Rose Marie N.

Hermosa BSA 1 – Block 16

PE 2 Friday 7:30-9:30 AM

Assignment

RHYTHM
• Movement or procedure with uniform or patterned recurrence of a beat, accent, or the like.
• Music:
The pattern of regular or irregular pulses caused in music by the occurrence of strong and weak melodic and
harmonic beats.
A particular form of this:
Duple rhythm; triple rhythm.
Measured movement, as in dancing.
• Is the regular recurrence of accented and unaccented beats.

CLASSIFICATION OF RHYTHM:
Internal – Can be hone by tapping into the natural sense of a steady pulse. A built-in metronome inside the body.
EXternal -

MUSIC
• Vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression
of emotion.
• The art or science of composing or performing music.
• A sound perceived as pleasingly harmonious.
• The written or printed signs representing vocal or instrumental sound.

ELEMENTS OF MUSIC
Rhythm – the time element of music. A specific rhythm is a specific pattern in time; we usually hear these in relation to a
steady pulse, and mentally organize this pulse or tempo into meter (sometimes called a "time signature"). Meter organizes
beats into groups, usually of two or three; beats can be divided into small units usually 2, 3 or 4 subdivisions

Melody, or musical line, is a combination of pitch and rhythm (some say "duration"). Sometimes a melody is considered
to be the theme of a composition. We might characterize melody by its contour (rising or falling) and the size of the
intervals in it. A melody that uses mostly small intervals (or scale steps) and is smooth is said to be a conjunct melody.
Not surprisingly, a melody that uses large intervals is called a disjunct melody. A motif (or motive) is either a very short
melody or a distinctive part of a longer melody. I might describe the opening four notes of Beethoven's Fifth Symphony
as a "motific cell."

Timbre – sound quality or tone color; timbre is the characteristic that allows us to distinguish between one instrument and
another, and the difference between vowel sounds (for example, long "a" or "ee"). Terms we might use to describe
timbre: bright, dark, brassy, reedy, harsh, noisy, thin, buzzy, pure, raspy, shrill, mellow, strained. I prefer to avoid
describing timbre in emotional terms (excited, angry, happy, sad, etc.); that is not the sound quality, it is its effect or
interpretation. Rather than describe the timbre of an instrument in other terms, it is often more clear just to describe the
timbre by naming the instrument, once we have learned the names and sounds of a few instruments.

Dynamics – loud or soft. A composition that has extremely soft passages as well as extremely loud passages is said to
have a large or wide dynamic range. Dynamics can change suddenly or gradually (crescendo, getting louder, or
decrescendo, getting softer.)
Tempo- the pace at which music moves according to the speed of the underlying beat.

Harmony- the relation between the different notes played by the different instruments. Analogy: a harmonious society
where everybody gets along with everybody else. Essentially, harmonies must be created in such a way that no single note
feels out of place.

Form- the organization and structure of a composition and the interrelationships of musical events within the overall
structure.

Pitch – register (high or low); Organization of pitches with a pattern of intervals between them creates scales; Words we
might use to describe scales: major/minor, chromatic, gapped, pentatonic.

Texture – monophonic (one voice or line), polyphonic (many voices, usually similar, as in Renaissance or Baroque
counterpoint), homophonic (1. a melody with simple accompaniment; 2. chords moving in the same rhythm
(homorhythmic), heterophony – “mixed” or multiple similar versions of a melody performed simultaneously (rare in
European music; possibly used in Ancient Greece), collage – juxtaposition & superimposition of extremely different
textures or sounds

