PE3 COLLEGE MANUAL.pdf

PHYSICAL
EDUCATION
3
(W)
RHYTHMIC
ACTIVITIES
N.
MAGNO
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Central Philippine University
College of Education
HEALTH AND P.E. DEPARTMENT
ACSCU-AAI Accredited, Level IV
Tel. No. (63-33) 329-1971 loc. 1040/1078
E-mail address: hpesec@cpu.edu.ph
Fax No. (033) 320-3685
LECTURE AND
ACTIVITY MANUAL
IN
PHYSICAL EDUCATION 3(W)
RHYTHMIC ACTIVITIES
(Outcome-Based Education [OBE] Aligned)
Based on CMO 30 series 2004
Revision No. 1, August 2020
by:
INSTR. CANDELARIA E. ALAVATA, LPT
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ABOUT THE AUTHOR
NECIL C. MAGNO, MAED
Assoc. Prof. N. Magno is a graduate of Bachelor of
Science in Secondary Education Major in
Mathematics and minor in Physical Education,
Health and Music at Central Philippine University
in 2001. She earned her Masters of Arts in Physical
Education major in Physical Education at West
Visayas State University in 2012, and currently pursues her Doctor in Physical
Education at Filamer Christian University.
As a teacher, she has been engaged in teaching Physical Education
since 2000. Her contributions in Physical Education include the following:
Choreographer of Iloilo PRISAA Interpretative Dance which garnered
championship awards for seven times between 2001-2015; Member of
National Philippine Folkdance Society and Iloilo Choreographers Guild. She
was one of the Board of Judges for Ginoong at Binibining Pilipinas Australia in
May 2019 held at Sunnybank, Brisbane, Australia. She also rendered her
service as Resource Person for Cultural Exchange in Australia in 2019. She
served as the Artistic Director and Choreographer of CPU Sari-Saot Dance
Troupe from 2000-2019. She has been devoting her time as University
Chairman of events such as Modern Contemporary Dance and Hiphop Dance,
and a Zumba Fitness Instructress.
While still a student, her milestones are as follows: a pioneer member of
the renowned Dagyaw Theater and Dance Company of Iloilo National High
School, a choreographer and dancer of CPU College of Education
Interpretative Dance which garnered championship awards for six consecutive
times from 1995-2001.
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No part of this manual may be reproduced in any form, either wholly or in
part, for any use whatsoever without written permission from the
department and the person concerned.
ACKNOWLEDGMENT
I wish to take this opportunity to express my sincere gratitude for the
cooperation and assistance of the many friends who gave freely of their time, their
knowledge, and their helpful criticism.
Special recognition and grateful appreciation are extended to:
Mrs. Jayna J. Acap for her interest and encouragement during the writing and
preparation of this manual;
Prof. Anna May A. Yap- Zerrudo and Prof. Mitzi May R. Duremdes for reading,
correcting and editing this entire manuscript ;
Mr. Randy L. Villanueva for typing the materials;
Mr. Edwin Laruan for the beautiful photography;
CPU Sari-Saot Dance Troupe Members for their all out support and for consenting
to pose in the pictures;
CPU Printing Press who rushed prints and supplies through record time;
My student assistants Lyn D. Cartama and Hershey Cordero for their valuable
assistance;
Toto Prince, Toto Sherwin and Beautiful Princess my inspiration and love of my
life;
Captain Sherwin A. Magno, my husband for his untiring support, love, financial
assistance, and who made me feel special which boosted my confidence to pursue my
dreams;
Above All to God as the source of everything ............. To God be the greatest glory!
This PE3 (W) manual was prepared by Prof. Necil Capiñanes-Magno for and
in behalf of the Health and P.E. Department of CPU (June 2016).
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Central Philippine University and College of
Education Mission, Vision Statements, College
Outcomes and Core Values….......................vii
CPU Songs............................................ix
Alma Mater SongsRaise
A Song
O Central, Our Central
Central Spirit
The Course...........................................1
Course No. and Title
Prerequisites
School Year/ Semesters Offered
Course Description
Course Credit/Unit Course
Subject/ Outcome Course
Requirements
Unit O - Orientation and Course
Background ............................ 4
CPU Vision/ Mission and Core Values
Requirements of the Course University
and Department
Rules and Regulations
Nature and Scope of the Course
Unit I –Rhythm…................................. 6
What is Rhythm
Elements of Rhythm
Time Signature and Rhythmic Patterns
Rhythm Band
Unit II - Rhythm and Fundamental
Movements ..............................13
What is Movements
Elements of Movements
Movements, Rhythm and Phantomime
Dramatization
Three Forms of Mime
Dance Formation and Positions
Used in Choreography
Contents
Unit IV -Dance Techniques and
Dance Secrets......................... 59
How to become a dancer
The Secrets of leading
(Man)
The Secrets of Following (Woman)
How to Exude Charm and Personality in
Dancing
Example of Various
Dancing Personalities
The Importance of Warm- Up
and Cool Down in
Dance Exercises to Improve
Dancing Rock Your Body Warm
up
How Important is Cool Down?
Unit V - Dance as an Expression............75
Fundamental Arms and Feet
Positions Philippine Folk Dance
Dance Terms Common to
Philippine Folk Dance
Beneracion
Salakban
Other Dance Forms
● Samba
The Basic Samba Moves
Other Distinctive Steps
Benefits of Dancing Samba
● Zumba
Basic Steps Variations
● Waltz
Five Basic Walts Steps
Propre Dance Hold
● Tango
Basic Metric and Rhythmic Pattern
● The Belly Dance
Social Context of Belly
Dance In Middle East
Movements Found In Belly Dancing
Tips
Unit III - Introduction to Dance.............. 41
What is Dance
Benefits of Dancing
Tips of Dancing
Types of Dance and its Definitions
●
The Bollywood Dance
Steps and Moves
Who’s Who.......................................... 116
Glossary............................................... 121
References...........................................123
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Mission and Vision Statements of Central Philippine University (CPU) and
College of Education (COE) College Outcomes and Core Values
UNIVERSITY
Vision Statement: A University committed to Exemplary Christian Education for
Life (EXCEL) and responsive to the needs of the total person
and the world.
Mission Statement: The mission of Central Philippine University is to carry out a
program of spiritual, intellectual, moral, scientific,
technological and cultural training and allied studies under
influences which strengthen Christian faith, build up
character and promote scholarship, research, and community
service.
Core Values:
Faith. The act of believing the things God has revealed about
himself and acting on those beliefs. This includes
commitment, cooperation, trust, and confidence.
Character. The aggregate features and traits that form the individual’s
nature of a person, moral quality, and good report. This
includes honesty, integrity, humility and loyalty.
Justice. Righteousness or lawfulness and fairness. It is observing due
process in administering the deserved punishment or reward.
This includes fairness, equality, morality and peace.
Stewardship. The proper and responsible management of life, position,
possessions, and other resources entrusted by God to man.
This includes, service, accountability culture and outreach.
Excellence. The highly commendable quality of feature of a person’s
worth and/or deeds, this includes competence, technology,
and scholarship and research.
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COLLEGE OF EDUCATION
Vision Statement: A College dedicated to the development of competent and
committed students and graduates who will serve as
ambassadors of Exemplary Christian Education for Life
(EXCEL).
Mission Statement: The mission of the College of Education is to provide quality
Christian Education for the total development of students to
prepare them for life-long service to God and fellowmen
and for successful participation in their profession.
College Outcomes: C – Committed to EXCEL in Science and Faith as
Ambassadors of Christian Education.
O – Outreach and Research Oriented for Community
Linkage and a tool for University wide development.
E – Exemplary in promoting moral values in performance
utilizing the available educational technologies.
D – Determined to succeed in developing the physical,
intellectual, emotional, social, moral, and spiritual
aspects of learners.
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Central Philippine University Songs
Alma Mater Song Raise a Song
Central, my Central Raise a song for dear old Central,
Our Alma Mater true Far and fair renowned!
Our praise we’ll sing to you Let her campus ring with echoes,
Day after day Make her halls resound!
We’ll keep thine honour dear Franklin, Weston, Roblee ringing
Save thee from every fear Lopez Hall replies,
Thy name we will revere Hark! Upon the distant mountains
When far away. How the fading echo dies!
Central, my Central
Loved, honored be thy name
And everywhere the same
Through North and South
May thou forever stand
Renowned in every land
Supreme in heart and hand
We love thee best.
O, Central, Our Central Central Spirit
From far and near we come to thee Hope of coming generations,
O, central, our Central Gleaming dawn of day!
And may we e’re be true to thee Filled with lofty venerations
O, central, our Central All we think and say
Thy fame we’ll spread throughout the land Central Spirit lead us onward,
To thee we pledge our hearts and hands Loyal make each son!
Our gratitude we voice in song ‘Till we find our efforts honoured
O, central, Our Central. With the Master’s words “welldone!”
Ideals that lift our visions high We’ve a wealth of school day mem’ries
At Central, our Central That makes for manhood in man
With us will be until we die And a rich and broad horizon
O, Central, our Central Central students scan,
The blues of this school so dear Here’s a leadership fraternal,
Awake our hearts the call is clear For eastern nations to see
For purpose strong and service true For a renaissance supernal
O, Central, our Central Sweeps our isles from sea to sea!
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Program/Degree: Basic Physical Education for All Programs
Program/Degree Outcomes: Based on CMO 30 series 2004
Course Number: P.E.3 (M/W) Rhythmic Activities
Prerequisites: None
School Year: 2020 - 2021 (Revision 1)
Course Description: This is a study, execution and practice of the fundamental
movements with rhythm, their variations and combinations,
learning how to improvise simple dance routines using the basic
movements through creative approach and learning dances both
native and foreign.
Course Credit/Unit: 2 Units
Course/Subject Outcome: At the end of the term, the students must have:
1. discussed rhythm and fundamental movements as the foundation of
movements and steps;
2. showed appreciation of the importance of rhythm in any
choreograph routines;
3. mastered the steps and body movements in preparation for a
lifelong recreational activity;
4. created and organized a dance activity for entertainment, exercises,
everyday activity and as a profession;
5. demonstrated and come-up with improvised dance routines based on
own ideas and concepts;
6. explained the contributions of the different artists, both local and
international, in the field of dance; and
7. performed Philippine Folk and Foreign Dances with accuracy and
confidence.
COURSE REQUIREMENTS AND OTHER CLASS CONCERNS
1. Attendance- attendance should start on the first day of the semester.
Each student is allowed up to 7 excused and unexcused absences. The 8th
absence mark results in an automatic “DRO
1
PPED” from the class roll. Three (3)
“TARDY” marks are equal to one (1) absence mark.
