PE 2 -RHYTHMIC ACTIVITIES

Rhythm – is a measured motion or flow, characterized basically by recurrence of elements or features as beats, sounds, or accents.

– denote an aspect of the quality of movement, which is sometimes thought as dance. Structured forms, which start creative rhythmic
movements, are sometimes called rhythm.

Rhythmic Activities – refers to those activities where an individual responds physically and emotionally to music or any rhythmic accompaniment.

Dance - is an art that uses the medium of the human body to express a personal experience in an extraordinary way.

- can be defined as any patterned, rhythmic movement of the human body in space and time as a means of expression. (Seaton, et, al, 1992).

Dancing - is a means of expressing to an accompaniment of one’s emotions through movement disciplined by rhythm. It is an act of moving
rhythmically and expressively to an accompaniment. The word dancing originated from the German word “damson” which means to stretch. All
dancing is basically made up of stretching and relaxing movements.

VALUES OF DANCING

1. Dance is a highly educational activity which provides us with the knowledge and information of other people’s folklore, superstition, legends, rituals,
customs, celebrations and festivals. It also provides us with clues to the temperament, point of views and philosophy of other people.

2. Dance is part of our culture and its inclusion in the physical education program will help preserve social customs and traditions by passing them
along from one generation to another.

3. Dance is a splendid medium for the development of muscular endurance, strength, flexibility and organic vigor – in short, physical fitness.
4. Important attitudes and social learning’s can be promoted through a well-conducted program of dance activities. To be at ease with the opposite sex,
to learn social graces, and to make common elements of courtesy a practice, are important goals of a dance program.

5. Dance activities offer good opportunities for incidental and direct teaching in posture which can result in the development of grace and poise.

Factors that Influence Dance

1. Religion

Claudia Chapline writes of a religious dance which purposed to protect the church from the outer world.

The Ancient Hebrews danced their prayer and praise and were instructed in the Old Testament to “Praise Him with the timbrel ad dance “(Psalm
150). The earliest Christian ritual, the “Hymn of Jesus”, as described in the apocryphal Acts of John, written about A.D. 120, was a sacred dance in
which the Apostles, joining hands, circled slowly around Christ singing a hymn.

2. Occupation

Traditional mimetic occupational dances were taught and depict the processes involved in the trade. Passed from generation to generation, they were
one means of preserving folk customs.

3. Climate

The climate of a country affects the quality of the dance movement. The dance movements in the countries with colder climates tend to be very
vigorous; in the hot humid climates the movements tend to flow and appear effortless. The tempo of the dance, however, is not necessarily influenced by
the climate since climate vary; more often, it is the purpose of the dance which determines the tempo.

4. Geography

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 Geography plays an interesting and significant influence on dance. People who live in the mountains, by necessity, dance in a very small space. The
style of movement is influenced by the actual ground upon which they danced. Mountains, as physical features, have served to preserve folk dances in
their original form. Plains, valleys, and river, as physical features, are more favorable to interchange of dances.

5. Costume

Costume is determined by two basic factors, climate and geography. A costume is utilitarian in purpose; essentially it serves to protect the body from
the elements and to suit the life and work of the owner. Furthermore, as individuals and groups become more sophisticated, costumes serve to indicate
status, prestige, and wealth.

6. Music

Music, the twin sister of dance, is intimately related to movement in dance. The differences in the dance are largely due to the characteristic features
of the music of a particular group of people. It is predominantly music which reveals the often subtle differences in the performance of an otherwise
commonly shared step pattern.

PHASES OF DANCE

1. Fundamental Rhythms

The fundamental rhythm program sets the basis for rhythmic movement in all forms of dance activities through it stress on fundamental skills done
in rhythm. It centers on locomotor, non-locomotor or axial movements, and manipulative skills, with most attention given to the locomotor types.

The general purpose of a program of fundamental rhythms is to provide a variety of fundamental movement experiences, so the child can move
effectively and efficiently and develop a sense of rhythm in connections with these movements.

