What Are Rhythmic Activities?

Rhythmic activities include any kind of activity that is based upon a steady and prominent beat.

During rhythmic activities individuals participate in rhythmic body movement, drumming,

auditory stimulation, playing musical instruments, singing, and chanting, to name a few, with a

trained leader guiding the group toward a therapeutic purpose. Purpose of the Program

Rhythmic activities and therapeutic drumming circles are among the most effective tools we

have for creating a communal experience among residents with dementia. Rhythm and music

strongly predicated on a rhythmic beat allow residents to respond to one another with feelings

of competence, living “in the moment,” and, often, with joy. Participating in a drumming circle

allows the resident with dementia, who may have lost executive abilities, to take an object and

affect another object – and sustain that activity. It provides for meaningful sound when

communication skills have deteriorated. Rhythmic activities are beneficial to all levels of

functioning, from early to late-stage dementia. Even when a resident is unable to play

instruments or communicate, participation is still possible through body movements, breath,

and eye contact. Groups of similar functioning levels and groups with mixed levels of

functioning BOTH achieve positive results within a therapeutic rhythm program. Often, higher

functioning residents will engage the lower functioning residents by singing to them, patting

their arm, or encouraging them to participate.

Goals and Benefits

1. Create feeling of community and belonging

2. Increase social interaction and communication

3. Improve emotional expression

1
4. Increase sense of organization in time

5. Reduce agitation and anxiety

6. Increase sensory stimulation

7. Improve physical exercise

8. Improve gross and fine motor skills

9. Improve cognitive function including attention, short term memory, and ability to follow

cues

10. Improve mood for the staff

HEALTH BENEFITS OF RYTHMIC ACTIVITIES

Studies have shown that a regular dancing session can lower blood pressure, reduces fat and

improves the ratio of “good” to “bad” cholesterol. Rhythmic activities can also strengthen

bones, increase muscular strength, and contribute to better coordination, flexibility, and agility.

Any rhythmic activity involves certain body movements following a steady and prominent beat.

Individuals who practice rhythmic body movements during an aerobic exercise or dancing enjoy

several health benefits that improve the quality of life. Aside from the physical health, rhythmic

activities can improve our general and psychological well-being, as well.

2
1. It burns calories — dance burns calories and if fun, you can do it anytime anywhere to

be honest! I tap dance through the isles in a supermarket! It's an easy way to burn

them off which you can enjoy at the same time.

2. It promotes balance — balance is great. Whether you need it for waitressing, keeping

balance looking after your children around the house, and whatever else you can

think of where you might need good balance!

3. It promotes confidence — for me personally dance has upped my confidence so much

and helped me to live in the moment.

4. It can be great for people with ADHD and other similar conditions/disorders — my

brother has ad and struggles to sit still because he is so energetic. Hence, dance really

helps him to control it a little more and gets him moving.

5. It tones you up and builds muscle — as well as burning calories it also builds muscle

and tones you up! It may take more time if you aren't doing muscle training. Or

weight training on top of that but overtime you will notice a difference

WHAT ARE THE RHYTHM DANCES, AND WHERE DID THEY COME FROM?

3
The five rhythm dances are Cha Cha, Rumba, Swing, Mambo and Bolero. We will include Samba
in this post, although note that it is not considered a competitive “American rhythm” dance.

MAMBO

Mambo started its career with music, and people developed steps that fit the rhythm of this
new sound. It was created by the fusion of American jazz and Cuban danzon in the 1940s. At
first, the Mambo was danced by only the wealthy in Cuban society. It wasn’t until the band
leader, Perez Prado, introduced Mambo music to La Tropicana nightclub in Havana in 1943 that
the dance truly caught fire. Here is Perez Prado performing Mambo music in the movie Cha-
Cha-Cha Boom!

By 1947, it had spread to New York, and dance studios quickly caught on and began teaching
this new fad. Not only has mambo seen a recent surge in popularity (thanks to Eddie Torres,
AKA the Mambo King), but we can also thank this unique dance for developing into…

CHA CHA

cha cha cha (Diane Lang)

Enrique Jorrin, a Cuban composer and violinist, noticed at his gigs that many of the dancers
were having trouble with the syncopated rhythms in Mambo music. He decided to branch off
in his compositions by changing the rhythm to make it easier to follow. As this music became
popular, Jorrin saw the dancers add a triple step to the dance. This new dance, because of its
origin, was first named the “Triple Mambo.” Legend has it that the Cha Cha got its name from
the sound that the dancers’ feet made as they shuffled across the floor in the triple step action.
Cha Cha is a syncopated dance. In 1954, the craze for this dance rose above its predecessor at
such a rate that in 1959, it was reported the most popular dance in America!