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2. P.E. Uniform - each student is required of a complete setwhich
should be worn at all times every time she has a class in P.E.3 (W).
3. OBE Lecture and Activity Manual - each student should have a
personal copy of the OBE Lecture and Activity Manual of the subject.
4. Theoretical Exams - these include quizzes and two periodic exams,
the midterm and final exam.
5. Practical Exams - Students should take the practical exam set bythe
teacher. They will be graded according to: Sets/Groups/Pairs/Individual
performance.
6. Make- Up Test (Written/Practical)
Written Exam - This will only be given as scheduled by the teacher to
those who have valid reasons for their absence during the test.
Practical Test- Make up work shall be given provided that a medical
certificate is presented to the teacher.
7. An “incomplete mark” is given in the event of documented personal
illness or family emergency. It is the student’s responsibility to inform the
teacher regarding such at least three (3) weeks before the final exam week of
the semester.
Students requesting an “incomplete mark” must speak with the instructor
three (3) weeks prior to the final week of the course. An incomplete will be
given to a student because of chronic tardiness or missed classes.
8. Medical Certificate- This document is required for all students who
cannot perform a task due to illness. However, those who are properlyidentified
as not allowed to participate in the more strenuous dances will be given
alternative activities.
9. Classroom Policies:
(a) Complete PE uniform consisting of the required complete set,tennis
shoes/jazz shoes or dancing shoes must be worn during classes.
(b) Cell phones and other gadgets should be turned off whileclasses
or activities are going on.
(c) Hand towel/ bottled water during practical activity are a must.
(d) Hair should be securely tied up. Jewelry should not be wornif
these will pose as distraction to the performance.
10. Culminating Activity:
Each student shall participate in the culminating activity. This may
serve as the final practical test.
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11. Grading System:
Periodical Examination (Online) - 20%
(Midterm and Final Exam)
Daily Quizzes - 10%
Daily Participation/Assignments - 30%
Major Practical Exam/Test (Online) - 40%
TOTAL - 100%
12. Methods and Strategies
A. Lecture/discussion/contextual teaching
B. Modeling/demonstration
C. Command-Teaching Style
D. Part-to-whole and add-on-a-step
E. Symbol Sequence
F. Practice Style
G. Guided Discovery
H. Students on Video
I. Students as Leaders
J. Peer Teaching
K. Direction Readers
L. Verbal and Gesture Cueing
M. Self-Check
13. Materials Needed:
A. Visual Aids
B. Audio/Video Equipment
C. Mobile Phone (Mobile Data)
D. Online links
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UNIT 0
ORIENTATION AND COURSE BACKGROUND
A. Desired Learning Outcomes:
At the end of the unit, the students must have:
1. explained the general objectives of the course;
2. discussed online netiquettes, department policies and the school rules
and regulations;
3. showed appreciation through learning and mastery of CPU songs;
4. recognized the importance of the CPU Vision Statement andMission
Statements; and,
B. Values and Thought Focus
Values: Faith in God, Appreciation, Acceptance
Thought: Oh. Give thanks to the Lord, for He is good.
His loving-kindness continues forever.
Psalm 136:1
C. Course Content
1. CPU Vision/Mission Statement and Core Values
2. Requirements of the Course
3. University and Department rules, regulations and policies
D. Activities
1. Opening prayer, led by the teacher.
2. Checking of registration forms (stub codes, stamp enrolled, etc.).
3. Orientation
(a) Pre-class activities: Changing into PE uniforms 5 minutes before
class and 5 minutes before dismissal
• Letting the class “Fall-in” by column and according to height
• Opening prayer assignments
• Checking of attendance- by count-off
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• Class evaluation
• Closing prayer assignments
• Dismissal
(b) Explaining attendance policies, tardy (late) marks absences
(excused and unexcused), rules and policies of the university,
department and classroom policies.
(c) Explaining teacher’s policies on make-up work, missed
exams/quizzes, major exams and practical tests and gradingsystem.
(d) Explaining classroom requirements- use of numbers during practical
test; complete PE uniform; class observation during menstruation
and proper hygiene during activities.
(e) Encouraging students to bring their lecture and activity manual
during PE classes
(f)Reminding students of their personal belongings, valuables, useof
facilities and equipment.
(g) Encouraging students to visit the teacher during counseling hours,
to attend convocations and CEW- Christ Emphasis Week (CEW).
4. Explaining the nature and scope of the course.
5. Discussing the Vision and Mission statements of CPU and the general
objectives of the course. Letting the students memorize the Visionand
Mission of CPU.
6. Learning, memorizing the CPU songs
(a) Know the time signature and accented note, word/syllable
(b) Beat while learning the songs
(c) Have variety
7. Assignment
8. Dismissal
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UNIT I
RHYTHM
At the end of the units the students must have:
1. discussed rhythm, elements of rhythm and common time signature;
2. recognized rhythm through observing sounds in the environment; and
3. created simple rhythmic music by combining differentrhythmic
patterns.
B. Values and Thoughts Focus:
Values: Cooperation, appreciation, creativity, patience,
resourcefulness.
Thought: Patience with others is love.
Patience with self is hope.
Patience with God is faith.
-Adel Bestavro
C. Course Content
INTRODUCTION
Every individual has a rhythm. It is found in all of nature and is natural for
every individual. Rhythm is everywhere. Our lives are driven to an enormous
degree by the internal and external rhythms that are a fundamental part of life at
every level. Rhythm is most clearly seen through dance-the the art of movement.
What is Rhythm?
• is the arrangement of sounds as they move through time.
• is a measured motion of flow characterized basically by the regular
recurrence of elements or features as beats, sounds, and accents. This implies
measurements of time, space and energy.
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• is what makes music move and flow. Rhythm is made of sounds and
silences.
Sound and silences are put together to form patterns of sounds, which are
repeated to create rhythm. Rhythm has a steady beat, but it may also have
different kinds of beats.
ELEMENTS OF RHYTHM
All movements are affected by the elements of rhythm.
1. Accent
Applied to the first beat of a measure.
Certain notes or beats in a rhythmic pattern receive
more force than others.
2. Bar
In music, a vertical across a staff dividing it into equal
measures of time.
3. Beat
The underlying rhythm of the music. Some musicians
refer to the beat as the pulse of the music. The
underlying beat
determines the time signature of a piece of music or
movement.
4. Count A pulse beat; a time limit.
5. Intensity A variation of the stress of movent.
The intensity of music can be loud, soft, light, or heavy.
6. Measure A group of pulse beats.
7. Meter
This refers to how the beats are put together to form a
measure of music. Common meters used in rhythmics
are 2
4, 3
4, 4
, and 6
.
4 8
8. Note A printed symbol of a musical tone.
9.Note Pattern
Refers to a note or set of notes with or without rest,
used to a certain dance step.
10. Phrase
A natural grouping of measures.
A phrase consists of eight (8) underlying beats; phrases
of
music is put together into rhythmic patterns.
11. Pitch The lowness or highness of a tone.
12. Step Pattern
Refers to the movement or movements done for each of
the dance steps.
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TIME SIGNATURE AND RHYTHMIC PATTERNS
Time Signature
• Is used to indicate the appropriate counting for a particular rhythmic
pattern. It can be grouped into two’s, Three’s and four’s.
2
4 There should be two counts to a measure.
34 There should be three counts to a measure.
44 There should be four counts to a measure.
Time Signature
Rhythmic Pattern
Is used in the arrangement of long and short beats in
relation to the time signature given.
2
4
Regular Pattern: 1, 2
1 & 2; ah-ah2ah-ah;
3
4
Regular Pattern: 1,2,3
1&2,3; 1,2&3; 1&2&3; 1ah-ah2,3; 1ah-ah2 ah-ah3;
1,2ah-ah,3ah-ah
44
Regular Pattern:1,2,3,4
1 & 2, 3, 4; 1,2 & 3, 4; 1,2,3 & 4; 1,2,3,4 &; 1&2,3&4;
1 &2 & 3 & 4; 1ah-ah2,3,4; 1ah-ah2,3ah-ah4; 1ah-
ah2ah-ah3ah-ah4.
Rhythm Band
• A band may creatively combine different rhythmic patterns according tothe
time signature to produce a simple rhythmic music using different soundsources.
• Students create a rhythm from ordinary objects found inside the room.
• Divide the class into four small groups to create a rhythm band.
• A time limit of 15 minutes for practice and 3 minutes for the final
performance.
Example of Objects: Pencil/pen, heeled-shoes, rubber band, ruler, empty water
plastic bottle, spring of notebook, etc.
The speed of the music. It can be constant or may show
a
gradual increase (acceleration) or decrease
(deceleration).
(1) Fast- 1 count in a measure (2) moderate- 2 counts
in a measure (3) slow- 4 counts in a measure
13. Tempo
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Activity # 1 Application (to be submitted to the teacher)
Name: Class Time Date Score
General Instruction: Rhythm
Guidelines:
1. In a group of ten or solo compose a rhythm using 2
4, 3
4 and
4
4.
2. Choose any improvise rhythmic instruments such as (sticks, plasticbottle,
cans, cups, ruler etc.) as long as it can produce sounds.
3. Use appropriate music for (2-3 minutes) and combine different rhythmic
pattern.
4. Make you own original sound variations using tempo (slow, fast and
moderate), combined common time signature (2
4, 3
4 and
4
4).
Criteria/Rubric:
Timing/Coordination… ............................40%
Creativity/Variation.................................40%
Choice of Instruments.............................20%
TOTAL: 100%
Rhythm Score
Timing/Coordination….......................................... 40
Creativity….......................................................... 40%
Choice of Instruments......................................... 20%
TOTAL
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Activity # 2 (to be submitted to the teacher)
Self -Check Test:
Multiple Choice: Choose the correct answer from the choices given. Write your
answer on the space before the number.
1. It has a steady beat and different beats.
A. accent B. beat C. measure D. rhythm
2. It refers to a printed symbol of a musical note.
A. step pattern B. meter C. note D. tempo
3. What elements of rhythm measure the first beat?
A. accent B. bar C. measure D. intensity
4. It refers to the lowness and highness of a tone.
A. note B. note pattern C. pitch D. measure
5. What do you call a vertical across staff dividing into equal measures of
time?
