GROUP 1

I
 INTRODUCTION

This book is created and published by the collaborations of 1st year college

students of Regional Madrasah Graduate Academy, Batch 2021–2022. This book is

only deals with Rhythmic Activities in Physical Education II. The discussions here are

thoroughly searched by the letters of internet experts. In order to not violate the

copyright law on the internet, we also took the reference where it was taken. It can

be found at the last page. You will not miss the discussions here when you read this

book. We hope you are a good reader.

I
 ACKNOWLEDGEMENT

We would like to express our deepest gratitude to the Almighty Allah (S.W.T.),

the reason why we are here in this world, and to the Institution of the Regional

Madrasah Graduate Academy. We are so grateful to our instructor of Physical

Education II, Sir Almoner S. Abdaho for always guiding us and his tirelessly effort in

providing motivation to continue reach our dreams. And to the unconditional love of

every single one of us as a first year college students who represents different

perspectives in life. May Almighty Allah (S.W.T) protect and grunts us all In Sha

Allah.

II
 DEDICATION

This work is heartily and proudly dedicated to the people who serve as an

inspiration. From parents, to our Instructors/Instructress, to classmates and circle of

friends whom extended their help in the midst of problems while doing this work. To

those people who want to learn more about Rhythmic Activities Physical Education

II. As well as to the next students of Rhythmic Activities Physical Education II. This is

the way to improve and impart our knowledge of rhythmic activities.

III
TABLE OF CONTENT

MEANING IMPORTANCE OF RHYTHMIC DANCE ..............................................................

HISTORY OF DANCE......................................................................................................................
SOCIAL DANCE................................................................................................................................
BALLET................................................................................................................................................
JAZZ......................................................................................................................................................
STREET DANCE...............................................................................................................................
CLASSIFICATION OF FOLK DANCE........................................................................................
FUNDAMENTAL POSITION OF ARMS AND FEET IN FOLK DANCE............................
LIST OF FOLK DANCESAROUND THE WORLD AND ITS ORIGIN...............................
FUNDAMENTALS OF FOLK DANCE.........................................................................................
PHILIPPINE FOLK DANCES.........................................................................................................
CARINOSA..........................................................................................................................................
THE TINIKLING..................................................................................................................................
SAYAW SA BANGKO.....................................................................................................................
THE BINASUAN................................................................................................................................
PANDANGGO SA ILAW.................................................................................................................
PANDANGGO SA OASIWAS........................................................................................................
MAGLALATIK....................................................................................................................................
THE KURATSA..................................................................................................................................
LA JOTA MONCADENA.................................................................................................................
INTRODUCTION OF SOCIAL BALLROOM.............................................................................
THE HISTORY OF BALLROOM DANCING..............................................................................
NATURE OF MOVEMENT IN BALLROOM DANCING.........................................................
MOVEMENT SKILLS AND CONCEPT IN BALLROOM.......................................................
BODY AWARENESS IN BALLROOM........................................................................................
CHA CHA CHA DANCE..................................................................................................................
SWING..................................................................................................................................................
TANGO.................................................................................................................................................
WALTZ..................................................................................................................................................
MEANING AND IMPORTANCE OF RHYTHMIC DANCE
Prepared by; Hamer R. Enok
Simon A. Ikot

RHYTHMIC DANCE

It is the first segment of an ice dance competition. The International Skating

Union renamed the short dance to the “rhythm dance” in June 2018, prior to the
2018-2019 seasons. It became part of international competition in July 2018. French
ice dancers Gabriella Papadakis and Guillaume Cizeron hold the highest RD score
of 90.83 points, which they achieved at the 2022 Beijing Winter Olympics.

IMPORTANCE OF RHYTHMIC DANCE

Studies have shown that a regular dancing session can lower blood pressure,
reduces fat and improves the ratio of “good” and “bad” cholesterol. Rhythmic
activities can also strengthen bones, increase muscular strength, and contribute to
better coordination, flexibility and agility.

CLASSIFICATION OF RHYTHMIC DANCE

 CHA CHA
 RUMBA
 SWING
 MAMBO
 BOLERO

Simon A. Ikot’s Reflection

That Rhythmic Activity is not a simple task. We need to practice the

movements more and more, as well as maintain complete focus (need a presence of
mind). People say this practice is pointless, but I find it beneficial. Although I'm not
very good at it, I tried my hardest to perform it perfectly because it could be utilized
as a gymnastics warm-up in the future. Also, keeping a rhythm is a challenge
because, in real life, it might be tough to follow other people's instructions.

Hamer R. Enok’s Reflection

Any rhythmic activity has specific physical motions that are timed to a
continuous and noticeable beat. Individuals who engage in rhythmic body motions
when exercising or dancing benefit from a variety of health benefits that improve
their quality of life. Rhythmic activities can boost our general and psychological well-
being in addition to our physical health.
SOCIAL DANCE
Prepared by; Tarhata G. Kusain
Hairie M. Samakon

Social dance is a category of dances that have a social function and context.
Social dances are intended for participation rather than performance and can be led
and followed with relative ease.

Social dancing is a non-competitive version of ballroom and latin dancing. It

is comprised of all the same dances, like Foxtrot, Tango, Swing, or Cha-Cha, but
designed to be used in practical settings like wedding receptions, nightclubs,
business functions, or informal gatherings. Social dancing is less formal that
exhibition dancing and is meant to be enjoyed while socializing.

The purpose of social dancing is socializing. Dancing in couples was often the
best opportunity for a young man and a young woman to get closer than sitting next
to each other. Courtship was often the aim.

Tarhata G. Kusain’s Reflection

An age-old means of communicating messages that reflect social trends,

social dancing is secular partnering between males and females or participation
among groups. The secular and sacred combine in some cultures, and a few
religions ban dancing.

Hairie M. Samakon’s Reflection

Dance has given me the chance to find myself, allow me to breathe and hear what
my body has to say to me. I have found so much freedom within myself and even
though my mind is always racing, when the music starts playing and I start dancing,
there is nothing else that comes through my head than dance."
HISTORY OF BALLET
Prepared by; Mohaira A. Dimalanas
Monalisa E. Masulot
Norijia T. Andig

Ballet is a formalized form of dance with its origins in the Italian Renaissance
courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of
Catherine de' Medici, where ballet developed even further under her aristocratic
influence. An early example of Catherine's development of ballet is through 'Le
Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite
de Valois to Henry of Navarre. Aristocratic money was responsible for the initial
stages of development in 'court ballet', as it was royal money that dictated the ideas,
literature and music used in ballets that were created to primarily entertain the
aristocrats of the time. The first formal 'court ballet' ever recognized was staged in
1573, 'Ballet des Polonais'.

In true form of royal entertainment, 'Ballet des Polonais' was commissioned by

Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon
the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de'
Medici commissioned another court ballet, Ballet Comique de la Reine, however it
was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine
de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first
court ballet ever to apply the principles of Baif's Academie, by integrating poetry,
dance, music and set design to convey a unified dramatic storyline. Moreover, the
early organization and development of 'court ballet' was funded by, influenced by
and produced by the aristocrats of the time, fulfilling both their personal
entertainment and political propaganda needs.

Ballet originated in the Renaissance court as an outgrowth of court pageantry

in Italy, where aristocratic weddings were lavish celebrations. Tutus, ballet slippers
and pointe work were not yet used. The choreography was adapted from court
dance steps. Performers dressed in fashions of the times. For women that meant
formal gowns that covered their legs to the ankle. Early ballet was participatory, with
the audience joining the dance towards the end.

In 1489, Galeazzo, Duke of Milan, married Isabella of Aragon in Tortona. An

elaborate dance entertainment was arranged for the celebrations by the Italian
dance master Bergonzio di Botta. The dances were linked by a slim narrative
concerning Jason and the Argonauts, and each corresponded to a different course
for the dinner. Tristano Calco of Milan wrote about the event, and it was considered
so impressive, that many similar spectacles were organized elsewhere.

Ballet was further shaped by the French ballet de cour, which consisted of
social dances performed by the nobility in tandem with music, speech, verse, song,
pageant, decor and costume.[9] When Catherine de' Medici, an Italian aristocrat with
an interest in the arts, married the French crown heir Henry II, she brought her
enthusiasm for dance to France and provided financial support. Catherine's glittering
entertainments supported the aims of court politics and usually were organized
around mythological themes.[10] The first ballet de cour was the Ballet de Polonais.
This Ballet was performed in 1573 on the occasion of the visit of the Polish
Ambassador. It was choreographed by Balthasar de Beaujoyeulx and featured an
hour-long dance for sixteen women, each representing a French province. Ballet
Comique de la Reine (1581), which was also choreographed and directed by
Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen consort

of King Henry III, son of Catherine, to celebrate the marriage of Henry's favorite the
Duke de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet
lasted for more than five hours and was danced by twenty-four dancers: twelve
naiades and twelve pages.

