Philippine Folk and Ethnic Dances PDF

Module 1: PHILIPPINE FOLK AND ETHNIC DANCES Module Outcomes This module is designed for you to: 1. demonstrates understanding of lifestyle and weight management to promote societal fitness. 2. maintains active lifestyle to influence the community and society to participate in physical ac...

Module 1: PHILIPPINE FOLK AND ETHNIC DANCES Module Outcomes This module is designed for you to: 1. demonstrates understanding of lifestyle and weight management to promote societal fitness. 2. maintains active lifestyle to influence the community and society to participate in physical activities. 3. practices healthy eating habits that support an active lifestyle What to know?  This is the first part of the lesson on Philippine Folk Dance and Ethnic Dance. In this phase, various activities and challenges will enable the students to review and reveal their knowledge in the upcoming lessons. This part will surely stimulate their excitement to perform folk dance and ethnic dance as they get to understand them deeply. Remember to let them accomplish every activity so that they will have excellent performances in the next stages. What to process?  You will be given activities to display and enhance your skills in folk dancing and ethnic dancing at the same time formulate your understanding as regards the benefits of such activities to your fitness and well-being. As you go on and overcome the challenges provided for you, you will learn that together, dancing activities will be more fun and exciting, without knowing that you are at the same time improving your fitness and social skills. PHYSICAL EDUCATION 2/RST Page 1  Lesson 1: Dances Lesson Outcomes At the end of the lesson, you should be able to: 1. describe the nature and background of the dance; 2. execute the skills involved in the dance; 3. monitor periodically one’s progress towards fitness goals. Introduction  Despite the differences forced upon them by their respective heritages, the folk dances different countries often have similarities of rhythm and pattern. Variations among them are the results of geographical differences.  In some instances, it may be difficult to draw an exact line between folk and ethnological dances, but the latter, have developed a distinct traditional style, a technical terminology, and a clearly defined school of instruction. The ethnological dance was a folk dance before it became the art of expressions of a race.  Folk dancing is a form of social dancing that has become part of the customs and tradition of a people. Most folk dances developed among people in the villages and were passed from generation to generation in a particular region. In many of these dances, group of dancers from such basic pattern as a circle, line, or curved, moving the line called a chain. Explore DANCES Dance, rhythmic and expressive body movement, usually coordinated into a pattern and adapted to musical accompaniment. Dance is perhaps the oldest of the arts, reflecting man’s age-old need to communicate joy, grief by using the most immediate instrument at his disposal-his body. PHYSICAL EDUCATION 2/RST Page 2  Dance steps are created from man’s basic movement: walk, run, jump, hop, skip, slide, leap, turn, and sway. Combinations of these have become traditional dance steps and have been used, often in a stylized manner, for folk and ethnic dances, social or ballroom dances, ballet, and modern expressive dances. Some of the more important features of the dance are rhythm, or the relatively fast or slow repetition and variations of movements; design or the arrangement of movements according to a pattern: dynamics, or variations in the force and intensity of movement and technique; or the degree of body control and mastery of basic steps and positions. Also important in many dances are gestures, especially hand movements. FOLK DANCE DEFINITION  The traditional recreational dance of an indigenous society showing the cultural characteristics of a specific people at a given time and place.  Traditional, social expressions through movements of the community life of the people of different nationalities.  The vivid intimate bond of customs, ideals, and traditional of the past through which a multitude of national characteristics in music, steps, and costumes are preserved.  A dance developed spontaneously and naturally by a specific folk, usually handed down from generation to generation and following a fixed basic patterns. ETHNIC DANCES  The ethnic dances of the Philippines are classified into 2 major categories: The dances of the Non-Christian Filipinos a. Dances of the traditionalist or “pagan” groups. b. Dance of Muslim group The dances of the Christian and Lowland Filipinos or Western Influenced a. Dances are savage, vigorous, and mimetic inn character. b. Some are light-hearted and mimetic. c. Some are performed without music or melodic accompaniment. Primitive, indigenous, or ethnic are the dances of the traditional groups. They require such abilities as agility, nimbleness, and stamina. PHYSICAL EDUCATION 2/RST Page 3  THE PHILPPINE DANCE Dance in the Philippines influences the diversity of our cultural beginnings and the drama of our everyday lives. It blends exotic customs and cultures in many countries and races- Indonesian, Malay, Chinese, Indian, Spanish and American. Filipinos possess natural grace, an inborn love for music and dance. Dancing is considered a religious activity among them. They dance at many occasions- birth, love, courtship, thanksgiving, wedding war, victory, marriage, planting and harvesting, prosperous voyage, recovery from sickness and to heal the sick. Filipinos are also lovers of rituals as shown in ceremonials dances during town fiestas, Christmas, Easter, ash Wednesdays. There are dances performed by the priest and priestesses in thanksgiving for a plentiful harvest, a victorious battle, to drive away evil spirits and invoking their gods and anitos. CLASSIFICATION OF PHILIPPINE FOLK DANCES 1. Geographical locations  National Dances - traditional dances throughout the Philippines with a common basic movement or pattern but with slight variations. Examples: Carinosa Kuratsa Balitaw Rigodon Pandango Surtido  Local or Regional Dances – dances found in certain localities or regions only. Examples: Alcamfor (Leyte) Maglalatik (San Pablo, Laguna) Basulto (Pampanga) PHYSICAL EDUCATION 2/RST Page 4  2. Nature of the Dance  Occupational Dances – dances that depict actions, characteristics, occupations, industries, and phases of human labor. Examples: Rice Festival – the largest number of dances. Pagtatanim Paggapas Paggiik Paglulugas Paghangin Pagbabayo Pabirik – Depicts the different stages of gold panning. Mananguete- Tuba gatherer  Religious or Ceremonial Dances – performed in connection with religious vows, practices, and ceremonies. A religious dance may be performed to drive away evil spirits, ask for a favor to have a child, give thanks for having recovered from sickness, favors granted and vows fulfilled. Examples: Obando Dugso Sinulog  Courtship Dances – dances that depict love-making or the love theme. Examples: Rogelia Lulay Hele-Hele Bago Quiere  Wedding Dances – performed by newlyweds, by friends and relatives of the bride and groom, or by the father of the bride and the mother of the groom. Examples: Pantomina (bride and groom) Pandang-Pandang (bride and groom friends or relatives of each side) Soryano (dance by the parents of the future groom, the visit of the parents of the bride)  Festival Dances- performed in connection with celebrations, a feast, a barrio fiesta, good harvest and good fortune. Examples: Kuratsa La jota Putong PHYSICAL EDUCATION 2/RST Page 5   War Dances – intended to show imaginary combat or duel with the use of fighting implement like bolo, kris or spear. Examples: Inabaknon Sagayan  Comic Dances – dances with funny and humorous movements mainly intended for entertainment. Examples: Makonggo (movements of a monkey) Kinoton (movements of person bitten by the ants)  Game Dances – dances that have some play elements and are for recreational purposes. Examples: Lubi-lubi Gayong-gayong Pabo  Social Dances – dances performed during social gathering. Examples: Rigodong Lanceros BENEFITS OF DANCING 1. Fitness. Dancing is one of the versatile and satisfying activities one can participate in as a form of expression, recreation, or a form of exercise to develop fitness. 