ACTIVITY 6

WHAT IS FOREIGN FOLK DANCE?

The international folk dance or also known as the foreign folk dance developed in
the immigrant communities of the United States of America during the first half of the 20th century.
Traditional dances such as branles, polkas, quadrilles, and others have been done internationally for
hundreds of years; however, the creation of international folk dance as such is often attributed to Vytautas
Beliajus, a Lithuanian-American who studied, taught, and performed dances from various ethnic
traditions in the 1930s.

1. ORIGIN OF TARANTELLA FOLK DANCE

From a Dance to Cure

Also known as “the dance of the spider,” the Tarantella is derived from the
Italian word tarantola, meaning “tarantula.” The Tarantola gets its name from the
town of Taranto in Puglia, where the bite of the local wolf spider (the tarantula) was
widely believed to be highly poisonous and led to a condition known as “tarantism.”
Tarantism was an epidemic that swept through Taranto and other parts of Italy
between the 15th and 17th centuries. According to legend, once bitten by a tarantula, the
victim, referred to as the tarantata — who was almost always a woman of lower status
— would fall into a fit in which she was plagued by heightened excitability and
restlessness. Eventually, she would succumb to the condition and die.
The only cure, it seemed, was to engage in the frenzied dancing ritual of the
Tarantella. Townspeople would surround the tarantata while musicians would play
instruments such as mandolins, guitars, and tambourines in different tempos in search
of the correct healing rhythm. Each varied beat would affect the tarantata, leading her to
move in erratic ways in line with the tempo. Once the correct rhythm was found, the
victim — dancing the Tarantella alone until exhausted — was thought to be cured,
having “sweated out” the venom!

To a Dance to a Court
As the passage of time faded the legend’s mystique, the Tarantella eventually transformed from a
cure to a deadly disease to a couple’s dance — either a man and woman or two women — performed at
wedding ceremonies and other celebrations. In fact, the Tarantella is now considered unlucky by some to
be danced alone.

With music written in a lively 6/8 time, this rapid whirling dance is characterized by light, quick
steps, and flirtatious gestures between the two partners. Typically, the woman carries a tambourine, and
her rapid movements are used as a way to excite her counterpart. On the other hand, the man’s
movements are made to charm his partner with his agility and tenderness.

COSTUME

The Italian ethnic dance, called the Tarantella, has traditional costumes for women and men.
  The women’s traditional costumes are white, gathered skirts, white aprons, and a scarf
around the neck.
 The traditional costume for men is specially made shoes, three-quarter pants, a black vest,
and generally a little cap.
 Props used in the Tarantella dance are the hoe, the well, the tambourine, and vines from
the vineyard.

MUSIC/COUNT/FORMATION

The Tarantella is a traditional folk dance from the southern areas of Italy with a very distinctive,
energetic sound. Typically played with a mandolin, guitar, accordion, and tambourine, the
Tarantella varies from region to region but always maintains a vibrant, fast-paced melody. The
tempo is normally in 6/8 time, with dancers taking triple steps, alternatively drawing together and
moving apart from each other. The tune of the Tarantella Napoletana is the most easily recognizable, if
only because of its presence in The Godfather movies and pasta commercials, but there are many different
versions from Calabria, Sicily, and other small, rural areas . The music has become iconic of southern
Italy, and its many variations have served as inspiration for composers all across Europe. Chopin, Liszt,
Rossini, Debussy, Mendelssohn, and Rachmaninoff all have used variations of the tarantella in their
work. In contemporary times, the Tarantella has become more of a group dance, performed in a circle at
occasions like weddings or birthday parties. Guests will dance clockwise in a circle, speeding up as the
tempo increases, switching directions, and trying to see who can keep up pace with the musicians. Young
musicians and groups in Italy, drawing on the old traditions, have fueled a movement called “Neo-
Tarantism,” which recreates the frenzy and hypnotic effect of the Tarantella but generally with a faster
tempo and different, more modern sound. 

