Classifications of Philippine Folk Dance

Most provinces in the Philippnes have their own identifying folk

dances wherein they showcase the elegance and beauty of the way
they do things, the way they dress, the way they see things as shown
in different paintings, as they have been influenced by various
events as that happened in history. There are five types of folk dances
in the Philippines. Namely: Maria Clara Dance, Cordillera
Dance, Muslim Dance, Rural Dance, and Tribal Dance.

Dance Origin Description Example

Type
Sort
Sort Sort Sort

Maria Luzon and named after the chief female character of Jose Rizal's Noli La Jota, Paseo de Iloilo
Clara Visayas Me Tangere; Spanish influenced "Filipinized" by the use of
Dance bamboo castanets and abanico
Rural Luzon dances illustrate the fiesta spirit and love of life; best known Binasuan, Tinikling
Dance type of Filipino dance. dance attire: girls - colorful balintawak
and patadyong skirts, boys: camisa de chino and colored
trousers.
Muslim Southern characterized by vivid colors and rhythmic movements which Singkil, Vinta
Dance Mindanao reflect the influence of Arabian and Indo-Malaysian cultures.
Tribal Mindanao tribal dances performed essential "for the gods" ceremonial Udol, Mandaya
Dance and ritual type dances.
Rural Northern dances to celebrate victories, festivals, religious rituals, Uya-uy
Dance Luzon thanksgiving, etc; musical instruments include nose flute,
bamboo guitar, drums, gongs and wooden sticks.

Folk Dance – are traditional dances of a country which were evolved naturally and
spontaneously in connection with everyday activities and experiences of the people who
developed them. Is the heartbeat of the people, are traditional social expressions of the ideas,
mores, feelings, and thoughts of a people or group of people through body movement

Values of Dancing
 Physiological or neuromuscular development of the organic systems of the body
 Cultural – depicts the culture of people
 Social and recreational

Types of Folk Dances

 National – traditional dances of a given country
 Regional – local
 Character – created by individual or group

Objectives
 To foster patriotism and nationalism through the study of our dance
 To arouse better appreciation of the Phillipine music and folk dances
 To provide through dancing, a healthful for of relaxation and recreation
 To develop a graceful and rhythmic ccordination of body movements that will improve
posture
 To preserve posterity, folk dances and music indigenous to the different regions iin the
Philippines
 To demonstrate the growth of Filipino culture through the evolution of the Philippine
Dances

Characteristics
 Dancers stand apart
 Little bodily contact
 Done by pairs or couples
  Hand movements are important
 Long formation
 Begins and ends with saludo
 Dances from the lowlands have more foreign elements than those found in the uplands
 War dances are found among non-Christian tribes

Classification
 Geographical extent of origin
o National Dances – found throughout the islands with little or no modification.
Rigodon, Carinosa, Jota, Balitaw, Pandanggo
 Local Dances – found in a certain locality. Tinikling – leyte, Maglalatik – Binyang,
Espernza – Nabua, Subli – Batangas, Biniganbigat – Abra

Nature
 Occupational – depicting action of a certain occupation, industry or human labor.
Planting, Harvesting, Pounding, Wnnowing, Pabirik, Mananguete
 Religious or Ceremonial – performed in connection with religious vows and ceremonies.
Dugsu, Sua- sua, Putong, Sta. Clarang pinong-pino
 Comic Dances – Depicting funny movements for entertainment. Kimbo-Kimbo,
Makonggo, Konoton
 Game Dances – with play elements, Lubi- lubi, Pavo
 Wedding dances – performed during wedding feast, Panasahan
 Courtship dances – depicting love-making. Hele-hele, bago quiere, Maramion, Tadek,
Daling-daling
 Festival Dances – suitable for special occasion or any social gathering. Pandango,
Habanera, Jota, Surtido
 War dances – showing imaginary combat or duel. Sagayan, Palu-palo

Movements
 Active – with fast energetic movements. Tinikling, Maglalatik, Sakuting, Polkabal
 Moderate – Carinosa, Tagala, Habanera, Purpuri
 Slow – Pasakat, Amorosa, Tiliday, Kundiman
 Slow and Fast – Putritos, Ba-Ingles, habanera Botolena, Alcamfor

Formation
 Square or Quadrille, Rigodon, Los Bailes de Ayer
 Long Formation – Lukay, Sakuting
 Set – consisting of two or more pairs as a unit, partners facing each other or standing
side by side., Binadyong, Haplik, Kakawati

Special Classification – group dances having special distinctive features.

