P.E and Health 3 Module

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P.E AND HEALTH 3
LEARNER’S MODULE
UNIT-FINAL
Student’s Name: _____________________________

Contact #: __________________________________
Strand and Section: ___________________________
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TABLE OF CONTENTS
UNIT
Week 1
Module 1 Dance: an Introduction----------------------------------------------4-9
Week 2
Module 2 Dancing toward the 21st Century------------------------------10-11
Week 3
Module 3 Health Related Fitness (HRF) and FITT Principles-----------12-16
WEEK 4: U N I T E X A M
PRELIM
Week 5
Module 5 Hip Hop-------------------------------------------------------------17-20
Week 6
Module 6 Cheerdance---------------------------------------------------------21-28
Week 7
Module 7 Exercise Physiology Indicators----------------------------------29-34
WEEK 8: P R E L I M E X A M Oct. 10-15, 2022
MIDTERM
Week 9
Module 9 Social Dance: Ballroom-------------------------------------------35-47
Week 10
Module 10 Latin Ballroom Dances------------------------------------------48-56
Week 11
Module 11 Hydration and Overexertion in Dancing----------------------57-61
WEEK 12: M I D T E R M E X A M
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PRE-FINAL
Week 13
Module 13 Festival Dance----------------------------------------------------62-67
Week 14
Module 14 Philippine Folk Dance-------------------------------------------68-71
Week 15-16
Module 15-16 Ballet-----------------------------------------------------------72-75
WEEK 17: P R E – F I N A L E X A M
FINAL
Week 18
Module 18 Modern Dance----------------------------------------------------76-77
WEEK 19: F I N A L E X A M
References-------------------------------------------------------------------------- 78
CHED Accredited Courses ------------------------------------------------------ 79
STII Training Center ------------------------------------------------------------- 80
Senior High School Voucher Program ---------------------------------------- 81
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UNIT
CHAPTER 1
Week 1
MODULE 1: Dance: An Introduction
After going through this module, you are expected to:

1. Discuss the true meaning of dance from different perspective;
2. Self-assess health-related fitness (HRF) status, barriers to physical activity
assessment participation and one’s diet; and
3. Set FITT goals based on training principles to achieve and/or maintain HRF.
How healthy is your lifestyle? Prior to conducting a series of tests, let’s take a review
on your physical activities and make a self-assessment.
Instructions. Read the following statements carefully and put a check mark (√) on
the statements that apply to you.
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TEST PROTOCOLS
3-MINUTE STEP TEST
PUSH-UP
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BASIC PLANK
ZIPPER TEST
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SIT AND REACH
BODY MASS INDEX

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Dances from the Past

Dance comes from the German word damson, which means “to stretch or “to drag”.
It developed as a natural expression of united feeling and action. Dance is
considered the mirror of the society because it responds to historical and religious
events as well as social and political statements.
Although there have been immense comparative differences in period and culture,
people still dance mainly for four reasons: (a) to please gods; (b) to please others;
(c) to please themselves; and (d) to build community within an ethnic group or
social interaction.
History and Development of Dance from the Different Periods

Dance during the Prehistoric Period
 It had been a major form of religious ritual and social expression within
primitive culture.
 It was used as a way of expression and reinforcing tribal unity and strength.
 It is based on superstition and infused with magic. Shamans as lead dancers
acted as physicians and religious leaders and kept tribes healthy, prosperous
and safe.
Dance During the Ancient Civilization
 Ancient Egypt.
 3,300 BCE (First Dancing). It is believed that the first people to dance were
the Egyptians. Archaeologists discovered paintings of dancing figures in
rock shelters and caves.
 As a way of expressing religious service and teaching ancient myth, three
(3) major dancers were evolved:
(1) the king;
(2) the priests who performed magical dances;
(3) virgin dancers who were trained to perform during ceremonies led by the
priests.
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 Ancient Crete.
 The Cretan civilization (3000-1400 BC) was a cultural link in the ancient
world between Egyptians and Greeks.
 Cretans used dance to perfect their military training which made excellent.
 Ancient Greece.
 Dance was not just for religious and military training but also a form of
entertainment and display.
 Plato immensely gave importance to dance in education as stated in the
education on the Laws. He highlighted the two kinds of dance and music: the
noble (fin and honorable) and the ignoble (imitating what is mean or ugly).
 Ancient Rome.
 Gave less importance to dancing which eventually became an integral part of
the corruption in the latter days of the Roman Empire resulting in the
condemnation of dance by early Christians.
 Dance was primarily performed for religious, social and entertainment.
However, theatrical entertainment was prohibited but still existed and was
performed within church during religious ceremonies.
Dance during the Middle Ages and The Renaissance
 1400 (Ballet Comes into Play). Ballet started in this year in Italy, but didn’t
really become popular until around the year 1500. Ballet gained its popularity
when a lady of the arts, Catherine de Medici, married King Henry 11 and threw
festivals where they would perform ballet dances. Ballet is believed to be the
main core of every single dance style.
 A vast dance movement occurred throughout the courts of Europe in the 15th
and 16th centuries. During these times, new court dances performed by the
nobility came about as well as the rise of the art of ballet in Italy and France.
 Several other dance forms continued to sprout and spread across several
countries.
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UNIT
CHAPTER 2
Week 2
MODULE 2: Dancing toward the 21st Century
Dancing toward the 21st Century

Modern History
 Dance During the Late 16th and 17th Centuries (1501-1700)
 1600 (Masque Dancing). Masque dancing started from elaborate pageants and
shows in the 16th century. Masque dancing involved intricate costuming and
stage designing that also incorporated singing and acting as well as dancing.
It was often used as a court entertainment.
 A period in the history of dance in Italy, France, and England which was
considered to be pleasantly deep and rich. France became the forerunner in
dance during this period.
 Dance increased as a court amusement and later transformed into
professional entertainment.
Dance During the 18th Century (1701-1800)

 1795 (Classical Persian Dancing). This style of dance evolved from courtroom
dancing. An era influencing Persian dance was the Qajar Dynasty which
lasted from 1795 to 1925. Dancers would perform artistic and lively dances for
the Shah. The music is usually played by a small band.
 1800 (Tippity Tappity, Time for Tap). Tap dancing originated from African
tribe dancing. Tap dancing makes percussion sounds because of dancers most
commonly wearing leather shoes with two pieces of metal and clip and clap
against hard floors. Tap is still very popular to this day.
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Dance during the 19th Century (1801-1900)

 1890 (Merengue Dancing). It is a Caribbean dance style that involves partners
holding each other in a tango-like position and moving their hips side to side.
 1900 (Jazz and Acro). It involves doing smooth and flexible movements, and
lots of back bending and tricks. Both styles are widely popular to this day.
 Ballroom dances also emerged during this period like Cotillion, Polonaise,
Quadrille, Waltz and Polka.
20th Century Dances (1901-2000)

 Described as a period of “dance fever” wherein the young and old alike were
not limited to express emotions through dance.
 1950 (Contemporary Dance). Contemporary dance is a style that combines
jazz, ballet, and modern dance. It can be many different styles, but most of
the time it is melancholy and or intense.
 1970 (Hip Hop Dance). There are many styles of hip hop that include
breaking, popping, locking, and more. Street dance was performed both in
night clubs and on the streets. It is associated with funk, breakdancing, and
hip-hop.
 Several social dance movements also evolved such as castle walk, tango,
foxtrot, Charleston, Lindy Hop, Rumba, Mambo, Cha-Cha-Cha, Samba, Bossa
Nova, Boogaloo and Twist.
 Popular fad dances also emerged like YMCA and Macarena.
21st Century Dance (2001- Present)

 2018 (Dance Nowadays). Today's dance style has taken a turn towards more
hip hop dances. Small and popular dances that involve hip hop and that most
everyone can achieve include the whip and nae nae, Gangnam Style (it’s a
little old), shooting, and more.
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UNIT
CHAPTER 3
Week 3
MODULE 3: Health-Related Fitness (HRF) and FITT Principles
The Health-Related Fitness Components

Before engaging any physical activities, you need to self- assess your health-related
fitness status and determine barriers to physical activity participation. Health-
related fitness involves exercise activities that you do in order to try to improve
your physical health and stay healthy.
Cardiovascular endurance is the ability of the heart and lungs to work together to
provide the needed oxygen and fuel to the body during sustained workloads. The 3-
minute Step Test is used to test cardiovascular endurance.
Muscular strength is the amount of force a muscle can produce. The Push-Up Test
is most often used to test muscular strength.
Muscular endurance is the ability of the muscles to perform continuous without
fatiguing. The Basic Plank is most often used to test muscular endurance.
Flexibility is the ability of each joint to move through the available range of motion
for a specific joint. The Zipper Test and Sit and Reach Test is frequently used to test
body flexibility.
Body composition is the amount of fat mass compared to lean muscle mass, bones
and organs. The BMI is defined as the body mass divided by the square of the body
height, and is universally expressed
Getting FITT with Dance

When engaging in any form of dance, always consider the FITT (Frequency,
Intensity, Time, Type) principle of training to be able to perform efficiently and
minimize unnecessary body stress and injury.
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Frequency (How Often) - number of training sessions that are performed during a
given period (usually one week). About 3 to 4 times per week or more are the
recommended times of exercise for an individual. Rest or easy days are in between
to allow your body to recover from physical exertion.
Example:
Intensity (How Hard) - an individual’s level of effort (light, moderate, vigorous).

Example:
This Rate of Perceived Exertion (RPE) scale below is used to measure the intensity
of your exercise/ physical activity. This value gives a reference point for an
individual’s internal load which can be compared with others during a similar
session.
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Time (How Long) - duration of a workout (including warm-up and cool-down) or

the length of time spent in training. To improve health-related fitness, trainers
recommend 20 to 30 minutes of nonstop exercise. Time should be decreasing as the
intensity of the activity is increasing.
Example:
Type (What Kind) - mode of physical activity (swimming, jogging, dancing).
Activity 1.1. Arrow It Out!

