FOLK DANCE (BASIC DANCE TERMS)

INTRODUCTION/MOTIVATION:
Review of the fundamental positions of arms and feet in folk dance.
FEET POSITIONS

ARMS POSITIONS

DISCUSSIONS:

Time
Dance Step Counting Step-by-step Description
Signature

(count 1) step left (right) foot in fourth position in front,

(count 2) step right (left) foot close to left in first or third
Waltz 3/4 1,2,3
position in rear,
(count 3) step left (right) foot in fourth position in front.

(count 1) step right (left) foot in fourth position in front,

(count ah) cut the right (left) foot with the left (right) thus
displacing it and at the same time taking the weight of
the body with the left (right) foot,
Gallop 2/4 1, ah, 2, ah
(counts 2, ah) repeat count 1 and ah.
This is executed with one foot always leading and
maybe done in any direction.
There are two gallops to one measure.

(count 1) step right (left) foot in fourth position in front,

(count and) step left (right) foot close to right (left) in
Change
2/4 1, and 2 third position in rear or in in first position.
Step
(count 2) step right (left) foot quickly in fourth position in
front.
 (count 1) step right (left) foot in fourth in front
(count and) step left (right) foot close to left foot in third
Polka 2/4 1, and, 2 and position in rear,
(count 2) step right (left) in fourth position in front,
Count and) take a pause.

(count 1) slide right (left) foot to second position

(count 2) cut right (left) foot sideward with the left (right)
Mazurka 3/4 1,2,3 (count 3) hop on the left (right) foot.
This is executed with one foot leading away and may be
done in any direction.

Footwork:
Sway (count 1,2) step right(left) foot obliquely forward right
balance (left)
1,2,3 to a
(with a (count 3) step left (right) foot acrossed the right (left) in
3/4 measure
close, point, front,
2 measures
brush, hop, (count 1,2) step right (left) foot obliquely backward right,
raise, waltz (count 3) close/point/brush/hop/raise/waltz left
(right)foot in fourth or third position in front.

(count 1) step right (left) foot in fourth position in front,

Close Step 2/4 1,2 (count 2) close left (right) foot in third or first position in
front.

1,2
Leap 2/4 or 4/4 1 count per Spring from one foot landed on the other foot.
leap

(count 1) step right (left) foot in second position

(count 2) turn left (right) about and step left (right) in
Three - step
3/4 1,2,3 second position
turn
(count 3)turn right (left) about and step right(left) in
second position to face front.

KURATSA
The "Kuratsa" dance is the most popular dance in the Visayan regions. There are many versions of Kuratsa.
Different regions have their own dance patterns, usually the boy's steps are more difficult than the girl's. This
version comes from Bago, Negros Occidental.
COSTUME: Girl wears patadyong with camisa or kimona, with a soft panuelo; white or any colored trousers and
barong tagalog or camisa de chino for the boy.
MUSIC is derived into two parts: A and B.
COUNT: One, two, three, or one, and two and three to measure.
FORMATION: Partners stand side by side, Girl at right of boy, when facing audience. One to any number of
pairs may take part in this dance.

