Republic of the Philippines

Department of Education
Regional Office IX, Zamboanga Peninsula

12 Zest for Progress

Z Peal of artnership

HOPE 3
Quarter 2 – Module 7:
BALLROOM DANCE (CHA-CHA-CHA)

Name of Learner: ___________________________

Grade & Section: ___________________________
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Name of School: ___________________________
 WHAT I NEED TO KNOW
Ballroom dancing is a form of couple dance which is enjoyed
both socially and competitively around the world. Because of its
performance and entertainment aspects, ballroom dance is also
widely enjoyed on stage, film, and television.

The module has one lesson: Lesson 7 – Basic Pattern of

Ballroom (Social) Dancing. (PEH12FH-ik-o-13)

After going through this module, you are

expected to:

1. Know and Understand the Ballroom Dance – Cha-

Cha-Cha.
2. Identify the different patterns of the dance Cha-Cha-
Cha.
3. Perform the dance Cha-Cha-Cha with grace and
poise.

WHAT I KNOW
Choose the letter of the best answer. Write the chosen letter
on a separate sheet of paper.

1. The dance Cha-Cha-Cha was originated in ______.

A. Venice B. France C. Venezuela D. Cuba

2. The Cha-Cha-Cha is in a ______ meter between 30 and 31

measures per minute.
A. 2/4 B. 3/4 C. 4/4 D. None of the
above

3. The Cha-Cha rhythm is developed from _______ type of

music.
A. Danzon-Mambo B. Rumba C. Jive D.
Tango

4. Which is NOT a characteristic of the cha-cha-cha dance?

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 A. An electrifying, syncopated Latin dance
B. Covered of extremely quick steps, syncopated feet
rhythms, and runs.
C. The most passionate and sensual of all Latin ballroom
dances
D. A lively and dramatic style of dance

5. What are the 4 basic steps in the Cha-Cha-Cha?

A. Side step, step turn, backward walk, forward walk
B. Side step, cross over step, rocking step, forward walk
C. Side step, forward walk, backward walk, rocking step
D. Side step, forward step, backward step, rock step

WHAT’S IN?

Lesson 7: Basic Pattern of Ballroom Dance (Cha-Cha-

Cha)
The term ―ballroom‖ is derived from the word ball which
originates from the Latin word ballarewhich means to dance (a
ball-room being a large room specially designed for such dances).
In time past, ballroom dancing was social dancing for the
privileged, leaving folk dancing for the lower classes. The
definition of ballroom dance also depends on the era: balls have
featured popular dances of the day such as the Minuet,
Quadrille, Polonaise, Polka, Mazurka, and others, which are now
considered to be historical dances.

WHAT’S NEW
Specifically, the Cha-Cha-Cha is a dance originated from
Cuba. It is danced to the music of the same name introduced by
Cuban composer and violinist Enrique Jorrin in the early 1950’s.
The name of the dance ―Cha-Cha-Cha‖ is an onomatopoeia
derived from the shuffling sound of the dancers’ feet when they
dance two consecutive quick steps that characterize the said
dance. Also, Cha-Cha-Cha is in 4/4 meter with 128 beats per
minute.

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 WHAT IS IT
Styles of Cha-Cha-Cha dance may differ in the place of the
rhythmical structure. The original Cuban and the ballroom Cha-
Cha-Cha count is ―one, two, three, cha-cha-cha‖ or ―one, two,
three, four, and Cha-Cha-Cha‖. A street version comes out
because many social dancers count ―one, two, Cha-Cha-Cha‖.
And thus, shift the timing of the dance by a full beat of music.
Note that, the dance known as Salsa is the result of a similar
timing shift of Mambo.
Four Basic Steps of Cha-Cha-Cha
1. Forward Step
2. Backward Step
3. Side Step
4. Rock Step
Note: you may watch the link to fully understand the four basic
steps of cha-cha-cha: https://youtu.be/PWiLi22Cq8w.

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 WHAT’S MORE

Study the following pictures. Write your observations on the

space provided.

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 WHAT I HAVE LEARNED
Search and watch a clip or video of a cha-cha-cha dance
performance from the internet/youtube of your own choice. Send
to me the link of your chosen video. And, answer the following
questions:
1. What is/are the style/s of dance used?
2. Identify and list down the dance movements used in the
performance.
3. Describe the emotions brought about by the dance.
Describe how you feel while watching the whole dance
performance.

WHAT I CAN DO
1. Watch the different variations of the dance Cha-Cha-Cha
and include it on your routine.
2. You may visit the ―HowcastArtRec‖ in the Youtube Channel
for the different variations of the dance Cha-Cha-Cha.
3. Make a video of yourself while doing the different variations
of the dance cha-cha-cha.
4. Submit the video to your teacher online.

