22 LET Folk Dance

LICENSURE EXAMINATION FOR TEACHERS (LET)
Refresher Course
WHAT TO EXPECT
MAJORSHIP
Area: Music, Arts, Physical Education and Health (MAPEH)
Focus: International Folk Dance and Other Dance Forms
LET Competencies:
1. Recognize folk dances from Asia, Europe and Latin America.
2. Trace the development of social dance along with traditional ballroom dance
3. Recognize other dance forms
4. Identify the modern ballroom dance
5. Identify international dance terms.
6. Analyze international dance steps.
PART I – KNOWLEDGE UPDATE:

International Folk Dances and Other Dance Forms
FOLK DANCE is a traditional recreational dance of an indigenous society showing the

cultural characteristics of a specific people at a given time and place. It is the people’s social
expression through movements with rhythmic accompaniment where the characteristics of their
community life are reflected. Moreover, the vivid, intimate bond of customs, ideals, culture and
traditions of the past through which a multitude of national characteristics in music, steps and
costumes are preserved. Developed spontaneously and naturally by a specific folk, it was handed
down from one generation to another generation and followed a fixed pattern.
ASIAN DANCE
One authority declared that “The main idea of Oriental dance is found in the Japanese
word asobi which means play, and comes from the idea of the play of the gods (Clarke and
Crisp, 1980)”. Religion and magic are major themes of most Asian dances.
The dances of Asia assert the importance of gravity. Feet may stamp or paw the ground,
but contact with the earth is constant. The stylized use of the torso, head, and arms, the neck
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movements of Indian dance, the exquisite gesture of arms and fingers in Balinese dance,
suggests a sophistication of style very different from the West. Originally, most theatrical dance
forms were performed as part of religious worship or for entertainment. Asians have deep respect
for tradition, which has encouraged dancers to make existing theatrical dance forms perfect
rather than to create new styles. Slight movements of the upper body, facial expressions and
hand gestures communicate the message of the dance. Every movement, even a raised
eyebrow, may have significance.
Many dances describe through gestures a historical event, a legend, or a myth. A

famous theatrical dance performance that takes place outdoors and last all nights which is held in
Burma is called pwe. Spectators may shout out comments, tease the performers, and go
backstage to watch them put on costumes and makeup.
Ancient Hindus believed that dance was given to them by the gods and goddesses. From
the earliest times, dance has been important part of Indian life. Bharata Natyam is the oldest
dance in the world that is still performed today. It is a dance originally performed in the temples of
India, combines rhythmically complicated dancing with Hindu legends told in song and
pantomime. Like other Indian dance forms, this temple dance uses mudras – hand gestures that
have recognized meanings. Mudras often stand for animals, plants, or feelings. Indian classic
dance contains three components – natya which represents the dramatic quality, nritta, the
rhythmic aspect of the dance, and nritya, which has something to do with the expressive
possibilities, the conveying of rasa (sentiment) and bhava (mood) through facial expression and
bodily gestures.
China is not historically a nation in which dance was of any real importance. One of the
rare indications about the earliest and uniquely Chinese dances has to do with the use of a long
sleeve (known as the “water sleeve”) as a technical and expressive side to dance. It appears
that the use of sleeves was part of shamanistic worship. Sleeve dancing was widespread in
China. CHINESE FAN DANCE is a simple but interesting dance from China suitable for girls.
Korean dance reflects the historical and strategic importance of the country. The earliest
clear record of it can be dated back to the third century. It was an essential factor of religious
worship and of the nature cult that surrounded the planting and harvesting of crops. The point of
departure that both North and South Korea in their conscious attempt to preserve and revivify the
ancient traditions of the county’s dance was the survival of dances which were performed as
entertainments at banquets and dinners among the nobility and wealthy merchant classes. These
provided a basis for folk dances which have been carefully revived. Two elements are thereby
protected: the ancient, traditional forms which include the surviving priestly dances, sometimes
performed with a drum and folk dances which hark back inspiration to the work dances of
peasants.
Japanese dance is more spiritual than technical. At its most intense, Japanese dance
partakes of rituals and the performance of certain dances demands fasting and purification of the
body in order to prepare the interpreter spiritually as well as physically. There are two basic styles
of dance in Japan: the first embraces religious ritualistic dances, the court dances and the
dances of the Noh drama, and the second is concerned with Kabuki drama, deriving from
rustic dances and the popular dances of folk and festivals.Those elements which have been
taken over from the severely beautiful and ancient Noh plays are called mai. The popular style
taken from folk art is called odori. Furi are realistic mime movements and gestures which have
International Folk Dance and Other Dance Forms
Prof. Aquilino Eduardo P. Santos
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been introduced from daily life. BON DANCE is a Japanese folk dance performed during the
blooming of the Cherry Blossoms or during full moon. JAPANESE PARASOL DANCE is an easy,
very colorful dance for girls. It is customary with the Japanese girls to use umbrella for rain or
shine.
In Southeast Asia, trance dances blend superstitions with Buddhist, Hindu, and Islamic
beliefs. During the Barong, a theatrical dance form performed on the Indonesian island of Bali,
dancers in a trance act out a legendary battle between a dragon and a witch. The dancers turn
knives on themselves. But in most cases, the trance prevents them from feeling pain and helps
to protect them from injury.
The themes of Thai classical dance are religious traditional stories. A theatrical dance
form exclusively for women is the lakon, whose libretti come from both legendary and historical
and legendary sources. The purer dance forms are those relating to exercises performed by
warriors.
In its ethnic tradition, Philippine dance is classified into three: Ritual dances that connect
the material world to the supernatural; LIfe cycle dances that celebrate birth, baptism, marriage,
and death; and Occupational dances where life defenses and works are transformed into
celebratory dances.
The coming of the Spaniards in the Philippines brought significant changes in the lives of
the Filipinos especially in dance. Filipinos became Christians. The Spaniards introduced
European dances that were easily adopted by the Filipinos. Such dances were Rigodon,
Lanceros, Mazurka, Polka, Virginia, Valse and Havanera. However, there were still Filipino
natives who have retained the traditional dances particularly those who were living in the
Cordillera Mountains and High mountains of Mindanao aside from the Muslim Filipinos.
The most famous art of Indonesia include dances of the old royal courts of Java, and the
dramatic folk dances of Bali. The Javanese dancers use slow, elaborate motions in which even
finger movements have particular meaning. The dances represent scenes of adventure, battle, or
love. Many Balinese dances are based on ancient Hindu stories, and have forceful rhythms and
movements.
EUROPEAN FOLK DANCE
The folk dances of Europe are precise indication of the social characteristics of its folk
songs and legends. They contain memories and references to religious or magical dances.The
ring dances, the maypole dances, the bonfire dances, sword dances, processional
celebrations, and early religious dances are usual traditions of folk dances throughout Europe.
 The ring or round dance was the most venerable and most widespread.
 In maypole dances, the totemistic nature of the pole itself involves both the idea of a
symbol of divinity and of the fruitful and protective tree, the ribbons which habitually lined
the dancers to the pole being understood as the vestigial branches of the tree and the
direct links joining the celebrants to the pole as a source of fertility.
 Bonfire dances are traces of the ancient worship of the sun.
 Sword dances pertain to almost as antique a tradition of martial art skill, simulated and
sought through dance display, through imitative use of weapons which prepared warriors
for combat and invoked success for them as well.

