MODULE 1 : Definitions and Concepts of Terms

Objectives: At the end of the lesson, the students are expected to

A. Identify the following terms

 Rhythm
 Movement
 Dance
 Folkdance
 Ethnic Dance
 Foreign Dance
B. Explained the aforementioned terms; and
C. Appreciate the significance of each word in the study of the course

II. Overview

In this module, definition and concept of terms will be discussed comprehensively so as to be more familiar with the different
terminologies used in the study of this course.

III. Learning Contents

 Rhythm
From the Greek word “rhythmos” which means “any regular recurring, symmetry”
Movement marked by the regulated succession of strong and weak elements, or of opposite or different directions.
 Movement

Motion ; change in position

 Dance
Is an art form that generally refer to movement of the body, usually rhythmic to music. Used as form of expression ,
social interaction , or presented in a spiritual or performance setting
 Folkdance
 A traditional dance originating among the commom people of nation or a region. They
 Are dances performed at social functions by people with little or no professional training , often to
traditional music, based on traditional music.
 Their execution is dominated by an inherited tradition rather than by innovation (although like all folk
traditions, they do evolve)
 It has a definite pattern of movement
 It appeals to all ages, as movements are simple, easy and expressive
 It is a wholesome form of entertainment
 These are dances which are made by the people, danced by the people and were handed down from
generation to generation
 Ethnic Dances
These are dances that are usually created and performed by specific ethnic groups within societies or cultures
 Foreign Dance
It depicts from the cultures of various countries their political, economic, social, intellectual, geographical and
religious nature of society. They are assigned according to the culture of the country of origin and they give the
people a feeling of pride and unity
It is exclusive to one country

Activity 1 : “Scrumble Word Art” about the 6 concepts

SCRUMBLE WORD ART

ACTIVITY INSTRUCTIONS

 Drawing / painting must be on paper of Short oslo paper

 Acceptable tools of drawing / painting include pencil, crayon, water color, oil paint, computer drawing, etc.
Photographs, wires, and other 3D objects are not acceptable.
 The completed artwork must be on a flat piece of paper.
 The drawing / painting must present the 6 concept aforementioned.
 The theme "Dance is an ART" should be the main focus of the activity.

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MODULE 2: Origin and Principles of Dance

I. Objectives:
At the end of the lesson, the students are expected to
a. explain the Origin and Principles of dance;
b. enumerate the five (5) Principles of Dance and;
c. appreciate the importance of Dance
II. Overview:
Origin of Dance

Dance does not leave behind clearly identifiable physical such as stone tools, hunting implements or cave painting. it is not
possible to say when dance became part of human culture. Joseph Jordania recently suggested, that dance, together with
rhythmic  music and body paintings, was designed by the forces of natural selection at the clearly age of evolution as a potent tool. In
this state hominids were losing their individual identity and were acquiring identity

Jonathan Pieslak’s research shows that some contemporary military units use loud group singing and dancing in order to prepare
themselves for the dangerous combat missions. Dance has certainly been an important part of ceremony, rituals, celebrations and
entertainment since before the birth of earliest human civilizations. In Indian and Egyptian tomb paintings depicting dancing figures
from 3300 BC. According to a Sinhalese legend, Dances originated 250 years ago, from a magic ritual that broke the spell on a
bewitched king

Principles of Dance Philosophical – Clem Stanyon

1. Together is better
2. Know your role
3. Less is more
4. Be happy
5. Minimize thought

III. Learning Content :

Origin and Principles of Dance

Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave paintings. It is
not possible to say when dance became part of human culture.

Joseph Jordania recently suggested, that dance, together with rhythmic music and body painting, was designed by the forces
of natural selection at the early stage of hominid evolution as a potent tool to put groups of human ancestors in a  battle trance, a
specific altered state of consciousness. In this state hominids were losing their individual identity and were acquiring collective
identity. Jonathan Pieslak's research shows, that some contemporary military units use loud group singing and dancing in order to
prepare themselves for the dangerous combat missions. According to Jordania, this trance-inducing ability of dance comes from
human evolutionary past and includes as well a phenomenon of military drill which is also based on shared rhythmic and monotonous
group activity

Dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the
earliest human civilizations. Archeology delivers traces of dance fromprehistoric times such as the 9,000 year old Rock Shelters of
Bhimbetka paintings in India and Egyptian tomb paintings depicting dancing figures from c. 3300 BC

One of the earliest structured uses of dances may have been in the performance and in the telling of myths. It was also sometimes
used to show feelings for one of the opposite gender. It is also linked to the origin of "love making." Before the production of written
languages, dance was one of the methods of passing these stories down from generation to generation

Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals. Dance is still used for this
purpose by many cultures from the Brazilian rainforest to the Kalahari Desert

SriLankan dances goes back to the mythological times of aboriginal yingyang twins and "yakkas" (devils). According to a
Sinhalese legend, Kandyan dances originated 250 years ago, from a magic ritual that broke the spell on a bewitched king. Many
contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dance

Principles of Dance Philosophical  (by Clem Stanyon)

1. Together is better

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 The principle aim of all basic step patterns, and all figures, is to allow two people to coordinate their
movements to music without any other communication. So long as the people are moving in sympathy with each
other, it doesn’t matter on what beat they are dancing, whether the figures are executed according to rigorous
parameters, or anything else. Grace and connectivity are what dancing is about, not the rigid formalization of these
characteristics
2. Know your role
The aim of the lead in a partnership is to create a frame of movement in which the follow displays their
appreciation of the music. It is not for leads to detract from the follows’ efforts by grandstanding or showing off,
leaving their partners doing nothing. In the case of less experienced follows, the lead facilitates the movements of
the follow by extending their range of movement, teaching the follow to realize their capabilities. When the follower
is more experienced, they can take more initiative – as distinct from back-leading – and provide the leader with
more options into which the couple can move
3. Less is more
Unless performing, use styling only to accentuate points in the music, not points in a figure. When best
executed, these will coincide, but frequently, parts of figures suited for accent do not match the music, so leave that
head-flick out or outstretched arm in, until the music and the movement are right for it
4. Be Happy
No matter what their level of skill, happy, joyful people are much more fun to dance with than over-
focused, unhappy or attitude-ridden people. You will have more fun, and so will you partner, if you relax and enjoy
the experience, than try to force it to conform to your expectations of what it, or you, ‘should’ be
5. Minimize thought
Dancing is more about feeling – intuitive, spontaneous response to music – than about thought. While
learning a figure or working on something in a class, thinking is all to the better – understand what you have to do,
so you can remember it to practice later – but once the foundation is laid, you will enjoy it more if you let it flow
than spend all your time trying to remember while dancing (as opposed to practicing dancing). If you think too
much, you will forget to breathe, and to enjoy yourself

MODULE 3: Philosophy of Dance

I. Objectives
At the end of the lesson, the students are expected to :
a. discuss the different philosophy of dance;
b. enumerate the different philosophy of dance; and
c. appreciate the value of dance
II. Overview

Dance has been present since the beginning of human life, sympathetic magic being one of the first forms of movement.
Primitive man would dance his desires and dreams in hopes that the energy and emotion put into each step would strengthen the
possibility of making those dreams a reality. This topic deals about the well-known people and choreographers about their philosophy
of dance

III. Learning Content

Rome Cicero

 “Dance helps us to overcome our brutal feelings and take us to the spiritualism”
 “Dance is a form of yoga and helps to maintain blood pressure and to maintain physical strength”
 ” Dance helps us to understand life more deeply”

Maestro Hector Zaraspe

 “From paintings, to music, poetry, and dance, the soul searches for outlets to put its deepest thoughts and
feelings into mediums that will do the human spirit justice.
 “Body and soul, music and dance conceive an instrument of expression through which the spirit communicates.

Edgar Degas

 Dance as art is expression given form through movement. Dancers paint pictures and write poetry with their
bodies.
 They convey emotion through their birth given instruments.”
 There exist endless styles, techniques, and theories on dance, each one credible in its own unique way

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  Movement is a visual inspiration that not only provides release for its creator but motivation for its observer as
well.
 “Art is not what you see, but what you make others see.”

