1.
UPHS Vision, Mission, History, and Classroom consider his” Ballet Comique de la Reine” to be the first
Orientation
2. INTRODUCTION TO RHYTHMIC ACTIVITIES:
Every individual has rhythm. It is found in all of nature
and is natural to every individual. Rhythm is most clearly
seen through dance- the art of movement.
 Dance- refers to movement set to music where
there emerges organization, structure and pattern.
It is a composition that implies arrangement of
parts into a form.
o Dancing- means of expressing one’s
emotions through movement disciplines
by rhythm. It is an act of moving
rhytimically and expressively to an
accompaniment. The word dancing came
from an old German word “danson”
which means to “stretch”. Essentially, all
dancing is made up of stretching and
relaxing.
 Rhythm- it denotes an aspect of a quality of
movement that is sometimes thought of as dance.
When an individual moves in response to a
particular rhythm or music we call the
movements as rhythmic movements or rhythms.
Structured form which start creative rhythmic
movements are called rhythms.
 Rhythmic Activities- physical manifestations of
the mental and emotional response of the
individual to rhythm. They are activities which a
child responds to physically, socially, and
mentally to regular patterns of sounds.
2.1.1 HISTORY OF DANCE:
DANCING is the oldest and liveliest of the arts. Men in
all countries and in all times have expressed their feelings
in rhythm and body movement. The dance is the language
of the body. It can communicate joy sadness fear and love.
The earliest records of people dancing are cave paintings
in Northern Spain, it is about 50,000 years old.
The beginning of dance can be traced to Italy during the
1400's at the time of the Renaissance.
During the Renaissance, people developed a great interest
in art and learning. At the same time, trade and commerce
expanded rapidly, and the dukes who ruled Florence and
the other Italian city-states grew in wealth. The dukes
competed with dance performances. The dancers were not
professional. They were noblemen and noblewomen of
duke's court who danced to please their ruler or to stir the
admiration and envy of their rivals.
Catherine De Medicis, a member of the ruling family of
Florence, became queen of France in 1547. Catherine
introduced into the French court the same kind of
entertainments she had known in Italy. They were staged
by Balthazar Beaujoyeulx a gifted musician. Historians
ballet. It was a magnificent 5 spectacle performed in 1581
in honor of a royal wedding.
Dance technique was extremely limited but the costume
and the scenery were impressive. The ballet was a success
and was limited in other European courts.
During 1800's the Romantic Period began. Ballet
technique was expanded. Women dancers learned to
dance on their toes, male dancers became chiefly porters.
The Italian Choreographer Filippo Taglioni created the
first Romantic Ballet, La Sylphide in 1832. Romantic
ballet presented women as ideal, and for the first time,
gave them greater importance than men.
2.1.2 MUSIC AND DANCE:
 It is unlikely that any human society (at any rate
until the invention of puritanism) has denied itself
the excitement and pleasure of dancing.
Like cave painting, the first purpose of dance is
probably ritual - appeasing a nature spirit or
accompanying a rite of passage. But losing
oneself in rhythmic movement with other people
is an easy form of intoxication. Pleasure can
never have been far away.
Rhythm, indispensable in dancing, is also a basic
element of music. It is natural to beat out the
rhythm of the dance with sticks. It is natural to
accompany the movement of the dance with
rhythmic chanting. Dance and music begin as
partners in the service of ritual.
2.1.3 DANCE AS RITUALS:
 In most ancient civilizations, dancing before the
god is an important element in temple ritual. In
Egypt the priests and priestesses, accompanied by
harps and pipes, perform stately movements
which mime significant events in the story of a
god, or imitate cosmic patterns such as the rhythm
of night and day.
At Egyptian funerals, women dance to express the
grief of the mourners.
Sacred occasions in Greek shrines, such as
the games at Olympia from the 8th century BC,
are inaugurated with dancing by the temple
virgins. The choros is originally just such a
dance, performed in a circle in honour of a god.
In the 6th century it becomes the centrepiece
of Greek theatre.
In India the formalized hand movements of the
priestesses in Hindu temples are described in
documents from as early as the 1st century AD.
Each precise gesture is of subtle significance. A
 form of classical dance based upon them - known
as Bharata Nhatyam - is still performed by highly
skilled practitioners today.
2.1.4 DANCE AS ECSTASY:
 Any sufficiently uninhibited society knows that
frantic dancing, in a mood heightened by
pounding rhythm and flowing alcohol, will set the
pulse racing and induce a mood of frenzied
exhilaration.