2. Joy and Satisfaction. The physical well-being of a person who participates is improved. 3. Grace and Coordination. it improves response to rhythmic patterns. Constant participation in dance activities will improve one’s neuromuscular coordination and help one’s acquisition of grace. 4. Self-Expression. It develops poise and good posture. PHYSICAL EDUCATION 2/RST Page 6  BASIC MOVEMENT SKILLS Basic movement skills are the bases of precise dance skills for folk and social dancing, gymnastics and natural dancing. Locomotion is moving through space. There are two basic types of movement skills: the locomotor movements & non-locomotor movements. These movements are simple and easy to execute but it would be an interesting from of dance expression when two or more of these steps are combined and performed with music. These simple steps will make one’s body parts coordinate by the movements with the music. Locomotor movements of even rhythmic include walking, running, jumping, and leaping. Locomotor movements of uneven rhythmic include galloping, sliding, and skipping Non-locomotor movements involve bending, stretching, swaying, swinging, clapping, shaking, pushing, pulling, falling, and rising. Walk – a movement through space done by shifting weight from one foot to the other with a short period of non-support while the body and feet are off the floor. Run – a movement through space by transferring weight from one foot to the other with short period of non-support while the body and feet are off the floor. The tempo is faster than the walk. Hop – a spring on one foot and landing on the ball of the same foot. Jump – a spring on one foot or both feet and landing on both feet. Push off the floor with the strong foot and knee extension, the hell coming off first and then the toes. The knees bend to absorb the shock of landing. Leap- a transfer of weight from one foot to the other foot by pushing off with a spring and landing on the ball of the other foot. The leap is similar to a run except that it is executed with greater height or covers a greater distance. The heel comes down after landing and the knees bend to absorb the shock. Gallop- a step on one foot followed by a quick close of the other foot just at the back or side of the leading foot. The rhythm is long on the step forward or sideward direction and short at the close. One foot is always leading. Slide- slide to the right foot, slow beat, close the left foot to the right foot, shifting the weight quickly onto the left foot. The rhythm is long on the leading foot and short on the closing foot. PHYSICAL EDUCATION 2/RST Page 7  Experience FOLK DANCING QUESTIONNAIRE Directions: below is a survey questionnaire that reveals your involvement or participation in folk dances. Copy it in your worksheet and accomplish by putting a check mark ( ⁄ ) corresponding to your response in each item. Folk Dancing and Related Activities YES NO 1. I know the name of the folk dance in our place. 2. I am a member of a group representing our place or school in a folk dance competition. 3. I usually watch actual folk dancing competitions in other place. 4. I am fond of watching folk and ethnic dances in youtube or in TV shows. 5. I recognize the value of folk dancing to my fitness. 6. I contribute to the success of the Folk Dance in our school. 7. I am proud of the Folk or Ethnic Dance in my place. 8. I am a physically fit individual because I participate in Folk Dancing. 9. I believe folk or ethnic dancing can influence the fitness and well-being of the community. 10. Culture of the community is drawn and established through Folk and Ethnic Dancing. A scale is provided for you below which helps you make meaning of the responses you have indicated in the survey-questionnaire. Number of YES Responses Relative Interpretation 1-3 Is inactive in folk dancing acitivities 4-6 Moderately active in folk dancing activities 7-10 Highly active in Folk dancing activities PHYSICAL EDUCATION 2/RST Page 8  Examine  Based on your interpretation of your responses to the survey-questionnaire, what does this reveal about your fitness and community involvement? Express and share your answer to the class in 3-5 sentences. Lesson 2: FUNDAMENTAL DANCE POSITIONS, STEPS & DANCE TERMS Lesson Outcomes At the end of the lesson, you should be able to: 1. identify the fundamental positions of arms and feet; 2. appreciate the beauty of folk dance by executing the fundamental positions of the arms and feet; and 3. execute the five fundamental of the arms and feet in folk dance. Introduction  Many of our so-called native dances are of Spanish origin. Others shows French, English, Malayan influences. Our fore fathers have performed them for so long, giving them their own interpretation, execution, and expression that they have become traditionally Filipino. PHYSICAL EDUCATION 2/RST Page 9  Explore FUNDAMENTAL DANCE POSITIONS AND STEP FEET POSITIONS FIRST POSITION Feet close and toes and heels parallel Touching toes at 45 degrees SECOND POSITION Open parallel stride sideward PHYSICAL EDUCATION 2/RST Page 10  THIRD POSITION FOURTH POSITION Feet closed-crossed Feet open-crossed Heel in-step touching knees locked FIFTH POSITION Feet close-toes PHYSICAL EDUCATION 2/RST Page 11 ARMS POSITIONS FIRST POSITION SECOND POSITION Arms encircled in front at chest level, Arms raised sideward a liitle relaxed, fingers slightly apart below shoulder level THIRD POSITION One arm encircles overhead in the other raised sideways PHYSICAL EDUCATION 2/RST Page 12 FOURTH POSITION One arm encircles like first position; the other arm overhead FIFTH POSITION PHYSICAL EDUCATION 2/RST Page 13 Both arms overhead COMBINATION OF ARM AND FEET POSITIONS The dance steps listed below are the fundamental or basic steps most commonly used in the Philippine folk dance. In some cases the names of the steps are the same as those found in foreign dances, but the manner of execution is entirely different. Dome PHYSICAL EDUCATION 2/RST Page 14 dance steps have no English equivalent names, so the native names are retained, such as “Kurandang,” “Bacui,” “Engano,” etc. DANCE STEPS TIME SIGNATURE STEP PATTERN COUNTING BLEKING 2/4 Spring 1 (R) heel-place close 1,1,2 3/4 Heel-place close (step) 1,2,3 CHANGE STEP 2/4 Step close step 1 and 2 CROSS STEP 3/4 Step cross & slide 1 2,3 CROSS CAHNGE 2/4 Cross-step-close-step 1 and 2 CONTRA GANZA 2/4 Leap cross-step step 1 and 2 CHANGING STEP 2/4 Jump 1 foot & other in rear 1 CLOSE STEP 2/4 Step Close 1 2 CUT STEP 2/4 Cut or displace 1 GALOP 2/4 Step cut step cut 1 ah 2 ah (There are 2 Galop steps to 1 measure) 6/8 Step 1, 2 Cut 3 Step 4, 5 Cut 6 HABANERA 2/4 Step close step 1,2 and HEEL & TOE 2/4 