PE 2 Module 2021

A Module
in
Physical Education 2
(Fundamentals of Rhythmic Activities)
Compiled by:
DR. ARIEL A. MONTOYA
MARILA A. SALAZAR
FELIDEL S. PEÑAFLORIDA
GEORGE A. PRADO
JERLENE G. DELGADO
ABEGAIL G. SAGANA
DAINA MAE B. VALDEVIESO
ABEGAIL CYRA F. TOLENTINO
The compilers do not own any of the content of this module. Due credits and
acknowledgement are given to the authors, internet sources, and researchers listed on the
reference page. Such as sources are reserved to further explain concepts and cannot be
credited to the compilers and the school. All diagrams, charts, and images are used for
educational purposes only. The sole objective of this instructional material is to facilitate
independent learning and not for monetary gains because this is NOT FOR SALE.
2021 Edition
APPROVAL SHEET
This Instructional Material entitled PHYSICAL EDUCATION 2 (Fundamentals of

Rhythmic Activities), compiled by P.E. Instructors A.Y. 2020-2021, is recommended for
production and utilization by the students and faculty members of the Occidental Mindoro
State College.
PANEL OF EVALUATORS
Local Evaluation Committee
GEORGE A. PRADO MARILA A. SALAZAR

Member Member
VERONICA C. FERRER, EdD

Chairperson
Overall Instructional Materials Development Committee
VENESSA S. CASANOVA, PhD MA. IMELDA C. RAYTON, MAEd

Member Member
Recommending Approval:
JESSIE S. BAROLO, JR., MAEd

Chairperson
Approved:
ELBERT C. EDANIOL, EdD

Vice President for Academic Affairs
PREFACE
A fundamental of Rhythmic Activities is a tertiary level of Physical Education subject

that is required by the Commission on Higher Education (CHED) of the Republic of the
Philippines.
The course description is concerned on the basic concepts of Rhythmic Activities,

movements, rhythm, counting, interpretation, with the learning method and strategies.
Rhythmic Activities is 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.
This module is divided into five chapters that cover the essentials of Rhythmic
Activities in our life. The first part is focused on the Movement, which is very important in
Physical Education. It explains the Meaning and Nature of Movement, the different Factors
that Affect the Movement, the Fundamental Movement Skills which is the foundation of all
activities in physical education and also, the Movement Concepts which help us to have a
better way of communicating through movement.
The second part of the book focused on the Rhythm Concept. It discussed the different
Elements of Rhythm, the Definition of Terms (Rhythm, Dance, Dancing) and the different
Phases of Dances.
The third part focused on the Dance Terms and Movements Common to all Folk
Dances. We all know that there are different dance terms that we used in dancing especially in
Folk Dance, this part will be discussed and demonstrate the different Common Dance Terms
for Arms, Hands and Foot and of course the Fundamental Dance Position of the Arm and Feet.
The fourth part focused on the Lyrical and Modern/Hip-Hop Dance, which is very
relevant in our generation nowadays, it explains the different basic movements.
The last part focused on the Basic Skills in Learning Latin and Ballroom Dances. It is
divided into 5(five) different ballroom dances; Rumba, Cha-Cha-Cha, Swing, Tango, Samba,
Waltz and Jive. The different characteristics of each ballroom dance, also the basic steps and
its history are clarified.
-THE COMPILERS
TABLE OF CONTENTS
Lesson 1: Meaning and Nature of Movement 1

Movement 1
Factors that Affects Movement 2
Fundamental Movement Skills 3
Lesson 2: Movement Concepts and Movement Exploration 11

Movement Concept 11
Movement Exploration 15
Lesson 3: Rhythmic Concepts 18
Elements of Rhythm 18
Lesson 4: Rhythmic Movement Activities 25

Definition of Terms 26
Major Components of Dance 26
Phases of Dance Program 27
Lesson 5: Philippine Folk Dance 29

Introduction to Philippine Folk Dance 29
Objectives of Philippine Folk Dances 30
Values of Folk Dances 30
Classification of Philippine Dances 31
Characteristics of Philippine Folk Dance 33
Lesson 6: Dance Terms and Movements Common to all Dances 31

Common Dance Term for Arms and Hands 32
Common Dance Term for Foot 33
Fundamental Dance Position of the Arm and Feet 35
Traditional Dance Steps Common to all Dances 39
Lesson 7: Fundamental Rhythm and Dance Steps 45

Fundamental Rhythm 45
Traditional Dance Steps Common to All Dances 46
Lesson 8: Learning Folk Dance 55
Cariñosa 55
Tiklos 59
Lesson 9: Lyrical and Modern/Hip-Hop 64
Lyrical Dance 64
Modern/Hip-Hop Dance 66
Lesson 10: Ballroom Dances 71

Basic Skills in Learning Ballroom Dances 72
Cha-Cha-Cha 73
Swing 75
Tango 76
Samba 77
Jive 76
LESSON 1
MEANING AND NATURE OF MOVEMENT
TOPICS
1. Movement
2. Factors that Affect Movement
3. Fundamental Movement Skills
LEARNING OUTCOMES
At the end of the lesson, you should be able to:
1. Define and explain the meaning and nature of movement, and fundamental
movement skills,
2. Identify some characteristics of movements, and give the factors that affect
movement.
3. Acquire knowledge of the movement skills inherent to all rhythmic activities
4. Execute the locomotor, non-locomotor and manipulative movements skills with
object or light apparatuses.
5. Apply the learning experiences skillfully and proficiently through movement routine.
TOPIC 1: Movement
Movement
A movement is a change of position in space.
Whenever there is no change of position, there is no
movement. Learning how to move is the most basic
element of learning experience in physical education.
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TOPIC 2: FACTORS THAT AFFECT MOVEMENT
Factors that Affects Movement
There are several factors that affect the movements.
Physiological Factor Psychological Factor Sociological Factor
Anxiety, fear, Aloofness, shyness,

Physical disability worries and and lack of
can affect the emotional instability confidence are some
movement of the are one of the few sociological factors
individual. factors that affect that limit the
A person who is the movements of movements of
disabled in one leg an individual individuals. To some
walks differently. psychologically. extent, they lead to
inactivity.
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TOPIC 3: FUNDAMENTAL MOVEMENT SKILLS
Fundamental Movement Skills

Fundamental movement skills are utilitarian skills that an individual need for living and
being; they are some called basic or functional because these skills are necessary to function
effectively in the movement.
These fundamental movement skills set the foundation for all activities in physical
education, and form the basis of competent movements. Once these basic skills are learned to a
certain degree of proficiency, they can be combined with other skills used in more complex
setting such are those found in dance.
LOCOMOTOR MOVEMENT SKILLS
Locomotor Movement Skills are used to move the body from one place to another. They
form the foundation of gross motor coordination and involve large muscle movements.
 Walking – is the regular pacing of the feet; a simple transferring of

body weight from one foot to the other on the ground. (A transfer of
one foot to the other foot is called a step.) Scientifically, it is a process
of losing balance and recovering it while moving forward upright
position, the body displaying a little up and down or side to side
movement.
 Running – is an increased speed in walking by lifting the foot off the

contact ground. Each leg in a mature running pattern goes through a
support phase and a recovery phase and full sequence produces two
periods of non-support. It is done with a slight body lean and knees are
flexed and lifted.
 Hopping – is a springing action from one foot and landing on the same
foot in any direction. It involves propelling the body up and down on
the same foot. The knee seldom straightens fully. It can be produced
in place or as a locomotor movement.
 Leaping – is an extension of a run, where the greater force is used to

produce a higher dimension than a run. The springing from one foot
propels the body upward and landing on the opposite foot, actually, it
is an elongated step to cover a distance or move over a low obstacle.
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 Sliding – is when the lead step is quickly followed by the free foot
closing to replace the supporting foot. It involves gliding sole of one
foot along the floor. The lead foot quickly springs from the floor into a
direction of intended travel. The same foot always leads in a slide
producing an uneven rhythm: slide-close, slide-close, slide-close.
 Galloping – is a combination of a step (full transfer of weight on one

foot) and a cut by the transfer of weight on the other foot. A cut is a
displacement of one foot with the other foot. It is an exaggerated
slide in forward direction. The lead leg lifts and bends and then
thrusts forward to support the weight. The rear foot quickly closes to
replace the supporting leg as the lead springs up into its lifted and
bent position.
 Skipping – is a combination of a step and a hop, first on one foot and

then on the other foot on a faster tempo. It is done on the balls of the
feet.
 Jumping- is a locomotor pattern in which the body propels itself off

the floor or apparatus into a momentary period of flight. It can be
done in place or as a locomotor activity to cover the ground. The
fundamental jumping pattern consists of five basic variations
(Graham, 2011):
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NON-LOCOMOTOR MOVEMENT SKILLS
Non-locomotor movement skills are performed without appreciable movement

from place to place.
 Bending is contracting or shortening of body part from a joint.
 Stretching is extending or straightening a body part from a joint.
 Rocking occurs when the center of gravity is fluidly transferred from

one body part to another.
 Swaying is moving the body or body parts from joint side to side.
 Stretching is extending or straightening a body part from a joint.
 Pushing is an act of shoving an object away from the body.
 Pulling is an act of lugging or towing an object towards or with the

body.
 Turning is rotation around a long axis of the body.
 Twisting is turning the body or body parts to one side.
 Circling is moving the body or body part forming a circle.
 Swinging is moving the body or body parts from a joint resembling a

pendulum.
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MANIPULATIVE MOVEMENT SKILLS
In rhythmic activities, manipulative movements involve handling of object or
light apparatuses; balls, wands, hoops, pompoms, ribbon, sticks and ropes.
Assessment
Let’s check your

LEARNING TASKknowledge.
1.1: I Know It
Let’s check your knowledge.
Direction: Identify the following statements. Write your answer before each number.
_______1. It is defined as a change in position in space.
_______ 2. It set the foundation for all the activities in physical education, and form as the basis
of competent movements.
_______ 3. It is used to move the body from one place to another.
_______ 4. It is an increased speed in walking, by lifting the foot off the contact ground.
_______ 5. It is done by springing one foot and landing on the same foot.
_______ 6. A combination of a step and a cut by the transfer of weight on the other foot.
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_______ 7. A locomotor pattern in which the body propels itself off the floor or apparatus into a
momentary period of flight.
_______ 8. An extension of run, where greater force is used to produce a higher dimension than
a run.
_______ 9. It is performed without appreciable movement from place to place.
_______ 10. It is the extending or straightening a body from a joint.
_______ 11. An act of shoving an object away from the body.
_______ 12. It occurs when the center gravity is fluidly transferred from one body part to
another.
_______ 13. It is turning the body or body parts to one side.
_______ 14. It is moving the body or body part forming a circle.
_______ 15. In rhythmic activities, it involves handling of object or light apparatuses.
LEARNING TASK 1.2: Let’s Move It

Direction: Execute the fundamental movements skills (locomotor and non-locomotor
movements) below. Master it and take a video. Perform it with the music. Then, send
the video to your instructor in the comment section of the FB Page.
SKILLS DEVELOPMENT 1
Cues: Keep your head up for your balance. Maintain your body alignment and good posture.
Execute the movement accurately. Move with smooth transition. Carry your body as lightly as
you can.
I
a. Hands down at the side. Execute 4 steps forward and 4 steps
backward………………….4M
b. Execute 3 steps sideward right, close left foot to right
foot………………………………………2M
c. Repeat (b) to the
left…………………………………………………………………………………………
………2M
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d. Repeat all (a-c)
……………………………………………………………………………………………
……………8M
II
a. Hop step on right foot forward, left leg in rear (cts. 1 2), hop step on left foot
backward, right leg raise in front (cts. 1 2)
……………………………………………………………….2M
b. Execute 4 hops with the right
foot…………………………………………………………………………...2M
c. Repeat (a) and (b) with the opposite
foot…………………………………………………………………4M
d. Repeat all (a-c)
……………………………………………………………………………………………
…………….8M
III
a. Execute 4 leaps sideward
right………………………………………………………………………………….4M
b. Repeat (a) to the left
……………………………………………………………………………………………
…..4M
c. Leap forward right and left alternately (8 counts)
…………………………………………………….4M
d. Repeat (c) moving
backward……………………………………………………………………………………
..4M
IV
a. Execute 4 skip steps sideward right …………………………………………………..4M
b. Cross right foot in front of left foot, execute 2 sliding steps to the left………………2M
c. Repeat (b) to the right……………..……………….………………………………….2M
d. Repeat (a)…………………………….………………………………….…………….4M
e. Repeat (c)……………………….……………………….…………………………….2M
f. Repeat (b)…………………………………….………….…………………………….2M
V
a. Execute 3 steps sideward right and jump in place……………………………………2M
b. Repeat (a) to the left………………………………………………………………….2M
c. Execute running steps forward and continue going around clockwise finishing
in proper
place…………………………………………………………………………………..4M
d. Execute 4 small jumps forward (4 counts) …………………………………..………2M
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e. Repeat (d) moving backward………………………………………………………..2M
f. Jump sideward right (1M), jump sideward left (1M)………………………………..2M
g. Repeat (f)…………………………………………………………………..………...2M
VI
a. Execute 2 gallop steps sideward right, and 2 gallop steps sideward left…………….4M
b. Execute gallop steps with the right foot moving forward, turn left about,
4 gallop steps with the left foot forward to proper place turn right about and
finish facing front………………………………………………………….
………………………4M
c. Execute 4 slide close with the right foot forward..……………………………….….4M
d. Repeat (c) moving backward with the left foot ………………………………..……4M
SKILLS DEVELOPMENT 2
Employing the routine in Skills Development 1, add non- locomotor movements to the
routine. choose any object or light apparatus to be manipulated. Do not change anything in the
routine including the non-manipulative movements that you have added.
Criteria for a Dance Performance.
Execution and Mastery of the steps 40%

Artistic presentation and combination of steps 30%
Timing 20%
Costume 10%
TOTAL 100%
LEARNING TASK 1.3: Essay Writing
Direction: Answer the following. Express your opinion. (2 points each).

