UNIT II: DANCE POSITIONS/DANCE STEPS AND

PHILIPPINE FOLK DANCES

Introduction
This module is for the students to be familiar with the dance steps used in folk dance and
the different folk dances. It is done in preparation for the learning of the dances of our country.

Learning Competencies

At the end of the unit, the student should be able to:

1. Analyze the basic steps in 2/4 and ¾ time signature.
2. Execute and combine the different common dance terms and steps.
3. Analyze and interpret the steps involved in the dance with precision.
4. Appreciate the music and actively participate in the execution of the steps.

Lesson Proper

Common Dance Terms

1. Arms in Lateral position – both arms at one side, either right or left, at shoulder, chest, or
waist level.

2. Clockwise – like the motion of the hands of the clock. R shoulder is toward the center of an
imaginary circle. When facing center, movement is toward the left.

3. Counterclockwise – the reverse direction of clockwise, L shoulder is toward center.

Movement is toward right when facing center of the circle.

4. Free foot – the foot not bearing the weight of the body.

5. Free hand – the hand not placed anywhere, or not doing anything.

6. Kumintang – move the hand from the wrist either in a clockwise or counterclockwise
direction.

7. Point – touch the floor lightly with the toes of one foot. Put the weight of the body on the
other foot.
8. Salok – swing the arm downward – upward passing in the front of the body as if scooping.
The trunk is bent forward following the movement of the arm doing the salok.

9. Saludo – partners with feet together bow to each other, to the audience, opposite dancers or
the neighbors.

10. Hayon-hayon – to place one forearm in front and the other at the back of the waist.

11. Do-si-do (dos-a-dos) – partners advance forward, pass by each other’s right (or left) side,
step across to the right (or left) move backwards without turning around and pass by each other’s
left (or right) side to proper places.

12. Jaleo – partners turn around clockwise (with R elbow touching) or counterclockwise (with
elbows touching). Use walking or any kind of dance step.

13. Outside foot – is the foot away from one’s partner, when partners stand side by side.

14. Outside hand – is the hand away from one’s partner, when partners stand side by side.

15. Sarok – cross the R (or the L) foot in front of the L (or R) bend the body slightly forward
and cross the hands down in the front with the R (or L) hand over the L (or R).

16. Forearm turn – from the 1st position, extend the R diagonally forward (cts. 1, 2, 3) Reverse
arm position to the L (cts. 1, 2, 3), (as the left arm is extended R arm goes back to first position)

Common Dance Steps

Dance Step Step Pattern

A. 2/4-time signature
Touch step Touch, close
Bleking step Heel-place, close
Close step Step, close
Hop step Hop, step, close, step
Slide step Slide, close
Change step Step, close, step
Cross change step Cross, step, close, step
B. ¾ time signature
Native waltz Step, close, step
Waltz Balance Step, close heel raise, heels down
 Cross waltz Cross-step, close, step
Brush step Step, brush, close

Philippine Folk Dances

Origin of Cariñosa

• meaning the (loving or affectionate one) is a Philippine dance of Hispanic origin

• The Cariñosa is a popular folk dance that was introduced to the country by the Spaniards
when they arrived in the 16th century. It belongs to the Maria Clara suite of Philippine
folk dances. These are so named in honour of Maria Clara, who was the main character in
Jose Rizal's novel Noli Me Tangere, ('Don't Touch Me'), about the colonisation of the
Philippines by the Spanish. In it, Maria Clara is portrayed as a noble and loyal woman,
who after the publication of the novel in the 19th century became the female symbol of
virtue for Philippina women.

Geography

It is believed that Panay Island, located in the Visayan Islands group was the original
home of the cariñosa. The Spanish first arrived on the island in 1569. The dance soon spread
around the Philippines, giving rise to different versions in different regions, such as in Bicol,
where both dancers carry handkerchiefs.

Purpose of the Dance

The cariñosa is a much-loved folk dance in the Philippines. Spanish in origin, it is

regarded as a national dance by scholars, and the characteristic shy behavior of the female dancer
is said to represent the mannerisms of Philippina women.
 Costume of Cariñosa

PANTOMINA
• was originally a wedding dance from the Bicol province.
• It is also a very popular in the northern part of Samar especially in towns of Allen and
Capul – both directly facing Bicolandia.
• This dance is traditionally performed during wedding festivities by the couple and their
visitors.
• In fact, no social gathering in the Bicol Region is complete without the Pantomina and
this dance is very popular in Bicol even up to this time.
• During a wedding feast, it is customary for the newlyweds to perform the dance and
while they dance, their relatives and guest throw coins at them.
• Sometimes a plate is placed on the floor so that the guests may place money in it.