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Responsible for the popularity of the folk dance, whether as couple dance or as group
activity was the fertilization that occurred when in the seventeenth and eighteenth centuries, the
country dances were adopted and codified by dancing masters. Folk dances have constantly fed
the more formal social dances, irrespective of social class.
SOME EXAMPLES OF EUROPEAN FOLK DANCES (Source: Aquino, Francisca R. FOREIGN

FOLK DANCES .Manila, 1967.)
 ARKADSKY is a very lively dance for big men due to the characteristic gesture of the
arms and the energetic steps inherent among Russian dancers.
 BAVARIAN LANDLER is a traditional dance of farmers in Alemania.
 BARBARY BELL is an old –fashioned country dance among the village people in
England.
 BLEKING is a vigorous dance named after the province of Bleking in Sweden, where
it is popular among the peasants.
 CZARDAS Csarda or Czarda means “village inn”. The Czardas derived its name
from the peasant dances performed outside the village inns. Gypsy musicians popularized the
Czardas. These tunes and dances are divided into 2 parts: a slow stately part and a quick part
called “frishka”.
 CSHEBOGAR is a Hungarian “grief dance”
 DANISH DANCE OF GREETINGS is a simple dance showing the national traits of
the Danish people – friendly, kind, and helpful.
 DUTCH COUPLE DANCE is a humorous dance of Holland depicting how the boy
teasingly asks a bite from an apple.
 HIGHLAND FLING is a vigorous folk dance from Scotland especially adapted for
boys.
 IRISH LILT is a very lively dance especially suitable for girls.
 KALVELIS is an occupational dance which means “little smith” where the clapping of
the hands suggest the hammer and the anvil of the blacksmith.
 LA PETITE UKRAINIENNE. The peasant population of Ukraine, sometimes called
“Little Russia” is very fond of dancing and this little dance gives a simplified version of the way
they do it when fairs or festivals draw them together in merry-making.
 NORWEGIAN MOUNTAIN MARCH is a dance from Norway that depicts mountain
climbing with the boy at the center as guide of the two girls behind him.
 OYDA is a dance which is a good example of round dances performed in the earlier
centuries
 PUTTJENTER originated in the province of Westphalia, is a popular dance among
the peasants of Germany.
 RHEINLANDER FOR THREE is a German couple dance that grown out of the
youthful enthusiasm and creativeness of an east Prussian youth group.
 SWEDISH CLAP DANCE from Sweden is another example of a round dance in its
polished form.
 TROPANKA is Bulgarian stamping dance.
 VARSOVIENNE is a German delightful dance for girls.
DANCE IN LATIN AMERICA
Dance in Latin America continues to play a major role in the religious ceremonies and
community celebrations of the people. Indians and blacks developed it to accompany religious
worship, to celebrate such events as birth and marriage, and to mourn the dead. It is also a highly
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popular form of recreation. Most Latin American countries have their own traditional dances that
include steps from Spanish or Portuguese folk dances: the Spanish zapateado (heel beating
steps) is part of the Cuenca of Bolivia and Chile; the joropo of Venezuela; and the jarabe tapatio
or Mexican hat dance of Mexico.
In the West Indies, African and Spanish influences were combined in such ballroom
dances as the rumba, and cha-cha-cha. The rumba, cha-cha-cha, and some other Latin American
dances including the Argentine tango, Brazilian samba, and Cuban Congo are popular outside
Latin America.
In the various regions of Mexico, there are dances which serve as reminders of hunting
rites and religious beliefs. Among the surviving religious dances is that Concheros, who dance at
fiestas, and in their performance the sacred impulse of the dances were evident.
 Los Moros is a relic of Spanish occupation, a dance usually given by four men, whose
leader is identified as St. James.
 Los Viejetos (the little old men) is danced by young men who disguised themselves with
masks and lean on sticks.
 Los Inditos (the little Indians) is a maypole dance. The dance performed in May is
presided over by the “senior” (Our Lord) of Chalma, and offerings of eggs, necklaces,
beads and flowers can be made after each dance.
 LA COSTILLA is a popular couple dance among the rancheros of Mexico. “Costilla” is an
affection term used in Mexico for wives.
 LA CUCARACHA means the “little cockroach” is a dance known all over Mexico.
 LA VIRGENCITA which means “the little maiden” is a dance popular in Mexico.
SOCIAL DANCE
Nearly every society has social dances that are part of the culture. Each society has its
own viewpoints about different aspects of social dance. In some societies, social dance is a
group activity and is meant to be enjoyed by an individual in conjunction with other people. Some
societies, social dancing is meant to be enjoyed by two people-a “couple”. Sometimes, social
dance is seen as a completely individual activity. In some societies, there are strict rules that
apply to social dance with regard to males and females dancing together, appropriate physical
contact and dancing together.
Carole which involved song and simple dance steps was the perpetuation of the most
ancient of the social dance forms. In its linked form in single file, it evolved into Farandole, in its
circular form, the Branle, and became a couple dance in the South of France as Estampie, where
the man and the woman hold hands and move forward side by side. The professional influence of
the early Italian dancing masters and the social activity in the Italian courts impelled social dance
forward to its remarkable path. The processional Basse Danse, known since 1400 as the Queen
of Dances, and the Pavanes were formal and stately dances with gliding steps danced by
couples. The group dance Brando was the counterpart of branle. With the desire to follow the
quiet gliding dance estampie and the grave measured basse danse, the lighter and gayer dance
Saltarello emerged. As always, the youth needed to be served, and a lively young people’s
dance, the Galliard emerged as an after-dance to the slow peacocking dance of great dignity, the
Pavane.
Other forms of dance emerged in the 16th and 17th centuries. The Courante, which was a
pantomimic dance in origin suggesting courtship and with quite fast tempo, was especially
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popular. It had been codified in a much slower and graver form in France by the middle of the 17 th
century. The Sarabande which was originated in Spain where in the latter part of the 16 th century
it combined songs and dances thought of to be indecent and “repulsive” due to its physical
frankness and unsuited to be performed by respectable people. The boisterous La Volta with lots
of moving, turning, and high leaping steps in a closed embrace was considered bold, if not
indecent.
Minuet, a lively dance in triple meter where small steps were essential part of the dance
gained popularity during the time of King Louis XIV, the Sun King. Its development from a rustic
dance into a dance of the gentry indicates its process of refinement. Despite its supremacy,
another dance of peasant origin, the Gavotte, remained popular in the higher ranks of the society.
It consisted of a mixtures of the movements of branles and galliards. Its introduction to court
entertainments led to the establishment of a form that substituted dignity and stately grace for its
original peasant vitality.
In the following centuries in Europe, when fashions changed, dances went with it. By
1588 the stately basse dance was outdated. Gavotte and minuet disappeared in 1789 when
revolution swept away the court of France. When Europe’s ideas of freedom replaced ideals of
courtly refinement despite the disapproving dancing masters, simple country steps grew more
popular than the complex patterns of minuet. So-called country dances became fashionable at
elegant city balls.These English country dances were later o transformed into French
contredanses, where the dance figures were grouped into a general title of Cotillion, which was
in vogue in the 18th century. Its name was derived from the French cotte, which was a short
petticoat worn by peasants. Descendant of the Cotillion was the Quadrille, a square dance that
emerged during the Napoleonic years in France at about 1740.
Rapid changes in dancing styles occurred in the 19 th century. The minuet disappeared,
and by 1850, except for the Sir Roger de Coverley or Virginia Reel, contredanse was also gone.
French Quadrille which combined contredanses and cotillions became extremely popular.The
waltz, which owes its name from the Latin volvere – to turn, was introduced to fashionable
ballrooms in the early 19th century and became the most popular of all the new dances. This
close-couple dance with its close hold was at first received with considerable dismay. It was
derived from Austria’s landler. By 1790 Vienna waltz was all the rage in German town. Schubert,
Chopin, Strauss helped to spread the fame of waltz tunes. By 1825, it had come to stay. By the
19th century, it has to face its rivals. The Gallop was possibly the simplest dance ever introduced
into the ballroom. The Mazurka, originally a Polish round dance conquered both public balls and
theatrical dance. The United states created the Boston, Central Europe, the Polka, originally from
Bohemia and which was introduced in Paris in 1840 was feverishly welcomed as a fashionable
ballroom dance of tremendous energy, Hungary, the czardas, the Italian tarantella, Russia’s
gopak, and Spain’s flamenco. Europe’s newly discovered folk dances inspired gay waltzes,
mazurkas, polkas. These filled the19th century New York, Paris, and London ballrooms.
America in the 19th century was to turn to the ballroom dance as an expression of polite
social ambition. This is when the country was to shift from agricultural to industrial identity.
VIRGINIA REEL is a traditional American dance. It is the ancestor of the square dance popular
during the colonial days in America. European social dance forms were adopted. Waltz was
accepted in 1830. Polka swept America. However by the latter years of the century, an authentic
American dance emerged, the Military Schottische or Barn Dance, a simple and ebullient dance
with foot stamps and slightly refined in manner. The term “barn dance” was derived form the tune
“Dancing in the Barn” when schottische was first danced to its tune. OH SUSANA is an American
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round dance mixer and it is used as a prerequisite to square dancing.RED RIVER VALLEY is an
American dance traditionally performed with one boy at the middle and two girls in each set of
three. The dancers sing aloud as they perform the dance.
By the early 20th century, two-step, one step foxtrot, and tango were introduced.
Quadrilles, lancers, and other open-couple dances had essentially disappeared, and the usual
ballroom dance program consisted entirely of the accepted closed-couple dances. John Philip
Sousa, the King of March produced many popular marches. The Boston Two-Step, which is
