Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 1: AUGUST 24-28, 2020
TITLE: History and Nature of Dances
OBJECTIVES:
This module will enable students to:
▪ Discuss the history and nature of dances;
▪ Identify the benefits of dance and creative
movement; and
▪ Share common knowledge and experiences of
dancing through written self-reflections.
INTRODUCTION:
Challenging questions:
1. Have you ever had the feeling where sitting down all
day left you less energized as compared to heading
outdoors and moving about?
2. How about waking up after a long nap and felt more
tired before you slept?
If your answers for both questions are yes, then you have
to know that, your body tends to feel more refreshed and
energized when there are adequate movement and
outdoor activities. This is because the human body thrives
on engagements. Stimulation through movement is
important for all, even more so for the development of
young children.
I have here a familiar tool that might encourage you to
perform at your best and omit the monotony of your daily
lifestyle. Common up, let’s talk about another important
way on how to be healthier and keep our body moving.
Let’s all move ☺
DISCUSSION:
History and Nature of Dances
From the earliest moments of known human history,
dance accompanied ancient rituals, spiritual gatherings and
social events. As a conduit of trance, spiritual force,
pleasure, expression, performance and interaction, dance
became infused into our nature from the earliest moments of
our existence - from the moment when first African tribes
covered themselves in war-paint to the to the spreading of
music and dance across all four corners of the world.
Without a doubt, dancing remains one of the most
expressive forms of communications that we know.
The oldest proof of existence of dancing comes from
the 9000 year old cave paintings that were found in India,
which depicts various scenes of hunting, childbirth, religious
rites, burials and most importantly, communal drinking and
dancing. Since dancing itself cannot leave clearly identifiable
archeological artifacts that can be found today, scientist
looked for secondary clues, written word, stone carvings,
1|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
paintings and similar artifacts. Period when dancing became
widespread can be traced to the third millennia BC, when
Egyptians started using dance as integral parts of their
religious ceremonies. Judging by the many tomb paintings
that survived the tooth of time, Egyptian priests used
musical instruments and dancers to mimic important events
- stories of gods and cosmic patterns of moving stars and
sun.
This tradition continued in ancient Greece, where
dance was used very regular and openly to public (which
eventually brought the birth of the famous Greek theatre in
6th century BC). Ancient paintings from 1st millennia clearly
speak of many dance rituals in Greek culture, most notably
the one before start of each Olympian Games, precursor to
the modern Olympic Games. As centuries went on, many
other religions infused dance in the core of their rituals, such
as Hindu dance "Bharata Nhatyam" which is preformed
even today.
Of course, not all dances in those ancient times were
intended for religious purposes. Ordinary people used
dance for celebration, entertainment, seduction and to
induce the mood of frenzied exhilaration. Annual
celebration in honor of Greek god of wine Dionysus (and
later Roman god Bacchus) included dancing and drinking
for several days. 1400BC year old Egyptian painting showed
the group of scantily dressed girls who danced for the
wealthy male crowd, supported by the several musicians.
This kind of entertainment continued to be refined, until
medieval times and the start of the Renaissance
when ballet became integral part of the wealthy class.
European dances before the start of Renaissance
were not widely documented, any only few isolated
fragments of their existence remain found today. The most
basic "chain shaped" dance practiced by commoners was
most widespread across Europe, but the arrival of
Renaissance and new forms of music brought many other
styles in fashion. Renaissance dances from Spain, France and
Italy were soon surpassed by Baroque dances which became
widely popular in French and English courts. After the end
of French Revolution, many new types of dances emerged
with focused on less restrictive woman clothing, and
tendency for skipping and jumping. These dances soon
became even more energetic in 1844 with the beginning of so
called "international polka craze" which also brought us the
first appearance of famous waltz.
After the short period of time when great ballroom masters
created wave of complicated dances, the era of modern day
2 person dance started with the careers of famous ballroom
dances Vernon and Irene Castle. After those early years of
20th century many modern dances were invented (Foxtrot,
One-Step, Tango, Charleston, Swing, Postmodern, Hip-hop,
breakdancing and more) and the expansion of musical
brought those dances into worldwide popularity.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
Definition of Dance.
Dance, the movement of the body in a rhythmic
way, usually to music and within a given space, for the
purpose of expressing an idea or emotion, releasing energy,
or simply taking delight in the movement itself.
Dance is a powerful impulse, but the art of dance is
that impulse channeled by skillful performers into
something that becomes intensely expressive and that may
delight spectators who feel no wish to dance themselves.
These two concepts of the art of dance—dance as a powerful
impulse and dance as a skillfully choreographed art
practiced largely by a professional few—are the two most
important connecting ideas running through any
consideration of the subject. In dance, the connection
between the two concepts is stronger than in some other
arts, and neither can exist without the other.
Although the above broad definition covers all
forms of the art, philosophers and critics throughout history
have suggested different definitions of dance that have
amounted to little more than descriptions of the kind of
dance with which each writer was most familiar.
Thus, Aristotle’s statement in the Poetics that dance is
rhythmic movement whose purpose is “to represent men’s
characters as well as what they do and suffer” refers to the
central role that dance played in classical Greek theatre,
where the chorus through its movements reenacted the
themes of the drama during lyric interludes.
A truly universal definition of dance must,
therefore, return to the fundamental principle that dance is
an art form or activity that utilizes the body and the range of
movement of which the body is capable. Unlike the
movements performed in everyday living, dance
movements are not directly related to work, travel, or
survival. Dance may, of course, be made up of movements
associated with these activities, as in the work dances
common to many cultures, and it may even accompany such
activities. But even in the most practical dances, movements
that make up the dance are not reducible to those of
straightforward labour; rather, they involve some extra
qualities such as self-expression, aesthetic pleasure, and
entertainment.
Basic Motives of Dances.
One of the most basic motives of dance is the
expression and communication of emotion. People—and
even certain higher animals—often dance as a way of
releasing powerful feelings, such as sudden accesses of high
spirits, joy, impatience, or anger. These motive forces can be
seen not only in the spontaneous skipping, stamping, and
jumping movements often performed in moments of intense
emotion, but also in the more formalized movements of
“set” dances, such as tribal war dances or festive folk
2|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
dances. Here the dance helps to generate emotions as well as
release them.
All of these characteristics may produce a state of
mind and body that is very different from that of everyday
experience. The dance requires unaccustomed patterns of
muscular exertion and relaxation as well as an unusually
intense or sustained expenditure of energy. The dancer may
become intensely aware of the force of gravity and of a state
of equilibrium or disequilibrium that normal activities do
not generate. At the same time, the dance creates a very
different perception of time and space for the dancer: time is
marked by the rhythmic ordering of movement and by the
duration of the dance, and space is organized around the
paths along which the dancer travels or around the shapes
made by the body.
Benefits of Dance and other Creative movements.
• Learning Benefits- The brain works by electrical current
thereby needing oxygen and water to function well.
Movement (dance) helps to provide one of these two
elements, oxygen. Another wonderful thing happens
with movement. The brain produces a neuro-chemical
called endorphins. This chemical causes a feeling of
energy and makes the brain more conducive to learning.
• Behavioural Benefits- Dance can help calm children that
suffer with hyperactivity disorders as well as those that
suffer from self-destructive behaviors. The act of dance
seems to help calm and focus these troubled young
minds.
• Physical Benefits- Dance will help develop muscles, tone
the body, improve circulation, improve posture, balance,
coordination and promote greater flexibility. Flexibility is
often overlooked as a benefit but can really decrease the
chances of injury especially in an active child. Dance
helps keep the body conditioned and the mind focused
which heightens one’s ability to perform other physical
activities.
• Mental Benefits- Children who are involved in dance will
excel in their academics and tend to be more creative. The
art of dance helps teach a child to focus, creativity, and
discipline, all in which are mandatory in any area of
education.
• Social Benefits- Dance improves sensitivity,
understanding, appreciation, and consideration for
others, both for their similarities and differences. Dance
can broaden your child’s horizons by introducing them
to other people and help them better relate later in life to
those they may face and also in their future careers.
• Esthetic Benefits- Dance awakens consciousness of
beauty, lending new meaning to movement and form.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER Subject Teacher: KEVIN L. GARCIA, LPT

