ChapLer 1 — Philippine Dances

INTRODUCTION TO PH1MPPINE £OLX DANCES

CHAPTER 1 — GENERAL ORIENTATION AND FUNDAF1ENTAL OF FOLK DANCING

FoJk dances are traditionally dances of a country which are evolved naturally and spontaneously

in connection with everyday activities and experiences of the people. These are traclitional dances

handed down from generation to generation that describe the traditions, belief, occupations,

ways of life and characteristics of people living in a certain nation through body movements.

Brief History of the Philippine Folk Dances

When the Philippines was discovered by Ferdinand Magellan in 1521, it had been inhabited by

different racial groups: the Indonesians, Malays and Pygmies. The offspring of the Pygmies were

the Negritos whose dances describe their daily activities like the sinulog, a dual dance

where two men use bolos.

For centuries, dancing and singing have been the principal past time of the people. The early

Filipino’s considered dancing as a religious activity. They performed dances in thanksgiving for a

fruitful harvests, a victorious battle and prosperous voyage or recovery from sickness.

During tte Spanish period, dancing played an important part in the social activities of the

Filipinos. Kumintang, a pantomimed song and dance was the oldest recorded activity among

the Christianized Filipinos.

The Spaniards introduced different dances such as Fandangos Lanceos, Carinosa and Curacha. Western
cultures and dances of other European countries during the 16* century were also introduced, absorbed
and blended in our native culture which later became our traditional folk dances.

Classification of Philippine Folk Dances

• Folk Dancing —a very wholesome form of recreation enjoyed ay everybody. Significantly, part of

the rich Filipino culture and arts is folk dance. There are several dances for all occasions, ie.

Wedding, occupation, festival, war and victory.

• Francisca Reyes Aquino – Philippine’s national artist and Mother of the Philippine Folk

Dances, started the collection of dances and songs as early as 1924. She authored six (6) volumes of

books. These dances have been categorized into non — Christian or either ethnic and

Christian dances. The ethnic dances are described as the highest form of art of the Filipino

dances because of their innate, unique and beautiful movements. The Christian dances mostly adopted

the Spanish and other European influences, and mixed the native Filipino culture. These Christian

dances include Jotas, Pandanggo and Habaneras.

Descriptions:

1. National Dances — Present throughout the island with little or no modification.

2. Local Dances — Present in certain localities only.

3. Occupational Dances — Depicting action of certain occupation, industry or human labor .

4. Religious or Ceremonial — dances being performed in connection with religious vows and

ceremonies.

5. Comic Dances — Depicting funny movements for entertainment.

6. Game Dances — Having play elements (dance mixers).

7. Wedding Dances— Dances being performed during wedding feast.

B. Courtship Dances — Dances depicting love — making.

9. Festival Dances — Dances fitting for special occasion or any social gathering

10. War Dances — Dances showing imaginary combat or duel.

FUNDAMENTAL POSITIONS OF ARIAS IN FOLK DANCING

The fundamental positions of the arm in folk dancing include five position’s.

Fundamental hand and feet position

First Position

Place both arms in front of the chest in a circular position with the heels of the feet together and

the toes 45 degrees apart.

Second Position

Place both arms sideward with the palm facing upward and stride the feet sideward.

Third Position

Place one arm on your side at shoulder level and raise other hand overhead with the heel of the

feet placed beside the in-step of the other foot.

Third Position

Place one arm on your side at shoulder level and raise other hand overhead vrith the heel of the

foot placed beside dv in-step of the other foot.

Fourth Position

Place on arm in front of the chest level with elbow slightly bent the other arm is raised overhead

with one foot placed in front of the other foot.

Fifth Position

Raise both hands overhead with the elbows slightly bent. The heel of the foot is placed in front at

the toe of the rear foot.

Common Dance Steps in Folk Dancing

There are dance steps and positions among in many folk dances. Francisco Reyes Aquino, national

artist for dance, listed these common dance steps and positions in her book Fundamental Steps and
Music (1997 Edition). Below are some dance steps listed by Aquino.

Abrasete

The girl, positioned at the right Side of the boy, holds the right (R) arm of her partner with her

left (L) hand. Their free hands (the hand doing nothing or not placed anywhere) are down at

either side.
Arms in Lateral Position

Both arms are at one side (either sideward right or left), which may be done at shoulder, chest, or

waist Level.

