GRADE LEVEL: Grade 12

SUBJECT: Physical Education and Health Lecture

Health Optimizing Physical Education (H.O.P.E. 3)

CONTENT: Health Optimizing PE (H.O.P.E. 3)

DANCE

CONTENT STANDARD: The learner demonstrates understanding of dance in optimizing one’s health as a
habit; as requisite for physical activity assessment performance and as career opportunity.
PERFORMANCE STANDARD: The learner leads dance events with proficiency and confidence resulting in
independent pursuit and in influencing others positively.

Week 1: PAR-Q and Physical Fitness Test

PHYSICAL ACTIVITY READINESS QUESTIONAIRE
(Bonoan, Bernardo, 2006)

Please read the questions carefully and answer each one honestly. Encircle your answer.
Basahin ng mabuti ang mga tanong at sagutin ng buong tapat. Bilugan ang tapat ng inyong sagot.

YES NO
  1. Has your doctor ever diagnosed you to have a heart condition and that you should only do physical activity
Recommended by a doctor
(Sinabihan ka na ba ng doktor mo na ikaw ay may karamdaman sa puso at ang dapat mo lang gawing pisikal ay ang
rekomendado ng doktor?)
  2. Is your doctor currently prescribing drugs for your blood pressure or heart condition?
(Kasalukuyan ka bang umiinon ng gamot na inirineseta ng doktor mo para sa mataas na presyon ng dugo o karamdaman
sa puso?)
  3. Do you experience pain or discomfort in the chest, neck and jaw area during mild physical activity or at rest?
(Nakakara mdam ka ba ng sakit o karamdaman sa dibdib, leeg o gawing panga habang gumagawa ng malumanay na
gawaing pisikal o kaya nagpapahinga?)
  4. Do you experience shortness of breath with mild physical exertion?
(Nakakaramdam ka ba ng kahirapan sa paghinga habang gumagawa ng malumanay na gawaing pisikal)
  5. Do you get tired frequently even when not doing physical activity or are you frequently drowsy?
(Madalas ka bang napapagod maski na walang ginagawang pisikal o madalas ka bang nananamlay?)
  6. Have you lost weight rapidly recently with or without feelings of extreme hunger?
(Namayat o nawalan ka ba ng timbang ng sobrang bilis kamakailan, o ng hindi nakakaramdam ng matinding gutom?
  7. Do you have a bone or joint pain that increases with movement? Is there a sudden increase in pain when bending or
touching the joint?
(Ikaw ba ay may nararamdaman na sakit sa buto o kasu-kasuan na lumalala pag gumalaw? May biglang pagtindi ng sakit
ba kung binabaluktot o hinahawakan ang kasu-kasuan?)
  8. Do you know of any other reason why you should not do physical activity?
(Meron ka bang alam na iba pang dahilan kung bakit hindi ka dapat
gumawa ng kahit ano mang gawaing pisikal?

If you answered YES to any question, please see a health care provider. Thank you.
(Pag may sinagutan kayo ng “YES”, maaari lang magpakita sa isang health care provider. Salamat.)

NAME & Signature _______________________________________________ DATE ________________

MODULE ON H.O.P.E. 3 (DANCE)
Week 2

Perform the Physical Fitness Test (PFT) and record your activities properly at the PFT form, then answer
the questions comprehensively.

1. How did you compute your BMI?

2. Differentiate your heart rate before the 3minute step test from your heart rate after the activity.

3. Which is easier to perform, push up or basic plank, why?

4. What are the different muscles involve in doing zipper test? And what muscle is being tested in
sit and reach?

5. What is your idea about juggling as part of coordination test?

6. Explain (step by step) how you performed the Hexagon Agility Test.

7. Do you think 40 meter sprint is the easiest way to test your speed? Do you have any suggestion?

8. Why should you perform standing long jump twice?

9. Write the steps on how you perform the Stork Balance Stand Test.

10. Explain the significance of Stick Drop Test in testing your reaction time.
MODULE OF H.O.P.E. 3 (DANCE)
Week 3
Pre-test

Choose the letter of the best answer. Encircle the leter of the correct answer.

1. It plays a vital role for self-expression and has been part of rituals and religious gatherings.
A. Aerobic activity B. Dance C. Fitness D. Zumba
2. The following statements defines dancing as stress management except one:
A. Dance can be used in many ways and one function is to relieve stress.
B. Through dancing, we lead to an unhealthy lifestyle.
C. To avoid chronic illness or disease, we opted to seek activities to have a healthy living.
D. In dancing, it avoids stress and can make our life easy and much more fun.
3. The following are the causes and effects of stress except one.
A. Anxiety B. Panic C. Joy D. Misery
4. Dancing is enjoyable because___________?
A. It has physical and mental benefits.
B. Helps you connect to who you really are.
C. It plays a vital role for self-expression.
D. All of the above
5. ______________ are chemicals within the brain that helps communicate messages throughout the
body.
A. Endorphin B. Norepinephrine C. Dopamine D. Neurotransmitters
6. ______________ are the body’s natural pain killers to reduce stress and improve the mind’s
perception of the world.
A. Endorphin B. Norepinephrine C. Norepinephrine D. Dopamine
7. The following are the physical benefits of dancing except one:
A. Improved condition of heart and lungs.
B. Increased muscular strength and endurance.
C. Improved physical confidence.
D. Improved general and psychological well-being.
8. Which of the following are the mental benefits of dancing?
A. Improved muscle tone and strength.
B. Greater self-confidence, and self-esteem.
C. Improved condition of your heart and lungs.
D. Stronger bones.
9. How dancing can improve your life and health?
A. Dancing will decrease your chances of developing heart disease.
B. Dancing improves positive feelings, behavior and communication.
C. Keeping you physically strong, isn’t the only benefit dancing provides, but it can also provide
social and emotional health.
D. All of the above.
10. Why is dancing good for the brain?
A. Dancing increases depression symptoms
B. Dancing supports motor emotional and intellectual brain functions.
C. Dancing never stimulates nerve growth factor.
D. Dancing declines memory.
WHAT I KNOW
The energy system of our body works in different ways in which it generates fuel and uses it as
an energy to perform a certain task. We all know that in able for our body to work, all we must do is to
eat. The food that we eat gives as the energy to do work and to accomplish something. These food
serves as the fuel of our body. A certain energy system of our body becomes predominant depending on
the intensity, duration, and type of exercises we perform. Energy systems in our body includes the ATP-
CP System, Glycolysis, and Oxidative. In the previous grade level, these energy systems were discussed.

