UNIT 1: LEARN AND

DANCE
PART 2: PHILIPPINE
FOLK DANCE
AND ETHNIC DANCES
 KEY TO SYSTEM OF COUNTING
Counting is the most critical way to describe a
rhythmic pattern.

The note is the unit in musical rhythm showing the

duration in which a tone or movement (in the case
or dancing is taken.

Rest is a character used to indicate silence or pause (in

the case of dancing) for a certain time.
Note and rest values refer to the musical notation
which give the exact duration values of the rhythmic
patterns.
 COUNTING AND OF RHYTHMIC PATTERN IN 2/4 or 6/8
1,2 -2/4 time, one measure
1, ah, 2, ah or 1, 2, 3, 4, 5, 6 -6/8 time, one
measure (used in cut and rocking steps)
1, and, 2 -2/4 time, one
measure 1,2, and -2/4 time,
one measure
1, and, 2, and - 2/4 time, one
measure 1, ah, 2 -2/4 time, one
measure
1,2, ah 2/4 time, one measure
 COUNTING AND OF RHYTHMIC PATTERN IN 3/4

1, 2,3 3/4 time, one measure 3/8 time,

one measure
1, and, 2, 3 - 3/4 time, one measure
1, and, 2, and 3 - 3/4 time, one measure
1, and, 2, and 3, and -3/4 time, one
measure 1,2, and, 3 - 3/4 time, one
measure
1,2, and, 3, and - 3/4 time, one measure
 COUNTING AND OF RHYTHMIC PATTERN 4/4
1,2, 3, and -4/4 time, one measure or 2/4 time, two
measures 1, 2, 3, 4, 5, 6 - 3/4 time, two measures 6/8 time,
one measure (in tap dancing)
1, 2,3, 4, 5, 6, 7, 8, -2/4 time, four measure 4/4 time, two
measure
1,2 and, 3, and, 4, and - 4/4 time, one
measure 1, and, 2, 3, and, 4, and - 4/4 time,
one measure
1, and, 2, and, 3, 4, and -4/4 time, one
measure
1, and, 2, and, 3, and, 4 - 4/4 time, one
measure
 TIME SIGNATURE, STEP PATTERNS AND COUNTING FOR TIKLOS

DANCE STEPS TIME SIGNATURE STEP PATTERN COUNTING

CHANGE STEPS 2/4 STEP CLOSE STEP 1 AND 2

CUT STEP 2/4 CUT OR DISPLACE 1

GALOP 2/4 STEP CUT STEP 1AH 2 AH

CUT(THERE ARE 1 GALOP
IN A MEASURE)
HEEL AND TOE CHANGE 2/4 HEEL-PLACE TOE 1,2/1AND2
STEP POINT/STEP CLOSE STEP
TOUCH STEP 2/4 SPRING&TOUCH OR 1
TOUCH CLOSE (STEP) 1,2
THREE- STEP TURN ¾ STEP TURN AND
STEP TURN AND 1,2,3
STEP
 FUNDAMENTAL
DANCE POSITIONS
ARM
POSITIONS
There are five fundamental positions of the arms in
dancing:
First Position: Arms are encircled in front
at chest level, relaxed, fingers slightly
apart.

Second Position: Arms are raised

sideways
a little below shoulder level.
ARM
POSITIONS
There are five fundamental positions of the arms in
dancing:
Third Position: One arm Fourth Position: One Fifth Position: Both
encircles overhead arm encircles like the arms are overhead.
while the other is first position while the
raised sideways other arm is
overhead.
FEET
POSITIONS
There are five fundamental positions of the
feet.

First Position: Feet closed and

heels parallel, touching toes at
45 degrees

Second Position:
Open, parallel stride
sideward
Third Position: Fourth Position: Fifth Position:
Heel of one One foot forward Heel of front foot
foot at instep with heel of front close to big toe
foot inline with big of rear foot
toe of rear foot
1ST 2ND
3RD 5TH

4TH
 DANCE
TERMINOLOGIES
Abresete-Hold R arm of
partner with 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 position -

Both arms are at one side,
either sideward right or
left. This may be done at
shoulder, chest, or waist
Arms in Reverse "T" -
Arms are side horizontal,
elbows bent at right
angles, forearms parallel
to head, palms forward or
facing inward, fists
loosely closed.

Bilao - Turn palms of

hand up and down
alternately, hands at
waist level in front,
Brush - Weight on one foot, hit 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.
Cut - To displace quickly one foot with the other,
thus completely taking off the weight of the body
from the displaced foot.
Clockwise hand movement - like
the motions of the hands of the
clock; R shoulder is toward the
center of an imaginary circle
When facing center the
movement is toward the left.

