Basic Concept of Folk Dance

 Folk dancing is the oldest form of dance probably one of the earliest forms of
communication. It is this self –expression that separates folk dancing from the functional
aspects of games and gymnastics in the physical education program.

 Dance is the expression of oneself through rhythmic movement. Folk dance, which is also
the expression of oneself, is an expression through patterned movements. It is this
patterning that traditionally separates folk dance forms from other dance forms. It is
probably this characteristic of folk dance that has turned many youngsters off to dance –
their inability to perform a set of patterned movements.

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

A. PHILIPPINE FOLK AND ETHNIC DANCES

Five Major Classifications of Philippine Folk Dances

The Dances of the Cordillera Groups

 The ethnic dances in the Philippines are found in the different regions from the northern part to
the southern part of the country. The Cordillera groups composed of the Bontocs, Ifugao,
Benguet, Apayao, Kalinga, Itneg, Ilonggot, and Gaddang (BIBAKIIG) have their own unique
customs and traditions reflected in their dances.
 Most of the dances are reflections of daily living.
 They used metal gongs called ganza and other percussive instruments to accompany their
dances during rituals, festivities, and other social gatherings.

Example of Dances among the Cordillera Groups

Ethnolinguistic
Title of Dance Dance Description
Group
 Bontoc 1. Pattong  A war dance depicting a
mock fight of two
warriors.
2. Balangbang  A victory dance
performed after head
hunting.
3. Takik / Dongadong  A courtship and wedding
dance.
 4. Palakis  A courtship dance from
Western Bontoc usually
performed at wedding
celebrations and during
festivals like the canao
and begnas.
 Ifugao 1. Talip  A courtship dance of the
Ifugaos, where a man
lures a woman with a
blanket to be placed on
the woman’s shoulder.
2. Intaneg  A wedding dance
among the Ifugao.
3. Bumayah  A festival dance among
the Ifugao for
thanksgiving in their
gods.
4. Monghimong  A festival dance among
the Ifugaos where men
turn up in a mass at the
burial of a murdered
tribal member.
5. Dinuya  A festival from Lagawe,
Ifugao performed by
men and women during
major feasts.
 Benguet 1. Bendean  A festival and victory
dance.
2. Tarektek  A courtship dance
where two female
tarektek (woodpeckers)
try to get the attention of
the male tarektek by
brandishing their
blankets over each
other to show their
3. Chumnu affections.
 A female dance
performed during
celebrations of tribal
victory and bountiful
harvest.
 Apayao 1. Turayen  An Apayao dance
imitating the high flying
bird.
 2. Say - Yam  A major feast held to
celebrate the taking of a
head of an enemy.
 Kalinga 1. Pattong  A dance of revenge
vowed for the death of
the slain warrior.
2. Salip  A courtship dance
where the rooster – like
males swoops around
the maiden.
3. Ragragsakan  A work – dance of
Kalinga women where
they carry basket on
their heads.
4. Takiling  A victory dance after
successful head
5. Tadjok hunting.
 Kalinga’s most famous
6. Idaw village dance.
 A mock battle dance
ensues between two
7. Lumagen tribes.
 A dance performed at
Kalinga festivals to
8. Palok celebrate thanksgiving.
 A festival dance
performed by Kalingas
in any social gathering.
 Itneg 1. Idudu  A dance where the men
lull their babies to sleep
while the women till the
fields and process the
harvest.
 Gaddang 1. Bumbuwak  In this dance, the
gaddang imitate birds
attracted to tobacco
trees.