Mohaira A. Dimalanas’s Reflection

Ballet is very hard but the most challenging part while performing a ballet
dance. You should get the feeling while dancing. While dancing you should have the
emotion of the dance and you should feel the sound. Ballet classes help to develop
correct everyday posture, improving balance and coordination, and reducing stress.
But there are also some negative effects of dance including a higher risk of injuries
and the lasting effect those injuries can have on your life.
Monalisa E. Masulot’s Reflection
For me Ballet is very challenging, you do not become a ballerina after a three-
day workshop or a summer of dance classes. It takes years, usually six to ten years
of daily training, This type of dance is not easy to perform it requires training and
intense discipline. In ballet you cannot dance without coordination of every part of
your body, I've also learned that timing is very important at all You just have to dance
to the music and keep to the beat, and also You need to learn when, and how, to
stop. based on my research One word I know often hear during rehearsal is “Stop”.
And you have to stop moving in order to analyze and correct what you are doing
wrong. Ballet can teach one how to deal with pressure, disappointments, challenges,
and ultimately, success.
Norijia T Andig’s Reflection
My reflection about Ballet Dance, I honestly i did not experience how to dance
ballet, but Every time that i repeat to watch ballet dance, i did not expect to enjoy
watching Ballet Dance, my favorite in ballet was Monotones I and II because it was
simple, not all confusing and solely about the dance. There was not any theatrics,
just the three performers and their dance. I felt that the Brahms Haydn variation was
a good first performance to have seen because it showcased different aspects of the
ballet and though it was a little bit overwhelming and very hard to keep up with, it
contradicted the stereotype that ballet is slow and almost boring. The green table
was different from the first two in that it has a story. I found that it was a perfect
performance to end on because toward the end. What i noticed most about the ballet
though, was the
performance to end on because toward the end. What i noticed most about the ballet
though, was the importance of the music. How the music and steps work together to
create an amazing performance, creating dramatic pauses and setting the tempo for
the dance.

JAZZ
Prepared by; Mohaira S. Guiama
Nornisa H. Sabal
Omulkusum L. Lumambas

Jazz is a kind of music in which improvisation is typically an important part. In

most jazz performances, players play solos which they make up on the spot, which
requires considerable skill. There is tremendous variety in jazz, but most jazz is very
rhythmic, has a forward momentum called "swing," and uses "bent" or "blue" notes.
You can often hear "call--and--response" patterns in jazz, in which one instrument,
voice, or part of the band answers another. (You can hear Ella Fitzgerald and Roy
Eldridge do "call and response" in Ella's Singing Class.) Jazz can express many
different emotions, from pain to sheer joy. In jazz, you may hear the sounds of
freedom-for the music has been a powerful voice for people suffering unfair
treatment because of the color of the skin, or because they lived in a country run by
a cruel dictator.

The nature of jazz

Jazz is about making something familiar--a familiar song--into something

fresh. And about making something shared--a tune that everyone knows--into
something personal. Those are just some of the reasons that jazz is a great art form,
and why some people consider it "America's classical music."

The growth of jazz

Jazz developed in the United States in the very early part of the 20th century.
New Orleans, near the mouth of the Mississippi River, played a key role in this
development. The city's population was more diverse than anywhere else in the
South, and people of African, French, Caribbean, African-American musical
traditions mixed with others and gradually jazz emerged from a blend of ragtime,
marches, blues, and other kinds of music. At first jazz was mostly for dancing. (In
later years, people would sit and listen to it.)
Mohaira S. Guiama’s Reflection

Jazz is kind of music in which improvisation musicians place a high value on

finding their own sound and style. Developed in the United States' in the very early
part of the 20th century, it was a new style of music that through together music
traditions from West Africa.

Nornisa H. Sabal’s Reflection

Jazz is egalitarian that way, just like an ideal democracy. And since
democracy is an important part of America's identity and cultural heritage, jazz music
reflects, expresses, and models America's best values.

Omulkusum L. Lumambas’s Reflection

Jazz is musical form often improvisation developed by African, American and

influenced by both European harmonic structure and African rhythms. Jazz in fact is
not and ever has been an entirely composed, predetermined music, nor is it an
entirely extemporized, for almost all of its history it has employed both creative
approaches in varying degree and endless.

STREET DANCE
Prepared by; Esmie Timpolok
Jahir Timpolok
Hatimin Akay

Street dance is an umbrella term for a large number of social dance styles
such as: breakdancing, popping, locking, house dance, whacking etc. Social dance
styles have many accompanying steps and foundations, created organically from a
culture, a moment in time, a way of life, influenced by natural social interaction. A
street dance is a vernacular dance in an urban context. Vernacular dances are often
improvisational and social in nature, encouraging interaction and contact with
spectators and other dancers. These dances are a part of the vernacular culture of
the geographical area that they come from.
History
Street dance evolved during the 1970s outside dance studios in any available
open space. This includes streets, dance parties, block parties, parks, school yards,
raves, and nightclubs. This is partly because African American and Latino people
who created the style were generally not accepted into dance studios because of
their race. A significant feature of street dance is that it was historically a dance of
young people offering a sense of freedom and giving a 'voice' to unrepresented
communities.
 Due to the mix of styles within street dance, its origin cannot be traced to one
precise area; however, America is the birthplace of most street styles. Breakdance
originated in the Bronx in New York City while popping and locking developed during
the 1970s funk era in California, USA. Clogging, which evolved in the streets and
factories of Northern England in the mid-19th century, is an early form of street
dance.
List of vernacular/street dances, varying from traditional to modern electronic
styles; Afro-American vernacular dance, Black Bottom, Blues dance, Boogie-woogie,
Boogaloo (funk dance), Breakaway, Cabbage Patch, Cakewalk, Charleston, Chicago
stepping, Litefeet, Rock n roll, Monkey, Swing (a.k.a. Jitterbug), Shag, Lindy hop, Big
Apple, Stepping, Tap dance, Texas Tommy, Afro-Caribbean vernacular dance,
Flexing, Dancehall, Skanking, Merengue, and many more.
Main article: Greek dances
The following is a list with the most notable dances. Names of many Greek
dances may be found spelt either ending with -o or with -os. This is due to the fact
that the word for "dance" in Greek is a masculine noun, while the dance itself can
also be referred to by a neuter adjective used substantively. Thus one may find both
"hasapiko" ("the butcher thing") and "hasapikos (horos)" - "the butcher (dance)."
Antikrystos, Antipatitis, Ballos, Diplos horos, Fisounis, Gaitanaki, Ikariotikos,
Kalamatianos, Kalymnikos, Kechagiadikos, Kerkiraikos, Kleistos, Koftos, Lerikos,
Maniatikos, Guatemala, and many more.

Esmie Timpolok’ Reflecton

The street dance can help students to know what is the types of street dance.
Through this types of street dance l learned many thing, some might include:
dedication, cooperation, and working well with other. This has many benefits to us, to
improved condition of our heart and lungs, it can help to increased mascular strength
and endurance.
Jahir Timpolok’s Reflection
Street dance was used as an expression of resistance and cultural identity
outside of the mainstream. The energetic nature of street dance makes it popular
with young people on a variety of levels, both as an art form, a competitive activity or
for physical exercise.
Hatimin Akay’s Reflection
Street dance is a vernacular dance in urban context it presents on how to
walk on street with manners because dancing is melody of the square potential
progress of national anthem.
CLASSIFICATION OF FOLK DANCES
Prepared by; Salha Lumopog

WHAT IS FOLK DANCE?

