P.E.

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PHYSICAL EDUCATION 2
Rhythmic Activities

MODULE

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Course Title: Rhythmic Activities
Course Code: PE 2
Contact Hours: 2 hours/week
Credit Unit: 2 units
Instructor: RUEL RECIO
BAYLO N
Course Description:
Th e cou rse cov ers le arnin g of variou s D an ces w hich will develo p th e s en se of rhyth mic skills a mon g th e
stu den ts. It is also d esign to pr o mot e e motion al free do m, develo p men t of desirable social attitu des an d
acquisition of skills necessary for their enjoyment in the future.

Course Outline:

Lesson 1 – Chapter 1 Introduction: Rhythmic Activities

Lesson 2 – Elements of Rhythm
Elements of Movements & Space
Kinds of Movements
Phases of Dance Programs
Lesson 3 – Chapter 2 Folkdances
Definition of Folkdanc es
Types of Folkdances
Objectives of Folkdances
Kinds of Folkdances
Fundamental Position of Arms & Feet

Lesson 4 – Chapter 3 Social & Ballroom Dances

Definition of Social Dance & Ballroom Dances
History of Ballroom

Classification of Ballroom Dances

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Study Guides and Policies:

1. Schedule and manage your time to read and understand every part of the module. Read it over and over until you
understand the point.
2. Study how you can manage to do the activities of this module in consideration of your other modules from other
courses. Be conscious with the study schedule. Do not ask questions that are already answered in the guide.
3. If you did not understand the readings and other tasks, contact your instructor through any available means for
assistance.
4. Assignments and activities are to be collected on time. Failure to submit is equivalent to a grade of 5.0.

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Table of Contents: Page no.

Lesson 1 Chapter 1 Rhythmic Activities 6

Definition of Rhythmic Activities 6
Objectives of Rhythmic Activities 7
Lesson 2 Elements of Rhythm 7
Elements of Movements & Space 7
Kinds of Movements 8
Phases of Dances Program 11
Fundamentals Dances Position 13
* Fundamental Position of Arms & Feet 13
Lesson 3 Chapter 2 Folkdances
Definition of Folkdances 16
Types of Folkdances 16
Classification of Folkdances 17
Objectives of Folkdances 16
Kinds of Folkdances 17
Lesson 4 Chapter 3 Social & Ballroom Dances
Definition & History of Ballroom Dances 26
Ballroom Dance Position 29
Classification of Ballroom 34

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 Pre-Assessment
Activity 1
Chapter 1

Name: Course Yr & Section :

I. Enumeration :
1. Objectives of Rhyth mic Activities
1.
2.
3.
4.
2. Elemen ts of Movemen ts Space
5.
6.
7.
8.
3. Two basic natural move men ts
9.
10.

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 CHAPTER 1

PHYSICAL EDUCATION 2 ( RHYTHMIC ACTIVITIES )

Every individu al has rhyth m. It is found in all of nature and is natural to every individu al. Rhyth m is
most clearly seen through dance- the art of movement

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

Rhythms ---------------- Is a term which denotes an aspect of a quality of movement that is sometimes
thoughtof as dance. When an individual moves in response to a particular rhythm or music we call the
move men ts as rh yth mic mov e men ts or rh yth ms. Stru ctu red f orms w h ich start creative rh yth mic move men ts
are called rhythms.

Rhythmic activities are the physical manifestations of the mental and emotional response of the
individual to rhythm. They are activities which a child responds to physically, socially, and mentally to
regular patterns of sound.

Th ey ar e also a sou rce of en joy men t f or pe ople of all ages. Th rou gh th ese activities, skills an d
th e sen se of rh yth m are ac quired an d d evelop e d, f eelin gs are ex pressed, b asic prin ciples of time, space
and force can be experienced.

Everyone reacts to music or rhythm in one form oranother. A head swaying,a foot tapping,
fingers snapping,shouldersand body moving while a musical piece is played are physical reactions.

Dance----------- refers to movement set to music where there emerges organization, structure and
pattern. It is a composition that implies arrangement of parts into a form.

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

It is an act of movin g rh yth mically an d expressively to an acco mp ani men t. Th e w ord dan cin g ca me f ro m an
old Ger man w ord “ dan son ” w hich me an s to “ stretch ”. Essen tially, all dan cin g is mad e u p of stretchin g an d
relaxing.

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OBJECTIVE OF RHYTHMIC ACTIVITIES

1. Develop skills necessary for recreational enjoyment.

2. Maintain good posture and physical efficiency.
3. Promote emotional freedom.
4. Develop a balanced and well-coordinated body.