Martha Graham

 Dance for me has been a parent since childhood. It has taught me strength, discipline, and pride. It continues to
test my confidence and pushes me to lift myself beyond what I am capable of”
 “My imagination can become overwhelmingly full of ideas and thoughts and movement helps me take those
visions and put them onto my own body and others, communicating these dreams in the best way I know how.”
 “Nothing is more revealing than movement.

Murray Louis

 “Dance brings me the most joy when I can bring joy to others.”
 If I can touch a person through my creative power and make them laugh, cry, or inspire them to feel something
more, than I have fulfilled my reason for dancing
 “Dancers work and live from the inside.”
 “They drive themselves constantly producing a glow that lights not only themselves but audience after
audience.”

Mary Wigman

 “My dance philosophy is that dance is born in everyone and exists in everyone.”
 “Dance is an outlet for the mind, the body’s other instrument.”
 “There are feelings that cannot be expressed through description with words. Dance fills in those blanks. Dance
should bring joy to those dancing and observing.”
 “Dance provides release and is every human’s birthright. As long as people walk, they will dance.”

Activity : Who is your favorite Choreographer from 6. And Why?

MODULE 4: The Basic Elements of Dance

I. Objective:
At the end of the lesson, the student are expected to :
a. define the three basic elements of dance
b. enumerate the three elements and aspects of dance; and
c. apply the movements in the elements of dance
II. Overview

Space, Dynamics, and Rhythm are the three elements of dance. Each element has their functions and aspects. Space have six
aspects namely floor plan, direction, focus, level, dimension and contour. Dynamics have five aspects namely swinging movement,
sustained movement, percussive movement, suspended movement and vibratory movement. Rhythm has measure, tempo, underlying
beat, phrase, accent and intensity

III. Learning Content

Elements of Dance

1. Space : It is the first element of dance. Dance employs the use of space and requires, utilize a certain amount of
time in the study of space there are six different aspects to be considered
1.1 Floor Plan: -It develops as an individual or group moves through a pathway in space
1.2 Direction: -It becomes evident whenever some part of the body is in action
1.3 Focus: -It involves the conscious attention and movement of the eyes
1.4 Level: -Graduation of levels may range from the highest possible jump reach to a recumbent
position.
1.5 Dimension: - Connotes range of possible change in size within varying limits from the smallest to the
largest movement

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 1.6 Contour : - Refers to the body either stationary or moving as outlined against the background of the space

2. Dynamics: It is the second element of dance. As a second element of dance, it is the force or the way in which energy
is applied or extended. It gives strength or power to the movement

2.1 Swinging Movement: - In swinging or pendulum movement, the impulse is noticeable. The momentum is continuous,
and follow through is unrestrained
2.2 Sustained Movement: - In sustained movement, the impetus and the completion of movement are not easily discernible
2.3 Percussive Movement: - Shows movement with the marked impulse with a completed checked follow through. It
is staccato in quality and is executed against resistance
2.4 Vibratory Movement: - The impulse occurs so rapidly that the constructions are relaxation comes very close together.
2.5 Suspended Movement - Though it is not static in quality, it is characterized by momentary interruption of the continuity
of the movement

3. Rhythm: It is the third element of the dance movement. It came from the Greek word ”rhythmos” which means any
measurement or movement.

3.1 Measure: - underlying beat or measure

3.2 tempo: - rate of speed movement, music and accompaniment

3.3 Underlying Beat: - steady continuous sound that is heard throughout any rhythmical sequence

3.4 Phrase : - long and short beat with feeling of unity

3.5 Accent: - force given to anyone beat in a measure

3.6 Intensity: -quality of movement or music

Activity: Video yourself or with your family member dancing apply the movements in the elements of dance.

MODULE 5: Locomotor and Axial Movements

I. Objective
At the end of the lesson , the students are expected to;
a. define locomotor and non-locomotor movements
b. explain the different types of locomotor and non-locomotor movements; and
c. demonstrate the aforementioned types of movement
II. Overview

This topic tells about locomotor and non-locomotor movements. This covers the definition and different steps in these movements in
order for the students to execute and be familiarized with these steps