This is exemplified in the Dionysiac dances of
ancient Greece. Villagers, after harvesting the
grapes, celebrate the occasion with a drunken
orgy in honour of Dionysus, god of wine (whose
Roman name is Bacchus). Their stomping makes
a favorite scene on Greek vases; and dancing
women of this kind, whose frenzy even sweeps
them into an act of murder, are immortalized in a
tragedy, the Bacchae, by Euripides. Short of this
unfortunate extreme, all social dances promise
the same desirable mood of release and
excitement.
2.1.5 DANCE AS ENTERTAINMENT:
 Egyptian paintings, from as early as about 1400
BC, depict another eternal appeal of dancing.
Scantily clad girls, accompanied by seated
musicians, cavort enticingly on the walls of
tombs. They will delight the male occupant
during his residence in the next world. But
dancing girls are for this world too. From princely
banquet to back-street strip club, they require no
explanation.
2.1.6 DANCE AS DISPLAY:
 Entertainment, and the closely related theme of
display, underlies the story of public dance. In the
courts of Europe spectacles of this kind lead
eventually to ballet.
2.1.7 BASIC COURSE ON DANCE AND
RHYTHM:
 Rhythm- movement marked by the regulated
succession of strong and weak elements, or of
opposite or different conditions.
o It is the timing of events on a human
scale; of musical sounds and silences that
occur over time, of the steps of a dance,
or the meter of spoken language and
poetry. In some performing arts, such
as hip hop music, the rhythmic delivery
of the lyrics is one of the most important
elements of the style.
o Is the regular recurrence of accented and
unaccented beats.
 Dance (Dancing)- 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.
 Movement- can also be improvised, meaning that
the dancers make it up "on the spot" as they
spontaneously dance. Movement that travels
through space is broadly called locomotor
movement in contrast to axial movement, which
occurs in one spot.
Basic Natural Movements:
 Locomotor Movements- those that
move the body in space in any direction
with the feet as the moving base.
 Non-Locomotor Movement- those in
which various parts of the body move in
space with a fixed base. The base may be
standing, kneeling, sitting, and sliding.
ELEMENTS OF DANCE:
1. Body- dance is comprised of various body
motions that express feeling and emotion. Our
bodies move in ways to express ourselves using
locomotor and non-locomotor movements.
2. Energy- energy is the force at which we express
our body motions. Are you moving with hard
motions or gentle motions? How do you choose
to move? Bounce, shake, explode, or sway?
3. Space/Level- to show variation and movement,
we need to use our surroundings well. We zig,
zag, move high and low. We use the entire space
around us and below us.
4. Relationship- in dance, we often dance with one
other person or with many people in a group. Just
like with conversation, we communicate and
react using our bodies.
5. Time- timing is key to any dance. We follow the
rhythm or beat to match our actions with the
sound of the music. When working with others,
we sometimes mimic another using time.
2.2 DANCE OVERTURE:
2.2.1 DANCE AND CULTURE
o Culture is defined as our way of life
The tradition and norms which is
important in every culture
can be represent in a way of dancing
and this is what we called cultural
dance. A graceful dance, colorful
 props and costumes, slow movements
and fast that catches the attention of
every people. Cultural dancers can
story tellers, tells the story in every
movements and sequence of their
dance.
o Every Cultural dances has a story that
need to match in the theme of their
dance. This dance is different from
other forms of dances, you cannot
make a cultural dance without a story.
It has a story behind the dance for the
purpose that one culture can share or
tell their culture from one another.
2.2.2 REASONS WHY PEOPLE DANCE:
people dance to mourn, to celebrate, to
heal, to give thanks, to preserve cultural
heritage and treasured legends, to
demonstrate physical prowess, to assert
individuality, to provoke and to entertain.
1. Exercise - Get in shape while having
fun!
2. Balance - You work hard... do
something fun for yourself!
3. Expand Your Social Life - Meet new
people with a common interest!
4. Gain Self-Confidence - Stand out on
any dance floor!
5. Great Way to Spend Time With a
Friend or Loved One - Need a hobby you
both enjoy?
6. Improve Your Social Dancing Skills -
Have fun at parties and social gatherings!
7. Relieve Stress - Take your mind off of
everyday stresses!
8. Overcome Shyness - It's time to come
out of your shell!
9. Improve Your Posture - Learn correct
dance technique!
