Chapter II

Review of Related Literature

This chapter covers the following topics: (1) What is Dance, (2) Phases of Dance (3) Features
of Dance, (4) Elements of dance, (5) Choreography, (6) Folk Dancing (7). Sorbetes Making
Part One, What is Dance, explains the meaning of Dance.
Part Two, Phases of Dance programs, it presents the phases and differences of the dance as an
activity.
Part Three, Features of Dance, it presents the different features of the dance movements.
Part Four, Elements of Dance, it states the different elements and dynamics of dance
movements
Part Five, Choreography and Creative dance, in this part, states the meaning of choreography
and creative dance.
Part Six, Folk dancing, it states the nature of Philippines folk dances, the basic steps,
classifications and the do’s and Don’ts
Part Seven, Sorbetes Making, it presents the history of Sorbetes Making in the Philippines,
the Materials need and Common Practices

What is Dance
Dance denotes motion. To dance, the Webster’s dictionary defines is “ to perform a rhythmic
and patterned successions of movements” and “ to move nimbly and merrily.”
Dance is many things, “some people dance for joy” when filled with success.” On a summer
night the fireflies “dance through the trees;” a dessert whirlwind “dances across the duty
mesa,” the birds “dance” we are told as do moonbeams, flowers, soap powder, grunions and
atoms. An infant, after a healthy yell sets out on his “dance of life”- and our thoughts “dance’
to consider it all (E. Ybanes, 1998).
However, dance is primarily had been link with unique and scarce movements that grips its
own denotations and meanings.
Just what is dance movement? When does it cease being the movement of play, work, or
random act and become movement of dance? The movement itself does not change; it is only
selected and patterned to serve certain characteristic purposes. Sometimes, the difference
between dance and another activity is obvious; sometimes it seems slight or even non-
existent (E. Ybanes, 1998).
Phases of Dance Program (E. Ybanes, 1998).
Creative Rhythm. Creative rhythm is sometimes called fundamental rhythms or natural
dance. The basis locomotor movements can be combined to make movement patterns. These
structured
patterns, when well organized, develop into dance forms.
Forms Dance. Folk dance is a traditional dance that expresses the thoughts, ideas and feelings
of a group of people. A cultural art form handed down from generations, folk dancing belongs
to the people.
Recreational Dance. Recreational dance includes dance mixers, square dancing and round
and couple dances. Many dances have simple patterns based on combination of walking
steps, the two step, polka step, and the waltz step.
Social and Ballroom Dance. Social dancing includes all forms of dancing done primarily for
recreation or pleasure. The earliest social dances, of which we have detailed information, are
the folk and peasant dances. On the other hand, ballroom dancing was originally applied to
the dances commonly done in a ballroom.
Creative and Theatrical Dance. Creative dance is the highest form of dance for the purpose of
entertainment, being an end product of exploration and improvisation of movements as the
dancer or choreographer expresses his feelings or motions, ideas and interpretation. This is a
dance with definite form, beginning and ending. The principles of art form are all observed in
the composition of the dance. Jazz, ballet and modern dance belong to this group.
Features of Dance
Dance steps are created from a person’s basic movements- walk, run, jump, hop, skip,
leap, slide, turn and sway. Although dance movements may at times be confined only to the
body (axial), more commonly it requires the use of various forms of locomotions in which the
body weight is transferred to the feet from one foot to the other. Combinations of these have
become traditional dance steps and have been used often, in a stylized manner, for folk and
ethnic dance, social or ballroom dances, ballet and modern expressive dance.
I. Movement (first element of dance)
Locomotor Movements. Movements in this category in enable one to transfer from one place
to another.
Walk. The weight is transferred from one foot to the other, alternately one foot always being
in contact with the ground. The foot action is a transfer of weight from the heel to the ball of
one foot during which time the other leg is pushing off, then swinging through to assume its
position in the sequence of action. The arms swing in opposition to the legs in a normal walk.
Run. The speed of the walk is increased and there is a brief period when neither foot is in
contact with the ground.
Leap. By means of a strong push-off from one foot, the body is lifted off ground
momentarily; the body weight then returns on the opposite foot. The leap differs from the run
in that more energy is needed and requires a longer period of suspension in the air. The leap
may be done either for height or for distance.
Jump. The body springs into the air by means of any of the following:
A single-foot take off, landing on both feet.
A two-foot take off, landing on one foot.
A two-foot take off, landing on two feet.
Jump is performed either to attain height or to cover distance.
Hop. By means of a strong push-off from one foot, the body is lifted off the ground
