Course Package

in
PATH-FIT II
DANCE
2nd Semester AY 2021-2022

Prepared by:

Rizza R. Caumeran, MAT-PE, Rafael Matutinao, Ed.D., Jan Vincent Onipa, Jasmin G. Hernandez,
Szarah V. Sampan, Emerito R. Custodio, MAEd-PE, Adelliosa Menchavez, MAEd-PE and Ricky T.
Derecho, MAT-PE, Rolito T. Imperial, Ed.D.

1
 PREFACE

The purpose of creating this instructional material (IM) is to aid the students either
synchronous or asynchronous mode of learning system and facilitate self-pace learning or focused
group performance. This compilation is designed to help organize the activities in a PE class for
Dance. Provide experiences in a variety of physical activities for the purpose of optimizing health
through active participation and involvement. Students will choose from a variety of evolution of
popular dance.

This course deals with the theories and practices performed on Physical Education 4 –
Dances.

Chapter 1 emphasizes on the Brief History of dance in which students can acquire knowledge
and understanding of dance history. History allows us to gain a better understanding surrounding
the events, challenges, and celebrations that helped to form the people who developed our art form.

Chapter 2 presents the idea of Folk dance specifically to Philippine and Foreign Folk Dance
on how it shows the amazing culture of its people.

Chapter 3 executes the socializing affection of social/ballroom dance to those dance

enthusiasts and to the newly recognized competitive ballroom dancing which is the Dancesport.

Chapter 4 performs on the given other dance forms.

The entire chapter provides an understanding of assessing oneself as to basic dance

terminologies, the basic fundamental positions of arms and feet and dance steps which are essential
to participation in physical activity. If these are not developed and attend to from a young age, this
can lead to passive and inert outcomes of the student’s performance.

Finally, to assess learning outcomes of the students, the arrangement of the lessons learned
motivates the learners to possess three level of learning categories. These are knowledge, skills,
and attitudes or affection towards teaching Physical Education 4 – Dances to the students.

The Authors
2
 ACKNOWLEDGEMENT

This workbook/course packet was made possible through the contributions of the many
individuals, whom the authors would like to thank for.

In particular, we would like to express our profound gratitude to the following:

The different sources from where the authors gather some of the videos and pictures and
other necessary materials for the completion of this;

Dr. Israeli S. Caminos, Dr. Ingersol Ed C. Guias and Dr. Elvin B. Lorca for their constant
guidance, time and effort to monitor our progress of our work; and

The panel of reviewers for the valuable comments and suggestions are most sincerely
appreciated.

DEDICATION

This work is dedicated to all outstanding and very cooperative PE4 – Dance Instructors that

devoted their time and effort to make this module into reality.

To PE4 students who will move forward in this field of education. This is a stepping stone for

you to excel in the next chapter of life.

Don’t stop learning. Let’s make this online class be filled with wonderful

experiences.

3
 TABLE OF CONTENT
Preface 2
Acknowledgment 3
Dedication 3
Orientation: VMGO and Course Orientation 5-7
CHAPTER I: INTRODUCTION TO DANCE 8-19

Intended Learning Outcomes

Introduction
Preparation
Presentation
Practice
Performance

CHAPTER II: FOLK DANCE 20-38

Intended Learning Outcomes

Introduction
Preparation
Presentation
Practice
Performance

CHAPTER III: SOCIAL/BALLROOM DANCE 39-48

Intended Learning Outcomes

Introduction
Preparation
Presentation
Practice
Performance

CHAPTER IV: OTHER DANCE FORMS 49-52

Intended Learning Outcomes

Introduction
Preparation
Presentation
Practice
Performance

REFERENCES

4
 ORIENTATION: VMGO and Course Orientation
Intended Learning Outcome:
1. Present ways to accomplish the University VMGO in the current socio-economic,
political, and environmental conditions of the society; and
2. Discuss agreements between students and teacher for online etiquettes.
Time Allocation: 2 hours
Introduction:
Orientation is valuable in every endeavor because it serves as foundation for everyone in the
class. Students’ first impressions are important, hence proper class orientation is required as basis
for everything that follows. Without it, sometimes, students may become uncomfortable that would
take teachers longer to attain the full potential of the students and the course intended learning
outcomes.

Preliminary Questions:
• What is CTU’s vision, mission, goals, and objectives?
• What do students can do to accomplish these?
• What does this PEH-M 228 in store in us in the entire semester?
• What should I do to attain my goal as a student and eventually pass the course?

I. PREPARATION
The class will sing the CTU Hymn.
Link: https://www.youtube.com/watch?v=fIC_d_A86XQ

Say: What does the hymn wanted to tell us? What does our university wanted us
to be as implied in the song?

II. PRESENTATION
Activity 1: Provide the students with soft copies or use PowerPoint.
a. Provide independent reading on the Vision, Mission, Goals of the university,
on the Program Outcomes, and Course description.
b. Let the students answer the following questions after reading.

Guide Questions for discussions:

1. What do you understand about the vision?
2. Can you tell ways in attaining the mission?
3. What does the university wanted you to become today and in the next generation?
4. How does this course may shape us into becoming effective and efficient teachers in the
elementary?

Vision of the University

A premier, multidisciplinary-technological university

Mission of the University

5
 The University shall primarily provide advanced professional and technical instruction for
special purposes, advanced studies in industrial trade, agriculture, fishery, forestry, aeronautics and
land-based programs, arts and sciences, health sciences, information technology and other relevant
fields of study. It shall also undertake research and extension services, and provide progressive
leadership in its areas of specialization.

Goals of the University

The University shall produce scientifically and technologically oriented human capital
equipped with appropriate knowledge, skills, and attitudes. It shall likewise pursue relevant
research, strengthen linkages with the industry, community and other institutions and maintain
sustainable technology for the preservation of the environment.

Program Outcomes (From CMO No. 74 s. 2017)

The graduates shall be able to:
1. Articulate and discuss the latest developments in the specific field of practice;
2. Communicate effectively through oral and in written forms using both English and Filipino;
3. Work effectively and independently in multi-disciplinary and multi-cultural teams;
4. Act in recognition of professional, social, and ethical responsibilities; and
5. Preserve and promote “Filipino historical and cultural heritage” (based on RA 7722).

Course Description
This course deals with the educational foundations of Music as these apply to teaching and
learning in the elementary grades. Various teaching strategies and assessment appropriate for each
area shall be given emphasis in this course.

Activity 2: Share on screen the syllabus and the online etiquettes. Let the
students get a copy of it.

1. The teacher presents the course outline, course requirements, the grading
system.
2. The class discuss and agree on the online class etiquettes, during the
synchronous and asynchronous modes.

III. PRACTICE
Monitor students’ active participation during the discussion of the contents.

IV. PERFORMANCE
Activity: Project-based assessment
1. The students will make a poster (digital is optional) about CTU in the
New Normal featuring its vision, mission, and objectives of its graduates.

Criteria:
Coverage of the topic – 50%
Use of graphics - 10%
Organization - 20%
6
 Lay-out and Design - 10%
Mechanics - 10%

Link for Poster Rubric: https://tinyurl.com/5epo7va5

V. ASSIGNMENT

REFERENCES:

• Student Manual
• University Code

7
CHAPTER 1 – INTRODUCTION TO DANCE

Intended Learning Outcome:

1. Discuss the history, development, its dance forms and styles; (CLO 1)
2. Identify the different phases of the dance program; (CLO 1) and
3. Distinguish the different types of dance forms. (CLO 1, CLO 2)

Time Allocation: 4 hours

Introduction:
Dance provides numerous functions in a society. People experience dance in different
ways and for many different reasons. Most people are aware of dance as a performing art on stage,
screen and media, but dancing can also be a social activity, a form of physical fitness, or a prime
means of expressing cultural heritage and identity. Historically, dance was often performed in
rituals, worship, social celebrations, and as a means of entertainment and self-expression. Today,
dance is still a part of traditional events but also as an element of new innovative performing
experience.
Source: https://portal.ct.gov/-/media/SDE/Arts/Guide-to-K12-Program
Development-in-the-Arts/Dance-Introduction.pdf

Preliminary Questions:
1. What is dance? What is dancing? And where it was originated?
2. Why is there a need for us to study dance?
3. Why dancing is very significant in our healthy lifestyle?

I.PREPARATION
The teacher will present a Short Video Clip or will send a link of the Short Video Clip and let
the students watch it;

Source: https://youtu.be/wTKKnhmNMu0 |Short History of Dance – Prehistory and Ancient

Times

Afterwards, let the students share their thoughts by writing a Reflective Paper.

II. PRESENTATION

8
A. HISTORY OF DANCE

• Origins in antiquity: The earliest historical records showing the origins of dance
are cave paintings in India dating to about 8000 BCE Egyptian tomb paintings also
depict dance in about 3300 BCE These early dances may have been religious in
nature, and by the era of ancient Greece, people were incorporating dance into
celebrations of the wine god Dionysus (and later the Roman god Bacchus) and into
ritual dances at the ancient Greek Olympic Games. In addition, early people danced
for enjoyment, seduction, and entertainment.

• India and China: Dance throughout Asia has a rich history. While Hindu dancing in
India has a rich performance history going back millennia, in the late 1700s, dance
was restricted by British colonists, who considered the dances immoral. Once India
gained its freedom from Great Britain, the country revived its classical dance
traditions. Chinese dance dates back at least 3,000 years, with ceremonial dances
and folk dances adapted for performance at court. To this day, celebrations still
include traditional dances such as the dragon dance and lion dance.

• European social dances: Social dancing in most parts of the world grew out of folk
dances, many of which were simple and repetitive. In Europe, the folk dances of the
Middle Ages turned into formal ballroom dancing. These dances moved into royal
courts beginning in the Renaissance, becoming popular as dancing masters taught
upper classes the proper steps for court dances. As women's clothing allowed more
freedom of movement in the nineteenth century, social dancing became more lively.
The waltz, in particular, swept around the world as a major dance craze in the mid-
nineteenth century, and social dances began to focus on two-person dancing in the
early twentieth century.