Western Influenced Dances

 When the Spaniards came to the Philippines in the 16 th century, they brought with them the
Spanish religion and European arts and culture. The native religion and culture slowly gave
way to Christianity and Western civilization. The natives started to lose most of their ancient
traditions in the literary, visual, and performing arts. In no time, dances from Spain, France,
 and other European countries, such as the jota, balse, pandanggo, habanera, escotis,
mazurka, paseo, marcha, and paso doble were adopted and adapted to the tastes and needs
of a colonial society and the conditions of a tropical archipelago.
Examples of Dances with Western Influenced
Types of Dances Title of Dance
 Quadrille Dances 1. Rigodon de Honor
2. Lanceros de Tayabas
3. Birginia
4. Pasakat
5. Los Bailes de Ayer or
Maharlika
6. Lanceros de Lingayen
7. Lanceros de Negros
 Jota 1. La Jota Moncadeña
2. Jota Gumaqueña
3. Jota Cabangan
4. Jota Cagayana
Dance Description
 A quadrille dance commonly
performed in formal
gatherings in a quadrille
formation.
 A quadrille dance from
Tayabas, Quezon
performed by old folks
during the early days.
 A quadrille form of dance of
the Americans, the “Virginia
Reel” inspired the
Cagayanos to develop a
Filipino version called
Birginia.
 A quadrille dance from Sta.
Rosa, Laguna.
 A quadrille dance from
Tarlac.
 A version of lanceros from
Pangasinan.
 A dance from Silay, Negros
Occidental which was not in
quadrille formation but in
linear formation.
 A festive dance from
Moncada, Tarlac which was
originally danced during a
funeral procession in the
early times.
 A jota version from
Gumaca, Quezon.
 A courtship dance form
Zambales.
 A lovely dance which is an
adaptation from the Spanish
Jota performed by the early
Spanish settlers in the
 Cagayan valley.
5. Jota de Manila  Manila’s version of the
famous Jota with its typical
Spanish stampas, cobradas
and clicking of bamboo
castanets bearing Hispanic
culture.
6. Jota de Paragua  A version of the Jota, which
bears Spanish stampas and
cobradas from Paragua, the
old name of Palawan.
7. Jota Bicolana  A jota version from Bicol
Region performed during
social gatherings.
8. Jota Rizal  A jota version from
Batangas popular during
the time of Dr. Jose Rizal.
9. Jotabal  A festival dance originated
in Camohaguin, Gumaca,
Quezon which derived from
the words jota and balse.
 Fandanggo 1. Pandanggo Rinconada  A festival dance from the
province of Bicol depicting
the happy and contented
life of the people.
2. Pandanggo sa Ilaw  A dance from Mindoro using
tinghoy or oil lamps placed
on the top of the head and
one on each hand.
3. Pandanggo sa Sambalilo  A pandanggo dance from
Camiling, Tarlac.
4. Pandanggo Ivatan  A wedding dance from
Batanes.
5. Pandang - Pandang  Is an exciting and
extraordinary wedding
dance from Antique.
 Balse Valse Vieja  A festival dance from
Pangasinan meaning old
waltz.
2. Valse Ybanag  A dance from
Camalaniugan, Cagayan
meaning waltz of the
3. Balse Marikina Ybanag people.
 A dance performed after the
Lutrina, a religious
procession.
 4. Cariñosa
 The famous national dance
of the Philippines depicting
the character of Filipina
maiden’s modesty and
5. Sayaw Sta. Isabel humility.
 A dance performed during
thanksgiving feasts after a
good harvest, during
balaihan, weddings, or
religious occasions.
 Habanera 1. Habanera Narcisena  A Habanera named after
San Narciso town in
2. Habanera Botolena Zambales.
 A dance which was
supposedly performed in the
earlier days in honor of a
departing priest. Later on it
became a dance performed
during social gatherings in
3. Habanera De Soltera Botolan, Zambales.
 A dance performed by
betrothed couple during one
of the ceremonies before the
4. Habasinan wedding.
 From the word “haba” in
habanera and “sinan” form
Pangasinan is a courtship
dance.
 Mazurka 1. Mazurka de Cuyo  A social dance from Cuyo
Island, and early Spanish
settlement in Palawan.
2. Mazurka de Jagna  A mazurka named after
Jagna town.
 A premiere dance of the elite
3. Mazurka Mindoreña in Mindoro, and Don Antonio
Luna, who considered best
dancer of his time
popularized it.
 A traditional dance from
4. Mazurka Boholana Bohol which was originally
performed by couples
informally gathered in the
ballroom with no definite
sequence steps.
 A combination of the two
 5. Mazurka Val dances, mazurka and valse,
which features the skill of
coordination of movement of
both dancers as the boy
carries the girl on his feet
while dancing.
 Polka 1. Polkabal  A dance which acquired its
name from two well-known
steps polka and valse,
corrupted into one word as
polkabal, by the people of
Atimonan, Quezon.
2. Polka Tagala  A dance from Bataan, where
one of the figures, the ladies
pick their voluminous skirts
forward and backward to
show-off their beautiful lace
petticoats.
3. Maliket-A-Polka  A dance from Pangasinan
which means happy polka.
4. Sileleddaang  A dance which means laden
with sorrow in Ilocos Norte.

