Pe3 Rhythmic Activities Manual

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RHYTHMIC ACTIVITIES
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PHYSICAL EDUCATION 3 (W) N. MAGNO
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Central Philippine University
College of Education
HEALTH AND P.E. DEPARTMENT
ACSCU-AAI Accredited, Level IV
Tel. No. (63-33) 329-1971 loc. 1040/1078
E-mail address: hpesec@cpu.edu.ph
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Fax No. (033) 320-3685
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LECTURE AND
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ACTIVITY MANUAL
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PHYSICAL EDUCATION 3(W)

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RHYTHMIC ACTIVITIES
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(Outcome-Based Education [OBE] Aligned)

Based on CMO 30 series 2004
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Revision No. 1, August 2020

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by:
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INSTR. CANDELARIA E. ALAVATA, LPT
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ABOUT THE AUTHOR
NECIL C. MAGNO, MAED
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Assoc. Prof. N. Magno is a graduate of Bachelor of
Science in Secondary Education Major in
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Mathematics and minor in Physical Education,
Health and Music at Central Philippine University
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in 2001. She earned her Masters of Arts in Physical
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Education major in Physical Education at West
Visayas State University in 2012, and currently pursues her Doctor in Physical
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Education at Filamer Christian University.
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As a teacher, she has been engaged in teaching Physical Education

since 2000. Her contributions in Physical Education include the following:
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Choreographer of Iloilo PRISAA Interpretative Dance which garnered

championship awards for seven times between 2001-2015; Member of
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National Philippine Folkdance Society and Iloilo Choreographers Guild. She

was one of the Board of Judges for Ginoong at Binibining Pilipinas Australia in
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May 2019 held at Sunnybank, Brisbane, Australia. She also rendered her
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service as Resource Person for Cultural Exchange in Australia in 2019. She

served as the Artistic Director and Choreographer of CPU Sari-Saot Dance
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Troupe from 2000-2019. She has been devoting her time as University
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Chairman of events such as Modern Contemporary Dance and Hiphop Dance,

and a Zumba Fitness Instructress.
While still a student, her milestones are as follows: a pioneer member of
the renowned Dagyaw Theater and Dance Company of Iloilo National High
School, a choreographer and dancer of CPU College of Education
Interpretative Dance which garnered championship awards for six consecutive
times from 1995-2001.
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ACKNOWLEDGMENT
I wish to take this opportunity to express my sincere gratitude for the
cooperation and assistance of the many friends who gave freely of their time, their
knowledge, and their helpful criticism.
Special recognition and grateful appreciation are extended to:
Mrs. Jayna J. Acap for her interest and encouragement during the writing and
preparation of this manual;
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Prof. Anna May A. Yap- Zerrudo and Prof. Mitzi May R. Duremdes for reading,
correcting and editing this entire manuscript ;
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Mr. Randy L. Villanueva for typing the materials;
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Mr. Edwin Laruan for the beautiful photography;
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CPU Sari-Saot Dance Troupe Members for their all out support and for consenting
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to pose in the pictures;
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CPU Printing Press who rushed prints and supplies through record time;
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My student assistants Lyn D. Cartama and Hershey Cordero for their valuable
assistance;
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Toto Prince, Toto Sherwin and Beautiful Princess my inspiration and love of my
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life;
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Captain Sherwin A. Magno, my husband for his untiring support, love, financial
assistance, and who made me feel special which boosted my confidence to pursue my
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dreams;
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Above All to God as the source of everything ............. To God be the greatest glory!
This PE3 (W) manual was prepared by Prof. Necil Capiñanes-Magno for and
in behalf of the Health and P.E. Department of CPU (June 2016).
No part of this manual may be reproduced in any form, either wholly or in

part, for any use whatsoever without written permission from the
department and the person concerned.
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Contents
Central Philippine University and College of
Education Mission, Vision Statements, College Unit IV -Dance Techniques and
Outcomes and Core Values… ....................... vii Dance Secrets ......................... 59
How to become a dancer
The Secrets of leading
CPU Songs............................................ix
(Man)
Alma Mater Songs Raise The Secrets of Following (Woman)
A Song How to Exude Charm and Personality in
O Central, Our Central Dancing
Central Spirit Example of Various
The Course........................................... 1 Dancing Personalities
Course No. and Title The Importance of Warm- Up
Prerequisites and Cool Down in
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School Year/ Semesters Offered Dance Exercises to Improve
Course Description Dancing Rock Your Body Warm
Course Credit/Unit Course up
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Subject/ Outcome Course How Important is Cool Down?
Requirements Unit V - Dance as an Expression ............75
Unit O - Orientation and Course
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Fundamental Arms and Feet
Background ............................ 4 Positions Philippine Folk Dance
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CPU Vision/ Mission and Core Values Dance Terms Common to
Requirements of the Course University Philippine Folk Dance
and Department Beneracion
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Rules and Regulations Salakban
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Nature and Scope of the Course

Other Dance Forms
Unit I –Rhythm… ................................. 6
● Samba
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What is Rhythm
The Basic Samba Moves
Elements of Rhythm
Other Distinctive Steps
Time Signature and Rhythmic Patterns
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Benefits of Dancing Samba

Rhythm Band
● Zumba
Unit II - Rhythm and Fundamental
Basic Steps Variations
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Movements .............................. 13 ● Waltz

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What is Movements Five Basic Walts Steps

Elements of Movements Propre Dance Hold
Movements, Rhythm and Phantomime ● Tango
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Dramatization Basic Metric and Rhythmic Pattern

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Three Forms of Mime ● The Belly Dance

Dance Formation and Positions Social Context of Belly
Used in Choreography Dance In Middle East
Movements Found In Belly Dancing
Tips
Unit III - Introduction to Dance .............. 41 The Bollywood Dance
What is Dance Steps and Moves
Benefits of Dancing
Who’s Who .......................................... 116
Tips of Dancing
Types of Dance and its Definitions Glossary ............................................... 121
● References ........................................... 123
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Mission and Vision Statements of Central Philippine University (CPU) and
College of Education (COE) College Outcomes and Core Values
UNIVERSITY
Vision Statement: A University committed to Exemplary Christian Education for
Life (EXCEL) and responsive to the needs of the total person
and the world.
Mission Statement: The mission of Central Philippine University is to carry out a

program of spiritual, intellectual, moral, scientific,
technological and cultural training and allied studies under
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influences which strengthen Christian faith, build up
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character and promote scholarship, research, and community
service.
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Core Values:
Faith.
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The act of believing the things God has revealed about
himself and acting on those beliefs. This includes
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commitment, cooperation, trust, and confidence.
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Character. The aggregate features and traits that form the individual’s
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nature of a person, moral quality, and good report. This

includes honesty, integrity, humility and loyalty.
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Justice. Righteousness or lawfulness and fairness. It is observing due

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process in administering the deserved punishment or reward.

This includes fairness, equality, morality and peace.
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Stewardship. The proper and responsible management of life, position,

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possessions, and other resources entrusted by God to man.

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This includes, service, accountability culture and outreach.
Excellence. The highly commendable quality of feature of a person’s

worth and/or deeds, this includes competence, technology,
and scholarship and research.
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COLLEGE OF EDUCATION
Vision Statement: A College dedicated to the development of competent and
committed students and graduates who will serve as
ambassadors of Exemplary Christian Education for Life
(EXCEL).
Mission Statement: The mission of the College of Education is to provide quality

Christian Education for the total development of students to
prepare them for life-long service to God and fellowmen
and for successful participation in their profession.
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College Outcomes: C – Committed to EXCEL in Science and Faith as
Ambassadors of Christian Education.
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O – Outreach and Research Oriented for Community
Linkage and a tool for University wide development.
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E – Exemplary in promoting moral values in performance
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utilizing the available educational technologies.
D – Determined to succeed in developing the physical,
intellectual, emotional, social, moral, and spiritual
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aspects of learners.
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Central Philippine University Songs
Alma Mater Song Raise a Song
Central, my Central Raise a song for dear old Central,

Our Alma Mater true Far and fair renowned!
Our praise we’ll sing to you Let her campus ring with echoes,
Day after day Make her halls resound!
We’ll keep thine honour dear Franklin, Weston, Roblee ringing
Save thee from every fear Lopez Hall replies,
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Thy name we will revere Hark! Upon the distant mountains
When far away. How the fading echo dies!
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Central, my Central
Loved, honored be thy name
And everywhere the same
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Through North and South
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May thou forever stand
Renowned in every land
Supreme in heart and hand
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We love thee best.
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O, Central, Our Central Central Spirit

From far and near we come to thee Hope of coming generations,
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O, central, our Central Gleaming dawn of day!

And may we e’re be true to thee Filled with lofty venerations
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O, central, our Central All we think and say

Thy fame we’ll spread throughout the land Central Spirit lead us onward,
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To thee we pledge our hearts and hands Loyal make each son!
Our gratitude we voice in song ‘Till we find our efforts honoured
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O, central, Our Central. With the Master’s words “welldone!”

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Ideals that lift our visions high We’ve a wealth of school day mem’ries
At Central, our Central That makes for manhood in man
With us will be until we die And a rich and broad horizon
O, Central, our Central Central students scan,
The blues of this school so dear Here’s a leadership fraternal,
Awake our hearts the call is clear For eastern nations to see
For purpose strong and service true For a renaissance supernal
O, Central, our Central Sweeps our isles from sea to sea!
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Program/Degree: Basic Physical Education for All Programs
Program/Degree Outcomes: Based on CMO 30 series 2004
Course Number: P.E.3 (M/W) Rhythmic Activities
Prerequisites: None
School Year: 2020 - 2021 (Revision 1)
Course Description: This is a study, execution and practice of the fundamental

movements with rhythm, their variations and combinations,
learning how to improvise simple dance routines using the basic
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movements through creative approach and learning dances both
native and foreign.
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Course Credit/Unit: 2 Units
Course/Subject Outcome: At the end of the term, the students must have:
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1. discussed rhythm and fundamental movements as the foundation of
movements and steps;
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2. showed appreciation of the importance of rhythm in any

choreograph routines;
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3. mastered the steps and body movements in preparation for a

lifelong recreational activity;
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4. created and organized a dance activity for entertainment, exercises,

everyday activity and as a profession;
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5. demonstrated and come-up with improvised dance routines based on

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own ideas and concepts;

6. explained the contributions of the different artists, both local and
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international, in the field of dance; and

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7. performed Philippine Folk and Foreign Dances with accuracy and

confidence.
COURSE REQUIREMENTS AND OTHER CLASS CONCERNS
1. Attendance- attendance should start on the first day of the semester.

Each student is allowed up to 7 excused and unexcused absences. The 8th
absence mark results in an automatic “DRO PPED” from the class roll. Three (3)
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“TARDY” marks are equal to one (1) absence mark.
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2. P.E. Uniform - each student is required of a complete set which
should be worn at all times every time she has a class in P.E.3 (W).
3. OBE Lecture and Activity Manual - each student should have a
personal copy of the OBE Lecture and Activity Manual of the subject.
4. Theoretical Exams - these include quizzes and two periodic exams,
the midterm and final exam.
5. Practical Exams - Students should take the practical exam set by the
teacher. They will be graded according to: Sets/Groups/Pairs/Individual
performance.
6. Make- Up Test (Written/Practical)
Written Exam - This will only be given as scheduled by the teacher to
those who have valid reasons for their absence during the test.
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Practical Test- Make up work shall be given provided that a medical
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certificate is presented to the teacher.
7. An “incomplete mark” is given in the event of documented personal
illness or family emergency. It is the student’s responsibility to inform the
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teacher regarding such at least three (3) weeks before the final exam week of
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the semester.
Students requesting an “incomplete mark” must speak with the instructor
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three (3) weeks prior to the final week of the course. An incomplete will be
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given to a student because of chronic tardiness or missed classes.

8. Medical Certificate- This document is required for all students who
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cannot perform a task due to illness. However, those who are properly identified
as not allowed to participate in the more strenuous dances will be given
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alternative activities.
9. Classroom Policies:
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(a) Complete PE uniform consisting of the required complete set, tennis

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shoes/jazz shoes or dancing shoes must be worn during classes.

(b) Cell phones and other gadgets should be turned off while classes
or activities are going on.
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(c) Hand towel/ bottled water during practical activity are a must.
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(d) Hair should be securely tied up. Jewelry should not be worn if
these will pose as distraction to the performance.
10. Culminating Activity:

Each student shall participate in the culminating activity. This may
serve as the final practical test.
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11. Grading System:
Periodical Examination (Online) - 20%

(Midterm and Final Exam)
Daily Quizzes - 10%
Daily Participation/Assignments - 30%
Major Practical Exam/Test (Online) - 40%
TOTAL - 100%
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12. Methods and Strategies
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A. Lecture/discussion/contextual teaching
B. Modeling/demonstration
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C. Command-Teaching Style
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D. Part-to-whole and add-on-a-step
E. Symbol Sequence
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F. Practice Style
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G. Guided Discovery
H. Students on Video
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I. Students as Leaders
J. Peer Teaching
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K. Direction Readers
L. Verbal and Gesture Cueing
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M. Self-Check
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13. Materials Needed:

A. Visual Aids
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B. Audio/Video Equipment
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C. Mobile Phone (Mobile Data)

D. Online links
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UNIT 0
ORIENTATION AND COURSE BACKGROUND
A. Desired Learning Outcomes:
At the end of the unit, the students must have:
1. explained the general objectives of the course;

2. discussed online netiquettes, department policies and the school rules
and regulations;
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3. showed appreciation through learning and mastery of CPU songs;
4. recognized the importance of the CPU Vision Statement and Mission
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Statements; and,
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B. Values and Thought Focus
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Values: Faith in God, Appreciation, Acceptance
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Thought: Oh. Give thanks to the Lord, for He is good.
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His loving-kindness continues forever.

Psalm 136:1
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C. Course Content
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1. CPU Vision/Mission Statement and Core Values

2. Requirements of the Course
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3. University and Department rules, regulations and policies

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D. Activities
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1. Opening prayer, led by the teacher.

2. Checking of registration forms (stub codes, stamp enrolled, etc.).
3. Orientation
(a) Pre-class activities: Changing into PE uniforms 5 minutes before

class and 5 minutes before dismissal
• Letting the class “Fall-in” by column and according to height
• Opening prayer assignments
• Checking of attendance- by count-off
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• Class evaluation
• Closing prayer assignments
• Dismissal
(b) Explaining attendance policies, tardy (late) marks absences
(excused and unexcused), rules and policies of the university,
department and classroom policies.
(c) Explaining teacher’s policies on make-up work, missed
exams/quizzes, major exams and practical tests and grading system.
(d) Explaining classroom requirements- use of numbers during practical
test; complete PE uniform; class observation during menstruation
and proper hygiene during activities.
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(e) Encouraging students to bring their lecture and activity manual
during PE classes
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(f) Reminding students of their personal belongings, valuables, use of
facilities and equipment.
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(g) Encouraging students to visit the teacher during counseling hours,
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to attend convocations and CEW- Christ Emphasis Week (CEW).
4. Explaining the nature and scope of the course.
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5. Discussing the Vision and Mission statements of CPU and the general
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objectives of the course. Letting the students memorize the Vision and
Mission of CPU.
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6. Learning, memorizing the CPU songs

(a) Know the time signature and accented note, word/syllable
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(b) Beat while learning the songs

(c) Have variety
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7. Assignment
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8. Dismissal
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UNIT I
RHYTHM
At the end of the units the students must have:
1. discussed rhythm, elements of rhythm and common time signature;

2. recognized rhythm through observing sounds in the environment; and
3. created simple rhythmic music by combining different rhythmic
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patterns.
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B. Values and Thoughts Focus:
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Values: Cooperation, appreciation, creativity, patience,
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resourcefulness.
Thought: Patience with others is love.

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Patience with self is hope.
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Patience with God is faith.

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-Adel Bestavro
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C. Course Content
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INTRODUCTION
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Every individual has a rhythm. It is found in all of nature and is natural for
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every individual. Rhythm is everywhere. Our lives are driven to an enormous

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degree by the internal and external rhythms that are a fundamental part of life at
every level. Rhythm is most clearly seen through dance-the the art of movement.
What is Rhythm?
• is the arrangement of sounds as they move through time.
• is a measured motion of flow characterized basically by the regular
recurrence of elements or features as beats, sounds, and accents. This implies
measurements of time, space and energy.
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• is what makes music move and flow. Rhythm is made of sounds and
silences.
Sound and silences are put together to form patterns of sounds, which are
repeated to create rhythm. Rhythm has a steady beat, but it may also have
different kinds of beats.
ELEMENTS OF RHYTHM
All movements are affected by the elements of rhythm.

