Unit 1: An overview to PALAWAN STATE

UNIVERSITY

Objectiv
es:
The learner…..
 Will be familiarized with the vision, mission and quality policy of Palawan State
University.
 Provide feedback on the PSU vision, mission, quality policy to a learner.

Introducti
on:
Palawan State University is a state university that was granted a charter to offer
undergraduate and graduate degree programs. It was mandated to offer undergraduate
courses essential in carrying out its objectives. The university, as a state-supported
institution of higher learning, upholds the provisions of R. A. No. 7722, otherwise known
as the “Higher Education Act of 1994,” in pursuance of an outcomes-based quality
assurance system as advocated under CMO 46. s. 2012.
The Palawan State University is committed to produce graduates who are
expected to be agents of change, creative and critical thinkers, effective communicators,
research-oriented learners, and value-laden individuals.

Learning
Activity:
Read and memorize the vision, mission and quality policy of Palawan State
University.

PSU Vision
An internationally recognized university that provides relevant and innovative
education and research for lifelong learning and sustainable development.

PSU Mission
Palawan State University is committed to upgrade people’s quality of life by
providing education opportunities through excellent instruction, research and innovation,
extension, production services, and transnational collaborations.

PSU Quality Policy

“We Provide equal opportunities for relevant, innovative, and internationally
recognized higher education programs and advanced studies for lifelong learning and
sustainable development.
We Strongly commit to deliver excellence in instruction, research, extension, and
transnational programs in order to meet the increasing levels of stakeholder demand as
well as statutory and regulatory requirements.

3 1
 The University shall continually monitor, review and upgrade its quality
management system to ensure compliance with national and international standards and
requirements.
ESSAY

Processing Questions:
1. How does the PSU Mission and Vision reflect your insight as a student?
_________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________

2. What is your personal goal, and how is it relative to the goals and objectives of
your college?
_________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
______________________________________

REFLECTIVE JOURNAL
1. Write a journal that states your reflection about the PSU MISSION and VISION and
discuss how it will contribute to each of your milestone in life.
 You as a student
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________
 You as a graduate
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________
 You as a professional
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
___________________________________

2
Unit 2: Physical Fitness Concepts and Assessments

Objectiv
es:
The learner….
 Assess fitness levels and be able to interpret the result.
 Describe different types of Fitness variables and principles.
 Establish fitness goals relative to standards.

Physical Fitness
Introducti
on:
Physical Education today has been considered as one of the contributing factor to
enhance positive lifestyle changes which lead to a better quality of life. This means that
through physical education, an individual can acquire sufficient knowledge and
understanding, basic skills, and desirable attitudes that will contribute to his well-being. In
the process, he can achieve total fitness which will enable him to avoid common illnesses,
use free-time wisely, practice self-defense, and overcome life’s stresses. Above all, physical
education can contribute towards long and happy life.

Learning
Activity:
Physical Fitness (PF) is a state of health and well-being and more specifically, the ability
to perform aspects of sports, occupation and daily activities; this is generally achieved
through proper nutrition, moderate to vigorous physical exercises and sufficient rest.
Fitness is the capacity to carry out the day’s activities without undue fatigue but to
changes in lifestyle, physical fitness is now considered a measure of the body’s ability to
function efficiently and effectively in work and leisure activities, to be healthy, to resist hypo-
kinetic diseases, and to meet emergency situation. Attitude, meanwhile has to two
representations towards physical fitness; (1) Positive, when it comes to Physical Activity
(P.A). A positive attitude would consist of planning goals, having consistent workout routine,
and to just enjoy working out; (2) Negative, would involve being lazy about PA, not giving
all of one’s effort, and lacking consistency in a fitness plan.
Physical Activity (PA) is defined as any bodily movement produced by skeletal muscles
that results in energy expenditure; in daily life can be categorized into occupational, sports,
conditioning, household, or other activities.
Components of Physical Education
1. Health Related Fitness - The components of Health related fitness are basis from
which to measure our general well-being.
2. Performance/Skill Related Components of Fitness

FIVE HEALTH RELATED COMPONENTS OF FITNESS

1) Cardiovascular Endurance - Cardiovascular endurance is also referred to as aerobic
fitness, and is a measure of the athlete’s ability to continue with exercise which places
demands on the circulatory and respiratory system over a prolonged period of time.
This occurs in activities such as running, walking, cycling and swimming.
2) Muscular Strength - Muscular strength is the maximal force that can be applied
against a resistance. It could be measured by the largest weight a person could lift. or
the largest body they could push or pull.
3) Muscular Endurance - Muscular endurance differs from muscular strength in that it
is a measure of a person’s ability to repeatedly apply maximal force, for example in a
series of press ups, over a period of time.
4) Flexibility - Flexibility is the measure of free movement in a person’s joints. This is
especially important in gymnastics.
5) Body Composition - Body composition is usually measured by the percentage body
fat a person carries.

PERFORMANCE/SKILL RELATED COMPONENTS OF FITNESS

1.) Agility - is the ability to change and control the direction and position of the body
while maintaining a constant, rapid motion. For example, changing directions to hit a
tennis ball.
2.) Balance - is the ability to control or stabilize the body when a person is standing still
or moving. For example, in-line skating.
3.) Coordination - is the ability to use the senses together with body parts during
movement. For example, dribbling a basketball. Using hands and eyes together is
called hand-eye coordination.
4.) Speed - is the ability to move your body or parts of your body swiftly. Many sports
rely on speed to gain advantage over your opponents.
For example, a basketball player making a fast break to perform a layup, a
tennis player moving forward to get to a drop shot, a football player out
running the defense to receive a pass.
5.) Power - is the ability to move the body parts swiftly while applying the maximum
force of the muscles. Power is a combination of both speed and muscular strength.
For example, fullbacks in football muscling their way through other players
and speeding to advance the ball and volleyball players getting up to the net
and lifting their bodies high into the air.
Fitness Test Protocols
The following are important things to prepare before performing any fitness or physical
activities:
1. Explain the purpose and benefit that can be derived from the physical fitness tests.
2. Administer the tests at the beginning of the semester and before the
semester ends, to monitor improvement. • Prepare the following testing
paraphernalia:
- First Aid Kit
- Drinking Water (and a small towel or "bimpo" to wipe their
perspiration)
- Individual Physical fitness test form.
- During testing: Exercise mat, tape measure, ruler, meter stick, masking
tape, stop watch, step box/stair.
3. Observe the following prior to actual day of testing:
a. The testing stations should be safe and free from obstructions.
b. With the guidance of the teacher, allow students to go through the
various tests with minimal effort exerted to familiarize themselves with testing
procedures. (Ask assistance/guidance from your parents or siblings)
c. The tests requiring cardiovascular endurance and those other tests
which involve the same muscle groups should not be taken in succession.
d. Wear appropriate clothing: t-shirt, jogging pants and rubber shoes, or any
suitable sports attire.
e. Do warm-up and stretching exercises before the tests.
 Activity:

PRE-ASSESSMENT
Part I. PAR-Q (Physical Activity Readiness Questionnaire)
Let’s assess if you are ready for participating in physical activity by taking the Physical
Activity Readiness Questionnaire (PAR-Q). Copy the template below.

Name: _______________________________________________________

Course/Year Level/Block: _______________________________________

Questions Yes No
 Has your doctor ever said that you have a heart condition and that
you should only do physical activity recommended by a doctor?
 Do you feel pain in your chest when you do physical activity?
 In the past month, have you had chest pain when you were not
doing physical activity?
 Do you lose your balance because of dizziness or have you ever
lost consciousness?
 Do you have a bone or joint problem (back, knee, hip) that could
be made worse by a change in your physical activity?
 Is your doctor currently prescribing drugs for your heart
condition?
 Do you know of any other reason why you should not do a
physical activity?
Figure 2 (PAR-Q Form)

Let’s see what the questionnaire revealed about your fitness:

 If you answered YES to any questions, talk with your doctor before you start
engaging in physical activity (PA). Tell your doctor about the PAR-Q and which
questions you answered yes.
 If you answered NO to all PAR-Q questions, you can take start participating in PA.
Source: Canadian Society for Exercise Physiology. (2002). Physical Activity Readiness Questionnaire – PAR-Q. Retrieved
from: www.csep.ca/forms
Part II. Warm-Up Exercises
You will be introduced with several warm-up exercises which you will be performing
before conducting any other physical activity, but before proceeding to the physical activities,
you should know first your PMHR (Personal Maximal Heart Rate) and THR (Target Heart
Rate).

Here’s how it is:

Moderate (40 - 55%):

220 - age = _________________ Personal Maximum Heart Rate
(PMHR)
Target Heart Rate:
MHR x 0.4 = ___________ bpm
MHR x 0.55 = ___________ bpm

Vigorous (60 - 85%):

MHR x 0.6 = ____________ bpm

MHR x 0.85 = ____________ bpm

Reminder!
You should always have a record of your heart rate before and after a physical activity to
keep track of your fitness level. One of the most efficient ways to assess your fitness is
through your heart rate.

Warm-Up Exercises
Static Stretching Exercises Dynamic Stretching Exercises
1. Neck Stretches 1. Jogging
2. Shoulder Curls 2. High knees
3. Arm stretches 3. Butt kicks
4. Trunk stretches 4. Jumping Jacks
5. Toe touch
6. Lunges
 Fitness Testing Instructions
Test No. 1: 3-minute Step test
Equipment: A strong wooden box 4-6 inches high, an inverted soft drink box
may be used.
Directions:
Starting position:
Performer stands comfortably in front of the box.
Action:
1. Step right foot on the box followed by left foot.
2. Bring the right foot back to original position followed by the left
foot.
3. Do the entire movement for 3 minutes.
Scoring: At the end of the activity, the number of heart beats per minute is
recorded.
Test No. 2: Sit up
Equipment: A mat, turf or floor.
Directions:
Starting position:
Performer lies on his back with knees flexed at 90 degrees, feet flat on the floor.
Cross arms close to chest, fingertips close to shoulders.
Action:
1. Performer raises trunk with crossed arms touching the knees. This is one sit
up.
2. Without pausing, performer returns to original position and immediately sits
up again.
3. Repeat the exercise as many times as possible.
Rules:
1. Only one trial is allowed.
2. No resting between sit-ups is permitted.
3. Knees must remain flexed at right angle for the duration of the
exercise.
4. Sit up shall be counted only if the performer keeps the crossed arms
close to his chest, and when he/she didn’t let his/her upper back
touch the floor.
Scoring: Record only the number of sit ups which were done completely correctly.
Test No. 3: Push up
Equipment: A mat, turf or floor.
Directions:

Starting position:  

 The hands and toes touch the floor, the body and legs in a straight line, feet
slightly apart, the arms at shoulder width apart, extended and at a right angle to the
body.

Action:

1. Keeping the back and knees straight, the performer lowers his body to a
predetermined point, maintaining at least two inches off the ground, the elbows
should be in a 90 degrees position.
2. Returns back to starting position, elbows extended.
3. Repeat the action as much as possible, but without pause or rest.
Scoring: Record only the number of push ups which were done completely correctly.

Test No. 4: Sit and reach

Facilities/Equipment: Any flat surface like the floor with a wall on one side;
a meter-stick or a flat wooden stick with a tape measure fastened to it.
Directions:
Starting position:
1. Performer sits on the floor with his back and head against the wall, legs
straight flat on the floor, 30 cm wide, thumbs interlaced and middle fingers
overlapped.
2. Tester slides meter-stick between the performer’s legs, the end of which
touches the fingertips.
Action:
1. Performer slowly reaches the as far as possible forward with the fully
extended arms with the fingertips touching the floor.
2. He returns to starting position, arms and shoulders relaxed (no jerky
movements allowed).
3. He repeats the action. On the third time, performer holds the position for at
least 2 seconds as the score on the tape is read.
Scoring: The farthest distance in centimeters is recorded.

Test No. 5: Zipper Test

Equipment: Tape measure
 Directions: (An assistant is needed to check the alignment of the fingers, and measure
the distance between the tips of the middle finger)
Starting Position:
Standing position, hands on side, feet together.
Action:
1. Raise your right arm straight up over your head.
2. Flex your right elbow. Let your right palm rest on the back of your neck with
your fingers pointing down toward your feet.
3. Using your left hand, reach down behind your back and rest the back of your
hand on your spine (your palm should be facing away from your body).
4. Without straining, slide your right hand down your neck and your left hand up
your spine (your hands should be moving toward each other).

Once you have reached as far as you can, let your assistant measure the
distance between your fingers.

5. Do the same action, start with your left arm.

(Stop the test if the subject experiences pain.)
Scoring: Record the best score to the nearest centimeter or 1/2 inch. The higher the score
the better the result.

Test No. 6: Hexagon

Equipment: Masking tape, meter stick. (Using masking tape, make a hexagonal shape
on a level, firm floor with each of the six sides measuring 65 centimeters).

Directions:

Starting Position:

The performer is at the center of the hexagon, facing the side F.

Action:

1. Stand at the centre of the hexagon facing side F.

2. Jump with both feet over side A. 
3. Jump back to the centre and then jump over side B and so on round the
hexagon, returning to the centre to face side F between each
jump. 
4. Record the length of time it takes you to complete three circuits of
the hexagon.
5. Rest for two minutes.
6. Repeat the circuit in a reverse direction, starting to jump on the
side E.
Scoring: The circuit must be completed to record the time.
Test No. 7: Stork Stand

Equipment:  Stop watch

Directions:

Starting Position:

The performer stands comfortably on both feet with his hands on his hips

Action:

1. The performer lifts his right leg and places the sole of the right foot
against the side of the left kneecap.
2. As the stopwatch starts, the performer raises the heel of the left foot to
stand on his toes.
3. The performer is to hold this position for as long as possible.

The time stops when the performer’s left heel touches the ground,
or the right foot moves away from the left knee. (Record the time)

Rest for two minutes.

4. Repeat the action, starting on the left leg.

Test No. 8: Trunk Lift

Equipment: Meter Stick

Directions:

Starting Position:

The performer lies in a prone position, his hands are under his abdomen, legs flat
together on the floor. 

Action:

1. Lift your upper body off the floor using the muscles on the back. The
movement should be performed in a slow and controlled manner.
2. Hold your position for at least 3 seconds for the measurement. 
3. Return to your starting position.
4. Do the same action three times.

Scoring: The highest measure in centimeters is recorded.

PART III. Fitness Assessment
Read the training instruction before you perform the fitness test.
The following template is provided for you to accomplish by filling in the blanks. Try to
identify the components being measured in the second column. Write the respective scores
generated by actually performing the indicated tests in the third column.

