Rhythmic Activities 

PHYSICAL EDUCATION 102 

 
 
COURSE DESCRIPTION  
This  is  a  2-unit  course  designed  to  provide  students  with  various  learning 
experiences  through dancing. Throughout the course, students will learn various forms 
of  dances  such  as  Philippine  folk  dance,  social/ballroom  dance  and 
modern/interpretative  dance  which  are  vital  to  develop  their  sense  of  rhythm  for 
efficient and effective movements.  
 
This  an  enjoyable  course  with  the  end  views  of  developing  students’  creative  minds, 
confidence and appreciation of dance as a healthy form of exercise. 
 
INTENDED LEARNING OUTCOMES 
■ Define dance and its importance. 
■ Recognize the fundamental aspect and movements of folk dance, social dance 
and modern/interpretative dance. 
■ Understand the value of dance as a healthy form of exercise. 
■ Show interest and enjoyment in the performance of various dance forms. 
■ Execute different dances rhythmically with poise and confidence. 
 
UNIT OBJECTIVES 
■ Recognize the meaning, history, classification and characteristics of Philippine 
folk dance. 
■ Identify the different dance terminologies of folk dance 
■ Execute the different dance terms and fundamental positions of arms and 
feet. 
■ Execute the basic dance steps in 2/4 and ¾ time signature 
UNIT I - PHILIPPINE FOLK DANCE 

Folk  Dance  is  a  form  of  dance  developed  by  a  group  of  people  that  reflects  the 

traditional  life  of  the  people  of  a  certain  country  or  region.  This  Unit  will  discuss  the 

Introduction,  History  ,  Classification  and  Characteristics  Philippine  Folk  Dance,  and 

Do's  in  Folk  Dancing..  In  addition  to  this,  it  will  also  discuss  the  Fundamental  Positions 

of  Arms  and  Feet,  Basic  Dance  Steps  and  Dance  Terminologies  used  in  Philippine Folk 

Dance. 

Lesson 1 
 

Introduction to Philippine Folk Dance 

One  of  the  indicative  art  cases of the people is its own dances. Given the benefits of 

the  doubts,  the  worst  thing  that  might  happen  to  lose  their  identities  is  when  folk 
dances  lose  their  track  which  should  be  preserved  by  their  own  people.  In  order  to 
uphold one of the country's valuable identities is to convey the dances from generation 
to  generation.  Folk  dances  depict  the  traditions,  beliefs,  occupations,  and  ways  of  life 
admitting its characteristics of the people living in a certain country.  
 
It  is  out  of  the  question  to  know  when  dancing precisely became a part of life in the 
Philippines.  For  Filipinos,  dance  is  a  form  of  worship  and  an  expression  found  in  all 
prospects  of  their  life  giving  meaning  to  rhythmic  activities  and  continues  maintaining 
as a part of the Philippine Education Program.  
 
 
 
Aside  from  enhancing  rhythmic  movements  of students, there are benefits that can be 
derived and developed from the study of Philippine Folk Dances: 
 
■ patriotism and nationalism 
■ healthy form of relaxation and recreation 
■ well-awakened art appreciation of folk dances 
■ well-improved posture, graceful and rhythmic coordination of body 
movements 
■ preservation of native dances of the different regions for the next generation 
■ growth and enhancement of Philippine culture 
■ Improving body image, self-esteem, and communication skills efficiently. 
■ lessen the feeling of being outcast 
■ reduces stress, fears and anxiety  
■ forgetting Individuals self-consciousness 
 
 
Brief History of Philippine Folk Dance 

Our  fatherland  is  an  archipelago  composed  of  several  islands.  Because  of  the 

Filipinos'  social  groups,  our  dances  have  evolved  in  each  region  being  influenced  by 

religions  and  conquerors.  Even  though  there  were  transitions  in  our  dances  yet  there 

are  similarities  within  its  nature  and  origin.  Most  of  the  traditional  dances  were 

contrived  to  thank  the  Gods  of  nature  and  agriculture  such  as rain and harvest. These 

dances  were  performed  during  festivals  having  the  thoughts  of  granting  their  wishes 

and desires.  

