Learning Module 2 Bscpe-1a B 2021

MODULE 2
RYTHMIC ACTIVITIES
PROGRAM: BACHELOR OF SCIENCE IN COMPUTER ENGINEERING

Year Level: I Section: A & B
COURSE CODE: PHED O2 DESCRIPTION: RYTHMIC ACTIVITIES
LEARNING OUTCOMES
 Define and differentiate basic terms. Identify various dances, its fundamental
movements and various dance steps. Share insights on the History of Dance in
the Philippines and around the world as an art form. Share knowledge on dance.
Prepared Reviewed and Checked
ERNIE T. MILLAVE ENGR. MARIA THERESA PRENDA

Instructor Program Head/ Dean
Recommending Approval Approved
DR. JOEVELL P. JOVELLANO, CSAS PROF. MICHAEL E. LIRIO, CPA, MMPA

Vice President for Academic Affairs President and College Administrator
Tanauan City College
TANAUAN CITY COLLEGE [COURSE CODE – MODULE No.] COURSE TITLE 1|P a g e
Learning Module Format
Program BACHELOR OF SCIENCE IN Topic: RYTHMIC ACTIVITIES

: COMPUTER ENGINEERING
Course: PHYSICAL EDUCATION 2 Instructor MR. ERNIE TAPAY MILLAVE
:
Code PHED02 Module 2 Week #: 2-3 # of
#: Page:
I. Preliminaries
Introduction to This course highlights the application of the rhythmic bodily movements which
the Module have emphasis on fundamental rhythm, basic dance steps and appreciation of
Objective the country’s rich cultural heritage which strengthens the awareness on dance
education as a global perspective in the 21st century. Students will be given
varied rhythmic activities and experiences to develop their skills and creativity
in dancing.
Section Topics Learning Outcomes Assessment/ Modality

Evaluation
Module 2:
1. Define and differentiate basic Review of the Moodle
terms. Identify various dances, its pass lesson
INTRODUCTION
fundamental movements and and how does it
various dance steps. Share works in
1. Meaning/Importance of
insights on the History of Dance everyday life.
Rhythmic Activities
in the Philippines and around the
2. Brief History of Dance Quiz/Recitation
world as an art form. Share
3. Fundamentals of
knowledge on dance.
Movement
4. Types of Dances
4.1 Folk Dance
4.2 Social Dance
4.3 Ballet
4.4. Jazz
4.5 Street Dance
II. Instructions
Keywords and concepts
Elements of Rhythm:
1. Beat—the underlying pulse of a rhythm.
2. Tempo—rate of speed of a movement.
3. Intensity—variation of stress of movement.
4. Pitch—lowness or highness of a tone.
5. Accent—emphasis on certain beats.
6. Meter—the regular recurrence of beats which divides a musical design into measure.
7. Phrase—measures grouped together.
8. Bar—in music a vertical line across a staff dividing it into equal measures of time.
9. Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used for a certain dance step.
13. Step pattern—refers to the movement or movements done for each of the dance steps.
Content Lecture/ Discussion
The history of dance is difficult to access because dance does not often leave behind clearly
identifiable physical artefacts that last over millennia, such as stone tools, hunting implements
or cave paintings. It is not possible to identify with exact precision when dance became part
of human culture.
PHYSICAL EDUCATION 2 ( RHYTHMIC ACTIVITIES ) Every individual has rhythm. It is found in

all of nature and is natural to every individual. Rhythm is most clearly seen through dance- the art
of movement
What is rhythm? ---- Is the regular recurrence of accented and unaccented beats.
Rhythms--------------- Is a term which denotes an aspect of a quality of movement that is

sometimes thought of as dance. When an individual moves in response to a particular rhythm or
music we call the movements as rhythmic movements or rhythms. Structured forms which start
creative rhythmic movements are called rhythms.
Rhythmic activities---- are the physical manifestations of the mental and emotional response of
the individual to rhythm. They are activities which a child responds to physically, socially, and
mentally to regular patterns of sound.
They are also a source of enjoyment for people of all ages. Through these activities, skills and
the sense of rhythm are acquired and developed, feelings are expressed, basic principles of time,
space and force can be experienced.
Everyone reacts to music or rhythm in one form or another. A head swaying, a foot tapping,
fingers snapping, shoulders and body moving while a musical piece is played are physical
reactions.
Dance ---------- refers to movement set to music where there emerges organization, structure and
pattern. It is a composition that implies arrangement of parts into a form.
Dancing ------- is a means of expressing one’s emotions through movement disciplined by rhythm.

It is an act of moving rhythmically and expressively to an accompaniment. The word dancing came
from an old German word “ danson” which means to “ stretch”. Essentially, all dancing is made up
of stretching and relaxing.
Rhythmic fundamentals
In the field of dance, there are certain fundamental knowledge and rhythmic skills
considered important for proficiency and efficiency in bodily movements
History of Rhythmic Activity

Rhythmic activities trace back to the Olympics, with sports such as gymnastics that combined
movement with the use of rhythm. This created a form of physical expression with strength and
ability. Now, rhythmic activities commonly extend to physical games with elements of song and
dance.
Fundamental movement skills categories include:

 Balance skills - Movements where the body remains in place, but moves around its
horizontal and vertical axes.
 Locomotor skills - such as running, jumping, hopping, and galloping.
 Ball skills - such as catching, throwing, kicking, underarm roll and striking.
Dance has been a part of human culture since the very earliest communities and civilisations, with
recorded evidence of dancing being found dating back to 30,000 years ago.
Since then, different dances have changed, merged and evolved into what we know today as the
most well-known dance genres.
Here is a list of the most popular types of dance:

1. Ballet
2. Ballroom
3. Contemporary
4. Hip Hop
5. Jazz
6. Tap Dance
7. Folk Dance
8. Irish Dance
9. Modern Dance
10. Swing Dance
Ballet
Ballet dance developed during the Italian Renaissance, before evolving in France and Russia into
a concert dance meant for public performance. This is in the form of a ballet, in which the dance is
choreographed with classical music.
Ballet productions vary between using elaborate costumes and staging and using minimal
costuming and bare staging.
Ballet is now a widespread, highly technical form of dance with many subgenres including classic,
romantic, neoclassical and contemporary.
With six core recognised methods: the Cecchetti method, the Bournoville method, the Vaganova
method, the French School, the Royal Academy of Dance method and the Balanchine method,
ballet is studied professionally at top dance schools all over the world.
Harlequin Floors have developed a range of specialist ballet dance floors providing enough

traction to prevent injury while still allowing for fluid movements demanded by ballet
dancing. Harlequin Cascade is one of our most popular ballet dance floors and can be laid over
many of our sprung floors.
Harlequin Floors also offer professional ballet barres available as either permanent wall

mounted, floor mounted or freestanding barres.
Ballroom
Ballroom dance is a type of partner dance originating at the end of the sixteenth century in France.
Commonly used as shorthand for any partner dance, ballroom has today evolved into two main
subgenres – standard/smooth and Latin/rhythm.
Dances within these categories include the waltz, tango and foxtrot, and pasodoble, bolero and
samba.
Ballroom is a popular form of competitive dance, or dancesport, with competitions being held all
over the world.
With several sub-categories to ballroom dancing, dancers require a versatile floor. Harlequin

Fiesta and our specially crafted Harlequin Liberty Ballroom dance floor offer an excellent versatile
dance floor for all styles of ballroom dance.
Contemporary
Developed during the mid-twentieth century, contemporary dance is now one of the most popular
and technical forms of dance studied and performed professionally, especially in the US and
Europe.
Drawing on classical, modern and jazz dance styles, contemporary dance has evolved to
incorporate many characteristics of a broader range of dance forms.
Known for its emphasis on strong torso and legwork, contract and release, fall and recovery and
floor work, it is often known for unpredictable and disordered changes in speed and rhythm
throughout a performance.
Due to this, contemporary dancers require a shock-absorbing surface to protect their feet, legs
and ankles from rapid movements and changes in rhythm. Harlequin’s innovative ‘triple
sandwich’ Harlequin Activity sprung floor can be coupled with several of our vinyl dance floors, to
create the ideal surface for contemporary dance.
Hip-Hop
Hip-hop dancing refers to a range of street dances that developed in relation to hip hop music and
culture. Hip-hop dancing dates back to the early 1970s in New York and California, evolving out of
Funk and the development of break beat.
Main styles of hip-hop dancing include Breaking, Locking and Popping, with derivative styles
emerging out of these including Memphis Jookin’, Turfing, Jerkin’ and Krumping. These were often
popularised and made mainstream after being featured in music videos of the time.
Today, hip-hop is performed in outdoor spaces, in dance studios and competitively.
Unlike many competitive dance styles, hip-hop is often improvisational with dance crews
challenging each other to dance battles.
At Harlequin Floors we have created Harlequin Freestyle, a specialist dance floor designed

specifically to meet the unique demands of Hip Hop and other street dance styles.
Jazz
Jazz dancing has its roots in seventeenth-century African traditions, brought to the Americas via
the Atlantic slave trade as slaves continued dancing traditions in Brazil, the US and elsewhere on
the continents.
Known for its improvisational and dramatic body movements, the jazz dancing grew in popularity
in early twentieth-century jazz clubs.
Today, jazz dancing builds on African American vernacular dance styles that emerged along with
Jazz music in the US. Swing, the Lindy Hop, the Shimmy and the Charleston are popular kinds of
jazz dances.
For your Jazz dancers, our range of vinyl floors including Harlequin Studio and Harlequin
Allegro offer ideal surfaces for practice and performance.
Tap Dancing
Tap dancing is a type of percussive dance characterised by the “tap” of shoes hitting the floor as
the person dances. Tap dancers often wear metal “taps” on the heel and toe of a shoe to
accentuate the sound.
Often performed as part of musical theatre, tap dancing often focuses on choreography and
formations, with more than one tap dancer performing at once.
Tap dancing includes a range of dances including flamenco, rhythm, classical, broadway and
postmodern tap.
As a percussive dance style, tap dancers are looking to achieve a crisp, hollow sound to
accentuate their performance. This unique characteristic of tap dancing requires a specialist floor
for optimal performance. Harlequin Fiesta is an excellent choice of tap dance flooring for your
dance studio or performance space. Lay over a sprung flooring system such as Harlequin
Flexity to protect your dancer’s joints and allow them to perform with complete confidence.
Folk Dance
Folk dancing is celebrated worldwide with people of different cultures and religions using various
forms of folk dance to portray emotions, stories, historical events or even aspects of daily life.
Some well known types of folk dance include: Bharatanatyam (India), Samba (Brazil), Flamenco
(Spain) and Hula (Hawaii). Some cultures may even perform multiple variations of folk dances,
with countries like South Korea performing individual dances for key events such as victories in
war, farming, music and religion.
Folk dances are commonly held at public events, where people can participate regardless of
whether they are professional or complete beginners. Such dances are also accompanied by
traditional music to further enhance the cultural experience.
Our range of portable performance floors are excellent for folk dances held at all types of public
venues and events.
Irish Dance
Originating in Ireland, this form of traditional dance has been popular for hundreds of years
amongst Irish people and other countries worldwide. Popularised by shows such as Riverdance,
Irish dancing is famously known for its fabulous display of footwork and dance formations.
Most Irish dancing events are traditionally accompanied by signing and music. During festivals,
dances are held to showcase talent and to compete for trophies or medals.
Whilst most people may recognise Irish dancing as being a group performance, there are many
well-known forms of solo Irish dances, such as the stepdance.
For Irish dance floors for your studio or performance space, consider our range of
specialist sprung dance floors. Couple with a Harlequin vinyl floor such as Harlequin Standfast to
create an excellent quality floor for your Irish dancers.
Modern Dance
Considered as being a broad genre of dance, modern dance primarily arose from western
countries such as the USA and Germany during the late 1900s. While most forms of dance are
structured and feature set steps, the purpose of modern dance is to rely on the dancer’s
interpretation of the music and feeling to guide movements.
Modern dance was initially born out of dislike for the limitations of traditional dances such as ballet,
which often oppressed dancers with rigid rules and techniques.
Currently, modern dance is enjoyed across the world with participants having the ability to practice
ballet dancing without having to place strict focus on their techniques or turnout. Instead, dancers
can choose a piece of music and use unconventional movements to convey emotions or to tell a
meaningful story.
Inject even more creativity into your performance with Harlequin’s printed vinyl performance floors.
Print bespoke designs inspired by your choreography or choose from one of our standard
patterns.
Due to the multidisciplinary nature and freedom of modern dance, dancers will also feel at home
on many of Harlequin’s vinyl dance floors.
Swing
Swing is a variation of jazz dance which developed between the 1920s to the 1940s as a response
to the growing popularity of swing jazz in America. With the evolution of music that occurred during
the Jazz era, dance also began to change with the likes of swing music encouraging faster, more
rigorous movements.
Popular forms of swing dance include the Lindy Charleston, the Jitterbug, Lindy Hop and the
Balboa, many of which are still performed today. Swing dancing would commonly be accompanied
by Big Band musicians who often played upbeat melodies which were smooth and easy to listen.
Swing dancers will feel at home on our range of vinyl dance floors. Similar to Jazz, Swing dancers
can create beautiful performances on Harlequin’s range of vinyl floors such as Harlequin
Reversible Pro with a high performance slip-resistant surface to protect your dancers.
From home dance practice equipment to portable ballet barres, Harlequin Floors offer a range of
professional products perfect for use at home or in the studio – no matter your dance style. Our
expert technical teams also offer a dance floor installation service for your Harlequin floor to
ensure they are correctly fitted and fully compliant with safety standards.
Movement Qualities:
Movement expression is attained through the elements of time, force and space
Time qualities:
1. Movements which is fast
Examples: galloping horse
Jet plane
2. Movement which is slow
Examples: turtle
Flower growing
Force Qualities:

1. Soft light movement
Examples: Fairies
Birds and butterflies
2. Strong, heavy movement
Examples: Elephant
Bulldozer
3. Strong, jerky movement
Examples: Frog
A jumping jack
4. Smooth, sustained movement
Examples: Airplane
Fish swimming
Space Qualities:

1. Movement up and down
Examples: Bouncing ball
Yo-yo
2. Movement across, back and forth or around
Examples: Rowing boat
A merry-go-round
3. Movement which is low
Examples: Ants
Turtles
4. Movement which is high
Examples: Kites
Clouds
PHASES OF THE DANCE PROGRAM
1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end product
of exploration and improvisation of movements as children learn to move the parts of their body
and to use them as instruments of expression.
2. Folk/ Ethnic dance
Is a cultural art form handed down from generation to generations. It communicates the customs,
beliefs, rituals, and occupations of the people of a region or country. Folk dancing belongs to the
people. It emanates from them. Ethnic tribes have their specific tribal art forms originated and
danced by the people of the tribe.
Examples of folk dances are the rural and country dances, jotas, mazurkas, pandanggos,
among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras, dances
of the ethnic groups in the Cagayan Valley Region and the ethnic dances in the Mindanao
Regions.
3. Social and Ballroom Dance
The setting of the social and ballroom dance is a social gathering with the more formal
atmosphere than the simple and informal parties in which the recreational dances are the usual
forms. Social and ballroom dancing are generally held in the evenings. The participants are
usually in formal attire.
4. Recreational Dance
Includes dance mixers, square dance round and couple dances. Many of these dances have
simple patterns and combinations of walking steps, polka step and the waltz step. The setting is
usually informal gatherings and parties, reunions etc.
5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and improvisation of movements
as the dancer or the choreographer expresses his feelings or emotions, ideas, and interpretations.
This is a dance with a definite form, a beginning and an ending. The principles of art form are all
observed in the composition of the dance.
Examples of creative dance are ballet, jazz,and modern or contemporary dance.
FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise
2. Single circle partners facing
3. Single circle, facing counterclockwise
4. Single circle, facing center
5. Double circle, partners facing
6. Double circle, facing clockwise

7. Double circle, couples facing
8. Square or quadrille formation
9. Semi-circle or half moon
10. Double lines, facing front
11. Double lines, partners facing
12. Long open formation
OBJECTIVE OF RHYTHMIC ACTIVITIES
1. Develop skills necessary for recreational enjoyment.
2. Maintain good posture and physical efficiency.
3. Promote emotional freedom.
4. Develop a balanced and well-coordinated body.
FUNDAMENTAL DANCE POSITIONS
There are five fundamental or basic positions in dance that are commonly termed as 1st
position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.
1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tips
about an inch apart.

2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.
3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised
upward.
4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised
overhead.
5th position

TANAUAN CITY COLLEGE [COURSE CODE – MODULE No.] COURSE TITLE 10 | P a g e
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.
The Basic Natural Movements:
1. Locomotor movements
Are those that move the body in space in any direction with the feet as the moving base.
Examples: walking, running, jumping, hopping, skipping, leaping, galloping and sliding
2. Non-locomotor
Are those in which various parts of the body move in space with a fixed base. The base may be
standing, kneeling, sitting or lying.
Non-locomotor movements:
1. Flexion--- Bending or shortening of a body part occurring at a joint.
2. Extension—Turning, twisting or circling
3. Pendular---- Swinging/ swaying arms forward, backward or sideward.
4. Percussive—Striking and hitting: pushing and pulling.
5. Vibratory----- Shaking and beating.
6. Sustained---- A slow, smooth flowing movement with a balance of movement throughout the
entire series.
7. Suspended--- A sharp movement followed by a series of slow or prolonged movements until a
peak is reached.
Values of dancing
1. Physical fitness
2. Cultural
3. Social
4. Recreational
FOLK DANCES

Are traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.
Folk dancing is the heartbeat of the people.
Types of Folk dances:
1. National – traditional dances of a given country.

