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Physical Education Department

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Physical Education Department

Central Mindanao University
www.cmu.edu.ph
cmupedept@gmail.com

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UNIT 3
COMMON DANCE TERMS

TIME ALLOTMENT
This unit will be discussed for six (6) hours, equivalent to three (3) weeks.

INTRODUCTION

Today, we embark on a fascinating journey into the world of dance, where every
movement tells a story. In our time together, we will delve into the intricacies of common
dance terminology, seeking to not only identify them but also to understand and
differentiate their nuanced meanings. Furthermore, we'll step onto the floor, figuratively
speaking, as we demonstrate these terms, breathing life into their definitions.
As we progress, it's imperative to acknowledge the profound significance of these
dance terms in the realm of performance art. They serve as the universal language that
bridges gaps of culture and tradition, allowing dancers to communicate their emotions,
stories, and expressions with precision and grace. Let us, therefore, not only learn, but also
appreciate the vital role these terms play in elevating dance performances to new heights.
So, without further ado, let us embark on this enriching exploration of dance
terminology, ready to unlock the secrets behind each movement and embrace the art form
in its purest form.

LEARNING OBJECTIVES

At the end of this unit the students should:

1. Identify the different common dance terms;

2. Differentiate the difference between dance terms;
3. Demonstrate the common dance terms; and
4. Display appreciation on the importance of dance terms in dance performances.

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 COMMON FOLK DANCE TERMS
TERMS DESCRIPTION
 Abrasete Girl at the right side holds R arm of partner with her L hand, free hands down
at the sides. This term is of Spanish origin and is used in Rigodon and in other
dances.
 Arms in Lateral Both arms are at one side, sideward, right or left. This may be done at
Position shoulder, chest or waist level.
 Arms in reverse T Side horizontal elbows bent at right angles, forearms parallel to head, palms
forward or facing inward, fists loosely closed.
 “Bilao” To turn palms of hands-up and down alternately, hands at waist level in front,
elbows close to waist.
 Brush Weight in one foot bit the floor with the ball or heel of the other foot (the free
foot) after which that foot is lifted from the floor to any direction.
 “Cabeceras” When dancers are in square formation, the couples occupying the width of
the hell are called cabeceras or head couple. This is of Spanish origin.
 Clockwise Like the motion of the hands of a clock. R shoulder is toward the center of an
imaginary circle. When facing center, the movement is toward the left.
 Counterclockwise The reverse direction of clockwise. L shoulder is toward the center of an
imaginary circle. When facing center, the movement is toward the right.
 “Costados” When dancers are in square formation, the couples occupying the length of
the hall are called costados or side pairs. This is of Spanish origin.
 Crossed arms Partners are facing each other or standing side by side, girl at the right of boy.
They join their L hands together and their R hands together; either-R over L or
L over R hand.
 Cross Over Two couples (the vis-a-vis) are opposite each other. Each couple proceeds in
a straight line to the opposite place the girls pass by their L shoulders between
the boys. Boys bow to each other when they meet at the middle or about one-
third of the way, then proceed to the opposite place. Upon reaching the
opposite place, partners turn about, girls stand
 Cut To displace quickly one foot with the other, thus, completely taking off the
weight of the body from the displace foot.
 Do-si-do (Dos-A-Dos) The vis-a vis (opposite) both advance forward, pass each other’s right (or left)
side, step across to the right (or left), move backward without turning around
pass each other’s left( or right) side to proper places. This is of foreign origin
and is used in many Philippine dances.
 Draw To pull one foot along the the floor to the other which has the the weight of
the body.; the weight may or may not be transferred.
 Free Foot The foot not bearing the weight of the body.
 Free hand The hand not places anywhere or not doing anything
 Hands on Waist Place hands at the waistline Cat the smallest part of the trunk. Knuckles in,
fingers pointing in rear
 “Hapay” To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign
of invitation
 “Hayon-hayon” To place one forearm in front and the other of the back of the waist. This is
Visayan term.
 Hop A spring from one foot landing on the same foot in place or in any direction.
The other foot may raised in any direction(in front, on rear, sideward or
across)
 Inside foot The foot nearest one’s partner, when partners stand side by side
 Inside hand The hand nearest one’s partner, when partners stand side by side