Follow the arrows and supply the blank portion of the Mind Map. Possible answers
are inside the box. Write the letter of your choice.
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Activity 1. My Fitness Map!

Complete the graphics below by answering the questions found inside the box.
Choose the letter only.
1.It is the ability of the heart and lungs to work together to provide the needed
oxygen and fuel to the body during sustained workloads.
2. Push up is most often used to test _______________.
3. It is the ability of the muscles to perform continuous without fatigue.
4. The Zipper and Sit and Reach Test is most often used to test
5. It is defined as the body mass divided by the square of the body height.
Assessment
I. Matching Type. Match Column A with Column B. Select the letter of your
choice.
Column A Column B
1. Cardio-vascular Endurance a. Sit & Reach
2. Muscular Strength b. Dancing and Zumba
3. Muscular Endurance c. fat mass over lean muscle mass
4. Flexibility d. Push-up
5. Body Composition e. Stork Balance Test
f. Basic Plank
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II. Multiple Choices. Choose the letter of the best answer.

a. Prehistoric Period c. Middle Ages & Renaissance
b. Ancient Civilization d. Modern Period
___6. Dance was used as a way of expression and reinforcing tribal unity and
strength.
___7. Dance style has taken a turn towards more hip hop dances.
___8. Ballet gained its popularity in this period and it is believed to be the main
core of every single dance style.
___9. Plato immensely gave importance to dance in education as stated in the
education on the Laws.
___10. Theatrical entertainment was prohibited but still existed and was performed
within church during religious ceremonies.
III. True or False. Write A if the given statement is correct. Write B if the
statement is incorrect. Be guided with the underlined word/phrase.
___11. Regular moderate physical activity means engaging in relatively vigorous

bodily movement for 10-20 minutes can elevate your heart rate.
___12. Same as jogging, a 30-minute dancing can burn fats between 130 and 250
calories.
___13. The benefit of strength training will lead to increase cardio-vascular
endurance which will help improve and maintain functional physical capacity to
perform your daily tasks easily.
___14. Strengthening and flexibility exercise is intended to improve bone and
muscle strength and improve resilience of your connective tissue.
___15. For normal body composition, you need to have at least a BMI of 23.
---END OF UNIT PERIOD---

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PRELIM
CHAPTER 5
Week 5
MODULE 5: Hip Hop

1. Discuss the nature of hip-hop and cheer dances;
2. analyze physiological indicators such as heart rate, rate of perceived exertion and
pacing associated with MVPA’s to monitor and/or adjust participation or effort; and
3. Engage in moderate to vigorous physical activities (MVPA’s) for at least 60
minutes most days of the week in a variety of settings in and-out-of-school.
How far do you know of this dance moves? Identify if the picture illustration of a
dance move is (A.) Hip-Hop or (B.) Cheerdance.
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Hiphop
Brief History
The word hip-hop was derived from the word “hep”, an African-American
vernacular English language since 1904 which means “current”. It was apparently
invented by a New York rapper Kevin Donovan, (known as Afrika Bambaataa), who
was dubbed as the Grandfather of Hip-hop. The dancing style of Hip-Hop
developed from the music style that was first introduced during the 1970s in New
York City among young Hispanic and African-American communities and was
made popular in the 1980s by media’s exposure of several hip-hop dance groups in
America. These groups of young people were looking for a creative outlet to vent
their frustrations and disappointments with society. It started with funky beats
reverberating at house or basement parties and the streets of New York. Hip-hop
evolved as a street dance which was a cultural dance variation in the United States
and is generally a form of entertainment where technical and teachable dance
aspects replaced the cultural symbolism and message of the true essence of African-
American hip-hop dance. The word street dance arrived in the Philippines from the
United States during the 1980s but only gained unparalleled popularity during the
1990s. There are various street dance battles held locally across the country as well
as hip-hop dance competitions internationally. The first Philippine Team who won
the World Hip Hop Dance Championships is the Philippine All Stars. One of the
pioneers of street dance in the Philippines is Jungee Marcelo. Marcelo started the
first formal street dance class in the Philippines after arriving from US in 1991. After
almost 11 years of living in a community dominated by African-Americans in Los
Angeles, he brought with him his knowledge of urban dance in the country.
Nature and Characteristics:
The movement of hip-hop dance contains an assertive angularity of body

posture and an insistent virtuosic rhythmicity.
It is freestyle in nature and maybe practiced in either a dance studio or in an
open space outdoor.
It consists of four fundamental characteristics such as rapping (MCing); Disc
jockeying (DJing); Break dancing (B-boying); and Graffiti Art (Aerosol Art).
Can also be described by elements such as bounce or recoil, tightening of the
body, agility and coordination, and fun.
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It has several styles that comprise two main categories, the Old school
(breaking, popping, and locking) and the New school (house, krumping,
street jazz).
Fundamental Movements:
Term Illustration Description

1. Breaking (Break dance)  Executes several
explosive, acrobatic
movements with
breaks or freezes in
between acts
 Hold the position of
the movement for a
few seconds before
continuing or
shifting to the next
movement
2. Popping  A quick contraction
and relaxation of
muscles to
producing jerking of
various joints
3. Locking  It includes a lot of
acrobatics and
physically
demanding moves,
such as landing on
one’s knees and the
split
 Other famous
moves are waving of
arms, pointing,
walking stationary,
and grabbing and
rotating the cap or
hat
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4. Krumping  Characterized by
unrestrained, rapid-
fire, and highly
energetic moves of
the limbs and torso
 A dance style to
release anger
5. Tutting  It is a dance style
(Tetris) that imitates the
angular poses seen
in ancient Egyptian
art
 Used to have a
limited set of static
hiero-inspired
poses, but they now
create more
complex geometric
patterns wherein
multiple limbs
interact
6. House Dance  Combination of
skating, stomping
and shuffling
 There is a fast and
complex steps
combined with fluid
movements of the
torso
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PRELIM
CHAPTER 6
Week 6
MODULE 6: Cheerdance
Brief History
Cheer dance is a physical activity with a combination of different dance genre and
gymnastics skills such as tumbling, pyramids, tosses and stunts. The routines
usually range anywhere from one to three minutes and they are done to direct
spectators to cheer for sports teams or participate in cheer dance competition.
Cheer dance is relatively new in the field of sports and dance as it has only emerged
during the 1990s as part of the cheerleading events. Cheerleading history is linked
closely to the United States history of sports, its sporting venues, as well as the
historical development of over-all crowd participation at many athletic events.
However, its origins can be traced as far back as the late 19th century where in
1860s, students from Great Britain began to cheer and chant in unison for their
favorite athletes at sporting events. This event eventually reached and influenced
America. Cheerleading for the first 25 years was an all-male activity. It was only
during the 1920s when women cheerleaders participated in cheerleading.
Nature and Characteristics:

As a dance technique, some squad prefer contemporary dance techniques,
while others incorporate several techniques such as jazz, hip-hop, modern
dance, contemporary ballet and ethnic of folk. Emphasis is on the placement,
sharpness and synchronicity of the movements.
There must be cheers which are coordination of organized words and
movements relating to an athletic event. These are used during a sport event
when play has been stopped on the field or court.
Cheer motions are also used to lead the crowd and emphasize words for
crowd response. These are made up of hand, arm, and body positions.
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Fundamental Movements:
Starting Positions Illustration Description

1. Beginning Stance Feet together, hands
down by the side in
blades
2. Cheer Stance Feet more than

shoulder width apart,
hands down by the
side in blades
Hand Positions
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Arm Positions Illustration Description

9. Tabletop Arms bent at elbow,
fists in front of
shoulders
10. High V Arms extended up

forming a “V”, relax
the shoulders
11. Low V Arms extended down

forming
12. Touchdown Arms extended

straight upward and
parallel to each other,
fist facing in
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13. T Motion Both arms extended

straight out to the side
and parallel to the
ground, relax the
shoulders
14. Diagonal One arm extended in a

high “V” and the other
arm extended in a low
“V” (Right Diagonal
shown)
15. L Motion One arm extended to

the side with other
arm extended in a
punch motion, (Left L
motion shown)
16. Overhead Clasp Arms are straight,

above the head in a
clasp and slightly in
front of the face
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Feet Positions Illustration Description

17. Front Lounge Lead leg bent with the
knee over the ankle,
back leg straight, feet
perpendicular to each
other
18. Side Lounge Lead leg bent with the

knee over the ankle,
feet perpendicular to
each other
19. Feet Apart In stride position, both

feet away each other.
Hands can be on the
waist or clasp in front
20. Jogging The ball and the toes

should not be parallel
when hitting the
ground. The ball
should touch the
ground lightly first
while the toes point
downward
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Basic Jumps Illustration Description

