PORTFOLIO IN

PHYSICAL EDUCATION
Course No.

Submitted by:

ERLENE P. LINSANGAN
BSBA-1B

Submitted to:

JEREMIAH CANTOR
Instructor
 TABLE OF CONTENTS

I. TITLE PAGE
II. Table of contents
III.Cover Letter
IV. TOPICS
A. Lesson 1
 Cordillera and Western Influenced Dance
 Keywords/Keyconcepts . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3
 Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
 Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
B. Lesson 2
 Muslim Dances
 Keywords/Keyconcepts . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8
 Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
 Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
C. Lesson 3
 Ethnic and Countryside Dances
 Keywords/Keyconcepts . . . . . . . . . . . . . . . . . . . . . . . . . . 11-16
 Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
 Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
D. Lesson 4
 Contemporary and Ballroom Dances
 Keywords/Keyconcepts . . . . . . . . . . . . . . . . . . . . . . . . . . 19-21
 Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
 Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
V. General Reflection
VI. Grading Rubrics
 COVER LETTER

This Portfolio is about the lessons we learned during the Enhance Community
Quarantine because of the COVID-19 pandemic the contents of this portfolio are a
variety of lessons and activities that we have undertaken as well as our exams. This
Portfolio defining and describing all the topics that is related to Physical Education
This Portfolio also outlines our reflections on each lesson, what we learned on the
lessons and activities we provide, as well as the ways we have worked to finish its
portfolio, how we can overcome difficulty beyond poor internet and lack of load.
This Portfolio also shows what our motivations for making this portfolio, how we
became responsible. Thanks to our parent's help and understanding, we have
successfully completed this portfolio.
What we have learned in creating this portfolio and the lessons in this portfolio we
can apply it to our lives and our future.
  LESSON 1
Title: CORDILLERA AND WESTERN NFLUNCED DANCES

 KEYWORDS/KEYCONCEPTS

Cordillera, a name given by the Spanish Conquistadors when they first saw the
mountain ranges. Meaning "knotted rope", the Spanish term refers to the jumbled rolls
and dips of this long-range traversing the northern part of Luzon Island.

Today, if one is to generalize one of the six ethno-linguistic tribes as an "Igorot" is

considered degrading. Living amidst the rice terraces that tower over Northern Luzon are
a people whose way of life existed long before any Spaniard or other foreigners stepped
foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes reign
over Luzon's mountain terrain.

Banga (Tribe: Kalinga)

"Banga" literally mean pots. The Banga or pot dance is a contemporary performance of
Kalinga of the Mountain Province in the Philippines. This dance illustrates the languid
grace of a tribe otherwise known as fierce warriors. Heavy earthen pots, as many as
seven or eight at a time, are balanced on the heads of maidens as they trudge to the
beat of the "gangsa" or wind chimes displaying their stamina and strength as they go
about their daily task of fetching water and balancing the banga.

Bendayan (Benguet Province, Northern Luzon)

Also popularly called Bendian, this circle dance of the Benguet of Mountain Province is
restaged, keeping true to the dance's context and meaning. Long known as a dance to
celebrate the arrival of successful headhunters, the Bendayan has taken a new face. It is
part of every Benguet festivity with the circles slowly giving way to other formations and
interpretations.
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Lumagen /Tachok (Tribe: Kalinga)
When the Kalinga gather to celebrate a happy occasion like the birth of a first-born baby
boy, a wedding, or a budong (peace pact), the Kalinga Festival Dance (Tachok) is
performed. This is danced by the Kalinga maiden. The dance imitates birds flying in the
air. Music is provided by gangsa, or gongs, which are usually in a group of six or more.

Manmanok (Tribe: Bago)

Three Bago Tribe roosters compete against each other for the attention of Lady Lien.
They use blankets depicting colorful plumes to attract her.

Ragsaksakan(Tribe: Kalinga)
This dance portrays the walk of the industrious Kalingga women, carrying water pots on
their heads and wearing the colorful hand-woven "blankets of life" around their necks.
Their walk imitates the climb up the Rice Terraces in the Mountain Provinces of the
Philippines.