A folk dance is a dance developed by people that reflect the life of a certain
country or region. Not all the Ethnic dances are folk dances.
BENEFIT OF FOLK DANCE
Stronger bones and reduced risk of osteoporosis better coordination, agility,
and flexibility, improved balance and spatial awareness increased physical
confidence.
CLASSIFICATION OF FOLK DANCE
- War dances
- Festival dances
- Wedding dance
- Courtship dance
- Religious or ceremonial dance
- Occupational dance
- Local or regional dances
- National dance
- Comic dance
- Game dances

Salha Lumopog’s Reflection

Philippine folk dance helps keep the people connected to their ancestry and
their traditions. folk dance helps to preserve the cultural unity of the people.
THE FUNDAMENTAL POSITION OF ARMS AND FEET IN FOLK DANCE
Prepared by; Norhanie Abdul

It is important to increase muscle memory to execute accurate, clean and not

dangerous jump. Practicing it at all the five positions of the feet helps the dancers to
create a better connection between steps in the center or while performing on stage.
The five fundamental positions of the Arms and feet in folk dance
Very expressive movements of the feet and arms characterize Philippine folk
dances. These movements are the combination of the five fundamental positions of
the arms and feet whether the pace of the dance steps is low or fast.
Arm position
 First position. Raise arms to a circle of the chest.
 Second position. Open up arms sideward raised below shoulder level with a
graceful curve.
 Third position. Raise one arm overhead while other arm remains in second
position.
 Fourth position. Raise one arm in front of chest in a half circle, while one arm
remains overhead.
 Fifth position. Raise both arms overhead in a graceful curve.
Feet position
 First position - bring heels close to touch, toes apart.
 Second position - bring feet apart sideward.
 Third position - bring feet apart sideward.
 Fourth position - bring one foot in front of the other foot to walk strike.
 Fifth position - bring the heel of one foot to touch the toe of the other.

Norhanie Abdul’s Reflection

My Reflection on my report is to knowing the positions of the arms and feet in
dancing a folk dance. And there are five fundamental positions in arms and feet, it is
very gracefully dancing because it is hard to do the steps whether it is an easy to
see. It is important also to doing this kind of a dance not just to dancing but it is our
cultural dances or our traditional folk dances. It is very important to execute
accuracy.
LIST OF FOLK DANCES AROUND THE WORLD AND ITS ORIGIN
Prepared by; Jasmin Mopak

Some English and European folk dances, as well as certain children's games,
are thought to have had their origin in ancient rites, religious ceremonies, and life-
cycle rituals. Maypole dances, for example, celebrate the return of spring and
incorporate symbols of fertility. individual dances from all around the world Folk
Dance.
History and Types of Folk Dance
Customs and beliefs develop over time, forming into traditions. Folk dances
represent one way regional traditions can be shown to the public. Traditional dances
emphasize the cultural roots of the particular dance. Some of them are religious
dances used to enrich religious ceremonies.
Folk dances are usually danced at social gatherings such as weddings. They
are usually so simple that new dancers are able to join in. The development of the
folk dances in their countries and local regions happens spontaneously. Modern
“street” dances such as hip-hop are not considered folk dance.
Some examples of folk dances from all around the world are:
1. Céilidh – Gaelic folk dance originating from Scotland and Ireland
2. Fandango – Traditional Spanish couples dance that is accompanied by
guitars and clapping hands or castanets
3. Georgian folk dances – Include dances such as Kartuli, Khorumi, Acharuli,
Partsa, Kazbeguri, Italian folk dance – Many popular folk dances such as
Tarantella, Pizzica, Monferrina, Calabrian Tarantella and Ballu tundu
4. Morris Dance – Traditional English dance originating in the 15th century
5. Polka – Popular traditional dance from the Czech Republic that is danced all
around the world
6. Turkish dances – Bar, Halay, Horon, Zeybek and Sufi spinning dance
7. Hungarian dances – Includes Verbuňk, Ugrós, Karikázóm, Legényes and
Csárdás
8. Square Dance – Traditional dance originating from England, involves four
pairs of dancers
9. Sword (or Weapon) dances – Genre of folk dances, consisting of many
individual dances from all around the world
10. Dollu Kunitha – Popular drum-based dance from Indiaand Khevsuruli
11. Greek dances – Over 100 traditional folk dances, including a dozen that were
danced at ancient feasts
12. Hora - Traditional folk dance of Balkans, danced in Montenegro, Macedonia,
Bulgaria, and other countries
13. Kolo – Folk dance of South Slavic countries such as Serbia, Bosnia, Croatia,
Macedonia, and Slovenia
14. Irish Dance – Traditional folk dance that has several forms of dancing,
including popular Irish Step DanceItalian folk dance – Many popular folk
dances such as Tarantella, Pizzica, Monferrina, Calabrian Tarantella and
Ballu tundu
15. Morris Dance – Traditional English dance originating in the 15th century
 16. Polka – Popular traditional dance from the Czech Republic that is danced all
around the world
17. Turkish dances – Bar, Halay, Horon, Zeybek and Sufi spinning dance
18. Hungarian dances – Includes Verbuňk, Ugrós, Karikázóm, Legényes and
Csárdás
19. Square Dance – Traditional dance originating from England, involves four
pairs of dancers
20. Sword (or Weapon) dances – Genre of folk dances, consisting of many
individual dances from all around the world
21. Dollu Kunitha – Popular drum-based dance from Indiadances such as
Tarantella, Pizzica, Monferrina, Calabrian Tarantella and Ballu tundu
22. Morris Dance – Traditional English dance originating in the 15th century

Jasmin Mopak’s Reflection

Dance is a source of entertainment and a good healthy lifestyle. But as for the
Philippines folk dance, we see a bigger picture and a deeper meaning. A traditional
dance in the Philippines connects us to a place's culture. It is about history tradition
and majestic beauty of the place it is associated with. The culture dance in the
Philippines involved from different regions which are district from one another as
they are affected by religion and culture.

FUNDAMENTAL OF FOLK DANCES

Prepared by; Warda Dalama

Folkdance is not a performing art. Folkdance is a celebration of people

expressing their joy through music and dance. Folk dancing always puts a smile on
my face. And is always leave happy, refresh, and exercised.
Folkdance celebrates the cultural roots of particular group of people.
Folkdance is typically performed as a form of ritualistic entertainment at social
gathering. Some kinds of folkdance tell a cultures fundamental stories. While other
may simply emphasize cultural pride.
Warda Dalama’s Reflection
Some of the Philippines folkdance that are discussed in today session was
familiar to me with regards to what they are called and how they performed but not
really to what they mean and their significance. Getting to know these different types
of folkdance means getting to know the Stories behind each ethic group and the
place they reside.
The Change in my perspective on the folkdance that today's lesson
provides.is more on the story and significance of every folkdance there.is every type
of dance represent a bigger meaning that is important to the people performing.it
behind every dance is a bigger story that lay.
PHILIPPINES FOLK DANCE
Prepared by; Monaisa Aminola
Fahdia Kandog

What Is Folk Dance?

The oldest form of dance and the earliest form of communication is called
Folk Dance and it’s the traditional dance of a given country which evolved naturally
and spontaneously with everyday activity. e.g. occupations, customs, festival rituals.
It handed down generation to generation. It has more or less fixed movements
in their pattern, but may differ in various areas or provinces.
5 Major Classification and Philippines folk dance
 Cordillera Dances
 Spanish influenced Dances
 Muslim Dances
 Tribal Dances
 Rural Dances
Cordillera Dances
Bontoc, Ifugao, Benguet, Apayo and Kalinga tribes.
A people whose way of life existed way long before any Spaniard or other
foreigners stepped foot on the Philippines.
Gongs, Ganza
Dance reflects rituals which celebrate their daily lives-a good harvest, health,
peace, and war on other symbols of living “Banga”, “Pattong”.

COSTUMES:
Female:Hinabi na tela (hablon), Accessories (beads)
Male:G-string, short jacket and shoulder band, feathere head dresses, bahag

Spanish Influenced Dances

Philippine aristocrats created Filipino adaptation of European dances.
Jotas, fandangos, mazurkas, waltzes
Dance by young socialites to the stringed music of the rondalla.
Dances reflect Christianity, and European art and culture.
“Jota”, “Habanera”
COSTUMES:
Female: MARIA CLARA
Male; Barong tagalong and black pants

Muslim Dances
Influenced Malay, Javanese and Middle Eastern traders (ISLAM)
Mysticism, royalty and beauty
Uses intricate hand and arm movement.
The fingers express feelings and emotions
Uses shimmering costumes.
“Singkil”, “Panaglay”

COSTUMES:
-:”sigpit” or “Sablay”
-Patadyong
-Malong
-pants

Tribal Dances
Intricate craftsmanship in metal, clothing and jewelry
Reflects rituals and animals, belief in “spirits” and shamans, nature- “anito”
Animal sounds, human singing, indigenous materials
Also known as ethic dances; Ethnic minorities found in different parts of the
Philippines (T’boli, Bilaan, Manobo, Bagobo and etc.)
“Bangkakay”, “Madal tahaw”

COSTUMES:
Female:Hinabi na tela (hablon), Accessories (beads)
Male:G-string, short jacket and shoulder band, feathere head dresses, bahag
Rural Dances
Shows gaiety and laughter festivities
Performed in fiestas to honor patron saints.
Give homage to the barrio’s namesake for a good harvest health and perseverance.
Indigenous materials, clapping, rondalla, percussion instruments
Reflects the simple life of the people in the barrio
Depicts common work, daily activities of the peasants.
“maglalatik”, “Oasias”

COSTUME:
Female: Balintawak with soft panuelo and tapis, “Chambra”
Male: Camisa de Chino and trouser of different colors.

