| FUNDAMENTAL DANCE STEPS AND MUSIC by —— viet “ Francisca Reyes Aquino \. (Re: SUPERINTENDENT OF PHYSICAL EDUCATION oN BUREAU OF PUBLIC SCHOOLS. 1973 NATIONAL ARTIST FOR DANCE MANILA, PHILIPPINESFOREWORD The dearth of teaching materials in physical education adds much to the dilemma of teachers who have had very little training or no back- ground in this subject but are assigned to handle physical education activ- ities in the schools. Teachers attending provincial institutes and the sum- mer school of physical education conducted by the National College of Physical Education have expressed the need for materials in simple thy- thms and fundamentals of folk dances which they could understand and interpret to their pupils, since they have found it difficult to follow the ‘highly technical terms or expressions usually found in imported books on physical education, This small book is intended to fill that need. This small book contains simple descriptions of fundamental dance steps and appropriate music for every individual step. The music was selected from our popular folk songs and tunes of Philippine dances, All the dance steps given here are used in our native folk dances. Teachers may select the dance steps suited to the needs of their classes. There are also dance terms, suggestions for teaching dance steps, step and note patterns, music and tempo terms, system and manner of count- ing, suggestions for making and examples of dance-step combinations. This work will therefore be especially useful to physical education teachers and leaders who do not have any experience and source of mate- rials for teaching the subject and to many others who are interested in physical education. It is my hope that this booklet may serve as a guide cor reference for those who need it. It may also be mentioned that this book is the result of the author's many years of experience in teaching the subject in the public and private ‘universities, colleges, and schools. The materials have been tried out and found suitable for all grades in the elementary school, as well as for sec- ‘ondary schools and colleges. FRA.ACKNOWLEDGMENT To Miss Maria G, Javier, Mrs. Leonor A. Trinidad, and Mrs. Emerita E. Basilio for reading the manuscript and for ‘many valuable suggestions; to Mr, Ricardo Reyes for the 6/8 ‘Tnusic for the skip and galop steps; to the late Mr. Telesforc Lamug for the use of some of his music; to Mr Ramon Bel- monte for reading the music scores; to the late Bernardino S. Capili for helping me secure the Itik-Itik steps; to Mr. ‘Serafin Aquino for his constructive criticisms; to Mr. Vicen- te Sanchez for transcribing the music; to Mrs, Cresenciana B. San Andres jor copying the note and step patterns, ete,; ‘and to my co-tworkers and teachers in the field who gave me ‘he inspiration and other help to write this little book, FRA,‘TABLE OF CONTENTS FOREWORD . ACKNOWLEDGMENT TABLE OF © oF CONTENTS .. Dance Steps; Bacul ..., Blekin ‘Q/4 time) Bising stp (3/4 time) Brineos Con Puntitlas Brincos Con Vueltas Change, Step quate ‘Step i Gio Step (2/4 time) Close Step (3/4 time) Contra-Gansa Cross Step Gut Step (3/4 time) Cut Step (6/8 time) Engafio with a Close Engafo with a Waltz cae ait ak (Q/A time) Galop (6/8 time) Mincing Step (2/4 time) Mincing Step (3/4 time) Mudansa Step SBUUNEREIEEES cesses GA seseraesessTABLE OF CONTENTS Slide Step (3/4 time) Step-Hop (2/4 time) Step-Hop (3/4 time) Step Pol (2/4 time) Step-Point (3/4 time) Step-Swing Series: Step-Swing (2/4 time) Step-Swing B/4 time) Step-Swing-Hop .. Step-Brush-Swing-Hop Sway Balance Series: Sway Balance with a Point Sway Balance with a Brush Sway Balance with a Close Sway Balance with a Hop Sway Balance with a Waltz Sway Balance with a Raise. Double Sway Balance " Syncopated Change Step. Three Steps and Point .. Touch Step (2/4 time) | Touch Step (3/4 time) . £3388 eo BSFELBR ivot Turn sate Korriti-Step ‘Turn... Pivot Turn with a Point Pivot ‘Turn with “Sarok” and Point Slide Turn (“Piang-Piang”) -. Brush-Step Turn . SSIAIRSRSASVSSS Waltz Series: Waltz (native) Ser Wa ross Tortillier (2/4 time) | Tortilier (3/4 time) | a (Note and Step Patterns, etc) Fundamental Positions of Feet and Aron ©) ‘Arm Positions Used in Practice Steps rerms ... esse8eeee24 assess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 and in other dances. Arms in Lateral Position — Both arms are at one side, either sideward right or lett. ‘This may be done at shoulder, chest, or waist level. Arms in Reverse “T” — Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed. “Bilao” — To turn palms of hands up and down alternately, hands at waist level in front, elbows close to w: Brush — Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that foot is lifted from the floor to any direction. *Cabeceras” — When dancers are in square formation, the couples occupying the width of the hall are called “‘cabeceras” or head couples. This is of Spanish origin. Clockwise — Like the motion of the hands of a clock. R shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left. Counterclockwise — The reverse direction of clockwise. L shoulder is toward the center ‘of an imaginary circle. When facing center, the movement is toward the right. A Costados” — When. dancers are in square formation, the couples occupying the length of the hall are called “costados” or side pairs. This is of Spanish origin. Crossed Arms — Partners are facing each other or standing side by side, girl at the right of boy. They join their L hands together and their R hands together; either R over L or L over R hands. Cross-Over — Two couples (the vis-a-vis) are opposite each other. Each couple pro- “ceeds in a straight line to the opposite place. The girls pass by their L shoulders between the boys. Boys bow to each other when they meet at the middle or about one-third of the way, then proceed to the epposite place. Upon reaching the op- posite place, partners turn about, girls stand at partners’ right side. Cut — To displace quickly one foot with the other, thus completely taking off the weight 4 ‘of the body from the displaced foot. Do-siDo' (“Dos-A-Dos”)— The vis-a-vis (opposites) both advance forward, pass each other's right (or left) side, step across to the right (or left), move backward with- ‘out turning around pass each other's left (or right) side to proper places. ‘This is of forelgn origin and is used fn many Philippine dances. Draw — To pull one foot along the floor close to the other which has the weight of the body, The-welght may or may not be transferred, Free Foot — The foot not bearing the weight of the body.Free Hand — The hand not placed anywhere or not doing anything. Hands on waist — Place hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing in rear. “Hapay” — To flourish or offer a handkerchief, hat or glass of wine to somebody as 4 sign of invitation “Hayon-Hayon” — To place one forearm in front and the other at the back of the waist, ‘This is a Visayan term. Hop — A spring from one foot landing on the same foot in place or in any direction. The other foot may be raised in any direction (in front, in rear, sideward or across), Inside Foot — The foot nearest one’s partner, when partners stand side by side. Inside Hand — The hand nearest one's partner, when partners stand side by side. Jaleo” — Partners turn once around clockwise (with R elbows almost touching) or counterclockwise (with L elbows almost touching) using walking or any kind of dance step. The hands near each other are on waists. This is a Tagalog term but of Spanish origin. Jump — Spring on one foot or both feet, landing on both in any direction. /“Kumintang” — Moving the hand from the wrist either in a clockwise or counterclock- wise direction. This is an Nocano term. , Leap — A spring from one foot, landing on the other foot in any direction (forward, sideward, backward, or oblique.) “Masiwak” — To turn the hand from the wrist half-way clockwise then raise and lower wrist once or twice. This is an Ibanag term. Outside Foot — The foot away from one’s partner, when partners stand side by side. Outside Hand — The hand away from one’s partner, when partners stand side by side. “Panadyak” — To stamp in front or at the side with R (L) foot and tap with same foot close to the L (R) foot, weight of the body on L (R) foot. This is a Tagalog term. Place — To put foot in a certain or desired position without putting weight on it. ‘The sole of the foot rests on the floor. Pivot — To turn with the ball, heel, or whole foot, on a fixed place or point. “Patay” — To bend the head downward and to support the forehead with the R (L) forearm or with the crook of the R (L) elbow whild the L. (R) hand supports Ughtly the palm of the R (L) hand. This is usually done with the L (R) foot pointing in rear and knees slightly bent. This is an Tlocano term and the move- ment is commonly found in Ilocano dances, Point i Touch the floor lightly with the toes of one foot, weight of the body on the other foot. “Salok” — To swing the arm downward-upward Passing in front of the body as if scoop- ing, the trunk 1s bent forward following the movement of the arm doing the “s- lok.” ‘This {s 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, “Sarok” (or “Saroc”) — 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. ¢ 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. Stamp — To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of weight. Star with Right Hand — Four or more people join R hands at center and circle around clockwise using walking or any kind of dance step. Star with Left Hand — Same as “star with R hand,” but counterclockwise. ing L hands and turning 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. Supporting Foot — The foot that bears tne weight of the body. Tap — To rap slightly with the ball or toe of the free foot, flexing the ankle joint keep- ing weight of the body on the other foot. There is no change or transfer of weight. Whirl —- To make fast turns by executing small steps in place to right or left. hovel, Pe ae! Lede allan i AONE ie