21. Herkie  Clasp arms
tighter in the
and form fist
(ct.1)
 Bring arms up to
a high V (ct.2)
 Swing arms in a
cross position
and bend both
legs (ct.3)
 Brig arms up to a
T and hit your
herkie. One of
the legs shall be
out like you are
doing a straddle
split and the
other leg shall be
bent back. Arms
shall be in a T
position with the
hands forming
fists (ct.4)
 Land with legs
bent and hands
on the side, hold
position and
straighten out
your legs
(cts.5,6,7)
22. Toe Touch  Clasp arms like
in the herkie and
form fists (ct.1)
 Bring arms up to
a high V (ct.2)
 Swing arms in a
cross position
and bend the
knees (ct.3)
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 Jump to “touch”
the toes (ct.4)
 Land with both
legs bent and
both hands on
the sides (ct.5)
 Hold the
position,
straighten out
the legs (cts.6,7)
23. Hurdle  Start with a High
“V” position
(ct.1)
 Throw arms up
into the high V
position (ct.2)
 Take a crisp
sharp motion
tiptoe and jump
into the air (ct.3)
 Feet is in herkie
position while
reaching out one
foot in front and
hold position
(cts.4,5)
Basic Tumbling Illustration Description
24. Forward Roll  Squat and lay
both hands on
the floor (ct.1)
 Tuck chin and
push off the
hands and legs
(ct.2)
 Roll forward
(cts.3,4)
 Squat both legs
against the chest
and hold the
arms up in front
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(cts.5,6)
 Get up (cts.7,8)
25. Backward Roll  From a
beginning stance
facing back,
squat and lay
both hands on
the floor (cts.1,2)
 Tuck chin and
pull off the
hands and legs
(cts. 3,4)
 Roll backward
(cts.5,6)
 Squat both legs
against the chest
and hold the
arms in front
and get up
(cts.7,8)
26. Cartwheel  Put the best leg
forward and
extend both
arms up against
the ears
 Move the whole
body forward
and slowly raise
the back leg
 Once the hands
reach the
ground, kick the
back leg over
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PRELIM
CHAPTER 7
Week 7
MODULE 7: Exercise Physiology Indicators
Dance is mainly an integrated art form between technical and expressive aspects. In
addition, since most dance performance requires high physiological capacity due to
its characteristics included a moderate-high intensity, high skill, and predominantly
intermittent activity. When trying to develop cardio-respiratory, the intensity of
exercise must not be ignored. The intensity of exercise or Training Intensity (TI)
can be calculated easily, and training can be monitored by identifying your resting
heart rate (pulse beat at rest), maximal heart rate and heart rate reserved.
The Resting Heart Rate (RHR)
Your pulse is your heart rate, or the number of times your heart beats in one
minute. Pulse rates vary from person to person. Your pulse is lower when you are at
rest and increases when you exercise (more oxygen-rich blood is needed by the
body when you exercise). Knowing how to take your pulse can help you evaluate
your exercise program. To get your pulse beat, follow the steps:
1. Place the tips of your index, second and third fingers on the palm side of your
other wrist below the base of the thumb or, place the tips of your index and second
fingers on your lower neck on either side of your windpipe.
2. Press lightly with your fingers until you feel the blood pulsing beneath your
fingers. You may need to move your fingers around slightly up or down until you
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feel the pulsing. Use a watch with a second hand, or look at a clock with a second
hand.
3. Count the beats you feel for 10 seconds. Multiply this number by six to get your
heart rate (pulse) per minute.
4. Compute using the formula: RHR = Pulse: ____ beats in 10 seconds x 6 = ____
beats per minute (bpm).
Normal heart rates at rest for children whose age is 6 to15 is 70 to 100 bpm while
adults whose age is 18 and over is 60 to 100 bpm.
The Maximal Heart Rate (MHR)
Maximal Heart Rate (MHR) is the maximum number of beats made by your heart in
1 minute of effort. When walking quickly, you will be in an endurance zone, with a
heart rate of between 60% and 75% of your maximum heart rate (MHR). Knowing
your rate means listening to your body. Recent research indicates that the
traditional equation of 220 – age over predicts maximal heart rate (MHR) in people
40 years and younger, and under predicts MHR in individuals above 40 years old.
Instead, it is advisable to use 207 as constant MHR from birth that decreases by 1
beat per year.
The Heart Rate Reserved (HRR)
Heart Rate Reserve (HRR) is the difference between your Resting Heart Rate and
your Maximum Heart Rate. It is used primarily for determining heart rate zones
during exercise, and the amount of cushion in heartbeats available for exercise.
Health and cardio-respiratory (CR) fitness benefits result when a person is working
between 30 to 85 percent of heart rate reserve (HRR) combined with an appropriate
duration and frequency of training. Health benefits are achieved when training at a
lower exercise intensity that is between 30 to 60 percent of the person’s HRR. Even
greater health and cardio protective benefits, and higher and faster improvements
in CR fitness (VO2max), however are achieved primarily though vigorous intensity
programs (at intensity above 60 percent). To compute for your HRR, subtract the
resting heart rate from the maximal heart rate: HRR = MHR – RHR.
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The Target Heart Rate (THR)
Target Heart Rate (THR) is generally expressed as a percentage (usually between 50

percent and 85 percent) of your maximum safe heart rate. This is used to identify
Training Intensity (TI). Training intensity is the amount of effort you are putting in
to whatever exercise you are doing. Walking a dog will (most of the time) be low to
medium intensity based on your speed of walking but running with your dog will be
high intensity. The TI of a person can be measured in different levels such as
follows:
1. low intensity (heart rate is 68-to-92 beats per minute);

2. moderate intensity (heart rate is 93-to-118 beats per minute); and
3. high intensity (heart rate is more than 119 beats per minute).
In participating low (or light) activities, a person should have at least 30-40% MHR.
For moderate activities, it is recommended to have at least 50-60% MHR. For high
(or vigorous) activities, it is good to have at least or greater than 70% MHR.
To determine the intensity of exercise or cardio-respiratory training zone according
to heart rate reserve, follow these steps:
Estimate your maximal heart rate (MHR) according to the following formula:
MHR = 207 – (0.7 x age)
Check your resting heart rate (RHR) for a full minute in the evening, after you
have been sitting quietly for about 30 minutes reading or watching a relaxing
TV show.
Determine the heart rate reserve (HRR)
Calculate the Training Intensity (TI) at 30, 40, 50, 60, 70 and 85 percent.
Multiply the heart rate reserve by respective 0.30, 0.40, 0.50, 0.60, 0.70, and
0.85, and then add the resting heart rate to all four of these figures (e.g., 60%
TI = HRR x .60 + RHR).
Example: The 30, 40, 50, 60, 70 and 85 percent TIs for a 20-year-old with a RHR of
68 bpm would be as follows:
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The Rate of Perceived Exertion (RPE)

When your body is challenged to do more than what is used to, changes in your
body start to occur. If the physical activity is too easy for your body, changes, if any,
would be minimal. Hence your body should be challenged and more effort should
be exerted. The Borg Rating of Perceived Exertion (RPE) is a way of measuring
physical activity intensity level. Perceived exertion is how hard you feel like your
body is working. In conducting physical activity, consider the Rate of Perceived
Exertion (RPE):
To determine your approximate heart rate, simply multiply your Borg's RPE by 10.
For instance, an RPE score of 16 × 10 = 160 beats per minute. The scale was designed
with the average healthy adult in mind.
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Activity 1. Dance Craze!
Complete the crossword puzzle below. Possible answers are inside the box.
a. HEART RATE RESERVED

b. MAXIMUM HEART RATE
c. RESTING HEART RATE
d. TARGET HEART RATE
e. CHEER MOTIONS
f. CHEERDANCE
g. BREAK DANCING
h. JUNGEE MARCELO
i. STREET DANCE
j. HIPHOP
k. CHEERS
l. KEVIN DONOVAN
m. TUMBLING
n. DANCE TECHNIQUE
o. POPPING
ACROSS:
4. A physical activity with a combination of different dance genre and gymnastics

skills.
5. This is where hip-hop evolved as a culture dance variation in the United States.
6. One characteristics of cheer dance that can be used to lead the crowd and
emphasize words for crowd response.
7. Derived from the word “hep”, an African-American vernacular English language
which means “current”.
8. This refers to the number of times your heart beats in one minute while at rest.
9. One of the fundamental characteristics of hip-hop.
10. One of the pioneers of street dance in the Philippines.
34
DOWN:
1. This refers to the maximum number of beats made by the heart in 1 minute of
effort.
2. It is the difference between your Resting Heart Rate and your Maximum Heart
Rate.
3. In cheer dancing, this refers to the organized words and movements relating to
an athletic event.
Activity 2 Let’s Intensify!

Using your own resting heart rate (RHR) and age as of today complete the training
intensity (TI) table below.
PERFORMANCE TASK
-Create a dance routine whether Hiphop or Cheerdance that consist of basic steps
with a time of 3-5 minutes only.
-choose your own music.
-wear any kind of p.e uniform.
-then submit your video to your P.E Teacher via messenger.
---END OF PRELIM PERIOD---

35

MIDTERM
CHAPTER 9
Week 9
MODULE 9: Social Dance: Ballroom

1. discuss the nature of the different styles of social/ballroom dances;
2. observe personal safety protocol to avoid dehydration, overexertion, hypo-and
hyperthermia during MVPA participation; and
3. engage in moderate to vigorous physical activities (MVPA’s) for at least 60
minutes most days of the week in a variety of settings in and-out-of-school.
Brief History, Nature and Characteristics

Standard ballroom dances are smooth, flowing ballroom dances that move around
the entire dance floor in a counterclockwise movement. The international Standard
and International Latin techniques were codified by the Imperial Society of Teacher
of Dance (ISTD) to come up with a unified syllabus for all those interested in
learning ballroom dancing. These include Foxtrot, Waltz, Tango, and Quick Step.
Foxtrot
 Was named after an American performer Harry Fox, which was premiered in
1914.
 It is an elegant dance whose objective is to travel smoothly around the dance
floor.
 The time signature is 4/4 with the first and third beats accented.
 “Slow” count = 2 beats. “Quick count = 1 beat.
 Counting in beats and bars: 1 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
36
Waltz
 Was introduced in England in 1874 but it was in 1922 that it became as
fashionable as Tango. Waltz’s steps have already undergone change and
improvements as well and as a result of this, many more variations became
possible. It is also considered by some as “mother of present-day dances” and
the “backbone dance” of the ballroom.
 It is a smooth, progressive dance that travels around the line of dance,
characterized by its “rise and fall” action.
 The time signature is 3/4 with the first beat accented.
 Each step = 1 beat.
 Counting in beats and bars: 1 2 3, 2 2 3, 3 2 3, 4 2 3, etc.
Tango
 Was first danced in Europe before World War I. The word “tango” may be
an African term for “closed space” or “reserved ground,” or it may be from
the Latin verb tanguere which mean “to touch”. It originates from Buenos
Aires (Argentina) where it was first danced in “Barrio de Las Rana”, the
ghetto of Buenos Aires.
 It is a sensual ballroom dance that originated in South America during the
early 20th century.
 The time signature is 2/4 with both beats accented.
 “Slow” count = 1 beat. “Quick” count = 1/2 beat.
 Counting in beats and bars: 1 2, 1 and 2, etc.
Quick Step
 Was developed during World War I in New York and became popular in
ballrooms. It has a common origin as that of the Foxtrot.
 It is an up-and-down, rise-and-fall swinging motion performed at a fast
pace. Music used is usually jazz or swing with a brisk tempo. It is little
faster than brisk walking, although it seems much faster for beginners.
 The time signature is 4/4 with the first and third beats accented.
 “Slow” count = 2 beats. “Quick” count = 1 beat.
 Counting in beats and bars: 1 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
37
Fundamental Movements (Foxtrot):