Heel-place toe-point/ 1,2/ CHANGE STEP Step close step 1 and 2 KURADANG 2/4 Step close step cross-step/ 1 and 2,3/ Step close step point 1 and 2,3 MAZURKA 3/4 Slide cut hop 1,2,3 PLAIN POLKA 2/4 Step close step pause 1&2& PHYSICAL EDUCATION 2/RST Page 15 HEEL AND TOE 2/4 Heel-place toe-point/ 1,2 POLKA Step close step pause 1&2& HOP POLKA 2/4 Hop & step close step pause 1&2& SLIDE POLKA 2/4 Slide close slide close 1&2& Step close step pause 1&2& SWAY BALANCE 3/4 Step cross-step step point 1,2,3 WITH A POINT SWAY BALANCE 3/4 Step cross-step step brush 1,2,3 1,2,3 WITH A BRUSH SWAY BALANCE 3/4 Step cross-step step close 1,2,3 1,2,3 WITH A CLOSE SWAY BALANCE 3/4 Step cross-step step raise hop 1,2,3 1,2,3 WITH A HOP SWAY BALANCE 3/4 Step cross-step step raise 1,2,3 1,2,3 WITH A RAISE SWAY BALANCE 3/4 Step cross-step step close step 1,2,3 1,2,3 WITH A WALTZ PIVOT TURN 2/4 Step step step step 1&2& On ball & turn on ball & turn WALTZ 3/4 Step close step 1,2,3 WALTZ BALANCE 3/4 Step, close L, Raise heel 1,2,3 Heels down (both) CROSS WALTZ 3/4 Cross-step close step 1,2,3 CHASING 2/4 Step close (step) 1 and ESCOTIS 4/4 Step close step hop 1,2,3,4 KORRITI 2/4 or (same as mincing step but 1 and 2 3/4 one foot across in front) PHYSICAL EDUCATION 2/RST Page 16  DANCE TERMS ABRASETE- Girl at the right side, holds R arm of partner with her L hand, free hands down at the sides. This term is of Spanish origin and is used in Rigodon & other dances. ARMS IN LATERAL POSITION- both arms are at one side, either sideward right or left. this maybe done at shoulder, chest, or waist level. ARMS IN REVERSE “T”- arms are side horizontal, elbows bent at right angles, forearms Parallel to head, palms forward or facing inward, fist loosely closed. BILAO- to turn palms of hands up and down alternately, hands at waist level in front, elbows close to waist. CLOCKWISE- like the motion of the hands of the clock. R shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left. COUNTER CLOCKWISE- the reverse direction of clockwise. L shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the right. DO-SI-DO (DOS-A-DOS)- the vis-à-vis (opposites) both advance forward, pass each other’s right (or left) side, step across to the right (or left) move backward without turning around pass each other’s left (or right) side to proper places. This is of foreign origin and is used in many Philippine dances. FREE FOOT- the foot not bearing the weight of the body. FREE HAND- the hand not placed anywhere or not doing anything. HAPAY- to flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of invitation. HAYON-HAYON- to place one forearm in front and the other at the back of the waist. This is a Visayan term. HOP- a spring from one foot landing on the same foot in the place or in any direction. The other foot maybe raised in any direction (in front, in rear, sideward or across). PHYSICAL EDUCATION 2/RST Page 17 KUMINTANG- moving the hand from the wrist either in a clockwise or counter clockwise direction. This term is an Ilocano term. MASIWAK- to turn the hand from the wrist half way clockwise, then raised and lower wrist once or twice. This is an Ibanag term. PIVOT- to turn with the ball, heel, or whole foot, on a fixed place or point. POINT- to touch the floor lightly with the toes of one foot, weight of the body on the other foot. POLKA- Spanish-introduced dance from Germany. SALOK- to swing the arm downward-upward passing in front of the body as if scooping, the trunk is bent forward following the movement of the arm doing the “salok”. This is a Tagalog term. SALUDO- partners bow to each other, to the audience, opposite dancers, or to the neighbors with feet together. This term is of Spanish origin and is used in almost all Philippine dances. “SALOK” (or “SAROK”)- cross the R (or L) foot in front of the L (or R), bend the body slightly forward and cross the hands (forearms) down in front with the R (or L) hand (forearm) over the L (or R). This is a Visayan term. SARONG- a short version of the malong usually worn by Subanon and other Mindanao men. SET- a dance formation like a square or a unit formation composed of two or more pairs. SLIDE- to glide foot smoothly along the floor. The movement may be finished with or without transfer of weight. STEP- to advance or recede by raising or moving one foot to another resting place. There is a complete transfer of weight from one foot to another. VALSE- waltz, earliest Spanish-introduced step. WHIRL- to make fast turns by executing small steps in place to right or left. PHYSICAL EDUCATION 2/RST Page 18  Experience TEST I. I-MOVIE: create your own video performing the Fundamental Dance position and steps. The aim of this activity is to:  Provide an overview of creating and using videos with students  Help get you started using video or get more out of using videos Examine TEST II. COMPLETION TYPE: Below are basic folk dance steps in 2/4 time which are usually used in folk-based dancing. Supply the missing step pattern and counting of each basic step enumerated. BASIC STEPS STEP PATTERN COUNTING Waltz Mazurka Heel & toe change step Sway Balance in Brush Sway Balance in Hop PHYSICAL EDUCATION 2/RST Page 19  Module 2: SOCIAL DANCING Module Outcomes This module is designed for you to: 1. demonstrates understanding of lifestyle and weight management to promote societal fitness. 2. maintains active lifestyle to influence the community and society to participate in physical activities. 3. practices healthy eating habits that support an active lifestyle What to know?  This is the first part of the lesson in Social Dancing. In this phase, you will be provided with activities that will activate your prior knowledge as regards the lesson. From here, follow-up activities will be given to elicit your tentative understandings. As you go through the rest of the activities, misconceptions and alternative conceptions you have in mind will be clarified. Finally, your knowledge, considering its adequacy and relevance, will be assessed at the end of this phase. What to process?  You will be given activities to display and enhance your skills in Social dancing at the same time formulate your understanding as regards the benefits of such activities to your fitness and well-being. As you go on and overcome the PHYSICAL EDUCATION 2/RST Page 20  challenges provided for you, you will learn that together, dancing activities will be more fun and exciting, without knowing that you are at the same time improving your fitness and social skills. Lesson 1: HISTORY OF SOCIAL DANCING Lesson Outcomes At the end of the lesson, you should be able to: 1. execute the skills involved in the dance; 2. involve oneself in community service through dance activities: and 3. recognize the needs of others in a real life and meaningful way. Introduction  People dance socially mostly for the pure joy of it. For the dancing enthusiast, nothing compares to the thrill of moving with grace and harmony to a beautiful piece of music with that wonderful partner of the moment.  Social dancing, which is simply group dancing for pleasure or recreation, has probably existed in some form since the beginning of human society. Most group dances were originally ceremonial rites grouped around three basics aspects of human existence: food supply, sexual impulse, and relationships with the spirit world.  