SULTAN KUDARAT EDUCATIONAL INSTITUTION, INC.

College of Nursing and Education, College of Midwifery

& Technical Vocation Courses
City of Tacurong, Sultan Kudarat, 9800

FUNDAMENTAL RHYTHMIC ACTIVITIES

1st year

SECOND SEMESTER
S.Y 2020 – 2021

LAARNI LAINE K. DIFUNTORUM

INSTRUCTOR

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PREFACE
Dancing is an act of moving the body in rhythm, usually in time and music. People seen
to have a natural urge to express their feelings through rhythmic movement. People organize
the expressive movements of their bodies into rhythmic and visual patterns.
Dancing is both an art and a form of recreation. Asan art, a dance may tell a story, set a
mood, or express an emotion. As a form of recreation, dancing has long provided fun,
relaxation, and companionship. Today, dancing either at a party or gathering, continues to be a
very popular way for people to enjoy themselves and to make new friends.
This book will therefore be especially useful to physical education teachers and
students who do not have experience and source of materials for teaching. The dearth of
teaching materials in physical education adds much to the dilemma of teachers who have had
very little training or no background in this subject but are assigned to handle physical
education activities in the schools.
Teachers in physical education expressed their need for some instructional materials in
simple rhythms and fundamentals of folk dances and a background of modem dances which
they could understand and interpret to their students. This workbook is intended to fill those
needs.
There are also dance terms, suggestions for teaching dance steps, step-and-note-
pattern, music and tempo terms, system and manner of counting, suggestions for making an
example of dance-step combinations.

The Author

ACKNOWLEDGMENTS
The authors express their gratitude to the following:
Publishers and authors— for the use of their literary works in this book;
Francisca Reyes Aquino "Counting and Equivalent Notes of Rhythmic Patterns"
Francisca Reyes Tolentino "Dance Terms and Steps"
Philippines Folk Dance Society "Selected Folk Dances"
The Photographer: Ruben Pozas
Costume Researcher: Mr. Julian Santos
Mr. Orlando Dumangcas

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 LEARNING OBJECTIVES
OBJECTIVE OF RHYTHMIC ACTIVITIES
AT THE END OF THE LESSON, THE STUDENTS ARE ABLE TO:

 Develop skills necessary for recreational enjoyment,

 Maintain good posture and physical efficiency.
 Promote emotional freedom.
 Develop a balanced and well-coordinated body.
PART 1
PHILIPPINE FOLK AND ETHNIC DANCES
INTRODUCTION
The Filipinos show the influences of foreign conquerors from China, India, the Arabic
countries and Spain although the mountain tribes still have their magic dance. Folk dance is a
participation, displaying the characteristics and temperament of the people who have created
it. It is usually a dace of anonymous origin that has been passed on from generations to
generations. Although they are now performed for pleasure in the cities, folk dances were
originally mainly country dances.
Despite the differences forced upon them by their respective heritages, the folk dances
of different countries often have similarities of rhythm and pattern. Variation among them are
sometimes the results of geographical difference.
In some instances, it may be difficult to draw an exact line between folk and
ethnological dances, but the latter have developed a distinct traditional style, a technical
terminology, a clearly defined school of instructions. The ethnological dance was a folk dance
before it became the art expression of a race.
Folk dancing is a form of social dancing that has become part of the customs and
traditions of a people. Most folk dances developed among the people in villages and were
passed on from generations to generations in a particular region. In many of these dances,
groups of dancers from such basis pattern as a circle, line, or a curved, moving line called
chain. In some folk dances, women and men dance together in couples. But in many other
dances, only men or women perform. Although folk dances are preserved by repetition, they
gradually change over the years. As a result, folk dances have not only survived in this
countries but have changed to suit the character of local communities.
Today, folk dance classes and societies are stimulating interest in the Philippines.
Indeed, folkdance are performed in costume for entertainment, and also help preserve the
heritage of the race.

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 CHAPTER 1
DANCES
Dances is rhythmic and expressive body movements, usually coordinated into a pattern
and adapted to musical accompaniment. Dance is perhaps the oldest of the art, reflecting
man’s age-old need to communicate joy or grief by using the most immediate instrument at his
disposal— his body.
Almost all important occasions in the life of primitive man were celebrated by dancing:
birth, death, marriage, war, a new leader, the healing of the sick, prayer for rain, sun, fertility,
protection, and forgiveness were all expressed through dancing.
Dance steps are created from man’s basic movements: walk, run, jump, hop, skip, slide,
leap, turn, and sway. Combinations of these have become traditional dance steps and have
been used, often in a stylized manner, for folk and ethnic dances, social or ballroom dances,
ballet, and modern expressive dances.
Some of the more important features of the dance are rhythm or the relatively fast or slow
repetition and variation of movements; design or the arrangement of movements according to
pattern; dynamics, or variations in the force and intensity of movement; and technique, or the
degree of body control and mastery of basic steps and positions. Also, important in many
dances are gestures, especially hand movements.

FOLK DANCE DEFINITION

 The traditional recreational dance of an indigenous society showing the cultural
characteristics of a special people at a given time and place.
 Traditional social expression through movements with rhythmic accompaniments which
are characteristics of the community life of the people of different nationalities.
 The vivid intimate bond of customs, ideals and traditions of the past through which a
multitude of national characteristics in music, steps, and costumes are preserved.
 A dance developed spontaneously and naturally by specifics folk, usually handed down
from generation to generation and following fixed basic pattern.