Counter-clockwise - the reverse

direction of the clockwise:
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.

Cabeceras - When dancers

are in square formation,
the couples occupying the
width of the hall are called
"cabeceras" or head
couples. This is of Spanish
origin.
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 the 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 at partner's right side.
Do-si-do (Dos-A-Dos) - The vis-a-vis (opposites) 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.
Set- a dance formation like a square or a unit
formation composed of two or more pairs
Crossed Arms - Partners are facing each other or standing side
by side, girl at the right of the boy. They join their L and R
hands together, either R over L or L Over R hands.
Draw - to pull one foot
along the floor close to the
other which has the weight
of the body; The weight may
or may not be transferred.

Free hand - the hand not

placed anywhere or not
doing anything
Free foot- the
foot not bearing
the weight of the
body.

Supporting foot -
the foot that bears
the weight of the
body
Hands on waist- Place Hapay -the act of Hayon-Hayon -
hands at the waist flourishing or offering Place one
line (at the smallest a handkerchief, hat, or forearm in front
part of the trunk). glass of wine to and the other at
Knuckles in, fingers somebody as a sign of the back of the
pointing in rear invitation waist. This is a
Visayan term.
Hop - a Spring rom one
foot landing on the same
foot in place or in any
direction; The other foot
may be raised in any
direction (in front in rear,
sideward or across).

Leap-a spring from one

foot, landing on the other
foot in any direction
(forward, sideward,
backward or oblique)
Jump - spring on one foot or both feet, landing on both in
any direction
Jaleo - Partners turn around clockwise (with R elbows almost
touching) or counter clockwise (with L elbows almost touching).
This is used in walking or any kind of dance step. The hands near
each other are on waists. This is a Tagalog term but of Spanish
origin.
Kumintang - moving the hand
from the wrist either in a
clockwise or counter-
clockwise direction; This is an
Ilocano term.
Masiwak - Turning of the hand
from the wrist half-way clockwise
then raising and lowering wrist
once or twice. This is an Ibanag
term.
Inside Hand - the hand Outside hand - the hand
nearest one's partner, away from one's partner,
when partners stand when the partners stand side
side by side by side
Inside Foot - the foot Outside foot - the foot away
nearest one's partner, from one's partner, when
when partners stand side partners stand side by side
by side
Panadyak- Stamp in
front or at the side
with R(L) foot and tap
with the same foot
close to the L (R) foot,
weight of the body on
L (R) foot.
This is a Tagalog term.

Place - put the foot in a

certain desired position
without putting weight on
it. The sole of the foot rests
on the floor.
Pivot-Turn with the ball, Point- Touch the floor lightly toes
heel, or whole foot, on of one foot, weight of s body on
a fixed place or point. the other foot.
with the
Patay - Bend the head downward Saludo - Partners bow to each other, to
and support the forehead with the the audience, or opposite dancers with
R the feet together. This term is of
(L) forearm or with the crook of the Spanish origin and is used in almost all
R Philippine dances.
(L) foot pointing in rear and knees
slightly bent. This is an llocano
term and the movement Is
Commonly found in Ilocano
dances.
Salok- Swing the arm
downward- upward passing in
front of the body as if scooping,
the trunk is bent forward
following the move my of the
arm doing the "salok.
This is a Tagalog term.

Sarok (or Saroc) - Cross the R

(or L) foot in front of the L (or
R), bend the body slightly
forward and cross the hands
(forearms) down in front with
the R (or L hand) (forearm)
over the L (or R). This a
Slide - Glide foot
smoothly along the floor.
The movement may be
finished with or without
transfer of weight.

Stamp - Bring down the foot

forcibly and noisily on the floor
(like doing a heavy step) with
or without transfer of weight.
Star with the right hand -
Four or more people join R
hands at the center and
circle around clockwise
walking or doing any kind
of dance step.

