Dancing can be defined as: a series of movements that match the speed and rhythm of a piece of music. Dancing is also a particular sequence of steps and movements constituting a particular form of movements.
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Traditional Jazz / African-American vernacular dance[edit source | editbeta] * Black Bottom * Boogie-woogie * Cabbage patch * Cakewalk * Charleston * Chicago stepping * Detroit Ballroom * Drunken Sailor * Hand Dance / Bop * Jitterbug * Jazz dance * Lindy hop * Swing * Tap dance * Texas Swingout * Texas Tommy * Ballroom * Reggae * Calypso * Zumba * Reggaeton dance * Zouk dance * Compas dance * Salsa * Salsaton dance * Soca dance * Bernie[disambiguation needed] dance
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Dancehall dance[edit source | editbeta] * Skanking
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Experimental / freestyle[edit source | editbeta] * Boogie * Jump up[disambiguation needed] * dance de Gauthier * contemporary
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Folk dance[edit source | editbeta] regional dance like in India 1.mass 2,rajastani. 3.punjabi. 4.bhangra 5.dandiya and garba
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Hip-hop dance[edit source | editbeta] * Breaking * Bounce * Crip Walk (C-Walk) * Clown Walk * Crown Walk * Detroit Jit * Electric boogaloo * Floating * Jerkin' * Jiggin' * Memphis Jookin' * Krumping * Litefeet * Locking * Robot dance * Popping * Liquiding * Moonwalk * Strobing * Waving * Tutting * Snap dance * Turfing * Lyrical hip-hop
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House dance[edit source | editbeta] * Hustle * Jacking * Vogue * Waacking * Electro Dance * Grinding
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Hard dance[edit source | editbeta] * Melbourne Shuffle * Jumpstyle * Free step
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Hardcore[edit source | editbeta]
Hardcore dancing
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Pogo[edit source | editbeta]
Punk Rock Pogo
Metal Mosh
Ska Dance
Hard Rock Pogo
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Historical dance[edit source | editbeta] * Historical dance see also Concert dance
Folk dance[edit source | editbeta] * Perafic dance
Latin dance[edit source | editbeta] * Latin dance * American Rhythm * Mambo * Rumba * Bolero * East Coast Swing * International Latin * Rumba * Samba (ballroom dance) * Jive * Reggaeton * Salsa * Rueda[disambiguation needed] * Danza * Samba (Brazilian dance) * Samba de Gafieira * Bachata * Cumbia * Merengue * Capoeira * Maculelê * Argentine tango * Zouk * Quebradita * Duranguense * Cumbia Texana * Corridos * Tejano * Cha Cha
Swing dance[edit source | editbeta] * Modern Jive * Leroc * Lindy Hop * Blues dance * Balboa * Deneme * Jitterbug * Jitting (evolved from Jitterbug) * Jive (dance) * East Coast Swing * West Coast Swing * Collegiate Shag * Carolina Shag * Hand Jive * Charleston * Western dance
Liturgical dance[edit source | editbeta] * Liturgical dance
Participative dance improvisation[edit source | editbeta] * Contact improvisation * Ecstatic dance aka Freestyle Dance aka Barefoot Improvisational Dance
Miscellaneous[edit source | editbeta] * Disco dance
See also: Disco music * Novelty and fad dances * Flying Men dance * Pom dance * Line dance * Bollywood dance
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Concert dance / performance dance[edit source | editbeta] * Acro dance * Ballet * Contemporary dance * Greek Classical * Concert dance * Flamenco * Modern dance * Performance dance * Tap dance * Lyrical * Hip Hop * Belly dance * Raqs sharqi and other regional Middle Eastern/North African dances * Improv Tribal Style Belly Dance and American Tribal Style Belly Dance * Tribal fusion * Gothic bellydance * Fire dance * Spinning[disambiguation needed], hooping and flow arts
Historical dance[edit source | editbeta] * Historical dance * Medieval dance * Renaissance dance * Masque * English country dance * Baroque dance * Regency dance * Vintage dance
The dance steps listed below are the fundamental or basic steps most commonly used in Philippine folk dances. 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. Some dance steps have no English equivalent names, so the native names are retained, such as "Kuradang", "Bacui", "Espunti", "Papuri", etc. The steps are described as they are executed by our people.
BACUI STEP Music: ¾ time. Counts 1, 2, 3. This step is found mostly in the Visayan dances. To right (4 measures). ("Sarok") Point R foot across the L in front, bend body forward and cross hands down in front with the right hand over the left hand (cts. 1, 2), step R foot in second position, raise trunk up and raise R arm to fifth position amplified, left hand on waist (ct. 3). Step the L foot across the R in rear, close the R arm to fifth position (cts. 1, 2), step R in second position and open R arm to fifth position amplified (ct. 3). Step L foot sideward right across the R in front, close R arm to fifth position (cts. 1, 2), step R in second position and open R arm to fifth position amplified (ct. 3). Step L close R foot in first position, close R arm to fifth position (cts. 1, 2, 3). The left hand remains on waist for three measures. To left. (4 measures) Repeat the same movements, starting with the L foot, going sideward left. Reverse the position of the arms. Note: This step may be done also this way: After the "sarok" and step sideward (cts. 1, 2, 3), the L foot may step across the R right in front instead of in rear on counts 1, 2. The rest of the movements are the same.