• Influence of ballet: Much of the dance created by choreographers and composers

and performed as professional entertainment today has its roots in ballet, which, in
turn, dates back to the Renaissance. Ballet dance became an art in the eighteenth
century, when ballet companies sprang up around the world, telling entire stories
through the emotional movements of the ballet dancers. As shoes and costumes
changed, dancers gained greater expressive freedom, but some ballet dancers found
the rules (and the pointe shoes) of classical ballet restrictive. In the twentieth
century, modern dancers and choreographers such as George Balanchine and Martha
Graham began to deconstruct ballet to create new forms of performance dance.
Source: https://www.masterclass.com/articles/history-of-dance | MasterClass
Staff, 2021

B. DEFINITIONS OF DANCE and DANCING

DANCE
• Dance, patterned and rhythmic bodily movements, usually performed to music,
that serve as a form of communication or expression.
• Dance is an art form characterized by use of the human body as a vehicle of
expression.
• Dance has been described as “an exciting and vibrant art which can be used in
the educational setting to assist the growth of the student and to unify the
9
 physical, mental, and emotional aspects of the human being.” (Dance Directions,
1988).

DANCING
• It is actually doing it (actual performance). This is a means of expressing
one’s emotions through movement disciplined by rhythm.
• It is an act of moving rhythmically and expressively to an accompaniment.
The word dancing came from an old German word “danson” which means “to
stretch”. Dancing is a verb, dance is a noun.
Source: May, Jill. A Reference Manual for Teachers of Dance. W. Foulsham & Co.,
England, 1988 and Jaluage, J. Rhythms & Dances Physical Education 2. Lucky
Four, 2015

C. PHASES OF DANCE EDUCATION PROGRAM

• Dancing is part of the dynamic cultural expression of all societies, and every
individual has the potential ability to dance.
• The inclusion of dancing in the physical education program of school is simply to:
• expose everyone, especially the youth to the many benefits of learning dance.
• engage students in artistic experiences through the processes of creation,
performance and response.

1. Dancing promotes personality development since people involved in dance

improve their:
• Grace and rhythm
• Posture and biomechanics
• Discipline
• Dedication, motivation and determination
• Self-esteem and self-confidence
• Self-actualization
• Values of cooperation, resourcefulness, obedience and respect
2. Dancing improves emotional, mental, social and physical well-being;
3. Dancing provides a happy, fulfilled and satisfying life;
4. Dancing improves reflexes and awareness of one’s own body and the immediate
environment; and
5. Dancing educates oneself and the audience during the performance of a dance.

• Dance education programs include opportunities for the development of:

1. Critical thinking and analytical skills;
2. Cooperation and teamwork;
3. Self-expression and self-esteem;
4. Organization and problem solving;
5. Cultural literacy; and
6. Communicating emotions through movement.
10
 REASONS WHY PEOPLE DANCE

1. Enjoyment
2. Profession
3. Ritual, praise and worship of God
4. Socialization
Source: Andin, Carmen T. Handbook of Rhythmic Activities. Modern Educators Publishing
Cooperative, Inc., Manila, 1984 and Jaluage, J. Rhythms & Dances Physical
Education 2. Lucky Four, 2015

D. VARIOUS DANCE FORMS

1. BALLET
• It serves as a backbone for many other styles of dance, as many other dance
genres are based on ballet.
• It uses music and dance to tell stories. Ballet dancers have the ability to transport
an audience to another world.
• Originated as courtroom dance in Italy, then flourished in France and Russia
before spreading across Europe and abroad.

Source: https://youtu.be/zV1qLYukTH8 | Dance of the Sugar Plum Fairy from The Nutcracker
(The Royal Ballet)
2. FOLK DANCE
• Folk dancing is the oldest form of dance probably one of the earliest forms of
communication.
• Folkdance, which is also the expression of oneself, is an expression through
patterned movements.
• A traditional dance of a given country which evolved naturally and spontaneously
with everyday activities, e.g. occupations, customs, festivals, rituals, and
innumerable themes common to all people everywhere.

Source: https://youtu.be/ldB_PPIX2N8 | Itik-Itik Entry no. 28 – NCCA Sayaw Pinoy 2019 Concert
@ the park
3. MODERN DANCE
• It is a dance style that rejects many of the strict rules of classical ballet, focusing
instead on the expression of inner feelings.

11
 • It was created as a rebellion against classical ballet, emphasizing creativity in
choreography and performance.
• Born in the early 20th century, modern dance is a dance style that centers on a
dancer’s own interpretations instead of structured steps, as in traditional ballet
dancing.

Source: https://youtu.be/tWMZw_12JUA | Modern Dance Remix by H.P.Y CREW

4. JAZZ
• It is a fun dance style that relies heavily on originality and improvisation.
• Many jazz dancers mix different styles into their dancing, incorporating their own
expression.
• Dancing is energetic and fun, consisting of unique moves, fancy footwork, big
leaps and quick turns. To excel in jazz, dancers need a strong background in
ballet, as it encourages grace and balance.

Source: https://youtu.be/alZUe9A98TM | Ariana Grande – 7 rings – Masterclass Jazz Funk –

Choreography by Heriberto Gutierrez y Saul Anaya
5. SOCIAL BALLROOM DANCE
• The term “ballroom dancing” is derived from the word ball, which in turn
originates from the Latin word ballare which means to “to dance”.
• Refers to a set of partner dances, which are enjoyed both socially and
competitively around the world. Because of its performance and entertainment
aspects, ballroom dance is also widely enjoyed on stage, film, and television.

Source: https://youtu.be/tRTVoN95miM | Stanford Viennese Ball 2013 – Opening Committee

Waltz
• DANCESPORTS
- It is a new term for competitive ballroom dancing in its
international style.
- Dancesports encompasses both standard dances as well as latin
dances and has been recognized by the International Olympic
Committee (IOC) as an official sport.

12
 INTERNATIONAL STYLES OF DANCESPORT
LATIN
a. Cha-cha-cha
b. Rumba
c. Samba
d. Jive
e. Pasodoble

MODERN STANDARD
a. Waltz
b. Tango
c. Foxtrot
d. Viennese Waltz
e. Quickstep

Source: https://youtu.be/QU6NBfuJv84 | JIVE Dj Ice – Cheap Thrills (Sia Cover)

6. HIP-HOP
• It is a dance style, usually danced to hip-hop music, that evolved from the hip-
hop culture.
• It is a form of popular music that’s comprised mainly of emceeing, deejaying,
graffiti and breakdancing.

Source: https://youtu.be/fnd-IiL6ggo | World of Dance Philippines: FCPC Baliktanaw – Divisional

Finals
• STREET DANCE
- It is also called vernacular dance is an umbrella term, used to
describe dance styles that evolved outside of dance studios in
every spaces such as streets, school yards and nightclubs.

Source: https://youtu.be/7jeoF8D6hFc | Hip Hop Street Dance – Acrobatic Music Dancers

7. POPULAR DANCE (POP DANCE)
• Pop dance originated in America in 1980. Pop dance is one of the most popular
types of dance ever since it was created. The word "Pop" comes from the word
popular.
13
 • Pop dance and music was always used in clubs and never heard elsewhere until
the 1990’s when it started to become more popular and started to be heard on
radios TV and much more.
• Pop dance and music evolved a lot ever since the 1980's when it was created,
pop dance became so popular that it started to be a type of everyday music. Pop
dance is so popular it is seen almost everywhere. Pop dance started to be seen in
games such as dance central and many more.

Source: https://youtu.be/ZrNOS3_k91Y | TOP 10 TIKTOK HITS POP DANCE DANCE FITNESS

8. LINE DANCE
• A line dance is a choreographed dance with a repeated sequence of steps in
which a group of people dance in one or more lines or rows without regard for
the gender of the individuals, all facing the same direction, and executing the
steps at the same time.

Source: https://youtu.be/Er-rdfd4KC0 | Chilly Cha Cha – Line Dance (Beginner) LaVon W. Duke
9. FESTIVAL DANCE
• Cultural dances performed to the beats of instruments, usually percussion, by a
community sharing the same culture. These are usually done in honor of a
Patron Saint or in the thanksgiving of a bountiful harvest.

Source: https://youtu.be/qGukyt98wr0 | CARCAR CITY SINULOG 2020 SB CATEGORY SECOND

PLACE
10. CONTEMPORARY DANCE
• It is an important genre of dance performed in societies around the world and
was developed during 20th century.
• It involves incorporating aspects of movement from several other genres such as
jazz, modern and ballet.

Source: https://youtu.be/Tkq51XXfNyc | SYTYCD 11 – Top 14 – Group Routine – Contemporary

14
 11. TAP DANCE
• It is an exciting form of dance in which dancers wear special shoes equipped with
metal taps.
• Tap dancers use their feet like drums to create rhythmic patterns and timely
beats. Because the dancer makes sound, they are also considered a percussive
musician.
• It was developed in the United States during the nineteenth century, and is
popular in many parts of the world.

Source: https://youtu.be/D8GIqtJIbrs | Gaby and all star Zack – SYTYCD season 12 top 4

E. MAJOR ELEMENTS OF DANCE

The elements of dance are the foundational concepts and vocabulary form
developing movement skills as well as understanding dance as an art form.

1. BODY
- The renowned dance critic Walter Terry commented:
- We are the stuff that dance is made of. It is born in our body, exists in our
body and dies in our body.
- The body is sometimes relatively still and sometimes changing as the dancer
moves in place or travels through the dance area.
- The body is the conduit between the inner realm of intentions, ideas, emotions
and identity and the outer realm of expression and communication.

2. ACTION
Action is any human movement included in the act of dancing.
- It can include dance steps, facial movements, lifts, carries, and catches and
even everyday movements such as walking.
- Movement that travels through space is broadly called locomotor movement in
contrast to axial movement, which occurs in one spot.

3. SPACE
- Dancers interact with space in myriad ways. They may stay in one place and
move parts of their body or their whole body, or they may travel from one
place to another.
- The dance may take place in one corner of a stage or in a big open circle
outdoors with the entire community surrounding the dancers.
- Spatial relationships between dancers or between dancers and objects are the
basis for design concepts such as beside, in front of, over, through, around,
near or far.

