Lesson 4
Table 4. BASIC DANCE STEPS 3,4
DANCE STEPS STEP PATTERN AND COUNTING NO. OF MEASURES
Slide R, cut R with L
Ct. 1 ct.2
Mazurka 1
Hop L and swing R backward ct.3 in
front L
Slide R (diagonal fwd), cut R
Redoba 1
Ct.1 ct.2 with L, cut L with R ct.3
Step R (any direction), swing ct.1
Step-swing-hop 1
L across R in front, hop on R ct.2 ct.3
Step R (fwd/swd), brush L and cut ct.1
Step-brush-swing-hop 1
Ct.2 swing fwd, hop R ct.3
Step R (swd/bwd), close ct.1
Waltz step 1
Ct.2 L to R, step R in place ct.3
Step R (swd/fwd), close L to ct.1
Waltz balance Ct.2 R and raise both heels, 1
Heels down ct.3
Cross-step R across L, close ct.1
Cross waltz 1
Ct.2 L to R, step R in place ct.3
Table 5. SWAY BALANCE SERIES
DANCE STEPS
Sway balance with a point
Sway balance with a bush
Sway balance with a raise
Sway balance with a hop
Sway balance with a close
Sway balance with a waltz
Engaño with a waltz
STEP PATTERN AND COUNTING NO. OF MEASURES
Step R (diagonally fwd), cts. 1-2
Cross-step L across R, ct.3 2
Step # bwd, point L in front ct.1 cts.2-3
Step R (diagonally fwd), cts.1-2
Cross-step L across R, sep R ct. 3 ct.1 2
Bwd, brush L fwd. cts.2-3
Step R (diagonaly fwd), cts.1-2
Cross-step across R, step R ct.3 ct.1 2
Bwd. Raise and swing L in front ct.3
Step R (diagonaly cts.1-2 fwd),
Cross-step L across R, ct.3R, step R
2
bwd,
Close L to R ct.1 cts.2-3
Step R (diagonally cts.1-2 fwd),
Cross-step L across ct.3R, step R bwd, 2
Close L to R cts. 2-3
Ste R (diagonally cts.1-2 fwd),
Cross-step L across R, ct.3, step R bwd
2
Close L to R, step ct.1 ct.2
Ct.3 R in place
Step R swd, cross-step L cts. 1-2 ct.3
across R, step R swd. Close L ct. 1 ct.2 2
to R, step R in place ct.3

Table 6. BASIC DANCE STEPS 4,4

DANCE STEPS STEP PATTERN AND COUNTING NO. OF MEASURES
Step R sideward; close L to R ct.1 ct 2
Escotis step Step R sideward; hop on R ct 3 ct.4 1
Raising L foot in rear
Step R sideward; close L to R ct. 1 ct.2
Schottische step Step R sideward; hopn on R ct..3 ct.4 1
Raising L foot in front.

Direction: Consider the sample dance steps and perform using the music "Magtanim ay Di Biro" or
"Leron Leron Sinta". Have your video recording and the same procedure of submitting the URL/Link.
You will be graded with criteria given below;
SAMPLE DANCE STEPS ROUTINE IN 2,4 TIME SIGNATURES
FIGURE I
Partners face audience. Join inside hands.
a. 8 bleking steps R and L alternately
b. 8 hop steps sideward R and L alternately
c. Repeat All (a-b)
FIGURE II
Partners face each other. Girls hold skirt. Boys on waist.
a. 8 change steps R and L alternately
b. 8 cross change steps R and L
c. 4 heel and toe change steps alternately R and L going to partners place
d. Repeat (c) going to proper place
FIGURE III
Partners face audience. Hands the same position as in Figure I
a. 8 plain polka steps R and L alternately
b. 8 hop steps polka R and L alternately
c. 4 heel and toe polka step moving forward
d. Repeat (c) moving forward
e. Repeat al (a-d)
f. Release hold. Hand the same as in fig. II take eight contragansa R and L

