MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

International Folk PART I - CONTENT UPDATE

Dance and Other FOLK DANCE is a traditional recreational dance of an indigenous society show-
ing the cultural characteristics of a specific people at a given time and place. It is

Dance Forms the people’s social expression through movements with rhythmic accompaniment
where the characteristics of their community life are reflected. Moreover, the vivid,
intimate bond of customs, ideals, culture and traditions of the past through which a
multitude of national characteristics in music, steps and costumes are preserved.
Prepared by:
Developed spontaneously and naturally by a specific folk, it was handed down from
Prof. Aquilino Eduardo P. Santos one generation to another generation and followed a fixed pattern.

ASIAN DANCE
Competencies:
One authority declared that “The main idea of Oriental dance is found in the
1. Recognize folk dances from Asia, Japanese word asobi which means play, and comes from the idea of the play of the
Europe and Latin America. gods (Clarke and Crisp, 1980)”. Religion and magic are major themes of most Asian
dances.
2. Trace the development of social
dance along with traditional The dances of Asia assert the importance of gravity. Feet may stamp or paw the
ground, but contact with the earth is constant. The stylized use of the torso, head,
ballroom dance and arms, the neck movements of Indian dance, the exquisite gesture of arms and
3. Recognize other dance forms fingers in Balinese dance, suggests a sophistication of style very different from the
West. Originally, most theatrical dance forms were performed as part of religious
4. Identify the modern ballroom dance worship or for entertainment. Asians have deep respect for tradition, which has
5. Identify international dance terms. encouraged dancers to make existing theatrical dance forms perfect rather than to
create new styles. Slight movements of the upper body, facial expressions and hand
6. Analyze international dance steps. gestures communicate the message of the dance. Every movement, even a raised
eyebrow, may have significance.

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International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

Many dances describe through gestures a historical event, a legend, or a myth. provided a basis for folk dances which have been carefully revived. Two elements
A famous theatrical dance performance that takes place outdoors and last all nights are thereby protected: the ancient, traditional forms which include the surviving
which is held in Burma is called pwe. Spectators may shout out comments, tease priestly dances, sometimes performed with a drum and folk dances which hark
the performers, and go backstage to watch them put on costumes and makeup. back inspiration to the work dances of peasants.

Ancient Hindus believed that dance was given to them by the gods and god- Japanese dance is more spiritual than technical. At its most intense, Japanese
desses. From the earliest times, dance has been important part of Indian life. dance partakes of rituals and the performance of certain dances demands fasting
Bharata Natyam is the oldest dance in the world that is still performed today. and purification of the body in order to prepare the interpreter spiritually as well as
It is a dance originally performed in the temples of India, combines rhythmically physically. There are two basic styles of dance in Japan: the first embraces reli-
complicated dancing with Hindu legends told in song and pantomime. Like other gious ritualistic dances, the court dances and the dances of the Noh drama, and
Indian dance forms, this temple dance uses mudras – hand gestures that have the second is concerned with Kabuki drama, deriving from rustic dances and the
recognized meanings. Mudras often stand for animals, plants, or feelings. Indian popular dances of folk and festivals.Those elements which have been taken over
classic dance contains three components – natya which represents the dramatic from the severely beautiful and ancient Noh plays are called mai. The popular style
quality, nritta, the rhythmic aspect of the dance, and nritya, which has something taken from folk art is called odori. Furi are realistic mime movements and gestures
to do with the expressive possibilities, the conveying of rasa (sentiment) and bhava which have been introduced from daily life. BON DANCE is a Japanese folk dance
(mood) through facial expression and bodily gestures. performed during the blooming of the Cherry Blossoms or during full moon. JAPA-
NESE PARASOL DANCE is an easy, very colorful dance for girls. It is customary with
China is not historically a nation in which dance was of any real importance. the Japanese girls to use umbrella for rain or shine.
One of the rare indications about the earliest and uniquely Chinese dances has to
do with the use of a long sleeve (known as the “water sleeve”) as a technical and In Southeast Asia, trance dances blend superstitions with Buddhist, Hindu,
expressive side to dance. It appears that the use of sleeves was part of shamanistic and Islamic beliefs. During the Barong, a theatrical dance form performed on the
worship. Sleeve dancing was widespread in China. CHINESE FAN DANCE is a sim- Indonesian island of Bali, dancers in a trance act out a legendary battle between a
ple but interesting dance from China suitable for girls. dragon and a witch. The dancers turn knives on themselves. But in most cases, the
trance prevents them from feeling pain and helps to protect them from injury.
Korean dance reflects the historical and strategic importance of the country.
The earliest clear record of it can be dated back to the third century. It was an es- The themes of Thai classical dance are religious traditional stories. A theatrical
sential factor of religious worship and of the nature cult that surrounded the planting dance form exclusively for women is the lakon, whose libretti come from both
and harvesting of crops. The point of departure that both North and South Korea in legendary and historical and legendary sources. The purer dance forms are those
their conscious attempt to preserve and revivify the ancient traditions of the coun- relating to exercises performed by warriors.
ty’s dance was the survival of dances which were performed as entertainments
at banquets and dinners among the nobility and wealthy merchant classes. These In its ethnic tradition, Philippine dance is classified into three: Ritual dances

