PHYSICAL EDUCATION 2

INTRODUCTION

PHYSICAL EDUCATION 2 (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
CONTENT

Page
Title Page
Copyright
Foreword
I. Course Description
II. Course Objectives
III. Physical Activities 2

CHAPTER 1: RHYTHMIC ACTIVITIES

Lesson 1: RYTHMIC FUNDAMENTALS

Lesson 2: ELEMENTS OF MOVEMENT SPACE
Lesson 3: PHASES OF THE DANCE PROGRAM
Lesson 4: FUNDAMENTAL DANCE POSITION

CHAPTER 2: FOLK DANCES

Lesson 1: COMMON DANCE STEPS

Lesson 2: BASIC DANCE STEPS
Lesson 3: COMMON DANCE TERMS
Lesson 4: SOCIAL DANCE ETIQUETTE
CHAPTER 3: SOCIAL AND BALLROOM DANCES

Lesson 1: WALTZ
Lesson 2: TANGO
Lesson 3: FOXTROT
Lesson 4: CHA-CHA
Lesson 5: RUMBA
Lesson 6: SWING
Lesson 7: SALSA

IV. References
V. Enclosure
 CHAPTER 1
RHYTHMIC ACTIVITIES

What is rhythm? ---- Is the regular recurrence of accented and unaccented

beats.

Rhythms--------------- Is a term which 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 forms which start creative
rhythmic movements are called rhythms.

Rhythmic activities---- are the 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
sound. They are also a source of enjoyment for people of all ages. Through
these activities, skills and the sense of rhythm are acquired and developed,
feelings are expressed, basic principles of time, space and force can be
experienced. Everyone reacts to music or rhythm in one form or another.
A head swaying, a foot tapping, fingers snapping, shoulders and body
moving while a musical piece is played are physical reactions.
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.
Dancing ------- is a means of expressing one’s emotions through movement
disciplined by rhythm. It is an act of moving rhythmically 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.
 LESSON 1

RHYTHMIC FUNDAMENTALS

In the field of dance, there are certain fundamental knowledge and

rhythmic skills considered important for proficiency and efficiency in bodily
movements

What Are the Elements of Dance?

The Elements of Dance are the basic building blocks of dance that help us
identify and describe movement, assisting in the ability to analyze,
interpret, and speak/write about dance as an artistic practice. When
viewing dance, we want to put into words what we are witnessing by
analyzing its most important qualities. The elements of the dance provide
us with the tools to do so.
In dance, the body can be in constant motion and even arrive at points of
stillness. However, even in stillness, the dancers are inherently aware of
themselves. No matter the case, all forms of dance can be broken down
into their primary elements: BODY, ENERGY, SPACE, and TIME. To easily
remember the dance elements, we use the acronym B.E.S.T., which stands
for BODY, ENERGY, SPACE, and TIME. Dance can be seen as the use of the
BODY with different kinds of ENERGY moving through SPACE and unfolding
in TIME.
Body
The body is the dancer’s instrument of expression. When an audience looks
at dance, they see the dancer’s body and what is moving. The dance could
be made up of a variety of actions and still poses. It could use the whole
body or emphasize one part of the body. Exploring body shapes and
movement actions increases our awareness of movement possibilities.
BODY SHAPES
The choreographer who is designing a dance may look at their dancers as
sculpture. They choose shapes for the dancers to make with their bodies.
These can be curved, straight, angular, twisted, wide, narrow, symmetrical,
or asymmetrical. These shapes can be geometric designs, such as circles or
diagonals. They could make literal shapes such as tree branches or bird
wings. They can also make conceptual shapes (abstract) such as friendship,
courage, or sadness. Sometimes a choreographer emphasizes the negative
space or the empty area around the dancers’ bodies instead of just
the positive space the dancer occupies.

BODY MOVES/ACTIONS

Dance movements or actions fall into two main categories:

• Locomotor: (traveling moves) walk, run, jump, hop, skip, leap,
gallop, crawl, roll, etc.
• Nonlocomotory: (moves that stay in place) melt, stretch, bend,
twist, swing, turn, shake, stomp, etc.
 BODY PARTS

Each part of the body (head, shoulders, elbows, hips, knees, feet,
eyes, etc.) can move alone (isolated) or in combination. In the
classical Indian dance form Bharatanatyam, dancers stomp their
feet in a percussive rhythm. At the same time, the dancer
performs hand gestures, known as mudras—codified hand
gestures that are important in the storytelling aspect of
Bharatanatyam to communicate words, concepts, or feelings.

ENERGY
An exploration of “how” a movement is done rather than “what” it is gives
us a richer sense of dance as an expressive art. A dancer can walk, reach
for an imaginary object, and turn, making these movements look
completely different by changing the use of Energy. For example, anger
could be shown with a loud quick walk, a sharp reach, and a strong twisting
turn. Happiness could be depicted by using a delicate gliding walk, a gentle
reach out, and a smooth, light turn. Energy is what brings the dancer’s
intent or emotion to the audience. The element of Energy is sometimes
called efforts or Movement Qualities.
Dancer and movement analyst Rudolf Laban broke it down into four efforts,
each of which is a pair of opposites:
1. Space (direct or indirect use of space): When the dancer is paying
attention to the use of space, they can be direct, single-focused,
and targeted in their use of space. Conversely, they can be indirect,
multi-focused, and aware of many things in the space around them.
2. Weight or force (strong or light use of weight): The dancer can
emphasize the effort or use of force by fighting against it, throwing
their weight and strength into movements. The opposite is using a
yielding, light sense of weightlessness in their movements.
3. Time (sudden or sustained use of time): Not to be confused with
tempo, the dancer’s use of time can be reflected in their
movement. It can appear hurried, as though fighting against time.
 Conversely, the dancer can have a relaxed attitude toward time as
though they have all the time in the world.
4. Flow (bound or free use of the flow of movement): When the
dancer’s flow is bound up, they can appear to be careful and
cautious, only allowing small amounts of flow. The opposite is when
the dancer appears to throw the movement around without
inhibition, letting the movement feel carefree.
Another way we can define Energy is by looking at the Movement Qualities.
Movement Qualities are energy released during various time spans to
portray distinct qualities. There are six dynamic Movement Qualities:
1. Sustained (slow, smooth, continuous)
2. Percussive (sharp, choppy, jagged)
3. Swinging (swaying, to and fro, pendulum-like)
4. Suspended (a moment of stillness, the high point, a balance)
5. Collapsed (fall, release, relax)
6. Vibratory (shake, wiggle, tremble)
SPACE

Let’s look at where the dance takes place. Is the dance expansive, using lots
of space, or is it more intimate, using primarily personal space? An
exploration of space increases our awareness of the visual design aspects
of movement.
1. Personal Space: The space around the dancer’s body can also be
called near space. A dance primarily in personal space can give a
feeling of introspection or intimacy.
2. Negative Space/Positive Space: Sometimes, a choreographer
emphasizes the negative space or the empty area around the
dancers’ bodies instead of just the positive space the dancers
occupy. Look at the positive and negative space in the photograph
below.
3. General Space: The defined space where the dancer can move can
be a small room, a large stage, or even an outdoor setting.

4. Levels: Dancers use a variety of levels: high, middle, or low. High

movements can reach upward using jumps, leaps, or when lifting
each other. A middle-level move is generally a move that takes
place between the height of the dancer’s shoulders and knees.
Low-level moves can include sitting, kneeling, sinking to the
ground, rolling, or crawling.

5. Directions: While dances made for the camera often have the
performers facing forward as they dance, they can also change
directions by turning, going to the back, right, left, up, or down.

6. Pathways or Floor Patterns: Where the dancer goes through

space is often an important design element. They can travel in a
circle, figure eight, spiral, zig-zag, straight lines, and
combinations of lines.
 7. Range: Movements or shapes can be near reach, mid-ranged, or
far reach. Range is associated with one’s kinesphere. Kinesphere
is the immediate area surrounding the body and is described as
a three-dimensional volume of space. Imagine a bubble around
the dancer’s body, with their arms and limbs extended to their
fullest extent in every possible direction without moving from a
fixed spot; this is considered a personal kinesphere.