A. beat B. bar C. count D. accent
6. Which of these rhythmic patterns refers to ¾ time signature?
A. 1 ah ah 2 B. 1 and 2 and 3 C. 1, 2, 3,4 D. 1 and 2 and 3 and 4
7. It refers to a group of pulse beats.
A. measure B. tempo C. measure D. count
8. What elements of rhythm refers to a group of measures?
A. phrase B. note C. count D. measure
9. It refers to the arrangement of long and short beats of sound.
A. rhythmic pattern B. rhythm C. time signature D. rhythm band
10. Which of the following is an example of 2/4 time?
A. 1 ah ah 2 ah ah 3 C. 1 ah aha 2 ah ah
B. 1,2,3 ah ah D. 1 ah 2 ah 3
II. Identify the following rhythmic pattern by writing the time signature on the
space provided.
11. 1 ah ah 2 ah ah 3 16. 1 ah ah 2 ah ah 3 ah ah 4
12. 1 and 2 and 3 and 17. 1, 2, 3
13. 1, 2, 3,4 and 18. 1,2
14. 1 and 2 and 3 and 4 19. 1,2,3,4
15. 1 and 2 and 20. 1 and 2, 3 and 4
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UNIT II
RHYTHM AND FUNDAMENTAL MOVEMENTS
At the end of the unit the students must have:
1. discussed fundamental movements;
2. identified movements as locomotors, non-locomotors and manipulative
movements;
3. developed an appreciation of the importance of fundamental
movements as the foundation of all movements; and
4. applied fundamental movements through creating originalchoreograph
routines;
B. Values and Thought Focus:
Values: cooperation, appreciation, confidence dedication.
Thought: “Give me one hundred men who love nothing but God,
Hate nothing but evil, and know nothing but Jesus Christ, and
I will change the world”
– John Wesley
C. Course Content
INTRODUCTION
Without movement, there is no life. From the womb of our mother, there is
movement. It is not patterned, unorganized and unstructured. There are still
thousands of movements going on inside us that we need to discover, explore and
expose. Flowing and pulsating, breathing, beating is only afar. When approaching
movements, our problems can be stiffening, straining, pushing, collapsing, pulling
up, and pushing down - block energy and stop fluency.
It is hard to move fluently out of a fixed state. It requires a huge amount
of effort. We need to connect with an inner flow that takes us easily into
movement. The root of the movement is the response to gravity, giving grounded
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support. There are three centers of the body from where you move the gut, heart,
and head.
Consider the intention of your movement. When the intention is clear, then
the inner thoughts and feelings are conveyed in the movement; there will be
clarity, connection and communication.
What is movement?
Movement is…
 An impulse
 A flow of energy- a space to feel the effect of gravity, the body’s spring
mechanism.
 A response to a stimulus requiring movement away from ortoward
expansion or contraction.
 A movement of suspense.
 Falling in space.
 Responding to the contact of the ground.
ELEMENTS OF MOVEMENTS
(In Dance)
I. BODY (The Instrument)
This category defines what the body can perform.
(a) Shapes (the body makes)
Examples: Long- Short
Wide - Narrow, Straight - Twisted, Curled - Stretched,
Symmetrical- Asymmetrical
(b) Balance or Weight Bearing
Balance demands the different parts of the body. It supports the
weight or receives the weight.
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(c) Transfer of Body Weight
Many skills demand moving the body weight from one body part to
another, such as walking, leaping, rolling and so on.
(d) Flight
This category differs from transfer of body weight. It is an explosive
movement and involves lifting the body weight from the floor or apparatus
for an extended period of time. The amount of time off the floor
distinguishes flight from transfer of weight.
Examples: Running, Jumping, etc.
II. FUNDAMENTAL MOVEMENTS (The Material)
Fundamental movements are motions that are used as the foundation for
any movement activity such as sports, dance and perhaps in everyday life.
A. Locomotor Movement
is used to move the body from one place to another in any direction with
the feet as the moving base of support.
1. Walking
Each foot moves alternately, with one always in contact with the
ground or floor. The weight of the body is transferred from the
heel to the ball of the foot and then the toes for push-off.
2. Running
Is moving rapidly so that for a brief moment, both feet are off the
ground /floor. It varies from trotting (slow run) to sprinting (a fast
run for speed). It should be done with a slight body lean forward.
3. Leaping
Is an elongated step designed to cover distance or move over a
low obstacle. It is a spring from one foot, landing on the other.
4. Jumping
Taking off with one or both feet and landing on both feet. It can
be done in place or as a locomotor activity to cover ground.
5. Hopping
Propelling the body up and down on the same foot. The body lean,
the other foot, and the arms serve to balance the movement.
6. Sliding
Sliding is done on the balls or soles of the feet with the weight
shifted from the leading foot to the trailing foot. It is a one-count
movement, with the leading foot moving to the side and the other
foot following quickly.
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7. Skipping
Is a series of step-hops done with alternate feet. It is done on the
balls of the feet.
8. Galloping
A step-and-cut combination. One foot leads and the other is
brought toward it. There is more upward motion of the body.
B. Non- Locomotor Movement
is a movement that a person performs while remaining stationary.
Examples of Non-Locomotor Movement
(a) Bending incline the body downward from the vertical
(b) Bounce to cause to rebound
(c) Cringe to shrink; crouch
(d) Flick a light sharp jerky stroke
(e) Gesturing is a form of non-verbal communication in which visible bodily
actions communicate particular messages
(f) Grind to move with difficulty or friction
(g) Jerk a short quick, sharp sudden movement
(h) Pull to exert force as to draw
(i) Push to thrust forward, downward or outward
(j) Rising Ascending, sloping upward
(k) Rotating to move in a circle around an axis or center
(l) Slap to strike sharply with the open hand
(m) Stamp to pound or crush with, to beat with the bottom of the feet
(n) Stroke hit or strike someone
(o) Sway to swing gently from side to side
(p) Swing to move back and forth or from side to side while suspended or
on axis
(q) Thrust to push suddenly or violently in the specified direction
(r) Twirl to turn or cause to turn rapidly
(s) Twist to form into a bent, curling; to cause to rotate
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C. Locomotion that does not require the feet
 Crawl -transfer about three or more supports with the body in a basically
parallel orientation to the floor
 Roll- transfer by rotation of support about a non-vertical
D. Manipulative Movements - these movements may use a combination
of locomotor and non-locomotor movements; always done with an object being
controlled or manipulated.
Examples: Throwing Kicking Wand and Hoop Handling
Dribbling Juggling
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Self -Check Test:
Multiple Choice: Choose the correct answer from the choices given. Write your
1. It refers to a flow of energy, an impulse and falling into space.
A. fundamental B. movement C. body D. non- locomotor
2. What elements of movement refers to an instrument?
A. body B movement C. space D. fundamental
3. What type of body elements refers to explosive movements that involve
lifting the body weight from the floor?
A. balance B. shapes C. flight D. transfer
4. What non- locomotor movements refer to light or jerky movements?
A. bounce B. grind C. cringe D. flick
5. It is a combination of a skip and hop.
A. jump B. skip C. hop D. gallop
6. It means to shrink or crouch.
A. bounce B. flick C. cringe D. jerk
7. It refers to spring from one-foot landing on the samefoot.
A. hop B. jump C. skip D. leap
8. It is considered a series of steps.
A. run B. gallop C. leap D. walk
9. These movements may always do with controlled objects.
A. non-locomotor B. manipulative C. locomotor D. natural
10. Which of the following is not an example of shape?
A. twisted B. narrow C. curled D. line
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II. Analyzation: What fundamental movements are suited in the following
situations? Choose your answer in the choices given by writing the letter only.
You may use the letter more than once.
A. skip C. run E. gallop G. slide
B. walk D. leap F. jump H. hop
11. You are 15 mins late in your class.
12. A man won 50 million in the lotto.
13. Her mom bought her new sets of crayons.
14. The teacher assigns her to imitate the movement of a horse.
15. After she slid on the floor, she broke one of her bones.
16. The first fundamental movements learned by 11 months old.
17. She tried to reach out to the books on the shelves above her head.
18. Christina tried to cross the other side of the river by blocks of stones.
19. He is in the office when he got a phone call from the hospital.
20. Sheane’s mom allows her to attend Alex’s birthday.
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III. SPACE (The Canvas) – it is where the body can move. The spatial qualities of
movement related to moving in different directions and at different levels
are the focus.
A. Shape- is the strongest visual component in dance.
(a) Symmetry/Asymmetry: apply to motion and body positioning.
(1) Symmetrical Positions – are body shapes that are a mirror
image on each side of the center line of the body.
(2) Asymmetrical Positioning – are body shapes that are different
on each side of the center line of the body
B. Level- this defines the relationship of the body to the flooror
apparatus, whether low or high, or in between.
(a) Low level- consists of non-locomotor or locomotor movement on,
along and or close to the floor. Movements include:
Crawling Sitting Kneeling Rolling Lying
(b) Medium Level- consists of non-locomotor and locomotor movement
where there is contact with the floor by either the feet or hands.
The medium level is generally the most used in dance. Dancers will
combine level with shape, direction and pathway, to achieve intent
in the movement.
(c) High Level- the high level occurs where the body shape is vertically
long or where the body leaves the floor, these movements include:
Vertical Balances on rise
Jumps and Leaps
The high level may reinforce the idea of strength or power.
C. Relationship to self, other bodies/objects in space andthe
space at large.
(a) Personal Space (Kin Esphere)- the area around the individual body.
Personal space around the dancer will expand or contract asthe
shapes change.
(b) Active Space- occurs when the space itself comes alive, when it has
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meaning, or takes on symbolic suggestions of its own. Active space
is created by:
(1) Shape of the body
(2) Direction
(3) Focus
D. Path/Floor- is the pathway that the dancer takes when moving
through space. It is also an indicator of where the dancer has been.The
floor pattern can be any combination of:
(a) Straight in all directions
(b) Circular
(c) Wavy
(d) Zigzag
(e) Spiral
(f) Figure Eights
E. Direction- refers to the position and movement of the body or body
parts in relation to space, audience and other performers.
(a) Forward (e) Down
(b) Backward (f) Up
(c) Right (g) Diagonal
(d) Left (h) Sideways
F. Planes- are somewhat specific pathways defined as:
(1) Frontal Plane- is an imaginary line running from side toside.
The body is divided into front and back.
Examples:
• Moving the arms or legs from the anatomical position directly
to second.
• Tilting the body sideways.
• A lateral bend of the spine
(2) Sagittal Plane- is an imaginary line which is drawn lengthwise
through the body running from front to back. The body is divided
into right and left halves.
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Examples:
• Swinging or circling the arms and/or legs forward and
backward from the shoulder or hip joint.
• Bending and straightening the knee or elbow fromthe
anatomical position.
• Spinal roll- rolling the body forward, bending eachvertebrate
from the head to the hip, and then unrolling the spine.
