Albaracin, Jessica Rose S.

BSA 1 – BLOCK 16
I. RHYTHM
 Movement or procedure with uniform or patterned recurrence of a beat, accent,
or the like.
 Music:
 The pattern of regular or irregular pulses caused in music by the
occurrence of strong and weak melodic and harmonic beats.
 A particular form of this:
Duple rhythm; triple rhythm.
Measured movement, as in dancing.
 Is the regular recurrence of accented and unaccented beats.

II. CLASSIFICATION OF RHYTHM:

 INTERNAL – Can be hone by tapping into the natural sense of a steady pulse. A
built-in metronome inside the body.
 EXTERNAL - ____

III. MUSIC
 Vocal or instrumental sounds (or both) combined in such a way as to produce
beauty of form, harmony, and expression of emotion.
 The art or science of composing or performing music.
 A sound perceived as pleasingly harmonious.
 The written or printed signs representing vocal or instrumental sound.

ELEMENTS OF MUSIC:
 Rhythm – the time element of music. A specific rhythm is a specific pattern in
time; we usually hear these in relation to a steady pulse, and mentally organize
this pulse or tempo into meter (sometimes called a "time signature"). Meter
organizes beats into groups, usually of two or three; beats can be divided into small
units usually 2, 3 or 4 subdivisions.
 Melody – or musical line, is a combination of pitch and rhythm (some say
"duration"). Sometimes a melody is considered to be the theme of a composition.
We might characterize melody by its contour (rising or falling) and the size of the
intervals in it. A melody that uses mostly small intervals (or scale steps) and is
smooth is said to be a conjunct melody. Not surprisingly, a melody that uses large
intervals is called a disjunct melody. A motif (or motive) is either a very short
melody or a distinctive part of a longer melody. I might describe the opening four
notes of Beethoven's Fifth Symphony as a "motific cell."
 Timbre – sound quality or tone color; timbre is the characteristic that allows us to
distinguish between one instrument and another, and the difference between
vowel sounds (for example, long "a" or "ee"). Terms we might use to describe
timbre: bright, dark, brassy, reedy, harsh, noisy, thin, buzzy, pure, raspy, shrill,
mellow, strained. I prefer to avoid describing timbre in emotional terms (excited,
angry, happy, sad, etc.); that is not the sound quality, it is its effect or interpretation.
 Rather than describe the timbre of an instrument in other terms, it is often clearer
just to describe the timbre by naming the instrument, once we have learned the
names and sounds of a few instruments.
 Dynamics – loud or soft. A composition that has extremely soft passages as well
as extremely loud passages is said to have a large or wide dynamic range.
Dynamics can change suddenly or gradually (crescendo, getting louder, or
decrescendo, getting softer.) The volume of the sound.
 Tempo - the pace at which music moves according to the speed of the underlying
beat.
 Harmony - the relation between the different notes played by the different
instruments. Analogy: a harmonious society where everybody gets along with
everybody else. Essentially, harmonies must be created in such a way that no
single note feels out of place.
 Dissonance – combination of two or more pitches which are not harmoniously
pleasing and require a resolution.
 Form - the organization and structure of a composition and the interrelationships
of musical events within the overall structure. This comes with different forms:
binary forms, an A-B scheme (each section may be repeated); tertiary form, an A-
B-A scheme; theme and variation, principal theme is clearly stated at the beginning
and goes through a series of variations over the rest of the piece; popular song
have several forms often: A-A-B-A (where B is the bridge), Verse-Chorus-Verse-
Chorus-Bridge-Chorus.
 Pitch – register (high or low); Organization of pitches with a pattern of intervals
between them creates scales; Words we might use to describe scales:
major/minor, chromatic, gapped, pentatonic.
 Texture – monophonic (one voice or line), polyphonic (many voices, usually
similar, as in Renaissance or Baroque counterpoint), homophonic (1. a melody
with simple accompaniment; 2. chords moving in the same rhythm
(homorhythmic), heterophony – “mixed” or multiple similar versions of a melody
performed simultaneously (rare in European music; possibly used in Ancient
Greece), collage – juxtaposition & superimposition of extremely different textures
or sounds. The overall quality of a sound piece most often indicated by the number
of voices in the music and by the relationship of these voices.

