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Redoba Step in 3/4 Time Signature

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67 views6 pages

Redoba Step in 3/4 Time Signature

Uploaded by

Patrick Medina
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Fundamentals of Rhythm and Dances

Physical Education 2
LESSON 4: Basic dance Step in 2/4 time signature

This lesson will talk about the basic steps in 2/4 time signatures. In here, we will be more
familiarized with the steps and we will know how to execute them with proper counting.
DANCE STEP PATTERN
STEPS
COUNT: 1 2 = 1 MEASURE

TOUCH STEP POINT, CLOSE


➢ Point Right foot (forward, sideward, or backward) (ct.1); close right foot to
left foot (ct.2)

BLEKING STEP HEEL PLACE, CLOSE


➢ Heel place right foot (forward or sideward) ct.1); close left foot to right foot
(ct.2)

CLOSE STEP STEP, CLOSE


➢ Step Right foot (any direction) (ct.1); close Left foot to Right (ct.2).

CROSS STEP STEP, CROSS-STEP


➢ Step Right foot (ct.1); cross and step left foot to Right foot (ct.2)

BRUSH STEP
STEP, BRUSH

➢ Step Right foot (any direction) (ct.1); brush Left foot (ct.2)

HOP STEP STEP, HOP


➢ Step right foot (any direction) (ct.2); hop on Right foot (ct.2)

SLIDE STEP
SLIDE, CLOSE

➢ Slide right foot sideward or forward (ct.1); close Left foot to Right foot (ct.2)

SWING STEP STEP, SWING

➢ Slide Right foot sideward or forward (ct.1); swing left foot across right.

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COUNT: 1 AND 2 = 1 MEASURE
CHANGE STEP STEP, CLOSE, STEP

➢ Step Right foot any direction (ct.1); close left foot to right foot

CROSS CHANGE CROSS-STEP, CLOSE, STEP


STEP ➢ Cross and step Right foot across Left (ct.1); close Left foot to Right foot (ct.
and); step Right foot across left (ct.2)

LEAP, CROSS-STEP, STEP


CONTRAGANZA
➢ Leap Right foot to sideward Right (ct.1); cross and step left foot across right
foot (ct. and); step Right foot (ct.2)

COUNT: 1 AND 2 = 1 MEASURE


HABANERA STEP STEP, CLOSE, STEP

➢ Step Right foot any direction (ct.1); close Left foot to Right foot (ct.2); step
Tight foot in place (ct. and)

COUNT: 1 AND 2 AND = 1 MEASURE


PLAIN POLKA RAISE-STEP, CLOSE, STEP
➢ Step Right foot any direction (ct.1) close Left foot to Right foot step Right
(ct. and); raise Left foot

HOP POLKA HOP-STEP, CLOSE, STEP


➢ Hop-step Right foot forward (ct.1); close Left foot to Right foot step Right
foot forward (ct. and); pause.

COUNT: 1 2 1 AND 2 = 2 MEASURES


HEEL AND TOE ➢ Heel place Right in front, toe- point in rear, step Right, close left to right,
CHANGE STEP step right forward.

COUNT: 1 2 1 AND 2 AND = 2 MEASURES


HEEL AND TOE ➢ Heel place Right in front, Toe-point in rear, raise-step right, close left to
POLKA right, step right, pause

COUNT: 1 AND 2 AND 1 = MEASURE


MINCING STEP HEELS RAISE, TAKE AS MANY AS
DESIRE ➢ With the heels raise, take as many as
desired.

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SHUFFLING STEP BOTH FEET FLAT ON THE FLOOR, TAKE TINY
SLIDE STEP ➢ with both feet flat on the floor, take tiny slide
step.

LESSON 5: Basic dance Step in 3/4 time signature

This lesson will talk about the basic steps in 3/4 time signatures. In here, we will be more
familiarized with the steps and we will know how to execute them with proper counting.
DANCE STEP DANCE PATTERN
COUNT: 1 2 3 = 1 MEASURE
WALTZ STEP STEP, CLOSE, STEP

➢ Step Right foot forward / sideward/ backward/ (ct.1); Close Left foot to
Right foot (ct.2); step Right foot in place (ct.3).

CROSS WALTZ CROSS-STEP, CLOSE, STEP


➢ Cross-step Right foot across Left foot (ct.1); close Left foot to Right foot
and raise both heels (ct.2); heels down (ct.3).