Applied to the first beat of a measure.
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1. Accent Certain notes or beats in a rhythmic pattern receive
more force than others.
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In music, a vertical across a staff dividing it into equal
2. Bar
measures of time.
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The underlying rhythm of the music. Some musicians
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refer to the beat as the pulse of the music. The
3. Beat underlying beat
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determines the time signature of a piece of music or
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movement.
4. Count A pulse beat; a time limit.
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5. Intensity A variation of the stress of movent.

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The intensity of music can be loud, soft, light, or heavy.

6. Measure A group of pulse beats.
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This refers to how the beats are put together to form a

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7. Meter measure of music. Common meters used in rhythmics

are 24, 34, 44, and 6 8.
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8. Note A printed symbol of a musical tone.

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Refers to a note or set of notes with or without rest,

9.Note Pattern
used to a certain dance step.
A natural grouping of measures.
A phrase consists of eight (8) underlying beats; phrases
10. Phrase
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music is put together into rhythmic patterns.
11. Pitch The lowness or highness of a tone.
Refers to the movement or movements done for each of
12. Step Pattern
the dance steps.
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The speed of the music. It can be constant or may show
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gradual increase (acceleration) or decrease
13. Tempo (deceleration).
(1) Fast- 1 count in a measure (2) moderate- 2 counts
in a measure (3) slow- 4 counts in a measure
TIME SIGNATURE AND RHYTHMIC PATTERNS
Time Signature
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• Is used to indicate the appropriate counting for a particular rhythmic
pattern. It can be grouped into two’s, Three’s and four’s.
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24 There should be two counts to a measure.
34 There should be three counts to a measure.
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44 There should be four counts to a measure.
Time Signature US
Rhythmic Pattern
Is used in the arrangement of long and short beats in
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relation to the time signature given.
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24
Regular Pattern: 1, 2
1 & 2; ah-ah2ah-ah;
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Regular Pattern: 1,2,3

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34 1&2,3; 1,2&3; 1&2&3; 1ah-ah2,3; 1ah-ah2 ah-ah3;

1,2ah-ah,3ah-ah
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Regular Pattern:1,2,3,4
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44 1 & 2, 3, 4; 1,2 & 3, 4; 1,2,3 & 4; 1,2,3,4 &; 1&2,3&4;

1 &2 & 3 & 4; 1ah-ah2,3,4; 1ah-ah2,3ah-ah4; 1ah-
ah2ah-ah3ah-ah4.
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Rhythm Band
• A band may creatively combine different rhythmic patterns according to the
time signature to produce a simple rhythmic music using different sound sources.
• Students create a rhythm from ordinary objects found inside the room.
• Divide the class into four small groups to create a rhythm band.
• A time limit of 15 minutes for practice and 3 minutes for the final
performance.
Example of Objects: Pencil/pen, heeled-shoes, rubber band, ruler, empty water

plastic bottle, spring of notebook, etc.
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Activity # 1 Application (to be submitted to the teacher)
Name: Class Time Date Score
General Instruction: Rhythm
Guidelines:
1. In a group of ten or solo compose a rhythm using 24, 3 4 and 44.

2. Choose any improvise rhythmic instruments such as (sticks, plastic bottle,
cans, cups, ruler etc.) as long as it can produce sounds.
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3. Use appropriate music for (2-3 minutes) and combine different rhythmic
pattern.
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4. Make you own original sound variations using tempo (slow, fast and
moderate), combined common time signature (24, 3 4 and 4 4).
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Criteria/Rubric: T
Timing/Coordination… ............................ 40%
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Creativity/Variation ................................. 40%
Choice of Instruments ............................. 20%
TOTAL: 100%
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Rhythm Score
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Timing/Coordination… .......................................... 40
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Creativity… .......................................................... 40%

Choice of Instruments ......................................... 20%
TOTAL
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Activity # 2 (to be submitted to the teacher)
Self -Check Test:
Multiple Choice: Choose the correct answer from the choices given. Write your
answer on the space before the number.
1. It has a steady beat and different beats.

A. accent B. beat C. measure D. rhythm
2. It refers to a printed symbol of a musical note.
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A. step pattern B. meter C. note D. tempo
3. What elements of rhythm measure the first beat?
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A. accent B. bar C. measure D. intensity
4. It refers to the lowness and highness of a tone.
A. note B. note pattern C. pitch D. measure
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5. What do you call a vertical across staff dividing into equal measures of
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time?
A. beat B. bar C. count D. accent
6. Which of these rhythmic patterns refers to ¾ time signature?
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A. 1 ah ah 2 B. 1 and 2 and 3 C. 1, 2, 3,4 D. 1 and 2 and 3 and 4
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7. It refers to a group of pulse beats.

A. measure B. tempo C. measure D. count
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8. What elements of rhythm refers to a group of measures?

A. phrase B. note C. count D. measure
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9. It refers to the arrangement of long and short beats of sound.

A. rhythmic pattern B. rhythm C. time signature D. rhythm band
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10. Which of the following is an example of 2/4 time?

A. 1 ah ah 2 ah ah 3
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C. 1 ah aha 2 ah ah
B. 1,2,3 ah ah D. 1 ah 2 ah 3
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II. Identify the following rhythmic pattern by writing the time signature on the
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space provided.
11. 1 ah ah 2 ah ah 3 16. 1 ah ah 2 ah ah 3 ah ah 4
12. 1 and 2 and 3 and 17. 1, 2, 3
13. 1, 2, 3,4 and 18. 1,2
14. 1 and 2 and 3 and 4 19. 1,2,3,4
15. 1 and 2 and 20. 1 and 2, 3 and 4
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UNIT II
RHYTHM AND FUNDAMENTAL MOVEMENTS
At the end of the unit the students must have:
1. discussed fundamental movements;

2. identified movements as locomotors, non-locomotors and manipulative
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movements;
3. developed an appreciation of the importance of fundamental
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movements as the foundation of all movements; and
4. applied fundamental movements through creating original choreograph
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routines;
B. Values and Thought Focus:

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Values: cooperation, appreciation, confidence dedication.
Thought: “Give me one hundred men who love nothing but God,
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Hate nothing but evil, and know nothing but Jesus Christ, and
I will change the world”
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– John Wesley
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C. Course Content
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INTRODUCTION
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Without movement, there is no life. From the womb of our mother, there is
movement. It is not patterned, unorganized and unstructured. There are still
thousands of movements going on inside us that we need to discover, explore and
expose. Flowing and pulsating, breathing, beating is only afar. When approaching
movements, our problems can be stiffening, straining, pushing, collapsing, pulling
up, and pushing down - block energy and stop fluency.
It is hard to move fluently out of a fixed state. It requires a huge amount

of effort. We need to connect with an inner flow that takes us easily into
movement. The root of the movement is the response to gravity, giving grounded
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support. There are three centers of the body from where you move the gut, heart,
and head.
Consider the intention of your movement. When the intention is clear, then
the inner thoughts and feelings are conveyed in the movement; there will be
clarity, connection and communication.
What is movement?
Movement is…
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 An impulse
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 A flow of energy- a space to feel the effect of gravity, the body’s spring
mechanism.
 A response to a stimulus requiring movement away from or toward
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expansion or contraction.
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 A movement of suspense.
 Falling in space.
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 Responding to the contact of the ground.
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ELEMENTS OF MOVEMENTS
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(In Dance)
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I. BODY (The Instrument)

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This category defines what the body can perform.

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(a) Shapes (the body makes)

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Examples: Long- Short

Wide - Narrow, Straight - Twisted, Curled - Stretched,
Symmetrical- Asymmetrical
(b) Balance or Weight Bearing

Balance demands the different parts of the body. It supports the
weight or receives the weight.
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(c) Transfer of Body Weight
Many skills demand moving the body weight from one body part to
another, such as walking, leaping, rolling and so on.
(d) Flight
This category differs from transfer of body weight. It is an explosive
movement and involves lifting the body weight from the floor or apparatus
for an extended period of time. The amount of time off the floor
distinguishes flight from transfer of weight.
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Examples: Running, Jumping, etc.
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II. FUNDAMENTAL MOVEMENTS (The Material)
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Fundamental movements are motions that are used as the foundation for
any movement activity such as sports, dance and perhaps in everyday life.
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A. Locomotor Movement
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is used to move the body from one place to another in any direction with
the feet as the moving base of support.
ST
Each foot moves alternately, with one always in contact with the
U
1. Walking ground or floor. The weight of the body is transferred from the
heel to the ball of the foot and then the toes for push-off.
CP
Is moving rapidly so that for a brief moment, both feet are off the
2. Running ground /floor. It varies from trotting (slow run) to sprinting (a fast
R
run for speed). It should be done with a slight body lean forward.
FO
Is an elongated step designed to cover distance or move over a

3. Leaping
low obstacle. It is a spring from one foot, landing on the other.
Taking off with one or both feet and landing on both feet. It can
4. Jumping
be done in place or as a locomotor activity to cover ground.
Propelling the body up and down on the same foot. The body lean,
5. Hopping
the other foot, and the arms serve to balance the movement.
Sliding is done on the balls or soles of the feet with the weight
shifted from the leading foot to the trailing foot. It is a one-count
6. Sliding
movement, with the leading foot moving to the side and the other
foot following quickly.
15
Is a series of step-hops done with alternate feet. It is done on the
7. Skipping
balls of the feet.
A step-and-cut combination. One foot leads and the other is
8. Galloping
brought toward it. There is more upward motion of the body.
B. Non- Locomotor Movement
is a movement that a person performs while remaining stationary.
Examples of Non-Locomotor Movement
LY
(a) Bending incline the body downward from the vertical
(b) Bounce to cause to rebound
ON
(c) Cringe to shrink; crouch
E
(d) Flick a light sharp jerky stroke
US
(e) Gesturing is a form of non-verbal communication in which visible bodily
actions communicate particular messages
T
(f) Grind to move with difficulty or friction
EN
(g) Jerk a short quick, sharp sudden movement

UD
(h) Pull to exert force as to draw

(i) Push to thrust forward, downward or outward
ST
(j) Rising Ascending, sloping upward

(k) Rotating to move in a circle around an axis or center
U
CP
(l) Slap to strike sharply with the open hand

(m) Stamp to pound or crush with, to beat with the bottom of the feet
R
(n) Stroke hit or strike someone

FO
(o) Sway to swing gently from side to side

(p) Swing to move back and forth or from side to side while suspended or
on axis
(q) Thrust to push suddenly or violently in the specified direction
(r) Twirl to turn or cause to turn rapidly
(s) Twist to form into a bent, curling; to cause to rotate
16
C. Locomotion that does not require the feet
 Crawl -transfer about three or more supports with the body in a basically
parallel orientation to the floor
 Roll- transfer by rotation of support about a non-vertical
D. Manipulative Movements - these movements may use a combination

of locomotor and non-locomotor movements; always done with an object being
controlled or manipulated.
LY
Examples: Throwing Kicking Wand and Hoop Handling
Dribbling Juggling
ON
E
US
T
EN
UD
ST
U
CP
R
FO
17
FO
R
CP
U
ST
18
UD
EN
T
US
E
ON
LY
Self -Check Test:
Multiple Choice: Choose the correct answer from the choices given. Write your
1. It refers to a flow of energy, an impulse and falling into space.

A. fundamental B. movement C. body D. non- locomotor
2. What elements of movement refers to an instrument?
LY
A. body B movement C. space D. fundamental
ON
3. What type of body elements refers to explosive movements that involve
lifting the body weight from the floor?
E
A. balance B. shapes C. flight D. transfer
B. grind US
4. What non- locomotor movements refer to light or jerky movements?
A. bounce C. cringe D. flick
T
EN
5. It is a combination of a skip and hop.

A. jump B. skip C. hop D. gallop
UD
6. It means to shrink or crouch.

ST
A. bounce B. flick C. cringe D. jerk
7. It refers to spring from one-foot landing on the same foot.

U
A. hop B. jump C. skip D. leap

CP
8. It is considered a series of steps.

R
A. run B. gallop C. leap D. walk

FO
9. These movements may always do with controlled objects.

A. non-locomotor B. manipulative C. locomotor D. natural
10. Which of the following is not an example of shape?

A. twisted B. narrow C. curled D. line
19
II. Analyzation: What fundamental movements are suited in the following
situations? Choose your answer in the choices given by writing the letter only.
You may use the letter more than once.
A. skip C. run E. gallop G. slide
B. walk D. leap F. jump H. hop
11. You are 15 mins late in your class.

12. A man won 50 million in the lotto.
13. Her mom bought her new sets of crayons.
14. The teacher assigns her to imitate the movement of a horse.
15. After she slid on the floor, she broke one of her bones.
16. The first fundamental movements learned by 11 months old.
LY
17. She tried to reach out to the books on the shelves above her head.
18. Christina tried to cross the other side of the river by blocks of stones.
ON
19. He is in the office when he got a phone call from the hospital.
20. Sheane’s mom allows her to attend Alex’s birthday.
E
US
T
EN
UD
ST
U
CP
R
FO
20
III. SPACE (The Canvas) – it is where the body can move. The spatial qualities of
movement related to moving in different directions and at different levels
are the focus.
A. Shape- is the strongest visual component in dance.
(a) Symmetry/Asymmetry: apply to motion and body positioning.

(1) Symmetrical Positions – are body shapes that are a mirror
image on each side of the center line of the body.
(2) Asymmetrical Positioning – are body shapes that are different
on each side of the center line of the body
LY
B. Level- this defines the relationship of the body to the floor or
ON
apparatus, whether low or high, or in between.
E
(a) Low level- consists of non-locomotor or locomotor movement on,
US
along and or close to the floor. Movements include:
Crawling Sitting Kneeling Rolling Lying
T
(b) Medium Level- consists of non-locomotor and locomotor movement
EN
where there is contact with the floor by either the feet or hands.
UD
The medium level is generally the most used in dance. Dancers will
combine level with shape, direction and pathway, to achieve intent
ST
in the movement.
(c) High Level- the high level occurs where the body shape is vertically
U
long or where the body leaves the floor, these movements include:
CP
Vertical Balances on rise

Jumps and Leaps
R
FO
The high level may reinforce the idea of strength or power.

C. Relationship to self, other bodies/objects in space and the
space at large.
(a) Personal Space (Kin Esphere)- the area around the individual body.
Personal space around the dancer will expand or contract as the

shapes change.
(b) Active Space- occurs when the space itself comes alive, when it has
21
meaning, or takes on symbolic suggestions of its own. Active space
is created by:
(1) Shape of the body
(2) Direction
(3) Focus
D. Path/Floor- is the pathway that the dancer takes when moving

through space. It is also an indicator of where the dancer has been. The
floor pattern can be any combination of:
(a) Straight in all directions
(b) Circular
LY
(c) Wavy
(d) Zigzag
ON
(e) Spiral
(f) Figure Eights
E
US
E. Direction- refers to the position and movement of the body or body
parts in relation to space, audience and other performers.
T
(a) Forward (e) Down
EN
(b) Backward (f) Up

UD
(c) Right (g) Diagonal

(d) Left (h) Sideways
ST
U
F. Planes- are somewhat specific pathways defined as:

CP
(1) Frontal Plane- is an imaginary line running from side to side.

The body is divided into front and back.
R
FO
Examples:
• Moving the arms or legs from the anatomical position directly
to second.
• Tilting the body sideways.
• A lateral bend of the spine
(2) Sagittal Plane- is an imaginary line which is drawn lengthwise

through the body running from front to back. The body is divided
into right and left halves.
22
Examples:
• Swinging or circling the arms and/or legs forward and
backward from the shoulder or hip joint.
• Bending and straightening the knee or elbow from the
anatomical position.
• Spinal roll- rolling the body forward, bending each vertebrate
from the head to the hip, and then unrolling the spine.
(3) Transverse Plane- is a line drawn to the body, dividing the body
into top and bottom.
LY
Examples:
• Turns
ON
• Moving the arms from first position to second position
• Carrying the leg from an arabesque position to second.
E
US
G. Dynamics- has two main components;
(a) Release of energy- is dependent on the amount of force used to
make movements occur.
T
EN
Examples are:
◦ Sudden ◦ Sag ◦ Collapse ◦ Strong ◦ Jerky
UD
◦ Slow ◦ Forceful ◦ Swing ◦ Sustained

ST
Note: Varying the speed of energy throughout the movement will cause the dancer to
either speed up or slow down.
U
(b) Weight or Force- weight gives movement a sense of lightness or

CP
heaviness.
R
Force is the intensity of the release of energy. It is on a continuum

FO
from gentle to strong.
IV. TIME (The Organization) - time may also be organized in other ways
including clock time, sensed time, and event- sequence. Dancers may take
sight cues from each other to start the next phrase or use a shared
awareness of sensed time to end a dance.
A. Duration- the length of time from beginning to an end.
23
B. Tempo/Speed- (what is fast or slow?) maybe described in musical
terms like adagio, moderato and allegro or in phrases like slow motion,
medium or moderate speed, and fast or high speed.
Examples:
Slow sustained movements are called adagio quick, light jumps are
called allegro.
C. Rhythm- the events (sound, movement, etc.) that occur within

duration.
(a) Metric Duration- subdivided into regular, even beats.
LY
(b) Non-Metric Duration- subdivided into irregular “beats” (breath,
bio-rhythm, waves, wind).
ON
D. Accent Emphasis- the accent is an emphasis. Accents in a piece of
E
music can occur anywhere in the bar. Most accents occur at the beginning
US
of the bar. Having the accent on a beat that is other than the first makes
the music interesting.
T
EN
Accent is a strong movement, gesture or sound.