ORIGIN OF DANCE IN THE PHILIPPINES ACCORDING TO

FILIPINO LEGEND

According to Philippine legend, the first man and the first woman went up to the hill to
make their first home. They begot many children and later become the ancestors of diverse
tribes.

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 Several beliefs became their way of life. When death struck, when lightning flashed in
the sky, and when thunder rumbled, the tribes were struck with fear. They thought that the
gods were angry. To placate their deities, they offered sacrificial rites by way of fire and smoke
in the belief that the smoke from the fires they kindled carried their invocation heavenwards.
When illness and pestilence befell the tribes, the people wailed and chanted and
danced long into the night, so that the evil spell might be broken. When the earth caked from
the drought, they performed a dance of propitiation so that the divine entities might take pity on
them and send rain to their parched fields. And when the rains acme and drenched the soil to
assure a bountiful harvest, the children of the gods danced in the moonlight in joy ad
thanksgiving.
In the acts of imploring, conciliating and giving thanks to the gods, the people of these
islands created dance to live forever in themselves, in their children and their children’s
children.

THE PHILIPPINE DANCE

Dance in the Philippines influences the diversity of our cultural beginnings and the
drama of our everyday lives. It blends the toxic customs and cultures of many countries and
races— Indonesian, Malay, Chinese, Indian, Spanish, and American.
The Philippine archipelago had been inhabited by three different racial groups even
before the coming of Magellan in 1521. They were the Pygmies, Indonesians, and Malays. The
Negritos and Proto-Malays were the descendants of the Pygmies. As early as those days,
dancing among the Negritos was mostly pantomimic, performed to depict the events of daily
chores.
Filipinos possess natural grace, an inborn love ofr music and dance. Dancing was
considered a religious activity among them. They danced for many occasions— birth, love,
courtship, thanksgiving, wedding, war, victory, marriage, planting and harvesting, prosperous
voyage, recovery from sickness and healing of the sick.
In places where life is easy, the dances are gay and frolicsome. Dances in places
where life is hard and sad, low, and even mournful.
Filipinos are also lovers of rituals are shown in ceremonial dances during town fiestas.,
Christmas, Easter, Ash Wednesday. There were dances performed by the priests and
priestesses in the thanksgiving for a plentiful harvest, victorious battle, a prosperous voyage or
recovery from sickness, to drive away evil spirits and in invoking their gods and anitos.

The Philippine folk dances are classified according to:

1. Geographical Location
1.1 National Dances are traditional dances throughout the Philippines with a
common basic movement or pattern but with slight variations.
Examples:

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 Carinosa Kutatsa Balitaw
Rigodon Pandanggo Surtido

1.2 Local or Regional Dances are dances found in certain localities or regions only.
Example:
Alcamfor (Leyte)
Maglalatik (San Pablo, Laguna)
Basulto (Pampanga)

2. Nature of the Dance

2.1 Occupational Dances are dances that depict actions, characteristics,
occupations, industries, and phase of human labor.
Examples:
Rice Festival- has the largest number of dances
Pagtatanim Paggapas Pagiik
Paglulugas Paghangin Pagbabayo
Pabirik- depicts the different stages of the gold panning.
Mananguete- tuba gatherer

2.2 Religious or Ceremonial Dances are performed in in connection with religious

vows, practices, and ceremonies. A religious dance may be performed to drive
way evil sprits, ask for a favor to have a child, give thanks for having recovered
from sickness, favors granted and vows fulfilled.
Example:
Obando Dugso Sinurog

2.3 Courtship Dances are dances that depict love-making or with a love theme.
Examples:
Rogelia Lulay Hele Hele Bago Quire

2.4 Wedding Dances are performed by newlyweds, by friends and relatives of the
bride and groom or by the father of the bride and the mother of the groom.
Examples:
Pantomina (bride and groom)
Pandang-Pandang (bride and groom and friends or relatives of each side.)
Soryano (dance by the parents of the future groom, the visit of the parents
of the bride)

2.5 Festival Dances are performed in connection with celebrations, a feast, a barrio
fiesta, good harvest and good fortune.
Examples:

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 Kuratsa La Jota Putong

2.6 War Dances are intended to show imaginary combat or duel with the use of
fighting implements like bolo, kris or spear.
Examples:
Inakbanon Sagayan

2.7 Comic Dances are dances with funny and humorous movements mainly
intended for entertainment.
Examples:
Makonggo (movements of monkey)
Kinoton (imitates movement person bitten by ants)

2.8 Game Dances are dances that have some play elements and are for
recreational purposes.
Examples:
Lubi-Lubi Gayong-Gayong Pabo

2.9 Social Dances are dances during social gatherings.

Examples:
Rigodon Lanceros

5 GROUPS CLASSIFICATION OF DANCES FOUND IN THE

PHILIPPINES

1. Dance of the Cordillera Groups

BIBAKIIG- acronym for Bontocs, Ifugaos, Apayao,Klinga, Itneg, Ilonggot, and Gaddang
PESHITS & KANYAO– occasions for the presentation of Cordillera dances.
Classification: ceremonial, courtship, war, festival and imitative in nature.
Some of the Dances
 Takik — a flirtation, love or wedding dance from Western Bontoc
 Pattong— danced by one or two warriors
 Dinuyya — from Lagawe Ifugao, a dance festival performed by men and women during
a major feast
 Tarektek — among Benguets, a dance imitationg the ‘woodpeckers’
 Bendian – a victory dance
 Turayen — among the Apayaos, a dance imitationg a high flying bird
 Tadeck— a Kalingga word for dance

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 Ragragsakan— a work dance of Kalingga women where they carry baskets on their
heads or sometimes layered claypots
 Takiling— a victory dance performed after a head hunting spree.