BLEKING STEP Music: 2/4 time. Counts 1,2. (1) Place the R (or L) heel in fourth in front (ct. 1), step R (L) close to L (R) foot in first position (ct. 2), or (2) Place the R (L) heel in fourth in front (ct. 1), with a jump, reverse the position of the feet (ct. 2), that is, placing the L (R) heel in front and the R (L) in position taking the weight of the body.
Music: ¾ time. Counts 1, 2, 3. (3) Place the R (L) heel in fourth in front (cts. 1, 2), step R (L) close to L (R) foot in first position (ct. 3).
CHANGE STEP, TWO-STEP OR CATCH STEP. Music: 2/4 time. Counts 1, 2, or 1 and 2 Step R (L) foot forward (fourth in front) (ct. 1), step L (R) close to R (L) foot in third in rear or in first position (ct. and), step R (L) foot quickly in fourth in front (ct. 2). This may be executed in any direction.
CLOSE STEP Music: 2/4 time. Counts 1, 2. (1) Step R (L) foot in fourth in front (ct. 1), close L (R) to R (L) foot in third in rear or in first position (ct. 2). This may be executed in any direction.
Music: ¾ time. Counts 1, 2, 3. (2) Step R (L) foot in fourth in front (cts, 1, 2), close L (R) to R (L) foot third in rear or in first position (ct. 3). This may be executed in any direction. (3) Step R (L) foot in fourth in front (ct. 1), close L (R) to R (L) foot third in rear or in first position (cts. 2, 3). This may be executed in any direction. Note: When this step is executed sideward, the same foot is leading always.
CROSS STEP Music: ¾ time. Counts 1, 2, 3. Step R (L) foot in second position (ct. 1), step or slide L (R) foot sideward right (left) across the R (L) in front (cts. 2, 3). Put the weight on the L (R) foot at the end of the slide on the third count.
CROSS WALTZ Music: ¾ time. Counts 1, 2, 3. Step R (L) foot across the L (R) in front (ct. 1), step the L (R) in third position in rear of R (L) foot (ct. 2), step R (L) foot in fourth in front (ct. 3). Step on the ball of the rear foot on the second count.
CUT STEP Music: 2/4 time. Counts 1, 2. Raise R (L) foot in fourth in front in preparation. Cut the L (R) backward with the R (L) foot, thus displacing it at the same time taking the weight of the body (ct. 1). This may be done forward and backward, diagonally forward and backward, and sideward right and left. Take one cut for every count.
"ENGAÑO" Music: ¾ time. Counts 1, 2, 3. This step is found mostly in the Bicolano dances. It is similar to the sway-balance step. (1)"ENGAÑO"WITH A CLOSE (2 measures.) To right: Step R foot in second position (cts. 1, 2), step L across the R foot in front (ct. 3). Step R (L) foot in second position (ct.1), close L to R foot in first position (cts. 2, 3). Do not put weight on the L foot when closing on counts 2, 3. Arms in third position, right arm high. To left: Start with the L foot, reverse the arm positions. (2)"ENGAÑO"WITH A WALTZ To right: Step R foot in second position (cts. 1, 2), step L across the R (L), foot in front (ct. 3). Step R foot in second position (ct. 1), step L close to R foot (ct. 2), step R in place (ct. 3) (waltz step in place). Arms in third position, right arm high. To Left: Start with the L foot, reverse the arm positions. Note: This is another way of holding the arms: raise right (left) arm high in fifth position amplified and the left (right) bent in front at shoulder-level.
"ESPUNTI" STEP Music: ¾ time. Counts 1, 2, 3. This step is found mostly in the Visayan dances. (1) To Left: Starting position - feet in first position. Turn the left heel to sideward left without lifting the toes (pivoting or pushing on the ball of the L foot) and point R foot sideward right (ct.1), lift the toe of the L foot and turn it sideward left (pivoting or pushing on the heel of the L foot) at the same time bringing the R foot to pointing in fourth in front (cts. 2, 3). Repeat as many times as desired. (2) To right: Repeat (1) starting with the other foot moving to sideward right. Pivot on the R foot and point with the L foot. Note: This may be done either moving right or left. This step may be done also in the following manner: The first movement, that is, the pointing of the R foot sideward is done in two counts instead of one (cts. 1, 2), and the pointing in front in one count instead of two described above (ct. 3).
GALOP STEP Music: 2/4 time. Counts 1, ah, 2, ah. Step R (L) foot in fourth in front (ct. 1) and cut the R (L) foot with L (R) thus displacing it and at the same time taking the weight of the body with the L (R) foot (ct. ah). There are two galops to one measure. This is executed with one foot leading and may be done in any direction.
GLIDE OR SLIDE STEP Music: 2/4 time. Counts 1, 2. (1) Glide or slide R (L) foot in second position (ct. 1), close L (R) to R (L) foot in first position (ct.2). This may be done in any direction.