Physical Fitness Testing Form

Name: ___________________________ RHR(resting heart rate): _______
Age: __________ Sex: _____________ EHR(exercise hear rate): _______
Lower Abdominal (cm): ____________ Height(m):________
Hip Girth(cm): _______________ Weight(kg): _______
Test Item Components Score Remarks
measured (AB -above target,BT
- below target)
1. 3-minute Step-
test (beats/minute)
2. Sit-up (no. of
times)
3. Push-up (no. of
times)
4. Sit and reach
(cm)
5. Zipper Test
(cm)
6. Hexagon
(clockwise and
 vice versa, time)
7. Stork Stand
(left and right
-time)
8. Trunk lift (cm)

Figure 3 (Physical Fitness Testing Form)

Processing Questions:
1. What did the result of the Fitness Test reveal about your present fitness level?
____________________________________________________________________
_______________________________________________________________________
____________________________________________
2. Which tests did you score satisfactorily? Poorly? What should you do about it?
____________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
___________________________________
3. Which of the two levels of activity intensity did your heart rate fall during the conduct
of the Fitness Test? (Moderate or Vigorous)
____________________________________________________________________
_______________________________________________________________________
____________________________________________

4. How important is taking your THR when participating in a certain physical activity?
____________________________________________________________________
_______________________________________________________________________
___________________________________

Fitness Test Standards

Students must be taught to test themselves, interpret the test results, set personal fitness
goals, plan an individualized program and monitor themselves over time. For those who fail
to meet the criterion-referenced standards for health, they can be helped to plan a program for
improvement. Others who have reached the fitness standards can be taught how to maintain
that level of fitness. The following are standard for each Fitness Test:
Fitness Index for Women (Step Test)
P Fitness Score
O 45 28 28 29 29 29 29 29 29 29 29 29 29
S 44 29 29 30 30 30 30 30 30 30 30 30 30
T 43 30 30 31 31 31 31 31 31 31 31 31 31
42 31 31 32 32 32 32 32 32 32 32 32 32
E 41 32 32 33 33 33 33 33 33 33 33 33 33
X 40 33 33 34 34 34 34 34 34 34 34 34 34
E 39 34 34 35 35 35 35 35 35 35 35 35 35
R 38 35 35 36 36 36 36 36 36 36 36 36 36
C 37 36 36 37 37 37 37 37 37 37 37 37 37
I 36 37 37 38 38 38 38 38 38 38 38 38 38
S 35 38 38 39 39 39 39 39 39 39 39 39 39
E 34 39 39 40 40 40 40 40 40 40 40 40 40
33 40 40 41 41 41 41 41 41 41 41 41 41
P 32 41 41 42 42 42 42 42 42 42 42 42 42
U 31 42 42 43 43 43 43 43 43 43 43 43 43
L 30 43 43 44 44 44 44 44 44 44 44 44 44
S 29 44 44 45 45 45 45 45 45 45 45 45 45
E 28 45 45 46 46 47 47 47 47 47 47 47 47
27 46 46 47 48 48 49 49 49 49 49 49 49
C 26 47 48 49 50 50 51 51 51 51 51 51 51
O 25 49 50 51 52 52 53 53 53 53 53 53 53
U 24 51 52 53 54 54 55 55 55 55 55 55 55
N 23 53 54 55 56 57 57 57 57 57 57 57 57
T Body 80 90 100 110 120 130 140 150 160 170 180 190
Weigh
t
Figure 4

Fitness Index for Men (Step Test)

Fitness Score
45 33 33 33 33 33 32 32 32 32 32 32 32 32
P 44 34 34 34 34 33 33 33 33 33 33 33 33 33
O 43 35 35 35 34 34 34 34 34 34 34 34 34 34
S 42 36 35 35 35 35 35 35 35 35 35 35 34 34
T 41 36 36 36 36 36 36 36 36 36 36 36 35 35
40 37 37 37 37 37 37 37 37 36 36 36 36 36
E 39 38 38 38 38 38 38 38 38 38 38 38 37 37
X 38 39 39 39 39 39 39 39 39 39 39 39 38 38
E 37 41 40 40 40 40 40 40 40 40 40 40 39 39
R 36 42 42 41 41 41 41 41 41 41 41 41 40 40
C 35 43 43 42 42 42 42 42 42 42 42 42 42 41
I 34 44 44 43 43 43 43 43 43 43 43 43 43 43
S 33 46 45 45 45 45 45 44 44 44 44 44 44 44
E 32 47 47 46 46 46 46 46 46 46 46 46 46 46
31 48 48 48 47 47 47 47 47 47 47 47 47 47
P 30 50 49 49 49 48 48 48 48 48 48 48 48 48
U 29 52 51 51 51 50 50 50 50 50 50 50 50 50
L 28 53 53 53 53 52 52 52 52 52 52 51 51 51
S 27 55 55 55 54 54 54 54 54 54 53 53 53 52
E 26 57 57 56 56 56 56 56 56 56 55 55 54 54
25 59 59 58 58 58 58 58 58 58 56 56 55 55
C 24 60 60 60 60 60 60 60 59 59 58 58 57 56
O 23 62 62 61 61 61 61 61 60 60 60 59 58 57
U 22 64 64 63 63 63 63 62 62 61 61 60 59 58
N 21 66 66 65 65 65 64 64 64 62 62 61 60 59
20 68 68 67 67 67 66 66 65 64 63 60 59 59
 T Body 120 130 140 150 160 170 180 190 20 210 220 230 240
Weigh 0
t
Figure 5

HEXAGON TEST
(AGILITY TEST)

GENDER Excellent Above Average Below Poor

Average Average
MALE <11.2 secs 11.2-13.3 secs 13.4-15.5 secs 15.6- 17.7 >17.8 secs
secs
FEMALE <12.2 secs 12.3-15.3 secs 15.4- 18.5 18.6-21.7 secs >21.8 secs
secs
Figure 6

SHUTTLE RUN
(AGILITY TEST)

SHUTTLE RUN FOR MEN SHUTTLE RUN FOR WOMEN

16 secs. & above Very Poor 18 secs & Above Very Poor
14-15 secs. Poor 16-17 secs. Poor
12-13 secs. Average 14-15 secs. Average
10-11 secs. Good 12-13 secs. Good
8-9 secs. Very Good 10-11 secs Very Good
7 secs. Excellent 8-9 secs. Excellent
6 secs and below Superior 7 secs & below Superior
Figure 7

ZIPPER TEST
(FLEXIBILITY TEST)

LEFT ARM SCORE RIGHT ARM SCORE RATING

1- Did not touch the finger 1- Did not touch the 1- VERY POOR
2- Just touch the finger finger 2- POOR
3- Finger overlapped by 1-2 2- Just touch the finger 3- AVERAGE
cm. 3- Finger overlapped by 4- GOOD
4- Finger overlapped by 3-4 1-2 cm. 5- VERY GOOD
cm. 4- Finger overlapped by 6- EXCELLENT
5- Finger overlapped by 5-7 3-4 cm.
cm. 5- Finger overlapped by
6- Finger overlapped by 8 cm 5-7 cm.
or more 6- Finger overlapped by 8
cm or more
Figure 8

SIT AND REACH

(FLEXIBITY TEST)
Sit and Reach for (MEN & WOMEN)

19 inches & below Poor

20-24 inches Average
25-29 inches Very Good
30-35 inches & above Excellent
Figure 9

TRUNK LIFT
(FLEXIBILITY TEST)

12 inches & above Excellent

10-11 inches Very Good
8-9 inches Good
6-7 inches Average
4-5 inches Fair
2-3 inches Poor
0-1 inches Very Poor
Figure 10

SIT- UP
(ABDOMINAL STRENGTH)

MEN WOMEN
0-15 Poor 0-10 Poor
16-20 Average 11-15 Average
21-25 Very Good 16-20 Very Good
26 + Excellent 21 & above Excellent
Figure 11

PUSH-UP
(STRENGTH & ENDURANCE)

MEN WOMEN
0-10 Poor 0-8 Poor
11-18 Average 9-15 Average
19-24 Very Good 16-19 Very Good
25 + Excellent 20 + Excellent
Figure 12
 STANDING LONG JUMP
(LEG POWER)

MEN WOMEN
69 inches & below Poor 49 & below Poor
70-74 inches Average 50-54 inches Average
75-79 inches Very Good 55-59 inches Very Good
80 inches & above Excellent 60 inches & above Excellent
Figure 13

STORK BALANCE
(BALANCE)

MEN WOMEN
25 secs. & below Poor 15 secs. & Below Poor
26-40 secs. Average 16-30 secs. Average
41-59 secs. Very Good 31-44 secs. Very Good
1 min. Excellent 45 secs. Excellent
Figure 14
GENERAL GRADING EACH CATEGORY RATING

SUPERIOR 98 30 POINTS
EXCELLENT 95 25 POINTS
VERY GOOD 90 20 POINTS
GOOD 85 15 POINTS
AVERAGE 75 10 POINTS
POOR 70 5 POINTS
VERY POOR 65 5 POINTS
Figure 15

Assessme
nt:
Part I: Multiple Choice
Direction: Read the following questions carefully and choose the best answer.
Encircle the letter of the correct answer.
1. What type of skill-related component of fitness is described as the ability to move the
body or parts of the body swiftly?
a. Agility c. Power
b. Balance d. Speed

2. What type of health-related component of fitness measures the person’s ability to

repeatedly apply maximal force?
a. Cardiovascular endurance c. Muscular endurance
b. Flexibility d. Muscular Strength
 3. What component of physical education is the basis from which to measure our general
well-being?
a. Heart-related c. Fitness-related
b. Skill-related d. Health-related

4. Which of the following is a state of health and well-being and more specifically, the
ability to perform aspects of sports, occupation and daily activities
a. Physical Education c. Physical Fitness
b. Physical Activity d. Physical Health

Part II: Setting of Fitness Goals

Based on the result of your Fitness Test, set your fitness goals for each components
of Physical Education (Heath and Performance Related Components).
You can use a matrix or any form for your output.

Republic of the Philippines

PALAWAN STATE UNIVERSITY
College of Teacher Education

DEPARTMENT OF PHYSICAL EDUCATION

PATHFIT-3 DANCE AND SPORTS ALTERNATIVE LEARNING MATERIALS

Course Outcomes
1. Demonstrate content knowledge and understanding of dance and sports and its
application to sustained learners’ interest and experiences in worthwhile dance and
sports.
2. Demonstrate understanding of supportive learning environments that the learner
maintains an active lifestyle to participate in physical activities.
3. Demonstrate understanding of learning environments that promotes fairness, respect
and care to encourage learning in applying the sport skills accurately through dance.

UNIT 3
MODULE 1-

INTRODUCTION

Gabao assailed that the Universal

knowledge of Dance is a movement using the
body as the medium or instrument to express
its meaning or significance. To comprehend a
dance, one must gain backward and
 understanding from simple to complex
movement interpreting how and why the use
of a body part and the whole body to a
particular order hence, Dance becomes a
physical activity executed in a musical pattern
and an accompaniment. The nature of the
human body calls for its natural impulse and
rhythm and therefore exhibits a natural
phenomenon on how it moves in space, ( an
area of performance) or the body space itself
or space that is referred to as the freedom of
movement without obstruction wherein the
body that expresses unique or properties and
qualities.

This module is designed to expose the

learners gradually to the wonderful world of
dance trough a rich variety of rhythmic
activities

Learning Outcomes
At the end of the lesson, the learners are expected to do the following:
1. Recognize and appreciate the history and nature of dance.
2. Identify the Phases of the Dance Program.
3. Develop deeper appreciation in the Phases of the Dance Program.
4. Analyze and Classify the Purposes of Dance.
5. Categorize the different type of dance in the Philippines.

LESSON 1:
 BRIEF HISTORY AND NATURE OF DANCE
 PHASES OF THE DANCE PROGRAM
 THREE PURPOSES OF DANCE

PRE- ASSESMENT

Instruction: Identify the concepts defined in each item. Choose the words inside the box
below and write your answer on the space provided before each number.

Creative Rhythms Folk/Ethnic Dance

Recreational Dance Dance
Social and Ballroom Dance Creative Dance
Dancing Rhythm
Rhythmic Activities Danson
__________1. Refers to movement set to music where there emerges organization,
structure and pattern.
__________2. An end product of exploration and improvisation of movements as the
children learn to move the parts of their body and to use them as
instrument of expression.
__________3. The regular recurrence of accented and unaccented beats.
__________4. A means of expressing one’s emotions through movement disciplined
by rhythm.
__________5. The physical manifestations of the mental and emotional response of
the individual to rhythm.
__________6. Which means to stretch and relaxing.
__________7. A cultural art form handed down from generation to generations. It
communicates the customs, belief, rituals, and occupations of the
people of a region or country.
__________8. Includes dance mixers, square dance round and couple dances. The
setting is usually informal gatherings and parties, reunion etc.
__________9. The end product of exploration and improvisation of movements as the
dancer or the choreographer expresses his feelings or emotions,
ideas, and interpretations. This is the highest form of dance with a
definite form beginning and ending.
_________10. This is a social gathering with more formal atmosphere than the simple
and informal parties. These are generally held in the evenings and the
participants are usually in formal attire.

BRIEF HISTORY AND NATURE OF DANCE

From the earliest moments of known human history, dance accompanied ancient
rituals, spiritual gatherings and social events. As a conduit of trance, spiritual force, pleasure,
expression, performance and interaction, dance became infused into our nature from the
earliest moments of our existence - from the moment when first African tribes covered
themselves in war-paint to the spreading of music and dance across all four corners of the
world. Without a doubt, dancing remains one of the most expressive forms of
communications that we know.

Dance, the movement of the body in a rhythmic way, usually to music and within a given
space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking
delight in the movement itself.

According to American dancer, dance educator, author, and film and video producer
Barbara Mettler…Dance is an activity which can take many forms and fill many different
needs. It can be recreation, entertainment, education, therapy, and religion. In its purest and
most basic form, dance is an art, the art of body movement.”

Why is dance so important?

Dance teaches the importance of movement and fitness in a variety of ways through

a variety of disciplines. As well, dancers learn to coordinate muscles to move through proper
positions. Dancing is a great activity to pursue at almost any age provided you are in proper
health to handle the rigors of dancing for life.

PHASES OF THE DANCE PROGRAM

CREATIVE RHYTHM FOLK / ETHNIC DANCE

SOCIAL/BALLROOM DANCE RECREATIONAL DANCE

CREATIVE DANCE

THREE PURPOSES OF DANCE

1. Ceremonial Dance- Celebrating life events, religious rituals and other occasions reflecting
cultures or traditions.
 Culture is defined as our way of life. The tradition and norms which is important in
every culture can be represent in a way of dancing and this is what we called cultural
dance.A graceful dance, colorful props and costumes, slow movements and fast that
catches the Attention of every people.
 Religious ritual- a ceremony or action performed in a customary way….As an
adjective, ritual means “conforming to religious rites,” which are the sacred
customary ways of celebrating a religion or culture.
2. Recreational Dance- Dances performed in a social setting like folk, social dancing and
aerobic dance
 Folk Dance- generally, a type of dance that is a vernacular, usually recreational,
expression of a historical or contemporary culture.
 Social Dance- recreational and usually performed with a partner and in groups or as a
community activity or fun and enjoyment.
 Aerobic dance- energetic physical exercises, often performed with a group of people
to music,that make the heart, lungs and muscles.