1. Why is it necessary to study the meaning and nature of movement?
_______________________________________________________________________
_______________________________________________________________________
2. Why do you have to move? What is your purpose of moving?
_______________________________________________________________________
_______________________________________________________________________
3. How can you achieve competency in movement?
_______________________________________________________________________
_______________________________________________________________________
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4. How can you develop quality movement?
_______________________________________________________________________
_______________________________________________________________________
5. How do movements be affected physiologically, psychologically, and socially?
_______________________________________________________________________
_______________________________________________________________________
Rubrics for Essay Writing
Essence 5 pts
Relevance 3 pts
Clarity and Cohesion 2 pts
Total 10 pts
Page | 10
LESSON 2
MOVEMENT CONCEPT AND MOVEMENT EXPLORATION
TOPICS
1. Movement Concept
2. Movement Exploration
LEARNING OUTCOMES
1. identify the movement concept that develops and increase
awareness and understanding of the body as a vehicle for
movement.
2. explain how movement concepts transform movements into quality
movements.
3. discover what the body can move as well as the different areas
where the body can move.
4. explore various movements possibilities with the use of the different
parts of the body.
5. utilize the basic body movements as basis for exploring the
movement pattern.
TOPIC 1: MOVEMENT CONCEPTS
“All that is important is this one moment in movement.

Make the moment important,
vital, and worth living, not let it slip away unnoticed and unused.”
- Martha Graham
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OVERVIEW
Movement concepts are ideas used to modify or enrich the effectiveness of skill
employment. They describe how the skill is to be performed. Movement concepts are
employed to embellish, enhance, or expand the quality of movement (Graham,
2001).
The movement content of the physical education program consists of more than just
movement skills. It is not enough to learn only skills, but you need to perform these skills in a
variety of settings. Learning about movement concepts will help you develop an increased
awareness and understanding of the body as a vehicle of movement, and for the acquisition of
personal vocabulary of movement skills.
Body awareness, space awareness, effort and relationships are important in learning
movement skills to move proficiently. These concepts enhance the range and quality of skills.
Once the meaning and functions of these concepts are understood you will learn to communicate
through movements.
BODY AWARENESS
It defines what your body can perform. What shapes it can make, how it can
Page | 12
balance, and the transfer of weight to different parts are categories to develop challenges
that add variety to movement.
a. Shape
- Straight
- Curved
- Zigzag
e. Extensions are ranges or sizes of movements of the body or its parts in space and
the distances from the center of the body that the parts reach to carry out a
movement.
- Large/small
- Far/near
EFFORT
Effort is the use of energy to do quality movements. This has something to do with
how the body moves.
a. Time is the dimension, speed or pacing of your movement either fast/slow;
sudden/sustained
b. Force is the weight, strength or energy you give to the movement. It is either
Strong or Light
c. Flow is the process, facility, or appropriateness of your movement. They are either
bound/free, gentle, or smooth.
- Interrupted flow (bound) stops at the end of a movement or part of a
movement.
- Sustained flow (free) involves smoothly linking different movements or parts
of movement.
RELATIONSHIPS
Relationships are the connections between or among people, other bodies, and
things when you move. It defines with whom or with what your body moves. It gives
meaning to the interaction between individuals and their environment.
a. Of body parts:
- Round (curved)
- Narrow/wide
- Twisted; symmetrical/non-symmetrical
b. With objects and/ or people:
- Over/under
- On/off
- Near/far
- In front/behind
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- Along/through
- Meeting/parting
- Surrounding; around; alongside
c. With people:
- Leading/following
- Mirroring/matching
- Unison/contrast
- Alone, in a mass
- Solo/Partners/Groups/Between groups
TOPIC 2: MOVEMENT EXPLORATION
Movement exploration serves as a means of discovering from the basic natural

movements other movement possibilities using your body as an instrument. The various parts of
your body play a very important role in performing and activity.
Movements may be explored and developed into movement patterns in terms of what
your body can do, where your body moves, and how your body moves.
A. BODY AWARENESS
With your body you can:
1. Make various shapes.
2. Move parts of your body toward each other.
3. Support your body weight using different parts of your body.
4. Move to transfer support of your body weight from one body part to another.
5. Mirror your partner’s movement.
6. Meet, pass and part with your partner.
7. Converse in movement by:
a. Replying to the movement of your partner.

b. Replying with similar movement to the movement of your partner.
c. Replying with contrasting movement to the movement of your partner.
B. AWARENESS OF SPACE
Within immediate space you can:
1. Move near to or far from your body.
2. Move in different directions away from or towards your body.
3. Move in front of to, to the side of, behind, or around your body.
4. Move at high, medium or low level.
5. Make small and large movements.
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Through general space using any locomotor movements you can:
1. Move in different directions.

2. Move in different levels.
3. Make small and large movements.
4. Move along different pathways.
C. MOVEMENT QUALITIES
In terms of Time using locomotor or non-locomotor movements you can:
1. Mover at slow, moderate, or fast speed.
2. Move with a sudden changes of speed.
3. Move with gradual changes of speed.
4. While maintaining the same speed, change form one movement to another movement.
5. Make sudden and sustained movements.
In terms of Force (effort) using locomotor and non-locomotor movements you can:
1. Make strong and light movements.
2. Make movements with a marked contrast in effort.
3. Make movements with gradual or sudden changes in effort.
4. Tense and relax your whole body or body parts.
5. Make movements involving variations in effort.
In terms of Flow using any movement skill you can:
1. Make jerky movements.
2. Make smooth movements.
3. Make free or unrestricted movements.
4. Make bound or restricted movements.
TOPIC 3: ELEMENTS OF MOVEMENT SPACE
1. Direction—is the line of movement taken which maybe forward, backward, sideward,
diagonal, upward, or a combination of those mentioned.
2. Level—is movement through space that maybe done at a high, low, or medium level.
3. Range—refers to the area covered as the body moves. It may be small as when the
movement is done in one’s place; or large when movement covers a wide area as
when getting away from one’s place.
4. Floor Pattern—the path or design that is made while moving in space is what is termed as
floor pattern. It may take a form of a circle, square, straight line or zigzag.
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Assessment
LEARNING TASK 2.1: Challenge Your Mind and Body
Direction: Through movement exploration, choreograph a 2-3 minutes dance where you can
include the body awareness (different shape with balance), space awareness (using self and
general space, direction, levels, pathways, extensions, effort, and relationships). Take a video
once you memorize your choreography and submit it to your subject instructor through FB Page
Comment Section.
Rubrics
Criteria 5 pts. 4 pts. 3 pts. 2 pts. 1 pt.

Grace and Projection
Precision and Accuracy
Rhythm and Coordination
Mastery of Sequence
Total
Scale Equivalent and Interpretation
Scale Equivalent Grade in Percent Interpretation

(%)
You showed an Excellent Performance! Congratulation! I’m very
5 95% - 100% proud of you.
You did a very good performance although you committed minimal
errors. Try to work on it. Keep it up!
4 88% - 94%
You did a very good performance. Try to exert more effort in
getting a higher grade next performance. Good Luck!
3 81% - 87%
Your grade though passing shows that you did not exert so much
effort. Try to exert more effort in getting a higher next performance.
Good Luck!
2 75% - 80%
You got a failing grade in this activity. I am sure this is not what
you are aiming for. Please see me during our consultation period.
1 Below 75%
(Espeso, 2006)
Note: To get your total score, add the point. Divide it by the number of criteria (4) to get the average. Then, refer to the
equivalent grade in %. It’s up to the evaluator to choose the exact corresponding percentage. Example Scale of 4 may be between
87% - 93%.
Evaluator (Instructor/student): _________________________________________

Complete name and signature
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LESSON 3
RHYTHMIC CONCEPT
TOPIC
1. Elements of Rhythm
LEARNING OUTCOMES
1. acquire the basic knowledge of the elements of musical rhythm and
give important attention to each element as they are necessary in
the study of rhythms and dances
2. gain knowledge on the different method of counting music, relate it
to counting step pattern and articulate the relationship of the
elements to musical rhythms and movement
3. apply the elements of musical rhythm to movements.
TOPIC 1: ELEMENTS OF RHYTHM
An individual need to move easily, freely, and to handle his body with confidence. He
must be given the chance to freely before he can be expected to keep in precise time
to specific piece of music or rhythmic pattern. In order to have a relationship between
movement and specific accompaniment, he must be able to listen, adjust his rhythm
to that of the music, and move accordingly. Moreover, one needs to respond to his
own rhythm before he can be expected to adapt to another or to a group. Of course,
this takes experience.
When an individual can readily relate his rhythm to his movement, we say he is moving
rhythmically – he has developed his skills, and he can move to external rhythms of music,
percussion, words, and with another individual or with the group. In dance, the rhythmic patterns
Page | 17
and rhythmic qualities of a musical piece are of vital importance on the execution of quality
movements.
RHYTHM is notated with the note value symbols showing duration.
PULSE
It is the steady beat, which is both constant and regular. It can be felt when you tap your foot to a
piece of music. It can be represented visually by a time of half notes, quarter notes or eight notes.
METER
1. Duple Meter – The pulse Is divided into two recurring patterns of one strong and one
weak beat.
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2. Triple Meter – It divides the pulse into a recurring pattern of one strong, and two weak
beats.
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3. Quadruple Meter – It divides the pulse into one strong and three weak beats.
The sign > is an accent mark. It indicates that the note under which (or
over which) it appears is to be given more stress than the surrounding notes.
Usually the accent is on the first beat. It gives emphasis to a beat in a count. It is
expressed by a more forceful movement in a sequence of movements.
METER SIGNATURES
Meter signatures or time signature is made up of two numbers, one above the other,
which appears at the beginning of a music piece. The top number indicates the meter of the piece
or the number of beats per measure, and the bottom number identifies the note value or kind of
notes that represents the pulse or beat. Meter signature is never written in fraction.
Duple Meter Signature

2 – indicates two pulses or beats per measure
4 – identifies the quarter note as the pulse beat
1 2
Triple Meter Signature
3 – three beats to a measure
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4 – a quarter note receives one beat
Quadruple Meter Signature
1 2 3
1 2 3
TEMPO
It is the speed of music. It can be constant or show gradual increase (acceleration) or
decrease (deceleration).
INTENSITY
This is the quality of musical sound from low to high or soft to loud. In dance, it has
something to do with the quality of movements, either be strong or light; soft or sharp; slow or
fast, and sudden or sustained movements. Mood is related to intensity, but carries the concept
deeper into human feelings, music can interpret many moods.
PHRASE
In music, it is a musical sentence that can be felt by listening for a complete thought. This
can be group of measures, generally four or eight measures. In dance, this is a grouping of
movements, which gives a feeling of wholeness – “a sentence” of movement patterns. Phrases
when put together, they become rhythmic pattern.
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rhythmic pattern
Rhythmic pattern corresponds to the underlying beat. In movements and dance, it follows
the step pattern.
A. In Music B. In Movements
B.
1 2 1 2 walk walk leap leap

c. In Dance – (Bleking Step)
Heel-place close Heel-place close
1 2 1 2
MEASURES
Music is divided into measures by means of vertical lines called bar lines. Bar lines
occur immediately before an accented pulse.
SYSTEM OF COUNTING
In learning to read rhythms, it is useful to learn the method of counting that can be
sounded off as you are clapping the rhythms. In movements and dance, the different methods of
counting are very vital to the execution step pattern or dance pattern. Mastery of the meter
Page | 22
signature along with counting that corresponds to the dance pattern elicits correct execution and
timing.
Assessment
Direction:
LEARNINGChoose the Answer
TASK 3.1: correct answer
Me!
Direction: Choose the correct answer. Send your answer to your subject instructor
through google classroom or fb page.
1. It is made up of two numbers, one above the other, which appears at the beginning of a
music piece.
a. Meter Signature b. Meter c. Tempo d. Phrase
2. It indicates that the note under which (or over which) it appears is to be given more stress
than the surrounding notes.
a. Beat b. Note c. Accent Mark d. Rhythm
3. It is notated with the note value symbols showing duration.
a. Pulse b. Rhythm c. Meter d. Tempo
4. Music is divided into measures by means of vertical lines called ______.
a. Horizontal Lines b. Vertical Lines c. Bar Lines d. Bar
5. It corresponds to the underlying beat.
a. Rhythmic Pattern b. Floor Pattern c. Step Pattern d. Dance Pattern
6. This is the quality of musical sound from low to high or soft to loud. In dance, it has
something to do with the quality of movements, either be strong or light; soft or sharp;
slow or fast, and sudden or sustained movements.
a. Measures b. Intensity c. Tempo d. Phrase
7. It divides the pulse into one strong and three weak beats.
a. Duple Meter b. Triple Meter c. Quadruple Meter d. Meter
8. It is the steady beat, which is both constant and regular. It can be felt when you tap your
foot to a piece of music.
a. Pulse b. Rhythm c. Meter d. Tempo
9. It is the speed of music. It can be constant or show gradual increase (acceleration) or
decrease (deceleration).
a. Measures b. Intensity c. Tempo d. Phrase
10. In learning to read rhythms, it is useful to learn this method. It can be sounded off as you
are clapping the rhythms.
a. Phrase b. Rhythmic Pattern c. Measures d. System Counting
LEARNING TASK 3.2: Let’s Clap!