2. Regional – local.
3. Character – created by individual or group.
OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES
1. To foster patriotism and nationalism through the study of our dance.

2. To arouse better appreciation of Philippine music and folk dances.
3. To provide through dancing, a healthful form of relaxation and recreation.
4. To develop a graceful and rhythmic coordination of body movements that will improve
posture.
5. To preserve for posterity, folk dances and music indigenous to the different regions of the
Philippines.
6. To demonstrate the growth of Filipino culture through the evolution of Philippine dances.
Characteristics of Philippine Folk dances:

1. In general, dancers stand apart.

2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those found in the uplands.
8. War dances are found among non-Christian tribes.

Classification of Philippine Dances
I. General Classification
A. Geographical extent of origin 1. National dances-found throughout the islands with little
or no
modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances-found in a certain locality.
Examples: Tinikling-Leyte
Maglalatik-Binyang
Esperanza-Nabua
Subli-Batangas
Biniganbigat-Abra

B. Nature 1. Occupational-depicting action of certain occupation, industry, or human

labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
Mananguete, etc.
2. Religious or Ceremonial – performed in connection with religious
vows and ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.
3. Comic dances – depicting funny movements for entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers)
Examples: Lubi – lubi, Pavo
5. Wedding dances – performed during wedding feast.
Panasahan, etc.
6. Courtship dances – depicting love making.
Examples: Hele – hele, Bago Quiere
Maramion
Tadek
Daling – daling
7. Festival dances – suitable for special occasion or any social
gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel.
Examples: Sagayan, Palu-palo, etc.
C. Movements 1. Active – with fast energetic movements.
Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate -
Examples: Cariñosa, Tagala
Habanera, Purpuri, etc.
3. Slow -
Examples: Pasakat, Amorosa

Tiliday, Kundiman, etc.
4. Slow and Fast –
Examples: Putritos, Ba-Ingles
Habanera Botoleña
Alcamfor, etc.
D. Formation 1. Square or Quadrille
Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines)
Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side by
side.
Examples: Binadyong, Haplik, Kakawati, etc.

II. Special Classification-Group dances having special distinctive features.
A. Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.
B. Old Ballroom Dances
Examples: Polka, Mazurka Chotis, Valse, etc.
C. Dances with Implements
Examples: Maglalatik
Sakuting
Jota Moncadena
Tinikling
Salakot,
D. Dances of Combined Rhythm
Examples: Surtido, Pantomina, Los Bailes de Ayer
Factors Affecting Folk Dances

1. Geographical location
2. Economic conditions

3. Climatic conditions
4. Customs and traditions.
Do’s in Folk Dancing
1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.
Don’t’s in Folk Dancing
1. Do not exaggerate the dance steps.
2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.
COMMON DANCE TERMS
1. Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or
waist level.
2. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift that foot
from the floor to any direction.
3. Crossed Arms – Partners facing each other or standing side by side join their left hands
together and the right hands together; either right over left or left over right hands.
4. Cut – To displace quickly one foot with the other.
5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to the
right move backwards without turning around, pass each other left side to proper places.
6. Hayon-hayon – To place one forearm in front and the other at he back of the waist.
7. Hop – A spring from one foot landing on the same foot in place or in any direction.
8. Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or
counterclockwise ( with left elbows almost touching ) using walking or any kind of dance step.
9. Jump – A spring on one foot or both feet landing on both feet in any direction.
10. Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise
direction.

11. Leap – A spring from one foot landing on the other foot in any direction.
12. Place – To put foot in a certain position without putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower wrist once
or twice. This is an Ibanag term.
16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot close to
the left foot. This is a Tagalog term.
17. Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly
found in Ilocano dances.
18. Salok – T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok.
This is a Tagalog term.
19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the neighbors
with feet together. This is of Spanish origin and is used in almost all Philippine dances.
20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the hands
down in front of the R hand over the L. This is a Visayan term.
21. Slide – To glide foot smoothly along the floor. The movement may be finished
with or without transfer of weight.
22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of weight.
23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight
of the body on the other foot. There is no change or transfer of weight.
24. Whirl – To make fast turns by executing small steps in place to right or left.
BASIC DANCE STEPS
2/4 time dance steps
Dance Steps Step Pattern Counting
1. Bleking step heel-place, close 1 , 2
2. Touch step point, close 1 , 2
3. Close step step, close 1 , 2
4. Hop step step, hop 1 , 2

5. Cross step step, cross or cross, step 1 , 2
6. Change step step, close, step 1 and 2
7. Changing step jump ( one ft. in front and
The other in rear) there are two
Changing steps in a measure 1 , 2
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1, 2 and
10. Heel and toe
Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and
¾ time dance steps
1. Native waltz step, close, step 1, 2, 3
2. Cross waltz cross-step, close, step 1, 2, 3
3. Waltz balance step, close-heels raise, heels down 1, 2, 3
4. Mazurka step slide, cut, hop 1, 2, 3
5. Redoba step slide, cut, cut 1, 2, 3
6. Sway balance w/
A point step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
4/4 time dance steps
1. Schottische step step, close, step hop( raise foot
In front) 1, 2, 3, 4
2. Escotis step step, close, step, hop( raise foot
In rear) 1, 2, 3, 4
3. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/

