Rhythmic Activities
PHYSICAL EDUCATION 102
COURSE DESCRIPTION
This is a 2-unit course designed to provide students with various learning
experiences through dancing. Throughout the course, students will learn various forms
of dances such as Philippine folk dance, social/ballroom dance and
modern/interpretative dance which are vital to develop their sense of rhythm for
efficient and effective movements.
This an enjoyable course with the end views of developing students’ creative minds,
confidence and appreciation of dance as a healthy form of exercise.
INTENDED LEARNING OUTCOMES
■ Define dance and its importance.
■ Recognize the fundamental aspect and movements of folk dance, social dance
and modern/interpretative dance.
■ Understand the value of dance as a healthy form of exercise.
■ Show interest and enjoyment in the performance of various dance forms.
■ Execute different dances rhythmically with poise and confidence.
UNIT OBJECTIVES
■ Recognize the meaning, history, classification and characteristics of Philippine
folk dance.
■ Identify the different dance terminologies of folk dance
■ Execute the different dance terms and fundamental positions of arms and
feet.
■ Execute the basic dance steps in 2/4 and ¾ time signature
UNIT I - PHILIPPINE FOLK DANCE
Folk Dance is a form of dance developed by a group of people that reflects the
traditional life of the people of a certain country or region. This Unit will discuss the
Introduction, History , Classification and Characteristics Philippine Folk Dance, and
Do's in Folk Dancing.. In addition to this, it will also discuss the Fundamental Positions
of Arms and Feet, Basic Dance Steps and Dance Terminologies used in Philippine Folk
Dance.
Lesson 1
Introduction to Philippine Folk Dance
One of the indicative art cases of the people is its own dances. Given the benefits of
the doubts, the worst thing that might happen to lose their identities is when folk
dances lose their track which should be preserved by their own people. In order to
uphold one of the country's valuable identities is to convey the dances from generation
to generation. Folk dances depict the traditions, beliefs, occupations, and ways of life
admitting its characteristics of the people living in a certain country.
It is out of the question to know when dancing precisely became a part of life in the
Philippines. For Filipinos, dance is a form of worship and an expression found in all
prospects of their life giving meaning to rhythmic activities and continues maintaining
as a part of the Philippine Education Program.
Aside from enhancing rhythmic movements of students, there are benefits that can be
derived and developed from the study of Philippine Folk Dances:
■ patriotism and nationalism
■ healthy form of relaxation and recreation
■ well-awakened art appreciation of folk dances
■ well-improved posture, graceful and rhythmic coordination of body
movements
■ preservation of native dances of the different regions for the next generation
■ growth and enhancement of Philippine culture
■ Improving body image, self-esteem, and communication skills efficiently.
■ lessen the feeling of being outcast
■ reduces stress, fears and anxiety
■ forgetting Individuals self-consciousness
Brief History of Philippine Folk Dance
Our fatherland is an archipelago composed of several islands. Because of the
Filipinos' social groups, our dances have evolved in each region being influenced by
religions and conquerors. Even though there were transitions in our dances yet there
are similarities within its nature and origin. Most of the traditional dances were
contrived to thank the Gods of nature and agriculture such as rain and harvest. These
dances were performed during festivals having the thoughts of granting their wishes
and desires.
The Spanish colonization for more than 300 years had influenced Philippine folk
dancing especially when Spaniards bestowed Christianity to the country. The Filipino
stories and representations of dances were reflected by its religion. Filipinos acquired
the use of Spanish-style clothes slightly modified with Filipino elements. Filipino
dancers used local props like bamboo and abanico (Asian fan) as well. Some dances
which implemented Spanish influence such as dance routines are the Pandanggo sa
ilaw. It originated from Mindoro and is derived from the Spanish Fandango dance
where dancers were balancing an oil lamp to the top of the head and one on each
hand throughout the dance.
At present, several Philippine dances are making their ways on the scene performed
and cultured by different dance enthusiasts and being taught at school. Various groups
of performers such as the Bayanihan, Filipinescas, Filipiniana and Ramon Obusan
Folkloric Dance Troupe are just some of those who continue giving importance to our
numerous fascinating Philippine dances.
Classifications and Characteristics of Folk Dance
Luzon, Visayas, and Mindanao are the three major islands that composed the
Philippine archipelago. Those islands have their own preserved culture handed down
from generation to generation. Folk dancing is an art performed with highly distinctive
differences that made these islands in the southeastern part of the world respective
and historical by the islands and by the globe. There are several dances in the country.
