INDAK: PHILIPPINE

FOLK DANCE
(Instructional Materials
in Physical Education)

Reference: image philippine folk dance silhouette - Bing images/GIF

General Objectives:
At the end of this Subjects, the students are expected to:
1. Learn new dance steps and terminologies;
2. Accustoms with the culture of other people through the study of their dances, customs,
tradition, musical instruments, and arts;
3. Appreciate the value of folk dance as an activity that advocates friendship and
familiarity among people; and
4. Demonstrate dance skills with refinement and confidence.

Lesson 1

Brief Historical Background of Philippine Folk Dances

Objectives:
At the end of the lesson, the student should be able to:

1. Identify the phases of dance;

2. Define the meaning of dance; and
3. Classify the different Philippines folk dances.

The word “Dance” comes from the Greek word “danson” which means to stretch. All
dancing is made up of stretching and relaxing. Thus, observation and analysis for the term
“Sayaw” lead to the word “saya” which means happy. A person who is happy or in the
rhythmical movement is an outward expression of his feelings.

Folk dance is a participatory dance form that is recreative and ceremonial. It is usually
traditional and performed by members of the community. History traces folk dance to
agricultural peoples who live in close-knit communities. In a folk dance, the steps are simple
and repeated to allow as many members to participate in the dance. These dance steps are
passed down from generation to generation which explains why folk dance becomes part of
the tradition.

The folk dance is sometimes linked to the specific occasion to which the community gives
importance. Some folk dances may be sacred because to early people religion pervades their
life activities. Other folk dances celebrate cyclical events of the years which are usually related
to the economic life of the community.

Part of the Philippine Education program is to give meaning to rhythmic movements. These can be
seen in Philippine folk dances which reflect not only movements but also the expression of the
Filipinos, sense of life. For the Filipinos, dance is a form of worship: an expression or images found in
all aspects of their life; the wind, the rain, the passing of seasons, birth, death, and dreams.

Aside from enhancing the rhythmic movements of students, there are benefits that can be derived
and developed from the study of Philippine folk dance.

1. Patriotism and nationalism

2. A healthy form of relaxation and recreation.
3. Well-awakened art appreciation of folk dances
4. Well improved posture, graceful and rhythmic coordination of body movements.
5. Preservation of native dances of the different regions for the next generations.
6. Growth and enhancement of Philippine culture.

Brief History of Philippines Folk Dances

 Dance has always been a reflection of the pulse and rhythms of man as a social being. It is
used to express every moment which has meaning to his life. The Filipinos are no exception. A
survey of Philippines dances shows the country has a repertoire of dances brought by the
varied influences of a number of foreign cultures.

When the Philippines was discovered by Ferdinand Magellan in 1521. It had been inhabited
by three different racial groups, the Indonesian, Malays, and the Pygmies. The offspring of the
Pygmies were the Negritos. The Negritos preferred dances to describe their daily activities like
the dance Sinulog. It was a dual dance where two men use below.

For centuries, dancing and singing have been the principal pastime of the people. The early
Filipinos considered dancing as an areligious activity. They performed dances in thanksgiving
for a fruitful harvest, a victorious battle, a prosperous voyage, or recovery from sickness.

During the Spanish time, dancing was part of the social activities of the Filipinos.
Kumintang, a pantomimed song, and dance was the oldest recorded activity among the
Christianized Filipino people. The Spaniards introduced different dances such as Fandangos,
Lanceros, Rigodon, Carinosa, and Curacha. Western cultures and dances of the European
countries during the 16th century were also introduced, absorbed, and blended into the
Philippines native culture and they become part of the country’s traditional folk dance.

Nowadays, Folk dancing is increasing in popularity. There are numerous fascinating

Philippines dances which are taught not only in schools but also in various dance for both
amateurs and professionals.

The University of the Philippines Dance Troupe paved the way for the birth of Philippines
dances. This group of dancers and singers toured and performed in the towns and nearby
provinces of Manila to dance and sing.

The Bayanihan dance company, Ramon Obusan, Barangay Dance company and the Lahing
kayumanggi of the Bulacan State University, and many others toured outside the country,
dancing their way to winning the Love, administration, and appreciation of different people
through the world.
Name: _________________________________Course/Section: ____________________________
Instructor: ______________________________Date: ___________ Score: ___________

Activity #1

1. What is folk dance? Why is it important?

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2. Enumerate some of the values derived I studying folk dances.