momentarily; the weight then returns to the same foot.
Skip. A combination of a step and a hop with the step done in a long-time value and the hop
the short-time value. In performing the skip, there is a feeling of elevation resulting from the
natural tendency to swing the free leg forward and upward.
Slide. The weight is transferred from one foot to the other by means of a step on one foot
followed by a quick drawing up of the other foot with an immediate transfer of weight to it, a
sideward movement.
Gallop. A leap step combination in which the foot executing the step is brought up to but not
beyond the foot that has completed the leap. The leap a forward movement, is done with
slight height, distance is not a factor.
Axial Movement. Often described as nonlocomotor movement in that the body moves in
space rather than through space. The base remains stationary, and the movement occurs
around the axis of the body produced by the base. Axial movement is limited to those parts of
the body not involved in the support of the body (the base).
Flexion,extension.rotation,adduction,abduction and circumlocution, depending on anatomical
limitations can move these parts.
Flexion- bending a stretched joint as in knee bending and arm bending.
Extension- stretching a bent/flexed joints as extending the leg or arm from a bent position.
Rotation- to move a joint/part of the body into its long axis as in hip rotation and trunk
rotation.
Adduction- to draw a group of muscle(s) towards the axis as in bending the trunk forward
from a standing position to as close as possible to the knee.
Abduction- to draw a group of muscle(s) aside or away from the original position as raising
the arms from the sides or raising the leg up from the standing position.
Circumduction- to move a joint/part of the body in a circular manner as in arm circling, leg
circling.
Elements of Dance Movements
Energy in Dance Movement. As applied to dance, energy describes an exertion which
initiates, controls, and stops movement. The quality of a dance movement is determined by
the way energy was used.
Factors as intensity, accent and quality of movement can be recognized only in relative terms.
What for example, is strong/ what is smooth and unaccented? Only when then dynamics of
movements are contrasted that we see any particular character of movement. Energy-change
arouses “feelings”, though at times the exact meaning associated with the change are
impossible to identify.
Energy: Intensity. When a dancer moves, he can exert more or less intensity,
ranging from almost imperceptible tension to a violent burst of energy. A tremendous display
of force provides an action full of vigor and drive. Strong movement implies greater size; less
energy subordinates excitement and affirmation, and often results in a “contained”
expression.
Stamping of feet may imply a heavy person moving and light step on toes may
denote a tiny person moving.
Energy: Accent. Accent occurs when some stress of either greater or lesser
force is displayed. Often it is a contrast to what has been happening, or it is an “attention
getting” device. Accent is a tool for differentiating and identifying the pattern and rhytm of
particular motion. A regular accent creates a balanced and secure feeling; irregular accents of
varying intensity create a disturbing, confusing effect. Accent can be a stronger movement,
lack of movement, change of direction, level or any of the many possibilities.
Energy: Quality. Dance movement quality is determined by the way energy is used.
Swinging movement. The force of energy is applied at the beginning of a movement as a
small impetus to an uncontrolled follow-through which results in a relaxed movement. After
this, there is a long pause and either gravity takes over to complete the swinging motion or
another impetus is needed. The swinging movement of the body can be compared to what
happens when pushing a child on a swing. The push serves as the impetus, the child and the
swing reach the highest point on their own, and then gravity returns the child and the swing to
the starting place. Another burst of energy on the part of the person pushing the swing is now
required in order to continue the movement, otherwise, each successive are will be smaller
until the motion stops. Swinging is a natural movement. In mood, it implies freedom and
abandon.
Example: arms swinging, leg swinging.
Percussive movement. It has obvious to start and stop pattern, with no continuity. It repeats
jabs of energy with marked accents. It easily provokes emotional overtones of excitement and
nervousness.
Example: shaking of hands with a patterned stop and start.
Sustained movement. It appears to flow, with no obvious beginning or ending. It has
unaccented continuity, with nothing to break the smooth progression of directed energy.
Example: continuous movement of bringing the arm from downward to upward direction
without stopping the movement as it passes through the sideward direction.
Vibratory movement. It consist of continuum of percussive movements, a repetition of
individual start and stop patterns with little space and time between repetitions. There is
hypnotic effect in that movement, as in a persistent jitter, results in quiver, shakes or pulsates.
The feeling generated is to fear,trepidation or excitement.