2. ORIGIN OF LA CUCARACHA

La Cucaracha (“The Cockroach”) is a popular Mexican folk song about a cockroach who
cannot walk. The song’s origins are unclear, but it dates back at least to the 1910s during the Mexican
Revolution. The song belongs to the Mexican corrido genre. The song’s melody is widely known and
many alternative stanzas exist.
COSTUME
The man wears a loose shirt covered by a vest and short jacket (or bolero in Spanish) and
long, tightly fitted pants decorated sometimes with silver buttons. On his head, he has a huge
sombrero and, on his arm, he carries his brightly colored serape. The woman wears an
embroidered, white short-sleeved blouse with a full skirt of green and red (occasionally white). The
skirt reaches down to the ankle. High-heeled slippers are worn. Over the blouse, she may wear a
long sash or scarf called a roboza.
MUSIC

The music of La Cucarucha is divided into two parts: A AND B

1. Music A - play once

 Partners stand side by side facing front. Throughout the figure, partners turn slightly away and
toward each other. They perform cross-waltz steps in place. The first step (ct. 1) is strongly
accented with a decided "dip" of the knees in this dance. Starting with the inside foot, take eight
cross-waltz steps in place. Girl holding skirt, boy clasp hands behind 8 M.
 Partners face each other and do the cross-waltz steps revolving around each other. Starting with
the R foot take eight cross-waltz steps forward-moving clockwise. Crossing the R foot over L
turns the body to the left and brings them into a position touching R elbows. When the L foot is
across the R, the left elbows are touching.
 Partners are still sided by side facing front.
(a) Starting with the outside foot, take seven cross-waltz steps forward. Hands as in figure I.
(b) Boy takes one waltz balance forward R, the girl spins around clockwise.
 Partners face each other.
Repeat fig. II. At the last measure, the boy places his sombrero on the girl's head.
2. Music B – play once
 Partners are side by side facing front.
The following direction is for the boy: it is reverse for the girl.
(a) Boy steps sideward L (ct. 1), step R close to L foot (ct. 2), step L sideward left again (ct. 3).
Stamp R foot in place (ct. 1), pause (cts. 2, 3), put weight on the R foot.
(b) Three-step turn L away from partner (cts. 1, 2, 3). Stamp R foot twice, keeping the weight on
the L foot (cts. 1, 2), pause (ct. 3).
(c) Step R sideward toward the partner (ct. 1), step L close to R (ct. 2), step R sideward again (ct.
3). Step L foot in place (ct. 1), stamp R foot twice (cts. 2, 3).
(d) Starting with the R foot, three steps sideward right to change place with a partner. The girl
passes in front of the boy (cts 1, 2, 3). Stamp L foot (ct. 1), pause (cts. 2, 3).
(e) Repeat all (a-d) starting with the opposite foot, finishing in the original position.
 Partners side by side. As this step is being performed couples move little by little backward.
(a) Starting with the inside foot, take three steps sideward to partner's place. The girl passes in
front of the boy (cts. 1, 2, 3). Stamp twice with the inside foot (foot next to partner) (cts. 1, 2),
pause (ct. 3).
(b) Repeat (a) returning to position. The boy passes in front this time.
(c) Repeat all (a and b)

COUNT

The measure of La Cucarucha is one, two, three.

FORMATION
 Partners face each other and do the cross-waltz steps revolving around each other. Starting with
the R foot, take eight cross-waltz steps forward-moving clockwise. Crossing the R foot over the t, turn the
body, to the left and bring them into a position touching R elbows. Cucaracha is 3 steps ended with feet
together. Start in Closed Position. See Rumba Technique for details on the hip motion. Feet relative
direction to each other: side, side and slightly fwd or back, fwd or diagonally fwd, back or diagonally
back. The point of the Cucaracha is to dance a hip action while strongly between feet. Therefore, when
you take that first step to the side, you should not get your weight over that foot. Usually, in Rumba, side
steps should have a full transfer of weight, but not for this first step of the Cucaracha.

