DANCE
genres popular today.
DANCE
● a series of movements that follow
the rhythm of the musical
accompaniment.
● It is a creative form that allows
people to freely express
themselves (Caslib et.al, 2018).
● It is the act of moving the body in
rhythm, usually set to music.
● It develops grace, agility, and
coordination of body movements.
● was one of the primary methods
of passing these stories down
from one generation to another.
● Early use of dance may have been a
precursor to ecstatic trance states
in healing rituals.
● Many of the contemporary dance
forms can be traced back to
historical, traditional, ceremonial,
and ethnic dances.
● It describes methods of nonverbal
communication between humans
or animals, motion in inanimate
objects (the leaves danced in the
winds), and certain musical forms or
genres.
ROLE AND FUNCTION OF DANCE
❖ According to Guha (2012), dance is
an expression of self and
emotion.
❖ It involves the physicality of
movement both bodily and facial.
❖ Smith (2010) emphasizes that dance
is a fundamental element of
human behavior and has evolved
over the years from the primitive
movement of the earliest civilization
to traditional ethnic or folk style to
the classical ballet and modern
❖ No dance form is permanent,
definitive, or ultimate. Changes
occur but the basic element of dance
endures.
Dance is for all people.
★ The joy derived from participating in
the dance of any genre and then
physical activity required provides
the opportunity for the pursuit of a
healthy lifestyle in today’s world.
★ More so, dance complements the
acquisition of motor skills in
performing a function by teaching or
expression and communication.
★ Participation in dance promotes
motor skill development and
self-discovery, builds self-esteem,
engages individuals in a positive
opportunity to interact socially,
and increases cultural
understanding.
★ As a form of recreation, dancing
has been long provided fun,
relaxation, and companionship.
❏ Today, dancing either at a party or
other gatherings continues to be a
very popular way for people to
enjoy themselves and to make
friends.
❏ Most people dance simply to have
fun or to entertain others but
dancing also serves many purposes.
❏ For many people, dancing provides
one of the most personal and
effective means of
communication.
❏ A dancer expresses such feelings
of joy, anger, or helplessness
without saying a word.
PRINCIPLES OF DANCE:
● Dance is the art in which the human
movement is the medium for
sensing, understanding and
communicating.
● According to Edwards (2013), dance
involves a heightened kinesthetic
awareness, a bodily intelligence and
a sharpened perception of
movement as an aesthetic
experience.
● It is a lens to perceive the world
and a language which to
communicate beyond spoken,
written, visual or auditory
symbols.
The following are principles of dance
1. Dance is a kinesthetic way of
learning.
2. Dance develops concrete
movement skills (body awareness,
physical strength, flexibility,
coordination, endurance etc..) that
people need to live healthy
successful and productive life.
3. Dance involves the total
self-integrating body, mind and
soul.
4. Dance is participatory and
encourages social development
through practice.
5. Dance develops creative and
critical thinking skills through
physical and kinesthetic
experiences.
6. Dance is a non-verbal way of
communication and human
interaction.
7. Dance is a means of expressing
and learning about the diversity of
human responses, life patterns,
culture and history.
8. Because the body is the instrument
humans use to do everything and to
sense and feel everything, dance is
a supremely relevant aspect of
life.
9. Through dance learning
experiences, students develop
self-esteem and respect for
others.
10. Work habits developed in dance
are directly applicable in
life-process.
11. Dance requires self-discipline and
self-direction.
12. Dance can challenge accelerated
students while providing positive
experiences for slower students.
VALUES OF DANCE.
❖ Engaging in dance activities benefit
a person in so many ways.
❖ These endeavors promote the total
development of each individual.
The following are important values of
dance:
1. Dance is a highly educational
activity that provides knowledge
and information about other people’s
folklore, superstitions, legends,
rituals, customs, celebrations, and
festivals.
➔ It also provides us with clues
to the temperaments, points
of view, and philosophy of
other people.
2. Dance is a 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.
4. Important attitudes and social
learning 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 is an
important goal of a dance.
5. Dance activities offer good
opportunities for incidental and
direct teaching in posture which
can result in the development of
grace and poise.
