Module 1: PHILIPPINE FOLK AND ETHNIC DANCES

Module Outcomes

This module is designed for you to:

1. demonstrates understanding of lifestyle and weight management to promote societal

fitness.

2. maintains active lifestyle to influence the community and society to participate in

physical activities.

3. practices healthy eating habits that support an active lifestyle

What to know?

 This is the first part of the lesson on Philippine Folk Dance and Ethnic Dance. In
this phase, various activities and challenges will enable the students to review
and reveal their knowledge in the upcoming lessons. This part will surely
stimulate their excitement to perform folk dance and ethnic dance as they get to
understand them deeply. Remember to let them accomplish every activity so that
they will have excellent performances in the next stages.

What to process?

 You will be given activities to display and enhance your skills in folk dancing and
ethnic dancing at the same time formulate your understanding as regards the
benefits of such activities to your fitness and well-being. As you go on and
overcome the challenges provided for you, you will learn that together, dancing
activities will be more fun and exciting, without knowing that you are at the same
time improving your fitness and social skills.

PHYSICAL EDUCATION 2/RST Page 1

 Lesson 1: Dances

Lesson Outcomes

At the end of the lesson, you should be able to:

1. describe the nature and background of the dance;

2. execute the skills involved in the dance;

3. monitor periodically one’s progress towards fitness goals.

Introduction

 Despite the differences forced upon them by their respective heritages, the folk
dances different countries often have similarities of rhythm and pattern.
Variations among them are the results of geographical differences.
 In some instances, it may be difficult to draw an exact line between folk and
ethnological dances, but the latter, have developed a distinct traditional style, a
technical terminology, and a clearly defined school of instruction. The
ethnological dance was a folk dance before it became the art of expressions of a
race.
 Folk dancing is a form of social dancing that has become part of the customs and
tradition of a people. Most folk dances developed among people in the villages
and were passed from generation to generation in a particular region. In many of
these dances, group of dancers from such basic pattern as a circle, line, or
curved, moving the line called a chain.

Explore

DANCES

Dance, rhythmic and expressive body movement, usually coordinated into a

pattern and adapted to musical accompaniment. Dance is perhaps the oldest of
the arts, reflecting man’s age-old need to communicate joy, grief by using the
most immediate instrument at his disposal-his body.

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 Dance steps are created from man’s basic movement: walk, run, jump, hop, skip,
slide, leap, turn, and sway. Combinations of these have become traditional dance
steps and have been used, often in a stylized manner, for folk and ethnic dances,
social or ballroom dances, ballet, and modern expressive dances.

Some of the more important features of the dance are rhythm, or the relatively
fast or slow repetition and variations of movements; design or the arrangement
of movements according to a pattern: dynamics, or variations in the force and
intensity of movement and technique; or the degree of body control and mastery
of basic steps and positions. Also important in many dances are gestures,
especially hand movements.

FOLK DANCE DEFINITION

 The traditional recreational dance of an indigenous society showing the cultural

characteristics of a specific people at a given time and place.
 Traditional, social expressions through movements of the community life of the
people of different nationalities.
 The vivid intimate bond of customs, ideals, and traditional of the past through
which a multitude of national characteristics in music, steps, and costumes are
preserved.
 A dance developed spontaneously and naturally by a specific folk, usually
handed down from generation to generation and following a fixed basic patterns.

ETHNIC DANCES

 The ethnic dances of the Philippines are classified into 2 major categories:
The dances of the Non-Christian Filipinos
a. Dances of the traditionalist or “pagan” groups.
b. Dance of Muslim group
The dances of the Christian and Lowland Filipinos or Western Influenced
a. Dances are savage, vigorous, and mimetic inn character.
b. Some are light-hearted and mimetic.
c. Some are performed without music or melodic accompaniment.

Primitive, indigenous, or ethnic are the dances of the traditional groups. They
require such abilities as agility, nimbleness, and stamina.

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 THE PHILPPINE DANCE

Dance in the Philippines influences the diversity of our cultural beginnings and
the drama of our everyday lives. It blends exotic customs and cultures in many
countries and races- Indonesian, Malay, Chinese, Indian, Spanish and American.

Filipinos possess natural grace, an inborn love for music and dance. Dancing is
considered a religious activity among them. They dance at many occasions-
birth, love, courtship, thanksgiving, wedding war, victory, marriage, planting and
harvesting, prosperous voyage, recovery from sickness and to heal the sick.

Filipinos are also lovers of rituals as shown in ceremonials dances during town
fiestas, Christmas, Easter, ash Wednesdays. There are dances performed by the
priest and priestesses in thanksgiving for a plentiful harvest, a victorious battle, to
drive away evil spirits and invoking their gods and anitos.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

1. Geographical locations

 National Dances - traditional dances throughout the Philippines with a

common basic movement or pattern but with slight variations.

Examples:
Carinosa Kuratsa Balitaw
Rigodon Pandango Surtido

 Local or Regional Dances – dances found in certain localities or regions

only.

Examples:
Alcamfor (Leyte)
Maglalatik (San Pablo, Laguna)
Basulto (Pampanga)

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 2. Nature of the Dance

 Occupational Dances – dances that depict actions, characteristics,

occupations, industries, and phases of human labor.
Examples:
Rice Festival – the largest number of dances.

Pagtatanim Paggapas Paggiik

Paglulugas Paghangin Pagbabayo

Pabirik – Depicts the different stages of gold panning.

Mananguete- Tuba gatherer

 Religious or Ceremonial Dances – performed in connection with

religious vows, practices, and ceremonies. A religious dance may be
performed to drive away evil spirits, ask for a favor to have a child, give
thanks for having recovered from sickness, favors granted and vows
fulfilled.
Examples:
Obando Dugso Sinulog

 Courtship Dances – dances that depict love-making or the love theme.

Examples:
Rogelia Lulay Hele-Hele Bago Quiere

 Wedding Dances – performed by newlyweds, by friends and relatives of

the bride and groom, or by the father of the bride and the mother of the
groom.
Examples:
Pantomina (bride and groom)
Pandang-Pandang (bride and groom friends or relatives of
each side)
Soryano (dance by the parents of the future groom, the visit
of the parents of the bride)

 Festival Dances- performed in connection with celebrations, a feast, a

barrio fiesta, good harvest and good fortune.
Examples:
Kuratsa La jota Putong

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  War Dances – intended to show imaginary combat or duel with the use of
fighting implement like bolo, kris or spear.
Examples:
Inabaknon Sagayan

 Comic Dances – dances with funny and humorous movements mainly

intended for entertainment.
Examples:
Makonggo (movements of a monkey)
Kinoton (movements of person bitten by the ants)

 Game Dances – dances that have some play elements and are for
recreational purposes.
Examples:
Lubi-lubi Gayong-gayong Pabo

 Social Dances – dances performed during social gathering.

