FOLK DANCE

1.) The history of Philippine folk dancing incorporates influences from immigrants and conquerors
while at the same time maintaining distinctly Filipino roots. Philippine folk dancing is a true
reflection of daily life in past centuries while enchanting modern audiences at the same time.
There is no recorded "start" to Philippine folk dance - as long as there have been people on the
islands they have been dancing. In fact, their mythology is filled with many different gods and
goddesses that needed to be placated, implored, or thanked for various natural events like rain and
harvests. Many of these festivals still feature ancient folk dances performed in costume of the tribal
period. Some dances such as the Palok and the Lumagen from the Kalinga, Cordillera province are
performed with traditional percussion instruments such as the "gangsa" (a small copper gong), a
"tobtob" (brass gong) or a "hibat" (a gong played with a soft wooden stick). For many tribal dances
there are no external musicians, in fact - the dancers generate their own accompaniment. The dances
were performed during festivals, celebrations of military victories in the past, and still at
celebrations of births and weddings in modern times.
Some dances such as the Palok and the Lumagen from the Kalinga, Cordillera province are
performed with traditional percussion instruments such as the "gangsa" (a small copper gong), a
"tobtob" (brass gong) or a "hibat" (a gong played with a soft wooden stick). For many tribal dances
there are no external musicians, in fact - the dancers generate their own accompaniment. The
dances were performed during festivals, celebrations of military victories in the past, and still at
celebrations of births and weddings in modern times.

The dance steps listed below are the fundamental or basic

Steps most commonly used in Philippine folk dances. In some cases
The names of the steps are the same as those found in foreign dances,
But the manner of execution is entirely different. Some dance steps
Have no English equivalent names, so the native names are retained,
Such as "Kuradang", "Bacui", "Espunti", "Papuri", etc.

The steps are described as they are executed by our people.

BACUI STEP

Music: ¾ time. Counts 1, 2, 3.

This step is found mostly in the Visayan dances. To right

(4 measures).
("Sarok") Point R foot across the L in front, bend body
forward and cross hands down in front with the right hand over the
left hand (cts. 1, 2), step R foot in second position, raise trunk
up and raise R arm to fifth position amplified, left hand on waist
(ct. 3). Step the L foot across the R in rear, close the R arm to
fifth position (cts. 1, 2), step R in second position and open R arm
to fifth position amplified (ct. 3). Step L foot sideward right across
the R in front, close R arm to fifth position (cts. 1, 2), step R in
second position and open R arm to fifth position amplified (ct. 3).
Step L close R foot in first position, close R arm to fifth position
(cts. 1, 2, 3). The left hand remains on waist for three measures.

To left. (4 measures)
Repeat the same movements, starting with the L foot, going
sideward left. Reverse the position of the arms.
Note: This step may be done also this way: After the "sarok"
and step sideward (cts. 1, 2, 3), the L foot may step across the R
right in front instead of in rear on counts 1, 2. The rest of the
movements are the same.

BLEKING STEP (step change)

Music: 2/4 time. Counts 1,2.

(1) Place the R (or L) heel in fourth in front (ct. 1), step
R (L) close to L (R) foot in first position (ct. 2), or
(2) Place the R (L) heel in fourth in front (ct. 1), with a
jump, reverse the position of the feet (ct. 2), that is,
placing the L (R) heel in front and the R (L) in position
taking the weight of the body.
(3) Place the R (L) heel in fourth in front (cts. 1, 2), step
R (L) close to L (R) foot in first position (ct. 3).

CHANGE STEP, TWO-STEP OR CATCH STEP.

Music: 2/4 time. Counts 1, 2, or 1 and 2

Step R (L) foot forward (fourth in front) (ct. 1), step

L (R) close 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.

CLOSE STEP

Music: 2/4 time. Counts 1, 2.

(1) Step R (L) foot in fourth in front (ct. 1), close

L (R) to R (L) foot in third in rear or in first
position (ct. 2). This may be executed in any direction.
Music: ¾ time. Counts 1, 2, 3.

