Lecture in P.E.

002 Rhythmic Activities

DR. JENNIFER G. DELA CRUZ

What is Rhythmic Activities are:

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 – the number above denotes the number of
beats in a measure and the number below denotes the kind
of note that receives one beat.
Ex.

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.
 Folk dance may be defined as the traditional dance of a
given country which evolved naturally and spontaneously
with every day activities, e.g. occupations, customs,
festivals, rituals and innumerable themes common to all
people everywhere. Genuine folk dances are handed
down form generation and are danced by everyday folk of
all ages. They are more or less fixed in their pattern, but
may differ in various areas of provinces.

THE PHILIPPINE FOLK DANCES ARE CLASSIFIED

ACCORDING TO:

1. Geographical Locations

National Dances- traditional dances throughout the

Philippines with a common basic movement or pattern but
with slight variations.
Example:
Carinosa Kuratsa Balitaw
Rigodon Pandango Surtido
 Local or Regional Dances- dances found in certain
localities or regions only.
Example:
Alcamfor(Leyte)

2. Nature of Dances

Occupational Dances- dances that depict actions,

characteristics, occupations, industries, and phases of
human labor.
Example:
Rice Festival-the largest number of dances

Pagtatanim Paggapas Paggiik

Paglulugas Paghangin Pagbabayo

Pabirik- depicts the different stages of gold panning.

Mananguete- tuba gatherer

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 a
favor to have a child, give thanks for having recovered from
sickness, favors granted and vows fulfilled.
Examples:
Obando Dugso Sinurog

Courtship Dances- dances that depict love-making or the

love theme.
Examples:
Rogelia Lulay Hele-Hele Bago Quiere

Wedding Dances- performed by newly weds, by friends and

relatives of the bride and groom, or by the father of thye
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)

Festival Dnaces- performed in connection with the

celebrations, a feast, a barrio fiesta, good harvest and good
fortune.
Examples:
Kuratsa La Jota Putong

War Dances- intended to show imaginary combat or duel

with the use of fighting implement like bolo, kris or spear.
Examples:
Inabaknon Sagayan

Comic Dances- dances with funny and humorous

movements mainly inended for entertainment.
Examples:
Makonggo (movement of a monkey)
Kinoton (movement of person bitten by ants)

Game Dances- dances that have some play elements and

are for recreational purposes.
Examples:
Lubi-Lubi Gayong-Gayong Pabo

Social Dances- dances performed during social gathering.

Example:
Rigodon Lanceros
 Musical Notes and Rest Values:
At the beginning of a composition there is a time signature
which designates the rhythm of the composition. Some examples
of the most commonly used time signatures are and .The
upper number tells the number of beats in each measure
and the lower number tells what kind of note receives a beat.

Example in ,there are three beats in a measures and a quarter

note receives a beat.
The relationship of different note values to the whole note follows:
Whole note---------------------
Half note------------------------
Quarter note-------------------
Eighth note---------------------
Sixteenth note-----------------
A dot after a note receives half of the value of a note. A half note
receives two beats. A dotted half note receives three beats. In
music, there is a symbol called “rest” which indicates silence in
music and pause in dancing. For each kind of note, there is a
corresponding rest.
Whole rest---------------------
Half rest ------------------------
Quarter rest ------------------
Eighth rest ---------------------
Sixteenth rest -----------------

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 notation which give the
exact duration values of the rhythmic patterns.
 NOTE AND REST VALUES

Whole 4 beats

Half 2 beats

Quarter 1 beat

Eighth 2 to 1 beat

Sixteenth 4 to one beat

Note Value Counts

-1
-1, and

-1, ah
 -1, ah, and ah

-1, 2, 3, 4
-1, 2

COUNTING AND EQUIVALENT NOTE

OF RHYTHMIC PATTERN
Counts
1-2 - time, one measure - or
…..
1, ah, 2, ah or 1, 2, 3, 4, 5, 6, time, one measure (used in cut
and rocking steps)
1, and, 2 - time, one measure -
1, 2, and - time, one measure -
1, and, 2, and - time, one measure -
1, ah, 2 - time, one measure -
1, 2, ah - time, one measure -
1, ah, 2, ah - time, one measure - or
time, one measure -
(used in skip and gallop
steps) -
1, 2, 3 - time, one measure - or
time, one measure -
1, and, 2, 3 - time, one measure -
1, and, 2, and 3 - time, one measure -
1, and, 2, and 3, and - time, one measure -
1, 2, and, 3 - time, one measure -
1, 2, and, 3, and - time, one measure - or
1, 2, 3, and - time, one measure -
- time, two measure -
1,2,3,4,5,6 - time, two measure - or
- time, one measure (in tap dancing) -
1,2,3,4,5,6,7,8, - time, four measure - or
- time, two measure -
1,2 and, 3, and, 4, and - time, one measure -
1, and, 2, 3, and, 4, and - time, one measure -
1, and, 2, and, 3, 4, and - time, one measure -
1, and, 2, and, 3, and, 4 - time, one measure -
1, and, 2, and, 3, and, 4, and - time, one measure -