III. Learning Content

1. Locomotor Movement - in which the body travels from place to place usually identified by weight transference on the feet
1.1.1.1 Walk/Step: transference of weight from one foot to the othe
1.1.1.2 Run: same as walk except the body leaves the ground between weight changes
1.1.1.3 Leap; same as run except the body is suspended in air between weight changes
1.1.1.4 Hop: leaving the floor from one or two feet and landing on one foot
1.1.1.5 Jump: leaving the floor and landing on both feet
1.1.1.6 Gallop: a combination of a step and a leap
2. Non-locomotor movement-in which the body performs without appreciable movement from place to place on movements of the
various parts of the body in fixed base
2.1.1.1 Flexion: bending or shortening of the body part occurring at a joint
2.1.1.2 Extension: - turning or twisting, circling
2.1.1.3 Pendular: swinging/swaying arms forward backward or sideward
2.1.1.4 Percussive: striking and hitting; pulling and pushing
2.1.1.5 Vibratory: shaking and beating
2.1.1.6 Sustained: a slow,smooth flowing movement with a balance throughout the series
2.1.1.7 Suspended: a sharp movement followed by a series of slow or prolonged movements

Activity : Video yourself while demonstrating the locomotor Movement and Non locomotor, Choose atleast 3 of the types of
movement.

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MODULE 6: Basic Movements, Skills and Positions

I. Objective
At the end of the lesson, the students are expected to;
a. identify the basic movements, skills and positions in dance;
b. execute the fundamental or basic arms and feet positions; and
c. value  the importance of the fundamental or basic arms and feet positions
II. Overview

These concepts taught in dance are the five basic positions of the arms and feet. The mastery of these positions is
essential to a child’s further development in dance. These positions comprise the most basic and most important strong hold
in dancing

These basic steps, basic movements, basic patterns, or simply “basics” in dance defines the character of a particular
dance. It sets the rhythm of dance. It is the default move to which a dancer returns when not performing any other moves. For
some dances, it is sufficient to know the basic steps performed in different hand holds and dance positions to enjoy it socially

III. Learning Content

Here are the five fundamental arms and feet position in dance.

ARMS POSITIONS
1st Position : Both arms are raised forward in a circle in front of the chest with the fingertips about an inch apart

2nd Position: Both arms are raised sideward with graceful curve at shoulder level.

3rd Position : Left arm is raised sideward as in 2nd position; right arm raise upward

4th Position : Left arm is raised in front as in first position; right arm raised overhead.

5th Position : Both arms are raised overhead

FEET POSITIONS
1st Position : Heels close together; toes apart within an angle of around 45 degrees.

2nd Position: Point the right toe sideward; bring down the heel of the right foot

3rd Position : Heel of one foot is close to in step of other foot

4th Position : Point the right toe forward; bring down the heel of the right foot.

5th Position : -Close the right foot to the left by circling and return to the first position

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Activity : Picture yourself performing the five fundamental arms and feet position in dance

MODULE 7: Different Fundamentals in Folk dancing

I. Objective
At the end of the lesson, the students are expected to;
a. demonstrate the different skills in dance
b. perform the basic movements in dance; and
c. appreciate the importance of basic movements skills and dance
II. Overview

This topic will deal will the different fundamentals dance terms used in Folkdance including their execution which will be of big
help in the study of the course particularly in Folk dancing

III. Learning Content

COMMON DANCE TERMS:

1. Amplified- more open positions on 1st or 5th positions
2. Lateral- both arms raised at one side parallel to each other
3. Hayon- Hayon- one arm bent in front at waist level. The other is bent behind also at waist level
4. T” position- both arms at sides and bent at the elbows so that the upper arms re at shoulder level.
5. Reverse “T” position- both arms at sides and bent at the elbows so that the forearms are parallel to the head, palms facing
inwards
6. Abresete- Girl at the right side holds R arm of partner with her L hand, free hands sown at sides. This term is Spanish in
origin and is used in rigodon and in other dances
7. Arms in lateral position– both arms at one side, either right or left; at shoulder, chest, or waist level.
8. Brush- weight on one foot, hit the floor with the ball or heel of the other foot, and lift that foot from the floor to any direction
9. Cabeceras- the couples occupying the width of the hall when dancers are in square formation (head couple).
10. Clockwise- like the motion of the hands of the clock. R shoulder is toward the center of an imaginary circle. When facing
center, movement is toward the left.
11. Counter clockwise- the reverse direction of clockwise, L shoulders toward center. Movement is toward right when facing
center of circle
12. Costados- the couple occupying the length of the hall when dancers are in square formation (side pair
13. Crossed arms- partners facing each other or standing side by side join their L hands together and the R hands together; either
R over L or L over R
14. Cut- to displace quickly one foot with other.
15. Do-si-do- partners advance forward, pass each other’s right (or left) side, step across to the right (or to the left) move
backwards without turning around,  pass each other left (or right)side to proper places
16. Free foot- the foot not bearing the weight of the body.
17. Free hand- the hand not placed anywhere, or not doing anything.
18. Hands on waist- place hands at the waist line, knuckles in, fingers pointing rear.
19. Hapay- to flourish or offer a handkerchief, hat, glass of wine to somebody as a sign of invitation.
20. Hayon-hayon- to place one forearm in front and the other at the back of the waist.
21.  Hop- a spring from one foot-landing on the other foot in place or in any direction.           
22. Inside foot- the foot nearer the partner when partners stand side by side.
23. Jaleo- partners turn around clockwise (with R L elbows almost touching) or counter clockwise (with L elbows touching)
using walking or any kind of dances.
24. Jump- a spring on one or both feet landing on both feet in any direction.
25.  Kumintang- moving the hand from the wrist either in a clockwise or counter clockwise direction.
26. Leap- a spring from one foot, landing on the other foot in any direction.
27. Masiwak-to turn the hand from the wrist halfway clockwise, then raise and lower wrist once or twice.

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 28. Outside foot- the foot away from one’s partner when partners stand side by side.
29. Outside hand- the hand away from one’s partner, when partner’s stand side by side.
30.   Opposite- the person’s standing across the set.
31.   Panadyak- to stamp in front or at the side with R (L) foot and top with same foot close to the L (R) foot. Weight of the body
on L (R) foot. This is a tagalong term
32. Partner- girl to right of boy and boy to left of girl.
33. Patadyong- a kind of woven material usually of cotton, plaid, multi-colored skirt, popularized by Miag-ao weavers of Iloilo.
34.  Place- to put foot in a certain position without putting weight on it; the sole of the foot rests on the floor.
35. Pivot- to turn the with the ball, heel, or whole foot, on a fixed place or point.
36. Point- touch the floor lightly with the toes of one foot, weight of the body on the other foot.
37. Salok- swinging the arm downward-upward passing in front of the body as if scooping; the trunk is bant forward following
the movement of the arm doing the salok.
38. Saludo- partners with feet together bow to each other, to the audience, opposite dancers, or the neighbors.
39.  Sarok- cross the R(or L) foot infront of the L (or R) bent the body slightly forward and cross hands down in front with the R
(or L) hand over the L (or R)
40. Set- a dance formation like a square or a unit formation composed of two or more pair.
41. Slide- to glide foot smoothly along the floor.
42. Stamp- to bring the foot forcibly and noisily on the floor. Step- to advance or recede by moving one foot to another resting
place with a complete transfer of weight from one foot to the other
43.  Supporting foot- the foot that bears the weight of the body.
44. Tap- to tap slightly with the ball of the foot or toe of the free foot keeping weight of the body on the other foot. There is no
transfer of weight.
45.  Whirl- to make fast turns by executing small steps in place, right, or to left.

ACTIVITY : Record yourself demonstrating the common dance terms. Choose only 10.

MODULE 8: Analysis of Dance Steps, Arms, Feet and Body Movements/ Positions in All Time Signatures

I.  Objectives:

At the end of the lesson, the students are expected to:

A. identify the steps in all time signatures;

B. execute the steps with proper counting; and
C.  appreciate the importance of time signatures in the execution of the steps.
II. Overview:

This module will talk about the basic steps in all time signatures. In here, we will be more familiarized with the steps and we
will know how to execute them with proper counting.