Direction: Perform the following value of its note through clapping. Take a video of it
Page | 23
and send to your subject instructor through FB Page Comment Section.
LESSON 4
RHYTHMIC MOVEMENT ACTIVITIES
Page | 24
TOPICS
1. Definition of Terms
2. Major Components of Dance
2. Phases of Dance Program
LEARNING OUTCOMES
1. classify rhythm, dance and dancing.
2. appreciate the benefits of regular participation in different
phases of dance program and other physical activities.
OVERVIEW
Rhythmic Activities are rhythmic movements using the body as a means of expressional
communications. They are usually accompanied with musical rhythms.
Creativity, rhythm and movement are the three major components of dance which
intertwined significantly.
In this unit, you will be given opportunity to experience exploring different ways of
moving, to be creative, to be expressive and to communicate your feelings and ideas through
rhythmic movement activities.
TOPIC 1: DEFINITION OF TERMS
“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.”
RHYTHM
Is a term which denotes an aspect of a quality of movement that is sometimes
thought of as dance. When an individual move in response to a particular rhythmPage
or| 25
music we call the movements as rhythmic movements or rhythms. Structured forms
which start creative rhythmic movements are called rhythms.
TOPIC 2: MAJOR COMPONENTS OF DANCE
3 Major Components of Dance
1. Creativity – is the quality of living which helps on

the discovering of new possibilities, new
associations, new relationships, new experiments.
2. Movements – changing of position of an object

into space. Changing of directions.
3. Rhythm – is the regular recurrence of accented and

unaccented beats.
TOPIC 3: PHASES OF DANCE PROGRAM
 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.
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For elementary grades. They will be the one to explore movements within the body.
 FOLK/ ETHNIC DANCE
Dances
handed from
generation to
another
generation. 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.
 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.
 RECREATIONAL DANCE
Dance for relaxation, for fun.

Includes dance mixers, square dance round
and couple dances. Many of these dances have
simple patterns and combinations of walking steps,
Page | 27
polka step and the waltz step. The setting is usually informal gatherings and parties, reunions
etc.
 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.
Assessment
LEARNING TASK 4.1: Major Dance

Direction: Choose any household chores that you do, modify it into quality
movements, then organize those movements depending on how you pattern the
choreography in a 3 minutes-dance presentation. Select music that will really highlights
you skills. Send the video to your Criteria
subject instructor
for DanceinPerformance
FB Page Comment Section.
Execution and Mastery of the steps 40%

Artistic presentation and combination of steps 30%
Timing and synchronization of movements 20%
Costume 10%
TOTAL 100%
Lesson 5
PHILIPPINE FOLK DANCE
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TOPIC 1: INTRODUCTION TO PHILIPPINE FOLK DANCES
The Philippines is composed of more than 7,000 islands with diversified type of people
and cultures. Filipinos are musically inclined, that every corner of the island showcases a
traditional embedded with traditional dances. What we call the Philippine Dance Classified
according to groups.
1. Dances from Cordillera Groups
2. Wester – Influenced Dances
3. Dances of the Muslim Groups
4. Dances of the Tribal Indigenous Groups
5. Dances of the Countryside.
Folk Dance is a cultural art form handed down from one generation to another. It
communicates the customs, beliefs ad occupations of the people of a region or country. Folk
dancing belongs to the people. It emanates from them. (Francisca R. Aquino).
The traditional of an indigenous society that depicts the cultural characteristics of a
specific people of a given time and place.
Folk dance deals with the usual traditions of the past by which a multitude o national
characteristic in music and steps, and costumes are preserved.
Philippine Folk Dance, in general, is a dance consisting of rhythmic movement, sustained
by regular tempo, beat or music, conceived as a cultural mirror in which spirit, character, and
artistry of its time is reflected when placed on historical perspective.
As an expressive folk arts, dance depicts man’s traditional contemporary feeling. Some
dances are results of religious rites, or an ethic variety portraying the celebration of different
culture patterns.
Page | 29
Folk dance expresses the nation’s sentimentality and creativeness. These are the
country’s traditional dances, which portrays the people’s ideas, mores, thought and feelings by
means of the body movement.
TOPIC 2: OBJECTIVES OF PHILIPPINE FOLK DANCE
1. To foster patriotism and nationalism through the study of our dances.

2. To arouse better appreciation of the Philippines music and folk dances.
3. To provide through dancing, a healthful form of relaxation and recreation.
4. To develop graceful and rhythmic coordination of the body movements that will
improve posture.
5. To preserve the posterity, folkdance and music indigenous to the different region of
the Philippines.
6. To demonstrate the growth of the Filipino culture through the evolution of the
Philippine dances.
TOPIC 3: VALUES OF FOLK DANCES
1. Physiological and neuro- muscular development of the organic system of the body.
2. Cultural
3. Social and recreation
TOPIC 4: CLASSIFICATION OF PHILIPPINE DANCES
I. General Classification
A. According to Geography
1. National Dances – dances found throughout the Islands with little or no

modification.
Example: Rigdon, Carinosa
2. Local/Regional Dances – dances found in a certain locality or region

Examples: Tinikling - Leyte
Subli - Batangas
Maglalatik - Binyang
Biniganbigat - Abra
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Kin-aras - Ilocos
Rogelia - La Union
B. According to Nature
1. Occupational Dance – depicts actions of certain occupation, industry, or human

labor.
Examples:
Pabirik (Camarines Sur) – depicts the different stages of gold
panning
Rice Fetival – a dance with the largest number of dancers from
planting to harvesting.
2. Religious or Ceremonial dances – these are dances that are performed in

connection with religious vows, practices and other ceremonies.
Examples:
Dugso – a dance to drive away devil spirits
Pinung-pino – a dance performed asking for a child.
Kuracha – a dance performed to give thanks for a bountiful
Harvest
3. Courtship Dances – these are dances with love themes depicting a n flirting,
affectionate movements.
Examples:
Carinosa, Daling-daling, Rogelia, Tadek
4. Wedding Dances – these are dances performed by newlyweds, by friends and

relatives of the bride and groom, or by the father of the bride or mother or the groom.
Examples:
Sinulog – A dance wherein the male dancers beat drums, shout,
and perform stunts or anything to drive evil spirits that may
harm or make the newlyweds unhappy.
Pandag-pandag (Antique) – A dance performed only by the

bride or groom. As they are dancing the friends and relatives of
each side throw coins or hang paper bills to the dresses of the
newlywed couple.
5. Festival dances – Dances performed in connection with celebration, a feast, a

barrio fiesta, good harvest and a good fortune.
Examples:
Kuratsa, Habanera, Surtido
6. Comic Dances – dances with funny and humorous movements mainly intended for
Page | 31
entertainment.
Examples:
Makonggo – dancer imitate the movements of monkey
Kinoton – dancers imitate the movements of person bitten by ants.
7. War Dances – dancer imitate are intended to show imaginary combat or duel with
the use of fighting weapons like bolo or spear.
Examples:
Sagayan, Maglalatik, Sagayan, Palo-Palo
8. Games Dances – dances that have some play elements and for recreational purposes.
Example:
Lubi-lubi, Pabo
C. According to Movements
1. Active – with energetic movements.

Example: Tinikling, Maglalatik, Sakuting, Polkabal
2. Moderate – with slow movements.

Example: Carinosa, Tagala, Habanera, Papuri
3. Slow – with slow movements.

Example: Pasakat, Amorosa, Habanera, Alcamfor
4. Slow and Fast Combination

Example: Puritos, La Jota Moncadena, tiliday, Kundiman
D. According to formation
1. Square or Quadrille
Example: Rigodon, Lanceros, Los Bailes de Ayer
2. Long Formation or Line Formation - Two or more parallel lines

Example: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit partners facing each other or standing
side by side.
Example: Binadyong, Haplik, Kakawati
II. Special Classification
Page | 32
1. Dance with Songs
Example: Abaruray, Manang Biday, Rogelia, Lawiswis Kawayan
2. Old Ballroom Dances

Example: Polka, Mazurka, Chotis, Balse
3. Dance with Implements

Example: Maglalatik, Sakuting, Jota Moncadeña, Tinikling, Salakot
4. Dance with Combined Rhythm

Example: Surtido, Pantomina, Los Bailes de Ayer
TOPIC 5: CHARACTERISTICS OF 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.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo” (bow)
7. Dances from the lowland have more foreign elements that those found in upland.
8. War dances are found among non-Christian tribes.
Other Distinctive Characteristics of Philippine Folk Dances
1. Different from other folk dances from other places.
2. Gives pleasure to dancers and audiences.
3. Reflects cultures introduced by invaders and conquerors.
4. Provides socialization.
5. Passes down from one generation to another.
6. Some groups have repertory of dances.
Assessment
Learning Task 1.1: I know it!
Direction: Identify the following statements. Send your answer to your subject
instructor through google classroom or fb page.
____________1. Dances performed in connection with religious vows, practices, and beliefs in
spirits and anitos.
____________2. Dances performed by newlyweds, friends and relatives of the bride and
Page | 33
groom.
____________3. Dances that have some play elements for recreation purpose.
____________4. Dances characterizing certain occupations, industries, and phases of human
Labor.
___________ 5. These dances depict certain love themes.
___________ 6. Dances performed in connection with a celebration, feast, a barrio fiesta, good
harvest and good fortune.
___________ 7. Dances performed to show combat or duel using fighting implements.
___________ 8. Dances with amusing and funny movements mainly intended for entertainment.
__________ 9. Is a tradition, communal dancing that has been handed down from generation
to generation as a recreational activity.
__________10. Dances depicting a flirting, affectionate movements.
Learning Task 1.2: Let’s Answer it!
Direction: Read and answer the questions briefly.
1. When did folk dance start in the Philippines?