• Emotional Benefits- Dance helps develop self-confidence

and self-esteem in a stimulating environment. “The
advantage of the arts (music and dance) is that they link
cognitive growth to social and emotional development.
Students care more deeply about what they study, they
see the links between subjects and their lives, their
thinking capacities grow, they work more diligently, and
they learn from each other.”
Creative Movement.
Creative movement, dance, and drama are powerful
imaginative tools that we use to help children explore, form
a positive image of themselves and build healthy self-
identities. It also serves as a wonderful way for the little
ones to work on their self-awareness and self-esteem while
being physically active. The beautiful thing about it is that
there is no definite right or wrong when children are
engaged in creative movement, dance, and drama.
Therefore, it creates a safe environment for children to
explore outside of their comfort zones.
Creative movements require bodies, hearts, and
minds to work in sync. The movements are to be
coordinated with what the child is trying to express while
ensuring balance. This process helps to exercise the brain as
it works out the complexity of combining both the dexterity
and the emotive language of the movements.
ACTIVITIES/ASSESSMENT:
UPGRADE!!!
ESSAY WRITING/SELF-REFLECTION
Answer the following questions in essay format.
1. Do you like dancing?
2. Can you dance? Or do you dance? Is there any dance you
are good at?
3. Would you consider dancing as enjoyable or it is an
embarrassing torture? Why?
4. Traditionally it has been the man's responsibility to ask a
woman to dance. Is that still the case in your society? In
what situation?
5. If you're a woman, have you ever asked a man for a
dance? If you're a man, how do you feel when you ask a
woman to dance?
6. Do you ever go to see dance performances?
7. What dances from other countries do you like?
8. How does dancing affect your everyday life? How does
creative movements and becoming it as a hobby can
make a change in your present situation?

Benefits of creative movement:

1. Body awareness. To work on their coordination, body

control, balance, stamina, and overall strength.
2. Spatial awareness. To move in their own personal space,
be aware of other children’s personal space and respect
others as everyone move together in a shared space.
3. Self-confidence. Taking risks in activities, performing for
an audience and to trust their ideas and abilities.
4. Concentration. Develop a sustained focus of mind and
body.
5. Cooperation and Collaboration. Working in groups,
listening and responding, offering suggestions, exploring
others’ ideas.
6. Problem-solving. Look at problems in new ways and
practice their critical thinking skills.
7. Imagination. Making creative choices, thinking of new
ideas, and interpreting familiar materials in new ways.
8. Fun! Learning through play and at the same time
improves motivation and reduces stress.

Creative movement is a wonderful way to get active with

your child at home. You may feel that you do not have the
expertise to do so but have no fear, it is not that difficult!
You can add creative movement, drama and dance elements
into your everyday routine.
Resources: (https://www.littleskoolhouse.com/articles/the-power-
of-creative-movement-dance-and-drama ,
https://www.reyn.org/Downloads/The_Benefits_of_Dance.pdf,
https://www.britannica.com/art/dance/The-aesthetics-of-dance)