(2) Step R (L) foot in fourth in front (cts, 1, 2), close

L (R) to R (L) foot third in rear or in first position
(ct. 3). This may be executed in any direction.
(3) Step R (L) foot in fourth in front (ct. 1), close L (R)
to R (L) foot third in rear or in first position (cts. 2,
3). This may be executed in any direction.

Note: When this step is executed sideward, the same foot is

leading always.

CROSS STEP

Music: ¾ time. Counts 1, 2, 3.

Step R (L) foot in second position (ct. 1), step or slide L

(R) foot sideward right (left) across the R (L) in front (cts. 2, 3).
Put the weight on the L (R) foot at the end of the slide on the third

CROSS WALTZ

Music: ¾ time. Counts 1, 2, 3.

Step R (L) foot across the L (R) in front (ct. 1), step the
L (R) in third position in rear of R (L) foot (ct. 2), step R (L) foot
in fourth in front (ct. 3). Step on the ball of the rear foot on the
second count.

CUT STEP

Music: 2/4 time. Counts 1, 2.

Raise R (L) foot in fourth in front in preparation. Cut the

L (R) backward with the R (L) foot, thus displacing it at the same
time taking the weight of the body (ct. 1). This may be done forward
and backward, diagonally forward and backward, and sideward right and
left. Take one cut for every count.

"ENGAÑO"

Music: ¾ time. Counts 1, 2, 3.

This step is found mostly in the Bicolano dances. It is similar

to the sway-balance step.
(1)"ENGAÑO"WITH A CLOSE (2 measures.)
To right: Step R foot in second position (cts. 1, 2), step
L across the R foot in front (ct. 3). Step R (L) foot in
second position (ct.1), close L to R foot in first position
(cts. 2, 3). Do not put weight on the L foot when closing on
counts 2, 3. Arms in third position, right arm high.
To left: Start with the L foot, reverse the arm positions.
(2)"ENGAÑO"WITH A WALTZ
To right: Step R foot in second position (cts. 1, 2), step
L across the R (L), foot in front (ct. 3). Step R foot in
second position (ct. 1), step L close to R foot (ct. 2),
step R in place (ct. 3) (waltz step in place). Arms in third
position, right arm high.
To Left: Start with the L foot, reverse the arm positions.
Note: This is another way of holding the arms: raise right (left)
arm high in fifth position amplified and the left (right) bent
in front at shoulder-level.

"ESPUNTI" STEP

Music: ¾ time. Counts 1, 2, 3.

This step is found mostly in the Visayan dances.

(1) To Left: Starting position - feet in first position. Turn
the left heel to sideward left without lifting the toes
(pivoting or pushing on the ball of the L foot) and point
R foot sideward right (ct.1), lift the toe of the L foot
and turn it sideward left (pivoting or pushing on the heel
of the L foot) at the same time bringing the R foot to
pointing in fourth in front (cts. 2, 3). Repeat as many
times as desired.
(2) To right: Repeat (1) starting with the other foot moving
to sideward right. Pivot on the R foot and point with the
L foot.

Note: This may be done either moving right or left.

This step may be done also in the following manner: The first
movement, that is, the pointing of the R foot sideward is done in
two counts instead of one (cts. 1, 2), and the pointing in front
in one count instead of two described above (ct. 3).

GALOP STEP

Music: 2/4 time. Counts 1, ah, 2, ah.

Step R (L) foot in fourth in front (ct. 1) and cut the R (L)
foot with 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 galops
to one measure. This is executed with one foot leading and may be done
in any direction.

GLIDE OR SLIDE STEP

Music: 2/4 time. Counts 1, 2.

(1) Glide or slide R (L) foot in second position (ct. 1),

close L (R) to R (L) foot in first position (ct.2). This
may be done in any direction.

(2) Glide or slide R (L) foot in fourth in front (cts. 1, 2),

close L (R) to R (L) foot in third position in rear (ct. 3).
This may be done in any direction.