Monaisa Aminola’s Reflection

My reflection on the Philippine folk dance is, it is impossible to know when
exactly dancing became a part of life in the Philippines. Philippines folk dancing is a
true reflection of daily life in past centuries, when people expressing their joy through
music and dance. That’s why, Philippines folk dance mirrors the culture and tradition
of the Filipinos and pass it on to the next generation.

CARIÑOSA
Prepared by; Alihar Ayunan
Nor-ain Nawal

Cariñosa is a Philippine dance of colonial-era origin from the Maria Clara suite
of Philippine folk dances, where the fan or handkerchief plays an instrumental role as
it places the couple in a romance scenario.
Important of Cariñosa
Representing the courting phase of a romantic relationship, the cariñosa (which
means “affectionate one”) is a Filipino folk dance that emerges from Panay, the
Visayas and the Bicol region.
Cariñosa Steps
The sequence of the dance varies, but typically includes multiple movements such
as three steps and a point, pointing, hide-and-seek with a fan, kneeling with a fan,
and partner work that is performed back-to-back. Turns and spins are also a
fundamental element of the Cariñosa. The costumes for this dance form are usually
traditional, with females wearing Maria Clara dresses and males wearing Barong
Tagalog.
Step 1: 3 step, turn, and bow facing each other.
Step 2: 3 step and point right-left direction in 16 counts.
Step 3: Touch step—3 step forward in 2 count. 4 touch steps, change position, then
repeat.
Step 4:
• 3 step forward and back to back.
• 4 touch steps.
• Change position and repeat the first two parts of step 4.
Step 5:
• 3 step forward.
• Female dancer opens her fan and starts fanning herself.
• 4 touch steps.
• Change position and repeat the first three parts of step 5.
Step 6:
• 3 steps forward.
• Male dancer moves forward, then kneels.
• Female dancer taps the man with her fan and does 4 touch steps.
• Change position.
• Female dancer kneels as the pair looks at each other, and the man does 4 touch
steps.
Step 7:
• 3 steps forward.
• Female dancer takes hold of the handkerchief.
• The pair moves the hanky up and down four times.
• Change position, then repeat the first three parts of step 7.
Step 8: Dance gracefully.
Nor-Ain G. Nawal’s Reflection
Cariñosa is way to express their sincerely love and affection, knowing this
dance ii gives me realization of the world we are living today, this is a courtship
dance known throughout the Philippines with its flirtatious movement, the "Cariñosa"
means affectionate, amiable, lovable. People have been doing folk dance for
hundreds of years, and there is value keeping that traditions alive. They are a uniting
force to the Philippines people, learning it in today's generation makes the
Philippines folk dance preserve and very dynamic. This Philippines folk dance origin
from the Maria Clara suite of Philippines folk dance, this dance of cariñosa is a
popular performed throughout the Philippines.
Alihar Ayunan’s Reflection
Cariñosa is one of popular folk dance in the Philippines so cariñosa makes
me realize that our country can consider one of the countries in the world that have a
lot of innate wealth in a folk dance. Then cariñosa is one of the way of old people to
courtship the someone love that show respectful to the parents of he loves.

TINIKLING
Prepared by; Alcaide S. Limabal

Tinikling is the Philippines' national dance and is a traditional folk dance that
originated during the Spanish Colonial Era. A dance that uses a pair of bamboo
poles, Tinikling is considered to be the oldest traditional dance of the country and is
also danced across the globe, particularly in the United States. The tinikling is said to
be named after the long-legged bird called the tikling in the Philippines. This bird
belongs to a number of rail species, but the name typically refers to the slaty-
breasted Rail (Gallirallus striatus), the buff-banded Rail (Gallirallus philippensis), and
the barred rail (Gallirallus torquatus). Someone who dances the Tinikling imitates the
movements of a tikling bird (hence, tikling-like) as the bird walks over the grass or
dodges bamboo traps set by Filipino farmers on vast rice fields.
Stories Behind The Dance's Origin
According to historical accounts, the Tinikling dance originated during the
Spanish occupation in the Philippines—particularly on the island of Leyte. Rice
farmers on the Visayan Islands usually set up bamboo traps to protect their fields,
yet tikling birds dodged their traps. Locals imitated the birds’ movement, and
supposedly, that’s how this dramatic traditional folk dance was born. To dance the
Tinikling, you need two pairs of bamboo poles that are each 6–12 feet long (about
1.8–3.7 meters). Female dancers usually wear a dress called a Balintawak (a
colorful dress with arched sleeves) or a Patadyong (a checkered loose skirt that’s
often worn with a thin-fibered blouse). Males wear an embroidered formal shirt that’s
untucked called the Barong Tagalog—which is the country’s national outfit for
Filipino men. The Barong is usually paired with red trousers. All dancers perform the
Tinikling while barefoot.
Tinikling Steps
1. Hop on your right foot.
2. Hop another time on the right foot.
Perform these steps between both poles:
3. Step on the left foot.
4. Step on the right foot.
Do these steps outside the poles:
5. Hop on the left foot outside the poles.
6. Hop again on the left foot outside both poles.
Return to between the poles for these steps:
7. Step on your right foot.
8. Step on your left foot.
Alcaide S. Limbal’s Reflection
The dance imitates the movement of tikling birds as they dodge bamboo traps
set by rice farmers. Dancers mimic the tikling bird's grace and agility by dancing
between large bamboo poles. The tinikling is one of the oldest dances from the
Philippines, and originated in the Islands of Leyte in the Visayas.

SAYAW SA BANGKO
Prepared by; Saima Esmail

Sayaw sa Bangko (“danceonabench”) is a folk dance from the Pangasinan

province of the Philippines. Performers dance on top of abench that is normally six
inches wide. Bench Tapewed dance (danceontopofabench), is a dance which
originates from Pangasinan and researched by Jovita Sison. It is performed by a
couple on an arrow bench, inching and hopping from one end to another. Dancer
show skill in staying up the bench As they exchange places by moving Their way
around or the girl thrown in the air while the boy moves to the other end. They do not
compete but rather complement each other so that no one falls. It is usually
performed during town fiest as Artist: Juan Silos Jr. & His Rondalla Album: Philippine
Folk Dance Vol.3 Released: 1959
Saima Esmail’s Reflection
Sayaw sa Bangko is a Filipino folk dance and it is performed by couple on an
arrow bench, inching and hopping from one end to another. Dancer show skill in
staying up the bench As they exchange places by moving Their way around or the
girl thrown in the air while the boy moves to the other end.
BINASUAN FOLK DANCE
Prepared by; Abdulbari S. Baraguir
Datuputi K. Busikong

Binasuan is folk dance that originated in Bayambang, Pangasinan. The word

"binasuan" means "with the use of drinking glasses". The dancers balance glasses
on their head and in their hands as they move. The glasses are filled with rice wine,
which make any misstep a messy mistake. People dance binasuan at weddings and
festivals.A group of dancers generally performed binasuan, moving in prison, but
occasionally breaking into smaller groups and performing different choreography.
For example, they can begin in a circle, then form two columns, which then bend into
semicircles, and one follows the other to reform the circle. The music is in three-
quarter time.

Binasuan Cups

At the beginning of a binasuan performance, one the dancers may fill each
individual cup with rice wine and pass them out to the other performers. The dancers
can also come onstage with the cups already filled and balance on their heads and
hands. For your binasuan dance, make sure you fill each cup about half full of of rice
wine. You can also use water. To balance the cups, place one on the flattest part of
your head, just behind the crown of your head. Now place another on palm. You'll
need another person to place the last glass on your other palm. Keep your head
level and high, and look straight ahead. Keep your palms facing up and slightly
cupped, to hold your glasses in place.

Binasuan Steps

Binasuan footwork looks remarkably similar to Waltz steps. First, step out to
the side with your right foot. Next, move your left foot up to your right foot. Third, tap
your right foot. Now repeat this sequence, this time stepping to the side with your left
foot.