UD
V. FORM (The Structure) - the plan, design or procedure for the theme and
ST
arrangement of a piece of music.

U
A. Theme or Variation- a form in which an initial theme is established

CP
and then is followed by variations. The variations are inversion from the
basic theme, without altering its essential character.
R
FO
B. Canon/Fugue/Rondo
(a) Canon- a choreographic device or structure in which

movements introduced by one dancer are repeated exactly by
subsequent dancers in turn.
(b) Fugue- in music, polyphonic procedure involving a specified

number of voices in which a motive (subject) is exposed in each
voice, in an initial tonic/dominant relationship, then, developed by
contrapuntal means.
24
Fugue (Fyug)- (also called monothematic) one subject composition
or having only one theme.
Example: Sarabanda - a baroque dance

Dance Movements: Allemande
Courante
Saraband
Bourree
Gigue (jig)
LY
This dance movements have different meters, tempo, characteristic
and rhythmic features.
ON
(c) Rondo- a choreographic structure, in which contrasting sections
E
alternate with recurring section. It uses a musical chorus or
US
refrains.
T
C. Suite- a group of dances, or a set of instrumental pieces drawn from a
EN
longer opera, ballet or similar work.

UD
A French word “Suite” means “A sequence” of things.

ST
Example: Allemande Courante Sarabande Gigue

U
D. Narrative- is a story you write or tell someone. A narrative can be a

CP
work of poetry, song, theater or dance. It meant to include the “whole

story”.
R
FO
E. ABA- ABA form begins with an opening theme, leading into

contrasting theme that complements the first, and concluding with a
return to the opening theme. There is a cyclic feel, a sense of continuity,
order and inevitability.
F. Aleatoric “Chance” Composition- from the latin word Alea, meaning

“Dice” is music in which some element of the composition is left to
change, and/or some primary element of a composed works realization is
left to the determination of its performers.
25
G. Various Devices
Examples:
a) Electronic Devices (Hammond Organ, Electric Guitar)
b) Loop Music (Samplers, Synthesizers, Sequencers)
c) Club Dance Music- technology base with the DJ playing an
important role in mixing and presenting tracks.
MOVEMENTS, RHYTHM AND PANTOMIMIC DRAMATIZATION
LY
Pantomime (mime) - the telling of a story without words by means of bodily
movements, gestures and facial expressions.
ON
-This is designed to entertain and to communicate.
“Telestes” - first known mime in 467 B.C.
E
“Maneros” - first origin of dancing, was a slow rhythmical song
US
accompanied by distinct movements and phases of a regular dance mime.
Pantomime is the oldest dance to date and actually maybe the original
T
dance form of all dances. Pantomime originated out of mime from Greece and
EN
landed in Persians, Hebrews and Egyptians.

Masked Dancers (Pantomimi) - would use body movements and gestures.
UD
Three Forms of Mime

(1) Rhythmic- when the mime is done to the rhythm of music
ST
accompaniment (Bind).
(2) Non-rhythmic- when the mime is not constrained or bounded to the
U
rhythm of the music accompaniment.

CP
(3) Non-musical- where no music is used at all the mime.
Example:
R
• ”The Robot” 1980’s (Rhythmic) - done by street dancers to disco music.

FO
• ”Moon Walk” (Non-Rhythmic) - Michael Jackson’s Choreography.

• ”Wave” (Nonmusical) at a football game
26
General Instruction: Pantomime using Fundamental Movements
Guidelines:
Suggested Activity/Group Activity or individual

1. Think of a certain situation that would tell a story as the mime
(Pantomime).
LY
2. Interpret the mime through elaborate dance steps and gestures.
3. Rules: There must be a theme.
ON
Locomotor and axial movements must be used.
Suitable music must be included.
The piece must be limited to 2-3 minutes.
E
No spoken or recorded words
US
Props not allowed.
Instrumental music can be used, sound effects are optional (but you
must provide your own equipment)
T
4. Video yourself and submit through email or canvas
EN
Criteria/Rubric:
UD
Story has logical development… ...................................... 25%

ST
Clear gestures and facial expressions ............................... 25%

Appropriate music ........................................................... 15%
U
Communicates ideas to audience through well-developed characters

CP
……………………………………………………………35%
Total: 100%
R
FO
27
Rhythm Score
1. Story has logical development…………………………
25%
2. Clear gestures and facial expressions……………….
25%
3. Appropriate music………………………………………….
15%
4. Communicates ideas to audience through well-
developed characters………………………………………...
LY
35%
Total
ON
:
E
US
T
EN
UD
ST
U
CP
R
FO
28
DANCE FORMATIONS AND POSITIONS USED IN CHOREOGRAPHY
(Model: Sari-Saot Dance Troupe Members)
A. Formation- any dance in which a number of couples form a certain

arrangement, such as two facing line or a circle, and perform a series or
figures within or base on that arrangement.
B. Dance Position- the connection between you and your partner before you
can move as one, lightly and smoothly around the floor.
Dance Position and Connection between Partner
LY
ON
E
US
T
EN
UD
ST
U
CP
Open (Side-by-side)
R
Lady is at the right side of the man both facing the same direction
FO
29
Closed - standard dance
position-facing each
other, slightly offset to the
left, lower bodies’ together,
upper bodies apart, both
looking left. The man’s
right hand is just below her
left shoulder blade and her
left hand is on his upper
right arm. His left hand is
LY
out to his left and about
shoulder level holding her
ON
right hand.
E
US
T
EN
UD
ST
U
Back-to-back- partners
CP
facing away from each other.

R
FO
30
Escort- an open position
in which the woman’s left
arm is passed through the
crook of the man’s right
arm. Her forearm rests on
his forearm
LY
ON
E
US
T
EN
UD
ST
U
CP
Facing - any position in

R
which the man and woman

FO
are directly in front of each

other, front to front.
31
Half open- both facing
the same direction,
woman on man’s right
side, bodies turned half
toward each other, man’s
right palm on woman’s
back and woman’s left
hand at or near man’s
LY
right shoulder. Free arms
maybe extended to side.
ON
In left half open, she is on
his left side.
E
US
T
EN
UD
ST
Varsovienne - partners face

U
the same direction, the man

CP
behind the lady and to her left,

he holds her left hand in his
left slightly in front and above
R
FO
her shoulder. His right arm

passes behind her shoulders,
and his right hand holds her
right, again to the side and
above her shoulder.
32
Cuddle - a close embrace,
men’s arms around her
waist or lower back and
woman’s arms on his
shoulders, neck, or face.
LY
ON
E
US
T
EN
UD
ST
Promenade - the crossed-

U
arm position in which dancers

CP
stand side by side, facing the

same direction, with the right
R
hand held by partner’s right

FO
and the left by partner’s left.
33
Back Cross - side-by-side
- man to woman’s left, right
hands joined behind
woman’s back and left
hands joined behind man’s
back
LY
ON
E
US
T
EN
UD
ST
Hand shake - a facing

position. Right hands or left
U
hands joined at waist level

CP
R
FO
34
Dance Formation Used in Choreography
(Model: Sari-Saot Dance Troupe Members)
LY
ON
Column Formation Line Formation
E
US
T
EN
UD
ST
Single Circle Formation Double Circle Facing Partner

U
CP
R
FO
Cross Formation Reverse L Formation
35
X Formation V Formation
LY
ON
E
US
T
EN
UD
Double Diagonal Formation Alternate/ Window Formation

ST
U
CP
R
FO
T Formation
36
Self-check Test:
I. Identification: Identify what is referred to. Write your answer on the space
before the number.
1. It refers to in which the body can move.

2. What is the strongest visual component in dance?
3. Examples are forward, backward, sideways and diagonal.
LY
4. It defines as the amount of force used to make
movements occur.
ON
5. It refers to the length of time from the beginning to the
end.
6. It refers to repeated same steps or movement but
E
different counting.
US
7. It can be a work of poetry, song, theater or dance.
8. It is known as the first mime.
9. A story telling without words by means of body
T
movements.
EN
10. It is a form of mime where music is not necessary.

UD
II. Multiple choice: Choose the correct answer from the choices given. Write your
ST
11. What dance position refers to a lady is at the right side of the man
U
and both facing the same direction?

A. escort
CP
B. open side to side C. facing D. cuddle

12. Partners are both facing away from each other.
A. half-open B. back cross side to side C. back to back D. escort
R
13. A close embrace, men’s arm around waist level of a lady and woman’s
FO
arms on the shoulder of a man.

A. varsovienne B. promenade C. closed ballroom D. cuddle
14. It is called monothematic.
A. fugue B. canon C. suite D. form
15. It is a French word means “a sequence”.
A. rondo B. sarabande C. suite D. courante
37
FO
R
CP
U
ST
38
UD
EN
T
US
E
ON
LY
Activity # 6 Application (detach this portion and submit to the teacher)
General Guidelines: Elements of Movements

Guidelines:
1. Create/compose a dance utilizing the elements of movements and
fundamental movements applying the formation using the following
songs/music.
1. Covid 19/CORONA 4. Typhoon Yolanda
LY
2. Heal our Land 5. Bayan Ko
3. Anak 6. Volcanic Eruption
ON
2. The dance piece must have striking or remarkable beginning and has
definite ending.
E
US
3. Create original dance piece, video yourself and submit through email or
in canvas.
T
EN
Criteria/Rubric:
UD
Content - Artistic interpretation of values as projection

through movements ………………………………………. 40%
ST
Execution - Creativity, rhythm/timing degree of difficulty

and continuity of dance movements ………………… 40%
U
Presentation - Exhibition of confidence, attentiveness,

CP
enthusiasm and expressions .....................................20%

TOTAL 100%
R
FO
Dance Interpretation /Elements Score

Content ............................................................. 40%
Execution .......................................................... 40%
Presentation........................................................ 20%
TOTAL
39
FO
R
CP
U
ST
40
UD
EN
T
US
E
ON
LY
UNIT III
INTRODUCTION TO DANCE
1. defined the meaning of dance;

2. discussed the history, characteristics and significance of each type of
dances;
3. explained the fitness value of dance and its health benefits;
LY
4. created original dance piece through adapted movements from
different countries.
ON
E
Values: Concern, Appreciation, Patience, Attentiveness
US
Thought: Praise the Lord with harp: sing unto Him with psaltery
and an instrument of ten strings. Sing unto him a new song:
T
Play skillfully with a loud noise.
EN
—Psalm 33:2-3
UD
C. Course Content
ST
INTRODUCTION
U
CP
Dance, like language, is found in all human societies. Dance has power. The
universality of dance is easily explained. The human body itself is its vehicle. All
societies acknowledge its power and harness it according to their fundamental
R
values, aesthetic, and mores. People have danced their way through history. In
FO
every ancient culture that has left records in words or pictures, dance is an
expression of religious worship. It is used to express national and cultural identity,
with a focus on clashes between societies. Dance is an expression of cultural mores
with a focus on gender-specific behavior. Dance is a classic art. Dance is a medium
of cultural fusion. Dance is the creation of individual artist. Dance is the indicator
of who we are today or where we are going with the focus on electric media.
Dance today is not simply cross-cultural but pan-cultural and planetary.
Dances are borrowed, degraded, adapted and transformed at rates

unparallel in the past, with consequences that cannot be predicted. Dances
41
changes with everybody that dances, It changes with the time, the country, even
the weather. It does not have one history but many. (Jonas, Grauer pp 9-11, 1992)
What is Dance?
1. It is to move rhythmically to music, typically following a set sequence of

steps.
2. It is a series of movements that match the speed and rhythms of a
piece of music.
3. It is an act of stepping or moving through a series of movements
usually in time to music.
LY
4. It is to move one’s feet or body, or both, rhythmically in a pattern of
steps, especially to the accompaniment of music.
ON
5. It is to move your body in a way that goes with the rhythm and style of
music that is being played; to move with and guide (someone) as music plays to
E
dance with (someone).
US
- Merriam Webster
6. It is a performance art form consisting of purposefully selected
T
sequences of human movement. This movement has aesthetic and symbolic
EN
value, and is acknowledged as dance by performers and observers within a

particular culture. Dance can be categorized and described by its choreography,
by it’s his historical period or place of origin.
UD
ST
“Dancing is one of the best self-expressions that involves art”.

-Britney Spears-
U
CP
“Is an intense fitness program, not just something nice to watch”.

-Jamie King-
(celebrity/choreographer&creator of the Nike Rockstar workout)
R
FO
“Dancing is one of the most effective medium of self-expression. One

can effectively express his thoughts, ideas, feelings and even pent-up
emotions through dancing. One can convey important messages of
love, fear, joy and even grief through dance”.
Dr. Milagros M. Aguinaldo, 2002
Ballroom Dancing a New Lifestyle
42
BENEFITS OF DANCING
1. Fitness - dancing is one of the versatile and satisfying recreation or a

form of exercise to develop fitness.
(a) Improved condition of the heart and lungs.
(b) Increase muscular strength, endurance and motor fitness.
(c) Increased aerobic fitness.
(d) Improved muscle tone and strength.
(e) Proper weight management.
(f) Development of stronger bones and reduced risk of osteoporosis.
LY
2. Joy and satisfaction- the physical well-being of a person who
ON
participates is improved.
(a) Better social skills.
E
(b) Increased physical confidence.
US
3. Grace and coordination- it improves response to rhythmic patterns.
Constant participation in dance activities will improve one’s neuromuscular
T
EN
coordination and help one’s acquisition of grace.

(a) Improved mental functioning.
UD
(b) Improved balance and spatial awareness.

ST
4. Self-expression- it develops poise and good posture

(a) Greater self-confidence and self-esteem.
U
CP
5. Relieved stress.
R
FO
Tips for dancing

1. Do warm-up stretches before you begin a dance session.
2. Drink plenty of water before, during and after dancing.
3. Wear an appropriate attire.
4. Check with your dance instructor whether you are holding the correct
form or not.
5. Perform regular leg, strengthening exercises.
6. Move as fluidly and gracefully as you can.
7. Cool down after a dance session, including stretching.
43
Types of dance and its definitions
1. Fad Dance- are also called dance crazes which are characterized by a
short burst of popularity.
Examples:
Renaissance Period- Minuet, allemande, schottische mazurka, waltz
1910-1920’s- Jitterbug, Charleston, meringue, samba, mambo
1940’s- jazz
1960’s- Bossa nova craze
1970’s- Mashed potato, twist, watusi
LY
1980’s- Walk like an Egyptian
1990’s- Macarena
ON
Note: Fad dance is spurred by modern communication like printed media, radio,
E
movies, television, and internet.
US
2. Novelty dance- a silly fun dance with a certain theme. This dance is fun
for the audience and the performers. This includes quirky and unusual
T
steps, or having unusual name.
EN
Examples:
UD
(1909) The GRIZZLY BEAR, (1958) The Ostrich, The Fly (1930-
1940’s) The Peabody, The Stroll, The Freddie
ST
3. Traditional dance- a dance that evolved naturally from earlier forms, a

traditional dance of a given country native to a specific people.
U
“Traditional” is more frequently used when the emphasis is on the cultural

CP
roots of the dance. A traditional dance will therefore have arisen from a
people’s cultural traditions.
R
Examples:
FO
(a) JarabeTapatio (Mexican hat dance)- was named the national dance
of Mexico in 1924.
(b) The Maglalatik (Philippines)- danced in the religious procession
during the fiesta of Biñan as an offering to San Isidro De Labrador,
the Patron Saint of Farmers.
(c) Russian Cossacks (Russia)- performed during the annual Mancky
festival.
(d) Bedouins Dance (Yemen)- danced during the Sanaa Summer
Festival.
(e) Irish Step Dance (Ireland)
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(f) Horn Dance (England)
(g) Whirling Dervishes or Sufiwhirling (Turkey)
(h) Legong (Bali, Indonesia)
(i) Dunhuang Dance (China)- a danced influenced by Buddhism and
the images of Buddha; originated from the province of Gansu.
(j) Joget (Malaysia)- mostly performed during weddings, social and
official functions.
(k) Odori (Japan)- originated in the Edo period. Odori grew out of
kabuki drama and is more oriented toward male sentiments.
(l) Mai- traditionally performed in Japanese rooms instead of on the
stage. This was developed in the 17th century Tokugawa period. It
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is heavily influenced by the elegance and sophistication.
(m) Kuchipudi (India)-the most popular traditional dance form in south
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India performed with a violin, flute and the tambura instruments.
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(n) Hula (Hawaii)-a dance form accompanied by chant (Oli) or song
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(Mele). It was developed in the Hawaiian island by the Polynesians
who originally settled there. The hula dramatizes or portrays the
words of the Oli or Mele in a visual dance form.
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Traditional dance
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A. Folk Dance- a cultural art form handed down from generation to

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generation.
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It communicates the customs, beliefs, rituals and occupation of a region

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or country. Folk dancing belongs to and emenates from the people.