 Dances with Songs – Abaruray, manang biday, Lulay, Rogelia, Lawiswis Kawayan,
 Old Ballroom Dances – Polka, Mazurka, Chotis, Valse
 Dances with Implements – Maglalatik, Sakuting, Jota Mocadefla, Tinikling, Salakot
 Dances of Combined Rhythm – Surtido, Pantomina, Los Bailes de Ayer

Factors affecting Folk Dances

 Geographical Location
 Economic Conditions
 Climatic Conditions
 Customs and Traditions

Do’s
 Dance in a natural and simple and direct manner
 Dance with ease, and smoothness
 Use the proper costumes for the dance
 Follow directions and dance instructions as closely as possible
 Dance with feeling and expression

Don’t’s
 Do not exaggerate the dance steps.
 Do not make the dance too dainty and graceful like ballet
  Don’t make entrance and exit long
 Don’t make steps too elaborate and complicated
 Don’t call a dance a folk dance unless steps come from traditional dances

Common Dance Terms

 Arms in lateral position
 Brush
 Cabeceras
 Clockwise
 Counterclockwise
 Costados
 Crossed arms
 Cut
 Dosido
 Free foot
 Free hand
 Hayon-hayon
 Hop
 Inside foot
 Jaleo
 A spring on one foot or both feet
landing in any direction
 Kumintang
 Leap
 Outside foot
 Outside hand
 Place
 Pivot
 Point
 Salok
 Saludo
 Sarok
 Set
 Slide
 Stamp
 Step
 Supporting foot
 Tap
 Whirl
 4

BACUI STEP taking the weight of the body.

Music: ¾ time. Counts 1, 2, 3.
Music: ¾ time. Counts 1, 2, 3.
(3) Place the R (L) heel in fourth in front (cts. 1,
This step is found mostly in the Visayan 2), step
dances. To right R (L) close to L (R) foot in first position (ct. 3).
(4 measures).
("Sarok") Point R foot across the L in front, CHANGE STEP, TWO-STEP OR CATCH STEP.
bend body
forward and cross hands down in front with the right Music: 2/4 time. Counts 1, 2, or 1 and 2
hand over the
left hand (cts. 1, 2), step R foot in second position, raise Step R (L) foot forward (fourth in front) (ct. 1),
trunk step
up and raise R arm to fifth position amplified, left hand L (R) close to R (L) foot in third in rear or in first position
on waist (ct. and), step R (L) foot quickly in fourth in front (ct. 2).
(ct. 3). Step the L foot across the R in rear, close the R This may be executed in any direction.
arm to
fifth position (cts. 1, 2), step R in second position and CLOSE STEP
open R arm
to fifth position amplified (ct. 3). Step L foot sideward Music: 2/4 time. Counts 1, 2.
right across
the R in front, close R arm to fifth position (cts. 1, 2), (1) Step R (L) foot in fourth in front (ct. 1), close
step R in L (R) to R (L) foot in third in rear or in first
second position and open R arm to fifth position position (ct. 2). This may be executed in any
amplified (ct. 3). direction.
Step L close R foot in first position, close R arm to fifth Music: ¾ time. Counts 1, 2, 3.
position
(cts. 1, 2, 3). The left hand remains on waist for three (2) Step R (L) foot in fourth in front (cts, 1, 2),
measures. close
L (R) to R (L) foot third in rear or in first
To left. (4 measures) position
Repeat the same movements, starting with the (ct. 3). This may be executed in any
L foot, going direction.
sideward left. Reverse the position of the arms. (3) Step R (L) foot in fourth in front (ct. 1), close
Note: This step may be done also this way: L (R)
After the "sarok" to R (L) foot third in rear or in first position
and step sideward (cts. 1, 2, 3), the L foot may step (cts. 2,
across the R 3). This may be executed in any direction.
right in front instead of in rear on counts 1, 2. The rest
of the Note: When this step is executed sideward, the
movements are the same. same foot is
leading always.
BLEKING STEP