The  Spanish  colonization  for  more  than  300  years  had  influenced  Philippine  folk 

dancing  especially  when  Spaniards  bestowed  Christianity  to  the  country.  The  Filipino 

stories  and  representations  of  dances  were  reflected  by  its  religion.  Filipinos  acquired 

the  use  of  Spanish-style  clothes  slightly  modified  with  Filipino  elements.  Filipino 

dancers  used  local  props  like  bamboo  and  abanico  (Asian  fan)  as  well.  Some  dances 
which  implemented  Spanish  influence  such  as  dance  routines  are  the  Pandanggo  sa 

ilaw.  It  originated  from  Mindoro  and  is  derived  from  the  Spanish  Fandango  dance 

where  dancers  were  balancing  an  oil  lamp  to  the  top  of  the  head  and  one  on  each 

hand throughout the dance.  

At  present,  several Philippine dances are making their ways on the scene performed 

and cultured by different dance enthusiasts and being taught at school. Various groups 

of  performers  such  as  the  Bayanihan,  Filipinescas,  Filipiniana  and  Ramon  Obusan 

Folkloric  Dance  Troupe  are  just  some  of  those  who  continue  giving  importance  to  our 

numerous fascinating Philippine dances. 

Classifications and Characteristics of Folk Dance 

Luzon,  Visayas,  and  Mindanao  are  the  three  major  islands  that  composed  the 

Philippine  archipelago.  Those  islands  have  their  own  preserved  culture  handed  down 

from  generation  to  generation.  Folk  dancing  is  an  art  performed  with highly distinctive 

differences  that  made  these  islands  in  the  southeastern  part  of  the  world  respective 

and  historical  by  the  islands  and by the globe. There are several dances in the country. 

Some  of  the  dances  are  performed  in  different  occasions  such  as  wedding, 

occupational,  festival,  war  and  victory  dances.  Those  dances  display  the  Filipino way of 

life and create a valuable manner in the development of nationalism.  

In  1924,  Francisca  Reyes  Aquino,  the  Mother  of  the  Philippine  Folk  Dances  and  a 

National  Artist  as  well  made  a  contribution  by  starting  the  collection  of  dances  and 
songs  in  the  country.  She authored six (6) volumes of books on different Philippine folk 

dances,  These  dances  have  been  categorized  into  non  Christian  and Christian dances. 

The  non-  Christian  or  ethnic  dances  are  the  highest  form  of  the  Filipino  dances 

because of their incomparable and beautiful movements. Jotas, Pandanggo, Habaneras 

are  some  of  the  examples  of  Christian  dances.  These  dances  are  influenced  by  the 

Spaniards  and  other  European  countries  and  have  been  adopted  into  our  native 

culture  

Classifications of Folk Dance 

Francisca  Reyes  Aquino  classified  Philippine Folk Dances according to 

the following: 

I. General Classification  

  A. Geographical Origin  

1. National  Dances​.  These  are  dances  found  throughout  the  islands with little or 

no modification. 

■ Rigodon  -a  dance  originated  by  the  French  named  after  a  well  known  dance 

master Rigaud. 

■ Carnosa  -is  a  Philippine  dance  of  Hispanic  origin  from  the  Mana  Clara  suite  of 

Philippine Folk Dances. 

■ Jota -a Spanish folk dance originated in the North of Spain( Aragon). 

2. Local Dances.​ These are dances found in specific localities. 

■ Tinikling - is a dance which means "bamboo dance" in English. 

 ■ Maglalatik  -  depicts  a  war  between  Moros  and  Christian  over the price of "Latik" 

or Coconut meat. 

■ Subli  -  a  dance  from  Bauan,  Batangas  derived  from  two  tagalog  word  subsub 

(stopped or in crouching position) and bali (broken). 