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3. Discuss at least two values that can be derived from studying Philippines folk dance.
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 Name: _________________________________Course/Section: ____________________________
Instructor: ______________________________Date: ___________ Score: ___________

Activity #2

1. Identify the three groups of people who inhabited the Philippines before it was discovered by
the Spaniards.
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2. Name some of the traditional native dances with Spanish influence.

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3. How can you help preserve and promote our Philippines folk dances?
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Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)

LESSON 2
Objectives:
1. Identify the characteristics of the Philippine folk dance;
2. Anlyze the classification of of Philippines folk dance;
3. Appreciate the nature of Philippine folk dance.

Characteristics of the Philippines Folk Dances

1. As a rule, Philippines folk dances begin and end with a “Saludo”

2. In general, dancers are par apart. A distance of about 6-8 ft. from each other is normal.
3. There is very little if body contact although holding hands is common.
4. Most of the dances are done by pairs or couples
5. Hand movements play an important part.
6. Most dances are long formation.
7. Dances from the lowland have more foreign elements than those found in the uplands.
8. War dances are found among non-Christian tribes.
9. Our dances are performed by both young and old, and by both sexes.

I. General Classification of Philippines Folk Dances

A. Geographical Origin

1. National Dances: These are dances found throughout the island with little or no
modification.

Examples; Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2. Local dances:

Example: Tinikling in Leyte, Maglalatik in Binyang, Esperanza in Nabua, Subli in

Batangas, Binganbigat in Abra.

B. Nature:

1. Occupational Dances: these dances depict actions of a particular occupation, industry

or human labor.

Example: planting, harvesting, pounding, winnowing, pabirik, mananguete etc.

2. Religious/ Ceremonial: These are dances associated with religion, vows, and
ceremonies.

Example: Dugsu, Sua-sua, Putong, Sta. Clarang inong-pino.

3. Comic Dances: These are dances that depict funny movements intended for
entertainment.

Example: Kibo-kimbo, makonggo, Kinotan

4. Game Dances: these are dances done with play elements (dance mixers)

Example: Lubi-lubi, Pavo

5. Wedding Dance: These dances are performed during wedding feasts.

Example: Panasahan, etc.

6. Courtship Dance: These dances depict the art of courtship or dances with love themes.
 Example: Hele-hele, Bago Quire, Maramion, Tadek , Daling-daling

7. Festival Dance: These dances are suitable for special occasions or for any social
gathering.

Example: Pandanggo, Habanera, Jota Suntido

8. War Dance: These show imagery combat or duel among tribe members.
Example: Sagayan, Palu-palo, etc.

C. Movements

1. Active: Dances that show fast energetic movements.

Example: Tinikling, Maglalatik, Sakuting, Polkabal, etc.

2. Moderate:

Example: Carinosa, Tagala, Habanera, Puripuri, etc.

3. Slow:

Example: Pasakat, Amorosa, Tiliday, Kundiman, etc.

4. Slow and Fast:

Example: Putritos, Ba-Ingles, Habanera, Botolena, Alcomfor, etc.

D. Formation:

1. Square or Quadrille: dancers form a square in their dancing.

Example: Rigodon, Los Bailes de ayer, etc.

2. Long Formation: dancers form two or more parallel lines

Example: Lulay, Sakuting

3. Set: This consists of two or more pairs as a unit; with partners facing each other or
standing side by side.

Example; Binadyong, haplik, Kakawati, etc.

II. Special Classification: Group dances with Special Distinctive

Features
1. Dances with Songs:
Example; Abaruray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan
 2. Old ballroom dances:
Example: Polka, Mazurka, Chotis, Valse, etc.

3. Dances with Implements:

Example: maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot, etc.

4. Dances of Combine Rhythms:

Example: Surtido, pantomina, los Bailes de Ayer, etc.

Name: ____________________________Course/Section: ____________________________

Instructor: ______________________________Date: ___________ Score: ___________

Activity #3
I. Identify the dances described in the following statements. Write the correct answer
before the number.
 __________ 1. Dances with funny and humorous movements done for entertainment only.