ELEMENTS OF DANCE
❖ The elements of dance are the
ingredients of dance.
❖ Often one or two elements
predominate in dance but all
elements are present.
❖ The different ways of combing and
using the elements determine the
expression of the dance.
1. ACTIONS
● what the body is doing.
● Movement is a change of
position in space that is
governed by mechanical
principles that limit the ability of
an individual to move effectively
and efficiently.
● Cone (2012) reiterates that
dance contributes to one’s
development of movement
abilities in the following ways:
1. Increasing the ability to perform
locomotor and nonlocomotor
movements and patterns or
sequences of movements while
applying the dance elements of
space, time, force, flow and
relationship in a variety of ways;
2. Developing strength, flexibility,
cardio-respiratory endurance.
coordination, speed, and balance;
3. Adding to the number of experiences
that promote learning about the
infinite ways the body is capable
of moving;
4. Enhancing motor learning through
repetition and practice of dance
movements;
5. Learning to safely move as one
expresses and communicates
ideas, feelings, and
understanding.
Edwards (2013) emphasizes that the
language of movement is revealed through
the dancers who choose not to be
restrained by convention as they present
their understanding of space, time, and form
in ways that are personally satisfying and
pleasing. The following are factors that
govern or affect movement:
1. Psychological Factors: Fear
anxiety and other mental
phenomena affect movement either
positively or negatively which may
affect the performance of an
individual.
2. Physiological Factors. Physical
fitness and body built are the two
main concerns that affect human
movement. Poor muscle
development and low fitness level
will surely affect movement.
 3. Sociological Factors. These refer
to the relationship of the performer
with a particular group and his to
social conformity and norms.
2. THE BODY
● is the instrument of dance.
● Awareness of the body is
encouraged on the dance program
as students learn about the following
body concepts:
1. Body parts – head, arms, hands,
legs, feet, torso, elbows, wrists,
shoulders hips, knees and ankles.
2. Body zones – body areas of front,
back, left side, right side, upper half,
and lower half.
3. Body bases - whatever supports the
rest of the body, for example when
standing—the feet; when kneeling,
the knees.
3. RELATIONSHIP
● refers to the correspondence or
connection between things, be
they the dancers to each other,
dancers to objects or a dancer’s
body part to each other.
● Students will continue to explore the
relationships of connecting, leading,
following, meeting, parting, near, far
passing by and surrounding.
4. DYNAMICS
❖ describe how the body moves.
❖ It is an umbrella term and includes
the factors which give movements
various qualities.
❖ Therefore, dynamics is the element
that gives dance its
expressiveness.
❖ Knowledge of dynamics is
encouraged in the dance strand by
learning about the following
concepts:
a. Duration - the length of time needed
to do a movement, duration is on a
continuum of very short to very long.
b. Energy - the muscular tension used
to move, energy is on a continuum
of a little to a lot.
c. Even - movements of equal
duration; for example walks rhythm
d. Uneven - movements of unequal
duration; for example skips rhythm
e. Quality - characteristics of a
movement; for example strong or
light .
Examples are swinging,
percussive, sustained, vibratory,
collapsing and suspension.
f. Speed - velocity of movements;
speed is on continuum of very slow
to very fast.
g. Time – refers to tempo or rhythm. It
can be slow or fast and a succession
of muscular relaxation and
rest(rhythm).
5. SPACE
● is where the body moves.
● It is the medium of dance.
● As dancers move through space,
their bodies create patterns on
the floor and in the air.
● Edwards (2013) mentions that the
perception of space is viewed in
relation to the body, the space of
others, and the unoccupied place or
general place.
● Awareness of space is encouraged
in the dance strand by learning
about the following space
concepts:
 1. General - the dance area.
2. Personal - the space reached while
stationary.
3. Directions - forward, backward,
sideways, upwards, or downward
4. Focus - where the eyes or the
intention of the movement is
directed.
5. Levels - high, middle, low, or deep.
6. Pathways - the patterns or design
made in the air or on the floor by the
person’s movements, pathways
appear as straight lines, curved
lines, or combinations of straight and
curved lines.
7. Shape - the design of the body’s
position.
8. Size - the magnitude of the body
shape or movement, size is on a
continuum of small to large.