5. Polka sa Nayon  A polka dance version from

Batangas.
6. Polka Sala  A polka dance version from
Mindoro.

Dances of the Muslim Groups

 Down in the southern part of the country are the muslim groups. The ethnic groups are the
Maranao, Maguindanao, Tausug, Yakan, Samal, Java Mapun, and Badjao.
 The dances performed by these groups describe the everyday living of the people.
 Common to their dances are the use of fingers to express feelings and emotions.
 Some believe that Muslim dances are influenced by Malays and Indonesians due to their
geographical setting.

Example of Muslim Dances

Group Title of Dance Dance Description

 Maranao 1. Singkil  A Marano dance derived
from the sounds of the bell
anklets worn by the Princess
as she leaps in and out of
the criss-crossed bamboo
2. Kakulangan poles.
  Maranao women walk nobly
with their distinctive
movements particularly their
3. Pig-apir graceful sway.
 A fan dance of Maranao
maidens showcasing their
4. Sagayan simplicity and character.
 A warrior dance that depicts
the hero – warrior prince
Bantugan’s preparation for
the war, the actual combat
5. Karatong and the victory.
 A dance in memory of
Bantugan’s fighting evil
spirits whom he can hear
6. Kappa Malong Malong but can’t see.
 Also called Sambi sa
Malong, this Maranao
dance shows the many
ways of donning the
malong, a tabular circle of
7. Kapiil sa Munsala cloth used as skirt, shawl or
mantle.
 A handkerchief dance from
Lanao commonly performed
by girls.
 Maguindanao Asik  A doll dance for girls.
 Badjao Tauti  A dance of fishing scenario.
 Yakan 1. Paunjalay  A pre-nuptial dance of the
Yakan tribe of Basilan.
performed by the bride.
2. Pindulas  A dance depicting the
movements of fish at it
wades in the water.
 Tausug 1. Pangalay ha Patong  A dance imitating the
graceful movement of the
swift vinta as well as of the
birds and fish of the Tausug
2. Janggay world.
 A Tausug female dance
3. Sua – ku - Sua using extended fingernails.
 A dance from Jolo, Sulu
with an influence of Chinese
movements meaning “my
pomelo tree”.
  Samal Maglanka  A Samal dance class of girls
and women. This dance
depicts the training of Samal
girls and women on the
languid and flexible
movements of the arms
which signifies good
breeding.

Dances of the Lesser Known Groups/Ethnic Dances

 Also known as the lesser-known-groups are ethnic groups living in the different locations in the
country that are untouched and never been influenced by the Westerners.

 These tribal groups are the Bukidnons, Bagobo, Manobo, Tiboli or Tagabili, Tagbanua,
Mansaka, Mandaya, B’laan, Tagakaolo and Tiruray.

 These tribal groups believe in “shamans” or spirits which are primarily reflected in most of their
dances.

Example of Ethnic Dances

Group Title of Dance Dance Description

 Bukidnons 1. Dugso  A dance by women
commonly wearing a bell
anklets done during
thanksgiving for driving away
bad spirits.
2. Hinaklaran  A festival and ritual dance of
three Kaamulan datus, with
chanting and dancing around
an altar,
 Manobo 1.Binabua-bua  Fertility dance and courtship
and Pangaliyag dance among the Manobos.
2. Binanog  Version of a hawk dance.
3. kinugsik kugsik  A dance imitating the
movements of the squirrel.

 Bagobo 1. Todak  A Bagobo dance on the rice

planting and harvesting
cycle.
2. Baliti  A Bagobo dance
 representing the quivering
of the leaveas of the baliti
tree.
 T’boli 1. Kadal Tajo  A mimic dance of the
beautiful birds performed by
young T’boli girls.
2. Kadal Iwas  A dance imitating the
movements of the monkey.
 Tagbanua 1. Pagdiwata  A ceremonial rite performed
during bilug (full moon) for
the purpose of healing the
sick, imploring or in thanks
giving for a good and
bountiful harvest.
 Mansaka 1. Gapakaungod  A wedding dance among
the Mansaka people.
2. Inamo sa Sayaw  A monkey dance for two.
 Mandaya 1. Kinabua  A dance imitating the
movements of a hawk.
 Talaandig 1. Pig-Agawan  Young women of the
Taalandig tribe try to outdo
each other in attracting an
eligible man with the use of
colorful scarves.
 Higaonon 1. Binaylan - banog  A typical dance of the
Higaonons depicting a
mother hen and her chicks
being attacked by a
ferocious hawk, three
hunters save the hen from
the clutches of the “Banog”
or hawk.
 Subanon 1. Sohten  An all male dance that
dramatizes the strength and
stoic character of the
Subanon male. The
Subanon warrior calls the
attention of the diwatas with
the sound of the leaves.