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Examples:
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(a) Pandanggo sa Ilaw (Philippines) - derived from the Spanish word”

fandango”, this dance is designed to show off the grace, balance,
and dexterity of the performers.
(b) La Jota (Spain)- a Spanish folk dance originating in Aragon in the
north of Spain.
(c) Tarantella (Italy)- a dance for women only. A couple dance telling a
story of love in a mime.
(d) Clogging (USA)- originated from square dance in Asheville, North
Carolina’s mountain dance and folk festival (1928), organized by
Bascom Lamar Lunsford in the Appalachian region.
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(e) Milonga (Argentina)- the root of this dance go deep into the
Argentinean folklore. It is a dance which could be said to be a
variation of the Tango. Today, it is everywhere in the country- from
club to streets.
(f) Gumboot Dance (South Africa) - is the dance that is performed by
dancers wearing Wellingtons (a type of boot). This dance was
originated from the black miners and was their form of
entertainment. This is a highly energetic type of dance.
(g) Halay (Turkey)- is a folk dance coming from Turkey’s Eastern,
South-Eastern and central Anatolia regions. It is extremely popular
and engaging dance of the country which is accompanied by
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equally rich music and instruments.
(h) Baladi (Egypt)- it is a form of belly dancing. Baladi is typically a
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style that evolved from the tribal areas of the country. It has a
certain mystical and romantic allure. This is very popular in Egypt.
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(i) Garba (India)- it is a Gujarati folk dance which is performed
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predominantly during festival of Navaratri.
(j) Casino (Cuba)- it is part of the Cuban’s tradition and social life.
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Casino is the Cuban style salsa which has actually achieved great
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popularity in many pockets of the world. The grooves, the steps
and the music make this an entertaining dance.
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(k) Samba (Brazil)- It is a fun dance and is highly appreciated all

around the world. There are different variations of samba based on
regions but the basic steps are similar.
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B. Ethnic and Tribal Dance - any dance form which can be identified as
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originating with an ethnic culture and expressing the movement

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aesthetics of that culture. It would cover all ethnic cultures, whether

European, American, African, Polynesian, Asian, and Middle Eastern.
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Examples:
(a) Dugso (Bukidnon, Philippines)- a ritual dance
(b) Talip (Ifugao, Philippines)- a courtship dance
4. National Dance- is a traditional folk art which is popularly dance in most

parts of a specific country and the common dance steps is widely used by the
common people in that particular place or country.
Examples:
(a) Cariñosa (Philippines)
(b) Landler (Austria)
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(c) Vallenato and Cumbia (Colombia)
(d) Canican (France)
(e) Meringue (Haiti)
(f) Czardas (Hungary)
(g) Kathak (India)
(h) Flamenco (Spain)
(i) English Country Dance (England)
(j) Scottish Island Dance (Scotland)
5. Social Dance - a dance designed to bring people together for group
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enjoyment and participation and is usually accompanied by popular music.
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(a) Ballroom Dance- is a set of partner dances, which are enjoyed both
socially and competitively around the world, because of its performance
and entertainment aspects.
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Examples:
Charleston (1920’s) US
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Waltz (1960) - ballroom dancing has been a passion in Vienna for over
two hundred years. At the annual Viennese opera ball, the opera
house fills with come 6,000 party goers, at the 1960 ball, waltzers
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take the floor.

Samba (1935) - the samba schools were recognized as official carnival
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organization whatever the beat, the music and dance of Brazilian

carnival blend African and European elements in a powerful
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cultural synthesis that virtually defines Brazilian identity.

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Other Dances:
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Salsa Paso Doble Foxtrot Cha Cha

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Tango Rumba Jive Quick Step

Samba Swing
(b) Recreational Dance- includes dance mixers, square dancing and couple
dances.
(c) Popular Dance- a highly recognized as a dance form in television and

other dance centers like houses and social gatherings.
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Fresh dance styles came from the streets and clubs of the U.S., inspired
by disco, funk, and hip-hop music.
Made popular by stars such as:

Michael Jackson- from funk to musical: “Moon Walk” (1988) - uses
technique of gliding
Madonna- Vogue: Vogueing (1990) – an international dance craze
“Hung Up”(2005); krumping became globally popular.
Psy (2012) - “Gangnam Style”
Brandon Beal (2014) – “Twerk it like Miley”
Silento’ (2015) – “Whip/Naenae”
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6. Theatrical Dance- a dance performed on stage to entertain spectators.
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(a) Ballet- a dance of supreme standards learned from an academe. It is a
highly theatre art today which began in Italy, was developed in France
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and was perfected in Russia.
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Beautiful ballet is thrilling to watch and takes extraordinary dedication
to learn.
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● Classical Ballet- dances with standardized rules and restrictions.

Classical ballets with their elegant corps of dancers transport the
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audience to magical worlds. Ballet developed from a simple court

entertainment to amuse kings into a thrilling spectacle for everyone to
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enjoy.
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(b) Modern Dance- the highest form of dance for the purpose of
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entertainment.
It is the end product of movement exploration and improvisation as a
dancer or choreographer expresses his/her feelings, ideas and
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interpretation.
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(c) Contemporary Dance- (not traditional), a contemporary interpretation

of steps and designs of folk melodies and rhythm.
(d) Jazz- a combination of ballet and modern dance. It is a classification

shared by a broad range of dance styles. Before the 1950’s, Jazz dance
referred to dance styles that originated from African American
vernacular dance.
(e) Creative Dance- it is a form of dance that provides the dancers for
personal expressions. This is to communicate through movement and
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the dancer draws on their own inner resources to create and express
through their own unique movement. It aims to continually expand
and extend movement range by drawing inspiration from a range of
external stimuli including music, props, emotions, etc.
e.g. “Wings of Love”- performed by a pair (Jan. 24, 2016 PGT ABS-
CBN)
(f) Character Dance- it aims to interpret a specific folk tradition of a

particular country. The movements used to be less stylized than in
classical ballet, allowing greater individual expression and diversity.
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General Instruction: Different Dances
Virtual Travel through

Web
Guidelines: (Using High End Gadgets)
1. Divide the class into 6 groups or solo.

2. Watch any dance from different countries.
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3. The cultural dance you select could be:
(a) Traditional Dance
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(b) Folk Dance
(c) Social Dance
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(d) A dance that provides entertainment
(e) A dance that is considered an art
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4. Learn several movements, poses, movement sequence, etc.
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5. Be ready to present/perform some distinct moves, poses, movement

sequence of the hands and feet. The dance must be in 2-3 minutes.
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6. Video yourself and submit through email or canvas.

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Example: Tarantella- (Taranto, Italy)

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-1500’s, a strange ritual develops when people were bitten by the

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poisonous tarantella spider.

-The dance has retained this energetic intensity
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-Distinct moves/steps
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Skips Clapping hands with Tambourines Hops
Criteria/Rubric:
Choreography .............................................................. 40%
Execution of movements, interpretation and originality
Performance ................................................................ 40%
Mastery, difficulty of movements and expression
Music/ Rhythm .............................................................. 20%
Choice of music and timing
TOTAL: 100%
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Virtual Travel Score

Choreography..............................................................40%
Performance .............................................................. 40%
Music and Rhythm ...................................................... 20%
TOTAL
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Self-check Test:
Discuss the benefits of dance as;
1. Fitness
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2. Self- expression
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3. Stress reliever
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4. Satisfaction
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Name: Class Time: Score:
Self- check Test:
A. Identify the types of dances below. Write your answers on the blanks.
1. A dance crazes which are characterized by a short burst of

popularity.
2. A silly fun dance with a certain theme.
3. A cultural art form handed down from generation to
generation.
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4. Any dance form which can be identified as originating with an
ethnic culture and expressing the movement aesthetics of that
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culture.
5. A traditional folk art which is popularly dance in most parts of
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a specific country and the common dance steps are widely used
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by the common people in that particular place or country.
6. A dance designed to bring people together for group
enjoyment and participation and are usually accompanied by
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popular music.
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7. A combination of ballet and modern dance.

8. A ballroom dancing has been a passion in Vienna for over two
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hundred years.
9. It includes dance mixers, square dancing and couple
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dances.
10. It aims to interpret a specific folk tradition of a particular
country.
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ESSAY: 10 Points
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Define dance in your own words.

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General Instruction: Create a 3-minute dance exercise.
Guidelines:
1. Create a dance exercise, you may choose any of the following (Traditional
Dance, Folk Dance, Ethnic Tribal Dance, National Dance)
2. The dance steps maybe in hip hop or Zumba form but the music must be
taken from any of the following (Traditional Dance music, Folk Dance
music, Ethnic Tribal Dance music, or National Dance music) (for your
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guidance and reference you may see attached links, sent by your teacher)
3. The duration of the video must not exceed 4 minutes.
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4. No need to edit the video.
5. You may use props and costume as well as the participation of other
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persons but strict observance of minimum health standard is a must.
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6. Submit it in MP4 format.
Rubric/Criteria:
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Content ............................................................................... 40%

Artistic interpretation of values as projection through movements
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Execution ............................................................................. 40%

Creativity and precision of movements
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Presentation........................................................................ 20%
Exhibition of confidence, enthusiasm and expressions.
Total: 100 %
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Name: Class Time Score

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Criteria Score
Content...............................................................40%
Execution ........................................................... 40%
Presentation… ..................................................... 20%
Total
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UNIT IV
DANCE TECHNIQUES AND DANCE SECRETS
A. Desired Learning Outcome:
1. explained the importance of rhythm in dance;

2. discussed the importance of various exercises as part of the warm-up
and cool-down-activity in dancing;
3. created simple dance exercises as basis for any dance activities.
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ON
Values: Perseverance, persistence, self-confidence, appreciation
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Thought: Nothing in the world can take the place of persistence.
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Talents will not; nothing is more common than unsuccessful
men with talent. Genius will not; unrewarded genius is almost
a proverb. Education will not; the world is full of educated
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derelicts. Persistence and determination alone are omnipotent.
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Calvin Coolidge
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C. Course Content:
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Dancing is a physical activity. The better shape you’re in, the easier dancing
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will be. All body motions in dancing are governed entirely by the movement of
your feet and the placement of your weight. Movement of the feet and the
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placement of the weight are two factors that should be concentrated in order to
acquire the correct dancing appearance. Basic things like aerobic fitness, flexibility,
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and some endurance in your legs and torso help.

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HOW TO BECOME A DANCER
1. You have to move your body in time to the beat of the music.
2. It takes practice.
3. Dance with experienced dancers.
4. Don’t panic, think smooth and love it.
5. Avoid complaining, making excuses and negativity
6. Always work on improving fitness.
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THE SECRETS OF LEADING (MAN)
In dancing the girls expect their partners to set the pace and to choose the
steps. The man should be certain with his step pattern so he can move with
assurance and with confidence.
POINTERS FOR A GOOD LEADER
1. At the beginning of each dance, position yourself and your partner. Listen
to the music and make sure of your timing before starting to dance.
2. When dancing with a new partner, start with simple steps to acquaint
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yourselves with each own steps in dancing.
3. Have a mental plan of the succession of steps. Each step should be led at
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least twice in succession. It gives you time to plan a more graceful sequence of
step pattern. Avoid making rush, quick and jerky step.
4. Be definite with your hand commands as leading in instructions and your
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partner will follow correctly.
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5. Hold your partner in front but a bit to your right, so you can have a clear
view of your way as you dance by.
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6. Hold your partner’s arm lightly but firmly with your left arm in an easy
graceful curve. Extend both arms to guide your way to the dance floor and avoid
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collision with other people.

7. Hold your partner firmly enough to guide her. Place your hand at a
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comfortable height at the middle of her back.

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THE SECRETS OF FOLLOWING (WOMAN)

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A woman who knows her own part in dance floor is fun to have as a partner.
She can step out rhythmically and exactly at the same time as her partner. The
more steps she knows, the more freedom and spontaneity she can show in her
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dancing.
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POINTERS FOR A GOOD FOLLOWER
1. It will be easier to follow and dance your own part if you also know the
man’s part.
2. Learn to match your steps with your partner. Learn to dance with a short
or tall partner or one who takes small steps and one who uses long strides.
3. Learn to adopt the correct dance position. Always make a step with the
big toes on the lead. When the toe leading your step becomes long and free
moving and your foot looks graceful.
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4. Practice to balance your weight. To have good balance while dancing,
take a firm hold with your left hand, just at the back of man’s right shoulder.
5. A woman who knows the man’s part in dancing can follow twice as lightly
and twice as well.
HOW TO EXUDE CHARM AND PERSONALITY IN CHARMING
Dancing is an expression of one’s personality. Make your dancing

personality colorful and attractive. The purpose of the trick is to give accent to
your dancing. Accent the beat and rhythm of the music. Accenting the dance steps
make dancing more fun, exciting and attractive to on lookers.
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Example of Various Dancing Personalities:
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1. Dancers “who love themselves” – point their toes too gracefully and
taking really good care of their ten little toesies.
2. “Cuddly couples”– fun to watch. The never seem to outgrow the “urge”.
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3. “Bully Type” – meanders around the floor, pushing his partner into
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everything that comes his way. He swings his partner around fast furiously, with
complete disregard for her clothes, hair and general well- being.
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4. “Casual Dancers” – the girl shows that sloppy “I don’t care” posture and
the man just shuffle along.
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5. The “Possessive Man” – cups his hands tightly on his partner’s back. His
posture is crouching as though ready for a springing pounce.
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6. The “Jealous Girl” – clings to her partner’s arm like glue, looks up in his
eyes and is always tremendously attentive.
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7. “Timid Souls” – could almost sink to the floor. The girl takes uncertain
steps, droops their arms and gets an “until-death-do-us-part-grip” on their
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partner’s left thumb. The masculine variety has a low- slung elbow, an apologetic
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manner, and a “handog” expression. He takes faltering steps and barely touches
partner.
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Name: Class Time Score
Self -Check Test:
A. Write the correct various dancing personalities being described in each of the
following. Write your answers on the space provided.
1. Fun to watch. The never seem to outgrow the “urge”.

2. Meanders around the floor, pushing his partner into
everything that comes his way.
3. The girl shows that sloppy “I don’t care” posture and the
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man just shuffles along.
4. Cups his hands tightly on his partner’s back. His
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posture is crouching as though ready for a springing pounce.
5. Clings to her partner’s arm like glue, looks up in his eyes
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and is always tremendously attentive.
B. Essay: (10 points) US

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What are the steps on becoming a good dancer?

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THE IMPORTANCE OF A WARM-UP AND A COOL-DOWN IN DANCE
by Laura Stanyer
A Warm –up- prepares the body for physical exertion
It aims to:
1. Raise internal body by 1-2 degrees.

2. Increase heart rate and blood flow to the muscles.
3. Mobilize the body to increase the synovial fluid.
4. Raise speed of transmission of nerve impulses.
5. Prepare us to be mentally and physically ready for dance.
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A Cool down is important after each practice. The body must make a
number of adaptations during the recovery period before it returns to normal.
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It aims to:
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1. Gradually reduce the intensity of activity for 10 minutes.
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2. Remobilize joints to help flush out the waste products (lactic acid).
3. Perform static stretches of major muscle groups held for 15 seconds
normally done on the floor.
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BENEFITS OF COOL DOWN IN DANCE PRACTICE

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1. It decreases body temperature and remove waste products.