A. Locomotor Movements – are movements through space that bring the body from one place to another.

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 a.1. Walk – a series of steps. The steps are from one foot to the other, the weight being transferred from heel to toe.
a.2. Run – a run may be compared to a fast walk except that the weight is carried forward on the ball of the foot.
a.3. Jump – a spring from one or both feet, landing on both. On landing the balls of the feet touch the floor first, then the heels come down, the
knees bend to absorb shock of landing.
a.4. Hop – a spring from one foot landing on the same foot.
a.5. Skip – a fast step hop.
a.6. Slide – a glide followed by a quick close.
a.7. Leap – a spring on one foot landing on the other foot.
a.8. Gallop – a series of stepping and cutting movements done either sideward or forward with one foot always leading.
The locomotor movements are classified into:

1. Even – e.g. are walking, running, hopping, leaping, and jumping; and
2. Uneven – e.g. are skipping, galloping, and sliding.

B. Non-Locomotor or Axial Movements – are movements done in place, with one part of the body serving as an axis or base around which other
parts move.
b.1. Bend or Flex – a movement around a joint, either forward, backward or sideward.
b.2. Twist – a rotation of some body parts around its long axis. It can only take pace at the spinal, neck, shoulder, hip, and wrist joints.
b.3. Stretch – the extension or hyperextension of the joints of the body.
b.4. Swing – a movement of the arms, legs, upper trunk, head or body as a whole in a circular of pendular fashion around a stationary center.
The other examples of axial movements are pull, push or lift and turn.

C. Manipulative Object Handling – is one in which a child handles some kind of play objects usually with the hands, but it can involve the feet
and other parts of the body. E.g tambourines, castanets, hats, sticks, balls, rings, hoops, wands, etc.

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2. Creative Rhythms

Creative rhythms provide a special area in the rhythmic program where creativity is the goal and functional movement is secondary. The goal is to
communicate feelings through movement guided by rhythm.

a) Fundamental Motor Rhythms – locomotor, non-locomotor and manipulative

b) Expressive Movement – where children express moods and feelings and show their reactions to colors and sounds by improvising dances,
movements that demonstrate different aspects of force, gestures that depict different feelings.

b.1 Identification

 Animal  Machines

 People  Circus

 Play Objects  Nature

 Make-believe world
b.2 Dramatization – may rhythmic movements are fine vehicles for group development.

 Building a house, a garage, or another project.

 Flying a kite, going camping.

 Acting out stories about firefighters, fairies, cowboys.

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  Interpreting familiar stories – “Sleeping Beauty” “Little Red Riding Hood” “Cinderella”.

 Household tasks – washing clothes, picking fruits, ironing clothes, etc.

 Celebrating holidays – Christmas, “Flores de Mayo” Independence Day. Sports Activities – basketball, swimming, softball etc.

c) Singing Movement Songs - include action songs and singing games. In these rhythmic activities, the children usually sing verses, and the
verses tell the children how to move.

 London Bridge

 Mulberry Bush

 Jack and Jill

 Tatlo Ka Pato

 Ang Diutay nga Damang

3. Folk Dance

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 Folk dances are sequences of movements, formations, and rhythmic patterns which have been created by people of different cultures (Seaton, et
al, 1992). It is defined as a traditional dance of a specific folk handed down from generation to generation in the manner of all traditions. This dance
is native to them and evolved by them instinctively and spontaneously. Folk dance is communal in purpose and unique in that it is predicated upon
the principle of group participation.

Classifications of the Philippine Folk Dances According to its Nature

a. Occupational Dances – depicting action of certain occupation, industry, or human labor. Examples: Planting, harvesting, pounding, etc.

b. Religious or Ceremonial Dances – performed in connection with religious vows and ceremonies. Examples: Putong, Sta. Clara Pinung-
Pinong.

c. Comic Dances – depicting funny movements for entertainment. Example: Koton

d. Game Dances – done with play elements (dance mixers). Examples; Pabo, Lubi-Lubi

e. Courthship Dances – depicting love making. Examples: Hele-Hele, Bago

f. Wedding Dances – performed during wedding feasts. Examples: Pandang-Pandang, Pantomina

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 g. Festival Dances – suitable for special occasions or any social gathering, Examples: Kuratsa, La Jota, Pandanggo

h. War Dance – showing imaginary combat or duel. Examples: Sasgayan, Palo-Palo

4. Social Dance – includes all dance forms which bring individuals together in dances designed for group participation and enjoyment. It is usually
accompanied by popular music.