SWING
4
Mambo wasn’t the only dance born from jazz music. Swing dancing came about from the black
community in the 1920s while they danced to contemporary jazz music in America. During the
‘40s, the media used the terms Lindy Hop, Jitterbug, Lindy and Swing all to describe the same
dance that was taking place in the streets, clubs and movies.

Arthur Murray studios took ahold of what was called Swing in their area and instructed it.
During that time, the styles taught varied greatly from region to region. In the mid ’40s,
instructors worked to combine and water down all these regional dances into one syllabus.

RUMBA

Rumba started out as an Afro-Cuban folk dance with aggressive percussion and even more
powerful hip movements. So, how did it evolve into its current form? The answer lies in the
progression of music and how the dance transitioned through Cuban society. By World War 2,
the 16th century Afro-Cuban dance had morphed into the slower and more refined “Son” in
middle-class Cuba. This dance came to America by Rumba musicians and dancers that were
brought up by already established musicians like Emil Coleman. The dance continued to
increase in popularity as American tourism to Latin America also increased.

BOLERO

Bolero, the slowest of the American rhythm dances, is often referred to as the “Cuban dance of
love.” Similar to Swing dancing in America, Bolero had many different forms in 18th century
Spain as it was first gaining popularity. The dance’s origins are numerous, from regional
Spanish folk dances to classical ballet. It continued to incorporate elements from ballet as
dancers traveled throughout Europe from Spain to showcase this new style.

For those who are interested in Bolero music, it started out in a 3/4 time signature (sound
familiar?). Its intoxicating feel inspired composers like Maurice Ravel to compose music for it.
In the late 1800s, Bolero made its way to Cuba, where it changed drastically. Even the time
signature changed to 2/4 or 4/4! This revitalized version of Bolero stayed in Latin America until

5
the ballroom scene in North America caught on to it. Combined with Tango, Waltz and Rumba,
the American rhythm Bolero was born. Check out this vintage Arthur Murray video that goes
through some basic steps in Bolero!

SAMBA

Samba is an exciting, lively dance that originated on sugarcane plantations in Brazil where
rhythms from African slave dances morphed with European music. It evolved into a key part of
Carnival, a Brazilian festival, that is still very present today. This type of Samba, however, is very
different from the ballroom Samba you may dance in a studio. In Carnival, this style is a solo
dance, with “schools of samba” consisting of thousands of dancers in spectacular costumes get
to showcase their moves.

Samba was introduced to America in the 1930’s when famous dancers such as Fred Astaire and
Ginger Rogers performed the style in “Flying down to Rio,” where it started its journey in
ballroom studios as a social partner dance.
One characteristic of Samba is its unmistakable music. The drums, which originated in Africa,
are built light enough to be carried around in Carnival for hours on end. Another distinction of
Samba music is its time signature, which is usually 2/4.

RHYTHMIC DANCES IN THE PHILIPPINES

What is rhythm? ---- Is the regular recurrence of accented and unaccented beats.

Rhythms Is a term which denotes an aspect of a quality of movement that is sometimes

thought of as dance. When an individual moves in response to a particular rhythm or music we

call the movements as rhythmic movements or rhythms. Structured forms which start creative

rhythmic movements are called rhythms.

6
Rhythmic activities---- are the physical manifestations of the mental and emotional response of

the individual to rhythm. They are activities which a child responds to physically, socially, and

mentally to regular patterns of sound.

They are also a source of enjoyment for people of all ages. Through these activities, skills

and the sense of rhythm are acquired and developed, feelings are expressed, basic principles of

time, space and force can be experienced.

Everyone reacts to music or rhythm in one form or another. A head swaying, a foot tapping,

fingers snapping, shoulders and body moving while a musical piece is played are physical

reactions.

Dance ---------- refers to movement set to music where there emerges organization, structure

and pattern. It is a composition that implies arrangement of parts into a form.

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 word “ danson” which means to “ stretch”. Essentially, all

dancing is made up of stretching and relaxing.