http://accounts.smccd.edu/mecklerd/mus250/elements.htm

COMPONENTS OF RYTHM
Unlike a painting or a piece of sculpture, which are compositions in space, a musical work is a composition dependent
upon time. Rhythm is music’s pattern in time. Whatever other elements a given piece of music may have (e.g., patterns
in pitch or timbre), rhythm is the one indispensable element of all music. Rhythm can exist without melody, as in the
drumbeats of so-called primitive music, but melody cannot exist without rhythm. In music that has both harmonyand
melody, the rhythmic structure cannot be separated from them. Plato’sobservation that rhythm is “an order of movement”
provides a convenient analytical starting point.
 Beat- the unit division of musical time is called a beat. Just as one is aware of the body’s steady pulse, or
heartbeat, so in composing, performing, or listening to music one is aware of a periodic succession of beats.
 Tempo- the pace of the fundamental beat is called tempo (Italian: “time”). The expressions slow tempo and quick
tempo suggest the existence of a tempo that is neither slow nor fast but rather “moderate.” A moderate tempo is
assumed to be that of a natural walking pace (76 to 80 paces per minute) or of a heartbeat (72 per minute). The
tempo of a piece of music indicated by a composer is, however, neither absolute nor final. In performance it is
likely to vary according to the performer’s interpretative ideas or to such considerations as the size and
reverberation of the hall, the size of the ensemble, and, to a lesser extent, the sonority of the instruments. A
change within such limits does not affect the rhythmic structure of a work.
 Duration- how long a sound (or silence) lasts
 Time- the mind apparently seeks some organizing principle in the perception of music, and if a grouping of
sounds is not objectively present it imposes one of its own. Experiments show that the mind instinctively groups
regular and identical sounds into twos and threes, stressing every second or third beat, and thus creates from an
otherwise monotonous series a succession of strong and weak beats.
In music such grouping is achieved by actual stress—i.e., by periodically making one note stronger than the
others. When the stress occurs at regular intervals, the beats fall into natural time measures. Although in European
music the concept of time measures reaches back to a remote age, only since the 15th century have they
been indicated by means of bar lines. Thus, the terms measure and bar are often used interchangeably.
The time measure is indicated at the opening of a piece by a time signature—e.g., 2/4, 4/8, 3/4, 6/8. The length of
each beat in a measure may be a time unit of short or long duration:
 The signature 4/1 (above) means that the whole note (1) is the unit in each measure, and there are four (4) of them
to each measure. In the second illustration, 4/2, the half note (2) is the unit of measurement, with four of them (4)
to each measure, and so on.
 Measure—a group of pulse beats.
 Metre- the combinations of long (—) and short ([breve]) syllables are known in prosodyas feet. The system of
notating the musical equivalents of feet derives from the application of prosody to music. The foundations for
European music were laid in ancient Greece, where classical music and poetry were regarded as parts of a single
art. These principles were adopted by the Romans and were transmitted, by way of Latin poetry,
to medieval Europe. The feet of classical poetry and their equivalents in music are shown in the Table. And in late
antiquity St. Augustine(354–430), in De musica, added more.
 Accent—emphasis on certain beats.

https://www.britannica.com/art/rhythm-music

CLASSIFICATIONS OF MOVEMENT
 Locomotor Movements - These are movements where the body travels through space from one location to
another. Locomotor movements primarity use the feet for support however, the body can travel on other parts
such as the hands and feet.

Even Rhythm
Walk - The walk is a transfer of weight from one foot to the other. Usually the heel touches first.
Run - The run is a transfer of weight from one foot to the other however, the body is propelled into the air and suspended
between run steps.
Jump - The jump required the body to push off from one or both feet. Most common is a two foot take off and two foot
landing. A jump can take off on one foot and land on two or take off from two feet and land one one foot.
Hop - The hop requires a push-off from one foot and landing on the same foot.
Leap - A leap is performed by pushing off from one foot and landing on the other foot. The body is suspended in the and
between the push off and the landing. Can be combined with a run or walk.

Uneven Rhythm
Skip - A combination of a step and a hop on the same foot followed by a step and hop on the other foot. The rhythm is
uneven long -short. Long (the step) and short (the hop).
Gallop - A forward movement where one foot leads the gallop while the other foot follows. The lead foot steps with a bent
knee and pushes off into the air and landing on the trailing foot. The rhythm is uneven, long -short. Long (the step) and
short (the landing).
Slide - Is similar to a gallop performed with the right or left foot leading. The rhythm is uneven, long -short. Long (the
step) and short (the landing).
  Non Locomotor - These are movements that occur in the body parts or the whole body and do not cause the body
to travel to another space. However, non locomotor movements can be combined with locomotor movements
such as a walk and arm swing.