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2. It prevents symptoms such as light- headedness and dizziness caused by

the pooling venous blood at the extremities.
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3. It prevents muscle soreness and delayed onset of muscle soreness

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(DOMS).
4. It promotes relaxation.
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EXERCISES TO IMPROVE DANCING -Stretching-
A. FOR THE HAMSTRING AND INCREASING FLEXIBILITY

a) Lay down, one knee up; make sure your hips stay planted on the floor.
b) Slowly and carefully pull your legs in the air, holding your legs
completely straight, toes pointed.
c) Hold your leg behind your thigh, or your shin, which takes some skill in
flexibility.
d) Do not hold your leg with your hands behind knee, as this causes an
injury to the hamstring.
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e) Hold your leg there for two sets of 8 counts, not bending your knee at
all.
f) Slowly pull your leg back in, holding the knee for 8 counts. With that
same leg, hold your leg out beside you, like you are doing a sort of
straddle split with one leg. Again, do not hold behind your knee.
g) Pull down your leg as far as it will go. Hold this position for 8 counts,
and slowly bring your leg back in for 4 counts.
B. FOR THE SHOULDERS AND ABDOMINALS (for increased flexibility, as

used).
a) Sit in butterfly position (cross), with legs held attitude (bent), your feet
facing each other.
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b) Slowly, holding your feet, drop your head touching your feet, and hold
for two sets of 8 counts.
ON
c) Rise up, contract your back, drop your head again, and hold.
d) Do this stretch 5 times, contracting your back before you drop. This
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stretch should only take 1 minute or less to perform.
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C. FOR THE ARM MUSCLES (for increased flexibility, as well)
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a) Stand up in ballet position.
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b) With both arms arched above you, bend down, letting your arms brush
against your toes.
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c) Hold this position for two sets of 8 counts.

d) Then, in second position, reach down, putting your hands on the floor
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at the middle.
e) Hold for a few seconds.
f) After that, bend your arm, putting it behind your back.
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g) Using your free arm, hold your elbow and pull it to the direction of the
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other side (for example, the left arm is bent behind your back, the right
hand pulling to the right.)
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(Repeat with the other arm. This will take 3 minutes)

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D. FOR LOOSENING THE NECK AND CLEARING YOUR HEAD/MIND
a) Be in 2nd position with your hands. Down by your sides.

b) Slowly, to the beat of your music, bend (side to side) your head to
each beat. Do this for 8 counts.
c) Start nodding to the beat (up and down) for 8 counts.
d) Roll your head slowly, feeling the occasional pop or two. Roll the other
way. This should take 2-3 minutes.
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E. FOR THE LEGS (WORKING ON YOUR SPLITS)
a) Get on one knee, and slowly straighten both of your legs.
b) With one hand on either side, slowly and carefully slide all the way
down, as far as you can go.
c) Repeat this procedure with the other leg.
d) For a straddle split, sit in your wide straddle and lift up. Make sure your
toes are pointed the whole time.
ROCK YOUR BODY WARM UP

(Move to the beat of the music)
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A. CATCH STEP
ON
Goal: Warm-up and learn this “Home Base” position
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Starting Position: Face forward with your legs slightly more than shoulder-
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width apart and knees slightly bent.
Time to Move: Curl your arms in front of your torso, and leaning slightly to
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the left, rock your torso twice to the left, then twice to the right, as
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you pump your arms up and down keeping them bent at the elbow.
How Many Times? Eight times (left and right is one set) return to this step
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between each of the following movements, maintaining your own

movement to the music so the warm-up routine becomes one fluid
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dance.
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B. SHOULDER ROLLS
Goal: Warm up the shoulder and neck area.

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Starting Position: Face front, legs slightly more than shoulder – width apart
knees slightly bent.
Time to Move: Slowly roll your shoulders forward then up, then back in one
smooth, circular motion in time to the music.
How Many Times? 16 times
C. Walk and Shoulder Dips
Goal: Begin moving your whole body while warming up your shoulders.
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Starting Position: Face forward, feet together.
Time to Move: Walk forward starting on the left foot.

• Left foot, right foot, left foot, right.
• Then tap your left foot forward while dipping your left shoulder down
toward the right foot.
• Step together. Repeat on the right side
• Now travel backward starting with your left foot for 4 counts. Repeat the
left and right foot tapping and shoulder dipping.
How many times? Complete the full movement forward and backward four
times.
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D. SOUL TRAIN
ON
Goal: get the blood circulating in your legs and increase your heart rate so
you’re ready to dance!
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Starting Position: Face forward
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Time to Move: keep your center of gravity low and your knees slightly bent
as you step to the side with your left foot, then step behind with your
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right foot, then out again with your left in a “Move –Your- Groove”
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grapevine, swinging your arms opposite the movement of your feet.

● Now tap your right foot together with your left, but don’t, put your
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weight on your right foot because you’ll be stepping out on that foot
next.
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● Repeat the movement moving to right side, starting with your right foot.
● Repeat to the left
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How Many Times? Perform the full sequence (grapevine, stepping out left,
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right) twice.
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E. GUITAR MOVE
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Goal: Warm up your entire torso and arm. Do not rush this movement, do it
slowly and steadily.
Starting Position: Stand diagonally facing right, feet apart.
Time to Move: turn your left knee slightly inward while extending your right
arm out and up as if you’re holding a giant guitar.
- swing your left arm down across your body in a giant circular motion,
then return your arm to the starting position. Your right arm never
moves.
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- repeat on the right side
How many Times? 8 sets (one set is right and left)
F. TORSO STRETCH
Goal: To stretch your torso.

Starting Position: face forward, legs slightly bent and feet shoulder- width
apart, with your hand on your legs slightly above your knees.
Time to Move: moving to the rhythm, move your left shoulder down toward
your right knee, then up, repeating the full down/up /down/up
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movement 8 times
● Now lean your right shoulder down toward your left knee, then up,
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again 8 times. That’s one full repetition.
How many Times?
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8 to the right
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8 to the left
4 to the right
4 to the left
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2 to the right
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2 to the left
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Then slowly roll up back to starting position.

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HOW IMPORTANT IS COOL DOWN?

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Many people dismiss the cool down as a waste of time, or simply

unimportant. In reality the cool down is just as important as the warmth- up.
The main aim of the cool down is to promote recovery and return the body to a
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pre exercise, or pre work out level.

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A. Arm Stretch (Tricep)
a) Step out with you right foot, take a deep breath and swing both arms
above your head. Slowly bend your left elbow and use your right hand
to gently pull your left arm down for a good stretch. Hold the stretch for
16 beats.
b) Repeat on the left side, this time stretching your right arm.
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B. Arm Cross (Deltoid)
a) Use your right hand to pull your left arm by the elbow across your chest
at shoulder-level.
b) Repeat on the other side. Hold each stretch for 16 beats.
c) Release and drop your arms and walk in a circle to the left for eight beats
(L-R, L-R, L-R).
d) At the end of the circle walk, tap your right foot close to your left and
end up with your body facing to the left so you’re ready for transition to
the next step.
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C. Cross- Step – Cross Open
ON
a) Now facing front, cross your right leg forward over your left, leaning
forward with your left arm across your chest and your right arm behind
you.
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b) Then step out with your left foot, your left arm across your chest and
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right arm behind. Travel forward with 16 beats.
c) Starting with the right foot, march backward for 8 beats.
d) Complete for sequences (the entire sequence begins with crossing your
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right foot over your left and ends with the background march).
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e) Finish facing forward and step together. Take a deep breath, drop one
arm, leaving the other above your head and take a bow.
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Activity #12 (to be submitted to the teacher)
Self-Check Test:
A. Give at least 5 benefits of Dancing, Cool-down and Warm-up
Dancing Cool-down Warm-up

1.
2.
3.
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4.
5.
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B. What are the steps or exercises to improve dancing?
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Name: Class Time Date
General Instruction: Dance Exercises
Guidelines:
1. Interpret the warm up and cooldown exercises in your book, follow the
instructions given.
2. Choose any song of your choice for 4-5 minutes, you can remix more than 2-
5 songs.
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3. Wear proper PE attire, video yourself and submit the link through canvas to
your teacher.
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Criteria/Rubric:
1. Execution ................................................................................... 40%

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Correct interpretation of the warm-up and cool down exercises and effort
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2. Mastery...................................................................................... 40%
Projection, creativity, confidence
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3. Music and Timing… ...................................................................... 20%

Choice of music/song, timing
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TOTAL: 100%
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CP

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Warm -up and Cooldown Exercises Score

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Execution ..................................................................... 40%

Mastery........................................................................ 40%
Music and Timing…………………………………………………….
20%
TOTAL
73
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74
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UNIT V
DANCE AS AN EXPRESSION
(Philippine Folk Dance and Foreign Dances)
At the end of the term, the students must have:
1. discussed briefly the background of the dances in terms of their country

of origin, costumes, formation, counting and step patterns used;
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2. showed appreciation through learning the basic dance steps of each
genre in this unit;
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3. created simple choreographed dance piece of Tango, Zumba, Samba,
Belly Dance, and Bollywood Dance (all the dances in the unit), and
4. applied different dance terms and step pattern of Philippine folkdance
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through simple dance choreography.

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Values: Cooperation, consideration, appreciation, patience, respect,
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fulfillment.
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Thought: “Live your truth. Express your love Share your enthusiasm
Take action towards your dream. Walk your talk. Dance and sing
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to your music, Embrace your blessings. Make today worth

remembering”
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– Steve Maraboli on Reflections of Life and the Human Experience
C. Course Content:
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Dance as an Expression: Dance is a type of art that generally involves

movement of the body, often rhythmic and to music. It is performed in many
cultures as a form of emotional expression, social interaction or exercise.
I. Philippine Folk Dances
Dance is one art form that Filipinos excel in. It is one great source of the
country’s cultural tradition. Dance was used to please or appease the gods; to
communicate with the mighty powers that dominated the realm of our
forefathers. The dance of ancient times reflected the heart and soul of humanity.
Filipinos pose natural grace and dancing. It is ingrained in most of them
75
FUNDAMENTAL ARMS AND FEET POSITION
Fundamental Position of the Feet
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First Position
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Heels close together, toes apart with an angle of about 45 degrees.

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Second Position
Feet apart sideward of about a pace distance.
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ON
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Third Position
Heel of one foot close (R/L) to in-step of other foot.
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EN
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Fourth Position
One foot (R/L) in front of other foot of a pace distance.
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ON
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Fifth Position
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Heel of the R/L foot touches the toes of the R/L foot in a rear position.
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FUNDAMENTAL POSITION OF THE ARM

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First Postion
Both arms raised in front of chest with the finger tips about an inch apart.
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ON
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Seond Position
Both raised sideward with a graceful curve at shoulder level.
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EN
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Third Position
One arm (R/L) raised in front as in 2nd position; the other arm raised upward
(R/L)
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ON
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Fourth Position
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One arm (R/L) raised in front as in 1st position; the other arm raised overhead
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(R/L).
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Fifth Position
Both arms raised overhead
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General Instruction: Execution of the Fundamental Arms and Feet Position
Guidelines:
1. Video yourself doing the Fundamental Arms, Feet Position and a

combination of feet and arms.
3. Submit the link in canvas.
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Criteria /Rubric:
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Content .................................................................................. 40%
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Correct mechanics
Execution ............................................................................... 40%
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Correct execution
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Presentation........................................................................... 20%
Exhibition of confidence, enthusiasm and expressions
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Total: 100%
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Name: Class Time Date

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Warm -up and Cooldown Exercises Score

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Execution ..................................................................... 40%

Mastery........................................................................ 40%
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Music and Timing…………………………………………………….

20%
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TOTAL
81
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82
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DANCE TERMS COMMON TO PHILIPPINE FOLK DANCES
1. Abrasete - Girl at the right side, holds R arm of partner with her L hand,
free hands down at the sides. This term is a Spanish origin and is used
in Rigodon and in other dance.
2. Arms in Lateral Position - Both arms are at one side, either sideward
right or left. This may be at done at shoulder, chest, or waist level.
3. 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.
4. Bilao - To turn palms of hands up and down alternately, hands at waist
level in front, elbows close to waist.
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5. Brush - Weight on one foot, hit the floor with the ball or heel of the
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other foot (the free foot) after which that foot is lifted from the floor to
any direction.
6. Cabeceras - When dancers are in square formation, the couples
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occupying the width of the hall are called “cabeceras” or head couples.
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This is of Spanish origin.
7. Costados - When dancers are in square formation, the couples
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occupying the length of the hall are called “costados” or side pairs. This
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is of Spanish origin.
8. Clockwise - Like the motion of the hands of a clock. R shoulders toward
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the center of an imaginary circle. When facing center, the movement is

toward the left.
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9. Counterclockwise - The reverse direction of clockwise. L shoulder is

toward the center of an imaginary circle. When facing center, the
movement is toward the right.
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10. Crossed Arms - Partners are facing each other or standing side by
side, girl at the right of boy. They join their L and R hands together;
either R over L or L over R hands.
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11. Cut - To displace quickly one foot with the other, thus completely
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taking off the weight of the body from the displaced foot.
12. Do-si-do (“Dos-A-Dos”) - The vis-à-vis (opposites) both advance
forward, pass each other’s right or left side, step across to the right or
left, move backward without turning around pass each other’s left or
right side to proper places. This is a foreign origin and is used in many
Philippine dances.
13. Draw - To pull one foot along the floor close to the other which has the
weight of the body. The weight may or may not be transferred.
14. Free Foot - The foot not bearing the weight of the body.
15. Free Hand - The hand not placed anywhere or not doing anything.
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16. Hands on waist - Place hands on waist line (at the smallest part of the
trunk). Knuckles in, fingers pointing in rear.
17. Hayon- hayon - To place one forearm I front and the other at the
back of the waist. This is a Visayan term.
18. Hop - A spring from one-foot landing on the same foot in place or in
any direction. The other foot may be raised in any direction.
19. Inside Foot - The foot nearest one’s partner, when partners stand side
by side.
20. Inside Hand - The hand nearest one’s partner, when partners stand
side by side.
21. Kumintang - Moving the hand from the wrist either in a clockwise or
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counter Clockwise direction. This is an Ilocano term
22. Outside Foot - The foot away from one’s partner, when partners stand
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side by side.
23. Outside hand - The hand away from one’s partner, when partners
stand side by side.
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24. Place - To put foot in a certain or desired position without putting
weight on it. The sole of the foot rests on the floor.
25. Pivot - To turn with the ball heel, or whole foot, on a fixed place or
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point.
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26. Point - Touch the floor lightly with the toes of one foot, weight of the
body on the other foot.
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27. Saludo - Partners bow to each other, to the audience opposite dancers,
or to the neighbors with feet together. This term is a Spanish origin and
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is used in almost all Philippine dances.

28. Set - A dance formation like a square or a unit formation composed of
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two or more pairs.

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29. Stamp - To bring down the foot forcibly and noisily on the floor
(like doing a heavy step) with or without transfer of weight.
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30. Step - To advance or recede by raising or moving one foot to another

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resting place. There is a complete transfer of weight from one foot to

another.
31. Supporting Foot - The foot that bears the weight of the body.
32. Tap - To rap slightly with the ball or toe of the free foot, flexing the
ankle joint keeping weight of the body on the other foot. There is no
change or transfer of weight.
33. Whirl - To make fast turns by executing small steps in place to right or
left.
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Basic steps in Philippine Folkdance and It’s dance pattern
Basic Steps in 24 Time Signature
Basic Step Step Pattern Count Pattern

1. Step close step, close 1,2
2. Step point step, point 1,2
3. Step swing step, swing 1,2
4. Step brush step, brush 1,2
5. Step raise step, raise 1,2
6. Step hop step, hop 1,2
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7. Touch step point, close 1,2
8. Bleking heel-place, close 1,2
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9. Slide step slide, close 1,2
10. Cross step cross, step or step cross 1,2
11. Change step step, close, step 1 and 2
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12. Cross change step Cross-step, close, step 1 and 2
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13. Contraganza Leap, cross-step, step 1 and 2
14. Habanera step step, close, step 1, 2 and
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15. Plain Polka step, close, step, pause 1 and 2 and
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16. Hop Polka hop- step, close, step 1 and 2 and

17. Heel and toe change Heel-place, toe-point, step, close, 1,2, 1 and 2
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step step (2M)

18. Mincing steps With heels raise, take as many 1,2
ST
steps as desired
19. Shuffling steps With both feet flat on the floor, 1,2
take tiny slide steps as many as
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desired
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20.Chasing steps With one foot leading, take 1,2

successive close steps as many
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as desired in any direction

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Basic Steps in 3 4 Time Signature
1. Native waltz step, close, step 1,2,3

2. Cross waltz cross-step, close, step 1, 2,3
3. Mazurka slide, cut, hop 1,2,3
4. Redoba slide, cut, cut 1,2,3
5. Waltz balance step, close-heels raise, heels 1,2,3
down
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6. Sway balance with a step, cross-step, step, raise 1-2,3
raise 1,2-3 (2M)
7. Sway balance with a step, cross-step, step, brush 1-2,3
brush 1-2,3 (2M)
8. Sway balance with a step, cross-step, step, point 1-2,3
point 1,2-3 (2M)
9. Sway balance with a step, cross-step, step, hop 1-2,3
hop 1,2-3 (2M)
10. Sway balance with a step, cross-step, step, close 1-2,3
close 1,2-3 (2M)
11. Engaño step with a step, cross-step, step, close 1-2,3
close 1,2-3 (2M)
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ON
Basic Steps in 44 Time Signature
1. Schottiche step, close, step, hop (raise foot 1,2,3,4
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in front)
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2. Escotis Step, close, step, hop (raise foot 1,2,3,4
in rear)
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3. Chotis Brush, raise, brush, raise, step, 1,2,3,4
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step, step, close 1,2,3,4 (2M)

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Suggestions in Teaching and Learning the Dance Steps

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1. Teach the step by command or by explanation and demonstration first.