basically a marching step with interpolated skips, became popular. One Step, which followed the
Boston two-step, was the most popular of the dances. Inspired by the ragtime music, it required
performers to dance one step to a beat.
In 1900, the jerky Negro rhythms of the Cakewalk challenge the smoothly gliding waltz.
Dances derived from “savage” Africa swamp the dance halls of the Western world. This began
when West African slaves, shipped to North America, brought with them tribal songs and dances.
When the slaves gained freedom, Negroes performed native music and dances in New Orleans’
Congo Square.
When Negro musicians borrowed Irish, Scottish, Italian, French, and Spanish tunes, they
mingled them with Negro rhythms and improvised jazz melodies. Negro rhythms, soon popular
with white musicians, changed the white dances. Western social dancing had changed to keep
pace with the changing Western world. As life’s tempo speeded up, the Cakewalk, Bunny Hug,
Grizzly Bear, Black Bottom gave young Westerners the thrills they sought and failed to find in
waltz or polka.
The story of social dance is a story of movement and space. Always as they move,
dances take with them something of the land they come from. In Negro-inspired jive and jitterbug,
bebop, rock n’ roll, city teenagers have found what they wanted.
In 1910, Tango arrived from Argentine. Its origin can be traced to a slave dance in Cuba,
and by no means respectable. It was introduced into Europe at the beginning of the 20 th century,
and in France, where it was transformed into a more polite form. In 1912 Argentina’s tango
gained fame in Paris within a year. Mid-century rock n’ roll swept first in the United States, then
Europe, in mere months. Modern mambo, rumba, and jive represent changing fashion in social
dance. Foxtrot which was originated by a comedian, Harry Fox, who worked in the Ziegfeld
Follies, emerged in 1914. But as early as 1913, he had introduced some quick trotting steps into
a dance to ragtime music in his act. By 1914, it became a popular dance form.
The most vital impulse to social ballroom dancing in the 20 th century was the emergence
of Jazz from New Orleans. It became synonymous with freedom, good times, and an
abandonment of many of the social attitudes and taboos after World War I. One dance that
epitomized the freedom and wildness of the 1920s was Charleston. Swing or boogie-woogie and
lindy or widely, jitterbug superseded the jazz rhythm in the 1930s. Jitterbugging was an American
pastime at the New York World’s Fair in 1939. The dance provided a release from wartime
pressures.The basic technique of the so-called “a new form of sexual display typified by the
gigolo image of the sultry Southern male – the Rumba, which was accepted by the public in
1930.For the first time in centuries, dancers abandoned the physical contact when the Twist,
which went to the other extreme, was the next craze. It was a very simple dance that amounted to
little more pelvic gyrations “as if drying your back with a towel” accompanying a foot movement
that resembled the treading of a cigarette-end into the ground. Samba is dance of Brazil. Paso
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Doble, with its imitation of the bull fight stems from Spain but was refined for the ballroom in the
Southern region in France, The man represents the matador, the lady his cape. Cha Cha Cha is a
descendant of the Cuban Mambo.
Youth oriented form of music and dance exemplified by rock n’ roll was introduced to
delighted teenagers by the film Rock Around the Clock made in 1956. With this birth of rock n’
roll, social dance styles became freer. Partners did not touch each other, and they made their own
dance movements.
During the 1960s and 1970s, blacks created many dances that the whites enthusiastically
adopted. In 1960, Chubby Checker recorded “The Twist”, and a new dance craze emerged. Other
dances such as the “monkey”, “mashed potato”, and the “frug” became popular with both
black and white teenagers. A popular style of dancing in the 1970s called “disco” rejected the
“do-it-yourself” choreography of earlier rock dances. Instead, dancing partners held each other
and followed a set pattern of steps.
During the 1980s, young black males popularized break dancing, which consisted largely
of acrobatic movements performed to rock music. “Slam” dancing was another dance craze that
was popularized in the early 1980’s, where dancers literally slammed into each other. Rap music
which was developed in the 1970s, but became popular in the late 1980s as a voice for inner-city
minority groups, came a new, popular form of dance known as “hip-hop”- also known as “street
dancing”. It combines several movements from African and jazz dance vocabularies with newly
created movements.
Many people today, as in years past, enjoy social dancing. Many people dance to release
frustrations and negative energies and many people dance for the sheer fun of it. Whatever the
reason people dance, the culture and society of the time to which they belong will certainly be
reflected in the movements, style and music that make up the dance.
OTHER DANCE FORMS
BALLET
Ballet can be traced to Italy during the 1400’s at the time of the Renaissance. Catherine
de Medici, a member of the ruling family of Florence, became the queen of France in 1547. She
introduced into the French court the same kind of entertainment that she had known in Italy. They
were staged by Balthazar de Beaujoyeuolx, a gifted musician who had come from Italy to be
Catherine’s chief musician. Beaujoyeulx created in 1573 Ballet des Polonais, a court
entertainment performed by sixteen women who each represented one of the French provinces.
He went on to create. Ballet Comique de la Reine in 1581 commissioned by de Medici. The
spectacle lasted from 10;00 a.m. to 3:30 p.m. The ballet told the ancient Greek myth of Circe,
who had the magical power to turn men into beasts. The ballet included specially written
instrumental music, singing, and spoken verses as well as dancing. Dance technique was
extremely limited, and so Beaujoyeulx depended on spectacular costumes and scenery to
impress the audience. Printed copies of the verses used in the ballet were distributed so that the
audience is sure to understand the story. The ballet was a great success. Ballet Comique de la
Reine established Paris as the capital of the ballet world. King Louis XIV who ruled France during
the late 1600’s and early 1700’s strengthened that leadership. The king enjoyed dancing, and he
took part in all the ballets given at his court.The court ballets were performed by and for members
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of the nobility. King Louis XIV founded the Royal Academy of Dancing to train professional
dancers to perform for him and his court. Professional ballets began in the king’s dancing
academy.
In 1900s, ballet took on a new look, philosophy and aesthetic, which is referred to as
“classical” ballet. Classical ballet can be traced back in Russia when a choreographer named
Marius Petipa began to create ballets. Several characteristics and features are always found –
performed on a proscenium stage, spectacular scenery fills the upstage and side areas of the
stage, dancers are always dressed in elaborate costumes typical of the character they are
portraying- all of which enhance the storyline of the ballet, which is usually a fairy-tale or fable.
Sleeping Beauty was choreographed in 1890 by Petipa and first performed in Russia. Swan
Lake was choreographed by Petipa and Lev Ivanov in 1895.
Contemporary ballet evolved in Russia in the early to mid 1900s due mainly to the work
of a choreographer named Michel Fokine. It is similar to classical ballet. The striking difference
between the two is that contemporary ballet lacks storyline or plot. It is usually concerned with
movement as the primary focus. It rejected the use of pantomime and literal gestures and
abstracted the movements that appeared within the dance. George Balanchine, Russian
choreographer who defected to America in 1933 was one of ballet’s greatest innovators and is
considered by many to be the greatest contemporary ballet choreographer. He eliminated the
elaborate sets and costumes used in classical ballet and presented the dancers as equal on
stage, not as principals and corps. Two of his plotless ballets are Concerto Barocco in 1941 and
Agon in 1957. He did however choreograph narrative ballets – The Prodigal Son in 1929 and
revised in 1950; and A midsummer Night’s Dream in 1962.
Since the 1900s, the length of ballets has varied from short works to full length ballets
that are several hours long. Some modern ballets tell a story; others describe a mood or express
the feelings and movements aroused by the music or by some other factors, such as painting and
nature. Current dance styles reflect the speed, pressures, and complexity of modern life.
MODERN DANCE
Modern dance was developed in the early 1900s pioneered by Isadora Duncan, Louie
Fuller, and Ruth St. Dennis in the United states; Emile Jacques-Dalcroze of Switzerland, and
Rudolf Von Laban of Hungary. These leaders of the modern dance movements believed that the
techniques of ballet were artificial and meaningless. They searched for fresher, more personal
ways to express ideas through dancing.
Isadora Duncan, one of the most spirited pioneers, danced in her bare feet and wore
loose-fitting garments that allowed her freedom of movements. She did not permit scenery
onstage which might draw attention from her dancing, ignored the formal, set movements of
ballet. Her flowing movements were inspired by nature, classical music, and Greek drama and
sculpture. Her ideas greatly influenced the development of not only of modern dance but also of
ballet. Oriental religions inspired the dances of Ruth St. Dennis, who won fame during a tour of
Europe from 1906 to 1909. She and her husband Ted Shawn opened the famous Denishawn
School of Dancing in 1915 in Los Angeles. The school moved to New York in 1922. Many former
students including Martha Graham and Doris Humphrey developed more personal styles.
Graham, Humphrey and her husband Charles Weidman formed their own dance companies.
Mary Wigman became Europe’s first great modern dancer. She founded an influential dance
school in her native Germany in 1920. Since the 1940s, creativity in modern dance has centered
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on U.S. dancers and dance companies. Modern dance works today place less importance on
emotion and personal expression; instead, they explore movement for its own sake.
TAP DANCE
Tap dancing is believed to have been created by the blending of the Irish jig and the
English clog with the Negro Shuffle. It dominated the Vaudeville shows of the late 1800s and
remained popular well into the 19h century. Tap dancing is a style of dance in which rhythmic
sounds are produced by moving the feet. Shoes are worn with metal taps on the bottom, which
produce the distinctive tap sound against the floor. Bill “Bojangles” Robinson was one of the
first of many African-American artists who popularized tap dance
INTERNATIONAL FOLK DANCING
SOME INTERNATIONAL DANCE TERMS
 ADDRESS PARTNER. Same as honor your partner or bow to your partner.