3. Artistic Dance- Performed on a stage for an audience like ballet, modern, narrative, tap,
lyrical.
 Ballet- classical dance form characterized by grace and precision of movement and by
elaborate formal gestures, steps, and poses.
 Modern dance- theatrical dance that began to develop in the United States and
Europe late in the 19th century.
 Narrative dance- a choreography structure that follows a specific story line and
intends to convey specific information through that story
 Tap dance- style of dance in which a dancer wearing shoes fitted with heel and toe
taps sounds out audible beats by rhythmically striking
 Lyrical dance- relatively recent form of dance coming from a fusion of jazz dance
and ballet.
Activity 1
Instruction: Analyze the pictures below and classify the purpose and type of dance.
PURPOSE OF DANCE
-Ceremonial Dance TYPE OF DANCE
 Culture
 Religious Ritual
-Recreational Dance
 Folk Dance
 Social Dance
 Aerobic Dance
 -Artistic Dance
 Ballet
 Modern Dance
 Narrative Dance
 Tap Dance
 Lyrical Dance

DANCE PICTURES/ IMAGES PURPOSE/FORM TYPE OF

OF DANCE DANCE
(Dugso-harvest time)
LESSON 2:

BASIC NATURAL MOVEMENT

INTRODUCTION

Our body is designed to move to any possible desired positions. Movement is the
basic reason to execute our daily activities or purpose. Loco-motor movements are the
body that move in any desired position while the non-loco-motor movements are those in
which the different parts of the body move in space with a fixed base, it may be standing,
kneeling, sitting or lying.

Learning Outcomes
At the end of the lesson, the learners are expected to do the following:

1. Recognize the difference between loco-motor and non-loco-motor movements.

2. Execute the loco-motor and non-loco-motor movements.
3. Create simple dance steps by combining the loco-motor and non-loco-motor
 movements.

PRE- ASSESSMENT

Instruction: The following words inside the box are loco-motor and non- loco-motor
movements. Transfer them to proper places below.

extension flexion galloping hopping jumping leaping

pendular percussive running skipping sliding suspended
sustained vibratory walking

LOCOMOTOR NON- LOCOMOTOR

MOVEMENTS

1. Walking- move at a regular pace by lifting and setting down each foot in turn, never
having both feet off the ground at once.

2. Running- walking with longer strides and there is a push-off by the foot to suspend
the body momentarily in the air.

3. Jumping- Springing on one foot or both feet and landing on both feet in any direction.

4. Hopping- Springing on one foot and landing on the same foot.

5. Skipping- Same procedure as in hopping but bouncing lightly with alternate steps.

6. Leaping- Springing on one foot and landing on the other foot.

7. Galloping- Moving in continuous forward or sideward direction with one foot leading.

8. Sliding- Gliding the foot along the floor.

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

2. Extension- turning, twisting or circling.

3. Pendular- swinging or swaying of arms forward, backward or sideward.

4. Percussive- striking and hitting; pushing and pulling.

5. Vibratory- shaking and beating of the body.

6. Sustained- s slow, smooth flowing movement with a balance of movement throughout

the entire series.

7. Suspended- a sharp movement followed by a series of slow or prolonged movements

until a peak is reached.

ACTIVITY 1

Instruction: Identify and name the following loco-motor and non-loco-motor movements
below and encircle the correct movement under the pictures.( 30 points)

Loco-
motor
non-loco-motor
loco-motor
non-loco-motor

loco-motor non-loco-motor loco-motor non-loco-motor

 loco-motor non-loco-motor loco-motor non-loco-motor

loco-motor non-loco-motor loco-motor non-loco-motor

loco-motor non-loco-motor loco-motor Non-loco-motor

.
loco-motor non-loco-motor loco-motor non-loco-motor

loco-motor
loco- motor non-loco-motor
non-loco-motor

Loco-motor non-loco-motor
LESSON 3

 ELEMENTS OF MOVEMENT SPACE

 ELEMENTS OF RHYTHM

INTRODUCTION

Dance consists of four elements of movement space, namely direction, level,

range and floor pattern. In making dance steps or figures we need to employ the above
elements, as well as elements of rhythm to make it more efficient and effective in
conveying its significant meanings.

Rhythm is natural to every individual and the main instrument in dancing is our
human body, we react to the beat of music every time we hear of any kind.

Learning Outcomes
At the end of the lesson, the learners are expected to do the following:

1. Analyze the elements of movement space and elements of rhythm.

2. Classify the movement qualities.
3. Create simple dance steps and apply the element of movement space.
4. Appreciate and love dance to perform it better.

ELEMENTS OF MOVEMENT SPACE:

1. Direction- the line of movement taken which maybe forward, backward, sideward,
diagonal, upward, or a combination of these.
2. Level- movement through space that maybe done at a high, low, or medium level.

3. Range- refers to the area covered as the body moves.

4. Floor Pattern- the path or design that is made while moving in space. It may take a form of
circle, square, straight line or zigzag.

MOVEMENT QUALITIES:

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

Time Qualities:

1. Movement which is fast

Example: Jet plane

2. Movement which is slow

Example: Flower growing

Force Qualities:

1. Soft light movement

Example: Fairies

2. Strong, heavy movement

Example: Elephant

3. Strong, jerky movement

Example: Frog

4. Smooth, sustained movement

Example: Fish swimming

Space Qualities:

1. Movement up and down

Example: Bouncing ball

2. Movement across, back and forth or around

Example: Rowing boat

3. Movement which is slow

 Example: Turtles

4. Movement which is high

Example: Clouds

ACTIVITY 1

Instruction: Read the questions below and write your answers on the space provided
below (horizontal and vertical).
1 2 3 4 5 6

2 7

3 8 4

5 6

9 10

10
 CROSS
1. Compose of two numbers, the number above denotes the number of beat in a measure and
the number below, denotes the kind of note that receives one beat.
2. Movement through space.
3. The regular recurrence of beats which divides a musical design into measure.
4. A pulse beat at time limit.
5. The highness or lowness of a tone
6. A vertical line across a staff dividing it into equal measure of time.
7. Refers to the movement or movements done for each of the dance steps.
8. It maybe small as when the movement is done in one’s place or large when movement
covers a wide area as when getting away from one’s place.
9. Emphasis on a certain beats.
10. Change of position or location.
DOWN
1. Rate of speed of a movement
2. A group of pulse beats.
3. Variation of stress of movement.
4. Refers to a note or set of notes with or without rest used for a certain dance step.
5. The underlying pulse of a rhythm.
6. The path or design that is made while moving in space.
7. Printed symbol of a musical tone.
8. Measures grouped together.
9. Movement taken forward, backward, sideward, diagonal and upward.
10. Very important to everyone.

ACTIVITY 2

Instruction: Choose your answers inside the box and transfer them to the spaces provided
below according to their movement qualities. 2 points each

Galloping horse Turtle Birds and butterflies Bulldozer Jumping

Jack

Fish swimming kites Bouncing ball Ants Merry-go-

round

MOVEMENT QUALITIES Time Qualities Force Qualities Space Qualities

Movement which is fast

Movement which is slow

Soft light movement

Strong, heavy movement

Strong, jerky movement

Smooth,sustained movement

Movement up and down

Movement across, back and

forth or around

Movement which is low

Movement which is high

EVALUATION:
Instruction: Combine the loco-motor and non-loco-motor movement and create simple
dance steps applying the four (4) element of movement space. 4 points
Example:
1. Starting with the right ( R ) foot take four (4) small steps forward
while clapping your hands over your head for every count and close your left foot to
your right foot for the last count……………………………………………………
1Measure
Elements of movement applied
Direction- forward
Level-high
Range- small
Floor Pattern- straight line.

REFERENCES
GLOSSARY
Ceremonial dance- a dance that is part of a religious ritual.
Elements of movement space-
Loco-motor- Movement done from one place to another 
Movement qualities- are considered a part of the element of force/energy.
Non-loco-motor- Movement done in stationary position
Phases-a series of events or a process of change or development.

WEBSITE

 Introduction: Dance as Social Life and Cultural Practice

 www.drustvo-antropologov.si › PDF › Anthropological...
 https://medium.com
 https://www.britanica.com
 https://asdnwordpresscom.wordpress.com
 https://dictionary.cambridge.org
 https://www.yourdictionary.com
 https://educationcloset.com
 http://www.dancefacts.net/dance-history/history-of-dance

BOOKS

Gabao, Larry A. of Philippine Normal School, Dance With Me, copyright 200
Ancheta, Adelito T., LMA Printing Press, Inc. 445 Tamsui Avenue, Bayan Luma, Imus Cavite 4103,
Physical Education for Rhythm and Dance, 2005

UNIT IV (FUNDAMENTAL DANCE SKILLS)

At the end of this module you, as a learner, are expected to:

1. Identify the background and origin of folk dance

2. Distinguish the different folk dance terms
3. Execute the Fundamental dance position
4. Realize the importance of preserving the culture through folk dancing.

PRE-ASSESSMENT

REMEMBER: This is a pre-assessment.

There is no wrong answer.

The following are the local dances found in a certain locality. This activity will assess
your previous knowledge about the folk dance of different places in the Philippines.
A. Match column A to column B. Draw a line to match the following:
 A B

Tinikling Binyang
Maglalatik Palawan
Subli Leyte
Solteros Pangasinan
Sayaw sa bangko Batangas
B. Name the following Fundamental Dance Position. Write your answer on the box
provided.

WHAT TO KNOW?

Welcome to your new lesson. In this phase, we will discuss about the Fundamental Dance Position,
Common Dance Terms in Folk Dance and Different Folk Dance and Its Origin. We will also discuss
about the characteristics and Do’s and Don’t’s in Folk Dancing. This part will surely stimulate your
excitement to perform folk dance as you get to understand deeply. Remember that you have to
accomplish every activity so that you will have excellent performance in the next stages. Are you
excited? You may now begin your lesson. God bless and Happy learning!!!

LESSON: FOLK DANCE

A Folk Dance is a dance develop by the people that reflect the life of the people of a
certain country or region. Not all ethnic dances are folk dances. For example, ritual dances
origin are not considered to be folk dance. Ritual dances are usually called “Religious
dances” because of their purpose. The terms “ethnic” and “traditional” are used when its
required to emphasize the cultural roots of the dance. In this sense, nearly all folk dances are
ethnic ones. If some dances, such as Polka, cross ethnic boundaries and even cross boundary
between “folk” and “ballroom dance”, ethnic differences are often considerable enough to
mention.
I. General Classification
A. Geographical extent of origin
1. National dances-found throughout the islands with little or no
modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances-found in a certain locality.
Examples: Kuratsa described as a dance of courtship, La Jota Moncadena
is adapted by the Filipinos from old Spanish dance from the combinations of
Spanish and Ilocanos dance steps, Maglalatik is a mock war dance performed
during fiesta of Biǹan, Pandanggo sa Ilaw is performed balancing three oil
lamps and it’s originated on Lubang Island and Sayaw sa Bangko is performed
on top of a narrow bench and this dance traces its roots back into the areas of
Pangapisan lengayen and Pangasinan, etc.

Nature
1. Occupational-depicting action of certain occupation, industry, or human
labor. Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete,
etc.

2. Religious or Ceremonial -performed in connection with religious vows and

ceremonies. Examples: Dugsu, Sua-sua, Putong, Sta. Clarang Pinong-pino, etc.
3. Comic dances -depicting funny movements for entertainment. Examples:
Kimbo-kimbo Makonggo, Kinoton
4. Game dances -with play elements (dance mixers). Examples: Lubi-lubi,
Pavo
5. Wedding dances - performed during wedding feast. Panasahan, etc.
6. Courtship dances -depicting love making. Examples: Hele-hele, Bago
Quiere, Maramion, Tadek, Daling-daling
7. Festival dances -suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel. Examples: Sagayan, Palu-
palo, Tinikling, Salakot.
LESSON 1: FORMATIONS COMMONLY USED IN DANCE ACTIVITIES

LESSON 2: COMMON DANCE TERMS

COMMON DANCE TERMS
1. Arms in lateral position – Both arms are at one side either right or left, at shoulder,
chest or waist level.
2. Brush - Weight on one foot, hit the floor with the ball or heel of the other foot and
lift that foot from the floor to any direction.
3. Crossed Arms -Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right
hands.
4. Cut -To displace quickly one foot with the other.
5. Do-si-do -Partners advance forward, pass each other right ( left ) side, step across
to the right move backwards without turning around, pass each other left side to
proper places.
6. Hayon-hayon - To place one forearm in front and the other at he back of the waist.
7. Hop -A spring from one foot landing on the same foot in place or in any direction.
8. Jaleo - Partners turn around clockwise ( with right elbows almost touching ) or
counterclockwise ( with left elbows almost touching ) using walking or any kind
of dance step.
9. Jump - A spring on one foot or both feet landing on both feet in any direction.
10. Kumintang -moving the hand from the wrist either in a clockwise or
counterclockwise direction.
11. Leap -A spring from one foot landing on the other foot in any direction.
12. Place - To put foot in a certain position without putting weight on it.
13. Pivot - To turn with the ball, heel or whole foot on a fixed place or point.
14. Point - Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
 15. Masiwak - To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
16. Panadyak - To stamp in front or at the side with the right foot and tap with same
foot close to the left foot. This is a Tagalog term.
17. Patay -To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly
found in Ilocano dances.
18. Salok - T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok.
This is a Tagalog term.
19. Saludo - Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all
Philippine dances.
20. Sarok -Cross the R foot in front of the L , bend the body slightly forward and
cross the hands down in front of the R hand over the L. This is a Visayan term.
21. Slide -To glide foot smoothly along the floor. The movement may be finished
with or without transfer of weight.
22. Stamp - To bring the foot forcibly and noisily on the floor with or without transfer
of weight.
23. Tap - To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of weight.
24. Whirl - To make fast turns by executing small steps in place to right or left.

This video will help you to execute the following dance terms: Please watch :) -
https://www.youtube.com/watch?v=QQOVUKM-pp8&t=63s

ACTIVITY 2: CORRECT ME IF I’M WRONG!!

Direction: the following sentence are wrong, re-write the correct definition of the term.
Reminder: think your own word/s :)
1. To move quickly one foot with the other is step.

2. Leap is spring on both feet only landing on both feet in any direction.
 3. To place one hand in front and the other at he back of the waist is salok.