WALTZ STEP, CLOSE-HEELS RAISE, HEELS DOWN


BALANCE ➢ Step Right foot sideward or forward (ct.1); close Left foot to Right foot and
raise both heels (ct.2); heels down (ct.3).

MAZURKA SLIDE, CUT, HOP


STEP ➢ Slide Right foot (ct.1); Cut (displace) Right foot with Left foot (ct.2) cut
Left foot with Right foot (ct.3)

REDOBA STEP SLIDE, CUT, CUT


-Slide Right foot diagonally forward (ct.1); cut Right foot with Left foot (ct.2) cut
Left foot with Right foot (ct.3)

COUNT: 1-2 3 1 2-3 = 2 MEASURES

STEP, CROSS-STEP, STEP, POINT


SWAY BALANCE
WITH A POINT ➢ Step Right foot diagonally forward (ct.1-2); cross-step Left foot across
Right foot (ct.3); step Right foot backward (ct.1).; point Left foot in front
(cts.2-3)

SWAY BALANCE
STEP, CROSS-STEP, STEP, RAISE
WITH A RAISE
➢ Step Right foot diagonally forward (Ct.1-2); cross-step across Right foot
(ct.3); step Right backward (ct.1); raise and swing Left in front.

SWAY BALANCE STEP, CROSS-STEP, STEP, BRUSH


➢ Step Right foot diagonally forward (cts.1-2); cross-step Left foot across
WITH A BRUSH
Right foot (ct.3); step Right foot backward (ct.1); brush Left foot
forward (cts.2-3)

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SWAY BALANCE STEP, CROSS-STEP, STEP, HOP
➢ Step Right foot diagonally forward (ct.1-2) cross-step left foot across right
WITH A HOP
foot (ct.3); step right backward (ct.1); hop on right foot (cts.2-3)

SWAY BALANCE STEP, CROSS-STEP, STEP, CLOSE


➢ Step right foot diagonally forward (cts.1-2); cross-step Left across Right
WITH A CLOSE
(ct.3); step Right backward(ct.1); close right foot to left foot.

COUNT: 1-2 3 1 2 3 = 2 MEASURES

SWAY BALANCE STEP, CROSS-STEP, STEP, CLOSE, STEP


➢ Step Right foot diagonally forward (cts.1-2); cross-step Left foot across
WITH A WALTZ
Right foot (ct.3); Step Right foot backward (ct.1); close Left foot to
Right foot (ct.2); step right foot in place (ct.3)

LESSON 6: Introduction to Cariñosa


Cariñosa is a courtship dance known throughout the Philippines with its flirtatious movements. The word “Cariñosa”
means affectionate, amiable, or lovable. There are many versions of this dance but hide and seek movements using a fan
and a handkerchief are the most common. The music of this is ¾ time signature and counting 1,2,3.

The dance Cariñosa originated in Panay Island in the Visayan Island and was introduced by the Spaniards during their
colonization of the Philippines. It is related to some of the Spanish dances like the Bolero and the Mexican dance Rabe
Tapatio or the Mexican Hat Dance.

According to the book of Francisca Reyes Aquino volume 2. There is a different version of the dance in the region of
Bicol. In the Bicol region Cariñosa, hide and seek movement is executed differently.

In the original version, dancers use fan and handkerchief in doing the hide and seek but in Bicol region they used two
handkerchiefs in doing the hide and seek. It is a complicated step however it is still used in Bicol region specially in
festivals and social gatherings.

COSTUMES
• Female: Balintawak style costume or patadiong and camisa. Girl has a fan hanging at the right side of waist.

• Male: barong tagalog, any color of trousers. Boy has a handkerchief in his pocket.

DANCE FIGURES Introduction


Partners face each other, execute a three step turn (R) in place and bow to each other. Girls, hold skirt. Boys, hands
on waist.

