Rhythmic Activities

Marty R. Valero
Billy James A. Pornela
Kim Aldwin L. Lapuz

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 Table of Contents

Module 4: Philippine Folk Dance

Introduction 33
Intended Learning Outcomes 33
Lesson 1. Folk Dance from Luzon 34
Lesson 2. Folk Dance from Visayas 38
Lesson 3. Folk Dance from Mindanao 43
Assessment Task 4 47
Summary 48
References 48

Module 5: Foreign Folk Dance

Introduction 49
Intended Learning Outcomes 49
Lesson 1. Introduction to Foreign Dance 50
Lesson 2 Foreign Folk dances 54
Assessment Task 5 56
Summary 58
References 58

Module 6: Modern Dance

Introduction 59
Intended Learning Outcomes 59
Lesson 1. The Beginning of Modern Dance 60
Assessment Task 6 67
Summary 69
References 69

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 MODULE 4
PHILIPPINE FOLK DANCE

Introduction

The Philippine Folk Dance in particular is being studied to perpetuate the customs and
tradition of the Filipinos. Like other countries these are the traditional dances which evolved
naturally and spontaneously in connection with everyday activities and experiences of the
people who developed them.

It has been said, that folk dancing is the heartbeat of the people – the outburst of
people’s feelings. Philippine folk dance is traditional social expressions of the Filipinos. Folk
dance expresses their ideals, mores, feelings and thoughts. As a people, Filipinos express
their aspiration, hopes, and dreams through the physical and performing art that is folk
dancing (Vergara, 2006).

Intended Learning Outcomes

At the end of this module, students should be able to:

1. Gain knowledge about the basics of Philippine folk dancing
2. Explain how Philippine folk dances reflect the culture, traditions, and customs of the
Filipinos.
3. Perform simple folk dances skillfully.

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Lesson 1. Folkdance from Luzon

Pantomina

Pantomina is a very popular wedding dance in the Bicol region. This dance is so
popular that is performed in any kind of social gathering. It is customary among the barrio
folks to ask the newlyweds to dance the pantomina. While the couple dances, relatives and
friends throw coins at them and paper bills are pinned on their clothes. Sometimes, a plate is
placed on the dance floor so that people may put there whatever they want to give to the
couple (Vergara, 2006).

The pantomina is very popular in the northern part of Samar especially in towns of
Allen and Capul - both directly facing Bicolandia. Traditionally, musicians accompanying the
dancers pause from playing the pantomina music to allow the dancers to wipe their
perspiration. The wiping of perspiration has become a little flirty, with the male dancer as
expected offering his own handkerchief for the woman to wipe herself. The delighted audience
would, as expected, tease the couple (especially if the two are young and unmarried) as doing
a "love pantomime" and the musicians would immediately resume playing the music. After the
love pantomine has waned, the focus of the pantomina returns to the dance itself (Catapang,
2020).

Oftentimes, the newlyweds perform this dance several times. Good dancers usually
get more money or gifts from the observers. If the bride and the groom are shy and hesitant,
they are offered wine to make them daring and lively.

The pantomina dance described below is common in Albay. There is no standard way
of performing this dance. Dancers may create their own steps while dancing, but the
fundamental movements remain the same (Vergara, 2006).

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Dance Steps and Terms (Vergara, 2006)

CLOCKWISE This is like the motion of the hands of the clock

COUNTERCLOCKWISE This is the reverse direction of clockwise
STEPSWING Step R (L) foot sideward (ct.1), swing L (R) in front (ct.2)

SWAY BALANCE WITH A POINT

Step R (L) foot obliquely forward R (L) (ct.1,2), step L (R)
across R (L) foot in front (ct.3). Step R (L) obliquely
backward R (L) (ct.1), point L (R) in front (ct. 2, 3)

ENGAÑO STEP WITH A WALTZ

Step R (L) foot sideward (ct. 1, 2), step L (R) across the R
(L) foot in front (ct.3). Step R (L) foot sideward (ct.1), step L
(R) close to R (L) foot (ct.2), and step R (L) in place (ct.3)
(waltz in place)

WALTZ Step R (L) foot sideward (ct.1), step L (R) close to R (L) (ct.2), step
R (L) in place (ct.3)

ARMS IN LATERAL POSITION

Both arms are at one side of the body, either right or left side. This
can be done at shoulder, chest or waist
level.

ARMS IN FOURTH POSITION

R (L) arm encircles (make a half circle) over and in front of the head,
the L (R) arm encircles in front, the elbows are slightly below
the shoulder and the wrist slightly below the elbow

ARMS IN REVERSE “T” POSITION

Both arms sideward, elbow bent at right angle, forearms parallel
to the head and palms facing inward.

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 COSTUME: If this is danced just after the wedding ceremony, the dancers
are dressed in their wedding dress; otherwise, they are dressed
in typical Bicolano country costume – patadyong for Girls and
barong tagalong and white or colored trousers for Boys.

MUSIC: Divided into five parts: A, B, C, D, and E

COUNTING: One, two or one, and, two to a measure in 2/4 time, and one,
two, three to a measure in ¾ time

FORMATION Partners stand opposite each other about eight feet apart.
When facing audience, Girl stands at Boy’s right side. This is
best danced by only one pair but if desired, any number of pairs
may take a part

Cariñosa

(Meaning the loving or affectionate one) is a Philippine dance of Hispanic origin

from the Maria Clara suite of Philippine folk dances, where the fan or handkerchief plays
an instrumental role as it places the couple in romance scenario.

Dances in the Philippines are a melting pot of indigenous, Asian, American, Latin
and European styles. The cariñosa is a popular folk dance that was introduced to the
country by the Spaniards when they arrived in the 16th century (Catapang, 2020).

The cariñosa dance is a popular folk dance performed throughout the Philippines.
It belongs to the Maria Clara suite of Philippine folk dances. These are so named in honor
of Maria Clara, who was the main character in Jose Rizal's novel Noli Me Tangere, ('Don't
Touch Me'), about the colonization of the Philippines by the Spanish. In it, Maria Clara is
portrayed as a noble and loyal woman, who after the publication of the novel in the 19th
century became the female symbol of virtue for Filipina women. The cariñosa is a much-
loved folk dance in the Philippines and the characteristic shy behavior of the female dancer
is said to represent the mannerisms of Filipina women (Catapang, 2020)..