Salisid (Tribe: Kalinga)

The Salidsid is the Kalinga courtship dance, performed by a male and female (and thus
is sometimes called the "cayoo" dance). The dance starts when each of the dancers are
given a pice of cloth called ayob or allap. Usually the most important people in the village
are the second to dance after the host has signified that the occasion is formally open.
The background and meaning in this dance is evident. The male simulates a rooster
trying to attract the attention of a hen while the female imitates the movements of a hen
being circled by a rooster.
Salip (Tribe: Kalinga)
Tribes in the mountain provinces of Luzon preserve their identity, customs and lore.
Their dances celebrate important events in life such as birth, wedding, victory in war and
thanksgiving. A Kalinga wedding dance is an important celebration. The bridegroom
offers the bride the protection and comfort of his blanket. He simulates the movements
of a rooster at love play, aspiring to attract and seize his love. The bride's friends are
ready to help prepare the bride by offering "bangas" (earthen pots) filled with fresh water
from the mountain spring.

Turayen (Tribe: Gaddang)

Gaddang comes from the word ga, meaning "heat" and dang, meaning burned". The
Gaddang live in the middle of Cagayan Valley and speak a language similar to Ilokano.
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Most of them converted to Christianity, and those who live alongside Christianized
Ilokano groups have more or less adjusted to settled agriculture of mixed crops. Small
and scattered groups in southeastern Kalinga, eastern Bontoc, and Isabela regions
retain their indigenous religion and practice swidden agriculture (the cutting back and
burning of existing vegetation to produce temporary farming plots) with supplementary
hunting and fishing. In this dance, the Gaddang imitate birds attracted to tobacco trees.

Tarektek (Tribe: Benguet)

Two tareketek woodpeckers vie for the attention of three females. One Male woodpecker
rhythmically bang on a brass gong to represent a good voice, while the other swish
about a colorful blanket representing beautiful plumage.

Uyaoy / Uyauy (Tribe: Ifugao)

The Ifugao people are said to be the "children of the earth." The term Ifugao is derived
from the word ipugao which literally means "coming from the earth." The Spaniards,
however, changed it to Ifugaw, a term presently used in referring not only to these
people but also to their province. This Ifugao wedding festival dance is accompanied by
gongs and is performed by the affluent to attain the second level of the wealthy class.
Wealthy people (Kadangyan) who have performed this dance are entitled to the use of
gongs at their death.
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 ACTIVITIES

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  REFLECTION

For me, learning different types of dances is very interesting because I loved to dance
even any genre of dancing. My family and I always travel to cordillera to have a vacation
and there and I can say that they have a very beautiful culture and a very unique kind of
dances. And also on how they dress while dancing.

In this lesson I learned the different dances of cordillera and I also learned the purposes
of each dances. I learned how tribes are creative. I learned where they used the dances.
I also see how cordillera protect their culture and also I want to learned their dances.
Dancing is a wonderful outlet for self-expression and creativity.

I manage to overcome difficulty in online classes/activity since I was studying at home I

am more comfortable in the environment and less pressure. And also the teacher we’re
always giving us heads up if when we will submit our activities. My parents always
support me and the encourage me to study well.

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 LESSON 2
Title: MUSLIM DANCES

 KEYWORDS/KEYCONCEPTS

Pangalay (Tribe: Badjao)

A pangalay native to the Badjao, sometimes known as the "Sea Gypsies."

Pangalay is a dance that emphasizes the agility of the upper body. The rhythmic
bounce of the shoulder with simultaneous alternating waving of arms are the
basic movement of this dance. The pangalay is commonly performed at
weddings and other social gatherings.

Burung-Talo

A form of self-defense. The dance like movements show a fight between a hawk
and a cat.

Asik (Tribe: Maguindanao)

A solo slave dance performed by the umbrella-bearing attendant to win the favor
of her sultan master. The girl wears long metal fingernails and dances and poses
in doll-like motions. Asik usually precedes a performance of Singkil.