B. Nature 

1. Occupational  Dances.  These  dances  depict  actions  of  a  particular  occupation 

industry or human labor (planting, harvesting, pounding, winnowing etc.) 

■   Pabirik  -  is  a  dance  from  Paracale,  Camarines  Norte  that  depicts the province's 

gold mining industry. 

■ Mananguete - is a Visayan occupational dance in Tolambugan Lanao. 

2.   ​Religious/Ceremonial.  These  are  dances  influenced  with  religion  vows  and 

ceremonies. 

■ Dugsu-  is  a  ceremonial  dance  among  the  Manobo  people  in  Bukidnon,  Agusan 

and Misamis Oriental. 

■ Sta.  Clarang  Pinong-pino-  a  ritual  dance  that  commemorates  the  Cebuano's 

pagan origin. 

■ Putong.  a  dance  which  originated  in  Marinduque  that  depicts  the  unique 

custom of welcoming people.  

3. Comic  Dances.  These  are  dances  which  depict  humorous  movements 

designed for entertainment. 

 ■ Makongggo-a  comic  dance  which  is  cultured  in Sta. Maria, Bulacan where a solo 

performer mimics the movements and characteristics of a monkey. 

■ Kinotan-  a  comic  dance  from  Ilocos  Sur  that  depicts  the  actions  of  a  person 

bitten by ants. 

4. Game Dances​. These are dances done with play elements (dance mixers) 

■ Lubi - Lubi- a ballroom folk dance in the Bicol region. 

■ Pavo -a processional dance common in Europe during the 16th century. 

5. Wedding Dances. These dances are performed during wedding feasts. 

■ Panasahan  -  is  performed  during  the  desposorio,  a  Catholic  ceremony  held  at 

the dawn of the wedding day between 2 and 3 am. 

6. Courtship  Dances​.  These  dances  depict  the  art  of  courtship  or  dances  with 

love themes. 

■ Maramion-  a  dance  showing courtship and is popular in the islands of Cebu and 

Bohol. It means fragrant or beautiful.  

■ Tadek - a Balbalan ethnic dance. 

■ Hele-Hele  -  a  flirting  dance  carrying  out  a  courting  figures  but  no  touch  since  a 

part of Spanish system  

7.   Festival  Dances.  These  dances  are  suitable  for  special  occasions  or  for  any 

social gathering. 

■ Habanera - is a genre of Cuban popular dance music of the 19th century. 

■ Jota  Suntido  -  jota  is  a  genre  of  music  and  the  associated  dance  known 

throughout Spain. 
 8. War  Dances.  These  dances  show  imaginary  combat  or  duel  among  tribe 

members. 

■ Sagayan-  is  a  war  dance  performed  by  both  the  Maguindanao  and  Maranao 

depicting in dramatic fashion. 

■ Palu-palo- is a ritual dance and classified into creative dance. 

C. Movements 

1. Active. Dances​ which display fast energetic movements.  

■ Maglalatik, Tinikling. Sakuting, Polkabal, etc.  

2. Moderate.​ Dances that show less fast or intense movements . 

■ Carinosa, Tagala, Habanera, Puripuri, etc.  

3. Slow​. Dances that show loss of velocity. 

■ Pasakat, Amorosa, Tiliday, Kundiman, etc  

4. Slow  and  Fast.  ​Dances  that  demonstrate  a  combination  of  slow  and  last 

movement. 

■ Puriton Bangles. Habanera, Botolena, Alcomfor, etc. 

D. Formation 

1. Square or Quadrille​. Dances form a square in their dancing 

■ Rigodon, Los Bailes de Ayer, etc.  

2. Long Formation​. Dancers form two or more parallel lines. 

■ Lulay, Sakuting 
 3. Set​.  This  consists  of  two  or  more  pairs  as a unit with partners facing each other 

or standing side by side. 

■ Binadyong. Haplik, Kakawati, etc. 