DANCE FORMS
1. Classical Dance: Dances with
standardized rules and restrictions. It
can be a religious-related dance or
for court and royal entertainment.
2. Classical Ballet: Dance of supreme
standards learned from academe.
Ballet used to be a court dance
that developed into the highly
stylized theatre art that it is today. It
had its beginning in Italy, developed
and nurtured in France, and
perfected in Russia.
3. Modern Dance: A deviation from
the principles of classical ballet
developed by Isadora Duncan. It
was developed in Germany and
USA. It is characterized by the
natural and true expression of the
human body and soul. This dance
attempts to express an idea without
setting rules as to how the idea is to
be conveyed.
4. Contemporary Dance: A
combination of ballet and modern
dance.
5. Ethnic and Tribal dance: A dance
particularly found in a group of
people living together in a locality
with common beliefs and customs.
6. Recreational Dance: Includes
dance mixers, square dancing, and
round and a couple of dances.
7. Social and Ballroom dance -
includes all dance forms which bring
individual together in dances
designed for group participation and
enjoyment.
● A dance set in a social
gathering with a more formal
atmosphere than the simple
and informal parties in which
the recreational dances are
the usual forms.
● This is usually held in the
evenings and participants are
usually in formal attire for the
purpose of recreation and
entertainment. It is usually
accompanied by popular
music.
8. Popular Dance: Highly recognized
as a dance form in television and
other dance centers like disco
houses and social gatherings.
9. Dance sports: An international
ballroom competition consisting of
two categories namely the
Modern Standard (Tango, Foxtrot,
Waltz, Viennese Waltz, and
Quickstep) and Latin American
dances (Chachacha, Rumba, Paso
Doble, Jive, and Samba).
10. Folk Dances are traditional dances
of a specific folk handed from
generation to generation to
 generation in the manner of all
traditions.
❖ These dances are usually
native to one group of people
who developed them based
on their daily activities.
❖ These are social expressions
of the mores, thoughts,
lifestyles, practices, and
feelings of people through
bodily movements.
❖ These are the outbursts of
people’s feelings.
❖ A folk dance is the heartbeat
of the people.
11. Creative Dance: It is a form of
dance in which you create the dance
steps or movements according to
your experiences, thoughts, and
feelings.
➔ You create your own dance
movements according to how
you interpret your ideas,
feelings, and sensory
impressions and express
them symbolically using your
body. (Battad et al, 2016).
➔ According to Gilbert(2015),
creative dance is best taught
through concept.
➔ Dances should have the
knowledge and time to create
their own steps and
choreography, developing
personal voices that will
surely enrich the world of
dance.
➔ The following are a benefit
of a conceptual dance
approach;
DANCE OUTCOMES
1. Cognitive Outcomes
● Dancers increase knowledge
and vocabulary through an
understanding of the concept
and principles of dance
● Dancers solve movement
problems that are both
simple and complex, honing
problem-solving skills,
● Dancers gain an
understanding of the global
community through the study
of dance history and culture
● Dancers develop auditory,
visual, literacy, and verbal
skills through observation
and multimodal forms of
reflection,
● Dancers increase knowledge
of other subjects as dance is
integrated into the school
curriculum
● Dancers expand creative
skills through choreography
and improvisation, and
● Dancers improve memory
through the recollection of
concepts, steps, patterns,
and phrases.
2. Affective Outcomes
● Dancers express feelings
through movements,
becoming more attuned to
the inner self,
● Dancers experience
contrasting movements that
help them define feelings
● Dancers express feelings
and thoughts about their own
and other people’s dances,
 helping them to put feelings
and thoughts into words,
● Dancers increase
self-esteem through
self-expression and the
mastery of movement
concepts while being
engaged in a positive,
non-competitive dance form
● Dancers develop
self-discipline as they
develop skills and create
dance
● Dancers learn to take risks
by mastering movement
challenges.
● They learn to trust, through
activities that involve weight
sharing, partnering, and
group cooperation
● Dancers gain an appreciation
for other culture and
movement styles
● Dancers respect the role of
dance has in lifelong
well-being.
