PE102 FUNDAMENTALS OF RHYTHM AND DANCE Dance- refers to movement set to music where there emerges organization, structure

ere there emerges organization, structure and pattern. It is a

Intructor: Jarmi Diane M. Mandane composition that implies arrangement of parts into a form.

Rhythmic fundamentals Dancing - is a means of expressing one’s emotions through movement disciplined by rhythm. It is an act of
moving rhythmically and expressively to an accompaniment. The word dancing came from an old German
Rhythm- The regular recurrence of accented and unaccented beats. word “ danson” which means to “ stretch”. Essentially, all dancing is made up of stretching and relaxing

Elements of Rhythm: Elements of Dance

1. Body- is the instrument of dance.
1. Beat—the underlying pulse of a rhythm.
Parts of the Body: Head, eyes, torso, shoulders, fingers, legs, feet, etc
2. Tempo—rate of speed of a movement.
Patterns: upper/lower body, homologous, contralateral, midline
3. Intensity—variation of stress of movement.
4. Pitch—lowness or highness of a tone. Body shapes: Symmetrical/asymmetrical, rounded, twisted, angular, arabesque
5. Accent—emphasis on certain beats. Body systems: muscles, bones, organs, breath, balance, reflexes
6. Meter—the regular recurrence of beats which divides a musical design into measure. Inner self: senses, perceptions, emotions, thoughts, intention, imagination
7. Phrase—measures grouped together. 2. Action- is any human movement included in the act of dancing.
8. Bar—in music a vertical line across a staff dividing it into equal measures of time. A. Locomotor movements- Are those that move the body in space in any direction with the feet
9. Count—a pulse beat, a time limit.
as the moving base
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats. B. Non-Locomotor-Are those in which various parts of the body move in space with a fixed base.
12. Note pattern—refers to a note or set of notes with or without rest used for a certain dance The base may be standing, kneeling, sitting or lying.
step. Non-locomotor movements:
13. Step pattern—refers to the movement or movements done for each of the dance steps. 1. Flexion--- Bending or shortening of a body part occurring at a joint.
2. Extension—Turning, twisting or circling
Note Values 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.
3. Space- the area covered by the dance movements.
1. Size/Range: large small narrow wide
2. Level: High / medium / low
3. Place: on the spot (personal space), through the space (general space)
4. upstage/downstage, in place, travelling
Time Signature 5. Direction: forward/backward, sideways, diagonal, right/left, rotating
6. Pathway: Traveling, traced in air, curved, straight, angular, zig-zag, random etc.
7. Relationships: in front, beside, behind, over, under, alone, connected, near, far,
individual & group proximity to object.
 4. Time- the relationship of one movement or part of a movement to another. 1. Nature
1. Duration: Brief - - - - - - - - - Long 1. Occupational-depicting action of certain occupation, industry, or human labor.
2. Speed: Fast - - - - - - - - - - Slow 2. Religious or Ceremonial – performed in connection with religious vows and ceremonies.
3. Comic dances – depicting funny movements for entertainment.
3. Beat: Steady - - - - - - - - Uneven
4. Game dances – with play elements (dance mixers)
4. Tempo: Quick - - - - - - - - Slow 5. Wedding dances – performed during wedding feast.
5. Accent: Single - - - - - - - - - Multiple 6. Courtship dances – depicting love making.
On Beat - - - - - - - - Syncopated 7. Festival dances – suitable for special occasion or any social gathering.
Predictable- - - - - - Unpredictable 8. War dances: showing imaginary combat or duel.
5. Energy- Degree of muscular tension or use of energy/force while moving.
▪ Sharp - - - - - - - - Smooth FFive Major Classification of Philippine Folkdance
▪ Sudden - - - - - - -Sustained
▪ Strong - - - - - - - - -Gentle 1. Cordillera Dances-
▪ Heavy - - - - - - - - - - - Light 2. Spanish Influence Dances
▪ Tight - - - - - - - - - - - Loose 3. Muslim Dances
▪ Bound (Controlled)- - -Free 4. Tribal Dances
5. Rural Dances
Phases of The Dance Program

1. Creative Rhythms- Are sometimes called fundamental rhythms or natural dances. A creative rhythm FUNDAMENTAL DANCE POSITIONS
is an end product of exploration and improvisation of movements as children learn to move the parts 1st position
of their body and to use them as instruments of expression. Feet: Heels close together, toes apart with an angle of about 45 degrees.