Music: 2/4 time. Counts 1,2. CROSS STEP

(1) Place the R (or L) heel in fourth in front (ct.
1), step Music: ¾ time. Counts 1, 2, 3.
R (L) close to L (R) foot in first position (ct. 2),
or Step R (L) foot in second position (ct. 1), step
(2) Place the R (L) heel in fourth in front (ct. 1), or slide L
with a (R) foot sideward right (left) across the R (L) in front
jump, reverse the position of the feet (ct. 2), (cts. 2, 3).
that is, Put the weight on the L (R) foot at the end of the slide
placing the L (R) heel in front and the R (L) in on the third
position count.
 5

second position (ct. 1), step L close to R foot

CROSS WALTZ (ct. 2),
step R in place (ct. 3) (waltz step in place).
Music: ¾ time. Counts 1, 2, 3. Arms in third
position, right arm high.
Step R (L) foot across the L (R) in front (ct. 1), To Left: Start with the L foot, reverse the arm
step the positions.
L (R) in third position in rear of R (L) foot (ct. 2), step R Note: This is another way of holding the arms: raise
(L) foot right (left)
in fourth in front (ct. 3). Step on the ball of the rear foot arm high in fifth position amplified and the left
on the (right) bent
second count. in front at shoulder-level.

CUT STEP "ESPUNTI" STEP

Music: 2/4 time. Counts 1, 2. Music: ¾ time. Counts 1, 2, 3.

Raise R (L) foot in fourth in front in This step is found mostly in the Visayan
preparation. Cut the dances.
L (R) backward with the R (L) foot, thus displacing it at (1) To Left: Starting position - feet in first
the same position. Turn
time taking the weight of the body (ct. 1). This may be the left heel to sideward left without lifting
done forward the toes
and backward, diagonally forward and backward, and (pivoting or pushing on the ball of the L foot)
sideward right and and point
left. Take one cut for every count. R foot sideward right (ct.1), lift the toe of the
L foot
"ENGAÑO" and turn it sideward left (pivoting or pushing
on the heel
Music: ¾ time. Counts 1, 2, 3. of the L foot) at the same time bringing the
R foot to
This step is found mostly in the Bicolano pointing in fourth in front (cts. 2, 3). Repeat
dances. It is similar as many
to the sway-balance step. times as desired.
(2) To right: Repeat (1) starting with the other
(1)"ENGAÑO"WITH A CLOSE (2 measures.) foot moving
To right: Step R foot in second position (cts. 1, to sideward right. Pivot on the R foot and
2), step point with the
L across the R foot in front (ct. 3). Step R (L) L foot.
foot in
second position (ct.1), close L to R foot in first Note: This may be done either moving right or left.
position
(cts. 2, 3). Do not put weight on the L foot This step may be done also in the following
when closing on manner: The first
counts 2, 3. Arms in third position, right arm movement, that is, the pointing of the R foot
high. sideward is done in
To left: Start with the L foot, reverse the arm two counts instead of one (cts. 1, 2), and the pointing
positions. in front
in one count instead of two described above (ct. 3).
(2)"ENGAÑO"WITH A WALTZ
To right: Step R foot in second position (cts. 1, GALOP STEP
2), step
L across the R (L), foot in front (ct. 3). Step R Music: 2/4 time. Counts 1, ah, 2, ah.
foot in
 6

Step R (L) foot in fourth in front (ct. 1) and cut sideward with the L (R) foot (ct. 2), hop on the L (R) foot
the R (L) and beat R (L) in rear or in front the R (L) foot close to
foot with L (R) thus displacing it and at the same time the ankle of the L (R) foot (ct. 3). This step may be
taking the executed
weight of the body with the L (R) foot (ct. ah). There forward or going around also.
are two galops
to one measure. This is executed with one foot leading Note: It is most important that the cut be
and may be done finished
in any direction. with an absolutely straight knee in order that the final
action
GLIDE OR SLIDE STEP may bring out the bended knee position.

Music: 2/4 time. Counts 1, 2. MINCING STEP

(1) Glide or slide R (L) foot in second position
(ct. 1),
close L (R) to R (L) foot in first position (ct.2).
This
may be done in any direction.
Music: ¾ time. Counts 1, 2, 3.
(2) Glide or slide R (L) foot in fourth in front
(cts. 1, 2),
close L (R) to R (L) foot in third position in
rear (ct. 3).
This may be done in any direction.
Music: 2/4 or ¾ time. Counts 1, 2 in 2/4 time.
Music: ¾ time. Counts 1, 2, 3.
Starting position: R (L) foot in fifth position in
front, heels slightly raised or with the leading foot flat
on the floor. Execute tiny steps sideward right (left) as
many times as necessary. In ¾ time take one step for
every
count. In 2/4 time it maybe 2 steps for every count.
In non-Christian dances the mincing step is
usually
done with both feet flat on the floor or the heel of rear
foot with slightly raised.