15
 4. TIME
The keyword for the element of time is when.
- Human movement is naturally rhythmic in the broad sense that we alternate
activity and rest.
- Rhythmic patterns may be metered or free rhythm. Much of western music
uses repeating patterns (2/4 or ¾ for example), but the concepts of time and
meter are used very differently throughout the world.
- Dance movements may also show different timing relationships such as
simultaneous or sequential timing; or brief to long duration; fast to slow
speed; or accents in predictable or unpredictable intervals.

5. ENERGY
Energy is about how
- It refers to the face of an action and can mean both the physical and mental
energy that drives and characterizes movement.
- Choices about energy include variations in movement flow and use of force,
tension, and weight.
- A run might be free flowing or easily stopped, and it may be powerful or
gentle, tight or loose, heavy or light.
- Energy may change in an instant, and several types of energy may be
concurrently in play.
- Energy choices may also reveal emotional states.
- For example, a powerful push might be aggressive or playfully boisterous
depending on the intent and situation.

F. MINOR ELEMENTS OF DANCE

1. MUSIC
- serves as accompaniment for a dance performance. It could be as simple as
hand claps, humming or chanting or as complicated as choral singing or
musical ensemble such as band or orchestra.
2. COSTUME
- this refers to special clothing worn only for dance performances. Costumes
usually differ from ordinary dresses worn daily in terms of cut, color and
materials. Masks and accessories like headdresses, belts, footwear, jewelries,
special hairstyles, make-up and other beautification methods are utilized to
give the performer a specific role or character for the performance.
3. SPECTACLE
- is a certain quality done to the dance to make it attractive for viewing by an
audience. This means lavish costuming, choreography, movement
enhancements, sets, props, and other theatrical elements.
Source: Andin, Carmen T. Handbook of Rhythmic Activities. Modern Educators Publishing
Cooperative, Inc., Manila, 1984 and Jaluage, J. Rhythms & Dances Physical
Education 2. Lucky Four, 2015

16
III. PRACTICE
Quiz

I. MULTIPLE CHOICE TEST

Direction: Circle the letter of the correct and best answer.

1. It has been recorded that the earliest historical records showing the origins of dance is
in Egyptian tomb paintings and in what year?
a. 8000 BCE c. 3300 BCE
b. 5800 BCE d. 4200 BCE
2. Dancing affects early people in their lives and in their daily living and also through
dance it gives them something. What are these something?
a. blessing, enjoyment and entertainment
b. abundance, blessing and enjoyment
c. enjoyment, seduction, and entertainment
d. abundance, entertainment and enjoyment
3. It is an act of moving rhythmically and expressively to an accompaniment. The word
dancing came from an old German word “danson” which means “to stretch”. What is it?
a. Dancing c. Dance
b. Danza d. Ballar
4. An art form characterized by use of the human body as a vehicle of expression. What
does it mean?
a. Dancing c. Dance
b. Danza d. Ballar
5. It’s part of the dynamic cultural expression of all societies, and every individual has the
potential ability to dance. Through what?
a. Dancing c. Dance
b. Danza d. Ballar
II. IDENTIFICATION TEST
Direction: Identify the following by selecting the various form of dances. Write your
answers after each statement.

Modern Social
Ballet Folk Dance Jazz
Dance Ballroom
Hip-hop Street Dance Pop Dance Line Dance Dancesports
Festival Contemporary
Tap Dance
Dance Dance

1. It is a dance style that rejects many of the strict rules of classical ballet, focusing
instead on the expression of inner feelings. Modern Dance
2. It is an exciting form of dance in which dancers wear special shoes equipped with metal
taps. Tap Dance
3. It is a new term for competitive ballroom dancing in its international style. Dancesports
4. It involves incorporating aspects of movement from several other genres such as jazz,
modern and ballet. Contemporary Dance
5. Originated in America in 1980 and one of the most popular types of dance ever since it
was created. Pop Dance

17
 6. A choreographed dance with a repeated sequence of steps in which a group of people
dance in one or more lines or rows without regard for the gender of the individuals, all
facing the same direction, and executing the steps at the same time. Line Dance
7. It refers to a set of partner dances, which are enjoyed both socially and competitively
around the world. Social Ballroom
8. Cultural dances performed to the beats of instruments, usually percussion, by a
community sharing the same culture. These are usually done in honor of a Patron Saint
or in the thanksgiving of a bountiful harvest. Festival Dance
9. It serves as a backbone for many other styles of dance, as many other dance genres
are based on ballet. Ballet
10. It was created as a rebellion against classical ballet, emphasizing creativity in
choreography and performance. Modern Dance
11. It is a dance style, usually danced to hip-hop music, that evolved from the hip-hop
culture. Hip-hop
12. Dancers use their feet like drums to create rhythmic patterns and timely beats. Because
the dancer makes sound, they are also considered a percussive musician. Tap Dance
13. It is also called vernacular dance is an umbrella term, used to describe dance styles
that evolved outside of dance studios in every spaces such as streets, school yards and
nightclubs. Street Dance
14. It is the oldest form of dance probably one of the earliest forms of communication. Folk
Dance
15. A dance in which is also the expression of oneself, is an expression through patterned
movements. Folk Dance

IV. PERFORMANCE
Activity: TIMELINE OF EVENTS (History of Dance)

The students will make a timeline of events on the history of dance with their own
creativity. And they are graded through rubrics.

TIMELINE OF EVENTS RUBRIC

CRITERIA
4 3 2 1
Facts were accurate Facts were accurate Facts were accurate Facts were often
for all events for at least 80% of all for at least 60% of inaccurate for
CONTENTS/FACTS reported on the events reported on the events reported events reported on _____
timeline the timeline on the timeline. the timeline

All dates indicated At least 1 of the At least 2 of the At least 3 of the

on timeline are dates or sequences is dates or sequences dates or sequences
DATES correct and are not in the proper are are not in the _____
sequenced in the order not in the proper proper order
proper order order
The student can The student can The student can The student cannot
LEARNING OF accurately describe accurately describe describe any event use the timeline
CONTENT 75% or more of the 50% of the events on on the timeline if effectively to
events on the the timeline without allowed to refer to it describe events or
timeline without referring to it and and can determine to compare events. _____
referring to it and can quickly which of two events
quickly determine determine which of occurred first

18
 which of two the two events
events came first occurred first
The timeline The timeline The timeline The timeline
RESOURCES contained at least 9 contained at least 7 contained at least contained less than
events related to events related to the 5 events related to 5 events related to _____
the topic topic the topic the topic
CREATIVITY It is very attractive, It is attractive, very There is just a little The plotting or
very unique, and unique, and very effort in plotting or presenting the
very creative in creative in plotting or presenting. timeline is just
plotting or presenting. plain.
presenting.
Total
_____

REFERENCES:

Internet Sources:

• https://portal.ct.gov/-/media/SDE/Arts/Guide-to-K12-Program Development-in-the-
Arts/Dance-Introduction.pdf
• https://www.masterclass.com/articles/history-of-dance | MasterClass Staff, 2021
• https://youtu.be/7jeoF8D6hFc | Hip Hop Street Dance – Acrobatic Music Dancers
• https://youtu.be/alZUe9A98TM | Ariana Grande – 7 rings – Masterclass Jazz Funk –
Choreography by Heriberto Gutierrez y Saul Anaya
• https://youtu.be/D8GIqtJIbrs | Gaby and all star Zack – SYTYCD season 12 top 4
• https://youtu.be/Er-rdfd4KC0 | Chilly Cha Cha – Line Dance (Beginner) LaVon W. Duke
• https://youtu.be/fnd-IiL6ggo | World of Dance Philippines: FCPC Baliktanaw – Divisional
Finals
• https://youtu.be/ldB_PPIX2N8 | Itik-Itik Entry no. 28 – NCCA Sayaw Pinoy 2019 Concert @
the park
• https://youtu.be/qGukyt98wr0 | CARCAR CITY SINULOG 2020 SB CATEGORY SECOND
PLACE
• https://youtu.be/QU6NBfuJv84 | JIVE Dj Ice – Cheap Thrills (Sia Cover)
• https://youtu.be/Tkq51XXfNyc | SYTYCD 11 – Top 14 – Group Routine – Contemporary
• https://youtu.be/tRTVoN95miM | Stanford Viennese Ball 2013 – Opening Committee Waltz
• https://youtu.be/tWMZw_12JUA | Modern Dance Remix by H.P.Y CREW
• https://youtu.be/wTKKnhmNMu0 |Short History of Dance – Prehistory and Ancient Times
• https://youtu.be/ZrNOS3_k91Y | TOP 10 TIKTOK HITS POP DANCE DANCE FITNESS
• https://youtu.be/zV1qLYukTH8 | Dance of the Sugar Plum Fairy from The Nutcracker (The
Royal Ballet)

Books/Journals:

• Andin, Carmen T. Handbook of Rhythmic Activities. Modern Educators Publishing

Cooperative, Inc., Manila, 1984
• Jaluage, J. Rhythms & Dances Physical Education 2. Lucky Four, 2015
• May, Jill. A Reference Manual for Teachers of Dance. W. Foulsham & Co., England, 1988

19
CHAPTER 2 – FOLK DANCE

Intended Learning Outcomes:

1. Discuss the brief history of folk dance in the Philippines/foreign folk dance; (CLO 1)
2. Describe the nature and background of Philippine/Foreign folk dance; (CLO 2, CLO 3) and
3. Perform the skills involved in the dance with mastery and choreography. (CLO 3, CLO 4)

Time Allocation: 10 hours

Introduction:
“Dance is an art which deals with the motions of the human body.”
-James K. Feibleman, a great philosopher

According to Gabao, Larry A., dance is the expression of oneself through movement.
Folkdance, which is also the expression of oneself, is an expression through patterned
movements. It is this patterning that traditionally separates folk dance from other dance forms.
It is probably this characteristic of folk dance that has turned many youngsters off to dance their
inability to perform a set of patterned movements. Folk dancing is the oldest form of dance
probably one of the earliest forms of communication.
Source: Gabao, Larry A., Reviewer for Licensure Examination for Teachers.
Aquino, Francisca R. (1980) Philippine Folk Dance Vol. 1-6. Kayumanggi Press, Quezon
City

I.PREPARATION
Direction: Classify the following as Philippine or Foreign Folk Dance

1. Sakuting _______________ (Philippine Folk Dance)

2. Maglalatik _______________ (Philippine Folk Dance)
3. Minuet _______________ (Foreign Folk Dance)
4. Cariñosa ________________ (Philippine Folk Dance)
5. Varsovienne _______________ (Foreign Folk Dance)
6. Tarantella _______________ (Foreign Folk Dance)
7. Napoleon _______________ (Foreign Folk Dance)
8. Idudu _______________ (Philippine Folk Dance)
20
9. Polka sa Nayon _______________ (Philippine Folk Dance)
10. Singkil _______________ (Philippine Folk Dance)

Questions:
• Are you familiar with these folk dances?
• Can you think of a basic folk dance steps? Perform it in our class.
• What is folk dance?