http://accounts.smccd.edu/mecklerd/mus250/elements.htm

IV. COMPONENT OF RHYTHM:

 Beat - the unit division of musical time is called a beat. Just as one is aware of the
body’s steady pulse, or heartbeat, so in composing, performing, or listening to
music one is aware of a periodic succession of beats.
 Tempo - the pace of the fundamental beat is called tempo (Italian: “time”). The
expressions slow tempo and quick tempo suggest the existence of a tempo that is
neither slow nor fast but rather “moderate.” A moderate tempo is assumed to be
that of a natural walking pace (76 to 80 paces per minute) or of a heartbeat (72 per
minute). The tempo of a piece of music indicated by a composer is, however,
 neither absolute nor final. In performance it is likely to vary according to the
performer’s interpretative ideas or to such considerations as the size and
reverberation of the hall, the size of the ensemble, and, to a lesser extent, the
sonority of the instruments. A change within such limits does not affect the rhythmic
structure of a work.
 Duration - how long a sound (or silence) lasts
 Time - the mind apparently seeks some organizing principle in the perception of
music, and if a grouping of sounds is not objectively present it imposes one of its
own. Experiments show that the mind instinctively groups regular and identical
sounds into twos and threes, stressing every second or third beat, and thus
creates from an otherwise monotonous series a succession of strong and weak
beats.
In music such grouping is achieved by actual stress—i.e., by periodically making
one note stronger than the others. When the stress occurs at regular intervals, the
beats fall into natural time measures. Although in European music the concept of
time measures reaches back to a remote age, only since the 15th century have
they been indicated by means of bar lines. Thus, the terms measure and bar are
often used interchangeably. The time measure is indicated at the opening of a
piece by a time signature—e.g., 2/4, 4/8, 3/4, 6/8.
 Measure - a group of pulse beats.
 Metre - the combinations of long (—) and short ([breve]) syllables are known
in prosodyas feet. The system of notating the musical equivalents of feet derives
from the application of prosody to music. The foundations for European music were
laid in ancient Greece, where classical music and poetry were regarded as parts
of a single art. These principles were adopted by the Romans and were
transmitted, by way of Latin poetry, to medieval Europe. The feet of classical
poetry and their equivalents in music are shown in the Table. And in late
antiquity St. Augustine(354–430), in De musica, added more.
 Accent - emphasis on certain beats.