Examples:
Rigodong Lanceros

BENEFITS OF DANCING

1. Fitness. Dancing is one of the versatile and satisfying activities one can
participate in as a form of expression, recreation, or a form of exercise to
develop fitness.

2. Joy and Satisfaction. The physical well-being of a person who

participates is improved.

3. Grace and Coordination. it improves response to rhythmic patterns.

Constant participation in dance activities will improve one’s neuromuscular
coordination and help one’s acquisition of grace.

4. Self-Expression. It develops poise and good posture.

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 BASIC MOVEMENT SKILLS

Basic movement skills are the bases of precise dance skills for folk and social
dancing, gymnastics and natural dancing. Locomotion is moving through space.
There are two basic types of movement skills: the locomotor movements &
non-locomotor movements. These movements are simple and easy to execute
but it would be an interesting from of dance expression when two or more of
these steps are combined and performed with music. These simple steps will
make one’s body parts coordinate by the movements with the music.

Locomotor movements of even rhythmic include walking, running, jumping, and

leaping.
Locomotor movements of uneven rhythmic include galloping, sliding, and
skipping
Non-locomotor movements involve bending, stretching, swaying, swinging,
clapping, shaking, pushing, pulling, falling, and rising.

Walk – a movement through space done by shifting weight from one foot to the
other with a short period of non-support while the body and feet are off the floor.
Run – a movement through space by transferring weight from one foot to the
other with short period of non-support while the body and feet are off the floor.
The tempo is faster than the walk.
Hop – a spring on one foot and landing on the ball of the same foot.
Jump – a spring on one foot or both feet and landing on both feet. Push off the
floor with the strong foot and knee extension, the hell coming off first and then
the toes. The knees bend to absorb the shock of landing.
Leap- a transfer of weight from one foot to the other foot by pushing off with a
spring and landing on the ball of the other foot. The leap is similar to a run except
that it is executed with greater height or covers a greater distance. The heel
comes down after landing and the knees bend to absorb the shock.
Gallop- a step on one foot followed by a quick close of the other foot just at the
back or side of the leading foot. The rhythm is long on the step forward or
sideward direction and short at the close. One foot is always leading.
Slide- slide to the right foot, slow beat, close the left foot to the right foot, shifting
the weight quickly onto the left foot. The rhythm is long on the leading foot and
short on the closing foot.

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 Experience

FOLK DANCING QUESTIONNAIRE

Directions: below is a survey questionnaire that reveals your involvement or

participation in folk dances. Copy it in your worksheet and accomplish by putting a
check mark ( ⁄ ) corresponding to your response in each item.

Folk Dancing and Related Activities YES NO

1. I know the name of the folk dance in our place.
2. I am a member of a group representing our place or school in a folk
dance
competition.
3. I usually watch actual folk dancing competitions in other place.
4. I am fond of watching folk and ethnic dances in youtube or in TV shows.
5. I recognize the value of folk dancing to my fitness.
6. I contribute to the success of the Folk Dance in our school.
7. I am proud of the Folk or Ethnic Dance in my place.
8. I am a physically fit individual because I participate in Folk Dancing.
9. I believe folk or ethnic dancing can influence the fitness and well-being
of
the community.
10. Culture of the community is drawn and established through Folk and
Ethnic Dancing.

A scale is provided for you below which helps you make meaning of the responses you
have indicated in the survey-questionnaire.

Number of YES Responses Relative Interpretation

1-3 Is inactive in folk dancing acitivities

4-6 Moderately active in folk dancing activities

7-10 Highly active in Folk dancing activities

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 Examine

 Based on your interpretation of your responses to the survey-questionnaire, what

does this reveal about your fitness and community involvement? Express and
share your answer to the class in 3-5 sentences.

Lesson 2: FUNDAMENTAL DANCE POSITIONS, STEPS & DANCE TERMS

Lesson Outcomes

At the end of the lesson, you should be able to:

1. identify the fundamental positions of arms and feet;

2. appreciate the beauty of folk dance by executing the fundamental positions of the
arms and feet; and

3. execute the five fundamental of the arms and feet in folk dance.
Introduction

 Many of our so-called native dances are of Spanish origin. Others shows French,
English, Malayan influences. Our fore fathers have performed them for so long,
giving them their own interpretation, execution, and expression that they have
become traditionally Filipino.

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 Explore

FUNDAMENTAL DANCE POSITIONS AND STEP

FEET POSITIONS

FIRST POSITION
Feet close and toes and heels parallel
Touching toes at 45 degrees

SECOND POSITION
Open parallel stride sideward

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 THIRD POSITION FOURTH POSITION
Feet closed-crossed Feet open-crossed
Heel in-step touching knees locked

FIFTH POSITION
Feet close-toes

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ARMS POSITIONS

FIRST POSITION SECOND POSITION

Arms encircled in front at chest level, Arms raised sideward a liitle
relaxed, fingers slightly apart below shoulder level

THIRD POSITION
One arm encircles overhead in the other raised sideways

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FOURTH POSITION
One arm encircles like first position; the other arm overhead

FIFTH POSITION

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Both arms overhead

COMBINATION OF ARM AND FEET POSITIONS

The dance steps listed below are the fundamental or basic steps most commonly used
in the Philippine folk dance. In some cases the names of the steps are the same as
those found in foreign dances, but the manner of execution is entirely different. Dome

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dance steps have no English equivalent names, so the native names are retained, such
as “Kurandang,” “Bacui,” “Engano,” etc.

DANCE STEPS TIME SIGNATURE STEP PATTERN COUNTING

BLEKING 2/4 Spring 1 (R) heel-place close 1,1,2

3/4 Heel-place close (step) 1,2,3

CHANGE STEP 2/4 Step close step 1 and 2

CROSS STEP 3/4 Step cross & slide 1 2,3

CROSS CAHNGE 2/4 Cross-step-close-step 1 and 2

CONTRA GANZA 2/4 Leap cross-step step 1 and 2

CHANGING STEP 2/4 Jump 1 foot & other in rear 1

CLOSE STEP 2/4 Step Close 1 2

CUT STEP 2/4 Cut or displace 1

GALOP 2/4 Step cut step cut 1 ah 2 ah

(There are 2 Galop steps to
1 measure)