INTRODUCTION
Music Introduction.
Partners face each other.
Three-step turn right in place. Girl hold skirt, Boy's hands on waist, (cts. 1, 2, 3). Point L foot in front, R arm in
reverse "T" position, L hand on waist (cts. 1, 2, 3). Pause
(2 M)......................................................4 M
I
Music A.
Partners face each other.
a) Point R foot in front, (cts. 1, 2), step R foot close to L foot (ct. 3), R arm in reverse "T" position, L hand on
waist..................................1 M
b) Repeat (a) with L foot, reverse position of arms.1 M
c) Quarter turn left, with the R foot leading take two chasing steps sideward right to partner's place arms as
in (a) (cts. 1, and, 2, and), step R foot sideward (ct. 3), cross L in front of R foot (ct. 1) and turn right,
salok the L arm in R arm in fifth position (cts. 2, 3) finish the turn facing each other........2 M
d) Repeat (a-c) starting with the L foot, reverse position of arms and turn in (c)........................4 M
Partners face left.
e) Repeat (a) and (b).............................2 M
f) Repeat (c) moving obliquely sideward right. Finish the turn facing right..........................2 M
g) Repeat (d) finishing in proper places..........4 M
II
Music B.
Partners face each other. They do their movements simultaneously.
Girl
a) Two sway balance steps with a brush (R, L), moving counterclockwise. Arms in fourth position R and L
arm high (4 M). Waltz turn right, arms in lateral position moving sideward right and left, with a forearm
turn (2 M). Finish in partner's place...............6 M
b) Repeat figure I (c). Finish in proper places...2 M
c) Repeat all (a-c)...............................8 M
Boy
a) Two sway balance steps with a hop (R, L). Arms in fourth position R and L arm high...............4 M
b) Waltz turn right. Arms in lateral position moving sideward right and left, with a forearm turn R and
L..............................................2 M
c) Waltz forward R toward Girl, opening arms as if pleading (cts. 1, 2, 3), waltz backward L, closing arms to
chest (cts. 1, 2, 3)...................2 M
d) Two sway balance steps with a brush (R, L).....4 M
e) Waltz forward R, waltz backward L, arms as in (c).2 M
f) Repeat figure I (c)............................2 M
III
Music A.
Partners face the audience.
a) Repeat figure I (a-c) starting with the inside foot finish in partner's place.....................4 M
b) Repeat (a) finishing in proper places.........4 M
c) Partners face each other. Repeat figure I (a-d).8 M
IV
Music B.
Partners face each other.
a) Sway balance with a hop (R, L) arms in fourth position R and L arm high..............................4 M
b) Two waltz turn right to partner's place, arms in lateral position with forearm turn (2 waltz steps for every
turn). Pass each other by L shoulders................4 M
c) With the girl leading, partners take two waltz steps forward and waltz turn to any direction arms as in
(b)...........................................4 M
d) Two waltz steps forward to meet at center (2 M), join inside hands, girl executes a waltz turn inward under
arched hands and both bow to audience (2 M)...4 M
 BALLET
NOTE:
The difference between fundamental position of feet in folk dance and ballet. In ballet dance, toes are pointed
outward, exagerately done.

Note: The fundamental positions of arms are still the same. The illustration above is the different movement of
the arms in any direction called des bras.