CRITERIA
CREATIVITY 20
COORDINATION 20
TIMING 20
HAND/ARM POSITION/BODY POSITION 20
GOOD FORM 20
TOTAL 100

Lesson 6 2, 4 Time Signature

Polka Sa Nayon
(Tagalog)
The ballroom Polka was famous in Batangas during the Spanish Period. It was usually danced during town
fiestas and in big gatherings. In dancing Polka sa Nayon, consider the following:
1. Costume: The girls wear the Maria Clara or Balintawak style; the boys wear Barong Tagalog and, black
or white trousers.
2. Music: Composed of three parts: A, B and C.
3. Count: One, two to a measure.
4. Formation: The dance may be performed by a group of four or in a scattered position when it is done
inside the ballroom.
Basic Dance Steps in Polka sa Nayon
1. Plain Polka: Step Pattern – Step R (fwd/swd/bwd); close R to L; step R; raise L
2. Heel and Toe Polka: Step Pattern – Heel place R (in front); toe-point in rear; raise-step R; close L to R;
Step R; pause
3. Change step: Step Pattern – Step R (any direction); close L to R, step R
Polka sa Nayon (BPE-SPE3A UIC) - YouTube

Subli
(Tagalog)
Subli is a favorite dance of the people in the nearly all the barrios of the municipality of Bauan, Batangas, in
May and during fiestas. It is a ceremonial worship dance performed in homage to the Holy Cross referred to in
the vernacular as Mahal Na Ponong Santa Cruz. It originated some three hundred years ago in the barrio of
Dingin, Alitagtag Batangas.
The name Subli was derived from two Tagalog words subsub (stooped or in a crouching position) and bali
(broken). Thus, the male dancers are in trunk-forward-bend position throughout the dance. They seem to be
lame and crooked. In dancing Subli, the following must be considered:
1. Costume: The girls wear simple Balintawak costume (with tapis and panyo) and a buri hat while the
boys wear Barong Tagalog and red trousers with pair of bamboo castanets held in each hand. Both girls
and boys are barefooted.
 2. Music: The first part of the dance, the individual couple dance, is accompanied by a kalatong (a bamboo
instrument stuck with two bamboo sticks) and drums of various sizes made of goat’s skin. The second
part of the dance has a two-part music: A and B
3. Count. One, two or one, and two to a measure in 2, 4 and one, and ah, two, and, ah in 6,8 time
4. Formation: After the individual pair dances (if there is), the dancers form two lines the boys stand about
four feet behind their respective partners. All face the audience. Three or four pairs make a good set.
From one to any number of sets may take part in the dance.
SUBLI //Philippine Folk Dance - YouTube

Lesson 6 3,4 and 4,4 Time Signature

CARIÑOSA
(National)
Cariñosa is known throughout the Philippine as the flirtation dance. Cariñosa means affectionate, lovable, or
amiable. With the fan and handkerchief, the dancers go through hide-and-seek movements and other flirting
acts expressing tender feelings for one another.
There are many versions of this dance but the hide-and-seek movements are common in all. In dancing
cariñosa, consider the following;
1. Costume: The girls weatr Balintawak or Patadyong and Camisa costumes. While, the boys wear Barong
Tagalog and any colored trousers. The girls have fan hanging at R side of their waist while the boys
have handkerchief in their pocket.
2. Music: The music is composed of two parts: A and B.
3. Count: One, two, three to a measure.
4. Formation: Partners stand opposite and facing each other about six feet apart. When facing the audience,
the girls are at the right of the boys. One to any number of couples may take part of the dance.
Basic Dance Steps in Cariñosa
Waltz: Step Pattern – Step R (fwd/bwd/swd); close L to R; Step R
Carinosa - Philippine Traditional Cultural/Folk Dance/Carassauga 2018,Toronto,Canada - YouTube

PANDANGGO RINCONaDA
(Bicol)
This dance originated from Nabua, Camarines Sur. It is called Pandanggo Rinconada because it is a favorite
dance of the people of the Rincondana district. It is danced by old and young people during the Christmas
Season. Young boys and girls usually perform this dance during veladas (programs). The following should be
considered in doing Pandanggo Rinconada:
1. Costume: The girl wears patadyong, camisa and soft pañuel while the boy wears barong tagalog and
white trousers.
2. Music: Divided into seven part: A, B, C, D, E, F, and G
3. Count: One, two; one and two or one, and, two, and to a measure in 2,4-time signature; one, two, three
or one, and, two, and three in 3,4 time.
4. Formation: Partners stand opposite each other about six feet apart. When facing audience, the girl is at
the partner’s right side. One to any number of pairs may take part in this dance.
PANDANGGO RINCONADA : Philippine Christmas Folk Dance from Nabua, Camarines Sur - YouTube