6/8 Step 1, 2
Cut 3
Step 4, 5
Cut 6

HABANERA 2/4 Step close step 1,2 and

HEEL & TOE 2/4 Heel-place toe-point/ 1,2/

CHANGE STEP Step close step 1 and 2

KURADANG 2/4 Step close step cross-step/ 1 and 2,3/

Step close step point 1 and 2,3

MAZURKA 3/4 Slide cut hop 1,2,3

PLAIN POLKA 2/4 Step close step pause 1&2&

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HEEL AND TOE 2/4 Heel-place toe-point/ 1,2
POLKA Step close step pause 1&2&

HOP POLKA 2/4 Hop & step close step pause 1&2&

SLIDE POLKA 2/4 Slide close slide close 1&2&

Step close step pause 1&2&

SWAY BALANCE 3/4 Step cross-step step point 1,2,3

WITH A POINT

SWAY BALANCE 3/4 Step cross-step step brush 1,2,3 1,2,3

WITH A BRUSH

SWAY BALANCE 3/4 Step cross-step step close 1,2,3 1,2,3

WITH A CLOSE

SWAY BALANCE 3/4 Step cross-step step raise hop 1,2,3 1,2,3
WITH A HOP

SWAY BALANCE 3/4 Step cross-step step raise 1,2,3 1,2,3

WITH A RAISE

SWAY BALANCE 3/4 Step cross-step step close step 1,2,3 1,2,3
WITH A WALTZ

PIVOT TURN 2/4 Step step step step 1&2&

On ball & turn on ball & turn

WALTZ 3/4 Step close step 1,2,3

WALTZ BALANCE 3/4 Step, close L, Raise heel 1,2,3

Heels down (both)

CROSS WALTZ 3/4 Cross-step close step 1,2,3

CHASING 2/4 Step close (step) 1 and

ESCOTIS 4/4 Step close step hop 1,2,3,4

KORRITI 2/4 or (same as mincing step but 1 and 2

3/4 one foot across in front)

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 DANCE TERMS

ABRASETE- Girl at the right side, holds R arm of partner with her L hand, free hands
down at the sides. This term is of Spanish origin and is used in Rigodon & other dances.

ARMS IN LATERAL POSITION- both arms are at one side, either sideward right or left.
this maybe done at shoulder, chest, or waist level.

ARMS IN REVERSE “T”- arms are side horizontal, elbows bent at right angles,
forearms Parallel to head, palms forward or facing inward, fist loosely closed.

BILAO- to turn palms of hands up and down alternately, hands at waist level in front,
elbows close to waist.

CLOCKWISE- like the motion of the hands of the clock. R shoulder is toward the center
of an imaginary circle. When facing center, the movement is toward the left.

COUNTER CLOCKWISE- the reverse direction of clockwise. L shoulder is toward the

center of an imaginary circle. When facing center, the movement is toward the right.

DO-SI-DO (DOS-A-DOS)- the vis-à-vis (opposites) 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 foreign origin
and is used in many Philippine dances.

FREE FOOT- the foot not bearing the weight of the body.

FREE HAND- the hand not placed anywhere or not doing anything.

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 the place or in any direction.
The other foot maybe raised in any direction (in front, in rear, sideward or across).

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KUMINTANG- moving the hand from the wrist either in a clockwise or counter clockwise
direction. This term is an Ilocano term.

MASIWAK- to turn the hand from the wrist half way clockwise, then raised and lower
wrist once or twice. This is an Ibanag term.

PIVOT- to turn with the ball, heel, or whole foot, on a fixed place or point.

POINT- to touch the floor lightly with the toes of one foot, weight of the body on the
other foot.

POLKA- Spanish-introduced dance from Germany.

SALOK- to swing the arm downward-upward passing in front of the body as if scooping,
the trunk is bent forward following the movement of the arm doing the “salok”. This is a
Tagalog term.

SALUDO- partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This term is of Spanish origin and is used in almost all
Philippine dances.

“SALOK” (or “SAROK”)- cross the R (or L) foot in front of the L (or R), bend the body
slightly forward and cross the hands (forearms) down in front with the R (or L) hand
(forearm) over the L (or R). This is a Visayan term.

SARONG- a short version of the malong usually worn by Subanon and other Mindanao
men.

SET- a dance formation like a square or a unit formation composed of two or more
pairs.

SLIDE- to glide foot smoothly along the floor. The movement may be finished with or
without transfer of weight.

STEP- to advance or recede by raising or moving one foot to another resting place.
There is a complete transfer of weight from one foot to another.

VALSE- waltz, earliest Spanish-introduced step.

WHIRL- to make fast turns by executing small steps in place to right or left.

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 Experience

TEST I. I-MOVIE: create your own video performing the Fundamental Dance
position and steps.

The aim of this activity is to:

 Provide an overview of creating and using videos with students

 Help get you started using video or get more out of using videos

Examine

TEST II. COMPLETION TYPE: Below are basic folk dance steps in 2/4 time
which are usually used in folk-based dancing. Supply the missing step pattern
and counting of each basic step enumerated.

BASIC STEPS STEP PATTERN COUNTING

Waltz
Mazurka
Heel & toe change step
Sway Balance in Brush
Sway Balance in Hop

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 Module 2: SOCIAL DANCING

Module Outcomes

This module is designed for you to:

1. demonstrates understanding of lifestyle and weight management to promote societal

fitness.

2. maintains active lifestyle to influence the community and society to participate in

physical activities.

3. practices healthy eating habits that support an active lifestyle

What to know?

 This is the first part of the lesson in Social Dancing. In this phase, you will be
provided with activities that will activate your prior knowledge as regards the
lesson. From here, follow-up activities will be given to elicit your tentative
understandings. As you go through the rest of the activities, misconceptions and
alternative conceptions you have in mind will be clarified. Finally, your
knowledge, considering its adequacy and relevance, will be assessed at the end
of this phase.

What to process?

 You will be given activities to display and enhance your skills in Social dancing at
the same time formulate your understanding as regards the benefits of such
activities to your fitness and well-being. As you go on and overcome the

PHYSICAL EDUCATION 2/RST Page 20

 challenges provided for you, you will learn that together, dancing activities will be
more fun and exciting, without knowing that you are at the same time improving
your fitness and social skills.

Lesson 1: HISTORY OF SOCIAL DANCING

Lesson Outcomes

At the end of the lesson, you should be able to:

1. execute the skills involved in the dance;

2. involve oneself in community service through dance activities: and

3. recognize the needs of others in a real life and meaningful way.

Introduction

 People dance socially mostly for the pure joy of it. For the dancing enthusiast,
nothing compares to the thrill of moving with grace and harmony to a beautiful
piece of music with that wonderful partner of the moment.
 Social dancing, which is simply group dancing for pleasure or recreation, has
probably existed in some form since the beginning of human society. Most group
dances were originally ceremonial rites grouped around three basics aspects of
human existence: food supply, sexual impulse, and relationships with the spirit
world.
 For primitive people, dancing was a formal expressions of religion or superstition.
When dance abandoned its primitive, pantomimic forms, when it ceased to be
specifically about crops, war, wooing, initiation, or religion, it became pure social
interaction, with no aim or purpose but the participants’ enjoyment.

