LEARNING MODULES

IN
PHYSICAL EDUCATION

GRADE 12
First Semester
SY 2021-2022

Prepared by:
Kimberly G. Socias
Instructor

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MODULE 2: DANCES………………………………………………………….….……1

Topic 1: Cheerdance…………………………………………………………….3

Topic 2: Ballroom (Recreational and Competitive) …………………………..7

Topic 3: Festival Dance………………………………………………………….9

Worksheet 1: Examining a Cheer Dance Performance ……………………….11

Worksheet 2: Observing a Piece of Choreography …………………………….12

Worksheet 3: Evaluating Festival Dance ………………………………………13

Evaluation: Creating Cheer Dance Routine ………………………....................15

Module Output: Creating Simple Dance ……………………………………….16

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 Module 2
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Introduction

All-important occasions in the life of the primitive man are celebrated through
dancing, birth, death, marriage, war, having a new leader, the healing of the sick, prayers for
the rain, sun, fertility, protection, and forgiveness.
Important features of the dance are rhythm, or the relatively fast or slow repetition
and variation of movements; design or the arrangement of movements according to a
pattern; dynamics, or the variations in the force and intensity of movement; technique, or
the degree of the body control and mastery of basic steps and positions, gestures,
especially hand movements.

Content Course Competencies

At the end of the module, the students will be able to:
 discuss the nature of the different dances
 explain how to optimize the energy systems for safe and improved performance
 explain the role of physical activity assessments in managing one’s stress
 self-assess health-related fitness (HRF) status, barriers to physical activity assessment
participation and one’s diet
 set FITT goals based on training principles to achieve and/or maintain HRF.
 engage in moderate to vigorous physical activities (MVPAs) for at least 60 minutes most
days of the week in a variety of settings in- and -out of school
 participate in an organized event that addresses health/dance issues and concerns

 explain the value of optimizing one’s health through participation in physical activity
assessment
 display initiative, responsibility and leadership in sports activities

 recognize one’s potential for health-and dance related career opportunities

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Performance Competencies
At the end of this module, you are expected to lead dance events with proficiency
and confidence resulting in independent pursuit and in influencing others positively.

Topics
To attain the intended learning competencies of this module, the topics that will be
covered are the following:
1. Cheerdance
2. Ballroom (Recreational and competitive)
3. Festival Dance

Exercises
To be able to accomplish the output of this module, the following exercises should be
accomplished:

Worksheet 1: Examining a Cheer Dance Performance

Worksheet 2: Observing a Piece of Choreography
Worksheet 3: Evaluating Festival Dance
Evaluation: Creating Cheer Dance Routine
Module Output: Creating Simple Dance

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 Topic 1
Cheerdance
Introduction
Cheerdance is relatively new in the field of sports and dance as it has only emerged during the
early 1990’s as part of the cheerleading events. It is one of the categories in International
Cheerleading Competition that focuses on dance techniques and basic elements of cheerleading,
excluding stunts and advance gymnastics skills. The performers are cheerleaders and not just
dancers.
To better understand the foundation of cheerdance, it is vital to first learn the fundamental aspects
of cheerleading.
CHEERLEADING
Cheerleading is an event that consists of cheers and organized routines for sports team motivation,
audience entertainment, or competition. The routines contain many components of cheers, jumps,
dance, gymnastics, and stunting. The purpose is to encourage the spectators of events o cheer for
sports teams at games. The yellers, dancers, and athletes involved in cheerleading are called
cheerleaders. When they are grouped together as one, they are called a squad.
HISTORY OF CHEERLEADING
Cheerleading history is linked closely to the United States history of sports, it’s sporting venues,
as well as the historical development of overall crowd participation at many athletic events (History
of cheerleading, 2015). However, its origins can be traced as far back as the late 19th century where
in 1860s, students from Great Britain began to cheer and chant in unison for their favorite athletes
at sporting events. This event eventually reached and influenced America (Timeline of
Cheerleading, 2012).

In the late 1880’s, the first organized recorded yell done in locomotive style was performed in an
American campus and was first seen and heard during a college football game. However, organized
all-male cheerleading only transpired when Thomas Peebles, one of the graduates of Princeton
University, brought the yell and the football sport to the University of Minnesota in 1884. It was
through the initiative of Johnny Campbell, who was a student of the University of Minnesota, that
cheerleading officially began in November 02, 1898.

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Cheer Motions and Jumps

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www.victorysportsoutreach.org

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 Topic 2
Ballroom (Recreational and competitive)
Introduction
"Ballroom dance" refers to traditional partnered dance forms that are done by a couple, often in
the embrace of closed dance position ("ballroom dance position"). These include waltz, swing,
tango, salsa and blues.