2. Dance of the Mindanao Groups

Dances have touches of Hindu, Javanese, Chinese, and Arab-Persian culture.

Some of the Dances

 Kakulangan among the Maranao, is danced with the use of beautifully decorated
umbrellas.
 Sagayan is a war dance which dramatizes the hero-warrior prince.
 Asik is a doll dance for girls.
 Silong sa Gading shows traces of Hindu-Vedic influence, where the five dancers
represents the sounds of the gandingan.
 Pang-alay from Jolo, Sulu, ptrays the varied life activities of the people.
 Maglanka is a dance class of noble Samal women.
 Burong Talo is a martial arts dance in the Langka tradition of Mindanao dances.
 Pindulas depicts the movements of the fish.
 Binanog is a Manobo hawk dance.

3. Spanish/European/Western Influenced Dances

3.1 The Westernization of Filipino culture brought changes in the style of dancing
among Filipinos.
3.2 Introduction of Pandanggo, Habanera, Jota, Valse, Mazurka, Paseo, Rigodon,
Lanceros, etc.
3.3 Some of the dance include:
 Habanera Botolena is a dance of a married couple in Botolan, Zambales;
 Pandanggo Rinconada is a festival dance from the province of Bicol
depicting the happy and contented life of the people.

4. Dance of the Countryside

 If there were dances for the so-called "bourgoise," during the Spanish period, there
were also dances for the poor farmers and people in the rural areas.
 Dances were light and more informal.
 Frequently, the dances require skills and characters which depict their kind of work.
 Some of the dances are:
o Binasuan is a dance that require a balancing skill with glasses of wine.
o Bati is a dance performed during Easter Sunday.
o Gayong-Gayong is a game dance.

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 o Binislakan, which means sticks, is a Pangasinan dance that bears Chinese
influence.

5. Dances for the Lesser Known Group

 Kadal Blelah is a T’boli dance with mythical bindings imitative of the movements of the
birds.
 Karasaguyon is a courtship dance.
 Kadal Tajo is a dance that depicts the movements of a bird in the middle of the forest.

CHAPTER 2
DANCE TERMS COMMON TO FOLK DANCES

Many of our so-called native dances are Spanish origin. Others show French, English,
Malayan influence. Our forefathers have performed them for so long, giving them their own
interpretation, execution, and expression that they have become traditionally Filipino.

DANCE TERMS
"Abrasete" – Girl at the right side, holds R arm of partner with her L hand, free hands down at
the sides. This term is of Spanish origin and is used in Rigodon and in other dances.
Arms in Lateral Position – Both arms are at one side, either sideward right of left. This may
be done at shoulder, chest or waist level.
Arms in Reverse "T" – Arms are side horizontal, elbows bent at right angles, forearms
parallel to head, palms forward or facing inward, fists loosely closed.
"Bilao"- To turn palms of hands p and down alternatively, hands at wait level in front, elbows
close to waist.
Brush- Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot)
after which the foot is lifted from the floor to any direction
"Cabeceras" – When dancers are in square formation, the couples occupying the width of the
hall are called cabeceras or head couples. This is of Spanish origin.
Clockwise- Like the motion of the hands of the clock. R shoulder is toward the enter of the
imaginary circle. When facing center, the movement is toward the right.
"Costados" – When dancers are in square formation, the couples occupying the length of the
hall are called costados or side pairs. This is of Spanish origin.

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Crossed Arms – Partners are facing each other or standing side by side, girl at the right of
boy. They join their L hands together and their R hands together; either R over L or L over R
hands.
Cross-Over – Two couples (the vis-a vis) are opposite each other. Each couple proceeds in a
straight line to the opposite place the girls pass by their L shoulders between the boys. Boys
bow to each other when they meet at the middle or about one-third of the way, then proceed to
the opposite place. Upon reaching the opposite place, partners turn about; girls stand at the
partners’ right side.
Cut – To displace quickly one foot with the other, thus completely taking off the weight of the
body from the displaced foot.
Do-si-do ("Do-A-Dos") – The vis-a-vis (opposites) both advance forward, pass each other’s
right (or left) side, step across to the right (or left) , move backward without turning around
pass each other’s left (or right) side to proper places. This is of foreign origin and is used in
many Philippine dances.
Draw- To pull one foot along the floor close to the other which has the weight of the body. The
weight may or may not be transferred.
Free foot- The foot not bearing the weight of the body.
Free hand – The hand not placed anywhere or not doing anything.
Grand Chain or Grand Right and Left- Partners join right hands facing each other. Boys all
move counterclockwise and girls clockwise. Each boy is starting passes his partner on her
right and drops her hand, joins left hand with the left of the next girl, who advances to meet
him, and passes her on the left, and drop hands, joins right hand with the next advancing girl,
and so on. The girls do the same giving the right and left hands to each succeeding boy. When
partners meet for the first time they continue until they meet for the second time in their proper
places. Then all turn about and reverse direction.
Hand on waist – Place hands at the waist line (at the smallest part of the trunk), knuckles in,
fingers pointing rear.
"Hapay" – To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of
invitation.
"Hayon-Hayon" – To place one forearm in front and the other at the back of the waist. This is
a Visayan term.
Hop – A spring from one foot landing on the same foot in the place or in any direction. The
other foot may be raised in any direction 0in front, in rear, sideward or across.
Inside Foot – The foot nearest one’s partner, when partners stand side by side.
Inside Hand – The hand nearest one’s partner, when partners stand side by side.

