Dance is a performing art form consisting of

purposefully selected sequences of human movement. This

movement has aesthetic and symbolic value and is
acknowledged as dance by performers and observers
within a particular culture. Dance can be categorized and
described by its choreography, by its repertoire of
movements, or by its historical period or
place of origin.
ELEMENTS OF
DANCE
 The Elements of Dance are the ▪ Body
foundational concepts and vocabulary that ▪ Action
▪ Space
help students develop movement skills and
▪ Time
understand dance as an artistic practice.
▪ Energy
BODY
In dance, the body is the mobile figure or shape, felt by the dancer,
seen by others. The body is sometimes relatively still and sometimes
changing as the dancer moves in place or travels through the dance area.
Dancers may emphasize specific parts of their body in a dance phrase or
use their whole body all at once.
ACTION
Action is any human movement included in the act of dancing— it can
include dance steps, facial movements, partner lifts, gestures, and even
everyday movements such as walking. Dance is made up of streams of
movement and pauses, so action refers not only to steps and sequences,
but also to pauses and moments of relative stillness.
SPACE
Space is the area the dancers occupies during execution of movements. It includes the distance they
travel within the performance

> General Space

> Personal Space

Spatial relationships between dancers or between dancers and objects are the basis for design concepts
such as beside, in front of, over, through, around, near or far.
TIME
Rhythmic patterns may be metered or free rhythm. Much of western music uses
repeating patterns (2/4 or 3/4 for example), but concepts of time and meter are used
very differently throughout the world. Dance movements may also show different
timing relationships such as simultaneous or sequential timing, brief to long duration,
fast to slow speed, or accents in predictable or unpredictable intervals..
ENERGY
Energy is about how the movement happens. Choices about energy include
variations in movement flow and the use of force, tension, and weight. An arm gesture
might be free flowing or easily stopped, and it may be powerful or gentle, tight or loose,
heavy or light. A dancer may step into an arabesque position with a sharp, percussive
attack or with light, flowing ease. Energy may change in an instant, and several types of
energy may be concurrently in play.
Although there are hundreds of
dance styles, for simplicity, dance
has been categorized into different
types of dance in a few large
groups:
✓ Folk dance
✓ Ballet
✓ Modern and Contemporary
Dance
✓ Hip-Hop (or street dance)
✓ Latin, ballroom and social
dance
✓ A folk dance is a dance that reflects the life of the people
of a certain country or region.
✓ Oldest form of dance and one of the earliest form of
communications.
 PHILIPPINE
TRADITIONAL
DANCES
✓

✓
Mrs. Francisca Reyes Tolentino
(known today as Mrs. Francisca Reyes Aquino) is
considered the mother of Philippine Folk Dances.
Philippines has a great variety of dances. Due to its numerous
islands, and the scattered position of these islands.
✓ Cordillera Dances
✓ Western Influence Dance
✓ Rural dances
✓ Muslim and Non-muslim Dances
CORDILLERA DANCES
 Cordillera Dances
The Cordillera dance
continues to be an
expression of community
life that animates the Sample Dances:
✓ Banga (Kalinga Tribe)
various rituals and ✓ Bendayan (Benguet Province)
ceremonies. They dance to ✓ Manmanok (Bago Tribe)
appease their ancestors and ✓ Ragragsakan (Kalinga Tribe)
✓ Turayen (Gaddang Tribe)
gods to cure ailments, to ✓ Tarektek (Benguet Tribe)
ensure success at war, or to ✓ Uyaoy / Uyauy (Ifugao Tribe)
ward off bad luck or natural
calamities.
https://www.youtube.com/watch?v=1uUJbCOMiaU
https://www.youtube.com/watch?v=ZImIQPw_CXI
 WESTERN INFLUENCE DANCE