3. Physical outcomes
➢ Dancers develop healthy habits
through movements and exercise,
➢ Dancers apply the concepts and
principles of dance as they develop
dance skills
➢ Dancers develop body awareness.
control, balance, and coordination
➢ Dancers gain physical strength,
flexibility, stamina, and agility
➢ Dancers release stress through
positive physical activity
➢ Dancers expand their personal
movement vocabulary as they work
with other dancers and learn from
other cultures, and
➢ Dancers develop sensorimotor skills.
4. Social Outcomes
● Dancers learn to collaborate with
others through partner and group
work,
● Dancers bond with one another
through positive physical contact
and verbal reflection
● Dancers develop poise through
informal showings or formal
performances
● Dancers develop leadership skills by
taking the lead in a partner and
group work
● Dancers learn the appropriate way
of touching others through gentle
physical contact and weight sharing
● Dancers discover the value of
individual differences through
creative exploration,
problem-solving, and the study of
other dance forms and cultures
● Dancers attend and support a
variety of dance functions and
events.
Ballroom Dance
➢ is a world-class, tradition, and
passion.
➢ There is a great history behind
ballroom dancing, both competitively
and recreational speaking.
➢ “Ball” is derived from the Latin word
“ballare” which means “to dance”.
➢ Modern ballroom dancing
comprises five dance styles and they
are slow foxtrot, Viennese waltz,
modern waltz, tango, and
quickstep.
➢ These dances are famous all over
the world, and they are not only
performed in social gatherings but in
competitions as well.
Hip hop dance
➔ thought to have officially begun in
New York City during the late
1960s and early ’70s.
➔ During this time, individuals without
professional dance training but with
a natural instinct for movement
brought dancing to the streets.
➔ A dance form meant to be popular in
the original sense of the word,
meaning that it was for the people
and not for the academy,
➔ Hip-hop moves were inspired by the
complex rhythms and the
down-to-earth movement style of
African dancing.
➔ Music vestiges of modern, tap,
swing, and African dancing can all
is found in hip hop, this dance style
is really in a class of its own when it
comes to improvisation and an edge
of competition.
➔ The word “hip” was used in African
American Vernacular English
(AAVE) as early as 1904. The
colloquial language meant
“informed” or “current”, and was
likely derived from the earlier form
hep.
➔ 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, locking, and
popping which were created in the
1970s and made popular by dance
crews in the United States.
Main styles of hip hop:
1. Breaking/B-boying
2. Locking
3. Popping
OVERVIEW OF TEAM SPORTS
THE ORIGIN
❖ William G. Morgan (1870-1942),
who was born in the State of New
York, has gone down in history as
the inventor of the game of
volleyball, to which he originally
gave the name "Mintonette".
❖ The young Morgan carried out his
undergraduate studies at the
Springfield College of the YMCA
(Young Men's Christian Association).
❖ After graduating, Morgan spent his
first year at the Auburn (Maine)
YMCA after which, during the
summer of 1895, he moved to the
YMCA at Holyoke (Massachusetts)
where he became director of
physical education.
❖ In this role, he had the opportunity to
establish, develop, and direct a vast
program of exercises and sports
classes for male adults.
❖ His leadership was enthusiastically
accepted, and his classes grew in
numbers.
❖ He came to realize that he needed a
certain type of competitive
recreational game in order to vary
his program.
❖ Basketball, a sport that was
beginning to develop, seemed to suit
young people, but it was necessary
to find a less violent and less intense
alternative for the older members.
❖ At that time Morgan developed from
his own sports training methods and
his practical experience in the YMCA
gymnasium.
❖ Describing his first experiments he
said, "In search of an appropriate
 game, tennis occurred to me, but the
idea of a net seemed a good one.
❖ We raised it to a height of about 6
feet, 6 inches (1.98 meters) from
the ground, just above the head of
an average man.
❖ We needed a ball and among those
using the ball of basketball”.
❖ Morgan asked two of his friends
from Holyoke, Dr. Frank Wood, and
John Lynch, to draw up basic
concepts of the game together with
the first 10 rules.
❖ Early in 1896, a conference was
organized at the YMCA College in
Springfield, bringing together all the
YMCA Directors of Physical
Education.