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"Jaleo" – Partners turn once around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows almost touching) using walking or any kind of dance step. The
hands near each other are on waist. This is a Tagalog term but a Spanish origin.
Jump – Spring on one foot or both, landing on both in any direction.
Kumintang – Moving the hand from the wrist either in clockwise or counterclockwise direction.
This is an Ilocano term.
Leap – Spring on the supporting foot and land on the both feet.
"Masiwak" – To turn hand from the wrist halfway clockwise then raised and lower wrist one or
twice. This is an Ibanag term.
Leap – A spring from one foot, landing on the other foot in any direction (forward, sideward,
backward, or oblique).
Outside Foot – The foot away from one’s partner, when partners stand side by side.
Outside Hand – The hand away from one’s partner, when partner stand side by side.
Opposite – The person standing in opposite across the set.
"Panadyak" – To stamp in front or at the side with R (L) foot and tap with same foot close to
the L ® foot, weight of the body on L ® foot. This is a Tagalog term.
Partner – Girl to the right of the boy and boy to the left of the girl.
Place – To put foot in a certain or desired position without putting weight on it. The sole of the
foot rest on the floor.
Pivot – To turn with the ball, heel, or whole foot, on a fixed place or point.
"Patay" - To bend the head downward and to support the forehead with the R (L) forearm or
wth the crook of the R (L) elbow while the L ® hand supports lightly the palm of the R (L) hand.
This is usually done with the L ® foot pointing in rear and knees slightly bent. This is n Ilocano
term and the movement is commonly found in Ilocano dances.
Point – Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
"Salok" – To swing the arm downward-upward passing in front of the body as if scooping, the
trunk is bent forward following the movement of the arm doing the salok. This is a Tagalog
term.
"Saludo" – Partners bow to each other, to the audience, opposite dancers, or to the neighbors
with feet together. This term is of Spanish origin and is used in almost all Philippine dances.
"Saroc" – Cross the R (or L) foot in front of the L (or R), bend the body slightly forward and
cross the hands (forearms) down in front with the R (or L) hand (forearm) over the L (or R). this
is a Visayan term.

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Set – A dance formation like a square or a unit formation composed of two or more pairs.
Slide – To glide foot smoothly along the floor. The movement may be finished with or without
transfer of weight.
Stamp – To bring down the foot forcibly and noisily on the floor (likely doing a heavy step) with
or without transfer of weight.
Star With Right Hand – Four or more people join R hands at center and circle around
clockwise using walking or any kind of dance steps.
Star with Left Hand – same as ‘star with R hand’, but joining L hands and turing
counterclockwise.
Step - To advance or recede by raising or moving one foot to another resting place. There is a
complete transfer of weight from one foot to another.
Supporting Foot - the foot that bears the weight of the body.
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.
Whirl – To make fast turns by executing small steps in pace to right or left.

CHAPTER 3

DANCE TERMS COMMON TO FOLK DANCES

FUNDAMENTAL DANCES POSITION AND STEPS

FEET POSITION

First Position
Feet close and parallel heels
Touching toes at 45 degree

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 Second Position
Open parallel stride sideward

Third Position
Feet close-crossed
Heel in-step touching
Knees locked

Forth position
Feet closed

Fifth Position
Feet closed

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 ARM POSITI0N

First Position
Arms encircled in front
Chest level, relaxed, fingers slightly apart

Second Position
Arms raised sideways a little below shoulder level

Third Position
One arm encircled overhead, other raised sideways

Forth Position
One arm encircled on first position, other arm overhead

Fifth Position
Both arms overhead

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The dance step listed below are the fundamental or basic steps most commonly used in the
Philippine folk dances, but the manner of execution is entirely different. Some dance steps
have no English equivalent names, so the native names are retained, such as ‘kuradang,’
‘Bacui,’ ‘Engano’ etc.