__________ 2. Dances with some play elements.

__________ 3. Dances performed in connection with religious vows, practice and beliefs.

__________ 4. Dances that are performed by newlyweds.

__________ 5. Dances that depicts action characterized certain occupation and phrase of
human labor.

__________ 6. Dances that depicts courtship.

__________ 7. Dances that are performed in connection with celebration, feast, or barrio
fiestas.

__________ 8. Dances that are intended to show imagery combat or duel.

__________ 9. Dances which show fast energetic movements.

__________ 10. These dances are suitable for special occasions or for any social gathering.

Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)

Lesson 3

Classification of the Philippine Folk Dances (According to Dance Form)

Objectives:
1. Identify the classification of the Philippine folk dance;
2. Anlyze the classification of of Philippines folk dance according to dance form;
3. Appreciate the dance form of Philippine folk dance.

1. Classical Dance - dances with standardized rules and restrictions. It can be religious-
related dances or for court and royal entertainment.
2. Classical Ballet - a dance of supreme standards learned from academe. This
originated from Italy from the world Bul-lo meaning to dance and flourished in the
royal court of France.
3. Modern Dance – a deviation from the principles of classical ballet developed by
Isadora Duncan. This is characterized by the natural and true expression of the human
body and soul.
4. Contemporary Dance – a combination of ballet and modern dance.
5. Folk Dance – a cultural art form handed down from generation to generation. It
communicates the customs, beliefs, rituals, and occupation of a region or country. Folk
dancing belongs to and emanates from the people.
6. Ethnic and Tribal Dance – a dance particularly found in a group of people living
together in a locality with common beliefs and customs.
7. Recreational Dance – includes dance mixers, square dancing, and round and couple
dances.
8. Social and ballroom Dance – a dance set in a social gathering with a more formal
atmosphere than the simple and informal parties in which the recreational dances are
the usual forms. This is usually held in the evenings and participants are usually in
formal attire for purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the purpose of entertainment. It is the
end product of movement exploration and improvisation as the dancer or
choreographer express his/her feeling, ideas, and interpretation. The principles of an art
form are all observed in the composition of this dance.
10. Popular Dance – highly recognized as a dance form in television and other dance
centers like disco houses and social gatherings.

Common Dance Terms

TERMS MOVEMENT
Hop The dancer spring from one-foot landing on the same foot in place or in any
direction.
Inside Foot This is the foot nearer the partner when the partner stand side by side
Jaleo Partners turn around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows touching) using walking or any kind of
dance step.
Jump The dancer spring on one foot or both feet landing on both feet in any
direction.
The dancer swings the arm downward upward passing in front of the body
Salok as if scooping; the trunk is bent forward following the movement of the arm
doing the salok.
The dancer crosses the R (or L) foot in front of the L (or R), bend the body
Sarok slightly forward, and cross the hands down in front with the R (or L) hand
over the L (or R).
Slide The dancers glide the feet smoothly along the floor.
Stamp The dancer brings the foot forcibly and noisily on the floor.
Bow or Saludo Partners bow to each other, to opposite dancers or to the audience.
Brush The dancers put weight on one foot and swing the other foot with the heels
striking the floor. The brush may be done forward, sideward, or backward.
Clockwise Dancers move following the direction of the hands of the clock moving to
the left when facing the center.
Counter Dancers move following the reverse direction of the clock with the hands of
 the clock moving to the right when facing the center of any imagery circle.
Cut Dancers quickly change weight from one foot to displace the other stable
foot.
Two dancers walk toward each other, passing by the right shoulder, then
Do-si-d0 stepping sideward to the right, and returning to the position by walking
backward passing by left shoulder.
Free Foot This is the foot not bearing the weight of the body.
Free Hand The hand is not placed anywhere, or not doing anything.
Hayon-hayon The dancers place one forearm in front while the other is at the back of the
waist of another.