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 “Jaleo” Partners turn around once clockwise (with R elbows almost touching) or
counterclockwise (L) using walking or any kind of dance steps. The hands near
each other are on waist. This is a Tagalog term but in Spanish origin.
 Jump Spring on one foot or both feet, landing on both any direction
 “Kumintang” Moving the hand from the waist either in a clockwise or counterclockwise
direction. This is an Ilocano term.
 Leap A spring from one foot, landing on the other foot in any direction (forward,
sideward, backward or oblique)
 Masiwak To turn the hand from the waist halfway clockwise then grace and lower wrist
once or twice. This is an n Ibaneg term.
 Outside foot The foot away from ones partner , when partners stand side by side
 Outside hand The hand away from ones partner, when partners stand side by side
 “Panadyak” To stamp in front or at the side with R (L) and half with same foot closed to
the L (R) foot, weight of the body on L (R) foot. This is a tagalong term.
 Place To put foot in a certain or desired position without putting weight on it. The
sole of the foot rests on the floor.
 Pivot To turn the ball, heel, or whole foot on a fixed place or point.
 “Patay” To bend the head downward and to support the forehead with the R (L)
forearm or with the crook of the R (L) elbow while the L (R) hand supports
lightly the palm of the R(L) hand- this is usually done with the L (R) foot
pointing in rear and knees slightly bend. This is an Ilocano term and the
movement is commonly found in Ilocano dances.
 Point Touches the floor lightly with toes of one foot, weight of the body on the other
foot.
 “Salok” To swing the arm downward-upward passing in the front of the body as if
scoping, the trunk is bent forward following the movement of the arm doing
the “salok”. This is a tagalong term
 “Saludo” Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This term is of Spanish origin and is used in
almost all Philippine dances.
 “Sarok”- or “Saroc” Cross the R (L) foot in front of the L (R), bend the body slightly forward and
cross hand (forearms) down in front with the R (L) hand (forearm) over the L
(R). This is the Visayan term.
 Set Adance formation like a square or a unit formation composed, of two or more
pairs.
 Slide To glide foot smoothly along the floor. The movement maybe finished with or
without transfer of weight.
 Stamp To bring sown the foot forcibly and noisily on the floor (like doing a heavy
step) with or without transfer of weight.
 Star with right hand Four or more people join R hands at center and circle around clockwise using
walking or any kind of dance steps.
 Star with left hand Same as “star with R hand” but joining L hands and turning counter clockwise
 Step To advance or recede by raising or moving one foot to another resting place.
There is a complete transfer of weight from one foot to another.
 Supporting foot The foot that bears the weight of the body
 Tap To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body of the other foot. There is no change or transfer
of weight.
 Whirl To make fast turns by executing smalls steps in place to right or left

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DANCE TURNS
DANCE TERMS DESCRIPTION
Three-step-turns Make a complete turn with three steps in place or to sideward right (left). It is
usually finished with a saludo
Four-step turn Make a complete turn with three steps in place or to sideward right (left). It is
sometimes ended with a saludo
Cross turn Cross one foot across the other in front and make a complete turn
Cross-step turn Step one foot sideward then execute a cross turn
Brush-step turn Step one foot sideward, brush the other foot in front, and step brushing foot
close to other foot (1M); repeat movement three time more to make a complete
turn(3M).
Slide Turn Step one foot sideward, slide the other foot moving in semi-circle, and step same
foot close to other foot (1M); repeat movement three times more to make a
complete turn (3M)
Change Step Turn 1. Fast- use one change step to make a full turn
2. Moderate- to make two change steps to make a full turn
3. Slow- execute for change steps to make a full turn
Waltz turn 1. Fast- used one waltz step to make a full turn
2. Moderate- make two waltz steps to make a full turn
3. Slow- execute four waltz steps to make a full turn
Whirl turn With very tiny steps make several very fast turns
Pivot turn Using one foot as pivot, push with other foot as many as desired (usually four
times) to complete a full turn in place
Pivot turn with a close Pivoting on one foot, point one foot sideward or obliquely forward using one or
two counts, then close same foot to pivoting foot with one count (1 M); repeat
movement three time more (3 M)

DANCE STEPS
STEPS IN 2/4 TIME
Dance Step Measures to L/R Execution by Counts
Touch/ Point step 1 Measure Point R/L ball (fwd/swd/bwd) (ct1);close R/L to L/R (ct and ct2
1 Measure Heel place R/L (fwd/swd) (ct 1);close R/L to L/R (ct and ct 2)
In the hop blecking in Mexican dances, hop on L/R as the R/L
Blecking executes the heel place
Close Step/ Follow step 1 Measure Step R/l to any direction (ct1); close L/R to R/L (ct and ct 2)
Cross Step 1 Measure Step R/L in place (ct 1); step L/R across R/L (ct and ct 2)
Hop step 1 Measure Step R/L to any direction or in place (ct 1); hop on it (ct and ct2)
Brush step 1 Measure Step R/L to any direction or in place (ct 1); brush L/R (ct and ct 2)
Slide step 1 Measure Slide R/L (swd/fwd) (ct 1); close L/R to R/L (ct and ct 2)
Swing step/ step 1 Measure Step R/L (swd/fwd) (ct 1); swing L/R across R/L (ct and ct 2)
Change step/ two 1 Measure Step R/L to any direction (ct 1); close L/R to R/L ( ct and); step R/L
step/ Paso doble (ct 2)
Cross Change Step 1 Measure Step R/L across L/R (ct 1); close L/R to R/L (ct and); step R/L (ct 2)
Contraganza 1 Measure Leap R/L swd R (ct 1); across step L/R across R/L (ct and); step R/L
in place (ct 2)
Habanera 1 Measure Step R/L to any direction (ct1); close L/R to R/L (ct and); step R/L in
place (ct 2)
Hop Polka 1 Measure Similar to plain polka but start with a hop step R/L (ct 1) and end
with a pause while raising L/R (ct 2)
Plain Polka 1 Measure Step R/L (fwd,/swd/bwd) (ct 1); close L/R to R/L (ct and);raise L/R
(ct2)
Heel and Toe Polka 2 Measures Heel place R/L in front (ct1 ct and); toe point R/L in rear of L/R (ct
2 ct and); plain polka (ct 1 ct and ct 2 and) heel and toe change
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 step is done similar to heel and toe polka but with the second M
executing a change step instead
Mincing steps 1 Measure With feet in 5th and heels raised, take as many tiny steps swd (1
step on every count)
Shuffling steps 1 Measure With both feet flat on the floor, make tiny slide steps fwd (1 small
slide on every count)
Chasse/ChasingSteps/ 1 Measure Execute successive close steps with one foot leading (1 step on
Slip step every count)