Dances of the Countryside

 Dances that typically characterize the nature and kind of work of the people.
  Commonly performed by ordinary groups of people depicting daily activities.
 Dances were light and more informal.

Some Examples of countryside Dances and their Descriptions:

 Binasuan – a dance which requires a skill in balancing glasses of wine on the top of the
head and one on each hand.
 Bulaklakan – a dance using arches festooned with flowers.
 Karatong – bamboo noisemakers played by Cuyunen men to accompany gaily dressed
ladies in a boisterous street parade.
 Maglalatik – a playful dance of young men beating coconut shells, reflective of a mock
battle over the “latik” or coconut residue.
 Pandango sa Ilaw - a dance which requires a skill in balancing glasses of Tinghoy
lamps, one on top of the head and one on each hand.
 Oasiwas – a dance using lighted glasses wrapped in scarves and swayed like beacons
for the homecoming of the fisherman.
 Pasikat sa Baso - a Pangasinan dance that requires skill in balancing glasses of wine on
the head and hands while on top of a bench.
 Salakot - a wide brimmed hat used to protect Filipinos from the heat and rain.
 Subli – a dance from the province of Batangas that reveals the reverence given by the
performers to a wooden cross.
 Tinikling – derived from the long-legged Philippine bird called “tikling” trapped from the
bamboo poles.
 Bati – a dance performed during Easter Sunday.
 Gayong-gayong – a game dance.
 Binislakan – which means sticks, is a Pangasinan dance that bears the Chinese
influence.
 Pabirik – depicts the stages of gold panning.
 Kalapati – depicts the movements of doves.
 Inalisan – a lively festival dance from Nangalisan, Laoag, Ilocos Norte.
Innalis means to transfer from one place to another.
 Pantomina – very popular wedding dance in the Bicol regions.
 Sinalampati – dance from Tanjay, Negros Oriental which depicts the actions of mother
doves fondling, caressing, and feeding their young.
 Katsutsa – very interesting courtship dance from San Pablo, Laguna.
 Sayaw Ed Tapew na Bangko – dance which means “Dance of a Bench”. A lively and
skillful dance from the barrio of Pangapisan, Lingayen, Pangasinan.
 Biniganbigat – courtship dance from Bangued, Abra portraying a story of a boy who is
very much in love with a girl.

C. CHARACTERISTICS OF PHILIPPINE FOLK DANCES

1. As rule, dances begin and end with a saludo. A saludo is a three-step-turn in place and a bow
to either partner or audience.
 2. In general, dancers are far apart. A distance of about 6-8 feet from each other is normal.
3. There is very little, if any, body contact although holding hands is common.
4. Most of the dances are done in pairs. Hand movements play a very important role.
5. Most of our dances are done in long formation.
6. Our dances are performed by both young and old and by both sexes.

D. CLASSIFICATION OF PHILIPPINE FOLK DANCES

1. Geography
1.1 National Dances – These are the traditional dances throughout the Philippines with a
common basic movement or pattern but with light variation. Examples are: Carinosa,
Kuratsa, Balitaw, Rigodon, Pandanggo, and Surtido.

1.2 Local or Regional Dances – these are dances found in certain localities or regions only.
Examples are: Esperanza (Nabua, Camarines Sur), Alcampor (Leyte), Rogelia (La Union),
Maglalatik (San Pablo, Quezon) and Biniganbigat (Abra).