HOP-STEP "PAPURI" STEP

Music: 2/4 time. Counts 1, 2. Music: ¾ time. Counts 1, 2, 3.

(1) This is done in the manner as the step-hop To right: (4 measures).

in
the reverse order, that is, the hop is done on (1) Step R foot in second position (cts. 1, 2),
the first count and step on the second. step
To left. (4 measures) the L sideward right across the R in front (ct.
Music: ¾ time. Counts 1, 2, 3. 3).
Point R foot sideward left across the L in
(2) Hop in count 1, step on counts 2, 3. front
(cts. 1, 2, 3) (2 M.).
KURADANG STEP
(2) Repeat (1) once more putting the weight of
Music: ¾ time. Counts 1, 2, 3 to a measure (2 M.). the
Change step obliquely forward R (L) (cts. 1 and body on the R foot on the last three counts
2), (2 M.).
step L (R) across the R (L) in front (ct. 3); change step
obliquely backward R (L) (cts. 1 and 2), point L (R) in To left: (4 measures).
front (ct. 3).
Repeat (1) and (2) starting with the L foot.
MAZURKA STEP
PASO ESPAÑOL
Music: ¾ mazurka time. Counts 1, 2, 3.
Music: ¾ time. Counts 1, 2, 3 (4 measures).
Glide R (L) foot in second (ct. 1), cut R (L)
 7

Take one waltz-balance forward right (left) plain polka forward starting with the L (R) foot (cts. 1,
(cts. 1, 2, 3). and,
2, and). This may be executed in any direction.
Take one waltz-balance backward left (right)
(cts. 1, 2, 3). (4) HEEL AND TOE POLKA.
Music: 2/4 time. Counts 1, and, 2, and, 1, and,
Step-brush-swing hop forward with the R (L) 2, and
foot (cts. 1, 2, (2 measures).
3), and with the L (R) (cts. 1, 2, 3).
Place the L (R) heel in fourth in front (ct. 1,
and),
POLKA STEP SERIES touch the L (R) toe in fourth in front in rear (ct. 2, and).
This may be executed forward and backward only.
(1) PLAIN POLKA.
Music: 2/4 time. Counts 1, and, 2, and (1
measure). SCHOTTISCHE (NATIVE CHOTIS)

Step L (R) foot in fourth in front (ct. 1), step R Music 4/4 time. Counts 1, 2, 3, 4.
(L)
close to L (R) foot in third in rear (ct. and), step L (R) in Brush or slide R (L) obliquely forward or
fourth in front (ct. 2), pause (ct. and). Bend the body to sideward
the (ct. 1), raise R (L) in fifth in front or rear (ct. 2), brush
same direction of the step. This may be executed in any or slide R (L) again as in count 1 (ct. 3), raise up as in
direction. count 2 (ct. 4). Take three steps in place turning right
(left)
(2) HOP POLKA. about (cts. 1, 2, 3), pause (ct. 4).
Music: ¾ time. Counts 1, and, 2, and.
The turn may be a complete or half turn
It is a plain polka preceded by a hop before the around either
first to right or left.
count of the music. The hop may be designated in the
music by SLIDE STEP
either a dotted or a grace note. Execute the step in the
same The same as Glide Step.
manner as the plain polka.
SKIP STEP
Hop on L (R) foot, and step or slide R (L)
forward Music: 2/4 time. Counts 1, 2.
(ct. 1), close L (R) in third in rear (ct. and), and step R
(L) The movements are the same as in step-hop.
foot forward (ct. 2) and pause (ct. and). This may be The only
executed in difference is that it is done in one count only, so that
any direction. there
are two skip steps in a measure of 2/4 time. This is
(3) GLIDE OR SLIDE POLKA. executed
Music: 2/4 time. Counts 1, and, 2, and, 1, and, in any direction.
2, and
(2 measures).
SPANISH DRAW
Take two glides forward and a plain polka. Music: ¾ time. Counts 1, 2, 3.
Slide L (R)
foot in fourth in front (ct. 1), close R (L) to L (R) foot in Step R (L) foot in second or in fourth in rear (ct.
third in rear (ct. and), glide R (L) foot in fourth in front 1),
(ct.2) close R (L) foot in third in rear (ct. and). Take one draw or glide the L (R) foot slowly to R (L) in third in
rear
 8

raising up the heels (ct. 2), and lower heels (ct. 3). Music: ¾ time. Counts 1, 2, 3.