88 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

that connect the material world to the supernatural; LIfe cycle dances that cel- the vestigial branches of the tree and the direct links joining the celebrants
ebrate birth, baptism, marriage, and death; and Occupational dances where life to the pole as a source of fertility.
defenses and works are transformed into celebratory dances.
• Bonfire dances are traces of the ancient worship of the sun.
The coming of the Spaniards in the Philippines brought significant changes • Sword dances pertain to almost as antique a tradition of martial art skill,
in the lives of the Filipinos especially in dance. Filipinos became Christians. The simulated and sought through dance display, through imitative use of wea-
Spaniards introduced European dances that were easily adopted by the Filipinos. pons which prepared warriors for combat and invoked success for them as
Such dances were Rigodon, Lanceros, Mazurka, Polka, Virginia, Valse and Havane- well.
ra. However, there were still Filipino natives who have retained the traditional dances
Responsible for the popularity of the folk dance, whether as couple dance or
particularly those who were living in the Cordillera Mountains and High mountains of
as group activity was the fertilization that occurred when in the seventeenth and
Mindanao aside from the Muslim Filipinos.
eighteenth centuries, the country dances were adopted and codified by dancing
masters. Folk dances have constantly fed the more formal social dances, irrespec-
The most famous art of Indonesia include dances of the old royal courts of
tive of social class.
Java, and the dramatic folk dances of Bali. The Javanese dancers use slow, elabo-
rate motions in which even finger movements have particular meaning. The dances
SOME EXAMPLES OF EUROPEAN FOLK DANCES
represent scenes of adventure, battle, or love. Many Balinese dances are based on
(Source: Aquino, Francisca R. FOREIGN FOLK DANCES .Manila, 1967.)
ancient Hindu stories, and have forceful rhythms and movements.
 ARKADSKY is a very lively dance for big men due to the characteristic ges-
ture of the arms and the energetic steps inherent among Russian dancers.
EUROPEAN FOLK DANCE
 BAVARIAN LANDLER is a traditional dance of farmers in Alemania.
The folk dances of Europe are precise indication of the social characteristics  BARBARY BELL is an old-fashioned country dance among the village peo-
of its folk songs and legends. They contain memories and references to religious ple in England.
or magical dances.The ring dances, the maypole dances, the bonfire dances,  BLEKING is a vigorous dance named after the province of Bleking in Swe-
sword dances, processional celebrations, and early religious dances are usual den, where it is popular among the peasants.
traditions of folk dances throughout Europe.
 CZARDAS Csarda or Czarda means “village inn”. The Czardas derived its
• The ring or round dance was the most venerable and most widespread. name from the peasant dances performed outside the village inns. Gypsy
musicians popularized the Czardas. These tunes and dances are divided
• In maypole dances, the totemistic nature of the pole itself involves both the
into 2 parts: a slow stately part and a quick part called “frishka”.
idea of a symbol of divinity and of the fruitful and protective tree, the ri-
bbons which habitually lined the dancers to the pole being understood as  CSHEBOGAR is a Hungarian “grief dance”

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International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

 DANISH DANCE OF GREETINGS is a simple dance showing the national DANCE IN LATIN AMERICA
traits of the Danish people – friendly, kind, and helpful.
 DUTCH COUPLE DANCE is a humorous dance of Holland depicting how Dance in Latin America continues to play a major role in the religious ceremo-
the boy teasingly asks a bite from an apple. nies and community celebrations of the people. Indians and blacks developed it to
accompany religious worship, to celebrate such events as birth and marriage, and
 HIGHLAND FLING is a vigorous folk dance from Scotland especially adap- to mourn the dead. It is also a highly popular form of recreation. Most Latin Amer-
ted for boys. ican countries have their own traditional dances that include steps from Spanish
 IRISH LILT is a very lively dance especially suitable for girls. or Portuguese folk dances: the Spanish zapateado (heel beating steps) is part of
 KALVELIS is an occupational dance which means “little smith” where the the Cuenca of Bolivia and Chile; the joropo of Venezuela; and the jarabe tapatio or
clapping of the hands suggest the hammer and the anvil of the blacksmith. Mexican hat dance of Mexico.
 LA PETITE UKRAINIENNE. The peasant population of Ukraine, sometimes In the West Indies, African and Spanish influences were combined in such ball-
called “Little Russia” is very fond of dancing and this little dance gives a room dances as the rumba, and cha-cha-cha. The rumba, cha-cha-cha, and some
simplified version of the way they do it when fairs or festivals draw them other Latin American dances including the Argentine tango, Brazilian samba, and
together in merry-making. Cuban Congo are popular outside Latin America.
 NORWEGIAN MOUNTAIN MARCH is a dance from Norway that depicts
mountain climbing with the boy at the center as guide of the two girls be- In the various regions of Mexico, there are dances which serve as reminders
hind him. of hunting rites and religious beliefs. Among the surviving religious dances is that
 OYDA is a dance which is a good example of round dances performed in Concheros, who dance at fiestas, and in their performance the sacred impulse of
the earlier centuries the dances were evident.
 PUTTJENTER originated in the province of Westphalia, is a popular dance  Los Moros is a relic of Spanish occupation, a dance usually given by four
among the peasants of Germany. men, whose leader is identified as St. James.
 RHEINLANDER FOR THREE is a German couple dance that grown out of  Los Viejetos (the little old men) is danced by young men who disguised
the youthful enthusiasm and creativeness of an east Prussian youth group. themselves with masks and lean on sticks.
 SWEDISH CLAP DANCE from Sweden is another example of a round
 Los Inditos (the little Indians) is a maypole dance. The dance performed
dance in its polished form.
in May is presided over by the “senior” (Our Lord) of Chalma, and offerings
 TROPANKA is Bulgarian stamping dance. of eggs, necklaces, beads and flowers can be made after each dance.
 VARSOVIENNE is a German delightful dance for girls.  LA COSTILLA is a popular couple dance among the rancheros of Mexico.
“Costilla” is an affection term used in Mexico for wives.