 ALLEMANDE LEFT. The boy turns to the girl at his left and takes her L hand in his L
hand and turns her once around counterclockwise, then both falling back to places.
 ALLEMANDE RIGHT. The boy faces his partner, takes her right hand in his right hand
and turns her once around clockwise, then falling back to places.
 BOW/ SALUDO. Partners bow to each other, to opposite dancer or to the
audience. This is of Spanish origin.
 CABECERAS The couples occupying the width of the dance floor in a square
formation.
 CAST OFF. When dancers are in long formation, the leader or the head couple counter
marches outward to the end of the line where the last couple was, then counter-march inward to
proper places.
 CIRCLE LEFT AND RIGHT. The designated couples or dancers join hands and walk to
left with light springy steps clockwise and then to the right counter clockwise, falling to home
positions.
 COSTADOS The couples occupying the length of the dance floor in a square
formation.
 CROSS OVER. Two couples are facing each other, each couple proceeds in a straight
line to the opposite place. The girls pass by their L shoulders between the boys. Boys bow to
each other when the 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 partner’s left
shoulder.
 DRAW . The free foot is drawn toward the supporting foot, by pressing the toes against
the floor as the close is made, with or without transfer of weight.
 DO-SI –DO Two people walk towards each other, pass by the right shoulders, step
sideward to the right, and walk backward passing by left shoulders to original position.
 ELBOW SWING. Two dancers link right elbows and swing clockwise with either springy
walking steps or buzz steps.
 HOME POSITION. The couples’ original position in a set.
 FOLDED ARMS. Arms raised in front at shoulder level, with one forearm on top of the
other.
 PLACE. To put the foot flat on the floor in any desired position without putting weight on
11
it.
 PROMENADE. Partners are side by side, L shoulders toward the center holding in a
skating position (R hands joined over the joined L hands) at waist level or in varsouvienne
position; they walk around in a counterclockwise direction until they reach their home position.
 SET A unit formation of two or more couples.
 STAR RIGHT AND LEFT. Also known as Mill or Wheel Right and Left. Dancers put their
R hands in the center and walk around clockwise, and at the caller’s command, they turn right
about, put the Left hands in the center and walk counterclockwise.
SOME COMMON INTERNATIONAL FOLK DANCE STEPS
DANCE STEP TIME STEP PATTERN &

SIGNATURE COUNTING
3
ACCENTED RUNNING STEP 4 Stamp Step Step ║ 1M
1 2 3
3
BALLROOM WALTZ 4 Step R (L) Slide L (R) Close R (L) ║ 1M
1 2 3
2
BLEKING 4 Spring on L (R) & Heel-place R (L) or
1
Heel-Place R (L) Close (step) R (L) ║ 1M

1 2
3
4 Heel-Place R (L) Close (step) R (L) ║ 1M
1,2 3
3
BOX SQUARE WALTZ 4 Boy: Step L forward Step R sideward Close L to R │
1 2 3
Step R backward Step L sideward Close R to L ║2M

1 2 3
Girl: Does the counterpart.

2
BREAK LEGS 4 Jump to feet apart sideward (ct. 1), spring to
face right (left) and kneel on L ( R ) (ct. 2). 1M
2
CHASSE 4 Slide R(L) sideward (ct. 1), step L ( R ) close
to R(L) (ct. and). Two chasse’ steps in one
measure.
2
CROSS POLKA 4 With an inward foot circle in the air of the R (L) foot,
hop on L (R) (ct. and of previous M) and execute the
polka step forward crossing the R (L) foot over the L (R)
first (cts. 1 and 2). 1M
12
3
CROSS WALTZ 4 Step R (L) across L (R) in front and raise slightly
the L (R) across in rear (ct. 1, step L (R) in third position
in rear (ct. 2), step R (L) forward (ct. 3). There is a slight
bending of the knees on ct. 1. Step on the ball of the rear
foot on ct. 2. 1M
3
DUTCH STEP 4 Step R(L) sideward (ct. 1), brush L ( R ) heel
forward with toes pointing upward (ct. 2), hop
on the R(L) in place (ct. 3). 1M
2
GRAPEVINE 4 Step Cross-step (in rear) │ Step Cross-step (in front) ║2M
1 2 1 2
3
4 Step Cross-step (in rear) │ Step Cross-step (in front) ║2M
1,2 3 1,2 3
2
HOPSA 4 Leap sideward R(L) (ct. 1), step L ( R ) across
R(L) (ct. and), close R(L) to L ( R ) (ct. 2),
pause (ct. and). 1M
HEEL AND TOE POLKA (Old) 24 Place the R (L) heel in front (cts. 1 and ), touch the
R (L) toe in rear (cts. 2 and), and execute plain polka
forward (cts. 1 and 2 and). This is usually done forward.
The polka may be preceded by a hop. 2M
2
HUNGARIAN TURN 4 Partners place right arms around each other’s
waist arm encircled overhead. Hop on R (L)
(ct. 1), small step on L (ct. and), small step on R (cts. 2
and), and continue to complete the turn, usually four
measures. 1M
2
JUMPING JACK 4 Full-knees bend with knees apart, cross
hands down in front (ct. 1), jump to standing
position, with feet apart sideward, toes pointed upward
and fling arms obliquely upward, palms facing front (ct.
2). 1M
3
MAZURKA 4 Slide R (L) Cut R (L) with L (R) Hop on L (R)
1 2 3
2
MINCING STEP 4 Step Step Step Step (tiny steps ║1M
1 and 2 and heels slightly
raised)
3
MINUET STEP 4 Three small steps forward on the balls of the
feet (cts. 1 2 3),point L (R ) in front and bring
heel of the R down (cts. 1 2 3). 2M
2
OPPOSITE TORTILLIER 4 Toes together Heels together ║1M
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1 2
3
4 Toes together Heels together ║1M
1,2 3
2
PARALLEL TORTILLIER 4 Pivot on heels and Pivot on toes and ║1M
turn toes both turn heels both
1 2
3
4 Pivot on heels and Pivot on toes and║1M
turn toes both turn heels both
1,2 3
3
PAS DE BASQUE 4 Half-foot circle in the air with the L ( R) foot
and leap sideward (ct. 1), slide R (L),slide R (L)
to fourth position (ct. 2), cut R (L) forward with the L ( R )
foot (ct. 3). 1M
2
POLKA (Old Hop Polka) 4 Hop R (L) Step L(R) Close R (L) Step L (R)║1M
and 1 and 2
2
RUSSIAN POLKA 4 Heel-brush R (L) Heel- step R (L)
and 1
Close L ( R ) Step R (L) foot ║ 1M