2. Why is there a great variety of folk dances in the Philippine?
3. Do you agree that young Filipinos find it satisfying and fulfilling to be involved in folk
dance?
4. How does modern technology affect the development of folk dance in our country at
present
Lesson 6
DANCE TERMS AND MOVEMENTS COMMON TO FOLK DANCES
Page | 34
TOPICS
1. Common Dance Terms for Arms and Hands
Introduction
In the following lesson, you will gain insights about the important terms within the
context of folk dance which are very important in the execution of the dance movements as a
beginner of folk dancing. These signals of what you will do at the beginning, where you will go,
what you will use, and how will you relate one term to another term. It is done in preparation for
the learning of the dances of the country.
TOPIC 1: COMMON DANCE TERMS FOR ARMS AND HANDS
Abrasete. This is of Spanish origin. Girl at the right side of the boy holds his right arm with her
left hand, free hands down to at the sides.
Bilao. Hands in front, parallel to each other at waist level, elbows close to the waist, palms
down. Reverse the position of the hands with palms down and down alternately.
Free Hand. The hand not doing anything.
Hapay. A Tagalog dance term which means to flourish or offer a handkerchief, a hat, or a glass
of wine.
Hayon- Hayon. To place one forearm in front in the other behind the waist. This is a Visayan
term.
Inside Hand. The hand need the partner when standing side by side.
Jaleo. Partners stand side by side facing opposite direction. Hands on waists, elbows near or
almost touching one another. A Tagalog term of Spanish origin.
Kumintang. Turning the hand from the wrist either clockwise or counter-clockwise direction.
This is an Ilocano term.
Kunday- Kunday. Similar to Kumintang, but done twice for every movement on a faster beat.
Two kunday-kunday in one measure.
Lateral Arm Position. To place both arms on one side of the body either right or left side. It can
be done on chest, shoulder, and waist level.
Page | 35
Arms in Reverse “T”. Arms are side horizontal, elbows bent at right angles, forearms parallel to
head, palms forward or facing inward, fists loosely closed.
Outside Hand. The hand away from the partner when standing side by side.
Salok. To scoop the arm downward upward in front of the body; the trunk following the
movements of the scooping arm. Free hand in 5th position or on waist, or holding skirt. This is a
Tagalog term.
Sarok. Cross the right (left) foot in front of left (right) foot, bend the body slightly forward and
cross the arms down in front right (left) over the left (right). This is a Visayan term.
“Masiwak”. To turn the hand from the wrist half-way clockwise then raise and lower wrist once
or twice. This is a dance term.
TOPIC 2: COMMON DANCE TERMS FOR THE FOOT
Brush. With weight on one foot, swing the free foot and hit, strike or touch the floor lightly with
the heel of ball of the foot.
Cut. A quick change of weight displacing the supporting the foot with the free foot.
Draw. The free foot is pulled along the floor close to the supporting foot with or without
transfer of weight.
Free Foot. The foot that does not supports the weight of the body.
Inside Foot. The foot near the partner when standing side by side.
Outside Foot. The foot away from the partner when standing side by side.
Place. To put the foot flat on the floor without putting weight on it.
Pivot. Tuning the ball, heel of one or both feet on the floor on a fixed place.
Slide. To glide the sole of one foot along the floor with or without weight.
“Panadyak”.With body weight on L (R) foot, stamp R(L) foot in 4th. In, then tap same foot
close
to L(R), arms in reverse “T” position, hands doing “kumintang” on the stamp.
Stamp. To bring down the forcibly on the floor with or without transfer of weight.
Step. A simple transfer of weight of the body.
Supporting Foot. The foot that carries the weight of the body.
Page | 36
Tap. Toe or ball of free foot is placed momentarily on floor and lifted again immediately.
Touch. Same as point.

TOPIC 3: FUNDAMENTAL DANCE POSITIONS OF THE ARMS AND FEET
ARMS FEET
Arms in 1st position – the arms make a circle in front, finger tips almost touching with the back
of the hand facing front. The arms should be rounded that the elbows are slightly below the
shoulders, the wrists slightly below the elbows.
First position of the feet – Feet together.
ARMS FEET
Arms in 2nd position – arms slightly rounded are extended in a line just below the shoulders, so
that the elbows are slightly lower than the shoulders, and the wrists are slightly lower that the
elbows; the palms of the hands facing front, the fingers are slightly rounded.
Page | 37
Second position of the feet – Feet apart sideways at shoulder width.
ARMS FEET
Arms in 3rd position – the R (L) arm makes a half circle over and in front of the head, the L (R)
arm is in 2nd position.
Third position of the feet – the heel of one foot is placed near the in-step of the other foot.
ARMS FEET
Arms in 4th position – the R (L) arm makes half circle over an in front of the head. The L (R)
arm is in first position.
Page | 38
Fourth position of the feet – one foot is placed diagonally forward, heel slightly twisted out and
in line with the heel of the other foot.
ARMS FEET
Arms in 5th position – the arms are rounded above slightly in front of the head so that the
fingertips are just within the line of vision and the palms are slightly facing downward.
Fifth position of the feet – the heel of one foot is placed near the edge of the ball slightly twisted
out, toes almost facing sideways and in line with the heel if the other foot.
TOPIC 4: OTHER POSITIONS OF THE ARMS AND HANDS
Arms in amplified 1st position – same as the 1st position, but the hands are slightly opened up.
Arms in amplified 5th position – same as the 5th position, but the hands are slightly opened up.
Arms at sides – the arms hang from the shoulders at the side of the body.
Hands on waists
Hands holding skirts
One hand on waist and the other holding the skirt
One hand on waist or holding the skirt and the other raised over head.
TOPIC 5: OTHER TERMS
Bow or Saludo. To honor partner, opposites or audience. This is of Spanish origin.
Cabeceras. Dances in square formation, they are the couples occupying the width of the dance
floor.
Costados. Dancers in square formation, they are the couples occupying the length of the dance
Page | 39
floor.
Clockwise. It is moving to the left when facing an imaginary circle. R shoulder is toward the
center when moving forward.
Counterclockwise. The reverse direction of clockwise.
Do-Si-Do or Dos-A-Dos. Two people walk toward each other, pass by the right shoulder, step
sideward to the right, and return to position walking backward passing by the left
shoulder.
Cross-Over. Two couples (the vis-à-vis) are opposite each other. Each couple proceeds in a
straight line to the opposite place. The girl pass by their L shoulders between the boys.
Boy bow each other when they meet at the middle or about one-third of the way, then
proceed to the opposite place. Upon reaching the opposite place, partners turnabout,
girls stands at partners’ right side.
Assessment
LEARNING TASK 11: Do You Still Remember Me?

Direction: Answer the following by arranging the jumbled letters. The description on
_______1. This will
each number is ofgive
Spanish Origin.
you the clue.Girl at the right side of the boy holds his right arm with her
left hand, free hands down at the sides. (AABEERST)
_______2. To place one forearm in front and the other behind the waist. This is a Visayan term.
(NOAHY-YOHAN)
_______3. Turning the hand from the wrist either clockwise or counter-clockwise direction. This
is an Ilocano Term. (TAKUMINGN)
Page | 40
_______4. To scoop the arm downward upward in front of the body; the trunk following the
movements of the scooping arm. Free hand in 5th Position or on waist or holding skirt. This is a
Tagalog term. (KLOSA)
_______5. Cross the right (left) foot in front of left (right) foot, bend the body slightly forward
and cross the arms down in front right (left) over left (right). This is a Visayan term. (KRASO)
_______6. The free foot is pulled along the floor close to the supporting foot with or without
transfer of weight. (WARD)
_______7. To put the foot flat on the floor without putting weight on it. (LACEP)
_______8. A quick change of weight displacing the supporting foot with the free foot. (TUC)
_______9. Touch toe or ball of free foot on floor and remains there briefly. (PONIT)
_______10. With weight on one foot, swing the free foot and hit, strike or touch the floor lightly
with the heel or ball of the foot. (SHRUB)
_______11. Two people walk toward each other, pass by the right shoulder, step sideward to the
right, and return to position walking backward passing by the left shoulder. (SOD-A-OSD)
_______12. Dancers in square formation, they are the couples occupying the length of the dance
floor. (TACOSDOS)
_______13. To honor partner, opposites or audience. This is of Spanish origin. (DALUOS)
_______14. Dancers in square formation, they are the couples occupying the width of the dance
floor. (CRASBACEE)
_______15. It is moving to the left when facing an imaginary circle. R shoulder is toward the
center when moving forward. (WISECLOCK)
Learning Task 6.1: I’ll Do It!
Direction:. Demonstrate the different fundamental dance positions of the arms and feet. Once
you mastered it, prepare your gadget for video recording. Then, submit the video/s to FB
Page Comment Section created by your subject instructor. Observe health protocol during the
videoing of the activity.
Rubrics
Dance Position 5 pts 4pts 3pts 2pts 1pt.

1. First Position
Head (Focus/direction), Arms, Body alignment,
Feet
2. Second Position
Feet
3. Third Position
Page | 41
Feet
4. Fourth Position
Feet
5. Fifth Position
Feet
Learning Task 7.2: Challenge Me!
Skill Development
Direction:. Execute the fundamental arms and feet positions accompanied with music which
is in 34 time signature. You will be rated with a scale of 1-5, where 5 is the highest based from
the following criteria. Take a video of this activity then, submit it to my messenger, google
classroom or Gmail. Observe health protocol during the videoing of the activity.
Routine memorized 5 – Achieved ALL of the criteria

Executed arm and feet positions correctly 4 - Achieved 3 of the criteria
Smooth movement execution 3 - Achieved 2 - 3 of the criteria
Timing and coordination 2 - Achieved 1 of the criteria
1 - Achieved NONE of the criteria
Figure I
Starting Position: Feet together, arms down at sides.

a. Right arm in 1st position (cts. 1 2 3), onto 2nd position (cts. 1 2 3)…………………2M
b. Repeat (a) three times more…………….…………………………………………..6M
c. Repeat (a) and (b) with the left arm………….……………………………………..8M
d. Both arms in 1st position (cts. 1 2 3), onto 2nd position (cts. 1 2 3)………….……..2M
e. Repeat (d) 7x more….………………………………………………………….….14M
Figure II
Arms and Feet in 2nd Position
a. Raise right arms to 5th position (cts. 1 2 3), back to 2nd position (cts. 1 2 3)………2M
b. Repeat (a) 3x more…………………………………………………………….……6M
c. Repeat (a) and (b) with the left arm…………………………………………..……..8M
d. Raise both arms in 5th positions (cts. 1 2 3), back to 2nd position (cts. 1 2 3)………2M
e. Repeat (d) 7x more…………………………………………………………..…….14M
Figure III
Page | 42
Feet in 3rd Position
a. Repeat Figure I (a)……………………………………………………….…….……2M
b. Repeat Figure II (a)………………………………………………………..………..2M
c. Repeat (a) an (b)…………………………………………………………………….4M
d. Repeat Figure I (d)………………………………………………………………….2M
e. Repeat Figure II (d)…………………………………………………………………2M
f. Repeat (d) and (e)……………………………………………………………….…..4M
Figure IV
Arms in 2nd position, Feet in 4th Position
a. Arms in 4th position, left arm high (cts. 1 2 3), back to 2nd position (cts. 1 2 3)……2M
b. Repeat (a) reverse position of the arms……………………………………….…….2M
c. Repeat (a) and (b) 6x more…………………………………………………..…….12M
Figure V
Feet in 5th Position
a. Execute 8 lateral arm positions right and left alternately……………….……...……8M
b. Both hands in front at waists level, execute 8 “bilao” positions………………….....8M
c. Eight “hayon-hayon” right and left alternately……………………………………...8M
d. Eight 8 “salok” right and left alternately…………………………………………....8M
e. Eight “Kumintang” right and left alternately………………………………………..8M
Finale
Feet in 1 Position
st
a. Swing arms upward to 5th position, raise both heels up (cts. 1 2 3)………..……….1M
b. Swing arms downward to 1st position, heels down (cts. 1 2 3)…………………..…1M
c. Repeat (a) and (b) 6x more…………………………………………………..…….12M
d. Step sideward right, close left to right and bow (cts. 1 2 3)………………………...1M
e. Repeat (d) to the left……………………………………………………..………….1M

(%)
You showed an Excellent Performance!
5 95% - 100% Congratulation! I’m very proud of you.
You did a very good performance although you

committed minimal errors. Try to work on it. Keep
4 88% - 94% it up!
You did a very good performance. Try to exert

more effort in getting a higher grade next
3 81% - 87% performance. Good Luck!
Your grade though passing shows that you did not

exert so much effort. Try to exert more effort in
Page | 43
2 75% - 80% getting a higher next performance. Good Luck!
You got a failing grade in this activity. I am sure

this is not what you are aiming for. Please see me
1 Below 75% during our consultation period.
(Espeso, 2006)
Note: To get your total score, add the point. Divide it by the number of criteria (4) to get the
average. Then, refer to the equivalent grade in %. It’s up to the evaluator to choose the exact
corresponding percentage. Example Scale of 4 may be between 87% - 93%.
Evaluator (Instructor/student): _________________________________________

Complete name and signature
Lesson 7
FUNDAMENTAL RHYTHM AND DANCE STEPS
TOPICS: First Aid for Selected Situations

1. Fundamental Rhythm
2. Traditional Dance Steps Common to All Dances
LEARNING OUTCOMES
At the end of the lesson, you should be able to: Page | 44
1. Identify and perform the common dance steps in 24 and 34 time signature
2. Analyze the dance steps in terms of their step pattern and counting
3. Execute the dance steps accurately in term of step pattern and counting
TOPIC 1: FUNDAMENTAL RHYTHM
Fundamental rhythm is the regular repetition of a beat, accent, and the rise and fall of the
like with movement. The following music terms are used to analyze the fundamental rhythm
1. Tempo. This refers to the rate of speed at which a piece moves.