V. CLASSIFICATIONS MOVEMENT
I. LOCOMOTOR MOVEMENTS
- Are those that move the body in space in any direction with the feet as the
moving base.
Even Rhythm
 Walk - The walk is a transfer of weight from one foot to the other. Usually the
heel touches first.
 Run - The run is a transfer of weight from one foot to the other however, the
body is propelled into the air and suspended between run steps.
  Jump - The jump required the body to push off from one or both feet. Most
common is a two foot take off and two foot landing. A jump can take off on one
foot and land on two or take off from two feet and land one one foot.
 Hop - The hop requires a push-off from one foot and landing on the same foot.
 Leap - A leap is performed by pushing off from one foot and landing on the
other foot. The body is suspended in the and between the push off and the
landing. Can be combined with a run or walk.
Uneven Rhythm
 Skip - A combination of a step and a hop on the same foot followed by a step
and hop on the other foot. The rhythm is uneven long -short. Long (the step)
and short (the hop).
 Gallop - A forward movement where one foot leads the gallop while the other
foot follows. The lead foot steps with a bent knee and pushes off into the air and
landing on the trailing foot. The rhythm is uneven, long -short. Long (the step)
and short (the landing).
 Slide - Is similar to a gallop performed with the right or left foot leading. The
rhythm is uneven, long -short. Long (the step) and short (the landing).
II. NON-LOCOMOTOR
- Are those in which various parts of the body move in space with a fixed base.
The base may be standing, kneeling, sitting or lying.
Non-Locomotor Movements:
 Flexion--- Bending or shortening of a body part occurring at a joint.
 Extension—Turning, twisting or circling
 Pendular---- Swinging/ swaying arms forward, backward or sideward.
 Percussive—Striking and hitting: pushing and pulling.
 Vibratory----- Shaking and beating.
 Sustained---- A slow, smooth flowing movement with a balance of movement
throughout the entire series.
 Suspended--- A sharp movement followed by a series of slow or prolonged
movements until a peak is reached.
 Swing - a pendular motion of a body part that can move forward and backward
or side to side.
 Twist - a partial rotation of body parts around an axis
 Turn - a full rotation of the body around a vertical or horizontal axis. Full, half or
quarter turns
 Shake - a short quick vibrating movement in a body part or the whole body.
 Bend - a flex of a body part at a joint
 Stretch - extending a body part or the whole body
 Wiggle - a small or big, fast or slow curvy movement of a body part or the whole
body.
 Rock or sway - shift of the body weight forward, backward, side to side or in a
circular pathway.
http://users.rowan.edu/~conet/rhythms/Resources/Loco.nonloco.definitions.html
VI. CLASSIFICATION OF DANCE
1. FOLK DANCE
- Are traditional dances of a country which were evolved naturally and
spontaneously in connection with everyday activities and experiences of the
people who developed them.
- Folk dancing is the heartbeat of the people.
- Types of Folk dances:
National – traditional dances of a given country.
Regional – local.
Character – created by individual or group.
- Are colorful, beautiful, and vibrant. Their movement, dress, and music reveal
the unique Filipino culture and are important in building a national Filipino
identity. Most dances in the country were inspired by everyday activities, such
as working in the fields and harvesting rice, as well as celebrations such as
feasts, weddings, and births. Philippine folk dances consist of five major suites,
namely Cordillera, Maria Clara, Muslim, Lumad, and Rural.
- Each of the suites involves a repertoire of folk dances that hail from different
locations in the country. Cordillera suite comprises dances from the
mountainous region of the north known to be the home of ferocious
headhunters who existed even before the arrival of the Spanish. Music plays a
vital role in their lifestyle, and events such as war, courtship, marriage, or good
harvest involve dance. Ragsaksakan (merriment), banga (pots), and tarektek
(woodpecker) are examples of dances from the Cordillera suite.
 Maria Clara suite includes dances adapted from various European
influence blended with a native flair and style. Apparent in these
romantic dances are courtship, love, and flirtation. The Spanish
occupation of the Philippines in the 16th century brought changes to
the majority of Filipinos, who adapted the European culture. Named
after the lead female character in the novel Noli Me Tangere written
by Jose Rizal, the Maria Clara suite symbolizes the virtues and
nobility of a Filipina woman fused with Spanish elegance, making it
popular among urban Filipinos at the time. The famous Cariñosa of
Panay Island, habanera (wedding dance party) of Zambales,
alcamfor of Leyte, and balse belong to this suite.
 Long before the Spanish occupation, Javanese and Middle Eastern
traders brought the religion of Islam and converted many inhabitants
of Mindanao in the southern part of the Philippines. Muslim dances
are known for their intricate hand and arm movements, as well as
their shimmery costumes. These dances persisted in the last six
hundred years despite prohibition by Islamic teachings. They are
presented with vivid colors and rhythmic movements, revealing the
 influence of Arabian and Indo-Malaysian cultures. Most dances
narrate pre-Islamic history and are accompanied by musical
instruments, such as kulintang and agung. Singkil is the most popular
dance among the Maranao and Maguindanaons. Other Muslim suite
examples are kini kini (meaning royal walk), kapagasik, and kaganat
sa darangen, which illustrate the customs of wearing a malong (also
called patadjong in Visayan).
 Several ethnic groups occupy the southern Philippines, including the
18 tribal groups collectively known as the “Katawhang Lumad” or
simply Lumad. These are the indigenous groups who still live
traditionally, similar to how their ancestors existed centuries ago.
Lumad or tribal suite are dances of ethnic pagan origin that portrays
rituals to honor pagan gods. It includes dances such as dugso of the
Higaonon, sohten of the Subanon, and lawin-lawin of the Bagobo.
 Rural suite originated in the Christian Lowlands of the Philippines.
The dances embody the many joys of work and life among simple
countryfolk, who tend to their farms during the day and relax after a
hard day’s work through dancing. It also includes lively musicians
playing guitars, as well as cheerful villagers. Among the most popular
dances of the rural suite is gaway-gaway of Jaro, Leyte that portrays
children celebrating a beautiful harvest of the gaway root crop, with
movements similar to the pulling of the stalks. This suite also
includes dances such as maglalatik, palu-palo of Laguna, tinikling,
pandanggo sa ilaw, sinulog, and binasuan.