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.
“Bakya”- Wooden clogs.
“Balintawak”- Long dress with stiff butterfly sleeves. The more
elaborate version worn with a colorful tapis with decorations that
match those on the sleeves.
“Barong Tagalog”- Long sleeved shirt of flimsy material like
piña, jusi, pounded abaca or nylon. Variations range from plain to
elaborate, sinuksok to lace.
“Baro’t Saya”- Blouse and skirt ensembles that range from
simple to elaborate with a scarf or bandana to match.
“Bilao”- To turn palms of hands up and down alternately, hands
at waist 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 that 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 “cebeceras” or
head couples. This is of Spanish origin.
Camisa- Top of baro’t saya or Maria Clara. Also called baro,
kandungan, or kimono.
Camisa de Chino- Collarless Chinese shirt. Plain, Floral,
checkered or striped, typical of farmers and fishermen. The
commercial camisa in T-shirt material is found in bright colors.
Camesita- Semi-stretch material usually used as T-shirts and
similar wear.
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.
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.
“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.
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.
Cross-Over- Two couples (the vis-a vis) are opposite each other.
Each couple proceeds in a straight line to the opposite place. The
girl 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 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 (“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.
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- 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 turn about and reverse direction.
Hands 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 someday 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 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.
Inside Foot- the foot nearest one partner, when partners stand
side by side.
Inside Hand- The hand nearest one’s partner, when partners
stand side by side
“Jaleo”- Partners turn once around clockwise (with R elbows
almost touching) or counterclockwise (with L elbows almost
touching) using wlking or any kind of dance step. The hands near
each other are on waists. This is a Tagalog term but of a Spanish
origin.
Jump- Spring on one foot or both, landing on both in any
direction.
Kimona/Kimono- Short, ruffled, sleeveless blouse.
“Kumintang”- Moving the hand form the wrist either in a
clockwise or counterclockwise direction. This is an Ilocano term.
Leap- Spring on the supporting foot and land on both feet.
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.
“Masiwak”- To turn the hand from the wrist halfway clockwise,
then raise and lower wrist once 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 partners
stand side by side.
Opposite- The person standing across the set.
“Panadyak”- To stamp in frontor at theside 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.
Partner- Girl to right of boy and boy to left of girl.
Patadyong- A kind of woven material usually of cotton, plaid,
multi-colored skirt, popularized by Miag-ao weavers of Iloilo.
Place- To put foot in 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 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 an Ilocano tem and the movement is commonly found in
Ilocano dances.
Point- To touch the floor lightly with the toes of one foot, weight
of the body on the other foot.
Polka- Spanish-introduced dance from Germany.
Rigodon- Spanish rigodon, a walk dance usually performed for
opening important social gatherings featuring the who’s who in
town.
“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.
“Salok” (or “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.
Sarong- A short version of the malong usually worn by Subanon
and other Mindanao men.
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
(Like 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 turning 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.
Tagalog- Ethno-linguistic group in the north and south of Manila.
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.
Valse- Waltz, earliest Spanish-introduced step.
Whirl- To make fast turns by executing small steps in place to
right or left.

COMMON FORMATIONS USED IN DANCES

FUNDAMENTAL POSITIONS OF ARMS AND FEET
ARM POSITION
 FEET POSITION

FIRST POSITION
Feet close and heels parallel
Touching toes at 45 degrees

SECOND POSITION
Open parallel stride sideward

THIRD POSITION
Feet close-crossed
Heel in-step touching
Knees locked
FOURTH POSITION
Feet open-crossed

FIFTH POSITION
Feet close-toes
COMBINATION OF FEET AND ARM POSITION
 The dance steps listed below are the fundamental or basic
steps most commonly used in Philippine folk dances. In some
cases the names of the steps are the same as those found in
foreign dances, but the manner of execution is entirely different.
Some dance steps have no English equicalent names, so the
native names are retained, such as “kuradang”, “Bacui”, “Engano”
etc.
DANCE STEP TIME STEP COUNTING
SIGNATURE PATTERN
BLEKING Cross-point 1,2,3,/
step/
Cross-step
(rear) step/
Cross-step
(front) step/
Close (pause)
CHANGE Step close 1 and 2
STEP step

CLOSE STEP Step close 12

CUT STEP Cut or displace 1

ENGANO Step cross- 1,2,3

WITH A step 1,2,3
CLOSE Step close
ENGANO Step cross- 1,2,3,
WITH A step
WALTZ Step cross 1,2,3
step

GALOP Step cut step 1 ah 2 ah

cut (there are 2
galop steps to
1 measure)
HEEL & TOE Heel-place toe- 1,2/
CHANGE point/
STEP Step close 1 and 2
step

MAZURKA Slide cut hop 1,2,3

PLAIN POLKA Step close 1&2&

step pause

HEEL AND Heel-place toe- 1,2

TOE POLKA point/
step close step 1 & 2 &
pause

SLIDE STEP Slide close 1,2

Slide close 1,2,3,1,2,3

slide close

STEP-HOP Step hop 1,2

STEP POINT Step point 1,2

Step point 1,2,3

STEP SWING Step swing 1,2

Step swing 1,2,3

STEP SWING Step swing 1,2,3

HOP hop

STEP BRUSH Step brush 1,2,3

SWING HOP swing hop

WALTZ Step close 1,2,3

step