Basic Steps Illustration Counts/Step Pattern
Starting Position. Stand upright with your
feet together. Face each
other, lady puts her right
hand on the Gentleman’s
left hand. His right hand is
on her left shoulder blade;
her left hand is on his
right arm. Knees almost
touching with each other
and in slightly bent and
feet together.
Basic forward
Basic Step (Forward- (Gentleman)
Backward) 1. Step forward with your
left foot (slow) – cts. 1,2
2. Step forward with your
right foot (slow) – cts. 3,4
3. Sidestep to the left with
your left foot (quick)- ct. 2
4. Move your right foot
close to your left foot
(quick) – ct. 2
Basic backward
(Gentleman)
5. Step backward with
your left foot (slow) – cts.
3,4
your right foot (slow) cts.
3,2
your left foot (quick) – ct.
3
38

(quick) – ct. 4
Basic forward (Lady)
1. Step backward with your
your left foot (slow) – cts.
3,4
3. Sidestep to the right

with your right foot
(quick) – ct. 2
4. Move your left foot
close to your right foot
(quick) – ct. 2
Basic backward (Lady)
left foot (slow) – ct. 3,2
(quick) – ct. 3
8. Move your left foot
close to your right foot
(quick step) – ct. 4
2. Rock Left Turn (Pivot) Basic Rock Left Turn

(Gentleman)
2. Step sideward with a
pivot (towards left) with
your right foot (slow) –
cts. 3,4
39
2
(quick) – ct. 2
Note: Opposite direction
for the Lady. Start with
Right foot.
3. Promenade Step
Basic Promenade
(Gentleman & lady)
1. Step sideward with your
right foot across left
(slow) – cts. 3,4
2
(quick) – ct. 2
Right foot going right side.
4. Foxtrot Progressive Step Foxtrot Progressive Step

(Gentleman)
slow (cts. 1,2),
quick (ct.3), quick
(ct.ct.4), slow (cts.2,2),
quick (ct.3), quick (ct.4)
Right foot going right side.
40
5. Foxtrot Left Turn Foxtrot Progressive Step

(Gentleman)
– slow (cts. 1,2),
quick (ct.3), quick (ct.4),
slow (cts.2,2), quick (ct.3),
quick (ct.4)
Note: Movements of the
Lady is opposite to the
Gentleman
Fundamental Movements (Waltz):

Basic Steps Illustration Step Pattern
Starting Position Closed position, facing
diagonal center
Note:
Rise and Fall in Waltz
The rise and fall is unique
to the waltz. If possible, all
the steps in the waltz
should be long.
Waltz Left Foot Change

1. Left Foot Change (Gentleman)
(Forward) 1. Step forward with your
left foot, (the weight is
taken on the heel, then on
to the ball of the foot) – ct.
1
right foot, (a gradual rise
to the toes should be
started at the end of the
first beat, and continued
to the second and third
beat of each bar of music)
– ct. 2
41
3. Bring the left foot close

to the right foot, (lower to
the normal position at the
end of the third beat by
lowering to the heel of the
foot which is carrying the
weight) – ct. 3
Gentleman
2. Right Foot Change Waltz Right Foot Change

(Backward or (Gentleman)
against the line of Start position - facing line
dance) of dance
1. Step backward with your
right foot – ct. 1
left foot – ct. 2
3. Bring the right foot,
parallel to the left foot –
ct. 3
Waltz Box (Gentleman)

3. Waltz Box (Left Man starts and finished
Box Step) facing Line of Dance
the Left Foot Change and

the Right Foot change
1 2 3, 2 2 3)
dance position in front of

the woman, facing line of
dance. The woman is
slightly to the right.
Gentleman
42
4. Waltz Forward Waltz Forward

Progressive Progressive (Gentleman)
Start position (face line of
dance)
right foot change forward
1 2 3, 2 2 3)
Gentleman
5. Waltz Promenade Waltz Promenade Step

Step (Gentleman)
Start position - face
diagonal to wall
right foot change forward
1 2 3, 2 2 3)
Gentleman
6. Waltz Left Turn Waltz Left Turn

(Gentleman)
1 2 3, 2 2 3, 3 2 3, 4 2 3)
Gentleman
43
6. Waltz Right Turn Waltz Right Turn

(Gentleman)
Start position
change, then 2 right turns

and finish with a right foot
change
1 2 3, 2 2 3, 3 2 3, 4 2 3)
Gentleman
7. Waltz Whisk Waltz Whisk (Gentleman)

Start position
1. Step left foot forward –
ct.1
2. Step right foot side- ct.
2
3. Step left foot crosses
behind right foot – ct.3
Waltz Whisk (Lady)

Start position.
1. Step right foot back – ct.
1
2. Step left foot side,
turning to promenade
position – ct. 2
3. Step right foot crosses
behind left foot in
promenade position – ct. 3
44
Fundamental Movements (Tango):

Basic Steps Illustration Step Pattern
Starting Position Partners are in a closed-
hold position, usually
closer than in other
dances. The man's left
hand is holding the lady's
right hand. His right hand
is placed on her back,
along the bottom of her
ribcage. The lady's left
hand is placed on his right
shoulder. (Note: always
bent your knees. The lead
and follow mirror each
other’s steps. The lead
begins with the left foot,
the follow with the right.
Walks usually curve
gradually to the left.
1. Basic Tango Walk Tango Walk (Gentleman)

right foot passing the left
foot (slow) – cts. 1,2
3. Step forward again with
your left foot this time
passing the right foot
(quick) – ct. 1
4. Step forward to the
right with your right foot
(quick) – ct. and
5. Step left foot close to
45
Tango Walk (Lady) 1. Step

back with your right foot
(slow)- cts. 1,2 2. Step back
with your left foot passing
the right foot (slow) – cts.
1,2 3. Step back again with
your right foot this time
passing the left foot
(quick) – ct. 1 4. Step back
and to the left with your
left foot (quick) – ct. and
5. Right foot close to left
foot (slow) – cts. 2,1
2. Tango Rock Turn Basic Tango Rock

(Gentlemen)
1. Step right foot forward
(slow) – cts. 1,2
2. Step left foot to side and
slightly back (quick)- ct. 1
3. Transfer weight to right
foot, right side leading
(quick) – ct. and
4. Step left foot back,
small step, L side leading
(slow) – cts. 1,2
5. Step right foot back in
CBMP (quick) – ct. 1
slightly forward (quick) –
ct. and
7. Step right foot closes to
LF slightly back (slow) –
cts. 1,2
46
2. Open Reverse Turn, Open Reverse Turn, Lady

Lady Outside Outside (Gentlemen)
1. Step left foot forward in
CBMP (quick) – ct. 1
2. Step right food to side
(quick) – ct. and
3. Step left foot back in
CBMP (slow) – cts. 1,2
4. Step right foot back
(quick) – ct. 1
slightly forward (quick) –
ct. and
left foot slightly back
(slow) – cts. 1,2
Gentleman
Fundamental Movements (Quick Step):

Basic Step Illustration Step Pattern
Starting Position Closed position, facing
diagonal wall
1. Quick Step Basic Quick Step Basic

(Gentlemen) 1. Step left
foot forward (slow) – cts.
1,2 2. Step right foot
forward (slow) – cts. 3,4 3.
Step left foot to the side
(quick) – ct. 2 4. Step right
47
foot closes to left foot

(quick) – ct.2 5. Step left
foot to the side (slow) –
cts. 3,4 6. Step right foot
back (slow) – cts. 3,2 7.
Step left foot to the side
(quick) – ct. 3 8. Step right
foot closes to left
foot(quick) ct.4 9. Step left
foot to the side (slow) –
cts. 4,2 Note: Repeat from
step 2
Quick Step Basic (Lady) 1.

