PHASES OF THE DANCE PROGRAM

1.    Creative Rhythms

Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end product of
exploration and improvisation of movements as children learn to move the parts of their body and to
use them as instruments of expression.

2.    Folk/ Ethnic dance

Is a cultural art form handed down from generation to generations. It communicates the customs,
beliefs, rituals, and occupations of the people of a region or country. Folk dancing belongs to the people.
It emanates from them. Ethnic tribes have their specific tribal art forms originated and danced by the
people of the tribe.

      Examples of folk dances are the rural and country dances, jotas, mazurkas, pandanggos, among
others with foreign influence.

      Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras, dances of the
ethnic groups in the Cagayan Valley Region and the ethnic dances in the Mindanao Regions.

3.    Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with the more formal atmosphere than
the simple and informal parties in which the recreational dances are the usual forms. Social and
ballroom dancing are generally held in the evenings. The participants are usually in formal attire.

4.    Recreational Dance

Includes dance mixers, square dance round and couple dances. Many of these dances have simple
patterns and combinations of walking steps, polka step and the waltz step. The setting is usually informal
gatherings and parties, reunions etc.

5.    Creative Dance

Is the highest form of dance. It is the end-product of exploration and improvisation of movements as the
dancer or the choreographer expresses his feelings or emotions, ideas, and interpretations. This is a
dance with a definite form, a beginning and an ending. The principles of art form are all observed in the
composition of the dance.

Examples of creative dance are ballet, jazz,and modern or contemporary dance.

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

           

1.    Single circle, facing clockwise

2.    Single circle partners facing

3.    Single circle, facing counterclockwise

4.    Single circle, facing center

5.    Double circle, partners facing

6.    Double circle, facing clockwise

7.    Double circle, couples facing

8.    Square or quadrille formation

9.    Semi-circle or half moon

10. Double lines, facing front

11. Double lines, partners facing

12. Long  open formation

OBJECTIVE OF RHYTHMIC ACTIVITIES

1.    Develop skills necessary for recreational enjoyment.

2.    Maintain good posture and physical efficiency.

3.    Promote emotional freedom.

4.    Develop a balanced and well-coordinated body.

FUNDAMENTAL DANCE POSITIONS

            There are five fundamental or basic positions in dance that are commonly termed as 1st position,
2nd position, 3rd position, 4th position, and 5th position of the feet and arms.

            1st position

                        Feet: Heels close together, toes apart with an angle of about 45 degrees.

                        Arms: Both arms raised in a circle in front of chest with the finger tips

 about an inch apart.

           

            2nd position

                        Feet: Feet apart sideward of about a pace distance.

                        Arms: Both raised sideward with a graceful curve at shoulder level.

            3rd position

                        Feet: Heel of one foot close to in-step of other foot.

                        Arms: One arm raised in front as in 2nd position; other arm raised

 upward.

            4th position

                        Feet: One foot in front of other foot of a pace distance.

                        Arms: One arm raised in front as in 1st position; other arm raised

 overhead.

            5th position

                        Feet: Heel of front foot close to big toe of rear foot.

                        Arms: Both arms raised overhead.

The Basic Natural Movements:

1.    Locomotor movements

Are those that move the body in space in any direction with the feet as the moving base.

Examples:    walking, running, jumping, hopping, skipping, leaping, galloping and sliding

2.    Non-locomotor

Are those in which various parts of the body move in space with a fixed base. The base may be standing,
kneeling, sitting or lying.

Non-locomotor movements:

1.    Flexion--- Bending or shortening of a body part occurring at a joint.

2.    Extension—Turning, twisting or circling

3.    Pendular---- Swinging/ swaying arms forward, backward or sideward.

4.    Percussive—Striking and hitting: pushing and pulling.

5.    Vibratory----- Shaking and beating.

6.    Sustained---- A slow, smooth flowing movement with a balance of movement throughout the entire
series.

7.    Suspended--- A sharp movement followed by a series of slow or prolonged movements until a peak
is reached.

Values of dancing

1.    Physical fitness

2.    Cultural

3.    Social

4.    Recreational

FOLK DANCES

           

            Are traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.

            Folk dancing is the heartbeat of the people.

Types of Folk dances:

1. National – traditional dances of a given country.

2. Regional – local.
3. Character – created by individual or group.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

1. To foster patriotism and nationalism through the study of our dance.

2. To arouse better appreciation of Philippine music and folk dances.
3. To provide through dancing, a healthful form of relaxation and recreation.
4. To develop a graceful and rhythmic coordination of body movements that will improve posture.
5. To preserve for posterity, folk dances and music indigenous to the different regions of the Philippines.
6. To demonstrate the growth of Filipino culture through the evolution of Philippine dances.