Singkil (Tribe: Maranao)

Sinkil dance takes its name from the bells worn on the ankles of the Muslim
princess. Perhaps one of the oldest of truly Filipino dances, the Singkil recounts
the epic legend of the "Darangan" of the Maranao people of Mindanao.
This epic, written sometime in the 14th century, tells the fateful story of Princess
Gandingan, who was caught in the middle of a forest during an earthquake
caused by the diwatas, or fairies or nymph of the forest.
The rhythmic clapping of crisscrossed bamboo poles represent the trees that
were falling, which she gracefully avoids. Her slave loyally accompanies her
throughout her ordeal. Finally, she is saved by the prince. Dancers wearing
solemn faces and maintaining a dignified pose being dancing at a slow pace
which soon progresses to a faster tempo skillfully manipulate apir, or fans which
represent the winds that prove to be auspicious.
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The dancers weave expertly through crisscrossed bamboos. When performed by
ladies of the royalty of Lanao, the dancer is usually accompanied by a waiting
lady, who holds a beautifully decorated umbrella over the Princess' head
wherever she goes. Royal princesses to this day in the Sulu Archipelago are
required to learn this most difficult and noble dance.

TahingBaila (Tribe: Yakan)

Yakan dance for a bountiful fish catch where they imitate their movements

Pangsak (Tribe: Yakan)

The Yakan are a Muslim ethnic group in the highlands of Mindanao. They wear
elaborately woven costumes tightly on their bodies. Their dances involve
complicated hand and foot movements. In this dance, a man unties a wrap from
his wife-to-be's waist to wrap around her body and dance with. Both of their faces
are dotted with white paint, to hide their identity from evil spirits.

Pangalay ha Pattong (Tribe: Badjao)

A royal couple balance perilously on top of bamboo poles imitating the

movements of the picturesque southern boat (the vinta) with colorful sails gliding
across the Sulu Sea.

PangalaysaAgong

A variation of the Tausug's traditional dance, Pangalay, two warriors vie for the
attention of a lass both using gongs to show their prowess and skill.

Pagapir (Tribe: Maranao)

Pagaper depicts a royal manner of "walking" among the Maranao people who
live mainly around Lake Lanao. Ladies of the royal court perform this stately
dance in preparation for an important event. The ladies gracefully manipulate the
Aper (apir) or fan, while emphasizing their small steps, or "kini-kini", which is a
sign of good upbringing.

Sagayan (Tribe: Maguindanao)

Performed by very fierce warriors carrying a shield elaborately painted with

curlicues, rounds, twirls and mirrors which are attached with shell noisemakers.
In their other hand, they carry a double-bladed sword (kampilan) of metal or
wood. Sagayan dancers are dressed in three tiered skirts, brightly colored topper
and headgear embellished with all the imaginable colors of twine trimmings
formed into flowers, balls, sunbursts etc. Long, yellow playful tassels almost
hiding the face surround the headgear.
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The dance involves leaping, turning, jumping, kicking and the rolling movements
of a warrior ready to defend his master in battle. Kamanyang fumes inhaled by
the sagayan moves him to perform in a magic-like trance. On most occasions,
this dance is performed before any celebration or gathering to drive away evil
spirits (tunong) and to welcome good fortunes or omen.

Kapa MalongMalong

Also called SambisaMalong, this Maranao dance shows the

many ways of wearing a malong, a simple tubular yet highly
functional piece of cloth. The traditional women’s version shows this cloth of
countless colorful designs; used mostly as a skirt, woven in many different ways,
depending on the purpose of the wearer. Other ways the women wear malong is
as a shawl, a mantle, or a head-piece.

During more recent dance documentation, a men’s version was derived. This
version shows in masculine rendition, how men don the malong—displaying its
use as a sash or waist-band, shorts or bahag, and a head-gear that can be either
functional while working in the fields, or decorative as a turban.

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 ACTIVITIES

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 REFLECTION

I am not familiar with muslim dances but we all know the many Mindanao people
come from different part of the country where they go to other places to perform
dance or music and they use it to gain money.

But in this lesson I am more curious about their dances because I rarely see that
kind of dances. And also in this lesson I learned their different types of dances.
So I will use it to learned more about their culture because their songs are very
unique. Dancing promotes relaxation to our mind and body.