Rhythmic fundamentals

In the field of dance, there are certain fundamental knowledge and rhythmic skills

considered important for proficiency and efficiency in bodily movements

Elements of Rhythm:

1. Beat—the underlying pulse of a rhythm.

2. Tempo—rate of speed of a movement.

7
3. Intensity—variation of stress of movement.

4. Pitch—lowness or highness of a tone.

5. Accent—emphasis on 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. Note pattern—refers to a note or set of notes with or without rest used for a certain dance

step.

13. Step pattern—refers to the movement or movements done for each of the dance steps.

Elements of movement Space:

1. Direction—is the line of movement taken which maybe forward, backward, sideward,

diagonal, upward, or a combination of those mentioned.

2. Level—is movement through space that maybe done at a high, low, or medium level.

3. Range—refers to the area covered as the body moves. It maybe small as when the

movement is done in one’s place; or large when movement covers a wide area as when getting

away from one’s place.

4. Floor Pattern—the path or design that is made while moving in space is what is termed as

floor pattern. It may take a form of a circle, square, straight line or zigzag.

8
Movement Qualities:

Movement expression is attained through the elements of time, force and space

Time qualities:

1. Movements which is fast

Examples: galloping horse

Jet plane

2. Movement which is slow

Examples: turtle

Flower growing

Force Qualities:

1. Soft light movement

Examples: Fairies

Birds and butterflies

2. Strong, heavy movement

Examples: Elephant

Bulldozer

3. Strong, jerky movement

Examples: Frog

A jumping jack

4. Smooth, sustained movement

Examples: Airplane

Fish swimming

9
 Space Qualities:

1. Movement up and down

Examples: Bouncing ball

Yo-yo

2. Movement across, back and forth or around

Examples: Rowing boat

A merry-go-round

3. Movement which is low

Examples: Ants

Turtles

4. Movement which is high

Examples: Kites

Clouds

PHASES OF THE DANCE PROGRAM

1. Creative Rhythms

Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end

product of exploration and improvisation of movements as children learn to move the parts of

their body and to use them as instruments of expression.

2. Folk/ Ethnic dance

Is a cultural art form handed down from generation to generations. It communicates the

customs, beliefs, rituals, and occupations of the people of a region or country. Folk dancing

10
belongs to the people. It emanates from them. Ethnic tribes have their specific tribal art forms

originated and danced by the people of the tribe.

Examples of folk dances are the rural and country dances, jotas, mazurkas, pandanggos,

among others with foreign influence.

Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras,

dances of the ethnic groups in the Cagayan Valley Region and the ethnic dances in the

Mindanao Regions.

3. Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with the more formal

atmosphere than the simple and informal parties in which the recreational dances are the usual

forms. Social and ballroom dancing are generally held in the evenings. The participants are

usually in formal attire.

4. Recreational Dance

Includes dance mixers, square dance round and couple dances. Many of these dances have

simple patterns and combinations of walking steps, polka step and the waltz step. The 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 of

movements as the dancer or the choreographer expresses his feelings or emotions, ideas, and

interpretations. This is a dance with a definite form, a beginning and an ending. The principles

of art form are all observed in the composition of the dance.

11
Examples of creative dance are ballet, jazz,and modern or contemporary dance.

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise

2. Single circle partners facing

3. Single circle, facing counterclockwise

4. Single circle, facing center

5. Double circle, partners facing

6. Double circle, facing clockwise

7. Double circle, couples facing

8. Square or quadrille formation

9. Semi-circle or half moon

10. Double lines, facing front

11. Double lines, partners facing

12. Long open formation

OBJECTIVE OF RHYTHMIC ACTIVITIES

1. Develop skills necessary for recreational enjoyment.

2. Maintain good posture and physical efficiency.

3. Promote emotional freedom.

4. Develop a balanced and well-coordinated body.

12
FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly termed as 1st

position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.

1st position

Feet: Heels close together, toes apart with an angle of about 45 degrees.

Arms: Both arms raised in a circle in front of chest with the finger tips about an

inch apart.

2nd position

Feet: Feet apart sideward of about a pace distance.

Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position

Feet: Heel of one foot close to in-step of other foot.

Arms: One arm raised in front as in 2nd position; other arm raised upward.

4th position

Feet: One foot in front of other foot of a pace distance.

Arms: One arm raised in front as in 1st position; other arm raised overhead.