(3) Transverse Plane- is a line drawn to the body, dividing the body
into top and bottom.
Examples:
• Turns
• Moving the arms from first position to second position
• Carrying the leg from an arabesque position to second.
G. Dynamics- has two main components;
(a) Release of energy- is dependent on the amount of force usedto
make movements occur.
Examples are:
◦ Sudden ◦ Sag ◦ Collapse ◦ Strong ◦ Jerky
◦ Slow ◦ Forceful ◦ Swing ◦ Sustained
Note: Varying the speed of energy throughout the movement will cause the dancer to
either speed up or slow down.
(b) Weight or Force- weight gives movement a sense of lightness or
heaviness.
Force is the intensity of the release of energy. It is on a continuum
from gentle to strong.
IV. TIME (The Organization) - time may also be organized in other ways
including clock time, sensed time, and event- sequence. Dancers may take
sight cues from each other to start the next phrase or use a shared
awareness of sensed time to end a dance.
A. Duration- the length of time from beginning to an end.
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B. Tempo/Speed- (what is fast or slow?) maybe described in musical
terms like adagio, moderato and allegro or in phrases like slow motion,
medium or moderate speed, and fast or high speed.
Examples:
Slow sustained movements are called adagio quick, light jumps are
called allegro.
C. Rhythm- the events (sound, movement, etc.) that occurwithin
duration.
(a) Metric Duration- subdivided into regular, even beats.
(b) Non-Metric Duration- subdivided into irregular “beats” (breath,
bio-rhythm, waves, wind).
D. Accent Emphasis- the accent is an emphasis. Accents in a piece of
music can occur anywhere in the bar. Most accents occur at the beginning
of the bar. Having the accent on a beat that is other than the first makes
the music interesting.
Accent is a strong movement, gesture or sound.
V. FORM (The Structure) - the plan, design or procedure for the theme and
arrangement of a piece of music.
A. Theme or Variation- a form in which an initial theme is established
and then is followed by variations. The variations are inversion fromthe
basic theme, without altering its essential character.
B. Canon/Fugue/Rondo
(a) Canon- a choreographic device or structure in which
movements introduced by one dancer are repeated exactly by
subsequent dancers in turn.
(b) Fugue- in music, polyphonic procedure involving a specified
number of voices in which a motive (subject) is exposed in each
voice, in an initial tonic/dominant relationship, then, developed by
contrapuntal means.
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Fugue (Fyug)- (also called monothematic) one subject composition
or having only one theme.
Example: Sarabanda - a baroque dance
Dance Movements: Allemande
Courante
Saraband
Bourree
Gigue (jig)
This dance movements have different meters, tempo, characteristic
and rhythmic features.
(c) Rondo- a choreographic structure, in which contrasting sections
alternate with recurring section. It uses a musical chorus or
refrains.
C. Suite- a group of dances, or a set of instrumental pieces drawn froma
longer opera, ballet or similar work.
A French word “Suite” means “A sequence” of things.
Example: Allemande Courante Sarabande Gigue
D. Narrative- is a story you write or tell someone. A narrative can be a
work of poetry, song, theater or dance. It meant to include the “whole
story”.
E. ABA- ABA form begins with an opening theme, leading into
contrasting theme that complements the first, and concluding with a
return to the opening theme. There is a cyclic feel, a sense of continuity,
order and inevitability.
F. Aleatoric “Chance” Composition- from the latin word Alea,meaning
“Dice” is music in which some element of the composition is left to
change, and/or some primary element of a composed works realization is
left to the determination of its performers.
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G. Various Devices
Examples:
a) Electronic Devices (Hammond Organ, Electric Guitar)
b) Loop Music (Samplers, Synthesizers, Sequencers)
c) Club Dance Music- technology base with the DJ playing an
important role in mixing and presenting tracks.
MOVEMENTS, RHYTHM AND PANTOMIMIC DRAMATIZATION
Pantomime (mime) - the telling of a story without words by means of bodily
movements, gestures and facial expressions.
-This is designed to entertain and to communicate.
“Telestes” - first known mime in 467 B.C.
“Maneros” - first origin of dancing, was a slow rhythmical song
accompanied by distinct movements and phases of a regular dance mime.
Pantomime is the oldest dance to date and actually maybe the original
dance form of all dances. Pantomime originated out of mime from Greece and
landed in Persians, Hebrews and Egyptians.
Masked Dancers (Pantomimi) - would use body movements and gestures.
Three Forms of Mime
(1) Rhythmic- when the mime is done to the rhythm of music
accompaniment (Bind).
(2) Non-rhythmic- when the mime is not constrained or bounded tothe
rhythm of the music accompaniment.
(3) Non-musical- where no music is used at all the mime.
Example:
•”The Robot” 1980’s (Rhythmic) - done by street dancers to disco music.
•”Moon Walk” (Non-Rhythmic) - Michael Jackson’s Choreography.
•”Wave” (Nonmusical) at a football game
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General Instruction: Pantomime using Fundamental Movements
Guidelines:
Suggested Activity/Group Activity or individual
1. Think of a certain situation that would tell a story as the mime
(Pantomime).
2. Interpret the mime through elaborate dance steps and gestures.
3. Rules: There must be a theme.
Locomotor and axial movements must be used.
Suitable music must be included.
The piece must be limited to 2-3 minutes.
No spoken or recorded words
Props not allowed.
Instrumental music can be used, sound effects are optional (but you
must provide your own equipment)
4. Video yourself and submit through email or canvas
Criteria/Rubric:
Story has logical development… ......................................25%
Clear gestures and facial expressions...............................25%
Appropriate music ...........................................................15%
Communicates ideas to audience through well-developed characters
……………………………………………………………35%
Total: 100%
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Rhythm Score
1. Story has logical development…………………………
25%
2. Clear gestures and facial expressions……………….
25%
3. Appropriate music………………………………………….
15%
4. Communicates ideas to audience through well-
developed characters………………………………………...
35%
Total
:
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DANCE FORMATIONS AND POSITIONS USED IN CHOREOGRAPHY
(Model: Sari-Saot Dance Troupe Members)
A. Formation- any dance in which a number of couples form a certain
arrangement, such as two facing line or a circle, and perform a series or
figures within or base on that arrangement.
B. Dance Position- the connection between you and your partner before you
can move as one, lightly and smoothly around the floor.
Dance Position and Connection between Partner
Open (Side-by-side)
Lady is at the right side of the man both facing the same direction
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Back-to-back- partners
facing away from each other.
Closed - standard dance
position-facing each
other, slightly offset to the
left, lower bodies’ together,
upper bodies apart, both
looking left. The man’s
right hand is just below her
left shoulder blade and her
left hand is on his upper
right arm. His left hand is
out to his left and about
shoulder level holding her
right hand.
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Facing - any position in
which the man and woman
are directly in front of each
other, front to front.
Escort- an open position
in which the woman’s left
arm is passed through the
crook of the man’s right
arm. Her forearm rests on
his forearm
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Varsovienne - partners face
the same direction, the man
behind the lady and to her left,
he holds her left hand in his
left slightly in front and above
her shoulder. His right arm
passes behind her shoulders,
and his right hand holds her
right, again to the side and
above her shoulder.
Half open- both facing
the same direction,
woman on man’s right
side, bodies turned half
toward each other, man’s
right palm on woman’s
back and woman’s left
hand at or near man’s
right shoulder. Free arms
maybe extended to side.
In left half open, she is on
his left side.
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Promenade - the crossed-
arm position in which dancers
stand side by side, facing the
same direction, with the right
hand held by partner’s right
and the left by partner’s left.
Cuddle - a close embrace,
men’s arms around her
waist or lower back and
woman’s arms on his
shoulders, neck, or face.
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Hand shake - a facing
position. Right hands or left
hands joined at waist level
Back Cross - side-by-side
- man to woman’s left, right
hands joined behind
woman’s back and left
hands joined behind man’s
back
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Dance Formation Used in Choreography
(Model: Sari-Saot Dance Troupe Members)
Column Formation Line Formation
Single Circle Formation Double Circle Facing Partner
Cross Formation Reverse L Formation
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X Formation V Formation
Double Diagonal Formation Alternate/ Window Formation
T Formation
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Self-check Test:
I. Identification: Identify what is referred to. Write your answer on thespace
before the number.
1. It refers to in which the body can move.
2. What is the strongest visual component in dance?
3. Examples are forward, backward, sideways and diagonal.
4. It defines as the amount of force used to make
movements occur.
5. It refers to the length of time from the beginning to the
end.
6. It refers to repeated same steps or movement but
different counting.
7. It can be a work of poetry, song, theater or dance.
8. It is known as the first mime.
9. A story telling without words by means of body
movements.
10. It is a form of mime where music is not necessary.
II. Multiple choice: Choose the correct answer from the choices given. Write your
11. What dance position refers to a lady is at the right side of the man
and both facing the same direction?
A. escort B. open side to side C. facing D. cuddle
12. Partners are both facing away from each other.
A. half-open B. back cross side to side C. back to back D. escort
13. A close embrace, men’s arm around waist level of a lady and woman’s
arms on the shoulder of a man.
A. varsovienne B. promenade C. closed ballroom D. cuddle
14. It is called monothematic.
A. fugue B. canon C. suite D. form
15. It is a French word means “a sequence”.
A. rondo B. sarabande C. suite D. courante
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Activity # 6 Application (detach this portion and submit to the teacher)
General Guidelines: Elements of Movements
Guidelines:
1. Create/compose a dance utilizing the elements of movements and
fundamental movements applying the formation using the following
songs/music.
1. Covid 19/CORONA 4. Typhoon Yolanda
2. Heal our Land 5. Bayan Ko
3. Anak 6. Volcanic Eruption
2.The dance piece must have striking or remarkable beginning and has
definite ending.
3.Create original dance piece, video yourself and submit through emailor
in canvas.
Criteria/Rubric:
Content - Artistic interpretation of values as projection
through movements ………………………………………. 40%
Execution - Creativity, rhythm/timing degree of difficulty
and continuity of dance movements ………………… 40%
Presentation - Exhibition of confidence, attentiveness,
enthusiasm and expressions.....................................20%
TOTAL 100%
Dance Interpretation /Elements Score
Content .............................................................40%
Execution .......................................................... 40%
Presentation........................................................20%
TOTAL
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UNIT III
INTRODUCTION TO DANCE
1. defined the meaning of dance;
2. discussed the history, characteristics and significance of each typeof
dances;
3. explained the fitness value of dance and its health benefits;
4. created original dance piece through adapted movements from
different countries.