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

To turn the palms up and down alternately, hands at waist level in front, elbows close to waist.

Brush

Weight on one feat, 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.

Crossed arm

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 hands.
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 at pa rtners' right side.

Cut

To displace quickly one foot with be other, thus completely taking off the weight of the body from

the displaced foot.

di-si-do

(das-a-dos)

The vis-a-vis (opposites) firth 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.

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

”"
Hands 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, h@ 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. Hayon-hayon is a Visayan term

Jaleo

Partners turn once around clockwise (with R elbcws almost touching) or counter- clockwise (with L

elbows almost touching) using walking or any kind of dance step. The hands near each other are on

waists.

Kumintang

Moving the hand from the wrist either in a clockwise or counter clock-wise direction.

Panadyak

To stamp in front or at the side with R (L feat and tap with same foot close to the L (R), weight

of the body on L (R) feat.

Patay

To bend fhe head downward and to support the forehead with the R

(L) forearm ot wit the ciook of the R (L) elbow while fhe L (R) hand supports lightly the pam of

the R (L) hand. This is usually done with the L feat nt in rear and knees sli

bent

Touch the fler lightly with the toes of one feat, weight of the body on the Qher foot.

To swing the arm downward-upward passing in front of the body as if scooping, the trunk is bent

forward following the movement of the arm doin the

Partners lx›w to each other, to the audience, opposite dancers, or to the

with feet together. This is used in almast all Philippine dances.

Cross the R (or L) frot in front of the L (or R), bend the body slightly forward and cross due

lancis (forearms) down in front with the R (or

hand forearm over the L or R

Tap
whirl

To tap slighdy with the ball or toe of the free foot, flainq the anNe joint and keeping the weight

of the txxly on the other foot. There is no change or transfer of weight.

To make fast turn small ste lace to ri ht and left.

Philippine Folk Dances

POLKA SA NAYON (TAGALOG)

The ballroom Polka was famous in during dv Spanish Period. It was usually danced

during town fiestas and in big gatherings. In Glancing Polka sa Nayon, consider the following:

1. Costurru•. The gills wear the Maria Clara or style; the boys wear Barong Tagalog
and, black or white bousers.

2. Music. Composed of three parts: A, B AND C.

3. Count. One, two to a measure.

4. Formation. The dance may de performed by pg group of four or in a scattered pc›sition when it is

done inside the ballroom.

Basic Dance Steps in Polka GB @gygg

1. Plain Polka. Step Pattern — Step Pattern — Step R ( swd bwd ; close Rio L; step R; raise L

2. Heel And Toe Polka: Step Pattern — Heel place R (in front); toe — point in rear; raise — step @

close L to R; step R; pause

3. Chanqe step: Step Pattern — Step R (any direction); close L to R, step R

MBLI (YAGALOG)

IB£f is a favonte dance of the people in nearly all the barrios of the municipality of

in May and during fiestas. It is a ceremonial

worship dance performed in homage to the Holy Cross referred to in the verracular as sha/ &

inta Itoriginated some some three hundred years ago in fhe banio of @pgjg,

The name Subli was derived from two Tagalog words subsub(stooped or in a crouching position) and

(broken). Thus, the male-dancers are in trunk-forward- bend position throughout the dance.

They seem to be lame and crookecl. In dancing

the following must be ansidered.

1. Costume. The girls wear simple costume (with and gdgyg) and a .

hat while the boys wear Barong Tagalog and red trousers with a pair of bamboo castanets laid in

each hand. Both girls and boys are Darefated

2. Nusic. The first part of the the individual auple dance, is accompanied ay a

kalaongt (a bamba instrument stuck with two bamba sticks) and drums various sizes made of goat‘s

skn. The second part of the dance has a Mo-part music. A and B.

3. Count one, two or one, and two to a measure in 2/4 and one, and, ah,

and, ah in 6/8 time.