5th position

Feet: Heel of front foot close to big toe of rear foot.

Arms: Both arms raised overhead.

The Basic Natural Movements:

1. Locomotor movements

Are those that move the body in space in any direction with the feet as the moving base.

13
Examples: walking, running, jumping, hopping, skipping, leaping, galloping and sliding

2. Non-locomotor

Are those in which various parts of the body move in space with a fixed base. The base may be

standing, kneeling, sitting or lying.

Non-locomotor movements:

1. Flexion--- Bending or shortening of a body part occurring at a joint.

2. Extension—Turning, twisting or circling

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.

Values of dancing

1. Physical fitness

2. Cultural

3. Social

4. Recreational

FOLK DANCES

14
 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.

Folk dancing is the heartbeat of the people.

Types of Folk dances:

National – traditional dances of a given country.

Regional – local.

Character – created by individual or group.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

To foster patriotism and nationalism through the study of our dance.

To arouse better appreciation of Philippine music and folk dances.

To provide through dancing, a healthful form of relaxation and recreation.

To develop a graceful and rhythmic coordination of body movements that will improve posture.

To preserve for posterity, folk dances and music indigenous to the different regions of the

Philippines.

To demonstrate the growth of Filipino culture through the evolution of Philippine dances.

Characteristics of Philippine Folk dances:

In general, dancers stand apart.

There is little, if any, bodily contact.

Most of the dances are done by pairs or couples.

Hand movements play an important part.

15
Most dances are in long formation.

Most dances begin and end with “saludo.”

Dances from the lowlands have more foreign elements those found in the uplands.

War dances are found among non-Christian tribes.

Classification of Philippine Dances

I. General Classification

A. Geographical extent of origin 1. National dances-found throughout the islands with

little or no modification.

Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2. Local dances-found in a certain locality.

Examples: Tinikling-Leyte

Maglalatik-Binyang

Esperanza-Nabua

Subli-Batangas

Biniganbigat-Abra

B. Nature 1. Occupational-depicting action of certain occupation, industry, or human labor.

Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete, etc

2. Religious or Ceremonial – performed in connection with religious vows and ceremonies.

Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.

3. Comic dances – depicting funny movements for entertainment.

Examples: Kimbo – kimbo Makonggo, Kinoton

16
 4. Game dances – with play elements (dance mixers)

Examples: Lubi – lubi, Pavo

5. Wedding dances – performed during wedding feast. Panasahan, etc.

6. Courtship dances – depicting love making.

Examples: Hele – hele, Bago Quiere

Maramion

Tadek

Daling – daling

7. Festival dances – suitable for special occasion or any socialgathering.

Examples: Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or due

Examples: Sagayan, Palu-palo, etc.

C. Movements 1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik

Sakuting, Polkabal, etc.

2. Moderate -

Examples: Cariñosa, Tagala

Habanera, Purpuri, etc.

3. Slow -

Examples: Pasakat, Amorosa

Tiliday, Kundiman, etc.

17
 4. Slow and Fast –

Examples: Putritos, Ba-Ingles

Habanera Botoleña

Alcamfor, etc.

D. Formation 1. Square or Quadrille

Examples: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines)

Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side by

side.

Examples: Binadyong, Haplik, Kakawati, etc.

II. Special Classification-Group dances having special distinctive features.

A. Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B. Old Ballroom Dances

Examples: Polka, Mazurka Chotis, Valse, etc.

C. Dances with Implements

Examples: Maglalatik

Sakuting

Jota Moncadena

Tinikling

18
 Salakot,

D. Dances of Combined Rhythm

Examples: Surtido, Pantomina, Los Bailes de Ayer

Factors Affecting Folk Dances

1. Geographical location

2. Economic conditions

3. Climatic conditions

4. Customs and traditions

Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.

2. Dance with ease and smoothness.

3. Use the proper costume for the dance.

4. Follow directions and dance instructions as closely as possible.

5. Dance with feeling and expression.

Don’t’s in Folk Dancing

1. Do not exaggerate the dance steps.

2. Do not make the dances too dainty and graceful like ballet.

3. Don’t make entrance and exit long.

4. Don’t make steps too elaborate and complicated.

5. Don’t call a dance a folk dance unless steps come from traditional dances.

COMMON DANCE TERMS

19
1. Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or

waist level.

2. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift that

foot from the floor to any direction.