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 During the Marcos regime, the cariñosa was named the national dance of the
Philippines. To this day school text books still claim this; however, the Philippine
government maintains it is another dance called "tinikling," which is a native dance. Today,
the cariñosa is performed at social gatherings and festivities.

Cariñosa was introduced to the country by Spanish colonizers. It is believed that

Panay Island, located in the Visayan Islands group was the original home of the cariñosa.
The word Cariñosa is from a Spanish word which literally means "she that is loving" (the
verb ending indicates it refers to a woman). As such, it is a slow dance where a man and
a woman dance together. Its style bears resemblance to a bolero or a waltz. The Spanish
first arrived on the island in 1569. The dance soon spread around the Philippines, giving
rise to different versions in different regions. In Bicol, two handkerchiefs are used and both
dancers point their feet forward as their hands go up at the same time. In Visayan, the
couple goes as far as combing each other's hair. The hide and seek movements are
common to all the versions. One variation performed at weddings involved the man
dancing around the woman until she consents to dance with him (Catapang, 2020).

Dance Steps and Terms (Catapang, 2020)

THREE STEPS AND POINT

Step R (L) foot; take three steps sideward right, (ct.1) point
L (R) foot in fourth position in front (ct. 1, 2, 3)

TOUCH STEP Point R foot in front (ct.1), step R close to L (ct.2). This is
commonly done in front.

WALTZ STEP Step L (R) foot in fourth in front (ct.1), step R (L) close to L
(R) in first or third position in rear (ct.2), step L (R) in fourth
in front (ct.3)

COSTUME: Originally Cariñosa was danced with Maria Clara dress and
Barong Tagalog for it is a Maria Clara Spanish dance when
it is introduced. However as the Filipino people saw and
imitated this dance, the wore the patadyong kimono and
camisa de chino to reveal their love as a Filipino and other
steps was revised to make it more Filipino but the music did

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 not change at all and reveals a Spanish influence to the
Filipinos. As listed by the book of F.R. Aquino dancers may
wear balintawak style (a native dress of the tagalong
regions), camisa (a white sleeve) or patadyong kimono (a
dress of the Visayan people) and for boys a barong Tagalog
and colored pants, because it is a national dance, the
dancers may wear any Filipino costumes.

MUSIC: The music of Cariñosa shows a great Spanish influence to

the Filipinos. It is ¾ in rhythm like some of the Spanish
dances. The Philippine Rondalla are playing this music of
the dance where it is an ensemble or an orchestra of string
instruments in the Philippines similar to the Spanish
musicians in Spain that comprises bandurrias, mandolins,
guitar, basses, drums and banjos. Mostly men are playing
rondalla instruments but women may also take apart.

COUNTING: One, two, three to a measure

FORMATION: Partners stand opposite and facing each other about six feet
apart.
When facing the audience girl is at right side of boy. One or
more number of couples may take part in this dance.

Lesson 2. Folk Dances from Visayas

Miligoy De Cebu

The meaning of Miligoy de Cebu is Cebu’s Miligoy or man’s name. It is a courtship

dance that started with a couple expressing their love for each other. Later, it evolved into a
social dance participated in by several couples (Vergara, 2006).

Miligoy is a term of endearment given to a man who became popular in the dance
circles of Samar or Leyte. Miligoy was not only an expressive dancer but a Valentino as well.
It is said that Miligoy was the envy of everyone in dance parties during town fiestas. He was
an extraordinary dancer that women took pride just to dance with him.

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 It is not known how the Miligoy dance started, but it was the dance named after Mr.
Miligoy himself. Traders and travelers brought along with them the Miligoy dance from Waray
land to other places they settled on particularly Cebu and its suburbs.
Dance steps and terms (Vergara, 2006)

MAZURKA STEPS Slide R (L) foot in second (ct.1), cut R (L) sideward with the
L (R) foot (ct.2), hop on the L (R) foot and beat in rear or in
front the R (L) foot close to the ankle of the L (R) foot (ct.3)

STEP-BRUSH
SWING-HOP Step R (L) foot in fourth in front (ct.1), brush L (R) foot
forward and swing it across the R (L) in front (ct.2), hop on
the R (L) (ct.3)

WALTZ STEP Step L (R) foot in fourth in front (ct.1), step R (L) close to L
(R) in first or third position in rear (ct.2), step L (R) in fourth
in front (ct.3)

WALTZ TURN Take two waltz steps turning around either right or left in
place or moving
ARMS IN SECONDS Arms raised sideways, a little below shoulder level.
POSITION
STAMP Bring down the foot forcibly and noisily on the floor (as in
heavy step), with or without transfer of weight
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.
ARMS IN Both arms are at one side, either sideward right or left.
This is done at shoulder, chest, or waist level.
LATERAL POSITION
CLOCKWISE It is like the motion of the hands of the clock. Right
shoulder is toward the center of an imaginary circle. When
facing center the movements is toward the left.

COUNTERCLOCKWISE This is the reverse direction of clockwise.

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COSTUME: Female: Maria Clara of elegant type.
Top: (Baro) Flimsy, bell sleeved blouse, stiffened with
starch. Elaborate embroidery on borders of sleeves and
waistline white or off white, Piña, fine sinamay of late,
cotton or nylon material.
Panuelo: (Alampay) Startched, square material of baro
material folded to a triangle, set over shoulder with two ends
pinned in front with a brooch or pin.
Skirt: (Saya) Billowy, silk, satin or brocade.
Type 1 – Four to eight panels in contrasted colors.
Type 2 – Two-toned, upper part pastel or white lower part
bold or jewel colored. Flower follage appliqué or panel
boarders.
Type 3 – One piece full balloon of any color, covered by a
sobre palda or over skirt, cut in apron style.
Chemist: (Coprina) White with cutout embroidery on
neckline.
Slip: (Inagua) Ankle-length white with elaborate crocheted
hemline of wide lace.
MALE: (Barong Tagalog) Elaborate type or all over
embroidery
Pants: Black or dark color
Footwear: Black leather shoes.

MUSIC: Composed of two parts: A and B

COUNT: 1, 2, 3 to a measure

FORMATION: Partners stand opposite each other about six feet apart. Girl
is at
the right of Boy when facing audience. Any number of pairs
may perform the dance. Dancers hold a pair of bamboo
castanets in each hand.

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Tinikling (Catapang, 2020)

One of the most popular folk dances in the Philippines is the Tinikling. The traditional
dance, which usually involves a pair of two bamboo poles, is considered to be the oldest in
the country and its appeal has spread across the globe—particularly to the United States.