II. PRESENTATION

PHILIPPINE/FOREIGN FOLK DANCE

• Folk Dance may be defined as the traditional dance of a given country which evolved
naturally and spontaneously with every day activities, e.g. occupations, customs,
festivals, rituals, and innumerable themes common to all people everywhere. Genuine
folk dances are handed down from generation to generation and are danced by
everyday folk of all ages. They are more or less fixed in their pattern, but may differ
in various areas of provinces.
• Folk dances are the vessel for the individual to express his emotions through
movement (Kostic & Uzonovic, 2012, p. 13). All performed movements in folk dances
have an aesthetic purpose. The aesthetic dimension is one of the most important ones,
because dances represent a source of aesthetic urges and feelings. Aesthetic can be
described as the final form of dance expression.
• Lopez (2006) defined Philippine folk dance as “a traditional mode of expression that
employs bodily movements of redundant patterns linked to definitive features of
rhythmic beats or music.”

Five Major Classifications of Philippine Folk Dances:

1. The Dances of the Cordillera Group

➢ The cordillera groups composed of the Bontocs, Ifugao, Benguet, Apayao, Kalinga,
Itneg, Ilonggot and Gaddang (BIBAKIIG) has its own unique traditions reflected in
their dance.
➢ Most of the dances are reflections of daily living.
➢ They used a metal gongs called ganza and other percussive instruments to accompany
their dances during rituals, festivities and the other social gathering.
➢ Examples:
21
 ▪ Pattong (Bontoc) – a war dance depicting a mock fight of two warriors
▪ Intaneg (Ifugao) – a wedding dance among the Ifugao
▪ Tarektek (Benguet) – a courtship dance where two female tarektek
(woodpeckers) try to get the attention of the male tarektek by brandishing their
blankets over each other to show their affections
▪ Turayan (Apayao) – an Apayao dance imitating the highflying bird
▪ Ragragsakan (Kalinga) – a work dance where they carry baskets on their heads
▪ Idudu (Itneg) – a dance where men lull their babies to sleep while the women
till the fields and process the harvest
▪ Bumbuwak (Gaddang) – the gaddang imitate birds attracted to tobacco tress

2. Western influenced dances

➢ When the Spaniards came to the Philippines in the 16th century, they brought with
them the Spanish religion and European arts and culture.
➢ The native religion and culture slowly gave way to Christianity and Western civilization.
The natives started to lose most of the ancient traditions in the literary, visual and
performing arts.
➢ In no time, dances from Spain, France and other European countries, such as the jota,
balse, pandanggo, habanera, escotis, mazurka, paseo, marcha and paso doble, were
adopted and adapted to the tastes ad needs of a colonial society and the conditions
of a tropical archipelago
➢ Examples:
▪ Pasakat – a quadrille dance from Sta. Rosa Laguna
▪ Jota Cabangan – a courtship dance from Zambales
▪ Pandanggo sa Ilaw – a dance from Mindoro using tinghoy or oil lamps placed
on top of the head and one on each hand
▪ Cariñosa – the famous national dance of the Philippines depicting the character and
Filipina maiden’s modesty and humility
▪ Polka sa Nayon – a polka dance version from Batangas

3. Dances of the Muslim Groups

22
 ➢ Down in the southern part of the country are the muslim groups. The ethnic groups
are the Maranao, Maguindanao, Tausug, Yakan, Samal, Java Mapun and Badjao.
➢ The dances performed by these groups describe the everyday living of the people.
➢ Common to their dances are the use of fingers to express feelings and emotions.
➢ Muslim dances are mostly influenced by Malay and Indonesian due to its geographical
setting
➢ Examples:
▪ Singkil (Maranao) – a Maranao dance derived from the sounds of the bell
anklets worn by the Princess as she leaps in and out of the crisscrossed bamboo
poles
▪ Asik (Maguindanao) – a doll dance for the girls
▪ Tauti (Badjao) – a dance of fishing scenario
▪ Paunjalay (Yakan) – a pre-nuptial dance of the Yakan tribe of Basilan performed
by the bride
▪ Sua-ku-Sua (Tausug) – a dance from Jolo, Sulu with an influence of Chinese
movements meaning “my pomelo tree”
▪ Maglanka (Samal) – a Samal dance class of girls and women. This dance depicts
the training of Samal girls and women on the languid and flexible movements
of the arms which signifies good breeding.

4. Dances of the tribal or lesser known groups

➢ Also known as the lesser-known groups are ethnic groups living in the different
locations in the country that are untouched and ever been influenced by the
westerners.

23
 ➢ These tribal groups are the Bukidnons, Bagobo, Manobo, T’boli or Tagabili, Tagbanua,
Mansaka, Mandaya, B’laan, Tgakaolo and Tiruray.
➢ These tribal groups believe in “shamans” or spirits which primarily reflected in most
of their dances.
➢ Examples:
▪ Dugso – a dance by women commonly wearing a bell anklets done during
thanksgiving of driving away of bad spirits
▪ Binanog – a version of a hawk dance
▪ Pagdiwata – a ceremonial rite performed during bilug (full moon) for the
purpose of healing the sick, imploring or in thanksgiving for a good and
bountiful harvest

5. Countryside Dances

➢ Dances that typically characterize the nature and kind of work of the people.
➢ Commonly performed by ordinary group of people depicting daily activities.
➢ Dances were light and more informal.
➢ Examples:
▪ Bulaklakan – a garland dance performed in the month of May by beautiful ladies
who dance their way towards the town church during the flower festival
▪ Maglalatik – a playful dance of young men beating coconut shells, reflective of
a mock battle over the “latik” or coconut residue
▪ Subli – a dance from the province of Batangas that reveals the reverence given
by the performers to a wooden cross
▪ Sakuting – a ritual dance which depicts a mock fight celebrating victory, usually
performed in town plazas. This is a Chinese-influenced dance.
▪ Tinikling – named after the long-legged tikling bird, which is here impersonated
by alert dancers with magic feet skipping among striking bamboos

CHARACTERISTICS OF PHILIPPINE FOLK DANCE

1. As rule, dances begin and end with a saludo. A saludo is a three-step-turn in place and a
bow to either partner or audience.
2. In general, dancers are far apart. A distance of about 6-8 feet from each other is normal.
3. There is very little, if any, body contact although holding hands is common.
4. Most of the dances are done in pairs. Hand movements play a very important role.
5. Many of dances are done in long formation.
6. Dances are performed by both young and old and by both sexes.

24
 FUNDAMENTAL POSITIONS OF ARMS AND FEET

Arm Positions

1st Position – Both arms raised forward in a circle in front of the chest with the fingertips about an
inch apart
2 Position – Both arms raised sideward with graceful curve at shoulder level
nd

3rd Position – Left/right arm is raised sideward as in 2nd position; right/left arm raised upward
4th Position – Left/right arm is raised in front as 1st position; right/left arm raised overhead
5th Position – Both arms raised overhead

Feet Positions

1st Position – Heels close together; toes apart within an angle of 45 degrees
2nd Position – Point the right/left toe sideward; bring down the heel of the right/left foot
25
3rd Position – Heel of one foot is close to instep of the other foot
4th Position – Point the right/left toe forward; bring down the heel of the right/left foot
5th Position – Close the right/left foot to the left/right by circling and return to the 1st position

Combined Fundamental Positions

Source: https://www.youtube.com/watch?v=jkAUYA8hUPU

NOTE: Please click this Google Drive link for your reference:
https://drive.google.com/drive/folders/1EG230L9szscfvUBKnALiVv2yueiOcTKj?fbclid=IwAR2vREOq
h75nhpBYAWTPRm3Ty9XGpNGwX07IhiB-Oy65Y5QT3rzsedRh_8w
Music used: Cariñosa

FOREIGN FOLK DANCE POSITIONS AND GRASPS

1. Abrasete Position
a. Girl at the right side of the boy holds the right arm of the partner with
her left hand.
b. Free hands down at the sides or hand of boy on waist and that of the
girl holds the skirt.
c. This position is used in many lowland dances at the country.

2. Inside Hand Hold

a. Face the same direction. Girl at the right side of the boy.
b. Boy holds hand at the girl at shoulder level.
c. Free hand of girl holding the skirt or waist.

3. Closed Ballroom Position/Waltz Position

a. Partners stand face to face, shoulders and hips parallel.
b. Right hand of the boy is placed around the waist of girl; left hand of
girl rest slightly against his right shoulder
c. Left hand of boy is extended to the side holding the right hand of the
girl just barely below shoulder level. Elbows are bent.
d. The fingers of her right hand rest slightly in the palm of his left hand.

26
4. Hip Shoulder/Shoulder Waist Position
a. This is also called the Peasant/Folk Danish Dance Position.
b. Partners face each other, with hands of boy placed on the waist of
girl.
c. Hands of girl are on the shoulder of boy. Partners lean lightly away.