2. Beat. It is the steady underlying pulse of rhythm.
3. Measure. It is a group of pulse beats.
4. Time Signature. The number above denotes the number of beats in a measure and the
number below denotes the kind of note that receives one beat.
2 3 4
Example: , , , etc.
4 4 4
5. Counts. It is the pulse beat, a time limit. A practical way to describe a rhythm pattern.
Example: 24 – 1, 2 to a measure
6. Step Pattern. It is the movement/s done for each of the dance steps.
Example: Waltz - step (R), close (L), step (R)
7. Syncopation. The shifting of regular metrical accent.
TOPIC 2: TRADITIONAL DANCE STEPS COMMON TO ALL DANCES
BLEKING STEP
2 Heel-place Close : 1M
4 1 2
3 Heel-place Close : 1M
4 1, 2 3
CLOSE STEP OR FOLLOW STEP
2 Step Close : 1M
4 1 2
Page | 45
3 Step Close : 1M
4 1, 2 3
GRAPEVINE (2M)
2 Step Cross-step (in rear) : Step Cross-step (in front) :

4 1 2 1 2
3 Step Cross-step (rear) : Step Cross-step (front) : 4M

4 1, 2 3 1, 2 3
MINCING STEP
2 3 R/L foot in leading, heels slightly raised, execute tiny steps

4 or 4 sideward right or left as many times as required.
CUT STEP
2 Displace R with L (count 1

4 Displace L with R (count 2) 1M
3 Displace R with L (counts 1, 2)

4 Displace L with Right (count 3) 1M
STEP-POINT
2 Step point : 1M
4 1 2
3 Step point : 1M
4 1, 2 3
STEP SWING
2 Step Swing forward across in front : 1M

4 1 2
3 Step Swing forward across in front : 1M

4 1, 2 3
TOUCH STEP
2 Point Close : 1M
4 1 2
3 Point Close : 1M
4 1, 2 3
Page | 46
CHANGING STEP (PALIT-PALIT) 1M
2 Jump and land on both feet with R in front (count 1)

4 Jump and land on both feet with L in front (count 2)
CHANGE STEP
2 Step Close Step : 1M

4 1 and 2
CROSS CHANGE STEP
2 Cross- step Close Step : 1M

4 1 and 2
CHASING STEP
2 Step Close Step Close : 1M

4 1 and 2 and
CONTRA GANZA
2 Step Cross-step Step : 1M

4 1 2 and
HAPLIK
2 Step Step : hop hop: step step step |

4 1 2 1 2 1 and 2
turning
hop hop : step step step : hop hop:

1 2 1 and 2 1 2
turning
step step : close pause : 8M

1 2 1 2
HEEL-and-TOE CHANGE STEP
2 heel-place toe-point : step close step : 2M

4 1 2 1 and 2
PLAIN POLKA
Page | 47
2 step close step pause : 1M
4 1 and 2 and
ROCKING
2 Fall onto R (L) foot forward, raise L (R) foot in rear (count 1)
4 Fall onto L (R) foot in rear, raise R (L) in front (count 2)
MAZURKA
3 Slide Cut Hop : 1M

4 1 2 3
REDOBA
3 Slide Cut Cut : 1M

4 1 2 3
SWAY BALANCE WITH A BRUSH
3 Step (Diagonally forward) Cross-step :

4 1, 2 3
Step (diagonally backward) Brush : 2M

1 2, 3
SWAY BALANCE WITH A CLOSE
3 Step (diagonally forward) Cross- step :

4 1, 2 3
Step (diagonally backward) close : 2M
1 2, 3
SWAY BALANCE WITH A POINT
3 Step (diagonally forward) Cross-step :

4 1, 2 3
Step (diagonally backward) point : 2M
1 2, 3
SWAY BALANCE WITH A RAISE

4 1, 2 3
Step (diagonally backward) raise : 2M
Page | 48
1 2, 3
SWAY BALANCE WITH A HOP

4 1, 2 3
Step (diagonally backward) raise hop : 2M
1 2 3
SWAY BALANCE WITH A WALTZ
3 Step (diagonally forward) cross-step :

4 1, 2 3
Step (diagonally backward) close step : 2M
1 2 3
DOUBLE SWAY BALANCE
3 Step (diagonally forward) cross -step | Step (diagonally backward)

4 1, 2 3 1
Point : Cross-step Step (sideways): Point : 4M

2, 3 1, 2 3 1, 2, 3
WALTZ (Native)
3 Step close step : 1M

4 1 2 3
CROSS WALTZ
3 Cross-step close step : 1M

4 1 2 3
WALTZ BALANCE
3 Step Forward Close and raise heels Lower heels : 1M

4 1 2 3
Assessment
Learning Task 7.1: I Know It!

Let’s check your knowledge.
Page | 49
Direction: Answer the following questions.
1. What are the dance steps that can be danced either in 24 or 34 time music?
_______________________________________________________________________
2. What makes the dance step Chance Step and Waltz Step similar and different from each
other?
_______________________________________________________________________
3. How many measures will it take, if you are to execute the following dance steps?
a. Two double sway balance ______________________________________________
b. Three haplik _________________________________________________________
c. Four mazurka ________________________________________________________
d. Four Sway balance with a hop ___________________________________________
e. Two heel-and-toe polka ________________________________________________
Learning Task 7.2: I want to Perform It!
Direction: Make a video presentation demonstrating / executing the Traditional Dance Steps
Common to All Dances. Furthermore, take a video while performing the dance steps
combination in 24 and 34. In doing this activity, observe health protocol. Submit the video
presentation and recorded videos to my messenger, google classroom or Gmail and it will be
graded through rubric below.
Skill Development 7.2.1
Execute the traditional dance terms common to all dances with correct music and
counting.
Rubrics
Criteria 5 pts. 4 pts. 3 pts. 2 pts. 1 pt.
Grace and Projection
Precision and Accuracy
Page | 50
Rhythm and Coordination
Mastery of Sequence
Total
The following dance steps combinations in 24 time music will facilitate your learning of
the basic dance steps and movements. Do this with your partner in open formation.
Partners face each other, hands on waists.
1. a. Four change steps forward to partner’s place, passing right to shoulders………..….…4M

b. Four step point moving backward, retracing pathway back to proper places………….4M
c. Face right. Repeat (a)………….………………………………………………………..4M
d. Repeat (b) and finish facing partner………………………………………………...…..4M
2. a. Two heel and toe polka steps forward to meet partner at the center………………..…..4M
b. Three galop steps sideward right, arms in lateral position left……………………...…..2M
c. Repeat (b) to the left, reverse position of the arms……………………………….......…2M
d. Repeat (a) moving backward to proper places……………………….………………....4M
e. Two changes steps sideward right and left alternately………………………….………2M
f. Four steps turn to the right in place………………………………..…………………….2M
Partners face front.

1. a. Two contra ganza right and left alternately………………...……………………....2M
b. Cut left foot backward with the right foot (ct. 1), cut right foot forward with the
left foot (ct. 2), three stamps in place (cts. 1 and 2)……………………....………...2M
c. Repeat (a) and (b) starting with the left foot…………………………………...…...4M
d. Repeat all (a – c)………………………………………………………………….....8M
2. a. Two close steps moving forward, swing arms sideward right and left…………...…2M
b. Two bleking steps in place, kumintang right and left alternately……………………2M
c. Repeat (a) moving backward…………………………………………………………2M
d. Repeat (b)……………………………………………………………………….……2M
e. Two cross change steps in place, arms in hayon-hayon position……………….……2M
f. Pivot turn to the right, right arm in 5th position, left hand on waist…………………..2M
g. Repeat (e) and (f) with the other foot…………………………………………..…….4M
Partners face each other.
3. A. Two touch step right and left alternately in place…………………………….……..2M
b. Two changing steps in place…………………………………………………………2M
c. Repeat (a) and (b)…………………………………………………………………….4M
d. Eight chasing steps going around counterclockwise with partner, finish in proper
Page | 51
place………………………...…………………………………………………….….4M
e. Two change steps sideward right and left alternately……………………...………...2M
f. Two change steps turn to the right in place…………………………………………..2M
Partners face front.
4. a. One haplic step starting with the right foot………………….……………………….8M
b. Repeat (a) starting with the left foot………………………………………………….8M
5. a. Seven mincing steps to the right and seven mincing steps to the left……………..…4M
b. Two step swing right and left alternately………………………………………….....2M
c. Four step turn in place to the right…………………………………………………....2M
d. Repeat (a – c) in opposite direction…………………………………………………..8M
Partners face each other
6. a. Two grapevine step to the right……...……………………………………………….4M
b. Repeat (a) to the left………………………………………………………………….4M
c. Two point step right and left alternately……………………………………………...2M
d. Four steps turn to the right…………………………………………………………...2M
e. Repeat (c) and (d)……………………………....……………………………...……..4M
The following dance steps combinations in 34 time music will facilitate your learning of
the basic dance steps and movements. Do this with your partner in open formation.
Partners face audience.
1. a. Four native waltz steps sideward right and left alternately in place, girls hold
skirts, boys hands on waists…………………………………….………………………4M
b. Step right sideward, point left foot in rear……………………………………...……1M
c. Repeat (b) starting with the left foot………………………………………………....1M
d. Two close steps sideward right and left, kumintang right and left…………………..2M
e. Repeat all (a – c)……………………………………………………………………...8M
2. a. Two sway balance with a point right and left alternately…………………………….4M
b. Four cross waltz moving forward to exchange place with partner, passing by right
to right shoulders, finish facing each other……………………………...………..……4M
c. Repeat (a) and (b) finishing in proper places…………………………………….…..8M
3. a. Three mazurka steps sideward right………………………………………….………3M

b. Step right sideward, point left diagonally left……………………………………..…1M
Page | 52
c. Repeat (a) and (b) to the left…………………………………………………………4M
d. Two redoba steps sideward right and left………………………………………..…..2M
e. Two waltz turn to the right……………………………………………………….…..2M
f. Repeat (d) and (e) with the left foot, reverse direction……………………………….4M
4. a. Two double sway balance sideward right and left alternately…………………...…..8M

b. Join right to right hands. Two waltz balance forward and backward………………..2M
c. Girl, two waltz turn under arch of hands…………………………………………….2M
d. Repeat (b) and (c)…………………………………………………………………….4M
5. a. Two sway balance with a waltz right and left alternately……………………………4M

b. Four brush steps turn to the right in place, arms in 4th position…………………..….4M
c. Two native waltz sideward right and left alternately, arms in lateral position……….2M
d. Two waltz turns to the right with forearm turn……………………………..………..2M
e. Repeat (c) and (d) to the opposite direction………………………………………….4M
Partners face audience.
6. a. Two sway balance with a hop right and left alternately…………………..………….4M
b. Four bleking steps right and left in place…………………………………………….4M
c. Repeat (a) and (b) starting with the left foot……………………………..…………..8M
7. a. One mazurka to the right……………………………………………………………..1M
b. Three steps turn to the right……………..……………………………………………1M
c. Repeat (a) and (b) to the right………………………………………………………...2M
d. Three grapevine step to the right……………………………………………………..3M
e. Three steps in place…………………………………………………………………..1M
f. Repeat (d) and (e) to the left………………………………………………………….4M
g. Two waltz balance forward and backward…………………………………………...2M
h. Step right sideward, close left to right………………………………………………..1M
i. Repeat (h) to the left…………………………………………………………………..1M
You will be rated with a scale of 1-5, where 5 is the highest based from the following criteria.
Routine memorized 5 – Achieved ALL of the criteria

Executed arm and feet positions correctly 4 - Achieved 3 of the criteria
Smooth movement execution 3 - Achieved 2 - 3 of the criteria
Timing and coordination 2 - Achieved 1 of the criteria
1 - Achieved NONE of the criteria

(%)
Page | 53

4 88% - 94% committed minimal errors. Try to work on it. Keep
it up!
3 81% - 87% more effort in getting a higher grade next
performance. Good Luck!
2 75% - 80% exert so much effort. Try to exert more effort in
getting a higher next performance. Good Luck!
1 Below 75% You got a failing grade in this activity. I am sure

during our consultation period.
Lesson 8
LEARNING OF FOLK DANCE
TOPICS:
1. Cariñosa
2. Tiklos
LEARNING OUTCOMES
1. Analyze and interpret the steps involved in the dance with precision.
2. Execute the folk dance steps correctly
3. Perform the Philippine folk dances with grace, mastery and intensity
4. Appreciate the dance and the music in folk dance
Page | 54
TOPIC 1: CARIÑOSA
CARIÑOSA
(National)
Philippine Folk Dance Book Volume II
By: Francisca R. Aquino
This flirtation dance is known

throughout the Philippines. Cariñosa means
affectionate, lovable, and amiable. With a
fan and handkerchief, the dance go through
hide-and-seek movement. And other flirting
acts expressing tender feelings for one
another. There are many version of this
dance but hide-and-seek movements
common in all.
Costume: Girl wears balintawak style
costume or patadyong and camisa and Boy in barong tagalog and trousers in any color. Girl has a
hanging at the right side of waist and Boy has a handkerchief in his pocket.
Music is composed of two parts: A and B