10. Improve Your Memory - Memorize
many dance patterns!
2.2.3 DANCE OCCUPATION: being a
dance teacher allows you to remain active
physically while sharing your knowledge
with others. You can also remain creative
through choreographing routines for
class and performances regularly. It
helps to know which age group you want
to teach, as some will require extra
training or college degrees.
o Your experience in the dance world
will have given you a thorough
understanding of the arts in general,
and transitioning to a desk job is a
good option to stay involved in the
field if you desire a less physically
active career.
List of Dance Occupations:
1. Ballet dancer
a. Corps de ballet
b. Demi-soloist
c. Principal dancer
d. Soloist
2. Ballet historian
3. Ballet master
4. Choreographer
5. Dance critic
6. Dance historian
7. Dance notator
8. Dance scholar
9. Dance therapist
10. Dancer
a. Backup dancer
b. Caller (dancing)
c. Exotic dancer
d. Majorette (dancer)
e. Showgirl
f. Taxi dancer
11. Répétiteur
3. DANCE EDUCATION PROGRAM:
3.1 BRIEF HISTORY OF DANCE
EDUCATION IN THE PHILIPPINES
Dance is an integral part of Filipino culture that
dates to the period before Ferdinand Magellan stepped
foot in the Philippines. The traditional dances of the
Filipinos are vibrant and colorful, capturing the history of
the archipelago.
Before the Spanish Various tribes were
scattered across the more than 7,000 islands, each with its
own unique traditions and dances. The Igorot tribes lived
in the mountains of Luzon; a handful of these tribes still
reside in the mountains, having successfully resisted
Spanish colonization. Many of the dances have been
handed down through the generations. Dance expresses
this tribe's love of nature and gratitude to the gods. To
imitate the wonders of nature, dancers often swoop their
arms like birds and stomp their feet to represent the
rumbling of the Earth. However, many other tribes in
other regions are disappearing, and only a few of their
dances survive. Thanksgiving, worship and prayers for a
bountiful harvest mark the style of these dances.
Voyage to Mindanao In the 12th century,
traders and seafarers came to the Philippines long before
the Spanish, bringing the Islamic faith with them. The
inhabitants of the southern region converted to Islam,
incorporating their new religion into the fabric of their
existing culture. The dances of the Muslims, known as
Moros, are alluring and colorful. Female dancers wear
costumes studded with jewels, while male dancers
brandish swords and shields. The Moros use languid arm
movements to imitate the world around them such as the
wind, the sea and the fish. Each dance is punctuated by
the haunting sounds of the kulintangan, a set of small
gongs. Like the Igorots, the Moros were able to resist
Spanish rule, which is why many of their dances continue
to flourish.
Maria Clara In 1521, Ferdinand Magellan came
to the archipelago, signaling the start of Spanish
colonization. However, the Spanish didn't get a foothold
in the Philippines until 1565. Three centuries of Spanish
rule left an imprint on the Filipinos. Many of them were
converted to Catholicism and forced to take Spanish
surnames.
During this period, Western culture spread
through the islands, including such Western dances as the
waltz, fandango and polka. With a little Filipino flare,
they quickly became part of the culture. This "new" style
of dance was named Maria Clara after the tragic character
in Jose Rizal's novel "Noli Me Tangere."
Barrio Fiesta After toiling in the rice paddies,
countryside farmers would gather to sing and dance.
These dances revolve around everyday items, such as
glasses, candles, benches, hats and bamboo poles.
Because the dances are a celebration, they are often
referred to as "a barrio fiesta." One of the more
complicated dances is pandanggo sa ilaw, meaning
"dance of lights," which imitates wandering fireflies. To
accomplish the illusion, women delicately balance three
"tinghoy," or oil lamps, on their heads and palms.
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.
3.1.1 SIGNIFICANCE OF DANCE
EDUCATION:
o Dancing to music can release
tensions and hidden anxieties and
helps the shy, as well as the hyper
active child through the required
levels of focus needed in class.
o We give the children the time and
place to express and explore their
own imagination, to express thoughts
through movements, use their own
choreographic ideas and
creativity. Most children enjoy the
opportunity to express their emotions
and in doing so become aware of
themselves and others through
movement.
o Dance classes are a wonderful
physical and artistic activity leading
to greater levels of energy, co-
ordination, flexibility and muscle
strength. They are stamina building
and help form a better understanding
of a healthy lifestyle and a greater
sense of bodily awareness.