Rhythmic fundamentals

In the field of dance, there are certain fundamental knowledge and rhythmic skills considered
important for proficiency and efficiency in bodily movements

. Elements of Rhythm:

1. Beat—the underlying pulse of a rhythm.

2. Tempo—rate of speed of a movement.
3. Intensity—variation of stress of movement.
4. Pitch—lowness or highness of a tone.
5. Accent—emphasis on certain beats.
6. Meter—the regular recurrence of beats which divides a musical design into measure.
7. Phrase—measures grouped together.
8. Bar—in music a vertical line across a staff dividing it into equal measures of time.
9. Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used for a certain dance step.
13. Step pattern—refers to the movement or movements done for each of the dance steps.

Elements of movement Space:

1. Direction —is the line of movem en t taken which maybe forward, backw ard, sidew ard , diagon al,
upward, or a combination of those mentioned.
2. Level—is movement through space that maybe done at a high, low, or medium level.

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3. R an ge —r ef ers to th e area cover ed as th e b ody moves. It may be s mall as w h en th e move men t
is d on e in on e’s place; or large w h en move men t covers a wid e area as w h en gettin g aw ay f ro m
one’s place.
4. Floor Pattern —th e p ath or d esign th at is mad e w hile movin g in sp ace is wh at is termed as flo or
pattern. It may take a form of a circle, square, straight line or zigzag.

Movement Qualities:

Movement expression is attained through the elements of time, force and space

. Time qualities:

1. Movements which is fast

Example s: gallopin g horse

Jet plane

2. Movem ent which is slow

Examples: turtle

Flower growin g

The Basic Natural Movements:

1. Locomotor movements
Are those that move the body in space in any direction with the feet as the movin g base.

Example s: walking, running, jumpin g, hoppin g , skippin g , leapin g, gallopin g and sliding

2. Non-locomo tor
Are those in which various parts of the body move in space with a fixed base. The base may
be standing, kneeling, sitting or lying.

Non-locomo tor movements :

1. Flexion--- Bending or shortening of a body part occurring at a joint.

2. Extension—Turning, twisting or circling

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3. Pendular --- Swinging/ swaying arms forward, backward or sideward.
4. Percussive—Striking and hitting: pushing and pulling.
5. Vibratory ----- Shaking and beating.
6. Sustained---- A slow, smooth flowing movement with a balance of movement
throughout the entire series.
7. Suspended--- A sharp movement followed by a series of slow or prolonged
movements until a peak is reached.
A jumping jack

4. Smooth, sustain ed move men t

Examples: Airplane

Fish swimming

Space Qualities:

Movement up and down

Example s: Bouncing ball

Yo-yo

1. Movem ent across, back and forth or aroun d

Example s: Rowing boat

A merry-go-round

2. Movem ent which is low

Example s: Ants

Turtles

4. Movemen t which is high

Example s: Kites

Clouds

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 PHASES OF THE DANCE PROGRAM

1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end
produ ct of exploration an d improvisation of move men ts as ch ildren learn to move th e parts of
their body and to use them as instruments of expression.

2. Folk/ Ethnic dance

Is a cultural art form handed down from generation to generations. It communicates the
customs, beliefs, rituals, and occupations of the people of a region or country. Folk dancing
belon gs to th e p eo ple. It e man ates fro m th e m. Eth nic tribes h av e th eir specific trib al art f orms
originated and danced by the people of the tribe.

Exa mples of f olk dan ces are th e rural an d cou n try dan ces, jot as, mazu rkas, pan d an g gos,
among others with foreign influence.

Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras,
dances of the ethnic groups in the Cagayan Valley Region and the ethnic dances in the
Mindanao Regions.

3. Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with the more formal
at mos ph ere th an th e simple an d inf or mal p arties in w hich th e recreation al dan ces are th e u su al
forms. Social an d b allro o m d an cin g are gen erally h eld in th e evenin gs. Th e p articipan ts are
usually in formal attire.

4. Recreation al Dance
In clu des dan ce mixers, squ are dan ce rou n d an d cou ple dan ces. Man y of th ese d an ces h ave
simple p attern s an d co mbin ation s of w alkin g steps, p olka step an d th e w altz step. Th e settin g
is usually informal gatherings and parties, reunions etc.

5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and improvisation of
movem ents as the dancer or the choreo grap h er expresse s his feelings or emotion s, ideas, and

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 interpretation s. This is a dance with a definite form, a beginnin g and an ending. The principle s
of art form are all observed in the composition of the dance.

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

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

2. Single circle, facing clockwise

3. Single circle partners facing
4. Single circle, facing counterclockwise
5. Single circle, facing center
6. Double circle, partners facing
7. Double circle, facing clockwise
8. Double circle, couples facing
9. Square or quadrille formation
10. Semi-circle or half moon
11. Double lines, facing front
12. Double lines, partners facing
13. Long open formation

Values of dancing

1. Physical fitness
2. Cultural
3. Social
4. Recreational

FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly termed as 1st
position, 2n d position, 3rd position, 4th position, and 5th position of the feet and arms.