Characteristics of Folk Dance 

1. In general, dancers stand apart. 
 
2. There is little, if any, body contact. 
 
3. Most of the dances are done by pairs or couples. 
 
4. Hand movements play an important part. 
 
5. Most dances are in long formation. 
 
6. Most dances begin and end with "Saludo". 
 
7. Dances from the lowlands have more foreign elements than those found in the  
 
uplands. 
 
8. War dances are found among non-Christian tribes. 
 
 
 
Do’s in Folk Dancing 
 
1. Dance in a natural, simple and direct manner. 
 
2. Dance with ease and smoothness 
 
3. Use proper costumes 
 
4. Follow directions and dance instructions as closely as possible. 5. Dance with  
 
feeling and expression. 
 
5. Dance with feelings and expressions. 
 

 
Lesson 2 
Fundamental Positions of Arms and Feet in Five Counts

First Position 
Arms ​are raised forward in a circle in 
front of the chest with fingertips of 
both hands about an inch apart. 
 
The ​feet p
​ osition is executed with 
the heels and toes apart at an angle 
of about 90 degrees or more​. 

Second Position 
The ​arm​s are placed sideways a little 
below shoulder level with palms 
facing upwards. 
 
The ​feet​ position is performed with 
feet sideward about a pace apart 
with heels parallel each other. 
Third Position 
One a
​ rm​ is raised in a semicircle 
slightly in front of the head 
(amplified position while the other 
arm remains as in second 
position). 
 
The ​heel of one foot​ is close to the 
in-step of the other foot. 

Fourth Position 
One​ arm​ is raised in an amplified 
position, while the other is as in first 
position.  
 
One​ foot​ is forward about a pace 
distance, with toes out 
 Fifth Position 
 
Both a
​ rms​ are raised to form a circle 
over and slightly in front of the head 
(amplified position). 
 
One f​ oot​ is placed in front of the 
other foot with the heel close to the 
toe of the other foot.  

 
Fundamental Positions of Arms and Feet in Eight Counts 

First Position 
 
Arms ​are placed forward forming a 
circle position in front of the chest 
and fingertips of both hands are 
about an inch. 
 
The​ feet​ position is executed with 
the heels and toes apart at an angle 
of about 90 degrees or more.
Second Position 
 
The ​arms​ are on the sideways a little 
below the shoulder level where 
palms are in the position facing 
downward.  
 
The ​feet p
​ osition is performed with 
feet sideward about a pace apart 
with the other pointed parallel to 
each other.

Third Position 
 
Arms​ are raised on the sides a little 
below the shoulder level with palms 
facing upwards.  
 
The ​feet​ position is performed with 
feet sideward about a pace apart 
with heels parallel each other. 
Fourth Position 
 
One a
​ rm ​is raised in a semicircle 
position above the head while the 
other arm remains the same 
manner in third position. 
 
Standing with the heel of one ​foo​t is 
close to the in-step of the other foot.

Fifth Position 
 
While the​ arm​ being raised in 
slightly semi-circle circle position 
remains above the head, the other 
arm is placed and extended  in 
front of the chest with palm facing 
downwards. 
 
Stand with one​ foot​ pointed forward 
about a pace distance with toes out.
Sixth Position 
Remain on the same position of the 
arms but this time the arm being 
placed in front of the chest with 
palm facing  downward 
should be facing upwards. 
 
Stand with one f​ oot ​forward about a 
pace distance with toes out. 

Seventh Position 
 
Both​ arms​ are raised slightly in front 
of the head (amplified position) from 
a circle. 
 
Stand with one f​ oot​ placed in front 
of the other foot with the heel close 
to the toe of the other foot.
 Eighth Position 
Both a
​ rms​ are placed freely on side 
ways. 
 
Stand with​ feet ​together.

Lesson 3
Common Dance Terms Used in Folk Dance

1. Arms  in  lateral  position  - Both arms are on the sides either right or left: at 

shoulder chest, or waist level. 