o Dance involves a much high level of
movement, coordination, strength
and endurance than most other
physical sporting activities.
o Dance classes not only teach
kinesthetic memory, but utilize the
entire body and are, therefore, an
excellent form of exercise for total
body fitness whilst building artistic
and creative skills.
o Dancing requires motivation and
discipline which should be gently
encouraged and fostered by the
dance teacher. This motivation and
discipline will become life-long tools
and greatly assist in any career path
chosen.
o Dance students learn to depend on
each other and to get along with each
other in their dance class. In a well-
run dance class situation, children
will create wonderful movement
ideas eagerly and spontaneously, and
often work in small teams to
accomplish a creative group
outcome, thus forging strong social
interactive skills. Even the very
young learn to communicate creative
ideas to others through body
movement and to work happily
within a group dynamic.
o A dance education has proven time
and again to help children to develop
good literacy skills. During a
qualified dance class the class
content, exercises and dances learned
will have a profound effect on the
dance student's academic
schooling. Dance class constantly
involves mathematics, with the
counting of music, learning of
complex rhythms and the continual
use of patterns and forms. Science
studies are enhanced through spatial
and bodily awareness. Dance is a
natural method for learning and
dance students learn movement
patterns as readily as they learn
languages. Learning to dance
involves both sides of the brain and
is one of the greatest builders of brain
connectors giving dance students an
 added advantage especially observed
in their academic language studies.
3.1.2 PHASES OF DANCE EDUCATION
PROGRAM:
1. Creative Rhythms- sometimes
called fundamental rhythms or
natural dances. A creative rhythm is
an end product of exploration and
improvisation of movements as
children learn to move the parts of
their body and to use them as
instruments of expression.
2. Folk/ Ethnic dance- a cultural art
form handed down from generation
to generations. It communicates the
customs, beliefs, rituals, and
occupations of the people of a
region or country. Folk dancing
belongs to the people. It emanates
from them. Ethnic tribes have their
specific tribal art forms originated
and danced by the people of the
tribe.
3. Social and Ballroom Dance-
setting of the social and ballroom
dance is a social gathering with the
more formal atmosphere than the
simple and informal parties in
which the recreational dances are
the usual forms. Social and
ballroom dancing are generally held
in the evenings. The participants are
usually in formal attire
4. Recreational Dance- includes
dance mixers, square dance round
and couple dances. Many of these
dances have simple patterns and
combinations of walking steps,
polka step and the waltz step. The
setting is usually informal
gatherings and parties, reunions etc.
5. Creative Dance- the highest form
of dance. It is the end-product of
exploration and improvisation of
movements as the dancer or the
choreographer expresses his
feelings or emotions, ideas, and
interpretations. This is a dance with
a definite form, a beginning and an
ending. The principles of art form
are all observed in the composition
of the dance.
3.2 VARIOUS DANCE FORMS:
3.2.1 Ballet- without any doubt one of the
most highly technical and famous of all
performance dances. It was originally
created in 15th century Renaissance
Italy, but it received popularization in
countries such as France and Russia.
It’s incredible popularity and influence
has had a profound impact on
techniques found in many other dances,
and has even morphed the cultural
histories of many countries around the
world.
o Ballet is a French word which had its
origin in Italian balletto,
a diminutive of ballo (dance) which
comes from Latin ballo, ballare,
meaning "to dance", which in turn
comes from the Greek "βαλλίζω"
(ballizo), "to dance, to jump about"
3.2.2 Modern Dance- an influential
performance dance that originated as a
reaction against the classical ballet and
its movement style. Shaped by many
factors in late 19th and early to mid-
20th century, modern dance evolved
into a popular free dance style that
includes elements of performance art,
release technique, improvisation and
contact improvisation.
3.2.3 Jazz Dance- a performance
dance technique and style that first
emerged in Brazil in the early twentieth
century. Jazz dance may refer to
vernacular jazz or to Broadway or
theatrical jazz. The term 'jazz dance' has
been used in ways that have little or
nothing to do with jazz-music.
3.2.4 Steptanz- generic term for dance
styles in which the footwork is the most
important part of the dance. Limb
movements and styling are either
restricted or considered irrelevant. Step
dancing includes clog dancing in which
the steps are performed by performers
wearing clogs. The sound of the clogs
against a hard surface produces a
characteristic sound which is an
important element of the dance.