Step right foot back (slow)
2. Step left foot back
(slow) 3. Step right foot to
the side (quick)
Natural Turn (Gentleman)

2. Natural Turn 1. Step right foot forward
(slow) 2. Step left foot side
turning halfway (quick) 3.
Step right foot closes to
left foot (quick) 4. Step
left foot back (slow) 5.
Step right foot to side,
small step -heel pull-
(slow) 6. Step left foot
forward (slow) Note:
Movements of the Lady is
opposite to the Gentleman
48

MIDTERM
CHAPTER 10
Week 10
MODULE 10: Latin Ballroom Dances
Brief History, Nature and Characteristics

Latin ballroom dances are energetic dances which reflect the shift in rhythm of the
music being danced to. Latin dance has a rich cultural history rooted in the
traditional dances of native peoples of Latin America. Formal Latin dances includes
Cha-cha-cha, Jive, Samba and Rumba.
Cha-cha-cha
 Is a newcomer in Latin American dances with origin only in the fifties and
became popular shortly after mambo was introduced.
 It is passionate, energetic, lively and a flirtatious dance.
 The time signature is 4/4 with accented beat on the first and fourth of each
bar.
 Count 2 = 1 beat; Count 3 = 1 beat; Count 4 = half beat
 Counting in beats and bars: 2 3 4 and 1, etc.
Jive
 Was developed from the dance “jitterbug” from America. After the
origination of the jive dance in the United States, it slowly spread to the
European countries and in the United Kingdom.
 A lively style of dance popular especially in the 1940s and 1950s, performed
to swing music or rock and roll.
 The time signature is 4/4 with accent on the first beat, second beat, and
fourth beat of each bar.
 Count 1 = 1 beat; Count 2 = 1 beat; Count 3 = 2/4 beat; Count a = ¼ beat;
Count 4 = 1 beat
 Counting in beats and bars: 1 2 3and4 5and6 etc.
49
Samba
 It is one of the five international Latin dances developed in Brazil during the
19th century.
 The basic footwork features fast, three-step weight changes with a slight knee
lift, led with alternating feet. The basic rhythm is “quick”, quick, slow, and
repeat.
 The time signature is 2/4 with musical accent on the first beat and percussive
accent on the second beat.
 Counting rhythms: 1 and 2, 3 and 4, etc.
Rumba
 It originates primarily from Cuba in the sixteenth century, which has its roots
in African rhythms brought to America by the slaves.
 Considered as the sexiest of the ballroom dances which tells the story of love
and passion between a strong man and a teasing woman.
 The time signature is 4/4 with an accent on the first beat and fourth beat of
each bar.
 Counting in beats: 2 3 4 1. Count 2 = 1 beat; Count 3 = 1 beat; Count 4 1 = 2
beats half beat.
Fundamental Movements (Cha-cha-cha):

Starting Position Closed facing position
1. Cha-cha-cha Closed Cha-cha-cha Closed Basic

Basic (Gentlemen)
1. Step left foot forward
(ct. 2)
foot (ct. 3)
50
3. Step left foot to side

(ct.4)
left foot (ct. and)
5. Step left foot to the side
(ct. 1)
6. Step right foot back (ct.
2)
7. Transfer weight to left
foot (ct. 3)
8. Step right foot to the
side (ct. 4)
9. Step left foot closes to
right foot (ct. and)
side (ct. 1)
Cha-cha-cha Closed Basic

(Lady)
1. Step right foot backward
(ct. 2)
foot (ct. 3)
3. Step right foot to side
(ct.4)
left foot (ct. and)
side (ct. 1)
(ct. 2)
foot (ct. 3)
(ct. 4)
left foot (ct. and)
10. Step left foot to the
side (ct. 1)
51
2. New York New York (Gentleman)

Open face position
(preparatory position and
right foot side
1. Step left foot forward in
side-by-side position (ct.
2) 2. Transfer weight to
right foot (ct. 3)
3. Facing partner, Step left
foot to side (ct.4)
left foot (ct. and)
(ct. 1)
in side-by-side position
(ct. 2)
foot (ct. 3)
side (ct. 4)

right foot (ct. and)
side (ct. 1)
Gentleman
52
Fundamental Movements (Jive):

Starting Position Jive is danced with the
lady and man facing each
other (Closed Position).
The man's left hand
loosely holds the lady's
right hand. The man leads
starting with his left foot
and the lady follows his
movements.
1. Jive Basic in Place Jive Basic in Place

(Gentlemen)
1. Step back with your left
foot (Rock step) -ct.1
2. Right foot in place,
weight shifts to it- ct.2
your left foot (Chasse to
the left)- ct. 3
4. Move your right foot to
your left foot - ct. and
your left foot - ct.4
weight shifts to it (Chasse
to the right) – ct. 5
with your left foot -ct. and
with your right foot - ct.6
Jive Basic in Place (Lady)

1. Step back with your
right foot (Rock step) –
ct.1
2. Left foot in place,
53
weight shifts to it – ct. 2

(Chasse to the right) – ct.
3
4. Move your left foot to
your right foot – ct. and
with your right foot – ct. 4
weight shifts to it (Chasse
to the left) – ct. 5
your right foot – ct. and
your left foot – ct. 6
2. Fallaway Rock Fallaway Rock

(Gentleman)
Begin with a closed
position facing partner
1. Step left foot back in
fallaway position (ct.1)
2. Replace weight to right
foot in promenade (ct. 2)
3. Side step to the left (ct.
3)
4. Step left foot close to
right (ct. and)
5. Side step to left (ct. 4)
6. Side step to the R (ct. 5
7. Step right foot close to
left (ct. and)
8. Side step to the right
(ct. 6) Note: Movements
of the Lady is opposite to
the Gentleman
54
Fundamental Movements (Samba):

1. Samba Natural Basic Samba Natural Basic

(Gentlemen)
left foot (ct. 1)
your left foot (ct. and)
weight shifts to it (ct. 2)
your right foot (ct. 3)
your right foot (ct. and)
Samba Natural Basic

(Lady) 1. Step backward
with your right foot (ct. 1)
your right foot (and)
left foot (ct. 3)
your left foot (ct. and)
55

2. Samba Whisk Samba Whisk

(Gentlemen)
1. Step left foot to side (ct.
1)
2. Step right foot behind
left foot w/o weight-
Cuban cross (ct. and)
3. Take minimal weight to
right foot and replace
weight to left foot (ct. 2)
4. Step right foot to side
(ct. 3)
5. Step left foot behind
right foot w/o weight-
Cuban cross (ct. and)
6. Take minimal weight to
left foot and replace
weight to right foot (ct. 4)
Gentleman
Fundamental Movements (Rumba):

56
1. Rumba Closed Basic Rumba Closed Basic

(Gentlemen)
Start by facing your
partner (ct.1)
(ct. 2)
foot (ct. 3)
3. Step left foot sideward
left (ct. 4,1)
4. Step right foot
backward (ct. 2)
(transfer weight to left
foot) (ct. 3)
6. Step right foot sideward
right (ct. 4,1) Note:
Movements of the Lady is
opposite to the Gentleman
2. Rumba Open Basic Rumba Open Basic

(Gentlemen)
Start by open facing
position with your partner
(ct.1)
(ct. 2)
foot (ct. 3)
3. Step left foot back (ct.
4,1)
4. Step right foot
backward (ct. 2)
5. Replace weight to left
foot forward (ct. 3)
(ct. 4,1) Note: Movements
of the Lady is opposite to
the Gentleman
57

MIDTERM
CHAPTER 11
Week 11
MODULE 11: Hydration and Overexertion in Dancing
Dehydration, overexertion, hypo-and hyperthermia maybe experienced during

participation to moderate-to-vigorous physical activity (MVPA). Dancers sweat as
they generate heat during training, rehearsal, and performance. This is how the
body cools itself. This loss of fluid, however, can lead to dehydration, resulting in
dizziness, lack of energy, inability to concentrate, sore muscles, and lackluster
performance. This loose of fluid, however can lead to dehydration which may lead
to hypothermia and hyperthermia where there is an increase or decrease of heat
production of body temperature. Pushing you too hard during physical activity may
also cause overexertion leading to dizziness, feeling faint and lightheadedness.
These may affect your dancing performance and your over-all health status will be
at stake. Observing some safety protocols can help avoid dehydration, overexertion,
hypo-and hyperthermia.
Dehydration and Hydration

Dehydration is caused by not drinking enough fluid or by losing more fluid than
you take in. Fluid is lost through sweat, tears, vomiting, urine or diarrhea. The
severity of dehydration can depend on a number of factors, such as climate, level of
physical activity and diet. Consider the following safety protocols to avoid
dehydration:
 Stay hydrated by drinking plenty of water. Drinking enough water each day is
crucial for many reasons:
1. to regulate body temperature;
2. to keep joints lubricated;
3. to prevent infections;
58
4. to deliver nutrients to cells; and

5. to keep organs functioning properly.
 Eat foods with high amounts of water like fruits and vegetables.
 Avoid or limit drinks with caffeine like coffee, teas and soft drinks.
 Avoid or limit drinks with alcohol.
Physical activity therefore results in increased water requirements that parallel
sweat losses. If these hydration needs for exercise are not met, the body can enter a
state of dehydration. Dehydration during physical activity is recognized as having a
detrimental effect. Staying well hydrated: before, during and after exercise is very
important.
Overexertion
Overexertion occurs when people push themselves too hard during physical
activity. Signs of overexertion includes dizziness, and feeling faint. Feeling dizzy
after a moderate to vigorous physical activity is a common occurrence. Considering
safety protocols in order to avoid dizziness as a result to overexertion is to:
 cool down and rest for a few minutes;
 sit down and place the head between the knees to increases blood flow to the
brain;
 practice deep breathing for several minutes, making sure to inhale and exhale
slowly;
 stay hydrated by drinking plenty of fluids before, during, and after physical
activity;
 eat something (a snack) of complex carbohydrates and lean proteins (an hour
or so before a workout is advisable);
 increase the intensity of workouts gradually and avoid pushing the body too
hard;
 quit smoking.
Hyperthermia and Hypothermia

Hyperthermia and Hypothermia are both conditions that may occur when the body
can no longer release enough of its heat to maintain a normal temperature. The
body has different coping mechanisms to get rid of excess body heat, largely
breathing, sweating, and increasing blood flow to the surface of the skin.
Hyperthermia differs from fever to which the body's temperature set point remains
unchanged. The opposite is hypothermia, which occurs when the temperature
drops below that required maintaining normal metabolism. Heat exhaustion is one
of the more serious stages of hyperthermia. Any activity that involves exercise in
warm, and humid environments increases the risk of this condition. Some safety
protocols may help prevent this condition such as:
59
 getting out of the cold, wind, or rain if possible,

 adding warm layers of clothing;
 wearing loose clothing in multiple layers. To prevent yourself from sweating
and cooling down too much, remove a layer if you get hot. Looser clothing
retains heat well, but your sleeves should fit snugly at the wrists.
 eating enough food with enough source of carbohydrates;
 drinking fluids;
 moving your body to help warm your core;
 preventing more serious problems, take action as soon as you notice early
signs of the condition;
Activity 1. Unscramble Me Please!