1, 2, 3, 4
TIKLOS
A Peasant dance from Leyte. Having made a previous arrangement, farmers or workers get
together to work on a project. While resting at noon, before or after lunch, they play tiklos music
and dance. There are only four figures to the dance so it maybe repeated with a slight change in
formation. Patadiong for women and barong tagalog with white pants for men is the usual attire.
Figure I
A. Dancers take 2 heel and toe change step forward……………………………… 4 M
B. 2 change steps sideward right and left…………………………………………..2 M
C. 3 steps and a close moving backward…………………………………………...2 M
D. Repeat all……………………………………………………………………….8 M

Figure II
A. 4 cut steps backward and forward………………………………………………2 M
B. 3 gallops and a step sideward right……………………………………………..2 M
C. 4 cut steps backward and forward………………………………………………2 M
D. 3 gallops and a step sideward left………………………………………………2 M
E. Repeat all………………………………………………………………………..8 M
Figure III
A. 1 change step sideward right and 2 hops on right………………………………2 M
B. Repeat change step left and hops……………………………………………….2 M
C. 3 steps turn right and point close with left foot………………………………...2 M
D. Repeat 3 steps turn left and point close with right foot………………………..2 M
E. Repeat all……………………………………………………………………….8 M
Figure IV
A. 2 touch steps with right and left foot……………………………………...........2 M
B. 4 changing steps turning to face right about ……………………………...........2 M
C. Repeat touch steps with the left and right foot………………………………....2 M
D. 4 changing steps turning left about to face front……………………………….2 M
E. Repeat all……………………………………………………………………….8 M

Social and ballroom dances
Popular couple dances without set patterns are classified as social and ballroom dances. Most
social dances are characterized by the man leading and the woman partner following whatever
steps, styling, and rhythmic variations he chooses and indicates.
Social dances are usually done to introduce people with one another during a formal social
gathering or to welcome guests to a social gathering. Many of the social dances like polka and
mazurka started as folk dances while some were deliberately designed for its social purpose, such
as the waltz, regoudon and polonaise (Nimor, 2006). Social dancing is believed to had existed
since the beginning of human society in some forms.
Ballroom dancing has lots of benefits for young people. It is less threatening to their young
developing bodies compared to many sports such as football, basketball and hockey that
endanger forming cartilage, break bones and in some cases disfigurement cause by various
swinging sticks and equipments. Ballroom dancing provides general conditioning for the body.
Mentally, it stretches the thinking and the “do – it” abilities of the young. The sense of achievement
is a confidence builder. Teamwork of couples is more stimulating to concentration and learning.
For older groups, competitive dancing is an excellent learning achievement and self-confidence.
Socially, the young people have an opportunity to interrelate with others, especially the opposite
sex, in a setting that includes discipline and emphasis on courtesy and consideration for others.
Ballroom dancing provides lesson on social skills that will be beneficial to the youth for the rest of
their lives.
Ballroom dance training offers unique advantages. It is not only a rhythmical exercise that adds
life, graceful muscular movements but it is also a group recreation. A child who has learned
ballroom dancing gains not only improved posture and coordination but ease in relationships with
companions. Dancing is one means of instilling graceful body coordination, it is also a muscular
activity that brings social ease. A girl who has learned to be a good ballroom dancer never fades
into a wall flower. A Boy who can dance is spared from many agonies of a teenage self –
consciousness. Children who dance well are popular, ones instilled, those ingredients of a good
manners are never forgotten. Ballroom dancing offers more than mere steps it includes charm of
manners and consideration of others.
COMMON DANCE TERMS
1. To Address Partner is to bow to partner. Facing partner, boys bow by bending slightly from the
waist as girls do curtsy.
Curtsy is to bend knees and body slightly with a bow of the head; the weight of the body is on
one foot. One foot crosses the other in rear.
2. An Amalgamation is a combination of two or more patterns or movements.
3. An Amateur Dancers is a person who is dancing as a hobby and who does not seek financial
gain from teaching or dancing.
4. A Ball change is a transfer of weight from the ball of one foot to the other foot.
5. A Basic figure is a standardized step pattern, which together with other constitute the basics of
a dance.
6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of the
free foot between changes of weight.
7. A Chasse is composed of three changes of weight with a close on the second and may be
performed sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movements, which make
up the dance or a dance routine.
9. To Close is to move the free foot next to supporting foot with one change of weight.
10. A Commando is a forward or backward rock and close.
11. A Combination is a group of consecutive patterns and choreography. It is similar to

amalgamation but it sometimes involves a slightly more advanced set of patterns.
12. A Continuity Movement is the continuous passing of the step from one step to the next.
13. The Contrary body movement is the action of turning the opposite hip and shoulder toward
direction of the moving leg. It is used to begin all turning movements.
14. A Conversation is a position when partners stand side by side, right hand of the gentleman
holds the lady’s waist; L arm of the lady placed at the gentleman’s, outside arm at the side.
15. A Corte, in tango, is a stop and change of direction either forward or backward.
16. A Cuban motion is a discreet but expressive hip movement achieve by bending and
straightening the knees with carefully timed weight transfer.
17. Dance Sports is the official name given to competitive Ballroom Dancing.
18. The Floor chart is the ability of the leader to maneuver around the dance floor in a skilled and
controlled manner as to avoid colliding with the other dancers.
19. A Drop is a theatrical movement in which the follower’s body remains in contact with the floor.
20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly behind the
foot on which the turn is made.
21. A Figure is a standardized step pattern that, together with the other patterns, constitute the
dance.
22. A Hip motion is a very general term to mean any type of hip movement used in Latin dancing.
23. A Pivot is a turning movement during which the free foot is kept either in front or directly
behind the foot on which the turn is made.
24. A Spin is a turn done in place using both feet, usually done as a couple.
25. Variation is a varied or more advanced pattern than the corresponding basic figure, which still
contains the same main elements.
DANCE POSITION

Ballroom or Social Dance Position – partners stand face to face, shoulders and hips parallel.
Boys R hand is placed around Girl’s waist. Girl’s L hand rests lightly against his R shoulders. Boy’s
L hand is raised to the side holding the Girl’s R hand. The fingers of her R hand rest lightly in the
palm of the Boy’s L.