Music: ¾ time. Counts 1, 2, 3.
(2) Glide or slide R (L) foot in fourth in front (cts. 1, 2), close L (R) to R (L) foot in third position in rear (ct. 3). This may be done in any direction.
DANCE TERMS COMMON TO FOLK DANCES
·BOW OR SALUDO Partners bow to each other to opposite dancers or to the audience. This term is of Spanish origin. ·BRUSH Weight on one foot, swing the free foot in an arch, so that the ball or heel strikes the floor at lowest point of the arch. This may be done forward, sideward, or backward. ·CLOCKWISE Like the motion on the handle of the clock moving to the left, when facing the center of an imaginary circle. Right shoulder is toward the center when moving forward. ·COUNTER CLOCKWISE The reverse direction of clockwise, the hands of the clock moving to the right, when facing center of an imaginary circle when moving forward. ·CUT Quick change of weight from one foot to the other displacing the supporting foot. ·DO-SI-DO or DOS-A-DOS Two people walk toward each other, pass by the right shoulder step sideward to the right and return to position walking backward, passing left shoulder. ·DRAW The free foot is drawn toward the foot, which supports the body weight, by pressing the toes against the floor as the close is made. With or without transfer of weight. ·FREE FOOT The foot not supporting the weight of the body. ·FREE HAND The hand not doing anything. ·HOP Spring on the supporting foot, and land on the same foot. ·INSIDE FOOT The foot near one's partner when they stand side by side. ·INSIDE HAND The hand near one's partner when they stand side by side. ·JUMP Spring from one or two feet and land on both feet. ·LEAP Spring on the supporting foot and land on the other foot. ·OUTSIDE FOOT The foot away from one's partner when they stand side by side. ·OUTSIDE HAND The hand away from one's partner when they stand side by side. ·OPPOSITE The person standing in opposite position across the set. ·PARTNER Girl to right of Boy and Boy to left of Girl. ·PLACE To put the foot (flat) in any desired position without putting weight on it. ·POINT Touch toe or ball of free foot on floor and remains there briefly. ·PIVOT Turning on ball, heel, of one or both feet on a fixed place. ·SET A unit formation of two or more couples. ·SLIDE To glide one foot along the floor smoothly, with or no transfer of weight. ·STAMP To bring down one foot forcibly on the floor with or without transfer of weight. ·STEP With the weight on one foot, shift the weight into the other foot. ·SUPPORTING FOOT The foot carrying the weight of the body. ·TAP Toe or ball of free foot is placed momentarily on floor and lifted again immediately. ·TOUCH See point. ·WHIRL To turn fast by executing small steps in place to right or left. DANCE TERMS WITH FOREIGN ORIGIN AND FILIPINO DANCE TERMS USED IN FILIPINO DANCES
·ABRASETE This term is of Spanish origin. Girl at the right side of Boy, holds his R arm with her L hand, free hands down at the sides. ·BILAO Hands in front, parallel to each other at waist level, elbows close to the wist, palms down. Reverse the position of the hands with palms up and down alternatively. ·CABECERAS The couples (head pairs) occupying the width of the hall in a square formation. This is of Spanish origin. ·COSTADOS The couples (side pairs) occupying the length of the hall in a square formation. This is of Spanish origin. ·CROSS-OVER Two couples are opposite each other. Each couple proceeds to opposite place, the Girls pass by their L shoulders between the Boys. Boys bow to each other when they meet at the middle, then follow the Girls to the opposite place. Partners turn right about upon reaching the opposite place. Girls stand at partners' right side. ·HAPAY To flourish or offer a handkerchief, a hat or a glass of wine. This is a Tagalog dance term. ·HAYON_HAYON This is a Visayan term meaning to place one forearm in front and the other behind the waist. ·JALEO Partners stand with R (L) elbows almost touching. Using walking or any kind of dance steps they turn once around clockwise (counter clockwise). This is a Tagalog term of Spanish origin. ·KUMINTANG Moving the hand from the wrist either clockwise or in counter clockwise direction. This is an Ilocano dance term. ·MASIWAK To turn the hand from the wrist half-way clockwise then raise and lower wrist once or twice. This is an Ibanag dance term. ·PANADYAK With body weight on L (R) foot, stamp R (L) foot in 4TH. In front, then tap same foot close to L (R), arms in reverse "T" position, hands doing the "kumintang" on the stamp. ·PATAY To bend the head down so that the forehead touches the R (L) forearm or the crook of the R (L) elbow while the L (R) hand supports lightly the palm of the R (L) hand. This is usually done with the L (R) foot pointing in rear and knees slightly bent. This is an Ilocano dance term. ·SALOK To scoop or swing the arm downward upward in front of the body, the trunk following the movement of the scooping arm. Free hand in 5th position or holding skirt. This is a Tagalog term. ·SAROK Cross the R (L) foot in front of the L (R) foot, bend the body slightly forward and cross the hand down in front R (L) over L (R). This is a Visayan term.