Count one, two, and three to a measure.
Formation: Partners stand facing each other, at six feet apart. When facing the audience,
Girl is at the right of the Boy. Any number of couples may take part in this dance.
Note: In the original form figure I is used as an intermission. It is omitted in this

arrangement for it makes the dance long and monotonous.
INTRODUCTION
Music Introduction.
Execute a three-step turn right in place and bow to each other. Girl holds skirt,
Boy places hands on waist…………………………………………………………………… 2M
I
Three Step and Point
Page | 55
Music A.
(a) Starting with R foot, take three steps sideward right ( cts. 1,2,3). Point L foot in
front (cts. 1, 2, 3). R hand in reverse “T” position and L hand on waist. Kumintang
R hand when pointing foot …………………………………………………………..2M
(b) Repeat (a) starting with L foot and moving sideward left. Reverse position of
hands…………………………………………………………………………………..2M
(c) Repeat (a) and (b), three more times…………………………………………………12M
II
Pointing
Music B
Partner face each other. Throughout this figure, Girl holds skirt Boy places hands on waist.
(a) Starting with R foot, take three steps forward to meet at the center (cts. 1,2,3).
Step L foot close to R (ct. 1), pause (cts. 2,3)…………………………………….…...2M
(b) Take four touch steps in front, R and L alternately. Look at each other………………2M
(c) Starting with R foot, take four steps forward to partner’s place, passing each other
By R shoulder (cts. 1,2,3,1). Turn right about to each other and close R to L
foot (cts. 2,3) …………….……………………………………………………………2M
(d) Repeat all (a-c), finishing in proper places…………………………………………....8M
III
Back-To-Back
Music A
(a) Partners meet at center as in figure II (a) (cts. 1,2,3,1). Turn right about to be back-
to-back position a little bit to right of partner (cts. 2,3) Girl holds skirt. Boy Places
hands on waist …………………………………….…………………………………..2M
(b) Point R foot in front and shake R index finger at partner over R shoulder, L hand
on waist (cts. 1,2). Step R sideward to side by side with partner by L shoulder, place
R hand on waist (ct. 3). Repeat three more times, pointing L, R, L and shaking L,
R, L index finger alternately at partner. Partners are standing by each other’s shoulder
shaking R index finger to partner and by L shoulders when shaking L index finger to
partner. Free hands on waists (3M)……………………………………………………4M
(c) Turn R about and exchange places as in figure II (b)…………………………………2M
(d) Repeat all (a-c), finishing in proper places……………………………………………4M
IV
Hide and Seek with Fan
Music A
(a) Partners meet at the center as in figure II (a) …………………………………………2M
(b) Girl- holds and open fan with R hand. Point R foot and cover face with fan. Lhand
holding skirt (cts. 1,2) of every measure (3M). Boy in the meantime, point R and L
foot alternately in front and looks from underneath the fan. Hands on waist…………4M
(c) Exchange places as in figure II (c) ……………………………………………………2M
Page | 56
(d) Repeat all (a-c) finishing in proper places…………………………………………….2M
V
Kneeling and Fanning
Music A
(a) Starting on the R foot, Take three steps forward to the center, girls holds on the
skirt boy places hands on waist (cts. 1,2,3). Girl – kneel on R while boy passes
around on the right of the girl to stand behind her and faces the same direction
as girl. Partners place hands on waists (cts. 1,2,3)…………………………………….2M
(b) Boy – Point R and L foot four times alternately in front, looking at girl over her R
and L shoulder alternately. Girl in the meantime, looks at partner over her R and L
shoulder alternately. Both place hands on waist………………………………………4M
(c) Boy – turn right about. Girl stands and exchange places as in figure II (c) …………..2M
(d) Repeat all (a-c), but this time boy kneels down and girl fans boy over his R and L
shoulder alternately as she points her R and L foot alternately. Finish in proper
places…………………………………………………………………………………..8M
VI
Hide and Seek with Handkerchief
Music B
(a) Partners meet at the center as in figure II (a) (cts. 1,2,3,1). Boy takes handkerchief
at corners in a perpendicular position between their faces with boys hands on top
at face level (cts 2,3)…………………………………………………………………..2M
Partner’s point R and L foot alternately four times as in figure II (b). Invert
handkerchief at every measure, that is one measure with boy’s hand on top while
pointing R foot and the next measure with the girl’s hands on top while pointing
with
L foot. When own hands are down look at partner’s face from below and when up
look about handkerchief……………………………………………………………….2M
(b) Girl Releases handkerchief. Partners exchange places as in figure II (c)……………..2M
(c) Repeat all (a-c), finishing in proper places. This time girl keeps handkerchief at the
end of this figure………………………………………………………………………8M
Note: In Bicol regions the hide and seek movements is done with two handkerchiefs crossed
diagonally. Each dancer holds a handkerchief at two corners which diagonally folded (triangular
form). While the dancers point the R foot, the R hands are held diagonally right upward and the
L hands are diagonally left downward, thus the handkerchiefs are crossed like the letter X in
front between them. The positions of hands are reversed when pointing left foot. They change
position of hands at every measure. They peep through the opening of the handkerchiefs above
and below alternately. The girls peep above when the R hands are up and the boy when the L
hands are up.
Page | 57
VII
Flirting with Handkerchief
Music A
Note: If only one pair is dancing, partners may go any direction so long as they finish in proper
places at the end of this figure.
(a) Partners turn R shoulder towards each other. Starting with R foot, take eight
waltz steps forward moving around clockwise. Girl – holds handkerchief at one
corner and place it over her R and L shoulders alternately at every measure,
looking back at Boy at the same time. Boy in the meantime follows behind girl,
stretching out R and L hand alternately as if trying to catch the free end of
the handkerchief……………………………………………………………………8M
(b) Turn R about and repeat (a) counterclockwise, girls leads again, finish in proper
places……………………………………………………………………………….8M
VIII
Flirting
Music B
(a) Starting with R foot take two waltz steps to meet at the center. Girl’s arms in
lateral position moving sideward right and left, boy’s hands on waist…………….2M
(b) With girl leading in front, partners take six waltz steps forward moving around
clockwise. Same position of hands as in (a) but girl’s finger fluttering in time
with the music as she looks over her R and L shoulder alternately at boy who is
following her closely………………………………………………………………..6M
(c) Turn right about, Repeat (b) counterclockwise. This time boy leads. Girl holds
skirt, Boy’s arm in lateral position, fluttering fingers. Wink at girl once in a while.
Finish side by side, girl at R side of boy…………………………………………….6M
Saludo
TOPIC 2: TIKLOS
Execute a three-step turn right in place and bow to each other. Girl holds skirt,
Boy places hands on waist………………………………………………………..…1M
TIKLOS
Page | 58
(Visayan)
Researched by: Francisca R. Aquino
For centuries, tiklos has been a very important factor in the social life of the peasant of
leyte. Tiklos (also called “pintakasi”) is the Waray equivalent to the “bayanihan” refers to a
group of peasants who agree to work for each other one day each week to close the forest,
prepare the soil for planting, or do any odd jobs on the farm, including the building of a house.
At noon time the people gather to eat their lunch together and to rest. During the rest period,
Tiklos music played with a flute accompanied with a guitar and the guimbal or the tambura (kind
of drum). The peasants then dance the tiklos and then gather before they start to work.
Costume- the dancers are dressed in working costume
Music is divided into two parts: A and B
Count is one, two, or one, and, two to a measure.
Formation- Partners stand opposite each other about six feet apart when facing the
audience; Girl stands at the partner’s side. One to any number of pairs may take part in this
dance.
I
Music A
Partner face front throughout this figure, the girl holds skirt, boy places hands on waist.
(a) Starting with R foot, take two heel and toe change steps forward …………………….4M
(b) Change step sideward, R and L ………………………………………………………..2M
(c) Starting with the R foot, four steps backward to proper places…………………………
2M
(d) Repeat all (a-c)
…………………………………………………………………………..8M
Music B
Partners face front. The same hand position as in figure 1.
(a) Cut L foot backward (ct.1), cut R foot forward (ct. 2). Repeat all (cts.1,2)…………....2M
(b) Take three gallop steps sideward right (cts. 1,2,1). Step R foot sideward (ct.2)….........2M
(c) Repeat (a) starting with R foot, cut backward…………………………………………..2M
(d) Repeat (b) going sideward left………………………………………………………….2M
(e) Repeat all (a-d)………………………………………………………………………….8M
III
Page | 59
Music A
Partners face each other. Throughout this figure, clap hands in front of chest in this
manner: clap three times (cts. 1,and 2), clap twice (cts.1,2). Do this for 16 measures.
(a) Change step sideward, starting with the R foot (cts.1,and 2) hop on R and raise
the L knee in front swinging the L foot obliquely R backward across the R knee
in front (ct.1), hop on R and swing L foot obliquely forward L (CT.2)…………….....2M
(b) Repeat (a) starting with L foot…………………………………………………………2M
(c) Three step turn right in place (cts.1,and 2). Point L in front (ct.1), point the same
foot and close to R (ct.2). ………………………………………………………………2M
(d) Repeat (c) starting with L foot and turning left.………………………………………...2M
(e) Repeat all (a-d)………………………………………………………………………….8M
IV
Music B
Partners face each other. The same position of hands as in Figure 1.
(a) Two touch steps in front R and L alternately…………………………………………...2M
(b) Jump to cross R in front of L (ct.1), jump to close R and L (ct.2). Do this two times….2M
(c) Repeat (a) and (b), starting with L foot…………………………………………………4M
(d) Repeat all (a-c) …………………………………………………………………………8M
ASSESSMENT
Learning Task 8.1: I’ll Do This!
Direction: Through video presentation, perform the dances presented above. Your
performance level will be rated with a scale of 1-5, where 5 is the highest based from the
criteria below. Submit the video/s in my messenger, google classroom or Gmail. Observe
health protocol during the videoing.
A FOLK DANCE PRESENTATION
“CARIÑOSA”
Group No./ Pair Nos./Name:______________________________________________________
A. Mastery of the Dance

5 7-8 Figures were memorized
Page | 60
2 2 Figures were memorized
1 1 Figure was memorized
RATING___________
B. Dance Positions and Movements
Accurate execution of the dance steps
Correct body movements and positions
Clarity of Movements
5 Satisfied ALL the Criteria

3-4 Satisfied TWO of the Criteria
2 Satisfied ONE of the Criteria
1 Satisfied NONE of the Criteria
RATING___________
C. Musicality
5 7-8 Figures were danced rhythmically
2 2 Figures were danced rhythmically
1 1 Figure was danced rhythmically
RATING___________
D. Performance
Expression
Fluidity of Movements
Body form, grace, and poise
Partner rapport
Smooth transition of movements between figures

4 Satisfied FOUR of the Criteria
3 Satisfied THREE of the Criteria
2 Satisfied TWO of the Criteria
RATING___________
AVERAGE______________
A FOLK DANCE PRESENTATION
Page | 61
“TIKLOS”
Group No./ Pair Nos./Name:______________________________________________________
A. Mastery of the Dance

5 8 Figures were memorized
1 1 Figure was memorized
RATING___________
B. Dance Positions and Movements
Accurate execution of the dance steps
Correct body movements and positions
Clarity of Movements

3-4 Satisfied TWO of the Criteria
1 Satisfied NONE of the Criteria
RATING___________
C. Musicality
5 8 Figures were danced rhythmically
1 1 Figure was danced rhythmically
RATING___________
D. Performance
Expression
Fluidity of Movements
Body form, grace, and poise
Partner rapport
Smooth transition of movements between figures

4 Satisfied FOUR of the Criteria
3 Satisfied THREE of the Criteria
2 Satisfied TWO of the Criteria
RATING___________
Page | 62
AVERAGE______________

(%)

4 88% - 94% committed minimal errors. Try to work on it. Keep
it up!
3 81% - 87% more effort in getting a higher grade next
performance. Good Luck!
2 75% - 80% exert so much effort. Try to exert more effort in
getting a higher next performance. Good Luck!
1 Below 75% You got a failing grade in this activity. I am sure

during our consultation period.
LESSON 9
LYRICAL AND MODERN/HIP-HOP DANCE
TOPICS
1. Lyrical Dance
2. Modern/Hip-Hop Dance
LEARNING OUTCOMES
1. discover what the body can move as well as the different areas where the
body can move
2. explore various movements’ possibilities with the use of the different parts
of the body
TOPIC 1: LYRICAL DANCE Page | 63