Some of the dances are performed in different occasions such as wedding,
occupational, festival, war and victory dances. Those dances display the Filipino way of
life and create a valuable manner in the development of nationalism.
In 1924, Francisca Reyes Aquino, the Mother of the Philippine Folk Dances and a
National Artist as well made a contribution by starting the collection of dances and
songs in the country. She authored six (6) volumes of books on different Philippine folk
dances, These dances have been categorized into non Christian and Christian dances.
The non- Christian or ethnic dances are the highest form of the Filipino dances
because of their incomparable and beautiful movements. Jotas, Pandanggo, Habaneras
are some of the examples of Christian dances. These dances are influenced by the
Spaniards and other European countries and have been adopted into our native
culture
Classifications of Folk Dance
Francisca Reyes Aquino classified Philippine Folk Dances according to
the following:
I. General Classification
A. Geographical Origin
1. National Dances. These are dances found throughout the islands with little or
no modification.
■ Rigodon -a dance originated by the French named after a well known dance
master Rigaud.
■ Carnosa -is a Philippine dance of Hispanic origin from the Mana Clara suite of
Philippine Folk Dances.
■ Jota -a Spanish folk dance originated in the North of Spain( Aragon).
2. Local Dances. These are dances found in specific localities.
■ Tinikling - is a dance which means "bamboo dance" in English.
■ Maglalatik - depicts a war between Moros and Christian over the price of "Latik"
or Coconut meat.
■ Subli - a dance from Bauan, Batangas derived from two tagalog word subsub
(stopped or in crouching position) and bali (broken).
B. Nature
1. Occupational Dances. These dances depict actions of a particular occupation
industry or human labor (planting, harvesting, pounding, winnowing etc.)
■ Pabirik - is a dance from Paracale, Camarines Norte that depicts the province's
gold mining industry.
■ Mananguete - is a Visayan occupational dance in Tolambugan Lanao.
2. Religious/Ceremonial. These are dances influenced with religion vows and
ceremonies.
■ Dugsu- is a ceremonial dance among the Manobo people in Bukidnon, Agusan
and Misamis Oriental.
■ Sta. Clarang Pinong-pino- a ritual dance that commemorates the Cebuano's
pagan origin.
■ Putong. a dance which originated in Marinduque that depicts the unique
custom of welcoming people.
3. Comic Dances. These are dances which depict humorous movements
designed for entertainment.
■ Makongggo-a comic dance which is cultured in Sta. Maria, Bulacan where a solo
performer mimics the movements and characteristics of a monkey.
■ Kinotan- a comic dance from Ilocos Sur that depicts the actions of a person
bitten by ants.
4. Game Dances. These are dances done with play elements (dance mixers)
■ Lubi - Lubi- a ballroom folk dance in the Bicol region.
■ Pavo -a processional dance common in Europe during the 16th century.
5. Wedding Dances. These dances are performed during wedding feasts.
■ Panasahan - is performed during the desposorio, a Catholic ceremony held at
the dawn of the wedding day between 2 and 3 am.
6. Courtship Dances. These dances depict the art of courtship or dances with
love themes.
■ Maramion- a dance showing courtship and is popular in the islands of Cebu and
Bohol. It means fragrant or beautiful.
■ Tadek - a Balbalan ethnic dance.
■ Hele-Hele - a flirting dance carrying out a courting figures but no touch since a
part of Spanish system
7. Festival Dances. These dances are suitable for special occasions or for any
social gathering.
■ Habanera - is a genre of Cuban popular dance music of the 19th century.
■ Jota Suntido - jota is a genre of music and the associated dance known
throughout Spain.
8. War Dances. These dances show imaginary combat or duel among tribe
members.
■ Sagayan- is a war dance performed by both the Maguindanao and Maranao
depicting in dramatic fashion.
■ Palu-palo- is a ritual dance and classified into creative dance.
C. Movements
1. Active. Dances which display fast energetic movements.
■ Maglalatik, Tinikling. Sakuting, Polkabal, etc.
2. Moderate. Dances that show less fast or intense movements .
■ Carinosa, Tagala, Habanera, Puripuri, etc.
3. Slow. Dances that show loss of velocity.
■ Pasakat, Amorosa, Tiliday, Kundiman, etc
4. Slow and Fast. Dances that demonstrate a combination of slow and last
movement.
■ Puriton Bangles. Habanera, Botolena, Alcomfor, etc.