3/1/20XX SAMPLE FOOTER TEXT 23

 Western Influence Dance (Maria Clara)
The Maria Clara dances merged
Spanish court style (and its Sample Dances:
stylized courtship conventions) ✓ Jota
with Philippine exuberance. Intramureña
Maria Clara is the pure and noble ✓ Engañosa
heroine of a novel who ✓ La Jota Manileña
represents the finest qualities of ✓ Jota Paragua
Filipino womanhood. The ✓ Polkabal
dancers wear European 16th- ✓ Putritos
century dress but move to the ✓ Baston
✓ Timawa
sounds of bamboo castanets.
24
https://www.youtube.com/watch?v=aFLeRIbZ1gU
https://www.youtube.com/watch?v=8g_ADxIhCxk
RURAL DANCE
 Rural Dance
Rural dance (or Countryside
dance)- Perhaps the best
known and closest to the
Filipino heart are the dances
from the rural Christian
lowlands: a country blessed
with so much beauty. To the
Filipinos, these dances
illustrate the fiesta spirit and
demonstrate a love of life.
Sample Dances:
✓ Tinikling – Leyte.
✓ Itik-Itik – Surigao del Sur.
✓ Maglalatik – Biñan, Laguna.
✓ Binasuan – Pangasinan.
✓ Kappa Malong-Malong –
Maranao in Mindanao.
✓ Cariñosa – Panay Island.
https://www.youtube.com/watch?v=sV0JWLU2T7Y
https://www.youtube.com/watch?v=N2TOOz_eaTY
MUSLIM AND MINDANAO DANCE
 Muslim And Mindanao Dance
Mindanao and Muslim
dance mirror the
people’s Sample Dances:
expression. They show •Singkil.
not only the Artistic •Pangalay.
Ingenuity of the natives, •Dugso.
but also their beliefs, •Sagayan.
traditions and life are •Karasaguyon.
•Asik.
reflected in them. These •Udol.
dances have for long
survived.
https://www.youtube.com/watch?v=xulZS6K2tiM
https://www.youtube.com/watch?v=wpuf7qReRQQ
1.

2.

3.
4. Arms in lateral Position
-

5. Arms in Reverse “T” Position

- Arms are at side horizontal, elbows bent at right angles, forearms
parallel to head, fists loosely closed.

6. Bilao
- Hands in front parallel to each other at waist level, elbows close to the
waists, palms down. Reverse the position of the hands with palms up and
down alternately.
7. Bleking
- heel-place, and close

8. Brush
- weight on one foot, hit the floor with the ball or heel of the
other foot, and lift that foot from the floor to any direction.

9. Cabeceras
- the couples occupying the width of the hall when dancers are in
square formation (head couples)
10. Chasing
- Execute successive close steps with one foot leading (1 step on every
ct.)

11. Clockwise
- Like the motion of the hands of the clock. R shoulder is toward
center of an imaginary circle. When facing center, movement is
toward left.

12. Costados
- The couple occupying the length of the hall when dancers are in
square formation (side pairs).
13. Counterclockwise
- The reverse direction of clockwise, L shoulders toward
center. Movement is toward right when facing center of
circle.

14. Crossed Arms

- Partners facing each other or standing side by side join
their L hands together and the R hands together; either R
over L or L over R hands.
15. Cross-over
- Two couples are opposite each other. Each couple proceeds to
opposite place. The girls pass by their L shoulders between the
boys.
- Boys bow to each other when they meet at the middle, then follow
the girls to the opposite place. Partners turn right about upon
reaching the opposite place; girls stand at partner’s right side.

16. Cut

- To displace quickly one foot with the other.

17. Do-si-do (dos-a-dos)
- Partners advance forward pass each other’s right (or left) side,
step across to the right (or left) move backwards without
turning around, pass each other left (or right) side to proper
places.

raw
- The free foot is drawn toward the foot, which supports the
body weight by pressing the toes against the floor as the close
is made with or without transfer of weight.
19. Free Foot
- The foot not bearing the weight of the body.
20. Free hand
- The hand not placed anywhere, or not doing anything.
21. Galop

- Step R (L) foot forward (sideward) (ct.1), cut the R (L)

with the L (R) thus displacing it, taking the weight of
the body with L (R) (ct.ah)
22. Hands Holding Skirt
- Arms at the side of the body, fingers holding skirt.