2. Nature
2.1 Occupational Dances – depicting action of certain occupation, industry or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete,etc.
2.2 Religious or Ceremonial Dances – performed in connection with religious vows and
ceremonies. Examples: Dugsu, Sua-ku-Sua, Putong, Sta Clarang Pinong-pino.
2.3 Comic Dances – depicting funny movements for entertainment. Examples: Makonggo,
Kinoton.
2.4 Game Dances – with play elements (dance mixers) Examples: Pabo, Sineñalan, and Lubi
– Lubi.
2.5 Courtship Dances – depicting love making. Examples: Hele-Hele, Bago Quire,
Maramion, Tadek, Daling-Daling, Rogelia, Lulay.
2.6 Wedding Dances – performed during wedding feast. Examples: Pandang-Pandang,
Soryano and Pantomina.
2.7 Festival Dances – suitable for special occasion or any social gathering. Examples:
Kuratsa, La Jota, Pandanggo, Surtido.
2.8 War Dances – showing imaginary combat or duel. Examples: Sagayan, Palu-Palo.

3. Movements
3.1 Fast or Active – with fast energetic movement. Examples: Tinikling, Maglalatik,
Polkabal, Sakuting, etc.
3.2 Moderate – Examples: Carinosa, Tagala, Habanera, Purpuri, ect.
3.3 Slow – Examples: Pasakat, Kundiman
3.4 Slow and Fast – Examples: Putritos, Ba Ingles, Habanera Botolena, Alcampor.

4. Formation
4.1 Square or Quadrille – Examples: Rigodon, Los Bailes de Ayer, etc.
4.2 Long Formation – (two or more parallel lines) Examples: Lulay, Sakuting
 4.3 Set – consisting of two or more pairs as a unit, partners facing each other or standing side
by side. Examples: Binadyong, Haplik, Kakawati, etc.

F. COMMON DANCE TERMS

1. Arms in Lateral Position – both arms are at one side, either right or left; at shoulder, chest, or
waist level.
2. Brush – weight on one foot, hit the floor with the ball or heel of the other foot, and lift that foot
from the floor to any direction.
3. Bilao – to turn palms of hands up and down alternately, hands at waist level in front, elbows
close to waist.
4. Cabeceras - the couples occupying the width of the hall when the dancers are in square
formation (head couple).
5. Clockwise – like the motion of the hands of the clock. R shoulder is toward the center of an
imaginary circle.
6. Counterclockwise – the reverse direction of clockwise, L shoulders toward the center.
Movement is toward right when facing center of circle.
7. Costados – the couple occupying the length of the hall when dancers are in square formation
(side pairs).
8. Crossed Arms – Partners facing each other or standing side by side join their L hands together
and the R hands together; either R over L or L over R hands.
9. Cut – to displace quickly one foot with the other.
10. Do- si- do (Dos-a-Dos) – Partners advance forward, pass each other’s right (or left) side, step
across to the right (or left) move backwards without turning around , pass each other left (or
right) side to proper places.
11. Free Foot – the foot not bearing the weight of the body.
12. Free Hand – the hand not placed anywhere, or not doing anything.
13. Hayon – Hayon – to place one forearm in front and the other at the back of the waist.
14. Hop – a spring from one foot landing on the same foot in place or in any direction.
15. Inside Foot – the foot nearer the partner when partners stand side by side.
16. Jaleo – partners turn around clockwise (with R elbows almost touching) or counterclockwise
(with L elbows touching) using walking or any kind of dance step.
17. Jump – a spring on one foot or both feet landing on both feet in any direction.
18. Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise direction.
19. Leap – a spring from one foot, landing on the other foot in any direction.
20. Outside Foot – the foot away from one’s partner, when partners stand side by side.
21. Outside Hand – the hand away from one’s partner when partners stand side by side.
22. Place – to put foot in a certain position without putting weight on it; the sole of the foot rests on
the floor.
23. Pivot – to turn with the ball, heel, or whole foot; on fixed place or point.
24. Point – touch the floor lightly with the toes of one foot, weight of the body on the other foot.
25. Salok – swinging the arm downward – upward passing in front of the body as if scooping; the
trunk is bent forward following the movement of the arm doing the salok.
26. Saludo – partners with feet together bow to each other, to the audience, opposite dancers, or
the neighbors.
 27. Sarok – cross the R (or L) foot in front of the L (or R) bend the body slightly forward and cross
the hands down in front with the R (or L) hand over the L (or R).
28. Set – a dance formation like a square or a unit formation composed of two or more pairs.
29. Slide – to glide foot smoothly along the floor.
30. Stamp – to bring the foot forcibly and noisily on the floor.
31. Step – to advance or recede by moving one foot to another resting place with a complete
transfer of weight from one foot to another.
32. Supporting Foot – the foot that bears the weight of the body.
33. Tap – to rap slightly with the ball or toe of the free foot keeping weight of the body on the other
foot. There is no transfer of weight.
34. Whirl- to make fast turns by executing small steps in place, to right, or to left.