Movement occurs in a person’s kinesphere and includes near reach

(movement that is close to the body, small, or condensed), mid-reach
(movement that is neither near not far but comfortably in the middle),
and far reach (large and expansive movement).

8. RELATIONSHIP: Dancers can explore the relationship between

different body parts, the relationship of one dancer to another
dancer or a group of dancers, or the relationship to a prop or to
objects in the dance space.
Time
Dance is a Time art; movement develops and reveals itself in Time. Adding
a rhythmic sense to movement helps transform ordinary movement into
dance and informs when the dancer moves.
1. Pulse: The basic pulse or underlying beat.
2. Speed (tempo): Fast, moderate, slow.
3. Rhythm Pattern: A grouping of long or short beats, accents, or
silences.
4. Natural Rhythm: Timing that comes from the rhythms of the breath,
the heartbeat, or natural sources like the wind or the ocean.
5. Syncopation: Accents the off-beat in a musical phrase.

The Rhythm of Dance: Mastering Timing and Musicality

Timing is everything in dance. It's the heartbeat that keeps dancers in sync,
the pulse that drives each movement, and the thread that ties every step
to the music. Whether you're a seasoned dancer or just starting out,
understanding timing, rhythm, and musicality is crucial for every dancer.
Why Timing Matters
Imagine watching a dance performance where the dancers are out of sync
with the music. It feels disjointed, almost uncomfortable. Perfect timing,
on the other hand, makes the dance look effortless and harmonious. Here’s
why timing is so vital:
• Enhances Coordination: Staying on beat ensures that movements
are synchronized with the music and with fellow dancers, creating
a unified performance.
• Improves Musicality: Understanding the rhythm and beat helps
dancers to interpret the music more creatively and expressively.
• Builds Confidence: Knowing you’re in sync with the music boosts
your confidence, allowing you to focus on the artistry of your
performance.
• Essential for Partner Dancing: In partner dances, timing is critical.
It ensures that both partners move together seamlessly, avoiding
awkward missteps.

Breaking Down the Beat

Music is composed of various elements, and understanding these can
significantly improve your timing. Here are some key components:

• Beat: The basic unit of time in music. It’s the steady pulse you tap
your foot to.
 • Tempo: The speed of the beat, usually measured in beats per
minute (BPM). Faster tempos require quicker movements, while
slower tempos allow for more extended, flowing actions.
• Rhythm: The pattern of beats within the music, including the
intervals of silence between them. It’s what makes music dynamic
and interesting.
• Phrasing: How the beats are grouped together in measures.
Recognizing phrases helps dancers anticipate changes in the music.
Exercises to Improve Your Timing
Improving your sense of timing and rhythm involves practice and
dedication. Here are some exercises to help you master these essential
skills:

• Clap and Count: Clapping along to the beat while counting aloud
helps internalize the rhythm.
• Marching to the Beat: Marching in place to the music helps connect
the beat with your body’s movements.
• Partner Drills: Practicing with a partner to stay in sync with each
other and the music.
• Using a Metronome: A metronome can provide a consistent beat
to practice with, helping to develop a reliable sense of timing.
• Dancing to Lyrics: Some songs have clear lyrical rhythms that match
the beat, making it easier to stay on time.
The Magic of Musicality
Beyond just staying on beat, musicality is about interpreting and expressing
the music through movements. It’s what transforms a series of steps into
an emotive performance. Here’s how to develop it:
• Listen to the Music: Spend time listening to the music you’ll be
dancing to. Identify the beat, tempo, and rhythm.
• Feel the Music: Allow yourself to feel the emotions conveyed by the
music and let that guide your movements.
• Practice Regularly: The more you practice with different types of
music, the better you’ll become at interpreting various rhythms and
tempos.

Applying Timing and Musicality in Dance

To truly master timing and musicality, incorporate these elements into your
regular dance practice:

• Warm-Up with Music: Start your practice sessions with music to

get into the rhythm.
• Focus on Different Rhythms: Practice dances with various rhythms
to become adaptable.
• Record and Review: Record your dancing to see how well you’re
keeping time and expressing the music.
• Seek Feedback: Get feedback from your teachers, coaches or fellow
dancers to improve your timing and musicality.

By dedicating time and effort to understanding the rhythm and timing in

dance, you'll not only improve your technical skills but also enhance your
overall dance experience. Embrace the beat, feel the music, and let your
movements flow with confidence and grace.
 ELEMENTS OF RHYTHM:

1. Beat—the underlying pulse of a rhythm.

2. Tempo—rate of speed of a movement.
3. Intensity—variation of stress of movement.
4. Pitch—lowness or highness of a tone.
5. Accent—emphasis on certain beats.
6. Meter—the regular recurrence of beats which divides a musical design
into measure.
7. Phrase—measures grouped together.
8. Bar—in music a vertical line across a staff dividing it into equal
measures of time.
9. Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used
for a certain dance step.
13. Step pattern—refers to the movement or movements done for each of
the dance steps.
 LESSON 2
ELEMENTS OF MOVEMENT SPACE:

1. Direction—is the line of movement taken which maybe forward,

backward, sideward, diagonal, upward, or a combination of those
mentioned.
2. Level—is movement through space that maybe done at a high, low, or
medium level.
3. Range—refers to the area covered as the body moves. It maybe small
as when the movement is done in one’s place; or large when movement
covers a wide area as when getting away from one’s place.
4. Floor Pattern—the path or design that is made while moving in space
is what is termed as floor pattern. It may take a form of a circle, square,
straight line or zigzag.

MOVEMENT QUALITIES:
Movement expression is attained through the elements of time, force and
space
 Time qualities:

1. Movements which is fast

Examples: galloping horse
Jet plane

2. Movement which is slow

Examples: turtle
Flower growing
Force Qualities:
1. Soft light movement
Examples: Fairies
Birds and butterflies

2. Strong, heavy movement

Examples: Elephant
Bulldozer

3. Strong, jerky movement

Examples: Frog
A jumping jack
4. Smooth, sustained movement
Examples: Airplane
Fish swimming
Space Qualities
1. Movement up and down
Examples: Bouncing ball
Yo-yo

2. Movement across, back and forth or around

Examples: Rowing boat
A merry-go-round
3. Movement which is low
Examples: Ants
Turtles
4. Movement which is high
Examples: Kites
Clouds
 LESSON 3
PHASES OF THE DANCE PROGRAM

1. Creative Rhythms
Are 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

Is 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.
Examples of folk dances are the rural and country dances, jotas,
mazurkas, pandanggos, among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of
the Cordilleras, dances of the ethnic groups in the Cagayan Valley Region
and the ethnic dances in the Mindanao Regions.
3. Social and Ballroom Dance
The 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
Is 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.
Examples of creative dance are ballet, jazz,and modern or contemporary
dance.

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise

2. Single circle partners facing
3. Single circle, facing counterclockwise
4. Single circle, facing center
5. Double circle, partners facing
6. Double circle, facing clockwise
7. Double circle, couples facing
8. Square or quadrille formation
9. Semi-circle or half moon

10. Double lines, facing front

11. Double lines, partners facing
12. Long open formation
OBJECTIVE OF RHYTHMIC ACTIVITIES

1. Develop skills necessary for recreational enjoyment.

2. Maintain good posture and physical efficiency.
3. Promote emotional freedom.
4. Develop a balanced and well-coordinated body.
 LESSON 4
FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are

commonly termed as 1st position, 2nd position, 3rd position, 4th position,
and 5th position of the feet and arms.

1st position
Feet: Heels close together, toes apart with an angle of about
45 degrees.

Arms: Both arms raised in a circle in front of chest with the

finger tips about an inch apart.
 2nd position
Feet: Feet apart sideward of about a pace distance.

Arms: Both raised sideward with a graceful curve at shoulder

level.

3rd position
Feet: Heel of one foot close to in-step of other foot.

Arms: One arm raised in front as in 2nd position; other arm

raised upward.
4th position
Feet: One foot in front of other foot of a pace distance.

Arms: One arm raised in front as in 1st position; other arm

raised overhead.