Wondering how this type of dance got its name? The Tinikling is said to be named
after the long-legged bird called the tikling in the Philippines. Someone who dances the
Tinikling imitates the movements of a tikling bird (hence, tikling-like) as the bird walks over
the grass or dodges bamboo traps set by Filipino farmers on vast rice fields.

The Tinikling dance originated during the Spanish occupation in the Philippines—
particularly on the island of Leyte. Rice farmers on the Visayan Islands usually set up bamboo
traps to protect their fields, yet tikling birds dodged their traps. Locals imitated the birds’
movement, and supposedly, that’s how this dramatic traditional folk dance was born.

Alongside the Cariñosa dance, the Tinikiling is considered a national dance in the
Philippines and almost every Filipino knows how to do it. Since it’s a dramatic dance, it’s
usually performed on special occasions like traditional Filipino festivals or at school and
theater performances. Some say that this dance represents most Filipinos’ two main character
traits:
They are resilient and fun-loving.

Dance Step and Patterns (Tinikling, 2015)

INTRODUCTION 1. Stand, boys have their hands behind their backs, girls
hold their skirts (or put their hands on their waists).
2. As music begins, bow to the opposite pole person, then
the pole person beside you.
3. Continue with four toe touches (count 1-2, tap right foot
twice;
Count 3, lift right foot. This gives everyone an
opportunity to establish the timing)

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FRONT TINIKLING Start with the right foot, do 7 basic tinikling steps. On 8 th
STEPS beat, do one tinikling step with quarter turns.

QUARTER TURN Complete 16 tinikling steps with the quarter turn to make 4
TINIKLING STEP complete 4 complete boxes.

CROSSOVER 1. Cross the left foot over right and step to the centre of the
COMBINATION poles
2. Step the right foot to the right of the poles
3. Step the left foot to the right of the poles

1. Cross the right foot over left and step to the centre of
the pole
2. Step the left foot to the left of the poles
3. Step the right foot to the left of the poles
ROCKING STEP 1. Facing poles, step on L foot (ct.1), Leap R to the center,
Hop on R foot (ct. 2-3) Leap L foot to opposite side outside
of poles (ct.1) Back is now to the poles to the poles, Reverse
movement placing R foot back between the poles and hop
(ct.2-3), Leap on L foot back to original starting position
(ct.1- continue repeating step as described above)

JUMPS Begin facing either end of the poles, Jump and straddle
poles (ct.1), Jump 2x in center of poles (2&3), Jump and
straddle the poles (ct.1- continue repeating steps as
describe above)

COSTUME: Girls wear “balintawak” or “patadyong.” Boys wear barong

tagalong and long red trousers with one leg rolled up. They
dance barefoot.

MUSIC: Divided in two parts A and B

COUNT: One, Two, Three to a measure

FORMATION: Dancers stand at the left side of the bamboo poles, girls in
front, facing the audience.

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Lesson 3. Folk Dances from Mindanao

Dugso (Vergara, 2006)

Dugso is a ritual dance inherited from our ancestors. As a sacrificial dance rite, the
dugso overlaps as thanksgiving for a good harvest, healing of the sick and for the well-being
of the community. As a humble request to the divine god or goddess, it removes malevolent
spirits while assuring support, victory in battle and the blessing of a newly-opened field.

Peculiar to the dugso are tiny saliyaw or hawk bells tied around the right ankle of
each dancer to make known to nature gods or diwata the ritual. The Higaonons know that
the tinkling of the bells is the best music to the ears of the spirits. They are also used to
mark rhythm in the dance.

A panika or feathered comb decorated with colorful yarns, beads, mirrors and gold
crowns each maiden’s head. The ancestral pagpagayok bird is famous for its feathers. It
makes the Higaonon maiden dress up in the most colorful attire in the Philippines.

Dance Steps and Terms (Vergara, 2006)

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.

BRUSH With weight on one foot, hit the floor with the ball or heel of
the other foot (the free foot). After which, that foot is lifted from
the floor to any direction.

CUT Displace quickly one foot with the other, thus

completely taking off the weight of the body
from the displaced foot.

KUMINTANG Move the hand from the wrist either in a clockwise or

counterclockwise direction. =
STAMP Bring down the foot forcibly and noisily on the floor (like
doing a heavy) with or without transfer of weight

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STEP Advance or recede by raising or moving one foot to another
resting place. There is a complete transfer of weight from
one foot to another.
TAP Tap the floor slightly with the ball or toe of the free foot,
flexing the ankle joint keeping the weight of the body on the
other foot. There is no change or transfer of weight.
CUT STEP Raise R (L) foot in fourth in front in preparation. Cut the L (R)
backward with the R (L) foot thus displacing the L foot at the
same time placing the weight of the body on the R foot,
raising L foot in rear with straight knee (ct.1) Cut R (L)
forward with L (R) foot (ct.2)
• Step Pattern Step Swing
• Couinting 1 2
STEP SWING Step R (L) foot in second position (ct.1), swing the L (R) foot
in
fourth in front or across the R (L) in front (ct.2). The raised
foot is pointed downward or in natural position and the knee
is straight or slightly bent. This is done in any direction.
• Step Pattern Step Swing
• Couinting 1 2
COSTUME: Female
Top: Short bodice, wide bell sleeves with material patched
with stars, circles, X’s, or zigzag in any color.

Skirt: Wide floor length A-line cut in bias. In cotton or in any

heavy material red in color border of 12 to 15 inches cenefa.
Pleats from the waistline with a wide waistband.

(3) inches wide to hold skirt in place with four (4) to six (6)
inches “apron” like on each side usually of the same material
as the skirt.
It can be plain or with embroidery.

Headdress (Panika): Comb, rib sticks wrapped in colored

yarn and multicolored feathers, beads, ribbons and metal
base that looks like a comb.

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 Accessories: Ankle bells (saliyaw). Hawk bells tied on a
garter around the right ankle. Dangling earrings and bead
necklaces.
MUSIC: 2/4. There is no musical accompaniment used; just the
tapping and stamping of the feet on the ground.

COUNT: 1, 2; 1, and, 2; or 1, and, 2, to a measure

FORMATION: Six to eight dancers form a semi-circle facing the

dapulan or the bangkaso or a kind of wide-mouthed
basket.

