This document summarizes the Valse Vieja dance from Pangasinan, Philippines. It was performed by the upper class as a version of the waltz that blended indigenous and European styles. The dance involves couples performing steps like the cross waltz, native waltz, and kewet hand gesture to rondalla music. Costumes like the Maria Clara dress and barong tagalog were worn. The dance begins with an entrance waltz and features figures involving passing, turning, promenading, and choreographed arm and hand movements to the 3/4 time signature music.

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