III.  Learning Content:

BASIC DANCE STEPS IN 2/4 TIME SIGNATURE

Dance Step Step Pattern
A.Ct. 1 2 = M
1. Touch step Point, close
2. Bleking step Heel, place, close
3. Close step Step, close
4. Hop step Step, hop
5. Slide step Slide, close
6. Cross step Step, cross or Cross, step
B.Ct. 1 and 2 =1M
1. Change step Step, close, step
2. Cross and change step Cross-step, close, step
3. Contraganza Leap, cross-step, step
C. Ct. 1 2 and = 1M
1. Habanera step Step, close, step
D.Ct. and 1 and 2= 1M
1. plain polka Raise-step, close, step
2. Hop polka Hop-step, close, step

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 E. Ct. 1 2 1 and 2 = 2M
1. Heel and toe change Heel-place, toe-point, raise-step, close, step
G. Ct. 1 and 2 (do as many times as desired)

1. Mincing step With heels raise, take as many steps as desired

2. Shuffling step With both feet flat on the floor, take tiny slide steps

3. Chasing steps With one foot leading, take successive close steps to any direction

BASIC DANCE STEPS IN ¾ TIME SIGNATURES

Dance Steps Step Pattern
A. ct. 1-2 3 = 1M
1. Touch step Point, close
2. Bleking step Heel, place, close
3. Close step Step, close
4. Hop step Step, hop
5. Slide step Slide, close
6. Cross step Step, cross or Cross, step
7. Step-swing Step, swing
8. Step-swing hop Step-swing, hop
9. Step-brush-swing-hop Step, brush-swing, hop
B. Ct. 1 2 3= 1M
1. Native waltz Step, close, step
2. Cross waltz Cross-step, close, close
3. Mazurka Step, close-heels raise, heels-down
4. Redoba Slide, cut, hop
C. ct. 1-2 3 1 2-3
1. Sway balance with a point Step, cross-step, step, point
2. Sway balance with a raise Step, cross-step, step, raise
3. Sway balance with a brush Step, cross-step, step, brush
4. Sway balance with a hop Step, cross-step, step, brush
5. Sway balance with a close Step, cross-step, step, close
6. Engano step with a close Step, cross step, step, close
BASIC DANCE STEPS IN 4/4 TIME SIGNATURE
Dance Step Step pattern
a. Ct. 1 2 3 4 = 1M
1. Schottiche Step, close, step, hop (raise foot in front)
2. Escotis Step, close, step, hop (raise foot in rear)
B. Ct. 1 2 3 4 1 2 3 4 =2M
1. Chotis Brush, raise, brush, raise, step, step, step. Close or pause

ACTIVITY: Record yourself demonstrating the basic dance terms. Choose only 2 from the different time signature.

MODULE 9: Origin and Development of Dance in the Philippines

I. Objectives:
At the end of the lesson,  the students are expected to:
A. discuss the history of Philippine Culture giving emphasis on Dance;
B.  identify the various regions of the Philippines and its distinction from each other; and
C.  value the importance of this Historical Developments in our culture especially on dance.
II.   Overview:

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 Philippine Culture is the one that separates us from the rest of the world, our colorful and lively culture that make us
distinctly Filipino. This includes traditions, languages, arts, etc., which are found in museums, churches and galleries,
found within the heart of key cities.

Most provinces have their own identifying folk dances too wherein they showcase the elegance and beauty of the way they
do things, the way they dress, the way they see things as shown in different paintings, as we have been influenced by various events as
that happened in our history.

III. Learning Content:

In Prehistoric times, dance was usually a communal affair and remained essential with the emergence of high civilizations,
social/caste made it felt and developed into a form of art. Specially, the aristocracy created the professional dancer and the
spectacle, or theater, dance limiting its own dancing to a simple exercise that eventually led to ballroom dancing. The common
people excluded from enjoyment of those past times, continued their communal dancing.

Primitive Years

Among early people, dancing was a popular and common activity with almost all occasions celebrated by dancing. They
danced to the accompanying of gong and drums to appear the evil spirit whom they believed caused them sickness. Dance was a
part of their religious offerings to their God in nature.

War Dance- intended to incite the fighting of the warriors, commonly performed to the quick tempo of a drum.