DANCE STEP TIME SIGNATURE STEP PATERN COUNTING

BACAUI 3/4 Cross-point step/ 1,2,3/

cross-step (rear) step/ 1,2,3/
cross-step (front) step/ 1,2,3/
close (pause)
1,23
CROSS STEP 3/4 Step cross & slide 1,2,3

BLEKING 2/4 /Spring 1 (R) heel- 1,1,2

place close
Heel-place close (step)
3/4 1,2,3

BRINCOS CON 2/4 Cross-jump 1

PUNTILLAS
Hop & circle and
Step & heel raise 2
Spring & point and

BRINCOS CON 2/4 Cross-jump `1

PUNTILLAS
Hop& turn & foot circle and
Step & turn (heel raise) 2
Spring & point and

CHANGE STEP 2/4 Step close step 1 and 2

CROSS CHANGE 2/4 Cross-step-close-step 1 and 2

CONTRA-GANZA 2/4 Leap cross- step step 1 and 2

CHANGING STEP 2/4 Jump 1 foot & other in rear 1

CHOTIS 4/4 Brush, Raise, Brush Raise 1,2,3,4

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 Step, Step, Step (turning) pause 1,2,3,4

CLOSE STEP 2/4 Step close 1,2,

CUT STEP 2/4 Cut or displace 1

DANCE STEP TIME SIGNATURE STEP PATERN COUNTING

ENGANO WITH A 3/4 Step cross-step 1,2,3

CLOSE 1,2,3
Step close

ENGANO WITH A 3/4 Step cross-step 1,2,3

WALTZ
Step close-step 1,2,3

ESPUNTI 3/4 Pivot L(R)Pivot R(L) Pivot 1,2,3

R(L) Pivot L(R) 1,2,3

GALOP 2/4 Step cut step cut (there 1 ah 2 ah

are 2 galop steps to 1
measure)
6/8 1,2
Step
3
Cut
4,5
step
6
cut

GRAPEVINE 2/4 Step cross-step 1,2

Step cross-step 1,2
4/4 Step cross-step cross-step 1,2,3,4
3/4 Step cross-step 1,2,3
Cross-step step cross 1,2,3

CHANGE STEP’ 2/4 Step close step 1 and 2

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 CROSS CHANGE 2/4 Cross-step-close-step 1 and 2

HABANERA 2/4 Step close-step 1,2 and

HAPLIK 2/4 Step step/ hop hop/ 1,2/ 1 & 2

Step step step (turning) 1 and 2
Hop hop/ step step step 1,2/ 1 & 2
hop hop/ step step/ 1,2 / 1,2
Close (pause) 1,2
HEEL & TOE 2/4 Heel-place toe-step/ 1, 2/
CHANGE STEP step close step 1 and 2

KEY TO SYSTEM OF COUNTING

Counting is the most practical way to describe a rhythmic pattern. The note is the unit in
musical rhythm showing the duration in which a tone or movement (in the case of dancing) is
taken.
Rest is a character used to indicate silence or pause (in the case of dancing) for a certain time.
Note and rest values refer to the musical notion which give the exact duration values of the
rhythmic patterns.

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18
 CHAPTER 4

SELECTED FOLK DANCES, MUSIC, COSTUME AND FORMATION

ABARURAY
"Abaruray" is a contraction of the words "Aba" and
"ruray". "Aba!" is an exclamation which is equivalent
to "Hey!", "Hi" or "Hail" in English. "Ruray" is the
nickname for Aurora.

AETANA
This dance is from Santa Cruz, Marinduque. It is
snappy, short, and always delights the audience as
well as the performers. The "jaleo" and "lamano"
(shaking hands) are the two interesting figures of
this dance.

ALCAMFOR
The name of the dance was perhaps derived from the
plant called camphor for its perfume. It was originally
known as "Alcanfor" but possibly "Alcamfor" is highly
appropriate.

ANUNCIO
This is a wedding dance popular in the provinces of
Mindoro and Marinduque. It is usually danced during
a marriage celebration although it may be performed
in any social gathering.

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 ARINGGINDING-GINDING
This is a simple, delightful, courtship dance from
Mindoro. The Participants sing as they perform easy
dance steps.
BAKYA DANCE
"Bakya" dance means wooden shoes. They are common
footwear of the poor in the barrios. During the rainy
season, almost all people wear them.

BA-O
"Ba-o" in tagalog, means coconut shell. It can be used for
many purposes such as fuel, water, dippers, food
containers, musical instruments, etc. each dancer holds
two half-coconut shells, one in each hand. The backs are
struck together to produce sounds in different rhythms.

BARANGAY
Baranga derived from the Tagalog word balangay, a
large and swift kind of native boat. The author for the
Barangay Club of Manila especially created this
barangay dance.

BARURAY
This is a simple and interesting dance from the
province of Mindoro. It is made up of two
movements. The first is in a lively 2/4 times. The
second is a moderate ¾ rhythm.

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 BULAKLAKAN
During the month of May it is custom in many parts of
the Philippines to celebrate the Santa Cruz de Mayo, a
procession usually followed by a social gathering in the
house of the Mermana Mayor.

BENDIAN
To celebrate a headhunt, harvest, well-being, victory. This
dance comes from Highland Cordillera of Benguet.

CHOTIS
This ballroom dance was popular as the waltz, ballroom
polka-mazuka or mazurka during the Spanish regime. It
could be danced as an ordinary ballroom dance.

ESPERANZA
This is a lively dance from Camarines Sur. It was
supposedly named after a lovely maiden called
Esperanza. The
steps of this dance
are simple but
interesting.

GARAMBAL

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 The name of this dance comes from two Spanish words "gram" and "valse" which means
grand waltz, corrupted into one word, "garambal". Two girls and one boy perform it.

HABANERA NARCISEŇA
In Zambales province, the habanera initially a dance
step from Havana, Cuba, was introduced here via
Spain. Habanera Narciseňa expresses the town’s
sentiment and heart.

KADAL TAHU
This is a true dance of the T’boli, Indigeneous Hill
Community from Lake Sebu, South Cotabato.