3|Tanauan City College - SHS

 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 2: AUGUST 31-September 4, 2020
TITLE: Elements of Dance
OBJECTIVES:
This module will enable students to:
▪ Identify the different dance elements;
▪ Apply the lessons learned by evaluating a
particular dance choice according to its elements
and use ; and
▪ Appreciate and practice the beauty and
importance of dances in our daily lives.
INTRODUCTION:
Challenging questions:
THINK!!!
• Ever wonder how dance is formed?
• What are the factors affecting our dance
performances?
• What must we consider in developing a particular
dance presentation?
DISCUSSION:
Elements of Dance
The Elements of Dance are the foundational
concepts and vocabulary that help students develop
movement skills and understand dance as an artistic
practice. The acronym BASTE helps students remember the
elements:
Body
Action
Space
Time
Energy
This framework is a way to discuss any kind of
movement. While different dance styles call for specialized
skills and stylization choices, the underlying elements of
dance are visible in all dance experiences.
BODY
The renowned dance critic Walter Terry wrote, "No paints
nor brushes, marbles nor chisels, pianos or violins are
needed to make this art, for we are the stuff that dance
is made of. It is born in our body, exists in our body and
dies in our body. Dance, then, is the most personal of
all the arts… it springs from the very breath of life."
In dance, the body is the mobile figure or shape, felt by the
dancer, seen by others. The body is sometimes
relatively still and sometimes changing as the dancer
moves in place or travels through the dance area.
Dancers may emphasize specific parts of their body in a
dance phase or use their whole body all at once.
4|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
ACTION
Action is any human movement included in the act of
dancing— it can include dance steps, facial movements,
partner lifts, gestures, and even everyday movements
such as walking. Dance is made up of streams of
movement and pauses, so action refers not only to steps
and sequences, but also to pauses and moments of
relative stillness.
Dancers may use movements that have been choreographed
or traditional dances taught by others who know the
dances. Depending on the dance style or the
choreographer's decision, dancers may also revise or
embellish movement they have learned from others.
Movement can also be improvised, meaning that the dancers
make it up "on the spot" as they spontaneously
dance. Movement that travels through space is broadly
called locomotor movement in contrast to axial
movement, which occurs in one spot.
SPACE
Dancers interact with space in myriad ways. They may stay
in one place or they may travel from one place to
another. They may alter the direction, level, size, and
pathways of their movements.
The relationships of the dancers to each other may be based
on geometric designs or rapidly change as they move
close together, then apart. Even when a dancer is
dancing alone in a solo, the dancer is dynamically
involved in the space of the performing area so that
space might almost be considered a partner in the
dance.
Dancers may focus their movement and attention outwardly
to the space or inwardly, into themselves. The line of
travel may be quite direct towards one or more points
in space or indefinite and meandering.
Dancers may also orient their movement towards objects or
in relation to natural settings. Sometimes dances are
created for specific locations such as an elevator or on
a raft in a lake for site-based performances.
Spatial relationships between dancers or between
dancers and objects are the basis for design concepts
such as besides, in front of, over, though, around, near
or far.
TIME
The keyword for the element of time is When? Human
movement is naturally rhythmic in the broad sense
that we alternate activity and rest. Breath and waves
are examples of rhythms in nature that repeat, but not
as consistently as in a metered rhythm.
Spoken word and conversation also have rhythm and
dynamics, but these timing patterns are
characteristically more inconsistent and
unpredictable.
Rhythmic patterns may be metered or free rhythm. Much of
western music uses repeating patterns (2/4 or 3/4 for
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
example), but concepts of time and meter are used
very differently throughout the world. Dance
movements may also show different timing
relationships such as simultaneous or sequential
timing, brief to long duration, fast to slow speed, or
accents in predictable or unpredictable intervals.
Time may also be organized in other ways including
• Clock time: The dance is based on units of seconds,
minutes, and/or hours. For example, a certain
section of a dance may be assigned a time such as 30
seconds into which all the choreographed
movement must fit. A performance in a public
setting may be set up to repeat continuously
between 12:00 Noon and 1:00 PM.
• Sensed time: Dancers pick up on each other's timing
such as gradually increasing from a walking tempo
to a running tempo by cueing off each other rather
than a music score. Another example happens when
dancers hold a group shape then spontaneously
move out of it based on the group's organic
impulse.
• Event-sequence: An internal or external event
signals a change such as repeating a traveling
phrase over and over until everyone arrives at a
corner of the stage. You also see this at sports events
when a touchdown triggers a dance cheer.
ENERGY
Energy is about how the movement happens. Choices about
energy include variations in movement flow and the
use of force, tension, and weight. An arm gesture might
be free flowing or easily stopped, and it may be
powerful or gentle, tight or loose, heavy or light. A
dancer may step into an arabesque position with a
sharp, percussive attack or with light, flowing ease.
Energy may change in an instant, and several types of
energy may be concurrently in play.
Saying that a dance "has a lot of energy" is misleading. ALL
dances use the element of energy, though in some
instances it may be slow, supple, indirect energy - not
the punchy, high speed energy of a fast tempo dance.
Energy choices may also reveal emotional states. For
example, a powerful push might be aggressive or
playfully boisterous depending on the intent and
situation.
Some types of energy can be easily expressed in words,
others spring from the movement itself and are difficult
to label with language. Sometimes differences in the use
of energy are easy to perceive; other times these
differences can be quite subtle and ambiguous. Perhaps
more so than the other elements, energy taps into the
nonverbal yet deeply communicative realm of dance.
5|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
To further clarify the different dance elements (B.A.S.T.E),
Who? The Dancers (Body)
Parts of the body: Head, eyes, torso, shoulders, fingers, legs,
feet …
Initiation: core, distal, mid-limb, body parts
Patterns: upper/lower body, homologous, contralateral,
midline ….
Body shapes: Symmetrical/asymmetrical rounded twisted
angular arabesque
Body systems: muscles bones organs breath balance reflexes.
Inner self: senses perceptions emotions thoughts intention
imagination
Does What? Moves. (Action)
Non-locomotor (axial): stretch bend twist turn rise fall
swing rock tip shake suspend
Locomotor (traveling): slide walk hop somersault run skip
jump do-si-do leap roll crawl gallop chainé turns
Where? Through Space.
Size: large small narrow wide
Level: High / medium / low
Place: on the spot (personal space) through the
space (general space) upstage/downstage
Direction: forward/backward sideways diagonal
right/left Orientation: facing
Pathway: curved/straight zig-zag random
Relationships: in front beside behind over under
alone/connected near/far individual & group
proximity to object
When? And Time.
Metered: pulse tempo accent rhythmic pattern
Free Rhythm: breath open score sensed time
improvisation cued
Clock Time: seconds minutes hours
Timing relationships: before after unison sooner
than faster than
How? With Energy.
Attack: sharp/smooth sudden/sustained
Weight:
Strength: push, horizontal, impacted
Lightness: resist the down, initiate up
Resiliency: rebound, even up and down Flow:
free, bound balanced neutral
Quality: flowing tight loose sharp swinging
swaying suspended collapsed smooth
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER Subject Teacher: KEVIN L. GARCIA, LPT

ACTIVITIES/ASSESSMENT:

UPGRADE!!!

CHOOSE and EVALUATE

Directions:
1. Look back on your previous dance performances, (if
there’s any), then choose TWO (2) specific dance that had
impacted you a lot and gave you unforgettable experiences
in your previous years.
2. Play the song again and listen carefully, if you still have
your video presentation, much better, if not, kindly look for
a video presentation of a dance performance of your favorite
dancer or performer.
3. While watching, evaluate the dance performance based on
the given definition above.
4. Write your answers on a long clean bond paper.

Follow this format:

Song title: _________________________________________

Number of Members: _______________________________

Evaluated elements:

Body: (describe the movements, the step execution)

Action: (what can you say about the movement? Does it focus on
moving steps or stationery choreographs)?
Space: (How would you describe the area where they performed)
Time: (Were they able to meet the time requirement for the
presentation? were their movements and timing to the beat
congruent to each other?
Energy: (was the genre of your chosen dance presentation met the
energy requirement for the performance? e.g. hip-hop, high level of
energy needed.)

Follow the following criteria as basis of your work.

Originality - 25
Creativity - 25
Element Evaluation- 30
Explanation- 20
Total - 100

Always submit your output on or before deadline. ☺

Resources: (https://www.elementsofdance.org/energy.html,
https://www.nationalartsstandards.org/sites/default/files/Dance_re
sources/ElementsOfDance_organizer.pdf)