D. Formation
1. Square or Quadrille. Dances form a square in their dancing
■ Rigodon, Los Bailes de Ayer, etc.
2. Long Formation. Dancers form two or more parallel lines.
■ Lulay, Sakuting
3. Set. This consists of two or more pairs as a unit with partners facing each other
or standing side by side.
■ Binadyong. Haplik, Kakawati, etc.
Characteristics of Folk Dance
1. In general, dancers stand apart.
2. There is little, if any, body contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with "Saludo".
7. Dances from the lowlands have more foreign elements than those found in the
uplands.
8. War dances are found among non-Christian tribes.
Do’s in Folk Dancing
1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness
3. Use proper costumes
4. Follow directions and dance instructions as closely as possible. 5. Dance with
feeling and expression.
5. Dance with feelings and expressions.
Lesson 2
Fundamental Positions of Arms and Feet in Five Counts
First Position
Arms are raised forward in a circle in
front of the chest with fingertips of
both hands about an inch apart.
The feet p
osition is executed with
the heels and toes apart at an angle
of about 90 degrees or more.
Second Position
The arms are placed sideways a little
below shoulder level with palms
facing upwards.
The feet position is performed with
feet sideward about a pace apart
with heels parallel each other.
Third Position
One a
rm is raised in a semicircle
slightly in front of the head
(amplified position while the other
arm remains as in second
position).
The heel of one foot is close to the
in-step of the other foot.
Fourth Position
One arm is raised in an amplified
position, while the other is as in first
position.
One foot is forward about a pace
distance, with toes out
Fifth Position
Both a
rms are raised to form a circle
over and slightly in front of the head
(amplified position).
One f oot is placed in front of the
other foot with the heel close to the
toe of the other foot.
Fundamental Positions of Arms and Feet in Eight Counts
First Position
Arms are placed forward forming a
circle position in front of the chest
and fingertips of both hands are
about an inch.
The feet position is executed with
the heels and toes apart at an angle
of about 90 degrees or more.
Second Position
The arms are on the sideways a little
below the shoulder level where
palms are in the position facing
downward.
The feet p
osition is performed with
feet sideward about a pace apart
with the other pointed parallel to
each other.
Third Position
Arms are raised on the sides a little
below the shoulder level with palms
facing upwards.
The feet position is performed with
feet sideward about a pace apart
with heels parallel each other.
Fourth Position
One a
rm is raised in a semicircle
position above the head while the
other arm remains the same
manner in third position.
Standing with the heel of one foot is
close to the in-step of the other foot.
Fifth Position
While the arm being raised in
slightly semi-circle circle position
remains above the head, the other
arm is placed and extended in
front of the chest with palm facing
downwards.
Stand with one foot pointed forward
about a pace distance with toes out.
Sixth Position
Remain on the same position of the
arms but this time the arm being
placed in front of the chest with
palm facing downward
should be facing upwards.
Stand with one f oot forward about a
pace distance with toes out.
Seventh Position
Both arms are raised slightly in front
of the head (amplified position) from
a circle.
Stand with one f oot placed in front
of the other foot with the heel close
to the toe of the other foot.
Eighth Position
Both a
rms are placed freely on side
ways.
Stand with feet together.
Lesson 3
Common Dance Terms Used in Folk Dance
1. Arms in lateral position - Both arms are on the sides either right or left: at
shoulder chest, or waist level.
2. Brush- Weight on the foot hits the floor with the ball or heel of the other
foot. One foot carries the weight while the other foot
slightly hits the floor
3. Cut - To display quickly one foot with each other.
4. Free Foot - The foot not bearing the weight of the body.
5. Free Hand - Hand not placed anywhere, or not doing anything.
6. "Hayon-hayon" - To place the forearm in front while the other is at the
back of the waist.
7. Hop - A spring from one foot landing on the same foot in place or in any
direction.
8. ''Jaleo" - Partners tum around clockwise, (with L elbows touching) using
walking or any kind of dance of step.
9. Jump - A spring on one foot or feet landing on booth feet any direction.
10. "Kumintang" - Moving the hand from the wrist either in a clockwise or
counter clockwise position.
11. Leap - A spring on one foot landing on the other foot in any direction
12. Place - A foot in any position without putting weight on it the sole of the
foot rests on the floor.
13. Pivot - To sum with the ball, heel or whole foot on a fixed place, or point.
14. Point - To touch the floor with the toes of one foot, with the ball on the
floor and the weight of the body on the other foot.