90 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

 LA CUCARACHA means the “little cockroach” is a dance known all over Other forms of dance emerged in the 16th and 17th centuries. The Courante,
Mexico. which was a pantomimic dance in origin suggesting courtship and with quite fast
tempo, was especially popular. It had been codified in a much slower and graver
 LA VIRGENCITA which means “the little maiden” is a dance popular in
form in France by the middle of the 17th century. The Sarabande which was orig-
Mexico.
inated in Spain where in the latter part of the 16th century it combined songs and
dances thought of to be indecent and “repulsive” due to its physical frankness and
unsuited to be performed by respectable people. The boisterous La Volta with lots
SOCIAL DANCE
of moving, turning, and high leaping steps in a closed embrace was considered
bold, if not indecent.
Nearly every society has social dances that are part of the culture. Each society
has its own viewpoints about different aspects of social dance. In some societies,
Minuet, a lively dance in triple meter where small steps were essential part
social dance is a group activity and is meant to be enjoyed by an individual in con-
of the dance gained popularity during the time of King Louis XIV, the Sun King. Its
junction with other people. Some societies, social dancing is meant to be enjoyed by
development from a rustic dance into a dance of the gentry indicates its process of
two people-a “couple”. Sometimes, social dance is seen as a completely individual
refinement. Despite its supremacy, another dance of peasant origin, the Gavotte,
activity. In some societies, there are strict rules that apply to social dance with
remained popular in the higher ranks of the society. It consisted of a mixtures of the
regard to males and females dancing together, appropriate physical contact and
movements of branles and galliards. Its introduction to court entertainments led to
dancing together.
the establishment of a form that substituted dignity and stately grace for its original
peasant vitality.
Carole which involved song and simple dance steps was the perpetuation of
the most ancient of the social dance forms. In its linked form in single file, it evolved
In the following centuries in Europe, when fashions changed, dances went with
into Farandole, in its circular form, the Branle, and became a couple dance in the
it. By 1588 the stately basse dance was outdated. Gavotte and minuet disappeared
South of France as Estampie, where the man and the woman hold hands and move
in 1789 when revolution swept away the court of France. When Europe’s ideas of
forward side by side. The professional influence of the early Italian dancing masters
freedom replaced ideals of courtly refinement despite the disapproving dancing
and the social activity in the Italian courts impelled social dance forward to its re-
masters, simple country steps grew more popular than the complex patterns of
markable path. The processional Basse Danse, known since 1400 as the Queen of
minuet. So-called country dances became fashionable at elegant city balls.These
Dances, and the Pavanes were formal and stately dances with gliding steps danced
English country dances were later o transformed into French contredanses, where
by couples. The group dance Brando was the counterpart of branle. With the desire
the dance figures were grouped into a general title of Cotillion, which was in vogue
to follow the quiet gliding dance estampie and the grave measured basse danse,
in the 18th century. Its name was derived from the French cotte, which was a short
the lighter and gayer dance Saltarello emerged. As always, the youth needed to be
petticoat worn by peasants. Descendant of the Cotillion was the Quadrille, a square
served, and a lively young people’s dance, the Galliard emerged as an after-dance
dance that emerged during the Napoleonic years in France at about 1740.
to the slow peacocking dance of great dignity, the Pavane.

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International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

Rapid changes in dancing styles occurred in the 19th century. The minuet dis- By the early 20th century, two-step, one step foxtrot, and tango were introduced.
appeared, and by 1850, except for the Sir Roger de Coverley or Virginia Reel, Quadrilles, lancers, and other open-couple dances had essentially disappeared, and
contredanse was also gone. French Quadrille which combined contredanses and the usual ballroom dance program consisted entirely of the accepted closed-couple
cotillions became extremely popular.The waltz, which owes its name from the Latin dances. John Philip Sousa, the King of March produced many popular marches.
volvere – to turn, was introduced to fashionable ballrooms in the early 19th century The Boston Two-Step, which is basically a marching step with interpolated skips,
and became the most popular of all the new dances. This close-couple dance with became popular. One Step, which followed the Boston two-step, was the most pop-
its close hold was at first received with considerable dismay. It was derived from ular of the dances. Inspired by the ragtime music, it required performers to dance
Austria’s landler. By 1790 Vienna waltz was all the rage in German town. Schubert, one step to a beat.
Chopin, Strauss helped to spread the fame of waltz tunes. By 1825, it had come
to stay. By the 19th century, it has to face its rivals. The Gallop was possibly the In 1900, the jerky Negro rhythms of the Cakewalk challenge the smoothly
simplest dance ever introduced into the ballroom. The Mazurka, originally a Polish gliding waltz. Dances derived from “savage” Africa swamp the dance halls of the
round dance conquered both public balls and theatrical dance. The United states Western world. This began when West African slaves, shipped to North America,
created the Boston, Central Europe, the Polka, originally from Bohemia and which brought with them tribal songs and dances. When the slaves gained freedom, Ne-
was introduced in Paris in 1840 was feverishly welcomed as a fashionable ballroom groes performed native music and dances in New Orleans’ Congo Square.
dance of tremendous energy, Hungary, the czardas, the Italian tarantella, Russia’s
gopak, and Spain’s flamenco. Europe’s newly discovered folk dances inspired gay When Negro musicians borrowed Irish, Scottish, Italian, French, and Spanish
waltzes, mazurkas, polkas. These filled the19th century New York, Paris, and Lon- tunes, they mingled them with Negro rhythms and improvised jazz melodies. Negro
don ballrooms. rhythms, soon popular with white musicians, changed the white dances. Western
social dancing had changed to keep pace with the changing Western world. As
America in the 19th century was to turn to the ballroom dance as an expression
life’s tempo speeded up, the Cakewalk, Bunny Hug, Grizzly Bear, Black Bottom gave
of polite social ambition. This is when the country was to shift from agricultural to
young Westerners the thrills they sought and failed to find in waltz or polka.
industrial identity. VIRGINIA REEL is a traditional American dance. It is the ancestor
of the square dance popular during the colonial days in America. European social
The story of social dance is a story of movement and space. Always as they
dance forms were adopted. Waltz was accepted in 1830. Polka swept America.
move, dances take with them something of the land they come from. In Negro-in-
However by the latter years of the century, an authentic American dance emerged,
spired jive and jitterbug, bebop, rock n’ roll, city teenagers have found what they
the Military Schottische or Barn Dance, a simple and ebullient dance with foot
wanted.
stamps and slightly refined in manner. The term “barn dance” was derived form the
tune “Dancing in the Barn” when schottische was first danced to its tune. OH SU-
In 1910, Tango arrived from Argentine. Its origin can be traced to a slave dance
SANA is an American round dance mixer and it is used as a prerequisite to square
in Cuba, and by no means respectable. It was introduced into Europe at the begin-
dancing. RED RIVER VALLEY is an American dance traditionally performed with one
ning of the 20th century, and in France, where it was transformed into a more polite
boy at the middle and two girls in each set of three. The dancers sing aloud as they
form. In 1912 Argentina’s tango gained fame in Paris within a year. Mid-century
perform the dance.
92 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos
MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