ITIK ITIK (Itik itik, 2012)

Itik-Itik is a mimetic dance that depicts the movements of wading and flying itik
(ducks). Dancers mimic the short swaying gait of waddling feet and the intense energy of
close-cropped flapping wings.

This dance originated from a dance called Sibay, which was performed to the tune of
Dejado. The present form got its name in the following manner. At one baptismal in
Carmen, Lanuza Surigao, a young lady called Kanang, (nickname for Cayetana) who was
considered the best dancer and singer of her time, was asked to dance the sibay. She
became so enthusiastic and spirited during the performance that she began to improvise
movements and steps similar to the movements of ducks as they walk with short choppy
steps and splash water over their backs while calling to their mates. The people around
who saw her dance liked it so much they all imitated her. The dance has since been called
ITIK-ITIK from the word Itik, which means duck.

This dance is now very popular among the Visayan settlers of the province of Surigao,
especially in the towns of Cantillan, Lanuza, and Carrascal. It is usually performed as a
ballroom dance in social gatherings. There are many variations of Itik-itik steps from which
the dancers make their selection and combination.

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Dance steps and terms (Itik itik, 2012)

STEP, BALL,
BALL-CLOSE: Step L (R) forward (ct.1), raise heel of L(R) foot and slide R
(L) close to L (R) in fifth or third position in rear (ct.2), small
step forward on ball of L (R) foot (ct. and) and slide R (L)
close to L(R) in third position in rear (ct.3). This step is done
with one foot leading going forward.

HEEL, CLOSE-BALL,
CLOSE: Step L (R) heel forward (ct.1) slide R (L) close L (R) in fifth
or third position in rear (ct.2), small step forward with ball of
L (R) foot (ct. and) and slide R (L) close to L(R) in fifth or
third position in rear (ct.3). This is done with one foot
leading going forward.

STEP, SLIDE-CLOSE,
SLIDE CLOSE Small steps R (L) forward (ct.1), twist trunk slightly to right
(left) side,
bring L (R) foot in fourth in front and slide backward with ball
of same foot and simultaneously with a spring slide R (L)
forward to close with L (R) in first position (ct.2), repeat ct.2
(ct.3). The L (R) foot bears no weight on ct. 2, 3. This step
is done with alternate foot, going to any direction.

CROSS-STEP, SLIDE-CLOSE, CROSS-STEP, SLIDE-CLOSE, CROSS-STEP:

Same as Step, Slide-Close, Slide Close (No.3) except that
the step on ct.1 is done across the other foot in front.

CROSS-STEP, SLIDE-CLOSE, CROSS-STEP, SLIDE-CLOSE, CROSS STEP:

Step R (L) across L (R) in front (ct.1), slide with ball of L (R)
foot close to heel of R (L) foot (ct. and), short slide or small
step with R (L) foot sideward L (R) across L (R) in front (ct.
2), repeat ct. and, (ct. and), short slide or small step with R
(L) foot sideward L(R) across L (R) in front (ct.3)

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 COSTUME: Girls wear patadyong or balintawak style costume and Boy
wear barong tagalong or camisa de chino and white
trousers.

MUSIC: Composed of two parts: A and B

COUNT: One, two, three to a measure

FORMATION If performed in a ballroom dance, couples are scattered

around the
room. For demonstration, partner stands about six feet
apart, Girl at right side of partner when facing audience or
front. One to any number of pairs may take apart in this
dance.

Assessment Task 1-1

PRACTICAL PERFORMANCE

1. Choose one of the dances from Luzon, Visayas and Mindanao that you want to
perform.
2. Wear a proper costume for your chosen folkdance
CRITERIA:

Costume: 10 %
Choreography 50 %
Technique 20 %
Authenticity 20 %
Total 100 %

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 Summary

• Pantomina is a very popular wedding dance in the Bicol region. The newlyweds
perform the pantomina dances. Coins are thrown at their feet and paper bills are
pinned on their clothes.
• Cariñosa is a Philippine dance of Hispanic origin from the Maria Clara suite of
Philippine folk dance. This dances was originated in the Panay Island on the
Visayan Islands.
• Miligoy de Cebu is a popular dance in Consolacion Cebu, Particularly in the
lowland community. It is a social and courtship dance. Miligoy is a name given to
a man who is very popular in the dance circles of Samar and Leyte. He was an
expressive and extraordinary dancer that women took pride to dance with him.
Miligoy de Cebu is a Visayan dance performed in big social gatherings and
fabulous feast celebrations.
• Itik-Itik dance was originated from a dance called Sibay, which was performed to
the tune of Dejado.
• Dugso is a ceremonial and ritual dance of offering from Sungko, Lantapan,
Bukidnon.

References

Catapang, M. (2020). Rhythmic Activities. Calamba: St. Benilde Internaltional School.

Sayaw: Filipino Dance, Tinikling (2012, September 30). Retrieved from

https://raizhelle18.tripod.com/thesis/lesson4g.html

Vergara L. (2006) MAPEH for a better you. Quezon City, Philippines. LG & M Corporation

Opena, P. (2017). PE 3 Text Manual. Batangas: DMMC Institute of Health Sciences.

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 MODULE 5
FOREIGN FOLK DANCE

Introduction

Folk dances tell us much about a country and its people. Folk dances relate the traditions,
ideas, superstitions, and events of daily living of countries all over the world. In folk dance,
body movement is used to express an idea or a theme. The themes for folk dance vary
greatly. Some portray feelings, moods and religious rites; others depict occupation, social
activities, birds, animals, or insects.

Folk dance tells us about customs, mores, and traditions. In the restrained small mincing
steps of a Japanese or Chinese dance, the position of women is portrayed. The various
masked dances of Indonesia, Thailand, and Malaysia tell about the religious beliefs of the
people. The carefree abandon of the Mexican and South American dances show the lively
Latin temperament of the people who live in those countries. The dramatic foot stamping
and leaping dances of the Russians and East Europeans show their zest for life and also
indicate that they have a cool climate (Peres, 2006).

Learning Outcomes

At the end of this module, students should be able to:

1. Discuss the different terminologies used in foreign dancing
2. Appreciate dances of other countries
3. Know and understand the culture of other countries through their dances and
music

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Lesson 1. Introduction to Foreign Folk Dance

The term Foreign Folk Dance applies to those dances which come from countries
other than the Philippines.