2 and
2
PRYSIADKA 4 Full-knee bend on R (L) and stretch L ( R ) leg
forward (ct. 1), with a spring reverse the
position of the feet (ct. 2). 1M
2
ROCKING STEP 4 Fall on Right forward Fall Left backward
Raise Left in rear Raise Right in front
1 2 ║1M
2
RUBBER LEGS 4 Step L across R in front, and twist R foot so
that the sole is off the floor facing outward (ct. 1),
transfer weight to R foot and twist the left foot so that the
sole is off the floor facing outward (ct. 2). 1M
RHEINLANDER STEP or
4
SCHOTTISCHE 4 Step R sideward (ct. 1), close L to R (ct. 2)
step R sideward (ct. 3), hop on R, swing the
L foot in front (ct. 4). 1M
2
SHUFFLING STEP 4 Slide Slide Slide Slide ║1M
1 and 2 and
Tiny slides on balls of feet
3
4 Slide Slide Slide Slide Slide Slide ║1M
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1 and 2 and 3 and
Tiny slides on balls of feet
3
VARSOUVIENNE STEP 4 Slide R foot diagonally forward R(ct. 1), step
L close R in third position (ct. 2), step R
sideward (ct. 3), point L foot in front (cts. 1 2 3). 2M
3
WALTZ BALANCE 4 Step R forward Close L to R Both heels down
and raise
both heels
1 2 3 ║1M
Can be done moving backward
MODERN BALLROOM DANCE
Over the centuries every kind of ballroom dance rhythm had been tried out, some being
discarded, others going on to become popular dance. The original steps differ considerably from
those used at the height of their popularity. The dance must be in keeping with the spirit of the
times. Impressive modifications will probably be made. Movements changed or omitted or new
ones included.
Dance in the ballroom maintained its continuing identity as a polite art, standard four
dances” – the foxtrot, the waltz, the tango, and the quick step had been codified in England. The
insidious rhythm of the so-called Latin-American dances were introduced throughout the 1920’s
and 1930’s.
Posture
Posture refers to the efficient body carriage. It is the basis of graceful and attractive
dance movement. Good posture is much more natural, functional and comfortable.
Body control is attained through effective posture and a strong sense of balance.
Dance walk is an important part of dancing, and it is done gracefully and with appropriate style.
“Contra body motion” is a subtle element of style in the dance walk.
Feet are kept close together. The travel is straight forward or backward, not swaying or
waddling from side to side. Make sure the body is held forward and moves just before the leading
foot. Arms are held high, and the body is erect. Glide the traveling foot always, transfer the weight
smoothly with no sudden jarring.
“Contrabody motion” is used when you step forward with the right foot bring the left
shoulder slightly forward and vice versa.
Your knowledge of the suitable couple dance position is an important element for
effective social and ballroom dancing.
Balance
Good balance comes with control of movement. The weight is carried forward with the
moving foot. Good balance comes with control of movement. When you are moving forward or
backward keep your feet in a straight line. Do not try to avoid your partner’s feet by walking
outside them. Carry your weight forward with the moving foot. When moving backward, you step
on the toes, bringing the weight gradually back with the forward foot before taking the next step.

15
The Head
Since the head is heavier than the other parts of the body. Keep the head up. Hold the
chin naturally in. Keep the eyes at their usual level.
The Body
The body is held in a natural, erect position without raising the shoulders or pushing out
the chest. Those who look stiff are keeping their muscles taut. The controlled appearance is
shown by holding up your arms and elbows without raising the shoulders. The lady does not hang
on her partner, either weighing him down with heavy arms or holding him tightly and her left hand
should be rested lightly on his right upper arm, fingers neatly closed together. The diaphragm
muscles are made as the center of control of the whole body.
The Legs
The movement of the legs should be free and from the hips not the knees. Natural
bracing and relaxing movements are used in every step made. When there is room to move, the
knees are at their straightest or locked, but not stiff at the full extent of a stride, and relax slightly
as the weight is taken on the foot.
The Feet
The feet should be kept straight. Out-turned toes are a common fault. Try to feel your feet
brushing past each other as you dance both forward and backward step. Use your ankles
properly. When you have reached the full extent of a stride forward, the ankle should be stretched
with only the toes touching the floor, not the ball of the foot, before you move the front foot into its
next position.
LINE OF DANCE (LOD) – is the direction that one takes when dancing round the ballroom
counter-clockwise.
Timing Effect
Timing effect is important for you to coordinate your movements with the music. There
are types of count – musical count, the number and sequence of beats to the measure and
dance count, the sequence of steps and whether the weight should be sustained on each
succeeding transfer for two beats or for one beat.
THE WALTZ
The waltz was derived from an old German word walzen, meaning to turn, to roll or to
glide. It was born in the suburbs of Vienna and in the alpine regions of Austria. It is a progressive
dance written in ¾ time where the first beat measure is accented.
Characteristics of the Waltz:

a. Erect posture and rise-and-fall. The first step of the measure is taken with bent knee and
followed on the second and third steps by both partners rising to full height on balls of
the feet.
b. Forward steps are taken on the heel and directly toward the partner.
c. On side steps, both partners sway slightly away from their direction of travel.
d. Partners stay fairly close together and take a long reaching steps.
Basic Step: Commence and end in Closed Ballroom Hold

16
Man: Step L forward (ct. 1), step R sideward (ct. 2), close L to R (ct. 3)
Woman does the opposite moving backward
CHA – CHA – CHA
In 1953, the Cuban Orchestra America started playing the time-honored danzon with a
new syncopated beat. It sounded like a slow mambo, and Cuban dancers used a slight triple hip
undulation on the slow count. This was change gradually into triple step on the slow count, thus
cha-cha-cha was born. It was introduced in the US in 1954.
Cha-cha-cha- is written in “cut” time with four count rhythm. It is the most popular of the
Latin dances. It has a catchy rhythm.
Characteristics:
1. Shoulders remain quiet and free arms are kept at about shoulder level with palms down.
2. All steps are taken on the flat of the foot with the exception of the back step which is
taken on the ball of the foot with weight kept well forward.
3. Forward steps are taken with weight held back.
Timing: Take the forward of leading step off the second beat of the bar of music.
Rhythm: Slow Slow Quick Quick Slow