rock n’ roll swept first in the United States, then Europe, in mere months. Mod- During the 1960s and 1970s, blacks created many dances that the whites
ern mambo, rumba, and jive represent changing fashion in social dance. Foxtrot enthusiastically adopted. In 1960, Chubby Checker recorded “The Twist”, and a new
which was originated by a comedian, Harry Fox, who worked in the Ziegfeld Follies, dance craze emerged. Other dances such as the “monkey”, “mashed potato”, and
emerged in 1914. But as early as 1913, he had introduced some quick trotting the “frug” became popular with both black and white teenagers. A popular style of
steps into a dance to ragtime music in his act. By 1914, it became a popular dance dancing in the 1970s called “disco” rejected the “do-it-yourself” choreography of
form. earlier rock dances. Instead, dancing partners held each other and followed a set
pattern of steps.
The most vital impulse to social ballroom dancing in the 20th century was the
emergence of Jazz from New Orleans. It became synonymous with freedom, good During the 1980s, young black males popularized break dancing, which con-
times, and an abandonment of many of the social attitudes and taboos after World sisted largely of acrobatic movements performed to rock music. “Slam” dancing
War I. One dance that epitomized the freedom and wildness of the 1920s was was another dance craze that was popularized in the early 1980’s, where dancers
Charleston. Swing or boogie-woogie and lindy or widely, jitterbug superseded the literally slammed into each other. Rap music which was developed in the 1970s, but
jazz rhythm in the 1930s. Jitterbugging was an American pastime at the New York became popular in the late 1980s as a voice for inner-city minority groups, came a
World’s Fair in 1939. The dance provided a release from wartime pressures.The new, popular form of dance known as “hip-hop”- also known as “street dancing”. It
basic technique of the so-called “a new form of sexual display typified by the gigolo combines several movements from African and jazz dance vocabularies with newly
image of the sultry Southern male – the Rumba, which was accepted by the public created movements.
in 1930. For the first time in centuries, dancers abandoned the physical contact
when the Twist, which went to the other extreme, was the next craze. It was a very Many people today, as in years past, enjoy social dancing. Many people dance
simple dance that amounted to little more pelvic gyrations “as if drying your back to release frustrations and negative energies and many people dance for the sheer
with a towel” accompanying a foot movement that resembled the treading of a cig- fun of it. Whatever the reason people dance, the culture and society of the time to
arette-end into the ground. Samba is dance of Brazil. Paso Doble, with its imitation which they belong will certainly be reflected in the movements, style and music that
of the bull fight stems from Spain but was refined for the ballroom in the Southern make up the dance.
region in France, The man represents the matador, the lady his cape. Cha Cha Cha
is a descendant of the Cuban Mambo.
OTHER DANCE FORMS
Youth oriented form of music and dance exemplified by rock n’ roll was intro-
duced to delighted teenagers by the film Rock Around the Clock made in 1956. BALLET
With this birth of rock n’ roll, social dance styles became freer. Partners did not
touch each other, and they made their own dance movements. Ballet can be traced to Italy during the 1400’s at the time of the Renaissance.
Catherine de Medici, a member of the ruling family of Florence, became the queen

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International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

of France in 1547. She introduced into the French court the same kind of entertain- Contemporary ballet evolved in Russia in the early to mid 1900s due mainly to
ment that she had known in Italy. They were staged by Balthazar de Beaujoyeuolx, the work of a choreographer named Michel Fokine. It is similar to classical ballet.
a gifted musician who had come from Italy to be Catherine’s chief musician. Beau- The striking difference between the two is that contemporary ballet lacks storyline
joyeulx created in 1573 Ballet des Polonais, a court entertainment performed by or plot. It is usually concerned with movement as the primary focus. It rejected the
sixteen women who each represented one of the French provinces. He went on use of pantomime and literal gestures and abstracted the movements that appeared
to create. Ballet Comique de la Reine in 1581 commissioned by de Medici. The within the dance. George Balanchine, Russian choreographer who defected to
spectacle lasted from 10;00 a.m. to 3:30 p.m. The ballet told the ancient Greek America in 1933 was one of ballet’s greatest innovators and is considered by many
myth of Circe, who had the magical power to turn men into beasts. The ballet in- to be the greatest contemporary ballet choreographer. He eliminated the elaborate
cluded specially written instrumental music, singing, and spoken verses as well as sets and costumes used in classical ballet and presented the dancers as equal on
dancing. Dance technique was extremely limited, and so Beaujoyeulx depended on stage, not as principals and corps. Two of his plotless ballets are Concerto Barocco
spectacular costumes and scenery to impress the audience. Printed copies of the in 1941 and Agon in 1957. He did however choreograph narrative ballets – The
verses used in the ballet were distributed so that the audience is sure to understand Prodigal Son in 1929 and revised in 1950; and A midsummer Night’s Dream in
the story. The ballet was a great success. Ballet Comique de la Reine established 1962.
Paris as the capital of the ballet world. King Louis XIV who ruled France during
the late 1600’s and early 1700’s strengthened that leadership. The king enjoyed Since the 1900s, the length of ballets has varied from short works to full length
dancing, and he took part in all the ballets given at his court.The court ballets were ballets that are several hours long. Some modern ballets tell a story; others describe
performed by and for members of the nobility. King Louis XIV founded the Royal a mood or express the feelings and movements aroused by the music or by some
Academy of Dancing to train professional dancers to perform for him and his court. other factors, such as painting and nature. Current dance styles reflect the speed,
Professional ballets began in the king’s dancing academy. pressures, and complexity of modern life.