What is Lyrical Dance?
Lyrical dance is a dance style that embodies
various aspects of ballet, jazz, acrobatics, and modern
dance. The term Lyrical Dance comes from the word
“lyrical,” which means to have a poetic, expressive
quality; expressing spontaneous feelings and deep personal
emotions. According to Jennifer Fisher, lyrical dance is
“strongly associated with clearly displayed emotional
moods, fast-moving choreographic strategies,
emphasis on virtuosic display, illustration of song
lyrics, and, in group form, exact unison.”
Lyrical dance is a dance style that blends
elements of ballet and jazz dance. Lyrical dance is
generally a little more fluid than ballet and also somewhat faster -- although not as rapidly
executed as jazz dance. Lyrical dance is also somewhat smoother and a bit faster than ballet, but
not quite as fast as jazz.
Lyrical dance is similarly oriented toward the dancer's emotional responses rather than to
an underlying formal choreographic structure. While a choreographic structure often exists, it
serves more as a general guide than as a prescription for specific dance moves that, once
mastered, will be highly similar from one performance to the next.
Characteristics of Lyrical Dance

 Lyrical dance is expressive, simultaneously subtle and dynamic.
 Focused on conveying musicality and emotion through movement.
 It is a combination of intricate, highly technical, and pedestrian/naturalistic moves.
 It is commonly set to popular music with vocals as well as rich instrumentation are often
emphasized over the song’s rhythm, but because of the definition of the word lyrical:
 Having a poetic
 Expressive quality
 Musical; characterized by or expressing spontaneous
Page | 64
 Direct feeling; expressing deep personal emotions or observation
 Highly rhapsodic or enthusiastic.
 Choreography can be gripping and exquisitely delicate, at the same time.
 That a song’s lyrics are a driving force and key inspiration for the movement
accounts for why a sizeable number of dancers are unaware of how the style’s
name was derived, erroneously thinking it came from the word “lyrics”.
 Routines are based around feeling and emotion and, though technique is crucial, spirit generally
tells where the dance will go.
 This style concentrates on an individual approach and expressiveness of such emotions as love,
joy, hurt, or anger.
 It does not concentrate on the dancer’s precision of movement.
TOPIC 2: MODERN/HIP-HOP DANCE
What is Modern/Hip-Hop Dance?

Modern Dance is one of the most beautiful creative talents known to the world. The
gesture in a dance form has the ability to articulate any emotion or expression possible. This
artistic potential could be inherent or can be acquired later in life.
Modern dance is the most pure and simple form of movement to music you’re likely to
experience. It can be fast, slow, high impact, gentle, loud, silent, frantic and still.
Modern dance is a mix of all dances – its type of movement, tempo and feeling that can
be imagine. It is also one of the best exercises around.
HISTORY
THE BEGINNINGS OF MODERN DANCE
It was developed in the 20th century, primarily in the Unites States and Germany, modern
dance resembles modern art and music in being experimental and iconoclastic. Its pioneers were
Isadora Duncan, Loie Fuller, and Ruth St. Denis in the United States, Rudolf von Laban and
Mary Wigman in Germany.
Page | 65
Modern dance is often considered to have emerged as a rejection of, or rebellion against,
classical ballet, although historians have suggested that socioeconomic changes in both the
United States and Europe helped to initiate shifts in the dance world.
 The Alvin Ailey American Dance Theater
commenced in the year 1958 whe Alvin
Ailey gave a performance.
 Through the effort of Trisha Brown, the
face of modern dance went through a huge
transformation in 1962, she was belong to
the New York’s Judson Dance Theater.
 In 1970’s, this artistic expression evolved
to a higher level incorporating many
radical views and gained footing across the
globe.
 In 1980’s, the dance form of ballet came
into limelight with Mark Morris, Twyla
Tharp, Eliot Feld and Karole Armitage as a
prominent figures.
Soon after, the scenario was ruled by the
legendary star, Michael Jackson, whose name remains embedded in the hearts of dance lovers.
His exclusive movements such as the moonwalk stand as a landmark in the history of dance.
GERMAN CONTRIBUTIONS
The evolution of modern dance can also be traced to central Europe and Germany, where
the most influential was probably Rudolf von Laban. Although, there is almost no documentation
to describe his choreography, he founded a school in Munich in 1910 in which Mary Wigman
was one of his students.
Today the development of modern dance can also be attributed to different groups like
that SankaiJuku, a group of Japanese dancers trained in modern and classical dance. Their work
is based on “butoh”, a form of dance theatre that avoids structures choreography and strives to
express primitive emotions by making minimal use of costume and actual movement.
OTHER FORMS OF MODERN DANCE
Page | 66
CRAMPING
Popularized in the United States.

It was characterized by free expressive, exaggerated, and highly energetic movement
involving the arms, head, legs, chest, and feet.
The youths who started cramping saw the dance as a way for them to escape gang life and
“to release anger, aggression and frustration positively, in a non-violent way.
It is also known as clown dancing or clowning.
It is the style of dance that originated in the African-American community of South Central
Los, Angeles, California.
It involves elaborate face-painting and freestyle dance moves usually performed Page |in67
competition with other crews.
MODERN DANCE MOVES
1. LATERALS
- The arm over the supporting leg comes straight up next to the ear as the torso tilts,
unbroken to the side, over the supporting leg. The opposite leg lifts pointed through the toes. The
other arm swings up as the leg rises and parallels the straight arm next to the head. The body
continues to tilt sideways from the pelvis in one unbroken line.
Watch: https://m.youtube.com/watch?v=DGIK-m4-P14&t=4s
2. SPIRAL
- The Spiral is a torso twist that begins in the pelvis. As the body turns, each level is
separately articulated all the way up the spine---pelvis, lower spine, mid-section, shoulders, neck
and head. The head remains in alignment with the spine. The spiral releases in the same order:
pelvis up to shoulders, neck and then head.
Watch: https://m.youtube.com/watch?v=PiIFW3REsuc
3. STAG LEAP
- The Stag Leap is a very high jump in a split but, although both legs are parallel to the
floor, the front leg is bent from the knee inward. Most often the arms are either thrust up in a
“V,” palms facing out and down, or one-forward, one-to-the-side in a ninety-degree angle, palms
down.
Watch: https://m.youtube.com/watch?v=u_MFTpx-Vw4
4. STAG TURN
- In a Stag Turn, the supporting knee is slightly bent; the other leg is up in the air and
bent behind the body. The arm on the supporting side is thrust straight back, palms down. The
opposite arm is thrust cleanly forward, palms down as the dancer turns around.
Watch: https://m.youtube.com/watch?v=9NZeZn_i6qk
5. PRIMITIVE SQUAT
- A Primitive Squat is a hop that lands in a deep second-position. The feet are turned out
heel-to-heel and the knees are bent.
Watch: https://m.youtube.com/watch?v=teeyAbuLZONg
Page | 68
6. FLAT BACK
- Flat Back is actually a series of moves but the basic movement makes a “tabletop” of
the body. The dancer stands in second position---feet turned out heel-to-heel. The arms are down
along the sides as the body bends forward from the hips without breaking the line from the top of
the head to the lower spine. The bend continues until the entire torso is parallel to the floor. Then
the arms come out from the sides in unison, arc completely forward and stretch out ahead of the
torso parallel to each other.
Watch: https://m.youtube.com/watch?vv=--b3AfBeRzM
7. HINGE
- In the Hinge, the dancer balances on the balls of the feet, keeps a straight back and head
and sends the knees forward as the torso tilts back and the arms are held straight out in front.
Watch: https://m.youtube.com/watch?vv=--b3AfBeRzM
8. THE CONTRACTION
- Marth Graham loved contractions in which the mid-section is pulled back against
movement. The action begins in the pelvis, and articulates up the spine as the breath is exhaled.
The dancer aims to lengthen the space between each vertebra as the move progresses to the neck
and the head, which are always in alignment with the spine.
Watch: https://m.youtube.com/watch?v=hllEb4gkls4
9. THE RELEASE
- The Release occurs on the inhalation and also begins in the pelvis. The move travels up
the spine in the same order as the contraction, restoring the torso to a straight alignment. It
typically counters the contraction.
Watch: https://m.youtube.com/watch?v=-RkLIIACDM
10. THE HIGH RELEASE
- A High Release, rather than ending with the spine and upper body in an upright, neutral
position, tilts the breastbone up. The shoulder blades appear to rest on a bar or shelf. The head
remains aligned with the spine and the rib cage remains over the hips. The lower back is not
bent.
Watch: https://m.youtube.com/watch?v=-RkLIIACDM
For more tutorial, watch: https://m.youtube.com/watch?v=cZ2tG5TPANA
ASSESSMENT
Page | 69
LEARNING TASK 9.1: Dance the Lyrics
Direction: Choreograph a 3-minutes Lyrical and Hiphop/Modern Dance with the music of
your choice and take a video of it and send it to your subject instructor through FB Page
Comment section. Rubrics for Lyrical Dance
Mastery 30%
Execution 30%
Timing 20%
Costume 10%
Overall Impression 10%
TOTAL 100%
LESSON 10
BALLROOM DANCES
Page | 70
TOPICS
1. Basic Skills in Learning Ballroom Dances
2. Cha-Cha-Cha
3. Swing
4. Tango
5. Samba
6. Jive
LEARNING OUTCOMES
1. describe effective dance posture, body control, graceful dance walk
and timing effect
2. identify and execute the couple dance position and dance terms
Ballroom is a inform
inherent of social
ballroom dancing whose main purpose is for recreation and
dancing
entertainment.3.Itexecute
is widely
theenjoyed
ballroomnot only and
figures in gathering but also
amalgamations on stage, in film, and on
correctly
television. It is for youngballroom
4. perform and thedances
old. People nowadays
with grace, do and
mastery ballroom dancing as a form of
intensity
exercise and personal enjoyment. Competitive dancing, more popularly known as Dance Sport,
helped revive interest in ballroom dancing.
The term ballroom dancing originated from the Latin word ballare which means ”to
dance”. It refers to any one of the several dances in which two individuals dance with physical
contact through their upper or lower bodies, or simply their arms, depending on the particular
TOPIC 1: BASIC SKILLS IN LEARNING BALLROOM DANCES

