P.

E 2 (RHYTHMIC ACTIVITIES)

Rhythmic Activities are the physical manifestations of the mental and emotional response of the individual to rhythm.
Terms:
1. Beat – the underlying pulse of a rhythm.
2. Tempo – rate of speed of a movement.
3. Intensity – variation of stress of movement.
4. Pitch – lowness or highness of a tone.
5. Accent – emphasis on a certain beats.
6. Meter – the regular recurrence of beats which divides a musical design into measure.
7. Phrase – measures grouped together.
8. Bar – in music a vertical line across a staff dividing it into equal measures of time.
9. Count – a pulse beat, a time limit.
10. Note – a printed symbol of a musical tone.
11. Measure – a group of pulse beats.
12. Time signature – a sign used to indicate musical meter and usually written with one number above another with the
bottom number indicating the kind of note used as a unit of time and the top number indicating the number of these units
in each measure
13. Note pattern – refers to a note or set of notes with or without rest used for a certain dance steps. Ex. Note pattern for
contra-ganza.
14. Step pattern – refers to the movement or movements done for each of the dance steps. Ex. Step pattern for contra-
ganza: Leap, cross-step, step.

Basic Concept of Dance

Folk dancing is the oldest form of dance probably one of the earliest forms of communication. It is this self-expression
that separates folk dancing from the functional aspects of games and gymnastics in the Physical Education program.

Dance is the expression of oneself through rhythmic movement. Folk dance, which is also the expression of oneself, is
an expression through patterned movements. It is this patterning that traditionally separates folk dance forms from other
dance forms. It is probably this characteristic of folk dance that has turned many youngsters off to dance- their inability
to perform a set of patterned movements.

Common Dance Terms in Folk Dance

1. “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.
2. Arms in Lateral Position- Both arms are at one side, sideward right or left. This may be done at shoulder, chest or
waist level.
3. 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.
4. “Bakya”- Wooden clogs.
5. “Balintawak”- Long dress with stiff butterfly sleeves. The more elaborate version worn with a colorful tapis with
decorations that match those on the sleeves.
6. “Barong Tagalog”- Long sleeved shirt of flimsy material like piña, jusi, pounded abaca or nylon. Variations range
from plain to elaborate, sinuksok to lace.
7. “Baro’t Saya”- Blouse and skirt ensembles that range from simple to elaborate with a scarf or bandana to match.
8. “Bilao”- To turn palms of hands up and down alternately, hands at waist level in front, elbows close to waist.
9. Brush- Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that foot is
lifted from the floor to any direction.
10. “Cabeceras”- When dancers are in square formation, the couples occupying the width of the hall are called
“cebeceras” or head couples. This is of Spanish origin.
11. Clockwise- Like the motion of the hands of the clock. R shoulder is toward the center of an imaginary circle. When
facing center, the movement is toward the left.
12. Counterclockwise- The reverse direction of clockwise. L shoulder is toward the center of an imaginary circle.
When facing center, the movement is toward the right.
13. “Costados”- When dancers are in square formation, the couples occupying the length of the hall are called
“costado” or side pairs. This is of Spanish origin.
14. 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 R hands together; either R over L or L aver R hands.
15. Cut- To displace quickly one foot with the other, thus completely taking off the weight of the body from the
displaced foot.
16. Do-si-do (“Dos-A-Dos”)- The vis-à-vis (opposite) 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 porper
places. This is of foreign origin and is used in many Philippine dances.
17. 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.
18. Free Foot- The foot not bearing the weight of the body.
19. Free Hand- The hand not placed anywhere or not doing anything.
20. Grand Chain or Grand Right and Left- Partner join right hands facing each other. Boys all move counterclockwise
and girls clockwise. Each boy in 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 her left, drop hands, joins right hand with
the next advancing girl, and so on. The girls do the same giving 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 turnabout and reverse direction.
21. Hands on Waist- Place hands at the waistline (at the smallest part of the trunk), knuckles in, fingers pointing rear.
22. “Hapay”- To flourish or offer a handkerchief, hat or glass of wine to someday as a sign of invitation.
23. “Hayon-Hayon”- To place one forearm in front and the other at the back of the waist. This is a Visayan term.
24. Hop- A spring from one foot landing on the same foot in the palce or in any direction. The other foot maybe raised
in any direction (in front, in rear, sideward or across) Ilocano- Ethno linguistic group living in the Ilocos provinces.
25. Inside Foot- the foot nearest one partner, when partners stand side by side.
26. Inside Hand- The hand nearest one’s partner, when partners stand side by side.
27. “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 waists. This is a
Tagalog term but of a Spanish origin.
28. Jump- Spring on one foot or both, landing on both in any direction.
29. “Kumintang”- Moving the hand form the wrist either in a clockwise or counterclockwise direction. This is an Ilocano
term.
30. Leap- Spring on the supporting foot and land on both feet.
31. Maria Clara- A kind of baro’t saya gown popularized in the late 1800’s inspired by the heroine Maria Clara Rizal’s
novel Noli Me Tangere.
32. “Masiwak”- To turn the hand from the wrist halfway clockwise, then raise and lower wrist once or twice. This is an
Ibanag term.
33. Leap- A spring from one foot, landing on the other foot in any direction (forward, sideward, backward, or oblique).
34. Outside Foot- The foot away from one’s partner when partners stand side by side.
35. Outside Hand- The hand away from one’s partner when partners stand side by side.
36. “Panadyak”- To stamp in front or at the side with R(L) fot and tap with same foot close to the L/R foot, weight of
the body on L/R foot. This is a Tagalog term.
37. Place- To put foot in certain or desired position without putting weight on it. The sole of the foot rest on the floor.
38. Pivot- To turn with the ball, heel, or whole foot, on a fixed place or point.
39. “Patay”- To bend the head download and to support the forehead with the R(L) forearm or with the crock of the
R(L) elbow while the L/R hand support lightly the palm of the R(L) hand. This is usually done with the L/R foot
pointing in rear and knees slightly bent. This is Ilocano term and the movement is commonly found in Ilocano
dances.
40. Point- To touch the floor lightly with the toes of one foot, weight of the body on the other foot.
41. “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.
42. “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.
 43. Sarong- A short version of the malong usually worn by Subanon and other Mindanao men.
44. Set- A dance formation like a square or a unit formation composed of two or more pairs.
45. Slide- To glide foot smoothly along the floor. The movement may be finished with or without transfer of weight.
46. Stamp- To bring down the foot forcibly and noisily on the floor (Like doing a heavy step) with or without transfer of
weight.
47. 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.
48. Star with Left Hand- Same as “star with R hand” but joining L hands and turning counterclockwise.
49. 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.
50. Whirl- To make fast turns by executing small steps in place to right or left.