In 1900s, ballet took on a new look, philosophy and aesthetic, which is referred
to as “classical” ballet. Classical ballet can be traced back in Russia when a chore- MODERN DANCE
ographer named Marius Petipa began to create ballets. Several characteristics and
features are always found – performed on a proscenium stage, spectacular scenery Modern dance was developed in the early 1900s pioneered by Isadora Duncan,
fills the upstage and side areas of the stage, dancers are always dressed in elabo- Louie Fuller, and Ruth St. Dennis in the United states; Emile Jacques-Dalcroze of
rate costumes typical of the character they are portraying- all of which enhance the Switzerland, and Rudolf Von Laban of Hungary. These leaders of the modern dance
storyline of the ballet, which is usually a fairy-tale or fable. Sleeping Beauty was movements believed that the techniques of ballet were artificial and meaningless.
choreographed in 1890 by Petipa and first performed in Russia. Swan Lake was They searched for fresher, more personal ways to express ideas through dancing.
choreographed by Petipa and Lev Ivanov in 1895.
Isadora Duncan, one of the most spirited pioneers, danced in her bare feet and
wore loose-fitting garments that allowed her freedom of movements. She did not

94 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

permit scenery onstage which might draw attention from her dancing, ignored the • ALLEMANDE LEFT. The boy turns to the girl at his left and takes her L
formal, set movements of ballet. Her flowing movements were inspired by nature, hand in his L hand and turns her once around counterclockwise, then both
classical music, and Greek drama and sculpture. Her ideas greatly influenced the falling back to places.
development of not only of modern dance but also of ballet. Oriental religions in-
• ALLEMANDE RIGHT. The boy faces his partner, takes her right hand in his
spired the dances of Ruth St. Dennis, who won fame during a tour of Europe from
right hand and turns her once around clockwise, then falling back to
1906 to 1909. She and her husband Ted Shawn opened the famous Denishawn
places.
School of Dancing in 1915 in Los Angeles. The school moved to New York in 1922.
Many former students including Martha Graham and Doris Humphrey developed • BOW/ SALUDO. Partners bow to each other, to opposite dancer or to the
more personal styles. Graham, Humphrey and her husband Charles Weidman audience. This is of Spanish origin.
formed their own dance companies. Mary Wigman became Europe’s first great • CABECERAS. The couples occupying the width of the dance floor in a
modern dancer. She founded an influential dance school in her native Germany in square formation.
1920. Since the 1940s, creativity in modern dance has centered on U.S. dancers
and dance companies. Modern dance works today place less importance on emo- • CAST OFF. When dancers are in long formation, the leader or the head
tion and personal expression; instead, they explore movement for its own sake. couple counter marches outward to the end of the line where the last cou-
ple was, then counter-march inward to proper places.
• CIRCLE LEFT AND RIGHT. The designated couples or dancers join hands
TAP DANCE
and walk to left with light springy steps clockwise and then to the right
counter clockwise, falling to home positions.
Tap dancing is believed to have been created by the blending of the Irish jig and
the English clog with the Negro Shuffle. It dominated the Vaudeville shows of the • COSTADOS The couples occupying the length of the dance floor in a
late 1800s and remained popular well into the 19h century. Tap dancing is a style of square formation.
dance in which rhythmic sounds are produced by moving the feet. Shoes are worn • CROSS OVER. Two couples are facing each other, each couple proceeds in
with metal taps on the bottom, which produce the distinctive tap sound against the a straight line to the opposite place. The girls pass by their L shoulders bet-
floor. Bill “Bojangles” Robinson was one of the first of many African-American ween the boys. Boys bow to each other when the meet at the middle or
artists who popularized tap dance about one-third of the way, then proceed to the opposite place. Upon rea-
ching the opposite place, partners turn about; girls stand at partner’s left
INTERNATIONAL FOLK DANCING shoulder.
• DRAW. The free foot is drawn toward the supporting foot, by pressing the
SOME INTERNATIONAL DANCE TERMS toes against the floor as the close is made, with or without transfer of
weight.
• ADDRESS PARTNER. Same as honor your partner or bow to your partner.

Prof. Aquilino Eduardo P. Santos PNU LET Reviewer 95

International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

• DO-SI –DO. Two people walk towards each other, pass by the right shoul- BALLROOM WALTZ 3/4 Step R (L) Slide L (R) Close R (L) ║1M
ders, step sideward to the right, and walk backward passing by left shoul- 1 2 3
ders to original position.
BLEKING 2/4 Spring on L (R) & Heel-place R (L) or
• ELBOW SWING. Two dancers link right elbows and swing clockwise with
1
either springy walking steps or buzz steps.

• HOME POSITION. The couples’ original position in a set. Heel-Place R (L) Close (step) R (L) ║1M
1 2
• FOLDED ARMS. Arms raised in front at shoulder level, with one forearm

on top of the other. 3/4 Heel-Place R (L) Close (step) R (L) ║1M
1,2 3
• PLACE. To put the foot flat on the floor in any desired position without put-
ting weight on it.
BOX SQUARE WALTZ
• PROMENADE. Partners are side by side, L shoulders toward the center 3/4 Boy: Step L forward Step R sideward Close L to R │
holding in a skating position (R hands joined over the joined L hands) at 1 2 3
waist level or in varsouvienne position; they walk around in a counterclock-
wise direction until they reach their home position. Step R backward Step L sideward Close R to L ║2M
1 2 3
• SET A unit formation of two or more couples.
• STAR RIGHT AND LEFT. Also known as Mill or Wheel Right and Left. Dan- Girl: Does the counterpart.
cers put their R hands in the center and walk around clockwise, and at the
caller’s command, they turn right about, put the Left hands in the center BREAK LEGS 2/4 Jump to feet apart sideward (ct. 1), spring to
and walk counterclockwise. face right (left) and kneel on L ( R ) (ct. 2). 1M

SOME COMMON INTERNATIONAL FOLK DANCE STEPS CHASSE 2/4 Slide R(L) sideward (ct. 1), step L ( R ) close
to R(L) (ct. and). Two chasse’ steps in one
DANCE STEP TIME STEP PATTERN & measure.
SIGNATURE COUNTING
CROSS POLKA 2/4 With an inward foot circle in the air of the R (L) foot,
ACCENTED RUNNING STEP 3/4 Stamp Step Step ║ 1M hop on L (R) (ct. and of previous M) and execute the
1 2 3 polka step forward crossing the R (L) foot over the
L (R) first (cts. 1 and 2). 1M