DANCE STEPS:

A. CHANGING STEP-
B. CHANGE STEP-
C. STEP POINT-
D. GALLOP STEP- The word Galop has the usual significance in the most rapid pace of a horse and the
word Gallopade referring to a similar movement in dancing, Gallopade is really the correct term. The term
Galop came from the Waltz-like turning of the dance, which also has a version called a "Galop-waltz" in
3/4 time.
The origin of the Galop is Hungary (some say Germany). It was often danced after the Volte and the country
dances (Contredanses) as a variant to the slow and solemn dances such as the Mazurka. Around 1815, the
Galop began to be recognized socially. It first appeared in Vienna and Berlin about the year 1822, was
introduced at the Balls given in France (L.G. Brookes says 1800) by the Duchess de Berri (1798-1870)
during the Carnival of 1829 as well as England in that same year. It was rendered famous by its termination
of the masked Balls at the French Opera.

E. Heel,toe, polka step - he first term of Heel and Toe I have found is what was called the Seventh
step or Heel and Toe Step, done in a dance called the Jig. Another was the "Lincoln Heel and
Toe Polka." And another Heel and Toe was popular in the 1900's. The Bohemian or Heel and Toe
Polka was done in 1888, (which was first done as a movement in the original Polka).

In doing the Heel and Toe Polka, as a couples dance ... Brown says that -- "at the count "heel"
(1), the foot is extended to the second position, but with the heel down and the toe raised, and at
count "toe," (2) the moving foot is moved to the fifth position, behind the stationary foot, or in other
words, starting with left foot, the foot is extended to second position, heel down, and at count
"toe," the left foot is moved to fifth position behind right foot, thus forming fifth position for right
foot, except that the weight of the body rests on the right foot.
F. Chasing step- chassé [ʃase] (French for "to chase") is a dance step used in many dances in
many variations. All variations are triple-steppatterns of gliding character in a "step-together-step"
pattern. The word came from ballet terminology.
G. Mincing step- R(L) slightly diag in front of L(R) , heels raised. Execute tiny steps sdwd R(L) as
man- times as necessary. Galop: Step R(L) in front (ct 1) ; and cut the R(L) with the L(R) thus
displacing it and at the same time taking the wt of the body with the L(R) (ct ah).
H. cross change step-
I. Haplik-
J.PIVOT TURN (or simply pivot) is a general classification for dance turns in which the
performer's body rotates about its vertical axis without traveling. The performer may be supported
by one or both feet, which swivel in place during the pivot turn.[1] In some dance genres, a pivot
on both feet is called a twist turn. Pivot turns are commonly named as such in ballroom
dancing, folk dancing and ethnic dances. In many other dance genres, pivot turns are known by
specific names and typically are not referred to as pivots. For example, in ballet, a pirouette is a
type of pivot turn on one foot

BASIC DANCE STEPS

2/4 time dance steps

Dance Steps Step Pattern Counting

1. Bleking step heel-place, close 1,2

2. Touch step point, close 1,2
3. Close step step, close 1,2
4. Hop step step, hop 1,2
5. Cross step step, cross or cross, step 1,2
6. Change step step, close, step 1 and 2
7. Changing step jump ( one ft. in front and
The other in rear) there are two
Changing steps in a measure 1,2
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1, 2 and
10. Heel and toe
Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and
¾ time dance steps