Collapsing movement. This occurs when there is a release of tension of the muscles and
gravity takes over. This relaxation may be achieved with one or may be achieved with one or
many parts of the body. Of course, one never completely collapse unless one is unconscious,
but when many parts of the body are relaxed and only those muscles which are necessary for
control and safety are contracted, a collapsed look can be achieved.
Suspension. This occurs at that of resistance to gravity where, for an instant—at the height of
a leap or just before a fall—the dancer seems to be suspended in space. The emotional
excitement is generated by the sense of unreality inherent in such defiance of gravity.
Probably, no more dramatic or potentially powerful quality is to be found in movement.
Seldom is any one of these movement qualities found in a pure form in dance. Unusually,
there is a combination of several qualities, each with own dramatic overtone.
Dynamics. Or variations in the force and intensity of movement, plays a great role in
accenting movements to be clearly viewed by beginners in dance movements.
Space. Movements exist in space; which to a dancer means a potential of position and
dimension.
Position-includes a dancer’s level in regard to the floor surface and the direction in which he
is moving.
The four corners of the space used for dance movement be is a stage or a plane room, form a
frame of reference the position and action of the dancers. The position of the person watching
another person performing determines the relative forward, backward, sideward and diagonal
directions. As the one moving moves forward, towards the one watching, his feature become
larger, more direct and obvious; as he moves backward, away from the one watching, he
appears smaller, impersonal and usually less important. As he moves to the side, across the
floor area, he presents a changing view of his feature.
Dimension-this refers to the size of the dancer’s movement. Size is related to the dancer’s
range movement both in space and on the floor surface.
It is important to remember that in moving feature create design in space and beyond the
visual effect-relationships between movement and space evoke shades of meaning.
Design-this refers to the arrangement of the movements according to a pattern. In space, it is
created not only by the body moving, but also by the position of the dancer’s arm, legs, head,
shoulders, hips and other jointed parts.
Time. Dance movements uses energy to full space, but it must do so within time. The
elements of time include the factors of tempo and rhythm.
Tempo- or speed or dance movement, is determined by the time span in which a given series
of movement is completed, the period in which the dancer’s body must accomplished a
sequence of actions. Fast movement is usually more active and exciting; slow movement
reduces the stimulation.
Rhythm- requires a structuring of movement patterns.it is a series of beginnings,
developments, and endings leading to a rise, a bringing together and a clarity or precision of
movement.
Focus- of the eyes are important in dance movements. Balanced is enhanced when the eyes
are focused on a stationary point and the communicative aspect of dance is a given emphasis
when punctuated by focus. Focus gives direction and meaning to movement, although it is
not necessary to focus the eyes in the line of direction. In fact, a greater impact is sometimes
achieved when the focus is not in the same direction as that when the body is moving.
Technique- or the degree of body control and mastery of basic steps and positions, is very
much necessary for dance movements to clearly show the dancers purpose in moving along
with gestures, especially hand movements.
Choreography and Creative Dance
Choreography, the art of creating and arranging dances. The word derives from the Greek for
“dance” and for “write.” In the 17th and 18th centuries, it did indeed mean the written record
of dances. In the 19th and 20th centuries, however, the meaning shifted, inaccurately but
universally, while the written record came to be known as dance notation.
The composition of dance is creative in the same way in which the composition of music is.
The notation of dance, however, is a work of analysis and reporting, performed generally by
people other than the choreographer, in language or signs that may well not be understood by
the creator.
During the Renaissance, dance masters in Italy, such as Domenico da Piacenza, taught social
dances at court and probably began to invent new ones or arrange variants of known dances,
thus combining a creative function with their educational ones. Staged balletemployed the
same steps and movements as social dance and differed from it principally in floor
arrangement and visual projection.
In the 16th century, dance masters at the French court so organized the floor patterns and
theatrical and artistic contexts of their social dances as to initiate a choreographic form,
theballet de cour. In the two centuries that followed, the gap between social dance and
theatrical dance widened until ballet in the 19th century achieved a basically independent
vocabulary.
The ballet master of this era, the choreographer, was an arranger of dance as a theatrical art.
The giant of late 18th-century choreographic art was Jean-Georges Noverre, whose work and