Explore

Various changes in social dancing through the ages clearly demonstrates its
interdependency with the world around it.

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 During the 14th century, for example, when social dance and folk dance were
virtually indistinguishable, popular ring dances moved inside English upper-class
homes as part of the evening entertainment. As long as the hearth occupied the
center of the room, the dances retained their circular, and egalitarian form. With the
introduction of the chimney about 1368, however, the hearth could be moved to a
side wall, which cleared the floor of obstacles and allowed processional dances-
then favored in the royal courts where rank determined the order of procession- to
replace the ring information’s.

Through the Renaissance and the 16th century, social dance became more firmly
ensconced in the courts, whose members systematically dressed up and formalized
the lusty folk dances to suit their elaborate codes of manners and attire.

The 17th century minuet was nothing but manners, the final flourish of aristocratic
elegance before national and then industrial revolutions returned social to the
masses. Quadrille, with partners constantly changing, filled the ballrooms. The
Waltz- whose dizzying speed was derived as much from the newer, more polished
surface of dance floors and the abandonment of hobnailed shoes as it was from the
public’s enthusiasm-also became popular. The embracing, closed hold of waltz
successfully defied the polite convention of the period.

Advancing technology and two world wars so continually restricted life in the 20 th
century that social dance has been changing almost constantly, quickly altering with
the values and practices surrounding it. The syncopated rhythms of American
ragtime music inspired the foxtrot and shimmy.

THE BALLROOM DANCES

A. THE WALTZ
B. POLKA
C. TANGO
D. FOXTROT
E. SWING
F. RUMBA
G. QUICKSTEP
H. PASO DOBLE
I. SAMBA

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 J. MAMBO
K. CHA-CHA
L. JIVE

ELEMENTS OF DANCE ETIQUETTE

In the following we touch on a few of the more important aspects. For more details
see the accompanying article “Elements of Dance Etiquette.”

 Never blame your partner for anything that nay happen on the dance floor.
Not if you want him/her to dance with you again.
 A request for a dance must be accepted under almost all circumstances. If
you decline a dance, you yourself cannot dance until the end of the song.
 No unsolicited teaching on the dance floor! There is a good chance this will
make your partner feel small and humiliated. Not exactly a great way of
encouraging him/her, or others, to dance with you.
 Do not monopolize a partner on the dance floor. Dancers are polite and rarely
say no to a dance, but this is no carte blanche to impose on their kindness.
Dance with everyone, and let everyone dance.
 On the floor, be considerate of other couples. Exercise good floorcraft: do not
cut other couples off: no aerials or choreographed steps on the dance floor.

Lesson 2: DANCE STEPS (THE WALTZ, POLKA AND FOXTROT)

Lesson Outcomes

At the end of the lesson, you should be able to:

1. execute the skills involved in the dance;

2. involve oneself in community service through dance activities: and

3. recognize the needs of others in a real life and meaningful way.

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 Introduction

 The Waltz is a dance is a dance born in the suburbs of Vienna and in the alpine
region of Austria.
Explore

THE WALTZ

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 During the middle of the 18th
century, the allemande form of
the waltz was very popular in
France. Originally danced as one
of the figures in the contredanse,
with arms intertwining at shoulder
level, it soon became an
independent dance hold was
introduced. By the end of the 18th
century, this old Austrian peasant
dance had been accepted by high
society, and three-quarter rhythm
was here to stay.

In July of 1816, the waltz was included in a ball given in London by the Prince
Regent.

Around the close of the 19th century, two modification of the waltz were
developed. The first was the Boston, a slower waltz with long gliding steps. The
second was the hesitation, which involves taking one step to three beats of the
measure. Hesitation steps are still widely used in today’s waltz.

The American waltz is similar to the international style except it has both open
and closed dance positions. This allows the American style dancer a unique
freedom of expression, including the ability to showcase character and theatrical
presentation.

The slow waltz is danced to music written 3/4 meter with 30-32 measures per
minute.

RISE AND FALL is unique to the waltz. If possible, all the steps in the waltz
should be long. On the first step forward, the weight is taken on the heel, then on
to the ball of the foot. A gradual rise to the toes should be started at the end of
the first beat, and continued to the second and third beat bar of music. Lower to
the normal position at the end of the third time beat by lowering to the heel of the
foot which is carrying the weight.

WALTZ LEFT FOOT CHANGE STEP

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Man’s foot position

Start position (facing line of dance rhythm- One, two, and three).

WALTZ RIGHT FOOT CHANGE STEP

Man’s foot position

Start position (facing line of dance rhythm-One, two and three).

WALTZ BOX STEP

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Man’s foot position

Start/finish position
Rhythm- one, two, three

WALTZ FORWAR PROGRESSIVE STEP

Man’s foot position

Start position (face line of the dance)

Rhythm- One, Two, three

WALTZ PROMENADE STEP

Man’s foot position

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Start position (face diagonal to wall)
Rhythm- One, Two, three

WALTZ STEP 2

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WALTZ LEFT TURN STEP
Man’s foot position

Rhythm- one, two, three

One basic is 6 steps

WALTZ RIGHT TURN STEP

Man’s foot position

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Start position
Rhythm- one, two, three
Proceed with a left foot change, then 2 right turns and finish with a right foot change.

WALTZ WHISK
Man’s foot position

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Start position:
1. Left foot forward
2. Right foot side
3. Left foot crosses behind right foot

WHISK-LADY’S FOOT POSITION

POLKA STEPS

POLKA is defined as vivacious couple dance of

bohemian origin in duple time; was a basic pattern
of hop-step-close-step; a lively Bohemian dance
tune in 2/4 time.

The Polka was originally a Czech peasant dance,

developed in Eastern Bohemia (now part of
Czechoslovakia). Bohemian historians believe that
the polka was invented by a peasant girl (Anna
Slezak, in LAbska Tynice in 1834) one Sunday for
her amusement. It was composed to a folk song

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“Strycek Nimra Koupil Simla (Uncle Nimra brought a white horse). Anna called the step
“Madera” because of its quickness and liveliness.

The dance was first introduced into the ballrooms of Prague in 1835. The name of the
dance (pulka) is Czech for “half-step”, referring to the rapid shift from one foot to the
other.

The popularity of the polka led to introduction of several other dances from central
Europe. The simplest was the gallop or galoppade which was introduced in Engaland
and France 1829. Dance position was the same for the waltz or polka, which couples
doing a series of fast chasses about the room with occasional turns. Music was in 2/4
time, often merely fast polka. The gallop was particularly popular as the final dance of
the evening.