5. Cross Hand/Cross Hold Facing Partner

a. Partners are face-to-face, right hands joined over left hands,
comfortably extended above the waist level.

6. Side Cross Hold

a. Partners stand side by side, with girl to the right side of the boy.
b. Right hands are joined over the left hands in front, slightly above the
waist level.

7. Back Hold Position

a. Partners facing in opposite directions, with right/left hips close
together.
b. Boy crosses his right/left arm under the left arm of the girl, his right
hand joins her left/right hand behind his back and his left hand joins
her right at her front.

8. Varsovienne/Shoulder Position
a. Partners stand side by side with girl to the right and slightly in front
of the boy.
b. Boy reaches arm over the right shoulder of girl and takes her right
hand in his.
c. The left hand of boy holds her left and a little above his left shoulder.
d. This position is commonly found in European peasant dances.

27
 9. Schottische Position
a. Named after the position assumed by dancing couples in Schottische
dances.
b. Partners stand side by side facing the same direction with girl on right
side of boy.
c. Right arm of boy is around the waist of girl, her left hand rests on his
right shoulder.
d. Free hands on waist or free hand of girl holding skirt.

10. Jaleo
a. Partners turn once around clockwise, right elbows almost touching or
counter clockwise their left elbows touching using any kind of dance
step.
b. The hands that are closest to the partners are on waists.

COMMON DANCE TERMS IN PHILIPPINE FOLK DANCE

1. “Abrasete” – Girl at the right side, holds R arm of partner with her L hand, free hands down
at the sides. This terms is of Spanish origin and is used in Rigodon and in other dances.
2. Inside Hand – The hand nearest one’s partner, when partners stand side by side.
3. Outside Hand – The hand away from one’s partner, when partner stand side by side.
4. Free Hand – The hand not placed anywhere or not doing anything.
5. Inside Foot – The foot nearest one’s partner, when partners stand side by side.
6. Outside Foot – The foot away from one’s partner, when partners stand side by side.
7. Free foot – The foot not bearing the weight of the body.
8. Supporting Foot – The foot that bears the weight of the body.
9. Crossed Arms – Partners are facing each other or standing side by side, girl at the right of
the boy. They join their L hands together and R hands together; either R over L or L over R
hands.
10. Clockwise – Like the motion of the hands of a clock. R shoulder is toward the center of an
imaginary circle. When facing center, the movement is toward the left.
11. Counterclockwise – The reverse direction of clockwise. L shoulder is toward the center of an
imaginary circle. When facing center, the movement is towards the right.
12. “Cabeceras” – When dancers are in square formation, the couples occupying the width of the
hall are called “cabeceras” or head couples. This is of Spanish origin.
13. “Costados” – When dancers are in square formation, the couples occupying the length of the
hall are called “costados” or side pairs. This is of Spanish origin.
14. Brush – The foot with the width the weight hits the floor with the ball or heel, lifting the foot
from the floor to any direction.
15. Arms in Lateral Position – Performed either right or left; at shoulder, chest, or waist level
with both arms at one side laterally.

28
 16. Do-si-do – Partners pass each other’s right side step across to the right, move backward
without turning around, pass each other, left side to proper places.
17. Hayon-hayon – Placing one forearm in font while the other at the back of the waist.
18. Jaleo – Using any kind of dance step, partners turn around clockwise or counterclockwise
with elbows touching each other.
19. Kumintang – Moving the hand from the wrist either in a clockwise or counterclockwise
direction. This is an Ilocano term.
20. Place – To put foot in a certain position without putting weight, resting the foot on the floor.
21. Pivot – To turn with the ball, heel, or whole foot, on a fixed place or point.
22. Point – The toes of one foot touch the floor lightly with the weight on the other foot.
23. Slide – To glide foot smoothly along the floor. The movement may be finished with or without
transfer of weight.
24. Salok – To bend the trunk forward while simultaneously swinging the arm downward-upward
passing in front of the body like in a scooping motion.
25. Saludo – with feet together partners bow to each other, to the audience, or to the opposite
dancers.

Google Drive link: https://drive.google.com/drive/folders/1-7oC4g0uiQlcDd59E2s_U0nknrNe59iI

FOLK DANCE STEPS

(Dance Steps in 2/4 Time Signature)

2/4 Dance Steps Step Pattern and Counting

Touch step Point, close
1 2
Bleking step Heel place, close
1 2
Close Step Step, close
1 2
Hop Step Step, Hop
1 2
Slide Step Slide, close
1 2
Change Step Step, close, step
1 and 2
Heel and Toe Change Step Heel and Toe, Step, close, step
1 2 1 and 2
Cross change step Cross-step, close, step
1 and 2
Contraganza Leap, cross-step, step
1 and 2
Plain Polka Step, close, step, pause
1 and 2 and
Hop Polka Hop-step, close, step, pause
and 1 and 2 and
Mincing steps Step, step, step, step (and so on)
1 and 2 and
Shuffling steps Slide, slide, slide, slide …….
1 and 2 and
Chasing steps Step, close, step, close …..
1 and 2 and
29
 Korriti Cross-step, step, cross-step, step …..
1 and 2 and

Video link: https://www.youtube.com/watch?v=yBrVbvjqoHw

Music Used: Binislakan (https://www.youtube.com/watch?v=TazZ0JtdNlM)

(Dance Steps in ¾ Time Signature)

¾ Dance Steps Step Pattern and Counting

Touch step Point, close / Point, close
1, 2 3 1 2, 3
Bleking step Heel place, close / Heel place, close
1, 2 3 1 2, 3
Close step Step, close / Step, close
1,2 3 1 2, 3
Hop step Step, Hop / Step, Hop
1, 2 3 1 2,3
Cross step Step, cross-step / Step, cross-step
1,2 3 1 2,3
Native waltz Step, close, step (in place)
1 2 3
Cross waltz Cross-step, close, step
1 2 3
Waltz balance Step, close-heels raise, heels down
1 2 3
Mazurka Slide, cut, hop
1 2 3
Redoba Slide, cut, cut
1 2 3
Sway balance with a Point Step, cross-step, step, point
1, 2 3 1 2, 3
Sway balance with a Raise Step, cross-step, step, raise
1, 2 3 1 2, 3
Sway balance with a Brush Step, cross-step, step, brush
1, 2 3 1 2, 3
Engaño with a close Step (sideward), cross-step, step, close
1,2 3 1 2, 3
Engaño with a waltz Step (sideward), cross-step, step, close, step
1,2 3 1 2 3

Video link: https://www.youtube.com/watch?v=IjW8R2u-yjE&t=0s

Music used: Cariñosa (https://www.youtube.com/watch?v=1pjFvomY958)

FOREIGN FOLK DANCE TERMS

1. Address Partner
a. Bow to partner. It is the same as “honor” your partner.
b. Facing partner, boys bow bending slightly from the waist, girls curtsy.
30
2. Allemande Left
a. In a quadrille or circle formation, all couples execute it at the same time in the same
manner.
b. The boy turns to the girl at his left and takes her L hand in his L hand and turn her once
around counterclockwise, then both falling back to places.

3. Allemande Right
a. The boy faces his own partner, takes her R hand in his R hand and turns her once around
clockwise, then both falling back to places.

4. Cast Off
a. When the dancers are in long formation, the leaders or head couple countermarch
outward to the end of the line where the last couple was, countermarch inward to proper
places.
b. All the dancers in the line follow their respective leaders.

5. Circle Left and Right

a. The designated couples or dancers join hands and walk to left (for circle left) with light,
springy steps clockwise (for circle right); bringing them back their home positions.

6. Curtsy
a. To bend the knees and body slightly with a bow of the head.
b. The weight of the body is on one foot, the other foot pointing in rear across the other
foot.

7. Dip
a. Forward Dip. When partners are in open ballroom dancing position, a forward dip is done
boys by bending slightly the knee of the front or supporting foot. The leg in rear is raised.
b. Backward Dip. When partners are in open ballroom dancing position, a backward dip is
done boys by bending slightly the knee of the rear foot, weight of the body on it. The leg
in front is raised.

8. Do-si-do (dos-a-dos)
a. Partners are facing each other.
b. Advance forward passing each other by the R (L) shoulders, step across the right (left)
and walk backwards without turning around passing each other by the L (R) shoulders
proper places.

9. Elbow Swing
a. Two Dancers link R elbows and swing clockwise either with springy walking steps or buzz
steps.

10. Folded arms

a. Raise the arms in front at shoulder level, with one forearm on top of the other.

11. Forward and Back

a. All or any designated dancers take four steps forward and four steps backward.
b. Hands may be joined or down at the side.

12. Grand Right and Left

31
 a. Partners join R hands facing each other. All boys move counterclockwise, and girls,
clockwise.
b. Each boy in starting passes his partner on her right and drops her hand, join L hand with
the L of the next girl, who advances to meet him and passes her on her left and drops
her hand joins R hand with the R of the next advancing girl and so on.
c. In square dances, when partners meet halfway home positions. In other dances, when
partners meet for the first time they continue until they meet for the second in their home
positions. Then they may all turn about and reverse direction.

13. Open Position (ballroom dancing)

a. Partners hold in ballroom dancing, facing one direction, toward the extended arms.

14. Ladies Chain

a. Girls exchange places offering R hands as they pass.
b. Girls join L hand with L opposite.
c. Boy who places his R hand around her waist and turning half way around.
d. Girls return to original places giving R hands to each other as they pass and give L hands
to partners who turn them around, as the opposite boys, to their original places.

15. Link Elbows

a. Hook L (R) elbow with partner or any dancer.

16. Partner’s Side

a. Partners change with four light running steps passing by the L shoulders. Turn left about
to face partner and return to original position passing by the R shoulders.

17. Promenade
a. Partners are side by side, L shoulders toward the center, holding in skating position (R
hands joined over the joined L hands) at waist level or in varsovienne position (boy’s R
arm around back of girl, holding her R hand close and at level of her R shoulder, and his
left hand holds her L hand in front or at the side) they walk around in a counterclockwise
direction until they reach their home position.