Commonly Used Group Formations

1. The Circles
A. One circle is formed. The pupils/ students may face
center or face out away from the center or.
The Single Circle B. Face own partner, or
Formation C. Face CW (R shoulder toward the center) or
D. Facing CCW (L shoulder towards the center) or
E. Open (Broken) circle (dancer facing in or facing out)
A. Double ring or two circles of dancers. Dancers stand
side by side facing CW or CCW;
B. Stand behind one another facing in or center of the
Double Circle Formation circle;
C. Facing out or away from the center of the circle
D. Partners facing (boys back to the center)
E. Facing in opposite directions, girls facing CCW, boys
CW
A. A double, triple, or quadrille circle.
Progressive Circle B. Odd couples or threesome or four faces CCW, even
Formation couples or those some or fours face CCW, they then
progress in the direction to meet another group (a set) of
dancers.
II. Quadrille or Square
A. Four couples in a square, each couple standing on
one side of an imaginary square. Usually, couple 1
(Top or head couple) stands with the back.
Quadrille or Square B. Four couples, each couple, standing at each corner
or an imaginary square.
C. More than four couples may form the square and the
couples may be numbered differently.
III. Miscellaneous Formations
Contra Formation One line of boys facing another line of girls, standing
opposite each other.
Longways Is synonymous with contra.
Free or Scattered Dancers stand anywhere they wish, either individually
or in couples.
Group in Lines Dancers stand side by side.
Group in Columns (Conga line) dancers stand one behind the other.
Long Open Formation Two lines of dancers, boys on the left, girls on the right
when facing the audience, or they may face from the
audience, or they may face each other.
Name: ____________________________Course/Section: ____________________________

Instructor: ______________________________Date: ___________ Score: ___________

Activity #4
True or False: Write True if the statement/Sentence is correct and write False if the
statement/sentence is wrong.

__________ 1. This highly recognized as a dance form in television and other dance centers
like disco houses and social gatherings which is called creative dance. (False)

__________ 2. This dances with standardized rules and restrictions. It can be religious-related
 dances or for court and royal entertainment which is called classical dance. (True)

__________ 3. This is a combination of ballet and modern dance which is called ballet dance.
(False)

__________ 4. This steps partners turn around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows touching) using walking or any kind of dance step which is
called pivot turn. (False)

__________ 5. This dance steps lead the dancers quickly change weight from one foot to
displace the other stable foot which is called jaleo. (False)

__________ 6. This dance step lead the dancers place one forearm in front while the other is at
the back of the waist of another which is called hayon hayon. (True)

__________ 7. This includes dance mixers, square dancing, and round and couple dances
which is called popular. (False)

__________ 8. Turn step is to glide the feet smoothly along the floor. (False)

__________ 9. Saludo steps is to bow to each other, to opposite dancers or to the audience.
(True)

__________ 10. Do-si-do is to dance quickly change weight from one foot to displace the
other stable foot. (False)

Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)

Lesson 4

Basic Dance Position of the Arm and Feet

Objectives:
1. Identify the fundamental dance position of the arm and the fundamental dance position
of the feet;
2. Execute and combine the five fundamental dance position of the arm/ feet with
precission; and
3. Appreciate the music and actively participate in the execution of the steps.
1st Position

Arm:
Raise arms forward in a circle in front of the
chest. Fingertips of both hands should be
apart.

Feet:
Position heels together and toes apart at an
angle of about ninety degrees or more.

2nd Position

Arm:
Place arm sideways a little below shoulder
level. Have palms facing up.

Feet:
Have feet positioned apart sideward about a
pace distance? Position heels parallel to each
other.

3rd Position

Arm:
Raise one arm at the half circle and a little in
front of the head (amplified position); have
the other arm as in the second position.

Feet:
Have the heel of one foot close to the instep
of the other foot.
 4th Position

Arm:
Raise one arm in an amplified position, while
the other arm is in the first position.

Feet:
Have one foot forward about a pace distance
with toes out.

5th Position

Arm:
Raise both arms to form a circle over and
place a little in front of the head (amplified
position).

Feet:
Have one foot in front of the other foot with
the heel close to the big toe of the other foot.

Name: ____________________________Course/Section: ____________________________

Instructor: ______________________________Date: ___________ Score: ___________

Activity #5

A. Draw the fundamental dance position of the arms.

1st Position 2nd Position

 3rd Position 4th Position

5th Position

Name: ____________________________Course/Section: ____________________________

Instructor: ______________________________Date: ___________ Score: ___________

Activity #6

A. Draw the fundamental dance position of the feet.

1st Position 2nd Position

 3rd Position 4th Position

5th Position

Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)

Things to Remember:
The 1st, 3rd, and 5th feet positions are in close position. The 2nd and 4th positions are in the open position.

Mid-Term Examination

Lesson 5

Basic Dance Step in the 2/4 or ¾ time signature

Objectives:
1. Analyze the basic steps in 2/4 and ¾ time signature;
2. Execute the basic steps in 2/4 and ¾ time signature in Philippine folk dance; and
3. Appreciate the music and actively participate in the execution of the steps.