STEP-BRUSH-SWING-HOP Step R (L) foot in fourth in front (ct. 1), raise the
L (R)
Music: ¾ time. Counts 1, 2, 3. knee in front (ct. 2), hop on R (L) foot swing the L foot
outward at
Step R (L) foot in fourth in front (ct. 1), brush L the same time (ct. 3). This may be executed in any
(R) direction.
foot against the floor and raise it across the R (L) in
front SWING-BALANCE SERIES:
(ct. 2), hop on the R (L) (ct. 3). This may be executed in
any A.(1) SWAY BALANCE WITH A POINT (2 M.).
direction.
To Right:
STEP-HOP (a) Step R foot obliquely forward right (cts. 1,
2), step L
Music: 2/4 time. Counts 1, 2. across the R foot in front (ct. and), step R
obliquely
(1) Step L (R) foot in fourth in front (ct. 2), hop backward (ct. 3).
on (b) Point L foot in fourth position in front (cts.
the same foot and raise the R (L) foot in front 1, 2, 3).
or Hold arms in fourth position, R arm high.
in rear (ct. 2). This may be executed in any Execute a
direction. "Kumintang" with the right and left hands
Music: ¾ time. Counts 1, 2, 3. while pointing
with the L foot on counts 1, 2, 3.
(2) Step L (R) foot in fourth in front (cts, 1, 2),
hop on To Left:
the same foot, and raise the R (L) foot in Start with the L foot and reverse the arm
front or in positions.
rear (ct. 3). This may be executed in any
direction. (2) SWAY BALANCE WITH A BRUSH (2 M.).

STEP-SWING To right:
(a) Repeat the same movements as in (a)
Music: 2/4 time. Counts 1, 2. above (cts. 1, 2, and,
3).
(1) Step R (L) foot in second position (ct. 1), (b) Brush L foot forward on the floor (ct. 1), let
raise and the L foot
swing the L (R) foot in fourth in front or remain raised for counts 2, 3 (cts. 2, 3). Arms
across the as above.
R (L) in front (ct. 2). The toes of the raised
foot To Left:
are pointed downward and the knee is Start with the L foot and reverse the arm
straight or slightly positions.
bent. This is done in any direction.
Music: ¾ time. Counts 1, 2, 3. (3) SWAY BALANCE WITH A HOP (2 M.).

(2) The movements are the same as above, but To Right:

take two (a) Repeat the same movements as in (a)
counts for stepping and one count for above (cts. 1, 2, and,
raising. 3).
(b) Raise the L foot across the R in front (cts. 1,
STEP-SWING-HOP 2), hop on
the R foot (ct. 3). Arms as above.
 9

for small children and beginners to perform.

To Left:
Start with the L foot and reverse the arm B.(1) SWAY BALANCE WITH A POINT (2 M.)
positions.
To Right:
(4)SWAY BALANCE WITH A RAISE (2 M.). (a) Step R foot obliquely forward right (cts. 1,
2), step L
To Right: across the R foot in front (ct. 3).
(a) Repeat the same movements as in (a) (b) Step R obliquely backward (ct. 1), point L in
above (cts. 1, 2, and, fourth in
3). front (cts. 2, 3). Execute a "kumintang" with
(b) Raise the L knee in front with toes pointed the right
downward. The and left hands while pointing with the L foot
body is slightly bent forward (ct. 1), and raise on counts
gradually 1, 2, 3 of the second measure.
upward to erect position (cts. 2, 3). The left
arm is bent To Left:
forward and is made to follow the Start with the L foot and reverse the arm
movement of the body. The positions.
R arm is bent forward in level with the
shoulder. (2) SWAY BALANCE WITH A BRUSH (2 M.).

To Left: To Right:
Start with the L foot and reverse the arm (a) Repeat the same movements as in B (a)
positions. above (cts. 1, 2,
3).
Note: The Ilocano way has the body straight (b) Step R obliquely backward (ct. 1), brush L
and the "kumintang" foot forward
is done quicker on the last count only. (cts. 2, 3). Arms as above.