5th position
Feet: Heel of front foot close to big toe of rear foot.

Arms: Both arms raised overhead.

The Basic Natural Movements:
1. Locomotor movements
Are those that move the body in space in any direction with the feet as the
moving base.
Examples: walking, running, jumping, hopping, skipping, leaping,
galloping and sliding

2. Non-locomotor
Are those in which various parts of the body move in space with a fixed
base. The base may be standing, kneeling, sitting or lying.
Non-locomotor movements:
1. Flexion--- Bending or shortening of a body part occurring at a joint.
2. Extension—Turning, twisting or circling
3. Pendular---- Swinging/ swaying arms forward, backward or sideward.
4. Percussive—Striking and hitting: pushing and pulling.
5. Vibratory----- Shaking and beating.
6. Sustained---- A slow, smooth flowing movement with a balance of
movement throughout the entire series.
7. Suspended--- A sharp movement followed by a series of slow or
prolonged movements until a peak is reached.

SENSORIMOTOR SYNCHRONIZATION
Sensorimotor synchronization (SMS) or entrainment: dancing exercises a
human’s instinctual ability to match a beat.

In learning any technique or tradition of dance, a person practices this

capacity to synchronize, training it consciously to sense and respond to the
rhythmic patterns of a given culture.

ELEMENTS OF SYNCHRONIZATION
But what does SMS entail? For one, it requires a readiness to be moved by
sound waves that occur in rhythmic patterns. In other words, the human
auditory system is wired to notice spaced, repeating beats. This capacity is
not surprising, perhaps, given the regular rhythms of our own hearts and
lungs. A fetus swims in the pulse of a mother's heartbeat before laying
down neural pathways needed to sense it.
Second, humans perceive rhythmic sequences as we hear them, and our
bodily selves also mobilize a response that expresses itself in physical
action. We tap, sway, and nod. Even if we try to suppress these outward
actions, our heart rate, breathing, and even our brain waves align with the
rhythms we perceive – regardless of whether those rhythms come from a
passing train, a partner's pulse, or a favorite song.
Third, these movement responses are not simply reactions to what we
hear. Our tapping, nodding, and swaying anticipate the next beat in the
sequence so that our movements happen on or very close to the next beat.
We tap, sway, or nod in time. We get into the “groove.” In other words, the
rhythms humans perceive stimulate us to act anew.
Finally, evidence is growing that as humans synchronize to a beat, our
brains release cocktails of “happy chemicals” – endorphins,
serotonin, dopamine, and more. Propelled by a beat to move with it,
humans feel more aware, alive, and resourceful, and more able to push
through fear and tolerate pain. This effect, moreover, is distinct from –
though it may be enhanced by – the effects of physical exertion.
The Evolutionary Purpose of Synchronization
Ever since Émile Durkheim’s account of “collective effervescence,”
anthropologists and sociologists have explained the evolutionary purpose
of sensorimotor synchronization in terms of social bonding. When humans
move together in time, they share an experience of heightened joy. They
perceive themselves as part of the larger community that made this joy
possible. The distinction between self and other blurs.
Such experiences of melding, researchers suggest, primed humans to
cooperate, learn language, and develop morals, religions, and
cultures. Dancing (as well as music) may have helped bridge the gap
between primates and humans.
Yet, social-bonding explanations for the health benefits of dancing gloss
over what may be even more fundamental: as humans exercise their
capacity to synchronize, they get better at it. A trained sensorimotor
synchronization integrates subconscious and conscious processes.
The implications are twofold. On the one hand, as humans dance, they
grow more sensitive and responsive to the rhythms in and around them –
even when they are not actively dancing. A heightened sensitivity to
rhythm stays with us as we move through the day, boosting moods and
cognitive abilities.
On the other hand, as this awareness develops, so does our capacity to
discern whether or not synchronizing with a particular rhythm will enhance
our health and well-being. Not all beats are life-enabling. As autocrats
throughout history know, humans are vulnerable to being seduced to
commit atrocious acts by speech and music, parades, and displays – that
is, by rhythmic movement.
By training our capacity to synchronize, dancing provides us with a way to
beneficially engage and enjoy what we are born ready to do.

VALUES OF DANCING
1. Physical fitness
2. Cultural
3. Social
4. Recreational

FOLK DANCES
Are traditional dances of a country which were evolved naturally
and spontaneously in connection with everyday activities and experiences
of the people who developed them.
Folk dancing is the heartbeat of the people.

A. ACTIVITY
B.
1. Give the different examples of Rhythmic activities.
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
2. What are the elements of Dance?
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
3. Give at least 3 (three) movement qualities of dancing
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
4. What are the different classification of Phases in the dance program?
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
 C. VOCABULARY

RHYTHMIC DANCE-

_________________________________________________________________
______________________________________.

RHYTHM-

_________________________________________________________________
______________________________________.

TEMPO-

_________________________________________________________________
______________________________________.

PHRASING-

_________________________________________________________________
______________________________________.

CULTURAL DANCE-

_________________________________________________________________
______________________________________.

RECREATIONAL DANCE-

_________________________________________________________________
______________________________________.

DIRECTION-

_________________________________________________________________
______________________________________.
LEVEL

_________________________________________________________________
______________________________________.

FLOOR PATTERN-

_________________________________________________________________
______________________________________.

PITCH-

_________________________________________________________________
______________________________________.

ACCENT

_________________________________________________________________
______________________________________.

METER-

_________________________________________________________________
______________________________________.
D. REVIEW QUESTIONS

1. Difference between Rhythm and Rhythmic activities.

___________________________________________________________
___________________________________________________________
___________________________________________________________

2. What is the difference of Folkdance and Ballroom?

___________________________________________________________
___________________________________________________________
__________________________________________________________.

3. Objective of Rhythmic Activities

___________________________________________________________
___________________________________________________________
___________________________________________________________

4. What are the 5 (five) basic position in dance?

___________________________________________________________
___________________________________________________________
___________________________________________________________
 CHAPTER 2
FOLK DANCES

A folk dance is a dance that reflects 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. In this sense, nearly all folk
dances are ethnic ones. If some dances, such as polka, cross ethnic
boundaries and even cross the boundary between "folk" and "ballroom
dance", ethnic differences are often considerable enough to mention.
Folk dances share some or all of the following attributes:
• Dances are usually held at folk dance gatherings or social functions
by people with little or no professional training, often to traditional
music.
• Dances not generally designed for public performance or the stage,
though they may later be arranged and set for stage performances.
• Execution dominated by an inherited tradition from various
international cultures rather than innovation (though folk traditions
change over time).
• New dancers often learn informally by observing others or receiving
help from others.
More controversially, some people define folk dancing as dancing for which
there is no governing body or dancing for which there are
no competitive or professional institutions. The term "folk dance" is
sometimes applied to dances of historical importance in European culture
and history; typically originating before the 20th century. For other cultures
the terms "ethnic dance" or "traditional dance" are sometimes used,
although the latter terms may encompass ceremonial dances.
There are a number of modern dances, such as hip hop dance, that evolve
spontaneously, but the term "folk dance" is generally not applied to them,
and the terms "street dance" or "vernacular dance" are used instead. The
term "folk dance" is reserved for dances which are to a significant degree
bound by tradition and originated in the times when the distinction existed
between the dances of "common folk" and the dances of the modern
ballroom dances originated from folk ones.

Folk dance has been an essential part of many cultures for centuries. From
the origins of its history to the symbolism and meaning behind its
movements, there are many reasons why it holds such importance.
Additionally, the traditional attire and music that accompany these dances
add to their cultural significance. However, folk dance is not only valuable
for its cultural relevance, it also provides physical and mental health
benefits. Let’s explore the various reasons why folk dance is considered an
important part of many societies.