3. Crossed Arms – Partners facing each other or standing side by side join their left hands

together and the right hands together; either right over left or left over right hands.

4. Cut – To displace quickly one foot with the other.

5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to the

right move backwards without turning around, pass each other left side to proper places.

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.

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.

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

direction.

11. Leap – A spring from one foot landing on the other foot in any direction.

12. Place – To put foot in a certain position without putting weight on it.

13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.

14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the other

foot.

20
15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower wrist

once or twice. This is an Ibanag term.

16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot close

to the left foot. This is a Tagalog term.

17. Patay – To bend the head downward and to support the forehead with the R forearm or

with the crook of the R elbow while the left hand supports lightly the palm of the right hand.

This is usually done with the left foot pointing in rear and knees slightly bent. This is an Ilocano

term and the movement is commonly found in Ilocano dances.

18. Salok – T o swing the arm downward-upward passing in front of the body as if scooping, the

trunk is bent following the movement of the arm doing the salok.

This is a Tagalog term.

19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the neighbors

with feet together. This is of Spanish origin and is used in almost all Philippine dances.

20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the

hands down in front of the R hand over the L. This is a Visayan term.

21. Slide – To glide foot smoothly along the floor. The movement may be finished with or

without transfer of weight.

22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of

weight.

23. 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.

24. Whirl – To make fast turns by executing small steps in place to right or left.

21
 BASIC DANCE STEPS

2/4 time dance steps

Dance Steps Step Pattern Counting

1. Bleking step heel-place, close 1,2

2. Touch step point, close 1,2

3. Close step step, close 1,2

4. Hop step step, hop 1,2

5. Cross step step, cross or cross, step 1,2

6. Change step step, close, step 1 and 2

7. Changing step jump ( one ft. in front and

The other in rear) there are two

Changing steps in a measure 1,2

8. Contraganza step leap, cross-step, step 1 and 2

9. Habanera step step, close, step 1, 2 and

10. Heel and toe

Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2

11. Shuffling step with both feet flat on floor, take tiny

Slide steps 1 and 2 and

¾ time dance steps

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step, close, step 1, 2, 3

22
3. Waltz balance step, close-heels raise, heels down 1, 2, 3

4. Mazurka step slide, cut, hop 1, 2, 3

5. Redoba step slide, cut, cut 1, 2, 3

6. Sway balance w/

A point step, cross-step, step point 12, 3/ 1, 23

7. Sway balance w/

A hop step, cross-step, step, hop 12, 3/ 1, 23

8. Sway balance w/

A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

4/4 time dance steps

1. Schottische step step, close, step hop( raise foot

In front) 1, 2, 3, 4

2. Escotis step step, close, step, hop( raise foot

In rear) 1, 2, 3, 4

3. Chotis step brush, raise, brush, raise/

Step, step, step, close 1, 2, 3, 4/

1, 2, 3, 4

TIKLOS

A Peasant dance from Leyte. Having made a previous arrangement, farmers or workers get

together to work on a project. While resting at noon, before or after lunch, they play tiklos

23
music and dance. There are only four figures to the dance so it maybe repeated with a slight

change in formation. Patadiong for women and barong tagalog with white pants for men is the

usual attire.

Figure I

A. Dancers take 2 heel and toe change step forward……………………………… 4 M

B. 2 change steps sideward right and left…………………………………………..2 M

C. 3 steps and a close moving backward…………………………………………...2 M

D. Repeat all……………………………………………………………………….8 M

Figure II

A. 4 cut steps backward and forward………………………………………………2 M

B. 3 gallops and a step sideward right……………………………………………..2 M

C. 4 cut steps backward and forward………………………………………………2 M

D. 3 gallops and a step sideward left………………………………………………2 M

E. Repeat all………………………………………………………………………..8 M

Figure III

A. 1 change step sideward right and 2 hops on right………………………………2 M

B. Repeat change step left and hops……………………………………………….2 M

C. 3 steps turn right and point close with left foot………………………………...2 M

D. Repeat 3 steps turn left and point close with right foot………………………..2 M

E. Repeat all……………………………………………………………………….8 M

Figure IV

A. 2 touch steps with right and left foot……………………………………...........2 M

24
B. 4 changing steps turning to face right about ……………………………...........2 M

C. Repeat touch steps with the left and right foot………………………………....2 M

D. 4 changing steps turning left about to face front……………………………….2 M

E. Repeat all……………………………………………………………………….8 M

Social and ballroom dances

Popular couple dances without set patterns are classified as social and ballroom dances. Most

social dances are characterized by the man leading and the woman partner following whatever

steps, styling, and rhythmic variations he chooses and indicates.