HIMIG SA NAYON
(Tagalog)
Himig Sa Nayon means country folk tune. The music and the dance express the character, mood, and sentiment
of the simple country people. The following should be considered in dancing Himig Sa Nayon.
1. Costune: The girl wears Balintawak costume while the boy wears barong tagalog and trousers of any
color.
2. Music: Composed of two parts: A and B.
3. Count: One, two, three to meaure.
 4. Formation: Partners stand opposite each other about six feet apart. The girl stands at right side of boy
when facing audience. One to any number of pairs may take part in this dance.
Himig sa Nayon by the TSU Performing Arts- Champion - YouTube

PANTOMINA DE SORSOGON
One of the favorite folk dances of the Bicolanos is the Pantomina. It is very popular even among the older folks
who love to dance pantomina during their social gatherings. Some groups have their own way of dancing it.
This version of the dance Pantomina comes from the province of Sorsogon. Consider the following in dancing
in dancing Pantomina de Sorsogon.
1. Costume: The girl wear Maria Clara, Serpentina, or Balintawak style while the boy wear Barong
Tagalog and dark pants.
2. Music: 2,4 and 3,4 rhythm composed of 4 parts: A, B, C, and D.
Ms. Heart Evangelista & Gov. Chiz Escudero dancing Pantomina for Guinness World of Records! - YouTube

SAYAW SA CUYO
On the small island of Cuyo, Palaawan’s old capital, the feast day of St. Agustin is traditionally celebrated on
September 28 with parades, procession and small performance by groups coming from all over Cuyo island and
the nearby islets.
Spain’s undeniable influence in the island dating back to the 18th century remains evident in its fortified stone
church as well as in their song and dances. Island dances are blended with strong Old Cuyo ethnicity and
Spanish-Influenced step all brought out when Cuyo celebrated its festival. Sayaw sa Cuyo means a dance of the
Cuyo Islanders for entertainment.
Today, pretty young girls daintily swirl hats to the waltz and other European steps meant to bring out the
freshness and glow of the performers. Young teenage girls move playfully emphasizing tilt, charm and grade.
The following should be considered in dancing Sayaw sa Cuyo:
1. Costume: The girls wear the gored type (de espada), Maria Clara costume, and camisa (short blouse,
moderately loose sleeves and cuffs) on top.

The complete costume for the girls should also conclude:

Scarf (Mantilla): Soft bandana with floral design and tassels. Folded triangularly and thrown over the
shoulders meeting at a point over the chess held by a pin or brooch.

Skirt (Saya): Gored skirt in flimsy or soft material in two tones. Semi-balloon, tailles. Panels vary
according to desired design and color harmony. With stiff petticoat.
Accessories: Cameo on a velvet choker, flowers on hair, Panama hat.
Suggested Footwear: Cocho or zapatilla.
2. Music: 3,4; Composed by five parts: Introduction, A, B, C, and D.
Count: 1, 2, 3 to a measure.
3. Formation: Dancers are paired and stand about six feet apart from each other. One to any number of pair
may take part.
Basic Dance Steps
Mazurka, Redoba, Waltz, Cross-Steps
SAYAW SA CUYO PERFORMED BY THE NOTRE DAME OF MARBEL UNIVERSITY IBED / NDEA AREA MEET 2019 - YouTube

