Learning Competencies

 Discusses the nature of the different dances.

 Participates in an organized event that addresses health/dance issues and concerns.

 
PHILIPPINE FOLK DANCE
 
 CARIŇOSA
 A Philippine dance of colonial era origin from the Maria Clara suite of Philippine folk dances, where
the fan or handkerchief plays an instrumental role as it places the couple in romance scenario.
 Meaning the loving or affectionate one
 Originally, the Cariñ osa was danced with Maria Clara dress and Barong Tagalog
 

 TINIKLING
 The dance involves two people beating, tapping, and sliding bamboo poles on the ground and against each
other in coordination with one or more dancers who step over and in between the poles in a dance.
 The dance originated in Leyte, an island in the Visayas in the central Philippines.
 The name "tinikling" is a reference to birds locally known as tikling
  Two or four parallel pairs of bamboo poles, each around 6 to 12 ft (1.8 to 3.7 m) long
 Clappers or Clickers— Two or more sitting or kneeling people
 

 SINGKIL
 Is a folk dance of the Maranao people of Lake Lanao.
 It is a re-telling of an episode from the Maranao epic legend Darangen involving the rescue of Princess
Gandingan by the legendary Prince Bantugan.
 
Further adaptation divided the dance into four movements:
 First movement— "Asik", where the slave with umbrella is introduced.
 Second movement— Entrance of Putri Gandingan, the entourage of female fan or scarf dancers, and the
arrival of Rajah Bantugan.
 Third movement— Patay, which is a slow section, and is a structural dance convention often found in
Western performances.
 Fourth movement— The climax in which all dancers dance to the crescendo of music.
 MAGLALATIK

 Is an indigenous dance from the Philippines in which coconut shell halves that are secured onto the
dancers' hands and on vests upon which are hung four or six more coconut shell halves.

 The name of the dance means "latik-maker", from latik, a coconut product that is used in Filipino cooking.

 Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros
 and the Christian

 Moro— Red Trouser

 Christian— Blue

Four-part Performance:

 Palipasan

 Baligtaran

 Paseo

 Escaramusa

 BINASUAN
 Is a Filipino folk dance in which the performer holds full wine glasses in each hand while performing
balancing tricks.
 Wine may be used to fill the glasses, but other liquids may be substituted.
 Binasuan is a folk dance that originated in Bayambang, Pangasinan
 The word “binasuan” means “with the use of drinking glasses.”
 The music is in three-quarter time.
 

 PANDAGGO SA ILAW
  It is said to have originated from Mindoro, the seventh-largest island in the Philippines.
 This dance of lights simulates fireflies at dusk and at night.
 The word pandanggo is from the Spanish fandango
 The phrase sa ilaw is Tagalog for “in light” and it refers to the three oil lamps that a dancer has to balance
— one on the head and one on the back each hand
  A dance in 3/4 time .
 The oil lamp is called tinghoy.
 

Learning Competency

 Discusses the nature of the different dances.

 Explains the value of optimizing one’s health through participation in physical activity assessment.

 
MODERN AND CONTEMPORARY DANCE
 

 MODERN DANCE

 Is a broad genre of western concert or theatrical dance

 Arising out of Germany and the United States in the late 19th and early 20th centuries.
 Modern dance is often considered to have emerged as a rejection of, or rebellion against classical ballet.
 
MODERN DANCE ARTISTS:

 Angela Isadora Duncan

 An American dancer who performed to acclaim throughout Europe.
 Duncan began her dancing career at a very early age by giving lessons in her home to other neighbourhood
children.
 
 Maud Allan
 Was a pianist-turned-actress, dancer and choreographer who is remembered for her "impressionistic
mood settings".
 She was born as Beulah Maude Durrant 
  She later changed her name, prompted in part by the scandal surrounding the crimes committed by her
brother, Theodore Durrant
 She designed and often sewed her own costumes
 
 Loie Fuller
 Was an American dancer who was a pioneer of both modern dance and theatrical lighting techniques.
 Born Marie Louise Fuller 
 Fuller combined her choreography with silk costumes illuminated by multi-colored lighting of her own
design.
 