To move along when you and the other dancers, one moving in a circle, step
to the side with your right foot. Now, kick your left foot out. This is a small motion, so
make sure your foot is only coming about three inches off the floor. Point your toe.
Third, tap your left toes on the ground . Because the music is in three quarter time,
your steps should go like this: step, kick, tap, step, kick, tap.

To perform on arm balance, hold your arms up and out to the sides, with your
palms up and your elbows slightly bent, held at about waist level. Your arms should
look like you're carrying a large log, balancing it on your palms and the inside of your
forearms. Now, as you kick your left foot out in the waltz step, make a large circle in
the air with your left arm. This circle should be horizontal that is, all its points should
be at the same height. You'll make the circle by first bringing the heel of your hand
close to your bicep, then moving your hand out to the left, keeping your hand flexed
so your glass stays level. Straighten your elbow gradually as your keep moving your
hand out and to the left. Keep a slight bend in your elbow as you reach the midest
part of the circle, which will place your hand in front of your bicep again, but this time
about two feet away from it. Keeping moving your hand in this circle until its all the
way back close to your bicep again. This entire arm movement should take up one
three- count in the music. Now, as you kick out your right foot, perform the same
motion with your right arm.

Abdulbari Baragir’s Reflection

Binasuan is folk dance originated in Bayambang, Pangasinan which dancers

used a glass of rice wine that's show how the people of Bayambang deal with other
people to interact in a justice manner.They promoting the solid brotherhood among
their culture through this folk dance their livelihood we will fully understand their
custom.

This folk dance is a way of knowing their centralized strategies by improving

their community.The people could live in a peaceful condition due to strong
communication of one individual in the society.

Datuputi K. Busikong’s Reflection

The binasuan dance used a glass, this dance is so difficult because you need
to balance your body and especially focus on your step and your eye.The lesson of
this dance is to remembering the tradition because this dance is involve their
tradition or culture up to now is still have this dance because they can't forget this
dance it has a lot of knowledge to knowing these dance and specially it's a part of
their culture.

PANDANGGO SA ILAW
Prepared by; Nadia Andiyay
Saiden Kondong

History of Pandanggo sa Ilaw;

Pandanggo sa Ilaw, which translate as Dance of Light, is a walk walk- style,
playful folk dance that showcases a unique fusion of local and western indigenous
dance forms. Originating in Lubamg Island, Mindoro in the Philippines, it is usually
perform during festivities and special occasions.
The word " Pandanggo" is derived from the Spanish word " fandango" which
is also a popular dance in Portugal. Similar to the original fandango folk dance,
pandanggo sa ilaw requires excellent balance and incorporates clapping And lively
steps danced in ah three- fourth beat. The light refers to three oil lamps that the
women dancers balance on the head and at the back of each hand. Candles in clear
glasses have long replace on the oil lamps. "Pandanggo sa ilaw" is usually danced in
couples, with both the women and men wearing traditional dresses.
 Pandanggo sa ilaw simulates the light and flight of fireflies at dusk or dawn. It
depicts the courtship of a young man to a maiden that captured his interest. In
Lingayen, Pangasinan, Pandanggo sa ilaw is called " Oasiwas", or swinging.
Colonel Antonio R. Buenaventura, a national artist for music and a Bulacan
Native, compost the music to which the pandanggo sa ilaw is now frequently danced.
Sometimes in the early 1930 he wrote the university of the Philippines conservatory
of music
Nadia L. Andiyay’s Reflection
Pandanggo sa ilaw is a popular dance of grace and balance from Lubang
Island, Mindoro in the Visayas region. This particular pandanggo required Skill in
balancing three lighted oil lamps or tinghoy, one on the head and at the palms of
each hand. Pandanggo simulates fireflies at dusk or dawn light and flight. It portrays
a young man's courtship to a maiden who caught his interest.
Saiden Kundong’s Reflection
Pandanggo sa ilaw this is involved from Pandanggo a Spanish Falk dance,
there are many versions of this dance and each locality has its own version, local
dancers have many ways of doing the pandanggo, but there is one thing in common
between different versions gay and Springhill and is usually accompany by clapping.
In some places, the musicians do not stop playing until four to five couples have
dance

PANDANGGO SA OASIWAS
Prepared by; Sarah S. Matanog
Jemar O. Abpet
Misuari G. Salim

Pandango Oasiwas is a Spanish Fandango dance with its origins coming from
the fishing town of Lingayen in Pangasinan. Following their good catch, the
fishermen will usually celebrate by drinking wine and dancing, and by swinging and
circling with the lighted lamps on the hands of the dancers. The graceful & lively
moves of the dancers gave the name ‘Oasiwas‘ which in the local dialect is known as
‘swinging‘.
Pandanggo literally means the ‘Fandango with the Light’ in English language.
And yes from the name itself, this dance is that dance that involved the manipulation
of the lights. This other version of the dance is called the ‘Oasiwas’ means swinging.
What is the purpose of Pandanggo Oasiwas?
This dance of lights simulates fireflies at dusk and at night. The word
pandanggo is from the Spanish fandango, a dance in 3/4 time. Pandanggo sa Ilaw
simulates the light and flight of fireflies at dusk or dawn. It depicts the courtship of a
young man to a maiden that captured his interest.
What is the nature of Oasiwas folk dance?
 Oasiwas is a dance in which an oil lamp is balanced on the dancer’s head as
he swings around lighted lamps wrapped in porous cloth or fishnet. The name of the
dance comes from the Pangasinense word for swinging. The dance is performed by
fishermen of Lingayen when celebrating a good catch.
Costume of Pandanggo sa Oasiwas
1. The barong tagalog
The barong tagalog (lit. "Tagalog dress"), more commonly known simply as
barong (and occasionally baro), is an embroidered long-sleeved formal shirt for men
and a national dress of the Philippines. Barong tagalog combines elements from
both the precolonial native Filipino and colonial Spanish clothing styles. It is
traditionally made with sheer textiles (nipis) woven from piña or abacá; although in
modern times, cheaper materials like organza silk, ramie, or polyester are also used.
2. Mestiza dresses
Traje is the Spanish word for dress. Mestizo came from the Latin word
mixticius, meaning mixed. Roughly translated, traje de mestiza means mestiza
dress. The traje de mestiza was in fact the “Maria Clara“, trimmed into a shapely
modernity, with detailed embroidered skirts.
STEPS OF PANDANGGO SA OASIWAS
In this version, the lamps are placed in cloths or nets and swung around as
the dancers circle and sway.

Sarah S. Matanog’s Reflection

The Pandanggo Oasiwas is similar to the Pandanggo sa Ilaw, and is typically
performed by fishermen to celebrate a good catch. In this version, the lamps are
placed in cloths or nets and swung around as the dancers circle and sway.
More than just a dance, the pandanggo reflects the Mindoreos appreciation
for the simple joys of life. Cheerful and hospitable. These are words commonly used
to describe the Filipino. Whether through music, or rituals or religion, the Filipino is a
race who always finds time to celebrate life is gifts.
In Lingayen Pangasinan, villagers use dance to send-off or welcome
fishermen going out to sea in the cold, early hours of the morning. They also
celebrate a good catch by drinking wine, dancing, swinging and circling a lighted
lamp. This unique and colorful dance calls for skills in circling in each hand a lighted
lamp wrapped in a porous cloth or fishnet.
Jemar O. Abpet’s Reflection
Pandanggo sa OASIWAS is ritual, which started in Lingayen Pangasinan, is
what is now known as "Pandang Gitab" or the "Festival of Lights, coined after the
famous Filipino folk dance "pandanggo sa oasiwas" and the local word "dagitab,"
which means a flicker of light.
 Celebrated to commemorate Lingayen Pangasinan is founding anniversary,
the festival is highlighted by lively street dancing participated in by hundreds of
performers using the original steps of the pandanggo sa oasiwas.
Streets are illuminated by the tinghoy (oil lamps) with their lighted wick
helplessly flickering like fireflies.
Misuari G. Salim’s Reflection
"Pandanggo" comes from the Spanish word "fandango", which means a
dance characterized by marking time with the clack of castanets, the snapping of
fingers, and stomping of the feet in tripletime rhythm. A dancer called pandanggera
or pandanggero.
Lingayen Pangasinan is the seventh largest island in the Philippines, a haven
of pristine white beaches, flowing streams, thriving emerald forests, stretches of rich
agricultural fields and delightful seafoods.
After a hard day is work, Pangasenensi is gather in the barrios and perform
impromptu dances to relax and express the many joys of work, and an appreciation
of their surroundings, and of life among simple country people.