Explain the terms used. The learner must observe first.
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2. Give the rhythm and manner of counting of music by clapping hands or

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beating. The students may follow.

3. Teach and learn the step by counts.
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4. Then, execute and follow the step with the music.

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5. Lastly, teach, learn and explore the step with the arm movements most
appropriate for the step.
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General Instruction: Execution of the Basic Dance steps and Dance pattern
Guidelines:
1. Create your own original choreography applying the dance pattern and dance
terms in 2 3 4,
and4
4 time signature. Include entrance and exit.
4
2. Choose any folkdance music for 3-4 mins.
3. Video yourself and submit the link in canvas.
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Criteria/Rubric:
ON
E
Choreography ............................................................................ 40%
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Originality and correct interpretation of the dance pattern
Mastery ..................................................................................... 40%
Projection, creativity and mastery of the steps
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Presentation/Timing .................................................................... 20%
EN
Exhibition of confidence, enthusiasm and expressions and timing

Total: 100%
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ST
Dance Pattern Score

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Choreography ............................................................. 40%

CP
Mastery........................................................................ 40%
Presentation/Timing...................................................... 20%
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TOTAL
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87
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88
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Self-Check Test:
Direction. Encircle the letter of the correct answer
1. What do you call the foot not bearing the weight of the body?
A. free foot B. free hand C. supporting foot D. inside foot
2. A Visayan term, to place one forearm infront and the other at the back of the
waist is called ?
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A. do-si-do B. hayon-hayon C. hands on waist D. kumintang
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3. Moving the hand from the wrist either in a clockwise or counter Clockwise
direction is called ?
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A. inside hand B. kumintang C. pivot D. bilao
B. point C. tap US
4. To make fast turns by executing small steps in place to right or left.
A. whirl D. shuffle
T
EN
5. Both arms are at one side, either sideward right or left. This may be at done
at shoulder, chest, or waist level is called ?
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A. bilao B. brush C. Arms in lateral position D. reverse T

ST
6. To turn palms of hands up and down alternately, hands at waist level in front,
elbows close to waist is called ?
A. free hand B. bilao C. kumintang D. hayon-hayon
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CP
7. Partners are facing each other or standing side by side, girl at the right of boy.
They join their L and R hands together; either R over L or L over R hands is
R
called ?
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A. crossed arms B. cut C. crossed arms D. joining both hands
8. The foot away from one’s partner, when partners stand side by side is called?
A. inside foot B. free foot C. outside foot D. supporting foot
9. A dance formation like a square or a unit formation composed of two or more

pairs.
A. costados B. set C. cabesera D. pair/partner
10. The hand not placed anywhere or not doing anything is called ?
A. free hand B. inside hand C. kuminatang D. hands on skirt
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II. Write the step pattern of the following dance terms.
1. Change steps
2. Mazurka
3. Redoba
4. Heel and toe Polka
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ON
5. Bleking
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6. Cross change step
7. Habanera US
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EN
8. Sway balance with a point

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ST
9. Chotis
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10. Native waltz

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SAMBA
Country Origin: Brazil
Music: Samba is usually a dance to a music in 2

4 beat each.
Basic Footwork: Fast; Three-step weight changes with a slight knee lift, led
with alternating feet
Basic Rhythm: Quick, quick, slow
The Samba has its origins from Brazil’s mixed population-native peoples.
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The Portuguese settlers and African slaves. This dance reached the US in the
1920s. Samba travels around the room and the dance requires fast footwork, a
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samba bounce action, and an understanding of the different rhythms in the music.
Samba is danced at the Rio de Janeiro’s Carnival, a famous festival in Brazil in the
days leading up to lent (when Christians traditionally give up rich food and drink).
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The carnival is a giant street party, with feasts, elaborate floats, costumes, masks,
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music as well as dancing. T
The Basic Samba Moves
EN
Leader/Man’s Part
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Begin close facing position

ST
1. CT.1 R Foot Forward

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2. CT.a Close L foot to R foot with pressure or partial weight

3. CT.2 Replace weight completely to R foot
CP
4. CT.1 L foot back

5. CT.a close R foot to L foot with pressure or partial weight
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6. CT.2 replace weight completely to L foot

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Notes: No turn, or up to ¼ turn to R over steps 1-6
Follower/Lady’s Part
Begin close facing position
1. CT.1 L Foot Back

2. CT.a Close R foot to L foot with pressure or partial weight
3. CT.2 Replace weight completely to L foot.
4. CT.1 R foot forward
5. CT.a Close L foot to R foot with pressure or partial WT.
6. CT.2 Replace WT. completely to R foot
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Reverse Movement
Is taken with the left foot forward and R foot back, facilitating a gradual turn to
the left.
Basic Movement to Side
The Samba basic movements to side (or side basic) are a similar action to the
natural and reverse basics, but taken sideways to the left and right, rather than
forward or back. They danced using the normal samba bounce motion, and can
be taken without turn, or turned gradually to R or L.
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Leader/Man’s Part
Close Facing Position
ON
1. ct. 1 Left foot side
2. ct. 1 Close R foot to L foot with pressure or partial weight.
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3. ct. 2 Replace weight completely to L foot
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4. ct. 1 R to side
5. ct. 1 Close L foot to R foot with pressure or partial weight.
6. ct. 2 Replace weight. completely.
T
EN
Follower/Lady’s Part
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Close facing position

ST
1. CT.1 R Foot Side

2. CT.a Close L foot to R foot with pressure or partial weight
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3. CT.2 Replace weight completely to R foot.

4. CT.1 L foot side
CP
5. CT.a Close R foot to L foot with pressure or partial weight.

6. CT.2 Replace weight. Completely to R foot
R
FO
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Other Distinctive Steps
1. Solo Samba
a. “Samba No PE”- The rhythm is 2/4 with three steps in every measure.
This dance can be seen often in carnival parades and other carnival
celebrations.
b. “Samba Axe”- the musical rhythm starts out slow and the rhythm
increases to a faster tempo.
LY
Basic Solo Samba Steps
Count: “one- uh- two”- step L foot forward at the count of “one.”
ON
Lift up R foot on “Uh”
Place it next to the L on “two”
Going back the same step is repeated
E
Step R foot back ct. one
US
Lift L foot at ct. uh
Place it next to the R on “two”
T
2. BotaFogas (Botafogo) comes from the Botafago place in Rio De Janeiro,
EN
Brazil
Count one- step L foot forward slightly, diagonal across the body
UD
Count ah- step sideways with partial weight transfer (make a quarter turn)
Count 2- replace the full weight onto the L foot end the figure facing
ST
diagonally to the center.
3. Traveling Voltas
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Leader/Mans part traveling volta to left

CP
1. Ct.1 cross R foot in front of L foot

2. Ct.a L foot side and slightly back with partial weight
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3. Ct.2 cross R foot in front of L foot

FO
4-7 Ct.a1a2 repeat steps 2-3 twice
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Benefits of Dancing Samba
1. Aerobic/Anaerobic benefits.
Aerobic - causes your body to work hard and consistently pump oxygen
throughout the body. Dancing samba will improve condition of
heart and lungs.
Anaerobic - you will be working out the muscles in your body more
intensely, increasing muscle mass and toning your figure in the
process.
2. Improve your fitness personality.
a. Healthy Posture- keeps your joints and bones in the correct position
throughout your life.
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b. Lose weight
c. Develops flexibility, body coordination; increases energy and lung-
ON
endurance.
d. Uses a lot of hip mobility that allows for fluid movements. Samba lets
you acquire the skills of moving your hips and pelvis with control and it
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helps with posture refinement.
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e. Improves your balance- the brain is capable to adjust for stability and
focus.
3. Helps ease anxiety, depression and cuts off boredom. The upbeat songs will
T
pump natural endorphins right into your brain.
EN
4. Boosts memory- it can stimulate your memory.

5. Makes you happy- better social skills; and great way to meet and make new
UD
friends, increase self-esteem and confidence.

ST
ZUMBA
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CP
Country Origin: Colombia

Music: The soundtrack includes reggae ton. A sexy style born in Panama and
embraced by Puerto Rico that blends Latin music with Hip-Hop and
R
electronics. Cumbia a Colombian dance music incorporating accordions,

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percussions and guitars.
This Latin- inspired dance fitness style was developed in the mid 1990’s, and is
now danced in gym and studios around the world. Zumba combines Latin and
international music with high energy aerobics and a mix of dance moves. The
choreography incorporates Hip-Hop, soca, samba, salsa, meringue and mambo.
Zumba was created by Colombian dancer and choreographer Alberto “Beto”
Perez.
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Basic Steps Variations:
Teachers demonstrate the dance steps, students observe and follow.
1. Merengue March- a style of Dominican dance and music

-Begin by marching
-Cross your arms over your chest from one side to the other.
-Keeping arms crossed over your chest, and march by taking single step at
a time.
-Marching position should have your legs crossed.
2. QueTeMueve- means “what moves you”
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-You move side to side, 2 steps on each side.
-Now, as you move to the side open your hips and get on the balls of your
ON
feet.
-Then add your arms like you are twisting.
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3. Booty Circle- Basically, a hip- circling motion
US
-Begin in a standing position, with legs about shoulder- distance apart.
-Place your hands on your hips
-With your feet stable on the floor, tilt your right hip up to your right side.
T
-Tilt your hips to the back. Then lift your left hip to your left side.
EN
-Finally tilt your hips to the front while contracting your abs with a crunch
basically you are making a circle with your hips: right side, back, left side,
UD
front with a crunch. Do not be afraid to stick out your “booty”.

ST
4. Cuban Salsa- This is a dance in a rotational pattern.

-The man and woman move as if dancing around the edge of a circle with
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the axis between them.

CP
-Sometimes the man becomes the axis and the woman moves around him.
-Accentuated hip-movement is caused by pumping of the knees.
-Please refer to a variety of Cuban styling.
R
(www.salsa-dancer.com>cuban-style-salsa)
FO
5. Sabor Step (Flavour)-This step is used with the Salsa rhythm with hip shakes
1.) Tap R (foot). Tap L(foot), tap R (foot)
2.) Step R sideward, L cross over R, step R sideward
3.) Repeat (1) tap L(foot), tap R(foot), tap L (foot)
4.) Step L sideward, R cross over L, step L sideward(repeat all)
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6. Basic Cumbia- Cumbia is derived from the African “Cumbe” which means
“Dance”. It represents a blending of cultures both musically and rhythmically.
Leg Movements Arm Movements

Ct.1 - “Two Steps”- forward and backward
motions start with feet together
Ct.2-Right foot (Backward Step) pivot Ladies – bring arms up, bend the
slightly R elbows, slightly tilt the wrist up for
Ct.3-L In Place a little bit of feminine action.
Ct.4-R Neutral (goes back in place)
Repeat
Ct.5-Left foot (backward step) pivot slightly
L Men – keep the elbows as part of
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Ct.6-R Place your arm, making a small circles
between the hips and the shoulder.
Ct.7-8-L neutral (goes back in place)
ON
Refer to https://www.youtube.com>watch
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7. Cumbia Candle Step
US
Starting position: R hand as in holding a candle L hand on hips.
Step 1
T
(1) step R (foot) sideward
EN
(2) bring L (foot) together to R (foot)

(Repeat 3x moving sideward right)
UD
Step 2
ST
(1) step L (foot) sideward

(2) bring R (foot) together to L (foot)
U
https://www.youtube.com>watch
CP
Other steps will be introduced by your teacher.

R
FO
WALTZ
Country Origin: Austria

Bavaria
Music: in 3
4 time (any form of waltz music)
Waltz is a smooth progressive dance characterized by long, flowing

movements, continuous turns, and rise and fall. Graceful and elegant, waltz
dancers glide around the floor almost effortlessly.
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Waltz has undergone many changes. It was a country folk dance born in
the seventeenth century in the suburbs of Austria and Bavaria. By the middle of
the eighteenth century, the dance has grown in popularity and spread
throughout Europe. When it was first introduced into the English ballroom in the
early 1800’s, the waltz was denounced by both church and state for its vulgarity
and immorality. The first-time society has seen this outrageous dance position,
with the man holding the lady so close to his body. But the very thing that
brought it such criticism also made appealing, and the waltz was here to stay.
The waltz was introduced into the United States in the mid-1800’s. The
twentieth century saw two distinct styles of the slow waltz evolve. The English
refined the movements and codified the technique into the competitive
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International style, while the American develop the waltz with a more theatrical
flavor.
ON
Music: Waltz is by its definition a form of music in 34 time. The first beat of each
measure is dominant with a strong down beat accent, while beat two and three
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are lighter.
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Waltz Action: Unique to the waltz are the techniques of “rise and fall: and “body
sway”.
T
Rise and fall- is the elevating and lowering that a dancer feels as he or she
EN
moves onto the toes, and then relaxes through the knee and ankle, ending on a
flat foot. This stylish action gives couples an up-and-down appearance as they
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glide effortlessly around the floor.

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Proper Dance Hold

U
CP
1. Stand quite close, feet together, offset to the left.

2. Arms and elbows up and away from your sides.
3. Left hand holding the ladies right hand, closing the fingers lightly.
R
4. Gentlemen’s right hand goes behind and underneath the ladies left hand
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just comes slightly off the shoulder.

5. As you turn around slowly, you can see both sides, elbows level across,
standing nice
and straight, very good posture.
6. Stay calm in the upper body and let the leg do the work.
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Basic Waltz Steps
Box Step: This pattern resembles a box. The partners perform opposite
movements. When the leader (Boy) moves forward the follower (Girl)
moves backward.
Starting Position: Closed Position
Leader (Boy)
(1) Left foot forward
(2) Step to the right side with right foot
(3) Bring feet together (L foot closed to R)
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(4) Right foot backward
(5) Step to the left side with lest foot
ON
(6) bring feet together (R foot closed to L)
Follower (Girl)
(1) Right foot backward
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(2) Step to left side with left foot
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(3) Bring feet together (R foot closed to L)
(4) Right foot forward
(5) Step to right side with right foot
T
(6) Bring feet together (L foot closed to R)
EN
The Underarm Turn:

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To initiate this turn, the leader raises his left hand in the air, which is a
cue for the follower to turn underneath. The follower will take six walking steps
ST
forward in a small circle returning to her original place.
Note: The leader will continue dancing the Box step (How to waltz
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underarm turns monkeysec.com)

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Hesitation Step:
R
The Hesitation waltz is usually performed to fast music and includes the
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usual waltz steps. The major difference is that dancers will pause on certain
beats instead of dancing through them.
(1) The leader steps sideward right (ct.1) and together in place (L foot
closed to R) (cts.2-3).
(2) Follower performs the opposite movements.
(3) The dancers can reverse the movement with the leader stepping
sideward left (ct.1) and together in place (R foot closed to L) (cts.2-3).
(4) Follower performs the opposite movements. This sequence is repeated
2x forward and backward.
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(Beginner Waltz – The Hesitation Ballroom Dance Lesson by Andy Wong)
Progressive Step: by passion for dancing
Stating Position: closed, knees slightly bent
Leader
(a) Forward, side, close
L (foot), R (foot), L (foot) closed to R (foot)
1 2 3
(b) Forward, side, close
R (foot), L (foot), R (foot) closed to L (foot)
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(c) Forward, side, close
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(d) Repeat (a – c) moving backward starting with R (foot)
Note: The follower (lady) will be moving opposite direction.
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Follower
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(a) Backward, side, close
(b) Backward, side, close
T
EN
(c) Backward, side, close

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(d) Repeat (a – c) moving forward.

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Body sway- gives couples a pendulum like look, swinging and swaying their
upper bodies in the direction they are moving. These actions are smooth and
confident, making the waltz a simple, yet elegant and beautiful dance. (TREVA
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Bedinghaus, 2016)
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R
FO
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CP
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ST
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100
EN
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US
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ON
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General Instruction: Dance Composition/Improvisation

(With Combination and Variation)
Guidelines:
1. Choose any of the following dances;

a. Samba
b. Waltz
c. Zumba
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2. Watch in you tube to get ideas on what to do but make your own original
dance choreography in 2-3 mins. base on the following criteria;
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(a) analyze the characteristics of the piece.
(b) determine the kinds of movements best suited to the music.
(c) design an appropriate movement routine or dance.
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3. Video yourself and submit the link in canvas.
Criteria/Rubric: US
T
EN
Content.......................................................................... 30%
Variety, difficulty and continuity of movements
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Execution ...................................................................... 40%

Rhythm and timing, foot work, hand, head, arm and body movements
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through variations
Style .............................................................................. 30%
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Artistic interpretation/choreography projected through dance movements,

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attentiveness, enthusiasm, enjoyment of the dance

TOTAL… ............... 100%
R
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Dance Pattern Score

Content ...................................................................... 30%
Execution .................................................................. 40%
Style .......................................................................... 30%
TOTAL
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EN
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US
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ON
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BELLY DANCE
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ON
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US
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(Model Sari-Saot Dance Troupe Members)
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Country Origin: Middle East, North Africa around the time of pyramids
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Music: Traditional Middle Eastern and Mediterrean music is great especially if it’s
accompanied by a strong beat from the Doumbek, a traditional Arab drum.
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Belly dance is a western-coined name for a type of Middle Eastern dance.