It depicts from the cultures of various countries their political, economic, social
intellectual, geographical and religious nature of society. They are assigned according to
the culture of the country of origin and they give the people a feeling of pride and unity
(Perez, 2004).

It is important to execute the styling and mannerisms inherent in the dance of

other countries as it is to be able to dance the steps and pattern sequences. One of the
greatest disadvantages in this era of enthusiasm for folk dancing is to treat all dances alike
regardless of their origin and background. Dances can be compared to the seasoning of
food and pointed out that if all foods are seasoned only with salt and pepper, all foods
would taste the same and uninteresting. If twirls, hoops, and yells are added to every
dance, it will, like the food, lose its individuality, and becomes uninteresting.

Dance Terms (Peres, 2006)

There are many terms that a folk dancer needs to know in order to learn dances
easily.
Most of these are found in Western folk dances.

Allemande Left – Each dancer faces his partner and extends his left hand. Both
move counterclockwise in a circle around each other and return to original position.
Sometimes, allemande right is used as the dancers extend right hands to their partners.

All Hands Round – All eight people in the square join hands while in four hands
round call, four people or two couples join hands together

Balance Forward – Couples or Dancers specified by the caller take two steps
forward, bow, and then take two steps backward. It can also be done backward.

Bow, Honor, or Address – Gentleman places right arm in front and left arm behind
and bows to acknowledge the lady.

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 Break – Dancers who have joined hands release hold or drop hands.

Cast Off – In long ways or contra formation, all couples face front and with the
head couple leading, counter march outward to the foot of the set. As the head couple
meets, they form an arch through which the other dancers pass

Circle – Designated couples join and walk clockwise to the left the instruction is
circle left. Circle right is done counterclockwise. One step is taken to every count.

Curtsy – It is done in response to the bow of the men. It can be done with step
sideward right and pointing the left foot to the right in the rear, bending the knee, head and
trunk slightly.

Do-Si-Do – Designated dancers face each other and cross their arms holding them
at chest level out in front of the body. They walk forward passing right shoulders slightly
beyond each other, step sideward right to right, and without turning, walk backward
passing left to left to original position. Do-Si-Do right can also be done.

Grand Right and Left – All couples face partners. Join right hands and walk past
each other passing right shoulders. As partners pass each other, they extend the left hand
to the next gentleman or lady. They continue around the circle alternately extending right
and left hand to the people they meet. It is similar to the cadena in Philippine Folk dance.
The figure is continued until everyone returns to their original positions.

Ladies’ Chain – Two couples face each other. The ladies walk forward to meet at
the center. They give their right hands to each other and pass shoulders. The gentleman
takes the left hand of the opposite lady in his left hand, places his right hand on the lady’s
waist and turns her around once counterclockwise. The figure is repeated as the ladies go
back to place.

Link Elbows – Hook left (right) elbow with partner or any dancer.
Opening Positions – Partners hold in ballroom dancing, facing one direction, toward
extended arms.
Partner’s Side – Partners change with four light running steps passing by the left
shoulders. Turn left about to face partner and return to original position passing by the
shoulders.

Promenade – Partners are side by side, left shoulders towards the center, holding in
skating position (right hands joined over the joined left hands) at waist level or in

51
varsovienne position (boy’s right arm around back of girl, holding her right hand close and
at level of her right shoulder, and his left hand holds her left hand in front or at the side),
they walk around in counterclockwise direction until they reach their home position.

Set – It is a dance or unit formation. In square dance formation, a set is composed of

four pairs standing on the side of a hollow square facing the center. The boys stand at the
left side of their respective partners. The distance across the couples is from eight to 10
feet.

The couples, partners or pairs are numbered in a counterclockwise direction with

Couple 1 with back toward the “caller” or music. Couple 2 on the right of Couple 1 and
Couple 3 is the opposite couple facing Couple 1, Couple 4 is opposite of Couple 2.

• Partners – dancers standing side by side with girl at the right of body
• Head Couples – couples 1 and 3
• Side Couples – couples 2 and 4
• Opposites – partners facing each other, as couple 1 and 3, couples 2 and 4
• Corners – the girl at the left side of boy and the boy at the right side of girl
• Home Position- the couple’s original position in the set
• Home Couple or the Stationary Couple – the one at whose place the movement is
taking place when two couples are performing a movement
• Visiting Couple – the pairs moving around the set, performing the movement with
the home couple or couples
• Spin or Whirl – to make fast turns executing small steps in place
• Stamp – to bring down the foot forcibly and noisily in the floor with or without
transfer
• Turn Single – an English term for a step which is done by making one complete
turn to the right with four light running steps, starting with the right foot.

Dance Steps and Step Patterns

Many different steps are used in foreign folk dancing. Some of them are quite similar with
the steps found in Filipino folk dances but others are quite different. A few of the most
frequently used steps are described below with the time signature used and the proper
counting to the music (Perez, 2004).

52
Dance Steps Music Counting Step Patterns

Bleking 2/4 1, 2 Spring L (R) and heel-place R (L), close

step R (L)

Chassé 2/4 1, and Slide, cut or close step L (R)

Dutch Step 3/4 1, 2, 3 Step R (L), heel-brush L (R), hop

Galop 2/4 1, ah Step R (L), cut L (R)

Hopsa 2/4 1, and, 2, and Leap R (L), cross-step L (R), step R (L),
pause

Mazurka 3/4 1, 2, 3 Slide R (L), cut L (R), hop L (R)

Mincing 2/4 1, and, 2, and Step R (L), step L (R), step R (L), step L
(R) (use tiny steps)

Minuet 2/4 1, 2, 3 Step R (L), step on ball L (R), and turn

step R (L), step on ball L (R) and turn

Schottische 4/4 1, 2, 3, 4 Step R (L), slide L (R), slide R (L), hop R

(L)

Shuffling 2/4 1, and, 2, and Slide R (L), slide L (R), slides R (L), slides
L (R), (tiny slides on balls of feet)

Ballroom waltz 3/4 1, 2, 3 Step R (L), slide L (R), close R (L)

Box Square waltz 3/4 1, 2, 3 Step R (L), step L (R), close R (L)

Cross waltz 3/4 1, 2, 3 Cross-step R (L), close L (R), step R (L)

53
Waltz turn 3/4 1, 2, 3 STEP R (L), CLOSE L (R), R (L) (turning
in place or

moving)

Varsivienne 3/4 1, 2, 3 Slide R (L), close L (R), step R (L)

Lesson 2. Foreign Dances

La Cucaacha (Mexico)

La Cucaracha means “The little Cockroach” This is a dance known to all Mexicans. This
dance is usually performed during social gatherings (Peres, 2006).