4. Moving the hand from the wrist either in a clockwise or counterclockwise direction
is kumintang.

5. By turning with the arm, ball, heel or whole foot on a fixed place or point is pivot.

Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

Don’t’s in Folk Dancing

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

ACTIVITY 3: GUESS MY MOVE!!

Direction: Watch the link below. Write at least 10 common dance terms you saw from the
video.

https://www.youtube.com/watch?v=_WLfqDMwA_o
LESSON 3:

Classification of Dance
Content Standard

Demonstrate knowledge of providing timely, accurate and constructive

feedback to improve learner performance.

Performance Standards

Give/show an examples of dances and recognize what classification of

dances used in the presentation

At the end of this module students will be able to:

Learning Objectives
a. Identify the different classification of dances, its origin,
nature, movement and formations;
b. Recognize the importance of Do’s and Don’ts in
dancing and;
c. Create simple booklet showing the different
classification of dances

What is this module about?

Introduction

This module was designed and written for you. It helps you
understand the different Classification of Dances. You will also find out the geographical
extent of Origin, nature, movements, formations, and the Dos & Don’ts in dancing. The
lesson will last for ___ days. It has also an activities that you were going to do to further
understand what the lesson is all about.

Pre - Assessment
 Let us see what you already know about the topic to be discussed in this module,
answer the following test below.
I. MODIFIED TRUE OR FALSE: Write TRUE if the statement is correct and FALSE
if it is not. Underlined the word that makes the statement incorrect.
_______1. Following directions and dance instructions is very essential.
_______2. Move naturally, easily and comfortable.
_______3. Elaborate steps and make it more complicated.
_______4. Dance with exaggeration when needed.
_______5. Tinikling, Maglalatik, Esperanza and Joya are some examples of Local
dances.
_______6. Don’t say you hate dancing just because you don’t know how.
_______7. All-dancing is formed of stretching and relaxing.
_______8. Religious and Ceremonial dance performed during wedding feast.
_______9. Street dances is suitable for special occasion or any social gathering.
_______10. You can show your feelings through dancing.
II. Identify the following pictures whether it is a National Dances or a Local Dances.

_________________ 2. __________________ 3. _________________

4. ____________________ 5. ___________________

Well, how was it? Did you

find it difficult?
If all your answers are
correct well, VERY GOOD! This
only shows that you already have much knowledge about the topic in this
module. Just continue to study this module to review what you already
know because I am sure that you might learn more new things here.
If you got a low score, don’t feel bad. Remember, this module is for
you and this will help you understand the different classification of dances.
Are you now ready to learn more? If yes, then you may now continue by turning to
the next page to begin.

Lesson 1
Classification of Dances
Today we will be going to discuss the
Classification of Dance. In your previous
module, you have learned the meaning of
dance and the different dance terms. Do you
still remember? Before you start let’s have first
a vocabulary review.
All you have to do is to choose only the letter of the correct
answer. Write your answer on the space provided before the number.
1. Which word is a synonym for dance?
a. Think b. Arise c. Trip
2. He danced with her at the party.' What part of speech is dance?
a. Verb b. Pronoun c. Noun
3. Pick the word that is similar to sway. “The curtains were swaying in the
breeze.”
a. Swing b. Stick c. Seize

Remember:
“With sufficient understanding of words you can understand others or you
can express your own ideas.”

Let us learn

Everyone respond to music or rhythm in one form or another. A head swaying, a

foot-tapping, fingers snapping, shoulders shaking and body moving while a musical
piece is played. Do you agree? Have you ever wonder what this movement is? Or did
you ask yourself if you're dancing or not?
According to Ladaran, dance refers to movement set to music where there
emerges organization, structure, and pattern. It’s a composition that suggests an
arrangement of parts into a form. It also a means of expressing one’s emotions through
movement disciplined by rhythm. It is an act of moving rhythmically and expressively to
an accompaniment. It came from an old German word “danson” which means “stretch”.
Essentially, all-dancing is formed of stretching and relaxing (Ladaran, 2005).

CLASSIFICATIONS OF DANCES ACCORDING to Its Geographical Extent of

Origin

1. National dances - found 2. Local dances - found in a

throughout the islands with certain locality.
little or no modification.

Examples: Examples:

Tinikling

Leyte
 Batangas

Maglalatik

Binyang
Cariñosa Jota

CLASSIFICATIONS OF DANCES ACCORDING to Its NATURE

1. Occupational Dances – depicting action

of certain occupation, industry, or human
labor.
Examples: Planting, harvesting,
pounding

2. Religious or Ceremonial Dances –

performed in connection with religious
vows and ceremonies.
Examples: Putong, Sta. Clarang Pinung-
pino
3. Comic Dances – depicting funny movements for entertainment.
Example: Kinoton
4. Game Dances – done with play elements
(dance mixers).
Examples: Pabo, Lubi-lubi
5. Courtship Dances – depicting love making.
Examples: Hele-Hele, Bago
6. Wedding Dances – performed during
wedding feast.
Examples: Pandang-Pandang,Pantomina
7. Festival Dances – suitable for special
occasions or any social gathering.
Examples: Kuratsa, La jota, Pandango
8. War Dances – showing imaginary combat
or duel.
Examples: Sasgayan, Palo-Palo
 CLASSIFICATIONS OF DANCES ACCORDING to Its Movements

Active – with fast energetic movements.

Examples: Tinikling, Maglalatik, Sakuting, Polkabal,

Moderate
Examples: Cariñosa, Tagala, Habanera, Purpuri,

Slow
Examples: Pasakat, Amorosa, Tiliday, Kundiman,

Slow and Fast

Examples: Putritos, Ba-Ingles, Habanera Botoleñam,
Alcamfor, etc.Maglalatik, Sakuting, Polkabal,

CLASSIFICATIONS OF DANCES ACCORDING to Its Formation

Square or Quadrille
Examples: Rigodon, Los Bailes de Ayer, etc.
Long formation (two or more parallel lines)
Examples: Lulay, Sakuting
Set – consisting of two or more pairs as a unit, partners
facing each other or standing side by side.
Examples: Binadyong, Haplik, Kakawati,
 Special Classification
(Group dances having special distinctive features)
a. Dances with Songs Examples: Aburaray, Manang Biday,
Lulay, Rogelia, Lawiswis Kawayan,
b. Old Ballroom Dances Examples: Polka, Mazurka Chotis, Valse
Examples: Maglalatik, Sakuting, Jota
c. Dances with Implements
Moncadena, Tinikling, Salakot,
d. Dances of Combined Examples: Surtido, Pantomina, Los
Rhythm Bailes de Ayer
Life can’t be organize without rules in order for us to live in an organize and
peaceful life we need to set rules, you can categorize this into two, like what you do and
what not to do, as well as in dancing, in order for you to come up with a
beautiful and meaningful dance you have to set standards, rules or guidelines.
Let’s take a look of some Do’s and Don’ts in dancing below and then
internalize it.

Do’s and Don’ts in Dancing

1. Dance in a natural, simple, and direct manner. It should be done easily.

2. Dance with ease and smoothness. Simplicity is beauty, the
more you add to make
it beautiful the more it makes it difficult.
3. Use the proper costume for the dance. Costumes help express the story of the
dance, it allows the viewer or audience to understand better and also allow the
dancer to get into character.
4. Follow directions and dance instructions as closely as possible. It is one of the
most important skills you will need to get through because not having this
particular skills could result in some negative consequences.
5. Dance with feeling and expression. Everybody can use dancing as a way of
expression, you can show your feelings through dancing.

1. Do not exaggerate the dance steps.

2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from
traditional
dances.
6. Don’t say you hate dancing just because you don’t know how to do it.

To further know that you already understand the lesson

let’s do have an activity.
Activity 1: My Reflection!
Directions: Write a short reflection.
1. Three ideas that I learned from this module are:
 __________________________________________________________________
__________________________________________________________________
________________________________________________________________.
2. I can use these idea by doing:
__________________________________________________________________
__________________________________________________________________
_________________________________________________________________.
3. What confuse me most in this module was:
__________________________________________________________________
__________________________________________________________________
________________________________________________________________.

Activity 2: My Point of View!

Directions: Based on your understanding explain the importance of setting Do's and Don’ts
in dancing. Cite at least three (3) examples and make sure to explain it clearly.
Setting up do’s and don’ts in dancing is/are important because:
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
Example 1
___________________________________________________________________________
___________________________________________________________________________
_________________________________________________________________________.
Example 2:
___________________________________________________________________________
___________________________________________________________________________
_________________________________________________________________________.
Example 3:
___________________________________________________________________________
___________________________________________________________________________
_________________________________________________________________________.
 What have you learned?
Generalization

I know you’ve learned a lot in this module, through this I want you to fill in the missing
words to complete the statement.

Dance refers to movement _______ to music where there ________

organization, structure, and pattern. It’s a _____________ that suggests an
_____________ of parts into a _____________.

DANCE has classification according to it’s:

There are also Group dances having special distinctive features examples are:

In dancing you have to considered many things, that’s why we need to set things like
_______________ and ________________.
 Evaluation

Directions: Create a simple booklet of dances.

Here’s how:
1. Choose only one Local Dance in Palawan or Puerto Princesa City.
2. Make sure that you can show the different classification according to its:
a. extent of origin,
b. nature,
c. movements, and
d. formations
3. Put your references at the back page of your booklet and see to it that it came from a
reliable sources.
Note: you will be grade based on the rubrics below.

Rubric for Booklet

weight

Criteria Professional Adequate Needs Work Unsatisfactory

 Demonstr  Demonstrates  Demonstrates  Lacks

ates in depth understanding little understanding
understanding of the topic understanding of topic
of topic  Employs of topic  Reports only
Content 50%  Accuratel research  Employs the most basic
y utilizes information research parts of the
researched with an information information
information in adequate with a fair
the booklet degree of degree of
accuracy accuracy
 Well organized  Content is  Content lacks  Unorganized
content organized organization content
 Attractive and  Format is  Format is  Hard to
well designed adequate difficult to follow
format  Message is follow and  Message
 Clear and sufficiently poorly difficult to
easily understood organized understand;
Written understood  Computer  Message not tendency to
20%
Presentation message generated with clearly wander or
 Computer acceptable eye understood ramble
generated with appeal  Computer  Handwritten
strong visual generated but or computer
appeal poorly generated with
designed little
organization or
skill
Research 15%  Five sources  Three sources  Two sources  Less than two
 used used used sources used
 Use of reliable  Sources have  Questionable  Little
sources some reliability reliability of reliability of
 Accurate  Adequate sources sources
Quality analysis of analysis of  Basic  Inaccurate
research research information information
with
questionable
accuracy
 Imaginative;  Creativity is  Little  No originality
original acceptable creativity used  Graphics do
Visual  Use of  Use of  Poor selection not tie in with
15% graphics make graphics of graphics the message
Appeal
the message adequate to
“come alive” present
message

Assessment

Let us see what have you learned inn this module.

I. MODIFIED TRUE OR FALSE: Write TRUE if the statement is correct and
FALSE if it is not. Underlined the word that makes the statement incorrect.
_______1. Following directions and dance instructions is very essential.
_______2. Move naturally, easily and comfortable.
_______3. Elaborate steps and make it more complicated.
_______4. Dance with exaggeration when needed.
_______5. Tinikling, Maglalatik, Esperanza and Joya are some examples of Local
dances.
_______6. Don’t say you hate dancing just because you don’t know how.
_______7. All-dancing is formed of stretching and relaxing.
_______8. Religious and Ceremonial dance performed during wedding feast.
_______9. Street dances is suitable for special occasion or any social gathering.
_______10. You can show your feelings through dancing.
II. Identify the following pictures whether it is a National Dances or a Local Dances.

_________________ 2. __________________ 3. _________________

4. ____________________ 5. ___________________
 Are all your answers correct?

If you got 13 or more correct answers, VERY GOOD! Meaning you learned a lot
from this module. Keep it up! Apply what you have learned to attain holistic
health.

If you got a low score, don’t be sad. What you need to do is to go back to
parts of the module where you missed or overlooked the answers.

Reference

Website:
1. Ladaran Ted Bryan Yap M.A Classification of Dance P.E 2 Physical Education.
Accessed on July 27, 2020 http://hnupe.weebly.com/about-us.html

LESSON 4: BASIC DANCE POSITIONS (ARMS AND FEET)

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

1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tips
about an inch apart.

2nd position
Feet: Feet apart sideward of about a space distance.
Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised
upward.

4th position
 Feet: One foot in front of other foot of a space distance.
Arms: One arm raised in front as in 1st position; other arm raised
overhead.

5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.

ACTIVITY 1: ARRANGE MY FEET !

Direction: Draw the following feet position of the Fundamental Dance Position in the box.
 UNIT V
OTHER DANCE FORMS: CONTEMPORARY DANCE

Content Standard:
1. Demonstrate content knowledge and understanding of dance and its application to
sustain the learners’ interest and experiences in worthwhile dance and rhythmic
activities.

2. Demonstrate understanding of supportive learning environments that the learner

maintains an active lifestyle to participate in physical activities of the community and
society to the new normal.

3. Demonstrate understanding of learning environments that promote fairness, respect

and care to encourage learning in presenting the dance skills accurately through a
dance performance.

Performance Standard:
1. Demonstrate knowledge of managing classroom structure that engages learners in
dances and perform individually or in groups, in meaningful exploration of dance
steps and styles, discovery and hands on activities within the physical learning
environment.
1.1 Create routines as an expression of feelings and ideas
1.2 Perform the dance with music gracefully and confidently.

Course Outcomes:
1.Establish fitness goals relative to standards.
2.Apply the elements of movement space and rhythm in a simple dance routine.
3.Interpret and perform the formations, common dance terms and basic dance position
of arms and feet.
4.Create and design an instructional material by producing a dance tutorial video.
 Lesson 1
Contemporary Dance: History and Background

Learning Outcomes:
 Identify the events and people in Contemporary Dance;
 Discuss the different events in the history of Contemporary Dance; and
 Advocate importance to preserve history of Contemporary Dance.

Introduction:
Contemporary dance is a style of expressive dance that combines elements of several
dance genres including modern, jazz, lyrical and classical  ballet. Contemporary dancers
strive to connect the mind and the body through fluid dance movements. The term
"contemporary" is somewhat misleading: it describes a genre that developed during the mid-
20th century and is still very popular today.

Contemporary dance stresses versatility and improvisation, unlike the strict,

structured nature of ballet. Contemporary dancers focus on floor work, using gravity to pull
them down to the floor. This dance genre is often done in bare feet. Contemporary dance can
be performed to many different styles of music.

Activity 1: My Mind Map

Instructions: Put on your thoughts on Contemporary by creating a mind map. Write down all
the things you think describes Contemporary Dance.

CONTEMPORARY
DANCE
 Activity 2: Complete Me!