3.2.5 Dance Sports- competitive ballroom
dancing, as contrasted to social or
exhibition dancing. In the case
of wheelchair dance sport, at least one
of the dancers is in a wheel chair.
3.2.6 Pop Dance- a popular music sub-genre
that originated in the early 1980s. It is
generally up-tempo music intended
for nightclubs with the intention of
being danceable but also suitable
for contemporary hit radio. Developing
from a combination
of dance and pop with influences
of disco, post-disco and synth-pop, it is
generally characterized by strong beats
 with easy, uncomplicated song
structures which are generally more
similar to pop music than the more free-
form dance genre, with an emphasis on
melody as well as catchy tunes. The
genre, on the whole, tends to
be producer-driven, despite some
notable exceptions.
o Dance-pop is known for being highly
eclectic, having borrowed influences
from other genres, which varied by
producers, artists and periods. Such
include contemporary
R&B, house, trance, techno, electro
pop, new jack swing, funk and pop
rock.
3.2.7 Theatrical Dance- dance performed
for an audience. It is frequently
performed in a theatre setting, though
this is not a requirement, and it is
usually choreographed and performed
to set music.
3.2.8 Classical Dance- Classical dance is a
conventional dance revealing the
emotions through poetry or dance
drama. This form is portrayed by poise,
dignity and precision of movement and
by elaborate formal gestures, steps, and
poses.
o It is performed in theaters either in
group or solo and is accompanied by
musical instruments with beautiful
costume. It conveys a story or theme
through a musical composition
written or used for this dance form.
o It requires composure but strong
attitude. It bring calmness, harmony
in life and at the same time make our
body strong, active and in shape.
3.2.9 Cultural Dance- developed by people
that reflect the life of the people of a
certain country or region. Not all ethnic
dances are folk dances. For
example, ritual dances or dances of
ritual origin are not considered to be
folk dances. Ritual dances are usually
called "Religious dances" because of
their purpose. The terms "ethnic" and
"traditional" are used when it is required
to emphasize the cultural roots of the
dance.
3.2.10 Aerobic Dance- form of physical
exercise that combines
rhythmic aerobic
exercise with stretching and strength
training routines with the goal of
improving all elements of fitness
(flexibility, muscular strength,
and cardio-vascular fitness). It is
usually performed to music and may be
practiced in a group setting led by
an instructor (fitness professional),
although it can be done solo and without
musical accompaniment.
o With the goal of preventing illness
and promoting physical fitness,
practitioners perform various
routines comprising a number of
different dance-like exercises.
o Formal aerobics classes are divided
into different levels of intensity and
complexity and will have five
components: warm-up (5–10
minutes), cardiovascular
conditioning (25–30 minutes),
muscular strength and conditioning
(10–15 minutes), cool-down (5–8
minutes) and stretching and
flexibility (5–8 minutes).
3.2.11 Rhythmic Gymnastics- a sport in
which individuals or groups of five
manipulate one or two pieces of
apparatus: rope, hoop, ball, clubs and ri
bbon, or freehand (no apparatus).
Rhythmic gymnastics is a sport that
combines elements
of ballet, gymnastics, dance, and
apparatus manipulation.
o The victor is the participant who
earns the most points, determined by
a panel of judges, for leaps, balances,
pirouettes (pivots), apparatus
handling, and execution.
o There is no maximum number of
points anymore but there was before
the judges consider artistry, mastery,
and execution.
o The choreography must cover the
entire floor and contain a balance of
jumps, leaps, pivots, balances (a
certain number is required depending
on the gymnast's level) and
flexibility movements.
o Each movement involves a high
degree of athletic skill and key
movement. Physical abilities needed
by a rhythmic gymnast include
strength, power, flexibility, agility,
dexterity, endurance and hand-eye
coordination.
4. DANCE FUNDAMENTALS AND PATTERNS
4.1 Dance Fundamentals:
4.1. 1 Ballet- without any doubt one of the most
highly technical and famous of all performance
dances. It was originally created in 15th century
Renaissance Italy, but it received popularization
in countries such as France and Russia. It’s
incredible popularity and influence has had a
profound impact on techniques found in many
other dances, and has even morphed the cultural
histories of many countries around the world.
4.1.2 Dance Terminologies:
1. To Address Partner is to bow to
partner. Facing partner, boys bow by
bending slightly from the waist as girls
do curtsy. Curtsy is to bend knees and
body slightly with a bow of the head; the
weight of the body is on one foot. One
foot crosses the other in rear.