Social or ballroom dancing really began in the United States at the time of World War I with the
introduction of many new forms of couple dances. The Charleston was followed by a series of “jitterbug”
dances and the Latin-American rhythms which were preformed to big swing bands.

5. Theatrical Dances – refers to that form of dance performed in theaters or on stage to entertain spectators.
Examples of theatrical dances are as follows:

5.1. Ethnologic dance – is a dance resulting from centuries of development within the traditions of a particular ethnic group. E.g. are the
Spanish Flamenco and the tribal dances of the Cordillera people.

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 5.2. Ballet – used to be a court dance that developed into a highly stylized theater art that it is today. It had its beginning in Italy,
developed and nurtured in France, and perfected in Russia.

5.3. Modern dance – is often concerned with the communication of emotions or ideas through the medium of movement. Sometimes it is
concerned simply with the movement itself. Modern dance developed in the early part of the 20 th century as a revolt against the
stylized formality of ballet. It attempts to express an idea without setting rules as to how the idea is to be conveyed.

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  Modern dance has no established steps or patterns; the dancer must create his/her own emanating from movements of the body. The
uniqueness of modern dance is the freedom of each dancer to build his or her own movements; to go beyond what has previously been
done.

 Isadora Duncan and Ruth St. Denis are considered the founders of American modern dance. Duncan was inspired by Greek philosophy
and art, while St. Denis looked to Egypt, India, and East Asia for the subjects.

IsadoraDuncan(1877-1927) Ruth St. Denis (1879 –1968)

Often referred to as "The Mother of Modern Dance," A modern dance pioneer, introducing eastern ideas into the art.

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Dance Abbreviations and Dance Notations
Commonly used abbreviations in dance literature:
CW - clockwise
CCW - counterclockwise
LOD - line of direction, counterclockwise on the dancing area
RLOD - reverse line of direction, clockwise on the dancing area
L - left foot; left arm or hand; left shoulder; left side direction
R - right foot; right arm or hand; right shoulder; right side direction
G - girl, girls, girl’s, girls’
B - boy, boys, boy’s, boys’
M - measure (of music)
ct/cts - count/counts
ft - foot or feet
hd - hand or hands
swd - sideward
bwd - backward
upwd - upward
dnwd - downward
twd - toward
opp - opposite
pos - position

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 ptr - partner
cpl - couple/couples
ctr - center
wt - weight
diag - diagonally
Fig - figure

Dance Notations

- distance

- move forward

- move backward

- move sideward right

- move sideward left

- move sideward right and left

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 - make a movement in place

- clockwise

- counter clockwise

- diagonally forward right

- diagonally forward left

- diagonally backward right

- diagonally backward left

X - boy dancer
O - girl dancer

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 Dance Formations
Key: The arrow on the circle and square indicate the direction that each faces.
GIRL BOY

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 DANCE TERMINOLOGIES

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 1. Choreography – the art of creating dances.

2. Design – patterns in shape and time.

3. Dynamics- variations, changes and contrasts within an existing time-space bringing about excitement and lightened interest.

4. Energy – strength, power of force for action.

5. Ethnic – coming from or belonging to the distinctive cultural or aesthetic traditions of a particular country or people.

6. Folk – originating among or representative of the common people.

7. Folk Art – the traditional typically anonymous art of the people that is an expression of community life.

8. Folk Dance – a traditional dance of a given country which had been evolved by them instinctively and spontaneously in conjunction with the
everyday activities and experiences of the people who developed them.