Swing - a pendular motion of a body part that can move forward and backward or side to side.
Twist - a partial rotation of body parts around an axis
Turn - a full rotation of the body around a vertical or horizontal axis. Full, half or quarter turns
Shake - a short quick vibrating movement in a body part or the whole body.
Bend - a flex of a body part at a joint
Stretch - extending a body part or the whole body
Wiggle - a small or big, fast or slow curvy movement of a body part or the whole body.
Rock or sway - shift of the body weight forward, backward, side to side or in a circular pathway.

http://users.rowan.edu/~conet/rhythms/Resources/Loco.nonloco.definitions.html

CLASSIFICATIONS OF DANCE
 Filipino folk dances are colorful, beautiful, and vibrant. Their movement, dress, and music reveal the unique
Filipino culture and are important in building a national Filipino identity. Most dances in the country were
inspired by everyday activities, such as working in the fields and harvesting rice, as well as celebrations such as
feasts, weddings, and births. Philippine folk dances consist of five major suites, namely Cordillera, Maria Clara,
Muslim, Lumad, and Rural.

Each of the suites involves a repertoire of folk dances that hail from different locations in the country. Cordillera suite
comprises dances from the mountainous region of the north known to be the home of ferocious headhunters who existed
even before the arrival of the Spanish. Music plays a vital role in their lifestyle, and events such as war, courtship,
marriage, or good harvest involve dance. Ragsaksakan (merriment), banga (pots), and tarektek (woodpecker) are
examples of dances from the Cordillera suite.

Maria Clara suite includes dances adapted from various European influence blended with a native flair and style.
Apparent in these romantic dances are courtship, love, and flirtation. The Spanish occupation of the Philippines in the
16th century brought changes to the majority of Filipinos, who adapted the European culture. Named after the lead female
character in the novel Noli Me Tangere written by Jose Rizal, the Maria Clara suite symbolizes the virtues and nobility of
a Filipina woman fused with Spanish elegance, making it popular among urban Filipinos at the time. The famous Cariñosa
of Panay Island, habanera (wedding dance party) of Zambales, alcamfor of Leyte, and balse belong to this suite.

Long before the Spanish occupation, Javanese and Middle Eastern traders brought the religion of Islam and converted
many inhabitants of Mindanao in the southern part of the Philippines. Muslim dances are known for their intricate hand
and arm movements, as well as their shimmery costumes. These dances persisted in the last six hundred years despite
prohibition by Islamic teachings. They are presented with vivid colors and rhythmic movements, revealing the influence
of Arabian and Indo-Malaysian cultures. Most dances narrate pre-Islamic history and are accompanied by musical
instruments, such as kulintang and agung. Singkil is the most popular dance among the Maranao and Maguindanaons.
Other Muslim suite examples are kini kini (meaning royal walk), kapagasik, and kaganat sa darangen, which illustrate the
customs of wearing a malong (also called patadjong in Visayan).

Several ethnic groups occupy the southern Philippines, including the 18 tribal groups collectively known as the
“Katawhang Lumad” or simply Lumad. These are the indigenous groups who still live traditionally, similar to how their
ancestors existed centuries ago. Lumad or tribal suite are dances of ethnic pagan origin that portrays rituals to honor pagan
gods. It includes dances such as dugso of the Higaonon, sohten of the Subanon, and lawin-lawin of the Bagobo.

Rural suite originated in the Christian Lowlands of the Philippines. The dances embody the many joys of work and life
among simple countryfolk, who tend to their farms during the day and relax after a hard day’s work through dancing. It
also includes lively musicians playing guitars, as well as cheerful villagers. Among the most popular dances of the rural
suite is gaway-gaway of Jaro, Leyte that portrays children celebrating a beautiful harvest of the gaway root crop, with
movements similar to the pulling of the stalks. This suite also includes dances such as maglalatik, palu-palo of Laguna,
tinikling, pandanggo sa ilaw, sinulog, and binasuan.

http://www.ethnicgroupsphilippines.com/2016/02/15/philippine-folk-dances/

 Social dance is a major category or classification of dance forms or dance styles, where sociability and
socializing are the primary focuses of the dancing.

Many social dances are partner dances. In fact, quite often when spoken about social dances, ballroom or other partner
dances are kept in mind. However it is natural to include in this category such groups of dances as circle dances, line
dances, novelty dances, or simply club dancing in solo.