Values: Concern, Appreciation, Patience, Attentiveness
Thought: Praise the Lord with harp: sing unto Him with psaltery
and an instrument of ten strings. Sing unto him a new song:
Play skillfully with a loud noise.
—Psalm 33:2-3
C. Course Content
INTRODUCTION
Dance, like language, is found in all human societies. Dance has power. The
universality of dance is easily explained. The human body itself is its vehicle. All
societies acknowledge its power and harness it according to their fundamental
values, aesthetic, and mores. People have danced their way through history. In
every ancient culture that has left records in words or pictures, dance is an
expression of religious worship. It is used to express national and cultural identity,
with a focus on clashes between societies. Dance is an expression of cultural mores
with a focus on gender-specific behavior. Dance is a classic art. Dance is a medium
of cultural fusion. Dance is the creation of individual artist. Dance is the indicator
of who we are today or where we are going with the focus on electric media.
Dance today is not simply cross-cultural but pan-cultural and planetary.
Dances are borrowed, degraded, adapted and transformed at rates
unparallel in the past, with consequences that cannot be predicted. Dances
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changes with everybody that dances, It changes with the time, the country, even
the weather. It does not have one history but many. (Jonas, Grauer pp 9-11, 1992)
What is Dance?
steps.
1. It is to move rhythmically to music, typically following a set sequence of
2. It is a series of movements that match the speed and rhythms of a
piece of music.
3. It is an act of stepping or moving through a series ofmovements
usually in time to music.
4. It is to move one’s feet or body, or both, rhythmically in a pattern of
steps, especially to the accompaniment of music.
5. It is to move your body in a way that goes with the rhythm and style of
music that is being played; to move with and guide (someone) as music plays to
dance with (someone).
- Merriam Webster
6. It is a performance art form consisting of purposefully selected
sequences of human movement. This movement has aesthetic and symbolic
value, and is acknowledged as dance by performers and observers within a
particular culture. Dance can be categorized and described by its choreography,
by it’s his historical period or place of origin.
“Dancing is one of the best self-expressions that involves art”.
-Britney Spears-
“Is an intense fitness program, not just something nice to watch”.
-Jamie King-
(celebrity/choreographer&creator of the Nike Rockstar workout)
“Dancing is one of the most effective medium of self-expression. One
can effectively express his thoughts, ideas, feelings and even pent-up
emotions through dancing. One can convey important messages of
love, fear, joy and even grief through dance”.
Dr. Milagros M. Aguinaldo, 2002
Ballroom Dancing a New Lifestyle
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BENEFITS OF DANCING
1. Fitness - dancing is one of the versatile and satisfying recreation or a
form of exercise to develop fitness.
(a) Improved condition of the heart and lungs.
(b) Increase muscular strength, endurance and motor fitness.
(c) Increased aerobic fitness.
(d) Improved muscle tone and strength.
(e) Proper weight management.
(f) Development of stronger bones and reduced risk of osteoporosis.
2. Joy and satisfaction- the physical well-being of a person who
participates is improved.
(a) Better social skills.
(b) Increased physical confidence.
3. Grace and coordination- it improves response to rhythmic patterns.
Constant participation in dance activities will improve one’s neuromuscular
coordination and help one’s acquisition of grace.
(a) Improved mental functioning.
(b) Improved balance and spatial awareness.
4. Self-expression- it develops poise and good posture
(a) Greater self-confidence and self-esteem.
5. Relieved stress.
Tips for dancing
1. Do warm-up stretches before you begin a dance session.
2. Drink plenty of water before, during and after dancing.
3. Wear an appropriate attire.
4. Check with your dance instructor whether you are holding thecorrect
form or not.
5. Perform regular leg, strengthening exercises.
6. Move as fluidly and gracefully as you can.
7. Cool down after a dance session, including stretching.
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Types of dance and its definitions
1. Fad Dance- are also called dance crazes which are characterized by a
short burst of popularity.
Examples:
Renaissance Period- Minuet, allemande, schottische mazurka, waltz
1910-1920’s- Jitterbug, Charleston, meringue, samba, mambo
1940’s- jazz
1960’s- Bossa nova craze
1970’s- Mashed potato, twist, watusi
1980’s- Walk like an Egyptian
1990’s- Macarena
Note: Fad dance is spurred by modern communication like printed media, radio,
movies, television, and internet.
2. Novelty dance- a silly fun dance with a certain theme. This dance isfun
for the audience and the performers. This includes quirky and unusual
steps, or having unusual name.
Examples:
(1909) The GRIZZLY BEAR, (1958) The Ostrich, The Fly (1930-
1940’s) The Peabody, The Stroll, The Freddie
3. Traditional dance- a dance that evolved naturally from earlier forms, a
traditional dance of a given country native to a specific people.
“Traditional” is more frequently used when the emphasis is on the cultural
roots of the dance. A traditional dance will therefore have arisen from a
people’s cultural traditions.
Examples:
(a) JarabeTapatio (Mexican hat dance)- was named the national dance
of Mexico in 1924.
(b) The Maglalatik (Philippines)- danced in the religious procession
during the fiesta of Biñan as an offering to San Isidro De Labrador,
the Patron Saint of Farmers.
(c) Russian Cossacks (Russia)- performed during the annualMancky
festival.
(d) Bedouins Dance (Yemen)- danced during the Sanaa Summer
Festival.
(e) Irish Step Dance (Ireland)
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(f) Horn Dance (England)
(g) Whirling Dervishes or Sufiwhirling (Turkey)
(h) Legong (Bali, Indonesia)
(i) Dunhuang Dance (China)- a danced influenced by Buddhism and
the images of Buddha; originated from the province of Gansu.
(j) Joget (Malaysia)- mostly performed during weddings, social and
official functions.
(k) Odori (Japan)- originated in the Edo period. Odori grew out of
kabuki drama and is more oriented toward male sentiments.
(l) Mai- traditionally performed in Japanese rooms instead of on the
stage. This was developed in the 17th
century Tokugawa period. It
is heavily influenced by the elegance and sophistication.
(m) Kuchipudi (India)-the most popular traditional dance form in south
India performed with a violin, flute and the tamburainstruments.
(n) Hula (Hawaii)-a dance form accompanied by chant (Oli) or song
(Mele). It was developed in the Hawaiian island by thePolynesians
who originally settled there. The hula dramatizes or portrays the
words of the Oli or Mele in a visual dance form.
Traditional dance
A. Folk Dance- a cultural art form handed down from generationto
generation.
It communicates the customs, beliefs, rituals and occupation of a region
or country. Folk dancing belongs to and emenates from the people.
Examples:
(a) Pandanggo sa Ilaw (Philippines) - derived from the Spanish word”
fandango”, this dance is designed to show off the grace, balance,
and dexterity of the performers.
(b) La Jota (Spain)- a Spanish folk dance originating in Aragon inthe
north of Spain.
(c) Tarantella (Italy)- a dance for women only. A couple dance tellinga
story of love in a mime.
(d) Clogging (USA)- originated from square dance in Asheville, North
Carolina’s mountain dance and folk festival (1928), organized by
Bascom Lamar Lunsford in the Appalachian region.
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(e) Milonga (Argentina)- the root of this dance go deep into the
Argentinean folklore. It is a dance which could be said to be a
variation of the Tango. Today, it is everywhere in the country- from
club to streets.
(f) Gumboot Dance (South Africa) - is the dance that is performed by
dancers wearing Wellingtons (a type of boot). This dance was
originated from the black miners and was their form of
entertainment. This is a highly energetic type of dance.
(g) Halay (Turkey)- is a folk dance coming from Turkey’s Eastern,
South-Eastern and central Anatolia regions. It is extremelypopular
and engaging dance of the country which is accompanied by
equally rich music and instruments.
(h) Baladi (Egypt)- it is a form of belly dancing. Baladi is typically a
style that evolved from the tribal areas of the country. It has a
certain mystical and romantic allure. This is very popular inEgypt.
(i) Garba (India)- it is a Gujarati folk dance which isperformed
predominantly during festival of Navaratri.
(j) Casino (Cuba)- it is part of the Cuban’s tradition and social life.
Casino is the Cuban style salsa which has actually achieved great
popularity in many pockets of the world. The grooves, the steps
and the music make this an entertaining dance.
(k) Samba (Brazil)- It is a fun dance and is highly appreciated all
around the world. There are different variations of samba basedon
regions but the basic steps are similar.
B. Ethnic and Tribal Dance - any dance form which can be identified as
originating with an ethnic culture and expressing the movement
aesthetics of that culture. It would cover all ethnic cultures, whether
European, American, African, Polynesian, Asian, and Middle Eastern.
Examples:
(a) Dugso (Bukidnon, Philippines)- a ritual dance
(b) Talip (Ifugao, Philippines)- a courtship dance
4. National Dance- is a traditional folk art which is popularly dance in most
parts of a specific country and the common dance steps is widely used by the
common people in that particular place or country.
Examples:
(a) Cariñosa (Philippines)
(b) Landler (Austria)
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(c) Vallenato and Cumbia (Colombia)
(d) Canican (France)
(e) Meringue (Haiti)
(f) Czardas (Hungary)
(g) Kathak (India)
(h) Flamenco (Spain)
(i) English Country Dance (England)
(j) Scottish Island Dance (Scotland)
5. Social Dance - a dance designed to bring people together for group
enjoyment and participation and is usually accompanied by popular music.
(a) Ballroom Dance- is a set of partner dances, which are enjoyed both
socially and competitively around the world, because of its performance
and entertainment aspects.
Examples:
Charleston (1920’s)
Waltz (1960) - ballroom dancing has been a passion in Vienna for over
two hundred years. At the annual Viennese opera ball, the opera
house fills with come 6,000 party goers, at the 1960 ball, waltzers
take the floor.
Samba (1935) - the samba schools were recognized as official carnival
organization whatever the beat, the music and dance of Brazilian
carnival blend African and European elements in a powerful
cultural synthesis that virtually defines Brazilian identity.
Other Dances:
Salsa Paso Doble Foxtrot Cha Cha
Tango Rumba Jive Quick Step
Samba Swing
(b) Recreational Dance- includes dance mixers, square dancing and couple
dances.
(c) Popular Dance- a highly recognized as a dance form in television and
other dance centers like houses and social gatherings.
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Fresh dance styles came from the streets and clubs of the U.S., inspired
by disco, funk, and hip-hop music.
Made popular by stars such as:
Michael Jackson- from funk to musical: “Moon Walk” (1988) - uses
technique of gliding
Madonna- Vogue: Vogueing (1990) – an international dance craze
“Hung Up”(2005); krumping became globally popular.