Arrange the scrambled letters to form the correct word based on the given clue.
1. _____________ SANDDART LABMORL CANDE. A smooth flowing dance that
move around the entire dance floor.
2. _____________ XOTORFT. Was named after an American performer Harry Fox.
3. _____________ NATOG. It has a time signature of 2/4 with a slow and quick
count.
4. _____________ KIQUC PEST. It is an up-and-down, rise and fall swinging motion
performed at a fast pace with jazz music in a brisk tempo.
5. _____________ TILAN LABROMOL NACED. Are energetic dances which reflect
the shift of the music being danced to.
6. _____________ CHA CAH CAH. It is a passionate, energetic, lively and flirtatious
dance in 4/4-time signature.
7. _____________ VEJI. Developed from the “jitterbug” from America performed to
swing music or rock and roll.
8. _____________ RHATIONYDED. Caused by not drinking enough fluid during
physical activity.
9. _____________ DISZINSEZ. Occurs as a result of overexertion.
10. _____________ MIAHPERHYNTER DAN REAHPOTHIMY. Are conditions that
may occur when the body can no longer release enough of its heat to maintain a
normal temperature?
Activity 2. Complete Me!

Complete the missing parts of the Ballroom Dance Chart. Possible answers can be
found inside the box. Choose the letter of the correct answer.
60
a. Foxtrot i. 2/4 q. Basic in Place y. Natural Turn

b. Waltz j. 3/4 r. Natural Basic z. Left Turn
c. Tango k. 4/4 s. Open Basic
d. Quick Step l. Left Foot Change t. Promenade
e. Cha-cha-cha m. Basic Forward u. Progressive
f. Jive n. Basic Backward v. New York
g. Samba o. Basic Walk w. Whisk
h. Rumba p. Closed Basic x. Fallaway Rock
61
PERFORMANCE TASK
- Select one category of ballroom dance (either one from the Standard or one from
the Latin) you wish to perform with a female partner/male partner. Use appropriate
music for the chosen dance. You can add variations to the dance if you want by
watching video tutorials on YouTube. Practice your dance routine and observe
personal safety protocol to avoid dehydration, overexertion, hypothermia and
hyperthermia in doing the activity. Take a 3-5-minutes video documentation if you
already mastered the dance routine. Submit the video output to your teacher via
messenger.
---END OF MIDTERM PERIOD---

62

PRE-FINAL
CHAPTER 13
Week 13
MODULE 13: Festival Dance
In this module, you are expected to attain the following objectives:

a. Undertakes physical activity and physical fitness assessments
b. Executes the skills involved in the dance
Festival dances are cultural dances performed to the strong beats of

percussion instruments by a community of people sharing the same culture usually
done in honor of a Patron Saint or in thanksgiving of a bountiful harvest. Festival
dances may be religious or secular in nature. But the best thing about festivals is
that they add to the merry-making and festivities where they are celebrated, the
reason why they are called festival dances after all. Festival dances draw the people’s
culture by portraying the people’s ways of life through movements, costumes and
implements inherent to their place of origin.
Some of the famous festivals in the country include Sinulog of Cebu,
Dinagyang of Iloilo, Atiatihan of Kalibo, Aklan, Buyogan and Lingayan of Leyte,
Bangus of Dagupan, T’nalak of South Cotabato, Masskara of Bacolod City, Bambanti
of Isabela, and Kadayawan of Davao. Many others, especially from Luzon, are now
paving their way to join the country’s festival of festivals, the Aliwan Fiesta which is
done in the month of April. Filipinos do festivals primarily to celebrate.
There are a multitude of reasons for this reason. We celebrate our unity amidst the
diversity of cultures and we celebrate our industry bringing about a bountiful
harvest. Festivals have been a consistent crowd-producing activity leading to
upliftment of a community’s economy due to its tourism and entertainment value.
Basically, festivals are a form of entertainment that attracts
63
foreign and domestic tourists to visit a place eventually leading to the elevation of
the Filipino’s quality of life.
Whatever festival we celebrate, be it done to honor a religious icon or
celebrate our industry. Festival dances are a reflection of the unity of the Filipino
community that despite the economic, social, environmental, cultural and political
challenges we face every day, there can be no other race more resilient than ours.
Religious and Secular Festivals
RELIGIOUS FESTIVALS
Name of Festivals Place of Origin Religious Figure Month
Honored Celebrated
Sinulog Festival Cebu City Sto. Niňo January
Dinagyang Festival Iloilo City Sto. Niňo January
Ati-atihan Festival Kalibo, Aklan Sto. Niňo January
Peňafrancia Bicol Virgin Mary September
Higantes Festival Angono, Rizal Saint Clement November
Longganisa Festival Vigan City, Saint Paul January
Ilocos Sur
Kinabayo Festival Dapitan City James The Great July
Pintados de Passi Pintados City, Sto. Niňo March
Iloilo
Pattarradday Santiago City Seňor San Tiago May
Sangyaw Festival Tacloban City Sto. Niňo July
SECULAR/NON-RELIGIOUS FESTIVALS
Name of Festivals Place of Origin Industry Month
Celebrated
Bangus Festival Dagupan,Pangasinan Milkfish Industry April to May
Bambanti Festival Isabela Scarecrow January
(Farming)
Mammangui,Festival City of Ilagan Corn Industry May
Mango Festival Iba, Zambales Mango Industry April
Ibon Ebon Festival Pampanga Migratory Birds February
Egg
Industry
Masskara Bacolod City Mask (Sugar October
Industry
64
T’nalak Koronadal, Cotabato Colorful Abaca January

Ammungan Festival Nueva Vizcaya Gathering of May
Tribal
Industries
Binatbatan Festival Vigan, Ilocos Sur Weaving Industry May
BASIC MOVEMENTS KILLS

LOCOMOTOR MOVEMENTS:
These are movements that allow the body to move from one point in space to
another. It is canned from two words, “locos” which means place and “motor” which
means movement.
They include the following:
Step - This is the basis of all locomotor movements. It prepares you to move in any
direction you wish to go. It is defined as transfer of weight from one foot to the
other.
Walk - Series of steps executed by both of your feet alternately in any direction. In
executing a walk, observe that there’s this moment when both feet are in contact
with the ground while one foot supports the weight and transfers it to the other.
Run - Series of walks executed quickly in any direction wherein only one-foot stays
on the ground while the other is off the ground.
Jump - This movement is simply described by having both feet lose its contact with
the ground
NON-LOCOMOTOR MOVEMENTS:
These are movements that are done in one point in space without transferring to
another point. They don’t allow you to move from one place to the other. These
movements include:
Flexion - It is the act of decreasing the angle of a joint. Another term for flexion is to
bend.
Extension - This is the opposite of flexion. You are extending if you are increasing
the angle of a joint. Stretching is another word for extension.
Contraction - A muscle movement done when it shortens, narrows and tightens
using sufficient amount of energy in the execution.
65
Release - A muscle movement opposite to contraction done when it let goes or let
looses of being held into a shortening movement.
Collapse - To deliberately drop the exertion of energy into a body segment.
Recover - The opposite of collapse. This is to regain the energy exerted into a body
segment.
Rotation - To rotate is to move a body segment allowing it to complete a circle with

its motion. It’s not only limited to circumduction which is done in ball and socket
joints. Rotation can also be done in wrists, waist, knees and ankles.
Twist - To move a body segment from an axis halfway front or back or quarter to
the right or left as in the twisting of the neck allowing the head to face right or left
and the like.
Pivot - To change the position of the feet or any body part that carries the body’s
weight allowing the body to face in a less than 360 degrees turn.
Turn - To move in a turning movement with a base of support, usually a pointed

foot, the other raised, while equilibrium is maintained until the completion of the
turn.
NAME OF STEP STEP PATTERN/COUNTING (RHYTHM
Close Step Step R sideward (1), Close Step L to R (2)
Bleking Step R in place (1), Heel Place L in front (2)
Touch Step Step R sideward (1), Point L IN Front of R (2)
Walk Step R forward (1), Step L forward (2)
Change Step Step R (1), Close Step L to R (and), Step R in Place (2)
Cross Change Step Cross R over L (1), Step L sideward (and), step R in place
(2)
Hop Step Step R sideward (1), Hop R in place (2)
Mincing Point L in place (and) , Step R in place (1), Point L in place
(and), Step
R in place (ct.2)
Cross Step Step R across L (1), Step L sideward L(2)
Heel-toe, change step Heel place R sideward (1), point L close to R(2), change
step with the
R (Maybe repeated with L)
66
Elements of movements in space
Rhythm - Regular recurrence of a beat. It may be regular or irregular. In basic

music, rhythm is regular and metered (24, 34 or 44). They be slow, moderate or fast.
This element of rhythm is called tempo. Music dictates the speed of movements we
create.
Level - This refers to the level of movement. It may be low, when knees are fully or
slightly bent when executing movement; medium, if knees are normally straight
when executing movement; high, if the heels are raised or movements are done
while off the floor.
Range - This element refers to the scope of movement execution. It is dictated by

the space provided. If the space is wide then movements shall be wide and big. If
space is limited then movements shall be small and limited too.
Floor Patter/Design - This refers to the designs created on the floor by the bodies of
dancers. They may be geometric or non-geometric formations.
Direction - This element adds to variety of movement. They may be performed

forward, backward, sideward or even upward.
Focus - This is the focal point of dancers’ attention while moving in space.
Assessment
Test I.Direction: Read the questions carefully and choose the correct answer from
the words inside the box.
Run April Extension Ati-Atihan Festival
Sto. Nino 160
163.2 Step R in place(1),Heel Place L in front(2)
Cardio-Respiratory Endurance Close Step May
_____________1. What Festival is celebrated in January in Kalibo, Aklan?