http://www.ethnicgroupsphilippines.com/2016/02/15/philippine-folk-dances/

2. SOCIAL DANCE
- Is a major category or classification of dance forms or dance styles, where
sociability and socializing are the primary focuses of the dancing.
- Many social dances are partner dances. In fact, quite often when spoken about
social dances, ballroom or other partner dances are kept in mind. However it is
natural to include in this category such groups of dances as circle dances, line
dances, novelty dances, or simply club dancing in solo.
- Ballroom dance, depending on how it is defined, may refer to a wide variety of
partner dances. Typically it includes Standard (also termed Smooth or Modern)
dances such as waltz or foxtrot, and Latin (also termed Rhythm) dances such
as cha cha and rumba. Standard dances are normally danced to straight-beat,
Western music; couples dance around the floor; and when formalized, the lady
wears a long gown and the gentleman a bow-tie and tails. Latin dances are
normally danced to off-beat, latin or jive music; couples may dance more-or-
less in one spot or move around the floor; and when formalized, the woman
wears a short-skirt latin outfit and the man dresses in black.
3. MIXER DANCE
- or simply mixer is a kind of participation dance in a social dance setting that
involves changing partners as an integral part. Mixing can be built into the
dance choreography or can be structured to occur more randomly. Mixers allow
dancers to meet new partners and allow beginners to dance with more
advanced dancers. Some people may take advantage of mixers to assess
dance skills of other persons without fear of being stuck with a poor match for
an entire dance. Some mixer dances have traditional names.
- The descriptions of "mixing procedures" vary, however there are several
common basic rules. The basic rule of dance etiquette "thou shalt never say
'no'" is partially waived during certain procedures of the mixer: if you have
already danced with the person, you may smile to each other and skip the
choice. The reasoning is that the basic purpose of the mixer — to make people
dance with many new partners — has the precedence.
- Sometimes a "lost and found" place is designated (e.g., the centre of the dance
circle), where unmatched dancers may find each other. Reasons for the
occurrence of "unmatched dancers" include the mixing process inherent in the
particular dance, gender imbalance, and dancer confusion.
https://en.wikipedia.org/wiki/Mixer_dance
 A square dance is a dance for four couples (eight dancers in total) arranged
in a square, with one couple on each side, facing the middle of the square.
Square dances were first documented in 16th-century England but were
also quite common in France and throughout Europe. They came to North
America with the European settlers and have undergone considerable
development there. In some countries and regions, through preservation
and repetition, square dances have attained the status of a folk dance. The
Western American square dance may be the most widely known form
worldwide, possibly due to its association in the 20th century with the
romanticized image of the American cowboy. Square dancing is, therefore,
strongly associated with the United States. Nineteen U.S. states have
designated it as their official state dance.
 The various square dance movements are based on the steps and figures
used in traditional folk dances and social dances from many countries.
Some of these traditional dances include English country dance,
Caledonians and the quadrille. Square dancing is enjoyed by people of all
ages around the world, and people around the world are involved in the
continuing development of this form of dance.
 In most American forms of square dance, the dancers are prompted or cued
through a sequence of steps (square dance choreography) by a caller to
the beat (and, in some traditions, the phrasing) of music. In some forms of
traditional square dancing, the caller may be one of the dancers or
musicians, but in modern Western square dancing the caller will be on
stage, giving full attention to directing the dancers. Modern Western square
dances are not learned as complete routines; the dancers learn basic
 movements, each with its own distinctive call, but do not know in what order
they will be called.
 https://en.wikipedia.org/wiki/Square_dance
 Round dancing differs from free-style ballroom dancing in that each round
dance has been fully choreographed ahead of time, and a "cuer" or leader
at the front of the ballroom tells the dancers, as they dance, what steps to
do. As the music plays, and just ahead of the beat, so the dancers have
time to respond, the cuer names each dance figure in the choreography. As
a consequence, all the dancers on the floor are dancing the same steps at
the same time.
 To create a round dance, a piece of music is selected by the choreographer,
and the different steps or figures are chosen to fit the music. If the music
swells and pauses briefly, then a dance step that rises and stretches is put