❖ Dr. Luther Halsey Gulick, director
of the professional physical
education training school (and also
executive director of the department
of physical education of the
International Committee of YMCA's)
invited Morgan to make a
demonstration of his game in the
new college stadium.
❖ Morgan took two teams, each made
up of five men (and some loyal
fans) to Springfield, where the
demonstration was made before the
conference delegates in the east
gymnasium.
❖ The captain of one of the teams
was J.J. Curran and the other John
Lynch who were respectively,
mayor and chief of the fire
brigade of Holyoke.
❖ Morgan explained that the new
game was designed for gymnasia or
exercise halls, but could also be
played in the open air.
❖ An unlimited number of players
could participate, the object of the
game being to keep the ball in
movement over a high net, from one
side to the other.
❖ After seeing the demonstration, and
hearing the explanation of Morgan,
Professor Alfred T. Halstead called
attention to the action, or the active
phase, of the ball's flight, and
proposed that the name
"Mintonette" be replaced by
"Volley Ball."
❖ This name was accepted by Morgan.
❖ It is interesting to note that the same
name has survived over the years,
with one slight alteration: in 1952,
the Administrative Committee of
the USVBA voted to spell the name
with one word, "Volleyball.
Worldwide Growth
❖ The physical education directors of
the YMCA, encouraged particularly
by two professional schools of
physical education, Springfield
college in Massachusetts and
George
❖ Williams College in Chicago (now
at Downers Grove, Illinois), adopted
volleyball in all its societies
throughout the United States,
Canada (in 1900 Canada became
the first foreign country to adopt
the game), and also in many other
countries: Elwood S. Brown in the
Philippines (1910), J. Howard
Crocker in China, Franklin H. Brown
in Japan (1908), Dr. J.H. Gray in
Burma, in China and in India, and
others in Mexico and South
American, European, and African
countries.
❖ By 1913 the development of
volleyball on the Asian continent
was assured as, in that year, the
 game was included in the program
of the first Far-Eastern Games,
organized in Manila.
❖ In 1916, the YMCA managed to
induce the powerful National
Collegiate Athletic Association
(NCAA) to publish its rules and a
series of articles, contributing to the
rapid growth of volleyball among
young college students.
❖ In 1918, the number of players per
team was limited to six,
❖ and in 1922 the maximum number
of authorized contacts with the
ball was fixed at three.
❖ Until the early 1930s volleyball was
for the most part a game of leisure
and recreation, and there were only
a few international activities and
competitions.
❖ There were different rules of the
game in the various parts of the
world; however, national
championships were played in many
countries (for instance, in Eastern
Europe where the level of play had
reached a remarkable standard).
❖ Volleyball thus became more and
more a competitive sport with high
physical and technical performance.
❖ Beach volleyball is a team sport
played by two teams of two players
on a sand court divided by a net. It
has been an Olympic discipline
since the 1996 Games, In Atlanta
Olympics.
Organizations
1. FIVB - Fédération Internationale
de Volleyball (English:
International Volleyball
Federation), commonly known by
the acronym FIVB, is the
international governing body for the
sports of indoor, beach, and grass
volleyball.
➔ Its headquarters are located
in Lausanne, Switzerland
and its current president is
AryGraça.
2. PVF - Philippine Volleyball
Federation (formerly known as the
Philippine Amateur Volleyball
Association) is a governing body for
volleyball in the Philippines.
➔ It was recognized as the
national sport governing
body prior to 2015.
3. NOVA - Negros Occidental
Volleyball Association.
4. NVF- Negros Volleyball Federation
TERMINOLOGIES
1. Attack/Spike – is the offensive team
attempting a score. Hitting the ball at
the net level or above that is driven
downward.
2. Block – is a defensive play used to
intercept a hard-driven spike.
3. Dead Ball – the ball is dead the play
stops from the whistle of the referee
4. Foul - Violation of the rules.
● Stepping on the end line
● Stepping on the centerline
● Outside
● 4 hits/touches
● Touching the net
● Holding
● Overreaching
● Illegal switching/illegal rotation
● 8 seconds violation
● Backline players spikes on the
attack zone
5. Game – the end set. Happens when
one team reaches 25 points.