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Originally a “solo” improvised dance involving torso articulation, Belly Dance takes
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many different forms depending on the country and region, both in costume and
dance style, and new styles have evolved in the west as its popularity has spread
globally.
R
FO
The term “Belly Dance” is the translation of the French term “Danse Du
Ventre”, which has applied to the dance in the Victorian Era, and probably
originally referred to as the Arabic tribe duled nail dancers of Algeria, whose dance
used more abdominal movements than the dances described today as “Belly
Dance”. Every part of the body is involved in the dance; the most featured body
part is usually the hips. In Arabic, the dance is known as “Rags Shargi” (Eastern
Dance).
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Social Context of Belly Dance in the Middle East
1. Folk and Social Dance- performed at celebrations and social gatherings

by ordinary people who are not professional performers.
2. Performance Art- performed on stage, with more emphasis on stagecraft
and use of space.
Special costumes designed to show off the movements to best effect.
Movements found in Belly Dance
1. Percussive movements: Staccato movements, most commonly of the hips,

which can be used to punctuate the music or accent a beat.
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Typical Movements Include: Useful Websites:
ON
Shimmy Expert Village
Hip Drops Expert Village
Vertical Hip Rocks Neon World Dance, New York
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Circles Howcast.com
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Hip Lifts Expert Village
Hip twists Neon World Dance, New York
Undulations Howcast.com
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EN
Percussive movements using other parts of the body can include lifts or drops of
the ribcage and shoulder accents.
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2. Fluid Movements: Flowing, sinuous movements in which the body is in

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continuous in motion. This movement require a great deal of abdominal muscle

control.
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Typical Movements Include:

(a) Horizontal and vertical figures of eight (8) or infinity with the hips.
(b) Horizontal or tilting hip circles.
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(c) Undulations of the hips and abdomen.

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3. Shimmies, shivers and vibrations- small, fasts, continues movements of the

hips or ribcage, which create an impression of texture and depth of movement.
Shimmies Includes:
(a) Relaxed up and down shimmies
(b) straight- legged knee- driven shimmies
(c) Fast tiny hip vibrations
(d) Twisting hip shimmies
(e) Bouncing “earthquake” shimmies
(f) Relaxed shoulder or ribcage shimmies
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In addition to these torso movements, dancers in many styles will use level
changes, travelling steps, turns and spins. The arms are used to frame and
accentuate movements of the hips, for dramatic gestures and to create beautiful
lines and shapes with the body.
How to Belly Dance
1. Groove to some good belly dance tunes.

2. Assume the fundamental belly dancing stance.
(a) Keep an erect posture- make sure your back is straight and your chest
is out. Don’t slouch. Gently pull your shoulders back to give yourself an
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at-attention look.
(b) Bend your knees slightly and don’t lock them while dancing.
ON
(c) Align hips under the body, throw and bounce the hips, but always
return hips to an aligned resting position. Prolonged hip
“misalignment” can give lower back pain.
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3. Start to “shimmy”. The shimmy is a good foundation for more complicated
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belly dancing techniques.
To Shimmy:
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(a) Bend your knees slightly, straighten one leg, using this motion to lift
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one side of your hips up towards your body. Return your leg to its bent
position as you straighten your other leg. Practice the isolating this
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basic movement, then slowly increasing the speed of your shimmy

until you can do it to the beat of the music at a high speed.
ST
(b) Be sure to keep your feet flat on the ground throughout the shimmy.
Don’t go up on your toes.
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4. Keep your arms up. Your arms should stay parallel to the floor or above when
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belly dancing.
Elevated arms stretch the stomach muscles tightly, giving your belly a
more taut appearance.
R
Elevated arm motions can be incorporated into the dance routine.

FO
e.g. Recreating Wave- like motion with the arms, shaking them to the
beat, making flirtatious “come hither” gestures.
5. Accent your dance with leg and hand movements. Give your dance any sort of
personality:
e.g. • Try gliding your hands in front of your face with wrist flourishes to
hide yourself from the audience.
• Give the impression that you’re fiery and aggressive.
• Use your legs to do dramatic leads and spins.
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• Go for a regal “cleopatra” look- stretch one arm in front of you, as if
admiring yourself with a hand mirror, keeping the other arm behind
your head, as if you’re doing your hair. Alternate arms to the beat.
• Take to the floor. Laying on one side, prop yourself up with one arm,
extending your other arm and one leg toward the ceiling. Sway your
arm and leg to the music. Or, if you’ve got flexibility, use your arm to
stretch your leg toward your head.
• You can try “Rolling” your outstretched fingers to the beat of the
music as you twist and sway your arms in front of you.
6. Keep a flirtatious air
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Tips
ON
1. Watch yourself in the mirror
2. Don’t give up
3. Keep whatever body part your moving isolated. Isolation is the key to
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making it look good. If your moving your hips try to keep your chest and arms
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still and vice versa, it makes your movements look more controlled.
4. Make sure there is a lot of extra space.
5. Don’t be too hard on yourself
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6. Be patient
EN
7. Dance with passion and put your soul to your dance.

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THE BOLLYWOOD DANCE
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ON
E
US
(Model Sari-Saot Dance Troupe Members)
Country Origin: MUMBAI, INDIA

T
EN
Bollywood dance is the dance-form used in the Indian film. It is a mixture of

numerous styles. These styles include belly dancing, kathak, Indian folk, western
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popular, and “MODERN”, jazz, and even western erotic dancing.

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What is Bollywood Dance?

“Bollywood”- refers to the Hindi culture, art, and film industry from Bombay.
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The international appeal of bollywood dancing is something that has been many
decades in the making originally it was found only in places that had a significant
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consumption of Indian films (i.e., Russia, and the Middle East). But a few years
ago it started to become chic in Europe, and today, dance schools that teach this
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style may be found in most major cities. (David Courtney, 2014)

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Characteristics:
1. Bollywood dance focuses on acting out the lyrics of the song, which is
often part of the story and usually relates to love and marriage.
2. Bollywood involves lots of exquisite poses and hand gestures. Eye
contact with the audience is importance.
3. The dance often performed in groups. The dancers must practice doing
the same moves at the same time.
4. The dance style involves complex footwork and intricate hand
movements.
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5. It takes a lot of stamina and involves quick vibrating movements like
belly dancing.
6. The movements are energetic, involving raised arms and lots of jumping
and kicking.
Hand Gestures/Movements
Hand gestures are an important detail, since they bring so much expression
to bollywood dancing. Dancers need to keep practicing to make sure the fingers
and arms are in the right position and at the correct angle at all times.
Hand movements that act as a form of sign language to help to tell a story
or demonstrate themes such as weather, animals or places.
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Fist
Examples: FIST
ON
 Fist close, elbows bent, palms facing towards the body, knuckles
facing outward
 Ok sign, peacock hand
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Peacock
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• Elbows Bent, Palms facing away from the body
Join Thumbs and ring finger together
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Basic Bollywood Dance Moves
EN
1. Hip shake:
Starting Position: R foot in front, both knees slightly bend. Put R hand
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behind the head L hand on waist.

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(a) move hip (R – up)…………………… ct.1

(b) move hip (down)……………………. ct.2
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(c) repeat ( a – b) 3x…………………… cts.3 – 4

cts.5 – 6
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cts.7 – 8
2. Lotus hands:
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Starting Position: Palms straight out, spread fingers

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(a) bring arms overhead (fifth position)

Shake hands sideward, bringing it downward to second position. cts.1,2,3
(b) bring up ............................................................................. ct.1
(c) repeat (a)………………………………………………………………….……. ct.1,2,3
3. Horse Move
Starting Position: One foot front, facing front
(a) make a gallop step with R foot leading without leaving your place
(This is done in place………………………………………..cts. 1 & ah 2 & ah 3 & ah 4
Note: You can do any variations e.g. moving forward, turning clockwise in
place, turning counter clockwise in place moving sideward R or L
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4. Shoulder Shake: (Forward and Back )
Starting position: One foot front (forward) both knees slightly bent with
body’s weight forward. Arms sideward
(a) Shake shoulder forward by bending trunk slightly forward……… cts. 1,2
(b) Shake shoulder backward........................................................ cts. 3,4
(c) Repeat (a) and (b) .............................................................. cts 5, 6,7,8
Note: Other Variations

Positions: R hand in front of L shoulder, Feet same as forward and back
(a) each count hit your R hand with your Left shoulder……………… cts. 1-8
(b) Repeat (a) Reverse position…………………………………….…………. cts. 1-8
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5. Windshield Wiper
ON
Starting Position: Same feet position with shoulder shake, bring hands at
waist level
(a) move arms like a windshield wiper while bending trunk forward. cts. 1,2
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(b) move arms upward head level……………………………………….……… cts. 3,4
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(c) Repeat (a) and (b)…………………………………………………..……… cts.5,6,7,8
(Choreograph By: Ajanta Charabortu)

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EN
Facial Expressions:
A. Bollywood dance requires a great deal of acting. The song lyrics are
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often part of the story. The characters facial expressions need to reflect their
emotions. When they dance to show happiness, excitement, shyness or sadness.
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B. The eyes should follow the hands- they can move a lot. The eyes are
heavily lined in black make-up to accentuate their movements.
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CP
Foot Movements- starting position: One foot on a toe (ball of R foot forward
touching floor) both hands on the R hips. Shake hips by bringing it up-down, up-
down. With a bouncy movements
R
1. 1, 2, 3 steps backward- 4x ---- Step, Close, Step Fast Tempo

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1, 2, 3 steps forward- 4x----- R L R

2. Take this around- Front, side, side, side turning. Arms extended sideward
(Pivot turn) Repeat ..................................................... Turning
3. Limp Steps in place- body bend downward- roll arms
(As in starting position) 4x straightening the body up
4. Crossing over… .... Spinning it out- cross turn R foot over L foot
5. Step-touch (R touch) L touch Limp in place 4 cts. Making a half moon
Step-Touch
6. Step-Touch, Step Touch- Repeat to the Left jump sideward
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Bollywood Dance steps and moves
By Tamil (Dance Instructor)
Starting Position: Feet apart, Jump bring feet together……ct 1
Step 1: (a) Bend both knees (slightly) facing the right direction, point fingers facing the
same direction… ..................................count 1
Straight position… ............................................. count 2
Note: Right foot slightly forward
(b) Repeat (a) facing the Left direction………………………ct. 3, 4

(c) Repeat (a) and (b)……………………..………………………ct. 5, 6, 7, 8
(d) Repeat all… ........................................................ 8
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Note: The face must always face front
ON
(e) Facing front bend down on both knees and jump, land with feet apart
(f) With feet apart move hips and pelvis in a clockwise direction with
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knees bent while bouncing both feet slightly on the
US
floor ........................................... ct. 1, 2, 3, 4 Front 5, 6, 7, 8 Back
Hands on the 2nd hips with fingers spread apart…............... 8 cts.
(g) Repeat (e)
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EN
Step 2: Feet apart knees slightly bent, both hands on the 2nd hips front.
(a) Move hips and pelvis in a clockwise direction in a Semi form L to front count
UD
1, 2, 3, 4 and then from R to back 5, 6, 7, 8

(b) Bring both arms to chest level and extend in outward motion.
(c) Bring body and head in same direction (R) starting from the right ct. 1, 2
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Repeat the same to the left count 3, 4

(d) Repeat (c) count 5, 6, 7, 8- up (Back to straight position)
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(e) Move top (half of the body) in clockwise direction……count 1, 2, 3, 4, 5, 6, 7,

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Bring arms up (overhead) bringing it to the side chest level. Move and use
R
shoulder to help chest into pounce movement. (turn and face left)
FO
Step 3: (a) Bring arms in reverse T position and stretch and bring Right Leg behind bent
and raise this must be done simultaneously with the arms. Bend arms in
front of chest count 1 and 2 and 3 and 4
……………………………………….……. fast counts and fast movements
(b) Repeat all facing L (but the face must face front)
Stop and bring arms overhead -------drawing--------
(c) Raise arms in the air (Right arm higher than the left) and swing to the Right
as in throwing motion (fist slightly ct. 1, 2, 3, 4 close)
(d) Swing hips and move feet in the same direction (the feet must be together
while moving the hips… .................. ct. 1, 2, 3, 4 to the
Right… .................................... ct. 5, 6, 7, 8 to the Left. Repeat all
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Self-Check Test:
I. Matching type. Match column a with column b. write the letter of the correct
answer on the space provided before the number.
Column A Column B
1. A western-coined name for a type of Middle A. Fluid
Eastern dance. Originally a “solo” improvised Movements
dance involving torso articulation
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2. Flowing, sinuous movements in which the body B. Bollywood
is in continuous in motion. This movement
ON
require a great deal of abdominal muscle
control.
E
3. A dance-form used in the Indian film C. Belly dance
4.
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Starting Position: R foot in front, both knees
slightly bend. Put R hand behind the head L
D. Percussive
movement
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hand on waist.
EN
5. Staccato movements, most commonly of the E. Hip shake

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hips, which can be used to punctuate the music

or accent a beat
ST
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II. What are the difference between the Belly dance and Bollywood dance?
CP
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ON
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Activity# 19 Application (to be submitted to the teacher)
General Instruction: Interpretation of Belly Dance and Bollywood
Guidelines:
1. Watch in you tube any belly and bollywood dances as your references but
create your original dance choreography, belly dance (girls) and bollywood
(boys) for 3-4 mins.
3. You may use props and costume as well as the participation of other
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persons but strict observance of minimum health standard is a must.
4. Submit the link in canvas.
ON
Criteria/Rubric:
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Content ................................................................................ 40%
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Artistic interpretation of values as projection through movements,
originality
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Execution ............................................................................... 40%
EN
Creativity and precision of movements

Presentation… .......................................................................... 20 %
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Exhibition of confidence, enthusiasm and expressions

TOTAL: 100%
ST

U
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Criteria Score
Content .................................................................... 40%
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Execution ................................................................. 40%

FO
Presentation ............................................................. 20%

TOTAL
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EN
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ON
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WHO’S WHO?
(Dancers, choreographers, dance critics,dance companies, dance crews, dance

researchers, etc…..)
1. Alejandro, Reynaldo Gamboa

(a) Artistic Director- Choreographer of the Philippine dance company of
New York and Reynaldo Alejandro Dance Theater, Inc. (USA)
(b) 1969- Asia foundation fellowship in dance award
(c) Adviser for foreign countries of the congress of research in dance
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2. Aquino, Francisca R. (1899-1983)
(a) 1st Filipina National Artist for Dance- 1973
(b) The Legendary Mother of Phil. Folk Dancing
ON
(c) Founded the Phil. Folk Dance Society- 1949
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3. Barredo, Maniya
US
(a) Joined Les Grands Ballet Canadiens in Montreal
(b) JDR III Fund Grant, Aliw Award- 1977
(c) Was Prima Ballerina of Atlanta Ballet 1977- 1995
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(d) Advancement of Philippine Culture Award- 1988
EN
(e) Gawad CCP Para SaSining- 1992

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4. Bayanihan Philippine National Folk Dance Company

(a) The oldest Dance Company in the Philippines
ST
(b) Founded by Helena Benitez- 1957

(c) Debuted in Brussel World Fair- 1958
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(d) A Multi Awarded Company both Nationally and Internationally.