"Ballroom dance" is the overall umbrella term, covering all three forms

Social dance forms are important. The earliest historical dance forms ever described in writing
were partnered social dances. Many of today's performative dance forms, including ballet and jazz
dance, evolved from social dance forms that came first. And today, noncompetitive social dance
continues to be the most widely done form of dance in the world.

The three worlds of ballroom dance share the same historical roots, similar step vocabulary and
music, so the three forms are considered siblings, related by birth. Yes, siblings are known to
fight, but they can also be mutually supportive.

Competitive ballroom dance came last, growing out of the Sequence

Dancing movement in the working-class suburbs of London, where hundreds
of dancers would memorize choreographed waltzes like Arthur
Morris' Veleta (1900). These expanded to include sequenced one-steps,
twosteps, tangos and foxtrots.

Different populations of dancers in London had different preferences, and by

1914 there was a class division between those who preferred freestyle vs.
choreographed dance. The upper classes in London preferred freestyle , dancing

while the working class in the outskirts preferred sequence dancing, and
would hold weekly balls where dancers would gather to learn, memorize and perform a rapidly
growing number of sequence dances.

The next step was standardization. The creation and standardization of these sequence dances
was controlled by several organizations which appeared at this time, most notably the Imperial
Society of Teachers of Dancing. Today's "International Style" (i.e. British style) ballroom
dancing is overseen by the Imperial Society, which was founded in London in July 1904 for "The

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fraternal co-operation of properly qualified teachers of dancing in the British Empire for the
safeguarding of our mutual interests" (quoted from their Charter). The original focus of these
organizations was the standardization of steps, technique and style into only one "correct" version.
Competitions didn't arise for another two decades.

A primary motivation of the middle class is upward mobility. You can raise your position in life
through the mastery of skills. The working class embraced the mastery of sequence dances, which
led the Frolics Club in London to create the first judged competitions of ballroom dance in
1922, as a way to elevate one's social position through perseverance and hard work. This work
ethic is still visible in competitive ballroom dance today.
The Three Worlds of Ballroom Dance

Social Competitive Exhibition

https://socialdance.stanford.edu/syllabi/ballroom.html

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 Topic 3
Festival Dance
Introduction

Festival dances are cultural dances performed to the strong beats of percussion instruments by a
community of people sharing the same culture usually done in honor of a Patron Saint or in
thanksgiving of a bountiful harvest. Festival dances may be religious or secular in nature. But the
best thing about festivals is that they add to the merry-making and festivities where they are
celebrated, the reason why they are called festival dances after all. Festival dances draw the
people’s culture by portraying the people’s ways of life through movements, costumes and
implements inherent to their place of origin.

Some of the famous festivals in the country include Sinulog of Cebu, Dinagyang of Iloilo, Ati-
atihan of Kalibo, Aklan, Buyogan and Lingayan of Leyte, Bangus of Dagupan, T’nalak of South
Cotabato, Masskara of Bacolod City, Bambanti of Isabela, and Kadayawan of Davao. Many others,
especially from Luzon, are now paving their way to join the country’s festival of festivals, the
Aliwan Fiesta which is done in the month of April.

Filipinos do festivals primarily to celebrate. There are a multitude of reasons for this reason. We
celebrate our unity amidst the diversity of cultures and we celebrate our industry bringing about a
bountiful harvest. Festivals have been a consistent crowd-producing activity leading to upliftment
of a community’s economy due to its tourism and entertainment value. Basically, festivals are a
form of entertainment that attract foreign and domestic tourists to visit a place eventually leading
to the elevation of the Filipino’s quality of life.

Whatever festival we celebrate, be it done to honor a religious icon or celebrate our industry.
Festival dances are a reflection of the unity of the Filipino community

that despite the economic, social, environmental, cultural and political challenges we face every
day, there can be no other race more resilient than ours.

As mentioned earlier, festivals may either be religious, in honor of a certain religious icon or
secular or non-religious, in thanksgiving or celebration of people’s industry and bountiful harvest.
The following are some of the said festivals:

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 RELIGIOUS FESTIVALS

Name of Festival Place of Origin Religious Figure Month of

Honored Celebration
Sinulog Festival Cebu City Sto. Niňo January
Dinagyang Festival Iloilo City Sto. Niňo January
Atiatihan Festival Kalibo, Aklan Sto. Niňo January
Peňafrancia Bicol Virgin Mary September
Higantes Festival Angono, Rizal Saint Clement November
Longganisa Festival Vigan, Ilocos Sur Saint Paul January
Kinabayo Festival Dapitan City James the Great July
Pintados de Passi Pintados City, Iloilo Sto. Niňo March
Pattarradday Santiago City Seňor San Tiago May
Sangyaw Festival Tacloban City Sto. Niňo July