18. Star Right and Left

a. This is also known as Mill or Wheel. Right and left. Four dancers put their R hand in the
center and walk around clockwise (Star Right) and at the caller’s command they turn
about, put the left hands together and walk counterclockwise (Star Left).
b. They hold their R hands together one on top of another or they may each grip the wrist
of the dancer in front of them.

19. Swing Partner

a. Partners in social dance position, R shoulders near each other. In this position swing each
other around clockwise by taking quick steps on the L foot and accenting the step on the
R foot.
b. The L foot remains behind the R foot. This step is known as the buzz step. Springy, light
steps may also be used.

20. Turn Single

a. This is an English term for a step which is done by making one complete turn to the right
(clockwise) with four light running steps, starting with the R foot.

32
 FOREIGN FOLK DANCE STEPS

(2/4 Folk Dance Steps)

Dance Steps Step Pattern and Counting Measure
Break Legs 1 and 2 and
Jump both Half-kneel 1M
(R)
Chasse 1 and 2
Slide/step Close Step 1M
R L R
Hopsa 1 and 2 and
Leap Cross-step step/close pause 1M
R L R
Hungarian Turn 1 and 2 and
Hop Step Step
2 or 4M
R L R
(Turning in place)
Jumping Jack 1 2
Deep-knee bend Jump (feet apart) 1M
Both Both
Hop Polka and 1 and 2
Hop-step close step pause 1M
R L R
Heel and Toe Polka 1 2 1 and 2 and
2M
Heel-place Toe-point step close step pause
Russian Polka and 1 and 2
1M
Heel-brush heel-step close step
Prysiadka 1 2
1M
Full-knee bend R (L) and stretch L (R) reverse
Rocking step 1 2
Fall on (R) Fall on (L) 1M
Raise (L) Raise (R)
Rubber legs 1
Cross (L) over (R) and twist (R)
1M
2
Same position and twist (L)
Skip 1 ah 2 ah
Step hop step hop 1M
R L R L

(3/4 Folk Dance Steps)

Dance Steps Step Pattern and Counting Measure
Dutch Step 1 2 3 1M
Step Heel-brush Hop
R L R
Mazurka 1 2 3 1M
Slide Cut Hop
R L L

33
Minuet 1 2 3 1, 2, 3 2M
Step Step Step Point
R L R L
Pas de Basque 1 2 3 1M
Circle & leap Slide Cut
R L R
Step-Swing-Hop 1 2 3 1M
Step Swing Hop
R L R
Step-Brush-Swing-Hop 1 2 3 1M
Step Brush-Swing Hop
R L R
Waltz Series Ballroom Dance 1 2 3 1M
Step Slide Close
R L R
Box Square Waltz 1 2 3 1 2 3 2M
Step Step Close Step Step Close
R L R L R L
Cross Waltz 1 2 3 1M
Cross-step Close Step
R L R
Folk/Native Waltz 1 2 3 1M
Step Close Step
R L L
Waltz Balance 1 2 3 1M
Step Close L (R) raise heels booth Heels down
both
R L
Waltz Turn (Turning in Place) 1 2 3 1, 2 or
Step Close Step 4M
R L R
Varsovienne 1 2 3 1, 2, 3 2M
Slide Close Step (SR) Point
R L R L

(2/4 and ¾ Folk Dance Steps)

Steps Music Step Pattern and Counting Measure
1 2 3
Accented Running Fast ¾ or
Stamp step step 1M
Steps 3/8
R L R
1 ah
Gallop 2/4 or 6/8 Step Cut 1 ct.
R L
1 2 1 2 2 or more
2/4
Cross-step Step Cross-step Step M
1 2 3 4 2 or more
Grapevine 4/4
Cross-step Step Cross-step Step M
1 2 3 2 or more
3/4
Step Cross-step Step M
1 (and) 2 (and) as many
Parallel Tortillier 2/4 or 3/4 Pivot on heels and Pivot on toes and M as
turn toes both turn heels both required
34
 1 2 as many
Toes together Heels together M as
R&L R&L required
Opposite Tortillier 2/4 or 3/4
or moving
sideward
R or L
1 and 2 and
as many
Step Step Step Step
Mincing 2/4 or 3/4 M as
R L R L
required
(tiny steps)
1 and 2 and
as many
Slide Slide Slide Slide
2/4 M as
R L R L
required
(tiny slides on balls of feet)
as many
Shuffling 1 ah and ah 2 ah and ah
2/4 M as
Same as above
required
as many
3/4 1 and 2 and 3 and M as
Same as above
required
1 2
2/4 Slide Close 1M
R L
Slide Step
1, 2 3
3/4 Slide Close 1M
R L
1 2
2/4 Step Hop 1M
R R
Step-Hop
1, 2 3
3/4 Step Hop 1M
R R
1 2
2/4 Step Point 1M
R L
Step-Point
1, 2 3
3/4 Step Point 1M
R L
1 2
Step Swing Series:
2/4 Step Swing 1M
Step Swing
R L
1, 2 3
3/4 Step Swing 1M
R L
1 2
2/4 Point Close 1M
R R
Touch Step
1, 2 3 or 1 2, 3
3/4 Point Close Point Close 1M
R R R R

SELECTED PHILIPPINE OR FOREIGN FOLK DANCE

35
Note: Please click the attached Google Drive link for the list and literature of the Philippine or Foreign
Folk Dance. You can choose what folk dance you are going to teach.
List of Philippine Folk Dance: https://drive.google.com/drive/folders/18-
4GZVorYaaZXheKW2vKWlG8qbDO5njh?usp=sharing
List of Foreign Folk Dance:

III. PRACTICE

Individual/ Group Activity 1

(Fundamental Positions of arms and feet)
Instruction: Perform the fundamental positions of arms and feet.

Ratings:
0 - Not able to execute the fundamental positions properly.
5 - Commits slight mistakes in performing the fundamentals.
10 - Perfectly execute the fundamentals

10 points for the arms positions

10 points for the feet positions
10 points for the fundamental combinations

Individual/ Group Activity 2

(Foreign Folk Dance Positions and Grasps)
Instruction: Perform the dance positions and grasps through video presentation. You
can have your family member as your partner.

Rubrics Points
1. Correct interpretation of dance positions and grasps 5
2. Correct and proper execution of dance positions and grasps 5
Total: - - - - - - - - 10

Individual/ Group Activity 3

(2/4 and ¾ Folk Dance Steps)
Instruction: Perform the 2/4 or ¾ dance steps with music.

Rubric
0 - Not able to perform dance step pattern and counting correctly
5 - Able to perform the dance step pattern correctly but improper counting
10 - Perform the dance step pattern and counting correctly

36
 IV. PERFORMANCE
Activity: SELECTED PHILIPPINE/FOREIGN FOLK DANCE | Performance Task
Directions: After the students have mastered the skills involved in the dance, they will be
grouped into 6 (3 pairs). Each group will perform the selected folk dance through video
recording. The performance will be graded according to the following criteria:

• Musicality (ability to adapt movement to given beat/music) 15%

• Execution (gracefulness, coordination, and expression of 40%
the dance theme)
• Expression (ability to express the context of dance in 10%
movement and facial expression)
• Mastery (shows mastery of movement patterns and 20%
sequences)
• Choreography (formations on stage) 15%
Total - - - - - - - - - - - - - 100%

- or –

RUBRICS FOR PERFORMANCE TASK:

Criteria Excellent Good Acceptable Partial Minimal
25 points 20 points 15 points 10 points 5 points
Musicality Shows a Accurate in beat, Generally Shows a basic Attempts to
(ability to adapt complete tempo, rhythms accurate in beat, understanding of keep a rhythm,
movement to understanding of of dance tempo, rhythms tempo and beat, but gets off beat
given beat/music) tempo and beat sequences of dance but falls behind and speeds up
and stays on throughout the sequences most and/or speeds or falls behind
rhythm dance. of the time. up in places or often. Doesn't
throughout the makes errors in follow beat in
dance. rhythm. music.
Execution Dance Dance Dance Only some Although
(gracefulness, performed with performed with performed with understanding of remembers
coordination, and great attention to attention to attention to most technical some of dance,
expression of the quality of details of details of elements (ie. little attention
dance theme) movement, body technique, has technique, but footwork, quality paid to how
position, attained hasn't attained of movements, movements are
placement on proficiency in proficiency in body positions) done or other
stage and other dance style. dance style yet. demonstrated in details of dance.
details of dance. Some technical performance.
Also errors.
demonstrates an
excellent
understanding of
dance style.
Expression The dancer The dancer The dancer The dancer The dancer is
(ability to express draws the communicates communicates communicates not very focused
the context of audience in to with audience with audience with audience on making eye
dance in want to watch through eye through eye through eye contact,
movement and them and is able contact and contact and contact and concentrated or
facial expression) to engage the facial and body facial and body facial and body committed to
audience expression. Is expression. expression. performance.
completely able to engage Occasionally Occasionally
through their the judges. loses focus. loses focus.
performance. A
true joy to watch!

37
 Mastery The group The group The group The groups The group
(shows mastery of demonstrates demonstrates demonstrates demonstrates shows no
movement mastery of the mastery of the mastery of the little mastery of mastery of the
patterns and dance patterns dance patterns dance patterns the dance dance patterns
sequences) and sequences and sequences and sequences patterns and and sequences
throughout the most of the time. in the first part sequences and throughout the
performance. but commits few commits performance.
errors in the mistakes most of
entire the time.
performance.
Choreography Demonstrates Demonstrates Demonstrates Demonstrates Remembers a
(formations on excellent good knowledge knowledge of some knowledge few of the steps/
stage) knowledge of of choreography. choreography. of choreography, movements and
dance Keeps up with Keeps up with but unsure of tries, but looks
choreography group. Few group. Some some lost and out of
and does it well. errors, however errors (3-5 movements. sync with others.
it does not errors) causing Sometimes
interfere with brief pause in hesitates/
performance. performance. watches others
and makes
several errors.