WHAT I NEED TO KNOW

Stress is sometimes or most of the time is inevitable. We tend to ignore the stress that we feel but it
went to cause much more stress. We live in a world with a busy life. That’s why we encounter so much
of stress in a day to day of living. It is important to know on how to cope up with this stress in a most
managing way. We can do a lot of things to relieve stress, and one of which is through dance. Dance can
be a form of stress management.

We have different ways on how to relieve stress. Activities in relieving one’s stress may vary on how we
look at stress. Managing one’s stress can be done through dancing. Dancing is a great way of releasing
our tensions in our body that leads also in relieving stress.

Dancing as Stress Management

Dance can be used in so many ways. One of the functions of a dance is to relieve stress. In able for us to
avoid chronic illness or diseases, we opted to seek activities that may help us to have a healthy living.
Avoiding stress can make our life easy and much more fun. Through dancing we lead to a healthy
lifestyle.

Dance is purposeful. It plays a vital role for self-expression and has been part of rituals and religious
gatherings. It is also part of our culture and traditions throughout the years. It was passed in to one
generation into another generation. Its functions become so wide that it can even help in our daily life.

How far can dance go in terms of relieving stress? Dance is a form of exercise. It provides proper body
coordination, mobility and reduces tension in the body. It calms our mind and releases toxins in our
body.

There is a reason why Kevin Bacon slides, jumps and chassés across an empty warehouse. To relieve his
teenage drama and stress! All of his classmates, getting the chance to dance for the first time at their
prom, looked more like freed prisoners than teenagers filled with angst.

Why? They were relieving their stress through dancing!

What is it about dancing that makes us all feel so free and relieved of our everyday stresses?
 3 Ways Dancing Relieves Stress

1. WHEN THE BODY FEELS GOOD, THE MIND DOES, TOO!

The scientific reason for why dance has the ability to act as a stress reliever stems from the idea
that when the body feels good, the mind does, too. Any type of physical activity releases
neurotransmitters and endorphins which serve to alleviate stress. Neurotransmitters are chemicals
within the brain that help communicate messages throughout the body. Endorphins are the body’s
natural painkiller to reduce stress and improve the mind’s perception of the world. Thus, after a good
workout the endorphins cause the body to feel calm and optimistic. The endorphins also aid in
improving the quality of sleep, so that a few sleepless nights due to stress can be avoided after dancing!

2. DANCE OFFERS A CREATIVE OUTLET FOR PEOPLE TO EXPRESS THEIR PERSONALITIES IN A SAFE
ENVIRONMENT
Your work environment isn’t always to best place to express who you really are. More often than not,
you need to be a more buttoned up version of yourself and hide much of your inner self. Dancing offers
an outlet for people to express who they are––through music, movement or even costumes! Dancing
helps you connect to who you really are. Leave that suit or pencil skirt at the office and trade it in for
sparkles and spandex!

3. DANCING IMPROVES YOUR PHYSICAL HEALTH

From weight loss, to increased flexibility, stronger bones and building muscle tone, dancing is a total
body workout. Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a wide
range of physical and mental benefits including:
1. Improved condition of your heart and lungs
2. Increased muscular strength, endurance and motor fitness
3. Increased aerobic fitness
4. Improved muscle tone and strength
5. Weight management
6. Stronger bones and reduced risk of osteoporosis
7. Better coordination, agility and flexibility
8. Improved balance and spatial awareness
9. Increased physical confidence
10. Improved mental functioning
11. Improved general and psychological well being
12. Greater self-confidence and self-esteem
13. Better social skills.
And nothing makes you feel less stressed than when you know you’re doing great things for your
physical and mental health. It’s well know today that stress is a silent killer and causes things from
inflammation in the heart to psychological distress. But you can avoid these terrible effects by taking
simple measures like, well, dancing! So, take a lesson from the Footloose gang and when in doubt,
dance it out!

ACTIVITIES
Activity 1.
1. Watch and follow the dance routine in this link:
https://youtube.be/L88FztyMttQ
2. Answer the following:
• a. How do you feel after dancing for 3-5 minutes?
• b. Did the dance routine you have followed made you feel better? Why or
Why not?
Activity 2.
1. What is the importance of dancing when it comes to relieving stress?