2. An Amalgamation is a combination of
two or more patterns or movements.
3. An Amateur Dancers is a person who is
dancing as a hobby and who does not
seek financial gain from teaching or
dancing.
4. A Ball change is a transfer of weight
from the ball of one foot to the other foot.
5. A Basic figure is a standardized step
pattern, which together with other
constitute the basics of a dance.
6. To Brush is to lightly touch the inside
edge of the supporting foot with the
inside edge of the free foot between
changes of weight.
7. A Chasse is composed of three changes
of weight with a close on the second and
may be performed sideward or forward.
8. A Choreography is a creation or
compilation of steps, patterns and
movements, which make up the dance or
a dance routine.
9. To Close is to move the free foot next to
supporting foot with one change of
weight.
10. A Commando is a forward or backward
rock and close.
11. A Combination is a group of
consecutive patterns and choreography.
It is similar to amalgamation but it
sometimes involves a slightly more
advanced set of patterns.
12. A Continuity Movement is the
continuous passing of the step from one
step to the next.
13. The Contrary body movement is the
action of turning the opposite hip and
shoulder toward direction of the moving
leg. It is used to begin all turning
movements.
14. A Conversation is a position when
partners stand side by side, right hand of
the gentleman holds the lady’s waist; L
arm of the lady placed at the gentleman’s,
outside arm at the side.
15. A Corte, in tango, is a stop and change
of direction either forward or backward.
16. A Cuban motion is a discreet but
expressive hip movement achieve by
bending and straightening the knees with
carefully timed weight transfer.
17. Dance Sports is the official name given
to competitive Ballroom Dancing.
18. The Floor chart is the ability of the
leader to maneuver around the dance
floor in a skilled and controlled manner
as to avoid colliding with the other
dancers.
19. A Drop is a theatrical movement in
which the follower’s body remains in
contact with the floor.
20. A Fan is a half a turn done on the ball of
one foot while the free foot is kept
directly behind the foot on which the turn
is made.
21. A Figure is a standardized step pattern
that, together with the other patterns,
constitute the dance.
22. A Hip motion is a very general term to
mean any type of hip movement used in
Latin dancing.
23. A Pivot is a turning movement during
which the free foot is kept either in front
or directly behind the foot on which the
turn is made.
24. A Spin is a turn done in place using both
feet, usually done as a couple.
25. Variation is a varied or more advanced
pattern than the corresponding basic
figure, which still contains the same main
elements.
4.1.3 Feet, Arms, Wrist, Hand, and Fingers:
 Feet- an invertebrate organ of
locomotion or attachment. A ventral
muscular surface or process of a mollusk.
 Arms- a human upper limb. A part of
between shoulder and the wrist. It serves
as a support for the elbow and forearm.
 Wrist- joint or the region of the joint
between the human hand and the arm or
a corresponding part on a lower animal.
  Hand- the end part of a person's arm
beyond the wrist, including the palm,
fingers, and thumb.
 Fingers- limb of the human body and a
type of digit, an organ
of manipulation and sensation found in
the hands of humans and other primates.
Normally humans have five digits,[3] the
bones of which are termed phalanges,[2] on
each hand, although some people have
more or fewer than five due to congenital
disorders such
as polydactyly or oligodactyly, or
accidental or medical amputations. The
first digit is the thumb, followed by index
finger, middle finger, ring finger, and little
finger or pinkie. According to different
definitions, the thumb can be called a
finger, or not.
4.1.4 Basic Arms and Feet Position:
1. Raised arms to a circle in front of the chest Bring
heels close to touch, toes apart
2. Open up arms sideward, raised below shoulder
level with a graceful curve. Bring feet apart
sideward.
3. Raise one arm overhead while other arm remains
in 2nd position. Bring the heel of one foot to
touch the instep of the other foot.
4. Raise one arm in front of chest in a half circle,
while one arm remains overhead. Bring one foot
in front of the other foot to walk strike.
5. Raise both arms overhead in a graceful curve.
Bring the heel of one foot to touch the toe of the
other.
4.1.5 Fundamental Position in Dance
1. Ballroom or Social Dance Position –
partners stand face to face, shoulders and hips
parallel. Boys R hand is placed around Girl’s
waist. Girl’s L hand rests lightly against his R
shoulders. Boy’s L hand is raised to the side
holding the Girl’s R hand. The fingers of her
R hand rest lightly in the palm of the Boy’s
L.