For years to come, the polka will remain popular, with its variance in style from robust to
smooth short, glide steps and every happy music. One of the most popular versions of
the polka is the “heel and toe and away we go” due to it ease to execute.

Polka is a popular dance in the country and western sector. Polka and schottische are
competitive country and western dances.

THE POLKA STEPS

The basic polka steps consist of a preparatory hop followed by a chase done first to the
left and then to the right.

The polka is primarily a fast dance. It is danced to music written in 2/4 time with the first
beat more heavily accented. Polka music may also be written in 4/4 time. It is generally
danced to a quick, quick, slow rhythm.

POLKA STEPS

POLKA BASIC FORWARD STEPS

Man’s foot position

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START POSITION

POLKA BASIC BACK STEP

Man’s foot position

START

POLKA LEFT TURN STEP

Man’s foot position

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FOXTROT

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Foxtrot originated iun the summer of 1914 by vaudeville actor harry fox. Born Arthur
Carringford in Pomona, California, in 1882, he adopted the stage name of “Fox” after his
grandfather. Harry was thrown on his own resources at the age of fifteen. He joined a
circus for a brief tour and he also played professional baseball for a short while.

A music publisher liked his voice and hired him to sing songs from the boxes of
vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in a
comedy entitled “Mr. Frisky of Frisco”. After San Francisco earthquake and the fire of
the 1906. Harry Fox migrated East and finally stopped in New York.

The Fox-trot originated in the Jardin de Danse on the roof of the New York Theatre.
As part of his act downstairs, Harry Fox was doing trotting steps to ragtime music, and
people referred to his dance as “Fox’s Trot”. In the rise to fame of the Vernon Castles,
exhibition dancers of outstanding talent and charm, there was no doubt that the foxtrot
was the most original and exciting of their various dances.

As a result of the great popularity which ballroom dancing was enjoying, it was
necessary to evolve a form of dance that could express the slow syncopated 4/4 rhythm
and yet could remain “on the spot”.

The foxtrot was the most significant development in all of ballroom dancing. The
combination of quick and slow steps permits more flexibility and gives much greater
dancing pleasure than the one-step and two-step which it has replaced. There is more
variety in the foxtrot than in any other dance, and in some ways it is the hardest dance
to learn! Variations of the foxtrot include the Peabody, the Quickstep and Roseland
foxtrot. Even dances such as the lindly and the hustle are derived to some extent from
the foxtrot.

FOXTROT STEPS

FOXTROT BASIC FORWARD

Man’s foot position

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Start facing line of dance
Rhythm- slow, slow, quick, quick

FOXTROT BASIC BACKWARD

Man’s foot position

Start position

Rhythm – slow, slow, quick, quick

FOXTROT ROCK LEFT TURN

Man’s foot position

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Rhythm- slow, slow, quick, quick

FOXTROT FORWARD PROGRESSIVE

Man’s foot position

Start
Rhythm – slow, slow, quick, quick
FOXTROT PROGRESSIVE STEP
Man’s foot position

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Rhythm – slow, slow, quick, quick

FOXTROT PROMENADE STEP

Man’s and Lady’s foot position

Start
Rhythm – slow, quick, quick
FOXTROT LEFT TURN
Man’s foot position

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Start position
Rhythm – slow, quick, quick

FOXTROT TWINKLE
Man’s foot position

FOXTROT BOX STEP

Man’s foot position

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Rhythm – slow, quick, quick

FOXTROT RIGHT & LEFT TURN

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Rhythm – slow, quick, quick

FOXTROT QUARTER TURNS

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Rhythm – slow, quick, quick

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 Experience

 ACTIVITY: SOCIAL DANCING AND FITNESS

In this activity, you will be provided with a review on the implication of dancing
activity to your fitness by way of determining your range of Target Heart Rate.

Here’s how:
This is how to determine your THR (Target Heart Rate) range. Follow the steps
provided and you’ll arrive at your own PMHR and THR which you could use in
determining the intensity of your dancing activity and raising it to a higher level if
necessary.

STEP 1: Find your PMHR in beats per minute by subtracting your age from 220:

 220 - _________________________= (Your Predicted Maximum Heart Rate)

Example:
 220- 15 = 205 (PMHR of a 15 year-old individual)

STEP 2: you need to work out your lowest Target Heart Rate that you need to
aim for during exercise by multiplying your PMHR by 60% (or .6):

 ______(PMHR) x 60% (or .6) = (Lowest Target Heart Rate)

Example:
 205 x .6 = 123 beats/minute (Lowest THR of 15 year-old individual)

STEP 3: lastly, you need to work out your Highest Target Heart Rate that you
can aim for during exercise by multiplying PMHR by 80% (or .8):

 ______(PMHR) x 80% (or .8) = (Highest Target Heart Rate)

Example:
 205 x .8 = 164 beats/minute (Highest THR of 15 year-old individual)

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 So, when you are dancing, you are aiming for the range of two figures you have
come up with in steps 2 and 3. In the example given, the Target Heart Rate of 15
year-old individual is from 123 to 164 beats per minute during exercise. To
maximize the benefits you can derive from social dancing in relation to cardio-
vascular fitness, you need to know your Target Heart Rate Range. This is helps
you determine the intensity or level of exerted effort you are pouring into your
dancing.

PROCESSING ACTIVITY:

1. Perform the Social dancing routine simultaneously 4 times with the music.
2. Stop and get your heart rate by placing your middle and pointing fingers in
your carotid pulse located just below your jaw, beside your throat. In 15
seconds, take your pulse. Multiply it by 4.
3. So, have you reached your minimum THR? If not yet, 5 repetitions is not
enough. Let’s dance more.
4. Do the same process in getting your THR.

Examine

Processing Questions: (Write your answer in a whole Sheet of paper)

 How essential is knowing how to get your THR range?

 How can Social Dancing contribute to a healthier lifestyle?

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 Lesson 3: DANCE STEPS (TANGO)

Lesson Outcomes

At the end of the lesson, you should be able to:

1. describe the nature and background of the dance;

2. execute skills involve in the dance;

3. involve oneself in community service through social dancing activities.

Introduction

 When talking about the history of the Tango, the reader should consider that
although there were many influences in the creation and life of the Tango, it is
very important not to assume that it was some form of linear development. So the
idea that you start with this dance or piece of music and along comes this piece
or step, and overnight the whole thing changes, is very wrong.

 While dances and music from around the world have had some influence, this
rather detracts from the people who really created and evolved the Tango into its
current form. These are the people of Benos Aires, who in the bars, cafes and
dance halls made the Tango, danced the Tango, lived, loved and occasionally
died for Tango.