Watch the video thru the link below; study it, and do a demo dance.
https://youtube.be/L88FztyMttQ
or subscribe to Sir itong channel look for Dance Exercise

1.1How do you feel after doing an exercise dance?

1.2 Is it really possible to incorporate any kind of dance into exercise dance?

1.3 Aside from HipHop and pop dance, what other form of dance can be incorporated in a dance
exercises?

CHECKING YOUR UNDERSTANDING

1. Do you like dancing?

2. Is dancing enjoyable?

3. Do you find dancing tiring?

4. Does dancing help you feel good?

5. Are you into Dance Craze?

• Watch and study the video thru the below-mentioned link and do your own demo interpretation.
https://youtube.be/L88FztyMttQ
• Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a wide range of physical
and mental benefits. List down all the benefits that you can get from dancing.

REFLECTIVE LEARNING SHEET

Name: __________________________________ Grade & Section: ________________
Let’s Think and Act!
REFLECTIVE LEARNING SHEET NO.1
Directions. Answer the following questions. Have fun and enjoy!
1. What are the reasons why most of the people don’t have time for physical activities such as
exercise and dancing?

2. At this time of pandemic, how can dancing help to relive stress?

MODULE OF H.O.P.E. 3 (DANCE)
Week 4

WHAT I NEED TO KNOW

BALLET
 An artistic dance form performed to music using precise and highly formalized set steps and
gestures.
 Ballet, as we know it today, began during the Renaissance around the year 1500 in Italy. In fact,
the terms "ballet" and "ball" as in masked ball, come from the Italian ballare, to dance. When
Catherine de Medici of Italy married the French King Henry II, she introduced early dance styles
into court life in France.

HISTORY
• At first, the dancers wore masks, layers upon layers of brocaded costuming, pantaloons, large
head dresses, and ornaments. Such restrictive clothing was sumptuous to look at but difficult to
move in. Dance steps were composed of small hops, slides, curtsies, promenades, and gentle
turns. Dancing shoes had small heels and resembled formal dress shoes rather than any
contemporary ballet shoe we might recognize today.
• The official terminology and vocabulary of ballet was gradually codified in French over the next
100 years, and during the reign of Louis XIV, the king himself performed many of the popular
dances of the time. Professional dancers were hired to perform at court functions after King
Louis and fellow noblemen had stopped dancing.

DESCRIPTION
• Ballet is an art form created by the movement of the human body.
• It is theatrical – performed on a stage to an audience utilizing costumes, scenic design and
lighting. It can tell a story or express a thought, concept or emotion. Ballet can be magical,
exciting, provoking or disturbing.
• Ballet is a formalized type of performative dance, the origins of which date lay in sixteenth- and
seventeenth-century French courts, and which was further developed in England, Italy, and
Russia as a concert dance form.
• It is primarily performed with the accompaniment of classical music.
• It has been influential as a form of dance globally and is taught in ballet schools around the
world.
• Ballet may tell a story, express a mood, or simply reflect the music.
• But a ballet dancer’s technique and special skills differ greatly from those of other dancers.
• Ballet dancers perform many movements that are unnatural for the body.
• A ballet can be performed without music, scenery, or costumes.
• 21A ballet dancer can perform the difficult steps of ballet only after many years of hard training.
TYPES OF BALLET
• Story ballets tell a story. They contain narrative action, characters, a beginning and an end. The
Nutcracker and The Sleeping Beauty are famous story ballets from the 19th century; classic
stories and novels such as The Great Gatsby and The Three Musketeers  also have
been transformed into ballets.

• Plotless ballets have no storyline. Instead they use the movement of the body and theatrical
elements to interpret music, create an image or express or provoke emotion. Choreographer
George Balanchine was a prolific creator of plotless ballets.

STYLES OF BALLET
Classical ballet is what people generally think of  first when it comes to “ballet.” Classical ballet reached
its height in 19th- century Russia through the work of choreographers like Marius Petipa and Lev Ivanov.
The following elements characterize this style:
• graceful, flowing movements
• classical form: turn-out of the legs and pointe work
• balance and symmetry
• ethereal quality
•emphasis on story ballets and narrative
•elaborate sets and costumes
Neo-classical ballet was introduced in the 20th century by choreographers like George Balanchine. It
generally includes:
•increased speed, energy and attack
• manipulation of the classical form
• asymmetry, an off-balance feel
• non-narrative, often one-act ballets
• pared-down aesthetic with simple sets and costumes

Contemporary ballet is influenced by modern dance. Renowned contemporary ballet choreographers