6|Tanauan City College - SHS

 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 3: September 7-11, 2020
TITLE: Dance Appreciation and Composition
OBJECTIVES:
This module will enable students to:
▪ Identify and discuss significant works of dance.
Critique and analyze selected dramatic works
verbally and through written assignments.;
▪ Analyze the implications of the multiple artistic
elements of dance in relationship to history,
society, and the artistic values of the genre. ; and
▪ Appreciate and practice the beauty and
importance of dances in our daily lives.
INTRODUCTION:
THINK!!!
• This chapter will discuss the things you need to
know about how dance is composed, how it is
being evaluated and the importance of dance
appreciation not just for performers but also to
spectators.
DISCUSSION:
DANCE APPRECIATION AND COMPOSITION
RECREATIONAL DANCE- is a social activity in which
people of all ages can participate.
What makes a good dance? a good dance displays a significant
meaning or conveys a message. Sometimes, it portrays life
experiences. Dance may be presented abstractly and symbolically
but still convey emotion and meaning. (McGreevy-Nichols et al
.2005)
"The Recreational dance is a play in perhaps the
least rationalized form practicable for the social use, and in
it, if we see it in its essential nature, we are able to find
release for many of our expressions and return to the
arbitrary disciplines of the social scheme refreshed and
healthy of mind."
Today it has the same meaning, except we see that the
recreational dancer or the "I just do this for fun" (and they
generally do!") is the least trained of any dancer, these
"Recreational dancers" know just enough of any dance to be
able to mix in with a group of social dancers, ask lots of
questions, and usually walk around like they know a lot
more than what they do, thus generally confusing most
people in that they represent the Social structure or Social
Dancer of dance, thereby the general population thinking of
a social dancers level of dance being much lower than in
reality. Social dancers have a generally high training in the
dance (s) they love to do and take it much more seriously
than the "recreational dancer," but far less so than the
7|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
Competition dancer and higher, and the Competition dancer
far less so than the Champion dancer...etc.
Dance advancement order example, (can vary, depending
on time put in, dance background):
1) Non-Dancer (no adult training - can be every night
in spurts)
2) Recreational Dancer (can be forever! - once a
month type)
3) Beginner (0-1 years - goes to dances, lessons 1-2
times a week)
4) Intermediate (1-3 years dances, Lessons 2-3 times a
week, tries to teach everyone)
5) Social Dancer [most popular] (2yrs. & up - dances
3-7 nights a week, some lessons, usually group)
6) Advanced social dancer (3-5 years - dances 3-5
nights a week, usually takes more privates than group
lessons)
7) Competition Dancer (4-7+ years - dances 2-4 nights
a week, usually an advanced to champion who does
not teach, usually takes privates only)
8) All Star (5-8 years+. - Usually low level Champion
dancer in some field of dance. Usually not a teacher,
not yet Champion level, takes privates only)
9) Champion Dancer (7-10 + years - dances 5-10 times
a month, may teach, usually not. Usually works only
with Dance Legends)
10) Dance Star! (Master) (14+ years - Champion
dancer, varies by schedule, usually Choreo and teaches
at events/comps. Can Judge, Choreo for the
competition dancers)
11) Master Dancer (20+ years, varies, ex-Champion,
can be retired from competing, was successful
competitor, usually teaches full time, Judges,
coaching, choreo, events)
12) Dance Legend ... (30 + years who is very
successful and well known and respected / Honored /
Awarded - taught / teaches dance, competed, judged,
promoted etc., ... usually Coaches All-Star/Champion+
up dancers that compete. Usually Teach and or Judges
at more prestigious events)
FYI: The terms "Dance Teacher" and "PRO" are "NOT a Level
of Dance" ... It Just means that they "attempt" to do it for
money, doesn't mean they are successful or good at dance
either, some are. Also, lengths of dance are singular ... not
cumulative (your partners years are not added to your years IE:
Over 25 years’ experience between the two of us).
Anyways you get the idea! So, from now on, call them
"Recreational dancers," don't include them as social dancers!
Recreational dance refers to any form of dancing that is done
primarily for its social, educational or health benefits; it
includes social dance and amateur dance instruction and
performance.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
•Beginning - shape, pose or an entrance
•Middle - exploration of the main idea
•End/conclusion –shape, a pose, an exit
What is a form?
Form - is the instrument by which idea and elements are
arranged or combined into a logical sequence which results
in unity and consistency , and by means of which the
content or idea can be expressed and communicated.- The
form should progress through time from the beginning to
the end of the choreography (Mintons, 2007)Each section is
composed of several units that are smoothly connected to
each other. The small units are called phrases.
What is a phrase?
When units are pieced together, they make up a section in
the choreography and the section together form a whole
dance. “a phrase is the smallest unit of form in the whole
dance’’.
What is motif?
A good dance contains a theme or a motif to able to convey
its meaning or intention to the audience. MOTIF- a single
movement or a short phrase of movement that embodies the
style and intention of the dance. E.g. dance motif: Itik - itik -
it is simply portraying the movements of an itik (duckling).
Like any superb tasting dish, a dance will onle be considered
good if it has the right ingredients. Whether it has a meaning
or may be presented abstractly, it must contain certain
qualities that make the choreography effective.
The Characteristic of a Good Dance
1. Unity. The interconnected phrases of the dance are
coherent and flow smoothly together. The movements fit
together and each plays an important role that contributes to
the entirety of the dance.
2. Continuity and Development. The phrases of the dance
that are organized progressively, making each movement
phrase move naturally into the next.
3. Variety and contrast. Making one or several variations
that highlight the facet of the motif. This provides variety
within the development of the dance.
4. Transition. this is the link between movement phrases
and sections of the dance. It makes the logical progression of
the dance flow smoothly.
5. Repetition. it emphasizes movement and phrase that are
important to dance and gives a feeling of closure to a work.
8|Tanauan City College - SHS
Subject Teacher: KEVIN L. GARCIA, LPT
6. Climax. This is where the apex of energy in the dance is
reached. It is similar to the climax in a story where a series of
events cultivates. The climax may be a fast and enraged blast
of energy action, or it could fade away to a gentle and quiet
exit that marks the end of a particular story. The music will
often assist both the choreographer and the audience when
determining this point of development.
ACTIVITIES/ASSESSMENT:
UPGRADE!!!
SONG and POEM COMPOSITION
Instructions:
You were asked to create a composition about how you
appreciate a certain dance and its content in a form of song
poem, how would your composition be?
1. Compose a poem about dance based on how you
appreciate them. Follow this format:
5 stanzas
4 lines per stanza
Free verse
2. After composing a poem, select an OPM song that catches
your attention whenever it is played or sang.
3. Using your poem, replace the lyrics of the song you’ve
chosen to create another unique song. You may modify the
content of the poem upon replacing it to the song but you
have to keep the original poem as well.
Work on your activity according to these criteria:
Creativity: 25
Originality: 25
Poem Content: 20
Song Choice: 10
Final Output: 20
Total: 100
Submit your work on or before deadline ☺
Resources:
(https://quizlet.com/217314121/chapter-2-elements-of-
danceflashcards/,
https://www.slideshare.net/dgurlwholovesherlyf/introduction-to-
dance-78217448)
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER Subject Teacher: KEVIN L. GARCIA, LPT

WEEK 4: September 14-18, 2020

TITLE: Various Chorographical Forms in Dance
OBJECTIVES:
This module will enable students to:
▪ Identify and discuss significant works of dance.
Critique and analyze selected dramatic works
verbally and through written assignments.;
▪ Analyze the implications of the multiple artistic
elements of dance in relationship to history,
society, and the artistic values of the genre. ; and
▪ Appreciate and practice the beauty and
importance of dances in our daily lives.
INTRODUCTION:
THINK!!!
• This chapter will discuss the things you need to
know about how dance is composed, how it is
being evaluated and the importance of dance
appreciation not just for performers but also to
spectators.
DISCUSSION:
Ground Bass: This form is best done in a group working
either in contrast to each other or against a
soloist.
Round or Canon: Consist of two or more movement phrases
or theme in which the main movement phrases is
imitated exactly and completely by the successive
movements, but done in staggered manner.
Fugue or Accumulation: A choreographic form that is
constructed by adding on different movement or
dance phrases in every repetition of the main
movement theme.
Suite: Every section of the dance (beginning, middle, and
end) use different tempos and qualities.
Episodic Form (Episodes): Are not musical forms; instead,
they are found in literature. They tell a story
through connected and progressive sections.
Narrative Form: is an episodic form that tells a story or
conveys an idea and the sequence of the story
determines the structure of the dance.

Various Choreographic Forms in Dance

Natural Structure: Mostly come from natural structures
such as the seasons, life cycles, and everyday life
Sequential Forms
experiences.

Sequential: These forms contain themes/motif which

Collage: a series of movement phrases that are often
progress in a specific order. They are arranged accordingly.
unrelated but have been brought together to
create a single dance with a beginning, a middle,
AB (Two-Part) Form: The simplest of the sequential
and an end.
forms and is similar to a verse and a chorus of a song.
Tableau: Different movement phrases are performed by
It is a binary form with two contrasting sections
different dancers simultaneously in the same
consisting of a beginning section (A) followed by a
space.
second section (B)
Chance: The movement phrases are performed in random
ABA (Three-Part) Form: Composed of introductory
order and spatial placing. Tossing coins
theme (A), a contrasting theme (B), and a restatement
of the original theme (A).
Evaluators
These people are the ones who would be able to analyze,
Rondo form (ABACA): In this form, the unifying
understand, and appreciate the performance.
theme (A) returns after each contrasting theme.
The Roles of Evaluators
Theme and Variations Form: the motif is a series of
movements to which variations are added throughout the
Choreographers: They will evaluate a part of an on-going
development of the entire choreography.
process of developing a personal style which is both
spontaneous and organized.
Contrapuntal Forms
Several themes are woven together in choreography to form
Dancers: They will evaluate according to the specific
a complex structure.
demands that the performance places on them

The main theme is seen against itself or against one or more

Audiences: They will evaluate according to the particular
other themes.
context of the dance.