CONNECTION TO CULTURE

Folk dance is an integral part of a culture, and it plays an essential role in

connecting people to their roots. The dance steps, costumes, instruments,
and rhythms used in folk dances reflect the unique identity of a particular
culture or region. In essence, it reflects the traditions and customs of
people, their history, and their way of life.
The fascinating symbolism of folk dance conveys deeper meanings and
values, a reflection of the culture’s beliefs and perception of the world. It
passes on from generation to generation and helps preserve the traditions,
language, and customs that characterize a particular community.
Aside from being a source of entertainment, folk dance serves as a way for
people to express their joy, sadness, hopes, and dreams. It is an avenue for
people to connect with others on a deeper level and forge strong bonds
that last a lifetime. Dancing together creates a sense of unity and
belongingness, fostering a community that values cooperation and
harmony.

Folk dance costumes play a massive role in establishing a connection to

cultural roots. Traditional attire varies from place to place and from one
dance style to another. It often features vibrant colors and intricate
patterns that reflect the artistry and celebration of life. The costumes make
the dancers feel a deep sense of pride in their cultural identity and enable
them to showcase their customs and values for others to appreciate.

Folk dance is a powerful means of connecting people to their cultural

heritage. It helps reinforce a shared identity and fosters appreciation for
the diversity and uniqueness of different cultures. It is a beautiful
expression of people’s way of life, and its preservation is critical to
safeguarding the cultural richness of humanity for generations to come.
PRESERVATION OF HISTORY
The preservation of history is another crucial reason for the importance of
folk dance. Through folk dance, we are able to connect with our ancestors
and understand their way of living. The dance steps and movements have
been passed down from generation to generation, keeping alive the
traditions and culture of our communities.

Through folk dance, we can learn about the history of a particular region
or country. For example, the traditional dance style of the Flamenco in
Spain tells the story of the Spanish Gypsies and their struggles. Similarly,
the Hula dance in Hawaii tells the stories of the Hawaiian people and their
way of life.

Through these dances, we can explore the history of a particular

community and learn about the traditions and customs of their ancestors.
This preservation of history is crucial in maintaining cultural diversity and
in preventing the loss of knowledge and traditions that are valuable to our
heritage.

Without the preservation of folk dance, we risk losing the history of our
communities and the stories of our ancestors. It is important to recognize
the significance of folk dance in keeping our history alive and passing it
down to future generations.
PHYSICAL AND MENTAL HEALTH BENEFITS

Folk dance shouldn’t be viewed only as a cultural expression or an

entertaining activity, it’s also beneficial for physical and mental well-being.
The physical demands of different folk dance styles vary, but all require a
combination of coordination, strength, flexibility and endurance. Folk
dance is a great way to get a cardiovascular workout, without running on a
treadmill for hours. Folk dancing is much more fun and social than visiting
a gym.
Here are some of the key physical and mental health benefits of
participating in folk dance:

Physical Health Mental Health

Reduces stress
Improves cardiovascular health
levels

Increases muscle strength and Boosts mood and

endurance energy

Inhibits negative
Enhances flexibility and balance
thoughts

Increases self-
Burns calories and helps weight loss esteem and
confidence

Decreases the risk of chronic illnesses, Provides a sense

such as heart disease, diabetes, and of belonging and
arthritis social connection
TYPES OF FOLK DANCES:

National – traditional dances of a given country.

Regional – local.

Character – created by individual or group.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES
To foster patriotism and nationalism through the study of our dance.
To arouse better appreciation of Philippine music and folk dances.
To provide through dancing, a healthful form of relaxation and recreation.
To develop a graceful and rhythmic coordination of body movements that
will improve posture.
To preserve for posterity, folk dances and music indigenous to the different
regions of the Philippines.
To demonstrate the growth of Filipino culture through the evolution of
Philippine dances.

CHARACTERISTICS OF PHILIPPINE FOLK DANCES:

In general, dancers stand apart.

There is little, if any, bodily contact.
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 those found in the
uplands.
War dances are found among non-Christian tribes.
CLASSIFICATION OF PHILIPPINE DANCES
I. General Classification
A. Geographical extent of origin 1. National dances-found throughout
the islands with little or no modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

RIGODON CARINOSA JOTA BALITAW PANDANGGO

2. Local dances-found in a certain locality

Examples: Tinikling-Leyte

Maglalatik-Binyang

Esperanza-Nabua
 Subli-Batangas

B. Nature 1. Occupational-depicting action of certain occupation,

industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
Mananguete, etc.

2. Religious or Ceremonial – performed in connection with religious vows

and ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.
3. Comic dances – depicting funny movements for entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton

4. Game dances – with play elements (dance mixers)

Examples: Lubi – lubi, Pavo

5. Wedding dances – performed during wedding feast.

Panasahan, etc.
 6. Courtship dances – depicting love making.
Examples: Hele – hele, Bago Quiere
Maramion
Tadek
Daling – daling

7. Festival dances – suitable for special occasion or any social gathering.

Examples: Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or duel.

Examples: Sagayan, Palu-palo, etc.
 C. MOVEMENTS

1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate -
Examples: Cariñosa, Tagala, Habanera, Purpuri, etc.
3. Slow -
Examples: Pasakat, Amorosa, Tiliday, Kundiman, etc.

4. Slow and Fast –

Examples: Putritos, Ba-Ingles, Habanera Botoleña, Alcamfor,
etc.

D. Formation
1. Square or Quadrille
Examples: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines)

Examples: Lulay, Sakuting

1. Set – consisting of two or more pairs as a unit, partners facing each

other or standing side by side.
Examples: Binadyong, Haplik, Kakawati, etc.
II. SPECIAL CLASSIFICATION-GROUP DANCES HAVING SPECIAL
DISTINCTIVE FEATURES.

A. Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B. Old Ballroom Dances

Examples: Polka, Mazurka Chotis, Valse, etc.

C. Dances with Implements

Examples: Maglalatik

Sakuting

Jota Moncadena

Tinikling

Salakot,
D. DANCES OF COMBINED RHYTHM

Examples: Surtido, Pantomina, Los Bailes de Ayer

Factors Affecting Folk Dances

1. Geographical location

2. Economic conditions

3. Climatic conditions

4. Customs and traditions.

DO’S IN FOLK DANCING

1. Dance in a natural, simple and direct manner.

2. Dance with ease and smoothness.

3. Use the proper costume for the dance.

4. Follow directions and dance instructions as closely as possible.

5. Dance with feeling and expression.

 DON’T’S IN FOLK DANCING
1. Do not exaggerate the dance steps.

2. Do not make the dances too dainty and graceful like ballet.

3. Don’t make entrance and exit long.

4. Don’t make steps too elaborate and complicated.

5. Don’t call a dance a folk dance unless steps come from traditional
dances.
 LESSON 1
COMMON DANCE STEPS

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 the

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 Right 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. This is a Tagalog term.

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.
 LESSON 2
BASIC DANCE STEPS
2/4 time dance steps

Dance Steps Step Pattern Counting

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

2. Touch step point, close 1,2

3. Close step step, close 1,2

4. Hop step step, hop 1,2

5. Cross step step, cross or cross, step 1,2

6. Change step step, close, step 1 and 2

7. Changing step jump ( one ft. in front and

The other in rear) there are two

Changing steps in a measure 1,2

8. Contraganza step leap, cross-step, step 1 and 2

9. Habanera step step, close, step 1, 2 and

10. Heel and toe

Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2

11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and ¾ time dance steps

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

2. Cross waltz cross-step, close, step 1, 2, 3

3. Waltz balance step, close-heels raise, heels down 1, 2, 3

4. Mazurka step slide, cut, hop 1, 2, 3

5. Redoba step slide, cut, cut 1, 2, 3

6. Sway balance w/ A point step, cross-step, step point

12, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 12, 3/ 1, 23

8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/

1, 2, 3

4/4 time dance steps

1. Schottische step step, close, step hop( raise foot In front)

1, 2, 3, 4

2. Escotis step step, close, step, hop( raise foot In rear)

1, 2, 3, 4

3. Chotis step brush, raise, brush, raise/ Step, step, step, close
1, 2, 3, 4/ ¾ 4
 TIKLOS

A Peasant dance from Leyte. Having made a previous arrangement, farmers

or workers get together to work on a project. While resting at noon, before
or after lunch, they play tiklos music and dance. There are only four figures
to the dance so it maybe repeated with a slight change in formation.
Patadiong for women and barong tagalog with white pants for men is the
usual attire.