Characteristics of Philippine Folk dances:

     
 1. In general, dancers stand apart.
2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those found in the uplands.
8. War dances are found among non-Christian tribes.

                       

 Classification of Philippine Dances

I.              General Classification

    A.    Geographical extent of origin 1.     National dances-found throughout the islands with little or no

modification.

                Examples:  Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

              2.   Local dances-found in a certain locality.

        Examples:  Tinikling-Leyte

                   Maglalatik-Binyang

                   Esperanza-Nabua

                   Subli-Batangas

                   Biniganbigat-Abra

     

B.  Nature 1.   Occupational-depicting action of certain occupation, industry, or human

      labor.

         Examples:  Planting, Harvesting, Pounding, Winnowing, Pabirik,

    Mananguete, etc.

2.     Religious or Ceremonial – performed in connection with religious

vows and  ceremonies.

        Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.

    3. Comic dances – depicting funny movements for entertainment.

                    Examples: Kimbo – kimbo Makonggo, Kinoton

    4. Game dances – with play elements (dance mixers)

        Examples: Lubi – lubi, Pavo

    5. Wedding dances – performed during wedding feast.

                                      Panasahan, etc.

                6. Courtship dances – depicting love making.

                     Examples: Hele – hele, Bago Quiere

                                       Maramion

                                       Tadek

                                       Daling – daling

                7. Festival dances – suitable for special occasion or any social

gathering.

                    Examples: Pandanggo, Habanera, Jota, Surtido.

                8. War dances: showing imaginary combat or duel.

                    Examples: Sagayan, Palu-palo, etc.

      C. Movements                 1. Active – with fast energetic movements.

                    Examples: Tinikling, Maglalatik

                                      Sakuting, Polkabal, etc.

                2. Moderate -

                    Examples: Cariñosa, Tagala

                                      Habanera, Purpuri, etc.

                3. Slow -

                    Examples: Pasakat, Amorosa

                                      Tiliday, Kundiman, etc.

                4. Slow and Fast –

                     Examples: Putritos, Ba-Ingles

                                       Habanera Botoleña

                                       Alcamfor, etc.

      D. Formation                 1. Square or Quadrille

                    Examples: Rigodon, Los Bailes de Ayer, etc.

2.    Long formation (two or more parallel lines)

 Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side by side.

       Examples: Binadyong, Haplik, Kakawati, etc.

        

II.            Special Classification-Group dances having special distinctive features.

A.   Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B.   Old Ballroom Dances

Examples:  Polka, Mazurka Chotis, Valse, etc.

C.   Dances with Implements

Examples:   Maglalatik

                    Sakuting

                    Jota Moncadena

                    Tinikling

                    Salakot,

D.   Dances of Combined Rhythm

Examples:    Surtido, Pantomina, Los Bailes de Ayer

     Factors Affecting Folk Dances

                  

1.    Geographical location

2.    Economic conditions

3.    Climatic conditions

4.    Customs and traditions.

      Do’s in Folk Dancing

1.    Dance in a natural, simple and direct manner.

2.    Dance with ease and smoothness.

3.    Use the proper costume for the dance.

4.    Follow directions and dance instructions as closely as possible.

5.    Dance with feeling and  expression.

        Don’t’s in Folk Dancing

1.    Do not exaggerate the dance steps.

2.    Do not make the dances too dainty and graceful like ballet.

3.    Don’t make entrance and exit long.

4.     Don’t make steps too elaborate and complicated.

5.    Don’t call a dance a folk dance unless steps come from traditional dances.

COMMON DANCE TERMS

 
1.    Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or waist
level.

2.    Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift that foot
from the floor to any direction.

3.    Crossed Arms – Partners facing each other or standing side by side join their left hands together and
the right hands together; either right over left or left over right hands.

4.    Cut – To displace quickly one foot with the other.

5.    Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to the right
move backwards without turning around, pass each other left side to proper places.

6.    Hayon-hayon – To place one forearm in front and the other at he back of the waist.

7.    Hop – A spring from one foot landing on the same foot in place or in any direction.

8.    Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or counterclockwise
( with left elbows almost touching ) using walking or any kind of dance step.

9.    Jump – A spring on one foot or both feet landing on both feet in any direction.

10. Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise direction.