Star with the left hand

- Same as "star with
the R hand, but joining
L hands turning
counter- clockwise.
Step - Advance or recede Tap - Rap slightly with the ball Whirl - Make fast
by raising or moving one or toe of the free foot, flexing turns by executing
foot to another resting the ankle joint keeping weight
place. There is a complete of the body on the other foot.
small steps in
transfer of weight from There is no change or transfer place to right of
one foot to another. of weight. left.
DANCE
STEPS FOR
TIKLOS
CHANGE STEP (0R TWO-STEP). Music:
2/4 time; Counts 1, and 2
Step R [L) foot in fourth in front (ct.
1), step L (R) cdose to R (L) foot in
third in rear or in first position (ct.
and), step R
(L) foot quickly in fourth in front
(ct. 2). This may be executed in
any direction.
CHANGE
STEP
HEEL AND TOE CHANGE STEP Music 2/4 time. Count 1,
2, 1, and, 2
Place the R (L) heel in front (ct. 1), touch the R (L) toe
in rear (ct. 2). Take one change step forward, starting
with the R (L) foot (cts. 1, and, 2). This may be
executed forward and backward and in oblique
directions.
HEEL AND TOE CHANGE
STEP
CUT STEP. Music: 2/4 or 6/8 time; Counts 1, 2, or
1 ah 2, ah Raise R (L) foot in fourth in front in
preparation. Cut the L (R) backward with the R
(L) foot thus displacing the L foot at the same
time placing the weight of the body on the R
foot, raising L foot in rear with straight knee (ct.
1). Cut R (L) forward with L (R) foot (ct. 2)
This may be done forward and backward,
diagonally forward and backward, and
sideward right and left alternately. Take one
cut for every one count.
CUT
STEP
GALOP STEP. Music: 2/4 time; Counts 1, ah, 2, ah.
6/8 time. Counts 1, ah, 2, ah
a.Step right foot in the fourth in front (ct.1) and cut
the R (L) foot with the L (R), thus displacing it and at
the same time taking the weight of the body with the
L (R) foot (ct. ah). There are two gallops to one
measure. This is executed with one foot leading and
may be done in any direction.
b.Step R (L) foot in second position (ct. 1), cut R (L)
with the L foot (ct. ah). There are two gallop steps to
one measure. This may be done in any direction, one
foot leading.
GALOP
STEP
TOUCH STEP. Music 2/4 time: Counts 1, 2
a.Point R (L) foot in fourth in front (ct. 1), step R (L
close to L (R) in first position (ct. 2). This is commonly
done in front, or
b.Hop on L (R) and point R (L) foot in fourth in front
(ct. 1), with a spring reverse the position of the feet
(ct. 2), that is, pointing the L (R) in front and the R (L)
taking the weight of the body. This is taking one count
for every change of position of the feet. This may be
done also moving forward and backward.
TOUCH
STEP
THREE-STEP TURN. Music: 4 time; Count 1, 2,
3 to a measure (2 measures)
Step L (R) foot in second position (ct. 1), turn
left (right) about and step R (L) to second (ct.
2), turn Left (right) about and step L(R) to
second to face front (ct. 3). Close R (L) foot to
L (R) foot (ct. 1), pause (cts. 2, 3).
THREE-STEP
TURN
 COMMON
FORMATION
USED IN DANCES
 LEGEND: X - BOY
O - GIRL
- THE DIRECTION FACING OR GOING

COLUMN FORMATION
LINE FORMATION

SINGLE LINE, PARTNERS STAND SIDE BY SIDE FACING THE

AUDIENCE

X O X O X O X O
SEMI CIRCLE FORMATION

O
X
O X
X O
SINGLE CIRCLE FORMATION

ALL FACING ALL FACING

CENTER, NO COUNTERCLOCKWISE
PARTNERS

BY PARTNERS, BY PARTNERS,
ALL FACING WITH PARTNERS
CENTER FACING
DOUBLE CIRCLE FORMATION
OTHER FORMATIONS
ACTIVITY 2
1.PERFORM THE FIVE BASIC ARMS,FEET AND COMBINATION
OF FUNDAMENTAL DANCE POSITIONS
2.TAKE PICTURE PERFORMING THE FUNDAMENTAL DANCE
POSITIONS AND WRITE THE PROCEDURE HOW TO PERFORM
IT.
3.USE MICROSOFT WORD AND SAVE IT AS PDF, THEN SAVE IT
TO YOUR OWN GOOGLE DRIVE.
4.SUBMIT THE ACTIVITY WITH THIS FORMAT, SURNAME, GIVEN
NAME AND MI- FUNDAMENTAL DANCE POSITIONS.
5.SEND THE LINK TO THE COMMENT SECTIONS OF ACTIVITY
NO.2 IN GOOGLE CLASSROOM
6.SUBMISSION UNTIL NEXT MEETING.
ASSIGNMENT:

STUDY AND REVIEW THE DANCE

TERMINOLIGIES FOR THE QUIZ
AND DANCE STEPS FOR THE
PREPARATION OF YOUR DANCE
PRACTICUM .
RESOURCES

Physical Education: Dance Evolution and

Appreciation, Flordeliza et.al, Fatima Educational
Publishing Inc. 2015, Quezon City

Physical Education 2: For College, Doris D. Tulio,

National Bookstore, 2008, Mandaluyong City

https://pngtree.com/so/right-hand