Psy (2012) - “Gangnam Style”
Brandon Beal (2014) – “Twerk it like Miley”
Silento’ (2015) – “Whip/Naenae”
6. Theatrical Dance- a dance performed on stage to entertain spectators.
(a) Ballet- a dance of supreme standards learned from an academe. It is a
highly theatre art today which began in Italy, was developed in France
and was perfected in Russia.
Beautiful ballet is thrilling to watch and takes extraordinary dedication
to learn.
● Classical Ballet- dances with standardized rules and restrictions.
Classical ballets with their elegant corps of dancers transport the
audience to magical worlds. Ballet developed from a simple court
entertainment to amuse kings into a thrilling spectacle for everyoneto
enjoy.
(b) Modern Dance- the highest form of dance for the purposeof
entertainment.
It is the end product of movement exploration and improvisation as a
dancer or choreographer expresses his/her feelings, ideas and
interpretation.
(c) Contemporary Dance- (not traditional), a contemporaryinterpretation
of steps and designs of folk melodies and rhythm.
(d) Jazz- a combination of ballet and modern dance. It is a classification
shared by a broad range of dance styles. Before the 1950’s, Jazz dance
referred to dance styles that originated from African American
vernacular dance.
(e) Creative Dance- it is a form of dance that provides the dancers for
personal expressions. This is to communicate through movement and
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the dancer draws on their own inner resources to create and express
through their own unique movement. It aims to continually expand
and extend movement range by drawing inspiration from a range of
external stimuli including music, props, emotions, etc.
e.g. “Wings of Love”- performed by a pair (Jan. 24, 2016 PGT ABS-
CBN)
(f) Character Dance- it aims to interpret a specific folk tradition of a
particular country. The movements used to be less stylized than in
classical ballet, allowing greater individual expression anddiversity.
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General Instruction: Different Dances
Guidelines:
Virtual Travel through
Web
(Using High End Gadgets)
1. Divide the class into 6 groups or solo.
2. Watch any dance from different countries.
3. The cultural dance you select could be:
(a) Traditional Dance
(b) Folk Dance
(c) Social Dance
(d) A dance that provides entertainment
(e) A dance that is considered an art
4. Learn several movements, poses, movement sequence, etc.
5. Be ready to present/perform some distinct moves, poses, movement
sequence of the hands and feet. The dance must be in 2-3 minutes.
6. Video yourself and submit through email or canvas.
Example: Tarantella- (Taranto, Italy)
-1500’s, a strange ritual develops when people were bitten by the
poisonous tarantella spider.
-The dance has retained this energetic intensity
-Distinct moves/steps
Skips Clapping hands with Tambourines Hops
Criteria/Rubric:
Choreography.............................................................. 40%
Execution of movements, interpretation and originality
Performance................................................................ 40%
Mastery, difficulty of movements and expression
Music/ Rhythm..............................................................20%
Choice of music and timing
TOTAL: 100%
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Virtual Travel Score
Choreography..............................................................40%
Performance .............................................................. 40%
Music and Rhythm ...................................................... 20%
TOTAL
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Self-check Test:
Discuss the benefits of dance as;
1. Fitness
2. Self- expression
3. Stress reliever
4. Satisfaction
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Name: Class Time: Score:
Self- check Test:
A. Identify the types of dances below. Write your answers on the blanks.
1. A dance crazes which are characterized by a short burst of
popularity.
2. A silly fun dance with a certain theme.
3. A cultural art form handed down from generation to
generation.
4. Any dance form which can be identified as originating with an
ethnic culture and expressing the movement aesthetics of that
culture.
5. A traditional folk art which is popularly dance in most parts of
a specific country and the common dance steps are widely used
by the common people in that particular place or country.
6. A dance designed to bring people together for group
enjoyment and participation and are usually accompanied by
popular music.
7. A combination of ballet and modern dance.
8. A ballroom dancing has been a passion in Vienna for over two
hundred years.
9. It includes dance mixers, square dancing and couple
dances.
10. It aims to interpret a specific folk tradition of a particular
country.
ESSAY: 10 Points
Define dance in your own words.
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General Instruction: Create a 3-minute dance exercise.
Guidelines:
1. Create a dance exercise, you may choose any of the following(Traditional
Dance, Folk Dance, Ethnic Tribal Dance, National Dance)
2. The dance steps maybe in hip hop or Zumba form but the music must be
taken from any of the following (Traditional Dance music, Folk Dance
music, Ethnic Tribal Dance music, or National Dance music) (for your
guidance and reference you may see attached links, sent by yourteacher)
3. The duration of the video must not exceed 4 minutes.
4. No need to edit the video.
5. You may use props and costume as well as the participation of other
persons but strict observance of minimum health standard is amust.
6. Submit it in MP4 format.
Rubric/Criteria:
Content ...............................................................................40%
Artistic interpretation of values as projection through movements
Execution.............................................................................40%
Creativity and precision of movements
Presentation........................................................................ 20%
Exhibition of confidence, enthusiasm and expressions.
Total: 100 %
Name: Class Time Score
Criteria Score
Content...............................................................40%
Execution........................................................... 40%
Presentation… .....................................................20%
Total
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UNIT IV
DANCE TECHNIQUES AND DANCE SECRETS
A. Desired Learning Outcome:
1. explained the importance of rhythm in dance;
2. discussed the importance of various exercises as part of the warm-up
and cool-down-activity in dancing;
3. created simple dance exercises as basis for any dance activities.
Values: Perseverance, persistence, self-confidence, appreciation
Thought: Nothing in the world can take the place of persistence.
Talents will not; nothing is more common than unsuccessful
men with talent. Genius will not; unrewarded genius is almost
a proverb. Education will not; the world is full of educated
derelicts. Persistence and determination alone are omnipotent.
Calvin Coolidge
C. Course Content:
Dancing is a physical activity. The better shape you’re in, the easier dancing
will be. All body motions in dancing are governed entirely by the movement of
your feet and the placement of your weight. Movement of the feet and the
placement of the weight are two factors that should be concentrated in order to
acquire the correct dancing appearance. Basic things like aerobic fitness, flexibility,
and some endurance in your legs and torso help.
HOW TO BECOME A DANCER
1. You have to move your body in time to the beat of the music.
2. It takes practice.
3. Dance with experienced dancers.
4. Don’t panic, think smooth and love it.
5. Avoid complaining, making excuses and negativity
6. Always work on improving fitness.
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THE SECRETS OF LEADING (MAN)
In dancing the girls expect their partners to set the pace and to choose the
steps. The man should be certain with his step pattern so he can move with
assurance and with confidence.
POINTERS FOR A GOOD LEADER
1. At the beginning of each dance, position yourself and your partner. Listen
to the music and make sure of your timing before starting to dance.
2. When dancing with a new partner, start with simple steps to acquaint
yourselves with each own steps in dancing.
3. Have a mental plan of the succession of steps. Each step should be ledat
least twice in succession. It gives you time to plan a more graceful sequence of
step pattern. Avoid making rush, quick and jerky step.
4. Be definite with your hand commands as leading in instructions andyour
partner will follow correctly.
5. Hold your partner in front but a bit to your right, so you can have a clear
view of your way as you dance by.
6. Hold your partner’s arm lightly but firmly with your left arm in an easy
graceful curve. Extend both arms to guide your way to the dance floor andavoid
collision with other people.
7. Hold your partner firmly enough to guide her. Place your hand ata
comfortable height at the middle of her back.
THE SECRETS OF FOLLOWING (WOMAN)
A woman who knows her own part in dance floor is fun to have as a partner.
She can step out rhythmically and exactly at the same time as her partner. The
more steps she knows, the more freedom and spontaneity she can show in her
dancing.
POINTERS FOR A GOOD FOLLOWER
1. It will be easier to follow and dance your own part if you also know the
man’s part.
2. Learn to match your steps with your partner. Learn to dance with a short
or tall partner or one who takes small steps and one who uses longstrides.
3. Learn to adopt the correct dance position. Always make a step with the
big toes on the lead. When the toe leading your step becomes long and free
moving and your foot looks graceful.
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4. Practice to balance your weight. To have good balance while dancing,
take a firm hold with your left hand, just at the back of man’s right shoulder.
5. A woman who knows the man’s part in dancing can follow twice aslightly
and twice as well.
HOW TO EXUDE CHARM AND PERSONALITY IN CHARMING
Dancing is an expression of one’s personality. Make your dancing
personality colorful and attractive. The purpose of the trick is to give accent to
your dancing. Accent the beat and rhythm of the music. Accenting the dance steps
make dancing more fun, exciting and attractive to on lookers.
Example of Various Dancing Personalities:
1. Dancers “who love themselves” – point their toes too gracefullyand
taking really good care of their ten little toesies.
2. “Cuddly couples”– fun to watch. The never seem to outgrow the “urge”.
3. “Bully Type” – meanders around the floor, pushing his partner into
everything that comes his way. He swings his partner around fast furiously,with
complete disregard for her clothes, hair and general well- being.
4. “Casual Dancers” – the girl shows that sloppy “I don’t care” postureand
the man just shuffle along.
5. The “Possessive Man” – cups his hands tightly on his partner’s back. His
posture is crouching as though ready for a springing pounce.
6. The “Jealous Girl” – clings to her partner’s arm like glue, looks up in his
eyes and is always tremendously attentive.
7. “Timid Souls” – could almost sink to the floor. The girl takes uncertain
steps, droops their arms and gets an “until-death-do-us-part-grip” on their
partner’s left thumb. The masculine variety has a low- slung elbow, an apologetic
manner, and a “handog” expression. He takes faltering steps and barely touches
partner.
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Name: Class Time Score
Self -Check Test:
A. Write the correct various dancing personalities being described in each of the
following. Write your answers on the space provided.
1. Fun to watch. The never seem to outgrow the “urge”.
2. Meanders around the floor, pushing his partner into
everything that comes his way.
3. The girl shows that sloppy “I don’t care” posture and the
man just shuffles along.
4. Cups his hands tightly on his partner’s back. His
posture is crouching as though ready for a springing pounce.
5. Clings to her partner’s arm like glue, looks up in his eyes
and is always tremendously attentive.
B. Essay: (10 points)
What are the steps on becoming a good dancer?
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THE IMPORTANCE OF A WARM-UP AND A COOL-DOWN IN DANCE
by Laura Stanyer
A Warm –up- prepares the body for physical exertion
It aims to:
1. Raise internal body by 1-2 degrees.
2. Increase heart rate and blood flow to the muscles.
3. Mobilize the body to increase the synovial fluid.
4. Raise speed of transmission of nerve impulses.
5. Prepare us to be mentally and physically ready for dance.
A Cool down is important after each practice. The body must make a
number of adaptations during the recovery period before it returns to normal.