MAZURKA DE JAGNA
Mazurka de Jagna is a simple and lively dance introduced by the Spaniards in the town of Jagna, Bohol. It is
usually dance during town fiestas and other celebrations. Consider the following in dancing Mazurka de Jagna:
1. Costume: The girl wears Maria Clara while the boy wears barong tagalog and black pants.
2. Music: 3,4 rhythm and composed of 2 parts: A and B.
MAZURKA DE JAGNA | PHILIPPINE FOLK DANCE - YouTube
 LANCEROS
(Tagalog)
Lanceros is a popular square dance found in many regions in the Philippines. This dance must have been
brought here by the Americans for some of its movements, figures, and music resemble the American square
dance called Lanceros.
However, the dance described here originated in Pangasinan, Laguna. It was performed by some Laguna High
School Students. The dance was taught to them by the elderly who used to dance it during their younger days. It
is much simpler than the Lanceros found in the Visayan Islands and in other regions of the Philippines.
Consider the following in dancing Lanceros:
1. Costume: Dancers may wear any kind of Filipino costume.
2. Music: Divided into five parts, A, B, C, D, and E.
The parts are played as many times as necessary.
3. Count: One, two to a measure
4. Formation: Partners stand side by side, ladies at the right side of their partners. Couples are arranging in
square formation, facing a common center. Four or eight pairs make a convenient set. Couples 1 and 2
are cabaceras or head pairs and 3 and 4 are costados or side pairs.
Lanceros de Tayabas - Indak Maharlika Ensemble - YouTube

LOS BAILES DE AYER

“Los Bailes de Ayer” means dances of the yesteryear. It is a quadrille combining old ballroom dance steps and
figures, such as the polka, chotis, mazurka, paso doble.
Mrs. Elvira Bocobo Castro reported that the original music and dance steps of Los Bailes de Ayer originated
from Tarlac. In fact, this was known as “Pre-Revolutionary – War Dance” or “Maharlika” in Tarlac and the
neighboring provinces.
The above name was chosen because it fits the dance very well. The original dance was rearranged and some
figures were modified to make the dance interesting and typically native. Consider the following in dancing Los
Bailes de Ayer:
1. Costume: The girls wear any old-style costume (Maria Clara Serpentina, etc.) wile boy wear “barong
tagalog” and black trousers.
2. Music: Divided into twelve parts: Introduction, A, B, C, D, E, F, G, H, I, J and K.
3. Count: One, two, three to a measure in 3,4 time, one, and two, and in 2,4-time polka time, one, two in
2,4 time, and one, two, three, four in 4,4 time.
4. Formation: Partners stand near each other, ladies at partner’s right side. The dancers stand in a quadrille
formation, all facing in a hollow square. From four to any number of even pairs may take part.
Rigodon Royale (Los Bailes de Ayer) - YouTube

Lesson 7: History of Foreign Folk Dances, Common Dance Terms and Formations and
Suggested Foreign Folk Dances
Folk dances in other countries evolve in a simple remote type of society. It was during the middle ages in Great
British Isles and Continental Europe that folk dancing became visible where slaves became peasants, having a
land and community of their own part from the court and minor house. However, during the colonial period, the
people exhausted all their lives in one community. They did not have any means of amusements like motion
pictures, radio, television and phonograph. The people did not travel much and anyone could hardy read but,
everyone could dance. That is why, the people danced whenever there were occasions such as good harvest,
festival, fair and holiday celebration, and family and community gatherings.
Suggested Foreign Folk Dances
CHINESE FAN DANCE
This is a simple but interesting dance especially suitable for girls.
CHINESE FAN DANCE COVER - YouTube

MINUET
This is a court dance popular in France during the time of Louis XV. It is very stately, graceful and dignified
dance depicting the grandeur and magnificence of the court during that time. It is the perfect expression of an
age in which courtesy, ceremony and chivalry were brilliantly polished.
French Minuet - YouTube

JAPANESE PARASOL DANCE

Japanese Parasol Dance is a very colorful, easy dance for girls. It is customary with Japanese girls to use
umbrella during rainy and sunny seasons.
JAPANESE PARASOL DANCE BY FATIMA AND LABANGAL NHS TEACHERS - YouTube