FIGURE 1: Three steps and point


A. Starting with R foot take three steps sideward R (1m) point L foot in front (1m) on waist.
Kumintang R hand when L foot pointing… (2m)

B. Repeat (A) staring with L foot and moving sideward L reverse on hands…(2m)

C. Repeat (A) and (B) three more times… (12m)

FIGURE 2: Pointing

A. Starting at the R foot, take three steps forward to meet at the center (1m) step L close to

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R (ct.1) pause (ct.2)… (2m)

B. Take four steps in front, R and L alternately look at each other… (4m)

C. Starting with the R foot take four steps forward to partners places passing each other by
R shoulder (cts. 1,2,3,1) turn R about to face each other and close R to L foot (cts. 2,3)… (2m)

D. Repeat all (a-c) finishing in proper places…(8m)

FIGURE 3: Back to back

A. Partners meet at the center as in Figure 2 (cts1,2,3,1) turn R about to the back to back position a little bit to R of
partners (cts 2,3). Girls hold skirt, boys hands on waist…(2m)

B. Point R foot in front and shake R index fingers at partner over R shoulder, L hand on waist(cts1,2), Step R
sideward to the side by side with partners by L shoulder, place R hand on waist (ct3). Repeat 3times more
pointing L,R,L and shaking L,R,L index fingers alternately at partner. Partners are standing by each other R
shoulder when shaking L,R,L index finger alternately at partner free hands on waist (3m)

C. Turn R about exchange places as in Figure 2(c)… (2m)

D. Repeat all (A-C) finishing in proper places… (8m)

FIGURE 4: Hide and seek with fan

A. Partners meet at center as in figure 2(A)… (2m)

B. Girl hold an open fan with R hand point R foot in front and cover face with fan, L hand holding skirts (ct1,2) step R
close to L and put R hand down (ct3) repeat the same 3times more pointing L,R,L cover face with fan on (cts1,2)
of every measure…(3m) boys point R and L foot alternately in front and look at partners from underneath the fan,
hands on waist
…(4m)

FIGURE 5: Kneeling and fanning


A. Starting with the R foot, take three steps forward to center, girls hold skirt, boys places hands on waist (1m) girl
kneel on R while boy passes around on R of girl to stand behind her and faces the same direction as girl. Partners
place hands on waist…(4m)

B. Boy point R and L foot 4times alternately in front, looking at girl over her R and L shoulder, alternately girl look at
partner over his R and L shoulder alternately both place hands on waist.. (4m)

C. Boy turn R about, girl stands and exchange places as in figure2(c)

D. Repeat all (A-C), but this time boy kneel down and girl fan boy over his R and L shoulder alternately of the point,
her R and L foot alternately finish in proper places… (8m)

FIGURE 6: Hide and seek with handkerchief

A. Partners meet at center as in figure2(a) (cts1,2,3,1) boy take handkerchief in pocket; partners hold handkerchief
at corners in a perpendicular position between their face with boys on top at face level(cts2,3)..(2m)

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B. Partners point R and L foot alternately four times as in Figure2(b) invert handkerchief at every measure, that is,
one measure with boys hand on top while pointing R foot and the next measure with girls hands on top while
pointing with L foot with own hands are down, look at partners face from below and then when up, look above
handkerchief..(4m)

C. Girl releases handkerchief partners, exchange places in figure2(c) …(2m)

D. Repeat all (A-C) finishing in proper places, this time girl keeps handkerchief at the end of the figure…(8m)

FIGURE 7: Flirting with handkerchief


A. Partners turn R shoulder towards each other. Starting with R foot take eight walt steps forward moving around
clockwise. Girls hold handkerchief at one corner and place it over her R and L shoulder alternately at every measure,
looking ack at boy at the same time. boy follows behind girl. Stretching out R and L hands alternately as if trying to
catch the handkerchief…(8m).

B. Turn R about and repeat A counterclockwise, girls leads again. Finish in proper places..(8m)

FIGURE 8: Flirting
A. Starting with R foot, take two walt step to meet at center girls in lateral position moving sideward R and L, boys
hands on waist…(2m)

B. With girl leading in front partners takes walt step forward moving around clockwise, same position of hand as in
(A) but girls fingers fluttering in time with the music of, she look over her R and L shoulder alternately at boy who is
following her closely…(6m)

C. Turn R about repeat (B) counterclockwise this time boy leads girl holds skirt and boys arms in lateral position
fluttering fingers wink at girl once in a while finish side by side girl at R side of boy… (6m)

SALUDO
A. Execute three-step turn R in place and bow to each other, girl holding skirt boys hands on waist…(3m)

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Common questions

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Cariñosa, like many traditional dances, embodies clear gender roles within its choreography. The male dancer often performs with a handkerchief, symbolizing pursuit, while the female dancer traditionally uses a fan to hide her face, adding an element of tease and interaction . These roles allow the dance to mimic a courtship dynamic, where the male moves around the female, often leading or initiating movements . This structure highlights cultural norms and expectations regarding gender interactions during the time of its origin.