KANDINGAN
This is a Moro wedding dance from Jolo, Sulu. Its
figures are based on the old, traditional Moro
dances.

KONAN
An old one-peso silver coin of the 1900 vintage from the
Lowland Christians of Pangasinan.

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 LA JOTA
This is delightful, lively dance from Iriga, Camarines
Sur. The Jota dances have many variations and are as
popular as the Fandangos.

LANCEROS DE TAYABAS
In the 16th century, the Spanish missionaries came to the
Philippines with a new religion that promised salvation.
Lanceros takes its name from the chivalrous knights and
lanceros of the King Arthur fame. In Tayabas, the dance
came to be known as Lanceros de Tayabas, noted as a
divertissement for the comedia stage-play also a Spanish
import.

LAPAY BANTIGUE
Its place of origin is Bantique Island, Masbate,
classified as comic, mimetic.

LIKOD-LIKOD
Place of origin is Leyte and this dance used at weddings.
The exchange of partners is literally translated as likod-
likod.

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 LOS BAILES DE AYER
"Los Bailes De Ayer" means dances of yesteryears. It
is a quadrille combining old ballroom dance steps and
figures, such as the polka, chotis, mazurka, paso
doble, etc.

LUBI-LUBI
Lubi-Lubi is a dance, combination of simple folk and social
steps. This dance originate in Leyte and Samar where it is still
danced like the balitaw.

MANAGUETE
"Managuete" is a Visayan occupational dance, found
in Kolambyngan, Lanao, among the settlers from the
Visayan Island. It depicts a pantomime of all the
stages of tuba gathering.

MAN-MANOK
Man-manokis a mimetic dance with three warriors each
showing off tribal blankets representing colorful plumage
of wild cocks chasing round a maiden dressed in
resplendent festive outfit. It comes from Vigan, Ilocos
Sur.

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 MARAMION
This courtship dance popular in the islands of Cebu
and Bohol. Maramion means fragrant and beautiful.
This dances is usually sung by the performers or by
the spectators. It is a courtship story in pantimome

MAZURKA DE JAGNA
A mazurka named after Jagna town, a dance culture from
Lowland Christians. It comes from Jagna, Bohol, and this
dance is used in festivals.

PAHID
Pahid is to wipe off mud from bare feet. To anticipate
muddy feet entering the house, doormats are literally
laid to welcome the guests, each one wiping off the
feet as expected of polite and respectful farmers.

PAGTATAHIP
Pagtatahip is an occupational dace, usually
performed after the ‘Pounding Rice’ dance.
Generally, boys do the pounding and girls do
the winnowing.

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 PALAY DANCE
Palay daliterally means either the plant or the grain
from which rice is obtained. Husked rice is the staple
food of the Oriental people.

PAMPILPILALECAN
This dance comes from Pangasinan and is used in
courtship. Palalecan is danced around the
ballroom performing coquettish hide-and-seek
movements.

PANDANG-PANDANG
This is a very popular wedding dance in the province
of Antique. The bride and the groom performed it only
during the wedding feast.

PANDANGGO ILOCANO
This Fandango or Pandanggo is very popular.
Although it is danced in many different versions,
lively motion is always present.

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 PANDANGO VISAYAN
The pandango is so popiular that it is found in many
places in the Philippines.

PANDANGO SA ILAW
This version of Pndango sa Ilaw, from Mindoro is
the most difficult of the Pandangos. It is quite
unusual and colorful.

PARUPARONG-BUKID
Pru parong bukid is a very poular folk song.
Little boys and girls love its esay, catchy melody
and the story behind the song.

PITIK MINGAW
This dance which has a touch of loneliness comes
from Roxas City, Capiz, it is classified as a courtship
dance.

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 PASAKAT
This is a French ballroom quadrille which was
introduced in the Philippines by the Spaniards
during the later part of nineteenth century. It was
originally known as ‘Pas de Quatre’ or ‘Paso de
Cuarto’ but Filipinos later on corrupted the word
to ‘Pasakat’.

POLKABAL
Thisdance derived from two well-known steps,
‘polka’ and ‘vase’, was corrupppted into one word,
polkabal by the people of Atimonan, Tayabas,
where it is found.

POLKA SALA
This is an old ballroom dance found in Calapan, Mindor.
During Spanish regime the polka was very common ans
was sometimes combined with other ballroom dance
steps like the polka mazurka and the polka-valse.

PURPURI
Thiiisss dance is found in many parts of the
Philippines under different names and in
various version. It is sometimes known as ‘La
Jota Purpuri’. ‘Papuri’, ‘Puri-puri’ and
‘Purpuri’. ‘Purpuri’ is coined from Potpouri,
which means a medley or mixture.

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REDOBA
The Redoba is an old lively ballroom dance found
in Mindoro. Originally introduced in the Philippines
around 1860, originally spelled ‘Redowa’, it was
later changed to ‘Redoba’ as pronounced by the
natives.

RIGODON
Adancing master named Rigaud first introduced
this dance to the court of Louis XIII from Marseille.
The Rigodon has become the most popular of the
Quadrilles. It is usually performed at the beginning
of formal dances, with government officials and
people of high social standing in the community participating. The music is a lively 2/4 or 6/8
rhythms.