include Twyla Tharp, Jiří Kylián, Paul Taylor, William Forsythe and Dwight Rhoden. In contemporary
ballet, you may see:
• floor work
• turn-in of the legs
• greater range of movement and body line
• pointed shoes but also bare feet
FUNDAMENTAL SKILLS
1.  Standing Correctly
• Tail down, spine up.
• Shoulders and hips face same direction. Shoulder blades flat.
• Weight balanced on the Triangle of the Foot
• Head erect and centered.
• Body centered over pelvis.
2. Turning Out
• Legs rotate from hip socket, feet follow.
• Knee remains in natural alignment with leg and foot, whether bent or straight.
• Ankle joints must flex and extend in line with the knee joints — no inversion or eversion.
3. Moving Correctly
• Each body part needs to be in the natural relationship to all others, and to the dancer’s center of
balance.
• Eyes and head lead the movements; arms and shoulders, body, legs and feet follow.
4. Balance
• Epaulement:
– Natural — the leg in front is matched by a slight forward movement of the
same shoulder.
– Opposition — the opposite shoulder moves slightly forward.
• Opposition: the leg in front is balanced by the opposite arm coming forward.
• The weight is evenly distributed throughout the body, using the least amount of energy for the
balancing as is possible.
5.    Transferring Weight
• The entire body weight must go to the new supporting leg, moving through the center of
balance.
• Dancer must be completely balanced against gravity all through the movement.
• Three of the five basic jumps contain a transfer of weight while in the air: sissonnes (2 to 1),
assembles (1 to 2), jetés (1 to the other).            .
• Arms and feet move from one position to another through first position whenever practical.

6.    Coordination
• Noverre stated: “Accuracy in classical dance is what matters, and if there is to be accuracy then
there must be unity and discipline. Only then will there be coordination.”
• Another author says that if all the other principles are present, coordination will not be a
problem.
• I would suggest that without a solid foundation of natural coordination, the other principles
would be very difficult to perform.

WHAT I CAN DO

Write a brief procedure how to perform the pictures on the next page, write it on the space
below the picture.
ASSESSMENT

IDENTIFICATION
Identify the following statements by answering the blanks provided in each number, its either a
missing word (fill in the blanks) or the word being identified.

1. “Accuracy in classical dance is what matters, and if there is to be accuracy then there must be
unity and discipline. Only then will there be _____________________.”
2. The weight is evenly distributed throughout the body, using the least amount of energy for the
________________________ as is possible.
3. ____________________________ The entire body weight must go to the new supporting leg,
moving through the center of balance.
4. ____________________________ Shoulders and hips face same direction. Shoulder blades flat.
5. During the reign of _________________, the king himself performed many of the popular
dances of the time.
6. _____________________ An artistic dance form performed to music using precise and highly
formalized set steps and gestures.
7. The origins of which date lay in sixteenth- and seventeenth-century French courts, and which
was further developed in _______________, ________ & ___________ as a concert dance form.
8. _____________________________ They use the movement of the body and theatrical elements
to interpret music, create an image or express or provoke emotion.
9. Classical ballet reached its height in 19th- century Russia through the work of choreographers
like _______________________ and _________________.

10. _________________________Increased speed, energy and attack, manipulation of the classical

form and asymmetry, an off-balance feel are best description of this style of ballet.
MODULE OF H.O.P.E. 3 (DANCE)
Week 5

WHAT I KNOW

Make a 2 minutes dance performance using the basic steps of ballet (listed below) and send it to
our google classroom. If you don’t have internet access You can draw a dancer doing the basic steps, 2
basic steps per bond paper or a cut out picture of the said steps and 2 pictures per bond paper then
submit it at the end of the week.
1. Plie
2. Grand Plie
3. Arabesque
4. Assemble
5. Releve
6. Saute
7. Grand Jete
8. Tendu

WHAT I NEED TO KNOW

MODERN AND CONTEMPORARY DANCE

I. History of Modern Dance

 Early Period – 1900

This was preceded by a period of reaction against the empty spectacle of late 19th-century
ballet.

2 developments that inspire a freer kind of dance movement:

1. The system of natural expressive gestures developed by French Actor Francois Delsarte.
Dance movements are based on the human’s natural actions. For example: the release, it is
based from our body language whenever we feel something (ex.feeling the wind).
2. Eurhythmics – a system for teaching musical rhythms through body movement –by Swiss
music educator, Emile Jacques-Dalcroze.

Pioneers:

Isadora Duncan used Greek sculpture as a movement source and danced in bare feet and a
simple tunic. She created dances that alternated between resisting and yielding to gravity. Her
response to the music of romantic composers such as Chopin and Liszt dictated the form of her
choreography.She thought, dancing should be an art not just an entertainment. She wanted her
“modern” dance style to be free and natural. She died in a freak accident.
Ruth St. Denis turned to ethnic and Asian dance styles as a basis and in 1915 she formed the
dance company, Denishawn, with her husband, Ted Shawn. She trained dancers to dance as she
did, in a diverse range of styles. Later, American choreographers such as Katherine Dunham and
Pearl Primus continued her interest in ethnic styles. She learned exercises based on Francois
Delsarte’s Society Gymnastics and Voice Culture.

Mary Wigman looked to Africa and the Orient for inspiration. She presented both solo and
group works, often arranged in cycles. Along with other German modern dancers – Rudolf von
Laban, Kurt Jooss and Herald Kreutzberg, she made extensive use of masks.

 The 1930s
They transformed natural actions such as walking and breathing into dance movements.

Second wave of modern dancers:

Martha Graham evolved her technique of contraction and release from natural breathing and
explored movement initiated in the torso. In the late 1930s she became interested in narrative
structure and literary subject matter. Together with Japanese-American sculptor Isamu
Noguchi, she created narrative locales that were both mythic and psychic. She danced the roles
of female protagonists confronting moments of crisis whilst other dancers represented various
aspects of the protagonist’s self in crisis.