96 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

CROSS WALTZ 3/4 Step R (L) across L (R) in front and raise slightly the JUMPING JACK 2/4 Full-knees bend with knees apart, cross hands down
L (R) across in rear (ct. 1, step L (R) in third position in front (ct. 1), jump to standing position, with feet
in rear (ct. 2), step R (L) forward (ct. 3). There is a apart sideward, toes pointed upward and fling arms
slight bending of the knees on ct. 1. Step on the ball obliquely upward, palms facing front (ct. 2). 1M
of the rear foot on ct. 2. 1M
MAZURKA 3/4 Slide R (L) Cut R (L) with L (R) Hop on L (R)
DUTCH STEP 3/4 Step R(L) sideward (ct. 1), brush L ( R ) heel forward 1 2 3
with toes pointing upward (ct. 2), hop on the R(L) in
place (ct. 3). 1M MINCING STEP 2/4 Step Step Step Step (tiny steps ║1M
1 and 2 and heels slightly raised)
GRAPEVINE 2/4
Step Cross-step (in rear) │ Step Cross-step (in front) ║2M MINUET STEP 3/4 Three small steps forward on the balls of the feet (cts.
1 2 1 2 1 2 3), point L (R ) in front and bring heel of the R
down (cts. 1 2 3). 2M
3/4
Step Cross-step (in rear) │ Step Cross-step (in front) ║2M OPPOSITE TORTILLIER 2/4 Toes together Heels together ║1M
1,2 3 1,2 3 1 2
HOPSA 2/4 Leap sideward R(L) (ct. 1), step L ( R ) across R(L) (ct. 3/4 Toes together Heels together ║1M
and), close R(L) to L ( R ) (ct. 2), pause (ct. and). 1M 1,2 3

HEEL AND TOE POLKA (Old) 2/4 PARALLEL TORTILLIER 2/4 Pivot on heels and Pivot on toes and ║1M
Place the R (L) heel in front (cts. 1 and ), touch the turn toes both turn heels both
R (L) toe in rear (cts. 2 and), and execute plain polka 1 2
forward (cts. 1 and 2 and). This is usually done for-
ward. The polka may be preceded by a hop. 2M 3/4 Pivot on heels and Pivot on toes and ║1M
turn toes both turn heels both
HUNGARIAN TURN 2/4 Partners place right arms around each other’s waist 1,2 3
arm encircled overhead. Hop on R (L) (ct. 1), small step
on L (ct. and), small step on R (cts. 2 and), and continue PAS DE BASQUE 3/4 Half-foot circle in the air with the L ( R) foot and leap side-
to complete the turn, usually four measures. 1M ward (ct. 1), slide R (L),slide R (L) to fourth position (ct. 2),
cut R (L) forward with the L ( R ) foot (ct. 3). 1M

Prof. Aquilino Eduardo P. Santos PNU LET Reviewer 97

International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

POLKA (Old Hop Polka) 2/4 Hop R (L) Step L(R) Close R (L) Step L (R) ║1M 3/4
Slide Slide Slide Slide Slide Slide ║ 1M
and 1 and 2 1 and 2 and 3 and
Tiny slides on balls of feet
RUSSIAN POLKA 2/4 Heel-brush R (L) Heel- step R (L)
and 1 VARSOUVIENNE STEP 3/4 Slide R foot diagonally forward R(ct. 1), step

L close R in third position (ct. 2), step R sideward
Close L ( R ) Step R (L) foot ║ 1M
(ct. 3), point L foot in front (cts. 1 2 3). 2M
2 and
WALTZ BALANCE 3/4 Step R forward Close L to R Both heels down
PRYSIADKA 2/4 Full-knee bend on R (L) and stretch L ( R ) leg forward
and raise
(ct. 1), with a spring reverse the position of the feet
both heels
(ct. 2). 1M
1 2 3 ║ 1M
Can be done moving backward
ROCKING STEP 2/4 Fall on Right forward Fall Left backward
Raise Left in rear Raise Right in front
1 2 ║ 1M
MODERN BALLROOM DANCE
RUBBER LEGS 2/4 Step L across R in front, and twist R foot so that the
Over the centuries every kind of ballroom dance rhythm had been tried out,
sole is off the floor facing outward (ct. 1), transfer
some being discarded, others going on to become popular dance. The original steps
weight to R foot and twist the left foot so that the sole
differ considerably from those used at the height of their popularity. The dance must
is off the floor facing outward (ct. 2). 1M
be in keeping with the spirit of the times. Impressive modifications will probably be
made. Movements changed or omitted or new ones included.
RHEINLANDER STEP or SCHOTTISCHE 4/4
Step R sideward (ct. 1), close L to R (ct. 2) Dance in the ballroom maintained its continuing identity as a polite art, standard
step R sideward (ct. 3), hop on R, swing the four dances” – the foxtrot, the waltz, the tango, and the quick step had been codi-
L foot in front (ct. 4). 1M fied in England. The insidious rhythm of the so-called Latin-American dances were
introduced throughout the 1920’s and 1930’s.
SHUFFLING STEP 2/4
Slide Slide Slide Slide ║ 1M
Posture
1 and 2 and
Posture refers to the efficient body carriage. It is the basis of graceful and
Tiny slides on balls of feet
attractive dance movement. Good posture is much more natural, functional and
comfortable.