 Regional Classification of Published Filipino Dance Terms

Region Dance Terms

Tagalog Bilao
Hapay
Jaleo
Panadyak
Salok

Visayan Hayon-Hayon
Sarok
Ilocano Patay
Kumintang
Ibanag Masiwak

H. COMMON DANCE STEPS

Dance Steps/Time Counting Step Pattern No. of

Signature Measures
Polka Series – 2/4
 Plain Polka 1&2& Step, close step (pause) 1
 Hop Polka Ah, 1 & 2 & Hop, step, close step pause 1
 Heel and toe 1, 2, & 2 & Heel-place, toe-point; step, 2
Polka close step (pause)
 Slide Polka 1 & 2 &, 1 & 2 & Step, close step (pause) 2
Waltz Series – ¾
 Native waltz 1, 2, 3 Step, close, step 1
 Waltz balance 1, 2, 3 Step, close and raise heels 1
Up, down
 Cross waltz 1, 2, 3 Cross-step, close, step 1
Sway Balance Series
 – ¾
 With a point 1, 2, 3 1 2, 3 Step, cross-step/Step, point 2
 With a waltz 1, 2 3 1 2 3 Step, cross-step/Step, close. 2
 With a hop 1, 2 3 1 2 3 step 2
 With a brush 1, 2 3 1 2, 3 Step, cross-step/Step, raise, 2
 With a raise 1, 2 3 1 2, 3 hop 2
 With a close 1, 2 3 1 2, 3 Step, cross-step/Step brush 2
1, 2 3 1 2, 3 1, 2 3 Step, cross-step/Step raise 4
 Double sway
1, 2, 3 Step, cross-step/Step close
balance
Step, cross-step/Step point/
Cross-step, step/point
 Bacui – ¾ 1,2 3 1,2 3 1,2 3 Cross-point step/Cross-step 4
1,2,3 (rear) step/Cross-step(front)
Step/Close (pause)
 Bleking 2/4 or 12 Heel-place, close 1
3/4 1,2 3 Heel-place, close 1
 Change Step – 1&2 Step, Close, Step 1
2/4
 Cross Change 1&2 Cross-step, close, step 1
Step – 2/4
 Contra-ganza – 1&2 Leap (sideward), cross-step, 1
2/4 step
 Habanera – 2/4 12& Step, close, step 1
 Haplik – 2/4 12121&2121&2 Step, step, hop, hop, step, step,
1 2 1 2 1, 2 step (turning), hop, hop, step, 8
step, step (turning) hop, hop,
step, step, close (pause)
 Kuradang – 3/4 1 & 2 3 1& 2 3 Step, close, step, cross-step, 2
step, close, step, pause
 Mazurka – 3/4 123 Slide, cut, hop 1
 Mudansa – 3/4 1 2 3 (4x) R & L Step, heel-brush, heel-step
alternately (3x to the right)
123123 Repeat same to the left
1 2 3 1 2 3 (turning) Step, close, step, step, close, 16
step
Step, close, step, step, close,
step (turning)
 Redoba – 2/4 123 Slide, cut, cut 1
 Sagamantica 1 2,3 1 2,3 1 2,3 1 2,3 Step, close, step, close, step, 4
close, raise, heel-place
Engaño Series – ¾
 With a waltz 1,2 3 1 2 3 Step (sideward) cross; step, 2
close, step
 With a close 1,2 3 1 2, 3 Step (sideward); step, close 2
 Paso Español 123123123123 Step, close heels up, (forward)
 -3/4 down; step, close, and heels 4
up, down (backward); Step,
brush-swing hop, step, brush-
swing, hop
 Papuri – 3/4 1,2 3 1,2,3 1,2 3 1,2,3 Step, cross-step,cross-point, 4
step, cross-step, cross-step
 Sangig – 3/4 123 Step, close, circle in air 1
 Escotis – 4/4 1234 Step, close, step, hop 1