The Philippine Folkdances are classified 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: Cariñosa, Kuratsa, Balitaw, Rigodon, Pandanggo, Surtido
1.2 Local or Regional Dances – are dances found in certain localities or regions only.
Examples: Alcamfor (Leyte), Maglalatik (San Pablo, Laguna), Basulto (Pampanga)
2. NATURE OF THE DANCE
2.1 Occupational Dances – depict actions, characteristics, occupations, industries, and phases of human labor.
2.2 Religious or Ceremonial Dances – performed in connection with religious vows, practices, and ceremonies.
A religious dance may be performed to drive away evil spirits, ask for favor to have a child, give thanks for
having recovered from sickness, favors granted, and vows fulfilled.
2.3 Courtship Dances – depict love making or with a love theme.
2.4 Wedding Dances – performed by newlyweds, by friends and relatives of the bride and groom or by the
father of the bride and mother of the groom.
2.5 Festival Dances – performed in connection with celebrations, a feast, a barrio fiesta, good harvest, and
good fortune.
2.6 War Dances – are intended to show imaginary combat or duel with the use of fighting implements like bolo,
kris or spear.
2.7 Comic Dances – dances with funny and humorous movements mainly intended for entertainment.
2.8 Game dances – dances have some play elements and are for recreational purposes.
2.9 Social dances – dances during social gatherings.

FUNDAMENTAL POSITIONS OF ARMS and FEET

First Position

For the first position, form a V-shape with your feet by bringing your heels together to touch while keeping your toes away
from each other.

Second Position
For the second position, move one foot sideward. Your feet should be parallel to each other while maintaining a distance
of about 12 inches.
Third Position
For the third position, bring your foot’s heel to touch the arch of your other foot, with both feet turned outward.

Fourth Position
In the fourth position, put your foot forward while the other foot still retains its position. The distance between the two feet
should be about 12 inches.