into that place. If there is a little syncopation in another part of the music,
then a quick step is inserted. The creation of a piece of choreography is like
engineering a machine, with every gear and lever in just the right place to
give smooth and flowing motion. The step-by-step instructions on how to
dance this choreography are written out in what is called a cue sheet.
 https://en.wikipedia.org/wiki/Round_dance
 In 1023, the German poet Ruodlieb referred to a couple dance with a basic
motif of a boy wooing a girl, and the girl repulsing his advances. Men and
women dancing as couples, both holding one hand of their partner, and
"embracing" each other, can be seen in illustrations from 15th-century
Germany.[1]
 At the end of the 13th century and during the 14th century, nobles and
wealthy patricians danced as couples in procession in a slow dignified
manner in a circle. Farmers and lower classes of society danced turning in
a lively, springing fashion. The relatively new burgher middle class
combined the dances with the processional as a "fore dance", and the
turning as an "after dance".[2]
 Danse de Paysans' (Peasant's Dance) by Théodore de Bry (1528–1598)
shows a couple with a man lifting his partner off the ground, and the man
pulling the woman towards him while holding her closely with both arms.
His Danse de Seigneurs et Dames (Dance of the Lords and Ladies) features
one Lord with his arms around the waist of his Lady.[3]
 Syncopated and "dotted" rhythms gained widespread popularity for dancing
in the last two centuries, although usually less complex and more regular
than previous music.[4]
 An old couple dance which can be found all over Northern Europe is known
as "Manchester" or "Lott is Dead". In Bavaria words to the music include
"One, two, three and one is four, Dianderl lifts up her skirt And shows me
her knees", and in Bavaria one verse invites the girl to leave her bedroom
window open to allow a visit from her partner.[5]
 Dance partners stay together for the duration of the dance and, most often,
dance independently of other couples dancing at the same time, if any.
  Although this kind of dancing can be seen, for instance, in ballet, this term
is usually applied to various forms of social dance, ballroom dance, folk
dance, and similar forms.
https://en.wikipedia.org/wiki/Partner_dance
 Modern dance is becoming more and more popular these days. This is
because it serves as means to express the emotions of dancers. In addition
to that, this is also a form of fitness exercise that one can do in order to
improve their stamina and health. In fact, there are some dance schools in
the world that incorporate the different types of modern dances in their
curriculum. Yes, modern dance comes in different types. If you are not
aware of the types of modern dance, sit back, relax and learn the popular
types present nowadays.
 Ballet is said to be a combination of choreography and art, scenic design,
lighting, costume, graceful movements and usually solemn music. It is an
artistic dance like no other, that can be used to express different emotions
or to tell a story. Traditional classical ballet dance which was choreographed
with elaborate costumes and staging has been replaced by the modern
ballet dance styles which creates room for a variety of ballet dance forms.
Some forms of ballet dance include classical ballet, contemporary ballet,
neoclassical ballet and post-structural ballet dance. Just as the dance itself
has experienced changes over the years, ballet shoes have too. They have
evolved from what they were to a more comfortable and lightweight form.
The new ballet shoes are built with a hard square-shaped material at the tip
end of the toes to offer greater support, easy tiptoeing and restrain friction
during movement.
 Jazz is also one of the most common types of modern dance practiced by
lots of dance enthusiasts from all over the world. This is a kind of dance
which is composed of different movements like gymnastics, jumps and other
movements. Usually, pupils of jazz classes are assembled at the center of
the dance room and they are asked to perform simple stretching and related
movements.
 Interpretative dance is also one of the types of modern dances that you can
try. This comes with dramatic movements which are based on the lyrics of
the music as well as the emotion of the song. This requires some degree of
body flexibility to the dancer. This is because some pieces of interpretative
dances might be too complex. Usually, dancers who want to master
interpretative dance are asked to undergo drama classes. This is needed in
order to make the dance become pleasing and more alluring.
https://cmonletsdance.wordpress.com/2012/12/16/popular-types-of-modern-
dance/
VII. FUNDAMENTALS OF ARMS AND FEET
There are five fundamental or basic positions in dance that are commonly termed
as 1st position, 2nd position, 3rd position, 4th position, and 5th position of the feet
and arms.
 1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tips about an inch
apart.