ROGELIA
This is a courtship dance from the province
of La Union. Rogelia is the name of a girl
whom a boy loves. Alternate singing by the
boys or girls is a unique feature.

SAKUTING
The Sakuting is a folk dance of the Ilocanos
and of the non-Christian people in the
mountain provinces. The dance is found in
Abra among the Christian Filipinos.

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 SALA TI MAIS
This is the dance of the corn. It came from the
lowland Christians Province of Isabela and
Ilocano Ibang.

SALAKOT
The salakot is a wide brimmed hat. In this dance
the salakot is used to enhance the steps, figures
and hand movements. Only girls dance it, but it
may be pperformed by both boys and girls. The
dance steps were arranged for Play Day 1935,
University of the Philippines.

SAYAW KASIYAHAN
The Filipinos are traditionally fond of
merrymaking; hence the ‘Dance of Contentment’
symbolizes or depicts our country folk on the
proper mood for a general celebration.

SAYAW SA CUYO
This is a dance of the Cuyo islanders from Cuyo,
Palawan; this dance is used for entertainment.

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 SINUBLIHAN
This dance means to go back and forth. It
comes from Zambales and this is classified
as a game.

SOTHEN
This is an all-male Subanon traditional dance, that comes
from Margo sa Tubig, Lapuyan District, Zamboanga del
Norte and this is classified as a War Dance.

SUA-SUA
This is a dance from Jolo, Sulu. Literally Sua-Sua
means a small orange plant and is named of a
courtship dance and is accompanying song.
According to the Moros of the older generation, the
movements in this dance have been modified and
modernized.

SURTIDO
Surtido means assortment. The dance is most
interesting because it contains steps and figures
found in the folk dances of many provinces.

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 TAGALA
‘Tagala’ is the name given to the woman from the
Tagalog regions.

TI LIDAY
It was formerly known as ‘Contrabandista’ but was
changed to ‘Ti Liday’ (sorrow) at the suggestion of
Sen. Camilio Osias, because of the movements in
this dance which expresses sorrow.

TINIKLING
This dance is a favorite in the Visayan Islands,
especially in the province of Leyte. The Tikling is a
bird with long legs and a long neck. The tinikling
dance, therefore, imitates the movements of the
tikling birds as they walk between grass stem or run
over tree branches. A song usually accompanies this
spectacular dance.
VALSE
VIEJA
This dance means old waltz, its place origin is
Pangasinan and it is classified as a festival
dance.

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VALSE VIEJA
This dance means Waltz of the Ybanag
people; its place of origin is Camalaniugan,
Cagayan, and it is considered as a festival
dance.

PART 2
MODERN DANCES
Most people dance simply to have fun or to entertain others. But dancing also serves
many other purposes. For many people, dancing provides one of the most personal and
effective means to communication.
A dancer can express such feelings as joy, anger, or helplessness without saying a
word. Many schools and private studios offer classes in modern dance. These classes
encourage the students to express themselves through rhythmic movement. The field of dance
therapy uses modern dance to treat physically handicapped and emotionally disturbed people.
In many societies, dancing plays a role in courtship. It serves as way for men and
women to become acquainted before they marry. In most Western countries, secondary
schools and university students get to know one another at dances.

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Historical Background

Modern dance developed in the early 1900s. The leaders of the modern dance
movement believed that the techniques of the ballet were artificial and meaningless. They
searched for fresher, more personal ways to express ideas through dancing. Pioneers of the
movement included Isadora Duncan, Louie Fuller, and Ruth St. Denis of the United States;
Emile Jaques-Dalcroze of Switzerland, Rudolf Von Laban of Hungary, and Gertrud
Bondenwieser in Australia.

Isadora Duncan was one of the free-spirited modern dance pioneers. She danced in her
bare feet and wore loose fitting garments that allowed her freedom of movement. She
permitted no scenery onstage, which might draw attention from her dancing. Duncan ignored
the formal, set movements of ballet. Her own flowing movements were inspired by nature,
classic music, and Greek drama and sculpture. Duncan’s ideas greatly influenced the
development not only of modern dance but also of ballet.

Oriental religions inspired the dances of Ruth St. Denis. She won fame during a tour of
Europe from 1906 to 1909. In 1915, St. Denis and her husband, Ted Shawn, opened the
famous Denishawn School of Dancing.

Mary Wigman became Europe’s first great modern dancer. She founded an influential
dance school in her native Germany in 1920.

Since the 1940’s, creativity in modern dance has centered on US dancers and dance
companies. The most experimental dancers have included Merce Cunningham, Alwin Nikolais,
Paul Taylor and Twyla Tharp. Modern dance works today place less importance on emotion
and personal expression. Instead, they explore more in movements for its own sake. For
example, dancers may make patterns with their bodies merely to form interesting pictures.
Dancers may also use movements, such as walking, that are more natural than the movement
used by earlier performers. Today’s dances even includes tumbling, rolling and other
acrobatics. Ballet companies have adopted some modern dance techniques and have begun
to invite modern dance choreographers to work with them. As a result, the gulf between ballet
and modern dance has narrowed greatly.

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Popular and Modern Dances

CHA-CHA
Is a form of mambo to a rumba beat, originated by the Cuban
Orchestra American (1953), and developed by a group of
orchestras called the Merce Cunningham, Alwin Nikolais, Paul
Taylor and Twyla Tharp.