writings made the dramatic ballet, or ballet d’action, celebrated. In this, ballet incorporated
mime as well as academic dances, giving expression to the dance by narrative and histrionic
context. After Noverre and his contemporary Gasparo Angiolini, others developed this trend
in various ways—especially Jean Dauberval in the realistic depiction of contemporary
country folk, Charles Didelot in moving toward Romantic stage illusion and fantasy, and
Salvatore Viganò in the dramatic use of the ensemble (choreodramma) and naturalness of
tragic gesture.
The choreographers of the Romantic movement employed ballet, as codified by such masters
as Carlo Blasis, chiefly in the ballet d’action theatrical forms of Noverre’s day or in opera
divertissements (balletic interludes). The ballerina, her role heightened by the newly invented
pointework (position of balance on extreme tip of toe), and the female corps de ballet both
acquired new prominence. The choreographers who best developed the art of theatrical dance
narrative were August Bournonville in Copenhagen; Jules Perrot, particularly in London and
St. Petersburg; and Marius Petipa, who in St. Petersburg brought the spectacular classical
ballet d’action to its peak in such works as The Sleeping Beauty, in which extended and
complex suites of classical dance brought poetic and metaphorical expression to the plot.
Early modern dance in the United States introduced new elements of movement and
expression; and in ballet the work of Michel Fokine emphasized more naturalistic styles and a
more potent theatrical image than had Petipa’s ballet classicism. Since then, choreographic
forms have varied between the poles of representation and abstraction.
Dance notation in the 20th century came to be concerned with basic movement as well as
formal dance and was assisted by the invention of new systems of abstract symbols—those of
Rudolf von Laban and Rudolf Benesh being the most influential. Labanotation was the first
to indicate duration, fluency, or intensity of movement. Today, these systems and others
continue to evolve rapidly, amplified by film and videotape.
Choreography evolved no less rapidly. Methods of composition vary radically—some
choreographers using their dancers’ improvisations as raw material, others devising every
movement prior to rehearsal. Merce Cunningham radically changed the context for
choreography in his attitude to music and decor as coincidental (rather than collaborative or
supportive) to dance, in his employment of chance methods in dance composition and
organization, and in his use of nontheatrical performance space. He, George Balanchine, and
Sir Frederick Ashton became the leading exponents of classical or abstract dance; but the
latter two—like Martha Graham, Leonide Massine, Jerome Robbins, and others—also
produced major representational works of choreography. The only absolute rules in
choreography today are that it should impose order upon dance beyond the level of pure
improvisation and that it should shape dance in the three dimensions of space and the fourth
dimension of time, as well as according to the potential of the human body
(http://www.britannica.com/art/choreography).
Creative Dance
Creative-relating to or involving the imagination or original ideas, especially in the
production of an artistic work (Synonyms: clever, imaginative, ingenious, innovative,
inventive, original)(OnlineDictionary.com/Creative).
Creative Dance
Form of expression that uses bodily movements that are rhythmic, patterned, or sometimes
improvised, and often accompanied by music. One of the oldest art forms, the art of dance is
found in every culture and is performed for purposes ranging from the ceremonial, liturgical,
and magical to the theatrical, social, and simply aesthetic.
The creative dance curriculum incorporates the movement education concepts of Rudolf Von
Laban, who stressed the educational benefits of dance as an aesthetic, social, and
communicative form. A problem solving, non-competitive learning approach is used to
enhance the students’ awareness of their motor, cognitive, and expressive abilities.
Combining dance technique with the art of expression gives students the necessary tools to
express their feelings through movement. Students develop dance skills, through traditional
modern and ballet exercises, providing them with a strong foundation in dance technique.
They develop creative skills as they are encouraged to explore the different qualities of
movement in relation to space, time, force, and flow. As they explore, they become aware of
their different body parts and how they can move them, discover new ways of moving, create
designs, and express feelings. Yoga postures and stories and relaxation techniques are
integrated into the class to connect body, mind, and spirit.
The creative arts help students to:
• gain confidence and a positive self-esteem
• learn problem solving skills
• make discoveries about themselves, their friends, and the world around them
• learn cooperation by working together as a group
• learn to respect each other’s unique style
• learn spontaneity, leadership, and self-control
• develop creativity
• gain physical strength, flexibility, and stamina
• develop good posture, balance, and coordination through dance exercises and yoga
postures