Instructions: Do you know the name of the pictures below? Analyze each pictures. Identify
the name by writing the letters to complete each word.

M__ __ E R __ D__ N __ E P__ S__ TO__ __R, IT__ __ Y

C__NT__ __ __OR__ __Y B__L__ __T

STATUE OF L__ __ER__Y
DA__ __E

Let’s Learn!
Background and History

Contemporary dance developed in a rebellion

against the hierarchy and restrictions of 19th-century
classical ballet. It began at the start of the 20th
century when US dancer Isadora Duncan (1878–
1927) broke away from ballet and developed her
own, more natural style.

Around 1980s, the world "contemporary dance" referred to the movement of new
dancers who did not want to follow strict classical ballet and lyrical dance forms, but instead
wanted to explore the area of revolutionary unconventional movements that were gathered
from all dance styles of the world. It was conceived as a heightened, kinetic form of self-
expression in which each artist was at liberty to determine his or her own creative path. This
may sound like the perfect excuse for an anything-goes and free-for-all.

Contemporary dances therefore do not use fixed moves and instead try to develop
totally new forms and dynamics, such as quick oppositional moves, shifting alignments,
expressions of raw emotions, systematic breathing, dancing moves preformed in non-standing
positions (for example lying on the floor), and in general trying to find the absolute limits of
our human form and physique.

Pioneers of Contemporary Dance

 Isadora Duncan (1877-1927) was an American pioneer of dance and is

an important figure in both the arts and history. Known as the “Mother
of Modern Dance”. Isadora Duncan was a self-styled revolutionary
whose influence spread from American to Europe and Russia, creating a
sensation everywhere she performed. She brought into being a totally
new way to dance.

 Martha Graham (1894 - 1991) was a dancer who introduced and greatly

popularized the contemporary dance to the worldwide audience. She was
termed as “Picasso of Dance” during her seven decade long career, her
modern dance and choreographies gathered the fame that is today
compared to the life works of legendary art geniuses such as Picasso,
Stravinski and Frank Lloyd Wright.

 Merce Cunningham refined the work that his colleague Martha Graham

formed, and expanded with this his own improvements, choreographies
and avant-garde dance techniques. During his long career he was
regarded as one of the greatest creative forces in American dance,
education dozens of worldwide famous dancers and thousands
professional dancers who preserved his style until today.

 Lester Horton was a very influential contemporary dance visionary,

who trained many famous modern dancers and managed to incorporate
the styles of Native American dance and modern jazz into his dance
techniques.

In the Philippines, Alice Reyes is known as the “Mother of Contemporary

Dance”. She has made a lasting impact on the development and promotion of
contemporary dance in the Philippines. She initiated the professionalization of
dance arts in the country. Her dance legacy is evident in the dance companies,
 teachers, choreographers and the exciting Filipino modern dance repertoire of our country
today.
Generalization

Contemporary dance is a common form of dance that is often misunderstood.

Unlike traditional dance methods, it is a raw form of dance that does not follow any
rules. Popular to audiences and dancers alike, it portrays the world through the eyes of
the dancer, their experiences, stories, and emotions.

Contemporary dance stresses versatility and improvisation, unlike the strict,

structured nature of ballet. Contemporary dancers focus on floor work, using gravity to pull
them down to the floor. This dance genre is often done in bare feet. Contemporary dance can
be performed to many different styles of music.

Pioneers of contemporary dance include Isadora Duncan, Martha Graham, and Merce

Cunningham because they broke the rules of the strict forms of ballet. These
dancer/choreographers all believed that dancers should have freedom of movement, allowing
their bodies to freely express their innermost feelings.

Evaluation: Processing Lesson

Instructions: Answer the following questions in your notebooks. Answer briefly.

 What is contemporary dance?

 Who are the people behind the beginning of contemporary dance?

 How did contemporary dance change the view of dance in the early times?

Assessment: Written Test

Instructions: Fill in the blanks. Read the questions carefully and write an answer that best
describes the question.

_____________ 1. This dance is known for self-expressing that stresses in versatility and
improvisation.

______________ 2. Known as the Mother of Modern Dance.

______________ 3. She was a dancer who introduced and greatly popularized the
contemporary dance to the worldwide audience.

______________ 4. She broke away from ballet and developed her own, more natural style.

______________ 5. Known as the Mother of Contemporary Dance in the Philippines.

Activity 3: I am an Advocate!

Do you think we should preserve the history of Contemporary Dance? Do you think students
at your age know the history of Contemporary Dance? Create an ADVOCATE PLAN to
preserve the history and background of Contemporary Dance. You can create Pamphlets,
Brochures, Short Video, Instagram/FB Story Advocate Plan. Print out and paste in the box
provided or send through Google Classroom your output. (Rubrics are given in the
appendices)
 Lesson 2
Contemporary Dance Techniques and Style
Objectives:
 Distinguish the different techniques and styles of Contemporary Dance;
 Relate the techniques and styles of Contemporary Dance from Popular Dances today;
and
 Combine the techniques and styles of Contemporary dance and Popular dance by
creating a short (1min.) dance video.

Introduction:
This techniques and styles prepare the mind and body of the dancer for a wide range
of movement possibilities: forms, qualities or dynamics. This is because even though we
don’t usually stick to movement forms, we tend to like particular movement qualities and
states of body and mind.

Activity 1: Find Me!

Instructions: Find the words inside the table that corresponds the answers to the statements
below.
B R E A T H I N G X I B N I C
D F F G F G H G I V M D Z M O
L M L R T H A G R A H A M P N
P Z U B U O R J S G R N C R T
O A I A J O G R Y Y O C D O E
I Q D L L F G H J W V E E V M
U C I L O O R W O R I G I I P
Y D T E Z M A R G J S K U S O
T E Y T Q O L H S O A M L A R
R F T Y E R T Y U J T H J T A
E M O D E R N O H U I G I I R
W G G H N M Q W E E O G O O Y
Q T B P A R T N E R N V O N J

1. _____________ dance do not use fixed moves and instead try to develop totally new
forms and dynamics.
2. _____________ was termed as the “Picasso of Dance”.
3. Contemporary dancers focus on ___________, using gravity to pull them down to the
floor.
 4. _________ is the art of human movement using movement to convey ideas,
thoughts, and feelings.
5. It is known that Contemporary dance is combination of _________ and _______
dance.
6. ____________ is the process of moving air into and out of the lungs.
7. ___________ is a choreography tool to explore new movements and ideas.
8. ___________ are dances whose basic choreography involves coordinated dancing of
two individuals.
9. ___________ is a quality of being graceful or flowing.

Let’s Learn!
Techniques and Styles of a Contemporary Dance

1. GRAHAM
This was named after Martha Graham. This style basically focuses on the use of
contraction, release, recovery, and fall. Graham is distinguished
by floor work and the use of pelvic and abdominal contractions.
The style is much grounded and the technique is visibly
contrary to the slender and graceful, airborne ideals of ballet.

2. LIMON
This was named after Jose Limon. It involves exploring
the use of energy in relation to gravity and working with weight
in terms of rebound, fall, suspension and recovery. Limon
technique uses the feeling of “heavy energy” and weight in the
body, and movement is initiated using breath to lift, and swings
through the body to create and halt movement and thus it feels
very nice to perform.

3. CUNNINGHAM
This was named after teacher and choreographer Merce
Cunningham. This style focused on the architecture of the body in space, rhythm and
articulation. Cunningham uses the idea of the body's own "line of energy" to promote easy,
natural movement.

4. RELEASE
This is placing emphasis on minimizing tension in the search for fluidity and clarity
and the efficient use of breath and energy. In Release technique just as it sounds, we release
through the muscles and joints to create ease of movement, releasing the breath to support the
release of the body. A dance style as well as a great relaxation technique.

5. IMPROVISATION
It mainly focuses on the relationship between movements and performance and on the
investigation of movements. Development of individual movement material is made possible
through a variety of creative explorations.
 6. CONTACT IMPROVISATION
Contact improvisation describes a duet dance form characterized by fluid movement,
weight exchange, and touch. Partners improvise the dance using the natural movement of the
body.

Generalization
Characteristics of Contemporary Dance

1. Graham: focuses on the use of contraction, release, recovery, and fall. Graham is
distinguished by floor work and the use of pelvic and abdominal contractions.
2. Limon: uses the feeling of “heavy energy” and weight in the body, and movement is
initiated using breath to lift, and swings through the body to create and halt
movement and thus it feels very nice to perform.
3. Release: minimizing tension in the search for fluidity and clarity and the efficient
use of breath and energy.
4. Improvisation: focuses on the relationship between movements and performance
and on the investigation of movements.
5. Contact Improvisation: describes a duet dance form characterized by fluid
movement, weight exchange, and touch.

Activity 1: Compare and Contrast

Instructions: Using the Venn diagram, differentiate the characteristics of Contemporary
Dance from Modern Time Popular Dances.

Contemporary Popular Dance

Dance
Activity 2: I want to Dance! Dance! Dance!

Instructions: Combine the techniques and styles of Contemporary dance and Popular dance
by creating a short (30seconds-1minute) dance video. You can upload it through our Google
Classroom platform. (Rubrics can be seen at the appendices)
 Lesson 3
Famous Contemporary Dancers
Objectives:
 Recall the famous people in Contemporary Dance;
 Recognize works of famous contemporary dancers; and
 Construct an infographic or graphic organizer of your chosen Contemporary Dancer.

Introduction:
Contemporary dancers create characters, theatrical events, or stories, others perform
entirely new creations as they improvise in their own unique style. Dancers love performing
contemporary as it pushes against traditional boundaries and commonly incorporates
versatility and improvisation. They are free to create their own moves or routines,
from sharp and abrupt to flowing and long movements.

Contemporary dancers strive to connect the mind and the body through fluid dance
movements.

Let’s Learn!
Famous Contemporary Dancers (20th Century)

1. Isadora Duncan (1877-1927)

Duncan is one of the most recognized dancers in

the history of contemporary dance. She broke with the
rules of classical dance, movements, steps, positions
and everything that was established until then.

This dancer stood out for her innovation and to

create her own style, which is why she is known as the
mother of modern dance. Her works and
interpretations were inspired by the Greek culture. She
was base to create natural movements, expressing
from within and not having to follow those who
dictated until then.
 2. Katherine Dunham (1909-2006)

American dancer and choreographer. She

created a dance academy in United States
where all students were Afro-Americans.
Dunham is known as the “Mother of Modern
Afro-American dance”.

She was a classical dancer, when she began to discover African culture, she added
movements in both classical and modern dance. It must be said that the technique of
Katherine Dunham is still standing today and is one of the most important foundations in
modern dance in the United States.

3. Charles Weidman (1901–

1975)

He was born in Lincoln, Nebraska

and has been one of the great dancers
of modern dance and also pioneered
the development of this art. He
explored a new aesthetic in the dance,
new principles of technique that include gravity, fall and recovery, the sustained, suspended
and vibratory movement. Incorporating these innovative techniques, the two artists
choreographed works like Lysistrata, School for husbands and Alcina Suite.

4. Erick Hawkins (1909–1994)

Dancer and choreographer born in

Trinidad, Colorado. He was a dancer of the
American Ballet and Ballet Caravan where he
performed his first choreography “Show
Piece”. One peculiarity of this artist was that
in some of this works he didn’t put music or if
he put it finished the show. The President of
United States gratified him with the National
Medal of Arts.
 5. Martha Graham (1894-1991)

Martha Graham is another of the most important

dancers in this type of dance. She was a dancer,
choreographer and dance teacher and between these
different stages she developed movements from
emotion.

She created a different modern dance, movements of contracting and releasing. As we

have said, their movements came from emotions, sharpness, angular.

Famous Contemporary Dancers in the Philippines

1. Alice Reyes
Alice Reyes has become a significant part of Philippine
dance parlance. As a dancer, choreographer, teacher and
director, she has made a lasting impact on the development
and promotion of contemporary dance in the Philippines. 
She expressed through a combination of movements and
styles from Philippine indigenous dance, modern dance and
classical ballet she has successfully created a contemporary
dance language that is uniquely Filipino. From her early masterpiece Amada to the modern
dance classic Itim-Asu, to her last major work Bayanihan Remembered which she staged for
Ballet Philippines, she utilized this idiom to promote unique
facets of Philippine arts, culture and heritage.

2. Norbert Dela Cruz III

He is defined to possess "classical bones and a contemporary
sensibility," Norbert De La Cruz III has valiantly pursued his
passion for performance and movement invention. He continues
to pursue his passion in choreography and movement invention and thrives to continue
dancing with a high emphasis on his artistry as a means to manifest progressive change in the
dance world. 

Guide Questions:
Instructions: Answer the following questions based on your understanding of the
lesson. Answer briefly.

1. What are the similarities of the Contemporary dancers based on their style of
dancing?

______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

2. What are the differences you have seen or observed to the Contemporary
shown?

______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

3. Do you think these dancers change the view of dance? Why? Why not?

______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

4. Among all the Contemporary Dancers, who do you think gave the most
impact in the world of Contemporary Dance?

______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
Activity 1: Infographics/ Graphic Organizer

Instructions: Construct an infographic or graphic organizer of your chosen Contemporary

Dancer. Put on related facts and details about your chosen Contemporary Dancer. You may
also add photos, links to read, and etc. that is related to your topic. You may by printing out
and pasting it in the space provided below or send it to our Google Classroom. (Rubrics can
be seen at the appendices).
 Contemporary Dance Terms
Abstraction: when applied to dance, this word refers to choreography that does not have a
narrative character. In other words, an abstract dance does not tell a story, nor is related to
symbolic contents or any kind of associations with feelings, ideas or other elements than
movement itself. A dance can be considered as abstract if it is seen through the frame of pure
movement and/or its components (like space, time, body and so forth).

Accumulation: this is a word introduced by the American choreographer Trisha Brown in

the 1970s. It was used by her to name a piece and it described a graduated and repetitive way
in which the gestures of the choreography were built-up. As Trisha Brown’s works are so
widely known, this word has spread among the dance community and it is used nowadays to
talk about her way of creating choreography as a compositional method.

Alignment: placement of bones in such a way that increases physiological effectiveness and
health. Depending on the dance genre, the alignment can vary according to its specific
aesthetic goals. Read the definitions for 'Correct alignment', 'Body placement' or 'Stance'
below to expand.

Arch: position in which the whole or upper body is extended, creating the form of an arch.

Beat: the beat is the basic unity used to measure time in both the choreographic and musical
language. It is the pulse that occurs repeatedly with a certain frequency. When dancing, beats
are what we count… like five, six, seven, eight! (bet you know this…). Five, six, seven, eight
are the last four beats of a choreographic phrase of eight beats. Visit our page
for contemporary dance music to listen to some examples and expand your understanding.