SOCIAL DANCES
HISTORY
Social dance has probably existed in some form since the beginning of human society. This is simply a group
dancing for pleasure or recreation. Most group dances were originally ceremonial rites categorized from three
basic aspects of human existence: food supply, sexual impulse and relationship with the spirit world.
Throughout the Renaissance Period and the 16th century, social dance became more firmly ensconced in the
courts with partners constantly changing, filling the ballroom with emerged square formation like the cotilion
and quadrille, wherein dancers systematically dressed up in formal attire.
Advancing technology and two world wars so continuously restructured life in the 20 th century that social dance
has been changing constantly. The flapper was born as well as the Charleston; the Jitterburg burst from the
swing improvisations of the 1930’s and 1940’s.
Ballroom dancing originated in England in the 18 th and 19th century’s balls and social events. While these
parties were attended only by the affluent, by the late 19 th and early 20th century, ballroom became popular to
the general public too.
The word ‘ball’ is derived from the Latin word “bolare” meaning ‘to dance’. The word ‘ballroom’ denotes a
room where balls may be held, that is, formal social dances. Balls were important social events in the days
before radio and television. Ballroom competitions became popular in the 20’s and the Ballroom Branch of the
Imperial Society of Teachers of dancing was formed. Its mission was to standardize the music, and technique of
ballroom dancing everywhere.
Dance competitions have kept ballroom dancing alive and popular. It is interesting that in 1995, the Olympic
Committee granted provisional recognition to Ballroom Dancing Championship is the British Open Dance
Championships, held annually in Black Pool England.
PROPER POSTURE WHILE DANCING
Proper posture is a matter of getting all the body parts in a ballroom positions so that they are carried out
gracefully. The head, chest and hips are carried upright well.
Scientifically described, good posture while dancing means to squeeze the abdomen and hips into place and lift
the chest as one carries his head high. All points should be in vertical alignment, from ear to the ankle. Swing,
his leg from the hip, trunk firm and controlled.
A good dance posture allows one’s body t dance gracefully. Good posture prepares the dancer to move in an
easy and natural way which leads to his attainment of poise and confidence.
REMINDERS TO GOOD DANCING
The following should be considered to execute a good dance:
1. Keep the body in upright position to show – self-confidence.
2. Step tightly on your toes and do not drag the feet.
3. Swing you legs from the hips.
4. Walk backward smoothly without looking at the floor. Girls usually step backward first.
 5. Bend from the hip when executing a ‘dip’.
6. Keep a balance position so that one can control his movement.
7. Relax as one moves with ease, listen and enjoy the music as well as the dance.

SUGGESTED BALLROOM DANCES

Ballroom dancing, as it is called nowadays, has a unique history that contributed to its current popularity as a
recreational and competitive sport. Everyone can enjoy the different social dances. Thus, every school,
government and private office conducts ballroom lessons.
LA WALK
La Walk originated from Texas, USA. LA walk attained its popularity among ballroom enthusiasts because a
partner is not needed. It uses forward, backward, sideward right and left directions.
Suggested Activity: Dance Combination
Suggested Music: Buttercup, Achy Beaky Heart
BASIC STEPS
a. Step R foot sideward.
b. Close L foot R Foot.
c. Repeat A and B
d. Repeat a and b to L
e. Step r foot backward
f. Close L foot to R foot
g. Step L foot forward and point R foot in rear
h. Step R foot in place and point L forward. Quarter turn to the L and brush R foot sideward
i. Repeat all.
L.A WALK - YouTube

WALTZ
Waltz originated in Italy four centuries ago as a round dance called Volte. The pattern of the dance is gay and
joyful.
Waltz is a smooth dance with gliding that weaves an even pattern of swinging and turning movement. The feet
should never be heard to leave the floor but rather, should seem to float in a ‘silent’ pattern. The weight is put
forward over the back of the foot.
Character: elegant, regal, lilting, graceful
Style: rise and fall
Count: 1, 2, 3 to a measure
Suggested activity: Dance Combination
Suggested Music: Last Waltz
BASIC STEP
Man’s Part
1. Step directly for ward with your L foot
2. Step diagonally forward with your R foot
3. Bring your L foot next to your R, wait on your L.
Lady’s Part
1. Step back on R foot
2. Step diagonally back on your left foot
3. Bring your R foot next to your L, wait on your R.
How To Waltz Dance For Beginners - Waltz Box Step - YouTube

SWING
Swing is the most popular social dance for couples in the USA in the 1950’s. It is an outgrowth of Jitterburg.
Swing is the newest name given to Jitterburg. Although this type of dancing is very popular among the youth,
the gaiety of the music appeals to all ages. Swing steps pattern lend them to varied interpretation. Partners hold
both hands and do the quick steps followed by placing weight on the ball of one foot the shifting the weight to
the other.
Character: fast, fun and up-beat
Style: 1 half in motion
Count: 1 and 2, 3 and 4, 5, 6
Suggested Activity: Dance Combination
Suggested Music: Let’s Get Loud
How To Swing Dance For Beginners (East Coast Swing) - YouTube