REFERENCES:

Internet Source:
• https://physicaleducationinfo.wordpress.com/2017/03/15/5-major-classification-of-
philippines-folk-dances/

Books/Journals:
• Aparanto, Conrado A., et.al. 2017. Physical Education and Health Volume II. Rex Printing
Company, Inc.
• Aquino, Francisca R. 1988. Foreign Folk Dance. Rex Bookstore, Manila.
• Aquino, Francisca R. 1980. Philippine Folk Dance Vol. 1-6. Kayumanggi Press, Quezon City
• Gabao, Larry A., Reviewer for Licensure Examination for Teachers.
• Jaluage, J. 2017. International Folk & Other Dance Forms Workbook. Lucky Four Copy, Inc.
• Jaluage, J. 2016. Philippine Folk Dance Workbook. Lucky Four Copy, Inc.
• Miranda, Q. et.al. 2016. Music, Art, Physical Education, and Health. Phoenix Publishing House.
pages 116-117.
• Phil. Folk Dance Society. 2006. A Classic Collection of Phil. Folk Dances. Nazarene

38
CHAPTER 3 – SOCIAL/BALLROOM DANCE

Intended Learning Outcome:

1. Discuss the historical events in social dances; (CLO 1)
2. Execute the basic dance steps, positions, and patterns in social dance; (CLO 2, CLO 3)
3. Perform the different skills involved in social dance; (CLO 3) and
4. Create their own choreography of a certain social dance. (CLO 4, CLO 5)

Time Allocation: 8 hours

Introduction:
Ballroom dancing was originally designed for partner dancing in ballrooms. Progressive
or travelling ballroom dances are characterized by long strides that result in the partners quickly
traversing the dance floor. Correct posture and frame are very important in ballroom dancing.
Source: http://www.heritageinstitute.com/danceinfo/descriptions/ballroom.htm

I.PREPARATION
Let the students identify the given pictures whether it is a LATIN or MODERN
STANDARD Dancesport and after that let them write the different things they observed in
each pictures.

1. _________________________
Observations:
_________________________
_________________________
_________________________

2. _______________________
Observations:
_________________________
_________________________
_________________________

39
 3. ________________________
Observations:
________________________
________________________
________________________

4. ________________________
Observations:
________________________
________________________
________________________

5. ______________________
Observations:
______________________
______________________
______________________

II. PRESENTATION

A. HISTORY OF SOCIAL/BALLROOM DANCE

• In the early 20th century, the on-screen dance pairing of Fred Astaire and Ginger
Rogers greatly influenced ballroom dancing in the USA.

• Social/Ballroom dance refers collectively to a set of partner dances that are now
enjoyed both socially and competitively around the globe.

• Its performance and entertainment aspects are also widely enjoyed on stage, in film,
and on television.

• Ballroom dancing is usually thought of as Waltz, Tango, or Foxtrot, but it also

encompasses many other dances. There are two styles of ballroom dances: American
and International.

INTERNATIONAL STYLE
These are two categories of International style dancing, Standard and Latin,
used in a Dancesport Competition. International Standard allows only closed dance
positions, whereas American Smooth allows closed, open and separated dance
movements.

40
 Latin Dances
Cha cha cha
Rumba
Samba
Pasodoble
Jive

Standard Dances
Waltz
Tango
Foxtrot
Viennese Waltz
Quickstep
Source: Wright, Judi P. Social Dance: Steps to Success. Leisure Press, Illinois. 1992 and
Jaluage, J. Rhythms & Dances Physical Education 2. Lucky Four, 2015

B. TYPE OF SOCIAL/BALLROOM DANCES

CHA-CHA-CHA
Character : sassy, Latin, playful, flirty
Style : Cuban motion and syncopated timing
Count : 1,2, cha cha cha, 3,4 cha cha cha
Meter : 4/4
Tempo : 128 beats per minute
Basic Rhythm : 2,3,4 and 1,2,3,4 and 1 (accent on count 1)
Music Style : Medium-tempo Latin music
America (Fernando La Torre)
Cha Cha La Vie (Kaoma)
The name of this dance is said to arise from the sound of sandals slapping against
the floor in the cha cha chasse.
The Cha Cha Cha is a true Latin dance, which originated in Cuba where it evolved
from the danzon, an older form of Cuban dance. The primary difference in Cha Cha Cha is
the addition of a triple step that replaces the slow step in Mambo/Rumba. Cha-cha-cha
became a popular social ballroom dance in the United States in the early 1950’s.
Presently there are two flavors of Cha Cha, differing by the place of the cha cha cha
with respect to the musical bar.
• Ballroom Cha Cha Cha and street Cha Cha Cha in Cuba count “two-three-chachacha”

Man’s Part Woman’s Part

1. Step R foot forward 1. Step R foot backward
2. Step R foot in place 2. Step L in place
3. Do the shuffle and step L backward 3. Do the shuffle and step L foot forward

41
 Variations
1. Break crossover
2. Open break with underarm turn
3. Alternate underarm
4. Cross back break
THE BASIC STEP
Starting position, facing your partner, weight over L foot.

Forward Basic Step:

a. Step in place 3 x (R,L,R) - 2 cts
b. Step L forward - 1 ct
c. Step R in place - 1 ct
Backward Basic Step:
a. Step in place 3 x (L,R,L) - 2 cts
b. Step R backward - 1 ct
c. Step L in place - 1 ct
Sideward Basic Step:
Same Starting Position
Left Side:
a. Step in place 3 x (R,L,R) - 2 cts
b. Step L sideward L (quick) - 1 ct
c. Step R in place (quick) - 1 ct
Right Side:
a. Step in place 3 x (L,R,L) - 2 cts
b. Step R sideward R (quick) - 1 ct
c. Step L in place (quick) - 1 ct

Crossover
Same Starting Position
Left Crossover
a. Step 3 x in place (R,L,R) - 2 cts
b. Pivot on R to the right, step with L across R - 1 ct
c. Step R in place - 1 ct
Right Crossover:
The reverse of Left Crossover
The Chasse
Same Starting Position
Right Turn:
a. Step 3 x in place (R,L,R) - 2 cts
b. Step L forward pivoting to the R - 1 ct
c. Continue the pivot to the right - 1 ct
d. Step R in place - 1 ct
You have now done a half turn

42
 Left Turn:
The Reverse of Right Turn
Cha-cha-cha Hop
For boy and girl
a. Step L forward - 1 ct
b. Step R back in place with a hop - 1 ct
c. 3 steps backward (L,R,L) - 2 cts
Followed by a basic step in place
a. Step R backward - 1 ct
b. Step L in place - 1 ct
c. 3 steps in place (R,L,R) - 2 cts
Since the cha-cha-cha hop is done alternately by partners (facing each other), the
woman does a basic step in place while the man does the hop. Repeat, doing the reverse.

Source: https://youtu.be/PWiLi22Cq8w | 4 Basic Elements of Cha-Cha Cha-Cha Dance

SWING
Character : fast, run and upbeat
Style : ½ time motion
Count : 1 and 2,3 and 4,5,6
Basic Step : Step R foot forward transferring the weight of the body, step L in
place then step R foot forward.

• Swing is the most popular social dance for couples in the USA in 1940’s and 1950’s.
• It is an outgrowth of Jitterbug. Partners hold both hands and do the quick steps
followed by placing weight on the ball of one foot then shifting the weight to the
other.
• Swing is the newest name given to Jitterbug. Although the type of dancing originated
with very young people, the infectious gaiety of the music appeals to all ages.
• Swing step patterns lend themselves to varied interpretation.
• The swing dancing refers to partner dancing where the man literally “swings” the
lady through the series of dance pattern.
Variations
1. Underarm R and L
2. Back pass
3. Cuddle
4. Cross-over turn
Note: All instructions are for boys and girls.
Begin with the feet very slightly apart, weight on left in normal hold position.

Legend: R – right L – left

43
 Basic Movement
1. Step R and L in place - 1,2
2. Move R sideward -3
3. Move L towards R - and
4. Step R sideward (small step) -4
This basic movement can be done starting with the left foot.
Rock Basic
1. Step R in place -3
2. Close L to R - and
3. Step R sideward (small step) -4
4. Step L in place -3
5. Close R to L - and
6. Step L sideward (small step) -4
Still in normal hand
Basic Throwaway
2 basic movements - 1,2
Back and slightly to side R leading -3
Moving away with R hand and then
release hold
Move L back towards R and L arm
extended
Back and slightly to the side of R
(small step) -4
Still holding with L hand
2 basic movements - 1,2
Back and slightly to side
L foot moving away from man
Move R back towards L
R arm extended - and
Back and slightly to side L (small steps) - 4

Source: https://youtu.be/MA4iYUyWyXw | How to Do Basic Swing Dance Steps Ballroom Dance

WALTZ
• The waltz became the most fashionable social dance of the 1800’s.
• It originated in Germany and Austria and soon spread to other countries.
• The waltz inspired some of the finest dance music of the period and also added
beauty and elegance to some of the period’s romantic ballet.
• Waltz was the first ballroom dance, characterized with its gracious turning and was
popularized in Vienna, Austria and throughout Europe.