98 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

Body control is attained through effective posture and a strong sense of pushing out the chest. Those who look stiff are keeping their muscles taut. The con-
balance. trolled appearance is shown by holding up your arms and elbows without raising the
shoulders. The lady does not hang on her partner, either weighing him down with
Dance walk is an important part of dancing, and it is done gracefully and with heavy arms or holding him tightly and her left hand should be rested lightly on his
appropriate style. “Contra body motion” is a subtle element of style in the dance right upper arm, fingers neatly closed together. The diaphragm muscles are made
walk. as the center of control of the whole body.
Feet are kept close together. The travel is straight forward or backward, not
swaying or waddling from side to side. Make sure the body is held forward and The Legs
moves just before the leading foot. Arms are held high, and the body is erect. Glide The movement of the legs should be free and from the hips not the knees.
the traveling foot always, transfer the weight smoothly with no sudden jarring. Natural bracing and relaxing movements are used in every step made. When there
“Contrabody motion” is used when you step forward with the right foot bring the is room to move, the knees are at their straightest or locked, but not stiff at the full
left shoulder slightly forward and vice versa. extent of a stride, and relax slightly as the weight is taken on the foot.
Your knowledge of the suitable couple dance position is an important element
The Feet
for effective social and ballroom dancing.
The feet should be kept straight. Out-turned toes are a common fault. Try to feel
Balance your feet brushing past each other as you dance both forward and backward step.
Use your ankles properly. When you have reached the full extent of a stride forward,
Good balance comes with control of movement. The weight is carried forward
the ankle should be stretched with only the toes touching the floor, not the ball of
with the moving foot. Good balance comes with control of movement. When you are
the foot, before you move the front foot into its next position.
moving forward or backward keep your feet in a straight line. Do not try to avoid your
partner’s feet by walking outside them. Carry your weight forward with the moving
LINE OF DANCE (LOD) – is the direction that one takes when dancing round the
foot. When moving backward, you step on the toes, bringing the weight gradually
ballroom counter-clockwise.
back with the forward foot before taking the next step.
Timing Effect
The Head
Timing effect is important for you to coordinate your movements with the music.
Since the head is heavier than the other parts of the body. Keep the head up.
There are types of count – musical count, the number and sequence of beats to the
Hold the chin naturally in. Keep the eyes at their usual level.
measure and dance count, the sequence of steps and whether the weight should be
sustained on each succeeding transfer for two beats or for one beat.
The Body
The body is held in a natural, erect position without raising the shoulders or

Prof. Aquilino Eduardo P. Santos PNU LET Reviewer 99

International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

THE WALTZ Characteristics:

1. Shoulders remain quiet and free arms are kept at about shoulder level with
The waltz was derived from an old German word walzen, meaning to turn, to roll
palms down.
or to glide. It was born in the suburbs of Vienna and in the alpine regions of Austria.
It is a progressive dance written in ¾ time where the first beat measure is accented. 2. All steps are taken on the flat of the foot with the exception of the back step
which is taken on the ball of the foot with weight kept well forward.
Characteristics of the Waltz: 3. Forward steps are taken with weight held back.
a. Erect posture and rise-and-fall. The first step of the measure is taken with
bent knee and followed on the second and third steps by both partners Timing: Take the forward of leading step off the second beat of the bar of music.
rising to full height on balls of the feet.
Rhythm: Slow Slow Quick Quick Slow
b. Forward steps are taken on the heel and directly toward the partner.
2 3 4 and 1
c. On side steps, both partners sway slightly away from their direction of
travel. Side Basic: For man: A. L forward, R in place, chasses sideward L
d. Partners stay fairly close together and take a long reaching steps. (slide, close, slide) B. R backward, L in place,
chasses sideward R
Basic Step: Commence and end in Closed Ballroom Hold Woman does the opposite.
Man: Step L forward (ct. 1), step R sideward (ct. 2), close L to R (ct. 3)
Woman does the opposite moving backward THE TANGO

CHA – CHA – CHA The word “Tango” is thought to be African in origin, and denotes a “meet-
ing place” or “special place”. This does not mean that Tango itself is of African
In 1953, the Cuban Orchestra America started playing the time-honored dan- origin. The Cuban Habanera, the Spanish Contradanza and the Afro-Argentinian
zon with a new syncopated beat. It sounded like a slow mambo, and Cuban dancers Candombe all influenced the evolution of Tango, but no dance more than the Milon-
used a slight triple hip undulation on the slow count. This was change gradually into ga. Milonga means “party” or “fiesta”. Ballroom tango originated among the lower
triple step on the slow count, thus cha-cha-cha was born. It was introduced in the classes in Buenos Aires, Argentina during the 19th century. It was called baile con
US in 1954. corte, a dance with a stop. To produce a more dreamy effect, the original rhythm
was substituted to habanera rhythm, resulting in a dance called Milonga. The music
Cha-cha-cha- is written in “cut” time with four count rhythm. It is the most itself was lively, vivacious and joyful. Although initially popular with the lower class-
popular of the Latin dances. It has a catchy rhythm. es, by the turn of the 20th century it gained acceptance among the upper classes.
It was introduced in France at the turn of the century and into England in 1912.

100 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

Tango Argentino is a much more intimate style of dance than the modern Tango, and music was Rock ‘N’ Roll. From Lindy Hop emerged another dance style, the Rock
is well suited to dancing in small settings. ‘n’ roll.
Rock ‘n’ Roll is an interesting and fascinating dance, sometimes referred to a s
Characteristics:
Single Beat Jive.
1. A graceful progressive dance with a basic rhythm of slow-slow-quick-
1. The man begins all the figures with his left foot and the lady with her right.
quick-slow.
2. the rhythm for all the basic figures is Slow, Slow, Quick, Quick (2 beats for
2. The hold is unique, with partners in close contact and “no daylight” bet-
each “slow” and 1 beat for each “quick” step).
ween them. The man’s right arm is farther around the woman and his left
arm closer to the body. 3. all the steps are taken on the ball of the foot, then on to the flat foot.
3. It is a staccato dance. 4. When taking a “slow” step, sway the body very slightly towards the foot you
are stepping with.
Basic rhythm: Slow Slow Quick Quick Slow
1,2 3,4 5 6 7,8 JIVE
or:
1 2 1 and 2 The main difference between the Rock n’ Roll and jive is that Jive is danced in
what is called Triple Rhythm while Rock n’ Roll uses “quick a quick” rhythm in place
Progressive Walk: Man - Step L forward, step R forward, step L forward of “Slow” rhythm. the music is written in 44 time, and two different rhythms form its
(small step), step R forward (small step), step L forward. basis;
Woman does the opposite moving backward.
1 –Bar construction; Step Step Jive Chasse
1 2 3a4
ROCK ‘N’ ROLL Quick Quick Quick a Quick
When Benny Goodman ‘s swing band gave a concert at the Paramount theater 2-Bar Construction: Step Step Jive chasse Jive Chasse
in new York, in 1937, teenagers went wild and poured into the aisles to “Jitterbug” 1 2 3a4 3a4
as the newspaper called the dance. The craze swept across America. Variations in Quick Quick Quick a Quick Quick a Quick
techniques led to styles such as Boogie woogie and Swing boogie, with “jive” grad-
ually emerging as the generic that covered Lindy Hop, Jitterbug and Boogie Woogie
dances. Whichever term used in the 1940’s, the music was Swing. After the Second FOXTROT
world War, bands got smaller and the music changed. By the 1950’s, the music was The foxtrot is a “smooth” dance where the movements are flowing, the weight
no longer as smooth and polished as Swing but it had huge popular appeal; this of the body traveling continuously. It is written in 44 time. There are types of foxtrot.