3. ORIGIN OF CHINESE FAN DANCE

CHINESE FAN DANCE has been a part of Chinese culture for over 2,000 years. The dance
was first introduced during the Han dynasty and has been a central part of familial life since that period
two millennia ago. The fan dance is considered a folk dance that serves many different purposes, and
there are two primary distinctions in the dance: civilian and military. The Han Dynasty is considered the
first Chinese dynasty that cared about promoting and preserving artistic tradition. This is the primary
reason why the Chinese Fan dance is still practiced today. The dance is usually learned from an older
family member and is often performed at cultural festivals and other civilian events. This form of fan
dance usually includes colorful fans and other props. The military form of the dance uses no props, as it
uses coordinated movements and weaponry to demonstrate uniformity and authority. For some, fan dance
is purely a form of entertainment. Historically, it served as a way to pass down customs and folklore, as
the performer would act out stories and legends for their family and guests. The costumes worn during the
fan dance are often determined by the purpose. For a civilian fan dance, beautiful costumes are worn, and
the dance resembles a ballet performance. Military fan dances have no costumes, as the soldiers perform
in uniform.

Chinese Fan Dance traditionally has been performed by groups of female dancers. In the dance
performance, the dancers in lavish costumes represented various designs and shapes using large fans
made of colorful silk or satin. The most common of these depicted images were birds, peacocks, flowers,
butterflies, and waves. Because of the extravagant expression of color and shape, Fan Dance has been
adopted across China by various ethnic groups. Even current pop culture in China, and in Asia at large,
still incorporates Fan Dance through performance and inspiration.

COSTUME

Fan dance costumes can vary from traditional Chinese clothing to colorful lyrical dresses you can
find at any dance supply house. Since fan dancing is used for storytelling, the costumes are often chosen
as part of the tale being told. Some dancers may be dressed in individual costumes to help the story along,
but in most instances, fan dancers are dressed similarly in matching costumes.

The fans are used to accentuate the dancers' movements and costumes. Fans cause limbs to look
longer and more delicate; in addition, the fans bring more attention to the choreography and add a beauty
that cannot be duplicated by more modernized forms of dance. The fans can also be used as props to
depict everything from a food basket to a buried treasure. They are also rarely simple paper fans, rather
they are embellished with feathers, jewels, bamboo, or another native décor to add to the overall effect.

MUSIC
 The music of the different dances is diverse but remains mostly traditional. The sounds are
subtle and harmonic, and traditional Chinese instruments are common. Some are the pipa (somewhat
similar to a guitar) and the erhu (also known as the Chinese violin). Gongs and bamboo flutes are also
used frequently.

COUNT

 TO BEGIN: Get fans made of feathers or silk and hold them in each hand while standing. With
your arms held out to each side, begin fluttering the fans while raising them above your head
and lowering to the side. This step may be repeated throughout the choreography by facing
different directions or including walking steps. As the choreography varies, the specific
techniques of opening, closing and fluttering the fans remain.
 RHYTHMIC CHANGES: After lowering the arms while fluttering the fans, bring your arms
in front of you (as if you are reaching for something). With a count of 8, open and close the
fans by turning your wrists in and out. Repeat for another count of 8. Continue by tilting your
upper body to one side while raising one arm overhead while the other arm is out to the side.
Remember to keep fluttering the fans throughout all the arm and torso position changes.
Lower arms back to the start position with arms to the side.
 POSITIONS OF POWER: Bend your knees, moving up and down, while fans are held close
together and arms are outstretched in front of you. You'll turn your torso to the right and left
(see Fun Dance Workshop at dancemedia.com). Raise your arms abruptly overhead while
crossing one fan in front of the other. Hold this position for a few seconds as this pose
represents power. The dance will either continue with new positions or repeat the positions
introduced earlier.

FORMATION

One to any number of participants may take part in this dance. If many are taking part they may
be arranged in any desired formation.