Open or Conversation Position – partners stand side by side, both facing the same direction.
Girl R of partner. Boy’s R is around Girl’s waist in back. Girl’s L hand rest lightly on Boy’s R
shoulder. Outside hands may be joined with arms extended forward or the outside hands maybe
on hips or side.
Shoulder – Waist Position – partners face each other. Boy’s places hands on Girl’s waist.
Girl’s hands are on the Boy’s shoulders.
Cross – Hold Position – partners stand face to face, R hand joined over L hands, extended
about waist level.
Promenade Position – partners stand side by side, both facing on the same direction. Girl at
R of partner. The hand crossed in front, R hands joined over L.
Schottische Position – partners stand side by side, Girl to R of Boy both facing the same
direction. Boy’s R arm around Girl’s waist, her L arm shoulder behind his R shoulder, her L hand
resting lightly on that shoulder, free hands on waist.
Varsovienne Position – partners stand side by side, girls stands to the R and slightly in front
of Boy. Boy reaches R arm over the girl’s R shoulder and takes her R hand in his, his L holds her
L a little above his L shoulder.
Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.
Elbow Swing – hook designated elbows firmly of the hand carried at the height of the locked
elbows. While swinging, pull away from partner at shoulders.
One Hand Swing – with the elbow bent and down , join the designated hands at shoulder
height. In balancing “pull against pull” while swinging, apply pressure against the thumbs and
heels of hands, pulling away at shoulders.
Two – Hand Swing – Boy present hands at shoulder height with palms up, elbows close to
sides and should support while balancing “pull against pull” leaning away at shoulders.
Waist Swing – In a modified closed ballroom dance positions with R foot and hips adjacent
the support weight of the body on the R foot swing, balance “pull against pull”, leaning away from
partners at shoulder.
Hungarian or Russian Swing – dancers stand facing in opposite direction with R(L) hips
adjacent, each R(L) arm around each others waist in front, on partners hip, L(R) arm curved over
head, both lean slightly away from each other when turning.
Star post – Partners are in opposite directions, their right hands holding each other, lady
facing away from audience ; while gentleman faces the audience.
Challenge position- Partners face each other about a step apart without touching.
Cuddle or skating position – Woman is at man’s left or right side, both facing the same
direction; one arm of man is across woman’s back.
SOCIAL DANCE GUIDELINES
1. Practice correct dancing position even without a partner.

2. Maintain a good standing position. Bring out the best in your look.
3. Keep your weight over the balls of your feet to make you feel quicker and lighter, and place
your weight even on the soles of your shoes. No weight on the heel.
4. Maintain the habit of keeping feet close together unless you are taking a definite step. Feet
apart are not a pretty sight.
5. For a graceful dancing, always turn your toes out, not in.
6. When dancing with a partner, adapt a comfortable position for both of you; not too close
and not too far.
7. Don’t lean forward or backward. Just assume a natural comfortable dancing companion.

8. When facing the audience, the lady is at the right side of the male.
SOCIAL DANCE ETIQUETTE
1. Do not teach your partner on the dance floor.
2. Anticipate the next step.
3. Be confident strive to become a proficient dancer.
4. Don’t show off.
5. Find mutual topics of interest for conversation, never gossip.
Dancing Personalities
Dancing is an expression of one’s personality. We can read one’s personality and character
by the way he dances. Traits such as timidity, aggressiveness, and consideration for others,
arrogance, and other characteristics are revealed when people dance.
1. Dancers who loves themselves--- point their toes too gracefully.
2. The cuddly couples--- are fun to watch if they are not related to you.
3. The bully type--- meanders around the dance floor, pushing his partner into everything that
comes his way.
4. The casual dancers--- girl show that sloppy I don’t care posture and the man just shuffling
along.
5. The possessive man--- holds tightly on his partner’s back. His posture is crouching as though
ready for a springing pounce.
6. The jealous girl--- clings to her partner like a glue, looks up in his eyes and is always
tremendously attentive.
7. The timid souls--- could almost sink to the floor if you stare at them. Males have an
apologetic manner and takes faltering steps, barely touches his partner. He is hard to follow
because he is too shy to lead. The girls of this type take uncertain steps, droop their arms and get
an until-death-do-us part grip on their partner.
In common usage, Ballroom dance refers to the ten dances of International Standard and
International Latin, though the term is also often used interchangeably with International standard
dances.
International Style
International Standard dances are normally performed with Western Music. A couple dances
counter clockwise around a rectangular floor following the line of dance.
Costume
Women – full gown Men - bow tie and tail coats or tuxedos, vest
Dances :
1. Slow Waltz 2. Tango 3. Viennese Waltz
4. Slow Foxtrot 5. Quick step
International Latin Dances are performed with contemporary Latin American Music and with the
exception of a few traveling dances.
Costume
Women – Short skirted Latin outfits Men - outfitted in tight fitting shirts and pants
Dances :
1. Cha-cha 2. Samba 3. Rumba 4. Paso doble 5. Jive
RUMBA
The name Rumba was originally applied specifically to the dancing style with lascivious
movement of the hip, bosom and other flexible parts. The Rumba influence came in the 16th
century from the black slaves from Africa. The native Rumba folk dance is essentially a sex
pantomime danced extremely fast with exaggerated hip movements and with a sensually
aggressive attitude of men and a defensive attitude on the part of women.
The music is written in 4/4 time, which gives 4 counts to each bar of music, 1, 2, 3, 4. The
beat values are 2, 3, 4-1 or quick, quick, slow.
Cha-cha-cha
There are various theories as of the origin of Cha-cha. It could derived from the
Spanish chacha meaning nursemaid, or chachar meaning to chew coca leaves, or from char
meaning tea. This dance evolved from the Mambo and has its origins in the religious ritual dances
of West Africa. The music is usually in 4/4 time, sometimes 2/4. The Cha-cha-cha is a Cuban
dance, based on the Rumba. Counting is 1,2, 3 and 4
Reggae
First developed in Jamaica in the late 1960’s. The term reggae more properly denotes a
particular music style that originated following on the development of ska and rocksteady. It is
based on rhythmic style characterized by accents on the off-beat known as the skank. It usually
accents the second and fourth beat in each bar.The music is 4/4 time and counting is 1, 2, 3,4.
Samba
Comes from Brazil. It differs from other Latin- American dances because it is lively and
vigorous and the feet is constantly leaving the floor. It is literally a bouncing step. It involves much
knee action with the dancers bodies resembling a swinging pendulum as they sway and turn. 2/4
time 1 ah 2
Waltz
It is the first dance to use closed dance position. The waltz was to be performed solely for
the demonstration of elegance and not pleasure. The name comes from the German word to
revolve, turning with smooth gliding steps. Music is ¾ time 1, 2, 3.
Paso Doble
It finds its roots in the Spanish style music of the 1930’s. It is popularly known as the man’s
dance, portraying the story of the matador with ( the female being ) his cape where the matador is
to weild his cape according to the anger and intensity of the roaring boar.
Jive
The origin of the word jive is unknown but it may refer to jivetalk, or bad mouthing. This