MAGLALATIK DANCE
Prepared by; Jie-jie S. Ando
Shaina G. Abdullah
Saima T. Tangkle

The Maglalatik (also known as Magbabao) it is a folk dance by male

dancers.This dance originated in Biñan, Laguna. During the night of the town fiesta
of Biñan they dance Maglalatik in the religious procession as it moves along the
streets.
The basic costumes in this dance is the coconit shell halves which are place
in shoulders, hands, knees, hips, and in thw back of the body. This dance is not only
to mimic the movement of animals but also represents the war between Christian
and Moro people over the high price of latik or coconut meat during Spaniard rule.
Moreover, Maglalatik dance symbolizes on how we Filipinos value the
coconut meat. In this generation, we should be proud on what we have especially
this traditions thar make us called"Filipino"; Indeed, folk dance is not only tradional
dances but aloso gives is honor to us as a filipino people
Jie-Jie S. Ando’s Reflection
Maglalatic dance is a folk dance that depicts war between Christian and Moro
and tradition in our country. The costumes that a dancers should wear in this folk
dance is the coconut shell halves that makes the maglalatik dance signifies it high
price during spanish rule.
Indeed, this dance symbolizes on how filipinos are creative in doing such
things.
Shaina G. Abdullah’s Reflection
Maglalatik dance is a folk dance by male dancer (also known Magbabao).
Maglalatik dance is belong to the folk dance that depicts the war between Christian
and Moros.
Moreover, the price of latik or coconut meat during spanish rule. However, the
Maglalatik performed by male dancers wiht the costumes are the shell haves and the
blue pants represent the christian and red pants is for Moros. Lastly the costumes of
dancers should shell have to signifies the traditional of filipino during spanish. As a
filipino we should give a respect dance of our country.
Saima T. Tangkle’s Reflection
Maglalatik dance is the folk dance come from Philippines coconut shell halves
secured onto the dancers hands and on vest upon which are hung four, six or more
coconut shell halves the dancers performed the dance by hitting one coconut shell
halves with the other, sometimes the ones on the hands.
The maglalatik help us to improving our physical fitness level by allowing you
to work harder for longer periods of time without feeling tired it helps us to improves
our strength and fitness it can be also a way to stay fit for people to lost shapes and
sizes because it decreases blood pressure.

THE KURATSA
Prepared by; Almera K. Bantuan

The kuratsa is a Filipino traditional dance of courtship where the male

approaches and court a lady in a form of a dance. A kuratsa (pronounced koo- rah-
Cha) is a dance inspired by the Mexican La cucaracha folk dance.
The Origin Of Kuratsa
Kuratsa, origin country Philippines, it is mostly common performed during
festival in to. It is mostly common performed during festivals into the Bohol and other
Visayan town, this dance portrays a young playful couple attempt to get each other
attention.
How Kuratsa Performed?
The kuratsa is the dance of courtship from the visayas region of the
Philippines at wedding, family reunion and fiestas. The kuratsa serves as the
traditional money dance where guests take turns pinning money on the bride and
grooms attire.
Almera K. Bantuan’s Reflection
The kuratsa is a Filipino traditional dance. It is mostly common perform in a
wedding, family reunions and fiestas. This dance serves as the traditional money
dance. We're the guests take pinning money's on the bride and grooms attire.
Kuratsa is the type of dance that the male approaches and court a lady in a form of
dance. The proper pronunciation of kuratsa is "Koo- Rah- Cha".

LA JOTA MON CADEÑA

Prepared by; Badrana K. Esmael
Nourjiana K. Esmael

La Jota Moncadeña was adapted from an old Spanish dance. It is a

combination of Spanish and Ilocano dance set to Spanish music and castanets. A
more solemn version of the dance is sometimes used to accompany a funeral
procession, but it was also performed at the festival.
La Jota Moncadeña is one of the most famous interpretation and adaptation
of the Aragonese Jota dance. People of Moncada, Tarlac, call it rather by a different
name: Jota Florana. The Jota Folrana was danced to the Ilocano/Yogad bamboo
musical instrument ensemble called tallelet. Dance anthropologist Ramon Obusan
said that the Jota Florana was danced to accompany a bereaved family to the burial
of a loved one. The high pitched clicking of the bamboo clickers are supposed to
represent melancholy wails. The slow portion of the dance is in fact named patay
(death) or desmayo (fainting) that is performed to a very slow marcha funebre. The
same dance figure is found in another Ilocano dance, the Ti Liday (which in Ilocano
means ‘sorrow’ or grief-stricken’)
The Jota Moncadeña similar to other Filipinized versions of the Spanish jota is
literally mixe-up in flavor. The dance combines Spanish and Ilocano dance steps and
music.

Badrana K. Esmael’s Reflection

La jota mon cadeña it's like a ritual performed on the dead and about to die
and every time our dance is done when people die because they do it to people who
have died to relieve their neck and relieve it . So now no one did it to the dead and at
the fiestas because in today's times it will no longer make people And they use a
bamboo with their hands that will create the sound of their dance and so that it will
disappear because it was just adopted.
Nourjiana K Esmael’s Reflection
La Jota Mon Cadeña the same dance figure is found in another Ilocano
dance, the Ti Liday (which in Ilocano means "sorrow" or grief-stricken'). The jota mon
cadeña similar to other Filipino versions of the Spanish jota is literacy mixed-up in
flavor. The dance combines Spanish and Ilocano dance steps and music. They
performed in funeral because this is the ritual and they performed in festival and
Filipino adopt from Spanish, we need to appreciate it.
INTRODUCTION OF SOCIAL BALLROOM DANCING
Prepared by; Dayana P. Palawan

Ballroom dancing was originally designed for partner dancing in ballrooms.

Progressive or travelling ballroom dances are characterized by long strides that
result in the partners quickly traversing the dance floor. Correct posture and frame
are very important in ballroom dancing.
The combination of large steps, separation of the partners' upper body, and a
frame that requires the shoulders and upper arms to stay in one line, result in the
need for a large dance floor.
Ballroom Dancing Styles
There are two principle ballroom styles: International and American. The
International style grew out of English or Modern style ballroom dancing and is the
style used in international ballroom competition dancing.
The American style was an attempt to make ballroom dancing less formal and
more social. However, modern social dancing standards have evolved and by
today's standards, American style ballroom dancing is still quite formal. The social
dancing styles described elsewhere on this site are less formal than American style
ballroom.
American style dancing also requires a fairly large dance floor. However,
American style ballroom dancing does provide the dancer with patterns which are
useful for dancing on small dance floors. For instance, Waltz box steps, hesitation
steps and underarm turns provide dancers with the opportunity to dance the Waltz
as a spot dance.
Differences between International and American Ballroom Styles
International Standard is danced in a closed dance position, whereas
American Smooth allows the partnership to "open up" in several steps. In American
Smooth, partners can release their arm hold, allowing spins, dips, and other
embellishments that are not permitted in International Standard.
International Latin hip action is achieved after stepping onto a "straight leg,"
whereas in American Rhythm hip action is achieved via Cuban motion i.e. by flexing
the knee after taking a step.
Professional International ballroom competitions use International style
dancing (including the US), while ballroom performances in North America use
American ballroom style dancing. The popular television series, Dancing with the
Stars and So You Think You Can Dance, use American styles for their ballroom
dancing.

Dayana P. Palawan’s Reflection

Introduction of social ballroom dancing.ballroom dancing is leading and
following posture position hold and balance. Social ballroom dancing is the most
crilized,decent, respectable,wlolesome form of social dancing yet I rested many
beginners fear that they lack aptitude for dancing they have "two left feet"
Dance ballroom dancing was originally designed for partner dancing in
Ballroom. progressive as travelling ballroom dance are characteristerized by long
asides that result in the partner quickly traversing the dance floor.
Ballroom dance is a set of partner dance, which are enjoyed both socially and
entertainment aspect, Ballroom dancing is also widely enjoyed on stage,film, and
television, Ballroom dancing is may refer, at its widest definition to, almost any
recreational dance with a partner. However. With the emerge of dance competition,
two principal schools have emerge and then term used more narrowly to refer to the
dance recognized by those schools originally developed in England and now
regulated by the world dance council and the world.