Etymology

• Pantomina is Spanish for “pantomime” because of its courting/wooing movements.

• Its old name Salampati means “dove”, hence the dance is sometimes referred to as the
“dance of the doves”
Dance Properties Costume of Pantomina

• Dance culture – Lowland Christian

• Place of origin – Albay
• Ethnolinguistic group – Bikol
• Classification – Social/Wedding dance

Sakuting
• It refers to rhythmic sticks producing the accompaniment for the dance.
• Place of origin – Abra and Ilocos Norte
• Country of Influence – China
• Classification: Social/War dance

Description
The sakuting dance, originally performed solely by boys, portrays a mock fight using sticks.
A sakuting stick is striped or bamboo and is about 1½ feet long and tapered at the end, like a
candle. Its original use was for combat training. During the playful folk dance, two teams,
one representing each side, circle and clash bamboo sticks in a gentle imitation of martial arts
sparring. Its dance form is the comedia (a theatrical dance, also called moro-moro) and
features a battalla (choreographed skirmish).
History
Sakuting (pronounced seh-KOOH-tihng) comes from the province of Abra, home to the
Ilocano people native to the lowlands and the Tingguian mountain tribes. The Spanish
established a garrison to protect Ilocanos who converted to Christianity, and their capital city,
Bangued, from raids by the mountain tribes. Introduced by Spanish missionaries as religious
ritual, the sakuting dance portrays this struggle between the lowland Christians and the non-
Christian mountain people. Sakuting’s origins, however, appear much older.
Origin
Arnis, the traditional Filipino art of stick fighting, employed readily available weapons by
simple people seeking self-protection. The occupying Spanish banned the practice of Arnis,
forcing it into secret. Filipinos found ways to openly retain the practice by making the Arnis
movements part of folk dances. Sakuting is actually a two-stick Arnis exercise set to music.
The Music
The traditional music styles for sakuting portray the dual influences of China and Spain. Its
staccato inflections and rhythmic tapping suggest a strong Chinese influence. The music
itself is played by a rondalla, a native string ensemble of plectrum (plucked with tortoiseshell
fingerpicks) instruments influenced by Spanish stringed instruments, that includes bandurria,
laud, octavina, mandola, guitarra and bajo de uñas, or double bass.
The Dance
Dancers use one and two sticks throughout the performance to tap the floor and each other’s
sticks. Dance steps are a combination of marching and small forward or sideways shuffle
steps while circling and interchanging positions with other dancers. Some modern
interpretations are more athletically demonstrative of the martial arts, while others add ballet
movements. Dancers twirl the sticks, hitting them against opponents’ sticks, displaying a
mock fight.
Performances
The Ilocano people customarily perform the sakuting dance as part of Christmas celebrations.
Performed at the town plaza or from house to house, the dance allows the opportunity for
spectators to give the dancers aguinaldos—gifts of money, drinks, fruits and refreshments
prepared especially for Christmas much like the English custom of caroling.
 Costume of Sakuting

Maglalatik

The Maglalatik is an indigenous dance from the Philippines in which coconut shell halves
that are secured onto the dancers' hands and on vests upon which are hung four or six more
coconut shell halves. The dancers - all male - perform the dance by hitting one coconut shell
with the other - sometimes the ones on the hands, sometimes, the ones on the body, and
sometimes the shells worn by another performer, all in time to a fast drumbeat. Like many
native Filipino dances, it is intended to impress the viewer with the great skill of the dancer,
and in some Filipino Martial Arts (FMA) circles, it has been noted that the manlalatik
"consists of a trapping and boxing method hidden in a dance."

The name of the dance comes from the Filipino word "Latik", which means "fried
coconut milk curd", a coconut product that is used in Filipino cooking, particularly in snacks.

The Maglalatik is an indigenous dance from the Philippines in which coconut shell halves
that are secured onto the dancers' hands and on vests upon which are hung four or six more
coconut shell halves. The dancers - all male - perform the dance by hitting one coconut shell
with the other - sometimes the ones on the hands, sometimes, the ones on the body, and
sometimes the shells worn by another performer, all in time to a fast drumbeat.
 Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight
between the Moros and the Christians over the prized latik or coconut meat during the
Spanish rule, this dance is also shown to pay tribute to the town’s patron saint, San Isidro
Labrador. It has a four-part performance such as the palipasan and the baligtaran showing the
intense battle, the paseo and the escaramusa- the reconciliation. Moro dancers wear read
trousers while the Christian dancers show up in blue. All dancers are male; with harnesses of
coconut shells attached on their chests, backs, thighs and hips.