Dance Step Step Pattern Counting No. of Measure

 Bleking Heel-Place Close 1,2 1
Close Step Step, Close 1,2 1
Brush step Step brush heel forward 1,2 1
Step Swing Step Swing 1,2 1
Cut Step Cut or displace 1,2 1
Hop Step Step hop 1,2 1
Touch Step Point close 1,2 1
Pivot Step on the ball and turn close 1, and, 2, and 1
Cross Step Step cross step 1,2 1

Basic dance Steps in the 2/4-time signature only

Dance Step Step Pattern Counting No. of Measure

Change step Step, close, step 1 and 2 1
Cross change step Cross step, close, step 1 and 2 1
Rocking Step Cut and raise, cut and raise 1,2 1
Heel & toe Heel in front, point toe and step, 1,2,1 and 2 1
change step close, step
Change step turn Step, turn, close, step 1 and 2 1
Contra Ganza Leap, cross step, close 1 and 2 1

Polka Series

Plain Polka Step, close, step (pause) 1 and 2 and 1

Hop Polka Hop, step, close, step (pause) 1 and 2 and 1
Heel and Toe Heel place, point-toe; step close, step 1, 2, 1, and 2 and 1
Polka (pause)
Slide Polka Slide, slide, step close, step (pause) 1, 2, 1 and 2 and 1

Lesson 6

Basic Dance Step in ¾ time signature only

Objectives:
1. Identify the dance steps in ¾ time signature;
2. Analyze and interpret the steps involved in the dance with precission; and
3. Execute the steps in ¾ time signature with joy and confident.

Dance Step Step Pattern Counting No. of Measure

Mazurka Slide, cut, hop 1,2,3 1
Redoba Slide, cut, cut 1,2,3 1
Step swing hop Step R, Swing L, hop 1,2,3 1
Step brush swing hop Step R, swing L, hop 1,2,3 1
Waltz step Step, close, step 1,2,3 1
Waltz balance Step, rise, down 1,2,3 1
Cross waltz Cross, step, close, step 1,2,3 1

Sway Balance Series

Sway balance with Step, cross, step, point 1,2,3 1
a point
Sway balance with Step, cross, step, brush 1,2,3 1
a brush
Sway balance with Step, cross, step, raise 1,2,3 1
a raise
Sway balance with Step, cross, step, close 1,2,3 1
a close
Sway balance with Step, cross, step, hop 1,2,3 1
a hop
Double Sway Step, cross, step, point Step, 1,2,3 1
balance cross, step, point
Sway balance with Step, cross, step, close step 1,2,3 1
a Waltz

Lesson 7

Objectives:
1. Identify the dance steps in Philippine folk;
2. Demonstrate each dance steps; and
3. Combine the dance steps learned.

Dance Combination for Basic Folk Dance Steps

2/4 Time Signature
Step Pattern No. of Measure
I. Partners face the audience with inside hands joined together.
A. Take 16 bleking steps, R and L 16M
B. Execute 16 close steps sideward, R and L 16M
C. Release hold. Take 16 touch steps R and L 16M
Kumintang R and L.
II. Partners face each other. Girls hold skirts. Boys hands on waist.
A. Execute eight change step, R and L alternately 4M
B. Eight cross change steps R and L 4M
C. Execute heel and toe change steps four times 4M
 going to partner's place.
D. Repeat © going to the proper place. 4M
III. Partners face the audience. Hands, the same position as in Fig. 1
A. Execute eight plain polkas, R and L, 8M
alternately
B. Execute eight hops, polka R, and L 8M
alternately
C. Take four heels and toe polka moving 4M
forward
D. Repeat © moving backward 4M
E. Repeat (A)-(D) 24M
F. Release holds. Hands the same in fig. II. 8M
Take eight contraganza, R and L
2/4 Time Signature
Step Pattern No. of Measure
I. Partners face Audience
A. Take 16 waltz steps R and L alternately, hands 16M
in lateral position.
B. Execute 16 cross waltz R and L alternately. 16M
Girls, hands-on skirts and boys hand on waist.
C. Execute 16 waltz balance forward R and 16M
backward L. hands-on forearm position.
II. Partners face each other
A. Sway balance with a point, R and L alternately 16M
B. Sway balance with a raise, R and l alternately 16 M
C. Execute sway balance with a waltz, R and L 16 M
alternately
III. Partners face the audience. Girls, hands-on skirt and boys, hands-on waist.
A. Execute four mazurka steps to the R 4M
B. Repeat (A) to the L 4M
C. Repeat (A) and (B) 4M
D. Execute 16 redoba steps, R and L, alternately; hands 16M
in 2nd position

2/4 Time Signature A.