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 Explore

TANGO HISTORY

Tango (the dance with the stop “Baille Con

Carte” is one of the most fascinating of all
dances. Originating in Spain or Morroco, the
Tango was introduced to the new world by the
Spanish settlers, eventually coming back to
Spain with Black and Creole influences.

In the early 19th Century, the Tango was solo

dance performed by the woman. The
Andalusian Tango was later done by one or
two couples walking together using castanets.
The dance was so considered immoral with
its flirting music.

Ballroom Tango originated in the lower class

of Buenos Aires, especially in the “Barrio de
las Ranas”. Clothing was dictated by full skirts for the woman and gauchos with high
boots and spurts for the man.

The dance spread throughout Europe in the 1900’s. Originally popularized in New York
in the winner of 1910-1911, Rudolph Valentino then made the Tango a hit in 1921. As
time elapsed and the music became more subdued, the dance was finally considered
respectable even in Argentina.

Styles vary in Tango: Argentine, French, Gaucho and International. Still, Tango has
become one of our American “Standards” regardless of its origin. The Americanized
version is a combination of the best parts of each. The principals involved are the same
for any good dancing. First, the dance must fit the music. Second, it must contain the
basic characteristics that sets it apart from other dances. Third, it must be comfortable
and pleasing to do.

Phrasing is an important part of Tango. Most Tango music phrased to 16 or 32 beats of

music. Tango music is like a story. It contains paragraphs (Major phrases); sentences
(minor phrases); and the period at the end of the sentence is the Tango close.

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For exhibition dancing, a Tango dancer must develop strong connection with the music,
the dance and the audience. The audience can only feel this connection if the performer
feels and projects this feeling. So it’s when dancing for your own pleasure- and your
partner’s!

“The Tango is the easiest dance. If you make a mistake and get tangle up, you just
Tango on.”

THE TANGO STEPS

Tango dance steps are hot, passionate, and precise. They are also one of the most
popular social dances around. In spite of its reputation, the basic dance steps for
a tango are quite easy to break down

Tango Dance Steps: The Basic

The easiest way to remember the basic tango dance step is to think of the acronym T-
A-N-G-O, since there are five parts to the basic. At the same time, the steps have a
rhythm and duration that goes as follows: "Slow…slow…quick-quick-slow…"

Like many ballroom dances, the lead and follow mirror each other’s steps in the basic.
Many of the more complicated tango dance steps give each part their own specific roles
to play. The lead also always begins with the left foot, the follow with the right, and the
lead steps are "heel leads" - that is, the heel of the foot comes down first, not the toe.

1. T (slow): the lead steps forward with the left foot, the follow mirrors by stepping
back with the right.
2. A (slow): the lead steps forward with the right foot, mirrored again by the follow's
right.
3. N (quick): the lead steps forward again with the left, a slightly smaller step,
preparing to step to the side with the right.
4. G (quick): the lead steps to the right with the right foot, using a technique known
as "collecting" the foot. This simply means that the right foot comes up alongside
the left before stepping to the right, and doesn't move in the diagonal.
5. O (slow): probably the most sultry step in the basic, this is a slow almost-drag of
the left foot towards the right, ready to begin the basic again. For the follow, it's the
joining of the right foot to the left with a slow, deliberate motion.

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 Lesson 4: DANCE STEPS (THE CHA CHA, MAMBO & SALSA)

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 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 (correctly, on the fourth
count of each measure) that characterize the
dance.
In the early 1950s, Enrique Jorrín worked as a
violinist and composer with
the charanga group Orquesta América. The
group performed at dance halls
in Havana where they played danzón,
danzonete, and danzon-mambo for dance-
oriented crowds. Jorrín noticed that many of the
dancers at these gigs had difficulty with the syncopated rhythms of the danzón-mambo.
To make his music more appealing to dancers, Jorrín began composing songs where
the melody was marked strongly on the first downbeat and the rhythm was
less syncopated. When Orquesta América performed these new compositions at the
Silver Star Club in Havana, it was noticed that the dancers had improvised a triple
step in their footwork producing the sound "cha-cha-cha". Thus, the new style came to
be known as "cha-cha-chá" and became associated with a dance where dancers
perform a triple step.
The basic footwork pattern of cha-cha-cha (one, two, three, cha-cha-one, two, three) is
also found in several Afro-Cuban dances from the Santería religion. For example, one
of the steps used in the dance practiced by the Orisha ethnicity’s Ogun religious
features an identical pattern of footwork. These Afro-Cuban dances predate the
development of cha-cha-cha, and were known by many Cubans in the 1950s, especially
those of African origin. Thus, the footwork of the cha-cha-cha was likely inspired by
these Afro-Cuban dances.
In 1953, Orquesta América released two of Jorrin's compositions, "La Engañadora" and
"Silver Star", on the Cuban record label Panart. These were the first cha-cha-cha
compositions ever recorded. They immediately became hits in Havana, and other
Cuban charanga orchestras quickly imitated this new style. Soon, there was a cha-cha-
cha craze in Havana's dance halls, popularizing both the music and the associated
dance. This craze soon spread to Mexico City, and by 1955 the music and dance of the
cha-cha-cha had become popular in Latin America, the United States, and Western
Europe, following in the footsteps of the mambo, which had been a worldwide craze a
few years earlier.

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Basic steps

Cha cha music is composed in 4/4 time (four beats to a bar of music). For each bar of
music there are 2 slow and 3 quick steps, which may be counted as – one, two, cha,
cha, cha or step, step, step, quick step, quick step. The footwork is simple and mostly
focuses on just shifting weight from one foot to another.

Remember, five steps are taken to four beats of music. Also don't forget that the
movements tend to be somewhat flirtatious. This is definitely a party dance

Instructions & Diagrams:

Partners face each other. Gentleman starts with the left foot, lady starts with the right
foot. Basic ballroom hold.

Basic Side Step for Men

1. Sidestep to the left with your left foot

2. Step backward & left with your right foot

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3. Left foot in place, weight shifts to it
4. Sidestep to the right with your right foot
5. Move your left foot to your right foot
6. Sidestep to the right with your right foot
7. Step forward & right with your left foot
8. Right foot in place, weight shifts to it
9. Sidestep to the left with your left foot
10. Move your right foot to your left foot

Basic Side Step for Women

1. Sidestep to the right with your right foot

2. Step forward & right with your left foot
3. Right foot in place, weight shifts to it
4. Sidestep to the left with your left foot
5. Move your right foot to your left foot
6. Sidestep to the right with your left foot
7. Step backward & left with your right foot
8. Left foot in place, weight shifts to it

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9. Sidestep to the right with your right foot
10. Move your left foot to your right foot

THE MAMBO

The Mambo dance originated in Cuba

where there were substantial
settlements of Haitians.