I manage to overcome difficulty in online classes/activity by managing my time in

doing the activities that are given to us. Although I always help my parent in
cleaning our house, I take time to do my school works and my parents always
understand it. When I don’t have load I always find ways. Another way I always
do is to ask my professor and classmates.

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 LESSON 3
Title: ETHNIC AND COUNTRYSIDE DANCES

 KEYWORDS/KEYCONCEPTS

The Itik-Itik

The best description of the Itik-Itik is that the steps mimic the way a duck walks,
as well as the way it splashes water on its back to attract a mate. According to
popular tradition, the dance was created by a lady named Kanang who
choreographed the steps while dancing at a baptismal party. The other guests
copied her movements, and everyone liked the dance so much that it has been
passed along ever since.

The Tinikling

The Tinikling is considered by many to be the Philippines' national dance. The

dance's movements imitate the movement of the tikling bird as it walks around
through tall grass and between tree branches. People perform the dance using
bamboo poles. The dance is composed of three basic steps which include
singles, doubles and hops. It looks similar to playing jump rope, except that the
dancers perform the steps around and between the bamboo poles, and the
dance becomes faster until someone makes a mistake and the next set of
dancers takes a turn.

The Sayaw sa Bangko

The SayawsaBangko is performed on top of a narrow bench. Dancers need good

balance as they go through a series of movements that include some impressive
acrobatics. This dance traces its roots back to the areas of Pangapisan,
Lingayen and Pangasinan.

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The Binasuan

The Binasuan is an entertaining dance that is usually performed at festive social

occasions like weddings and birthdays. Dancers carefully balance three half-filled
glasses of rice wine on their heads and hands as they gracefully spin and roll on
the ground. The dance originated in Bayambang in the Pangasinan province, and
though it's usually performed alone, it can also become a competition between
several dancers.

The PandanggosaIlaw

The PandanggosaIlaw is similar to a Spanish Fandango, but the Pandanggo is

performed while balancing three oil lamps - one on the head, and one in each
hand. It's a lively dance that originated on Lubang Island. The music is in 3/4 time
and is usually accompanied by castanets.

The PandanggoOasiwas

The PandanggoOasiwas is similar to the PandanggosaIlaw, and is typically

performed by fishermen to celebrate a good catch. In this version, the lamps are
placed in cloths or nets and swung around as the dancer’s circle and sway.

The Maglalatik

The Maglalatik is a mock war dance that depicts a fight over coconut meat, a
highly-prized food. The dance is broken into four parts: two devoted to the battle
and two devoted to reconciling. The men of the dance wear coconut shells as
part of their costumes, and they slap them in rhythm with the music. The
Maglalatik is danced in the religious procession during the fiesta of Biñan as an
offering to San Isidro de Labrador, the patron saint of farmers.

The Kuratsa

The Kuratsa is described as a dance of courtship and is often performed at

weddings and other social occasions. The dance has three parts. The couple first
performs a waltz. In the second part, the music sets a faster pace as the man
pursues the woman around the dance floor in a chase. To finish, the music
becomes even faster as the man wins over the woman with his mating dance.

La Jota Moncadeña

The La Jota Moncadeña is adapted by the Filipinos from an old Spanish dance.
It's a combination of Spanish and Ilocano dance steps set to Spanish music and
castanets. A more solemn version of this dance is sometimes used to
accompany a funeral procession, but it is also performed at celebrations.
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The Kappa Malong-Malong

The Kappa Malong-Malong is a Muslim-influenced dance. The malong is a

tubular garment, and the dance essentially shows the many ways it can be worn.
There are men's and women's versions of the dance since they wear malongs in
different ways.

The Habanera Botolena

The Habanera Botolena is a strongly flamenco-influenced dance that comes from

Botolan, Zambales. It combines Filipino and Spanish steps, and is a popular
dance at weddings. It is also considered a courting dance in some situations.

The Pantomina

Also known as the Dance of the Doves, the Pantomina mimics the courtship
between doves and is often also a courtship dance between the couples that
perform it. This dance is an important part of the SorsogonKasanggayahan
Festival held each October, where it is mainly performed by the elders of the
community.

The Cariñosa

The Cariñosa is a dance made for flirting! Dancers make a number of flirtatious
movements as they hide behind fans or handkerchiefs and peek out at one
another. The essence of the dance is the courtship between two sweethearts.