2. Folk/ Ethnic dance- Is a cultural art form handed down from generation to generations. It Arms: Both arms raised in a circle in front of chest with the finger tips
communicates the customs, beliefs, rituals, and occupations of the people of a region or country. Folk
about an inch apart.
dancing belongs to the people. It emanates from them. Ethnic tribes have their specific tribal art nd
forms originated and danced by the people of the tribe. 2 position
3. Social and Ballroom Dance- The setting of the social and ballroom dance is a social gathering with the Feet: Feet apart sideward of about a pace distance.
more formal atmosphere than the simple and informal parties in which the recreational dances are Arms: Both raised sideward with a graceful curve at shoulder level.
the usual forms. Social and ballroom dancing are generally held in the evenings. The participants are 3rd position
usually in formal attire. Feet: Heel of one foot close to in-step of other foot.
4. Recreational Dance- Includes dance mixers, square dance round and couple dances. Many of these Arms: One arm raised in front as in 2nd position; other arm raised
dances have simple patterns and combinations of walking steps, polka step and the waltz step. The
upward.
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 4th position
of movements as the dancer or the choreographer expresses his feelings or emotions, ideas, and Feet: One foot in front of other foot of a pace distance.
interpretations. This is a dance with a definite form, a beginning and an ending. The principles of art Arms: One arm raised in front as in 1st position; other arm raised
form are all observed in the composition of the dance. overhead.
5th position
General Classification Philippine Folkdance
Feet: Heel of front foot close to big toe of rear foot.
A. Geographical extent of origin Arms: Both arms raised overhead.
1. National dances-found throughout the islands with little or no modification.
2. Local dances-found in a certain locality.
 23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight
COMMON DANCE TERMS 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.
1. Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or
25. Free foot –the foot not bearing the weight of the body
waist level.
2. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift that 26. Free hand– the hand not placed anywhere, or not doing anything.
foot from the floor to any direction. 27. Outside foot– the foot away from one’s partner, when partner stands side by side.
3. Crossed Arms – Partners facing each other or standing side by side join their left hands 28. Outside hand- the hand away from one’s partner, when partner stand side by side.
together and the right hands together; either right over left or left over right hands. 29. Inside foot- the foot nearer the partner, when partners stand side by side
4. Cut – To displace quickly one foot with the other. 30. Cabeceras- the couples occupying the width of the hall when dancers are in a square formation
5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to the (head couples)
right move backwards without turning around, pass each other left side to proper places.
31. Costados- - the couples occupying the lengthof the hall when dancers are in a square formation
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. (side pairs)
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. BASIC DANCE STEPS
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 2/4 time dance steps
direction. Dance Steps Step Pattern Counting
11. Leap – A spring from one foot landing on the other foot in any direction. 1. Bleking step heel-place, close 1,2
12. Place – To put foot in a certain position without putting weight on it.
2. Touch step point, close 1,2
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
3. Close step step, close 1,2
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 4. Hop step step, hop 1,2
or twice. This is an Ibanag term. 5. Cross step step, cross or cross, step 1,2
16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot close to 6. Change step step, close, step 1 and 2
the left foot. This is a Tagalog term. 9. Habanera step step, close, step 1, 2 and
17. Patay – To bend the head downward and to support the forehead with the R 10. Heel and toe
forearm or with the crook of the R elbow while the left hand supports lightly the Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
palm of the right hand. This is usually done with the left foot pointing in rear and 11. Shuffling step with both feet flat on floor, take tiny
knees slightly bent. This is an Ilocano term and the movement is commonly Slide steps 1 and 2 and
found in Ilocano dances. ¾ time dance steps
18. Salok – T o swing the arm downward-upward passing in front of the body as 1. Native waltz step, close, step 1, 2, 3
if scooping, the trunk is bent following the movement of the arm doing the salok. 2. Cross waltz cross-step, close, step 1, 2, 3
This is a Tagalog term. 3. Waltz balance step, close-heels raise, heels down 1, 2, 3
19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the neighbors 4. Mazurka step slide, cut, hop 1, 2, 3
with feet together. This is of Spanish origin and is used in almost all Philippine dances. 5. Redoba step slide, cut, cut 1, 2, 3
20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the hands 6. Sway balance w/
down in front of the R hand over the L. This is a Visayan term. A point step, cross-step, step point 12, 3/ 1, 23
21. Slide – To glide foot smoothly along the floor. The movement may be finished 7. Sway balance w/
with or without transfer of weight. A hop step, cross-step, step, hop 12, 3/ 1, 23
22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of weight. 8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
Dance Literature
Saguin Saguin (kunwari or hele-hele) is a courtship dance from Tablon, Oas, Albay. Tablon is a barrio of Oas
noted for Lumber.