FIGURE I

A. Dancers take 2 heel and toe change step forward……………………………… 4

M

B. 2 change steps sideward right and left…………………………………………..2 M

C. 3 steps and a close moving backward…………………………………………...2 M

D. Repeat all……………………………………………………………………….8 M
FIGURE II

A. 4 cut steps backward and forward……………..……………………………………2 M

B. 3 gallops and a step sideward right……….………………………………………..2 M

C. 4 cut steps backward and forward………………………………..…………………2 M

D. 3 gallops and a step sideward left……………………………………………………2 M

E. Repeat all………………………………………………………………………………………..8 M

FIGURE III

A. 1 change step sideward right and 2 hops on right……………………….…2 M

B. Repeat change step left and hops………………….………………….…………….2 M

C. 3 steps turn right and point close with left foot………………………………...2

M

D. Repeat 3 steps turn left and point close with right foot…………………..2 M

E. Repeat all……………………………………………………………………….8 M
FIGURE IV

A. 2 touch steps with right and left foot……………………………………............2M

B. 4 changing steps turning to face right about ……………………………........2M

C. Repeat touch steps with the left and right foot………………………………..2M

D. 4 changing steps turning left about to face front……………………………2M

E. Repeat all………………………………………………………………………….……………..8M
 LESSON 3
COMMON DANCE TERMS

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.
DANCE POSITION

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.

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.

Shoulder – Waist Position – partners face each other. Boy’s places

hands on Girl’s waist. Girl’s hands are on the Boy’s shoulders.

Cross – Hold Position – partners stand face to face, R hand joined over
L hands, extended about waist level.

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.

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.
 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.
Swing is a rhythmic rotation of a couple performed with a walking step or
shift steps.

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.

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.

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.

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.

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 overhead, both lean slightly away
from each other when turning.
 Star post – Partners are in opposite directions, their right hands
holding each other, lady facing away from audience ; while gentleman faces
the audience.

Challenge position- Partners face each other about a step apart

without touching.

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.

SOCIAL DANCE GUIDELINES

Practice correct dancing position even without a partner.

Maintain a good standing position. Bring out the best in your look.
Keep your weight over the balls of your feet to make you feel quicker and
lighter, and place your weight even on the soles of your shoes. No weight
on the heel.
Maintain the habit of keeping feet close together unless you are taking a
definite step. Feet apart are not a pretty sight.
For a graceful dancing, always turn your toes out, not in.
When dancing with a partner, adapt a comfortable position for both of you;
not too close and not too far.
Don’t lean forward or backward. Just assume a natural comfortable
dancing companion.
When facing the audience, the lady is at the right side of the male.
 LESSON 4
SOCIAL DANCE ETIQUETTE
1. Do not teach your partner on the dance floor.

2. Anticipate the next step.

3. Be confident strive to become a proficient dancer.

4. Don’t show off.

5. Find mutual topics of interest for conversation, never gossip.

DANCING PERSONALITIES

Dancing is an expression of one’s personality. We can read one’s

personality and character by the way he dances. Traits such as timidity,
aggressiveness, and consideration for others, arrogance, and other
characteristics are revealed when people dance.

1. Dancers who loves themselves--- point their toes too gracefully.

2. The cuddly couples--- are fun to watch if they are not related to you.

3. The bully type--- meanders around the dance floor, pushing his partner
into everything that comes his way.
4. The casual dancers--- girl show that sloppy I don’t care posture and the
man just shuffling along.

5. The possessive man--- holds tightly on his partner’s back. His posture is
crouching as though ready for a springing pounce.

6. The jealous girl--- clings to her partner like a glue, looks up in his eyes
and is always tremendously attentive.

7. The timid souls--- could almost sink to the floor if you stare at them.
Males have an apologetic manner and takes faltering steps, barely touches
his partner. He is hard to follow because he is too shy to lead. The girls of
this type take uncertain steps, droop their arms and get an until-death-do-
us part grip on their partner.

In common usage, Ballroom dance refers to the ten dances of International

Standard and International Latin, though the term is also often used
interchangeably with International standard dances.

INTERNATIONAL STYLE

International Standard dances are normally performed with Western

Music. A couple dances counter clockwise around a rectangular floor
following the line of dance.
COSTUME

Women – full gown Men - bow tie and tail coats or tuxedos, vest

Dances :

1. Slow Waltz 2. Tango 3. Viennese Waltz

4. Slow Foxtrot 5. Quick step

International Latin Dances are performed with contemporary Latin

American Music and with the exception of a few traveling dances.

Costume

Women – Short skirted Latin outfits Men - outfitted in tight fitting shirts
and pants

Dances :

1. Cha-cha 2. Samba 3. Rumba 4. Paso doble 5. Jive

RUMBA

The name Rumba was originally applied specifically to the dancing

style with lascivious movement of the hip, bosom and other flexible parts.
The Rumba influence came in the 16th century from the black slaves from
Africa. The native Rumba folk dance is essentially a sex pantomime danced
extremely fast with exaggerated hip movements and with a sensually
aggressive attitude of men and a defensive attitude on the part of women.

The music is written in 4/4 time, which gives 4 counts to each bar of
music, 1, 2, 3, 4. The beat values are 2, 3, 4-1 or quick, quick, slow.

CHA-CHA-CHA

There are various theories as of the origin of Cha-cha. It could be

derived from the Spanish chacha meaning nursemaid, or chachar meaning
to chew coca leaves, or from char meaning tea. This dance evolved from
the Mambo and has its origins in the religious ritual dances of West Africa.
The music is usually in 4/4 time, sometimes 2/4. The Cha-cha-cha is a
Cuban dance, based on the Rumba. Counting is 1,2, 3 and 4

REGGAE

First developed in Jamaica in the late 1960’s. The term reggae more
properly denotes a particular music style that originated following on the
development of ska and rocksteady. It is based on rhythmic style
characterized by accents on the off-beat known as the skank. It usually
accents the second and fourth beat in each bar. The music is 4/4 time and
counting is 1, 2, 3,4.
SAMBA
Comes from Brazil. It differs from other Latin- American dances
because it is lively and vigorous and the feet is constantly leaving the floor.
It is literally a bouncing step. It involves much knee action with the dancers
bodies resembling a swinging pendulum as they sway and turn. 2/4 time 1
ah 2

WALTZ

It is the first dance to use closed dance position. The waltz was to be
performed solely for the demonstration of elegance and not pleasure. The
name comes from the German word to revolve, turning with smooth
gliding steps. Music is ¾ time 1, 2, 3.

PASO DOBLE

It finds its roots in the Spanish style music of the 1930’s. It is

popularly known as the man’s dance, portraying the story of the matador
with ( the female being ) his cape where the matador is to wield his cape
according to the anger and intensity of the roaring boar.

JIVE

The origin of the word jive is unknown but it may refer to jive talk,
or bad mouthing. This word reflects the character of the dance for it is sassy
and loud. It came from the African American slaves. It is known by many
names, sometimes called Swing, Jitterbug, Lindy hop, or Charleston,
although it is completely different dance. Music is 4/4 time 1,2,3 and 4/ 1
and 2, 3 and 4.
SWING

An outgrowth of the jitterbug, it is marked by quick, strenuous

movements sometimes accompanied by acrobatics in its present form; it
maybe a lively smooth dance. Benny Goodman is the band leader credited
with the developing the rhythm of Swing. It is named after Charles
Lindbergh’s solo flight across the Atlantic Ocean in 1927 Music is 4/4 time
sometimes 3/4 1,2,3,4/ 1,2 ah 3

TANGO

Originated in the lower class of Buenos Aires especially in the Bario

de Las Ranas. It was first known as bailed con corte- the dance with a stop.
It is characterized by sudden changes of direction and its many flaring and
dipping steps. Music is 2/4 time 1,2/ 12

FOXTROT

An American dance evolving from trotting dance in 1913. Dancers

gliding around the dance floor with little up and down motion. It is known
as the first truly American ballroom dance, was named after Harry Fox.
Music is in 2/4 time 12/ 1,2
 A. ACTIVITY