 6. Holding – happens when the ball
momentarily stops at the hands or
arms of the player.
7. Dig Pass – is to bat a ball to a
teammate.
8. Service – is the act of putting the
ball into play.
9. Set – up/toss – is a high pass close
to the net that is executed so that
the other teammates can spike the
ball into the opponent’s court.

BASIC SKILLS
DUTIES AND RESPONSIBILITIES OF
OFFICIATING OFFICIALS
1. Service Types: Underhand, Sidearm,
Overhand
1. Referee
2. Dig Pass
● Implements the rules of the game
3. Set-up/Toss
and directs it.
4. Block
● Has authority over other officials.
5. Spike/Attack
● Has the power to decide any
6. Miscellaneous Pass
matters involving the game.
7. Fall, Roll, and Dive
● Is authorized to issue warnings
and sanctions to the players.
FACILITY and EQUIPMENTS
1. Ball – 9 to 10 ounces, 35 inches in
2. Umpire
circumference.
● Assist the referee.
2. Court – 9x18 Meters
● Controls the work of the scorer.
3. Net – Men 2.43 meters, Women
● Supervises each of the players on
2.24 meters, Elementary 2.12
the bench and reports any
meters.
misconduct to the referee.
4. Antenna
● Controls the number of timeouts
5. Side Vertical Markers
and substitutions of both teams.
6. Flag lets
● Checks the actual positions of the
7. Score sheet
players on the court in
accordance with the line-up
sheet.
● Assist the referee in all contacts
of the ball under the net/antenna.

3. Scorer
● Fill up the information of the team
members in the score sheet.
● Records point scored by both
teams.
 ● Monitors the servers and informs
the referee if they committed a
violation while serving.
● Records team substitutions and
timeouts.
4. Linesmen
● Indicates if a ball is in or out of the
court.
● Informs the referee if players
received an “out” ball.
● Monitors if the ball touches the
antenna.
● Monitors players outside the court
while the other player is serving.
RULES OF THE GAME
❖ Each team consists of six players.
❖ To get play started, a team is
chosen to serve by a coin toss.
❖ A player from the serving team
throws the ball into the air and
attempts to hit the ball so it passes
over the net on a course such that it
will land in the opposing team's court
(the serve).
❖ The opposing team must use a
combination of no more than
three contacts with the volleyball
to return the ball to the opponent's
side of the net.
❖ These contacts usually consist first
of the bump or pass so that the
ball's trajectory is aimed towards the
player designated as the setter;
second of the set (usually an
over-hand pass using wrists to push
finger-tips at the ball) by the setter
so that the ball's trajectory is aimed
towards a spot where one of the
players designated as an attacker
can hit it, and third by the attacker
who spikes (jumping, raising one
arm above the head and hitting the
ball so it will move quickly down to
the ground on the opponent's court)
to return the ball over the net.
❖ The team with possession of the ball
that is trying to attack the ball as
described is said to be on offense.
❖ The team on defense attempts to
prevent the attacker from directing
the ball into their court: players at
the net jump and reach above the
top (and if possible, across the
plane) of the net to block the
attacked ball.
❖ If the ball is hit around, above, or
through the block, the defensive
players arranged in the rest of the
court attempt to control the ball with
a dig (usually a fore-arm pass of a
hard-driven ball).
❖ After a successful dig, the team
transitions to offense.
❖ The game continues in this
manner, rallying back and forth
until the ball touches the court within
the boundaries or until an error is
made.
❖ The most frequent errors that are
made are either to fail to return the
ball over the net within the allowed
three touches or to cause the ball to
land outside the court.
❖ A ball is "in" if any part of it
touches a sideline or end-line, and
a strong spike may compress the
ball enough when it lands that a ball
which at first appears to be going out
may actually be in.
❖ Players may travel well outside
the court to play a ball that has gone
over a sideline or end-line in the air.
❖ Other common errors include a
player touching the ball twice in
succession, a player "catching" the
ball, a player touching the net
 while attempting to play the ball,
or a player penetrating under the
net into the opponent's court.
❖ There are a large number of other
errors specified in the rules,
although most of them are infrequent
occurrences.