11. Leap – A spring from one foot landing on the other foot in any direction.

12. Place – To put foot in a certain position without putting weight on it.

13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.

14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the other foot.  

15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower wrist once or
twice. This is an Ibanag term.

16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot close to the
left foot. This is a Tagalog term.

17. Patay – To bend the head downward and to support the forehead with the R

 forearm or with the crook of the R elbow while the left hand supports lightly the

 palm of the right hand. This is usually done with the left foot pointing in rear and

 knees slightly bent. This is an Ilocano term and the movement is commonly

 found in Ilocano dances.

18. Salok – T o swing the arm downward-upward passing in front of the body as

 if scooping, the trunk is bent following the movement of the arm doing the salok.

 This is a Tagalog term.

19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the neighbors with
feet together. This is of Spanish origin and is used in almost all Philippine dances.

20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the hands down
in front of the R hand over the L. This is a Visayan term.

21. Slide – To glide foot smoothly along the floor. The movement may be finished

 with or without transfer of weight.

22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of weight.

23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight of the
body on the other foot. There is no change or transfer of weight.

24. Whirl – To make fast turns by executing small steps in place to right or left.

                        BASIC DANCE STEPS

2/4 time dance steps

            Dance Steps             Step Pattern                                                  Counting

1. Bleking step                      heel-place, close                                          1 , 2

2. Touch step                        point, close                                                    1 , 2

3. Close step                         step, close                                                     1 , 2

4. Hop step                            step, hop                                                        1 , 2

5. Cross step                         step, cross or cross, step                             1 , 2

6. Change step                     step, close, step                                            1 and 2

7. Changing step                 jump ( one ft. in front and

                                                The other in rear) there are two

                                                Changing steps in a measure                   1 , 2

8. Contraganza step            leap, cross-step, step                                   1 and 2

9. Habanera step                 step, close, step                                            1, 2 and

10. Heel and toe

      Change step                   heel-place, toe-point, step, close, step     1, 2/ 1 and 2

11. Shuffling step                with both feet flat on floor, take tiny

                                                Slide steps                                                    1 and 2 and

¾ time dance steps

1. Native waltz                      step, close, step                                            1, 2, 3

2. Cross waltz                       cross-step, close, step                                 1, 2, 3

3. Waltz balance                  step, close-heels raise, heels down         1, 2, 3

4. Mazurka step                    slide, cut, hop                                               1, 2, 3

5. Redoba step                     slide, cut, cut                                                 1, 2, 3

6. Sway balance w/

     A point                              step, cross-step, step point                         12, 3/ 1, 23

7. Sway balance w/

     A hop                                step, cross-step, step, hop                          12, 3/ 1, 23

8. Sway balance w/

     A waltz                              step, cross-step, step, close, step              12, 3/ 1, 2, 3

9. Engano w/ a waltz           step, cross-step, step, close, step              12, 3/ 1, 2, 3

4/4 time dance steps

1. Schottische step              step, close, step hop( raise foot

                                                In front)                                                          1, 2, 3, 4

2. Escotis step                      step, close, step, hop( raise foot

                                                In rear)                                                           1, 2, 3, 4

3. Chotis step                        brush, raise, brush, raise/

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

                                                                                                                        1, 2, 3, 4

                                                     TIKLOS

A  Peasant dance from Leyte. Having made a previous arrangement, farmers or workers get together to
work on a project. While resting at noon, before or after lunch, they play tiklos music and dance. There
are only four figures to the dance so it maybe repeated with a slight change in formation. Patadiong for
women and barong tagalog with white pants for men is the usual attire.

                                         Figure I

A. Dancers take 2 heel and toe change step forward……………………………… 4 M

B. 2 change steps sideward right and left…………………………………………..2 M

C. 3 steps and a close moving backward…………………………………………...2 M

D. Repeat  all……………………………………………………………………….8 M

                                       

                                         Figure II

A. 4 cut steps backward and forward………………………………………………2 M

B. 3 gallops and a step sideward right……………………………………………..2 M

C. 4 cut steps backward and forward………………………………………………2 M

D. 3 gallops and a step sideward left………………………………………………2 M

E. Repeat all………………………………………………………………………..8 M

                                         Figure III

A. 1 change step sideward right and 2 hops on right………………………………2 M

B. Repeat change step left and hops……………………………………………….2 M

C. 3 steps turn right and point close with left foot………………………………...2 M

D. Repeat 3 steps turn left and point close with right foot………………………..2 M
E. Repeat all……………………………………………………………………….8 M

                                         Figure IV

A. 2 touch steps with right and left foot……………………………………...........2 M

B. 4 changing steps turning to face right about ……………………………...........2 M

C. Repeat touch steps with the left and right foot………………………………....2 M

D. 4 changing steps turning left about to face front……………………………….2 M

E. Repeat all……………………………………………………………………….8 M

                                                                           

Social and ballroom dances

Popular couple dances without set patterns are classified  as social and ballroom dances. Most social
dances are characterized by the man leading and the woman partner following whatever steps, styling,
and rhythmic variations he chooses and indicates.