4. Formation. After the inclividual pair dances (if there is), the dancers form two lines the boys

stand about four feet behi‹ d their respective partners. All face the audience. Three or four paiis

make a good set. From one two any number of sets ma take rt in the dance

CARINOBA (YAGALOG}

€Bzz/z‹zsa is krown throughout the Philippine as the flirtation dance. Carinasa mean affectionate,

lovable, or amiable. With the fan and a handkerchief, fhe dancers go through hide-and-seek

movements and other flirting acts expressing tender feeling for one another.

There are many versions of this dance but the hide-and-seek movements are common in all. In dancng

icarnsa,o ansider be following:

1. Costurrte. The girls wear Balintawak or Patadyr}on and Camisa ashJmes. While, the boys wear

Barong tdgBf0g in any girls have fan hanging at R side of their waist,
while the boys have handkerchief in their pt

2. Music. The music is composed of two parts A and B.

3. Count. One, two, three to a measure.

4. Formation. Partners stand op te and facing each Qher about six feet apart. When faong the

audience, the girls are at the right of the boys. One to any number of auples may take part of this

dance

Teacher's Insight

Traditional aai ces are practices that have been in existence for years. They have been passed on

or handed down fi om one generation to ai othei . These practices have also evolved thiough time

because of the vaiious experiences of ancient Filipinas, paiticularly their contact faith the aloi

izers.

Traditional dances can be classified as (1) religious, (2) imitative of animal life and activities

(3} peiformed during socialization and celebrations, (4) inherited horn colonial masters, and (5)

perfoimed for tourism prcqran s for both cultural and economics use. Traditional dances can also be

folk or ed nic. Folk dances are generally Those that express the past and present culture and

performed by Christianized rural or lowland folks. Ethnic dances are also folk dances in that d ey

also express the cultuie of a certain group; these dances, however, are performed by members of the

cultural minority or those who were not influei ced by colonization.

Chrptei 2 \4ODERN AND CONTEMPORARY DANCES

Chapter 2

In the previous module, you learned how the native Philippine dances were modified due to the

integration of culture brought about by the Spanish occupation. When the Amencans arnved in the

late 19” century and ruled over the Philippines for more than thiee decacles, they brought with

them a dance culture that further added to Philippine dance 0 aditions. It was during dais time

that kallet was intfocluced to the Philippines.

Is a foFI£aI foFm Df dance which came not from the United States but from Russia and The

term Chris related to the lalian word la//e, a variation of the word o, meaning ”dance” It

can also be attributed to the Latin Tal/ere which means"to dance.” Russia and France pioneeied

ballet dance as public entertainment, and !t spreacl throughout Europe.

Ballets art api essions rely on its precise and highly formalized set of steps and gestures. Side

light, graceful, and fluid movements, ballet dancers perfoc en jade{on toe ) on the dancing area.

The en inte dat ce style became populai duiiiJg the early 19'” century, and it was reseixed

only far women during the time. WDrnen daiJcers wore an all-white dress and white, black, or pink

pain@d shoes. They also vore leotard, lights, and a bell-like wrap skirt. This classical style of

ballet, however, leaves liftle room foi creative expression because of rigid and premeditated style
of movements.

MODERN DANCE

The riqid and preireditated style of ballet made some dancers of the 19’^ centuiy to rebel and

apeiiment oil a was sfyle that is more loose and flexible. The iesult of this experimentation was

the birth of modern dance in the late 19ᵗ^century. It eventually flourished in the early 20‘^

century. Compared to ballet, modem dance

• is moie free and relaxed as it focuses more on due dancer's o\vn interprefations of the music

rather thaw oil strrictuied steps as in ballet.

According to t: ua tore development of modern dance

can be divided iiJto three periods-one at the beqinning of 1900s, the other at due sfart 1930s,

and last after the Second World War. It was after the Seand \Yorld War ›vheiJ moslem dance became

contemporary dance.

The proponents of modem dance at the beginning of 1900s included the Ameiican dancers Isadora

Duncan aiJd Ruth St. Demis aiJd the GermaiJ dancer Mary Wigrrian. Early modern dancers there

influenced by the revolutionary thinking of the 19* century French philosopher of movement

Francois see ho developed a system of natural expressive gestures. This system

countered the then popular artificial mannerisms usually seen iiJ Another

iiJfluence of early modern daiJcers is the system called eurhytlJmics, which was developed by

Swiss music educator Emile

3aques-Dalcroze. Eurhythmic is a system for teaching musical rhythm through body movement.