23. Hands on Waist

- Knuckle of hands are placed at the smallest part of the
waist.

24. Hapay

- To flourish or offer a handkerchief, a hat or a glass of wine.

This is of Tagalog dance term.
28.

29. Inside hand

- The hand nearer the partner when partners stand side by
side.

30. Jaleo

- Partners turn around clockwise (with R elbows almost

touching) using walking or any kind of dance step.
31. Jump
- Spring on one foot or both feet landing on both feet in any
direction.

32. Korriti
- With one foot crossed in front of the other, take as many step as
desired.

33. Kumintang
- Moving the hand from the wrist either in a clockwise or counter
clockwise direction.
34. Leap

- A spring from one foot, landing on the other foot in any direction.

35. Masiwak

- To turn the hand from the wrist halfway clockwise then raise and
lower wrist once or twice. This is an Ybanag dance term.

36. Mincing

- With feet in 5th position and heels raised, take as many tiny steps
sideward (1 step on every count)
37. Outside foot
- The foot away from one’s partner, when partners stand
side by side.

38. Outside hand

- The hand away from one’s partner, when partners stand
side by side.

39. Opposite

- The person standing in the opposite across the set.

40. Panadyak

- With body weight on L (R) foot, stamp R (L) foot in fourth

position, in front, then tap same foot close to L (R), arms in
reverse “T” position, hands doing the Kumintang on the stamp.

41. Patay

- To bend the head down so that the forehead touches the R (L)
forearm or the hook of the R (L) hand. This is usually done
with the R (L) foot pond lightly bent. This is an Ilocano dance
term.
42. Pivot
- To turn with the ball, heel or whole foot on a fixed place or
point.
43. Place
- To put foot in a certain position without putting weight on it;
the sole of the foot rests on the floor.
44. Point
- Touch the floor lightly with the toes of one foot, weight of the
body on the other foot.
45. Rocking Step
- Fall onto R (L) foot incline body slightly forward, raise L (r) in rear
(ct.1), fall into L (R) foot in rear, incline body backward, raise R (L)
forward (ct.2).
- Rock may be taken in place, forward and backward or from side to
side.

46. Salok (a)

- Swinging the arm downward- upward passing in front of the body
as if scooping; the trunk is bent forward following the movement of
the arm doing the salok.
-

-
49. Sarok (a)
- Cross the R (or L) foot in front of the L ( or R), bend the
body slightly forward and cross the hands down in front R
(or L) hand over L (or R).

50. Sarok (b)

- Cross the R (L) foot in front of the L (R) foot, bend the
body slightly forward and cross the hands down in front R
(L) over L (R). This is a Visayan term.
51. Set
- A dance formation like a square or a unit formation
composed of two or more pairs.

52. Shuffle/shuffling
- To step right (L) foot in place count left foot in place ah
step right (L) foot in place count ah and step left foot
in place count ah./ With both feet flat on floor, make
tiny slide steps forward (1 small slide on every ct.)
53. Skip Step

- Step R (L) in 4th in front (ct.1), hop on R (L) in place (ct. ah). This is
executed in any direction.

54. Slide

- To glide foot smoothly along the floor.

55. Stamp

- To bring the foot forcibly and noisily on the floor.

56. Step
- To advance or recede by moving one foot to another resting place with a
complete transfer of weight from one foot to another.
57. Supporting foot

- The foot that bears the weight of the body.

58. Tap

- To rap slightly with the ball or toe of the free foot keeping weight of the
body on the other foot. There is no transfer of weight.

59. Touch

- The same with point.

60. Whirl

- To make fast turns by executing small steps in place, to right, or to left.