❖ These errors include back-row or
libero players spiking the ball or
blocking (back-row players may
spike the ball if they jump from
behind the attack line), players not
being in the correct position when
the ball is served, attacking the
serve in the frontcourt and above
the height of the net, using another
player as a source of support to
reach the ball, stepping over the
back boundary line when serving,
taking more than 8 seconds to
serve,[18] or playing the ball when
it is above the opponent's court.
Scoring
➢ When the ball contacts the floor
within the court boundaries or an
error is made, the team that did not
make the error is awarded a point,
whether they served the ball or not.
➢ If the ball hits the line, the ball is
counted as in.
➢ The team that won the point
serves for the next point.
➢ If the team that won the point
served in the previous point, the
same player serves again.
➢ If the team that won the point did not
serve the previous point, the players
of the serving team rotate their
position on the court in a clockwise
manner.
➢ The game continues, with the first
team to score 25 points by a
two-point margin is awarded the
set.
➢ Matches are best-of-five sets and
the fifth set, if necessary, is usually
played to 15 points. (Scoring differs
between leagues, tournaments, and
levels; high schools sometimes play
best-of-three to 25; in the NCAA
matches are played best-of-five to
25 as of the 2008 season.)
➢ Before 1999, points could be
scored only when a team had the
serve (side-out scoring) and all
sets went up to only 15 points.
➢ The FIVB changed the rules in 1999
(with the changes being compulsory
in 2000) to use the current scoring
system (formerly known as rally
point system), primarily to make the
length of the match more
predictable and to make the game
more spectator- and
television-friendly.
➢ The final year of side-out scoring
at the NCAA Division I Women's
Volleyball Championship was
2000.
➢ Rally point scoring debuted in
2001 and games were played to 30
points through 2007.
➢ For the 2008 season, games were
renamed "sets" and reduced to 25
points to win.
Libero
❖ In 1998 the libero player was
introduced internationally.
❖ The libero is a player specialized
in defensive skills:
❖ must wear a contrasting jersey
color from his or her teammates and
cannot block or attack the ball
when it is entirely above net
height.
❖ When the ball is not in play, the
libero can replace any back-row
player, without prior notice to the
officials.
❖ This replacement does not count
against the substitution limit each
team is allowed per set, although
the libero may be replaced only by
the player whom he or she replaced.
❖ The libero may function as a setter
only under certain restrictions.
❖ If she/he makes an overhand set,
she/he must be standing behind
(and not stepping on) the 3-meter
line; otherwise, the ball cannot be
attacked above the net in front of
the 3-meter line.
❖ An underhand pass is allowed from
any part of the court.
❖ The libero is, generally, the most
skilled defensive player on the
team.
❖ There is also a libero tracking
sheet, where the referees or
officiating team must keep track of
whom the libero subs in and out
for.
❖ There may only be one libero per
set (game), although there may be a
different libero at the beginning of
any new set (game).
❖ Furthermore, a libero is not
allowed to serve, according to
international rules, with the
exception of the NCAA women's
volleyball games, where a 2004 rule
change allows the libero to serve,
but only in a specific rotation.
❖ That is, the libero can only serve
for one person, not for all of the
people for whom she goes in.
❖ That rule change was also applied to
high school and junior high play
soon after.
Recent rule changes
● Other rule changes enacted in 2000
include allowing serves in which
the ball touches the net, as long
as it goes over the net into the
opponents' court.
● Also, the service area was
expanded to allow players to
serve from anywhere behind the
end line but still within the
theoretical extension of the
sidelines.
● Other changes were made to lighten
up calls on faults for carries and
double-touches, such as allowing
multiple contacts by a single
player ("double-hits") on a team's
first contact provided that they
are a part of a single play on the
ball.
● In 2008, the NCAA changed the
minimum number of points
needed to win any of the first four
sets from 30 to 25 for women's
volleyball (men's volleyball
remained at 30.)
● If a fifth (deciding) set is reached,
the minimum required score
remains at 15.
● In addition, the word "game" is now
referred to as "set".
● Changes in rules have been studied
and announced by the FIVB in
recent years, and they have
released the updated rules in 2009.