(5)DOUBLE SWAY-BALANCE STEPSfont (3) SWAY BALANCE WITH A HOP (2 M.).

face="Verdana">
To Right:
To Right: (a) Repeat the same movements as in B (a)
(a) Repeat the same movements as in sway above (cts. 1, 2,
balance with a point 3).
(a) and (b). Arms as above (2 M.). (b) Step R obliquely backward (ct. 1), raise the
(b) Step L sideward across the R foot in front L foot
(cts. 1, 2), across the R in front (ct. 2), hop on the R foot
step R sideward in second position (ct. 3) (1 (ct. 3). Arms as above.
M.).
(c) Point L foot in fourth in front (cts. 1, 2, 3) (1 (4) SWAY BALANCE WITH A RAISE (2 M.).
M.).
Girls holding their skirts, boys' hands at waist To Right:
for the (a) Repeat the same movements as in B (a)
last two measures (b and c). above (cts. 1, 2,
3). (b) Step R obliquely backward (ct. 1),
To Left: raise the L knee in
Start with the L foot and reverse the arm front with toes pointed downward (cts. 2, 3).
positions. The body
and arm movements are the same as above.
The sway-balance series may also be done in
the following (5) DOUBLE SWAY-BALANCE STEPS (4 M.).
manner. This was found fitted to some Filipino folk
music and easier To Right:
 10

(a) Repeat the same movements as in B (a) (b) Repeat (a) three times more making a
above (cts. 1, 2, quarter turn every
3, 1, 2, 3). measure (3 M.). The turn is complete after
(b) Repeat the same movements as in A (b) and the fourth step.
(c).
To Left:
To Left: Repeat all, starting with the L foot and turning
Start with the L foot and reverse the arm around in
positions. place to the left.

TOUCH STEP 2. CHANGE-STEP-TURN

Music: 2/4 time. Counts 1, 2. Music: 2/4 time. Counts 1, and, 2, or 1, 2.

(1) Point R (L) foot in fourth in front (ct. 1), step
R change steps
(L) close L (R) in first position (ct. 2). This may
be done in all positions.
(2) This may be taken in this manner also. Point
R (L)
foot in fourth in front (ct. 1), with a jump
reverse
the position of the feet, that is, pointing the
L (R)
in front and the R (L) in position taking the
weight
of the body. This is taking one count for
every change
of position of the feet.
Music: ¾ time. Counts 1, 2, 3.
(3) Point R (L) foot in fourth in front (ct. 1), step
R Step R (L) foot in second position (ct. 1), cross
(L) close to L (R) in first position (cts. 2, 3).
(4) This may be done also by giving two counts
in pointing
and one for closing the feet together.
TURNS
(a) If a moderate turn is desired, execute two
(R, L or L, R) around in place, clockwise (to R)
or counter
clockwise (to L) (2 M.).
(b) If a fast turn is desired, execute only one
change step to
make a complete turn either to left or right
(1 M.).
(c) If a slow turn is desired, execute four
change steps around
in place, either to right or left (4 M.).
3. CROSS-STEP-TURN OR PIROUETTE
Music: ¾ time. Counts 1, 2, 3.
the L (R) in
front of the R (L), rise on toes of both feet and make a
complete turn
on the balls of the feet (ct. 2), lower heels and finish
the turn with
the R (L) foot in fifth position in front. Pause (cts. 1, 2,
3).

1. BRUSH-STEP-TURN 4. CROSS-TURN

Music: ¾ time. Counts 1, 2, 3. Music: ¾ time. Counts 1, 2, 3.