Pandanggo sa ilaw

1. Pandanggo is a folk dance which has become popular in the rural areas of the Philippines.
The dance evolved from Fandango, a Spanish folk dance, which arrived in the
Philippines during the Hispanic period.
2. This dance, together with the Jota, became popular among the illustrados (upper class)
and later adapted among the local communities.
3. In the early 18th century, any dance that is considered jovial and lively was called
Pandanggo and those that are related to it are called Pinandanggo.
4. Two of the most popular versions of Pandanggo, as a performing art, are the Pandanggo
sa Ilaw from Mindoro, and Oasioas of Pangasinan. The Philippine national dance,
Carinosa, has Pandanggo as its base dance.
5. Pandanggo is still danced by many people but mostly in religious rituals and processions
such as the Pandangguhan sa Pasig, during the procession of St. Martha, and the Sayaw
sa Obando of Bulacan.
6. While Fandango in Spain was superseded by its modern version, the Flamenco, it has
evolved into a popular folk dance, and as a ritual dance in many religious processions in
the Philippines.
7. Pandanggo sa Ilaw is a very popular folk dance in the Philippines.  It is said to have
originated from the island of Mindoro.  This “dance of lights” simulates fireflies at dusk
and at night.
8. The festival of Calapan, Oriental Mindoro called “Pandang-Gitab “ was coined from
Pandanggo and Dagitab which is synonymous to “light”, adapting basic steps of
Pandanggo sa Ilaw.
 9. The word pandanggo is from the Spanish dance fandango. The phrase sa ilaw is Tagalog
for "in light" and it refers to the three oil lamps that a dancer has to balance — one on the
head and one on the back each hand.
10. Dance Culture – Lowland Christian (Rural)  Place of Origin – Lubang Island,
Occidental Mindoro  Ethnolinguistic Group – Tagalog  Classification – Festival

Costume of Pandanggo sa ilaw

Activity/Evaluation

ACTIVITY 1:
MULTIPLE CHOICE. Directions: Encircle the letter of the correct answer.
1. Partners with feet together bow to each other, to the audience, opposite dancers or the
neighbors.
a. Jaleo c. Saludo
b. Kumintang d. Salok
2. A folk dance which has become popular in the rural areas of the Philippines.
a. Pandanggo sa ilaw c. Oasiwas
b. Cariñosa d. Maglalatik
3. Move the hand from the wrist either in a clockwise or counterclockwise direction.
a. Point c. Free hand
b. Sarok d. Kumintang
4. The famous national dance of the Philippines depicting the character of Filipino maiden’s
modesty and humility.
a. Cariñosa c. Sakuting
b. Pantomina d. Pandanggo sa ilaw
5. An indigenous dance from the Philippines in which coconut shell halves that are secured
onto the dancers' hands and on vests upon which are hung four or six more coconut shell
halves.
a. Oasiwas c. Pantomina
b. Maglalatik d. Sakuting
6. What is the step pattern of waltz balance?
a. Step, close heel down, heels raise
b. Step, close heel raise, heels down
c. Close, step heel down, heels raise
d. Close, step heel raise, heels down
7. What is the time signature of bleking step?
a. 4/4 c. 2/4
b. ¾ d. None of the above
8. This dance is traditionally performed during wedding festivities by the couple and their
visitors.
a. Cariñosa c. Sakuting
b. Oasiwas d. Pantomina
 9. What is the step pattern of change step?
a. Step, close, step
b. Close, close, step
c. Step, step, step
d. Close, step, close
10. To place one forearm in front and the other at the back of the waist.
a. Kumintang c. Point
b. Jaleo d. Hayon-hayon

Practical Activity:

Many Common Dance terms/steps of Philippine Folk Dances listed above are utilized in a
variety of physical education activities. As an assessment you will be interpreting the
different common dance terms/steps at least (5) each you can use a music with a minimum of
2 minutes.

RUBRIC CRITERIA FOR DANCE VIDEO OF

COMMON DANCE TERMS/STEPS OF PHILIPPINE FOLK DANCES
Proper execution of movement with mastery and performed 40%
Bodily Skills
with control and skill.
The composition of dance has a clearly defined structure, and 30%
Compositional Structure
the transition of the movements is smooth and seamless.
The commitment of the students to the performance of the 20%
Performance
movement with grace and high energy level.
Video Quality The video quality has a clear audio and visual with smooth 10%
transitions and effects.
Total 100%