Social dances are usually done to introduce people with one another during a formal social gathering or
to welcome guests to a social gathering. Many of the social dances like polka and mazurka started as folk
dances while some were deliberately designed for its social purpose, such as the waltz, regoudon and
polonaise (Nimor, 2006). Social dancing is believed to had existed since the beginning of human society
in some forms.

Ballroom dancing has lots of benefits for young people. It is less threatening to their young developing
bodies compared to many sports such as football, basketball and hockey that endanger forming
cartilage, break bones and in some cases disfigurement cause by various swinging sticks and
equipments. Ballroom dancing provides general conditioning for the body. Mentally, it stretches the
thinking and the “do – it” abilities of the young. The sense of achievement is a confidence builder.
Teamwork of couples is more stimulating to concentration and learning. For older groups, competitive
dancing is an excellent learning achievement and self-confidence. Socially, the young people have an
opportunity to interrelate with others, especially the opposite sex, in a setting that includes discipline
and emphasis on courtesy and consideration for others. Ballroom dancing provides lesson on social skills
that will be beneficial to the youth for the rest of their lives.

Ballroom dance training offers unique advantages. It is not only a rhythmical exercise that adds life,
graceful muscular movements but it is also a group recreation. A child who has learned ballroom
dancing gains not only improved posture and coordination but ease in relationships with companions.
Dancing is one means of instilling graceful body coordination, it is also a muscular activity that brings
social ease. A girl who has learned to be a good ballroom dancer never fades into a wall flower. A Boy
who can dance is spared from many agonies of a teenage self – consciousness. Children who dance well
are popular, ones instilled, those ingredients of a good manners are never forgotten. Ballroom dancing
offers more than mere steps it includes charm of manners and consideration of others.

COMMON DANCE TERMS

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending slightly from the waist
as girls do curtsy.

        Curtsy is to bend knees and body slightly with a bow of the head; the weight of the body is on one
foot. One foot crosses the other in rear.

2. An Amalgamation is a combination of two or more patterns or movements.

3. An Amateur Dancers is a person who is dancing as a hobby and who does not seek financial gain from
teaching or dancing.
4. A Ball change is a transfer of weight from the ball of one foot to the other foot.

5. A Basic figure is a standardized step pattern, which together with other constitute the basics of a
dance.

6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of the free foot
between changes of weight.

7. A Chasse is composed of three changes of weight with a close on the second and may be performed
sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movements, which make up the
dance or a dance routine.

9. To Close is to move the free foot next to supporting foot with one change of weight.

10. A Commando is a forward or backward rock and close.

11. A Combination is a group of consecutive patterns and choreography. It is similar to amalgamation

but it sometimes involves a slightly more advanced set of patterns.

12. A Continuity Movement is the continuous passing of the step from one step to the next.

 13. The Contrary body movement is the action of turning the opposite hip and shoulder toward
direction of the moving leg. It is used to begin all turning movements.

14. A Conversation is a position when partners stand side by side, right hand of the gentleman holds the
lady’s waist; L arm of the lady placed at the gentleman’s, outside arm at the side.

15. A Corte, in tango, is a stop and change of direction either forward or backward.

16. A Cuban motion is a discreet but expressive hip movement achieve by bending and straightening the
knees with carefully timed weight transfer.

17. Dance Sports is the official name given to competitive Ballroom Dancing.

18. The Floor chart is the ability of the leader to maneuver around the dance floor in a skilled and
controlled manner as to avoid colliding with the other dancers.   

19. A Drop is a theatrical movement in which the follower’s body remains in contact with the floor.

20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly behind the foot
on which the turn is made.

21. A Figure is a standardized step pattern that, together with the other patterns, constitute the dance.

22. A Hip motion is a very general term to mean any type of hip movement used in Latin dancing.

23. A Pivot is a turning movement during which the free foot is kept either in front or directly behind the
foot on which the turn is made.