 CONTEMPORAY DANCE
 Is a dance performance genre that developed during the mid twentieth century
 Closely related to modern dance, ballet and other classical concert dance styles.
 Contemporary dance tends to combine the strong and controlled legwork of ballet with modern dance's stress
on the torso, and also employs contract-release, floor work, fall and recovery, and improvisation characteristic
of modern dance.
 
CUNNINGHAMS’S KEY IDEA
 Contemporary dance does refuse the classical ballet's leg technique in favor of modern dance's stress on
the torso.
 Contemporary dance is not necessarily narrative form of art.
 Choreography that appears disordered, but nevertheless relies on technique.
 Unpredictable changes in rhythm, speed, and direction.
 Multiple and simultaneous actions.
 Suspension of perspective and symmetry in ballet scenic frame perspective such as front, center, and
hierarchies.
 Creative freedom.
 "Independence between dance and music".
 Dance to be danced, not analyzed.
 Innovative lighting, sets, and costumes.
 

6 REASONS WHY CONTEMPORARY DANCE IS GOOD FOR YOUR MIND, BODY AND SOUL
 

1. Activates your creative whim of Self-expression

 Through contemporary dance, you get time to open up, think and react.
 You get to blend your mood with the time and express yourself thoughtfully.
 
2. Physical and Mental Fitness
 
 Dancing and free movements in contemporary helps your body become flexible.
 Our body picks up the movements and mould itself to the flexibility required to get a perfect move.
 
 

3. Learn the techniques of using gravity and transitions on the floor

 In contemporary form of dancing, you are taught how to use gravity and transitions.
 You learn the technique and floor work.
 The contemporary dancers use their body for enhanced movement.
 

4. It develops versatility and improvisation

 As contemporary dance form can be infused with almost any kind of dance and can be performed with any
music, it’s the most versatile form of modern dance.
 

5. Connect with your emotions and relax your mind in a positive environment

 Once you are inside the dance class, the aura surrounds you with positivity and you gradually start falling for it.
 You feel calm and relax.
 You can connect with your emotions and stretch your mind in the creativity of the environment.
 
6. it’s good for the soul
 A place where you can be yourself
 Dance moves that help you rejuvenate and freshen up for the next thing.
 Charge yourself and stay energetic

Learning Competencies
 
 Discusses the nature of the different dances.

 Demonstrates proper etiquette and safety in the use of facilities and equipment

 Participates in an organized event that addresses health/dance issues and concerns.

 
 BALLROOM DANCING

 Ballroom Dance

 Is a set of partner dances, which are enjoyed both socially and competitively around the world.

 The term 'ballroom dancing' is derived from the word ball which in turn originates from the Latin
word ballare which means 'to dance'
 

 Competitive Dancing

 Competitions, sometimes referred to as Dancesport, range from world championships, regulated by

the World Dance Council (WDC), to less advanced dancers at various proficiency levels.

 Ballroom dancing competitions in the former USSR also included the Soviet Ballroom dances, or Soviet
Programme.
 
Ballroom Dances

 Waltz

 Waltz began as a country folk dance in Austria and Bavaria in the 1600s.

 In the early 1800s it was introduced in England.

 It was the first dance where a man held a woman close to his body.

 Waltz is performed for both International Standard and American Smooth.

 
 Waltz Steps
 The shoulders move smoothly, parallel with the floor, not up and down. The head should turn in the
direction of the turn, otherwise the man's head is upright and looking over the right shoulder of the lady.
 
 

 Rise and Fall— The rise and fall is unique to the waltz.  If possible, all the the steps in the waltz should be
long. On the first step forward, the weight is taken on the heel, then on to the ball of the foot. A gradual
rise to the toes should be started at the end of the first beat, and continued to the second and third beat of
each bar of music. Lower to the normal position at the end of the third beat by lowering to the heel of the
foot which is carrying the weight.

see video (https://www.youtube.com/watch?v=Cx0Zxd3Jky0 )

Learn how to dance Waltz:

1. Left foot change

Man’s foot position

Start position (facing line of dance

Rhythm - One, two, three.