Folk Dancing
Folk dance is participation dance, displaying the and temperament of the people who
created it. It is usually a dance of anonymous origin that has been passed on from generation
to generation. Although they are now performed for pleasure in cities, folk dances were
originally changed dramatically over the centuries. This change is a clear country-dances.
Despite the differences forced by their respective heritages, the folk dances of different
countries often have similarities of rhythm and pattern. Variations are sometimes a result of a
differences.
All folk dances have historic origins and when they are intelligently selected and
adapted, provide wholesome contribution to certain educational activities. Appropriate and
authentic music and costumes add aesthetic satisfaction to the physical and social benefits of
folk dancing (S. Aquino, 2013).
Filipinos are very fond of dancing. History would tell us that early Filipinos not only
danced beautifully and enthusiastically but skilfully as well. Most of our dances contain
evidences of mixture of different cultures from East to West.
The form and content of Philippine dance have changed dramatically over the
centuries. This changed is clear indication of how our self-image is changing in relationship
to our world and the forces by which we live.
As with most other primitive cultures, the people of the early cultures of the
Philippines performed the activities of daily living with an awareness of their world being
governed by forces beyond their control but which properly “approached” could be
influenced to act on his behalf. Dance for him was a form of worship, a communication with
the unseen powers by which he lived (Alejandro, 1984).
Long before the west first touched the Philippines with the Portuguese explorer
Ferdinand Magellan’s landing on March 16, 1521, Chinese merchants were already trading
regularly with the islanders. Not much had been recorded related to dance during this time,
but we can only infer the nature of pre-Hispanic dancing from the dances still performed by
the mountain tribes of Luzon and the other ethnic minorities. The eye-witness accounts of the
first Westerners (Antonio Pigafetta), Magellan’s Italian historian of a religious ceremony in
Zulu (Cebu) show how the priestess dancing body moves to give obeisance to the sun and all
movement he performs are always directed to the sun to the best of the gong.
The early missionaries also noted the role of dancing in magico-religious ceremonies
performed by native Shamans and in various celebrations of the natives. Father Francisco
Colins, a Jesuit summited an account of native dances and music;
“The dances of men and women are generally performed to the sound of bells are
made in their style like basins, large or small, or metal and the sound are brought out quickly
and uninterruptedly. The dance is war-like the passionate, but it has steps and measured
changes, and interposed are some elevations that really enrapture and surprise. They
generally hold in the hands a towel, or a spear and a shield, and with one and the other, they
make gestures in time which are full of meaning. When the hands are empty they make
movements of the feet, now slow, now rapid. Now they attack and retire; now they go away;
all the grace and elegance, so much, in fact, that times they have not been judged unworthy to
accompany and solemnize our Christian feast” (Alejandro, 1978).
It is difficult to reconstruct an accurate image of dance ( and music) as it existed in the
1500’s and even more difficult to consider earlier periods. Unlike tangible native artefacts,
dance expression is gone as soon as it is enacted. With the arrival of Western explorers came
the advent of the recording of native traditions, inevitably as beheld by the eyes of the
foreigners.
Philippine dance culture went through a period of difficulties and great strides
forward, gradually penetrating into Philippine society. It captured the attention of the people
in the 1920’s. it gained the love and attention of the people during the development of dance
history. Due to devoted efforts of Dr. George Bocobo, then, president of the University of the
Philippines who laid a firm foundation for it’s future leap into the new age. The development
of Philippine dance is generally credited to the efforts of two women: Francisca Reyes
Aquino and Leonor orosa Goquingco.
Francisca R. Aquino pioneered in the research and revival of Philippine dance and
music in the 1920’s and is recognized as the foremost authority in the field. Dr. Bocobo
encouraged Mrs. Aquino in her extensive research on Philippine folk dances for application
in the schools part of the Physical Education program of the University of the Philippines.
LEONOR Orosa Goquingco a former student of Mrs. Aquino, lifted folk dance to
artistic levels and made use of Filipino folklore in creating new dances to express the Filipino
experience.
From 1920 to 1954, Philippine dance was faced with many great changes. Within the
domestic economic and political structure that had recovered from the times of turbulence,
the Filipino people began to search for a better, more comfortable way of living. During this
period, exchanges with foreign culture increased. In 1954, the first Philippine dance group
went abroad and from then on they performed in Asian, Europe and American audience.
The success of the performances specifically in Canada and in the United States of
America left great mark in the history of Philippine dance. It is proof of the deep interest and
understanding of those connected with the world of native dancing. The remarkable
development of native dance carried out as such is based on a rare expression of nationalism.
It is a sign of superior of national ability of the Filipino people to carry something culturally
important on from the past to the present and into the future.