SECULAR/NON-RELIGIOUS FESTIVALS

Name of Festival Place of Origin Thanksgiving/Figure Month of

Honored Celebration
Bangus Festival Dagupan, Pangasinan Milkfish Industry April to May
Bambanti Festival Isabela Scarecrow (Farming) January
Mammangui Festival City of Ilagan Corn Industry May
Mango Festival Iba, Zambales Mango Industry April
Panagbenga Festival Baguio City Flower Industry February
Ibon Ebon Festival Pampanga Migratory Birds Egg February
Industry
Masskara Bacolod City Mask (Sugar Industry) October

T’nalak Koronadal, Cotabato Colorful Abaca January

Ammungan Festival Nueva Vizcaya Gathering of Tribal May
Industries
Binatbatan Festival Vigan, Ilocos Sur Weaving Industry May

https://www.slideshare.net/chelTobato/festival-dances

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 WORKSHEET 1

Examining a Cheer Dance Performance

a. Search and watch a local clip or video of a Cheer dance performance from the internet, what
are your observations on their dance performance. (5 points)
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b. Identify the motif or theme of the dance. (5 points)
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c. Describe the emotions brought about by the dance. Describe how you feel while watching the
whole dance performance. (5points)
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d. Identify and list down the basic cheer dance movements used in the performance. (5points)
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e. Identify choreographic Form. (5points)

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 WORKSHEET 2
Observing a Piece of Choreography

INSTRUCTION: Search and watch a clip or video of a ballroom dance performance from the
internet and observe the following questions (3-5 sentences):

1. Identify the motif or theme of the dance. (5points)

2. Describe the brief historical background of dance. (5points)

3. Identify Choreographic forms. (5points)

4. Describe the Emotions brought about by the dance. Describe how you feel while watching the
whole dance performance. (5points)

5. Assess if the work has a sense of unity and continuity. Justify your assessment by pointing out
specific techniques employed by the choreographer in order to achieve unity and continuity.
(5points)

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 WORKSHEET 3

Evaluating Festival Dance

Give 1 example of RELIGIOUS FESTIVALS and another 1 example of SECULAR/NON-

RELIGIOUS FESTIVALS. Observe and Answer each of the following questions:

Give the Brief History

Enumerate the elements of that you have observed from

these dances.

RELIGIOUS
How did the dancers use these elements?
FESTIVALS

What is the motif/theme of the Dance?

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Give the Brief History

Enumerate the elements of that you have observed from

these dances.

SECULAR
FESTIVALS
How did the dancers use these elements?

How did the dancers use these elements?

What is the motif/theme of the Dance?

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 EVALUATION

Creating Cheer Dance Routine

Cheer Motions
a. Take a picture of yourself Executing the 12 different Cheer motions and Jumps.
b. Using the 12 different cheer motions, Combine the 12 and create your own 32-count cheer
motion sequence by assigning at least 2 counts to each motion. (e.g. the 8-count phrase may
consist of 2 or more hand and body positions) take a video of yourself creating your own 32-
count cheer motion.

Assessment Tool (Rubric)

CATEGORY MAX PTS COMMENTS

Overall impression, Energy and 10

Dynamism, Costume & Music
OVERALL
EFFECT Expression and Emotion 10

Creativity and Musicality 20

CHOREOGRAPHY
Difficulty 20

Execution of Styles and Clarity of 30

Movement
TECHNIQUE
Placement/ Control/Extension/ 10
strength of movement

TOTAL 100

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 MODULE OUTPUT
Creating Simple Dance
Direction: Construct a dance phrase that includes only movement that you consider pleasing,
Choose one (1) (CHEERDANCE, BALLROOM or FESTIVAL). Create your own
choreography of the dance. You may apply the steps in the dance from your module. Take a
video while you are performing your simple dance combination. After your dance performance,
create a sample dance analysis and evaluation following the format below. Send your video
presentation and your dance analysis through my Messenger account.

Sample Dance Analysis and Evaluation

Title of the Dance:

Genre/Style:

Costume/prop:

Context and Significance/ Evaluation:

Movement and Form:

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 Assessment Tool (Rubric)
CATEGORY MAX PTS COMMENTS

Overall impression, Energy and 10

Dynamism, Costume & Music
OVERALL
EFFECT Expression and Emotion 10

Creativity and Musicality 20

CHOREOGRAPHY
Difficulty 20

Execution of Styles and Clarity of 30

Movement
TECHNIQUE
Placement/ Control/Extension/ 10
strength of movement

TOTAL 100

ASSESSMENT TOOL RUBRIC (FOR WORKSHEETS)

5 Answers are clear and concise yet substantively presented. Explanation
and justification shows in-depth understanding and logical reasoning
that goes beyond the discussion.
3 Answers are somewhat clear and concise. Explanation and justification
shows relevance to the discussion.
1 Answers have no relevance to the topic. Justification and explanation is
either, incomplete, missing, or irrelevant at all.
0 There is no answer found in all of the parts to be answered.

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