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step, close, step 1, 2, 3
3. Waltz balance step, close-heels raise, heels down 1, 2, 3
4. Mazurka step slide, cut, hop 1, 2, 3
5. Redoba step slide, cut, cut 1, 2, 3
6. Sway balance w/
A point step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
4/4 time dance steps
1. Schottische step step, close, step hop( raise foot
In front) 1, 2, 3, 4
2. Escotis step step, close, step, hop( raise foot
In rear) 1, 2, 3, 4
3. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/
1, 2, 3, 4
COMMON DANCE TERMS:
1. Amplified- more open positions on 1st or 5th positions.
2. Lateral- both arms raised at one side parallel to each other.
3. Hayon- Hayon- one arm bent in front at waist level. The other is bent behind also at waist
level.
4. “T” position- both arms at sides and bent at the elbows so that the upper arms re at shoulder
level.
5. Reverse “T” position- both arms at sides and bent at the elbows so that the forearms are
parallel to the head, palms facing inwards.
6. Abresete- Girl at the right side holds R arm of partner with her L hand, free hands sown at
sides. This term is Spanish in origin and is used in rigodon and in other dances.
7. Arms in lateral position– both arms at one side, either right or left; at shoulder, chest, or
waist level.
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 couple).
10. Clockwise- like the motion of the hands of the clock. R shoulder is toward the center of an
imaginary circle. When facing center, movement is toward the left.
11. Counter clockwise- the reverse direction of clockwise, L shoulders toward center. Movement
is toward right when facing center of circle.
12. Costados- the couple occupying the length of the hall when dancers are in square formation
(side pair).
13. 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.
14. Cut- to displace quickly one foot with other.
15. Do-si-do- partners advance forward, pass each other’s right (or left) side, step across to the
right (or to the left) move backwards without turning around, pass each other left (or right)side to
proper places.
16. Free foot- the foot not bearing the weight of the body.
17. Free hand- the hand not placed anywhere, or not doing anything.
18. Hands on waist- place hands at the waist line, knuckles in, fingers pointing rear.
19. Hapay- to flourish or offer a handkerchief, hat, glass of wine to somebody as a sign of
invitation.
20. Hayon-hayon- to place one forearm in front and the other at the back of the waist.
21. Hop- a spring from one foot-landing on the other foot in place or in any direction.
22. Inside foot- the foot nearer the partner when partners stand side by side.
23. Jaleo- partners turn around clockwise (with R L elbows almost touching) or counter clockwise
(with L elbows touching) using walking or any kind of dances.
24. Jump- a spring on one or both feet landing on both feet in any direction.
25. Kumintang- moving the hand from the wrist either in a clockwise or counter clockwise
direction.
26. Leap- a spring from one foot, landing on the other foot in any direction.
27. Masiwak-to turn the hand from the wrist halfway clockwise, then raise and lower wrist once
or twice.
28. Outside foot- the foot away from one’s partner when partners stand side by side.
29. Outside hand- the hand away from one’s partner, when partner’s stand side by side.
30. Opposite- the person’s standing across the set.
31. Panadyak- to stamp in front or at the side with R (L) foot and top with same foot close to the
L (R) foot. Weight of the body on L (R) foot. This is a tagalong term.
32. Partner- girl to right of boy and boy to left of girl.
33. Patadyong- a kind of woven material usually of cotton, plaid, multi-colored skirt, popularized
by Miag-ao weavers of Iloilo.
34. Place- to put foot in a certain position without putting weight on it; the sole of the foot rests
on the floor.
35. Pivot- to turn the with the ball, heel, or whole foot, on a fixed place or point.
36. Point- touch the floor lightly with the toes of one foot, weight of the body on the other foot.
37. Salok- swinging the arm downward-upward passing in front of the body as if scooping; the
trunk is bant forward following the movement of the arm doing the salok.
38. Saludo- partners with feet together bow to each other, to the audience, opposite dancers, or
the neighbors.
39. Sarok- cross the R(or L) foot infront of the L (or R) bent the body slightly forward and cross
hands down in front with the R (or L) hand over the L (or R)
40. Set- a dance formation like a square or a unit formation composed of two or more pair.
41. Slide- to glide foot smoothly along the floor.
42. Stamp- to bring the foot forcibly and noisily on the floor. Step- to advance or recede by
moving one foot to another resting place with a complete transfer of weight from one foot to the
other.
43. Supporting foot- the foot that bears the weight of the body.
44. Tap- to tap slightly with the ball of the foot or toe of the free foot keeping weight of the body
on the other foot. There is no transfer of weight.
45. Whirl- to make fast turns by executing small steps in place, right, or to left.

WITH DRAWING:
A. Arms and lateral position- both arms at one side, either right or left; at shoulder, chest, or waist
level.

B. Swing forward and sideward-

C.Hayon hayon- to place one forearm in front and the other at the back of the waist. one arm bent
in front at waist level. The other is bent behind also at waist level.

D.Salok- swinging the arm downward-upward passing in front of the body as if scooping; the trunk
is bant forward following the movement of the arm doing the salok.

E. Bilao- Hands in front, parallel to each other at waist level, elbows

Close to the waist, palms down. Reverse the position of the hands
With palms up and down alternatively.
F. kuminta- moving the hand from the wrist either in a clockwise or counter clockwise direction.