In the back country of Haiti, the

"Mambo" is a voodoo priestess, who
serves the villagers as counselor,
healer, exorcist, soothsayer, spiritual
advisor, and organizer of public
entertainment. However, there is not a
folk dance in Haiti called the "Mambo."

The fusion of Swing and Cuban music

produced this fascinating rhythm and in
turn created a new sensational dance.
The Mambo could not have been
conceived earlier since up to that time,
the Cuban and American Jazz were still
not wedded. The "Mambo" dance is
attributed to Perez Prado who introduced it at La Tropicana night-club in Havana in
1943. Since then other Latin American band leaders such as Tito Rodriquez, Pupi
Campo, Tito Puente, Machito and Xavier Cugat have achieved styles of their own and
furthered the Mambo craze.

The Mambo was originally played as any Rumba with a riff ending. It may be described
as a riff or a Rumba with a break or emphasis on 2 and 4 in 4/4 time. Native Cubans or
musicians without any training would break on any beat.

It first appeared in the United States in New York's Park Plaza Ballroom - a favorite
hangout of enthusiastic dancers from Harlem. The Mambo gained its excitement in
1947 at the Palladium and other renowned places such as The China Doll, Havana
Madrid and Birdland.

A modified version of the "Mambo" (the original dance had to be toned down due to the
violent acrobatics) was presented to the public at dance studios, resort hotels, and at
night-clubs in New York and Miami. Success was on the agenda. Mambo happy
dancers soon became known affectionately as "Mambonicks".

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The Mambo craze did not last long and today the Mambo is much limited to advanced
dancers. Teachers agreed that this is one of the most difficult of dances. One of the
greatest contributions of the Mambo is that it led to the development of the Cha-Cha.

The Mambo is enjoying a renewed popularity due to a number of films featuring the
dance as well as a man named Eddie Torres. Eddie is a New York dance pro and
Mambo fanatic who has launched a crusade to make sure the dance reigns in the
ballroom once again. Torres has become the leading exponent of the style, steadily
building a reputation as a dancer, instructor, and choreographer. He has become known
as the "Mambo King of Latin Dance". Torres is determined to reintroduce dancers to
what he believes is the authentic night-club style of mambo dancing, which in the 1990's
is increasingly known as Salsa.

"It's a great time for Latin American dances," says Torres. "The Mambo is hot now, like
it was in the '50's. It is a dance with many influences -- African, Cuban, Jazz, Hip-Hop,
even some ballet. You'll never run out of steps."

Popular Mambo songs include "Mambo Italiano", "Papa Loves Mambo", "Mambo #5", "I
Saw Mommy Do The Mambo", and "They Were Doin' The Mambo". 'Dance City', the
superb CD album featuring Hernandez and the Mambo Kings Orchestra, stands on its
own as one of the best recordings of its kind in years, an energetic big band-style
session that recalls the glory days of Tito Puente and Tito Rodriguez.

Most people treat Mambo as a very fast dance. In essence, it is a slow and precise
dance that doesn't move very much.

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PHYSICAL EDUCATION 2/RST Page 56
 THE SALSA DANCE

Origins & History of Salsa

The origins of salsa date back to the 1900s in

Eastern Cuba, where musical elements and
rhythms from various styles were
combined. Cuban son and Afro-Cuban rumba,
the two main styles, used diverse musical
instruments to create the basis of a rhythm that
would later become known as salsa.
Almost 50 years went by before this new rhythm
reached Havana. There, salsa absorbed
influences from other local Cuban music and from
American jazz and continued to evolve. Due to
the Revolution in Cuba, many musicians
relocated to the United States, especially to New
York City. Among the Hispanic community, these
musicians found an ideal environment to develop
their rhythm into what we know as salsa today;
this was especially true in ''El Barrio'', also known
as Spanish Harlem.
The definite rise and jump to fame of salsa happened thanks to Fania Records, a
record label established in 1964 by musician Johnny Pacheco and Italian-American
lawyer Jerry Masucci. This label became extremely famous, producing one huge hit
after another. Many of the artists who signed with this label are now regarded as
legends of salsa, particularly the team of ''Fania All-Stars''. This group included
celebrities such as Celia Cruz, Héctor Lavoe, Cheo Feliciano, and Rubén Blades,
among others.
Fania Records edited the rhythms which originated in Cuba and gave them a sound that
was catchier and more easily accepted by the New York Latin market. To better
merchandise their music, Fania called this new sound salsa.
Salsa music is a mix of different Caribbean rhythms and instruments; that diversity
provides its unique sound. Salsa dance has similarly evolved and adapted over the
years to better suit the tastes of different localities, leading to the creation of different
regional styles of salsa. Some of the most popular regional styles are:

 Salsa Casino (Cuban style)

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  Salsa Casino (Miami style)
 Afro-Latino style
 Cali style (Colombian Salsa)
 Rueda de Casino
 New York style

Considering such a variety of cultures in Latin America contribute to the vast diversity of
styles in salsa, it's only natural that the musical instruments used also change a bit from
style to style. A mix of instruments is used in each regional style. The most common
percussion instruments are bongos, congas, timbales, maracas, and cowbells. Among
the string instruments, we see the bass guitar, guitar, piano, violin, and electric guitar.
The trumpet, trombone, flute, and saxophone are brass instruments commonly used.
The influence of salsa grew rapidly to become popular all over Latin America and within
Hispanic communities worldwide.

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 LESSON 5: DANCE STEPS (RUMBA AND SAMBA)

Rumba

The word Rumba is a generic term, covering

a variety of names (i.e., Son, Danzon,
Guagira, Guaracha, Naningo), for a type of
West Indian music or dancing. The exact
meaning varies from island to island. The
word "Rumba" comes from the verb
"rumbear" which means going to parties,
dancing, and having a good time.

There are two sources of the dances: one

Spanish and the other African. Although the
main growth was in Cuba, there were similar
dance developments which took place in
other Caribbean islands and in Latin
America generally.

The "rumba influence" came in the 16th

Century with the black slaves imported 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 on the
part of the man and a defensive attitude on the part of the woman. The music is played
with a staccato beat in keeping with the vigorous expressive movements of the dancers.
Accompanying instruments include the maracas, the claves, the marimbola, and the
drums.

As recently as the Second World War, the "Son" was the popular dance of middle class
Cuba. It is a modified slower and more refined version of the native Rumba. Still slower
is the "Danzon", the dance of wealthy Cuban society. Very small steps are taken, with
the women producing a very subtle tilting of the hips by alternately bending and
straightening the knees.