The Surtido

Surtido literally means "assortment," and this square dance combines influences
of French, Spanish and Mexican dance. Traditionally the Surtido is performed by
a head couple accompanied by two other couples who lead all the dancers
through various formations that resemble an old-fashioned quadrille.

The Singkil

The Singkil is a dance traditionally performed by single women to attract the

attention of potential suitors. Dancers perform a series of graceful movements as
they step in and out from between bamboo poles which are rhythmically clapped
together. Fans and scarves are often used to enhance the dancers' movements.

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The Polkabal

The Polkabal shows some European influence in its steps. The dance is
composed of nine different steps which include various movements such as
fluttering, stepping heel-to-toe, a reenactment of a bull fight, and even a leisurely
walk.

The Magkasuyo

The Magkasuyo is a variation of the balse - the one-two-three graceful triple

meter that Filipino traditional dance borrowed from the Spanish waltz. It is a
formal series of close-step-close movements with a couple facing each other in a
courtship configuration. Balse incorporates German and Spanish influence, but
the Magkasuyo is the specific invention of Quezon province, a large farming and
fishing region southeast of Manila with a rich tradition of outside influences,
including Spanish, Malay, and Muslim. A popular song MagkasuyoBuong Gabi
(Lovers for the Night) expands on the romantic nature of the dance.

COUNTRYSIDE DANCES

Pandanggo Sa Ilaw

This popular dance of grace and balance comes from Lubang Island, Mindoro in
the Visayas region. The term pandanggo comes from the Spanish word
fandango, which is a dance characterized by lively steps and clapping that varies
in rhythm in 3/4 time. This particular pandanggo involves the presence of three
tinggoy, or oil lamps, balanced on the head and the back of each hand.

Cariñosa

This flirtatious dance is known throughout the Philippines. Cariñosa means

affectionate, lovable, or amiable. With a fan or handkerchief, the dancers go
through hide-and-seek movements and other flirting acts expressing tender
feelings for one another. There are many versions of this dance, but the hide-
and-seek movements are common in all.

Kuratsa

This dance was very popular throughout the country during the Spanish regime.
It was one of the liveliest and best liked dances. Different regions have their own
version of this dance, being found in the Ilocos and Bicol regions. The one
performed today is the Visayan version from Leyte. This dance commands a
sense of improvisation which mimics a young playful couple’s attempt to get each
other’s attention. It is performed in a moderate waltz style.
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Maglalatik

During the Spanish regime, the present barrios of Loma and Zapote of Biñan,
Laguna, were separated. With coconut shells as implements the people of these
two barrios danced the Maglalatik, or Magbabao, a war dance depicting a fight
between the Moros and the Christians over the latik (residue left after the
coconut milk has been boiled). The first two parts of the dance, the Palipasan
and the Baligtaran show the heated encounter between the two groups.
The last two parts, the Paseo and the SayawEscaramusa show the reconciliation
between the two groups. According to the legend the Moros came out victorious,
thus getting the coveted latik. The Christians, not contented with the result of the
war, sent an envoy to the Moros to offer peace and to baptize them. The best
Maglalatik dancers are found in Zapote. In the daytime during the town fiesta of
Biñan, the Maglalatik dancers go from house to house performing this dance for
money or a gift. In the evening they dance Maglalatik in the religious procession
as it moves along the streets. They perform the dance as an offering to the
patron saint of the farmers, San Isidro de Labrador.

Tinikling

This 'Visayan' dance was found in Leyte where this dance originated. Dancers
imitate the tikling bird’s legendary grace and speed as they skillfully play, chase
each other, run over tree branches, or dodge bamboo traps set by rice farmers.
Hence it is named after the bird, tikling. this version of the dance is done between
a pair of bamboo poles.
The older people claim that the ‘Tinikling Ha Bayo’ from which the tinikling dance
evolved is more difficult to perform. It was originally danced between ‘bayuhan’,
two wooden pestles used to pound the husks off the rice grain.