Duncan, St. Denis, and Wigman leaked beyond \Yestern daiJce traditioiJs to create new daiJce

styles. Duncan sought inspiiation from Greek sculptuie for leer movements. DaiJcing in bare

feet, she created danes that alternately yielded and resisted gravity. Her source of movement Seas

in her solar plexus. 2. Denis, Dancing iiJ a diverse range of styles, looked to the ethnic dance

sfyles of Egypt, India, aiJd Asia as her influence. tuined to Africa and Easter

Asia for leer choreoqraplJy, makng extensive use of masks in her dances.

It was in 193O when modem dance further developed with the second wave of mcdern dancers,

including Americans Doris Humphrey, Charles Weidman, and Martha Graham, They all danced with

a dance ampany founded by St.

Denis in 1915 and Hanya Holm, a German-born American dancer who came from

iwgrna'ns dance ampany.

This seand wave of mcdern dancers transformed natural human actions such as waI!cng, running, and

breathing into dance movements. Humphrey's technique came from the natural dynamic of human

footfall (the sound of a footstep or footsteps). Her dance showcased fall and recovery from

gravity. It was even seen as a metaphor

for the relationship of an individual to a greater force such as a social group or a spiritual

presence. Humphrey partnered with Weidman in forming a modem dance company. Weidman's dance
style

was humorous and expressive of social amrnentary. Graham's dance technique, on the other hand, was

influenced by natural human breathing. Her early choreographs fc•cused on movements initiated in
the torso, and she

ate meanwhile, was similar Weidman's. It was also Holm who brought mcdern dance to the

Broadway stage.

DANCE ELEz iEiws iN NODERN DANCE

According to Minneapolis public Schal, there are five elements of dance, and these elements are the

bases in understanding dance as an art form.

Understanding these elements will also help you describe the movements of any dance that you will

witness. These elements are body, action, space, time, and energy, or BASTE.

Is the first element of If dance is an art form, then the body is the instrument used by

the artist. In using his or her body, the dancer may be relatively still or anstantly moving

throughout the performance. In mcdern dance, the dancer usually starts his or her movement from the

middle of the txxly, using the abdomen musdes to bend or make a round shape at the center of the

torso while sitting. Floreover, a dancer deliberately changes his of her txxly‘s shape or size and

extends his or he limbs depending on the mocd and emotion he or she wants to express.

Further, the use of the whole body is often a preference in modem dance. Integration of movements

is important such that every single movement involves the entire body. For instance, upward

moverrx°nfs of the arms may involve the downward movements of the legs. Integrated movements of

arms, legs, spine, and torso create beautiful steps in modem dance.
Is the next dance element. Actions are the moverrx°nts that the body performs. It is the mcdern

dancer's adions that make rrodem dance distinct from ballet. For instance, mcdern dance makes

deliberate use , as opposed to classical ballet's light, floating, and airy

movement on feel Ballet creoles an illusion of freedom frc+n gravity by effortlessly jumping and

soaring through the

aii. Modern dance is different because it utilizes b•xIy weight to enhance movements. Hence, it is

ammon for modem dancers to deliberately fall to the floor and to bend and not remain

upright-movements that are the exact opposite of the erect posture and turned-out position of

ballet dancers.

Is the third element of dance. Spare refers to the area where the dane perhxTrs. It deso1bes how be

a she maximizes the use of q›ace-to slay in one pbce or move oxstandy to anotlw. dTws

variation to the movements of the darker. Nodem daxets usually assizne a multidimensional

o1entation, thus making use of all dimensions of q»ce. I4ost of the time, they turn their bad‹s to

the audience or stand sideways, both of which are gestures that ballet daxers do rat usually do as

the basc orienta i of the latte is to face the audience.