15. Salok - Swinging the arm downward upward passing in the front of the
body as if scooping the trunk bent forward following the
movement of the arm doing the salok.
16. Saludo - Partners with feet together bow to each other, or to the audience,
or to the opposite dancers, or to the neighbors.
17. Sarok - Cross the R (or L) foot in front of the L (or R), bend the body slightly
forward and across the hands down in front with the R (or L) hand over the
L (0r R).
18. Slide - To glide smoothly among the floor.
19. Stamp - To bring the foot forcibly and noisily on the floor.
20. Step - To advance or code by moving one fool to another testing place with
a complete transfer of weight from one foot to the other tool.
21. Supporting foot - The root that bears the weight of the body .
22. Tap – To tap lightly with the ball or tip of the toe, placing weight of the body
on the foot. There is no change or transfer of weight here.
– Toe or ball of free foot is placed momentarily on the floor and lifted again
immediately.
23. Whirl - To turn fast by executing small steps in place to right or left.
Lesson 4
Basic Dance Steps in the 2/4 and 3/4 Time Signature
Dance Steps Step Pattern Counting No. of
Measurement
Bleking Heel-place close 1,2 1
Close Step Step close 1,2 1
Brush Step Step brush heel forward 1,2 1
Step Swing Step swing 1,2 1
Cut Step Cut or displace 1,2 1
Hop Step Step, hop 1,2 1
Touch Step Point, close 1,2 1
Pivot Step on the ball and 1 and,2 and 1
turn, clos
Cross Step Step, cross step 1,2 1
Basic Dance Steps in the 2/4 Time Signature
Dance Steps Step Pattern Counting No. of
Measurement
Change Step Step, close, step 1 and 2 1
Cross Change Step Cross, step, close, step 1 and 2 1
Rocking Step Cut and raise, cut and 1, 2 1
raise
Heel and Toe Change Heel in front, point toe 1, 2, 1 and 2 1
Step and step, close, step
Change Step Turn Step, turn, close, step 1 and 2 1
Contra gansa Leap, cross step, close 1 and 2 1
Polka Series
Plain Polka Step, close, step (pause) 1 and 2 and 1
Hop Polka Hop, step, close, 1 and 2 and 1
step(pause)
Heel and Toe Polka Heel place, point toe, 1, 2, 1 and 2 1
step, close, step (pause) and
Slide Polka Slide, slide, step, close, 1, 2, 1 and 2 1
step (pause) and
Basic Dance Steps in the 3/4 Time Signature
Dance Steps Step Pattern Counting No. of
Measurement
Mazurka Slide, cut, hop 1,2,3 1
Redoba Slide, cut, cut 1,2,3 1
Step Swing Hop Step R, swing L, hop 1,2,3 1
Step Brush Swing Stepbrush R, swing L, 1,2,3 1
Hop hop
Waltz Step Step, close, step 1,2,3 1
Waltz Balance Step,rise, down 1,2,3 1
Cross Waltz Cross, step, close, step 1,2,3 1
Sway Balance Series
Sway Balance with a Step, cross, step, point 1,2,3 1
Point
Sway Balance with a Step, cross, step, brush 1,2,3 1
Brush
Sway Balance with a Step, cross, step, raise 1,2,3 1
Raise
Sway Balance with a Step, cross, step, hop 1,2,3 1
Close
Sway Balance with a Step, cross, step, point 1,2,3 1
Hop
Double Sway Balance Step, cross, step, point, 1,2,3 4
cross step, step, point
Sway Balance with Step, cross, step, close, 1,2,3 4
Waltz step
TAKE NOTE:
All Learning Tasks (Quizzes, Performance Tasks, Reflections, Midterm and Final
Practical Examinations) of UNIT I - Philippine Folk Dance will be uploaded on your
Google Classroom.
UNIT II - SOCIAL AND BALLROOM DANCES
Ballroom dance is a type of social dancing, originally practiced in Europe and the
United States, that is performed by couples and follows prescribed steps. The tradition
was historically distinguished from folk or country dance by its association with the
elite social classes and with invitational dance events. This Unit will discuss the
Introduction to Social and Ballroom Dances and Common Dance Terms, Holds and
Positions.
Lesson 1
Introduction to Social and Ballroom Dances
Long gone, we have been surrounded by different folk dances we tamed by
nature and within its origin, also with some dances with foreign influences. At
present, these folk dances have been elevated into a form of social dances creating
more complex dance routines to enjoy by people of different ages as a form of
highly entertaining dance genres. Some of the historical dances being molded as
social and ballroom dances are the Mazurka Polka, Minuet, etc. These dances have
had its evolution into the classifications of the social and ballroom dances. The
meaning of ballroom dances varies from the dance genres of today.