Social dances are usually done to introduce people with one another during a formal social

gathering or to welcome guests to a social gathering. Many of the social dances like polka and

mazurka started as folk dances while some were deliberately designed for its social purpose,

such as the waltz, regoudon and polonaise (Nimor, 2006). Social dancing is believed to had

existed since the beginning of human society in some forms.

Ballroom dancing has lots of benefits for young people. It is less threatening to their young

developing bodies compared to many sports such as football, basketball and hockey that

endanger forming cartilage, break bones and in some cases disfigurement cause by various

swinging sticks and equipments. Ballroom dancing provides general conditioning for the body.

Mentally, it stretches the thinking and the “do – it” abilities of the young. The sense of

achievement is a confidence builder. Teamwork of couples is more stimulating to concentration

and learning. For older groups, competitive dancing is an excellent learning achievement and

self-confidence. Socially, the young people have an opportunity to interrelate with others,

25
especially the opposite sex, in a setting that includes discipline and emphasis on courtesy and

consideration for others. Ballroom dancing provides lesson on social skills that will be beneficial

to the youth for the rest of their lives.

Ballroom dance training offers unique advantages. It is not only a rhythmical exercise that adds

life, graceful muscular movements but it is also a group recreation. A child who has learned

ballroom dancing gains not only improved posture and coordination but ease in relationships

with companions. Dancing is one means of instilling graceful body coordination, it is also a

muscular activity that brings social ease. A girl who has learned to be a good ballroom dancer

never fades into a wall flower. A Boy who can dance is spared from many agonies of a teenage

self – consciousness. Children who dance well are popular, ones instilled, those ingredients of a

good manners are never forgotten. Ballroom dancing offers more than mere steps it includes

charm of manners and consideration of others.

COMMON DANCE TERMS

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending slightly from

the waist as girls do curtsy.

Curtsy is to bend knees and body slightly with a bow of the head; the weight of the body is

on one foot. One foot crosses the other in rear.

2. An Amalgamation is a combination of two or more patterns or movements.

3. An Amateur Dancers is a person who is dancing as a hobby and who does not seek financial

gain from teaching or dancing.

26
4. A Ball change is a transfer of weight from the ball of one foot to the other foot.

5. A Basic figure is a standardized step pattern, which together with other constitute the basics

of a dance.

6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of the

free foot between changes of weight.

7. A Chasse is composed of three changes of weight with a close on the second and may be

performed sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movements, which make

up the dance or a dance routine.

9. To Close is to move the free foot next to supporting foot with one change of weight.

10. A Commando is a forward or backward rock and close.

11. A Combination is a group of consecutive patterns and choreography. It is similar to

amalgamation but it sometimes involves a slightly more advanced set of patterns.

12. A Continuity Movement is the continuous passing of the step from one step to the next.

13. The Contrary body movement is the action of turning the opposite hip and shoulder toward

direction of the moving leg. It is used to begin all turning movements.

14. A Conversation is a position when partners stand side by side, right hand of the gentleman

holds the lady’s waist; L arm of the lady placed at the gentleman’s, outside arm at the side.

15. A Corte, in tango, is a stop and change of direction either forward or backward.

16. A Cuban motion is a discreet but expressive hip movement achieve by bending and

straightening the knees with carefully timed weight transfer.

17. Dance Sports is the official name given to competitive Ballroom Dancing.

27
18. The Floor chart is the ability of the leader to maneuver around the dance floor in a skilled

and controlled manner as to avoid colliding with the other dancers.

19. A Drop is a theatrical movement in which the follower’s body remains in contact with the

floor.

20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly behind

the foot on which the turn is made.

21. A Figure is a standardized step pattern that, together with the other patterns, constitute the

dance.

22. A Hip motion is a very general term to mean any type of hip movement used in Latin

dancing.

23. A Pivot is a turning movement during which the free foot is kept either in front or directly

behind the foot on which the turn is made.

24. A Spin is a turn done in place using both feet, usually done as a couple.

25. Variation is a varied or more advanced pattern than the corresponding basic figure, which

still contains the same main elements.