9|Tanauan City College - SHS

 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER Subject Teacher: KEVIN L. GARCIA, LPT

Stages in Assessing a Dance

Description: involves close observations of all the elements,
characteristics, and components of a dance aa described in
the previous sections of this worktext.
Interpretation: Involves an appreciation of the ideas,
content, images, and style contained within the dance.
11. How was the lighting of the activity?
12. Who was the designer/coordinator of the activity?
13. What were the context and/or significance of the
dance? And,
14. How will you evaluate the overall dance
performance?

Evaluation: Takes into consideration how effectively the Answer the following questions on your video recording
features and the context of the dance have been utilized in showing first the video clip of the dance not exceeding to
the actual performance of the dancers to portray the content 1:30 minutes followed by your evaluation video ☺
and the quality of the dance.

ACTIVITIES/ASSESSMENT:
Please refer to the following criteria for the conduct of your
UPGRADE!!! activity:

Video Evaluation Originality - 25

Creativity - 25
Read and follow the instructions below. Element Evaluation- 30
Explanation- 20
Directions: Total - 100
1. Recall again your previous dance performances, (if there’s
any), then only choose 1 (one) specific dance that had Always submit your output on or before deadline. ☺
impacted you a lot and gave you unforgettable
experiences in your previous school years.
2. Evaluate the dance presentation based on the given
definitions of the various choreographic dance forms.
3. Take notes of the observable manner on how the dance
was presented by a group or individual on your
chosen dance presentation. List as many as you can.
4. Using your mobile phones, record a video of yourself
stating all the evaluated results of your chosen
performance.
5. In your performance, state whether the dance was
presented in a sequential form and what specific form
from sequential, and/or is it contrapuntal, or episodic.

Specifically, your recording shall answer the following

questions:

1. What was the title of the dance?

2. Who was the choreographer?
3. When was it performed?
4. What was the genre/style of the dance?
5. What was the accompaniment?
6. Who were the dancers/company?
7. Were there specific demands placed on dancers in
the performance? If yes, what were those?
8. What are the movement and forms of dances?
9. What was the set look like? Resources:
10. What were the costumes/props used during the (https://www.slideshare.net/dgurlwholovesherlyf/introduction-to-
performance? dance-78217448,
https://quizlet.com/217314122/chapter-3-dance-appreciation-and-
composition-flash-cards/)

10 | T a n a u a n C i t y C o l l e g e - S H S
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 5: September 21-25, 2020
TITLE: Dance-Related Injuries
OBJECTIVES:
This module will enable students to:
▪ Develop students’ physical competence and
knowledge of movement and safety, and their
ability to use these to perform in a wide range of
activities associated with the development of an
active and healthy lifestyle.;
▪ acquire good health, physical fitness and bodily
coordination through participating regularly in
physical activity; and
▪ Nurture positive values and attitudes in Physical
Education
INTRODUCTION:
THINK!!!
Are you a dancer? Or shall I ask, are you planning of
becoming one?
Well, it’s the moment that all dancers dread.
Sustaining an injury in dance can be at best, a ‘momentary’
interruption to dance training and performance, at worst a
career-ending catastrophe. Thankfully, dance medicine
and science colleagues have produced a vast range of
conditioning and injury prevention strategies to enable
dancers to be stronger and ever more versatile, as well as
take ownership over injury if, as and when it might occur.
Yet of course, by just looking at the repertoire of our
modern dance and ballet companies, we can see that
choreographers and audiences have increased their
expectations of what the human body can achieve. Injury
remains a very real possibility.
Improving awareness of dance injury, in terms of
how and when it might occur, and ensuring dancers know
about injury care, can play a large part in the successful
rehabilitation and timely return to dancing. This lesson is
one in a series which introduces dance injury. Focusing on
how we might be able to prevent dance injury in the first
place, through screening for dancer health and wellness,
and by ensuring dance educators’ practice is safe and
effective for all involved.
DISCUSSION:
Discussion
Dance-Related Injuries
Dance may look effortless, but it requires a lot of
strength, flexibility and stamina. It also comes with a high
risk of injuries. Whether you are a dancer, the parent of a
dancer or a dance teacher, you should be aware of the most
common dance injuries and learn how to avoid them.
11 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
Broadway and touring performing artists dance an
average of eight shows a week. Add to that, the countless
hours in rehearsals. Their exertion level rivals, if not exceed,
that of professional athletes! Therefore, it’s not uncommon
for dancers to experience pain.
Performing repetitive movements for hours a day
coupled with a low amount of recovery time in between
shows, increases the performer’s risk for chronic overuse
injuries (in addition to the ever-present risk of an acute
injury). In most cases, pain is due to muscle soreness that
resolves in a day or two. However, sometimes there is
something more to blame—that’s when you should see a
physician or your physical therapist!
What are some common dance injuries?
A few studies that looked into dance injuries found
that injuries from using your joints and muscles too much
(overuse injuries) are the most common in dancers. The
majority of these overuse injuries involve an ankle, leg, foot
or lower back. Some common dance injuries are:
• Hip injuries: snapping hip syndrome, hip
impingement, labral tears, hip flexor tendonitis, hip
bursitis and sacroiliac joint dysfunction
Dancers are known for their flexibility, which requires
moving a joint throughout the full range of motion.
The hip is particularly vulnerable to impingement when
forcing certain movements common to dance, such as
turnout or the splits. The bones of the hip joint can start
to build up, or the cartilage between the joints might
tear. Sometimes hip impingement is not even a problem
in the hip at all, and instead is due to when the lumbar
spine is hyperextended (swayback).
• Foot and ankle injuries: Achilles tendonitis, trigger
toe and ankle impingement
The foot and ankle are the most common area to be
injured in dancers. Almost half of all injuries in professional
ballet companies can be foot and ankle. (Liederbach, 1985)
Flexor Hallucis Longus (FHL) tendinopathy is seen in
classical ballet, particularly those who go en point, because
the FHL tendon is responsible for pointing the big toe. It
starts in the calf and travels through the ankle and the
bottom of the foot to attach at the very end of the big toe.
Overuse or misuse of the FHL tendon due to poor technique
can lead to pain, swelling and even catching – called trigger
toe.
• Hamstring/Knee injuries: patellofemoral pain
syndrome
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
Hamstring injuries occur in all types of dance,
causing pain in back of the thigh up high by the buttock area
or down low where the hamstring muscles connect below
the knee. Kick lines, such as those done in precision dance
companies, put particular stress on the hamstring muscle
group. Lifting the leg up in the kick puts the muscles on full
stretch at the end range of hip and knee motion, followed by
a strong contraction of the hamstring muscles to bring the
leg back down quickly.
The hamstring muscles are vulnerable during that quick
transition from full passive stretch to strong active
contraction, particularly if a dynamic warm up or cool down
after the previous rehearsal or performance was not done
properly.
• Stress fractures: metatarsals, tibia, sesamoids and
lumbar spine
Among these specific injuries, stress fractures are also
very common in dancers. The dancers are on their feet,
bearing their own weight, for hours at a time every day. And
during the repetitive movements of dance, the feet are
constantly being moved in various ways, including up on
toes, back down again.
This overuse causes repetitive impact on the foot and the
weakening of bone, which results in a stress fracture.
Symptoms will come on over days or weeks in the form of
progressive pain after activity, tenderness and swelling, and
even a limp. A stress fracture must be diagnosed by an x-
ray. Most stress fractures only require a few weeks of rest to
heal.
• Dancers are also likely to develop arthritis in the
knee, hip, ankle and foot
Generally, dancers have a much lower rate of anterior
cruciate ligament (ACL) injuries than other athletes. One
explanation could be that dance training involves much
more intense jumping from an earlier age than other sports,
which helps improve muscle control.
How do I know if the pain is from an injury?
In most cases, the pain you experience after dancing is
muscle soreness that usually subsides within 24 to 48 hours.
Sometimes, it takes a few days for muscles to get sore, which
is also normal. However, if you experience the following
types of pain, you may have suffered an injury:
• Pain that wakes you up at night
• Pain that is present at the start of an activity
• Pain that increases with an activity
• Pain that makes you shift your weight or otherwise
compensate your movements
If you experience such pain, consult with a medical
specialist — preferably a physical therapist or physician
with experience in treating dancers. They will be able to
determine whether additional testing is needed and will
formulate an appropriate treatment plan.
12 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
Why do dance injuries happen?
Dance is a physically demanding activity. Dancers
perform repetitive movements for several hours a day.
Studies have shown that dancing five hours a day or longer
leads to an increased risk of stress fractures and other
injuries.
On top of the intensive training, many dancers get
little time to recover between the sessions and have no
"offseason." Restrictive diets and unhealthy body weights
may also contribute to dance injuries. Proper nutrition is
important for dancers of all ages.
How do dancers get ankle sprains?
Ankle sprains are the number one traumatic injury
in dancers. Traumatic injuries are different from overuse
injuries as they happen unexpectedly. When an ankle is
sprained, ligaments on the inside or outside of your foot get
twisted or overstretched and may experience tears. Ankle
sprains often happen due to improper landing from a jump,
misaligned ankles (when they roll in or out) or poorly fitted
shoes. Torn ligaments never heal to their preinjury
condition. Once you've sprained your ankle, you are at risk
of doing it again. It's important to build muscle strength to
prevent further injuries.
Dance Injury Prevention
How can dance injuries be prevented?
The majority of overuse injuries and even some traumatic
dance injuries can be prevented. Follow these guidelines to
reduce your risk of injury:
• Eat well and stay hydrated before, during and after
class.
• Get enough rest and avoid overtraining.
• Do cross-training exercises to build strength and
endurance in all parts of your body.
• Always wear proper shoes and attire.
• Always warm-up before training or performances.
• Lead a healthy lifestyle and get to know your body.
When injuries happen, address them immediately and
get advice from a doctor or physical therapist.
What are good cross-training exercises for dancers?
Core and hip strengthening exercises like Pilates
and stability-based yoga are great for dancers. And so are
aerobic and cardiovascular activities, such as running,
swimming or biking. They get your heart rate up and help
build stamina for long performances.
Many dancers don't do enough cardio during their
regular training. Just 30 minutes three to four times a week
is usually enough to improve your endurance. As always, do
this in moderation and in short intervals to avoid stressing
your joints. Being screened by a physical therapist with
experience treating dancers will help you identify individual
areas of weakness to address with specific exercises.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER Subject Teacher: KEVIN L. GARCIA, LPT