2. Brush​-  Weight  on  the  foot  hits  the  floor  with  the  ball  or  heel  of  the  other 

foot. One foot carries the weight while the other foot 
slightly hits the floor 

3. Cut​ - To display quickly one foot with each other. 

4. Free Foot​ - The foot not bearing the weight of the body. 

5. Free Hand​ - Hand not placed anywhere, or not doing anything. 

 6. "Hayon-hayon"  -  To  place  the  forearm  in  front  while  the  other  is  at  the 

back of the waist. 

7. Hop  -  A  spring  from  one  foot  landing  on  the  same  foot  in  place  or  in  any 

direction. 
8. ''Jaleo"  -  Partners  tum  around  clockwise,  (with  L  elbows  touching)  using 

walking or any kind of dance of step. 

9. Jump​ - A spring on one foot or feet landing on booth feet any direction. 

10. "Kumintang"  -  Moving  the  hand  from  the  wrist  either  in  a  clockwise  or 

counter clockwise position. 

11. Leap ​ - A spring on one foot landing on the other foot in any direction 

12. Place  -  A  foot  in  any  position  without  putting  weight  on  it  the  sole  of  the 

foot rests on the floor. 

13. Pivot -​ To sum with the ball, heel or whole foot on a fixed place, or point. 

14. Point  -  To  touch  the  floor  with  the  toes  of  one  foot,  with  the  ball  on  the 

floor and the weight of the body on the other foot. 

15. Salok  -  Swinging  the  arm  downward  upward  passing  in  the  front  of  the 

body as if scooping the trunk bent forward following the 

movement of the arm doing the salok. 

16. Saludo  -  Partners  with  feet  together  bow  to  each other, or to the audience, 

or to the opposite dancers, or to the neighbors. 

17. Sarok  ​-  Cross  the  R (or  L) foot in front of the L (or R), bend the body slightly 

forward  and  across  the  hands  down  in  front with the R (or L) hand over the 

L (0r R). 

18. Slide -​ To glide smoothly among the floor. 

19. Stamp -​ To bring the foot forcibly and noisily on the floor. 
 20. Step  -  To  advance  or  code  by moving one fool to another testing place with 

a complete transfer of weight from one foot to the other tool. 

21. Supporting foot ​- The root that bears the weight of the body . 

22. Tap  –  To  tap lightly with the ball or tip of the toe, placing weight of the body 

on the foot. There is no change or transfer of weight here.  

  –  Toe  or  ball  of  free  foot  is  placed  momentarily on the floor and lifted again 

immediately.  

23. ​Whirl -​ To turn fast by executing small steps in place to right or left.  

Lesson 4  

Basic Dance Steps in the 2/4 and 3/4 Time Signature

Dance Steps  Step Pattern  Counting  No. of 

Measurement 

Bleking Heel-place close 1,2 1

Close Step Step close 1,2 1

Brush Step Step brush heel forward 1,2 1

Step Swing Step swing 1,2 1

Cut Step Cut or displace 1,2 1

Hop Step Step, hop 1,2 1

Touch Step Point, close 1,2 1

Pivot Step on the ball and 1 and,2 and 1

turn, clos

Cross Step Step, cross step 1,2 1

 
 Basic Dance Steps in the 2/4 Time Signature

Dance Steps  Step Pattern  Counting  No. of 

Measurement 

Change Step Step, close, step 1 and 2 1

Cross Change Step Cross, step, close, step 1 and 2 1

Rocking Step Cut and raise, cut and 1, 2 1

raise

Heel and Toe Change Heel in front, point toe 1, 2, 1 and 2 1

Step and step, close, step

Change Step Turn Step, turn, close, step 1 and 2 1

Contra gansa Leap, cross step, close 1 and 2 1

Polka Series

Plain Polka Step, close, step (pause) 1 and 2 and 1

Hop Polka Hop, step, close, 1 and 2 and 1

step(pause)