1. Give the different classification of Philippine folk dance.

___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
2. Lits down the common characteristics of folk dance.
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
3. Give at least 3 festivals in Philippines.
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
4. Group yourself into five and discuss the different dancing
personalities.
___________________________________________________________
___________________________________________________________
___________________________________________________________
____________________________________________________.
 B. VOCABULARY

FOLK DANCES-

_________________________________________________________________
______________________________________.

RIGODON-

_________________________________________________________________
______________________________________.

CARINOSA-

_________________________________________________________________
______________________________________.

COMIC DANCES-

_________________________________________________________________
______________________________________.

TIKLOS-

_________________________________________________________________
______________________________________.

COMMANDO-

_________________________________________________________________
______________________________________.

CHOREOGRAPHY--

_________________________________________________________________
______________________________________.
TIMID SOULS-

_________________________________________________________________
______________________________________.

STAR POST-

_________________________________________________________________
______________________________________.

CHALLENGE POSITION-

_________________________________________________________________
______________________________________.

ELBOW SWING

_________________________________________________________________
______________________________________.

VARSOVIENNE POSITION-

_________________________________________________________________
______________________________________.
 C. REVIEW QUESTIONS

1. What are the difference between Varsovian position and elbow swing?
___________________________________________________________
___________________________________________________________
___________________________________________________________
__________________________________________________________.

2. Give different types of Common dance steps.

___________________________________________________________
___________________________________________________________
___________________________________________________________
__________________________________________________________.

3. Give different types of basic dance steps.

___________________________________________________________
___________________________________________________________
___________________________________________________________
__________________________________________________________

4. what are the common dance term?

___________________________________________________________
___________________________________________________________
___________________________________________________________
__________________________________________________________.
 CHAPTER 3
SOCIAL AND BALLROOM DANCES

Popular couple dances without set patterns are classified as social and
ballroom dances. Most social dances are characterized by the man leading
and the woman partner following whatever steps, styling, and rhythmic
variations he chooses and indicates.
Social dances are usually done to introduce people with one another
during a formal social gathering or to welcome guests to a social gathering.
Many of the social dances like polka and mazurka started as folk dances
while some were deliberately designed for its social purpose, such as the
waltz, regoudon and polonaise (Nimor, 2006). Social dancing is believed to
had existed since the beginning of human society in some forms.
Ballroom dancing has lots of benefits for young people. It is less
threatening to their young developing bodies compared to many sports
such as football, basketball and hockey that endanger forming cartilage,
break bones and in some cases disfigurement cause by various swinging
sticks and equipment. Ballroom dancing provides general conditioning for
the body. Mentally, it stretches the thinking and the “do – it” abilities of
the young. The sense of achievement is a confidence builder. Teamwork of
couples is more stimulating to concentration and learning. For older
groups, competitive dancing is an excellent learning achievement and self-
confidence. Socially, the young people have an opportunity to interrelate
with others, especially the opposite sex, in a setting that includes discipline
and emphasis on courtesy and consideration for others. Ballroom dancing
provides lesson on social skills that will be beneficial to the youth for the
rest of their lives.
Ballroom dance training offers unique advantages. It is not only a
rhythmical exercise that adds life, graceful muscular movements but it is
also a group recreation. A child who has learned ballroom dancing gains
not only improved posture and coordination but ease in relationships with
companions. Dancing is one means of instilling graceful body coordination;
it is also a muscular activity that brings social ease. A girl who has learned
to be a good ballroom dancer never fades into a wall flower. A Boy who can
dance is spared from many agonies of a teenage self – consciousness.
Children who dance well are popular, ones instilled, those ingredients of a
good manners are never forgotten. Ballroom dancing offers more than
mere steps it includes charm of manners and consideration of others.
 LESSON 1
WALTZ
The waltz, meaning "to roll or revolve") is a ballroom and folk dance,
normally in triple, performed primarily in closed position.
It is a smooth and graceful dance with long, flowing movements,
characterized by rise & fall motion. It has a unique 3/4 timing and a simple
rhythmic pattern which blends with the music. You can start waltzing very
quickly by just learning the simple box step.

HOW TO DO THE WALTZ BOX STEP (LEAD DANCER)

1. Step forward with your left foot- Standing with your feet hip
distance apart and your arms relaxed by your sides, bend your left
leg slightly to step forward on the ball of your foot. Glide your foot
on the floor before stepping, and land softly to give the step a light,
dreamy feel.
2. Move your right foot forward so it’s parallel to your left foot- “Take
a sidestep onto your right foot,” says Bravo. Your feet will be side by
side, a bit more than hip distance apart.
3. Bring your left foot to your right foot-
Move your left foot to meet your right foot. Bravo says to “close
your left foot to your right…switching [your] weight onto your left
foot.” Your feet will be parallel and almost touching.
4. Step back with your right foot- Bend your right leg slightly as you
step back, keeping your upper body straight and relaxed.
5. Move your left foot back so it’s parallel to your right foot-
When you take a step sideways using your left foot, it will bring you
back to your starting position. Make sure your feet are side by side,
with about 1 foot (0.3 m) distance between them.
6. Close your right foot to your left foot-
This ends the “box step,” or basic steps of the waltz. Both of your
feet will be parallel to each other, then you should “switch [your]
weight to the right foot so you are ready to go again,” according to
Bravo. Perform these steps in sequence, drawing small boxes with
your feet.
• Bravo also says the only difference when dancing with a partner is
“that as one person is going forward, the other person is going
backwards.”

7. Repeat these movements when dancing with a partner.

 LESSON 2
TANGO
1. Stand up straight with your shoulders back. Hold your head high
with your spine straight and your chin forward. Engage your core to
roll your shoulders back and keep your neck in line with your spine.
• The better posture you have, the more confident you’ll look in your
dancing ability.

2. Bend your knees slightly to put a bounce in your step. As

you stand up straight, bend your knees just slightly so you can
bounce up and down as you move your feet. The tango is all about
fluidity, and you can’t be fluid if your knees are locked in place.
• If you lock your knees and keep your legs straight, you might end
up looking stiff as you dance.

3. Master the 5 leading steps if you’re the leading

partner. The leading partner is the one who will be leading the
dance, and their partner will follow. If you’d like to be a leading
partner, practice:

• Forward with your left foot

• Forward with your right foot
• Forward with left foot
• To the right with your right foot
• Feet together, moving left to meet right. That's it! Repeat!

4. Mirror the leading steps if you’re the following

partner. The following partner mimics the movements of the
leading partner, only on the opposite foot going the opposite
direction. If you want to learn the following partner’s moves,
practice:

• Backward with your right foot

• Backward with your left foot
• Backward with your right foot
• To the left with your left foot
• Feet together, moving right to meet left. Ta da! Repeat!

5. Move your feet in the pattern “slow, slow, quick, quick,

slow.” Each step that you take has a different speed. The first 2 steps
should be slow, the next 2 are quick, and the last one is slow again. As
you practice more and listen to the music, this will come naturally to
you.

• Thinking about the speed will help you match the rhythm of your
partner’s movements as you dance.

6.Dance to the beat of the music. Listen to some tango music and
find the rhythm to move your feet to. Practice stepping to the beat
so that you can do the movements with whatever song you throw
on.
• Di Sarli, Canaro, Pugliese, D'Arienzo, and Laurenz are all artists that
make great music to tango to.
 LESSON 3
FOXTROT
The foxtrot is a smooth, progressive dance characterized by long,
continuous flowing movements across the dance floor. It is danced to big
band (usually vocal) music. The dance is similar in its look to waltz,
although the rhythm is in a time signature instead of Developed in the
1910s, the foxtrot reached its height of popularity in the 1930s and remains
practiced today.
How to Dance Foxtrot
Foxtrot is a elegant dance that can be danced to a variety of music.
Traditionally it is danced to big Swing band music, but it also can be danced
to country or more contemporary modern music, which makes it a great
dance to learn.
Timing: Foxtrot is 4/4 timing and is counted 1, 2, 3, 4 or in terms of slows
and quicks. Slows get 2 beats and quicks get 1 beat.