Bulaklakan

This dance is a dance of floral garlands, dedicated to the VirginMary during the
Roman Catholic celebration of their holy week. It is performed widely during the
month of early May. “Bulaklakan” refers to green orchids and other flowering
plants. The town of Bulacan derived its name after bulaklakan because of the
natural floral growth in that area.

Sayaw Sa Obando

Prevalent of the provincial town of Bulakan, especially in its parts, Malabon and
Navotas—childless women make a pilgrimage to Obando. A festive event is held
in honor of Santa Clara (Saint Claire), patron saint of the childless. It is said that
women who wish to have children should participate in the Obando dance, and
soon after Santa Clara will grant their wish.
Subli

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A favorite dance of the people in nearly all the barrios of the municipality of
Bauan, Batangas, in the month of May and during the town and barrio fiestas. It
is a ceremonial worship dance performed in homage to the Holy Cross referred
to in the vernacular as Mahal Na Poong Santa Cruz. It originated some three
hundred years ago in the barrio of Dingin, Alitagtag,Batangas.
The name Subli is derived from two Tagalog words “subsub” (stooped or in a
crouching position) and “bali” (broken). Thus the men dancers are in trunk-
forward-bend position throughout the dance. They seem to be lame and crooked.

Sakuting

A dance of the Ilokano Christians and non-Christians from the province of Abra,
Sakuting was originally performed by boys only. It portrays a mock fight using
sticks to train for combat. The stacatto-inflected music suggests a strong Chinese
influence. The dance is customarily performed during Christmas at the town
plaza, or from the house-to-house. The spectators give the dancers aguinaldos,
or gifts of money or refreshments especially prepared for Christmas.

Tiklos

For centuries tiklos has been a very important factor in the social life of the
peasants of Leyte. Tiklos refers to a group of peasants who agree to work for
each other one day each week to clear the forest, prepare the soil for planting, or
do any odd job on the farm, including the building of a house. At noontime the
people gather to eat their lunch together and to rest. During this rest period Tiklos
music is played with a flute accompanied with a guitar and the guimbal or the
tambora (kinds of drum). The peasants then dance the Tiklos.

Abaruray

Abaruray is a contraction of the words Aba and Ruray. Aba is an exclamation

which is equivalent to “Hey!” or “Hi!” in English. Ruray is a nickname for Aurora.
In any social gathering in remote communities of the Philippines, it is the custom
to offer wine to the visitors. The offering is usually made by a young lady, who
goes around with a glass and a bottle of native wine, offering it to the visitors.
The wine offering is a signal for the beginning of folk dancing and singing. The
girl who is offering the wine picks out a young man from among the guests and
offers him a drink. This is her way of hinting at her desire to dance with him. The
young man has to accept it or he commits a breach of ettiquette and the girl is
offended.

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 ACTIVITIES

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  REFLECTION

I was really familiar in this dances because the dances here I also I danced it when our
school have a very important occasion and this dances I really fun to dance. Those
dances are popular to our country and its symbol of our beautiful culture especially in
dancing.

What I’ve learned in this is you don’t need to just dance but and also to be passionate on
what our doing. We need to show what culture the Philippines have and we need to
careful on dancing and make the audience feel our dancing that we are proud of being
Filipino. For me when I dance it reduces stress and depression.

I manage to overcome difficulty in online classes/activity by managing my time, I assure

that my activities are right and I make sure that I understand the lesson and activities
that were given to us. My parent always supported me so it makes me more productive.

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 LESSON 4
Title: CONTEMPORARY AND BALLROOM DANCES

 KEYWORDS/KEYCONCEPTS

Contemporary dance is a style of expressive dance that combines elements of

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

Ballet

In the aspect of modern dances, it is characterized by floor work; turn-in of the

legs; greater range of movement and body line; and pointe shoes but also bare
feet.

Burlesque

A literary, dramatic, or musical work which aims to create laughter by caricaturing

the behavior of serious works or via absurd treatments of such subjects.

Belly Dancing

Also known as Arabic dance or Raqssharqi, it is a dance originating from Egypt

and emphasizes on the complex movements on the torso.

Jazz

A performance dance style and technique which emerged along with jazz music.
This can be referred to as vernacular jazz or to Broadway or theatrical jazz..