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1st position

Feet: Heels close togeth er, toes apart with an angle of about 45 degre es.

Arms: Both arms raised in a circle in front of chest with the finger tips

about an inch apart.

2n d position

Feet: Feet apart sideward of about a pace distance.

Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position

Feet: Heel of one foot close to in -step of other foot.

Arms: One arm raised in front as in 2 n d position; other arm raised upward.

4th position

Feet: One foot in front of other foot of a pace distance.

Arms: One arm raised in front as in 1 st position; other arm raised overhead.

5th position

Feet: Heel of front foot close to big toe of rear foot.

Arms: Both arms raised overhead.

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Fundamen tal position of arms:

Fundamen tal Position of Feet:

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Combination Fundamental Position of Arms & Feet

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 ACTIVITY 2
QUIZ
Name: Course Yr. & Section:

Enumeration:
8. Locomotor Movements
1. 5.
2. 6.
3. 7.
4. 8.
8. Non-locomotor Movements
9.
10.
11.
12.
13.
14.
15.
16.
5. Phases of Dances
17.
18.
19.
20.
21.
4. Values of Dancing
22.
23.
24.
25.

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 CHAPTER 2

FOLK DANCES

Are traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.

Folk dancing is the heartbeat of the people.

Types of Folk dances:

1. National – traditional dances of a given country.

2. Regional – local.
3. Character – created by individual or group.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

1. To foster patriotism and nationalism through the study of our dance.

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

Characteristics of Philippin e Folk dances:

1. In general, dancers stand apart.

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

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 Classification of Philippin e Dances

I. General Classification

A. Geographical extent of origin

1. Nation al dances-f ou n d throu gh o ut the islands with little or no
modification.

Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2. Local dances-found in a certain locality.

Examples: Tinikling-Leyte

Maglalatik-Bin yan g

Esperanza-N abu a

Subli-Batangas

Binigan big at-Ab ra

B. Nature
1. Occupational dance-de pictin g action of certain occupation , industry, or human labor.
Examples: Planting, Harvestin g, Pounding, Winnowing, Pabirik, Manan gu ete, etc.

2. Religious or Ceremonial dance – perform ed in connection with religiou s vows and

ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.

3. Comic dances – depicting funny movements for entertainment.

Examples: Kimbo – kimbo Makonggo, Kinoton

4. Game dances – with play elemen ts (dance mixers)

Examples: Lubi – lubi, Pavo

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 5. Wedding dances – performed during wedding feast.

Panasahan, etc.

6. Courtship dances – depicting love making.

Examples: Hele – hele,Bago Quiere, Maramion, Tadek Daling – daling

7. Festival dances – suitable for special occasion or any social gathering.

Examples: Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or duel.

Examples: Sagayan, Palu -palo, etc.

C. Movements

1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik, Sakuting, Polkabal, etc.

2. Moderate -

Examples: Cariñosa, Tagala, Habanera, Purpuri, etc.

3. Slow -

Examples: Pasakat, Amorosa, Tiliday, Kundiman, etc.

4. Slow and Fast –

Examples: Putritos, Ba-Ingles, Habanera Botoleña , Alcamfor, etc.

D. Formation

1. Square or Quadrille

Examples: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines)

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 Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side by
side.

Examples: Binadyong, Haplik, Kakawati, etc.

Special Classification-Group dances having special distinctive features.

A. Dances with Songs

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B. Old Ballroom Dances

Examples: Polka, Mazurka Chotis, Valse, etc.

C. Dances with Implements

Examples: Maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot,

D. Dances of Combined Rhythm

Example s: Surtido, Pantomin a , Los Bailes de Ayer

Factors Affecting Folk Dances

Geographical location

1. Economic conditions
2. Climatic conditions
3. Customs and traditions.
Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.

2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

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Don’t’s in Folk Dancing

1. Do not exaggerate the dance steps.

2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.

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 ACTIVITY 3
Practicu m (Alitaptap )
Name: Course Yr. Section

Direction perform individu ally the Alitapta p (Used you video camera) send it to your GC messen g er
for Praticum.
CRITERIA PERCENTAGE GRADE
Mastery:
Execute all the position 40%
properly, correctly and in
proper order
Coordination:
Synchronized movemen ts of 40%
hands & feet
Projection:
Proper posture and 20%
gracefullness

Total 100%

• 100-98 = 1.0
• 97-95 = 1.25
• 94-92 = 1.5
• 91-89 = 1.75
• 88-86 = 2.0
• 85-83 = 2.25
• 82-80 = 2.5
• 79-77 = 2.75
• 76-74 = 3.0
• No practicu m = 5.0

