Philippine Folk Dance

1. VALSE VIEJA

4. Introduction
• When the Spaniards colonized the
Philippines in the 16th Century, many
lives of the natives changed forever.
• Many aspects of the indigenous culture
either vanished or got modified due to
assimilation of Iberian-European
cultures.

5. • The area of music and dance also got
modified…the indigenous blended with
western to create “Filipinized” versions
of the European jota, mazurka, redoba,
polka, zapateado and waltz.

6. • Valse Vieja is a version of the waltz that
originated in Pangasinan.
• It is performed by the members of the
“principalia” or upper class in old
Pangasinan during stately occasions and
fiestas.

7. • A distinct feature of this version of the
waltz is the movement of the hand in a
gesture called kewet, unique to the
people of Pangasinan.

8. Etymology
• “valse vieja” is Spanish for Old
Waltz

9. Dance Properties
• Dance Culture – Lowland Christian –
Urban
• Place of Origin – Pangasinan
• Ethnolinguistic Group – Pangasinense
• Classification – Festival (Ballroom
Dance)

11. • Music – Provided by the rondalla (native
string ensemble)
• Time Signature – ¾
• Props – None
• Stance – Erect/dignified/
• Mood – Jovial /gracioso (audience-
conscious)
• Performers - Couple

13. • Costume
• G – Maria Clara (baro’t
saya) ensemble
consisting of baro,
panuelo, saya de cola,
enagua, sobrefalda
• Accessories of
decorative comb,
dangling earrings,
choker with large
pendant
• Shoes for footwear

14. B – Barong Tagalog
(with white camisita
worn underneath)
paired with dark-
colored pants
Black leather shoes
for footwear

17. Dance Steps and Gestures
• Step cross step raise R and L
• Cross Waltz
• Native Waltz
• Step brush
• Kewet with arms in fourth position
• Hayon Hayon
• Sarok

18. The Dance
• Entrance
• Waltz in abrasete position to places, end
up partners facing each other

19. • Fig 1 (Music A)
• 2M – Step cross step raise R; arms 4th;
kewet per M
• 2M –Step close L and curtsy to partner
• 2M – Step cross step raise; arms in 4th;
kewet per M
• 2M – Step close R and curtsy to partner

20. • Continued :
• 2M – step cross step raise R pass back to
back with partner exchanging places ;
arms in 4th position; kewet
• 2M – 3 step turn L in partner’s place;
end facing partner
• 4M – repeat, starting L ; pass back to
back to return to proper places

21. • Fig 2 (Music B) – face partners two hand
hold
• 2M – Cross waltz L and R
• 2M – couple turns CW to change places
• 4M – repeat returning to places
• Release hold
• 4M – native waltz fwd passing R to R
with partner exchanging places; hayon
hayon
• 4M – Repeat, returning to proper places

22. • Fig 3 ( Music A)
• 2M –Slight rocking R in front and R in
rear; arms in 4th (raise L arm and R
alternately)
• 2M – tiny steps in place; G hold skirt; B
hands on waist
• 4M – repeat
• 4M – Step brush R; arms in 4th; kewet
• 4M – Step brush L; reverse arm position

23. • Fig 4 (Music C)
• 2M – Sarok R across L ; turn R about;
reverse T ; kewet
• 2M – Turn L about; waltz R and L;
reverse T; kewet
• 4M – Repeat
• 8M – R to R hand hold, waltz R and L
alternately

24. • Fig 5 (Music A) Tumba Tumba
• 4M – Waltz R and L; arms in 2nd
• 12M – Waltz moving CW; arms in 4th

25. • Fig 6 (Music B) partners face each other
two hand hold
• 2M – Cross waltz L and R
• 2M – steps to make full circle and return
to proper places
• 4M – repeat, starting with L
• 8M - Abrasete position , promenade

26. • 8M - Finale: Closed ballroom position