BALLET
Ballet was taken from an Italian word ballare, meaning to dance, ballo, referring to dances performed in a
ballroom.
Ballet, according to Haskell (1965), is a:
“combination of the arts of dancing, poetry, music and painting. The essential quality of the ballet dancer is grace
that is phrasing, fluidity, harmony, the making of words into a poetic whole; bound up with the reaction to music
that goes far deeper than a purely rhythmic reaction.
Burian (1963) further affirms that:
“Ballet is an artistic, programmatic, scenic dance accompanied by music. It is basically a special and generally
unique form, which resulted from the synthesis, collaboration and equilibrium of several different types of art.
The art of gesture and mime interprets by specific means expression, the thematic and emotional content of the
scenario on which it is based, bringing the poet’s ideas to life, presenting the story with all its conflict plots and
solutions.
Brief History of Ballet:
It was in the 15th century during the Renaissance period when ballet began in Italy.
It started as a performance in the royal court where the male servants would execute a movement related
to the course they are serving during the court dinner. Under the request of the French King, Francis I of
the house of Valois.
Francis’ son Henry II his successor to the throne, married Catherine de Medici. It was during the Medici’s
reign as a queen that marked the staging of ballet.
Balthazar de Beaujoyeulx (formerly known as Baldassarino de Belgiojosoin Italy) Italian musician who
arranged court fetes (a large, elaborate, festival or celebration).
Ballet Comique de la Reine – a dance drama combining the spoken word, solo and choral song and
the dance in unified whole presenting a story.
French court ballet reached its peak under Louis XIV, a dancer and performer and was called the
magnificent Sun King. He loved to dance and took part of his first ballet at the age of 13. He set up the
Academie Royal de Danse together with his dancing master, Pierre Beauchamp. It was during his time
that the five basic dance positions were written down for the first time. And became the basis for ballet
up to now.
1962, ballet became a profession.
Many of the features that we see in ballet today began only during the Romantic era in the 19 th century
where artistic endeavor flourished together with the many developments in science and industry.
Ballet was imported to Russia during the country’s first period of Westernization when many European
fashions, including dance, were broadly emulated. The end of the 19 th century give birth to classical ballet
in Russia where it grew in popularity. A Frenchman, Marius Petipa, became one of the most important
choreographers and was also associated with the Imperial Theatre for almost sixty years
Ballet and arts in general experienced an enormous change during the 20 th century. This was due to the
Russian Revolution, World Wars, and liberation of women. Sergei Diaghilev and Michel Fokine, Russian
choreographers, experimented with movement and costume that went beyond the confides of classical
ballet form and story. One of Diaghilev’s very different works The Rite of Spring is a story of human
sacrifice that has a dissonant music and unfamiliar movements. Although this caused uproar to the
audience, it marked the beginning of the new phase of ballet.
In 20th century also ballet reached United States. George Balanchine, a Russian choreographer who
immigrated to America expanded the form of classical ballet and introduced neo – classical ballet. He
also founded the New York City Ballet.
Ballet today has become multifaceted and several of its forms are linked together to create to what is
known as modern ballet
Classical vs. Contemporary Ballet
Although they do not vary in nature, classical ballet is known for its exactness of technique that highlights
pointed toes and turnouts, high extensions and gracefulness (Velardi 2012). It also uses traditional mime that
utilizes gestures for conversation instead of words. These gestures are as precise as ballet steps and have to
be learned and performed accurately. Contemporary or modern ballet, on the other hand” mainly uses ballet
steps and more natural movement to convey meaning. It incorporates elements of both classical ballet and
modern dance that allows a greater range of movement that does not support the strict bodylines that are
traditional in any of the classical ballet techniques.
CLASSICAL VS. CONTEMPORARY
BALLET IN THE PHILIPPINES
The American colonization paved the way for the introduction of classical ballet in the Philippines. In
1915, distinguished ballet dancer Paul Nijinsky performed classical ballet at the Manila Hotel Roof
Garden (Dimalanta, 2006)
In 1927, Luva Adameit came to the Philippines and started a ballet school. From then on, ballet has
thrived in the country and brought a number of foreign teachers and performers to perform and teach as.
It paved the way to a receptive outlook towards the artistic values of the art form (Alejandro, 1983)
Ballet education became a widespread in the country. From Luzon to Mindanao, various dance studios
and hundreds of ballet dance classes are being offered in major areas of the archipelago.
Composition of a ballet class:
Dancing imposes great physical demands on the body. Therefore, a ballet class is designed carefully to prepare
the body for it. Each ballet class should consist of the following segments:
1. Warm Up – limbering and stretching exercises that warm and gently stretch the muscles before trying
the difficult moves. A good warm up is the nest start to a ballet class as ballet puts your body in positions
that it is not used to executing.
2. Barre Exercises – the students hold on to a barre to maintain a balance and correct placement of the
body. Exercises include variations of bending and stretching, small movements of the legs which
gradually increase in range of motion and tempo as the leg is lifted from the floor.
3. Center work exercises – after the barre exercises, the students move to the center of the room to do
more stretching and relaxing exercises to loosen the back and the muscles in other parts of the body
which have worked hard in the previous exercises. All exercises here will be done without support, adding
arm and head movements. They are at first executed slowly to develop balance, strength and body
alignment.
4. Corner drills (grand allegro) – consist of sequence of steps combining big jumps, leaps, and turns
which cover large areas and put the demands on the body’s strength, endurance and control. These
exercises are done moving across the dance floor.

Ballet Dance
Description Performance Tips
Step

Grand- Plié: Bend deeper and let the heels

To bend or fold knees. The fluid rise and fall
come off the ground. Push the heels back
gently warms the leg muscles and the hip
to the ground while coming up. Straighten
sockets. This is the basis of all coordinated
the knees and stand tall.
balletic movement and is very important in
developing the flow of movement across the
Plié (Pli yey) Demi– plié: Start in turned out feet position.
dance floor which is so characteristic of
Bend knees and turn them out to the side
classical ballet (Dufort, 1985)
and keeping the heels in contact with the
ground. Straighten the knees and stand
There are two types of pliés: the grand plié
tall.
and the demi-plié.
Pliés can be done in all five positions.