2 3 4 and 1
Side Basic: For man :A. L forward, R in place, chasses sideward L (slide, close, slide)
B. R backward, L in place, chasses sideward R
Woman does the opposite.
THE TANGO
The word “Tango” is thought to be African in origin, and denotes a “meeting place” or
“special place”. This does not mean that Tango itself is of African origin. The Cuban Habanera,
the Spanish Contradanza and the Afro-Argentinian Candombe all influenced the evolution of
Tango, but no dance more than the Milonga. Milonga means “party” or “fiesta”. Ballroom tango
originated among the lower classes in Buenos Aires, Argentina during the 19 th century. It was
called baile con corte, a dance with a stop. To produce a more dreamy effect, the original rhythm
was substituted to habanera rhythm, resulting in a dance called Milonga. The music itself was
lively, vivacious and joyful. Although initially popular with the lower classes, by the turn of the 20 th
century it gained acceptance among the upper classes. It was introduced in France at the turn of
the century and into England in 1912.
Tango Argentino is a much more intimate style of dance than the modern Tango, and is
well suited to dancing in small settings.
Characteristics:
1. A graceful progressive dance with a basic rhythm of slow-slow-quick-quick-slow.
2. The hold is unique, with partners in close contact and “no daylight” between them. The
man’s right arm is farther around the woman and his left arm closer to the body.
3. It is a staccato dance.
Basic rhythm: Slow Slow Quick Quick Slow

1,2 3,4 5 6 7,8
17
or:
1 2 1 and 2
Progressive Walk: Man - Step L forward, step R forward, step L forward (small step), step R
forward (small step), step L forward.
Woman does the opposite moving backward.
ROCK ‘N’ ROLL
When Benny Goodman ‘s swing band gave a concert at the Paramount theater in new
York, in 1937, teenagers went wild and poured into the aisles to “Jitterbug” as the newspaper
called the dance. The craze swept across America. Variations in techniques led to styles such as
Boogie woogie and Swing boogie, with “jive” gradually emerging as the generic that covered
Lindy Hop, Jitterbug and Boogie Woogie dances. Whichever term used in the 1940’s, the music
was Swing. After the Second world War, bands got smaller and the music changed. By the
1950’s, the music was no longer as smooth and polished as Swing but it had huge popular
appeal; this music was Rock ‘N’ Roll. From Lindy Hop emerged another dance style, the Rock ‘n’
roll.
Rock ‘n’ Roll is an interesting and fascinating dance, sometimes referred to a s Single
Beat Jive.
1. The man begins all the figures with his left foot and the lady with her right.
2. the rhythm for all the basic figures is Slow, Slow, Quick, Quick (2 beats for each “slow”
and 1 beat for each “quick" step).
3. all the steps are taken on the ball of the foot, then on to the flat foot.
4. When taking a “slow” step, sway the body very slightly towards the foot you are stepping
with.
JIVE
The main difference between the Rock n’ Roll and jive is that Jive is danced in what is
called Triple Rhythm while Rock n’ Roll uses “quick a quick” rhythm in place of “Slow” rhythm. the
music is written in 44 time, and two different rhythms form its basis;
1 –Bar construction; Step Step Jive Chasse

1 2 3a4
Quick Quick Quick a Quick
2-Bar Construction: Step Step Jive chasse Jive Chasse

1 2 3a4 3a4
Quick Quick Quick a Quick Quick a Quick
FOXTROT
The foxtrot is a “smooth” dance where the movements are flowing, the weight of the body
traveling continuously. It is written in 44 time. There are types of foxtrot. the International (English)
quickstep where the figures are not exceptionally different but are challenging because of the
tempo of the music; the Peabody which is a fast foxtrot; the graceful Roseland foxtrot where the
music is played at a moderate tempo and combines a quick – quick- slow rhythm with frequent
use of the outside position; the slow foxtrot sometimes called “music to hug by” ; and the slow to
medium foxtrot which is suited for beginners. The rhythm may be slow- slow- quick – quick or
slow- quick – quick.
18
Basic Step: Man: Step L forward, step R forward, step forward on ball of L, step forward on
ball of R.
Woman does the opposite moving backward.
RUMBA
The “international” style Rumba owes an inestimable debt to the Cuban “Guajira”, an
earlier folklore dance, and the name of which points to its rural origin. In the Cuban tradition, the
verb rumbiar simply means to dance, and “Rumba” is a generic term that can refer to a variety of
dances or even a “dance party. In the Spanish-speaking world, the Rumba to which we now refer
is often known as the “Bolero-Rumba”. The “Square Rumba”, an even more compact close-hold
style than the current form, first came to prominence in the early 1930s. By the late 1940s, as the
style developed in Europe and the United States, the perhaps somewhat –inaccurately called
“Cuban Rumba” was beginning to emerge, with more figures danced in open hold, enabling a
more dynamic approach and greater fluency in the dance.
The dancer normally makes the actual foot movements only on beats 2, 3, 4, with a
controlled and very slight lateral hip action on beat 1.
Count: 2 3 4-1
Quick Quick Slow
Basic: Man: Step L forward, step R in place, step L sideward

Woman does the opposite.
SAMBA
The original Brazilian sambas were written in 24 time, but the dance we know today is
almost always played in “cut” time with a syncopated pulsing beat. The rhythm consists of three
steps to two counts of music, which many dancers call step-and-cut.
Characteristics of the Samba:

 Pendulum motion, where the entire body sways opposite to the feet (step forward, sway
back; step right, sway left and so forth).
 continuous bending and straightening of the knees, which adds to the samba’s smooth
lilting effect.
Because of the fast tempo, all steps in samba are fairly short.
Basic Steps:
Man: Step forward on left foot (3/4 count), nearly close right foot to left foot, taking partial
weight on the ball of the foot (1/4 count), almost simultaneously closing the left foot to the right foot
with a pulling action from the hip (the cut) to take full weight for one count.
Woman does the counterpart.
The PASO DOBLE
Paso Doble is a Spanish dance and the movements danced by the man are symbolic of
those made by the torero (or matador) in the bullring. The lady represents the cape and her
19
movements suggest the cape passes made during a bull fight. The music is played in a March
time.
Basic Movement:
Man or Lady: Normally begin with right foot as man and left foot as lady on the first beat
of the bar of music. Dance a series of small steps forward or back (straight or curved either to
Right or Left), changing weight from one foot to the other (on the ball of each foot) with the knees
very slightly relaxed. The steps are taken with pressure into the floor……..count 1, 2, 1, 2
MAMBO
The mambo is written in “cut” time with a four-count rhythm corresponding to four quarter
notes. The primary accent is on the second count of the measure, and there is a secondary
accent on the fourth count of the measure. Syncopation is often achieved by tying an accented
note to the following weak note, thereby providing a jerky staccato effect.
Rhythm: quick quick slow
4 and 1
Characteristics:
 This is similar to cha-cha, except that the triple becomes step-hold.
 Knees are soft and all steps except back steps are on the flat of the floor.
 Weight is held forward on back step and held back on forward steps.
PART I I: ANALYZING TEST ITEMS
1. Bharata Natyam is the oldest dance in the world, originally performed in the temples of India.
It combines rhythmically complicated dancing with Hindu legends told in song and
pantomime. Like other Indian dance forms, this temple dance uses hand gestures that have
recognized meanings that often stand for animals, plants, or feelings. This hand gestures are
called ______.
a. Natya c. Nritya
b. Mudras d. Nritta
20
The answer is b (Mudras) because option a (Natya) is a component of the Indian classic dance
which means the dramatic quality while option c (Nritya) is another component which has
something to do with the expressive possibilities of conveying the sentiment and mood through
facial expression and bodily gestures and option d (Nritta) is the rhythmic aspect of the dance.
2. One of the rare indications about the earliest and unique dance has to do with the use of a
long sleeve known as “water sleeve” as a technical and expressive side of the dance and
appears to be part of shamanistic worship. Sleeve dancing was widespread in ______.
a. China c. Korea
b. Burma d. Indonesia
The answer is a (China) because option b (Burma) is not uniquely Burmese. It had the pwe,
which is performed outdoors and can last all nights while option c (Korea) had dance that reflects
the historical and strategic importance of the country and were an essential factor of religious
worship and of the nature cult that surrounded the planting and harvesting and option d
(Indonesia) just like other Southeast Asian dances had the barong, where dancers in a trance, act
out a legendary battle between a dragon and a witch.
3. The European folk dances contain memories and references to religious or magical dances.
These dances are traces of the ancient worship of the sun .
a. Maypole dances c. Ring dances
b. Bonfire dances d. Sword dances
4. Cotillion was in vogue in the 18th century. Its name was derived from the French cotte, which
was a short petticoat worn by peasants. Which of the following square dances that emerged
during the Napoleonic years in France at about 1740 was the descendant of the Cotillion?
a. Quadrille c. Virginia Reel
b. Minuet d. Basse Danse
5. This is a maypole dance which is performed in May is presided over by the “senior” (Our
Lord) of Chalma, and offerings of eggs, necklaces, beads and flowers can be made after
each dance.
a. Los Inditos c. Los Moros
b. Los Viejetos d. La Costilla
6. Cha Cha Cha is a descendant of the -