For primitive people, dancing was a formal expressions of religion or superstition. When dance abandoned its primitive, pantomimic forms, when it ceased to be specifically about crops, war, wooing, initiation, or religion, it became pure social interaction, with no aim or purpose but the participants’ enjoyment. Explore Various changes in social dancing through the ages clearly demonstrates its interdependency with the world around it. PHYSICAL EDUCATION 2/RST Page 21  During the 14th century, for example, when social dance and folk dance were virtually indistinguishable, popular ring dances moved inside English upper-class homes as part of the evening entertainment. As long as the hearth occupied the center of the room, the dances retained their circular, and egalitarian form. With the introduction of the chimney about 1368, however, the hearth could be moved to a side wall, which cleared the floor of obstacles and allowed processional dances- then favored in the royal courts where rank determined the order of procession- to replace the ring information’s. Through the Renaissance and the 16th century, social dance became more firmly ensconced in the courts, whose members systematically dressed up and formalized the lusty folk dances to suit their elaborate codes of manners and attire. The 17th century minuet was nothing but manners, the final flourish of aristocratic elegance before national and then industrial revolutions returned social to the masses. Quadrille, with partners constantly changing, filled the ballrooms. The Waltz- whose dizzying speed was derived as much from the newer, more polished surface of dance floors and the abandonment of hobnailed shoes as it was from the public’s enthusiasm-also became popular. The embracing, closed hold of waltz successfully defied the polite convention of the period. Advancing technology and two world wars so continually restricted life in the 20 th century that social dance has been changing almost constantly, quickly altering with the values and practices surrounding it. The syncopated rhythms of American ragtime music inspired the foxtrot and shimmy. THE BALLROOM DANCES A. THE WALTZ B. POLKA C. TANGO D. FOXTROT E. SWING F. RUMBA G. QUICKSTEP H. PASO DOBLE I. SAMBA PHYSICAL EDUCATION 2/RST Page 22  J. MAMBO K. CHA-CHA L. JIVE ELEMENTS OF DANCE ETIQUETTE In the following we touch on a few of the more important aspects. For more details see the accompanying article “Elements of Dance Etiquette.”  Never blame your partner for anything that nay happen on the dance floor. Not if you want him/her to dance with you again.  A request for a dance must be accepted under almost all circumstances. If you decline a dance, you yourself cannot dance until the end of the song.  No unsolicited teaching on the dance floor! There is a good chance this will make your partner feel small and humiliated. Not exactly a great way of encouraging him/her, or others, to dance with you.  Do not monopolize a partner on the dance floor. Dancers are polite and rarely say no to a dance, but this is no carte blanche to impose on their kindness. Dance with everyone, and let everyone dance.  On the floor, be considerate of other couples. Exercise good floorcraft: do not cut other couples off: no aerials or choreographed steps on the dance floor. Lesson 2: DANCE STEPS (THE WALTZ, POLKA AND FOXTROT) Lesson Outcomes At the end of the lesson, you should be able to: 1. execute the skills involved in the dance; 2. involve oneself in community service through dance activities: and 3. recognize the needs of others in a real life and meaningful way. PHYSICAL EDUCATION 2/RST Page 23  Introduction  The Waltz is a dance is a dance born in the suburbs of Vienna and in the alpine region of Austria. Explore THE WALTZ PHYSICAL EDUCATION 2/RST Page 24  During the middle of the 18th century, the allemande form of the waltz was very popular in France. Originally danced as one of the figures in the contredanse, with arms intertwining at shoulder level, it soon became an independent dance hold was introduced. By the end of the 18th century, this old Austrian peasant dance had been accepted by high society, and three-quarter rhythm was here to stay. In July of 1816, the waltz was included in a ball given in London by the Prince Regent. Around the close of the 19th century, two modification of the waltz were developed. The first was the Boston, a slower waltz with long gliding steps. The second was the hesitation, which involves taking one step to three beats of the measure. Hesitation steps are still widely used in today’s waltz. The American waltz is similar to the international style except it has both open and closed dance positions. This allows the American style dancer a unique freedom of expression, including the ability to showcase character and theatrical presentation. The slow waltz is danced to music written 3/4 meter with 30-32 measures per minute. RISE AND FALL is unique to the waltz. If possible, all the steps in the waltz should be long. On the first step forward, the weight is taken on the heel, then on to the ball of the foot. A gradual rise to the toes should be started at the end of the first beat, and continued to the second and third beat bar of music. Lower to the normal position at the end of the third time beat by lowering to the heel of the foot which is carrying the weight. WALTZ LEFT FOOT CHANGE STEP PHYSICAL EDUCATION 2/RST Page 25 Man’s foot position Start position (facing line of dance rhythm- One, two, and three). WALTZ RIGHT FOOT CHANGE STEP Man’s foot position Start position (facing line of dance rhythm-One, two and three). WALTZ BOX STEP PHYSICAL EDUCATION 2/RST Page 26 Man’s foot position Start/finish position Rhythm- one, two, three WALTZ FORWAR PROGRESSIVE STEP Man’s foot position Start position (face line of the dance) Rhythm- One, Two, three WALTZ PROMENADE STEP Man’s foot position PHYSICAL EDUCATION 2/RST Page 27 Start position (face diagonal to wall) Rhythm- One, Two, three WALTZ STEP 2 PHYSICAL EDUCATION 2/RST Page 28 WALTZ LEFT TURN STEP Man’s foot position Rhythm- one, two, three One basic is 6 steps WALTZ RIGHT TURN STEP Man’s foot position PHYSICAL EDUCATION 2/RST Page 29 Start position Rhythm- one, two, three Proceed with a left foot change, then 2 right turns and finish with a right foot change. WALTZ WHISK Man’s foot position PHYSICAL EDUCATION 2/RST Page 30 Start position: 1. Left foot forward 2. Right foot side 3. Left foot crosses behind right foot WHISK-LADY’S FOOT POSITION POLKA STEPS POLKA is defined as vivacious couple dance of bohemian origin in duple time; was a basic pattern of hop-step-close-step; a lively Bohemian dance tune in 2/4 time. The Polka was originally a Czech peasant dance, developed in Eastern Bohemia (now part of Czechoslovakia). Bohemian historians believe that the polka was invented by a peasant girl (Anna Slezak, in LAbska Tynice in 1834) one Sunday for her amusement. It was composed to a folk song PHYSICAL EDUCATION 2/RST Page 31 “Strycek Nimra Koupil Simla (Uncle Nimra brought a white horse). Anna called the step “Madera” because of its quickness and liveliness. The dance was first introduced into the ballrooms of Prague in 1835. The name of the dance (pulka) is Czech for “half-step”, referring to the rapid shift from one foot to the other. The popularity of the polka led to introduction of several other dances from central Europe. The simplest was the gallop or galoppade which was introduced in Engaland and France 1829. Dance position was the same for the waltz or polka, which couples doing a series of fast chasses about the room with occasional turns. Music was in 2/4 time, often merely fast polka. The gallop was particularly popular as the final dance of the evening. For years to come, the polka