Folk Dances
Traditional dances of the country, which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them;
considered as (a) heartbeat of the people; (b) traditional social expression of ideals, mores,
feelings, and thought of a people or group of people through body movements, and (c)
outburst of people’s feelings.
Values of Dancing
Physiological and neuro-muscular development of the organic system of the body.
Cultural- a creative and expressive way of knowing and understanding the culture and past of
people.
Social and recreational- opportunities for a leisurely way of knowing and associating with
other people.
Types of Folk Dances
National- traditional dances of a given country.
Regional- local dances that is popular and danced by the folks of a specific regional area
Character- created by individual or group.
Characteristics of Philippine Folk Dances
In general, dancers stand apart.
There is little, if any, bodily 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”.
Dances from the lowlands have more foreign elements than those found in uplands.
War dances are found among non-Christian tribes.
Classification of Philippine Dances
Geographical extent of origin
National dances- found throughout the islands with little or no modification.
Example: Rigodon, Carinosa, Balitaw, Pandanggo
Local dances- found in a certain locality.
Example: Tinikling----Leyte
Tiksiw------Aklan
Subli-------Batangas
Biniganbigat-----Abra
Nature
Comic dances- depicting funny movements for entertainment.
Examples: Makonggo, Rinoton
Game dances- with play elements
Examples: Lubi-lubi, Pavo
Wedding dances- performed during wedding feast.
Examples: Pantomina, Soryano, Pandang-pandang, Sinurog
Courtship dances- depicting love making.
Examples: Maramion, Tadek, Daling-daling
Festival dances- suitable for special occasion or any social gathering.
War dances- showing imaginary combat or duel.
Examples: Sagayan, Palu-palo
Tempo and Dynamics of Movements
Active with fast energetic movements
Examples: Tinikling, Maglalatic, Sakuting, Polkabal
Moderate
Examples: Carinosa, Tagala, Habanera, Purpuri
Slow
Examples: Pasakat, Tiliday, Kundiman
Slow and Fast
Examples: Putritos, Ba-Ingles, Alcamfor
Factors affecting the nature of folk dances
Geographical location
Economic conditions
Climatic conditions
Customs and traditions
Do’s in Folk Dancing
Dance in a natural, simple and direct manner.
Dance with ease and smoothness.
Use the proper costume for the dance.
Follow directions and dance instructions as closely as possible.
Dance with feeling and expression.
Dont’s in Folk Dancing
Do not exaggerate the dance steps
Do not make the dances to dainty and graceful like ballet
Don’t make entrance and exit long
Don’t make steps too elaborate and complicated
Don’t call a dance a folk dance unless steps come from traditional dances
Dance Terms in Philippine Folk Dances
Common Dance Terms
“Abracete”- Girl at the right side, hold R arm of the partner with her L hand, free hands down
at the sides. This term is of Spanish and is used in Rigodon and in other dance.
Arm 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”- Arms in the 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 the floor, 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 squire formation, the couples occupying the width of the
ball are called cabeceras or head couples. This is of Spanish origin.
Clockwise- Like the motion of the hands of the clock. R shoulder is toward the center of
imaginary circle. When facing the center, the movement is toward the left.
Counterclockwise- The reverse direction of clockwise, L shoulder is toward the center of an
imaginary circle. When facing center, the movement is toward the right.
Costados- When dancers are in squire formation, the couples occupying the length of the hall
are called “costados” or side pairs. This is a Spanish origin.
Crossed arms- 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-à-vis) are opposite each other. Each couple proceeds in a
straight line to the opposite place. The girls pass by the their L shoulders between the boys.
Boys bow to each other when they meet at the middle or at about one-third of the way, then
proceeds to the opposite place. Upon reaching the opposite place, partners’ turnabout, girls
stand at partners’ right side.
Cut- To displace quickly one foot with the other, thus completely talking 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 foreighn 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 not bearing the weight of the body.
Free Hand- The hand not placed anywhere or not doing anything.
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, 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.
“Jaleo”- Partners turns once around clockwise (with R elbows almost touching)
counterclockwise (with L elbows almost touching using walking or any kind of dance step.
The hands near each other are on waists. This is a Taglog term but of Spanish origin.
Jump- Spring on one foot or both feet, landing on both in any direction.
“Kumintang”- Moving the hands 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.)
“Masiwak”- To turn the hand from the wrist half-way clockwise then raise and lower wrist
once or twice. This is an Ibanag term.
Outside Foot- The foot away one’s partners, when partners stand side by side.
Outside Hand- The hand away from one 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 neighbour.
“Sarok”- Cross the R (L) ft. in front of the L ®, bend the body slightly forward and across the
hands down in front with the R (L) hand over the L (R).
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).
Star with the Right Hand- Four or more people advance to the center and join R hands and
circle around clockwise using walking or change or any other step.
Star with the Left Hand- same as “star with the right hand” only join L hands and
counterclockwise.
Step- To advance or recede by raising and moving one foot to onother resting place. There is
a complete transfer of weight from one foot to the other.
Tap- To rap 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.