2. Right foot change

Man’s foot position

Start position (facing line of dance)
Rhythm - One, two, three.
 
 
 
 

 
 

3. Left Box
Man’s foot Position
 

Man starts and finished facing Line of Dance

Rhythm - One, two, three. One, two, three.
 
 The man is in closed dance position in front of the woman, facing line of dance. The woman is slightly to the
right.
 

Man's Steps 
1. Step forward with the LF.
2. Step forward with the RF so that right foot is parallel to left foot.
3. Bring the LF to the RF.
4. Step back with the RF.
5. Step back with the LF so that the left foot is parallel to right foot.
6. Bring the RF to the LF. 

Woman's Steps 

1. Step back with the RF.

2. Step back with the LF so that the left foot is parallel to right foot.
3. Bring the RF to the LF.
4. Step forward with the LF.
5. Step forward with the RF so that right foot is parallel to left foot.
6. Bring the LF to the RF. 
 

 Cha—cha
 The cha-cha was originally called the “cha-cha-cha.”
 The term came from Haiti and resembled the sound the bells made when rubbed.
 Cha-cha is a very flirtatious dance with many hip rotations and partners synchronizing their movements.
 The dance includes bending and straightening of the knee giving it a touch of Cuban motion.
 It was developed by the Cuban composer and violinist Enrique Jorrin in the middle of 1950s.
 
Learn how to Dance Cha—Cha:
 Cha cha is widely recognizable by its catchy rhythm – one, two, cha, cha, cha.
 Cha cha music is composed in 4/4 time (four beats to a bar of music).
 The footwork is simple and mostly focuses on just shifting weight from one foot to another. 
 Remember, five steps are taken to four beats of music. 
 

Basic Steps:
  
Basic Steps for Women
 

Basic Steps for Men

 
 Learning Competencies
 
 Discusses the nature of the different dances

 Explains how to optimize the energy systems for safe and improved performance.

 Explains the value of optimizing one’s health through participation in physical activity assessment.

 Identifies school and community resources in case of an injury or emergency.

 
CHEERDANCE

 Cheer Dance

 Is a team physical activity using organized routines for the purpose of motivating a sports team,
entertaining an audience, or competition.

 Performances usually involve dances, tumbles, jumps, cheers, and stunts.

 Cheer dancing originated in the United States, and remains predominantly in America.

 
Cheer dancers and Positions:

 Flyer

 This is the person that's lifted into the air during a stunt---the flyer can also be referred to as the "top". The
flyers are usually the smallest people on a cheerleading squad.
 Flyers may be extremely flexible and have a good sense of balance.
 
 Bases and Spotters
 Bases are the athletes that hold the flyer or top in the air during the stunt.
 Bases are very strong and are usually assigned together based on height to create level platform for the flyer to
perform an action.
 
1. Main Base
 This base has the majority of the flyer's foot and the majority of her weight.
2. Secondary Base
 The term second base only applies when doing a one-legged stunt.
 This position can also be considered a "side base."
3. Back Spot
 The back spot is also called a "third".
 They help to position the flyer in the bases' hands upon entry.
 Due to the back's responsibilities, they are generally the tallest members of the team.
 

4. Front Spot
 This is the person standing in front of the stunt facing the back base preventing the flyer from falling
forward.
 The front spot often provides extra support to wrists of the bases in higher stunts such as extensions.
 Front spots increase the stability of a stunt to make it perfect.
5. Additional Spot
 This person is unnecessary to the stunt group.
 They do not actually touch the stunt unless something goes wrong.
 The free standing spot can stand behind, in front, or beside the stunt.
 Additional spots are typically used as a safety precaution.
 
Cheerleading Routines:
1. Stunting
 Beginner level cheerleading, also known as novice level or All Star levels I and II, incorporate lower level
stunting skills.
2. Tumbling
 These are all performed by placing both hands on the floor and are not aerial skills.
 Proper form and spacing are important in order to lower the risk of injury.
3. Jumps
 Beginner level jumps include tuck jumps and spread eagles.
4. Motions
 Motions should be sharp, keeping your arms stiff and straight using punching motions to move from one
motion to the next.