will remain popular, with its variance in style from robust to smooth short, glide steps and every happy music. One of the most popular versions of the polka is the “heel and toe and away we go” due to it ease to execute. Polka is a popular dance in the country and western sector. Polka and schottische are competitive country and western dances. THE POLKA STEPS The basic polka steps consist of a preparatory hop followed by a chase done first to the left and then to the right. The polka is primarily a fast dance. It is danced to music written in 2/4 time with the first beat more heavily accented. Polka music may also be written in 4/4 time. It is generally danced to a quick, quick, slow rhythm. POLKA STEPS POLKA BASIC FORWARD STEPS Man’s foot position PHYSICAL EDUCATION 2/RST Page 32 START POSITION POLKA BASIC BACK STEP Man’s foot position START POLKA LEFT TURN STEP Man’s foot position PHYSICAL EDUCATION 2/RST Page 33 FOXTROT PHYSICAL EDUCATION 2/RST Page 34 Foxtrot originated iun the summer of 1914 by vaudeville actor harry fox. Born Arthur Carringford in Pomona, California, in 1882, he adopted the stage name of “Fox” after his grandfather. Harry was thrown on his own resources at the age of fifteen. He joined a circus for a brief tour and he also played professional baseball for a short while. A music publisher liked his voice and hired him to sing songs from the boxes of vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in a comedy entitled “Mr. Frisky of Frisco”. After San Francisco earthquake and the fire of the 1906. Harry Fox migrated East and finally stopped in New York. The Fox-trot originated in the Jardin de Danse on the roof of the New York Theatre. As part of his act downstairs, Harry Fox was doing trotting steps to ragtime music, and people referred to his dance as “Fox’s Trot”. In the rise to fame of the Vernon Castles, exhibition dancers of outstanding talent and charm, there was no doubt that the foxtrot was the most original and exciting of their various dances. As a result of the great popularity which ballroom dancing was enjoying, it was necessary to evolve a form of dance that could express the slow syncopated 4/4 rhythm and yet could remain “on the spot”. The foxtrot was the most significant development in all of ballroom dancing. The combination of quick and slow steps permits more flexibility and gives much greater dancing pleasure than the one-step and two-step which it has replaced. There is more variety in the foxtrot than in any other dance, and in some ways it is the hardest dance to learn! Variations of the foxtrot include the Peabody, the Quickstep and Roseland foxtrot. Even dances such as the lindly and the hustle are derived to some extent from the foxtrot. FOXTROT STEPS FOXTROT BASIC FORWARD Man’s foot position PHYSICAL EDUCATION 2/RST Page 35 Start facing line of dance Rhythm- slow, slow, quick, quick FOXTROT BASIC BACKWARD Man’s foot position Start position Rhythm – slow, slow, quick, quick FOXTROT ROCK LEFT TURN Man’s foot position PHYSICAL EDUCATION 2/RST Page 36 Rhythm- slow, slow, quick, quick FOXTROT FORWARD PROGRESSIVE Man’s foot position Start Rhythm – slow, slow, quick, quick FOXTROT PROGRESSIVE STEP Man’s foot position PHYSICAL EDUCATION 2/RST Page 37 Rhythm – slow, slow, quick, quick FOXTROT PROMENADE STEP Man’s and Lady’s foot position Start Rhythm – slow, quick, quick FOXTROT LEFT TURN Man’s foot position PHYSICAL EDUCATION 2/RST Page 38 Start position Rhythm – slow, quick, quick FOXTROT TWINKLE Man’s foot position FOXTROT BOX STEP Man’s foot position PHYSICAL EDUCATION 2/RST Page 39 Rhythm – slow, quick, quick FOXTROT RIGHT & LEFT TURN PHYSICAL EDUCATION 2/RST Page 40 Rhythm – slow, quick, quick FOXTROT QUARTER TURNS PHYSICAL EDUCATION 2/RST Page 41 Rhythm – slow, quick, quick PHYSICAL EDUCATION 2/RST Page 42  Experience  ACTIVITY: SOCIAL DANCING AND FITNESS In this activity, you will be provided with a review on the implication of dancing activity to your fitness by way of determining your range of Target Heart Rate. Here’s how: This is how to determine your THR (Target Heart Rate) range. Follow the steps provided and you’ll arrive at your own PMHR and THR which you could use in determining the intensity of your dancing activity and raising it to a higher level if necessary. STEP 1: Find your PMHR in beats per minute by subtracting your age from 220:  220 - _________________________= (Your Predicted Maximum Heart Rate) Example:  220- 15 = 205 (PMHR of a 15 year-old individual) STEP 2: you need to work out your lowest Target Heart Rate that you need to aim for during exercise by multiplying your PMHR by 60% (or.6):  ______(PMHR) x 60% (or.6) = (Lowest Target Heart Rate) Example:  205 x.6 = 123 beats/minute (Lowest THR of 15 year-old individual) STEP 3: lastly, you need to work out your Highest Target Heart Rate that you can aim for during exercise by multiplying PMHR by 80% (or.8):  ______(PMHR) x 80% (or.8) = (Highest Target Heart Rate) Example:  205 x.8 = 164 beats/minute (Highest THR of 15 year-old individual) PHYSICAL EDUCATION 2/RST Page 43  So, when you are dancing, you are aiming for the range of two figures you have come up with in steps 2 and 3. In the example given, the Target Heart Rate of 15 year-old individual is from 123 to 164 beats per minute during exercise. To maximize the benefits you can derive from social dancing in relation to cardio- vascular fitness, you need to know your Target Heart Rate Range. This is helps you determine the intensity or level of exerted effort you are pouring into your dancing. PROCESSING ACTIVITY: 1. Perform the Social dancing routine simultaneously 4 times with the music. 2. Stop and get your heart rate by placing your middle and pointing fingers in your carotid pulse located just below your jaw, beside your throat. In 15 seconds, take your pulse. Multiply it by 4. 3. So, have you reached your minimum THR? If not yet, 5 repetitions is not enough. Let’s dance more. 4. Do the same process in getting your THR. Examine Processing Questions: (Write your answer in a whole Sheet of paper)  How essential is knowing how to get your THR range?  How can Social Dancing contribute to a healthier lifestyle? PHYSICAL EDUCATION 2/RST Page 44  Lesson 3: DANCE STEPS (TANGO) Lesson Outcomes At the end of the lesson, you should be able to: 1. describe the nature and background of the dance; 2. execute skills involve in the dance; 3. involve oneself in community service through social dancing activities. Introduction  When talking about the history of the Tango, the reader should consider that although there were many influences in the creation and life of the Tango, it is very important not to assume that it was some form of linear development. So the idea that you start with this dance or piece of music and along comes this piece or step, and overnight the whole thing changes, is very wrong.  While dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Benos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for Tango. PHYSICAL EDUCATION 2/RST Page 45  Explore TANGO HISTORY Tango (the dance with the stop “Baille Con Carte” is one of the most fascinating of all dances. Originating in Spain or Morroco, the Tango was introduced to the new world by the Spanish settlers, eventually coming back to Spain with Black and Creole influences. In the early 19th Century, the Tango was solo dance performed by the woman. The Andalusian Tango was later done by one or two couples walking together using castanets. The dance was so considered immoral with its flirting music. Ballroom Tango originated in the lower class of Buenos Aires, especially in the “Barrio de las Ranas”. Clothing was dictated by full skirts for the woman and gauchos with high boots and spurts for the man. The dance spread throughout Europe in the 1900’s. Originally popularized in New York in the winner of 1910-1911, Rudolph Valentino then made the Tango a hit in 1921. As time elapsed and the music became more subdued, the dance was finally considered respectable even in Argentina. Styles vary in Tango: Argentine, French, Gaucho and International. Still, Tango has become one of our American “Standards” regardless of its origin. The Americanized version is a combination of the best parts of each. The principals involved are the same for any good dancing. First, the dance must fit the music. Second, it must contain the basic characteristics that sets it apart from other dances. Third, it must be comfortable and pleasing to do. Phrasing is an important part of Tango. Most Tango music phrased to 16 or 32 beats of music. Tango music is like a story. It contains paragraphs (Major phrases); sentences (minor phrases); and the period at the end of the sentence is the Tango close. PHYSICAL EDUCATION 2/RST Page 46 For exhibition dancing, a Tango dancer must develop strong connection with the music, the dance and the audience. The audience can only feel this connection if the performer feels and projects this feeling. So it’s when dancing for your own pleasure- and your partner’s! “The Tango is the easiest dance. If you make a mistake and get tangle up, you just Tango on.” THE TANGO STEPS Tango dance steps are hot, passionate, and precise. They are also one of the most popular social dances around. In spite of its reputation, the basic dance steps for a tango are quite easy to break down Tango Dance Steps: The Basic The easiest way to remember the basic tango dance step is to think of the acronym T- A-N-G-O, since there are five parts to the basic. At the same time, the steps have a rhythm and duration that goes as follows: "Slow…slow…quick-quick-slow…" Like many ballroom dances, the lead and follow mirror each other’s steps in the basic. Many of the more complicated tango dance steps give each part their own specific roles to play. The lead also always begins with the left foot, the follow with the right, and the lead steps are "heel leads" - that is, the heel of the foot comes down first, not the toe. 1. T (slow): the lead steps forward with the left foot, the follow mirrors by stepping back with the right. 2. A (slow): the lead steps forward with the right foot, mirrored again by the follow's right. 3. N (quick): the lead steps forward again with the left, a slightly smaller step, preparing to step to the side with the right. 4. G (quick): the lead steps to the right with the right foot, using a technique known as "collecting" the foot. This simply means that the right foot comes up alongside the left before stepping to the right, and doesn't move in the diagonal. 5. O (slow): probably the most sultry step in the basic, this is a slow almost-drag of the left foot towards the right, ready to begin the basic again. For the follow, it's the joining of the right foot to the left with a slow, deliberate motion. PHYSICAL EDUCATION 2/RST Page 47 PHYSICAL EDUCATION 2/RST Page 48 PHYSICAL EDUCATION 2/RST Page 49 PHYSICAL EDUCATION 2/RST Page 50  Lesson 4: DANCE STEPS (THE CHA CHA, MAMBO & SALSA) The cha-cha-cha (also called cha-cha), is a dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in the early 1950s. This rhythm was developed from the danzón-mambo. The name of the dance is an onomatopoeia derived from the shuffling sound of the dancers' feet when they dance two consecutive quick steps (correctly, on the fourth count of each measure) that characterize the dance. In the early 1950s, Enrique Jorrín worked as a violinist and composer with the charanga group Orquesta América. The group performed at dance halls in Havana where they played danzón, danzonete, and danzon-mambo for dance- oriented crowds. Jorrín noticed that many of the dancers at these gigs had difficulty with the syncopated rhythms of the danzón-mambo. To make his music more appealing to dancers, Jorrín began composing songs where the melody was marked strongly on the first downbeat and the rhythm was less syncopated. When Orquesta América performed these new compositions at the Silver Star Club in Havana, it was noticed that the dancers had improvised a triple step in their footwork producing the sound "cha-cha-cha". Thus, the new style came to be known as "cha-cha-chá" and became associated with a dance where dancers perform a triple step. The basic footwork pattern of cha-cha-cha (one, two, three, cha-cha-one, two, three) is also found in several Afro-Cuban dances from the Santería religion. For example, one of the steps used in the dance practiced by the Orisha ethnicity’s Ogun religious features an identical pattern of footwork. These Afro-Cuban dances predate the development of cha-cha-cha, and were known by many Cubans in the 1950s, especially those of African origin. Thus, the footwork of the cha-cha-cha was likely inspired by these Afro-Cuban dances. In 1953, Orquesta América released two of Jorrin's compositions, "La Engañadora" and "Silver Star", on the Cuban record label Panart. These were the first cha-cha-cha compositions ever recorded. They immediately became hits in Havana, and other Cuban charanga orchestras quickly imitated this new style. Soon, there was a cha-cha- cha craze in Havana's dance halls, popularizing both the music and the associated dance. This craze soon spread to Mexico City, and by 1955 the music and dance of the cha-cha-cha had become popular in Latin America, the United States, and Western Europe, following in the footsteps of the mambo, which had been a worldwide craze a few years earlier. PHYSICAL EDUCATION 2/RST Page 51 Basic steps Cha cha music is composed in 4/4 time (four beats to a bar of music). For each bar of music there are 2 slow and 3 quick steps, which may be counted as – one, two, cha, cha, cha or step, step, step, quick step, quick step. The footwork is simple and mostly focuses on just shifting weight from one foot to another. Remember, five steps are taken to four beats of music. Also don't forget that the movements tend to be somewhat flirtatious. This is definitely a party dance Instructions & Diagrams: Partners face each other. Gentleman starts with the left foot, lady starts with the right foot. Basic ballroom hold. Basic Side Step for Men 1. Sidestep to the left with your left foot 2. Step backward & left with your right foot PHYSICAL EDUCATION 2/RST Page 52 3. Left foot in place, weight shifts to it 4. Sidestep to the right with your right foot 5. Move your left foot to your right foot 6. Sidestep to the right with your right foot 7. Step forward & right with your left foot 8. Right foot in place, weight shifts to it 9. Sidestep to the left with your left foot 10. Move your right foot to your left foot Basic Side Step for Women 1. Sidestep to the right with your right foot 2. Step forward & right with your left foot 3. Right foot in place, weight shifts to it 4. Sidestep to the left with your left foot 5. Move your right foot to your left foot 6. Sidestep to the right with your left foot 7. Step backward & left with your right foot 8. Left foot in place, weight shifts to it PHYSICAL EDUCATION 2/RST Page 53 9. Sidestep to the right with your right foot 10. Move your left foot to your right foot THE MAMBO The Mambo dance originated in Cuba where there