The fourth element of dance, is when movements are done in a performarx:e. It is important to of

proper timing in every movement, which is cowzionly in aaordance to the rhythm of the music or
is synchronized with the actions of the otlw dam In rrodem dance, there is a parallelism between

the rhythm of the music ard the mxnentum ard irrgdses, but it is rot always the case; sometimes,

the dark:e is chora›graphed bef‹xe the nxisic to underscore the impulses of the dance movement

Dance mxuentum may am run counter to the rhythm. There are times when music is absent in rrodem

dance; in efféct the

sourds of the dancers' movement become the music. In the case, timing becomes even rn‹xe important

to better highlight the mx›ds and errogons being expressed in every moyernenL

Energy

Is the last element of dance. it refers to the force of an action that brings charader to the

rmwement. In modern dance, energy an be shown in the variahon of movements. Steps, for example,

can be light or heavy, powerful or gentle. There is also the ancept of

which refers to giving equal energy to two opposing body parts. For instance, extending y‹xJr

right leg backward and your left arm forward makes use of ciuiltertenson. Such movement

demonstrates powerful and energetic connection between your legs and arms.

also happens when two dancers hold hands and then pull away equal force without letting go.

Basic fdodem Dance Steps

1. Curl Down and Up

Start with the first position in jazz re|fer to

h m nki ce s o feet ( last

accessed on 16 September 2016)]. For basic jazz positions). Put your arms at your

leak downward. Slowly, curl your spine over. Be careful not to collapse. Before you go down the

floor as you curl, bend your knees. As you reach your owed stop, and then go back upward slowly

until you are back to your first position.

JL Leg Smings

After doing the Curl Davn and Up, do the sacond position of ]azz. Slo\*/ly slide your right leg

forward en pointe until you go back to first posi0on. TheM bnuh the same ten= baclarcl while

slightly bending dv knee of your left leg.

3. Flat — Back

Position with your feet parallel and hip distance apart. Bend over and keep your spne as

sbaight as possible, then raise your arms with your palms facng each other. In a single fluid

movements, raise back up with your arms.

then ba‹;kt• parallel position. Zio this again, with your fact moving to the side
The Emergence of Contemporary Dance

The third period of development of modern dance happened after the Second World War in 1945. By

this time, modern dance had emerged as contemporary dance. Contemporary dance integrated the

techniques and styles from social dance, ballet and modern dance. Among the contemporary dancers

of this time were Americans Merce Cunningham, James Waring, Twyla Tharp, Alwin Nikolais, Paul

Taylor, and Alvin Ailey.

Their revolutionary thinking changed the style of modern dance as they tackled unique expressions

such as the relationship of the present time to abstract space, humorous juxtapositions of

movements, and parodies of dance styles of different performers.

Some of them even jumped into the extreme limit of what was acceptable dance style.

By the mid-1980s, modern dancers were no longer interested with traditional techniques as they

relied more on theatrical elements and the use of literary and

pictorial devices on their dance styles. For instance, Karole Armitage's dances are characterized

by stabbing, insect-like motions, and savage confrontations. There was also the buto of Japanese

dancers group Sankai Juku. Buto is a form of dance theatre that avoids structured choreography. It

strives to express primitive emotions by making minimal use of costumes and actual movements.

Steps in Contemporary Dance

Contemporary dance, just like moden dance, is emotionally-driven, thus, it is typical for
contemporary dancers to experiment in their dance steps based on how they feel and according to

the message that they want to convey. Contemporary dance, however, is also characterized by

flowing movements mixed with quick and exaggerated steps. The choreography is also normally edgy in

its story telling.

Safety Protocols in Performing Modern and Contemporary dance

As mentioned in the previous module, safety protocols are important to secure safety in your

performances. The first thing that you should always remember is to do stretching, warm-up, and

posture exercises before your dance practice and actual performance.

Teacher's Insight

Protest to grid and structured steps of ballet gave rise to modern dance, and later, contemporary

dance. Modern dance, being a dance style that follows the emotion of the dancer rather than

structured steps, has no established and standard steps, unlike the ballet. Contemporary dance is

basically a revolutionized version of the modern dance that combines the distinct steps of ballet

and other social media.

Chapter 3 History of Ballroom Dancing

Chapter 3

History of Ballroom Dancing

Social dance has probably existed in some form sincethe beginning of human society. This is simply

a group of dancing for pleasure orrecreation. Most group dances were originally ceremonial rites

categorized from three basic aspects of human existence: food supply, sexual impulse and

relationship with the spirit world.