There are two types of timing:

1. Rhythm Timing: slow, slow, quick, quick (count 1-2, 3-4, 5, 6)
2. Box Timing: slow, quick, quick (count 1-2, 3, 4)
Characteristic: Foxtrot is a fun, elegant dance that has some spunk to it. It
easily flows around the dance floor. Foxtrot’s notable characteristic is swing
and sway of the body, which helps to give shape through the movements.

Foxtrot Action
The foxtrot is very similar to the waltz. Both are extremely smooth dances
that travel along a line of dance counterclockwise around the floor. The rise
and fall action of the foxtrot comes from the long walking movements
made by the dancers. The dance combines quick steps with slow steps,
giving dancers more flexibility in movement and greater dancing pleasure.
Distinctive Foxtrot Steps
Distinctive to the foxtrot, dancers take long steps during the slower counts,
and short steps during the faster counts. In order to maintain the "trot" of
this dance, dancers should shorten their steps as the tempo of the music
increases. Some of the steps create attractive zig-zag patterns on the dance
floor. A couple of steps distinctive to the foxtrot are the Weave and the
Feather Step:
• Weave: Consists of six quick steps in a row, all on the toes. Quick
steps are usually performed on the toes, with slow steps taken on
the heels.
• Feather Step: The man steps outside of the woman. This step
earned its name because of the action of the step: it resembles the
"feathering the oar" action in rowing.

Foxtrot Rhythm and Music

The foxtrot is typically danced to big band swing-style music, but it may be
danced to most music types. In the foxtrot, the first and third beats are
accented more strongly than the second and fourth beats. The foxtrot is
typically danced to big band swing-style music written in 4/4 time, with
tempo around 120 to 136 beats per minute.
 LESSON 4
CHA-CHA
The cha-cha-cha (also called cha-cha), is a dance of Cuban origin. It is
danced to the music of the same name introduced by the Cuban composer
and violinist Enrique Jorrin in the early 1950s. This rhythm was developed
from the danzón-mambo. The name of the dance is
an onomatopoeia derived from the shuffling sound of the dancers’ feet
when they dance two consecutive quick steps that characterize the dance.
Cha-cha-cha is danced to authentic Cuban music, although in ballroom
competitions it is often danced to Latin pop or Latin rock. The music for
the international ballroom cha-cha-cha is energetic and with a steady beat.
The music may involve complex polyrhythms.

1. Start with your feet together. Understanding the

syncopated step (4 and 1) is key to executing a good cha cha.
Your feet should be together when you begin, with your left
foot popped up slightly so that you are balancing on the ball
of your foot. Most of your weight should be supported by
your right foot.
2. Step out to the left. Keep your right foot in the same place,
and step out to the left, just past the width of your
shoulders. As you step to the left, let your hips follow your
foot. Your left hip should be popped out slightly to the left
side, just over your left foot.
3. Slide your right foot to meet your left and then back. Once
your left foot is popped out, lightly slide your right foot
across the floor to meet your left foot. Then slide your right
foot behind you. As you slide your right foot back, lift your
left foot up slightly.
4. Rock forward to your left foot. Once your right foot is in
place behind you, rock forward so that your weight shifts
from your right foot to your left foot. Then bring your right
 foot up to meet it. This is the main starting position for the
cha cha.

Performing a Basic Cha Cha Step

1. Start with a triple step. Your feet should be together. Pop

your right foot up slightly, but keep the ball of your foot on
the floor. Lower your right heel to the floor as your raise
your left foot up. Then lower your left heel to the floor and
raise your right heel. Repeat once more on the right side.
• The rhythm of this step is the “cha cha cha” that gives
the dance its name. It should take two beats of
whatever song you’re dancing to.
• You should end with your right heel on the floor and your
left heel lifted off the floor slightly, resting on the ball of your
foot.
• This triple step is one of the most basic cha cha steps, so it’s
important that you practice it.

2. Take a rock step forward with your left foot. Don’t

take a huge step – your left foot should only extend about
a foot in front of you. As you step forward, your right heel
should come up off the floor as you rock onto the ball of
your right foot.
• This step should happen on the third beat of the song.
• The rocking step should be pretty smooth. Both of your feet
should always be partially touching the floor as you transfer
your weight from one foot to the other.

3. Perform a rock step from your right to left foot. Rock your
right foot back so that your heel is on the floor again. As you do
this, bring your left foot back to meet your right foot in the
starting position.

• This step should happen on the fourth beat of whatever song

you’re dancing to.
 4. Repeat the triple step. Once you replace your left foot, repeat
the triple step, beginning with your left foot this time.

5. Rock step backward with your right foot. Extend your right leg
back so that the ball of your foot touches the floor. As your rock
backward and your right heel takes your weight, lift your left foot up
so that the ball of your foot comes off the floor and your heel stays in
place. Then rock back onto your left foot and bring your right leg back
to starting position.

• It is good to learn cross body lead, basic ladies turn, and the basic
step to get started.

TRYING A SIDE BASIC STEP

1. Start with a prep step. The side basic step starts with the
same basic prep step as the basic Cha Cha step. Stand with your
feet together, then slide your left foot out to the side,
transferring your weight there. Slide your right foot toward your
left and then back, rocking back so it takes your weight, lifting
your left foot in the process. Then rock back forward, letting
your left foot take your weight again.

3. Step to the right. Instead of bringing your right foot back to meet
your left foot and returning to starting position, bring your right
foot up to your left foot and then out to the side. Your right foot
should be just wider than shoulder width.

4. Slide your left foot to meet your right. Transfer the weight of your
body to your right foot, and lightly slide your left foot to meet your
right. You should pop up your right foot as your left meets it.

5. Step to the right again. Once your feet have returned to starting
position, transfer the weight of your body to your left foot and step
out to the right again, taking the weight of your body.
6. Take a rock step forward. With your right foot still out slightly, step
diagonally with your left foot, so your feet are closer than shoulder
width apart but your left foot is in front of your right. Place your left
foot on the ground, rocking forward so your right heel lifts up. Then
rock back onto your right foot, returning your left foot to the
starting position.

7. Repeat the side step on your left side. Bearing your weight on your
right foot, step to the left. Then lift your right foot off the ground so
just the ball of your foot maintains contact. Then slide your right
foot to your left so they’re together, taking the weight on your right
foot. Then step to the left one more time.

8. Take a rocking backstep. Transfer your weight to your left foot, and
step back with your right. Once your right heel hits the floor, lift
your left foot slightly so only your heel makes contact. As you move
your right foot forward again, step out to the right and repeat the
side step.
 LESSON 5
RUMBA
Rumba is generally regarded as the "dance of romance", but also known as
the "Latin waltz" or the "waltz with a wiggle". Due to its slow rhythm and
sensual movements, some call it the most intimate and passionate dance
there is.
The Rumba is a very slow, serious, romantic dance that exudes flirtation
between the partners - good chemistry makes the movements even more
impactful. The dance is fun to watch, as many of its basic dance figures of
the dance have a teasing theme in which the lady flirts with and then
rejects her male partner, often with apparent sexual aggression. The
Rumba spotlights the lady's rhythmic body movements and hip actions
resulting in intense - almost steamy - scenes of passion.
The basic rhythm of the Rumba is quick-quick-slow with distinctive side-to-
side hip movements. Hip movements are exaggerated, but are not
generated by the hips - they are simply a result of good foot, ankle, knee
and leg action. When these weight transfers are well-controlled, the hips
take care of themselves. Distinctive Rumba steps include the following:
• Fan
• Hockey Stick
• Alemana Turn
• Aida
• Open Hip Twist
• La Elenita
• Fencing Line
• Hip Rolls
• El Paseo
Rumba is usually danced to music written in 4/4 time, with four beats to
each measure. The basic step is a very simple box step. It consist of three
basic steps - two quick side steps and a slow forward or backward step.