History of Social and Ballroom Dances
People are exposed to several ballroom dances as performed in social
gatherings as a sort of entertainment. These began and recorded toward the end of
the 16" century. As a token of gratitude to Jehan Tabourot with his pen name
"Thoinot- Arbeau' when he first published and studied social dance throughout the
Renaissance period of the 16 century. It was first recorded with five basic dance
steps as Shakespeare acknowledged the dance as "cing pace".
Minuet, in 1650 originally a peasant dance was introduced in Paris and
performed by King Louis XIV and was viewed to the public. Until the close of the 18
century, ballroom dances began to reign in England for social events, Associated
with its close hold, a basic ballroom dancer's position, Waltz, on the other hand,
held its modern hold as well as the Polka and Mazurka wherein the couple dance
freely with different dance variations in line with the ballroom and social dances of
today.
In the 20" century, the ballroom modern dance became popular on the screen
when dance referred to as a competition known as the dance sport was modulated
by the World Dance Council (WDC), from beginners to numer professional levels
namely the International Standard and International Latin .
Lesson 2
Dance Terminology in Ballroom Dancing
1. Amalgamation i s a combination of two or more patterns or movements.
2. Amateur Dancer is a person whose dancing is a hobby and who does not seek
financial gain from teaching or dancing.
3. Arm Styling is positioning and movement of the arm reflecting the character and
style of the dance.
4. Basic Figure is a standardized step pattern, which together with other patterns
constitute the basics of the dance.
5. Choreography is a creation or compilation of steps, patterns and movements
which make up the dance or the dance routine.
6. Combination is a group of consecutive patterns and choreography. It is similar to
amalgamation but sometimes involves a slightly more advanced set of patterns.
7. Continuity Movement is the continuous passing of the feet from one step to the
next.
8. Dance Sport is the official name given to Ballroom Dancing. It relates more to the
athletic form of ballroom dancing.
9. Drop is a theatrical type of movement in which the follower's body remains in
contact with the floor.
10. Figure is a standardized step pattern that, together with the other patterns,
constitutes the dance.
11. FloorCraft is the ability of the leader to maneuver around the dance floor in a
skilled and controlled manner to avoid colliding with the other dancers.
12. Following is the ability of the follower to react correctly to the signals given by the
leader through physical and visual connections.
13. Formation Team is a group of three or more dancers who perform ballroom style
routines.
14. Hip Motion is a very general term to mean any type of movement used in Latin
dancing.
15. Line Dancing is a type of non-partner dancing where everyone starts in the line
and learns a set pattern that repeats over and over again through the music.
16. Lift is a theatrical type of movement in which the follower's body weight is
completely supported by the leader held aloft.
17. Natural Turn is any dance pattern that turns to the right.
18. Step is frequently used to mean the same as figure or pattern.
19. Variation is a varied or more advanced pattern than the corresponding basic
figure which still contains the same main elements.
20. Leading is effective communication of intended actions by the leader through the
use of leader's own body movements and through one or more physical visual
connections to the follower.
Lesson 3
Holds and Positions in Ballroom Dancing
Close
Ballroom
Right Parallel
Close
Ballroom
Facing
Position
Conversation
Back Cross
Escort
Position
Side by Side
Promenade
Varsovienne
Wrap Post
Swing Out
Position
Reverse
Varsovienne
Start Post
Reverse Open
Post
____________________________________________________________________________
Resources
Silvester, Victor (1990). Modern Ballroom Dancing. Great Britain
Take Note:
All Learning Tasks (Quizzes, Performance Tests, Reflections, Midterm and Final
Practical Examinations) of UNIT II - Social and Ballroom Dances will be uploaded
on your Google Classroom.
Prepared by:
Module Creators
Mr. John Cristian F. Escamillas
Mr. Lorenz Aaron M. Isla
Photo/Video Editors
Mr. Francis Dela Cruz
Mr. Lorenz Aaron M. Isla
Photo Subjects
Mr. Bryan U. Carlos
Ms. Jenny A. Aldea
Ms. April Hernandez
Mr. John Israel P. Santos
Mr. Lorenz Aaron M. Isla
Committee Members
Mr. Ronald M. Espina
Ms. Rica Agnes Asi
Ms. Han Tracy Batronel
Mr. Ricardo Crisanto Padua