It aims to:
1. Gradually reduce the intensity of activity for 10 minutes.
2. Remobilize joints to help flush out the waste products (lactic acid).
3. Perform static stretches of major muscle groups held for 15 seconds
normally done on the floor.
BENEFITS OF COOL DOWN IN DANCE PRACTICE
1. It decreases body temperature and remove waste products.
2. It prevents symptoms such as light- headedness and dizziness caused by
the pooling venous blood at the extremities.
3. It prevents muscle soreness and delayed onset of musclesoreness
(DOMS).
4. It promotes relaxation.
EXERCISES TO IMPROVE DANCING -Stretching-
A. FOR THE HAMSTRING AND INCREASING FLEXIBILITY
a) Lay down, one knee up; make sure your hips stay planted on the floor.
b) Slowly and carefully pull your legs in the air, holding your legs
completely straight, toes pointed.
c) Hold your leg behind your thigh, or your shin, which takes some skillin
flexibility.
d) Do not hold your leg with your hands behind knee, as this causes an
injury to the hamstring.
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e) Hold your leg there for two sets of 8 counts, not bending your kneeat
all.
f) Slowly pull your leg back in, holding the knee for 8 counts. Withthat
same leg, hold your leg out beside you, like you are doing a sort of
straddle split with one leg. Again, do not hold behind your knee.
g) Pull down your leg as far as it will go. Hold this position for 8counts,
and slowly bring your leg back in for 4 counts.
B. FOR THE SHOULDERS AND ABDOMINALS (for increased flexibility, as
used).
a) Sit in butterfly position (cross), with legs held attitude (bent), your feet
facing each other.
b) Slowly, holding your feet, drop your head touching your feet, andhold
for two sets of 8 counts.
c) Rise up, contract your back, drop your head again, and hold.
d) Do this stretch 5 times, contracting your back before you drop.This
stretch should only take 1 minute or less to perform.
C. FOR THE ARM MUSCLES (for increased flexibility, as well)
a) Stand up in ballet position.
b) With both arms arched above you, bend down, letting your armsbrush
against your toes.
c) Hold this position for two sets of 8 counts.
d) Then, in second position, reach down, putting your hands on the floor
at the middle.
e) Hold for a few seconds.
f) After that, bend your arm, putting it behind your back.
g) Using your free arm, hold your elbow and pull it to the direction of the
other side (for example, the left arm is bent behind your back, theright
hand pulling to the right.)
(Repeat with the other arm. This will take 3 minutes)
D. FOR LOOSENING THE NECK AND CLEARING YOUR HEAD/MIND
a) Be in 2nd
position with your hands. Down by your sides.
b) Slowly, to the beat of your music, bend (side to side) your head to
each beat. Do this for 8 counts.
c) Start nodding to the beat (up and down) for 8 counts.
d) Roll your head slowly, feeling the occasional pop or two. Roll theother
way. This should take 2-3 minutes.
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E. FOR THE LEGS (WORKING ON YOUR SPLITS)
a) Get on one knee, and slowly straighten both of your legs.
b) With one hand on either side, slowly and carefully slide all theway
down, as far as you can go.
c) Repeat this procedure with the other leg.
d) For a straddle split, sit in your wide straddle and lift up. Make sure your
toes are pointed the whole time.
ROCK YOUR BODY WARM UP
(Move to the beat of the music)
A. CATCH STEP
Goal: Warm-up and learn this “Home Base” position
Starting Position: Face forward with your legs slightly more than shoulder-
width apart and knees slightly bent.
Time to Move: Curl your arms in front of your torso, and leaning slightly to
the left, rock your torso twice to the left, then twice to the right, as
you pump your arms up and down keeping them bent at the elbow.
How Many Times? Eight times (left and right is one set) return to this step
between each of the following movements, maintaining your own
movement to the music so the warm-up routine becomes one fluid
dance.
B. SHOULDER ROLLS
Goal: Warm up the shoulder and neck area.
Starting Position: Face front, legs slightly more than shoulder – width apart
knees slightly bent.
Time to Move: Slowly roll your shoulders forward then up, then back in one
smooth, circular motion in time to the music.
How Many Times? 16 times
C. Walk and Shoulder Dips
Goal: Begin moving your whole body while warming up your shoulders.
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Starting Position: Face forward, feet together.
Time to Move: Walk forward starting on the leftfoot.
• Left foot, right foot, left foot,right.
• Then tap your left foot forward while dipping your left shoulder down
toward the right foot.
• Step together. Repeat on the right side
• Now travel backward starting with your left foot for 4 counts. Repeat the
left and right foot tapping and shoulder dipping.
How many times? Complete the full movement forward and backward four
times.
D. SOUL TRAIN
Goal: get the blood circulating in your legs and increase your heart rate so
you’re ready to dance!
Starting Position: Face forward
Time to Move: keep your center of gravity low and your knees slightly bent
as you step to the side with your left foot, then step behind with your
right foot, then out again with your left in a “Move –Your- Groove”
grapevine, swinging your arms opposite the movement of your feet.
● Now tap your right foot together with your left, but don’t, put your
weight on your right foot because you’ll be stepping out on thatfoot
next.
● Repeat the movement moving to right side, starting with your right foot.
● Repeat to the left
How Many Times? Perform the full sequence (grapevine, stepping out left,
right) twice.
E. GUITAR MOVE
Goal: Warm up your entire torso and arm. Do not rush this movement, do it
slowly and steadily.
Starting Position: Stand diagonally facing right, feet apart.
Time to Move: turn your left knee slightly inward while extending your right
arm out and up as if you’re holding a giant guitar.
- swing your left arm down across your body in a giant circular motion,
then return your arm to the starting position. Your right arm never
moves.
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- repeat on the right side
How many Times? 8 sets (one set is right and left)
F. TORSO STRETCH
Goal: To stretch your torso.
Starting Position: face forward, legs slightly bent and feet shoulder- width
apart, with your hand on your legs slightly above your knees.
Time to Move: moving to the rhythm, move your left shoulder down toward
your right knee, then up, repeating the full down/up /down/up
movement 8 times
● Now lean your right shoulder down toward your left knee, then up,
again 8 times. That’s one full repetition.
How many Times?
8 to the right
8 to the left
4 to the right
4 to the left
2 to the right
2 to the left
Then slowly roll up back to starting position.
HOW IMPORTANT IS COOL DOWN?
Many people dismiss the cool down as a waste of time, or simply
unimportant. In reality the cool down is just as important as the warmth- up.
The main aim of the cool down is to promote recovery and return the body to a
pre exercise, or pre work out level.
A. Arm Stretch (Tricep)
a) Step out with you right foot, take a deep breath and swing both arms
above your head. Slowly bend your left elbow and use your right hand
to gently pull your left arm down for a good stretch. Hold the stretch for
16 beats.
b) Repeat on the left side, this time stretching your right arm.
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B. Arm Cross (Deltoid)
a) Use your right hand to pull your left arm by the elbow across yourchest
at shoulder-level.
b) Repeat on the other side. Hold each stretch for 16 beats.
c) Release and drop your arms and walk in a circle to the left for eight beats
(L-R, L-R, L-R).
d) At the end of the circle walk, tap your right foot close to your left and
end up with your body facing to the left so you’re ready for transition to
the next step.
C. Cross- Step – Cross Open
a) Now facing front, cross your right leg forward over your left, leaning
forward with your left arm across your chest and your right arm behind
you.
b) Then step out with your left foot, your left arm across your chestand
right arm behind. Travel forward with 16 beats.
c) Starting with the right foot, march backward for 8 beats.
d) Complete for sequences (the entire sequence begins with crossingyour
right foot over your left and ends with the background march).
e) Finish facing forward and step together. Take a deep breath, dropone
arm, leaving the other above your head and take a bow.
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Activity #12 (to be submitted to the teacher)
Self-Check Test:
A. Give at least 5 benefits of Dancing, Cool-down and Warm-up
Dancing Cool-down Warm-up
1.
2.
3.
4.
5.
B. What are the steps or exercises to improve dancing?
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Name: Class Time Date
General Instruction: Dance Exercises
Guidelines:
1. Interpret the warm up and cooldownexercises in your book, follow the
instructions given.
2. Choose any song of your choice for 4-5 minutes, you can remix more than 2-
5 songs.
3. Wear proper PE attire, video yourself and submit the link through canvasto
your teacher.
Criteria/Rubric:
1. Execution...................................................................................40%
Correct interpretation of the warm-up and cool down exercises and effort
2. Mastery......................................................................................40%
Projection, creativity, confidence
3. Music and Timing…......................................................................20%
Choice of music/song, timing
TOTAL: 100%
Warm -up and Cooldown Exercises Score
Execution.....................................................................40%
Mastery........................................................................40%
Music and Timing…………………………………………………….
20%
TOTAL
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UNIT V
DANCE AS AN EXPRESSION
(Philippine Folk Dance and Foreign Dances)
At the end of the term, the students must have:
1. discussed briefly the background of the dances in terms of their country
of origin, costumes, formation, counting and step patterns used;
2. showed appreciation through learning the basic dance steps ofeach
genre in this unit;
3. created simple choreographed dance piece of Tango, Zumba,Samba,
Belly Dance, and Bollywood Dance (all the dances in the unit), and
4.applied different dance terms and step pattern of Philippine folkdance
through simple dance choreography.
Values: Cooperation, consideration, appreciation, patience, respect,
fulfillment.
Thought: “Live your truth. Express your love Share your enthusiasm
Take action towards your dream. Walk your talk. Dance and sing
to your music, Embrace your blessings. Make today worth
remembering”
– Steve Maraboli on Reflections of Life and the Human Experience
C. Course Content:
Dance as an Expression: Dance is a type of art that generally involves
movement of the body, often rhythmic and to music. It is performed in many
cultures as a form of emotional expression, social interaction or exercise.
I. Philippine Folk Dances
Dance is one art form that Filipinos excel in. It is one great source of the
country’s cultural tradition. Dance was used to please or appease the gods; to
communicate with the mighty powers that dominated the realm of our
forefathers. The dance of ancient times reflected the heart and soul of humanity.
Filipinos pose natural grace and dancing. It is ingrained in most of them
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FUNDAMENTAL ARMS AND FEET POSITION
Fundamental Position of the Feet
First Position
Heels close together, toes apart with an angle of about 45 degrees.