Cross L (R) foot in front of R (L) (ct. 1), turn (or
To Right: pivot)
(a) Step R foot in second position in making a right (left) on the balls of the feet (ct. 2), lower heels
quarter turn down (ct. 3).
at the same time (ct. 1), brush L forward (ct. Pause (cts. 1, 2, 3). Bend the knees slightly and swing
2), step the left (right)
L close to the R foot in first position (ct. 3) (1 arm from second position and bend the body slightly
M.). to the left on count
1, swing the arm across the body in front to help
proper balancing when
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turning on count 2, finish the turn with the body pointing in front and two counts for
straight and feet pointing close to the
together on count 3. The other hand may be on waist other foot.
or holding the skirt
or "barong tagalog". The turn can be done also in eight points for
eight measures.
5. PIVOT-TURN
7. PIVOT-TURN WITN "SAROK" AND POINT
Music: 2/4 time. Counts 1, and, 2, and.
Music: ¾ time. Counts 1, 2, 3.
To Right: (2 M.).
(a) Step R foot in fourth in front (or a little close "Sarok" with R (L) foot across L (R) in front (cts.
to fifth 1, 2), point
position) and bend the knee slightly (ct. 1), R (L) foot close to L (R) in first position (ct. 3). Proceed
execute a as in pivot
quarter-turn right with a push on the ball of turn above (3 M.). This may be done also in eight
the L foot measures.
(heel of the L foot is raised), and raise the R
foot slightly 8. SLIDE-TURN OR "PIANG-PIANG"
from the floor (ct. and). Repeat all once
more (ct. 2, and). Music: ¾ time. Counts 1, 2, 3.

(b) Repeat all (a) (cts. 1, and, 2, and). Finish at To Right: (4 M.).
the starting (a) Step R foot in second position making a
position. quarter turn at the
same time (ct. 1), slide the L foot forward (ct. 2), and
To Left: (2 M.). slide it
Repeat (a) and (b) with the L foot in front continuously close to the R in first position putting
making four quarter- weight of the body
turns to left always on the ball of the R foot. on it at the end of the slide (ct. 3) (1 M.).

6. PIVOT-TURN WITH A POINT (b) Repeat (a) three times more, making a
quarter turn every
Music: ¾ time. Counts 1, 2, 3. measure (3 M.). Use the ball or the toes only of the
sliding foot.
To right or clockwise: (4 M.).
Weight of the body on the L foot. Point R foot To Left: (4 M.).
obliquely forward Repeat he same as above, starting with the L
(cts. 1, 2), point R close to L foot in first position (ct. 3). foot and turning
Pivot on around in place to the left.
the L foot (heel) making a quarter turn right and at the
same time pointing 9. THREE-STEP TURN
R foot obliquely right forward (cts. 1, 2), point R close
to L foot in Music: ¾ time. Counts 1, 2, 3.
first position (ct. 3). Repeat twice more until a full turn
is made. Finish Step L (R) foot to second position (ct. 1), turn
facing to the front. left (right)
about and step R (L) to second (ct. 2), step backward
To left or counterclockwise: (4 M.). across to the
Repeat the same movements pointing with the right with the L (R) foot, and complete turn to face
L foot and pivoting front (ct. 3).
with the R.
In teaching this to beginners have a point in
Note: This step can be done in this manner - fourth or in
take one count for
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intermediate in front after executing the last turn (cts. Step R foot in fourth in front (ct. 1), slide R (L)
1, 2, 3). foot
Do it with R and L foot pointing in front alternately. diagonally forward right (passing trough first position)
(ct. 2),
10. THREE-STEP TURN IN PLACE step L (R) in third in rear of R (L) foot (ct. 3). This may
be
Do all the above steps with the feet as close executed in all directions. The execution must be
together as smoothly
possible (in first position) (cts. 1, 2, 3). Finish with a done.
bow and
the feet are together. WALTZ (NATIVE)

11. WALTZ-TURN Music: ¾ time. Counts 1, 2, 3.

Music: ¾ time. Counts 1, 2, 3. Step L (R) foot in fourth in front (ct. 1), step R
(L)
(1) If a moderate turn is desired, take two waltz close to L (R) in first in third position in rear (ct. 2), step
steps L (R) in fourth in front (ct. 3).
turning around either right or left in place.
This may be executed in all directions. This is
(2) If a slow turn is desired, take four waltz done
steps to like a change step in ¾ time.
make a complete turn. Start with the R foot
when turning
right or clockwise and with the L foot in the
reverse
direction.

(3) If a fast turn is desired, take one waltz step

to right
or left to make a complete turn.

WALTZ-BALANCE

Music: ¾ time. Counts 1, 2, 3.

Step R (L) in fourth or in intermediate in front

(ct. 1),
close L (R) foot to R (L) in first or third position in rear
and
raise heels (ct. 2), lower heels with the weight of the
body on
the R (L) foot. The knees are slightly bent before raising
the
heels. The body gently swayed in the opposite
direction of the
step. This may be executed forward, backward,
obliquely forward
and backward, sideward right and left.

WALTZ (BALLROOM)

Music: ¾ time. Counts 1, 2, 3.