Props such as fans and handkerchiefs in the Cariñosa dance serve to emphasize the flirtatious and playful nature of the dance. The fan adds an element of mystery and allure, aligning with the hide-and-seek aspects of the performance . By using handkerchiefs, dancers can display intricate hand movements that suggest courtship and interaction, enhancing the overall aesthetic and cultural storytelling of the piece .

In 2/4 time signature, practical steps include "Touch Step," "Bleking Step," and "Slide Step," where actions often involve steps combined with points, closes, and slides within a two-count measure . In contrast, the 3/4 signature, conducive to the waltz, includes more complex movements like the "Waltz Step," "Cross Waltz," and "Sway Balance," characterized by a three-part count that allows for more fluid and elongated movements involving steps, crosses, and directional changes .

Teaching dances with both 2/4 and 3/4 time signatures enriches students' musicality and movement coordination. The 2/4 signature emphasizes rhythm and repetition, suitable for beginners to understand basic footwork and timing . The 3/4 dances, such as waltz patterns, demand greater spatial awareness and introduce more complex musical phrasing, fostering aesthetic appreciation and cultural understanding . Together, these lessons provide a comprehensive educational experience that enhances physical skills, cultural awareness, and cognitive engagement with dance forms.

The physical movements in Cariñosa, such as the hide-and-seek elements using fans and handkerchiefs, narrate themes of courtship and ritual that are central to Filipino social traditions . The steps are graceful yet deliberate, mirroring the cultural narrative of affection and the blending of native and colonial influences. The dance functions as a living record of Filipino history, holding Spanish colonial imprints while celebrating indigenous social mores and interactions . This historic synthesis is visualized through purposeful choreography that uses spatial dynamics and interaction to tell cultural stories.

The Cariñosa dance is deeply influenced by Spanish colonial history, as it incorporates elements akin to Spanish dances such as the Bolero and Mexican Hat Dance, which were introduced during Spanish rule in the Philippines . These historical links manifest in costumes and movements that reflect traditional courtship rituals, thereby preserving and reflecting Filipino cultural identity through dance . Additionally, regional variations, such as those seen in Bicol, show how local culture also impacts the dance’s style and execution .

The plain polka uses a 2/4 time signature with "raise-step, close, step" actions indicating simpler, repetitive movements typical of folk dances focusing on rhythmic hopping . On the other hand, the waltz balance step, in a 3/4 time signature, involves more stylistic and flowing actions including steps, heel raises, and directional changes, reflecting the elegant and connected nature of ballroom styles . The complexity in the waltz balance arises from its detailed footwork and need for synchronization with the musical rhythm, offering a more sophisticated dance experience.

Dance figures such as "hide and seek" and "flirting" in Cariñosa add depth by creating a narrative layer that illustrates playful courtship and social dynamics. The "hide and seek" uses props to shape spatial patterns and interactions, conveying themes of mystery and intrigue . The "flirting" figure involves bodily expressions and coordinated movements to symbolize romance and pursuit, enriching the dance's story through visual and emotive storytelling techniques . These elements together construct a vibrant depiction of cultural and relational narratives.

The Bicol variation of Cariñosa is significant as it demonstrates cultural adaptation and diversity within the Philippines. Unlike the traditional form, which uses a fan and a single handkerchief, the Bicol version employs two handkerchiefs, signifying local improvisation and personalization of the dance style . This adaptation not only preserves regional identity but also enriches the cultural tapestry of the Cariñosa, ensuring its relevance and appeal across different Filipino communities.

Cariñosa plays a critical role in preserving Filipino culture by showcasing traditional costumes, music, and dance forms that highlight the Philippines' historical and social narratives . This dance, performed during festivals and social gatherings, acts as a cultural anchor amidst global influences, reinforcing national identity and pride. By maintaining its place within educational curricula and community events, it resists cultural erosion, allowing generations to connect with their heritage despite global homogenizing trends .

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