 2/4 time Number of Measures Step Pattern

1. Touch Step (2/4 or 1 Point R

3/4) (fwd./swd./bwd.), Close
R to L
2. Bleking Step (2/4 or 2 Heel-place R/L, close R/L
3/4) or L to R

3. Close Step (2/4 or 1 Step R (any direction),

3/4) close L or R
4. Cross Step (2/4 or 3/4) 1 Step R cross and step L
across R
5. Hop Step 1 Step R (any direction),
hop on R
 2/4 time Number of Step Pattern
Measure
6. Brush Step (2/4 or 3/4) 1 Step R (any direction), brush L

7. Slide Step (2/4 or 3/4) 1 Slide R (swd./fwd.), close L to R

8. Swing Step (2/4 or 3/4) 1 Step R (swd./fwd.), swing L across R

9. Change Step 1 Step, close, step

10. Heel & Toe Change step 2 Heel-place, toe-point, step, close, step

11. Chotis 2 Brush raise, brush raise, step, step, step (turn) close

12. Cut Step ½ Cut or displace

 2/4 time Number of Measure Step Pattern

13. Rocking Step 1 Fall and raise, fall and raise

(forward and backward using 2
points of landing)
14. Step hop (2/4 or 3/4) 1 Step, hop

15. Skip Step ½ Step, hop

16. Galop ½ Step, cut

17. Touch step (2/4 or 3/4) ½ or 1 Point, close

18. Contraganza 1 Leap, cross-step, step

19. Mincing step (2/4 or 3/4) 1 step, step, step, step, etc.
 2/4 time Number of Step Pattern
Measure

20. Shuffling (2/4 or 3/4) 1 slide, slide, slide, slide, etc.

21. Cross change step 1 Cross, step, step

22. Changing step 1 Jump, cross R/L over L/R

23. Habanera step 1 Step, close, step, step

24. Plain polka 1 Raise-step, close, step

25. Hop polka 1 Hop-step, close, step

26. Heel and toe polka 2 Heed-place, toe-point, raise-step,

close, step
 3/4 time Number of Step Pattern
Measures
1. Sway balance with a point 2 Step, cross-step, step, point

2. Sway balance with a raise 2 Step, cross-step, step, raise

3. Sway balance with a hop 2 Step, cross-step, step, hop

4. Sway balance with a brush 2 Step, cross-step, step, brush

5. Sway balance with a close 2 Step, cross-step, step, close

6. Double sway balance 4 Step, cross-step, step, point, cross-step,

step, point

7. Sway balance with a waltz 2 Step, cross-step, step, close, step

 3/4 time Number of Measures Step Pattern

8. Step-swing (2/4 or 3/4) 1 Step, swing

9. Step-swing-hop (2/4 or 3/4) 1 Step, swing, hop

10. Step brush-swing hop 1 Step, brush-swing, hop

11. Mazurka 1 Slide, cut, hop

12. Waltz step 1 Step R (fwd./ swd./ bwd.), close L to R, step

R in place
13. Cross waltz 1 Cross-step R across L, close L to R, step R in
place
14. Waltz balance 1 Step R (swd./fwd.), close L to R and raise
both heels, heels down
 3/4 time Number of Measures Step Pattern
15. Redoba 1 Slide R (diagonal fwd.), cut R
with L forward, cut L with R
backward
16. Brush Step (2/4 or 1 Step, brush
3/4)
17. Chasing steps (2/4 or 1 With one foot leading, execute
3/4) successive close steps to any
direction
18. Engano with a waltz 2 Step, cross-step, step, close,
step
19. Engano with a close 2 Step, cross-step, step, close
Basic Dance Steps in 4/4 Number of Measures Step Pattern

1. Schottische 1 Step, close, step, hop

(raise foot in front)

2. Escotis 1 Step, close, step, hop

(raise foot in rear)

3. Chotis 2 Brush, raise, brush,

raise step, step, step,
close or pause