STEPS IN ¾ TIMES
Dance Step Measures to Execution by Counts
L/R
Native Waltz 1 Measure Step R/L(fwd,bwd/swd) (ct 1); step L/R close to R/L(ct.2); R/L in
place (ct.3)
Waltz Balance/ Ballroom 1 Measure Step R/L fwd (ct.1); step L/R close to R/L lifting heels from the floor
Waltz (ct2); lower heels (ct 3)
This step should be done lightly
Accented running waltz 1 Measure 3 rnning steps R/L, L/R, R/L (ct 1,2,3).
Accent on the first beat of every M and done lightly;this could be
done travelling to any direction are in place.
Cross waltz 1 Measure Cross-step R/L across L/R (ct.1); close L/R to R/L(ct 2); step R/L in
place (ct 3)
Mazurka (with a stamp) 1 Measure Stamp R/L swd (ct 1); cut R/L with L/R (ct2); hop on L/R and swing
R/L bwd in front of L/R (Ct 3)
Mazurka (with a brush) 1 Measure Slide/brush R/L swd (ct1);cut R/L with L/R (ct2) hop on L/R and
swing R/L bwd in front of L/R (Ct 3)
Redoba 1 Measure Slide R/L diag fwd (ct1); cut R/L with L/R (ct2); Cut R/L with L/R
(ct3)
Steps Swing 1 Measure Step R/L in any direction (ct1); swing L across R (ct2) pause (ct3)
Steps swing Hop 1 Measure Similar to steps swing but hop on R/L at (ct3)
Step brush step hop 1 Measure Similar to step swing but brush L/R before swing it (at ct2) and
hop on R/L(Ct3)
Menuet 2 Measures 3 walking steps fwd R/L (ct1); L/R (ct2), R/L (ct3); point L/R fwd on
balls (ct 1,2,3)
Draw step 1 Measure Step R/L swd (ct1); slide ball of L/R close R/L (ct 2,3)
This is usually done moving swd in any direction, but may also be
done in any direction and on alternating feet
Grape Vine 2 Measures or Step R/L swd (ct1) step L/R across R/L in front or in rear (ct 2) step
more R/L swd (ct 3); cross L/R in front or in rear of L/R (ct1); step R/L
swd (ct2); cross L/R and so on (or end it by closing the foot with
the other)
Blecking 1 Measure Heel place R/L fwd (ct1,2); step R/L close to L/R (ct3)
Sway Balance with a close 2 Measures Step R/L diagonally fwd (ct1,2); cross-step L/R across R/L (ct3);
step R/L bwd (ct1) close L/R to R/L (ct2)
Sway Balance with a waltz 2 Measures Step R/L diag. fwd (ct1,2);cross-step L/R across R/L (ct3) step R/L
bwd (ct1) close L/R to R/L (ct2); step R/L ib place (ct 3)
Sway balance with a hop 2 Measures Step R/L diag. fwd (ct1,2);cross-step L/R across R/L (ct3) step R/L
bwd (ct1); hop on R/L while raising L/R (at 2,3) then during the
hop, L/R could also swing across R/L
Sway balance with a point 2 Measures Step R/L Diagonally fwd (ct1);cross-step L/R across R/L (ct3); step
R/L bwd (ct1); point L/R on balls in front (ct 2,3)
Engaño with a Close 2 Measures Step R/L swd (ct1,2); cross-step L/R across R/L (ct3);step R/L swd
(ct3) step R/L swd (ct1); close L/R to R/L (ct 2,3)
Engaño with a waltz 2 Measures Step R/L swd (ct1,2); cross-step L/R across R/L (ct3);step R/L swd
(ct3) step R/L swd (ct1); close L/R to R/L (ct 2,3); step R/L in place

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REFERENCES

Andin and Basobas, Rhythms and Dances (1980)

Andin, Carmen. Handbook of Rhythmic Activities (1980)
Aquino, Francisca R. Handbook of Rhythmic Activities (1980)
C.T. Andin and P.L. Minas (2004). Elements of Dance and Rhythm.
Andin and Minas. Dance Education in School Curriculum (2004)
Tulio, Sarmiento, Balting, Lagguit and Bumega. The Fundamental of Rhythmic Activities
(2004)
Domingo, J. Alonte, Co, A. Alonte, Cong-O, Garcia, Nimor, Janson, Nazuel. Physical
Education II Beginners Dance Book (2009)