PE 103

Fundamental Dance Steps

KRISTOFFER IAN P. PABORADA
PE INSTRUCTOR
 Philippine Folk Dancing
• is a true reflection of daily life in past centuries while
enchanting modern audiences at the same time.

• it mirrors the culture and tradition of the Filipinos. It has

also been a source of culture identify of the people. In this
diversified country, there are also great diversity of dances
in different forms and dynamics that grow out of various
times, situation and experiences.
 Characteristics of Philippine Folk
Dances
• In general, dancers stand apart.
• There is little, if anybody contract.
• Most of the dances are done by pairs or couples.
• Hand movements play an important part.
• Most dances are in long formation.
• Most dances begin and end with “saludo”.
• Dance from low land have more foreign elements than
those in upland.
• War dances are found in non-Christian tribes.
• It is traditional.
• It is an expressive behavior.
• Simple basic rhythm dominates the folk dance and
establishes the pattern of movement.
• An unknown choreographer creates a folk dance.
• It performs in action in the life of folk.
 Popular Philippine Folk Dances from
Luzon, Visayas and Mindanao
• A. Philippine Folk Dances from Luzon
• 1. Banga
Tribe: Kalinga
The Banga or pot dance is a contemporary performance of Kalinga of the Mountain
Province in the Philippines. This dance illustrates the languid grace of a tribe otherwise
known as fierce warriors.
• 2. Maglalatik
Maglalatik was originally performed in Biñan, Laguna as a mock-war dance that
demonstrates a fight between the Moros and the Christians over the prized latik or coconut
meat during the Spanish rule, this dance is also shown to pay tribute to the town’s patron
saint, San Isidro Labrador.
• 3. Pandanggo sa Ilaw
Pandanggo sa Ilaw - The word pandanggo comes from the Spanish dance
“fandango” characterized with lively steps and clapping while following a
varying ¾ beat. Pandanggo requires excellent balancing skill to maintain the
stability of three tinggoy, or oil lamps, placed on head and at the back of
each hand. This famous dance of grace and balance originated from Lubang
Island, Mindoro Other dances in Luzon:
• 4. Balse
Balse was a popular dance in Marikina, Rizal during the Spanish times. Balse
(valse in Spanish) means waltz. This dance was performed after the lutrina
( a religious procession) and the music that accompanied the dancers was
played by the musikong bungbong (musicians using instruments made of
bamboo).
• 5. Jotabal
It is derived from the words Jota and valse. Jota is a popular dance
introduced in the Philippines by the Spaniards. Valse means waltz, a step
or a dance in 3/4 time. This lively festival dance originated in Camohaguin,
Gumaca, Quezon (formerly Tayabas).

6. Makonggo
It is a comic dance from Santa Maria, Bulacan. Makonggo is derived from
the Tagalog word chonggo or unggo which means monkey. In this dance, the
dancer imitates a monkey - its characteristic movements, gestures, grimaces,
etc. when it is in a happy, playful or angry mood, while it is playing, eating, or
resting. Only one man performs this dance. Most of his movements are his
own improvisations.
• B. Philippine Folk Dances from Visayas
1. Tinikling
Tinikling means "bamboo dance" in English. The dance imitates the movement
of the tikling birds as they walk between grass stems, run over tree
branches, or dodge bamboo traps set by rice farmers. Dancers imitate the
tikling bird's legendary grace and speed by skillfully maneuvering between
large bamboo poles.

2. Kuratsa
The Kuratsa is highly favored by the Waray people of the Eastern Visayan
region in the Philippines. Strictly speaking, The Kuratsa must be done the
amenudo; that is, only one couple dances it at a time. the Kuratsa is however,
very different in the manner of execution to the Mexican counterpart.
 3. Mazurka Boholana
Mazurka Boholana is a Spanish-inspired ballroom dance from the
Bohol province of the Philippines. Although the mazurka is the Polish
national dance, it was wildly popular throughout Europe in
the 19th century and even in colonized lands overseas.