Body placement: this is an expression that we use in dance to talk about the way in which we
carry our body (ourselves), including the positioning and alignment of big bones (like the
pelvis or spine), limbs and head as well as the micro organizations of muscles that are
responsible for their positioning. Usually, every dance genre or style has its own body
placement, which facilitates its technical execution and makes up the particular style.

Canon: dancers use this word with the same meaning as musicians. It defines a
compositional structure in which one same choreographic fragment is executed by several
dancers who space it out in time (usually with regular intervals). Rudolph Laban identified
four main types of canon used in dance: the regular canon (dancers start and end one after
another), the starting canon (only the beginning of the fragment is stepped), the ending canon
(only the end of the fragment is stepped), the simultaneous canon (dancers start at the same
time but each one starts the fragment at a different point).

Choreographer: artist who creates with the movement of humans as material. In dance terms
though, a contemporary dance choreographer is usually considered as a general director of
scenic art pieces that include several aesthetic languages (music, visual fine arts,
architecture…), all under his creative judgment.

Clarity of line: the word ‘line’ is most commonly used among ballet dancers. It refers to an
ideal shape that is created with the body while dancing, especially in certain positions like
arabesques or between legs and arms. The clarity or quality of the line would be the degree of
accuracy with which the shape achieved by a dancer gets close to that ideal.

Contemporary Dance: art whose working material is the movement of humans. It doesn´t
have fixed or established movement patterns but it’s rather in a continuous search for new
forms and dynamics. Therefore its dancers make use of varied modern and classical dance
techniques to train. It produces performances or shows in conventional and nonconventional
stages (such as theaters or public and private places), having a frequent dialogue with other
aesthetic languages such as audiovisual technologies, visual or fine arts, lightning,
architecture, music, circus and others.

Contraction: term introduced by the modern dancer and choreographer Martha Graham as
one of the key elements of her own dance technique. It refers to the forward curving of the
spine, starting from the pelvic zone.

Corporeality: (or corporeity) this is a term used by dance researchers mainly. Its introduction
is attributed to the French philosopher Michel Bernard. It replaces the word ‘body’, under the
justification that it is a broader concept that understands the body as an imaginary and
malleable matter, a sensitive net with a constant pulse, inseparable from an individual and
collective history.

Correct alignment: placing the body (mainly bones and muscles) in such a way that they are
physiologically correct. This means that when moving under such an alignment, the dancer
will not hurt her/himself and there will be a more efficient expenditure of energy as a
consequence. For example, when falling from a jump, knees should point in the same
direction of feet. The better that alignment is, the safer the jump is. Read the definition for
'body placement' above to expand.

Counterpoint: this is a musical term used to talk about dance as well. When referring to
music, it expresses the harmonic interdependence or relationship between two melodic lines
whose rhythm and contour are different. When referring to dance, it expresses the same but in
choreographic terms: two (or more) choreographic fragments with different use of space,
time and/or body are executed together and make part of a choreographic unity.

Dance steps: this is an expression that we use to refer to codified movements, which make
part of a dancing vocabulary. A dance step is not necessarily a common step (with a leg), but
can be any movement of the body that is already recognized as part of a dance type or style.
The expression ‘dance moves’ is also used for the same purpose.
Dance Theatre: this expression is used to refer to a stage genre that combines aesthetic
features or methods that belong both to dance and to theatre. Choreography, use of voice and
text, creation of dramatic situations, dance improvisation or any practice that belongs to those
two aesthetic languages are combined and used freely according to each specific artistic
project.

Director: the director of a contemporary dance performance is usually its choreographer too,
but this is not a rule. It is called the director if he coordinates general production and
delegates a part (or all) of the artistic work to other members of his group. She/he is generally
the author of the original idea and the person who makes the final decisions over aesthetic
and practical matters.

Dynamic (s): when used as a dance term it expresses the way in which shape of movement is
executed (see effort qualities too). From the point of view of Rudolph Laban effort’s theory,
there would be four main factors that make up the dynamics of movement: space (direct or
indirect), time (sustained or sudden), weight (light or strong) and flow (free or bound). The
combination of these 8 possible ways of executing any movement would create the variations
in its dynamic. Laban gave a name to 8 basic actions that would result from these
combinations, to give an example of the difference between dynamics: punching, floating,
pressing, flicking, gliding, slashing, dabbing and wringing. Outside Laban’s theory, dynamics
would also refer to movement qualities associated with expressive, affective or other physical
components.

Effort: effort is a word introduced by Rudolph Laban. According to him, it is a mental

impulse from which movement originates. There are four motion factors that constitute it:
SPACE (direct or indirect), WEIGHT (strong or light), TIME (sudden or sustained) and
FLOW (bound and free). The dynamic of movement is the result of the combination of these
factors and its effort qualities.

Effort actions: Rudolph Laban stated that the different combinations of the effort qualities
produce eight basic ways of moving, called basic actions: to press, to flick, to wring, to dab,
to slash, to glide, to punch and to float.

Effort economy: although effort is a word associated with Rudolph Laban’s movement
theory by the dancing community, it is also used with another meaning when talking about
‘effort economy' in technical terms. It refers to a way of moving in which expenditure of
energy is optimized by using only the parts of the body needed and relaxing the rest.

Effort qualities: single effort elements or their combinations (direct, indirect, strong, light,
sudden, sustained, bound, free).

Flow (free, bound or continuous): one of the four main factors that make up the dynamics
of movement, according to the effort’s theory by Rudolph Laban. When flow is free, the
dancer would not have big control to stop movement immediately (like the arm of a country
worker, when throwing and spreading rice seeds or when a dancer makes a grand jeté). When
flow is bound, the dancer would have control to stop moving at any moment (common when
moving slowly or when doing movements that require control, like a pirouette). Flow is also
usually called as being continuous, which would mean that the stream or momentum of
movement doesn’t stop. (Look for the definitions above for DYNAMIC, EFFORT and
EFFORT QUALITIES to expand)
Form: this is a word that is most commonly used to refer to movement (dance) from an
abstract point of view. The ‘form’ of movement, also called the ‘shape’, would include its
occupation of space, timings, body uses and such kind of elements that do not express other
contents than movement itself. In this sense, the form could be understood as opposed to the
content, the qualities, dynamics or any expressive and communicative feature that makes up
movement.

Genre: this word is used to classify and differentiate types of dance in the broader way. For
example, contemporary dance, classical western dance (ballet), and folk dances are three
genres of dance.

Gesture: in the Laban language (system for analyzing and recording movement), the word
gesture is used to talk about movements that do not involve carrying the weight of the whole
body throughout space. A gesture would be different to a transfer of weight (for example,
raising an arm would be a gesture and stepping forward would be a transfer of weight). Some
people also use this word to talk about movements of the body or limbs that express or
emphasize ideas, feelings or attitudes, in opposition to what would be a movement,
considered only in an abstract way.

Grounded: it is said of a dancer that has a good sense of gravity, i.e. efficient use of her/his
body’s weight.

Happening: form of interdisciplinary theatrical intervention, developed by visual artists in

the 1960s, mostly in nonconventional places (art galleries or outside spaces). It usually
demands the audience participation and tends to modify its perception of the environment.
Contemporary dance choreographer Merce Cunningham is considered to be the creator of the
‘happening’ prototype in 1952, in collaboration with the composer John Cage.

High level: this is a dance term taken from Rudolph Laban’s division of space. It is used to
talk about movements executed in positions like standing, tiptoeing or jumping (see Low
Level and Middle Level too).

History of choreography: this expression could be understood as something different from

the one that refers to ‘dance history’, which has traditionally and mainly consisted of a listing
of dance figures and some of the aesthetical features of their artistic work. Strictly talking, the
history of choreography would refer to the choreographies themselves, describing or
analyzing movement as the main topic and including basically its shape, dynamics or group
configurations. Other complementary aspects like symbolic contents, music, costumes,
lighting or stage design could be included, but as a secondary topic.

Improvisation: this is the action of dancing without defining movement previously; the
dancer does not know what s/he will execute but moves spontaneously and freely, in
opposition to composed dance, where the dancer memorizes choreography. Other than the
dance improvisation that is totally free, there are types of improvisation that use guidelines
which define some features of the dance (like its structure, genre, length, dynamics, etc.).
Examples of dance improvisation guidelines are: following the music, occupying space in
specific ways, movement qualities, choreographic phrases that are executed according to
chosen rules and so forth.
Inversion: one of the strategies used in the compositional method that makes variations of a
leitmotiv. Inverting the leitmotiv would mean to execute it from the end to the beginning of
the movement, like rewinding a videotape. For example, if the leitmotiv is a step forward,
applying inversion will convert it into a step backwards.

Jeté: this is a word in French that belongs to the vocabulary of ballet. It expresses a dynamic
of movement in which the force goes outwards and the flow of movement is mainly free.
‘Battement jeté’, for example, stands for bringing a leg outwards (with the dynamic
described), or ‘grand jeté’ stands for a big leap in which one leg is strongly thrown forward.
Depending on the use you make of the word, it may construct the name of different codified
steps.

Kinesthesia: “the sixth sense”, according to Rudolph Laban, it is the ability to perceive or be
aware of one self’s position, movement and body (including muscles, bones, entrails, skin…)
in a sensitive way.

Kinsphere: (or kinesphere) imaginary space that surrounds the human body. It has a
spherical shape and its size is determined by the maximum space reached by limbs in any
possible direction.

Legato: this is a word borrowed from musical language, but it is used in dance with the same
meaning. It expresses a quality of movement in which flow doesn’t stop, but the feeling is
always continuous and fluent.

Levels: this word is used to refer to one aspect of the division of space introduced by
Rudolph Laban. Laban established three main levels, both for the scenic space and for
movement within the kinespheric space. For definitions of the high, middle and low level of
the scenic space, read the correspondent definitions in this same page. Within the kinesphere,
levels are combined with the 9 basic directions and refer to the orientation towards which
movement is executed. It is different to the levels in scenic space, which refer to the specific
space occupied by the body.

Lighting: this is the art of designing and arranging the lights for a show. Designing the lights
is usually done together with the choreographer. Afterwards, there’s the work of putting
equipments in place and ordering the electrical system for everything to work. This last task
is made by technicians or electrical engineers.

Lyrical (dance): style of contemporary, modern or jazz dance that has emerged from the
fusion of one of those three types of dance with ballet and pop music (mainly). It combines
simple choreographic vocabulary with technically difficult moves, in an expressive style that
follows the lyrics of songs and is often interpreted in the short solo format.

Low level: this is an expression taken from Rudolph Laban’s division of space. It is used to
talk about movements executed in positions like lying or movements like cringing and rolling
on the floor (see High Level and Middle Level too).

Lunge: this is a word that comes from the language of aerobics and it is used by some
dancers to name a movement in which you transfer the weight forward, and put half of it (or
more) on one leg that advances and bends; the leg behind may stay extended or may bend
too. It is like going to a wide fourth position (as we call it in dance), with legs in parallel or in
a turnout position. Some classical dancers name it ‘tombé’.

Middle level: this is an expression taken from Rudolph Laban’s division of space. It is used
to talk about movements like crawling on four legs or executed from positions like kneeling
or sitting (see High Level and Low Level too).

Minimization: one of the strategies used in the compositional method that makes variations
of a leitmotiv. Minimizing the leitmotiv would mean making it smaller, mainly in terms of its
occupation of space. For example, if the leitmotiv is a step forward, applying minimization
will convert it into different smaller possibilities of that same step.

Mirroring: exercising method that may be used by dancers but that is most commonly used
by actors or in the training field for drama. It consists of a bodily activity for two, in which
one person moves and the other follows as if s/he was a mirror. This strategy is used to
develop concentration, communication, cooperation and creative skills.

Modern Dance: modern dance could be considered as a synonym of contemporary dance as

in some cases they share aesthetical or ideological characteristics. Though, this is a dance
term commonly used to name a dance trend that was born in the late XIX century and lasted
till around the 1950s. Its homes were Germany (and surrounding countries) and the United
States. Some of its most renowned figures are Isadora Duncan, Rudolph Laban, Mary
Wigman and Martha Graham (see our modern dance history page to expand).

Motif: this is a word that is most commonly used within the dance composition speech. It
refers to a small choreographic unit (a gesture, movement or phrase) that is the main
reference from which a bigger choreography (or dance piece) is built and composed.

Motif development: is a procedure of a dance composition method that consists of

transforming a basic choreographic motif to create a larger or whole piece of dance.
Variations of the motif are done through strategies like repetition, inversion, rhythmical
modifications, amplification, minimization, ornamentation, deconstruction and all imaginable
compositional tools.

Movement image: perception of movement from a mental and kinesthetic perspective (i.e.
from the dancer’s imagination and the inner perception of her/his body and movement).

Musicality: ability to perceive music and integrate it to the execution of dance.

New Dance: new dance is a name given to a contemporary dance’s European trend. It is
classified by historians between de 1980s and 1990s. Some of its French figures are D.
Bagouet, O.Duboc, J.Cl. Gallota, D. Larrieu, M. Marin, A. Preljocaj, K. Saporta.

Opposition: this is a word that is mainly used during our technical trainings. The opposition
of the movement of one part of the body to another serves the dancer in several ways.
Opposing facilitates grater extensions, maintaining placement, balance or controlling weight.
For example when raising an arm, the shoulder should go down. The direction of their
movements creates an opposition (upwards and downwards at the same time) in order to
maintain a right placement of the upper trunk (unless another specific placement of the trunk
is wanted).
Parasite tension: this is an expression used mainly by dancers who practice techniques with
elements from the ‘somatic trend’. It expresses the activity of a muscle or a group of muscles
that is not necessary to execute a movement.

Pas de bourrée: French expression that belongs to the vocabulary of ballet. It refers to a
combination of three weight transfers over alternate legs (steps). It is performed like this: one
leg behind the other, then second leg to the side and then first leg in front of the other leg,
usually ending in a demi plié with one or both legs. There are different ways to execute that
same basic structure, in order to adequate the combination to the needs of the dance.

Pas de chat: this expression means cat’s step in French and is part of the vocabulary of
ballet. To execute a ‘pas de chat’ you usually start from the fifth position of the feet and jump
sideways with one leg going first. That leg is bent and the knee guides the jump. Being in the
air, you quickly raise the second leg up so both legs form a diamond shape while jumping.
Then you land on the same leg you started with and bring the other leg down in front of the
first leg to the fifth position again.

Percussive: when referring to movement, the word ‘percussive’ is used to express a broken
and attacked quality, which would be opposed to a fluid, or continuous quality. A percussive
movement is unconnected or detached from its neighbors by a pause and it usually has a little
accent at the end of execution. Sometimes the equivalent musical terms are also applied to
dance. A percussive movement would have a ‘staccato’ quality and would be opposed to the
‘legato’ or fluid quality.