Ballroom dance, depending on how it is defined, may refer to a wide variety of partner dances. Typically it includes
Standard (also termed Smooth or Modern) dances such as waltz or foxtrot, and Latin (also termed Rhythm) dances such as
cha cha and rumba. Standard dances are normally danced to straight-beat, Western music; couples dance around the floor;
and when formalized, the lady wears a long gown and the gentleman a bow-tie and tails. Latin dances are normally
danced to off-beat, latin or jive music; couples may dance more-or-less in one spot or move around the floor; and when
formalized, the woman wears a short-skirt latin outfit and the man dresses in black.

Mixer dance or simply mixer is a kind of participation dance in a social dance setting that involves changing partners as
an integral part. Mixing can be built into the dance choreography or can be structured to occur more randomly. Mixers
allow dancers to meet new partners and allow beginners to dance with more advanced dancers. Some people may take
advantage of mixers to assess dance skills of other persons without fear of being stuck with a poor match for an entire
dance. Some mixer dances have traditional names.

The descriptions of "mixing procedures" vary, however there are several common basic rules. The basic rule of dance
etiquette "thou shalt never say 'no'" is partially waived during certain procedures of the mixer: if you have already danced
with the person, you may smile to each other and skip the choice. The reasoning is that the basic purpose of the mixer —
to make people dance with many new partners — has the precedence.

Sometimes a "lost and found" place is designated (e.g., the centre of the dance circle), where unmatched dancers may find
each other. Reasons for the occurrence of "unmatched dancers" include the mixing process inherent in the particular
dance, gender imbalance, and dancer confusion.

https://en.wikipedia.org/wiki/Mixer_dance

A square dance is a dance for four couples (eight dancers in total) arranged in a square, with one couple on each side,
facing the middle of the square. Square dances were first documented in 16th-century England but were also quite
common in France and throughout Europe. They came to North America with the European settlers and have undergone
considerable development there. In some countries and regions, through preservation and repetition, square dances have
attained the status of a folk dance. The Western American square dance may be the most widely known form worldwide,
possibly due to its association in the 20th century with the romanticized image of the American cowboy. Square dancing
is, therefore, strongly associated with the United States. Nineteen U.S. states have designated it as their official state
dance.
The various square dance movements are based on the steps and figures used in traditional folk dances and social dances
from many countries. Some of these traditional dances include English country dance, Caledonians and the quadrille.
Square dancing is enjoyed by people of all ages around the world, and people around the world are involved in the
continuing development of this form of dance.
In most American forms of square dance, the dancers are prompted or cued through a sequence of steps (square dance
choreography) by a caller to the beat (and, in some traditions, the phrasing) of music. In some forms of traditional square
dancing, the caller may be one of the dancers or musicians, but in modern Western square dancing the caller will be on
stage, giving full attention to directing the dancers. Modern Western square dances are not learned as complete routines;
the dancers learn basic movements, each with its own distinctive call, but do not know in what order they will be called.
https://en.wikipedia.org/wiki/Square_dance

Round dancing differs from free-style ballroom dancing in that each round dance has been fully choreographed ahead of
time, and a "cuer" or leader at the front of the ballroom tells the dancers, as they dance, what steps to do. As the music
plays, and just ahead of the beat, so the dancers have time to respond, the cuer names each dance figure in the
choreography. As a consequence, all the dancers on the floor are dancing the same steps at the same time.

To create a round dance, a piece of music is selected by the choreographer, and the different steps or figures are chosen to
fit the music. If the music swells and pauses briefly, then a dance step that rises and stretches is put into that place. If there
is a little syncopation in another part of the music, then a quick step is inserted. The creation of a piece of choreography is
like engineering a machine, with every gear and lever in just the right place to give smooth and flowing motion. The step-
by-step instructions on how to dance this choreography are written out in what is called a cue sheet.

https://en.wikipedia.org/wiki/Round_dance

In 1023, the German poet Ruodlieb referred to a couple dance with a basic motif of a boy wooing a girl, and the girl
repulsing his advances. Men and women dancing as couples, both holding one hand of their partner, and "embracing"
each other, can be seen in illustrations from 15th-century Germany.[1]

At the end of the 13th century and during the 14th century, nobles and wealthy patricians danced as couples in procession
in a slow dignified manner in a circle. Farmers and lower classes of society danced turning in a lively, springing fashion.
The relatively new burgher middle class combined the dances with the processional as a "fore dance", and the turning as
an "after dance".[2]