COMMON DANCE TERMS

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1. Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or
waist level.
2. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift that foot
from the floor to anydirection.
3. Crossed Arms – Partners facing each other or standing side by side join their left hands
together and the right hands together; either right over left or left over right hands.
4. Cut – To displace quickly one foot with the other.
5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step across to the
right move backwards without turning around,pass each other left side to proper places.
6. Hayon-hayon – To place one forearm in front and the other at he back of the waist.
7. Hop – A spring from one foot landing on the same foot in place or in any direction.
8. Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or
counterclo ckwise ( with left elbow s almost touchin g ) using walking or any kind of dance step.
9. Jump – A spring on one foot or both feet landing on both feet in any direction.
10. Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise
direction.
11. Leap – A spring from one foot landing on the other foot in any direction.
12. Place – To put foot in a certain position without putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
15. Masiw ak – To turn the hand from the wrist half-way clockwise then raise and lower wrist once
or twice. This is an Ibanag term.
16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot close to
the left foot. This is a Tagalog term.

17. Patay – To bend the head downw ard and to support the forehea d with the R

forearm or with the crook of the R elbow while the left hand supports lightly the

palm of the right hand. This is usually done with the left foot pointin g in rear and

knees slightly bent. This is an Ilocano term and the movement is commonly

found in Ilocano dances.

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18. Salok – T o swin g th e ar m d ow n w ard-u pw ard p assin g in fron t of th e b ody as

if scoo pin g, th e tru n k is ben t f ollowin g th e mov e men t of th e arm d oin g th e salok.

This is a Tagalog term.

19. Saludo – Partners bow to each other, to the audience,opposite dancers, or to the neighbors
with feet together. This is of Spanish origin and is used in almost all Philippine dances.

20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross the hands
down in front of the R hand over the L. This is a Visayan term.

21. Slide – To glide foot smoothly along the floor. The movem ent may be finished

with or without transfer of weight.

22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of weight.

23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle jointkeeping weight of
the body on the other foot. There is no change or transfer of weight.

24. Whirl – To make fast turns by executing small steps in place to right or left.

BASIC DANCE STEPS

2/4 time dance steps

Dance Steps Step Pattern Countin g

1. Bleking step heel-place, close 1,2

2. Touch step point, close 1,2

3. Close step step, close 1,2

4. Hop step step, hop 1,2

5. Cross step step, cross or cross, step 1,2

6. Change step step, close, step 1 and 2

7. Changing step jump ( one ft. in front and

The other in rear) there are two

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 Changing steps in a measure 1,2

8. Contraganza step leap, cross-step, step 1 and 2

9. Habanera step step, close, step 1, 2 and

10. Heel and toe

Change step heel-place , toe-poin t, step, close, step 1, 2/ 1 and 2

11. Shuffling step with both feet flat on floor, take tiny

Slide steps 1 and 2 and

¾ time dance steps

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step close, step 1, 2, 3

3. Waltz balance step, close-h eels raise, heels down 1, 2, 3

4. Mazurka step slide, cut, hop 1, 2, 3

5. Redoba step slide, cut, cut 1, 2, 3

6. Sway balance w/ A point step, cross-step , step point 12, 3/ 1, 23

7. Sway balance w/ A hop step, cross-step , step, hop 12, 3/ 1, 2,3

8. Sway balance w/ A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

4/4 time dance steps

1. Schottisch e step step, close, step hop( raise foot

In front) 1, 2, 3, 4

2. Escotis step step, close, step, hop( raise foot

In rear) 1, 2, 3, 4

3. Chotis step brush, raise, brush, raise/

4. Step, step, step, close 1, 2, 3, 4/

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 TIKLOS

A Peas an t dan ce fro m Leyt e. H avin g ma d e a previous arran ge men t, f armers or w orkers get to geth er to
w ork on a project. While restin g at n o on , bef ore or af ter lun ch , th ey play tiklos mu sic an d d an ce. Th ere are
only f our figures to th e d an ce so it mayb e rep e ated w ith a slight ch an ge in f ormation . Pata dion g f or w o men
and barong tagalog with white pants for men is the usual attire.