_____________2. What is the step pattern of Bleking?
_____________3. What is the range of THR of a 16year-old student?
67
_____________4. What is the opposite movement of flexion?

_____________5. To whose honor is the Dinagyang Festival offered?
_____________6. Give at least one fitness benefit of Festival Dancing?
_____________7. What dance step L to R (2)
_____________8. Which locomotor movement that executes series of walks
executed quickly in any direction wherein only one foot stays on the ground while
the other is off the ground?
_____________9.When does Mango Festival celebrated?
_____________10. What is the highest THR of a 20-year old individual?
Test II. COMPLETION TYPE: Below are basic folk dance steps in 2/4 time which are
usually used in folk-based festival dancing. Supply the missing step pattern and
counting of each basic step enumerated.
BASIC STEPS STEP PATTERN COUNTING
Close Step
Bleking
Change Step
Heel -Toe Change Step
Cross Change Step
Test III. MATCHING TYPE. Below is a matching type activity which assesses
learners’ knowledge on the festivals we have in the country and their places of
origin. In column A are the festivals and in B are the places of origin.
A B
________1. Bambanti Festival a. Bacolod City
________2. Bangus Festival b. Baguio City
________3. Ati-Atihan c. Zambales
________4. Sinulog Festival d. Cebu City
________5. Mango Festival e. Dagupan, City
________6. Dinagyang Festival f. Davao City
________7. Panagbenga Festival g. Iloilo City
________8. Pattarradday Festival h. Isabela
________9. Masskara Festival i. Kalibo, Aklan
_______10. T’nalak Festival j. Santiago City, Isabela
k. South, Cotabato
68

PRE-FINAL
CHAPTER 14
Week 14
MODULE 14: Philippine Folk Dance
“Dance is an art which deals with the motions of the human body”
-James K. Feibleman, a great philosopher
Dance is an art of rhythmic bodily movements that projects ordered sequence of

moving visual patterns of line, solid, shape, and color (Thomas Munro in Kraus and
Gaufman, 1981). The postures and gestures of which these visual patterns are
created suggest kinesthetic experiences of tension, relaxation, and emotional moods
and attitudes associated with them. Some of these dances that are considered an art
form are folk dance, ballet, and contemporary dance.
PHILIPPINE FOLK DANCE
What is folk dance?
Folk dances are the indigenous dances of any specific “folk” or the common people.
They are traditional customary or recreational dance forms of a given country
which have evolved naturally and were handed down across generations.
Folk dances are related to everything of importance in or daily lives, such as

customs, rituals, and occupations of a specific group of people. Most of these
dances are related in origin to religious belief, stemming from emotions,
superstitious, festivals, ceremonies of birth, courtship, marriage, death, war, and
countless themes common to all people around the world. According to Duggan
Schlottmann and Rutledge (1948)’’folk dance became the overt expression of
69
emotion and ideas which were peculiarly significant or the re-enactment of customs
and events constituting an important part of their history a patterns of daily living.’
Lopez (2006) defined Philippine folk dance as ‘’a traditional mode of expression
that employs bodily movement of redundant patterns linked to definitive feature of
rhythmic beat or music ‘’She further stated that Philippine folk dance, to be called
such, should have the following characteristic’:
1. It is traditional
2. It has an expressive behavior.
3. Simple, basic rhythm dominates the folk dance and establishes the patterns
movement
4. It is created by an unknown choreographer or by communal efforts.
5. It performs a function in the life the (folk) people.
Oftentimes, the term folk dance is being confused or used interchangeably with
ethnic and national dance.
What are differences between folk, national and ethnic dances?

Folk dances are traditional dances found in a certain country while national dances
are also traditional folk dances but have a national scope. They are popular and
widely danced throughout a given country, often with a number of regional
variations.
The Philippine dances Cariňosa, Curacha, and Pandanggo, for example, have
several variations coming from both Luzon and Visayas Islands. Even within one
locality, dancers have different ways of performing it. Examples of Pandanggo
dances are:
• Pandanggo Ilocano
• Pandanggo Visayan
• Pandanggo Dumagueteňo
• Pandanggo Ivatan
• Padanggo Rinconada
• Pandanggo sa Ilaw
In the Philippines, dances originating from the Ifugao people of the northern
Luzon, T’boli tribe from Southern Mindanao, and Tgabanua tribe from Palawan are
examples of ethnic dances. Below are few examples of the different types of ethnic
dances:
70
1. Ritual Dances- dances that depict ritual ceremonies. Examples are Dugso
(Bukidnon) and Pagdidiwata (Palawan).
2. Life-cycle dances- dances relating to the cycle of human life such as birthing,
courtship, wedding, and funeral. Examples are Binasuan (Pangasinan) and Daling-
daling (Muslim cousthip dance from Sulu).
3. Occupational Dances- dances that exhibit work and occupation of the dancers.
Examples are Mag-Asik (Cotabato) and Manaagat (Cebu) dances.
All national and ethnic dance are folk dances, but not all folk dances are considered
national or ethnic dances.
What are the different types of Philippine folk dances?

There are several ways to classify Philippine folk dances. According to
Francisca Reyes-Aquino, folk dances may be classified by geographical extent of
origin, nature, speed, of movement, formation, and distinguishing feature. Lately,
folkloric specialists merged regional and functional classifications to sort out the
different dance materials (Lopez, 2006)
The three major regional classifications of Philippine folk dances from the
Cordilleras, are dances from lowland Christians, and Muslim dances.
1. Tribal dances from the Cordilleras- include non-Christian dances from the
Cordilleras.
2. Lowland Christian dances- dances coming from places with Western influences
such as that of the Tagalogs, Ilokanos, Pampangueňos, Pangasinense, Bisayans, and
Bcolanas. These dances are influenced by Hispanic and European cultures.
3. Muslim dances- dances from the people of the Southern Islands of the
Philippines such as in Mindanao and Sulu. These dances are influenced by Arabic
and Indo-Malayan cultures.
Philippines folk dances, regardless of their classifications, may also be categorized

as:
1. Life- cycle dances- dances that serve as ritual as one passes to a different stage in
life such as from birth to childhood to adulthood; from singlehood to marriage; and
from life to death. Below are the different dances that portray life cycle:
a. Courtship dance
b. Wedding dance
c. Funeral dance
2. Festival dances- dances that are either religious or secular and are connected with
the celebration of recurring events of special significance.
3. Occupational dances- dances that exhibit work and occupation of the dancers.
Examples are Mag-asik( Cotabato) and Mananagat (Cebu) dances.
71
Activity 1.Examining the Background of a Philippine Folk Dance

1. Search and choose one from any of the resources you have for Philippine folk
dance. Answer the following questions:
a. Where does the dance come from?(trace the place or province of origin)
b. Is it a national or ethnic dance?
if ethnic:
• From what tribe or group of indigenous people does it come from?
• What is the nature of the dance? Is it ritual? Life cycle or occupational?
If national:
• What is the classification of the dance?
c. What is the motif or theme of the dance?
d. What are the rhythmic patterns?
2. Describe briefly the background of the dance you chose.
72

PRE-FINAL
CHAPTER
15-16
Week 15-16
MODULE 15-16: Ballet
BALLET
Ballet was taken from the Itallian word ballare, meaning to dance, and ballo,
referring to dances performed in a ballroom. There are several definitions of ballet
from different authors:
1. Ballet according to Haskell (1965), is a:

“combination of the arts of dancing, poetry, music and painting. The essential
quality of the ballet dancer is grace that is phrasing, fluidity, harmony, the making
of words into a poetic whole; bound up with the reaction to music that goes far
deeper than a purely rhythmic reaction.
2. Burian (1963) further that:

“Ballet is an artistic, programmatic, scenic dance accompanied by music. It is
basically a special and generally unique form, which resulted from the synthesis,
collaboration and equilibrium of several different types of art. The art of gestures
and mime interprets, by specific means of expression, the thematic and emotional
content of the scenario on which it is based, bringing the poets ideas to life,
presenting the story with all its conflicts, plots, and solutions.
Brief history of Ballet

It was in the 15th century during the Renaissance when ballet began in Italy. It
started as a performance in the royal court where the male servants would execute a
movement related to the course they are serving during a court dinner. At that
time, the French king, Francis I of the House Valois had many contacts with Italy
and was able to witness one of the dinner ballets. He knew many outstanding
73
figures of the Italian Renaissance and he became well acquainted with the ideas and
artistic efforts that developed and flourished in Europe.
Francis’ son Henry II, his successor to the throne, married Catherine de
Medici. It was during de Medici’s reign as a queen that marked the staging of ballet.
She brought it to France from Italy and further developed at the French courts
during the 16th century.
Ballet in the Philippines

The American colonization paved the way for the introduction of classical
ballet in the Philippines. In 1915, distinguished ballet dancer Paul Nijinsky
performed classical ballet at the Manila Hotel Roof Garden.
In 1927, Luva Adameit came to the Philippines and started a ballet school. She
trained the first ballet dancers in the country.
From then on, ballet has thrived of foreign teachers and performers to
perform and teach as well. It paved the way to “a receptive outlook towards the
artistic values of the art form”.
Although ballet in the Philippines started a little later compared to European
and Western counties, it does not fall far behind when it comes to producing world-
class ballet performances. Several ballet companies such as Ballet Philippines and
Ballet Manila have prospered and are recognized internationally. They also have
trained and produced dancers of international caliber.
Ballet Philippines founded in 1969 by Alice Reyes with the support of Eddie
Elejar and the Cultural Center of the Philippines, Ballet Philippines (BP) is widely
recognized today as a cornerstone of the Filipino cultural identity.
What are the basic dance positions in ballet?