9. Gesture – movement used to emphasized idea or emotions.

10. Improvisation – to simultaneously compose or perform or to extemporize.

11. Measure – grouping of beats.

12. National Dance – a folk dance which is popularly danced inmost parts of a specific country.

13. Set – a dance unit or formation.

14. Personal Space – is the maximum space available to a person in a stationary position.

15. General Space – is the area, which include one or more persons moving I a space like gymnasium, ballroom, etc.

PHILIPPINE FOLK DANCE TERMS

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 1. Arms in lateral position – both arms are at one side, either R or L.

2. Arms in reverse “T” position – Arms are horizontally sideward, elbows at right angles, forearms parallel to head, elbows are at shoulder
level, fist slightly closed, facing each other.

3. “Bilao” – bend elbows close to waist, hands in front, fingers point forward, palm down. Turn hands up and down alternately.

4. Brush – to hit the floor with the ball or heel of one foot after which that foot is lifted from the floor in any direction.

5. Cast Off – dancers are in a longway formation, head or lead couple countermarch outward to the end of the line where the last couple was,
counter march inward to proper places.

6. Clockwise – following the direction of the hands of the clock. The R shoulder is toward the center of an imaginary circle.

7. Counterclockwise – the reverse direction of clockwise – the L shoulder is toward the center of an imaginary circle.

8. Curtsy – point the R foot in rear of the L foot; bend knees slightly.

9. Cut – to displace quickly one foot with the other.

10. DO-SI-DO (dos-a-dos) – partners are facing each other. Starting with R foot, take 3 walking steps forward to partner’s place passing each
other by the R shoulders; step the L foot across the R foot in front; without turning around, take three walking steps backward, to proper
place. Close L foot to R.

11. Folded Arms – bend arms in front of the chest and put one forearm on top of the other.

12. Free Foot – the foot not bearing the weight of the body.

13. Free Hand – the hand not placed anywhere or not doing anything.

14. “Hapay” – to flourish or offer a handkerchief or glass of wine to somebody as a sign of invitation.

15. “Hayon-Hayon” – to place one forearm in front of the waist and the other at the back of the waist.

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 16. Inside Hand/Foot – the hand or foot nearest one’s partner when standing side by side.

17. “Jaleo” – R hand on waist, elbows almost touching, partners turn around once clockwise using any kind of dance step.

18. “Kewet” – with fist slightly closed, thumb sticking out turn the wrist outward.

19. “Kumintang” – moving the hand from the wrist either in a clockwise or counterclockwise direction.

20. Link Elbows – or Hook Elbows – hook elbows with partners or any dancer.

21. Outside Hand/Foot – the hand or foot away from one’s partner when standing side-by-side.

22. “Panadyak” – to stamp in front or at the side with the R foot and tap with the same foot close to the L foot.

23. Place – to put the sole of the whole foot in a desired position without putting the weight on it.

24. Point – to touch the floor lightly with the toes, no weight.

25. “Salok” – to swing the arm downward-upward to fifth position passing in front of the body as if scooping. The trunk is bent forward
following the movement of the arm doing the “salok”.

26. “Saludo” – with feet together, partners bow to each other, to audience, or to opposite dancer.

27. “Sarok” – with the weight on the L foot, point R foot across the L foot in front, bend the body slightly toward the pointing foot and cross the
R arm over the L arm.

28. Stamp – to bring down the foot forcibly and noisily on the floor.

29. Tap – flexing the ankle joint, rap lightly with the ball or toe of the free foot.

30. Whirl Turn – rise on toes and make fast turns by executing mincing steps in place.

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 Challenge Your Mind

ACTIVITY # 6

Directions: Identify the following statement. Write your answers in the crossword puzzle and submit it in our LMS or to the guard on duty at the ASU-
Kalibo front gate.

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 I. Across II. Down

1. One forearm in the front and the other at the 1. Point R foot in rear of L foot, bend knees.
back of the waist.
2. Stamp in front with the R foot and tap with the
2. To flourish a handkerchief to somebody. same foot close to left foot.