Doris Humphrey evolved her technique of fall and recovery from the natural dynamic of the
human footfall. This technique became a metaphor for the relationship of the individual to a
greater force. After Humphrey stopped performing, she continued to choreograph for her
protégé, Mexican-American dancer and choreographer, Jose Limon. The choreographic sources
for her late works were words and gestures rather than her own movement experiences.
Hanya Holm worked in a more varied range and created humorous dances of social
commentary. Beginning in the late 1940s, she also choreographed for musicals, being one of
the first to bring the style of modern dance to the Broadway stage.

 Post-war Developments

Twyla Tharp found their movement sources in the proliferation of 20th-century dance styles
and their works combined and fused techniques drawn from social dance, ballet and modern
dance. She began her career as part of the 1960s avant-garde. During this time of social
upheaval, the American dancers Yvonne Rainer, Trisha Brown, Meredith Monk, and other
created works at the extreme limit of what is considered dance.

Merce Cunningham fused Grahams technique with ballet, locating the source of movement in
the spine. He organized the changes of movement through methods based on chance, and
considered music and décor independent of the dance. His works revealed individual dancers
experiencing their relation to present time and abstract space.

James Waring and Twyla Tharp have worked with both ballet companies and their own modern
companies. Along with Paul Taylor and Alwin Nikolais, they display a choreographic sense of
humour.

II. History Contemporary

Merce Cunningham

 He is a student of Martha Graham.

 After being a main dancer in her company, he starts an independent career as a
choreographer in 1942.
 He presents a solo entitled “Totem ancestor”, accompanied by John Cage’s music.
 He innovates from almost all of the possible perspectives: choreographic, compositional,
technical-interpretative, musical, philosophical and others.
 He is considered as the first choreographer that proclaims himself against the
established conceptions of modern dance, and develops an independent attitude
towards the artistic work.

The ‘postmodern’ dance

From this time on, choreographers stop creating ‘schools’ or ‘styles’ like their modern masters
did. Influences between each others are less direct and more fragmented.

Among the artists who start gathering with this new spirit (or join the group in time) are Anna
Halprin, Simone Forti, Yvonne Rainer, Judith Dunn, David Gordon, Trisha Brown, Steve Paxton,
Deborah et Alex Hay, Elaine Summers, Lucinda Childs and Meredith Monk.

Some of the choreographers that started their careers during the 60s, in the middle of this
ideological ambience, continue their researches independently.

Butoh

 a group of performance practices that could be considered as a type of Japanese

contemporary dance.
 Contemporary dance history commonly associates the motivation for this arising with
the social devastation and misery left by the world second war.
 Tatsumi Hijikata and Kazuo Ôno -founder of butoh
 Hijikata develops his expressive way, giving it the name of “dance of the darkness”.
  The first piece by Hijikata, in 1959, creates a scandal and he is socially banned. Later, he
is greatly received in the western world.

Pina Bausch

 Heir of the German expressive dance,

 Pina Bausch receives her dance training at the Folkwang School in Essen, under the
supervision of Kurt Jooss.
 She is engaged as a choreographer since 1973, and created Wuppertal Dance theater.
 Her company gradually achieves international recognition because of the proposal of a
new form of show that shatters the world of dance as much as the world of theater.
 Her work is close related to contemporary dance but is most commonly known as a
modality of postmodern or contemporary ballet .

III. Descriptions

Modern Dance

This dance emerged in Germany and United States in the late 19th and early 20th centuries.

 Modern dance created to show emotion and a more human side of the art. It is based
from Francois Delsarte’s the system of natural expressive gestures.
 Often considered to have emerged as a rejection of, or rebellion against classical ballet.
The pioneers of modern dance such as Isadora Duncan didn’t liked the strict rules,
categorized movements and corsets in ballet in search for greater freedom of
movement.

Contemporary Dance

 A style of expressive dance that combines elements of several dance genres

including modern, jazz, and classical ballet.
 It is changeable and inconstant. There are steps such as abstraction which never been a
technique and since contemporary dance seek for freedom.
 Flexible – more self-identified rather than categorized.

IV. Fundamental skills of Modern Dance

 Lateral: Movement away from the median plane or longitudinal center of the body.
Lateral curves: The sideward bending of the body. Lateral plane: The plane that divides
the body from front to back. Lateral shifts: The transfer of weight from side to side
 Spirals: Rotation of the torso around the pelvis. [Graham technique].
  Primitive squat: Legs are in parallel, torso is straight, knees are fully bent, with heels
remaining on the floor in a squat. [Horton technique].

 flat back: Position in which the legs are in parallel, the back is kept flat, parallel to the
floor, with the torso hinged at the hips. [Horton technique].
 The Contraction: Tightening the abdominal, tucking the pelvis, and forming a “C” with
the torso so that the shoulders are over the pelvis. [Graham technique].

 The Release: A relaxing or arching movement.

V. Steps/Variation of Contemporary Dance

 Abstraction: when applied to dance, this word refers to choreography that does not
have a narrative character. In other words, an abstract dance does not tell a story, nor is
related to symbolic contents or any kind of associations with feelings, ideas or other
elements than movement itself
 Accumulation: this is a word introduced by the American choreographer Trisha Brown in
the 1970s. It was used by her to name a piece and it described a graduated and repetitive
way in which the gestures of the choreography were built-up
  Arch: position in which the whole or upper body is extended, creating the form of an arc
 Canon: dancers use this word with the same meaning as musicians. It defines a
compositional structure in which one same choreographic fragment is executed by
several dancers who space it out in time

Elements of Contemporary Dances

 Theme – most basic element of a dance. It conveys the message of a dance.