were substantial settlements of Haitians. In the back country of Haiti, the "Mambo" is a voodoo priestess, who serves the villagers as counselor, healer, exorcist, soothsayer, spiritual advisor, and organizer of public entertainment. However, there is not a folk dance in Haiti called the "Mambo." The fusion of Swing and Cuban music produced this fascinating rhythm and in turn created a new sensational dance. The Mambo could not have been conceived earlier since up to that time, the Cuban and American Jazz were still not wedded. The "Mambo" dance is attributed to Perez Prado who introduced it at La Tropicana night-club in Havana in 1943. Since then other Latin American band leaders such as Tito Rodriquez, Pupi Campo, Tito Puente, Machito and Xavier Cugat have achieved styles of their own and furthered the Mambo craze. The Mambo was originally played as any Rumba with a riff ending. It may be described as a riff or a Rumba with a break or emphasis on 2 and 4 in 4/4 time. Native Cubans or musicians without any training would break on any beat. It first appeared in the United States in New York's Park Plaza Ballroom - a favorite hangout of enthusiastic dancers from Harlem. The Mambo gained its excitement in 1947 at the Palladium and other renowned places such as The China Doll, Havana Madrid and Birdland. A modified version of the "Mambo" (the original dance had to be toned down due to the violent acrobatics) was presented to the public at dance studios, resort hotels, and at night-clubs in New York and Miami. Success was on the agenda. Mambo happy dancers soon became known affectionately as "Mambonicks". PHYSICAL EDUCATION 2/RST Page 54 The Mambo craze did not last long and today the Mambo is much limited to advanced dancers. Teachers agreed that this is one of the most difficult of dances. One of the greatest contributions of the Mambo is that it led to the development of the Cha-Cha. The Mambo is enjoying a renewed popularity due to a number of films featuring the dance as well as a man named Eddie Torres. Eddie is a New York dance pro and Mambo fanatic who has launched a crusade to make sure the dance reigns in the ballroom once again. Torres has become the leading exponent of the style, steadily building a reputation as a dancer, instructor, and choreographer. He has become known as the "Mambo King of Latin Dance". Torres is determined to reintroduce dancers to what he believes is the authentic night-club style of mambo dancing, which in the 1990's is increasingly known as Salsa. "It's a great time for Latin American dances," says Torres. "The Mambo is hot now, like it was in the '50's. It is a dance with many influences -- African, Cuban, Jazz, Hip-Hop, even some ballet. You'll never run out of steps." Popular Mambo songs include "Mambo Italiano", "Papa Loves Mambo", "Mambo #5", "I Saw Mommy Do The Mambo", and "They Were Doin' The Mambo". 'Dance City', the superb CD album featuring Hernandez and the Mambo Kings Orchestra, stands on its own as one of the best recordings of its kind in years, an energetic big band-style session that recalls the glory days of Tito Puente and Tito Rodriguez. Most people treat Mambo as a very fast dance. In essence, it is a slow and precise dance that doesn't move very much. PHYSICAL EDUCATION 2/RST Page 55 PHYSICAL EDUCATION 2/RST Page 56  THE SALSA DANCE Origins & History of Salsa The origins of salsa date back to the 1900s in Eastern Cuba, where musical elements and rhythms from various styles were combined. Cuban son and Afro-Cuban rumba, the two main styles, used diverse musical instruments to create the basis of a rhythm that would later become known as salsa. Almost 50 years went by before this new rhythm reached Havana. There, salsa absorbed influences from other local Cuban music and from American jazz and continued to evolve. Due to the Revolution in Cuba, many musicians relocated to the United States, especially to New York City. Among the Hispanic community, these musicians found an ideal environment to develop their rhythm into what we know as salsa today; this was especially true in ''El Barrio'', also known as Spanish Harlem. The definite rise and jump to fame of salsa happened thanks to Fania Records, a record label established in 1964 by musician Johnny Pacheco and Italian-American lawyer Jerry Masucci. This label became extremely famous, producing one huge hit after another. Many of the artists who signed with this label are now regarded as legends of salsa, particularly the team of ''Fania All-Stars''. This group included celebrities such as Celia Cruz, Héctor Lavoe, Cheo Feliciano, and Rubén Blades, among others. Fania Records edited the rhythms which originated in Cuba and gave them a sound that was catchier and more easily accepted by the New York Latin market. To better merchandise their music, Fania called this new sound salsa. Salsa music is a mix of different Caribbean rhythms and instruments; that diversity provides its unique sound. Salsa dance has similarly evolved and adapted over the years to better suit the tastes of different localities, leading to the creation of different regional styles of salsa. Some of the most popular regional styles are:  Salsa Casino (Cuban style) PHYSICAL EDUCATION 2/RST Page 57   Salsa Casino (Miami style)  Afro-Latino style  Cali style (Colombian Salsa)  Rueda de Casino  New York style Considering such a variety of cultures in Latin America contribute to the vast diversity of styles in salsa, it's only natural that the musical instruments used also change a bit from style to style. A mix of instruments is used in each regional style. The most common percussion instruments are bongos, congas, timbales, maracas, and cowbells. Among the string instruments, we see the bass guitar, guitar, piano, violin, and electric guitar. The trumpet, trombone, flute, and saxophone are brass instruments commonly used. The influence of salsa grew rapidly to become popular all over Latin America and within Hispanic communities worldwide. PHYSICAL EDUCATION 2/RST Page 58 PHYSICAL EDUCATION 2/RST Page 59  LESSON 5: DANCE STEPS (RUMBA AND SAMBA) Rumba The word Rumba is a generic term, covering a variety of names (i.e., Son, Danzon, Guagira, Guaracha, Naningo), for a type of West Indian music or dancing. The exact meaning varies from island to island. The word "Rumba" comes from the verb "rumbear" which means going to parties, dancing, and having a good time. There are two sources of the dances: one Spanish and the other African. Although the main growth was in Cuba, there were similar dance developments which took place in other Caribbean islands and in Latin America generally. The "rumba influence" came in the 16th Century with the black slaves imported from Africa. The native Rumba folk dance is essentially a sex pantomime danced extremely fast with exaggerated hip movements and with a sensually aggressive attitude on the part of the man and a defensive attitude on the part of the woman. The music is played with a staccato beat in keeping with the vigorous expressive movements of the dancers. Accompanying instruments include the maracas, the claves, the marimbola, and the drums. As recently as the Second World War, the "Son" was the popular dance of middle class Cuba. It is a modified slower and more refined version of the native Rumba. Still slower is the "Danzon", the dance of wealthy Cuban society. Very small steps are taken, with the women producing a very subtle tilting of the hips by alternately bending and straightening the knees. The American Rumba is a modified version