Prof. Aquilino Eduardo P. Santos PNU LET Reviewer 101

International Folk Dance and Other Dance Forms MAPEH (Music, Arts, Physical Education and Health)

the International (English) quickstep where the figures are not exceptionally different SAMBA
but are challenging because of the tempo of the music; the Peabody which is a
fast foxtrot; the graceful Roseland foxtrot where the music is played at a moderate The original Brazilian sambas were written in 24 time, but the dance we know
tempo and combines a quick – quick- slow rhythm with frequent use of the outside today is almost always played in “cut” time with a syncopated pulsing beat. The
position; the slow foxtrot sometimes called “music to hug by”; and the slow to rhythm consists of three steps to two counts of music, which many dancers call
medium foxtrot which is suited for beginners. The rhythm may be slow-slow-quick step-and-cut.
– quick or slow- quick – quick.
Characteristics of the Samba:
Basic Step: Man: Step L forward, step R forward, step forward on ball of L,  Pendulum motion, where the entire body sways opposite to the feet (step
step forward on ball of R. forward, sway back; step right, sway left and so forth).
Woman does the opposite moving backward.  continuous bending and straightening of the knees, which adds to the
samba’s smooth lilting effect.
RUMBA
The “international” style Rumba owes an inestimable debt to the Cuban “Guaji- Because of the fast tempo, all steps in samba are fairly short.
ra”, an earlier folklore dance, and the name of which points to its rural origin. In the
Cuban tradition, the verb rumbiar simply means to dance, and “Rumba” is a generic Basic Steps: Man: Step forward on left foot (3/4 count), nearly close right foot
term that can refer to a variety of dances or even a “dance party. In the Span- to left foot, taking partial weight on the ball of the foot (1/4 count), al-
ish-speaking world, the Rumba to which we now refer is often known as the “Bole- most simultaneously closing the left foot to the right foot with a pulling
ro-Rumba”. The “Square Rumba”, an even more compact close-hold style than the action from the hip (the cut) to take full weight for one count.
current form, first came to prominence in the early 1930s. By the late 1940s, as the Woman does the counterpart.
style developed in Europe and the United States, the perhaps somewhat –inaccu-
rately called “Cuban Rumba” was beginning to emerge, with more figures danced The PASO DOBLE
in open hold, enabling a more dynamic approach and greater fluency in the dance.
The dancer normally makes the actual foot movements only on beats 2, 3, 4, Paso Doble is a Spanish dance and the movements danced by the man are
with a controlled and very slight lateral hip action on beat 1. symbolic of those made by the torero (or matador) in the bullring. The lady rep-
resents the cape and her movements suggest the cape passes made during a bull
Count: 2 3 4-1 fight. The music is played in a March time.
Quick Quick Slow
Basic Movement: Man or Lady: Normally begin with right foot as man and left foot
Basic: Man: Step L forward, step R in place, step L sideward as lady on the first beat of the bar of music. Dance a series of small
Woman does the opposite.

102 PNU LET Reviewer Prof. Aquilino Eduardo P. Santos

MAPEH (Music, Arts, Physical Education and Health) International Folk Dance and Other Dance Forms

steps forward or back (straight or curved either to Right or Left), chan-

PART II – ANALYZING TEST ITEMS
ging weight from one foot to the other (on the ball of each foot) with the
knees very slightly relaxed. The steps are taken with pressure into the
floor……..count 1, 2, 1, 2 1. Bharata Natyam is the oldest dance in the world, originally performed in the
temples of India. It combines rhythmically complicated dancing with Hindu
legends told in song and pantomime. Like other Indian dance forms, this
MAMBO
temple dance uses hand gestures that have recognized meanings that of-
ten stand for animals, plants, or feelings. This hand gestures are called __.
The mambo is written in “cut” time with a four-count rhythm corresponding
a. Natya c. Nritya
to four quarter notes. The primary accent is on the second count of the measure,
b. Mudras d. Nritta
and there is a secondary accent on the fourth count of the measure. Syncopation
is often achieved by tying an accented note to the following weak note, thereby The answer is b (Mudras) because option a (Natya) is a component of the In-
providing a jerky staccato effect. dian classic dance which means the dramatic quality while option c (Nritya)
is another component which has something to do with the expressive possi-
Rhythm: quick quick slow bilities of conveying the sentiment and mood through facial expression and
4 and 1 bodily gestures and option d (Nritta) is the rhythmic aspect of the dance.

Characteristics:
2. One of the rare indications about the earliest and unique dance has to do
 This is similar to cha-cha, except that the triple becomes step-hold. with the use of a long sleeve known as “water sleeve” as a technical and
 Knees are soft and all steps except back steps are on the flat of the floor. expressive side of the dance and appears to be part of shamanistic wor-
ship. Sleeve dancing was widespread in ______.
 Weight is held forward on back step and held back on forward steps.
a. China c. Korea
b. Burma d. Indonesia

The answer is a (China) because option b (Burma) is not uniquely Burmese. It

had the pwe, which is performed outdoors and can last all nights while option
c (Korea) had dance that reflects the historical and strategic importance of the
country and were an essential factor of religious worship and of the nature cult
that surrounded the planting and harvesting and option d (Indonesia) just like
other Southeast Asian dances had the barong, where dancers in a trance, act
out a legendary battle between a dragon and a witch.

Prof. Aquilino Eduardo P. Santos PNU LET Reviewer 103