DANCE POSITION

Ballroom or Social Dance Position – partners stand face to face, shoulders and hips

parallel. Boys R hand is placed around Girl’s waist. Girl’s L hand rests lightly against his R

shoulders. Boy’s L hand is raised to the side holding the Girl’s R hand. The fingers of her R hand

rest lightly in the palm of the Boy’s L.

Open or Conversation Position – partners stand side by side, both facing the same

direction. Girl R of partner. Boy’s R is around Girl’s waist in back. Girl’s L hand rest lightly on

28
Boy’s R shoulder. Outside hands may be joined with arms extended forward or the outside

hands maybe on hips or side.

Shoulder – Waist Position – partners face each other. Boy’s places hands on Girl’s waist.

Girl’s hands are on the Boy’s shoulders.

Cross – Hold Position – partners stand face to face, R hand joined over L hands, extended

about waist level.

Promenade Position – partners stand side by side, both facing on the same direction. Girl at

R of partner. The hand crossed in front, R hands joined over L.

Schottische Position – partners stand side by side, Girl to R of Boy both facing the same

direction. Boy’s R arm around Girl’s waist, her L arm shoulder behind his R shoulder, her L hand

resting lightly on that shoulder, free hands on waist.

Varsovienne Position – partners stand side by side, girls stands to the R and slightly in front

of Boy. Boy reaches R arm over the girl’s R shoulder and takes her R hand in his, his L holds her

L a little above his L shoulder.

Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.

Elbow Swing – hook designated elbows firmly of the hand carried at the height of the

locked elbows. While swinging, pull away from partner at shoulders.

One Hand Swing – with the elbow bent and down , join the designated hands at shoulder

height. In balancing “pull against pull” while swinging, apply pressure against the thumbs and

heels of hands, pulling away at shoulders.

Two – Hand Swing – Boy present hands at shoulder height with palms up, elbows close to

sides and should support while balancing “pull against pull” leaning away at shoulders.

29
 Waist Swing – In a modified closed ballroom dance positions with R foot and hips adjacent

the support weight of the body on the R foot swing, balance “pull against pull”, leaning away

from partners at shoulder.

Hungarian or Russian Swing – dancers stand facing in opposite direction with R(L) hips

adjacent, each R(L) arm around each others waist in front, on partners hip, L(R) arm curved over

head, both lean slightly away from each other when turning.

Star post – Partners are in opposite directions, their right hands holding each other, lady

facing away from audience ; while gentleman faces the audience.

Challenge position- Partners face each other about a step apart without touching.

Cuddle or skating position – Woman is at man’s left or right side, both facing the same

direction; one arm of man is across woman’s back.

SOCIAL DANCE GUIDELINES

Practice correct dancing position even without a partner.

Maintain a good standing position. Bring out the best in your look.

Keep your weight over the balls of your feet to make you feel quicker and lighter, and place

your weight even on the soles of your shoes. No weight on the heel.

Maintain the habit of keeping feet close together unless you are taking a definite step. Feet

apart are not a pretty sight.

For a graceful dancing, always turn your toes out, not in.

When dancing with a partner, adapt a comfortable position for both of you; not too close and

not too far.

Don’t lean forward or backward. Just assume a natural comfortable dancing companion.

30
When facing the audience, the lady is at the right side of the male.

SOCIAL DANCE ETIQUETTE

1. Do not teach your partner on the dance floor.

2. Anticipate the next step.

3. Be confident strive to become a proficient dancer.

4. Don’t show off.

5. Find mutual topics of interest for conversation, never gossip.

Dancing Personalities

Dancing is an expression of one’s personality. We can read one’s personality and character

by the way he dances. Traits such as timidity, aggressiveness, and consideration for others,

arrogance, and other characteristics are revealed when people dance.

1. Dancers who loves themselves--- point their toes too gracefully.

2. The cuddly couples--- are fun to watch if they are not related to you.

3. The bully type--- meanders around the dance floor, pushing his partner into everything that

comes his way.

4. The casual dancers--- girl show that sloppy I don’t care posture and the man just shuffling

along.

5. The possessive man--- holds tightly on his partner’s back. His posture is crouching as though

ready for a springing pounce.

6. The jealous girl--- clings to her partner like a glue, looks up in his eyes and is always

tremendously attentive.