2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised upward.

4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised overhead.

5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.

VIII. DANCE TERMS

COMMON DANCE TERMS

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending
slightly from the waist as girls do curtsy.
Curtsy is to bend knees and body slightly with a bow of the head; the weight
of the body is on one foot. One foot crosses the other in rear.
2. An Amalgamation is a combination of two or more patterns or movements.
3. An Amateur Dancers is a person who is dancing as a hobby and who does not
seek financial gain from teaching or dancing.
4. A Ball change is a transfer of weight from the ball of one foot to the other foot.
5. A Basic figure is a standardized step pattern, which together with other
constitute the basics of a dance.
6. To Brush is to lightly touch the inside edge of the supporting foot with the inside
edge of the free foot between changes of weight.
7. A Chasse is composed of three changes of weight with a close on the second
and may be performed sideward or forward.
8. A Choreography is a creation or compilation of steps, patterns and movements,
which make up the dance or a dance routine.
9. To Close is to move the free foot next to supporting foot with one change of
weight.
10. A Commando is a forward or backward rock and close.
 11. A Combination is a group of consecutive patterns and choreography. It is
similar to amalgamation but it sometimes involves a slightly more advanced set of
patterns.
12. A Continuity Movement is the continuous passing of the step from one step to
the next.
13. The Contrary body movement is the action of turning the opposite hip and
shoulder toward direction of the moving leg. It is used to begin all turning
movements.
14. A Conversation is a position when partners stand side by side, right hand of
the gentleman holds the lady’s waist; L arm of the lady placed at the gentleman’s,
outside arm at the side.
15. A Corte, in tango, is a stop and change of direction either forward or backward.
16. A Cuban motion is a discreet but expressive hip movement achieve by bending
and straightening the knees with carefully timed weight transfer.
17. Dance Sports is the official name given to competitive Ballroom Dancing.
18. The Floor chart is the ability of the leader to maneuver around the dance floor
in a skilled and controlled manner as to avoid colliding with the other dancers.
19. A Drop is a theatrical movement in which the follower’s body remains in contact
with the floor.
20. A Fan is a half a turn done on the ball of one foot while the free foot is kept
directly behind the foot on which the turn is made.
21. A Figure is a standardized step pattern that, together with the other patterns,
constitute the dance.
22. A Hip motion is a very general term to mean any type of hip movement used
in Latin dancing.
23. A Pivot is a turning movement during which the free foot is kept either in front
or directly behind the foot on which the turn is made.
24. A Spin is a turn done in place using both feet, usually done as a couple.
25. Variation is a varied or more advanced pattern than the corresponding basic
figure, which still contains the same main elements.

IX. DANCE STEPS AND TURNS

Ball Change
The ball change is found in most dance disciplines, including jazz, tap, lyrical, and
hip hop. Due to its crossover appeal, it's usually one of the first steps taught to new
dancers. The ball change is completed in two counts - transferring weight onto the
ball of the foot (1), then a step back onto the other foot (2). This step is usually
connected to another step, such as the "kick ball change" movement.

Step onto your right foot, transferring all your weight to that foot.
Lift the left foot and step back, behind the right foot, just onto the ball of the foot.
Shift your weight to the ball of the left foot as you raise your right foot.
Step back down onto the right foot, completing the move.
Step-ball-change can be done to the right, to the left or in place. It's often used as
a transition, and it happens very fast.
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Basic Jazz Dance Steps
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Basic Steps in Folk Dance

Box Step
This one will get you through any wedding; it's your basic tool from foxtrot to rumba.
Your steps form the shape of a simple square or box.

If you're leading, step forward, slide the back foot up, and end with both feet
together.
Next step to the side, slide, together. Two things to remember: each step involves
a full weight transfer; no cutting corners, no sloppy diagonal shortcuts.
Always follow the outline of the box or square. The tidy box step opens a world of
American and Latin-style ballroom dances to you.

Chaîné Turns
Chaîné turns are an introductory quick turn used in ballet and lyrical dance, though
they are sometimes found in jazz and other styles. The name comes from the
French, meaning "chain." Chaînés are simply a chain of rapid turns on alternating
feet. Starting in first position, the turns progress either across the floor in a straight
line or in a circle.