Figure I

A. Dancers take 2 heel and toe change step forward ...................................................... 4 M

B. 2 change steps sideward right andleft.......................................................................2 M

C. 3 steps anda close moving backward ........................................................................2 M

D. Repeat all… ..........................................................................................................................8 M

Figure II

A. 4 cut steps backw ard and forward ............................................................................... 2 M

B. 3 gallops and a step sideward right........................................................................... 2 M

C. 4 cut steps backward andforward............................................................................. 2 M

D. 3 gallops and a step sideward left.............................................................................2 M

E. Repeat all… ..................................................................................................................8 M

Figure III

A. 1 change step sideward right and2 hopson right...................................................2 M

B. Repeat change step left and hops ................................................................................ 2 M

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C. 3 steps turn right and point close with left foot ......................................................2 M

D. Repeat 3 steps turn left andpoint close with right foot........................................2 M

E. Repeat al l… ..................................................................................................................8 M

Figure IV

A. 2 touch steps with right and left foot......................................................................... 2 M

B. 4 changin g steps turning to face right abou t........................................................... 2 M

C. Repeat touch steps with the left andright foot...................................................2 M

D. 4 changing steps turning left aboutto face front.................................................2 M

E. Repeat all..........................................................................................................................8 M

ACTIVITY 4
(Tiklos)

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Name: Course Yr. Section

Direction perform individually the Folkdance t (Used you video camera) send it to your GC messenger.
CRITERIA PERCENTAGE GRADE
Mastery:
Execu te all the position properly, 40%
correctly and in proper order
Coordination:
Synchronized movemen ts of 40%
hands & feet
Projection:
Proper posture and gracef ulln e ss 20%

Total 100%

100-98 = 1.0
97-95 = 1.25
94-92 = 1.5
91-89 = 1.75
88-86 = 2.0
85-83 = 2.25
82-80 = 2.5
79-77 = 2.75
76-74 = 3.0
No practicum = 5.0

Chapter 3

Social and ballroom dances

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 Popular couple dances withoutset patterns are classified as social and ballroom dances. Most
social dances are characterized by the man leading and the woman partner following whatever steps,
styling, and rhythmic variations he chooses and indicates.

Social dances are usually done to introduce people with one another during a formal social
gathering or to welcome guests to a social gathering. Many of the social dances like polka and mazurka
started as folk dances while some were deliberately designed for its social purpose, such as the waltz,
regou d on an d p olon aise (Ni mor, 2 00 6). Social dan cin g is believe d to h ad existed since th e b egin nin g of
human society in some forms.

Ballroom dancing has lots of benefits for young people. It is less threatening to their young
develo pin g bo dies co mpare d t o man y sports su ch as f oot ball, b asketb all an d h ockey th at en d an ger f ormin g
cartilage, bre ak bon es an d in so me cas es disfigu re men t cau se by variou s swin gin g sticks an d e quip men ts.
Ballroom dancin g provide s gen eral conditionin g for the body. Men tally, it stretch e s the thinking and the “do
– it” abilities of th e you n g. Th e sen se of achieve men t is a confid en ce build er. Te a mw ork of cou ples is more
stimu latin g to c on cen tration an d learn in g. For older grou ps, co mp etitive d an cin g is an excellen t learnin g
achieve men t an d self-confiden ce. Socially, th e you n g pe ople h av e an o pp ortunity to interrelate w ith oth ers,
especially the opposite sex, in a setting that includes discipline and emphasis on courtesy and
consideration for others. Ballroom dancing provides lesson on social skills that will be beneficial to the
youth for the rest of their lives.

Ballroo m dan ce trainin g off ers uniqu e advan ta g es. It is n ot only a rh yth mical exercise th at a dds lif e,
graceful mu scular move men ts bu t it is also a grou p recreation . A child w h o h as le arn ed ballroo m d an cin g
gain s n ot only improve d postu re an d co ordin ation bu t eas e in relation ships with co mp anion s. D ancin g is
one means of instilling graceful body coordination, it is also a muscular activity thatbrings social ease. A
girl who has learned to be a good ballroom dancer never fades into a wall flower. A Boy who can dance is
spare d f ro m man y ag on ies of a te en a ge s elf – con sciou sn ess. C hildren wh o dan ce w ell are p opu lar, on es
instilled, th ose in gredien ts of a go o d man n ers are n ever f orgotten . Ballroo m dan cin g off ers more th an mere
steps it includes charm of manners and consideration of others.

COMMON DANCE TERMS

1. To Address Partner is to bow to partn er. Facin g partn er, boys bow by bendin g slightly from the waist as
girls do curtsy.

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 Curtsy is to bend knees and body slightly with a bow of the head; the weight of the body is on one
foot. One foot crosses the other in rear.

2. An Amalgamation is a combination of two or more patterns or movements.

3. An Amateu r Dancers is a person who is dancin g as a hobby and who does not seek financial gain from
teaching or dancing.

4. A Ball change is a transfer of weight from the ball of one foot to the other foot.

5. A Basic figure is a standardized step pattern, which together with other constitute the basics of a dance.

6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of the free foot
between changes of weight.

7. A Chasse is composed of three changes of weight with a close on the second and may be performed
sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movemen ts, which make up the
dance or a dance routine.