The word ball’ is derived from the Latin word bolare’ meaning ‘to dance’. The word ‘ballroom’

denotes a room where balls may be held, that is, formal social dances. Balls were important social

events in the days before radio and television. Ballroom competitions became popular in the 20’s

and the Ballrom Branch of the Imperial Society of teachers of Dancing was formed. Its mission was

to standardize the music, steps, and technique of ballroom dancing everywhere.

Dance competitions have kept ballroom dancing alive and popular. It is interesting that in 1995,

the Olympic Committee granted provisional recognition to Ballroom Dancing or “Dance Sport” the

internationally recognized world Ballroom Dancing Championship is the BRITISH OPEN DANCE

CHAMPIONSHIPS, held annually in Black Pool England.

Common Dance terms, Holds and Positions in Ballroom Dancing

1. Amalgation. A combination of two or more patterns movements.

Amateur Dancer. A person whom dancing is a hobby and who does not seek financial gain from

teaching or performing of dance.

2. Arm styling. Position and movement of the arm, reflecting the style of the character and the

style of the dance.

3. Basic figure. A standardized step pattern, which together with other pattern constitute the

basics of a dance.

4. Choreography. A creation or compilation of steps, patterns and movements which make up the

dance or a dance routine.

5. Combination. A group of consecutive patterns and choreography. Similar to amalgation but

sometimes involving a slightly more advanced set of patterns.

6. Continuity movements. The continuous passing of the feet from one step to the next.

7. Dance sport. The official name given to the sport of competitive ballroom dancing. Relates
to the more athletic form of ballroom dancing.

8. Drop. A theatrical type of movement in which the follower's body weight is partially or

completely supported by the leader while atleast one part of the followers body remains in contact

with the floor.

9. Figure. A stardardized step pattern that, together with the other patterns, constitute the

dance.

10. Floor craft. 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.

1 1. Following. The ability of the followers to react correctly to the signals given by the leader

through physical and visual connections.

12. Formation team. A group of three or more dancerswho perform ballroom style routines.

13. Hip motion. A very general term to mean any type of hip movement used in Latin dancing.

14. Line dancing. A type of non partner dancing where everyone starts in the line and learns a set

of pattern that repeats over and over again throughout the music.

15. Lift. A theatrical type of movement in which the follower's body weight is completely

supported by the leader held aloft.

16. Natural turn. Any dance pattern that turns to the right.

17. Step. Frequently used to mean the same as figure or pattern.

18. Variation. A varied or more advanced pattern than the corresponding basic figure which still

contains the same main elements.

19. Leading. Effective communication of intended actions by the leader through the use of leader's

own body movements and through one or more physical or visual connections to the follower.

Types of Ballroom Dances

As a partner dance, ballroom has a varieI:y of dance styles. The lang history of this dance has

brought diverse styles that couple dancers can choose from for a spectacular performance. Here are

the common ballroom dances according to

h : d r: bo .

1. Waltz is one of the oldest and smoothest ballroom dance styles. It is characterized by "rise

and fall” movements in progressive, lang, flowing, continuous turns. WaIO shows the dancers

smoothly gliding on the flcor. Practice waID by following these basic steps;
Gentlemans steps in close baIIFOO!Tl Lady's steps in close ballroom positior::

position: . Step backward with R foot.

1. Step forward diagonally with L fist. 2. Step backward diagonally v/ith L foot.

2. Step forward diagonally with R

3. Bring L foot next to R flat. Follov the steps facing your partner.

1. Step R feat sideward.

2. Step L foot in place.

3. Bi1ng R foot loose to the L foot

4. Repeat the movement to the left.

t¥ 3. bring R foot next tc left.

Watch an actual walD dance an h Y 7 0

Watch an actual n'aID dance an h accessed on 21 July 1016).

utube.com watcl›?v=Yal7ZcZ5ANO
2. Viennese waID is a dance characterized by simple and elegant rotaLonal mDveicents with a subde

nse and fall. Go to https://www.youtube.com/watch?v=q7sxs3uiDHE (1ast accessed on 22 July 2016) far

some tutoiials on Viennese Waltz.

3. Cha-sha is a dance style that expresses the passion and energy of the dancers through

fiirtatious gestures. The cha-cha is one of the liveliest dance steps in balm m. Basic steps

indude synchronized movements of the dancers while maintaining alignment

The following are some of the basic ste of cha-cha.