Step Pattern No. of Measure
A. Four steps hop in place, R and L alternately, hands- 4M
on waist all throughout the figure
B. Two slide steps forward R and L 2M
C. Four skip steps backward R and L 2M
D. Repeat all (A-C) staring with L foot. 8M
¾ Time Signature B.
A. Four touch steps in front, R and L alternately, 4M
arms as in the second position.
B. Leap forward two times, R and L 2M
C. Step brush in place two times, R and L 2M
D. Four walking steps obliquely backward L. 2M
E. Repeat all (A-D) starting with L foot 8M
2/4 Time Signature C.
A. Four bleking steps in place, R and L alternately, 4M
arms in fourth position, left arm high first.
B. Two heel and toe polka forward R and L, arms 4m
in the fifth position.
C. Repeat (A) and (B), starting with L foot (B) 8M
moving backward, reverse the position of the
arms.
¾ Time Signature D.
 A. Waltz balance forward R arm in the third position 1M
with R arm high.
B. Repeat (A backward with the L foot) Reverse 1M
position of the arm.
C. Two cross waltz R and L alternately, hands-on waist 2M
D. Repeat (A-C) starting with L foot, reverse the 4M
position of the arms.
E. Repeat all (A-C) 8M
4/4 Time signature
A. One pivot turn, Right arm overhead, and left 1M
hand on waist.
B. Four touch steps forward R and L alternately, 2M
arms in the second position.
C. Four rocking steps, R and L alternately, hands- 1M
on waist
D. Repeat (A-D) starting with the left foot, reverse 4M
position of the arms.
Repeat all (A-D0 3M

Sample Dances

Carinosa
This flirtation dance is known throughout the Philippines. Carinosa means affectionate,
loveable, amiable. With a 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 to all.

COSTUME: Girl wears Balintawak style costume or Patadyong and Camisa and boy in
Barong Tagalog and trousers in any color. The girl has a fan hanging on the right side of her
waist and the boy has a handkerchief in his pocket. (see illustration, page VI).

Music: is composed of two parts: A and B

Count: one, two, three to a measure.

FORMATION: Partners stand facing each other, six feet apart. When facing the audience,
the girl is at the right of the boy. Any number of couples may take part in this dance.

Note: In the original form figure I is used as an intermission. It is omitted in this

arrangement for it makes the dance long and monotonous.

Introduction
Music Introduction.

Partners face each other.

Execute a three-step turn right in place and bow to each other. The girl holds skirts, the boy
places hands on waist 2M

-I-
Three Steps and Point

Music A:

(a) Starting with R foot, take three steps sideward right (cts. 1, 2, 3). Point L foot in front
(cts. 1,2,3). R hand in reverse “T” position and L hand on waist. Kumintang R hand
pointing L foot……………………………………………………………..2M
(b) Repeat (a) starting with L foot and moving sideward left. Reverse position of
hands……………………………………………………………………….2M
(c) Repeat (a) and (b), three more times……………………………………….12M

-II-
Pointing

Music B:

Partners face each other. Throughout this figure, Girl holds the skirt and the boy places
hands on the wrist.

(a) Starting with R foot, take three steps forward to meet at the center (cts. 1,2,3). Step L
close to R (ct. 1), pause (cts.2,3) …………………………………………….2M
(b) Take four touch steps in front, R and L alternately. Look at each other…….4M
(c) Starting with R foot, take four steps forward to partners place, passing each other by R
shoulder (cts. 1,2,3,1) ………………………………………………………...2M
(d) Repeat all (a-c), finish in proper places………………………………………3M

-III-
Back to back

Music A:

(a) Partners meet at centers as in figure II (a) (cts. 1,2,3,1). Turn right about to be in back-
to-back position a little bit on the right of partner (cts. 2,3). Girl holds skirt, Boy places
hands on Waist………………………………………………………….2M
(b) Point R foot in front and shake R index finger at partner over R shoulder L hand on the
waist (cts.1,2). Step R sideward to be side by side with a partner by L shoulder, place R
hand on the waist (ct. 3). Repeat three more times, pointing L, R, L and shaking L, R,
L index finger alternately at partner. Partners are standing by each other’s shoulders
when shaking R index finger to partner. Free hands-on waist (3M) ………………4 M
(c) Turn right about and exchange places as in figure II (C) ……….8 M