9. To Close is to move the free foot next to supporting foot with one change of weight.

10. A Commando is a forward or backward rock and close.

11. A Combination is a grou p of consecu tive pattern s and choreo gra ph y. It is similar to amalg am ation but it
sometimes involves a slightly more advanced set of patterns.

12. A Continuity Movement is the continuous passing of the step from one step to the next.

13. The Contrary body movement is the action of turning the opposite hip and shoulder toward directio n of
the moving leg. It is used to begin all turning movements.

14. A Conversation is a position when partn ers stan d side by side, right hand of the gentleman holds the
lady’s waist; L arm of the lady placed at the gentleman’s, outside arm at the side.

15. A Corte, in tango, is a stop and change of direction either forward or backward.

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16. A Cuban motion is a discreet but expressive hip move men t achieve by ben din g and straigh tenin g the
knees with carefully timed weight transfer.

17. Dance Sports is the official name given to competitive Ballroom Dancing.

18. The Floor chart is the ability of the leader to man euver aroun d the dance floor in a skilled and controlled
manner as to avoid colliding with the other dancers.

19. A Drop is a theatrical movement in which the follower’s body remains in contact with the floor.

20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly behind the foot on
which the turn is made.

21. A Figure is a standardized step pattern that, together with the other patterns, constitute the dance.

22. A Hip motion is a very general term to mean any type of hip movement used in Latin dancing.

23. A Pivot is a turning movem ent during which the free foot is kept either in front or directly behin d the foot
on which the turn is made.

24. A Spin is a turn done in place using both feet, usually done as a couple.

25. Variation is a varied or more advan ced pattern than the correspon din g basic figure, which still contain s
the same main elements.

DANCE POSITION

Ballroo m o r So cial Dance Po sition – p artn ers stan d f ace to f ace, sh oulders an d hips par allel. Boys
R hand is placed around Girl’s waist. Girl’s L hand rests lightly against his R shoulders. Boy’s L hand is
raised to the side holding the Girl’s R hand.The fingers of her R handrest lightly in the palm of the Boy’s L.

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 Open or Co nversation Position – partn ers stan d side by side, both f acin g th e sa me direction. Girl R
of partner. Boy’s R is around Girl’s waist in back. Girl’s L hand rest lightly on Boy’s R shoulder. Ou tside
hands may be joined with arms extended forward or the outside hands maybe on hips or side.

Sh ou ld er – Waist Po sitio n – partn ers f ace each oth er. Boy’s places h an ds on Girl’s w aist. Girl’s
hands are on the Boy’s shoulders.

Cro ss – Ho ld Po sition – p artn ers stan d f ace to f ace, R h an d join ed ov er L h an ds, exten de d ab ou t
waist level.

Pro menade Position – p artn ers stan d sid e by sid e, both f acin g on th e sa me direction . Girl at R of
partner. The hand crossed in front, R hands joined over L.

Scho ttische Po sition – p artn ers stan d side by side, Girl to R of Boy b oth f acin g th e sa me direction .
Boy’s R arm around Girl’s waist, her L arm shoulder behind his R shoulder, her L hand resting lightly on
that shoulder, free hands on waist.

Varsovienn e Position – partn ers stan d side by side, girls stan ds to th e R an d sligh tly in f ron t of Boy.
Boy reaches R arm over the girl’s R shoulder and takes her R hand in his, his L holds her L a little above
his L shoulder.

Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.

Elbow Swing – hook designated elbows firmly of the hand carried at the height of the locked
elbows. While swinging, pull away from partner at shoulders.

One Hand Sw ing – with th e elbow b en t an d dow n , join th e design ate d h an ds at sh ou lder h eigh t. In
balan cin g “pull again st pull” while swin gin g, ap ply pressu re ag ain st th e th u mbs an d h eels of h an ds, pullin g
away at shoulders.

Two – Hand Sw in g – Boy pres en t h an ds at sh ould er h eigh t with palms u p, elbow s close to sides
and should support while balancing “pull against pull” leaning away at shoulders.

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 Waist Swing – In a modified closed ballroom dance positions with R foot and hips adjacent the
support weight of the body on the R foot swing,balance “pull againstpull”,leaning away from partners at
shoulder.

Hun garian or Ru ssian Sw in g – dan cers stan d f acin g in op posite direction with R (L) hips a djacen t,
each R(L) arm around each others waist in front, on partners hip, L(R) arm curved over head, both lean
slightly away from each other when turning.

Star po st – Partn ers are in opp osite direction s, th eir right h an ds h oldin g each oth er, lady f acin g aw ay
from audience ; while gentleman faces the audience.

Challenge position- Partners face each other about a step apart without touching.

Cud d le or skatin g po sition – W o man is at man’s left or right side, b oth f acin g th e sa me direction ; on e
arm of man is across woman’s back.