HISTORY OF SOCIAL BALLROOM DANCING

Prepared by; Lara E. Basino
Amedin E. Basino

Early Origins:
Ballroom dancing first appeared in 16th century Europe French philosopher,
Michel de Montaigne, wrote of a dance that he observed in 1580 in Augsburg,
Germany, where dancers moved together so closely that their faces touched.
Waltz, considered the oldest traditional ballroom dance, originated as a dance
style enjoyed by lower classes. Around 1750, a couples dance called "Walzer", was
popularized by peasants of Bavaria, Tyrol, and Styria. Danced in ¾ time, it
eventually spread from the countryside to the suburbs, and finally into European
cities.
Minuets (stately ballroom dances from the 18th century)
As ballroom dance entered cities, upper classes danced the minuets to music
by Mozart, Haydn, and Handel. The styles of upper and lower classes blended when
noblemen, bored by the minuets, stepped away to partake in the balls of their
servants; as peasants and noblemen dance together, novelist took count and
incorporated elements of this waltz into their writing, often depicting it is both
shameless and indecent.
However, perhaps startling to aristocrats and writers, waltz grew in Vienna,
quickly reached England, and was introduced to commoners by infantry soldiers in
the early 1800s. As composers picked up on the popular dance style, those such as
Johann Strauss and Franz Lanner helped increase the popularity of the ¾ time
waltz, throughout Austria and Germany. No longer was waltz considered scandalous
or indecent, the dance was most popular at social gatherings and parties across
Europe, complimented by author for its grace and beauty.
Merengue ( created in the early 1700s to African slaves of the Dominican
Republic)
 Across the globe, other forms of social dance emerged, while the origins of
the merengue are disputed by historians, some attribute it's creation in the early
1700s to African and French minuet dances. After watching aristocrats dance stoic,
waltz - style African during parties, they mimicked these dances, taking bits of what
they liked, increased the tempo and added their own music and rhythm. By the
1850s, merengue was danced at every social occasion in the Dominican Republic
and neighboring Caribbean and South Africa countries. Well suited for crowded
rooms or small spaces, merengue was introduced to the United States first in New
York City, and was easy to dance in bustling or clubs.
Turn of the century:
In the street of Buenos Aires, Argentina, the dance and the music of tango
developed together, increasing it's popularity at a rapid rate. In facts, many
instruments even became known as traditional "Tango" instruments - guitar,
Bandoneon (Tango accordion), and ensemble bands including violins, piano, flute,
and bass. In the early 1900s, tango reached New York City and Paris expanding into
both lower class dancers in these areas, as well as wealthy Argentinian youth
traveling in other parts of the world seeking the comfort of music and dance from
their home country.
Tango became a trendy dance and style of music, and was soon danced
across Europe and North America frequently. The north American tango strayed
slightly from the Argentinian at first and became more unique over time. Today the
tempo of the music and movements of the dancers is must faster and typically a 2/4
or 4/4 rhythm.
In the United States, inspired by ragtime dances, a smooth and traveling
dapopularize foxtrot was named after entertainer and Vaudeville actor Harry Fox.
Around 1914, Harry would typically performed trotting steps to ragtime music in one
of his theater acts in New York city, earning his dance the name of "Foxtrot".
Husband, and wife actors, Vern and Irene Castle, also helped popularize and refine
the dance after appearing the Broadway Show Watch Your Show, in 1914.
In the 1920s, an energetic dance inspired by contemporary jazz music and
popularized by black Americans became known as the swing. Like tango, the music
and dance evolved together, and swing came to include many other styles – Lindy
Hop, Shag, and Charleston. Fast, bouncier swing dancers, such as Norma "Queen
of swing" Miller, came to introduce the Jitterbug and Lindy Hop, with incredible
displays or jittering movements as they danced. While Lindy Hop and other styles of
swing are still danced across the country in ballroom today, the most popular styles
of swing are defined as "East Coast" and "West Coast" swing.
As all of these new forms of partner dancing to evolve around the beginning of
the 20th century, there was a new birth of ballroom dance, inclusive of many of these
styles. As the arts became an integral part of many American origins stories dancers
and other artists became popular within the media. The Hollywood Star's Fred
Astaire and Ginger Rogers were only the start of a stance partnership making the
world fall in love. Between their connection on the dance floor, ability to move as one
with music, and creation of routines that viewers remember for years to come,
dancers such as these are the fulcum of our country's passion for partner dancing.
 In the 1940's, the origins of mambo showed great collaboration between
dance and music. Bandleaders, starting to play a new form of music called mambo,
developed a very creative and expressive danced based off of their new music style.
While this dance provided people the freedom to move their bodies to the flow of the
music, it was also characterized by complicated footwork and interesting patterns.
Mambo became so popular that a Puerto Rican dancer, Pedro Aguilar, who came to
be known as "Cuban Pete" even had songs written about him and the way that he
finessed the mambo, making himself a household name. Although he was not from
New York, he brought his dance style and ecentric dance ability to the palladium club
in New York City. He is known historically as the "greatest mambo dancer ever",
presented this title by Tito Puente, a superstar in Latin dance music.
Alongside the mambo, the Cuban Rumba was an extremely popular dances
within a club setting or on the streets, danced to the music of local entertainers in
Latin America. Similarly to the mambo, rumba is both a style of musical rhythms and
a dance. Originating in Africa, this dance and music style was brought to Latin
America through African, the rumba began as a fast dance, with large hip actions,
said to represent the " chase" of a courtship. The "son", a popular Cuban dance, was
a similar dance style to the rumba, but was slower and more compressed. The
wealth Cuban class also danced a different style to rumba music, called the "
Danzon", where the hip movements were much smaller and created by bending and
straightening of the knees. As rumba increased in popularity in South America, the
styles began to blend. The rumba we know today is a combination of parts of each of
these histories, and even is danced competitively across both the American and
International categories.
Ballroom dance today:
Within the successive years, governing bodies of ballroom dance were formed
across the United States and the entire world in order to collaborate internationally
and produce competitive dancing events. Today, ballroom dance is a phenomenon
as a social activity, as well as a competitive entity, delivering some of our country's
most talented athletes as they blend elite execution of skill with a beautiful art form.
This growing trends of ballroom dance has only been increased as television shows
like dancing with the stars have increased in popularity. Ballroom dance is a unique
opportunity to move, share with others, and showcase.
Ballroom dance at this time which is now are accessible to all, because in the
past, ballroom dancing was only for the upper class. The ballroom dance now is
used as wedding, high school reunion or alumni, night clubs, country clubs, and even
dive bars. Even beginner dancers will have plenty of places to use their new skills.
Ballroom dancing was a partners didn't get too close, long ago it was considered
improper to touch your dance partner in public. Partners wore gloves and stood far
from each other.
And now, ballroom dancing have close contact, when the waltz became
popular in the 19th century, it changed things. The dance required partners to be
close. Today, partners enjoy staying in close contact as a fun way to connect
through dance.
Ballroom dancing became outdated are still until now, competition dance
shows like Dancing with the Stars are making ballroom dancing increasingly popular.
The whole world sees how fun and exciting ballroom dancing can be. All skills levels
and ages can try ballroom dancing, even young kids interested in dance can learn.
Then and now – Ballroom dancing is Social
Ballroom dancing has always been a dance that lends itself well to socializing
with others. This is true since ballroom dance originated. Today ballroom dance is
still a great way to meet new people and build friendships.

Lara E. Basino’s Reflection

Ballroom dancing first appeared in 16th century Europe French. Originally
people from England would use ballroom dance to express love, courtship,
exercises, beliefs, traditions and even religious. And later on in this century the
audience were divided into two: (1) Not - so - privileged people or the commoners.
(2) Aristocrats and Royalties.
During this century, ballroom dancing was just limited to GALLARDE,
PAVEDE and LIVELIER GRANDE, so those dances are lively for two people and it
includes complicated turns and step.
Turn of the century, during this 18th century also in England this time and for
some obvious reasons the passion for dancing just spread out like a contagious
disease with no cure because everyone's inlove with dancing but not everyone loves
the way. It was being done like some people from aristocrats and royalties they
complained about the involvement of physical touch this is the very reasons why
ballroom dances such as POLKA, SCOTTISH, and MAZURKA were made it is
because of them that we get to choose from different genes of ballroom dancing
now.
Amedin E. Basino’s Reflection
During 20th century, ballroom dancing became famous that even neighboring
countries have managed their own cultural touch to it like in Cuba has its own
Chacha. In America has it's own tango, American swing these dances maybe
different dances in 16th century but they still give do great impact on that same
enthusiasm.
21st century worldwide, this was the century when ballroom dancing became
a sports do, because people in this time wanted to be recognized for their efforts that
is why competitions and organizations were built.
Today, ballroom dance lessons are meant to welcome all skills levels and
ages and are much less intimidating than they were in the past. All levels can try
ballroom dancing to see of its something they enjoy!!!. Ballroom dancing isn't just for
fancy parties or social occasions. Today, its considered a passion, a way to get fit, a
way to relieve stress, and so much more.
NATURE OF MOVEMENT IN BALLROOM DANCING
Prepared by; Zehana Bualan

Dancers rotate in a counter-clockwise direction, moving around the entire

floor. The couple is constantly moving on the dance floor, transitioning from one
place to the next in a fixed pattern. The Foxtrot, Waltz, Tango, Viennese Waltz and
Quickstep are danced in this manner.