3. Reverse of clockwise. 3. Moving the hand from the wrist in clockwise

direction.
4. Point R foot across the L foot in front, slightly
bend the body to the pointing foot, cross arms 4. Girl at the right side, hold the R arm of partners
in front. with her left hand, free hand down at sides.

5. Displace one foot with the other. 5. With first slightly closed, thumb sticking out,
turn the wrist outward.
6. Reverse of cast in.
6. Foot away from partner.
7. Hit the floor with the ball or heel of the foot.
7. Hook elbows.
8. Turn palms of the hands up and down.
8. Bow to audience or partner.
9. Other name of do-si-do.
9. Bring the foot noisily and forcibly on the floor.
10. Touch the floor lightly with the toes.

11. Put the sole of the foot in any direction.

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 BASIC PHILIPPINE FOLK DANCE STEPS

(Source: Aquino, Francisca & Fajardo, Libertad)

1. TOUCH STEP 2/4 3/4
a) Point R Foot in fourth in front ct.1 cts.1,2 or ct.1
b) Step R close to L ct.2 ct. 3 or cts.2,3
(Simplified: Point, close or point, close)
1, 2, 1,2, 3

2. STEP-POINT 2/4 3/4

a) Step R in fourth in front ct. 1 ct.1 or cts.1,2
b) Point L in fourth in front ct. 2 cts.2,3 or 3
(Simplified: Step, point or step, point)
1 2,3 1,2, 3

3. HOP-STEP 2/4 3/4

a) Step R in fourth in front ct.1 or cts.1,2
b) Hop on the same foot and raise
the L foot in front or in rear ct.2 or 2,3
(Simplified: Step, hop or step, hop)

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 1 2 1,2, 3

4. STEP-SWING
a) Step R foot in second position ct. 1 or cts.1,2
b) Swing the L foot across the
R foot in front. The knee is slightly
bent, toes pointing downward. ct. 2 or cts.2,3
(Simplified: Step, swing or step, swing)
1 2, 1,2 3

5. SLOW BLEKE 2/4 3/4

a) Place the R heel in fourth in front ct.1 or cts.1,2 or ct.1
b) Close the R foot to L ct.2 or ct.3 or cts.2,3
(Simplified: heel place, close or heel place, close)
1 2 1,2 3

6. FAST BLEKE
a) Hop on L and place R heel in fourth in front ct.1
b) With a spring, reverse the position of the feet. ct.2

7. GRAPEVINE
a) Step R sideward R ct.1
b) Step L across the R foot in rear (or in front) ct.2

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 c) Step R sideward R ct.1
d) Step L across the R foot in front (or in rear) ct.2
(Simplified: side, rear, side, front or side, front, side, rear)
1 2 1 2 1 2 1 2

8. CONTRAGANZA
a) Leap sideward R ct.1
b) Cross the L foot over the R foot in front & step on it ct. and
c) Step the R foot close to the L foot ct.2
(Simplified: Leap, cross-step, step)
1 & 2

9. CHANGE STEP
a) Step R foot in front ct.1
b) Step L foot close to the R foot in rear ct. and
c) Step R foot quickly in front ct.2
(Simplified: Step, close, step)
1 & 2
10. WALTZ
a) Step R foot in fourth in front ct.1
b) Step L close to R in 3rd in rear
(step with the ball of the L ft.) ct.2
c) Step R in fourth in front ct.3

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 (Simplified: Step, Close – Step, Step)
1 2 3

11. MAZURKA
a) Slide R foot in second ct.1
b) Displace or cut R foot with the L foot sideward ct.2
c) Hop on L foot and raise R across L foot in front
or in rear ct.3
(Simplified: Slide, cut, hop)
1 2 3

12. SWAY BALANCE WITH A POINT

a) Step R foot obliquely forward R cts. 1,2
b) Step L across the R foot in front ct.3
c) Step R obliquely backward R ct.1
d) Point L in front cts. 2,3
(Simplified: Step, cross-step, step, Step point)
1,2 3 1 2,3

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