a. Samba c. Rumba
b. Cuban Mambo d. Tango
7. In the 14th century, Carole which involved song and simple dance steps was the perpetuation
of the most ancient of the social dance forms. In its linked form in single file, it evolved into –
a. Farandole c. Branle
b. Estampie d. Basse Danse
8. Important and significant adaptations from folk elements were the Contredanses, the
linguistic adaptation of the English – country dances. Later on, it was transformed into French
contredanses. The dance figures were grouped into a general title which was in vogue in the
18th century. Its name was derived from the French cotte, which was a short petticoat worn by
peasants. This was –
21
a. Quadrille c. Cotillion
b. Waltz d. Polka
9. The dance that provided a release from wartime pressures.

a. Jitterbugging c. Discoing
b. Boogie-Woogieing d. Break dancing
10. One of the most spirited pioneers of modern dance who did not permit scenery onstage which
might draw attention from her dancing, ignored the formal, set movements of ballet.
a. Ruth St. Dennis c. Isadora Duncan
b. Doris Humphrey d. Martha Graham
11. He founded the Royal Academy of Dancing to train professional dancers to perform for him
and his court. Professional ballets began in the king’s dancing academy.
a. Balthazar de Beaujoyeuolx, c. King Louis XIV
b. Rudolf Von Laban d. Ted Shawn
12. What is the “capital” of the ballet world as established by the Ballet Comique de la Reine
which was considered to be the first ballet with spectacular costumes and scenery to
impress the audience, ran for 51/2 hours performed in 1581 in honor of a royal wedding?
a. Italy c. United States
b. Germany d. Paris
13. A style of dance in which rhythmic sounds are produced by moving the feet.
a. Tap dance c. Modern dance
b. Zapateado d. Stampas
14. This is one of the types of FOXTROT, which a graceful foxtrot and the music is played at a
moderate tempo and combines a quick – quick- slow rhythm with frequent use of the outside
position .
a. Peabody c. International quickstep
b. Roseland foxtrot d. Slow-to-medium foxtrot
15. The basic technique of this so-called “a new form of sexual display typified by the gigolo
image of the sultry Southern male was accepted by the public in 1930.
a. Rumba c. Barn dance
b. Samba d. Rock n’ Roll
16. This term also known as Mill or Wheel Right and Left.
a. Allemande Right and left c. Grand Right and Left
b. Star Right and Left d. Cadena
17. Break Legs is executed in a 24 time music and the counting is –

a. 1 and 2 and c. 1 2
b. 1 and 2 d. 1 2 and
18. How many measures will it take to execute two (2) Box Square Waltzes?
a. 1 measure c. 3 measures
b. 2 measures d. 4 measures

22
3
19. The Dutch step is executed in 4 time signature, and the step pattern is –
a. Slide Cut Hop c. Step Heel-brush Hop
b. Heel-place Close d. Deep-knee Bend Jump (feet apart)
20. Half-foot circle in the air with the L ( R) foot and leap sideward (ct. 1), slide R (L),slide R (L) to
fourth position (ct. 2), cut R (L) forward with the L ( R ) foot (ct. 3). This is the step pattern for
–
a. Varsouvienne step c. Rheinlander step
b. Pas de Basque step d. Hopsa step
21. The dance step pattern “Step L across R in front, and twist R foot so that the sole is off the
floor facing outward (ct. 1), transfer weight to R foot and twist the left foot so that the sole is
off the floor facing outward (ct. 2).” is the pattern for –
a. Hopsa c. Rubber Legs
b. Prysiadka d. Dutch step
22. How many measures will it take to execute four (4) Minuet step moving forward?
a. 4 measures c. 6 measures
b. 7 measures d. 8 measures
23. Which of the following dance steps is executed in 44 time signature?

a. Jumping Jack c. Russian Polka
b. Hungarian turn d. Rheinlander Step
24. In the dance Samba, this is executed, where the entire body sways opposite to the feet (step
forward, sway back; step right, sway left and so forth).
a. Swaying motion c. Pendulum motion
b. Contra body motion d. Rise-and-fall motion
25. The timing effect “Slow Slow Quick Quick Slow “ can be dance counted as-
a. 1 and, 2, 3, 4 c. 1, 2, 3 and, 4
b. 1, 2 and, 3, 4 d. 1, 2 and, 3, 4 and

23
1.
PART III: ENHANCING TEST TAKING SKILLS T
his Japanese word means play and was believed to be the main idea of Oriental Dances.
a. Hara Kiri c. Asobi
b. Sakura d. Kabuki
2. In the ethnic tradition of Philippine dance, what dances transform defenses and livelihood
activities to celebratory dances?
a. Life-cycle dances c. Imitative dances
b. Occupational dances d. Ritual dances
3. Became extremely popular in the 19th century in Europe was a form of quadrille which
combined contredanses and cotillions.
a. Square Dance c. Rigodon
b. Virginia Reel d. French Quadrille
4. In Central Europe, this dance originally from Bohemia and introduced in Paris in 1840 was
feverishly welcomed as a fashionable ballroom dance of tremendous energy.
a. Mazurka c. Polka
b. Waltz d. Galop
5. . In the Cuban tradition, the verb rumbiar simply means -

a. to dance c. to move
b. to turn d. to glide
6. This is a Mexican hat dance of Mexico.

a. Joropo c. Zapateado
b. Jarabe Tapatio d. Cuenca
7. This was a lively dance in triple meter that gained popularity during the time of King Louis XIV,
the Sun King. The small steps were essential part of the dance.
a. Courante c. Sarabande
b. Pavane d. Minuet
24
8. John Philip Sousa, the King of March produced many popular marches. This dance was
basically a marching step with interpolated skips became popular.
a. One-step c. Twist
b. Boston Two-step d. Mambo
9. In 1900, this jerky Negro rhythms challenged the smoothly gliding waltz.
a. Cakewalk c. Jitterbug
b. Bunny Hug d. Boogie-Woogie
10. This was classical ballet choreographed in 1890 by Petipa and first performed in Russia.
a. Sleeping Beauty c. Fierbird
b. Midsummer Night’s Dream d. Swan Lake
11. The Russian choreographer who defected to America in 1933 was one of ballet’s greatest
innovators and is considered by many to be the greatest contemporary ballet choreographer.
a. Marius Petipa c. George Balanchine
b. Lev Ivanov d. Michel Fokine
12. She became Europe’s first great modern dancer. She founded an influential dance school in
her native Germany in 1920.
a. Martha Graham c. Ruth St. Denis
b. Mary Wigman d. Doris Humphrey
13. Dance in the ballroom maintained its continuing identity as a polite art. Standard four dances
had been codified in England. Which of the following options contain the standard four
dances?
a. Foxtrot, Rumba, Tango, Quickstep
b. Foxtrot, Waltz, Tango, Quickstep
c. Jive, Paso Doble, Rumba, Cha Cha Cha
d. Cha Cha Cha, Waltz, Foxtrot, Jive
14. The dance Samba is innately –

a. an Argentinian dance c. a Cuban dance
b. a Spanish dance d. a Brazilian dance
15. What dance imitated of the bull fight which stemmed from Spain but was refined for the
ballroom in the Southern region in France, The man represents the matador, the lady his
cape.
a. Paso Doble c. Mambo
b. Samba d. Swing
16. This is the dance term used, when the boy turns to the girl at his left and takes her L hand in
his L hand and turns her once around counterclockwise, then both falling back to places in a
square formation.
a. Allemande Left c. Allemande Right
b. Circle Left d. Circle Right
17. The couple’s original position in a set.