Zehana Bualan’s Reflection

Ballroom dancing is a partnership dance where couples, using step-pattern,
move rhythmically expressing the characteristic of music. Ballroom dancing consists
of two style: the Smooth or standard, and the Rhythm or Latin. The Smooth standard
style focuses on the elegance, grace and fluidity of movement

MOVEMENT SKILLS AND CONCEPT IN BALLROOM

Prepared by; Rehana Mula

Dance is a movement to music. In this symbiotic relationship, we employ the

controlled use of the body in reference to a meaningful experience to produce a
tangible product for everyone and ourselves to enjoy, which has a deep connection
to music and our personal life experiences.
Concept of ballroom
It is a term from the cleanroom technology. It describes a cleanroom concept
in which all steps of a process are performed in a cleanroom with uniform
classification. (In the concept of normal practice the cleanroom is divided into
different areas with different classifications depending on the individual process
requirements; the criterion is the number of particles of a defined size per unit
volume). In the ballroom concept the cleanroom is equipped flexibly with devices and
equipment depending on the process. Thereby, process equipment is sometimes
encapsulated. This concept is increasingly becoming evident in single-use
production facilities. See facility of the future.

Rehana Mula’s Reflection

The dance in ballroom is to exercise our body, strengthen and express
emotions while having fun. To recognize the beauty and part of body movement and
discover what our can do and how beautiful it can be. Because they can express the
viewers what they what to show In their dance steps as it let's an individual express
herself thru dancing entertain other people, and especially, It can help People get fit
as it involves movement of muscles and bones. Having a great time, being a fun of
physical activity, unlike other types of dancing or physical activity only performed by
one person ballroom is strongly based on developing solid partnership.
BODY AWARENESS IN BALLROOM DANCE
Prepared by; Norsisa M. Gandao
Pahamiya M. Kanakan

Thinking in dancing is a double-edged sword. On one hand, it helps us plan

the next step, and interpret what we learn in a lesson. But too much thinking can
stifle our body’s natural movement. You can tell if someone is dancing more in their
mind then their body; their movements are stiff and robotic, and they seem unaware
of their partner, or the music. Virtually all of us suffer from over-thinking sometimes,
but we can counter it with the body awareness.

Norsisa M. Gandao’s Reflection

This activity is to develop the dancer's body awareness. Body awareness is
our internal understanding of where our body is in space and determines how
efficiently we can move.
Pahamiya M. Kanakan’s Reflection
One of the most important lessons in ballroom dancing is learning how to
build trust and learn the art of leading and following between the dance partners.

CHA CHA CHA DANCE

Prepared by; Rosalinda Pongampong

The cha-cha-cha (also called cha-cha), is a dance of Cuban origin.[1][2] It is

danced to the music of the same name introduced by Cuban composer and violinist
Enrique Jorrin in the early 1950s. This rhythm was developed from the danzón-
mambo. The name of the dance is an onomatopoeia derived from the shuffling
sound of the dancers' feet when they dance two consecutive quick steps (correctly,
on the fourth count of each measure) that characterize the dance.[3]

Rosalinda Pongampong’s Reflection

The cha-cha-chá, informally called cha-cha, is a dance of Cuban origin. It is danced
to the music of the same name introduced by Cuban composer and violinist Enrique
Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The
name of the dance is an onomatopoeia derived from the shuffling sound of the
dancers’ feet when they dance the three consecutive quick steps that characterize
the dance.
SWING
Prepared by; Esmeralda Antilino

Swing dance is a lively style of social dancing in which a dancer often lifts,
spins and flips his or her partner. Considered both hip and cool, swing dancing is a
favorite among social dancers of all ages
What is a type of swing dance?
The different types of swing dance styles include Lindy Hop, Jitterbug, East
Coast Swing, Collegiate Shag, Jive, Balboa, Bal-swing, Lindy Charleston, Carolina &
St. Louis Shag, D.C. Hand Dancing, Rodeo Swing, Ceroc, Modern Jive, Boogie
Woogie and West Coast Swing.

Esmeralda Antilino’s REFLECTION

Swing dancing is a popular social dance that is often characterized by lifts,
spins and flips. It's generally upbeat, lively and a lot of fun to watch—and to dance!
Like most dance styles, there are variations of the dance. It includes some basic
steps and then dancers have creative freedom to make it their own.

TANGO
Prepared by; Maysarah G. Lipoles
Aisa O. Abpet
Monera L. Akmad

Tango is a partner dance and social dance that originated in the 1880s along
the Río de la Plata, the natural border between Argentina and Uruguay. It was born
in the impoverished port areas of these countries, in neighborhoods which had
predominantly African descendants.[1] The tango is the result of a combination of
Rioplatense Candombe celebrations, Spanish-Cuban Habanera, and Argentinean
Milonga.[2] The tango was frequently practiced in the brothels and bars of ports,
where business owners employed bands to entertain their patrons with music.[3] The
tango then spread to the rest of the world.[4] Many variations of this dance currently
exist around the world.
On August 31, 2009, UNESCO approved a joint proposal by Argentina and
Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists.[5][6]
History
Tango is a dance that has influences from African, South American and
European culture.[7] Dances from the candombe ceremonies of former African slave
peoples helped shape the modern day tango. The dance originated in lower-class
districts of Buenos Aires and Montevideo. The music derived from the fusion of
various forms of music from Europe.[8] The words “tango” and “tambo” around the
River Plate basin were initially used to refer to musical gatherings of slaves, with
written records of colonial authorities attempting to ban such gatherings as early as
1789.[9]
Maysarah G. Lipoles’ reflection
I have learned that in tango there is a ‘leader’ and ‘follower’. Through the
embrace, the leader offers invitations to the follower for where and how to step. The
follower decides in what way they will accept the leader’s invitations. Both leader and
follower try to maintain harmony and connection through the embrace, and with the
music, and so the dance is born.
Like the symbols of yin and yang, the roles of leader and follower each have a little
of the other within them. Tango is a collaborative process, which encourages the
development of sensitivity, clarity, trust and respect.
Aisa O. Abpet’s Reflection
The noun tango usually refers to the Argentine tango, a dramatic ballroom
dance, and the expressive music that goes along with it. The tango is known for
being a passionate, emotional form of dance in which the dancing couple hold each
other closely and make abrupt yet graceful movemen
Monera L. Akmad’s Reflection
Tango as an experience – tango as a tool. Argentine tango is exciting,
beautiful, full of possibilities. It offers a special kind of recreation, a way to meet other
people, to express yourself – the benefits are well known. Including the beneficial,
curing effects of dancing and the joy of dancing. But in this case Argentine tango is
not in focus – it is used as a tool instead, to achieve a different kind of goal. This
immediately raised my curiosity and I decided to find out more about this.

WALTZ
Prepared by; Suraida Abdulrahim

Meaning of Waltz
The waltz meaning "to roll or revolve". It is a ballroom and folk dance,
normally in triple, performed primarily in closed position.
Where does the waltz originated from?
Modern from of Waltz was born in suburlos of vienna and mountain regions of
Austria, and was created not for use by folk dancers, but for court. Waltz evolved
from forms of earlier dances in the mid-eighteen hundreds along with the popularity
of Johan Strauss's music.
Rule Out if it's a Waltz
Most songs are in 4/4-time, meaning there are four beats in each measure.
However, waltzes are in 3/4-time, with only three beats in each measure.
Types of Waltz
The different waltz dance styles include classic American waltz, International
style waltz, Viennese waltz, C &W waltz, Cajun waltz and many others.
Characteristics of Waltz
 Time signature in triple meter (3 beats in a bar), usually 3/4 time.
 Clear and memorable tune.
 Chordal accompaniment (usually primary chords) played in a homophonic
texture.
 "Oom cha cha" accompaniment.
 Usually quite fast in tempo.

Suraida Abdulrahim’s Reflection

It is aims to develop student's physical competence and knowledge of
movement and safety, and their ability to use these to perform in a wide range of
activities associated with the development of an active and healthy lifestyle.
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