The American Rumba is a modified version of the "Son". The first serious attempt to
introduce the rumba to the United States was by Lew Quinn and Joan Sawyer in 1913.
Ten years later band leader Emil Coleman imported some rumba musicians and a pair

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of rumba dancers to New York. In 1925 Benito Collada opened the Club El Chico in
Greenwich Village and found that New Yorkers did not know what Rumba was all about.

Real interest in Latin music began about 1929. In the late 1920's, Xavier Cugat formed
an orchestra that specialized in Latin American music. He opened at the Coconut Grove
in Los Angeles and appeared in early sound movies such as "In Gay Madrid". Later in
the 1930's, Cugat played at the Waldorf Astoria Hotel in New York. By the end of the
decade he was recognized as having the outstanding Latin orchestra of the day.

In 1935, George Raft played the part of a suave dancer in the movie "Rumba", a rather
superficial musical in which the hero finally won the heiress (Carol Lombard) through
the mutual love of dancing.

In Europe, the introduction of Latin American dancing (Rumba in particular) owed much
to the enthusiasm and interpretive ability of Monsieur Pierre (London's leading teacher
in this dance form). In the 1930's with his partner, Doris Lavelle, he demonstrated and
popularized Latin American dancing in London.

Pierre and Lavelle introduced the true "Cuban Rumba" which was finally established
after much argument, as the official recognized version in 1955.

Rumba is the spirit and soul of Latin American music and dance. The fascinating
rhythms and bodily expressions make the Rumba one of the most popular ballroom
dances.

Understanding Rumba Steps

Regardless of where you find the rumba dance step diagram, it's going to look
something like the one at Dancing4Beginners. The first diagram shows footprints for the
lead, in sequence. The start position is with the feet together and the weight balanced.
The left foot is white and the right foot is a gray shaded color to help differentiate them.

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Download Rhumba lead dance steps Download Rhumba partner dance steps
SOURCE

SAMBA

SAMBA It's a carnival street dance, a ballroom

competition dance, a 1930s classic movie
number, and a powerful workout for your pelvis.
Samba is a Brazilian dance with African roots
and a global fandom, often performed in little
more than sequins and feathers, but always with
a mix of attitude and abandon.

Origins of the Samba

Samba dance is a little bit of this and a lot of that.

Originating in Brazil in the 19th century, samba
owes its rhythm and moves to the African slave
dances on the Brazilian sugarcane plantations.
The traditional African circle dance with a lone
central performer relied on weight shifts, rapid
steps, and slides to a 2/4 percussive beat, and a
fairly still upper body with arms and hands
responding to the hip and leg movements. Once slavery ended, the dancers migrated to
the favelas or shantytowns outside of cities, where freed slaves put together dance

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troupes for carnival. The performances were boisterous and uninhibited, generally
frowned upon by Brazil's Portuguese upper crust. But samba proved irresistible, its
popularity spilling across classes and borders, its gyrations richly colored by regional
and international influences. Today, it would be impossible to imagine carnival without
samba. Fred Astaire and Delores Del Rio danced a version of samba, the carioca, in the
1933 film Flying Down to Rio. Carmen Miranda, a Brazilian dancer who samba'd her
way through That Night in Rio, became synonymous with the dance worldwide.
The 1939 World's Fair cemented the American love affair with samba when the music
and dance was featured in the Brazilian pavilion. Today, the many iterations of samba
are a mainstay of pre-Lenten carnival in Rio De Janeiro and of Latin ballroom dancing
everywhere. Now it's a solo dance, a couple's dance, a street-dancing exhibition, and a
hybrid, merged with rock, acrobatics, and even reggae.

A Selection of Sambas

There has never been one definitive samba; the dance is as fluid as the pelvic isolations
that keep it hot. Solo samba and partner samba styles work off the same rhythms with
fast or slow percussive beats. You just have to concede you know it when you see it.

Solo Sambas
Samba no pé is traditional solo samba dance with simple, recognizable steps
spontaneously inspired by the music. It follows a 2/4 count with three steps in every
measure, a basic step-ball-change.

1. Begin with your feet together. Relax your knees and keep them soft and bouncy
throughout.
2. Step back onto the ball of the left foot, shifting your weight to that foot.
3. Take a half-step forward onto the ball of the right foot, again shifting your weight
to the stepping foot.
4. "Slide" (step) the left foot to just behind the right foot, landing on the ball of the
foot and taking the weight on that foot.
5. Step back onto the ball of the right foot, shifting weight again, and repeat the
sequence.
6. You don't "travel" as you step forward and back. As you catch the rhythm and
pick up the pace to match the tempo of the music, your relaxed knees will give you
the samba bounce and your hips will start to move to match the weight shifts.
7. Allow your arms to swing naturally as you repeat the pattern to the percussive
beat.
Men dance the samba no pé on the flat of the foot. Women, who wear high heels,
dance on the ball of the foot.

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Experience

ACTIVITY: SOCIAL DANCING PARTICIPATION QUESTIONNAIRE

Directions: Tick the column that best describe your participation in the activities below.

SOCIAL DANCING ACTIVITIES ALWAYS SELDOM NEVER

1. I actively participate in social dancing

activities in my community.

2. I am a member of the grand cotillion dance

performed in a friend’s debut/social
gathering.

3. I wear proper attire in social dancing

activities.

4. I am confident in performing social dances

in and outside the school.

5. I insist in doing a dance combination that my

partner could not follow.

6. I don’t follow the lead of my partner because

I have my own style of dancing.

7. I dance vigorously whenever I participate in

social dancing activities.

8. I recognize the advantages of my

engagement in social dancing activities to
my fitness and well-being.

9. I share my social dancing skills with my

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 friends, and community.

10. I enjoy participating in social dancing

activities.

Examine

 Summarize in few sentences what survey revealed about your fitness habits and
attitudes toward social dancing. Write your summary in your activity notebook.

In a Nutshell

 Dancing is an act of moving the body in rhythm, usually in time with music.
People seem to have a natural urge to express their feelings through rhythmic
movement. People organize the expressive movements of their bodies into
rhythmic and visual patterns.
 Dancing is both an art and a form of recreation. As an art, a dance may tell story,
set a mood, or express an emotion. As a form of recreation, dancing has long
provided fun, relaxation, and companionship. Today dancing either a party or
gathering continues to be a very popular way for people to enjoy themselves and
to make new friends.

References

 PHYSICAL EDUCATION 2 for COLLEGE (Dr. Doris D. Tulio)

 PHYSICAL EDUCATION (Teacher’s Material) Department of education

Prepared by: Mr. Rolly S. Tagalog

Instructor 1

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