CHA-CHA-CHA
Cha-cha-cha is a fast rhythmic ballroom dance from Latin-American origin. The dance was invented by a
Cuban violinist and became a craze in America and Europe in 1953. A Cuban innovation of the old Latin from
Danson. Cha cha cha is a combination of the Mambo and American Swing. A close look shows it rhythm to be
that of a triple mambo.
It is a newest and the most popular of the Latin-American dances. It is also the easiest to learn because the
music has a definite and unmistakable beat.
Character: sassy, latin, playful, flirty
Style: Cuban motion and syncopated timing
Count: 1,2 cha-cha-cha, 3, 4 cha-cha-cha
Suggested Activity: Dance Combination
Suggested Music: Let’s Get Loud
BASIC STEP
MENS PART
1. Step L foot fwd
2. Step R foot in place
3. Do the shuffle and step R bwd
LADY’S PART
1. Step R foot bwd
2. Step L in place
3. Do the shuffle and step L foot fwd
4 Basic Elements of Cha-Cha | Cha-Cha Dance - YouTube

MAMBO
Mambo is a Cuban dance that appeared on the ballroom scene in the United States shortly after World War II. It
is a very free dance, allowing for individual interpretation and innovation. Probably due to it difficult rhythm, it
became less popular in the 1950’s than cha-cha-cha. However, it does survive and finds renewed interest among
dancers in the United States, especially from the advanced dancer. Over the years, it has become more
sophisticated and conservative. It is most often done in closed position.
MAMBO RHYTH
The rhythm is difficult and has spurred controversy as to whether the rhythm is off – beat or on – beat, that is,
quick, quick, slow or slow, quick, quick. Because of its highly syncopated beat, it has been a difficult rhythm to
learn. The rhythm pattern described here will be in 4,4 time that is, quick, quick, slow
MAMBO STYLE
The sultry rhythm and oddly accented beat give a heavy jerky quality, which may be interesting though as a
“charge”. Basically, the style is rumba movement, but as one steps forward on the accented fourth beat, it is
with the suddenness of a quick lunge but immediately pulling back for the second quick bet, giving the jerky
quality to the dance. The “charge” movement is further accented by a slightly heavier step and the action of the
shoulders, which move forward alternately in opposition to the stepping foot. The arms and hands are carried in
a bent—elbow position parallel to the floor, palms down. The arms move the shoulders. Thus, the mambo
presents a more dynamic body movement than any of the other Cuban Dances.
Fundamental Mambo Step
Only the basic step will be provided since all variations may be taken from the cha-cha-cha. The relationship
between the mambo and the cha-cha-cha will also be noted.
Preparation Step
Used only at the beginning of the dance to get started on the mambo beat.
STEPS 4,4 COUNTS RHYTHM CUE
Steps left in place 1 Quick
Step right in place 2 Quick
Hold 3 hold

The Basic Step

Level: Intermediate
STEPS
Steps left diagonally forward to
right
Step right back in place
Step left sideward left
Hold closing right to left
Step right diagonally backward
to left
Step left back in place
Step right sideward right
Hold closing left to right
4,4 COUNTS RHYTHM CUE
4 Quick
1 Quick
2 Slow
3 No weight change
4 Quick
1 Quick
2 Slow
3 No weight change

Step Cue: cross back side, cross back side.

Style: the dancers should avoid taking too large a step. The sideward step tends to increase the size of the total
pattern and may look very awkward if taken too wide. The quality is sultry.
Lead: the lead’s is a sharp shoulder action as his shoulder moves forward in opposition to the stepping foot. The
follow merely follows the action of his leading shoulder and not try to finger out which shoulder to move.
Position: Latin social position.
Note: The first half of this step is referred to as the “forward break” and the back half as the “back break”. It
may be used as in the cha-cha-cha.
Mambo Variations
For full descriptions of the cha-cha-cha variations.
Open for break Cross Over with Turn Shadow
Cross Over Jody Break
(30) How to Do a Mambo Forward & Back Step | Ballroom Dance - YouTube