One time, an owner of a lumber yard came to visit his property and gave a dance to his workers. The music
was played and a girl, a member of a family of one of the workers, was offered to him as a partner. The
owner liked her and after the dance he serenaded her. This dance, although spontaneously danced,
became very popular.
Costume: Girl wears Maria Clara costume. Boy wears Barong tagalog and black trousers.
Music: divided into three parts: A, B, C.
Count: one, two, three to a measure in ¾ time and one, two and in 2/4 time
Music A
Partners face each other.
(a) Turn R about to face away from partner, and waltz sideward R. Girl hold skirt and Boy places hands on
waist……………………………………………………………………………………………………………………………………………………….…1M
(b) Turn L about to face each other and waltz sideward L. Hands as in (a)………………………………………………...1M
(c) Take two sway balance steps with a waltz, R and L. Arms in 4th position, R and L high alternately……….4M
(d) Execute a waltz turn right (use two waltz steps) to partners place, passing by shoulders. Finish facing
each other. Hands as in (a)………………………………………………………………………………………………………………………..8M
Music B.
Partners face each other.
(a) Waltz Forward R. Girl holds skirt, Boy raises both arms in front at chest level as if pleading. Girl looks
shyly at Boy………………………………………………………………………………………………………………………………………………1M
(b) Waltz backward L, Girl still holding skirt, Boy places hands on waist……………………………………………………1M
(c) Execute a waltz turn R (use two waltz steps) to partner’s place, passing by R shoulders.
Hands as in (b)………………………………………………………………………………………………………………………………………….2M
(d) Repeat (a-c), finishing in proper places……………………………………………………………………………………………….4M
Face Front.
(e) Repeat (a) and (b)………………………………………………………………………………………………………………………………..2M
(f) Waltz turn R in place. Girl holds skirt, Boy’s hands on waist………………………………………………………………….2M
(g) Repeat € and (f). Finish facing partner………………………………………………………………………………………………….4M
Music C.
Partners face each other.
(a) Turn R about. Starting with the R foot, take four habanera steps forward moving away from partner. Girl
holds skirt, Boy places hands on waist………………………………………………………………………………………………………4M
(b) Take two habanera steps turning right about to face partner. Hands as in (a)……………………………………..2M
(c) Boy: Point R foot forward, raise both arms forward as in Figure II (a) (cts 1, 2, 1). Close R to L and place
hand on hips (ct. 2)…………………………………………………………………………………………………………………………………...2M
Girl: Feet together and turn head over R shoulder as if saying “No” hold skirt…………………………………………..2M
(d) Starting with R foot, partners take four habanera steps to meet at center. Boy’s hands on waist, Girl
holding skirt………………………………………………………………………………………………………………………………………………4M
(e) Join both hands with partner. Take two touch steps R and L (cts 1,2: 1, 2)………………………………………..…2M
(f) Three-step turn R to partner’s place passing R to R shoulders (cts. 1,2,1). Close L to R foot and drop hands
(ct. 2)…………………………………………………………………………………………………………………………………………………………2M
(g) Repeat all (a-f). Finish in proper places. This time, Girl nods head in (c) as if saying “YES”………………….16M
Music A.
Partners face each other.
(a) Repeat figure I (a) to (c)……………………………………………………………………………………………………………………….6M
(b) Waltz turn obliquely forward R to finish at center facing partner. Boy facing audience and Girl facing
away from audience. Hands in Figure I (a)………………………………………………………………………………………………..2M
(c) Repeat (a) and (b) finishing in partners place………………………………………………………………………………………8M
(d) Repeat (a) to (c) finishing in proper places…………………………………………………………………………………………16M
Music B.
Partners face each other.
(a) Step-brush-swing-hop forward with R foot (cts. 1, 2, 3). Kneel on R, half-stand on L, side by side with
partner by right shoulders. Boy hands hips, Girl holding skirt……………………………………………………………………2M
(b) Raise arms in fifth position and sway arms towards partner and away alternately four times. Partners
look at each other……………………………………………………………………………………………………………………………………..4M
(c) Step-brush-swing-hop forward with R foot to partner’s place (1M)……………………………………………………..2M
(d) Repeat (a) to (c) finishing in proper places and bow to each other on the last two counts…………………..8M
Jota Camarines
During the Spanish regime the Jota Camarines are among the popular dances in the Philippines. This gay
and lively dance are inspired from Spanish Jotas as performed by the early Spanish settlers in the
Philippines and eventually captured by the Filipinos interpreting their own way.