a. Corner position c. Home position
25
b. Opposite position d. Costado
18. Leap sideward R(L) (ct. 1), step L ( R ) across R(L) (ct. and), close R(L) to L ( R ) (ct. 2),
pause (ct. and) is the dance pattern of what dance step?
a. Pas de Basque c. Leap step
b. Hopsa d. Polka step
2
19. All of the following international dance steps can be executed in 4 and 34 time signatures,
EXCEPT –
a. Grapevine c. Bleking
b. Shuffling d. Hopsa
20. Which of the following is the step pattern for Ballroom Waltz/
a. Step close step c. Slide close step
b. Step slide close d. Step step close
21. What makes Russian polka distinct from other polkas?

a. There is the hop on count and of the previous measure.
b. There is an inward foot circle on the air and a hop on count and of the previous
measure.
c. There is the heel brushing first on count and of the previous measure before putting
weight on it.
d. There is the heel-place in front and a toe touch in rear.
22. Which of the following is the step pattern for Prysiadka?

a. Full-knees bend with knees apart, crosshands down in front (ct. 1), jump to standing
position, with feet apart sideward, toes pointed upward and fling arms obliquely
upward, palms facing front (ct. 2).
b. Step R sideward (ct. 1), close L to R (ct. 2) step R sideward (ct. 3), hop on R, swing
the L foot in front (ct. 4).
c. With an inward foot circle in the air of the R (L) foot, hop on L (R) (ct. and of previous
M) and execute the polka step forward crossing the R (L) foot over the L (R) first (cts.
1 and 2).
d. Full-knee bend on R (L) and stretch L ( R ) leg forward (ct. 1), with a spring reverse
the position of the feet (ct. 2).
23. Richie is tasked to execute four (4) varsouvienne steps by his professor. How many
measures will it take for Richie to complete the task?
a. five measures c. seven measures
b. six measures d. eight measures
24. The 1 –Bar step construction of Jive is “Step Step Jive Chasse”. Which of the
following is its timing?
a. Quick Quick Slow c. Slow Slow Quick Quick Slow
b. Quick Quick Quick a Quick d. Slow Quick Quick
25. The rhythm “Slow Slow Quick Quick Slow “ or “ 2 3 4 and 1” is an off-beat rhythm for –
a. Rumba c. Cha Cha Cha
b. Samba d. Paso Doble

26

27
INTERNATIONAL FOLK DANCE AND OTHER DANCE FORMS
KEY TO CORRECTION
PART II: PART III:

ANALYZING TEST ITEMS ENHANCING TEST TAKING SKILLS
1. C 1. C
2. B 2. B
3. B 3. D
4. A 4. C
5. A 5. A
6. B 6. B
7. A 7. D
8. C 8. B
9. A 9. A
10. C 10. A
11. C 11. A
12. D 12. B
13. A 13. B
14. B 14. D
15. A 15. A
16. B 16. A
17. C 17. C
18. D 18. B
19. C 19. D
20. B 20. B
21. C 21. C
22. D 22. D
23. D 23. D
24. C 24. B
25. C 25. C

28
INTERNATIONAL FOLK DANCE and OTHER DANCE FORMS

Table of Specification
Identify the modern ballroom dances
Identify international dance terms
Analyze dance steps and techniques

Recognize folk dances from Asia, Europe, and Latin-America
Trace the development of social dance along with traditional ballroom dance
Recognize other dance forms

C ITEM NUMBER P
O OF E
M P I R
P L T C
E A E E
T C M N
E E S T
N M A
C E G
I N E
E T
S
TOPICS
Asian Dance 2 1,2 2 8%
European Folk Dance 2 3,4 2 8%
Dance in LatinAmerica 2 5,6 2 8%

29
SocialDance/Traditional 3 7,8,9 3 12%
ballroom dance
Other Dance Forms 4 10,11, 16%

(Ballet, Modern Dance, 12,13 4
Tap Dance)
International Folk 2 6
Dancing: 16,17, 8 32%
 InternationalDance 18,19,
Terms 20,21,
 Common 22,23
International Folk
Dance Steps
Modern Ballroom
Dances
 Basics in Ballroom 2 2 14,15,
Dancing 24,25 4 16%
 Ballroom Dances
(Waltz,Cha Cha Cha,
Tango,Rock and
Roll, Jive, Foxtrot,
Rumba,
Samba, Paso Doble,
Mambo
No. of Items 100

6 3 4 2 2 8 25 %
24
Percentage % 12% 36 8% 8% 32%
%

30


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LICENSURE EXAMINATION FOR TEACHERS (LET)

Area: Music, Arts, Physical Education and Health (MAPEH)

Focus: International Folk Dance and Other Dance Forms

PART I – KNOWLEDGE UPDATE:

FOLK DANCE is a traditional recreational dance of an indigenous society showing the

Many dances describe through gestures a historical event, a legend, or a myth. A

EUROPEAN FOLK DANCE

International Folk Dance and Other Dance Forms

SOME EXAMPLES OF EUROPEAN FOLK DANCES (Source: Aquino, Francisca R. FOREIGN

DANCE IN LATIN AMERICA

OTHER DANCE FORMS

INTERNATIONAL FOLK DANCING

SOME INTERNATIONAL DANCE TERMS

 ADDRESS PARTNER. Same as honor your partner or bow to your partner.

SOME COMMON INTERNATIONAL FOLK DANCE STEPS

DANCE STEP TIME STEP PATTERN &

Heel-Place R (L) Close (step) R (L) ║ 1M

Step R backward Step L sideward Close R to L ║2M

Girl: Does the counterpart.

Close L ( R ) Step R (L) foot ║ 1M

MODERN BALLROOM DANCE

International Folk Dance and Other Dance Forms

Characteristics of the Waltz:

Basic Step: Commence and end in Closed Ballroom Hold

CHA – CHA – CHA

Rhythm: Slow Slow Quick Quick Slow

Basic rhythm: Slow Slow Quick Quick Slow

ROCK ‘N’ ROLL

1 –Bar construction; Step Step Jive Chasse

2-Bar Construction: Step Step Jive chasse Jive Chasse

Woman does the opposite moving backward.

Basic: Man: Step L forward, step R in place, step L sideward

Characteristics of the Samba:

The PASO DOBLE

PART I I: ANALYZING TEST ITEMS

6. Cha Cha Cha is a descendant of the -

9. The dance that provided a release from wartime pressures.

17. Break Legs is executed in a 24 time music and the counting is –

International Folk Dance and Other Dance Forms

23. Which of the following dance steps is executed in 44 time signature?

International Folk Dance and Other Dance Forms

5. . In the Cuban tradition, the verb rumbiar simply means -

6. This is a Mexican hat dance of Mexico.

14. The dance Samba is innately –

17. The couple’s original position in a set.

21. What makes Russian polka distinct from other polkas?

22. Which of the following is the step pattern for Prysiadka?

International Folk Dance and Other Dance Forms

International Folk Dance and Other Dance Forms

PART II: PART III:

International Folk Dance and Other Dance Forms

INTERNATIONAL FOLK DANCE and OTHER DANCE FORMS

Identify the modern ballroom dances

Identify international dance terms

Analyze dance steps and techniques

Recognize other dance forms

Asian Dance 2 1,2 2 8%

European Folk Dance 2 3,4 2 8%

Dance in LatinAmerica 2 5,6 2 8%

Other Dance Forms 4 10,11, 16%

No. of Items 100

International Folk Dance and Other Dance Forms

International Folk Dance and Other Dance Forms

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