RUMBA
Rumba is a ballroom dance characterized by a short quick step and smooth rolling hip movement. Rumba
originated from Cuba and became internationally popular in the 1930’s. It is unique among ballroom dances.
The music has a seductive primitive charm and decorous as waltz. Its distinct characteristics is the Rumba
motion. Rumba has a slight rhythmical swaying of the hips. The secret lies in taking each step with a slightly
bent knee. If this is done properly, the hips sway from side to side.
Character: sexy, rhythmical, romantic
Style: Cuban Motion
Count: slow-quick-quick
Man’s Part
1. Step fwd with L foot (slow)
2. Step to right side with R foot (slow)
3. Bring L foot next to R (quick)
4. Bring back with R foot (slow)
5. Step to right side with L foot (quick)
6. Bring R foot next to L (quick)
Lady’s Parts
1. Step bwd with R foot (slow)
2. Step to left side with L foot (quick)
3. Bring R foot next to L (quick)
4. Step fwd with L foot (slow)
5. Step to left side with R foot (quick)
6. Bring L foot next to R (quick)
(30) Rumba dance steps for beginners - Rumba basic steps (American Style) - YouTube

SAMBA
While the Rumba step is smooth with less body movement, Samba involves total body movement. The upper
trunk is poised and moves forward and backward with an axis in the center of the diaphragm. The arm is held
parallel to the floor, bent at elbow and placed waist level. The upper trunk moves forward. As the feet moves,
and vice versa.
BASIC STEPS
Partners in closed ballroom position.
1. Basic step: Step L fwd (ct 1), step L in place (ct 2). The man sways slightly bwd. As the lady sways fwd.
2. Turning step: do the basic step each time making a quarter turn.
3. Slow side close (use to rest partners.)
Step L ft. swd (ct1), close R to L (ct2), make this time more and on the step, put weight on the left to
change direction.
4. Chasse: Make 4 chasing steps to the left, back to the right, body slightly bent to the direction of the steps
(cts.1&2)
5. Copa Step: Step L ft. Fwd. (ct1) step ball of R bwd leaving L ft.fwd. (at and), draw L ft. bwd with
weight on it (ct 2)
Repeat with R ft (cts 1&2)
(30) SAMBA | Dj Ice - Bailando (Enrique Iglesias Cover) - YouTube

TANGO
Tango appears to a highly advanced and complicated dance. The original Tango came from Argentina, while
the French adaptation was a difficult dance. But the American version is a very simple ballroom dance which is
very easy to learn.
Tango is characterized by a deliberate glide with the full foot on the floor and the weight on the ball of the foot.
Character: sexy, rhythmical and quick
Style: gliding motion
Count: slow-quick-quick
Suggested Activity: Simple Tango Dance Combination
BASIC STEPS
Man’s Part
 1. Fwd with L foot (slow)
2. Fwd with R foot (slow)
3. Fwd with L foot (quick)
4. Step to right side with R foot (quick)
5. Bring L foot next t R no weight on L on L and pause
Lady’s Part
1. Step back with R foot (quick)
2. Step back with L foot (slow)
3. Step back with R foot (quick)
4. Step to left side with L foot (quick)
5. Bring R next to R, no weight and pause
(30) Tango dance steps - Tango basic steps for beginners - YouTube

FOXTROT
Foxtrot is a ballroom dance originated from the United States of America. It is named after the vaudeville actor
Harry Fox. It first became famous in the ballroom from about 1912 and as at the heigh of the popularity in the
1930s and 1912 and was at the height of the popularity in the 1930s and 1040s. foxtrot has acquired two
variations: The quick and the slow foxtrot.
Foxtrot is characterized by unhurried look because of its long gliding and perfectly smooth and accompanied by
any ragtime music. It is danced in 4,4-time signature with primary accent on the first beat of the measure.
BASIC STEPS
This is for man’s part. (Lady’s Part is opposite)
a. Step L ft. fwd……………………………………………………slow
b. Step R ft fwd…………………………………………………….slow
c. Step L ft. swd. Brushing right ankle in the way…………………quick
d. Close R ft. to L ft………………………………………………...quick
How to Do Basic Foxtrot Steps | Ballroom Dance - YouTube