24. A Spin is a turn done in place using both feet, usually done as a couple.

25. Variation is a varied or more advanced pattern than the corresponding basic figure, which still
contains the same main elements.   

DANCE POSITION

         

          Ballroom or Social Dance Position – partners stand face to face, shoulders and hips parallel. Boys R
hand is placed around Girl’s waist. Girl’s L hand rests lightly against his R shoulders. Boy’s L hand is
raised to the side holding the Girl’s R hand. The fingers of her R hand rest lightly in the palm of the Boy’s
L.
       

        Open or Conversation Position – partners stand side by side, both facing the same direction. Girl R
of partner. Boy’s R is around Girl’s waist in back. Girl’s L hand rest lightly on Boy’s R shoulder. Outside
hands may be joined with arms extended forward or the outside hands maybe on hips or side.

        Shoulder – Waist Position – partners face each other. Boy’s places hands on Girl’s waist. Girl’s hands
are on the Boy’s shoulders.

        Cross – Hold Position – partners stand face to face, R hand joined over L hands, extended about
waist level.

        Promenade Position – partners stand side by side, both facing on the same direction. Girl at R of
partner. The hand crossed in front, R hands joined over L.

        Schottische Position – partners stand side by side, Girl to R of Boy both facing the same direction.
Boy’s R arm around Girl’s waist, her L arm shoulder behind his R shoulder, her L hand resting lightly on
that shoulder, free hands on waist.

        Varsovienne Position – partners stand side by side, girls stands to the R and slightly in front of Boy.
Boy reaches R arm over the girl’s R shoulder and takes her R hand in his, his L holds her L a little above
his L shoulder.

Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.

        Elbow Swing – hook designated elbows firmly of the hand carried at the height of the locked
elbows. While swinging, pull away from partner at shoulders.

        One Hand Swing – with the elbow bent and down , join the designated hands at shoulder height. In
balancing “pull against pull” while swinging, apply pressure against the thumbs and heels of hands,
pulling away at shoulders.

        Two – Hand Swing – Boy present hands at shoulder height with palms up, elbows close to sides and
should support while balancing “pull against pull” leaning away at shoulders.

        Waist Swing – In a modified closed ballroom dance positions with R foot and hips adjacent the
support weight of the body on the R foot swing, balance “pull against pull”, leaning away from partners
at shoulder.

        Hungarian or Russian Swing – dancers stand facing in opposite direction with R(L) hips adjacent,
each R(L) arm around each others waist in front, on partners hip, L(R) arm curved over head, both lean
slightly away from each other when turning.

        Star post – Partners are in opposite directions, their right hands holding each other, lady facing
away from audience ; while gentleman faces the audience.

       Challenge position- Partners face each other about a step apart without touching.

       Cuddle or skating position – Woman is at man’s left or right side, both facing the same direction; one
arm of man is across woman’s back.

SOCIAL DANCE GUIDELINES

1. Practice correct dancing position even without a partner.

2. Maintain a good standing position. Bring out the best in your look.
3. Keep your weight over the balls of your feet to make you feel quicker and lighter, and place your weight even on the soles of your shoes. No weight on the heel.
4. Maintain the habit of keeping feet close together unless you are taking a definite step. Feet apart are not a pretty sight.
5. For a graceful dancing, always turn your toes out, not in.
6. When dancing with a partner, adapt a comfortable position for both of you; not too close and not too far.
7. Don’t lean forward or backward. Just assume a natural comfortable dancing companion.
8. When facing the audience, the lady is at the right side of the male.        

SOCIAL DANCE ETIQUETTE

1.   Do not teach your partner on the dance floor.

2.   Anticipate the next step.

3.   Be confident strive to become a proficient dancer.

4.   Don’t show off.

5.   Find mutual topics of interest for conversation, never gossip.

Dancing Personalities

        Dancing is an expression of one’s personality. We can read one’s personality and character by the way he dances. Traits such as timidity, aggressiveness, and consideration
for others, arrogance, and other characteristics are revealed when people dance.

1.   Dancers who loves themselves--- point their toes too gracefully.

2.   The cuddly couples--- are fun to watch if they are not related to you.

3.   The bully type--- meanders around the dance floor, pushing his partner into everything that comes his way.

4.   The casual dancers--- girl show that sloppy I don’t care posture and the man just shuffling along.

5.   The possessive man--- holds tightly on his partner’s back. His posture is crouching as though ready for a springing pounce.