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5. Goquingco, Leonor Orosa

(a) Filipino National Artist in Creative Dance
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(b) Trailblazer Mother of Philippine Theater

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(c) Patnubay Ng Sining at Kalinangan Award
6. Elizalde, Liza Macuja

(a) 1st Filipina Prima Ballerina and First Foreign Soloist of Kiron Ballet
(b) Silver Medal Asia Pacific Ballet Competition in Tokyo
(c) Special Prize for the Artistry for the House DiagHilev IIV Moscow.
7. Fajardo, Libertad
(a) Dancer, researcher “Visayan Folk Dance”- 1961-1975
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8. Obusan, Ramon A.
(a) Dancer, choreographer, stage designer, artistic director, an acclaimed
archivist, researcher and documentary filmmaker who focused on
Philippine culture.
(b) Founded Ramon Obusan Folk Loric Group- 1971
(c) National Artist of the Philippines for Dance-2006
9. Suarez, Petronilla S.
(a) Pianist, Researcher, Dance Critic
(b) “A collection of unpublished folk dances” Province of Iloilo-1971
10. Villaruz, Basilio Esteban
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(a) First Filipino certified dance notator, choreographer, dance critic,
writer, and head of the dance program at the college of music of the
ON
University of the Philippines.
11. A-Team
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(a) Champion World Hip-Hop Dance Mega Crew-2014
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(b) 3rd Place Mega Crew World Hip-Hop- 2015
12. El Gamma Penumbra

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(a) Champion Asia Got Talent-2015
EN
13. FMD Extreme

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(a) Champion upper division “World of Dance” 2015

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14. Power Duo

(a) Grand Champion PGT 2016
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(b) The first winner in Dance Category

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ADD-ON
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FO
1. Berkely, Busby
(a) The man who invented the most spectacular dance routines in
Hollywood.
(a) His distinctive brand of production and choreography featured fun and
frivolity, as well as long lines of dancers known as chorus girls.
2. Baryshnikov, Mikhail
(a) One of the greatest dancers in history
(b) Principal dancer at the New York City Ballet
(c) Artistic director of American Ballet Theater
(d) Face of the art form and most influential dancer of our time.
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3. Brice, Rachel
(a) Most popular and most talented belly dancer in the west
(b) Leader in Hybrid styles of belly dancing and has helped popularize
tribal fusion belly dance.
4. Clover, Savion
(a) Was a choreographer for Penguin tap sequences in the movie “ Happy
Feet”.
(b) Clover took tap back to its African roots, making it young and funky,
his style is hard and loud with an emphasis on what he calls “
Hittings”.
(c) His rhythms and moves are true to the spirit of tap. He works in
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television and film, and creates spectacular stage dances.
ON
5. Cole, Jack (1911-1974)
(a) Considered the father of Jazz dance techniques
(b) Father of theater dance
E
(c) He was the first dancer to combine the popular jazz steps of the time,
US
aspects of modern dance and ethnic influences, creating artistic and
technical jazz dance.
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6. Cortes, Joaquin
EN
(a) One of the greatest flamenco dancers alive.

(b) He’s one of the very few dancers in history who has managed to
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become a phenomenal sex symbol, loved by men and women alike.

Madonna and Jennifer Lopez publicly claimed to adore him.
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7. D’umo, Napoleon Buddy (Filipino)

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Tabitha (Italian)
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(a) Known as “ Nappytabs” are EMMY award winning married

choreographers.
(b) Best known choreography on the television show “ So you think you
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can dance”
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(c) Supervising choreographers and executive producers of “ America’s

Best Dance Crew”
(d) They worked with Christina Aguilera, Ricky Martin, Celine Dion,
Jennifer Lopez
(e) They directed/ choreographed
• Jabbawockeez’s music stage show (2010)
• Cirque Du Soleil
• Viva Elvis
• Micheal Jackson: The Immortal World Tour 2012
• Madonna’s Super Bowl
• MV for K-POP, TVXQ and BOA
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(f) Entrepreneur – Dance wear Line
(g) Teach Hip-hop classes, involved with charity that support arts.
(h) Outstanding Choreography primetime EMMY-Award
• 2011, 2014- So you think you can dance
8. Duncan, Isadora (1877-1927)

(a) Mother of Modern Dance
(b) Known for dance and choreography modern/ contemporary
(c) She believed movement originated from Solar Plexus, which she
thought was the source of all movement.
9. Ebina, Kenichi
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(a) Amazing Japanese Dancer
4 standing ovation from the judges during audition “America’s Got
ON
Talent” 2013. Dancing is his passion.
10. Fonteyn, Margot
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(a) She was an English Ballerina who danced many principal roles when
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she was still in her teens.
(b) She joined the Vic- Wells Ballet (now the Royal Ballet) in 1934.
(c) She was the most famous Ballerina of her time. Her signature role was
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“ The Firebird”
EN
(d) In her forties she established a partnership with Rudolf Nureyev.

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11. Fosse, Bob (1927-1987)

(a) Dancer, Actor, Choreographer, Director, he created a style of dance
ST
that was teasing, entertaining and always cool.

• 1954 – The Pajama Game
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Damn Yankees, Red Head, Sweet Charity

• 1972 – Cabaret ( Best Loved Project)
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• 1975 – Chicago
• 1979 – All that Jazz
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FO
12. Graham, Martha (1894-1991)

(a) Mother of Modern Dance
(b) She started dancing when she was 22 (very late for a dancer) at
Denishawn School.
(b)Choreographed more than one hundred and fifty works during her
lifetime, and has had a remarkable impact on the entire field of
modern dance.
(d) She formed the Martha Graham dance Company in 1926
(e) Created the only- Codifield Modern Dance Techniques. The
“Contraction” and the “Release”. They involve tightening and releasing
the abdominal muscles while using careful controlled breathing.
119
(f) Famous Works
• Primitive Mysteries – 1931
• Frontier – 1935
• Appalachian Spring – 1944
13. Hammer, Mc
(a) He was a rapper and entertainer who reached his peak in the early
1990s.
(b) He popularized the dance move known as “ the Running Man”
14. Hines, Gregory

(a) He danced wearing electronic tap shoes connected to synthesizers –
LY
so when he tapped he created a whole range of different sounds.
ON
15. Jabbawockeez
(a) Best Dance Crew of the world
E
16. Jackson, Janet
US
(a) Has been responsible for creating some of the most iconic dance video
of all time.
(b) Her live shows are always dazzling with groundbreaking concepts such
T
as her velvet rope tour in 1998, which was influenced by Broadway
EN
musicals.
UD
17. Jackson, Michael

(a) King of Pop
ST
(b) The first artist to create music videos that were actually short movies,
with a story as well as thrilling dance performances.
U
(c) He was a dancer with a natural gift, and even invented several unique
CP
moves.
Example:
R
Moonwalk – The move uses the technique of gliding from the funk
FO
style popping. It gives the illusion of walking forward while actually

moving backward.
18. Lopez, Jennifer

(a) She started her career on broad way and in rap-music videos and
worked as a backup dancer for Janet Jackson.
(b) She became known, began her singing career in 1999 and it was only
natural that her music videos and live performances would be driven
by dance.
120
19. Madonna
(a) She studied at the University of Michigan, and then moved to New
York City to work as a backup dancer.
(b) Dance always played a huge part in her music videos and live
performances.
(c) She made dance style such as Vogueing (from her single “Vogue”
1990) Krumping (from “hung up” in 2005.
20. Nijinsky, Vaslav

(a) One of the most talented male ballet dancers in history
(b) He has well-known for his amazing ability to defy gravity with his
magnificent leaps, and his ability of intense characterization.
LY
(c) He has paired in leading roles with legendary ballerina Anna Pavlova
and Tamara Karsavina.
ON
21. Nureyev, Rudolf (1938-1993)
(a) Became Soloist for Kirov ballet at the age of 20.
E
(b) He is one of the most powerful and emotional performers
US
(c) 1962- Made his first appearance with THE BALLET
1977- Starred in the title role Valentino
1983- Director Paris Opera Ballet
T
EN
22. Pavlova, Anna

(a) Performed at the Mariinsky Ballet and Diaghilev’s Ballets Russes.
UD
(b) Her signature role was Fokine’s Dying Swan

ST
23. Sokolova, Anastacia

(a) World best pole dancer, Ukraine got talent 2013
U
(b) She has perfected and elevated pole dancing into art form
CP
24. Veron, Pablo

(a) Best known Tango dancer in the world today (Journal liberation, Paris)
R
(b) Heir to the true tango tradition handed down by the great Argentine
FO
masters, is considered by many to be a true link between the old and

new generations (by Raquel Greenberg, Tango Academy London)
25. Zidane, Amelia

(a) Born in France, she is a famous belly dancer and choreographer from
Algeria.
(b) She was the first belly dancer to appear in the cover of French
magazines, Elle, Telemag.
(c) She ranked sixth in top 100 sexiest Arab women 2010
(d) The best belly dancer in the world
120
GLOSSARY
Aesthetic - of or relating to art or beauty; artistic or beautiful qualities of something
Artistic Interpretation - aim to advance understanding by providing explanations

of various kinds. It should aim to maximize our understanding and
appreciation of a work, and enable us to grasp its artistic values.
Ballet Position - position of the feet
Choreographer - One who design and direct dance routines or stylized movement
in musical productions.
LY
Choreography - the art of planning and arranging dance movements into a
meaningful whole; a finished dance work
ON
Combination of movements - it is the relationship between the performers or the
various qualities of their movements and gestures, of patterns, shapes and
E
dynamics on stage. It is the relationship between movement and the music.
Crew - a group or team of street dancers

US
T
EN
Dance Composition - it is a dance choreography chosen from a choreographic

material, arranging it according to an aesthetic idea or project and fixing it.
UD
Dance Variation - an amount or degree of change, a different form of a dance

movement or movements
ST
Exude - to emanate, radiate, to have a lot of a particular quality

U
Fluid Movement - flowing movements

CP
Hamstring - the large tendon at the back of the knee. A pulled hamstring is a
R
common injury.
FO
Improvisation- the action of dancing without defining movement previously; the

dancer does not know what she/he will execute but moves spontaneously
and freely.
Improvise- to spontaneously explore dance movements
Lactic Acid - the chemical mainly produced in muscle cells and red blood cells. It
forms when the body breaks down carbohydrates to use for energy when
oxygen levels are low.
121
Leader and Follower - designations for two dancers comprising a dance couple:
Male is to “leader” as female is to “follower”
Mores - customs, values and behaviors that are accepted by a particular group,
culture, etc.
Percussive Movement - a quality of movement that is in opposition to what would

be a fluid and soft movement
Pivot Turn - a dance turn in which the performer’s body rotates about its vertical
axis without traveling; the performer may be supported by one or both feet.
Projection - the skill of bodily expression and communication
LY
Sense of Rhythm - “Sense of Beat”. The ability to follow a steady beat without
ON
being able to break it into a rhythm.
Staccato Action/Movement - sudden and brief
E
US
Straddle Split - side splits or middle splits in dance and yoga. This is executed by
extending the legs to the left and right of the torso.
T
EN
Synchronized Movements - coordinated movements; moving or occurring at the
same time
UD
Theme - the unifying or dominant idea in a movement pattern, sequence, or dance

from which variations may be developed.
ST
Timing in Dance - moving with the beat of the music.

U
Transition - subordinate connecting internals that weld together material within a

CP
movement theme. A connective bridge between sections or parts of a dance.

R
Versatile- capable of doing many things competently; a well-rounded dancer

FO
Virtual Tour/Travel - a panoramic view or video simulation of an existing place

that can be viewed online, often for travel or vacation- related research. A
virtual tour is usually a collection of panoramic images that are played in
sequence to view like a moving video with added sound and text effects.
Worlds Culture- the shared ideas, beliefs, customs and experiences of a given
people at a given time
122
REFERENCES
Aguinaldo, M. M. (2002). Ballroom dancing: A new lifestyle. Published by M & L
Licudine Enterprises [2002], Las Piñas City, Philippines. Retrieved from
http://opac.tip.edu.ph/cgi-bin/koha/opac-ISBDdetail.pl?bib=19337
Alejandro, Reynaldo and Abad Santos-Gana, Amanda (2002). Sayaw: Philippine

Dance. National Book Store and Anvil Publishing, Manila and Pasig City.
ISBN 971-27-1168-4. Retrieved from http://philippineperformance-
repository.upd.edu.ph/view/creators/Abad_Santos-
Gana=3AAmanda=3A=3A.html
LY
Aquino, F. (1952). Fundamental dance steps and music. Retrieved from
ON
https://www.worldcat.org/title/fundamental-dance-steps-and-
music/oclc/15128320
E
Cuban Salsa Dance Styling - Havana, Cuba (2006). Boogalu Productions. Clip of
US
Boogalu Productions - Mueve la Cintura Video Published on Dec 14, 2006.
Retrieved from
T
https://www.google.com.ph/search?ei=NEULXeuHFc_ywQPV9K2ADQ&q=w
EN
ww.salsa-dancer.com%3Ecuban-style-+salsa&oq=www.salsa-
dancer.com%3Ecuban-style-+salsa&gs_l=psy-
ab.3...3295.3295..4687...0.0..0.230.230.2-1......0 ... 2j1..gws-
UD
wiz.T9Gkg7hKfjE
ST
Retrieved from https://www.youtube.com/watch?v=yX4bwdZYFYM

U
Jonas, G. (1992). Dancing: The pleasure, power, and art of movement. Published
CP
by New York: Harry N. Abrams in association with Thirteen/WNET, 1992.

Retrieved from https://www.worldcat.org/title/dancing-the-pleasure-power-
and-art-of-movement/oclc/25412630
R
FO
King, J. (2007). Rock Your Body: The Ultimate Hip Hop Inspired "Dance as Sport"
Guide for Slimming, Shaping, and Strengthening Your Body Paperback.
Published by Rodale Books; First edition (May 15, 2007), ISBN-
10: 1594865663, ISBN-13: 978-1594865664. Retrieved from
https://www.amazon.com/Rock-Your-Body-Ultimate-
Strengthening/dp/1594865663.
Mack, L. (2012). Dance. Hardcover, 144 pages August 20th 2012 Published by
DK Children. ISBN 0756697972 (ISBN13: 9780756697976). Retrieved from
https://www.goodreads.com/en/book/show/16200120-dance
123
Pangrazi, R. P. (2001). Dynamic physical education for elementary school
children, 13th Edition. Retrieved from https://www.pearson.com/us/higher-
education/program/Pangrazi-Dynamic-Physical-Education-for-Elementary-
School-Children-13th-Edition/PGM246877.html
Philippine Folk Dance Society (2016). A classic collection of Philippine folk dances
series VII Nazarine Printing, Pasay City. Retrieved from
https://net.ichcap.org/philippine-folk-dance-society/
Reyes, T. (2010). Philippine National Dances. Retrieved from

http://net.ichcap.org/philippine-folk-dance-society/
LY
https://www.coursehero.com/file/28071539/BASIC-DANCE-STEPS-IN-2docx/
ON
Bellydance-Wikipedia, the free encyclopedia en.m.wikipedia.org
E
US
T
EN
UD
ST
U
CP
R
FO
124

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PHYSICAL EDUCATION 3(W)

(Outcome-Based Education [OBE] Aligned)

Revision No. 1, August 2020

INSTR. CANDELARIA E. ALAVATA, LPT

NECIL C. MAGNO, MAED

As a teacher, she has been engaged in teaching Physical Education

Choreographer of Iloilo PRISAA Interpretative Dance which garnered

National Philippine Folkdance Society and Iloilo Choreographers Guild. She

service as Resource Person for Cultural Exchange in Australia in 2019. She

Chairman of events such as Modern Contemporary Dance and Hiphop Dance,

Special recognition and grateful appreciation are extended to:

No part of this manual may be reproduced in any form, either wholly or in

Nature and Scope of the Course

Benefits of Dancing Samba

Movements .............................. 13 ● Waltz

What is Movements Five Basic Walts Steps

Dramatization Basic Metric and Rhythmic Pattern

Three Forms of Mime ● The Belly Dance

Mission Statement: The mission of Central Philippine University is to carry out a

nature of a person, moral quality, and good report. This

Justice. Righteousness or lawfulness and fairness. It is observing due

process in administering the deserved punishment or reward.

Stewardship. The proper and responsible management of life, position,

possessions, and other resources entrusted by God to man.

This includes, service, accountability culture and outreach.

Excellence. The highly commendable quality of feature of a person’s

Mission Statement: The mission of the College of Education is to provide quality

Alma Mater Song Raise a Song

Central, my Central Raise a song for dear old Central,

O, Central, Our Central Central Spirit

O, central, our Central Gleaming dawn of day!

O, central, our Central All we think and say

O, central, Our Central. With the Master’s words “welldone!”

Program/Degree Outcomes: Based on CMO 30 series 2004

Course Number: P.E.3 (M/W) Rhythmic Activities

School Year: 2020 - 2021 (Revision 1)

Course Description: This is a study, execution and practice of the fundamental

2. showed appreciation of the importance of rhythm in any

3. mastered the steps and body movements in preparation for a

4. created and organized a dance activity for entertainment, exercises,

5. demonstrated and come-up with improvised dance routines based on

own ideas and concepts;

international, in the field of dance; and

7. performed Philippine Folk and Foreign Dances with accuracy and

COURSE REQUIREMENTS AND OTHER CLASS CONCERNS

1. Attendance- attendance should start on the first day of the semester.

given to a student because of chronic tardiness or missed classes.

(a) Complete PE uniform consisting of the required complete set, tennis

shoes/jazz shoes or dancing shoes must be worn during classes.

10. Culminating Activity:

Periodical Examination (Online) - 20%

13. Materials Needed:

C. Mobile Phone (Mobile Data)

ORIENTATION AND COURSE BACKGROUND

A. Desired Learning Outcomes:

At the end of the unit, the students must have:

1. explained the general objectives of the course;