Danse de Paysans' (Peasant's Dance) by Théodore de Bry (1528–1598) shows a couple with a man lifting his partner off
the ground, and the man pulling the woman towards him while holding her closely with both arms. His Danse de
Seigneurs et Dames (Dance of the Lords and Ladies) features one Lord with his arms around the waist of his Lady.[3]

Syncopated and "dotted" rhythms gained widespread popularity for dancing in the last two centuries, although usually less
complex and more regular than previous music.[4]

An old couple dance which can be found all over Northern Europe is known as "Manchester" or "Lott is Dead". In
Bavaria words to the music include "One, two, three and one is four, Dianderl lifts up her skirt And shows me her knees",
and in Bavaria one verse invites the girl to leave her bedroom window open to allow a visit from her partner.[5]

Dance partners stay together for the duration of the dance and, most often, dance independently of other couples dancing
at the same time, if any.

Although this kind of dancing can be seen, for instance, in ballet, this term is usually applied to various forms of social
dance, ballroom dance, folk dance, and similar forms.

https://en.wikipedia.org/wiki/Partner_dance

 Modern dance is becoming more and more popular these days. This is because it serves as means to express the
emotions of dancers. In addition to that, this is also a form of fitness exercise that one can do in order to improve
their stamina and health. In fact, there are some dance schools in the world that incorporate the different types of
modern dances in their curriculum. Yes, modern dance comes in different types. If you are not aware of the types
of modern dance, sit back, relax and learn the popular types present nowadays.

Ballet is said to be a combination of choreography and art, scenic design, lighting, costume, graceful movements
and usually solemn music. It is an artistic dance like no other, that can be used to express different emotions or to
tell a story. Traditional classical ballet dance which was choreographed with elaborate costumes and staging has
been replaced by the modern ballet dance styles which creates room for a variety of ballet dance forms. Some
forms of ballet dance include classical ballet, contemporary ballet, neoclassical ballet and post-structural ballet
dance. Just as the dance itself has experienced changes over the years, ballet shoes have too. They have evolved
from what they were to a more comfortable and lightweight form. The new ba llet shoes are built with a hard
square-shaped material at the tip end of the toes to offer greater support, easy tiptoeing and restrain friction during
movement.

Jazz is also one of the most common types of modern dance practiced by lots of dance enthusiasts from all over the
world. This is a kind of dance which is composed of different movements like gymnastics, jumps and other movements.
Usually, pupils of jazz classes are assembled at the center of the dance room and they are asked to perform simple
stretching and related movements.
Interpretative dance is also one of the types of modern dances that you can try. This comes with dramatic movements
which are based on the lyrics of the music as well as the emotion of the song. This requires some degree of body
flexibility to the dancer. This is because some pieces of interpretative dances might be too complex. Usually, dancers who
want to master interpretative dance are asked to undergo drama classes. This is needed in order to make the dance become
pleasing and more alluring.

https://cmonletsdance.wordpress.com/2012/12/16/popular-types-of-modern-dance/

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.

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.
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.
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 STEPS AND TURNS

Ball Change
The ball change is found in most dance disciplines, including jazz, tap, lyrical, and hip hop. Due to its crossover appeal,
it's usually one of the first steps taught to new dancers. The ball change is completed in two counts - transferring weight
onto the ball of the foot (1), then a step back onto the other foot (2). This step is usually connected to another step, such as
the "kick ball change" movement.

Step onto your right foot, transferring all your weight to that foot.
Lift the left foot and step back, behind the right foot, just onto the ball of the foot.
Shift your weight to the ball of the left foot as you raise your right foot.
Step back down onto the right foot, completing the move.
Step-ball-change can be done to the right, to the left or in place. It's often used as a transition, and it happens very fast.
Related Articles
Basic Jazz Dance Steps
Country Line Dance Steps
Basic Steps in Folk Dance

Box Step
This one will get you through any wedding; it's your basic tool from foxtrot to rumba. Your steps form the shape of a
simple square or box.

If you're leading, step forward, slide the back foot up, and end with both feet together.
Next step to the side, slide, together. Two things to remember: each step involves a full weight transfer; no cutting
corners, no sloppy diagonal shortcuts.
Always follow the outline of the box or square. The tidy box step opens a world of American and Latin-style ballroom
dances to you.