6.   The jealous girl--- clings to her partner like a glue, looks up in his eyes and is always tremendously attentive.

7.   The timid souls--- could almost sink to the floor if you stare at them. Males have an apologetic manner and takes faltering steps, barely touches his partner. He is hard to
follow because he is too shy to lead. The girls of this type take uncertain steps, droop their arms and get an until-death-do-us part grip on their partner.

In common usage, Ballroom dance refers to the ten dances of International Standard and International Latin, though the term is also often used interchangeably with
International standard dances.

International Style

International Standard dances are normally performed with Western Music. A couple dances counter clockwise around a rectangular floor following the line of dance.

Costume

Women – full gown          Men       - bow tie and tail coats or tuxedos, vest

Dances :

1. Slow Waltz              2. Tango            3. Viennese Waltz

 4. Slow Foxtrot           5. Quick step

International Latin Dances are performed with contemporary Latin American Music and with the exception of a few traveling dances.

Costume

  Women – Short skirted Latin outfits   Men - outfitted in tight fitting shirts and pants

            Dances :

1.    Cha-cha      2. Samba      3. Rumba      4. Paso doble      5. Jive

RUMBA

            The name Rumba was originally applied specifically to the dancing style with lascivious movement of the hip, bosom and other flexible parts. The Rumba influence came
in the 16th century from the black slaves from Africa. The native Rumba folk dance is essentially a sex pantomime danced extremely fast with exaggerated hip movements and
with a sensually aggressive attitude of men and a defensive attitude on the part of women.

            The music is written in 4/4 time, which gives 4 counts to each bar of music, 1, 2, 3, 4. The beat values are 2, 3, 4-1 or quick, quick, slow.

Cha-cha-cha

            There are various theories as of the origin of Cha-cha. It could  derived from the Spanish chacha meaning nursemaid, or chachar meaning to chew coca leaves, or from
char meaning tea.  This dance evolved from the Mambo and has its origins in the religious ritual dances of West Africa. The music is usually in 4/4 time, sometimes 2/4. The
Cha-cha-cha is a Cuban dance, based on the Rumba. Counting is 1,2, 3 and 4

Reggae

            First developed in Jamaica in the late 1960’s. The term reggae more properly denotes a particular music style that originated following on the development of ska and
rocksteady. It is based on rhythmic style characterized by accents on the off-beat known as the skank. It usually accents the second and fourth beat in each bar.The music is 4/4
time and counting is 1, 2, 3,4.

Samba

            Comes from Brazil. It differs from other Latin- American dances because it is lively and vigorous and the feet is constantly leaving the floor. It is literally a bouncing step.
It involves much knee action with the dancers bodies resembling a swinging pendulum as they sway and turn. 2/4 time 1 ah 2

Waltz

            It is the first dance to use closed dance position. The waltz was to be performed solely for the demonstration of elegance and not pleasure. The name comes from the
German word to revolve, turning with smooth gliding steps. Music is ¾ time 1, 2, 3.

Paso Doble

            It finds its roots in the Spanish style music of the 1930’s. It is popularly known as the man’s dance, portraying the story of the matador with ( the female being ) his cape
where the matador is to weild his cape according to the anger and intensity of the roaring boar.

Jive

            The origin of the word jive is unknown but it may refer to jivetalk, or bad mouthing. This word reflects the character of the dance for it is sassy and loud. It came from the
African American slaves. It is known by many names, sometimes called Swing, Jitterbug, Lindy hop, or Charleston, although it is completely different dance. Music is 4/4 time
1,2,3 and 4/ 1 and 2, 3 and 4.

Swing

            An outgrowth of the jitterbug, it is marked by quick, strenuous movements sometimes accompanied by acrobatics in its present form; it maybe a lively smooth dance.
Benny Goodman is the band leader credited with the developing the rhythm of Swing. It is named after Charles Lindbergh’s solo flight across the Atlantic ocean in 1927 Music is
4/4 time sometimes 3/4 1,2,3,4/ 1,2 ah 3

Tango

            Originated in the lower class of Buenos Aires especially in the Bario de Las Ranas. It was first known as baile con corte- the dance with a stop. It is characterized by
sudden changes of direction and its many flaring and dipping steps. Music is 2/4 time 1,2/ 12

Foxtrot

            An American dance evolving from trotting dance in 1913. Dancers gliding around the dance floor with little up and down motion. It is known as the first truly American
ballroom dance, was named after Harry Fox. Music is in 2/4 time 12/ 1,2