Phrase: short choreographic fragment that has an intention and feeling of a beginning and an
end. Phrases are commonly constructed by following rhythmic patterns (like for example the
popular dancing phrase of eight beats) but they can also be defined just by means of their
moves or dynamics.

Piece: a choreographic work.

Pirouette: this word belongs to the vocabulary of ballet, but it is used by contemporary
dancers too, with the same meaning. It refers to a full turn on one leg, having the other leg
bent, till the point where the foot reaches the knee (in a parallel position or with the classical
turnout).

Postmodern Dance: name given to a contemporary dance trend that emerged between the
1960s and 1970s in New York (U.S.A.). 
Created by a group of artists who worked in the Judson Church, it defended the aesthetic
value of everybody’s and every day’s movement.

Projection: when talking about executing a dance, it refers to the skill of bodily expression
and communication.

Quality of movement: (movement quality) a particular way of executing the shape of a

movement, concerning its dynamic, affective or expressive content. Example: the action of
caressing is different in its quality to the action of sliding, even if the shape of the movement
might look the same.
Release: name given to a training method developed and used by contemporary dancers since
the second half of the 20th century. Its main characteristic is described by its name: the
dancer emphasizes on releasing the muscular tension, in order to achieve a most efficient
expense of energy. This is complemented with a postural organization composed of ‘proper
alignment, placement of breath and carrying of weight’ which intend to give the dancer the
ability to use gravity while moving instead of muscular force.

Retiré: this is a term from the vocabulary of western classical dance (ballet). It refers to a
position of one leg, which is bent so that the point of the foot is close to the knee of the
supporting leg. In ballet, it is executed with an outward rotation of the leg. It is very common
in pirouettes or as a transitional position.

Retrograde: Other than the usual meaning of this adjective, this word is used by
choreographers or dancers to talk about the action of executing choreography inversely, from
the end to the beginning (like a rewinding video).

Rhythm: in dance, this word has the same meaning as in music. Though, it is used to refer to
different things. When choreographers say to dancers “stick to the rhythm”, they are usually
talking about the tempo, which is the speed at which the beat is counted. The rhythm can also
be the particular form of gathering the beat, together with a certain character or dynamic that
give name to a type of dance (for example the waltz, the march, etc.). In the widest sense, the
rhythm is the way in which the temporal factor of movement is organized, including beat,
tempo, measure, accents and dynamics. When talking about movement dramaturgy, rhythm is
also used to refer to the effect produced in a choreographic piece by the combination or
arrangement of formal elements, as length of scenes, intensity, timing, or recurrent themes, to
create movement, tension, emotional value and progression in the development of the dance.

Scattering: (according to Laban's space harmony) general shaping going away from the
body, not specific about where in space.

Score: written text that records the movement of one or several dancers. There are currently
various systems used for writing dance scores. The following are some of the most
popular: Labanotation, Benesh notation or Conté notation. The 'score' may also refer to the
series of guidelines created by a choreographer that are followed by the dancers to perform a
show. This is a common compositional method used mainly by postmodern or contemporary
choreographers.

Shape: (movement shape) opposed to quality or dynamic, shape is an outside visual aspect of
movement which includes the body and its way of making use of space and time.

Somatic trend: term used to gather movement techniques like Release, BMC, Pilates,
Feldenkrais, Alexander, Cranio-Sacral Therapy, Ideokinesis or Eutony.

Space: for contemporary dance, space is one of the main factors that make up the shape of
movement (together with time, body and weight). These categories were first introduced in
modern dance theoretical foundations by Rudolph Laban at the beginning of the 20th century,
and have been spread worldwide as working tools, both for creative and technical purposes.
Laban established three main different ways to understand space: the kinespheric space, the
scenic space and execution of direct or indirect space from the point of view of his effort
theory.
Stance: it can be used to refer to the dancer’s posture, positioning or placement. Depending
on the technique within which the word is used, it might include bodily, physiological,
anatomical, mental or general attitude issues about how the dancer organizes and projects
her/himself. Read the definition for 'body placement' above to expand.

Style: this word is used to refer to the specific way in which a dancer, a company or a school
executes a dance genre. For example, David Zambrano has a different style of interpreting
contemporary dance than Steve Paxton; the Italian ballet school has a different style of
executing classical dance than the French ballet school.

Sustained: the use of this word in the dance field usually refers to its meaning inside the
frame of Rudolph Laban’s effort-shape theory. ‘Sustained’ is an effort quality that can be
applied to the execution of the main factor ‘TIME’ (see the definition of ‘Dynamics’ above to
expand). One way of understanding this quality of effort is to think that Laban’s motion
factor of time can be executed with an intuitive readiness for decision making, either
suddenly or with sustainment.

Technical skills: these are the abilities (in terms of physical and physiological knowledge) to
execute dance movements precisely, with their correct dynamics and shapes. For example,
having control over the vertical axe of the body, knowing how to turn the head while spotting
and correct placement of the trunk are technical skills used for turning

Technique: this is a word used in dance to talk about specific ways of training, preparing or
learning dancing skills. Examples of dance techniques are the release dance technique, ballet
(as a training method) or the Martha Graham’s dance technique, among many others.
‘Technique’ is the popular name to talk about the different training types though in the dance
research field it is considered to be more appropriate to talk about ‘practices’ or ‘methods’, as
the word ‘technique’ seems to presuppose a reduced idea of what the human body is (like if it
was just a mechanical entity). 

Tempo: (or bpm: beats per minute) this is a word borrowed from musical language, but it is
used in dance with the same meaning. It expresses the frequency of the beat of any rhythmic
pattern, in numbers. For example Tempo= 60 or Tempo = 120. This means that there are 60
or 120 beats in a minute respectively (the higher the number, the fastest the tempo). Tempo is
measured by a tool called metronome.

Tilt: starting from a standing position, to lean or incline the upper body (from the hips up)
towards any direction. It is usually accompanied by the lifting of one leg really high up.

Time: for contemporary dance, time is one of the main factors that make up the shape of
movement (together with space, body and weight). These categories were first introduced in
modern dance theoretical foundations by Rudolph Laban at the beginning of the 20th century,
and have been spread worldwide as working tools, both for creative and technical purposes.
Laban established two main different ways to understand time: as a rhythmical component
(exactly the same way as it works for music) and as an effort component, in which case it
would be sudden or sustained.

Triplet: name given to a way of walking that is executed in three counts: one in demi plié
and two and three in relevé (it is sung by the teacher like this: plié, relevé, relevé… and
repeat). It can be executed with different rotations of the legs, arm combinations, turns and so
forth. The triplet is most common among modern dance techniques like the one of Martha
Graham, Doris Humphrey, José Limón or even Lester Horton.

Turnout: a position of the legs in which the feet are pointing outwards. It is an external
rotation of the limb that is executed with the whole leg, including the hip. The turnout, also
called the ‘en dehors’ in French, has been used and developed within the ballet technique
mostly, but is also used by many other dancing genres.

Unison: when a group of dancers perform the same choreography at the same time. It
opposes to other forms of group timings like the canon, the counterpoint, the dialogue mode
and so forth. The word is also used by musicians with the same meaning.

Variation: this word is mostly used by ballet dancers and refers to a dance excerpt for a
soloist, which makes part of a bigger ballet. The word is also used in an informal way to
name short dances or choreographies that are part of a dancing class or of a compositional
process.

Weight: among the field of dance, weight is one of the main factors that make up the shape
of movement (together with space, body and time). These categories were first introduced in
modern dance theoretical foundations by Rudolph Laban at the beginning of the XXth
century, and have been spread worldwide as working tools, both for creative and technical
purposes. In Laban’s system, weight can be understood in two different ways: as its usual
meaning, but referring to the gravitational relationship of the human body towards earth and
as an effort component, in which case it would be light or strong.

"X": (The "X" as in the warm up technique on the floor): this is a position of the body that
consists of lying upwards, with arms and legs extended diagonally, creating the shape of an
"X". It is also called "the star", because of its outwards pointing shape. It is a stance of
maximum extension of the whole body and opposes to the opposite form known as the fetal
position. The “X” is one of the basic positions from which many technical exercises from the
so called ‘floor technique’ begin.
UNIT V
OTHER DANCE FORMS (HIP-HOP)

LEARNING AREA STANDARD

Demonstrate knowledge of managing classroom structure that engages
learners in dances and perform individually or in groups, in meaningful
exploration of dance steps and styles, discovery and hands on activities within
the physical learning environment.

PERFORMANCE STANDARD
The learner…
3.1 Create routines as an expression of feelings and ideas
3.2 Perform the dance with music gracefully and confidently
3.3 Join in dance competition
LEARNING OBJECTIVES

At the end of this module you, as a learner, are expected to:

1. Identify the nature and background of hip-hop dance

2. Distinguish the different elements of hip-hop
3. Execute the basic steps following the rules of hip-hop dance
4. Understand the significance of hip-hop dance in preserving one’s culture
5. Realize the importance of preserving the culture through hip-hop dancing.

INTRODUCTION
“The center of mega music, dance and fashion industry around the world” that crosses
social barriers and cuts across racial lines. This is how hip-hop was described by the U.S
Department of State. While the National Geographic recognizes hip hop as the “worlds
favorite culture”. Hip hop culture has grown from the avoided genre to a genre that is
followed by millions of fans worldwide. This was made possible by the adaptation of music
and dance in different locations, and the influence on style and behavior. Hip hop had
continued to prosper up until now influencing the type of music the youths listen to and the
creative steps they execute. But not all countries have embraced hip hop. Countries with
strong local culture, the interloping wild style of hip hop is not always welcomed.
However, there is no denying that hip hop is now considered a “global music
epidemic”. It certainly appeals to every youth with certain ages, sometimes to other age range
that sees hip hop not as a genre that promotes negative behavior but as a type of dance purely
for joy and entertainment.
The culture of hip hop is most commonly defined as the combination of four
foundational elements. These elements are Djing, graffiti, b-boying/b-girling, and MCing.
Each element plays a fundamental part as it serves as a method of self-expression relying on
individual creativity and highly personalized modes of performance. Over the next few years,
1979-1984, the musical element of hip hop mixed with record industry production, began to
grow as rap music. It gradually evolved into a new element as stated by Price, 2006,
“Dancing was the essence of early Hip Hop culture and this form of expression involved
rhythmic steps and gestures that had a strong affinity for the floor.”
 Interest in dancing came and went and breakdancing became a cultural fad as a take
home product of hip hop

PRE-ASSESSMENT
To assess what your prior knowledge about hip hop and its elements, answer the
following activities.

Part 1. Guess What?

Do as directed:
1. Based on your prior knowledge about hip hop, describe the dance steps shown on the
pictures below.
2. Write your guess on the space provided below the picture.

REMEMBER: This is a pre-assessment.

There is no wrong answer.

_________________________________
_________________________________
 ______________________________ ____________________________

Part 2. Guess When?

Direction: Classify the items in the box according to the year to which it belongs. Write the
words in the column below.

Emceeing/ MCing Gangsta Rap Easy-Duz-It

Rocking B-boying Popping

Breakbeats Scratching Cutting

Locking Ice-T

1979 1980 1990

Hip hop is timeless. Dance steps and melodies from each past generation can
still be viewed and heard today. It may be practiced differently now, in a much
modern world- but one thing is for sure, dancing will always be part of man’s
everyday life.

Part 3. WatchIt
Do as directed:
1. Watch the following videos available on youtube.
2. A link will be provided to you.
 Old dance moves: https://www.youtube.com/watch?v=uPRNVt338No
 Decade dance moves:
https://www.youtube.com/watch?v=pLmvaCZ0zUk&list=TLPQMzAwNjIwMjBLRZ-
t8WppAQ&index=1
  Look for other videos that showcases different dance moves from past
generations. They may have been used as dance moves for commercial,
movie, “teleserye”, and other media purposes.

Part 4. REFLECTION
1. Were you aware that some of the dance moves were created decades
ago?
2. How was it used as background dance steps?
3. Do you think they were used creatively? Were the dance steps used
appropriately?
4. If you were the one of the original creators of the dance steps, would you
allow your creation to be used as they are used today? Why or Why not?
1.______________________________________________________________
________________________________________________________________
________________________________________________________________
____________________________________________.

2.
________________________________________________________________
________________________________________________________________
____________.
3.
________________________________________________________________
________________________________________________________________
____________________________.
4.
________________________________________________________________
________________________________________________________________
________________________________________________________________
_______________________.

WHAT TO KNOW?
In this module, you will learn the brief history and background of hip hop. We will be discussing
the characteristics of hip hop and the features in each generation, famous dancers and the basic
dance steps. Most importantly, we will be reflecting on the significance of hip hop in preserving
one’s culture.
HISTORY AND BACKGROUND OF HIP HOP
Hip hop or hip-hop is a culture and art movement that was created by African
American and Caribbean Americans. The term hip hop is often used to refer exclusively to
hip hop music which specifically pertains to rap. It is characterized by nine elements of which
only four are considered essential to understanding hip hop musically. These four elements
are the following:

DID YOU KNOW?

Keith “Cowboy” Wiggins, a
1. MCing or Emceeing- a rhythmic vocal
member of Grandmaster Flash
rhyming style.
and the Furious Five has been
2. DJing- making music with record players credited with coining the term
and DJ mixers hip hop in 1978 while teasing a
friend who had just joined the
3. B-boying/B-girling- breakdancing US Army by scat singing the
4. Graffiti made-up words
“hip/hop/hip/hop” in a way that
Other elements of hip hop culture and mimicked the rhythmic
art movements are beatboxing (a cadence of marching soldiers.
percussive vocal style), street Cowboy later worked the hip
entrepreneurship (hip hop language hop cadence into his stage
and style) and historical knowledge of performance. The group
the movement. frequently performed with
disco artists who would refer to
this new type of music by
calling them “hip hoppers”.
The name was originally
meant as a sign of disrespect
but soon came to identify this
new music and culture.

1970
In the 1970s, an underground urban movement known as hip hop began to form in the Bronx,
New York City. It focused on emceeing over house parties and neighborhood block party
vents. Historically, hip hop arose out of the ruins of a post-industrial and ravaged South
Bronx, as a form of expression of Urban Black and Latino youth, whom the public and
political discourse had written off as marginalized. By 1979 hip hop music and dance had
become a mainstream genre. This form of music using hard funk and rock formed the basis of
hip-hop music. DJ Kool Herc, a pioneer in developing hip hop music dubbed the hip hop
dancers as “break-boys” and “break-girls” or simply b-boys and b-girls. According to Herc,
“breaking” was also street slang for “getting excited” and “acting energetically.
 Herc developed break-beat deejaying where the breaks of funk songs- the part most
suited to dance, usually percussion-based--- were isolated and repeated for the purpose of all-
night dance parties.
Street gangs were prevalent in the poverty of the South Bronx, and much of the
graffiti, rapping and b-boying at these parties were all artistic variations on the competition
and street gangs. Sensing that gang members violent urges could be turned into creative ones,
Afrika Bambaataa founded the Zulu Nation.
 Zulu Nation- is a loose confederation of street-dance crews, graffiti artists and
rap musicians. It is a means to draw teenagers out of gang life, drugs and
violence.
By the late 1970’s, the hip hop culture had gained media attention.