• Other dances in Visayas

4. Escotis
It is popularly known in Capiz and is performed in any social
gathering of the people inhabiting the mountains of Capiz in the
barrios of Tinpas and Panitan and also in the town of Panay.
C. Philippine Folk Dances from Mindanao
• 1. Itik-Itik
The Itik-Itik is a dance from Surigao del Norte, in which the movements of a
duck are imitated. An itik is a species of duck.
2. Singkil
The Maranao dance called Singkil is in the repertory of all Filipino dance
troupes. In 1958 the Bayanihan Dance troupe started with a simple version
and has since developed it into a theatrical and stylized spectacle to the point
of its becoming the troupe's signature piece.
3. Kandingan
Performed at Tausog weddings in Jolo, the Kandingan consists of figures and
steps based on classical and traditional Indian dance forms. Dancers
perform with slightly bent knees turned outward, fingers held stiffly together
with the thumb outward and apart.
 Dance Terms Used in Performing Folk
Dance
• Abracete – Girl at the right side, holds Right arm of partner with
her Left hand, free hands down at the sides. This terms is of
Spanish 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
level.
• Arms in Reverse “T” position – Arms are side horizontal, elbows
bent at right angles, forearms parallel to head, palms forward or
facing inward, fists loosely closed.
• Bilao – To turn hands up and down alternately, hands
at waist level in front, elbows close to waist.
• 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.
• 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.
• Clockwise – Like the motion of the hands of the clock.
Right shoulder is toward the center of an imaginary circle.
When facing center, the movement is toward the left.
• Counterclockwise – The reverse direction of clockwise.
Left 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 Left hands together and
their Right hands together either Right over Left or Left over Right
hands.
• Cross- Over – Two couples (the vis-à-vis) are opposite each other.
Each couple proceeds in a straight line to the opposite place. The girl
pass by their Left shoulders between the boy. Boys bow to each other
when they meet at the middle or at about one-third of the way, then
proceed to the opposite place. Upon reaching the opposite place,
partners turn about, girls stand at partners’ right side.
• Cut – To displace quickly one foot with the other, thus completely
taking off the weight of the body from the displaced foot.
• Do-Si-Do(“Dos-a-Dos”) – The vis-à-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 floor close to the other
which has the weight of the body The weight may or may
not be transferred.
• Free Foot – The foot no bearing the weight of the body.
• Free Hand – The hand not place anywhere or not
doing anything.
• Hand on Waist – Place hands at the waist line (at
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 at the back of the waist. This is a Visayan
term.
• Hop – A spring from one foot landing on the same
foot in place or any direction (in front, in 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.
• Jump – Spring on one foot or both feet, landing on
both in any direction.
• Jaleo – Partners turn once around clockwise (with right
elbows almost touching) or counter clockwise with left
elbows almost touching) using walking or any kind of
dance step. The hands near each other are on waists. This
is a tagalong term but is of Spanish origin.
• Kumintang – Moving the hand from the wrist 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)
• Outside Foot – The foot away one’s partner, when
partners stand side by side.
• Outside Hand – The hand away from one’s partner,
when partners stand side by side.
• Place – To put the foot in a certain or desired
position without putting weight on it. The sole of the
foot rests flat on the floor.
• Point – Touch lightly with the toes of one foot,
weight of the body on the other.
• Saludo –partner bow to each other, to the
audience, opposite dancers, or to the neighbor.
• Sarok – Cross the Right (or left) foot in front of
the Left (or right), bend the body slightly forward
and cross the hands down in front with the Right
(Left) hand over the Left(Right).
• Set – A dance formation like a quadrille or a unit
composed of two or more pairs.
Stamp – To bring down the foot forcibly and noisily on the floor (like
doing heavy steps).
SWAY BALANCE WITH A POINT (2 M.).
To Right:
(a) Step R foot obliquely forward right (cts. 1, 2), step L
across the R foot in front (ct. and), step R obliquely
backward (ct. 3).
(b) Point L foot in fourth position in front (cts. 1, 2, 3).
Hold arms in fourth position, R arm high. Execute a
"Kumintang" with the right and left hands while pointing
with the L foot on counts 1, 2, 3.
• SWAY BALANCE WITH A BRUSH (2 M.)
• SWAY BALANCE WITH A HOP (2 M.)
• WAY BALANCE WITH A RAISE (2 M.)
• DOUBLE SWAY-BALANCE STEPS (4 M.).
• To Right:
(a) Repeat the same movements as in sway balance with a point (a)
and (b). Arms as above (2 M.).
(b) Step L sideward across the R foot in front (cts. 1, 2), step R
sideward in second position (ct. 3) (1 M.).
(c) Point L foot in fourth in front (cts. 1, 2, 3) (1 M.).
Girls holding their skirts, boys' hands at waist for the last two
measures (b and c).
• Step – To advance or recede by raising and
moving one foot to another resting place.
There is a complete transfer of weight from
one foot to the other.
• Tap – To tap lightly with the ball or tip of
the toe, placing weight of the body on the
foot. There is no change or transfer of weight
here.