44
 • This dance became controversial at first because never before were men and women
made to dance so closely to each other. Other social dances joined after the
widespread acceptance of the waltz.
The rhythm of this dance is easy and romantic melodies are in ¾ time. The
accent is on the first beat.
Legend: R – right L – left ct - count

Half Square Waltz – Closed Position

• Forward Half Square Waltz – Closed Position (Boys)
a. Step L forward - 1 ct
b. Follow through with the R and step to R side - 1 ct
c. Close L to R, transferring weight - 1 ct
d. Step R forward - 1 ct
e. Follow through with the L and step L side - 1 ct
f. Close R foot to L foot, transferring weight - 1 ct
• Backward Half Step Waltz – Closed Position (Girls)
a. Step backward on R - 1 ct
b. Follow through with the L and step to the L side - 1 ct
c. Close R against L, transferring weight - 1 ct
d. Step L backward - 1 ct
e. Follow through with the R and step to R side - 1 ct
f. Close L foot against R, transferring weight - 1 ct
The Square Waltz – Closed Position
Continue the dance steps movement to form a square.
For boys: Same steps except in (d) instead of forward, the boy moves backward.
For girls: Same steps except in (d) instead of backward, the girl moves forward.
Left/Right/Turn Waltz – Closed Position
Same step pattern. The boy starts stepping forward on the left while the girl steps
backward on R foot. Both turning left/right.
Progressive Left/Right Turn Waltz – Closed Position
The turn is done in every measure or 3 counts.
The Balance Step
Same step pattern – Step, Close, Step
Counting 1 2 3
Slightly raising heels

Source: https://youtu.be/NBKTN6c_MEQ | How to Waltz Dance For Beginners – Waltz Box Step

45
 JIVE
• Jive is a lively, and uninhibited variation of the jitterbug. Many of its basic patterns
are similar to those of the East Coast swing. Jive is one of the five International Latin
dances, although it has an African-American origin.
• The basic look and feel of jive are that it is performed with lots and lots of energy,
with the legs portraying a pumping action. Both the East Coast swing and basic jive
consist of two triple steps and a rock step.
• Jive was first demonstrated by Cab Calloway in 1934. It caught on in the United
States in the 1940s and was influenced by the Boogie, Rock & Roll, African/American
Swing, and Lindyhop.
• The name either comes from jive being a form of glib talk or from African dance
terms. Jive became a generic term for swing in the United Kingdom.
• Jive is a very happy, boppy, energetic dance, with plenty of knee-lifting, bending, and
rocking of the hips. The fastest of the Latin dances, jive incorporates lots of kicks and
flicks, even twirling of the woman, and doesn’t move around the dance floor like
other dances.
The jive differs in that the count begins with the rock step, which is counted
“1, 2.” The two triple steps are counted “3 and 4” and “5 and 6.” In competition, it is
danced at 176 beats per minute.
Legend: R – right L – left ct – count

The basic jive step (jive basic) is a 6-beat pattern:

The man and woman face each other with arms in the closed position and the man
leads.
Rock step
(counts 1 and 2): Step one foot behind the other and lift the front foot up. The man
steps back with his left foot while the woman steps backward with her right foot.
Chasse to the left
(counts 3 and 4) The man goes left, the woman goes right.
Chasse to the right
(counts 5 and 6) The man goes right, the woman goes left.

Source: https://youtu.be/LMilE769YY8 | How to Do Basic Jive Steps Ballroom Dance

Source: Wright, Judi P. Social Dance: Steps to Success. Leisure Press, Illinois. 1992 and
Jaluage, J. Rhythms & Dances Physical Education 2. Lucky Four, 2015

46
 III. PRACTICE

NOTE: The teacher can allocate this part as dance practice sessions to his students.

IV. PERFORMANCE
Activity: SOCIAL/BALLROOM DANCE | Performance Task
The teacher will choose what type of social/ballroom dance should the students
performed, then the student will do a video presentation on his/her performance. The
students performance will be graded through a given rubrics.

Rubrics for Dance Performance:

Exceeds Meets Approaching Does Not
Expectations Expectations Expectations Meet
SCORE
4 3 2 Expectations
1
Knowledge of Demonstrates Demonstrates Demonstrates Demonstrates no
Choreography excellent knowledge of some knowledge knowledge of
knowledge of movement and of movement, and movement.
choreography and performs with few performance has
performs errors. many errors.
movement free of
errors.
Stage Dancer uses their Dancer uses Dancer uses little Dancer uses no
Presence face and body to facial and body face and body facial and/or body
fully express the expressions when expressions when expressions.
intent of the performing. performing the
movement. movement.
Musicality Shows a full Shows Has some Dancer speed up/
understanding of understanding of knowledge of and or falls
rhythm and timing rhythm and timing rhythm and behind often
by staying on beat by staying on beat timing, but speeds throughout the
for the entire throughout most up/and or slows dance.
dance. of the dance. down many time
throughout dance.
Technique Great attention to Choreography is Choreography is Choreography
the quality of performed with performed with shows no
movement, body attention to details little attention to attention to details
position, and and shows details of of movement and
demonstrates proficiency of movement, and demonstrates little
excellent dance style. student is not knowledge of
understanding of proficient is dance dance style.
dance style. style.
Effort Shows great effort Shows effort Shows little effort Shows no effort
while performing when performing while performing while performing
choreography. choreography the choreography choreography.
Source:
https://www.orange.k12.nj.us/cms/lib/NJ01000601/Centricity/Domain/2698/Dance%20Performanc
e%20Rubric.pdf

47
REFERENCES:

Internet Sources:

• http://www.heritageinstitute.com/danceinfo/descriptions/ballroom.htm
• https://youtu.be/LMilE769YY8 | How to Do Basic Jive Steps Ballroom Dance
• https://youtu.be/MA4iYUyWyXw | How to Do Basic Swing Dance Steps Ballroom Dance
• https://youtu.be/NBKTN6c_MEQ | How to Waltz Dance For Beginners – Waltz Box Step
• https://youtu.be/PWiLi22Cq8w | 4 Basic Elements of Cha-Cha Cha-Cha Dance

Books/Journals:

• Wright, Judi P. Social Dance: Steps to Success. Leisure Press, Illinois. 1992
• Jaluage, J. Rhythms & Dances Physical Education 2. Lucky Four, 2015

48
CHAPTER 4 – OTHER DANCE FORMS

Intended Learning Outcomes:

4. Describe the nature and background of other dance forms; (CLO 2)
5. Perform the different skills involved in the dance; (CLO 3) and
6. Create their own choreography of a certain dance. (CLO 4, CLO 5)

Time Allocation: 8 hours

Introduction:
“The dancer’s body is simply the luminous manifestation of the soul.”
- Isadora Duncan
Exposure to different dances is important to give an overview. Dance seems to be a lot like
ice cream flavors… it’s so hard to choose just one.
In this chapter, we are going to explore and learn the other forms of dance or what we called
the different genres of dance. We will also trace the nature and background of each dance form.
The dance skills you will learn in this chapter will challenge you to showcase the dances in dance
festivals and other dance celebrations that bring out your expression and creativity in dancing.

I. PREPARATION
Directions: Identify what dance form is presented in the picture.

49
 II.PRESENTATION
OTHER DANCE FORMS
1. POPULAR DANCE

2. JAZZ
• Is a fun dance style that relies heavily on originality and improvisation
• Many jazz dancers mix different styles into their dancing, incorporating their own
expression.
• Dancing is energetic and fun, consisting of unique moves, fancy footwork, big leaps
and quick turns.
• To excel in jazz, dancers need a strong background in ballet, as it encourages
grace and balance.

3. HIP-HOP
• Hip-hop is a dance style, usually danced to hip-hop music that evolved from the
hip-hop culture.
• Hip-hop is a form of popular music that is comprised mainly of emceeing,
deejaying, graffiti and breakdancing.

Street Dance
• Street dance, also called vernacular dance is an umbrella term, used to describe
dance styles that evolved outside of dance studios in everyday spaces such as
streets, school yards and night clubs.

4. CONTEMPORARY DANCE
• Is a style of dancing where dancers are free to express their feelings through
movements without adhering to any rules in dance particularly that of ballet. It is
a rebellion against the confining nature of classical ballet (Horwitz, in Reynolds,
1979).

5. MODERN DANCE
• Modern dance is a highly expressive style of dance that challenges the structured
dance technique of classical ballet.
• Dancers of modern dance use their interpretations instead of structured step.
• Modern dance uses more of the torso on a horizontal rather than a vertical plane,
and new varieties of tilting, twisting, and bending movements. The feet are not
always turned out and are either pointed or flexed.

III.PRACTICE

NOTE: The teacher can allocate this part as dance practice sessions to his students.

50
 IV.PERFORMANCE
CULMINATING ACTIVITY
The teacher will let the students choose a certain dance form they are going to perform.
It can be a group or individual performance.

Rubrics for Dance Performance:

Exceeds Meets Approaching Does Not
Expectations Expectations Expectations Meet
SCORE
4 3 2 Expectations
1
Knowledge of Demonstrates Demonstrates Demonstrates Demonstrates no
Choreography excellent knowledge of some knowledge knowledge of
knowledge of movement and of movement, and movement.
choreography and performs with few performance has
performs errors. many errors.
movement free of
errors.
Stage Dancer uses their Dancer uses Dancer uses little Dancer uses no
Presence face and body to facial and body face and body facial and/or body
fully express the expressions when expressions when expressions.
intent of the performing. performing the
movement. movement.
Musicality Shows a full Shows Has some Dancer speed up/
understanding of understanding of knowledge of and or falls
rhythm and timing rhythm and timing rhythm and behind often
by staying on beat by staying on beat timing, but speeds throughout the
for the entire throughout most up/and or slows dance.
dance. of the dance. down many time
throughout dance.
Technique Great attention to Choreography is Choreography is Choreography
the quality of performed with performed with shows no
movement, body attention to details little attention to attention to details
position, and and shows details of of movement and
demonstrates proficiency of movement, and demonstrates little
excellent dance style. student is not knowledge of
understanding of proficient is dance dance style.
dance style. style.
Effort Shows great effort Shows effort Shows little effort Shows no effort
while performing when performing while performing while performing
choreography. choreography the choreography choreography.
Source:
https://www.orange.k12.nj.us/cms/lib/NJ01000601/Centricity/Domain/2698/Dance%20Performanc
e%20Rubric.pdf

REFERENCES:

Internet Sources:
• https://www.masterclass.com/articles/modern-dance-explained#10-famous-modern-
dancers
• http://dance.about.com/od/typesofdance/tp/Dance_Types/htm

Books/Journals:
51
 • Aparanto, Conrado A., et.al. 2017. Physical Education and Health Volume II. Rex Printing
Company, Inc.
• Jaluage, Jucel A. 2011. Rhythms and Dances College Workbook. Lucky Four Copy, Inc.
• Radir, Ruth A. 2001. Modern Dance for the Youth of America. A.S Barnes & Co., New York.

REVIEWED BY:

Focal Person 1 Focal Person 2 Focal Person 3

Campus Campus Campus

APPROVED BY:

52