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Hip-hop dance

refers to street dance styles primarily performed to hip-hop music or that have
evolved as part of hip-hop culture. It includes a wide range of styles primarily
breaking which was created in the 1970s and made popular by dance crews in
the United States.

Lyrical dance

is a dance style that embodies various aspects of ballet, jazz, acrobatics, and
modern dance According to Jennifer Fisher, lyrical dance is “strongly associated
with clearly displayed emotional moods, fast-moving choreographic strategies,
emphasis on virtuosic display, illustration of song lyrics, and, in group form, exact
unison.” The style is usually danced at a faster pace than ballet but not as fast as
jazz. Lyrical dance is a category typically found in dance competitions.

Free Style and Fusion dance

is a type of contemporary partner dance that combines different dance styles to

create a new aesthetic. It is typically an improvised, lead-follow approach to
dancing that does not conform to any particular defined dance styles. Fusion
dancing may involve creating a new dance style, combining existing styles, or
both.

Ballroom Dance

A duet dance, this refers to any type of partner dancing as recreation. It is

enjoyed both socially and competitively globally

Waltz

This is the most commonly thought-of dance when someone mentions ballroom
dancing. It is 28 bars per minute, done in 3/4 time, and it can be fairly romantic.

Tango

Ballroom tango is different when compared with Argentine tango. It has a 2/4
time signature, and it is 32 bars per minute. While ballroom tango can certainly
be romantic, sensual might be a better word to describe this popular dance.

Foxtrot

This is an all-American dance set to jazz music and can be fast or slow
depending on the band.

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Quickstep

This dance is inspired by the foxtrot, but it takes on a much quicker tempo, hence
the name.

Viennese Waltz

As soon as the 3/4 time music starts, the ballroom studio will become ablaze with
the quick and passionate flow of this ‘old school’ waltz.

International Latin Samba

A bouncy dance that is partnered for competitions, but as the national dance of
Brazil, it is solo.

Cha-Cha

This flirtatious dance can be thought of as a slower mamba. Much hip movement
will be involved.

Rumba

Many people consider the rumba to be the most passionate and romantic dance
on this list. It is incredibly complex and involves many different hip movements.

Jive

A spicy swing dance set to big band music in which the man leads and the
women encourage more men to ask them to dance.

Paso Doble
The man dances as if he was a bull, and the woman as if she was bullfighter.

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 ACTIVITIES

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  REFLECTION

We all know that contemporary dance is a kind of lyrical dance we dance when we feel
happy, sad, or confuse etc. In every step there is a story or something that we really feel.
In dancing we can express our feelings toward to the person we like or to make our
audience feel us. Ballroom is a great way of dance that people of all ages to get in shape
and stay fit. Dancing has many positive health benefits. Also it is a partnership dances,
which are enjoyed both socially.

I learned this kind of dances is a perfect combination of physical activity, social

interaction, and mental stimulation. And its bring so much to our life. I learned that it is a
great workout and has a physical and mental health benefits. We can enhance our social
life and self-confidence.

I manage to overcome difficulty in online classes/activity by managing my time in doing

the activities I didn’t rush myself to do it but I always assure that I pass it on time. I
always make myself productive and always organize my activities. I make sure that I’m
updated in every announcement by my professor.

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  GENERAL REFLECTION

I have learned about different types of dances including different dances in the Philippines
and our culture, contemporary, and more. In the beginning, I believed that I danced well
and dance was easy to do but once I figured out how much effort, practice, coordination,
and preparation for a dance, I thought differently. Dance is all about expressing your
emotions by using your body, having fun, gaining strength in my muscles and developing
a balance not only for dance purposes but for my inner self. I learned that dance is more
complex than I believe. There were elements I should consider in my movements like
posture, timing, poise, musicality and expression, presentation. I learned the different
culture of different places in the Philippines.

I overcome the difficulty in online class because our teachers give us consideration
when we are not able to comply in the activities that were given by our teachers because
we are lack of load and we have a poor signal. Teacher always approach us when we’re
not yet complete in their activities and exam. They always inform me when they have
announcements and quiz. And because of online class it helps us to study by our own
and be responsible student.
 GRADING RUBRICS