Festival Dance- great and exciting occasions for the primitive people

Courtship/Wedding Dance- performed with intricate hand and body movements

The development of the folk dance in the Philippines is a very big step to enriching its culture not only because Filipinos can
be proud of it and also because it is their culture. Here are        the developments:

1. Folk dances are performed at different countries.

2. Folk dances are danced by other people all over the world.

3. It tells us that Filipino culture is rich.

The History of the Filipino Folk Dance

  Philippine Folk Dance

- has a long and diverse history

- -originality from pre-colonize era to the Spanish occupation (1500s-1800s)
- -tell stories about historical happenings, ways of living, cultural influences and                                        religion customs.

Pre-Hispanic Times

-long before the Spaniards came to the Philippines, the indigenous people who                mostly live in the
mountainous regions used folk dances in cultural celebration,    worships and rituals.

-they used music and dance to: connect with the Gods-appease their ancestors.

-pray for bountiful harvest and favourable weather.

-ask for healing.

-seek guidance during wars, ward off bad luck and natural calamities, to socialize,                             and to express
feelings

Northern Luzon (Ilocos Region-North, Tagalog Region-South)

-most of the folk dance here are mixtures of indigenous and Spanish elements and                        are usually
performed during special occasion such as, weddings, and fiestas.

Southern Tagalog

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 -Manila

the major Government centers have been located here so most of the dances in the   region reflect Spanish and
European influences.

Visayan Dances

-Visayas- central part of the Philippine archipelago.

 -mostly tell stories of people’s lives and frequently grow inspiration from animal                                             
movements.

Muslim and Moro Dances

-Mindanao Region-Southern part of the Philippine is a Muslim region never                                       
conquered by Spaniards.

-Islam was introduced during the 12th century and Muslims are also known as                                    
“moros”

-dancers typically mean allowing and colourful costumes decorated with jewels,               swords and
shields.

MODULE 10: Ballet, Modern, Pop, Ballroom, Folk and others

I.   Objectives:

At the end of the lesson, the students are expected to:

A. identify the different classifications of dance;

B. state clearly the meaning of Ballet, Modern, Pop, Ballroom & Folk Dance; and
C. appreciate the different classifications of dance.
II.    Overview:

This module talks more about the different classifications of dance. Actually, there are many classifications of dance, but this 5
classifications are well known and popular. After discussing this lesson, you will be able to identify the dance whether it is ballet,
ballroom, modern, pop or folk dance. But the only difference is their style and the way they are danced.

III. Learning Content:

Ballet : Ballet is a formalized kind of performance dance, which originated in the Italian Renaissance courts of the
15th century, and which was further developed in France and Russia as a concert dance form. Ballet serves as a backbone for
many other styles of dance. Ballet uses music and dance to tell stories. The word “ballet” comes from the French word “ ballare”
which means “to dance”.

Modern dance was born in the early 20th century is a dance style that rejects many of the strict rules of classical ballet, focusing
instead on the expression of inner feelings. It centers on a dancer’s own interpretations instead of structured steps. Modern dance was
created as a rebellion against classical ballet, emphasizing creativity in choreography and performance

Pop/Popular Dance

Dancing performed in public or in private solely for the enjoyment of the participants is known as popular dance. It was
practiced as early as 3000 years ago at both community and family levels. Popular dance also defined as the best interactive audience
dance entertainment participatory activity in the world.

Ballroom Dance: Ballroom 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.
In times past, ballroom dancing was social dancing for the privilege. In competition, ballroom dancers are judged by diverse criteria
such as poise, the hold or frame, posture, musicality and expression, timing, body alignment and shape, floor craft, foot and leg action,
and presentation

Folk Dance refers to a variety of dances developed by groups or communities, as opposed being made up by a choreographer.
It is also a dance made by the people, dances by the people and handed down from generation to generation. It is also a form of dance

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developed by a group of people that reflects the traditional life of the people of a certain country or region. They are dances performed
at social functions by people with little or no professional training, often to traditional music or music based on traditional music.

General Instructions:

1. Make a GC for only Physical Education by Section

2. This GC will serve as a tool for passing the video or any requirement in this subject.
3. If you have any issue, kindly message me.
4. Any message that has no connection to the subject will be given a deduction.
5. The deadline of all the activities is on November 07, 2020 at exactly 5:00 PM.

Note: The best form of learning is learning by doing and so you are required to demonstrate the needed activities on this subject.

12 | P a g e PHYSICAL EDUCATION 12 - Midterm