Fifth Position
In the fifth position, bring the heel of the foot in front to touch the toe of the other. Both feet should still be pointing
outward.

CLASSIFICATION OF DANCES

1. CREATIVE DANCE - is a contemporary form of dance that combines movement and artistic expression, without
the need for specific training. Typically, creative dance focuses on the development of motor skills and
emotional expression, as opposed to the aesthetics-based focus of dance in more traditional structured
settings.
2. FOLK DANCE - A folk dance is a dance developed by people that reflect the life of the people of a certain
country or region.
3. ETHNIC DANCE - represents history, culture, and tradition of the people in the ethnic group.
4. SOCIAL DANCE - a non-competitive version of ballroom and latin dancing. It is comprised of all the same
dances, like Foxtrot, Tango, Swing, or Cha-Cha, but designed to be used in practical settings like wedding
receptions, nightclubs, business functions, or informal gatherings
4.1 LATIN - is a general label, and a term in partner dance competition jargon. It refers to types of ballroom
dance and folk dance that mainly originated in Latin America. The category of Latin dances in the
international dancesport competitions consists of the cha-cha-cha, rumba, samba, paso doble, and also
the jive of United States origin.
4.2 MODERN STANDARD – include Waltz, Foxtrot, Tango, Quickstep, and Viennese Waltz
5. BALLROOM - "Ballroom dance" refers to traditional partnered dance forms that are done by a couple, often in
the embrace of closed dance position ("ballroom dance position"). These include waltz, swing, tango, salsa and
blues. "
6. BALLET - Ballet is a theatrical dance that features highly formalized steps and movements. It uses body
movements, music, and stage scenery to speak emotions, a story, an atmosphere, or a theme.
 7. MODERN DANCE – a free, expressive style of dancing started in the early 20th century as a reaction to
classical ballet. In recent years it has included elements not usually associated with dance, such as speech and
film.
8. RECREATIONAL - Recreational dance refers to any form of dancing that is done primarily for its social,
educational or health benefits.

CLASSIFICATION OF MODERN DANCES

1. BROADWAY – This form of modern dance is what you commonly see in broadway musicals and shows on
televisions. This is composed of simple, yet energetic movements oftentimes based on the song that is being
sung by the artists.
2. JAZZ - a form of dance that combines both African and European dance styles. This high-energy dance has a
liveliness that sets it apart from traditional dance forms, such as classical ballet. 
3. CONTEMPORARY - requires the dancers to possess great physical strength, because the core muscles are
being used to sustain the movements. Contemporary dancers strive to connect the mind and the body through
fluid dance movements.
4. INTERPRETATIVE – comes with dramatic movements which are based on the lyrics and emotions of the music
being played. This requires some body flexibility to the dancers.
5. FREESTYLE - Freestyle dance, or dance improvisation, is the when you spontaneously make movement with
your body. This means you're not following choreography; just moving. Since freestyle dancing is about your
own original voice, there is no wrong way to do it.
6. HIP HOP/STREET DANCE - is a vibrant form of dance that combines a variety of freestyle movements to
create a cultural piece of art. Through its three main styles of popping, locking, and breaking.

LIST of some DANCE FACTS

 In ancient Greek mythology, nine muses were associated with each one of the arts. Terpischore was
the muse of dancing.
 Some pop singers create their own dances to fit their songs. For example, Michael Jackson created
the "moonwalk" for his hit "Thriller" in 1982
 The most popular ballet in the world is Tchaikovsky's The Nutcracker, which was first performed in
1892.
 Michael Flately of Riverdance holds the record for the world's highest-paid dancer, earning $1.8
million a week at his prime. His legs were insured for $44.7 million.
 In 1996, David Meenan set the record for the farthest dance when he tap-danced over 23 miles (37
km).
 The Greek word chora, meaning "source of joy," is related to the word choros, the Greek word for
"dance."
 In many religions, such as Buddhism and Hinduism, dance is a part of worship, and dancing figures
are often found in shrines and temples.
 In 1913, the German army and navy prohibited any personnel from dancing the tango.
 In ancient Greece, dance was seen as a gift from the gods. The main qualities of dance, such as order
and rhythm, were also qualities of the gods.
 The word "disco" is from the French discotheque, meaning "library of phonograph records."

Prepared by:
Ms. Ednalyn G. Salinas, LPT