-IV-
Hide and Seek with fan

Music B:

(a) Partner meet at the center as in figure II (a)……………………………………..2M

(b) Girl- hold an open fan with R hand. Point R foot in front and cover face with a fan, L
hand holding skirt (ct.1,2). Step R close to L and put R hand down (ct.3). Repeat the
same three more times, pointing L, R, L covers face with the fan on cts. 1, 2 of every
measure (3M). The boy in the meantime, point R and L foot alternately in front and
 looks at his partner underneath the fan, hands alternately in front and looks at partner
underneath the fan, hands-on
waist………………………………………………………………4M
(c) Exchange places as in figure II (c).…………………………………………2M
(d) Repeat all (a-c), finishing in proper places………………………………….8M\

-V-
Kneeling and Fanning

Music A:

(a) Starting with R foot, take three steps forward to center. Girl holds skirt, Boy places on
waist (cts. 1,2,3). Girl-kneel on R while Boy passes around on right of a girl to stand
behind her and faces the same direction as a girl. Partners place hands on the waist
(cts.1,2,3) ……………………………………………………………………2M
(b) Boy-Point R and L foot four times alternately in front, looking at Girl over her R and L
shoulder alternately. The girl in the meantime looks at partner over her R and L
shoulder alternately. Both place hands-on waists…………………………………….4M
(c) Boy – turn right about, girl stand and exchange place as in figure II (c) ….2M
(d) Repeat all (a-c), but this time boy kneels down and the girl fans boy over his R and L
shoulder alternately as she points her R and L foot alternately. Finish in proper
places……………………………………………………………………….8M

-VI-
Hide and Seek with Handkerchief

Music B:

(a) Partners meet at the center as in figure II (cts. 1,2,3,1). Boy takes the handkerchief
from his pocket. Partners hold handkerchief at corners a perpendicular position
between their faces with Boy’s hands-on top at face level (cts.2,3)
…………………………………2M
(b) Partners point R and L foot alternately four times as in figure II (b). Invert
handkerchief at every measure, that is, on one measure with boy’s hands-on top while
pointing R foot and the next measure with Girl’s hands-on top while pointing with L
foot. When own hands are down, look at partners face from below and when up look
above handkerchief……………………………………………………….……..2M
(c) Girl releases handkerchief. Partners exchange as in figure II (c)
(d) Repeat all (a-c), finishing in proper places. This time Girl keeps a handkerchief at the
end of this figure……………………………………………………………..8M

Note: In the Bicol regions the hide-and-seek movement is done with two handkerchiefs
crossed diagonally. Each dancer holds a handkerchief at two corners which is diagonally
folded (triangular form). While the dancers point the R foot, the R hands are held obliquely
right upward and the L hands are obliquely left downward, thus the handkerchief is closed like
the letter X in front between them. The position of the hands is reversed when pointing L foot.
They change the position of hands at every measure. They peep through the opening of the
handkerchief above and below alternately. The girl peeps above with R hands are up and the
boy, when the L hands are up.

-VII-
Flirting with handkerchief

Music A:

Note: If one pair is dancing, the partner may go in any direction so long as they finish in
proper places at the end of this figure.

(a) Partner turn R shoulder toward each other. Starting with R foot, take eight waltz steps
forward moving around clockwise, Girl hold handkerchief at one corner and place it
 over her R and L shoulder alternately at every measure, looking back at the boy at the
same time. The boy in the meantime follows behind Girl, stretch out R and L hand
alternately as if trying to catch the free end of the
handkerchief…………………………………………8M
(b) Turn right about and repeat (a) counterclockwise, Girl leads again, Finish in proper
places……………………………………………………………………………..8M

-VIII-
Flirting

Music B:

(a) Starting with R foot, take two waltz steps to meet at the center. Girls' arms in lateral
position moving sideward right and left, boys hands-on what.
(b) With Girl leading in front, partners take six waltz steps forward moving around
clockwise. Some position of hands as in (a) but Girls fingers fluttering in time with the
music as she looks over her R and L shoulder alternately at the boy who is following
her
closely……………………………………………………………………………..6M

Saludo

Execute a three-step turn right in place and bow to each other with the girl holding her skirt
and the boy with his hands in his
waist.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3M

Polka sa Nayon
(Tagalog)

This ballroom polka was popular in the province of Batangas in Spanish time. It was
usually danced during town fiesta and in big social affairs.