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34
SOCIAL DANCE GUIDELINES

1. Practice correct dancing position even without a partner.

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

SOCIAL DANCE ETIQUETTE

1. Do not teach your partner on the dance floor.

2. Anticipate the next step.
3. Be confident strive to become a proficient dancer.
4. Don’t show off.
5. Find mutual topics of interest for conversation, never gossip.

Dancing Personalities

Dancing is an expression of one’s personality. We can read one’s personality and

character by the way he dances. Traits such as timidity, aggressiveness, and consideration for
others, arrogance, and other characteristics are revealed when people dance.

1. Dancers who loves themselves--- point their toes too gracefully.

2. The cuddly couples--- are fun to watch if they are not related to you.
3. The bu lly type--- mean d ers arou n d th e d an ce flo or, pu shin g his partn er in to everythin g th at
comes his way.

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 4. The casual dancers--- girl show that sloppy I don’t care posture and the man just shuffling
along.
5. The possessive man--- h olds tigh tly on his p artn er’s back. His postu re is crou chin g as th ou gh
ready for a springing pounce.
6. The jealous girl--- clings to her partner like a glue, looks up in his eyes and is always
tremendously attentive.
7. The timid sou ls--- could al most sink to th e floor if you stare at th e m. Males h ave an ap olog etic
man n er an d t akes f alterin g ste ps, b arely tou ch es his partn er. H e is h ard to f ollow bec au se h e
is too shy to lead. The girls of this type take uncertain steps, droop their arms and getan until-
death-do-us part grip on their partner.

In common usage, Ballroom dance refers to the ten dances of International Standard and
Intern ation al Latin, though the term is also often used interch an g ea bly with Intern ation al standard dances.

Internation al Style

Intern ation al Stan dard dances are normally perform ed with Western Music. A couple dances
counter clockwise around a rectangular floor following the line of dance.

Costume

Women – full gown Men - bow tie and tail coats or tuxedos, vest

Dances :

1. Slow Waltz 2. Tango 3. Viennese Waltz

4. Slow Foxtrot 5. Quick step

Internation al Latin Dances are perform ed with contemp orary Latin American Music and with the exception
of a few traveling dances.

Costume

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 Women – Short skirted Latin outfits Men - outfitted in tight fitting shirts and pants

Dances :

1. Cha-cha 2. Samba 3. Rumba 4. Paso doble 5. Jive

RUMBA

Th e n a me R u mb a w as origin ally a pplied sp ecifically to th e dan cin g style with lasciviou s mov e men t
of the hip, bosom and other flexible parts. The Rumba influence came in the 16 th century from the black
slaves fro m Af rica. Th e n ative R u mb a f olk dan ce is ess en tially a sex pan to mi me dan ce d extre mely f ast w ith
exag g erate d h ip move men ts an d w ith a sen su ally aggressive attitu d e of men an d a def en sive attitu de on
the part of women.

The music is written in 4/4 time, which gives 4 counts to each bar of music, 1, 2, 3, 4. The beat
values are 2, 3, 4-1 or quick, quick, slow.

Cha-cha-cha

There are various theories as of the origin of Cha-cha. It could derived from the Spanish chacha
meaning nursemaid, or chachar meaning to chew coca leaves, or from char meaning tea. This dance
evolved from the Mambo and has its origins in the religious ritual dances of West Africa. The music is
usu ally in 4/4 time, so metimes 2/4. Th e C h a-ch a-ch a is a C u b an dan ce, bas ed on th e R u mba. C ou n tin g is
1,2, 3 and 4

Reggae

First dev elop ed in Ja maica in th e late 1 96 0’s. Th e ter m re gg ae more prop erly den otes a particular
music style that originated following on the development of ska and rocksteady. It is based on rhythmic
style ch aracterized by accen ts on th e off -beat kn ow n as th e skan k. It usu ally accen ts th e secon d an d f ou rth
beat in each bar.The music is 4/4 time and counting is 1, 2, 3,4.

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Samba

Co mes fro m Brazil. It diff ers fro m oth er L atin - American dan ces b ecau se it is lively an d vigorou s
and the feet is constantly leaving the floor. It is literally a bouncing step. Itinvolves much knee action with
the dancers bodies resembling a swinging pendulum as they sway and turn. 2/4 time 1 ah 2

Waltz

It is the first dance to use closed dance position. The waltz was to be performed solely for the
de mon stration of elegan ce an d n ot ple asure. Th e n a me c o mes f ro m th e G erman w ord to rev olve, turnin g
with smooth gliding steps. Music is ¾ time 1, 2, 3.

Paso Doble

It fin ds its ro ots in th e Sp anish style mu sic of th e 19 3 0’s. It is p opu larly kn ow n as th e man ’s d an ce,
portrayin g th e story of th e mat ad or with ( th e f e male bein g ) his cap e w h ere th e mata dor is to w eild his cape
according to the anger and intensity of the roaring boar.