The dance describe below is from Daet, Camarines Norte. This is usually performed by the rich people.
Costume: Girl wears Maria Clara costume. Boy wears Barong tagalog and black trousers.
Music: ¾ Composed of three parts A and B
Count: one, two, three to a measure
Music Introduction.
Partners face each other
(a) Point R foot forward (ct 10) close R foot to left (ct 2) step L in place (ct 30. Girl holds skirt, Boy’s hand on
waist…………………………………………………………………………………………………………………………………………………………1M
(b) Repeat (a) five times more……………………………………………………………………………………………………………..……1M
(c) Step right foot sideward right (ct 1,2) point across R in rear (ct 3). Bow to partner…………………………..….2M
 (e) Repeat (d) three more times (L,R,L)………………………………………………………………………………………6M
I V
Music A. Music B.
Partners face each other. Partners perform the movement simultaneously.
Partners hold in close ballroom position.
Girl:
(a) Execute six redoba steps R and L alternately turning clockwise……………………………………………6M
(a) Face right take two waltz steps sideward R and arms in lateral position………………………………………………2M
(b) Release hold. Take three-steps turn outward to proper places (1M). Pause (1M). Girl holds
(b) Repeat (a) three more times making quarter turn right to finish facing partner………………………………….6M
(c) Repeat (a) and (b) starting L moving counter clockwise ………………………………………………………………………8M skirt, Boy’s hands on waist…………………………………………………………………………………………………………2M
Boy: (c) Join inside hands and repeat (a) facing audience. Free hands in second position…………………6M
(a) Step R foot across L in front (cts 1,2), step L close to R (ct 3) , hands on waist quarter turn right to face (d) Repeat (b)…………………………………………………………………………………………………………………………….2M
partner , point R foot forward, arms in Fourth position L arm High (cts 1,2,3)……………………………………….….2M VI
(b) Repeat (a) three more times moving clockwise around the girl to finish in proper place……………………..6M Music A.
(c) Repeat (a) and (b) starting L moving counterclockwise ………………………………………………………………………..8M (a) Repeat figure 1………………………………………………………………………………………………………………….16M
II VII
Music B.
Music B.
Partners face each other.
(a) Repeat figure II……………………………………………………………………………………………………………………16M
(a) take three sway balance steps with a raise (R,L,R), arms in open from first to second position to fourth
VIII
position, R and L arm high alternately ………………………………………………………………………………………………………6M
(b) Starting with L foot , three steps forward to partners place, passing L to L shoulder, arms in fourth (a) Repeat figure III………………………………………………………………………………………………………………….16M
position, R arm high (cts 1,2,3). Turn right about and point R foot forward, reverse arm position (cts, IX
1,2,3)……………………………………………………………………………………………………………………………………………………….2M Music B.
(c) Repeat 9a) and (b) to finish in proper places……………………………………………………………………………………….8M (a) Repeat figure IV…………………………………………………………………………………………………………………16M
III X
Music A. Music B.
Partners face each other. (a) Repeat figure V………………………………………………………………………………………………………………….16M
(a) Girl turn right about. Take four cross-waltz steps forward with Girl leading, Boy following behind. Arms
EXTRODUCTION
in Hayon-Hayon position…………………………………………………………………………………………………………………………..4M
Music Introduction
(b) Girl turns right about to face partner. Do-si-do. Take two cross-waltz steps forward passing by R
(a) Repeat Introduction……………………………………………………………………………………………………………..8M
shoulders (2M). Salok arms R and L alternately…………………………………………………………………………………………4M
(c) Repeat (a) and (b). This time, Boy leading Girl following behind………………….……………………………………...8M
IV
Music B.
Partners face each other. Join hands with partner in second position.
(a) two cross waltz steps sideward R and L…………………………………………………………………………………2M
(b) Two waltz steps forward-clockwise to change places, swing arms inward-upward to
downward-sideward………………………………………………………………………………………………………………….2M
(c) Repeat (a) and (b). Finish in proper places…………………….……………………………………………………..4M
(d) Release hold. Take one mazurka step to the right (1M). Three-step turn right in place (1M). Girl
holds skirt, Boy’s hands on waist………………………………………………………………………………………………..2M