2. Open or Conversation Position – partners
stand side by side, both facing the same
direction. Girl R of partner. Boy’s R is around
Girl’s waist in back. Girl’s L hand rest lightly
on Boy’s R shoulder. Outside hands may be
joined with arms extended forward or the
outside hands maybe on hips or side.
3. Shoulder – Waist Position – partners face
each other. Boy’s places hands on Girl’s
waist. Girl’s hands are on the Boy’s
shoulders.
4. Cross – Hold Position – partners stand face
to face, R hand joined over L hands, extended
about waist level.
5. Promenade Position – partners stand side by
side, both facing on the same direction. Girl
at R of partner. The hand crossed in front, R
hands joined over L.
6. Schottische Position – partners stand side by
side, Girl to R of Boy both facing the same
direction. Boy’s R arm around Girl’s waist,
her L arm shoulder behind his R shoulder, her
L hand resting lightly on that shoulder, free
hands on waist.
7. Varsovienne Position – partners stand side
by side, girls stands to the R and slightly in
front of Boy. Boy reaches R arm over the
girl’s R shoulder and takes her R hand in his,
his L holds her L a little above his L shoulder.
8. Elbow Swing – hook designated elbows
firmly of the hand carried at the height of the
locked elbows. While swinging, pull away
from partner at shoulders.
9. One Hand Swing – with the elbow bent and
down, join the designated hands at shoulder
height. In balancing “pull against pull” while
swinging, apply pressure against the thumbs
and heels of hands, pulling away at shoulders.
10. Two – Hand Swing – Boy present hands at
shoulder height with palms up, elbows close
to sides and should support while balancing
“pull against pull” leaning away at shoulders.
11. Waist Swing – In a modified closed ballroom
dance positions with R foot and hips adjacent
the support weight of the body on the R foot
swing, balance “pull against pull”, leaning
away from partners at shoulder.
12. Hungarian or Russian Swing – dancers
stand facing in opposite direction with R(L)
 hips adjacent, each R(L) arm around each
others waist in front, on partners hip, L(R)
arm curved over head, both lean slightly
away from each other when turning.
13. Star post – Partners are in opposite
directions, their right hands holding each
other, lady facing away from audience; while
gentleman faces the audience.
14. Challenge position- Partners face each other
about a step apart without touching.
15. Cuddle or skating position – Woman is at
man’s left or right side, both facing the same
direction; one arm of man is across woman’s
back.
4.1.1.1 COMMON DANCE TERMS:
1. Arms in lateral position – Both
arms are at one side either right or
left, at shoulder, chest or waist level.
2. 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.
3. Crossed Arms – Partners facing
each other or standing side by side
join their left hands together and the
right hands together; either right over
left or left over right hands.
4. Cut – To displace quickly one foot
with the other.
5. Do-si-do – Partners advance
forward, pass each other’s right ( left
) side, step across to the right move
backwards without turning around,
pass each other left side to proper
places.
6. Hayon-hayon – To place one
forearm in front and the other at he
back of the waist.
7. Hop – A spring from one foot
landing on the same foot in place or
in any direction.
8. Jaleo – Partners turn around
clockwise (with right elbows almost
touching ) or counterclockwise ( with
left elbows almost touching ) using
walking or any kind of dance step.
9. Jump – A spring on one foot or both
feet landing on both feet in any
direction.
10. Kumintang – moving the hand from
the wrist either in a clockwise or
counterclockwise direction.
11. Leap – A spring from one foot
landing on the other foot in any
direction.
12. Place – To put foot in a certain
position without putting weight on it.
13. Pivot – To turn with the ball, heel or
whole foot on a fixed place or point.
14. Point – Touch the floor lightly with
the toes of one foot, weight of the
body on the other foot.
15. Masiwak – To turn the hand from the
wrist half-way clockwise then raise
and lower wrist once or twice. This is
an Ibanag term.
16. Panadyak – To stamp in front or at
the side with the right foot and tap
with same foot close to the left foot.
This is a Tagalog term.
17. Patay – To bend the head downward
and to support the forehead with the
R forearm or with the crook of the R
elbow while the left hand supports
lightly the palm of the right hand.
This is usually done with the left foot
pointing in rear and knees slightly
bent. This is an Ilocano term and the
movement is commonly found in
Ilocano dances.
18. Salok – T o swing the arm
downward-upward passing in front
of the body as if scooping, the trunk
is bent following the movement of
the arm doing the salok.