Second Position
Feet apart sideward of about a pace distance.
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Third Position
Heel of one foot close (R/L) to in-step of other foot.
Fourth Position
One foot (R/L) in front of other foot of a pace distance.
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Fifth Position
Heel of the R/L foot touches the toes of the R/L foot in a rear position.
FUNDAMENTAL POSITION OF THE ARM
First Postion
Both arms raised in front of chest with the finger tips about an inch apart.
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Seond Position
Both raised sideward with a graceful curve at shoulder level.
Third Position
One arm (R/L) raised in front as in 2nd position; the other arm raised upward
(R/L)
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Fourth Position
One arm (R/L) raised in front as in 1st position; the other arm raised overhead
(R/L).
Fifth Position
Both arms raised overhead
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General Instruction: Execution of the Fundamental Arms and Feet Position
Guidelines:
1. Video yourself doing the Fundamental Arms, Feet Position anda
combination of feet and arms.
3. Submit the link in canvas.
Criteria /Rubric:
Content ..................................................................................40%
Correct mechanics
Execution............................................................................... 40%
Correct execution
Presentation........................................................................... 20%
Exhibition of confidence, enthusiasm and expressions
Total: 100%
Name: Class Time Date
Warm -up and Cooldown Exercises Score
Execution.....................................................................40%
Mastery........................................................................40%
Music and Timing…………………………………………………….
20%
TOTAL
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DANCE TERMS COMMON TO PHILIPPINE FOLK DANCES
1. Abrasete - Girl at the right side, holds R arm of partner with her L hand,
free hands down at the sides. This term is a Spanish origin and is used
in Rigodon and in other dance.
2. Arms in Lateral Position - Both arms are at one side, eithersideward
right or left. This may be at done at shoulder, chest, or waist level.
3. Arms in Reverse “T” - Arms are side horizontal, elbows bent at right
angles, forearms parallel to head, palms forward or facing inward, fists
loosely closed.
4. Bilao - To turn palms of hands up and down alternately, hands at waist
level in front, elbows close to waist.
5. Brush - Weight on one foot, hit the floor with the ball or heel of the
other foot (the free foot) after which that foot is lifted from the floor to
any direction.
6. Cabeceras - When dancers are in square formation, the couples
occupying the width of the hall are called “cabeceras” or headcouples.
This is of Spanish origin.
7. Costados - When dancers are in square formation, the couples
occupying the length of the hall are called “costados” or side pairs. This
is of Spanish origin.
8. Clockwise - Like the motion of the hands of a clock. R shoulders toward
the center of an imaginary circle. When facing center, the movement is
toward the left.
9. Counterclockwise - The reverse direction of clockwise. L shoulder is
toward the center of an imaginary circle. When facing center, the
movement is toward the right.
10. Crossed Arms - Partners are facing each other or standing side by
side, girl at the right of boy. They join their L and R hands together;
either R over L or L over R hands.
11. Cut - To displace quickly one foot with the other, thus completely
taking off the weight of the body from the displaced foot.
12. Do-si-do (“Dos-A-Dos”) - The vis-à-vis (opposites) both advance
forward, pass each other’s right or left side, step across to the right or
left, move backward without turning around pass each other’s left or
right side to proper places. This is a foreign origin and is used inmany
Philippine dances.
13. Draw - To pull one foot along the floor close to the other which hasthe
weight of the body. The weight may or may not be transferred.
14. Free Foot - The foot not bearing the weight of the body.
15. Free Hand - The hand not placed anywhere or not doing anything.
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16. Hands on waist - Place hands on waist line (at the smallest part ofthe
trunk). Knuckles in, fingers pointing in rear.
17. Hayon- hayon - To place one forearm I front and the other at the
back of the waist. This is a Visayan term.
18. Hop - A spring from one-foot landing on the same foot in place orin
any direction. The other foot may be raised in any direction.
19. Inside Foot - The foot nearest one’s partner, when partners standside
by side.
20. Inside Hand - The hand nearest one’s partner, when partners stand
side by side.
21. Kumintang - Moving the hand from the wrist either in a clockwiseor
counter Clockwise direction. This is an Ilocano term
22. Outside Foot - The foot away from one’s partner, when partnersstand
side by side.
23. Outside hand - The hand away from one’s partner, whenpartners
stand side by side.
24. Place - To put foot in a certain or desired position withoutputting
weight on it. The sole of the foot rests on the floor.
25. Pivot - To turn with the ball heel, or whole foot, on a fixed placeor
point.
26. Point - Touch the floor lightly with the toes of one foot, weight ofthe
body on the other foot.
27. Saludo - Partners bow to each other, to the audience opposite dancers,
or to the neighbors with feet together. This term is a Spanish origin and
is used in almost all Philippine dances.
28. Set - A dance formation like a square or a unit formation composedof
two or more pairs.
29. Stamp - To bring down the foot forcibly and noisily on thefloor
(like doing a heavy step) with or without transfer of weight.
30. Step - To advance or recede by raising or moving one foot to another
resting place. There is a complete transfer of weight from one foot to
another.
31. Supporting Foot - The foot that bears the weight of the body.
32. Tap - To rap slightly with the ball or toe of the free foot, flexing the
ankle joint keeping weight of the body on the other foot. There is no
change or transfer of weight.
33. Whirl - To make fast turns by executing small steps in place to right or
left.
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Basic steps in Philippine Folkdance and It’s dance pattern
Basic Steps in 2
4 Time Signature
Basic Step Step Pattern Count Pattern
1. Step close step, close 1,2
2. Step point step, point 1,2
3. Step swing step, swing 1,2
4. Step brush step, brush 1,2
5. Step raise step, raise 1,2
6. Step hop step, hop 1,2
7. Touch step point, close 1,2
8. Bleking heel-place, close 1,2
9. Slide step slide, close 1,2
10. Cross step cross, step or step cross 1,2
11. Change step step, close, step 1 and 2
12. Cross change step Cross-step, close, step 1 and 2
13. Contraganza Leap, cross-step, step 1 and 2
14. Habanera step step, close, step 1, 2 and
15. Plain Polka step, close, step, pause 1 and 2 and
16. Hop Polka hop- step, close, step 1 and 2 and
17. Heel and toe change
step
Heel-place, toe-point, step, close,
step
1,2, 1 and 2
(2M)
18. Mincing steps With heels raise, take as many
steps as desired
1,2
19. Shuffling steps With both feet flat on the floor,
take tiny slide steps as many as
desired
1,2
20.Chasing steps With one foot leading, take
successive close steps as many
as desired in any direction
1,2
Basic Steps in 3
4 Time Signature
1. Native waltz step, close, step 1,2,3
2. Cross waltz cross-step, close, step 1, 2,3
3. Mazurka slide, cut, hop 1,2,3
4. Redoba slide, cut, cut 1,2,3
5. Waltz balance step, close-heels raise, heels
down
1,2,3
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6. Sway balance with a
raise
step, cross-step, step, raise 1-2,3
1,2-3 (2M)
brush
step, cross-step, step, brush 1-2,3
1-2,3 (2M)
point
step, cross-step, step, point 1-2,3
1,2-3 (2M)
hop
step, cross-step, step, hop 1-2,3
1,2-3 (2M)
close
step, cross-step, step, close 1-2,3
1,2-3 (2M)
11. Engaño step with a
close
step, cross-step, step, close 1-2,3
1,2-3 (2M)
Basic Steps in 4
4 Time Signature
1. Schottiche step, close, step, hop (raise foot
in front)
1,2,3,4
2. Escotis Step, close, step, hop (raise foot
in rear)
1,2,3,4
3. Chotis Brush, raise, brush, raise, step,
step, step, close
1,2,3,4
1,2,3,4 (2M)
Suggestions in Teaching and Learning the Dance Steps
1. Teach the step by command or by explanation and demonstrationfirst.
Explain the terms used. The learner must observe first.
2. Give the rhythm and manner of counting of music by clapping handsor
beating. The students may follow.
3. Teach and learn the step by counts.
4. Then, execute and follow the step with the music.
5. Lastly, teach, learn and explore the step with the arm movements most
appropriate for the step.
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4, 4 4
General Instruction: Execution of the Basic Dance steps and Dance pattern
Guidelines:
1. Create your own original choreography applying the dance pattern and dance
terms in 2 3
and 4
time signature. Include entrance and exit.
2. Choose any folkdance music for 3-4 mins.
3. Video yourself and submit the link in canvas.
Criteria/Rubric:
Choreography ............................................................................ 40%
Originality and correct interpretation of the dance pattern
Mastery ..................................................................................... 40%
Projection, creativity and mastery of the steps
Presentation/Timing ....................................................................20%
Exhibition of confidence, enthusiasm and expressions and timing
Total: 100%
Dance Pattern Score
Choreography .............................................................40%
Mastery........................................................................40%
Presentation/Timing......................................................20%
TOTAL
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Self-Check Test:
Direction. Encircle the letter of the correct answer
1. What do you call the foot not bearing the weight of the body?
A. free foot B. free hand C. supporting foot D. inside foot
2. A Visayan term, to place one forearm infront and the other at the back ofthe
waist is called ?
A. do-si-do B. hayon-hayon C. hands on waist D. kumintang
3. Moving the hand from the wrist either in a clockwise or counter Clockwise
direction is called ?
A. inside hand B. kumintang C. pivot D. bilao
4. To make fast turns by executing small steps in place to right or left.
A. whirl B. point C. tap D. shuffle
5. Both arms are at one side, either sideward right or left. This may be atdone
at shoulder, chest, or waist level is called ?
A. bilao B. brush C. Arms in lateral position D. reverse T
6. To turn palms of hands up and down alternately, hands at waist level infront,
elbows close to waist is called ?
A. free hand B. bilao C. kumintang D. hayon-hayon
7. Partners are facing each other or standing side by side, girl at the right ofboy.
They join their L and R hands together; either R over L or L over R hands is
called ?
A. crossed arms B. cut C. crossed arms D. joining both hands
8. The foot away from one’s partner, when partners stand side by side is called?
A. inside foot B. free foot C. outside foot D. supporting foot
9. A dance formation like a square or a unit formation composed of two or more
pairs.
A. costados B. set C. cabesera D. pair/partner
10. The hand not placed anywhere or not doing anything is called ?
A. free hand B. inside hand C. kuminatang D. hands on skirt
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II.Write the step pattern of the following dance terms.
1. Change steps
2. Mazurka
3. Redoba
4. Heel and toe Polka
5. Bleking
6. Cross change step
7. Habanera
8. Sway balance with a point
9. Chotis
10. Native waltz
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