Jive

The origin of the word jive is unknown but it may refer to jivetalk, or bad mouthing. This word
reflects the character of the dance for it is sassy and loud. It came from the African American slaves. It is
known by many names, sometimes called Swing, Jitterbug, Lindy hop, or Charleston, although it is
completely different dance. Music is 4/4 time 1,2,3 and 4/ 1 and 2, 3 and 4.

Swing

An ou tgrow th of th e jitterbu g, it is marke d by quick, stren u ou s move men ts so meti mes acco mpan ied
by acrobatics in its present form; it maybe a lively smooth dance. Benny Goodman is the band leader
credited w ith th e develo pin g th e rh yth m of Swin g. It is n a me d after Ch arles Lin dbergh ’s solo flight across
the Atlantic ocean in 1927 Music is 4/4 time sometimes 3/4 1,2,3,4/ 1,2 ah 3

Tango

Originated in the lower class of Buenos Aires especially in the Bario de Las Ranas. It was first
kn ow n as b aile con corte- th e dan ce w ith a sto p. It is ch aracterized by su d den ch an ges of direction an d its
many flaring and dipping steps. Music is 2/4 time 1,2/ 12

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Foxtrot

An American dan ce evolvin g fro m trottin g dan ce in 19 13. D an cers glidin g aroun d th e dan ce floor
with little up and down motion. It is known as the first truly American ballroom dance, was named after
Harry Fox. Music is in 2/4 time 12/ 1,2

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 ACTIVITY 5
Practicu m for Cha cha cha
Name: Course Yr. Section

Direction perform individually the Cha cha cha (Used you video camera) send it to your GC messenger.
CRITERIA PERCENTAGE GRADE
Mastery:
Execu te all the position properly, 40%
correctly and in proper order
Coordination:
Synchronized movemen ts of 40%
hands & feet
Projection:
Proper posture and gracef ulln e ss 20%

Total 100%

100-98 = 1.0
97-95 = 1.25
94-92 = 1.5
91-89 = 1.75
88-86 = 2.0
85-83 = 2.25
82-80 = 2.5
79-77 = 2.75
76-74 = 3.0
No practicum = 5.0

ACTIVITY 6
Practicu m for Samba

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Name: Course Yr. Section

Direction perform individually the Samba (Used you video camera) send it to your GC messenger.
CRITERIA PERCENTAGE GRADE
Mastery:
Execu te all the position properly, 40%
correctly and in proper order
Coordination:
Synchronized movemen ts of 40%
hands & feet
Projection:
Proper posture and gracef ulln e ss 20%

Total 100%

100-98 = 1.0
97-95 = 1.25
94-92 = 1.5
91-89 = 1.75
88-86 = 2.0
85-83 = 2.25
82-80 = 2.5
79-77 = 2.75
76-74 = 3.0
No practicum = 5.0

ACTIVITY 7
Final Practicum
Name: Course Yr. Section

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Direction perform individu ally any Ballroo m Dance (Used your video camera) send it to your
GC messenger.
CRITERIA PERCENTAGE GRADE
Mastery:
Execu te all the position properly, 40%
correctly and in proper order
Coordination:
Synchronized movemen ts of 40%
hands & feet
Projection:
Proper posture and gracef ulln e ss 20%

Total 100%

100-98 = 1.0
97-95 = 1.25
94-92 = 1.5
91-89 = 1.75
88-86 = 2.0
85-83 = 2.25
82-80 = 2.5
79-77 = 2.75
76-74 = 3.0
No practicum = 5.0

References

Rhythmic Activities, Mary Chantele O. Carlos, Mercy Pineda, Vanessa B. Sibug, Rosauro C. Tabian, Isabel
O. Gapay & Lourde s P. Sorian o Publish ed, Copyrig hte d 2012 and distribu te d by St. Andrew Publishin g
House

Other References: www.google .com

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 Wikipedia.com

Summary:

Physical Education it is an integral part of educational system to promote the optimum

develo p men t of h u man b ein g ph ysically, men tally, e motion ally an d socially in a given selecte d p h ysical
activities. This may develop the basic movement skills in sports, dances and physical fitness.

It off ers experimen tal learnin g n ot only f or th e stu d en ts bu t also f or pe ople w h o are w illin g to le arn
and achieved or adopt an active lifestyle for fitness and lifelong health using differentkinds of dance.

Th is will en a ble th e learn ers to set g oals an d monitor th eir participation in Folkdan ce or Ballroo m
session. This activities will not only be for their cardio vascular and respiratory endurance butalso it will
strengthen their bones and muscles but also their social life.

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