The rhythm of the steps is slow, quick, quick. A slow step is danced over
two counts of music, while a quick step is danced over one count.
You start dancing in a closed dance position. The man's left hand is holding
the lady's right hand with the elbows almost touching. The man's right
hand is placed underneath the lady's shoulder blade. The lady's left hand
is placed right behind the man's shoulder, flat on his back.
BASIC STEPS FOR MEN
The gentleman starts with his left foot stepping forward. The man's steps
are as follows:

1. Step forward with your left foot

2. Sidestep to the right with your right foot
3. Move your left foot to your right foot
4. Step back with your right foot
5. Sidestep to the left with your left foot
6. Move your right foot to your left foot
BASIC STEPS FOR WOMEN
The lady starts with her right foot stepping backward. The woman's steps
are as follows:

1. Step back with your right foot

2. Sidestep to the left with your left foot
3. Move your right foot to your left foot
4. Step forward with your left foot
5. Sidestep to the right with your right foot
6. Move your left foot to your right foot
 LESSON 6
SWING
Swing dancing was most popular in the 1930s and 1940s, but it still
continues today. Dance moves have evolved with the music. Swing dancing
styles are the foundation of many other dance styles including disco,
country line dancing, and hip hop. Swing dancing clubs and contests are
still held around the world.
Types Of Swing Dance
There are several types of swing dancing, most of which are still being
performed today. There’s no shortage of classes that instruct them, either.
East Coast Swing Dancing
East Coast Swing is one of the most popular forms of swing dancing out
there due to its simplicity. Beginners can quickly learn the choreography in
just a couple of weeks (this is also the reason why most novice swing
dancers are advised to start with East Coast Swing first before moving on
to tougher styles.)
ECS mostly uses a six-count pattern, but occasionally, the dancers can
improvise to include an eight-count pattern, too. The dancers will circularly
move about the floor, typically ending with a rock step.
Plus, the dance uses three common rhythms depending on the music and
the beat: single, double, and triple.
West Coast Swing Dancing
The mirror opposite of East Coast Swing dance is, of course, West Coast
Swing!
WCS is more modern than ECS. Besides classic swing and big band music,
WCS dancers also perform zpop, country swing, blues, and rock music. The
tempo can vary greatly, but they’re typically very fast, between 80 to 120
BPM.
Lindy Hop
Special characteristics of this dance include whips, kicks, and swing-out
moves where the lead will “swing” their partner away, then draw them
back. For pro-level dancers, the Lindy Hop can also include riskier and
bolder swing dance moves like aerials and lifts.
This dance can be done to six-count as well as eight-count patterns.
Balboa
Balboa is a type of swing dance that originates from Southern California.
Unlike other types of swing dance, the dance partners stay in a closed
position almost through the entire length of the performance. Instead,
they accentuate the rhythm and the fast tempo with complex, fast-moving
footwork.
Jive
The Jive is an extremely fast version of the ECS, with a tempo as high as 175
BPM. The signature moves of the Jive are flicks and kicks.
Swing Dance Attires
One of the most enjoyable aspects of swing dance is the dress-up. “Going
swing dancing” is a great excuse to dress yourself up in vintage-style
clothing.”
For women, swing dance attire often includes flowing dresses or loose
skirts. The looseness allows the dancer to move more freely and perform
twirls (the fabric flapping in the air can create a beautiful visual effect).
Many female dancers wear A-line, swing, and circle skirts for their classic
look. Often, the clothes will be in bright colors or bold prints to help them
stand out on the stage.
Shoes are also an important part of the outfit. Comfy but still good-looking
shoes like Mary Janes, saddle shoes, and T-strap heels are popular at social
dances and competitions. For informal affairs and practice sessions,
sneakers or dance shoes are fine.
Men’s swing dance attire typically includes dress pants or chinos paired
with a button-up shirt or a vest. Some dancers like to go all the way and
switch out their belts with old-fashioned suspenders. And instead of ties,
they’ll opt for bow ties.
In terms of shoes, classic wingtip shoes or two-tone Oxfords are often
chosen. But you can also get a pass for wearing Latin or specialized swing
dance shoes.
Swing Dance Music & Songs
Swing dance came to being from jazz, so the dance itself has a deep and
intimate connection with music. Swing dancers rely on various music to
keep them moving. The dance music often has an upbeat rhythm, driving
bass lines, and a jazz or big band-esque horn section.
Swing music usually has an extremely fast tempo at 120 to 200 BPM. Swing
dance songs can range from slow ballads to fast-paced, high-energy tunes.
In addition to classic swing music, swing dancers (especially West Coast
Swing dancers today) can select more modern music as the backdrop for
their performance, like songs from Brian Setzer.
 LESSON 7
SALSA
Salsa is a rhythmic Latin dance with its origins in Cuban culture. Salsa
dancers move their feet to the beat of the music, and are influenced by the
movements of the cha-cha, mambo, and African styles as well. To learn
how to dance salsa you should always start with the foundation called the
basic step. When dancing salsa, dancers often add their own flair by
moving their hips and upper body in coordination with this basic foot work.

Basic steps of Salsa

1. Listen to music to hear the beat. All music has a beat or basic
rhythm to it that can be counted. Music has a certain number of
beats per measure, which is usually 3,4 or 6 beats. In salsa music
there are 4 beats per measure. The basic salsa dance step uses 2
measures of music, or 8 beats.
• Try clapping the rhythm of the music while counting 1-8.
• Beginners should use salsa music that has a slower beat and an
accented percussion. This will help you hear the beat in the music.
• Some good starter songs are "Slow Salsa" by Jimmy Bosch, "Cuera
Maraca y Bongo" by Los Nemus, "Cosas Nativas" by Frankie Ruiz, or
"Yamulemau" by Richie Ray and Bobby Cruz.
2. Clap the rhythm of the steps. The basic salsa step uses 8 beats to
complete, however you don’t step on all 8 beats. Your feet move on
beats 1,2,3 with a pause on beat 4; you step again on beats 5,6,7
and pause on beat 8.
• Clap when you will be stepping, and don’t clap when you don’t step
to understand the rhythm of the dance step.
• The rhythm will be clap-clap-clap-pause-clap-clap-clap-pause.
Repeat this rhythm throughout an entire song.
 3. March to the rhythm of the steps. Try standing and marching your
feet in place using the salsa rhythm you just clapped. Step your feet
down on beats 1, 2, and 3, pausing on beat 4, and repeat the
sequence for beats 5 through 8.

Dancing the Steps

1. Mark the positions of the steps on the floor. Place numbered cards
or sheets of paper on the floor to indicate where to place your feet
while you dance.
• Number 1 is your starting position, place it in the middle of the
room.
• Number 2 should be placed about 1 foot in front of number 1.
• Number 3 should be placed about 1 foot behind number 1.
• Number 4 should be placed about 1 foot behind number 3.

2. Start the dance with both feet in position 1. When you are ready
to begin the salsa dance you will step to the next number.

3. Step forward to number 2 with your left foot on beat 1. You will
alternate which foot you step with for each beat.

4. Rock back on your right foot on beat 2. Shift your weight from front
to back to shift your body position. Swing your hips slightly to
accentuate the movement.

5. Move your left foot back to number 3 on beat 3. Keep your weight
on the ball of your foot when you step backwards. You will stay in
this position during beat 4.
6. Roll your weight from the ball of your foot to the heel on beat
4. Do not move your feet during beat 4.

7. Step backwards with your right foot to number 4 on beat 5. Keep

your left foot in place during step 5
8. Rock your body weight forward on your left foot on beat 6. Swing
your hips as you shift your body weight to help add style to your
salsa dance.

9. Step your right foot forward back to number 1 on beat 7. Keep

your weight on the ball of your foot as you step your right foot
forward.

10. Balance your weight on beat 8. Do not pick up your feet

during step 8. This is the last count of the basic salsa step.
• Repeat counts 1-8 again to continue the dance.

11. Practice the steps without music. Count the numbers of the
beat and move your feet slowly to master the movement.
• Add music once you are confident in the footwork.
REFERRENCES

https://louis.pressbooks.pub/exploringarts/chapter/elements-of-dance/
Why Dancing Is Good for You | Psychology Today

The Foxtrot Dance - History, Characteristics, and Music (liveabout.com)

https://Do-the-Cha-Cha