La Cucaracha is a traditional Mexican/Spanish folk song. The exact origins of “La

Cucaracha” (Spanish: Cockroach) are unknown. It has been suggested that it was
composed following the expulsion of the moors from Spain on January 2, 1492, whilst
others say it is about
Mexican revolutionary Pancho Villa’s car, which frequently broke down and earned the
nickname La Cucaracha from Villa’s troops (Peres, 2006).

COSTUMES: The boy or the male dancer wears “blousey” shirt, a low-cut
vest, a jacket cut something like a long bolero, and long
rather tightly fitting pants decorated sometimes with silver
button. He has a huge sombrero and carries his brightly
colored zarape with his right hand.
MUSIC: The music for this dance is divided into two parts: A and B
with the counting of one, two, three to a measure

FORMATION: Couples are arranged informally around the room. The boy
clasps his hands around his back, the girl holds her skirt
gracefully at the side, or the participants may be arranged
in any desired formation.
Partners stand side by side, the girl is at the right of the
boy.
x o x o x o
x o x o x o

54
 Minuet

This is a court dance popular in France during the time to Louis XV. It is very stately,
gracefully and dignified dance depicting the grandeur and magnificence of the court during
that time. It is the perfect expression of an age in which courtesy, ceremony, and chivalry
were brilliantly polished (Peres, 2006).

COSTUMES: All males and females are to be dressed in Louis XV style.

MUSIC: The music of this dance is divided into four parts: A, B, C
and D with the counting of one, two, three to a measure

FORMATION: Partners stand side by side, holding inside hands facing

front. One to any number of pairs may take part in this side

XO
XO
XO XO
XO XO
XO
XO

Varsovienne

The Varsoviana or Varsovienne is an “graceful and elegant” dance in 3/4 time which is
characterized primarily by the regular inclusion of a pause with pointed feet. This is a very
delightful dance for girls but boys may take part if desired (Perez, 2004).

COSTUMES: The girls wear short full dark skirt, white blouse, short sleeves,
black
velvet bodice, white stockings, colored apron, hair in two
brands and large black bow. The boys wear black knickers,
colored stockings, gray coat, full shirt, round green felt hat
with ribbons.

MUSIC: The music for this dance is composed of two parts: A and B with the
counting of one, two, three to a measure.

55
FORMATION: Double circle facing counterclockwise, boys in the side and girls in
the outside circle. The boy places his R arm across the
shoulder of the girl, takes her R hand over her R shoulder,
L hands joined in front. The girl is a little bit to the right of
boy. This is known as Varsovienne position

X
O O
X X

O O
X X
X

Assessment Task 2-1

Identify the following:

1. It tells us about customs, mores, and traditions.
2. It is a Mexican dance which means “The little Cockroach”.
3. This is a court dance popular during the time of Louis XV.
4. A dance or a unit formation
5. The couple’s original position in the set.
6. To bring down the foot forcibly and noisily on the floor with or without
transfer of weight.
7. Dancers who have joined hands release hold or drop hands.
8. It applies to those dances which come from countries other than the
Philippines.

56
 9. To make the fast turns executing small steps in place.
10. This is a very delightful dance for girls but boys may take part if desired.

Identify the time signature of the following dance steps:

1. __________ Mincing
2. __________ Dutch Step
3. __________ Minuet
4. __________ Galop
5. __________ Chasse
6. __________ Schottishe
7. __________ Cross-waltz
8. __________ Shuffling
9. __________ Waltz Turn
10. __________ Varsovienne
11. __________ Bleking
12. __________ Mazurka
13. __________ Ballroom waltz
14. __________ Box square waltz
15. __________ Hopsa

Assessment Task 2.2

Practical Performance
1. Choose one of the dances from Foreign Dance to perform.
2. Wear a proper costume for your chosen folkdance
CRITERIA:

Costume: 10 %
Choreography 50 %
Technique 20 %
Authenticity 20 %
Total 100 %

57
 Summary

Foreign folk dance are those dances that came from different countries
other than the Philippines. Foreign folkdance can be called as International Folk
dance. It portrays the culture of various countries their political, economic, social
intellectual, geographical and religious nature of society. It tells about the country
and its people, also it tells about custom, mores and traditions.

La Cucaracha means “The little Cockroach” and this dance known to all
Mexicans. Minuet is a court dance that popular in France during the time of Louis
XV, and Varsovienne is a very delightful dance for girls but boys may take part if
desired.

References

Perez, A., Santos, E., & Evangelista, T. (2006). Active MAPEH I . Sampaloc, Manila,
Philippines: Magallanes Publishing House.
Perez, V., Luna, L., & Tomas, C. (2004). MAPEH I . Quezon City, Philippines: St.
Bernadette Publications, Inc.
Catapang, M. (2020). Rhythmic Activities. Calamba: St. Benilde Internaltional School.

Opena, P. (2017). PE 3 Text Manual. Batangas: DMMC Institute of Health Sciences.

58
 MODULE 6
MODERN DANCE

Introduction

Modern Dance is one of the most beautiful creative talents known to the world. The
gestures in a dance form have the ability to articulate any emotion or expression possible.
This artistic potential could be inherited or can be acquired later in life. Modern dance is
the most pure and simple form of movement to music you’re likely to experience. It can be
fast, slow, high impact, gentle, loud, silent, frantic and still (Opena, 2017).

It’s an understatement to say that Modern dance is a mix of all dances-its type of
movement, tempo and feeling you can imagine. Therefore, it is an absolutely excellent
way to get a great workout through a huge mixture of music. It’s one of the best exercised
around and yet it’s also great for people who are less able-bodied or are recovering from
injury and have limited movement (Opena, 2017).

Learning Outcomes

At the end of this module, students should be able to:

1. Discuss the history and forms of modern dance
2. Demonstrate the steps in modern dance
3. Perform modern dance

59
Lesson 1. The Beginnings of Modern Dance

Developed in the 20th century, primarily in the United States and Germany,
modern dance resembles modern art and music in being experimental and iconoclastic.
Modern dance began at the turn of the century; its pioneers were Isadora Duncan, Loie
Fuller, and Ruth St. Denis in the United States, Rudolf von Laban and Mary Wigman in
Germany. Each rebelled against the rigid foralism, artifice, and superficiality of classical
academic ballet against the banality of show dancing. Each sought to inspire audiences
to a new awareness of inner or outer realities, a goal shared by all subsequent modern
dancers (Opena, 2017).