ORIGIN OF JAPANESE PARASOL DANCE

The parasol is one such dance that originated in Japan, and has a rich history. The parasol dance
is one such dance that involves dancing with umbrellas. These umbrellas are specially made for the
dance. The dance involves girls shuffling steps and is a very typical Japanese dance. It might look very
easy but it is such an ancient dance that it involves several techniques.
Parasol is actually originated from the kabuki. The song that is played while the dance recital is
going on is known as Mikado. Women wear bright colored kimonos and carry a parasol which is an
umbrella and also wear Japanese wooden shoes. These shoes have block heals and give the women the
height. It is very difficult to walk in those shoes for normal people and leave alone dance. The music may
be played several times during the dance and it can go on for a long time.
The parasol dance has been followed by the Japanese for more than 600 years now. It is a very
articulate dance and it was once practiced by geishas or wheat we call them as escorts in the modern
world. Japanese parasol dance is still alive in Japan today, but only very few people are trained in it.
COSTUMES
The costumes were worn in this dance style mainly including a Kimono, parasol (i.e. a Japanese
umbrella), and Japanese wooden shoes.
MUSIC
The music used in this dance style is a song called “Mikado”.
COUNT

Counting used in the dance: one-two, to a measure: one, two, three, four, for two measures
basic steps used: shuffling steps.

FORMATION

The formation in groups of four facing the audience. The open Parasol is held with two hands
over the head, the hands holding the handle at chest level. They stand about four feet away from each
other. One to any number of sets may take part in this dance.

Steps of the Parasol Dance:

a) Music A 
a) Starting with the R foot, execute shuffling steps forward. Twirl parasol overhead.
b) With shuffling steps turn around in place clockwise. Twirl the parasol over the R shoulder.
c) Repeat (b) turning counterclockwise. Transfer parasol to the l shoulder.
d) Turn right about and repeat (a) going to the proper place. Twirl parasol overhead. Finish facing
front.
e) Repeat (b) and (c).
b)  Music B
a) Step R sideward (ct. 1), step L close to R foot (ct. 2), bend knees slightly (ct. 3), straighten knees
(ct. 4). Bend the head slightly to the right side, parasol resting on the R shoulder (do not turn).
b)  Repeat (a) to the left side, starting with the L foot. Transfer the parasol to the L shoulder (ct. 1-
4).
c) Repeat (a) and (b). 
d) With no. 1 leading, execute shuffling steps moving clockwise. Each group makes its own circle.
Twirl parasol on the shoulder (8cts.).
e) Turn right about and repeat (d) counterclockwise. Transfer parasol to the L shoulder.

c) Music 3
a) All bend forward and drop on knees. Place the parasol behind. Bend trunk slowly forward until
the head touches the floor (obeisance) (8cts).
b)   Raise the trunk slowly and take parasol with both hands and place it in front (8cts).
c) In kneeling position, sit on the heels (Japanese fashion). Raise the head and look around the
parasol at the right side (4cts.) and to the left side (4cts.).
d) Repeat (c).
4. Music A
 a) Each girl rolls her own parasol around self-clockwise (4cts.) and counterclockwise (4cts.).
b)  Roll it in the front sideward right (2cts.) and sideward left (2cts.).  
c) Repeat (b).
d) Repeat (a) and (b). All take parasol and stand up with the write foot (4cts.).

5. Music B

a) All face right, holding the parasol with two hands at a high level (top toward the audience,
handle toward the rear). 
b) Execute shuffling steps forward, twirling parasol clockwise (4cts.) Turn left about, repeat (a),
parasol top toward the audience, (4cts.)
c) Turn right about.
d) Repeat (a) and (b).
e) Execute shuffling steps forward to form a square, each girl occupying a corner, facing a common
center.
f) Turn around in place clockwise (2M) and counterclockwise (2M) as in figure I (b) and (c) finish
facing the center.
g) Turn around in place as in figure I (b) twice (8cts.) finish facing proper places.
h)  Repeat (a) going to place.
i) With no. 1 leading each set turn once, clockwise, and then exit.
j) Use shuffling steps throughout, twirling the parasol on the shoulder.