The ballet technique is based on the five positions of the feet. The feet in each
position are always parallel with each other with an outward rotation of the legs
called turn out. This provides freedom of movement in any direction and making
the execution of the most difficult movements look effortless and graceful. There
are five ballet positions: first, second, third, fourth and fifth.
POSITION FEET ILLUSTRATION
st
1 Position Heels together, toes
apart with an angle of
45 degrees.
74
2nd Position Astride sideward

of about a pace
or 1 foot distance.
3rd position Heel of one foot

close to the instep
of the other foot.
4th position One foot in front

of the other
about a pace distance.
5th position Heel of front foot

close to the big
toe of the rear foot.
POSITION ARM ILLUSTRATION

st
1 position Circle both arms in
front of chest with
the finger tips about
an inch apart.
2nd position Both arms raised

sideward with a
graceful curve.
75
3rd position One arm raised

sideward, the other
arm overhead.
4th One arm in a half

position circle in front, other
arm raised overhead.
5th position Both hands raised

overhead.
---END OF PRE-FINAL PERIOD---

76

FINAL
CHAPTER 18
Week 18
MODULE 18: Modern Dance
MODERN DANCE
Modern dance, a term to describe contemporary dance, is a style of dancing

where dancers are free to express their feelings through movements without
adhering to any rules in dance particularly that of ballet. It is actually a rebellion
against the confining nature of classical ballet (Horwitz, in Reynolds, 19979).
CHARACTERISTICS OF MODERN DANCE

1. Technique- This teaches the dancer to control the body and making it the
instrument. It also provides the skills of dance movement to make the body
move efficiently and with precision. There are several techniques from various
modern dance choreographer but the main goal of each technique is “to
develop an instrument, which is the human body, that is capable of
expressing any and all aspects of human behavior” (Horwitz in Reynold,
1979).
Famous techniques in modern dance:

• Graham Technique
• Humphrey-Weidman Technique
• Limon Technique
• Cunningham Technique
• Hawkins Technique
• Horton Technique
• Nikolais/Louis Technique
77
2. Improvisation- this refers to the spontaneous movement performed by

dancers in response to suggestions by the choreographer. Various images,
ideas, feelings, or other stimulating events may be motivations for
improvisations. Modern dance allows considerable freedom to the dancer.
3. Choreography- modern dance allows choreographic freedom. The form in this

dance mostly represents the personal and emotional experiences of its
creators. The intent and style of the dance choreography are not limited to
certain areas or subject matters, giving the choreographers freedom to choose
their own. (Minton, 1984)
Where did modern dance come from?

Modern dance developed independently in America and Germany. It was
then known in Germany as Ausdruckstanz, meaning expressive dance. At the
beginning of the 20th century, a group of pioneering dancers started creating a new
movement that suited the tempo and pulse of the new century.
What are the basic modern dance skills?

Modern dance movements are based on basic locomotor and non-locomotor
movement skills. It is the application and the incorporation of the meaning of the
movement that turns the simple movements to dance movements. The following
are the basic modern dance skills:
1. Dance walk
2. Run
3. Triplet
4. Waltz
5. Gallop
6. Slide
7. Jumps
8. Leap
9. Falling
10. Rolls
11. turns
PERFORMANCE TASK
-create a routine of Modern Dance with or without a partner.
-consist of 3-5 minutes only.
-Use appropriate music for the dance. You can add variations to the dance if you
want by watching video tutorials on YouTube.
-Submit the video output to your teacher via messenger.
78
Reference/s:
Rex Bookstore Physical Education and Health Volume II, Conrado R. Aparato, Zyra
Ruth Talaroc-Brebante, Lualhati Fernando-Callo, Peter Fermin Dajime
DepEd Commons
Department of Education - Bureau of Learning Resources (DepEd-BLR)
Prepared by:
MARNIL JHON C. DANIEL

Instructor
Checked and Reviewed by:
JOE ANN L. PAGARA, MPA

SHS Principal
Recommending Approval:
Approved by:
79

Email Address: Alface@gmail.com
(COLLEGE)
CHED ACCREDITED COURSES
BACHELOR OF SCIENCE IN INFORMATION TECHNOLOGY
BACHELOR OF SCIENCE IN COMPUTER SCIENCE
BACHELOR OF SCIENCE IN BUSINESS ADMINISTRATION

MAJOR IN HUMAN MANAGEMENT
BACHELOR OF SCIENCE IN MIDWIFERY
BACHELOR OF SCIENCE IN AGRICULTURE MAJOR IN :

: ANIMAL SCIENCE : CROP SCIENCE
BACHELOR OF TECHNICAL-VOCATIONAL TEACHERS

EDUCATION MAJOR IN :
: AUTOMOTIVE TECHNOLOGY
: FOOD AND SWERVICE MANAGEMENT
BACHELOR OF SCIENCE IN HOSPITALITY
BACHELOR OF SCIENCE IN CRIMINOLOGY
NEW OFFERED COURSES:

BACHELOR IN SOCIAL WORK
BACHELOR IN MULTIMEDIA ARTS
80

STII TRAINING CENTER

 AGRICULTURAL CROPS PRODUCTION NC II
 ANIMAL PRODUCTION (POUTRY CHICKEN) NC II
 ANIMAL PRODUCTION (RUMINANTS) NC II
 ANIMAL PRODUCTION (SWINE) NC II
 BARTENDING NC II
 BOOKKEEPING NC III
 BREAD & PASTRY PRODUCTION NC II
 CAREGIVING NC II
 DRIVING NC II
 ELECTRONIC PRODUCTS ASSEMBLY SERVICING NC II
 EVENTS MANAGEMENT SERVICES NC III
 FOOD AND BEVERAGE SERVICES NC II
 FRONT OFFICE SERVICES NC II
 HEAVY EQUIPMENT OPERATOR (HYDRAULIC
EXCAVATOR) NC II
 HOUSEKEEPING NCII
 MOTORCYCLE/SMALL ENGINE SERVICING NC II
 ORGANIC AGRICULTURE PRODUCTION NC II
 PHARMACY SERVICES NC III
 RUBBER PRODUCTION NC II
 SHIELDED METAL ARC WELDING NC I
 SHIELDED METAL ARC WELDING NC II
81

SENIOR HIGH SCHOOL
INDUSTRIAL ARTS
 DRIVING NC II
 SHIELDED METAL ARC WELDING NC II
 AUTOMOTIVE SERVICING NC I
 AUTOMOTIVE SERVICING NC II
HOME ECONOMICS

 HOUSEKEEPING NC II
 FOOD AND BEVERAGES SERVICES NC II
 BREAD AND PASTRY PRODUCTION NC II
INFORMATION AND COMMUNICATION TECHNOLOGY
 2D ANIMATION NC III
 COMPUTER SYSTEM SERVICING NC II
 ELECTRONIC PRODUCTS ASSEMBLY
SERVICES NC II
AGRICULTURAL TECHNOLOGY STRAND
 ANIMAL PRODUCTION (POULTRY CHICKEN)

NC II
 ANIMAL PRODUCTION (RUMINANTS) NC II
 ANIMAL PRODUCTION (SWINE) NC II
 RUBBER PRODUCTION NC II
 ORGANIC AGRICULTURAL PRODUCTION NC II
ACADEMIC TRACK
HUMANITIES AND SOCIAL SCIENCES

 EVENTS MANAGEMENT NC III
ACCOUNTANCY BUSINESS AND MANAGEMENT
 BOOKKEEPING NC III
SCIENCE, TECHNOLOGY, ENGINEERING AND
MATHEMATICS
 ELECTRONIC PRODUCTS ASSEMBLY

SERVICING NC II

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1

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

School President: 0917-127-1826/ 0917-127-1902 Academic Dean: 0906-439-3454

P.E AND HEALTH 3

Student’s Name: _____________________________

WEEK 8: P R E L I M E X A M Oct. 10-15, 2022

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

MODULE 1: Dance: An Introduction

After going through this module, you are expected to:

SIT AND REACH

BODY MASS INDEX

Dances from the Past

History and Development of Dance from the Different Periods

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

MODULE 2: Dancing toward the 21st Century

Dancing toward the 21st Century

Dance During the 18th Century (1701-1800)

Dance during the 19th Century (1801-1900)

20th Century Dances (1901-2000)

21st Century Dance (2001- Present)

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

MODULE 3: Health-Related Fitness (HRF) and FITT Principles

The Health-Related Fitness Components

Getting FITT with Dance

Intensity (How Hard) - an individual’s level of effort (light, moderate, vigorous).

Time (How Long) - duration of a workout (including warm-up and cool-down) or

Type (What Kind) - mode of physical activity (swimming, jogging, dancing).

Activity 1.1. Arrow It Out!

Activity 1. My Fitness Map!

II. Multiple Choices. Choose the letter of the best answer.

___11. Regular moderate physical activity means engaging in relatively vigorous

---END OF UNIT PERIOD---

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

MODULE 5: Hip Hop

After going through this module, you are expected to:

Nature and Characteristics:

The movement of hip-hop dance contains an assertive angularity of body

Term Illustration Description

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

Nature and Characteristics:

Starting Positions Illustration Description

2. Cheer Stance Feet more than

Arm Positions Illustration Description

10. High V Arms extended up

11. Low V Arms extended down

12. Touchdown Arms extended

13. T Motion Both arms extended

14. Diagonal One arm extended in a

15. L Motion One arm extended to

16. Overhead Clasp Arms are straight,

Feet Positions Illustration Description

18. Side Lounge Lead leg bent with the

19. Feet Apart In stride position, both

20. Jogging The ball and the toes

Basic Jumps Illustration Description

SIBUGAY TECHNICAL INSTITUTE INCORPORATED

MODULE 7: Exercise Physiology Indicators

The Resting Heart Rate (RHR)

The Maximal Heart Rate (MHR)

The Heart Rate Reserved (HRR)

The Target Heart Rate (THR)

Target Heart Rate (THR) is generally expressed as a percentage (usually between 50