Sorbetes Making
History of Sorbetes Making in the Philippines:
Sorbetes, also known as "dirty" ice cream, has a long history in the Philippines dating back to
the Spanish colonial era. Introduced by Chinese immigrants, it quickly became a popular treat
among locals due to its affordability and delicious taste. Traditionally, sorbetes was sold by
street vendors who roamed the neighborhoods with colorful carts filled with various flavors.
Originally, sorbetes was made using a mixture of coconut milk, carabao milk (water buffalo
milk), sugar, and various flavorings such as mango, ube (purple yam), avocado, and cheese.
Over time, the recipe evolved to include different ingredients and flavors, reflecting the
diverse culinary influences in the Philippines.
Source: Polistico, Edgie (November 15, 2017). Philippine Food, Cooking, & Dining
Dictionary. Anvil Publishing, Inc. ISBN 978-621-420-087-0.

Materials Needed for Sorbetes Making:

Milk. Traditionally, carabao milk was used, but cow's milk or coconut milk can also be used
depending on the preference and availability.
Sugar: White granulated sugar is commonly used to sweeten the sorbetes mixture.
Flavorings: Various flavorings such as fruits (mango, ube, avocado), nuts (pili nuts, cashews),
and essences (vanilla, pandan) are used to add flavor to the sorbetes.
Stabilizers: Stabilizers such as cornstarch or gelatin may be added to improve texture and
prevent crystallization.
Ice Cream Maker: Traditional sorbetes makers use a hand-cranked metal cylinder surrounded
by ice and salt to freeze the mixture. Modern sorbetes makers may use electric ice cream
makers or churners.
Common Practices in Sorbetes Making:

Preparation of Mixture: The sorbetes mixture is prepared by combining milk, sugar,

flavorings, and stabilizers in a large mixing bowl. The ingredients are mixed until well-
combined and smooth.

Freezing: In traditional sorbetes making, the mixture is poured into a metal cylinder
surrounded by ice and salt. The mixture is churned continuously by hand until it thickens and
freezes to the desired consistency. This process typically takes around 30-45 minutes.

Serving: Once the sorbetes reaches the desired consistency, it is scooped into cones or cups
and served immediately. Street vendors often offer a variety of flavors displayed in colorful
carts to attract customers.

Storage: Any leftover sorbetes can be stored in airtight containers in the freezer for later
consumption. However, sorbetes is best enjoyed fresh.

Variations: Over the years, various regional variations of sorbetes have emerged, each
reflecting the unique flavors and ingredients of the local cuisine. Some popular variations
include mango float sorbetes, ube macapuno sorbetes, and buko pandan sorbetes.

Despite the modernization of ice cream production, traditional sorbetes making remains a
cherished culinary tradition in the Philippines, serving as a reminder of the country's rich
cultural heritage and vibrant street food culture.
Source: Mishell M. Malabaguio. "How To Make Sorbetes (Home-made Ice Cream)".
www.entrepreneur.com.ph. Retrieved July 16, 2009.