CHARLESTON
A modern social dance of the jitterbug variety, originated in
Charleston, S.C. and, around 1925, conquered the dance
halls all over the world. The rhythm is sharply accentuated,
dancers place special emphasis on the syncopated upbeat.

COTILLION
A dance popular during eighteenth and early nineteenth
centuries, is named after the French word for petticoat, found in
a then popular song. The leading couple executed a variety of
steps and figures to music of almost any type either in duple or
triple meter, and the other dancers imitate these.

COUNTRY-DANCE OR SQAURE DANCE

Is an English dance of folk like character originating in
the seventeenth century? In the country-dance two
facing lines, one of men and the other women, perform
a great variety of movements derived from more
specific dance types.

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 COURANTE
Is a dance in duple time at first pantomimic, originating in
the sixteenth century. The dance is mentioned in Arbeaus
Orchesographie (1588) and several times by Shakespeare.
Gradually, the courante developed into triple time and in
the seventeenth century became the after dance of the
allemande.

MAMBO
Is an American social dance derived from the rumba. The
musical count is 4/4 and the dance count is 4/4. The dance
begins with sway on I; the first step is taken on 2.

MERENGUE
Is a Latin-American dance of Dominican origin, introduced
to the United States? Dancing in 2/4 meter, the dancers
emphasize the first step with a traveling step, and then
take an inward-bent knee drag on two.

REDOWA
Is an early nineteenth-century Czech dance in
moderate triple meter deriving from the Czech folk
dance rejdovak.

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 RIGAUDON
Is a French Provencal dance of the seventeenth and
eighteenth centuries, in quick duple meter with an
eighth note upbeat. The name riguadon is probably
derived from the rigoletto, an Italian round dance.

RUMBA
Is a contemporary Cuban dance of Negro origin. The
rumba is in square time, the rhythm frequently varying in
every bar, and is characterized by syncopation and
indefinite repetitions.

SAMBA
Is a Brazilian dance in duple meter; also, in a
broader sense, a term used for all Brazilian dances.
Two different types of samba are found: the rural
samba, characterized by greatly emphasized
syncopation; and the city samba, which is more
monotonous in rhythm.

TANGO
Is a leisurely, measured ballroom dance in duple meter
executed by couples and characterized by the rhythm,
against which the melody is often syncopated.

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WALTZ
Is a dance in moderate triple time originating in old Austrian
and South German folk dance. The name is derived from the
German walzen, the Viennese writer Felix von Kurz, about
1754.

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 P.E.2
FUNDAMENTAL OF RHYTHMIC ACTIVITIES
LEARNING ACTIVITIES
Activity 1.
Principles of Rhythmic Activities Chapter Quiz.
Principles of Rhythmic Activities
Quiz Instructions:
Choose the correct answer and encircle it. Good luck!
1. Which of the following is an example of a rhythmic activity
a. tennis
b. football
c. volleyball
d. modern dance
2. Altering the _____ of an activity can help students who do not move their bodies as quickly
as others.
a. development
b. technology
c. pacing
d. spacing
3. What is a good starting point when it comes to modifying rhythmic activities?
a. Providing students with more space
b. Assessing our students' strengths and weaknesses
c. Slowing down the rhythmic activity
d. Removing rhythmic activities from our curriculum
4. What is another word for a modification?
a. enrichment
b. cancellation
c. change
d. rhythm
5. What remains consistent in rhythmic activities even when we modify them for different
students?
a. Assessments d. Rhythms
b. activities
c. goals

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 6. Rhythmic activities __________.
a. are a new concept
b. only exist in America since the last decade
c. were created in America
d. have been around for thousands of years
7. An instructor considering the use of rhythmic activity in his dance class may consider _____
for more advanced learners or learners with more time to complete the routines.
a. complicated routines
b. physically easy moves
c. basic routines
d. a less structured activity

8. Rhythmic activities do all of the following EXCEPT __________.

a. Promote physical activity
b. Display physical abilities and strength
c. Assist in socialization
d. Encourage self-time and solitary reflection

9. Which of these is NOT a fundamental compositional element of dance?

a. time
b shape
c .texture
d. force
10. Which of these is an analysis of force in a dance?
a. The first dancer was energetic and lively, while the second was languid; an
interesting contrast in dynamics
b. The two dancers paralleled each other’s movements in every way, forming visual
symmetry on stage
c. The rhythm was upbeat and the dancer moved quickly, stepping to the beat
d. The entire dance crew advanced forward, then separated from the stage with a high
leap.

Answer the question.

Differentiate skills to talent.
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________.

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 RHYTHMIC ACTIVITIES DEFINITION OF TERMS:
Activity 2.
Find the meaning of the following terms.
1. Rhythmic Activities
2. Rhythm
3. Dancing
4. Dance
5. Choreography
6. Creative Dance
7. Interpretative Dance
8. Dance Drama
9. Other Dances
10. Physical Manifestation
11. Folk dance
12. Animal Imitation
13. Character Imitation
14. Mechanical Imitation
15. Rotation
16. Kadal Blelah
17. Kadal Tajo
18. Abrasete
19. Cabeceras
20. Kumintang

PHYSICAL REACTION TO RHYTHM OR MUSIC

1. Foot Tapping
2. Finger Snapping
3. Head Swaying

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