31
7. The timid souls--- could almost sink to the floor if you stare at them. Males have an

apologetic manner and takes faltering steps, barely touches his partner. He is hard to follow

because he is too shy to lead. The girls of this type take uncertain steps, droop their arms and

get an until-death-do-us part grip on their partner.

In common usage, Ballroom dance refers to the ten dances of International Standard and

International Latin, though the term is also often used interchangeably with International

standard dances.

International Style

International Standard dances are normally performed with Western Music. A couple dances

counter clockwise around a rectangular floor following the line of dance.

Costume

Women – full gown Men - bow tie and tail coats or tuxedos, vest

Dances :

1. Slow Waltz 2. Tango 3. Viennese Waltz

4. Slow Foxtrot 5. Quick step

International Latin Dances are performed with contemporary Latin American Music and with

the exception of a few traveling dances.

Costume

Women – Short skirted Latin outfits Men - outfitted in tight fitting shirts and pants

32
 Dances :

1. Cha-cha 2. Samba 3. Rumba 4. Paso doble 5. Jive

RUMBA

The name Rumba was originally applied specifically to the dancing style with lascivious

movement of the hip, bosom and other flexible parts. The Rumba influence came in the 16th

century from the black slaves from Africa. The native Rumba folk dance is essentially a sex

pantomime danced extremely fast with exaggerated hip movements and with a sensually

aggressive attitude of men and a defensive attitude on the part of women.

The music is written in 4/4 time, which gives 4 counts to each bar of music, 1, 2, 3, 4. The

beat values are 2, 3, 4-1 or quick, quick, slow.

Cha-cha-cha

There are various theories as of the origin of Cha-cha. It could derived from the Spanish

chacha meaning nursemaid, or chachar meaning to chew coca leaves, or from char meaning

tea. This dance evolved from the Mambo and has its origins in the religious ritual dances of

West Africa. The music is usually in 4/4 time, sometimes 2/4. The Cha-cha-cha is a Cuban dance,

based on the Rumba. Counting is 1,2, 3 and 4

Reggae

First developed in Jamaica in the late 1960’s. The term reggae more properly denotes a

particular music style that originated following on the development of ska and rocksteady. It is

based on rhythmic style characterized by accents on the off-beat known as the skank. It usually

accents the second and fourth beat in each bar.The music is 4/4 time and counting is 1, 2, 3,4.

33
Samba

Comes from Brazil. It differs from other Latin- American dances because it is lively and

vigorous and the feet is constantly leaving the floor. It is literally a bouncing step. It involves

much knee action with the dancers bodies resembling a swinging pendulum as they sway and

turn. 2/4 time 1 ah 2

Waltz

It is the first dance to use closed dance position. The waltz was to be performed solely

for the demonstration of elegance and not pleasure. The name comes from the German word

to revolve, turning with smooth gliding steps. Music is ¾ time 1, 2, 3.

Paso Doble

It finds its roots in the Spanish style music of the 1930’s. It is popularly known as the

man’s dance, portraying the story of the matador with ( the female being ) his cape where the

matador is to weild his cape according to the anger and intensity of the roaring boar.

Jive

The origin of the word jive is unknown but it may refer to jivetalk, or bad mouthing. This

word reflects the character of the dance for it is sassy and loud. It came from the African

American slaves. It is known by many names, sometimes called Swing, Jitterbug, Lindy hop, or

Charleston, although it is completely different dance. Music is 4/4 time 1,2,3 and 4/ 1 and 2, 3

and 4.

Swing

An outgrowth of the jitterbug, it is marked by quick, strenuous movements sometimes

accompanied by acrobatics in its present form; it maybe a lively smooth dance. Benny

34
Goodman is the band leader credited with the developing the rhythm of Swing. It is named

after Charles Lindbergh’s solo flight across the Atlantic ocean in 1927 Music is 4/4 time

sometimes 3/4 1,2,3,4/ 1,2 ah 3

Tango

Originated in the lower class of Buenos Aires especially in the Bario de Las Ranas. It was

first known as baile con corte- the dance with a stop. It is characterized by sudden changes of

direction and its many flaring and dipping steps. Music is 2/4 time 1,2/ 12

Foxtrot

An American dance evolving from trotting dance in 1913. Dancers gliding around the

dance floor with little up and down motion. It is known as the first truly American ballroom

dance, was named after Harry Fox. Music is in 2/4 time 12/ 1,2

35