19. Saludo – Partners bow to each other,
to the audience, opposite dancers, or
to the neighbors with feet together.
This is of Spanish origin and is used
in almost all Philippine dances.
20. Sarok – Cross the R foot in front of
the L, bend the body slightly forward
and cross the hands down in front of
the R hand over the L. This is a
Visayan term.
21. Slide – To glide foot smoothly along
the floor. The movement may be
finished with or without transfer of
weight.
22. Stamp – To bring the foot forcibly
and noisily on the floor with or
without transfer of weight.
23. Tap – To rap slightly with the ball
or toe of the free foot, flexing the
ankle joint keeping weight of the
body on the other foot. There is no
change or transfer of weight.
24. Whirl – To make fast turns by
executing small steps in place to right
or left.
 COMMON DANCE TERMS OF but with the arms still slightly
BALLET: bent at the elbow.
2. Closed. The leader stands face to
1. DemiPlie- small bend face with the follower. The
2. Cambre- arched leader's right arm holds the
3. Grande Plie- big bend follower around her back, with
4. Tendue- to touch his right hand on her left
5. Degage- clear path shoulder blade. His left hand
6. Rond de Jambe- round with leg holds the follower's right hand at
7. Fondu- to melt shoulder height, slightly out to
8. Frappe- to strike his left hand side. The follower's
9. Grand Battlement- banging, left hand is on the leader's right
slamming shoulder.
10. Retire- isolated 3. Side. The follower stands on the
11. Developpe- developed leader's right hand side, both
12. Pas de Bourree- to cram or stuff facing in the same direction. The
13. Balance- to swing leader's right hand is around the
14. Sauttee- to jump follower's back, and the
15. Changement- change follower's left hand rests on the
16. Echappe- slip out; escape leader's right shoulder.
17. Eschappesauttee- jumping/ escape 4. Behind. The leader stands
18. Sissone- to spring directly behind the follower,
19. Glissade- slide both facing in the same direction,
20. Chasse- chase with a slight gap between them.
21. Pique- prick/sting (will be used in The leader's left hand holds the
passe) follower's left hand near her left
22. Jete- to throw hip, and the leader's right hand
23. Arabesque- ornament holds her right hand at her right
hip.
4.1.1.2 COMMON ABBREVIATIONS: 5. Wrap. The follower stands on
1. BLOD - Backward Line of Dance the leader's right hand side, both
2. BPM - Beats per minute facing in the same direction. The
3. BWD - Backward leader's right arm goes around
4. CFP - Close Facing Position the follower's back to hold her
5. DTC - Diagonally To the Center left hand at her right hip; the
6. DTW - Diagonally To the Wall leader's left hand holds the
7. FWD - Forward follower's right hand in front of
8. L - Left them. The follower's left arm is
9. LF - Left foot wrapped across her front,
10. LOD - Line of Dance underneath her right arm.
11. MPM - Measures per minute
12. OFP - Open Facing Position 6. Sweetheart. The follower stands
13. PP - Promenade Position on the leader's right hand side,
14. Q - Quick (a step lasting one beat) both facing in the same direction.
15. R - Right The leader's right arm goes
16. RF - Right foot across the top of the follower's
17. S - Slow (a step lasting two beats) back to hold her right hand at her
4.1.1.3 POSITION AND GRASPS right shoulder; the leader's left
1. Open. The leader stands facing hand holds the follower's left
the follower a short distance hand at waist height in front of
apart. Both dancers have their him. The follower's right arm is
knees slightly bent and their bent at the elbow so her right
weight forwards on the balls of hand is just above her right
their feet. The leader holds the shoulder.
follower's hand with their arms
slightly away from their bodies,
4.1.1.4 DANCE FORMATION: refers to a
choreographed routine involving
more than one couple. It can involve
multiple couples, even a dozen in
extreme cases, dancing an elaborate
routine that typically expresses some
kind of storyline. They use the music
to showcase movement that is
synchronized intelligently to create
interest and unexpected changes. It
can be based around a single dance
style, but more often includes more
than one dance style.
1. Single circle-facing clockwise
o Facing counter clockwise
o Facing each other
o Facing center
2. Double circle-partners facing
o Partner facing counter
clockwise
o Facing clockwise
3. Square or quadrille formation
4. Semi-circle or half moon
5. Double lines/ column
formation
o Facing front
o Partners facing each other
6. Long open formation
7. Scatter formation