 Design – pattern of movement in time and space.
 Movement – the bodily actions of the dancer that include his steps
 Technique – the skill of movement executed by the dancer
 Music – the auditory background to which a dancer moves
 Costume & body paraphernalia – properties worn by the dancer that help reflect the
message, customs and beliefs
 Choreography – the figures and steps in dancing that enable the dancers to perform in
an organized manner
 Scenery – the background or setting where the dance is performed to make it more
realistic and enriching.

ACTIVITY NO. 5:
Make a 2-3 minutes contemporary dance performance using the fundamental skills of
modern dance and basic/variation steps of contemporary dance then send it to our google
classroom or you may put it in a flash drive. (Music choice: Titanium, Ugoy ng duyan,
Maghihintay, Saranggola ni pepe and Paubaya)

MODULE OF H.O.P.E. 3 (DANCE)

Week 6

STREET HIPHOP
HISTORY
Hip hop began in the early 1970s
DJ Kool Herc - The father of Hip hop/ very first DJs/MCs
Afrika Bambaataa- Founder of Universal Zulu Nation

DESCRIPTION
“Hip” = what you know “Hop”= action
Freestyle Express
Hip-hop dance can be a form of entertainment or a hobby.

BASIC ELEMENTS (According to Bambaataa)

Breakin – street dance forms
Emceein – rhythmic talk, poetry and divine speech
Graffiti – street calligraphy, art and handwriting
Deejayin – rap music production and radio broadcasting
Beat Boxin – body music and body language

Breaking
- It is the first hip-hop dance style.
- It is a style of dance that evolved as part of hip-hop culture among Black and Latino American

4 ELEMENTS:
Toprock
Downrock
Freeze
Power Moves
LOCKING - created by Don Campbell
POPPING - created by Sam Solomon
KRUMPING - free, expressive, exaggerated, and highly energetic movement.
WAACKING - created in the LGBT clubs of Los Angeles, during the 1970s
TUTTING - Mark Benson aka "KING TUT”

ACTIVITY NO. 6

Make a 2-3 minutes hiphop dance performance using all the basic steps of hiphop or beat boxin or
rapping and send it to google classroom or put it in flash drive. If you don’t have internet access you
may choose to do any of the following:
6 pages pop-up comic book about basic elements of hiphop (7in x 11in)
1 whole illustration board of Graffiti ( water color or oil pastel)
2nd QUARTER
H.O.P.E. 3
Week 1

FOLK DANCE

 A popular dance considered as part of the tradition or custom of a particular people.

 Is a form of dance developed by a group of people that reflects the traditional life of a certain
country or region.
 Once established, folk dances are passed down through generations and rarely change.
 The traditional recreational dance of an indigenous society showing the cultural characteristics of
a specific people at a given time and place.
 The vivid intimate bond of customs, ideals, and traditions of the past through which a multitude
of national characteristics in music, steps, and costumes are preserved.

Francisca Reyes Aquino

National Artist for Dance (1973)

(March 9, 1899 – November 21, 1983)

  is acknowledged as the Folk Dance Pioneer. This Bulakeña began her research on folk dances in
the 1920’s making trips to remote barrios in Central and Northern Luzon. Her research on the
unrecorded forms of local celebration, ritual and sport resulted into a 1926 thesis titled
“Philippine Folk Dances and Games,” and arranged specifically for use by teachers and
playground instructors in public and private schools. In the 1940’s, she served as supervisor of
physical education at the Bureau of Education that distributed her work and adapted the teaching
of folk dancing as a medium of making young Filipinos aware of their cultural heritage. In 1954,
she received the Republic Award of Merit given by the late Pres. Ramon Magsaysay for
“outstanding contribution toward the advancement of Filipino culture”, one among the many
awards and recognition given to her.

 Her books include the following: Philippine National Dances (1946); Gymnastics for

Girls (1947); Fundamental Dance Steps and Music (1948);Foreign Folk
Dances (1949); Dances for all Occasion (1950); Playground Demonstration (1951);
and Philippine Folk Dances, Volumes I to VI.

Traditional Dances- dances that have been part of the culture of a group of people for a long time.

• Singkil • Pandanggo sa Ilaw • Kappa Malong-

malong
• Sayaw sa Bangko • Maglalatik
• Carinosa
• Pantomina

Ethnic Dances- dances that are danced by people having the same customs, religion, origin, etc.

• Dugso • Salip • AnitoBaylan

• Pagdiwata • Mananagat
 The Philippine Folk dances are classified according to:

1. Geographical Location

1.1 National Dances are traditional dances throughout the Philippines with a common basic
movement or pattern but with slight variations.

1.2 Local or Regional Dances are dances found in certain localities or regions only.

2. Nature of the Dance

2.1 Occupational Dances depict actions, characteristics, and faces of human labor.

2.2 Religious or Ceremonial Dances connection with religious vows, practices, and
ceremonies.

2.3 Courtship Dances depicts love making

2.4 Wedding Dances performed by newly-weds

2.5 Festival Dances in connection with celebrations, feasts

2.6 War Dances show imaginary combat or duel

2.7 Comic Dances funny, humorous movements intended for entertainment.

2.8 Game Dances dances that have some play elements and are for recreational purposes.

2.9 Social Dances dances during social gatherings.

History

The history of folk dance dates back several centuries, though very little detail is known about its
origins. While nobody is really sure what folk dancing looked like two thousand years ago, historians are
confident that it already existed at that time. Because folk dances are highly traditional and are taught
through the generations, the evolution of the genre has been slow as various cultural groups preserve their
inventories of cultural dances.