word reflects the character of the dance for it is sassy and loud. It came from the African American
slaves. It is known by many names, sometimes called Swing, Jitterbug, Lindy hop, or Charleston,
although it is completely different dance. Music is 4/4 time 1,2,3 and 4/ 1 and 2, 3 and 4.
Swing
An outgrowth of the jitterbug, it is marked by quick, strenuous movements sometimes

accompanied by acrobatics in its present form; it maybe a lively smooth dance. Benny Goodman
is the band leader credited with the developing the rhythm of Swing. It is named after Charles
Lindbergh’s solo flight across the Atlantic ocean in 1927 Music is 4/4 time sometimes 3/4 1,2,3,4/
1,2 ah 3
Tango
Originated in the lower class of Buenos Aires especially in the Bario de Las Ranas. It was
first known as baile con corte- the dance with a stop. It is characterized by sudden changes of
direction and its many flaring and dipping steps. Music is 2/4 time 1,2/ 12
Foxtrot
An American dance evolving from trotting dance in 1913. Dancers gliding around the
dance floor with little up and down motion. It is known as the first truly American ballroom dance,
was named after Harry Fox. Music is in 2/4 time 12/ 1,2
III. Viable and vibrant Activities
Description of the Learning Activities
Demonstrate the dance variations in a smoothest transition with an air of confidence and grace
satisfying people in the glory of God.
IV. Opportunity to reflect and articulate students’ acquired knowledge.
Purpose of the activity
To familiarize the traditional dance and the difference between modern dance as well as the
importance of dances especially in the mountain province.
Evaluations Criteria
Criteria Exemplary(4) Satisfactory(3) Developing(2) Beginning(1)
Mastery Demonstrate the Demonstrate the Demonstrate the Demonstrate the

dance variations dance variations dance variations dance variations
in a smoothest in a smoother in a smooth with errors.
transition with an transition with an transition from
air of confidence air of confidence with an air of
and grace and grace confidence and
satisfying people satisfying people grace satisfying

in the glory of in the glory of people in the
God. God. glory of God.
Rhythm The students The students The students The students

execute perfectly execute properly execute the always miss
the movement the movement movement skills proper
skills while skills with with errors while movement skills
dancing to music minimal errors dancing to music while dancing to
showcasing the while dancing to showcasing the music
work of God music work of God.
showcasing the
work of God.
Movement Students are Students are Students are Students are not
Space highly driven and highly driven and highly driven and able to perform
intrinsically intrinsically intrinsically the movements
motivated to motivated to motivated to in unison.
perform all the perform most of perform some of
movements in the movements the movements
unison giving the in unison with in unison giving
appearance of giving the the appearance
working as a unit. appearance of of working as a
working as a unit. unit
Body Body posture is Body posture is Body posture is Poor body

Awareness in an excellent in better shape in quite good posture while
shape while while performing shape while performing
performing various dance performing various dance
various dance steps as a various dance steps.
steps as a distinct steps
distinct characteristic of
characteristic of a Patriotic Health
a Patriotic Health Care
Care Professional.
Professional.
Summary and Reflection
Summary and Reflection
Student Name:_____________________________________________
Course:___________________________________________________
Date Submitted:____________________________________________
Topic/Experienc I Already I Learned……… I still want to Reflection