COSTUME: The girl wears the Maria Clara or Balintawak style costume; the Boy wears
Barong Tagalog and black or white trousers.

COUNT: one, and two to a measure.

Music: is composed of three parts: A, B, C.

FORMATION: When performed for demonstration, dancers may be grouped into a set of
fairs in a square formation, each couple occupying a corner, or a side of an imaginary square
or they may be arranged in longways formation.

When performed as a ballroom dance, the partner may face in any direction and are tattered
about the room.

Note: Boy starts with L foot and Girl, with R foot in figures I, II, and II. The letter or word in
the instructions is for Girl.

Introduction

Music Introduction
Partners face the audience, inside hands joined, freehand of Girl holding skirt, that of Boy is
placed on the waist.

(a) Tap R foot on every count of the measure…………………………………..8M

(b) Partners hold in closed ballroom dance position to get ready for the figure I….4M

-I-
Polka
Music A.

Extended arms towards the audience.

(a) Starting with L (R) foot, take four polka steps around clockwise finishing in original
position………………………………………………………………………4M
(b) Point L (R) sideward (cts. I, and), point L (R) close to R (L) (cts. 2, and). Take one
polka step sideward left (right) (cts. I, and 2, and) ………………………………..2M
(c) Repeat (b), starting with R (L) foot …………………………………………2M
(d) Repeat all (a-c), three more times ………………………………………….24M

-II-
Heel and Toe Polka
Music B.

Face audience. Perhaps release hold. Stand side by side, the girl at right, inside hands joined.
Freehand of the Girl holds the skirt that of Boy is placed on the waist.

(a) Starting with outside foot, take two heels and toe polka steps forward …….4M
(b) One polka step outward (IM) and one polka step inward (1M) ……………2M
(c) Drop inside hands. Starting with the outside foot, take two polka steps to turn about
outward in place. Finish facing in opposite direction ……………………………….2M

Join inside hands, free hands as above.

(d) Repeat (a,c), starting with inside foot. The reverse direction in (b) and (c) …..8M
(e) Repeat all (a-d) ……………………………………………………………16M

-III-

Music A.

Partners hold in closed ballroom dance position, extended arms forward audience.

(a) Starting with L ® foot, take four polka steps clockwise as in figure I (a) ..4M
(b) Take three gallop steps sideward left (right) toward the front (3 cts.), pause (1 ct.). do
not put weight on the closing foot on the third gallop step ……………………2M
(c) Repeat (b), starting with the other foot, going in the opposite direction ………….2M
(d) Repeat all (a-C), three more times …………………………………………24M

-IV-

Music C

Partners face front, Girl at the right side. Join hands as in Figure II. Both start with R foot.

(a) Partners take one polka step R sideward and one polka step L sideward …2M
(b) Point R in front (cts. 1 and,), raise same foot across L foot in front, just above the ankle
(cts. 2, and,). Point R foot in front (cts. 1, and), step R close to L foot (cts. 2 and) ...2M
(c) Repeat (a) and (b) starting with L foot …………………………………….2M

Drop inside hands. Face each other and place both hands on their own waist.

(d) With R elbows near each other (jaleo position), take eight polka steps forward, turning
clockwise twice (four polka steps for each turn). Finish in proper place…..8M
(e) Repeat all (a-d) ……………………………………………………………16M
 Saludo

Music Finale.

Partners face the audience. Join inside hands, free hands as in figure II.

(a) Starting with R foot, take four polka steps forward ……………………….4M
(b) Girls whirl counterclockwise under the arch of arms as many times as possible ..3M
(c) Drop inside hands. Face and bow to each other or to the audience; girl holds skirt and
Boy places hands on waist 1M Note; If desired, the whole dance may be repeated in
steps of four pairs in a square formation, all facing center of the set. The saludo is
performed with all facing front only when ending dance.

Name: ____________________________Course/Section: ____________________________

Instructor: ______________________________Date: ___________ Score: ___________

Activity #6

Enumerate the following:

A. The eight-figure of Carinosa

1.
2.
3.
4.
5.
6.
7.
8.

B. The costume used in Carinosa

9.
10.

C. List dance steps used in the dance Carinosa.

11.
12.
13.
14.
15.