of the "Son". The first serious attempt to introduce the rumba to the United States was by Lew Quinn and Joan Sawyer in 1913. Ten years later band leader Emil Coleman imported some rumba musicians and a pair PHYSICAL EDUCATION 2/RST Page 60 of rumba dancers to New York. In 1925 Benito Collada opened the Club El Chico in Greenwich Village and found that New Yorkers did not know what Rumba was all about. Real interest in Latin music began about 1929. In the late 1920's, Xavier Cugat formed an orchestra that specialized in Latin American music. He opened at the Coconut Grove in Los Angeles and appeared in early sound movies such as "In Gay Madrid". Later in the 1930's, Cugat played at the Waldorf Astoria Hotel in New York. By the end of the decade he was recognized as having the outstanding Latin orchestra of the day. In 1935, George Raft played the part of a suave dancer in the movie "Rumba", a rather superficial musical in which the hero finally won the heiress (Carol Lombard) through the mutual love of dancing. In Europe, the introduction of Latin American dancing (Rumba in particular) owed much to the enthusiasm and interpretive ability of Monsieur Pierre (London's leading teacher in this dance form). In the 1930's with his partner, Doris Lavelle, he demonstrated and popularized Latin American dancing in London. Pierre and Lavelle introduced the true "Cuban Rumba" which was finally established after much argument, as the official recognized version in 1955. Rumba is the spirit and soul of Latin American music and dance. The fascinating rhythms and bodily expressions make the Rumba one of the most popular ballroom dances. Understanding Rumba Steps Regardless of where you find the rumba dance step diagram, it's going to look something like the one at Dancing4Beginners. The first diagram shows footprints for the lead, in sequence. The start position is with the feet together and the weight balanced. The left foot is white and the right foot is a gray shaded color to help differentiate them. PHYSICAL EDUCATION 2/RST Page 61 Download Rhumba lead dance steps Download Rhumba partner dance steps SOURCE SAMBA SAMBA It's a carnival street dance, a ballroom competition dance, a 1930s classic movie number, and a powerful workout for your pelvis. Samba is a Brazilian dance with African roots and a global fandom, often performed in little more than sequins and feathers, but always with a mix of attitude and abandon. Origins of the Samba Samba dance is a little bit of this and a lot of that. Originating in Brazil in the 19th century, samba owes its rhythm and moves to the African slave dances on the Brazilian sugarcane plantations. The traditional African circle dance with a lone central performer relied on weight shifts, rapid steps, and slides to a 2/4 percussive beat, and a fairly still upper body with arms and hands responding to the hip and leg movements. Once slavery ended, the dancers migrated to the favelas or shantytowns outside of cities, where freed slaves put together dance PHYSICAL EDUCATION 2/RST Page 62 troupes for carnival. The performances were boisterous and uninhibited, generally frowned upon by Brazil's Portuguese upper crust. But samba proved irresistible, its popularity spilling across classes and borders, its gyrations richly colored by regional and international influences. Today, it would be impossible to imagine carnival without samba. Fred Astaire and Delores Del Rio danced a version of samba, the carioca, in the 1933 film Flying Down to Rio. Carmen Miranda, a Brazilian dancer who samba'd her way through That Night in Rio, became synonymous with the dance worldwide. The 1939 World's Fair cemented the American love affair with samba when the music and dance was featured in the Brazilian pavilion. Today, the many iterations of samba are a mainstay of pre-Lenten carnival in Rio De Janeiro and of Latin ballroom dancing everywhere. Now it's a solo dance, a couple's dance, a street-dancing exhibition, and a hybrid, merged with rock, acrobatics, and even reggae. A Selection of Sambas There has never been one definitive samba; the dance is as fluid as the pelvic isolations that keep it hot. Solo samba and partner samba styles work off the same rhythms with fast or slow percussive beats. You just have to concede you know it when you see it. Solo Sambas Samba no pé is traditional solo samba dance with simple, recognizable steps spontaneously inspired by the music. It follows a 2/4 count with three steps in every measure, a basic step-ball-change. 1. Begin with your feet together. Relax your knees and keep them soft and bouncy throughout. 2. Step back onto the ball of the left foot, shifting your weight to that foot. 3. Take a half-step forward onto the ball of the right foot, again shifting your weight to the stepping foot. 4. "Slide" (step) the left foot to just behind the right foot, landing on the ball of the foot and taking the weight on that foot. 5. Step back onto the ball of the right foot, shifting weight again, and repeat the sequence. 6. You don't "travel" as you step forward and back. As you catch the rhythm and pick up the pace to match the tempo of the music, your relaxed knees will give you the samba bounce and your hips will start to move to match the weight shifts. 7. Allow your arms to swing naturally as you repeat the pattern to the percussive beat. Men dance the samba no pé on the flat of the foot. Women, who wear high heels, dance on the ball of the foot. PHYSICAL EDUCATION 2/RST Page 63 PHYSICAL EDUCATION 2/RST Page 64 PHYSICAL EDUCATION 2/RST Page 65 Experience ACTIVITY: SOCIAL DANCING PARTICIPATION QUESTIONNAIRE Directions: Tick the column that best describe your participation in the activities below. SOCIAL DANCING ACTIVITIES ALWAYS SELDOM NEVER 1. I actively participate in social dancing activities in my community. 2. I am a member of the grand cotillion dance performed in a friend’s debut/social gathering. 3. I wear proper attire in social dancing activities. 4. I am confident in performing social dances in and outside the school. 5. I insist in doing a dance combination that my partner could not follow. 6. I don’t follow the lead of my partner because I have my own style of dancing. 7. I dance vigorously whenever I participate in social dancing activities. 8. I recognize the advantages of my engagement in social dancing activities to my fitness and well-being. 9. I share my social dancing skills with my PHYSICAL EDUCATION 2/RST Page 66  friends, and community. 10. I enjoy participating in social dancing activities. Examine  Summarize in few sentences what survey revealed about your fitness habits and attitudes toward social dancing. Write your summary in your activity notebook. In a Nutshell  Dancing is an act of moving the body in rhythm, usually in time with music. People seem to have a natural urge to express their feelings through rhythmic movement. People organize the expressive movements of their bodies into rhythmic and visual patterns.  Dancing is both an art and a form of recreation. As an art, a dance may tell story, set a mood, or express an emotion. As a form of recreation, dancing has long provided fun, relaxation, and companionship. Today dancing either a party or gathering continues to be a very popular way for people to enjoy themselves and to make new friends. References  PHYSICAL EDUCATION 2 for COLLEGE (Dr. Doris D. Tulio)  PHYSICAL EDUCATION (Teacher’s Material) Department of education Prepared by: Mr. Rolly S. Tagalog Instructor 1 PHYSICAL EDUCATION 2/RST Page 67 PHYSICAL EDUCATION 2/RST Page 68