e Know….. know
Note: submit this Learning Journal in separate sheets

V. Textbooks and other References
REFERENCES: Brehm, M. and McNett L. (2008). Creative dance for learning : the kinesthetic link. Boston :
McGraw-Hill. D'Egville, G. (2008). How & what to dance. London : Bounty Books. Dimapilis. N.J. et.al.,
(2010). Physical education 2 : rhythmic activities. Mandaluyong City : Books Atpb. Publishing. Manalo, A.
(2012). Essentials of physical education one and two. Manila : Mindshapers Co. Pomer, J. (2009). Dance
composition : an interrelated arts approach. Champaign, IL : Human Kinetics. Tiongson, N. (1994). CCP
encyclopedia of Philippine art: Philippine dance. Manila : Cultural Center of the Philippines. Wright, J.P.
(2003). Social Dance: Step to Success (2nd ed.). USA: Human Kinetics Inc. Zona, C. et.al., (2008). Gotta
ballroom. Champaign, IL: Human Kinetics
The TCC Learning Module Component Details
Each course module shall independently design from students’ available resource to ensure
that students will learn from the designed teaching and learning materials. Further, it is intentionally
designed containing components with acronym PIVOT which is the same acronym of the City
Government and the College Core Values (Professionalism, Integrity, Value for Excellence, Open for
Innovation, Teamwork) to instill amongst TCCians the spirit of these core values exceptionally in the
midst of crisis.
r eliminaries. An introduction to the module objectives, contents, its rationale or purpose, list of
assignments, activities, lecture notes, test/quizzes, and due dates. This is a place to provide a
rationale and highlight the module’s relevance by describing how it fits into the course, and may
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 Introduction: A general statement about the nature of the module and its relation to the
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 Learning outcomes are direct statements that describe the knowledge, skills, and attitudes
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Learning Outcomes should be observable, assessable in some way, and both rigourous and
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the learning may be demonstrated in a variety of ways).
I
nstructions. This part of the module discourses the subject matter. It contains lectures and
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 Key Words and Concepts: A list of keywords with definitions, perhaps listed for emphasis so
that the student will be on the alert for an explanation or definition later in the module.
 Content Lectures/Discussions: This can be a very broad area to cover and may include
multiple topics separated into sections. Therefore, you may want to link your discussion to your
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V
iable and vibrant Activities. This is where faculty would list assignments/activities related to
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with each other in discussion and with the information and concepts. This section actively
engages students with the course material and explicitly practice or review, apply, analyze or
synthesize through discussion, exercises, laboratories, problem solving, case studies, role plays, test,
quiz, essay, journal or portfolio entry, peer evaluation, or self-evaluation and other methods.
 Collaborative and interactive activities that will facilitate communication between and
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 Assignments. While the assignments were listed in the preliminaries, here is a chance to
describe the assignments in detail and to provide students with the needed information and
resources, including the due dates. If there are more than one type of assignment the module
may have a page for each.
O
pportunity to reflect and articulate students’ acquired knowledge. This section provides
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section encourages students to fill up the college Standard Learning Journal (SLJ), it further,
explained how the faculty will give feedback to students regarding their learning and accomplishment
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 Evaluations. All assessments should contain detailed explanations of their purpose, with full
descriptions of how students are to complete and submit them. Assessment and Evaluation
tools are specified under this section.
 Summary and Reflection. This section provides a way to engage the student in a dialogue
about what they have learned by completing the module. This dialogue might take place in an
online or classroom discussion, in a small-group activity, or through a writing assignment. It
might also contribute to a student’s grade for participation.
 Standard Learning Journal. A standardized form use to record the collection of notes,
observations, thoughts and other relevant materials built up over a period of time and maybe a
result of a period of study, learning and/or working experience. Its purpose is to enhance
student’s learning through the process of writing and thinking about your learning experiences.
Student learning journal is personal to them and will reflect their personality, preferences and
experiences. (With Attached copies of Learning Journal Guidelines and SLJ Form).
T
extbooks and other References. This part contains textbook and reference used in the
module. It also covers possibly additional resources supplemental or complementary materials
relevant to the module essential for students to extend their learning through enriching
activities and evaluation. Be certain to clearly and explicitly designate a note for optional materials or
required materials. Specify a time period within the duration of the module for student to browse the
required materials.
Notes:
1. This Learning Module will be submitted to the office of Academic Affair along with the course
syllabus before the actual opening of classes on August 17, 2020.
2. Faculty are required to divide their lessons into eight(8) major modules.
3. Each module requires Powerpoint Presentation and Learning Module in Soft and Hard copies.
4. Each faculty member will be required to create account per subject from the required LMS.
5. Only materials and activities specified in the module will be allowed to upload in the LMS
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MODULE 2

PROGRAM: BACHELOR OF SCIENCE IN COMPUTER ENGINEERING

COURSE CODE: PHED O2 DESCRIPTION: RYTHMIC ACTIVITIES

Prepared Reviewed and Checked

ERNIE T. MILLAVE ENGR. MARIA THERESA PRENDA

DR. JOEVELL P. JOVELLANO, CSAS PROF. MICHAEL E. LIRIO, CPA, MMPA

Tanauan City College

Program BACHELOR OF SCIENCE IN Topic: RYTHMIC ACTIVITIES

Section Topics Learning Outcomes Assessment/ Modality

1. Beat—the underlying pulse of a rhythm.

2. Tempo—rate of speed of a movement.

3. Intensity—variation of stress of movement.

4. Pitch—lowness or highness of a tone.

5. Accent—emphasis on certain beats.

9. Count—a pulse beat, a time limit.

10. Note—a printed symbol of a musical tone.

11. Measure—a group of pulse beats.

Content Lecture/ Discussion

PHYSICAL EDUCATION 2 ( RHYTHMIC ACTIVITIES ) Every individual has rhythm. It is found in

What is rhythm? ---- Is the regular recurrence of accented and unaccented beats.

Rhythms--------------- Is a term which denotes an aspect of a quality of movement that is

Dancing ------- is a means of expressing one’s emotions through movement disciplined by rhythm.

History of Rhythmic Activity

Fundamental movement skills categories include:

Here is a list of the most popular types of dance:

Harlequin Floors have developed a range of specialist ballet dance floors providing enough

Harlequin Floors also offer professional ballet barres available as either permanent wall

With several sub-categories to ballroom dancing, dancers require a versatile floor. Harlequin

Today, hip-hop is performed in outdoor spaces, in dance studios and competitively.

At Harlequin Floors we have created Harlequin Freestyle, a specialist dance floor designed

1. Movements which is fast

Examples: galloping horse

Jet plane

2. Movement which is slow

Flower growing

1. Soft light movement

Birds and butterflies

2. Strong, heavy movement

Bulldozer

3. Strong, jerky movement

A jumping jack

4. Smooth, sustained movement

Examples: Airplane

Fish swimming

1. Movement up and down

Examples: Bouncing ball

Yo-yo

2. Movement across, back and forth or around

Examples: Rowing boat

A merry-go-round

3. Movement which is low

Examples: Ants

Turtles

4. Movement which is high

Clouds

2. Folk/ Ethnic dance

3. Social and Ballroom Dance

Examples of creative dance are ballet, jazz,and modern or contemporary dance.

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise

2. Single circle partners facing

3. Single circle, facing counterclockwise