Heel and Toe Polka Heel place, point toe, 1, 2, 1 and 2 1

step, close, step (pause) and

Slide Polka Slide, slide, step, close, 1, 2, 1 and 2 1

step (pause) and

Basic Dance Steps in the 3/4 Time Signature

Dance Steps  Step Pattern  Counting  No. of 

Measurement 

Mazurka Slide, cut, hop 1,2,3 1

Redoba Slide, cut, cut 1,2,3 1

Step Swing Hop Step R, swing L, hop 1,2,3 1

Step Brush Swing Stepbrush R, swing L, 1,2,3 1

Hop hop
 Waltz Step Step, close, step 1,2,3 1

Waltz Balance Step,rise, down 1,2,3 1

Cross Waltz Cross, step, close, step 1,2,3 1

Sway Balance Series

Sway Balance with a Step, cross, step, point 1,2,3 1

Point

Sway Balance with a Step, cross, step, brush 1,2,3 1

Brush

Sway Balance with a Step, cross, step, raise 1,2,3 1

Raise

Sway Balance with a Step, cross, step, hop 1,2,3 1

Close

Sway Balance with a Step, cross, step, point 1,2,3 1

Hop

Double Sway Balance Step, cross, step, point, 1,2,3 4

cross step, step, point

Sway Balance with Step, cross, step, close, 1,2,3 4

Waltz step

 
TAKE NOTE: 
 
All Learning Tasks (Quizzes, Performance Tasks, Reflections, Midterm and Final 
Practical Examinations) of UNIT I - Philippine Folk Dance will be uploaded on your 
Google Classroom.  

UNIT II - SOCIAL AND BALLROOM DANCES 

 Ballroom  dance  is  a  type  of  social  dancing,  originally  practiced  in  Europe  and  the 

United  States,  that  is  performed by couples and follows prescribed steps. The tradition 

was  historically  distinguished  from  folk  or  country  dance  by  its  association  with  the 

elite  social  classes  and  with  invitational  dance  events.  This  Unit  will  discuss  the 

Introduction  to  Social  and  Ballroom  Dances  and  Common  Dance  Terms,  Holds  and 

Positions. 

Lesson 1 

Introduction to Social and Ballroom Dances 

Long  gone,  we  have  been  surrounded  by  different  folk  dances  we  tamed  by 

nature  and  within  its  origin,  also  with  some  dances  with  foreign  influences.  At 

present,  these  folk  dances  have  been  elevated into a form of social dances creating 

more  complex  dance  routines  to  enjoy  by  people  of  different  ages  as  a  form  of 

highly  entertaining  dance  genres.  Some  of  the  historical  dances  being  molded  as 

social  and  ballroom  dances  are  the  Mazurka  Polka,  Minuet,  etc. These dances have 

had  its  evolution  into  the  classifications  of  the  social  and  ballroom  dances.  The 

meaning of ballroom dances varies from the dance genres of today. 

History of Social and Ballroom Dances 

 People  are  exposed  to  several  ballroom  dances  as  performed  in  social 

gatherings  as a sort of entertainment. These began and recorded toward the end of 

the  16"  century.  As  a  token  of  gratitude  to  Jehan  Tabourot  with  his  pen  name 

"Thoinot-  Arbeau'  when  he  first  published  and  studied social dance throughout the 

Renaissance  period  of  the  16  century.  It  was  first  recorded  with  five  basic  dance 

steps as Shakespeare acknowledged the dance as "cing pace". 

 
Minuet,  in  1650  originally  a  peasant  dance  was  introduced  in  Paris  and 

performed  by  King  Louis  XIV  and  was  viewed  to  the public. Until the close of the 18 

century,  ballroom  dances  began  to  reign  in  England  for  social  events,  Associated 

with  its  close  hold,  a  basic  ballroom  dancer's  position,  Waltz,  on  the  other  hand, 

held  its  modern  hold  as  well  as  the  Polka  and  Mazurka  wherein  the  couple  dance 

freely  with  different  dance  variations  in  line  with  the  ballroom  and social dances of 

today. 

In  the  20"  century,  the  ballroom  modern  dance  became  popular  on  the  screen 

when  dance  referred  to  as  a competition known as the dance sport was modulated 

by  the  World  Dance  Council  (WDC),  from  beginners  to  numer  professional  levels 

namely the International Standard and International Latin . 