The Alvin Ailey American Dance Theater commenced in the year 1958 when Alvin
Ailey gave a performance. The face of modern dance went through a huge transformation
in 1962 through the efforts of Trisha Brown belonging to the New York’s Judson Dance
Theater. In 1970’s, this artistic expression evolved to a higher level incorporating many
radical views and gained footing across the globe. The dance form of ballet came onto
limelight in the decade of the 1980’s with Mark Morris, Twyla Tharp, Eliot Feld and Karole
Armitage as prominent figures. Soon after, the scenario was ruled by the legendary star,
Michael Jackson, whose name remains embedded in the hearts of dance lovers. His
exclusive movements such as the moonwalk stand as a landmark in the history of dance.
Gradually innovations crept in, paving the way for contemporary dance forms (Opena,
2017).

OTHER FORMS OF MODERN DANCE

HIP HOP

➢ Hiphop is a dance style, usually danced to hiphop music, that evolved

from the hip hop culture. The first dance associated with hip hop was
break dancing. While break dancing consists primarily of moves
executed close to the ground, the majority of hiphop moves are done
standing up.

60
 ➢ It includes a wide range of styles notably breaking, locking, and popping
which were created in the 1970s and made popular by dance crews in
the United States (Opena, 2017).

Main styles of Hip Hop dancing

1. Breaking- the first hip hop dance style created and originated in New York. It
added more styles to change its flavor of dancing such as
a. Top rock- footwork steps performed while the performers remain standing.
b. Down rock- footwork performed with the performer’s hands and feet on the floor, frost
and the hands are executing different kinds of catchy poses (Opena, 2017).

2. Locking- the dance moves was popularized by Don Campbellock which the
name of the movements was originally called “Campbellocking”. It became known and
performed in Los Angeles, California. Observers sometimes are in two minds how to
distinguish the differences between locking and popping because both kind of hip hop
dances are almost
the same. In locking, the dance movement holds its position longer and similar to a freeze
or sudden pause. Locking is more playful and character-driven (Opena, 2017).

3. Popping- in Fresno, California where the dance steps were created by Sam
Solomon. The technique of this style is to quickly contract and relax the muscles. It should
be synchronized according to the rhythm and beats of the music. Popping includes gliding,
floating and sliding; and the movements are done with the lower part of the body including
legs and feet (Opena, 2017).

CRAMPING
➢ Popularized in the United States, cramping is characterized by free
expressive, exaggerated, and highly energetic movement involving the
arms, head, legs, cheast and feet. The youths who started cramping
saw the dance as a way for them to escape gang life and to release
anger, aggression and frustation positively, in a non-violent way
(Opena, 2017).

61
MODERN DANCE MOVES

1. Laterals
➢ The arm over the supporting leg comes straight up next to the ear as the
torso tilts, unbroken to the side, over the supporting leg. The opposite
leg lfts pointed through the toes. The other arm swing up as the leg
rises and paralles the straight arm next to the head. The body continues
to tilt sideways from the pelvis in one unbroken line (Catapang, 2020).

2. Spiral
➢ The spiral is a torso twist that begins in the pelvis. As the body turns,
each level is separately articulated all the way up the spine---pelvis,
lower spine, midsection, shoulders, neck and head. The head remains
in alignment with the spine. The spiral releases in the same order:
pelvis up to shoulders, neck and then head (Catapang, 2020).

3. Stag Leap
➢ It is a very high jump in a split but, although both legs are parallel to the
floor, the front leg is bent from the knee inward. Most often the arms
are either thrust up in a “V”, palms facing out and down, or one-forward,
one-to-the-side in a ninety-degree angle, palms down (Catapang,
2020).

4. Stag Turn
➢ In a Stag Turn, the supporting knee is slightly bent; the other leg is up
in the air and bent behind the body. The arm on the supporting side is
thrust straight back, palms down. The opposite arm is thrust cleanly
forward, palms down as the dancer turns around (Catapang, 2020).

5. Primitive Squat
➢ A primitive squat is a hop that lands in a deep second-position. The feet
are turned out heel-to-heel and the knees are bent (Catapang, 2020).

62
6. Flat Back
➢ Flat back is actually a series of moves but the basic movement makes
a ‘tabletop’ of the body. The dancers stand in second position---feet
turned out heel-to-heel. The arms are down along the sides as the body
beds forward from the hips without breaking the line from the top of the
head to the lower spine. The bend continues until the entire torso is
parallel to the floor. Then the arms come out from the sides in unison,
arc completely forward and stretch out ahead of the torso parallel to
each other.

7. Hinge
➢ In the Hinge, the dancer balancecs on the bals of the feet. Keeps a
straight back and head and sends the knees forward as the torso ilts
back and the arms are held straight out in front.

8. The Contraction
➢ Martha Graham loved contractions in ehich the mid-section is pulled
back against a movement. The action begins in the pelvis, and
articulates up the spine as the breath as the move progresses to the
neck and the head, which are always in alignment with the spine.

9. The Release
➢ The release occurs on the inhalation and also begins in the pelvis. The
move travels up the spine in the same order as the contraction,
restoring the torso to a straight alignment. It typically counters the
contraction.

10. The High Release

➢ A high release, rather than ending with the spine and the upper body in
an upright, neutral position, tilts the breastbone up. The shoulder
blades appear ot rest on a bar or shelf. The head remains aligned with
the spine and the rib cage remains over the hips. The lower back is not
bent (Catapang, 2020).

63
Jazz Dance

During the World War I, Jazz as a dance form, originated from the vernacular
dances of African when they were brought to the Americas on slave ships. This dance
form developed alongside jazz music in New Orleans in the early 1900s.only one kind of
music suited this generation- jazz, the vehicle for dancing the foxtrot, shimmy, rag,
Charleston, black bottom, and various other steps of the period.

The birthplace of jazz has many origins: New Orleans, St. Louis, Memphis and
Kansas City are just a few. But New Orleans was and still remains an important jazz
center. The ethnic rainbow of people who gravitated to the bars and brothels were a major
factor in the development of Jazz. The city had been under Spanish and French rule prior
to the Louisiana purchase. In 1900, it was a blend of Spanish, French, English, German,
Italian, Slavic and countless blacks originally brought in as slaves.