variety of dance. Dancer can move freely and just follow the rhythmic pattern present in the
music.
Posture – refers to the efficient body carriage. It is the basis of graceful and
attractive dance movement.
Good Posture – is much more natural, functional and comfortable.
Body Control – is attained through effective and strong sense of balance.
Dance Walk – is an important part of dancing, and it is done gracefully and with Page | 71
appropriate style.
The Head Position – of both partners is of great importance. Besides spoiling
Turning Effect – is important for you to coordinate your movement with the
music.
Musical Count – is the number and sequence of beats to a measure.
Dance Count – is the sequence of steps and whether the weight should be
sustained on each succeeding transfer for two beats or for one beat.
Open Break Position – Partners face each other. Man’s left hand holds lady’s
right hand.
Chasse – It is a step with a quick change of weight, the hip turning clockwise or
counter-clockwise and the foot close on the second count.
Alemana or Underarm Turn – it is the simple turn for the woman in which
three forward steps are made under the arch of the arms.
Page | 72
TOPIC 2: CHA-CHA-CHA
HISTORY
The word Cha-cha was first associated to
plants producing seedpods, the by-product of the
seadpods which is small rattle also called cha-cha
and the instrument of Haiti voodoo band drums,
bell and cha-cha. The cha-cha is guide instrument
for rhythmical secular dance and also for religious
music and songs. The dance cha-cha is therefore
original religious ritual dance of the West Indies.
This dance is derived from two other
dances, Mambo (Mambo is the name of the
voodoo priestess) through its Latin music and
Swing. It was born in America in 1953 with new
syncopated beat of “Danzon” music. This sounded
like a slow mambo, which gradually was changed to a triple step on the slow count. In 1959
“gaga over Cha cha” was the most popular dance of Americans. This “on the beat” is so
expressive that it has been so lived for several decades up to the present.
MUSIC
Cha Cha is palyed to a 4/4 time signature. Each basic covers two bars, or eight beats of
music. That means you go through the 4 count twice for a basic to return to your starting place.
All the beats are slow counts with the exception that the fourth beat of each other four count is
split into two parts to give it the distinctive 2,3,4 and 1 makes up the characteristic of cha-cha-
cha.
CHARACTERISTICS OF CHA-CHA-CHA
1. It is vibrant, flamboyant and playful dance.
2. The light and bubbly feel of the Cha Cha gives it a unique sense of fun for dancers
throughout the world.
3. It requires small steps and lots of hip motion (Cuban Motion), as it is danced in 4/4 time.
4. The fourth beat is split into two, giving it the characteristic 2,3,4 and 1 rhythm.
Page | 73
5. Five steps are danced to four beats as in the “One, two, Cha-Cha-Cha” rhythm.
BASIC STEPS FOR CHA-CHA-CHA
The Man’s Part (The Lady do the opposite)
Step 1: Step left foot forward on count 2
Step 2: Lift right foot briefly, then set it down in the same place on count 3.
Step 3: Take a step back to the left with your left foot. Bring right foot beside it, then step
to the left again. This is the cha-cha-cha and is done on counts 4 and 1.
Step 4: Step back on your right foot.
Step 5: Lift your left foot briefly, and then set it down in place.
Step 6: Take a step back to the left with your left foot.
BASIC STEPS PATTERN
 Basic Step Pattern (Square)
 Alternate Underarm Turn
 New York to Alemana turn
 Forward and Backward Basic
 Sway
 Underarm Turn
 3 cha cha cha’s
 Cucuracha
 Hand to hand to 3 cha cha cha’s
 Double New York
 Hip Break
TOPIC 3: SWING
HISTORY
During the World war II servicemen on the west coast of the United States were very
eager to dance the Jitterbug and East Coast Wing which was the craze of the period. Thousands
of militaries joined the dance floors swinging
around as a way to cover up their boredom and fear
of war. Couples dance on a straight line back and
forth in very little room and limited dance floors.
Page | 74
At first the dance is associated to gospel to the music of honkytonks. Later, teens began
using other music which spread throughout the west coast. The dancers take the extra time to do
fancy footwork: spins, quick turns, and improvised groovin’.
The lively swing beat improve the balance and coordination of the dancers through quick
changes of weight. Men are trained to lead the girl as they dance. The basic Swing steps uses
slow, slow, quick, quick, quick performed with a walking step, buss step, two step and quick
step.
MUSIC
Traditional West Coast Swing music is bluesy. However, a lot of different styles of music
are great for dancing West Coast Swing. The rhythm is a mixture of slow walks and triple step
beats.
The basic 6-count pattern is simply a walk, walk, triple step, triple step; or one, two,
three-and-four, five-and-six (1-2-3 & 4-5-6). For six counts, you are taking eight steps (the &s
count as a steps).
The basic 8-count pattern is a walk, walk, triple step, walk, walk, triple step; or one, two,
three-and-four, five, six, seven-and eight (1-2-3 & 4-5-6-7-8). For eight counts, you are taking
ten steps.
BASIC MOVEMENT OF THE FOOT
Man’s Part (Ladies do the opposite)
Step 1: Start with a small side step with your left foot
Step 2: Close your right foot to left
Step 3: Make a small side step with your left unclosed
Step 4: Transfer your weight to the right foot.
Step 5: Close left foot to right foot
Step 6: Take a small step backward with your left foot
Step 7: Transfer weight to right foot
BASIC STEP PATTERN
 Changing Places
 Ballroom
 Overhead Turn
 Underarm
 Alternate Turn
 Airplane
 Double Turn
Page | 75
TOPIC 4: TANGO
It is one of the most fascinating of all ballroom dances. This sensual ballroom dance
originated in South America in the early twentieth
century. This dance style is a two-fourth time that
originated among European immigrants’ population
of Argentina and Uruguay.
BASIC STEP PATTERN
 Walks
 Progressive Link
 Closed Promenade
 Basic Reverse Turn
 2 Walks
 Progressive Link
 Natural Promenade Turn to Rock Turn
TOPIC 5: SAMBA
Samba is a Brazilian dance and musical

genre originating in Bahia, Brazil, and is
recognized around the world as a symbol of
cultural expression of Brazil and the Brazilian
Carnival. Samba has become an icon of Brazilian
national identity which became a UNESCO
Heritage of Humanity in 2005.
The modern samba that emerged at the
beginning of the 20th century is predominately in a
2/4 tempo varied with the conscious use of a sung
chorus.
BASIC MOVEMENT OF THE FOOT
Page | 76
Gentleman’s Part: Forward and Back Basic
Step 1: Step forward on your left foot, turning up to 1/8 counter clockwise between this
step and step 3.
Step 2: Close your right foot to your left foot.
Step 3: Dance in place on your left foot.
Step 4: Move backward on your right foot turning up to 1/8 counter clockwise between
this and step 6.
Step 5: Close your left foot to your right foot.
Step 6: Dance in place on your right foot, ending in closed position.
Lady’s Part: Forward and Back Basic
Step 1: Step forward on your right foot, turning up to 1/8 counter clockwise between this
step and step 3.
Step 2: Close your left foot to your right foot.
Step 3: Dance in place on your right foot.
Step 4: Move backward on your left foot turning up to 1/8 counter clockwise between
this
and step 6.
Step 5: Close your right foot to your left foot.
Step 6: Dance in place on your left foot, ending in closed position.
BASIC STEP PATTERN
 Forward and
 Backward Basic
 Whisk
 Samba Walk
 Criss Cross Botafogos
 Voltas
 Stationary Samba walk
 Step Tap
 Botafogos
 Samba Locks
Page | 77
TOPIC 6: JIVE
The origin of the word jive is unknown but it

may refer to jive talk, 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.
BASIC STEP PATTERN
 Forward Chasse
 Fallaway Rock
 Change of Place to R with Double Turn
 Change of place to L to R with Double Spin
 Change of Hand behind back, American Spin
 Shugar Push/Toe Heel Swivels
 Mooch
 Stop and Go with Double Spin
 Walks
 Hip Bump
Note: The Instructional Video/s in Ballroom will be uploaded in the FB Page.
Assessment
LEARNING TASK 10.1: Lets Burn the Dance Floor!
Direction: : Through video presentation, perform the ballroom dances presented

above. Your performance level will be rated with the criteria below,. Submit thePage | 78
video/s to FB Page Comment Section created by your Subject instructor. Observe
health protocol during the videoing
Criteria
Timing 30%
Execution 30%
Mastery 20%
Costume 10%
Overall Impression 10%
TOTAL 100%
REFERENCES
BOOKS
 Battung, J. B. et al. 2014. Physical Education 2 Dance Evolution and Appreciation.
Cubao, Quezon City: Fatima Educational Publication
 Balagtas, J. C. et al. 2012. Physical Education 2. Malabon City: Jimczyville
Publications
 Santos, Aquilino E.P. et al. 2007. Rhythmic Activities and Dance. Manila: Philippine
Normal University
 Indon, Virginia J. et al. 2005. Physical Education 2 Rhythmic and Dance Modules.
FEU Publications
 Diana, Rosanna, A. et al. 2004. Rhythmic Activities and Dance. Pampanga: CFLF
Publicizing
Page | 79
 Tabije-Andin, Carmen, EdD. Et al. (2004). Dance Education in the School of
Curriculum. Manila: Rex Bookstore
 Panganiban, Loreto G. et. Al. 2004. Physical Education 2 Rhythmic Activities. CEU
Publication
 Tabije-Andin, Carmen, EdD . et al. 2004. Dance Education in the School Curriculum.
Manila: Rex Bookstore.
 Aquino, Francisca, R. 1999. Philippine Folk Dances. Manila, Philippines
 Aquino, Francisca, R. 1973. Fundamental Dance Steps and Music. Manila, Philippines
 Tolentino, Francisca, R. 1973. Philippine National Dances. Manila, Philippines
 Omaha School of Music and Dance (2020). What is Lyrical Dance and What is the
Meaning Behind it?. Retrieved (April 16, 2020), from
https://www.omahaschoolofmusicanddance.com/our-blog/lyrical-dance-meaning-lessons/
 Legg, J. (2011). Introduction to Modern Dance Techniques. Hightstown, NJ: Princeton
Book Company. p. xviii. ISBN 978-0-87127-3253. Retrieved (April 17, 2020) from
https://books.google.com
 Martha Graham Dance Technique Beginning Level (2018). Retrieved April 17, 2020,
from https://m.youtube.com/watch?v=cz2tG5TPANA
 Nelson, S. (2014). Factors that Affect Movement. Retrieved (April 16, 2020), from
https://www.slideshare.net/mobile/SheldonNelson/chap4-32909438
 Santos, Aquilino E.P. et al. (2007). Rhythmic Activities and Dance. Manila: Philippine
Normal University

INTERNET SOURCES
 https://dance.lovetoknow.com/List_of_Philippine_Folk_Dance
 https://sites.google.com/site/philippinefolkdancevol1/list-of-popular-philippine-folk-
dances-from-luzon-visayas-and-mindanao
 https://dance.lovetoknow.com/Philippine_Folk_Dance_History
 https://www.google.com/search?
q=fundamental+movement+skills+image&tbm=isch&source=iu&ictx=1&fir=KgY8l-
05LTLXmM%252CWdtlHnjj5nWjUM%252C_&vet=1&usg=AI4_-
kS228xzVKr3khqO9-rH-
mT6bFQA1w&sa=X&ved=2ahUKEwixooO3_afuAhVYA4gKHfyQCmAQ9QF6BAgEE
AE#imgrc=kDPkAGy0empj7M
Leaflets from the Seminars

 A Classic Collection of Philippine Folk Dances, Series XI, 38th National Folk Dace
Workshop (May 21-25, 2018), EBJ Stadium, San Jose de Buenavista, Antique.
 28th Annual National Dance Eductaors Convention-Workshop (May 2013), Polytechnic
University of the Philippines.
 A Classic Collection of Philippine Folk Dances, Series VI, 32nd National Folk Dace
Workshop (May 14-18, 2012), Batangas City Convention Center, Batangas City.
 A Classic Collection of Philippine Folk Dances (May 2011), Series VI, ISBN 82000-520
Page | 80
 A Classic Collection of Philippine Folk Dances, Series V, 31st National Folk Dace
Workshop (May 16-20, 2011), Bago City, Negros Occidental
Page | 81

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A Module

This Instructional Material entitled PHYSICAL EDUCATION 2 (Fundamentals of

Local Evaluation Committee

GEORGE A. PRADO MARILA A. SALAZAR

VERONICA C. FERRER, EdD

Overall Instructional Materials Development Committee

VENESSA S. CASANOVA, PhD MA. IMELDA C. RAYTON, MAEd

JESSIE S. BAROLO, JR., MAEd

ELBERT C. EDANIOL, EdD

A fundamental of Rhythmic Activities is a tertiary level of Physical Education subject

The course description is concerned on the basic concepts of Rhythmic Activities,

Lesson 1: Meaning and Nature of Movement 1

Lesson 2: Movement Concepts and Movement Exploration 11

Lesson 4: Rhythmic Movement Activities 25

Lesson 5: Philippine Folk Dance 29

Lesson 6: Dance Terms and Movements Common to all Dances 31

Lesson 7: Fundamental Rhythm and Dance Steps 45

Lesson 10: Ballroom Dances 71

Factors that Affects Movement

There are several factors that affect the movements.

Physiological Factor Psychological Factor Sociological Factor

Anxiety, fear, Aloofness, shyness,

Fundamental Movement Skills

LOCOMOTOR MOVEMENT SKILLS

 Walking – is the regular pacing of the feet; a simple transferring of

 Running – is an increased speed in walking by lifting the foot off the

 Leaping – is an extension of a run, where the greater force is used to

 Galloping – is a combination of a step (full transfer of weight on one

 Skipping – is a combination of a step and a hop, first on one foot and

 Jumping- is a locomotor pattern in which the body propels itself off

Non-locomotor movement skills are performed without appreciable movement

 Bending is contracting or shortening of body part from a joint.

 Stretching is extending or straightening a body part from a joint.

 Rocking occurs when the center of gravity is fluidly transferred from

 Stretching is extending or straightening a body part from a joint.

 Pushing is an act of shoving an object away from the body.

 Pulling is an act of lugging or towing an object towards or with the

 Turning is rotation around a long axis of the body.

 Twisting is turning the body or body parts to one side.

 Circling is moving the body or body part forming a circle.

 Swinging is moving the body or body parts from a joint resembling a

Let’s check your

_______1. It is defined as a change in position in space.

_______ 3. It is used to move the body from one place to another.

_______ 9. It is performed without appreciable movement from place to place.

_______ 10. It is the extending or straightening a body from a joint.

_______ 11. An act of shoving an object away from the body.

_______ 13. It is turning the body or body parts to one side.

_______ 14. It is moving the body or body part forming a circle.

_______ 15. In rhythmic activities, it involves handling of object or light apparatuses.

LEARNING TASK 1.2: Let’s Move It

Criteria for a Dance Performance.

Execution and Mastery of the steps 40%

LEARNING TASK 1.3: Essay Writing

Direction: Answer the following. Express your opinion. (2 points each).

Rubrics for Essay Writing

TOPIC 1: MOVEMENT CONCEPTS

“All that is important is this one moment in movement.

TOPIC 2: MOVEMENT EXPLORATION

Movement exploration serves as a means of discovering from the basic natural

a. Replying to the movement of your partner.

1. Move in different directions.