Afrika Bambaataa, founder of

DJ Kool Herc, a pioneer in
the Zulu Nation.
developing hip hop music.
1980
Encompassing graffiti art, MCing/rapping, DJing and b-boying, hip hop became the
dominant cultural movement of the minority-populated urban communities. During the
1980’s many artists make social statements through hip hop. The appearance of music videos
changed the world of entertainment. The hip hop artwork and “slang” of U.S urban
communities quickly found its way to Europe. The four traditional dances of hip hop are
rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late
1970s.
It showcased the subculture of hip-hop musicians, graffiti artists and b-boys /b-girls. Gangsta
rap became the dominant force in hip hop music.

1990
With the commercial success of gangsta rap in the early 1990s, the emphasis in lyrics
shifted to drugs, violence and misogyny. Early proponents of gangsta rap included groups
and artists such as Ice-T. It became a platform for artists who chose to use their music to
spread political and social messages to parts of the country.
Breakdancing gradually got the center stage in hip hop. Breaking also called B-
boying/B-girling or breakdancing is a dynamic, rhythmic style of dance which developed as
one of the major elements of hip-hop culture. Like many aspects of hip-hop culture,
breakdance borrows heavily from many cultures of dance such as Russian folkdance and the
dance moves of James Brown and Michael Jackson.

DJ Kool Herc describes

the “B” in B-boy as
short for breaking
which is a slang for
“going off”.

TRIVIA:
The “B” in B-boy or B-girl also stands simply for break as in break-boy or girl. Before
the 1990s, B-girls presence was limited by their gender minority status, navigating sexual
politics of a masculine-dominated scene, and a lack of representation or encouragement
PART 5. LIST THAT DOWN!
for women to participate in the form. Over the years, despite facing gender
discrimination,
It’s good the number
to trace down of B-girls
history participating
of hip-hop and has increased.
learning how it
developed gradually into what we have in today’s generation!
What to do?
 In your own creative way, you can make use of Venn Diagram, a
chart, a table or simply a list, state the most significant developments
of hip-hop over the period of 1970-1990 and reflect on how these
developments greatly contributed to the culture of hip hop.
 You may use this space for your creativity.

FAMOUS HIP HOP DANCERS AND DANCE CREWS

 A dance crew is a team of street dancers who come together to develop new moves
and battle other crews. As hip-hop culture spread throughout New York City, the more often
breaking crews got together to battle against each other. It was also during this time that the
different dance moves within breaking developed organically.
All styles of hip-hop are rooted in battling and being a part of a crew was the only
way to learn the styles because they were not taught in studios, they all started out as social
dances. Forming and participating in a crew is how street dancers practiced, improved, made
friends and built relationships.
1. CHAIN REACTION- was a four-man dance crew from Reseda, California whose
members included Thomas Sanchez, Paul Sanchez, Robert Winters, and Mike Donley. They
performed in the movie Xanadu and it was the first time boogaloo, popping and crossover
locking were performed in film.
2. DIVERSITY- was a dance crew formed based on friendships and neighborhood in
2007. It consists of brothers and friends from Essex and London.

Boy Blue Hip Hop dance company

performing at Breakin’ Convention
2006 in London.

3. Rapper MC Hammer- created the Hammer dance and popularized it in his music
video “U Can’t Touch This”. The hammer dance was a social dance that became wildly
popular and then faded as the album it was associated with, Please Hammer, Don’t Hurt ‘Em
lost popularity.
Another social dance style that was popularized was the “Charleston”. It was created
in the 1920s by African-Americans in Charleston, South Carolina as a rebellion against
prohibition. It gained popularity once it was embraced by Caucasians but it was still
considered an immoral dance due to its association with alcohol.
 Hip-Hop Social Dances
4. Chubby Checker- released the song
“The Twist” with an accompanying Influences
dance of the same name in 1960. He
The Charleston, the Twist, the Boogaloo, the Good
performed the dance on the television
Foot, the Funky Chicken
show American Bandstand and the song
reached number one in 1960 and 1962. 1980s-1990s Social dances
It was the most popular dance craze of
the 1960s because it broke away from Two-step, the Wop, the Cabbage Patch, the Roger
the trend of partner dancing enabling Rabbit, the Running Man, the Rooftop, the Hammer
people to perform on their own. dance, the Humpty, the Worm, Kriss-Cross, the
Bartman, the Butterfly*, the Kid 'n Play kick-step
5. James Brown- was a major
2000s-2010s Social dances

Toe Wop, Harlem shake, the Chicken Noodle Soup,

the Reject**, the Dougie, the Cat Daddy, Getting
Lite, Shoulder Lean, Swag Surfin', Bernie Lean,
Whip/Nae Nae, Twerking, the Dab

Line Dances

Cha Cha slide, Cupid shuffle, the Soulja Boy

*The Butterfly came from Jamaica.

PART 6. REFLECTION
1. Based on your learnings from above, how did hip hop contributed to the
social development of a group or an individual?
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
______________________.

HIP HOP: BASIC DANCE STEPS AND ITS

DESCRIPTIONS
 Hip Hop is not just a form of dance; it is a culture- a way
of life. Hip hop consists of four main elements: b-boying
(breaking), DJing, graffiti art, and mc-ing (rapping). Hip
Hop dance as we know it today evolved from three
underground dance styles: b-boying, locking, and
popping. It then fused with the ideas and choreographic
elements of jazz dance to create a hybrid dance form.

1. B-boying- is better known as breakdancing or breaking. It brought new ideas to the world
of social dance.
CHARACTERISTICS OF B-BOYING
 Full body contact with the ground
 Spinning
 Fighting moves
 Movements are pumped up.
2. Locking- was the first professional street dance. Creator, Don “Campbellock” Campbell
stumbled upon this new dance in the late 60s in Southern California while trying to do the
funky chicken. He was clumsy; he would fall, slide, and point, but people loved it.
He soon formed his own performing group called the Campbellock dancers, a name
that would soon be changed to The Lockers. They were invited to perform on all of the
popular talk shows of the time and soon everyone was doing this dance. Locker attire
includes knickers, suspenders, marshmallow shoes with matching striped socks, and appleboy
caps.
3. Popping. In Fresno, California, 1975, a young man named “Boogaloo Sam” was inspired
by The Lockers and started to put together movements that would become the boogaloo
popping style.
Popping consists of:
 Snapping the legs aback
 Flexing muscles continuously to a bet to give a jerky, snapping effect
 Waving
 Robot
 Ticking
 Strobing
 Hitting
 Puppet style
While,
The boogaloo style combines the elements of popping with:
  Smooth style that utilizes angles
 Incorporates fluid movements to make everything flow together often using rolls of
the hips, knees, and head.

OTHER HIP-HOP DANCE STEPS

 The heel toe

 Harlem Shake
 Crip walk
 Electric Boogaloo
 Turfing
 Floating
 Robot/ Mannequin
 Liquids and Digits

NOTE TO REMEMBER:
Locking and popping are called the “funk styles”. They are both danced to funk music
and were developed during the West Coast Funk Era. These dance forms were adopted
into hip hop, but have purely funk roots.

HIP HOP: ITS SIGNIFICANCE TO CULTURE

Hip hop emerged as a reaction to the gang culture and violence and daily
experiences of poverty, racism, exclusion, crime, violence and neglect. It
may be a product of negative behavior from the past, but it was the concept
of art and creativity that made it what it is today, a culture that embodies
and values resilience, understanding, community and social justice.
 The hip hop project is not yet free from these difficult circumstances. Many
communities around the world still battle the effects of discrimination,
segregation, and injustice. Hip hop is often a potent voice to these lived
experiences. One of its original primary strengths was that it allowed
young, creative Black and Latino youth to create art that reflected the
reality of their lives, of the neighborhood around them, and of the wider
social circumstances in which they found themselves. It also became a
positive way for students with diverse backgrounds to engage with their
wider community, learning tasks and schools more generally.

Hip Hop is a culture with complicated social and historical roots. But it should not
be appropriated without acknowledging, respecting, and addressing these because it
is precisely these origins that make it so important, it is its origin that made Hip
Hop a popular culture. The complicated history of hip hop enables us to critically
reflect on our society, and forces us to face issues of race, privilege, class, and
cultural appropriation.

GENERALIZATION: WHAT TO PROCESS?

From the 1970, 1980 to 1990 and up to the present generation, hip hop music and dance have
continued to evolved. The saying “Change is inevitable” also applies to the changes that had
happened to the hip hop culture. In every generation, it leaves a significant change not just on
the style and elements, but most crucial, it leaves a memory that appeals both on the physical
and emotional aspect of a person.
In the beginning, b-boying, locking, popping was introduced. However, as the number of
people who have interest in dance increased, more style was created and practiced by most
number of people. Everywhere we go, we are all provided with many opportunities to explore
more genre, steps and routines. The technology advancement that allows us to venture in
many aspects opened a lot of doors to showcase out talents. Even you, can create your own
routine. Even you, can make a significant contribution to the hip hop culture.

EVALUATION: IT’S YOUR TIME TO SHINE!

WHAT TO DO:
 You are a choreographer with your very own dance studio. You may choose a name
for your dance studio.
 Create a hip-hop dance routine that will last for 3 minutes or more.
 Describe each of the dance step using words or you may draw the dance step if you
feel like an artist.
 Specify the counting of each of the dance step.
 Remember: You can make use of the dance steps popularized by some of the dance
crews and artists combining it with your very own created dance step.
 MAKE SURE YOU DANCE AS YOU DO!


INDIVIDUAL ASSESSMENT:
I. Encircle the letter of the correct answer.
1. Hip-hop is a culture and art movement that was created by what group of people?
A. Americans C. Caribbean Americans
B. African Americans D. Both B and C

2. The hip-hop culture is characterized by four essential elements. Which among the
following elements pertains to a rhythmic vocal rhyming style?
A. MCing or Emceeing C. DJing
B. B-boying or B-girling D. Hip-hop language and style

3. What element of hip-hop can be associated with breakdancing?

A. DJing B. Beat boxing
C. MCing or emceeing D. Graffiti art
4. Who developed the break-beat deejaying that are suited to dance and usually percussion-
based?
A. Afrika Bambaataa B. DJ Kool Herc
C. The urban black and Latino youth D. MC Hammer

5. It is a loose confederation of street-dance crews, graffiti artists and rap musicians and it
had the means to draw the teenagers out of gang life, drugs and violence.
A. B-boys and B-girls B. Zulu Nation
C. Universal Zulu Nation D. Gangsta rap

II. Identify the choreographer of each dance style. (5 pts)

____________6. Mashed Potato
____________7. Charleston
____________8. Boogaloo
____________9. Hammer Dance
____________10. Chubby Checker

III. The following selections describes each of the dance styles listed on the table below.
Choose the most appropriate dance style that is being described by each statement.
LOCKING POPPING

B-BOYING/B-GIRLING BOOGALOO

______________11. Full body contact with the ground

______________12. Snapping the legs aback
______________13. Fluid movements
______________14. Robot dance
______________15. Funky Chicken

IV. My Reflection (10 points)

1. The hip hop culture have shown resilience through time. It remains popular among people
especially to you, the youths. How crucial is your role as a college student in preserving the
hip hop culture? How are you going to contribute to the preservation of our dance culture,
especially hip-hop culture for future generations?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
_____________.

GLOSSARY OF TERMS

 Hip-hop – refers to hip-hop music commonly known as RAP.

 MCing or Emceeing- a rhythmic vocal rhyming style

 DJing- making music with record players and DJ mixers

 B-boying/B-girling- breakdancing. It is a dynamic, rhythmic style of dance.

 Zulu Nation- loose confederation of street-dance crews, artists and rap

musicians.

 B-boys and B-girls – break boys and break girls.

 Breaking- is a street slang for getting excited and acting energetically.

 Locking- first professional street dance created by Don Campbell

 Popping- combination of locking and boogaloo popping style of dance

UNIT V
OTHER DANCE FORMS (FOLK DANCE)

LEARNING AREA STANDARD

Demonstrate knowledge of managing classroom structure that engages learners in
dances and perform individually or in groups, in meaningful exploration of dance steps and
styles, discovery and hands on activities within the physical learning environment.

PERFORMANCE STANDARD
The learner…
3.1 Create routines as an expression of feelings and ideas
3.2 Perform the dance with music gracefully and confidently

INTRODUCTION
Countries in the world have their own cultures made more colorful, beautiful and
vibrant because of Folk Dances that are reflection of who they are. Folk Dance is a cultural
art form handed down from generation to generations. It communicates the customs, beliefs,
rituals, and occupations of the people of a region or country. Folk dancing belongs to the
people. It emanates from them. Ethnic tribes have their specific tribal art forms originated and
danced by the people of the tribe. In the east, the Chinese have their symbolic dragon dance,
the Japanese have the ancestral dance Bon Odori. In the west the Americans have their square
dance. On the other hand, the Philippines will not left behind. “The Pearl of the Orient” boast
of a variety of Filipino Folk Dances.
Examples of folk dances are the rural and country dances, jotas, mazurkas,
pandanggos, among others with foreign influence.

Lesson 1: FOLK DANCES IN THE PHILIPPINES

1. The Tinikling- dance’s movements imitate the movement of the tikling bird as it walks
around through tall grass and between tree branches. People perform the dance using bamboo
poles. The dance is composed of three basic steps which include singles, doubles and hops.
2. The Sayaw sa Bangko- performed on top of a narrow bench. Dancers need good balance
as they go through a series of movements that include some impressive acrobatics.
3. The Binasuan- dancers carefully balance three half-filled glasses of rice wine on their
heads and hands as they gracefully spin and roll on the ground.
4. Pandanggo sa Ilaw- is similar to a Spanish Fandango. It is performed while balancing
three oil lamps- one on the head, and one in each hand.
5. Cariñosa- is a dance made for flirting. Dancers make a number of flirtatious movements
as they hide behind fans r handkerchiefs and peek out at one another. The essence of the
dance is the courtship between two sweethearts.

FINAL ACTIVITY: DANCE YOUR WAY TO FINALS!

1. Our Culture, Our Dance
Directions:
 Research on one traditional dance present on your
municipality. Example: Runsay – Balabac
 Identify the dance steps on your chosen traditional
dance.
 Write the descriptions, counting and the execution of
the dance step. (Dance Literature)
 Create a dance tutorial video using the specific dance
steps from the literature you made.