Elements of Jazz (Catapang, 2020)

1. Syncopated rhythm
Is a common characteristic of jazz music that was adapted to jazz
dance in the early twentieth century and has remained a significant
characteristics.

2. Isolation
Quality of movements that were introduced to jazz dance by Katherine
Dunham.

3. Improvisation
Important element in early forms of jazz dance, as it is an important
element of jazz music.

4. Low center of gravity & High level of energy

Other important identifying characteristics of jazz dance.

64
Basic Jazz Dance Steps (Catapang, 2020)

1. Jazz Square
A jazz square is often done with some attitude in the upper body,
accenting the motion. Jazz squares can be executed in groupings of
two or more, repeated on the same side.

2. Isolations
One of the key skills for any jazz dance is to be able to move parts of
the body individually. For hands and other extremities this is pretty
easy, but to master jazz you need to be able to isolate the chest and
hips as well, and this is almost always a part of any jazz dance warm-
up.

3. Chasse
Your chasse step can take on a variety of different looks based on the
speed with which you execute it. Accent the step with your arms to
create artistry for this movement.

4. Jazz Layout
This is another iconic move, and is often used in posters and images to
convey some of the excitement of jazz dance. This jazz step requires
excellent balance and flexibility when done in extreme manner.

5. Jazz Walk
This step is where the improvisation element of jazz shines through.
One of the defining features of jazz, both in music and movement, is the room for individual
expression. Every dancer’s jazz walk is different. As you learn increasing numbers of jazz
steps, your technique improves. Developing your own technique is a matter of letting your
inner voice and feeling for the music flow.
6. Axel Turn
A simple yet stunning jump often used in intermediate
choreography. Starting a with a chene turn, one leg goes up into passe’,
followed by the other, developing in a fully rotating jump in the air.

65
 7. FAN KICK
The body stays in place while one leg starts inward and kicks all the
way around to its original position.

8. BALL CHANGE
A ball change is a change of weight distribution on the balls of the
feet. This is a popular transitory step in many jazz dance routines.

Other Modern Dance forms (Catapang, 2020)

Advancements in music technology brought the birth of many new types of dances.
Introduction of electronic and rock music brought the era of House, Punk, Rave and Disco
dance. Faraway country of India did not care much for those styles, and in accordance to
the deeply seeded religious beliefs, they incorporated dance of their gods to everyday life
and was and profitable Bollywood movie scene (Catapang, 2020).

House dance - After the years of popularity of Disco, the genre of House music
and house dance became born in New York and Chicago clubs. Built on top of
subtler rhythms, riffs of the music and influences of jazz, Latin, soul, funk, R&B,
and many other music styles, this social dance quickly found its way into
homes and clubs across the entire world (Catapang, 2020).

Punk dance - Born as an extension of 1960s garage rock, the punk rock
managed to attract fans who enjoyed not traditional social dances of before,
but more energetic and sometimes violent dance style of moshing (sometimes
called slam-dancing) and headbanging. This dance styles were characterized
by the strong and full body contact of live band audience, with frequent
bumping and jostling both alone and in groups (Catapang, 2020).

Rave dance - Fueled by the unending focus on pulsating beats, loud volume
and psychedelic music effects, dancers of rave music are free to create their
freestyle of movements, with no rules about dance routines or synchronized
moves, usually in dark and crowded venues of dance clubs, nightclubs, and

66
 festivals. Dancers are encouraged to find inspiration in music, other people,
and their mood (Catapang, 2020).

Disco dance - The popular disco music genre of the 1970s would not found
such popularity if it was not so easy to dance with. Fans of this music often
wore extravagant and sexy clothing while dancing free form or structured
versions of various disco dances, such as Bump, (several variations of) Hustle,
Robot, Boogaloo, Watergate, and others (Catapang, 2020).

Bollywood dance - The cultural history of India and the rest of southern Asia
would not remain the same without the strong influence of Bollywood movie
industry which has promoted Hindi dance music to the world. Created as the
mix of traditional Indian music, Hindi dance traditions of the Indian sub-
continent, and Middle-Eastern techniques, Bollywood dance is characterized
by elaborate choreographies, energetic movements, and dances that involve
a large number of participants (Catapang, 2020).

Assessment Task 3-1

Identify the following:

1. This is another iconic move, and is often used in posters and images to convey
some of the excitement of jazz dance.
2. This is popular in the United States, it is characterized by free expressive,
exaggerated, and highly energetic movement involving the arms, head, legs, chest
and feet.
3. This dance originates from the vernacular dances of African when they were
brought to the Americas on slave ships
4. The technique of this style is to quickly contract and relax the muscles. It should
be synchronized according to the rhythm and beats of the music
5. The first hip hop dance style created and originated in New York. It added more
styles to change its flavor of dancing

67
 6. This is actually a series of moves but the basic movement makes a ‘tabletop’ of
the body.
7. This is a change of weight distribution on the balls of the feet.

8. This Is a common characteristic of jazz music that was adapted to jazz dance in
the early twentieth century and has remained a significant characteristic.
9. A simple yet stunning jump often used in intermediate choreography.

10. The body stays in place while one leg starts inward and kicks all the way around
to its original position.

Assessment Task 3-2

Practical Performance
1. Choose one of the dances from Modern Dance to perform.
2. Wear a proper costume for your chosen folkdance
CRITERIA:

Costume: 10 %
Choreography 50 %
Technique 20 %
Authenticity 20 %
Total 100 %

68
 Summary

Modern dance encourages individuals to manipulate their moods to

create their own concepts and steps of modernized dance routines. It also helps
students to have a healthy lifestyle as it gives benefits in every parts of the body that
carrying out different dance moves.

Hiphop is a dance style, usually danced to hiphop music, that evolved from the hip
hop culture. It includes a wide range of styles notably breaking, locking, and popping
which were created in the 1970s and made popular by dance crews in the United States.
Cramping is characterized by free expressive, exaggerated, and highly energetic
movement involving the arms, head, legs, cheast and feet. Jazz is originates from the
vernacular dances of African when they were brought to the Americas on slave ships.

References

Catapang, M. (2020). Rhythmic Activities. Calamba: St. Benilde Internaltional School.

Opena, P. (2017). PE 3 Text Manual. Batangas: DMMC Institute of Health Sciences.

69