Chaîné Turns
Chaîné turns are an introductory quick turn used in ballet and lyrical dance, though they are sometimes found in jazz and
other styles. The name comes from the French, meaning "chain." Chaînés are simply a chain of rapid turns on alternating
feet. Starting in first position, the turns progress either across the floor in a straight line or in a circle.
Begin in fifth position, right foot pointing right, snugged up in front of the left foot pointing left, arms at your sides.
Raise both arms together, elbows lightly bent so the arms curve and the fingers are just touching about waist high.
As you raise the arms, bend the knees, keeping the torso erect, and slide the right foot out to the right.
Open the arms wide to the side as the foot slides wide to the right.
Bring the left foot in, crossing it in front of the right as you relevé onto demi-toe.
Bring the arms back into the waist-high curve as you turn your entire body with the momentum of the moving left foot.
This is a turn on half-toe with both feet very close together.
Repeat the sequence but this time, as you turn on relevé or half-toe, bring the arms up and into a gentle curve overhead,
fingertips barely touching.

Dos-i-do
The dos-i-do, used in square dancing, involves two dancers facing each other. Next, they walk around each other in a
circular rotation without turning. To complete a correct dos-i-do, each dancer should face the same wall the entire time,
ensuring there is a rotation rather than an actual turn.

Standing next to your partner and facing the couple opposite you, walk toward each other.
As you reach the opposite couple, continue to walk forward moving easily between them.
Do not turn around. Keep walking and step sideways a few steps, keeping the dancer you just passed behind you.
Step backwards to complete a circuit around the opposite dancer and return to your place, next to your partner in the
square.

Grapevine
Facing front, the dancer steps his right foot out to the side, and crosses in front with the left. The right foot then steps out
again, followed by the left foot crossing behind. Repeat. The grapevine is used in jazz dance, as well as country line
dancing.

Step to the right and transfer your weight to the right foot.
Step to the right, behind the right foot, with the left foot.
Step to the right with the right foot.
Step to the right with the left foot but this time just touch the toes to the floor next to the right foot.
Step immediately to the left with the left foot.
Step to the left, behind the left foot with the right foot...and continue.

Heel Turn
In ballroom dance, the heel turn involves turning on the heel of the supporting foot, while the other foot stays parallel. As
the turn completes a full rotation, the weight is placed onto the other foot.

Step back on the right foot, turning the toes in slightly toward the body.
Shift your weight to the heel of the right foot as you slide your left foot back.
Slide the left foot on the heel, to the right foot and around as you turn your body, pivoting on the right heel.
Come up slightly onto the balls of the feet as you complete the turn.
For a turn to the left, start with the right foot. For a turn to the right, start with the left foot.

Moonwalk
Channel Michael, or Marcel Marceau. Just be so freakin' cool on the dance floor your friends will open up a space for you.
The moonwalk is dead easy, but you have to practice enough to commit it to muscle memory so the illusion remains
unbroken. Go here for a break down of how to do it as if you invented the step yourself.

Rond
In ballet, the rond, or rond de jambe, consists of a pointed toe on a straight leg (or bent at the knee) drawing a semicircle
on the floor or in the air. This can also be found in ballroom dance.
Begin in first position, toes pointed out and heels touching. Extend the leg to the front, knees straight and foot pointed, not
flexed. Your weight is all on your supporting leg.
Trace a semi-circle on the floor or in the air with the leg and pointed foot -- front, side, back -- and return to first position.
That's a rond de jambe to the front.
For a rond to the back, simply start the move by extending the leg to the back and bringing it through side to front and to
first position.

Swing
You and your partner are a ballroom dancing dream team. The simplest swing step is part of your arsenal of smooth
moves -- use an open ballroom hold, slightly turned out from each other to display your footwork. The lead starts on one
foot, the follower mirrors the moves, starting on the opposite foot.

Keeping the weight on the right foot, lift the left foot and step down behind the right foot. Immediately shift the weight
forward again to the right foot, a rocking motion.
Then step forward with the left, feet now together.
Step to the side, starting with the left foot: side, step (right foot moves to left foot), step (weight is now on the left foot).
Step to the right: side-step-step.
Repeat the sequence.