How much rest should a dancer get?

While many experts stress the importance of proper ACTIVITIES/ASSESSMENT:
rest, there are no specific guidelines on the frequency and
amount of rest. However, we know that dancing five hours a FIND AND PRACTICE
day or longer is linked to an increased risk of injury. It is
also known that intense activity leads to microdamage, Directions:
which peaks in recovery 12 to 14 hours after a workout. So it
would make sense to take the next day off after a high- 1. Research for various ways on how to treat possible dance-
intensity activity. Dancers should work at their highest related injuries. E.g. Bandaging, splinting
intensity a couple of times per week and then take at least 2. Prepare all the materials which were used on the process
two days off, preferably in a row. Also, a three- to four-week of treating those injuries. If you do not have the exact
period of rest after the season is ideal for recovery. material, IMPROVISE. ☺
3. After watching and comprehending the clips you’ve
Dance Injury Treatment chosen, try to practice the different ways on how to treat
simple dance-related injuries.
Should I ice or heat after a dance injury? 4. Document your process by taking photos of every steps
If it's a sudden injury, it's best to apply ice first to you are making.
reduce swelling and inflammation. RICE treatment is a 5. Collate, label and describe your photo documentation. Do
common approach that involves rest, ice, compression and not write essays to explain. State your explanation in
elevation. After a few days, you can switch to heat to outline form.
increase blood flow to the area and promote healing. 6. Be ready for next week’s activity.
However, every person is different. If you feel that ice helps
you better than heat, then there is nothing wrong with Work according to the following criteria:
continuing to ice. But be careful not to ice before dancing or
stretching, because you want those muscles to be warmed Creativity: 30
up to prevent re-injury. Originality: 40
Explanation/Content: 20
What are my treatment options for a dance injury? Photo Documentation: 10
Total: 100
It depends on the type of injury, your level as a
dancer and many other factors. For example, for traumatic Submit your work on or before deadline ☺
injuries like ankle sprains, your doctor may recommend
RICE, joint protection and physical therapy. For stress
fractures you may need to limit weight on your foot by
using crutches, wearing a leg brace or walking boots.
Surgery is typically used as the last resort. It is best to
discuss your treatment options with a doctor who
specializes in dance injuries. And if you are working with a
physical therapist, make sure he or she is experienced in
treating dancers. A big part of physical therapy is correcting
the training technique that led to the injury. Otherwise, you
risk hurting yourself again by making the same mistake.

What should be in the first aid kit for dance injuries?

Your regular first aid kit might already have many of the
essentials for handling a medical emergency. However,
when it comes to common dance injuries, you may want to
include a few additional items, such as:
• Instant cold pack
• Pre-wrap and athletic tape (if qualified providers are
available to apply)
• Elastic bandages (to be used only for compression,
not support while dancing)
• Crutches
• Topical pain reliever
Resources:
(Clippinger, K. Dance Anatomy and Kinesiology. Champaign,
IL: Human Kinetics, 2007.
Howse, J. Dance Technique and Injury Prevention. 3rd ed.
London: A & C Black, 2000.
Watkins, A. and P. Clarkson. Dancing Longer Dancing Stronger:
A Dancer's Guide to Improving Technique and Preventing Injury.
Princeton, NJ: Princeton Book Co., 1990.
Solomon, R, J. Solomon, and SC Minton. Preventing Dance
Injuries. 2nd ed. Champaign, IL: Human Kinetics, 2005.