Most of the folk dances from the mountainous region in the northern part of the Philippines came
from tribes' rituals, prayers and celebrations.

The folk dances in the Tagalog region located between north and central Philippines (including the
country's capital Manila) had significant Spanish and European influences. Dances in the central part of
the country called the Visayan region were mostly inspired by animal movements. In the Mindanao
region, located in southern Philippines, folk dances were mainly influenced by Muslim culture, as this
was the only Philippine region never under Spanish rule.

Steps and Variation

 “ABRESETE”- Girl at the right side , holds R arm of partner with her L hand , free hands down
at the sides.

 ARMS IN LATERAL POSITION – Both arms are at one side, either sideward right or left.
This may be done at shoulder, chest, or waist level.

 BRUSH- Weight on one foot, hit the floor with ball or heel of the other foot (the free foot) after
which that the foot is lifted from the floor to any direction.

 BLEKING- Spring 1 (R) heel-place close, heel-place close (step)

 CUT- To displace quickly one foot with the other, thus completely taking off the weight of the
body from the displaced foot.

 DO-SI-DO- This 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.

 “HAYON-HAYON”- To place one forearm in front and the other at the back of the waist.

 “HAPAY” – To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of

invitation.

 HANDS ON WAIST- Place hands at the waist line (at the smallest part of the trunk), knuckles
in, fingers pointing rear.

 HOP- To move by a quick springy leap

 “KUMINTANG”- Moving the hand from the wrist either in a clockwise or counter clockwise
direction.

 “PANADYAK”- To stamp in front or at the side with R (L) foot and tap with the same foot close
to the L (R) foot, weight of the body on L (R) foot.

 PIVOT- To turn with the ball, heel, or whole foot, on a fixed place or point.

 POINT- To touch the floor lightly with the toes of one foot, weight of the body on the other foot.
 SALOK- To scoop or swing the arm downward upward in front of the body,
the trunk following the movement of the scooping arm.
 SAROK- Cross the R (L) foot in front of the L (R) foot, bend the body
slightly forward and cross the hand down in front R (L) over L (R).
This is a Visayan term.

 SALUDO- Partners bow to each other, to the audience, opposite dancers, or to the neighbors with
feet together

 SLIDE- To glide foot smoothly along the floor.

  STEP- To advance or recede by raising or moving one foot to another resting place.

Elements or Principle

1. SPACE

1.1 Floor Plan – pattern or paths made when someone is travelling across a space.
1.2 Direction – a course or path on which someone is pointing to.
1.3 Focus – conscious attention and movement of the eyes.
1.4 Level – graduation of levels may range from highest possible jump reach to a recumbent position.
1.5 Dimension – connotes range of possible change in size within varying limits from smallest to
largest.
1.6 Contour – refers to the body either stationary or moving.

2. RHYTHM – came from the Greek word “rythmos” which means any measurement or movement.
It is the regular pattern of sounds in sequence.

2.1 Measure – underlying beat or measure.

2.2 Tempo – rate of speed, movement, music, or accompaniment.
2.3 Underlying beat – steady continuous sound heard throughout any rhythmical sequence.
2.4 Phrase – long and short beat with a feeling of unity.
2.5 Accent – refers to the emphasis placed on a dance.
2.6 Intensity – the depth of feeling or concentration

3. DYNAMICS – is the force or the way energy is applied or extended. It gives strength or power to the
movement.

3.1 Swinging movement – when the tension is held, then released to flow with gravity back and forth.
3.2 Sustained movement – movement where energy is released equally in a smooth pattern.
3.3 Percussive movement – a movement quality which is quick and more aggressive in nature.
3.4 Vibratory movement a group of pressive moves performed in quick succession.
3.5 Suspended movement - a quality of movement that creates the impression of defying gravity,
floating, effortless movement.
4.Technique – refers to the degree of body control, and the mastery of pattern.
5.Gestures – hand movement
NAME: ___________________________________
SECTION: _________________________________

Activity NO. 1

 Make your own video in dancing the different steps and variations of folkdance, you can choose
any of the given steps on pages 2 and 3. (For digital Modular)

 Make a 1 – 2 minutes video of Philippine folkdance of your choice and send it to google
classroom or put it in a flash drive and submit it to me or your adviser. (For digital modular and
Printed Modular)
 Write on this paper the dance literature of any of the following Philippine Folk dance (Choose 1
in any of the six dances with at least 8 figures) your choices are: Lajota Moncadenia, Itik-itik,
Tinikling, Tiklos, Subli and Maglaltik. (For printed modular)
2nd QUARTER
H.O.P.E. 3
Week 2