Begin in fifth position, right foot pointing right, snugged up in front of the left foot
pointing left, arms at your sides.
Raise both arms together, elbows lightly bent so the arms curve and the fingers
are just touching about waist high.
As you raise the arms, bend the knees, keeping the torso erect, and slide the right
foot out to the right.
Open the arms wide to the side as the foot slides wide to the right.
Bring the left foot in, crossing it in front of the right as you relevé onto demi-toe.
Bring the arms back into the waist-high curve as you turn your entire body with the
momentum of the moving left foot. This is a turn on half-toe with both feet very
close together.
Repeat the sequence but this time, as you turn on relevé or half-toe, bring the arms
up and into a gentle curve overhead, fingertips barely touching.

Dos-i-do
The dos-i-do, used in square dancing, involves two dancers facing each other.
Next, they walk around each other in a circular rotation without turning. To
complete a correct dos-i-do, each dancer should face the same wall the entire time,
ensuring there is a rotation rather than an actual turn.

Standing next to your partner and facing the couple opposite you, walk toward
each other.
As you reach the opposite couple, continue to walk forward moving easily between
them.
Do not turn around. Keep walking and step sideways a few steps, keeping the
dancer you just passed behind you.
Step backwards to complete a circuit around the opposite dancer and return to
your place, next to your partner in the square.

Grapevine
Facing front, the dancer steps his right foot out to the side, and crosses in front
with the left. The right foot then steps out again, followed by the left foot crossing
behind. Repeat. The grapevine is used in jazz dance, as well as country line
dancing.

Step to the right and transfer your weight to the right foot.
Step to the right, behind the right foot, with the left foot.
Step to the right with the right foot.
Step to the right with the left foot but this time just touch the toes to the floor next
to the right foot.
Step immediately to the left with the left foot.
Step to the left, behind the left foot with the right foot...and continue.

Heel Turn
In ballroom dance, the heel turn involves turning on the heel of the supporting foot,
while the other foot stays parallel. As the turn completes a full rotation, the weight
is placed onto the other foot.

Step back on the right foot, turning the toes in slightly toward the body.
Shift your weight to the heel of the right foot as you slide your left foot back.
Slide the left foot on the heel, to the right foot and around as you turn your body,
pivoting on the right heel.
Come up slightly onto the balls of the feet as you complete the turn.
For a turn to the left, start with the right foot. For a turn to the right, start with the
left foot.

Moonwalk
Channel Michael, or Marcel Marceau. Just be so freakin' cool on the dance floor
your friends will open up a space for you. The moonwalk is dead easy, but you
have to practice enough to commit it to muscle memory so the illusion remains
unbroken. Go here for a break down of how to do it as if you invented the step
yourself.

Rond
In ballet, the rond, or rond de jambe, consists of a pointed toe on a straight leg (or
bent at the knee) drawing a semicircle on the floor or in the air. This can also be
found in ballroom dance.

Begin in first position, toes pointed out and heels touching. Extend the leg to the
front, knees straight and foot pointed, not flexed. Your weight is all on your
supporting leg.
Trace a semi-circle on the floor or in the air with the leg and pointed foot -- front,
side, back -- and return to first position. That's a rond de jambe to the front.
For a rond to the back, simply start the move by extending the leg to the back and
bringing it through side to front and to first position.

Swing
You and your partner are a ballroom dancing dream team. The simplest swing step
is part of your arsenal of smooth moves -- use an open ballroom hold, slightly
turned out from each other to display your footwork. The lead starts on one foot,
the follower mirrors the moves, starting on the opposite foot.

Keeping the weight on the right foot, lift the left foot and step down behind the right
foot. Immediately shift the weight forward again to the right foot, a rocking motion.
Then step forward with the left, feet now together.
Step to the side, starting with the left foot: side, step (right foot moves to left foot),
step (weight is now on the left foot).
Step to the right: side-step-step.
Repeat the sequence.

Creative Dance
Is the highest form of dance. It is the end-product of exploration and improvisation
of movements as the dancer or the choreographer expresses his feelings or
emotions, ideas, and interpretations. This is a dance with a definite form, a
beginning and an ending. The principles of art form are all observed in the
composition of the dance.
Examples of creative dance are ballet, jazz,and modern or contemporary dance.