13 | T a n a u a n C i t y C o l l e g e - S H S
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 6: September 28-October 2, 2020
TITLE: Managing Acute and Overuse Injuries
OBJECTIVES:
This module will enable students to:
▪ Identify different ways on how to overcome
dance-related injuries.
▪ Apply techniques and interventions on possible
injury cases before, during and after dance
performances.
▪ Promote awareness on safety management and
self-injury treatment on dance performances or
sports events
INTRODUCTION:
This module discusses the definition of overuse injuries in
dance and other performances. It allows students to
comply to the proper safety etiquette in entering or
engaging their selves in an active and physical activity.
This also contains tips and prevention measures that
promote awareness on how to deal with possible misuse of
body movements and the persons who can be of help to
avoid experiencing the abovementioned scenario.
DISCUSSION:
What is an Overuse Injury?
Taking time out each day to relax and renew is essential to
living well. ~Judith Hanson Lasater
Any type of physical activity is accompanied by a risk
of injury, and dance is no exception.
Some injuries are acute, meaning they are due to one
specific traumatic event like a fall, a collision or a poor
landing that leads to a fracture, a sprain, a dislocation, or a
muscle strain. These injuries are treated right away and have
a predictable recovery time – a sprain may require 1-2 weeks
in an air cast followed by physical therapy, and a fracture
may require a cast for 6 weeks followed by physical therapy.
Chronic injuries, however, are less predictable. These
injuries happen over a long period of time. Unfortunately,
they are the most common injuries among dancers and are
the most difficult and challenging injuries to treat.
Exercise places stress upon our bones, tendons, and
muscles. This type of stress is a good thing because it causes
changes within our body. Slight tears occur in muscles so
that the body can rebuild muscles and create stronger tissue.
When stress is placed on bones, the body’s response is to
add another layer of protection by depositing collagen
molecules on bone surfaces to form a matrix that hardens
into another layer of bone.
14 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
Unfortunately, when dancers increase the amount of
hours they dance, add rehearsal hours into their schedules,
or try to add extra classes to get back in shape quickly after a
break, they often do not allow the body enough time to rest
and go through the rebuilding process before it is once again
placed under stress. The result of this imbalance between
time spent dancing and time spent resting is repetitive small
traumas in the body tissues that never quite get repaired.
Once identified, these injuries often require
complete rest, which results in missed classes, rehearsals,
and, maybe even, performances. Since the injury developed
over time, it makes sense it will also need time to heal.
An overuse injury is different from an acute
injury. In an acute injury, there is an event that triggers your
pain. For example, you could land a jump with poor form
and twist your ankle. The pain you develop immediately
after has been caused by the faulty landing.
In an overuse injury, there is no single event that triggers
your pain. Overuse injuries occur due to repetitive low-
grade forces over time. These repetitive movements cause
micro-trauma – or small stresses – that can accumulate over
time. Symptoms of pain and inflammation surface gradually
(1-3). Because symptoms of overuse injuries come on
gradually, it often takes some time for dancers to recognize
their discomfort and visit a healthcare professional.
Overuse injuries are the most common type of injury in
dance. One study reported that over a five-year period, as
many as 75% of the injuries reported in a classical dance
company were classified as overuse (1). In this post, I aim to
give a basic introduction on the nature of overuse injuries as
well as some times to prevent them.
IDEAS ON PREVENTING OVERUSE INJURIES
Below are a few tips to decrease your likelihood of
sustaining an overuse injury.
• Brush up your technique. Do you hear the same
correction over and over again in class? Take the
time outside of the studio to work on technique so
that you don’t improperly stress your muscles,
tendons, and joints.
• Get stronger and increase your stamina. Make a
habit of going to the gym or taking a gyro class.
Increase your strength so your body can withstand
the demands of dance.
• Take care of yourself outside of class. If you’ve had
a long week in the studio, take the weekend to put
your feet up, spend a night in with friends, catch up
on sleep, and eat some well-balanced meals instead
of going out on the town.
• Get help. Feeling overwhelmed by all that’s
happening in the studio is not uncommon.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
Some ways to avoid overuse injuries are to listen to
our bodies when they are tired, constantly evaluate our
technique, and be mindful about our alignment. Doing these
things will help to minimize the risk of a dancer developing
an overuse injury and help dancers to dance without pain.
Other ways to prevent overuse injuries.
Parental Oversight
Parents play a large role in dance injury prevention. First,
they must be careful not to encourage their children to
advance to higher levels of training at an unsafe rate.
Specific to ballet, parents should ensure that the decision to
begin pointe training is not made before the child's feet and
ankles develop enough strength.
Age 12 is the generally accepted lower limit, but strength
and maturity are more important than age.
Second, parents must be cognizant of any nutritional or
psychological changes their children display as a result of
trying to conform to an unhealthy dance image. Eating
disorders, disrupted menstruation,
and counterproductive perfectionism are examples of
problems that are more prevalent in dancers than non-
dancers.
The observant parent should be alert to the development of
such conditions and head them off before they become truly
problematic.
Proper Instruction
The first line-of-defense to prevent injuries may be dance
instructors. Teachers from the onset of instruction should
establish a class environment where students are not afraid
to share that they are injured and need a break.
Students should also be instructed consistently on the
importance of warm-ups and cool-downs, proper
equipment, and at what point, whether by age or maturity, it
is appropriate to move on to the next level of dance.
Medical Care and Screening
The medical professional plays a significant role in not only
treating and rehabilitating the injuries dancers incur, but
also in preventing them. Dancers respond well to medical
providers who respect both the aesthetics and intensity of
dance. Physical therapists, athletic trainers, and other allied
health professionals can initiate and facilitate screening
sessions for dancers to help identify potential problems and
prevent future injuries. They should be considered a natural
part of a dancer's career and sources of insight into staying
healthy. A dancer should return after an injury only when
clearance is granted by a health care professional.
15 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
ACTIVITIES/ASSESSMENT:
”Dance, Act, Overcome”
This activity aims to enhance your confidence and alertness
in dealing with unwanted events specifically performance-
based incidents. This will allow you to apply the knowledge
you’ve acquired in treating simple and manageable dance-
related injuries which will be beneficial for your future
doings. Follow the instructions given below.
Materials needed:
▪ Mobile Phone
▪ First aid kit
Instructions:
1. Prepare all the materials needed.
2. Create, and Perform and record a 1 Minute dance
presentation of your choice.
2. At the end of the dance presentation, play a role of a
performer who got injured after the performance.
3. Having the knowledge learned from previous
discussions, explain and apply the techniques in
treating simple dance-related injury.
4. Record your re-enactment on your mobile phone and
save as one clip together with your dance performance.
5. Submit your output to your subject teacher on time.
Please be guided with the following criteria before doing
your activity:
Originality: 40
Dance Presentation: 20
First Aid Execution: 30
Delivery of the content:10
Total: 100
Resources:
(Liederbach, M. Schanfein, L. & Kremenic, I. (2013) What is
known about the effect of fatigue on injury occurrence among
dancers? Journal of Dance Medicineand Science. 17:3,101-8.
Murgia, C. (2013) Overuse, tissue fatigue, and injuries. Journal of
Dance Medicine and Science. 17:3, 92-100.
Shah, S., Weiss, D. & Burchette, R. (2012) Injuries in
professional modern dancers: incidence, risk factors and
management. Journal of Dance Medicine and Science. 16:1, 17-25.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
WEEK 7: October 5-9, 2020
TITLE: Stress and Injuries
OBJECTIVES:
This module will enable students to:
▪ Evaluate effective strategies for dealing with
stress.
▪ Demonstrate a variety of behaviours that avoid or
reduce health risks to self and others.
▪ Propose ways to reduce or prevent injuries and
health problems.
▪ Apply stress-management techniques to manage
personal stressors.
INTRODUCTION:
Stress is the way human beings react both physically and
mentally to changes, events, and situations in their lives.
People experience stress in different ways and for different
reasons. The reaction is based on your perception of an
event or situation. If you view a situation negatively, you
will likely feel distressed—overwhelmed, oppressed, or
out of control.
This module will discuss to you how important and
necessary it is to know the strategies and significant ways
on how to deal and manage stress in our daily lives. As
students, this present conditions are still teaching you to be
strong and positive despite all the happenings around the
globe. Learning must still continue and it shouldn’t be
stopped just because you aren’t able to comply with what
is asked and how it is to be done. Appreciate this lesson for
this will impact a part of your daily doings.
DISCUSSION:
Stress is a fact of life, wherever you are and
whatever you are doing. You cannot avoid stress, but you
can learn to manage it so it doesn’t manage you.
Changes in our lives—such as going to college,
getting married, changing jobs, or illness—are frequent
sources of stress. Keep in mind that changes that cause stress
can also benefit you. Moving away from home to attend
college, for example, creates personal-development
opportunities—new challenges, friends, and living
arrangements. That is why it’s important to know yourself
and carefully consider the causes of stress. Learning to do
this takes time, and although you cannot avoid stress, the
good news is that you can minimize the harmful effects of
stress, such as depression or hypertension. The key is to
develop an awareness of how you interpret, and react to,
circumstances. This awareness will help you develop coping
techniques for managing stress.
Keep in mind that stress can have detrimental
effects on the body and is closely related to pain, injury, and
illness. Stress weakens immunity, and physical stress
weakens muscles and joints. It can cause immediate
16 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
symptoms, including a runny nose, tears, a twitchy eye or
face, sweating, trembling, and a greatly increased or
decreased appetite. Some people get stomach and
gastrointestinal symptoms, including diarrhea, cramps, and
nausea. Vomiting, hives, and severe headaches are also quite
common.
Body Response to Stress
Immediate Response Long-Term Response
Sweating Illness
Twitching Chronic fatigue
Crying Fibromyalgia
Tremors Asthma
Nausea Neck and shoulder pain
Vomiting Back pain
Itchiness Trouble falling asleep
Headache High blood pressure
Stomach cramps New medical problem
Diarrhea Ulcer
Irritability Infertility
Trouble concentrating Stroke
Injury or Illness Caused by Stress
There are various medical conditions, including
allergies, neck and back pain, and even infertility, that have
all been linked to stress. Stress can lower immunity, so you
are less able to defend yourself from viruses or bacterial
infections. This can lead to a cascade of poor health, as
viruses have been known to trigger even more serious
diseases such as diabetes, rheumatoid arthritis, and other
autoimmune diseases that are often lifelong. There are some
schools of thought that believe some cancer is also triggered
by stress. High blood pressure, often connected with stress,
can lead to heart disease and strokes.
Stress in other aspects of life can affect your fitness
and training or lead to injury or negative consequences as
well. For example, if you are overwhelmed or anxious, you
might forget the proper equipment. Not only does this lead
to poor performance, it can also cause injury. Stress on your
schedule for time can lead you to work out at odd times of
the day, perhaps running when it is dark out. Not only can
you trip and fall, but also you are at the mercy of drivers
who could hit you or criminals looking for a vulnerable
woman.
There has been research on the links between poor
stress management and higher injury rates. Not only can the
body and immunity become weaker, but muscles are more
tense, concentration is poor, and self-confidence is down.
The distraction of stress on the mind interferes with focus
and concentration, which can contribute to injuries. Also,
pessimists and people more easily angry, aggressive, and
depressed are more likely to injure themselves.
 Module in
PHYSICAL EDUCATION
Grade 12
FIRST QUARTER
Mood Problems Secondary to Injury
Coping methods are very important during times of
injury. A serious athlete/dancer who identifies herself with a
certain sport/performance can be devastated by an injury
that takes her out of the game. She might fear losing her
skills, strength, conditioning, and experience of a season. She
might also fear losing her position. Additionally, she is
unable to exercise as before due to the limitations of her
injury. Even though she might now have a lot of time on her
hands, she might feel great stress and turmoil.
There are many uncertainties related to injury. It is
common to wonder if she will ever be able to play as well
again. She might become anxious waiting for healing to take
place and develop depression. She might also lose touch
with her athletic friends and find new friends and interests.
If these behaviors or feelings are affecting coping skills,
feelings of self-worth, and identity problems, it is valuable to
see a psychologist, counselor, social worker, or psychiatrist.
The sooner she can start talking to someone, the sooner she
will feel better and avoid negative mood problems. Other
problems related to injury are related to weight. An active
athlete who cannot exercise due to injury might fear weight
gain and start dieting.
This can be detrimental to healing because nutrition
is crucial at times of injury. If the injury is to a leg, calories
burned are actually higher than you think, as it takes more
calories to hop on one leg, use crutches, or use your upper
body to move around. Also, your body requires more
calories to heal the injury. Therefore, although the injured
athlete/dancer might have to cut back a little on caloric
intake, there is really little risk of weight gain during this
time.
For competitive performers who are having trouble
coping with injury, involving themselves in aggressive
rehabilitation with a physical therapist and/or athletic
trainer can be very helpful. Also, exercising the non-injured
body parts can relieve stress. For some athletes going to
practice and games can be helpful, although be aware that it
might also be frustrating for the injured athlete to be a
spectator rather than a participant.
Strategies to Cope with the Stress of Illness or
Injury
• Have goals for therapy and rehabilitation.
• Focus on the outcome.
• Keep an active social schedule.
• Read inspirational books about other athletes'
injuries.
• Work out regularly, incorporating rehabilitation
strategies into your training.
• Add stretching routines incorporating breathing and
relaxation (such as yoga) into your training.
• Practice visualization and imagery every day.
17 | T a n a u a n C i t y C o l l e g e - S H S
Subject Teacher: KEVIN L. GARCIA, LPT
ACTIVITIES/ASSESSMENT:
“Let’s be Stress FREE”
This activity aims to assess students’ ways on how they
manage stresses in their lives by answering the given
questions below. It is important to know how they are
feeling right now, hear their concerns and guide them to be
more motivated and goal-oriented students to help them
carry their dreams into reality. Specifically, they must be
open minded and honest answering these questions:
1. How do you recognize stress in your life?
2. Have you been under stress recently?
3. How do you feel emotionally?
• Do you feel nervous or worried about
stressful situations?
• Do you get angry easily?
4. Have you felt stress recently?
• Did the stressful feeling last a long time or a
short time?
• Had the cause of the stress happened to you
before or was this a new situation?
5. In what way does a too full schedule lead to stress?
6. If you are very busy at work or at school, do you have
ways to balance your life?
7. Does stress make it hard for you to think or act?
8. Is your stress caused by relationships with other people?
• At work? At school?
• At home?
• With best friends?
• With partners?
9. What do you do when you have stress?
10. Is it easy for you to make decisions about important
things?
11. How do you get control of a stressful situation that is
getting too tough?
12. Can alcohol cure stress temporarily?
13. Give us suggestions for making school life less stressful.
14. How do you reduce stress in your life? Do you think they
would be considered good or bad ways of dealing with
stress?
Elaborate your answers on the following questions. Write it
on a clean long bond paper. (Strictly, Handwritten).
Resources:
(https://www.familyeducation.com/fun/11-fun-summer-camp-
crafts-activities-try-home)