A Brief History of Ballroom Dancing

“Ballroom dancing” as a term hails from the Latin word “ballare” which, coincidentally, means “to
dance.”
Centuries ago, ballroom dancing was primarily for the privileged and well-to-do, while the
commoners had to make do with folk dancing; however, these boundaries have since disappeared, leaving
ballroom dancing a fun hobby for everyone.
Today, ballroom dancing applies to numerous dances in which a “leader” and a “follower” dance
together in close proximity, usually with some degree of physical contact. This closeness is to permit the
leader to get the follower to, well, follow along.
Early Ballroom Dancing
The first documented authority of early ballroom dancing is Jehan
Thoinot’Arbeau’s Orchesographie (1588) that discussed 16th-century French social dance. In 1650, Jean-
Baptiste Lully introduced the Minuet to Paris—a dance that would dominate ballroom until the end of the
18th century.
The Waltz came about in England in the early 1800s despite initial opposition to the closed dance
hold. By 1840, the Polka, Mazurka, and Schottische emerged.
Ballroom Dancing Emerges in the US
In the early 20th century, ballroom dancing experienced massive popularity in the US with the
extremely successful dancing of Fred Astaire and Ginger Rogers. Even though most of their numbers
were meticulously choreographed, staged, and oft-rehearsed, they influenced greatly ballroom dancing’s
acclaim and acceptance.
Ballroom versus Latin Dances
Although commonly classified together as “ballroom” dancing, there are notable differences
between ballroom and Latin dance. The “ballroom” dances are generally “smooth” dances like:
• Waltz
• Foxtrot
• Tango
• Quickstep
• Viennese Waltz
• “Latin” dances are more rhythmic and include:
• Rumba
• Swing/Jive
• Samba
• Cha Cha
• Mambo
• Merengue
• Bolero
• Salsa
• Regardless of their "proper" classification, they are all extremely fun and fairly easy to learn.

What is Ballroom Dancing?

Ballroom dancing is a partnership dance where couples, using step-patterns, move rhythmically,
expressing the characteristics of music. Ballroom dancing consists of two styles: the Smooth, or Standard,
and the Rhythm, or Latin. The Smooth, Standard style focuses on the elegance, grace and fluidity of
movement. 
 Definitions of basic ballroom dance steps
Triple step - Triple steps are popular in swing dancing. The Triple Step is a three step sequence
taken on two beats of music. If the first step of the triple step is taken on count 1, the second step
is taken on the half beat between counts 1&2, and the third step is taken on count 2. The step
timing is often called out as 1&2. Usually the triple step is two quick steps and one slow, called
out as "quick-quick-slow", or, using numbers, as "one-and-two.”
Rock Step - Here we see a sequence of two steps called a rock step. The step timing is usually
slow-slow.
Basic of East Coast Swing - The combination of two triple steps and a rock step form the basic
step of triple timing swing or the East Coast Swing. The step timing is usually called out as 1&2,
3&4, 5,6.
Ball-Change - Here we see a sequence of two steps called a ball-change. Weight on the ball of
the foot is changed to the other foot.
Kick Ball Change - A popular swing dance step is the kick-ball-change step, which can be used
to replace the rock step. The timing is usually 1&2.
The Basic Step of the Carolina Shag - The combination of two triple steps and a kick ball
change can be used in triple timing swing dances such as the Carolina shag.
Coaster Step - The coaster step is usually a back-together-forward triple step danced to the
timing of 1&2 or quick, quick, slow.
Sailor Step - The sailor step has a side to side look. It is also a triple step danced to the timing of
1&2. The step is accomplished by leaning in the opposite direction of the crossing foot.
Anchor Step - The anchor step is a stationary triple step danced in third foot position to the
timing of 1&2. It is popular in the west coast swing.
Grapevine - The grapevine is a continuous traveling step pattern to the side usually with
alternating crosses behind and in front of the supporting foot.
Lock Step – The lock step is usually danced to triple step timing. During the step, the lower part
of the legs cross such that the back leg becomes locked behind the leading leg until the leading
leg moves forward. The lock step is often used in the triple step of the cha cha cha

What is Waltz Dance?

The Waltz is a smooth dance that travels around the line of dance. Characterized by its “rise and
fall” action, the Waltz includes a step, slide, and step in 3/4 time. Dancers should move their
shoulders smoothly, parallel with the floor instead of up and down. Dancers must strive to
lengthen each step.

Where did Waltz Dance Originated?

First waltzes were danced in the location of today's Germany and Austria, back in 13th century.
The style was immediately picked up by other nations, who each created it's own form and style
of the dance. The form we know today was born in the suburbs of Vienna and Austria's mountain
regions.

What are the Basic Dance Steps of Waltz?

When dancing waltz someone has to lead and someone has to follow. Usually the man will lead
and the woman will follow.
Instructions & Diagrams:
• Step forward with the left foot.
• Right foot step sideways to the right.
• Bring your left foot next to your right foot.
 • Step back with the right foot.
• Step back sideways with the left foot.
• Bring your right foot next to your left foot.
Men’s Step Lady’s Step

NAME: _________________________________________
SECTION:_______________________________________
Activity No. 2
 Make your own video in dancing the basic ballroom dance steps, choose at least 5 on the list.
(For digital modular)
 Make 1-2 minutes video of you dancing any of the 10 ballroom dances, choose 1 dance only.
(for digital modular)
 Make 1-2 minutes video of you dancing any of the 13 ballroom dances, choose 1 dance only. Or
make a pop out comic book with 5 pages about the different Latin dances or Smooth dance
(American standard dances). (For Printed modular)
 On this paper you write a brief history and description of 1 Latin dance and 1Smooth dance
(standard dance) of your choice from 13 dances. (For printed modular)