Lesson 2 
  
Dance Terminology in Ballroom Dancing 

1. Amalgamation i​ s a combination of two or more patterns or movements. 

2.   ​Amateur  Dancer  ​is  a  person  whose  dancing  is  a  hobby  and  who  does  not  seek 

financial gain from teaching or dancing. 

3.   Arm  Styling  is  positioning  and  movement  of  the  arm  reflecting the character and 

style of the dance. 

4. Basic  Figure  is  a  standardized  step  pattern,  which  together  with  other  patterns 

constitute the basics of the dance. 

5. Choreography  is  a  creation  or  compilation  of  steps,  patterns  and  movements 

which make up the dance or the dance routine. 

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

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

7. Continuity  Movement  is  the  continuous  passing  of  the  feet from one step to the 

next. 
8.   Dance  Sport  is  the  official  name  given  to  Ballroom Dancing. It relates more to the 

athletic form of ballroom dancing. 

9. Drop  is  a  theatrical  type  of  movement  in  which  the  follower's  body  remains  in 

contact with the floor. 

10.  ​Figure  i​s  a  standardized  step  pattern  that,  together  with  the  other  patterns, 

constitutes the dance. 

11.  FloorCraft  is  the  ability  of  the  leader  to  maneuver  around  the  dance  floor  in  a 

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

12.  Following  is  the  ability  of  the  follower  to  react correctly to the signals given by the 
leader through physical and visual connections. 
13.  Formation Team i​s a group of three or more dancers who perform ballroom style 
routines. 

14.  ​Hip  Motion  is  a  very  general  term  to  mean  any  type  of  movement  used  in  Latin 

dancing. 
15.  ​Line  Dancing  ​is  a  type  of  non-partner  dancing  where  everyone  starts  in  the  line 

and learns a set pattern that repeats over and over again through the music. 

16.  Lift  ​is  a  theatrical  type  of  movement  in  which  the  follower's  body  weight  is 
completely supported by the leader held aloft. 

17. ​Natural Turn​ is any dance pattern that turns to the right. 

18. ​Step i​s frequently used to mean the same as figure or pattern. 

19.  ​Variation  i​s  a  varied  or  more  advanced  pattern  than  the  corresponding  basic 
figure which still contains the same main elements. 

20.  Leading  is  effective  communication  of  intended  actions  by  the leader through the 
use of leader's own body movements and through  one  or  more  physical  visual 

connections to the follower. 

Lesson 3 

Holds and Positions in Ballroom Dancing 

 Close 
Ballroom 
 
Right Parallel 
 Close 
Ballroom
Facing 
Position 
Conversation 
Back Cross 
 Escort 
Position 
Side by Side 
Promenade 
Varsovienne 
Wrap Post 
Swing Out 
Position 
 Reverse 
Varsovienne 
Start Post 
 Reverse Open 
Post 

____________________________________________________________________________

Resources 

Silvester, Victor (1990). Modern Ballroom Dancing. Great Britain  

   

 
 

Take Note: 

All Learning Tasks (Quizzes, Performance Tests, Reflections, Midterm and Final 
Practical Examinations) of UNIT II - Social and Ballroom Dances will be uploaded 
on your Google Classroom.  

Prepared by: 

Module Creators 
Mr. John Cristian F. Escamillas 
Mr. Lorenz Aaron M. Isla 

Photo/Video Editors 
Mr. Francis Dela Cruz 
Mr. Lorenz Aaron M. Isla 

Photo Subjects 

Mr. Bryan U. Carlos 

Ms. Jenny A. Aldea 
Ms. April Hernandez 
Mr. ​John Israel P. Santos  
Mr. Lorenz Aaron M. Isla 

Committee Members 

Mr. Ronald M. Espina 

Ms. Rica Agnes Asi 
Ms. Han Tracy Batronel 
Mr. Ricardo Crisanto Padua