To lift or rise. This is rising up the body onto All relevés begin with a demi– plié in order
Relevé (re le the balls of one of your both feet, either as a to push from the floor. Straighten the knees
vey) smooth continuous movement or with a little and lift the heels at the same time keeping
spring. the toes on the floor.

Means “unfold”. This exercise helps with the

slow (adage) and balance. It should be slow
and controlled and may need a lot of Lift the foot from fifth position to touch the
Développés practice. ankle. Raise the foot to the knee in retire
(dev low pey) The movement is similar to unfolding and keeping the hip level and not lifting with the
closing of the arms and legs together. This leg.
also the preparation for attitude and
arabesque.
 From the starting position, the working leg
Battement
and foot slide from the full foot position
Tendu
It means “stretched beating” along the floor. The pointed foot reverses
(bat ma than
its path to full-foot position in the ending
dew)
position.

From the beginning positions, the working

leg is in full–foot position and stretches
Battement
along the floor a pointed off the floor. On
Dégagé (bat ma It French, it means “disengaged”
the return. The working foot points on the
deh ga zheh)
floor and continues sliding back to
beginning position.

From the starting position, brush the

working leg off the floor to a straight pointed
position in the air. On the return, lower the
Grand It is a big kick. In French, it means “large working leg to a point Tendu before sliding
Battement beating”. This is designed to loosen the hips back into the beginning position.
(grawnbaht and hamstrings by throwing the leg as high
mahn) as possible into the air. Battements are done to the front, the side,
and the back and with both legs alternately
to develop an equal ability on either side of
the body.

A. For Center Exercise

1. Port de bras (por de brah) – the carriage of the arms; graceful movements of the arms through a series
of positions.
2. Arabesque (ara besk) – comes from a Moorish ornament that has similar lines. It can be a pose, a step
in adagio (slow movements) or a step in an allegro (fast movement) combination.
3. Sauté arabesque – or arabesque hop; while doing the arabesque position, do a complete hop, hold the
pause in demi-Plié, them repeat on the other side.
4. Attitude – the bent leg is raised in front (croisé) or behind (échappé) the body. It gives a feeling of
enclosing space because of the wrapped – around quality of the raised leg. It is open used as a midway
position in slow unfolding movements.
5. Pas de bourrée (pha de bo rey) – means “stuffed steps”. From the starting position and moving right,
step the working (left) foot behind the supporting (right) foot. Step on the right foot to the side, and close
 the left foot in the beginning position. The back and side steps are done on three-quarter relevé with both
feet finishing in demi– plié.
6.Glissade – means gliding step. In a starting position, do a demi-plié. Remain in demi-plié as the working
leg and foot do a low battement jeté a la seconde. Push of the supporting leg to straighten both legs barely
off the floor. Transfer the weight to the first leg, and quickly close the other leg in the starting position.

B. For Corner Exercises (done moving across the dance floor)

1. Ballet walks – starting in first or third position, walk through the toes, ball and then heel of one foot and
then the other. The body is aligned and moves with grace and ease.
2. Chassé (cha sey) – means chasing step. Starting in a first or third demi-plié position, shift the weight so
the front leg slides along the floor to fourth or second position. Pull both legs together in the air in the
chassé to the side. Both feet land together in the starting demi-plié position. This is similar to galloping
but done with straight knees and pointed toes.
3. Sauté – means “jumps”. Starting in a demi-plié, execute a vertical jump into the air and end in starting
position. This can be done in all five positions.
4. Jeté (Je tey) – it means “thrown”. Soaring through the air and land as lightly as possible. Brushing the
back leg off the floor at a certain height. Pushing off the other leg, and leap to the other leg.
5. Grand jeté – means a big leap. Using runs as the approach, brush the front foot forward, push off the
back leg for the air moment, and land in demi-plié on the other foot. Hold the landing briefly, and then
begin the runs for repeating the leap on the other side.
6. Assemblé (a sem bley) – means “assembled”. In this jump, the feet are brought together or “assembled”
in the air, with the legs beating together before landing on the ground. It is done in all directions either as
a small or as a very large jump.

Assemblé Arabesque

Attitude (Behind) Attitude (Front) Grand Jete