Gentleman's steps:

1. Step L feat forward.

2. Step in place with R FooE.

3. Step L fat to the back, dose to the

foot.

4. step Rfcot to the back.

5. Step in place with L food

6. ate Rféot forward, close to L foot. Watch a cha-cha performance on

Lady's steps:

1. Step R foot backward.

2. Step in place with L foot.

3. Step R foot forward, close to L foot.

4. Step L foot forv.'ard.

5. Step in place with R foot.

6. Step L foot backward in place.

2 (last amassed an y2 3uIy 2O16).

4. r xaot isa ddDCB. style that shows basic walking and side steps with a combinahon of slow and

quick steps in one and two music beats, iespectively.

Follow the steps of foxtrot dane style using these illustrations:

Visit h v autube.com watch?v=bi0D6WcCsaQ (last accessed on 22 July 2016) fai the

vidBo tutoriBl 0f the basic foxtr0t dance steps.

5. Quickstep is essentially the quicker, swifter version of the foxtrot. P/hen y0u master foxtrot,

you will surely master due quickstep as well. Visit https://

www. utube.com watch?v=sA-5DJmlOfw {last accessed on 22 July 2016} for a videc tutorial on the
quickstep.

6. Rumba is a nxnanllc and sensual Labn dance that d a story of love and passion.

at has a varieI:y of sexy darxe steps, making it as one of the rest of the bz2lroxn dances. Vsit

the folToMng web six far s::rne :

: . =a- rktTE last accessed an 22 3uIy 2016).

7. Tango is an animate, sensual dance that expresses ekxrerits of romarxe between the dancers shown

by their synchronized moyemmts. Follow the basic steps in tango

MrJJernan's steps:

1. S@p L fat fixwwd in saw rnobon

2. Rep R fbot fixwaM in saw rnoBon

3. Step R forward qukldy.

4. L hot backward quMdy in ’L

5. Bring right frx›t nexL to IeIt quiddy. The L fact holds the yreighL Paul.

Lady's steps:

1.StRpRfnotbackmandsk •4y.

2. Step L fcoL f›ad‹ward sk›wIy.

3. Step R feat backward qwldy.

4. Step L feat sidewad”quzldy in "L"

5. Bring RfcoL nezt to IeIt quiddy. The L feat hoIrls the weighL Pan.

Vist R following Web site for derrxinsbatians: : txm / watch? V=x

VF3farOPwE 1 2 u 2
8. Samba is a type of ballroom dance that came from Brazil and has a variety of styles partneFed

widi an assortment of Samba music. Nhiie it is usually performed with a partner, it can also be

danced in solo. Go to

outube.con watch?v=IiFi-3UMk (last accessed on 22 July 2016) for a tutorial on samba.

9. Pasa dnb}e is a daix:e after the Spanish bul1figl t. It origiiated from southern

France. Fnr tutorials, visit https://www. outub .coWwatch.W=j2aFIvqguos (last accessad on 12 July
2016).

1g. Mambo is an emosonal Latin American dance characterized by swayin9 movements with sensual

facial expressions and arm in motions. Check out

ev. outube.com/watch?v=aeu30 ZIIV68 (last accessed an 22 July 2016} for a video tutorial.

11. Lindy hop is a swing dance characterized by its unique athletic style aerial jumps, twists, and

. Swing dances are a type of cial dance fifth lots of lifting,

spinning, and flipping. Go to h www. outube. match= h _DA (last

accessed on 2y July 2016) for a tutorial.

12.Jive is another form of swii+g dance characterized by lively movements. It originated from the

United Notes. Visit h www. utube.com

=LMilE769Y YB (last accessed on 22 Jul 2016) for a tutorial

Teachers Insight

This module discusses the varied and artistic forms of ballroom dancing, which has evloved through

time. Some of its common forms and types are LA Walk, Waltz, Swing, Cha-cha-cha, Rumba, Samba,

Tango, Foxtrot, and various types of swing dances. Ballroom dancing can be classified as social

balkoom, where the dancers perform for each other; Competition ballroom, where the dancers perform

ti impress judges; and exhibition ballroom, where the dancers perform to entertain an audience.