GRADING RUBRICS
Indicators Excellent Good Fair Sco
(5pts.) (3-4pts.) (1-2pts.) re
Own The The The
Choreography performer performer performer
shows shows new shows
unique choreograp common
choreograp hy. choreograp
hy. hy.
Timing The The The
routines routines routines
are are are
synchroniz synchroniz synchroniz

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 ed with the ed with the ed with the
music very music well music
well. enough. fairly good.
Variations/Diff More Many Less
erent Patterns variations variations variations
of steps of steps of steps
are seen are seen are seen
on the on the on the
video. video. video.
Overall Total

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 ASSESSMENT

Answer the following questions. Use a separate sheet in

answering this portion.

1. The dance Cha-Cha-Cha is originated form ____________.

2. Cha-Cha-Cha was developed from two other dances which
are the _______ and ___________.
3. ______________ is a composer who made the music of cha-
cha-cha.
4. The Cha-Cha-Cha has a ______ meter.
5. The tempo of the dance consists of _______ beats per
minute.
6. __________________ is a form of couples’ dance which are
enjoyed both socially and competitively around the world.
7. The four (4) basic steps of cha-cha-cha are side step,
forward, backward and _____________.
8. A Latin word ballare means to ______________.
9. The cha-cha-cha gained popularity in year ___________.
10. The name cha-cha-cha is an ______________ of quick
footsteps.

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Additional Activity
Essay: On a separate sheet of paper, write an article/essay
based on following question below. Make a catchy title.
 Why do Ballroom dancers have to connect emotionally with
their dance partner?

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Answer Key
What I Know:
1. C
2. B
3. C
4. A
5. C

What’s More:
Output Based (Observational Task)

What I have Learned:

Output Based (Performance Task)

What I Can Do:

Output Based depending on the Rubrics (Performance
Task)

Assessment:
1. Cuba
2. Danzon and Mambo
3. Enrique Jorrin
4. 4/4
5. 128
6. Cha-Cha-Cha
7. Rock Step
8. Dance
9. 1950’s
10. Onomatopoeia

Additional Activity:
Output Based (Writing Task)

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References:

Online
https://.ncbi.nlm.nih.gov/pmc/articles/PMC4179700/

https://www.slideshare.net/Melvolio/line-dancing-
23379499

https://www.youtube.com/watch?v=4xmV5uHWNag
https://www.ballroomdanceacademy.com

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 Region IX: Zamboanga Peninsula Hymn – Our Eden Land
Here the trees and flowers bloom Gallant men And Ladies fair
Here the breezes gently Blow, Linger with love and care
Here the birds sing Merrily, Golden beams of sunrise and sunset
The liberty forever Stays, Are visions you’ll never forget
Oh! That’s Region IX
Here the Badjaos roam the seas Hardworking people Abound,
Here the Samals live in peace Every valleys and Dale
Here the Tausogs thrive so free Zamboangueños, Tagalogs, Bicolanos,
With the Yakans in unity
My Final Farewell
Farewell, dear Fatherland, clime of the sun caress'd
Pearl of the Orient seas, our Eden lost!,
Gladly now I go to give thee this faded life's best,
And were it brighter, fresher, or more blest
Still would I give it thee, nor count the cost.
On the field of battle, 'mid the frenzy of fight,
Others have given their lives, without doubt or heed;
The place matters not-cypress or laurel or lily white,
Scaffold or open plain, combat or martyrdom's plight,
T is ever the same, to serve our home and country's need.
I die just when I see the dawn break,
Through the gloom of night, to herald the day;
And if color is lacking my blood thou shalt take,
Pour'd out at need for thy dear sake
To dye with its crimson the waking ray.
My dreams, when life first opened to me,
My dreams, when the hopes of youth beat high,
Were to see thy lov'd face, O gem of the Orient sea
From gloom and grief, from care and sorrow free;
No blush on thy brow, no tear in thine eye.
Dream of my life, my living and burning desire,
All hail ! cries the soul that is now to take flight;
All hail ! And sweet it is for thee to expire ;
To die for thy sake, that thou mayst aspire;
And sleep in thy bosom eternity's long night.
If over my grave some day thou seest grow,
In the grassy sod, a humble flower,
Draw it to thy lips and kiss my soul so,
While I may feel on my brow in the cold tomb below
The touch of thy tenderness, thy breath's warm power.
Let the moon beam over me soft and serene,
Let the dawn shed over me its radiant flashes,
Let the wind with sad lament over me keen ;
And if on my cross a bird should be seen,
Let it trill there its hymn of peace to my ashes.
I Am a Filipino, by Carlos P. Romulo
I am a Filipino–inheritor of a glorious past, hostage to the uncertain
future. As such I must prove equal to a two-fold task–the task of
meeting my responsibility to the past, and the task of performing
my obligation to the future.
I sprung from a hardy race, child many generations removed of
ancient Malayan pioneers. Across the centuries the memory comes
rushing back to me: of brown-skinned men putting out to sea in
ships that were as frail as their hearts were stout. Over the sea I see
them come, borne upon the billowing wave and the whistling wind,
carried upon the mighty swell of hope–hope in the free abundance
of new land that was to be their home and their children’s forever.
I am a Filipino. In my blood runs the immortal seed of heroes–seed
that flowered down the centuries in deeds of courage and defiance.
In my veins yet pulses the same hot blood that sent Lapulapu to
battle against the first invader of this land, that nerved Lakandula
in the combat against the alien foe, that drove Diego Silang and
Dagohoy into rebellion against the foreign oppressor.
The seed I bear within me is an immortal seed. It is the mark of my
manhood, the symbol of dignity as a human being. Like the seeds
that were once buried in the tomb of Tutankhamen many thousand
years ago, it shall grow and flower and bear fruit again. It is the
insignia of my race, and my generation is but a stage in the
unending search of my people for freedom and happiness.
Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos,
All of them are proud and true
Region IX our Eden Land
Region IX
Our..
Eden...
Land...
Let the sun draw the vapors up to the sky,
And heavenward in purity bear my tardy protest
Let some kind soul o 'er my untimely fate sigh,
And in the still evening a prayer be lifted on high
From thee, 0 my country, that in God I may rest.
Pray for all those that hapless have died,
For all who have suffered the unmeasur'd pain;
For our mothers that bitterly their woes have cried,
For widows and orphans, for captives by torture tried
And then for thyself that redemption thou mayst gain
And whe n the d ark nig ht wr ap s the gr ave y ar d a r ound
With only the d e ad in the ir v ig il to s e e
B re ak not m y re p os e or the m ys tery p r of ound
And pe rc hanc e thou m ays t he ar a s ad hym n re s ound
' T is I, O my c ountry, r aising a s ong unto the e .
And ev e n my g rav e is r em em be re d no m ore
Unm ark 'd by ne ve r a c r os s nor a stone
Le t the plow s we ep thr oug h it, the sp ade tur n it o' er
That m y as hes m ay c arp e t e ar thly f loor,
B ef ore into nothing nes s at las t the y are b lown.
The n will ob liv ion br ing to me no c ar e
As ove r thy v ale s and p lains I s we e p;
Thr ob b ing and c le anse d in thy s p ace and air
With c olor and lig ht, with s ong and lame nt I f are ,
Ev e r re p e ating the f aith that I k ee p .
M y F athe rland ad or' d, that s ad ne ss to my sor r ow le nd s
B e lov ed F ilip inas, he ar now m y las t g ood -b y!
I g ive the e all: p are nts and k indr ed and f r ie nd s
F or I g o wher e no s lav e be f or e the op pr es s or b e nds ,
Whe r e f aith c an ne ve r kill, and God r e ig ns e ' er on hig h!
F are well to y ou all, f r om m y s oul tor n away,
F rie nds of m y c hild hood in the home disp oss e ss ed !
Giv e thanks that I re s t fr om the we ar is om e d ay !
F are well to the e, too, s we e t f rie nd that lig hte ne d m y way;
B e lov ed cre ature s all, f are well! I n d e ath ther e is re s t!
I am a Filipino, child of the marriage of the East and the West. The
East, with its languor and mysticism, its passivity and endurance,
was my mother, and my sire was the West that came thundering
across the seas with the Cross and Sword and the Machine. I am of
the East, an eager participant in its spirit, and in its struggles for
liberation from the imperialist yoke. But I also know that the East
must awake from its centuried sleep, shake off the lethargy that has
bound his limbs, and start moving where destiny awaits.
I am a Filipino, and this is my inheritance. What pledge shall I give
that I may prove worthy of my inheritance? I shall give the pledge
that has come ringing down the corridors of the centuries, and it
shall be compounded of the joyous cries of my Malayan forebears
when first they saw the contours of this land loom before their eyes,
of the battle cries that have resounded in every field of combat from
Mactan to Tirad Pass, of the voices of my people when they sing:
―I am a Filipino born to freedom, and I shall not rest until freedom
shall have been added unto my inheritance—for myself and my
children and my children’s children—forever.‖
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