Republic of the Philippines

Department of Education
Region II – Cagayan Valley
Schools Division of Nueva Vizcaya
Nueva Vizcaya General Comprehensive High School
Bayombong, Nueva Vizcaya

LEARNING ACTIVITY SHEETS

In Health-Optimizing Physical Education (HOPE 3)
(First Semester, SY 2021-2022)
Learning Activity Sheet No.: 1
Activity Title/Content: Nature of Philippine Folk Dances
Time Allotment: First Quarter
MELC
 Discusses the phases of dance (Folk Dance) PEH12FH-Ia-19
 Engages in moderate to vigorous physical activities (MVPAs) for at least 60 minutes most days of
the week in a variety of settings in- and out-of school PEH12FH-Ia-t-8
 Sets FITT goals based on training principles to achieve and/or maintain HRF PEH12FH-Ii-j-7
 Analyzes physiological indicators such as heart rate, rate of perceived exertion and pacing associated
with MVPAs to monitor and/or adjust participation or effort PEH12FH-Ik-t-9

LESSON 1: PHILIPPINE FOLK DANCE

o Dance is a form of expression of oneself through rhythmic movement.

o Folk dances are the indigenous dances of any specific “folk” or common people. 
o Folk dance is the oldest form of dance and the earliest form of communication. The traditional dance of
a given country which evolved naturally and spontaneously with everyday activities. e.g. occupations,
customs, festivals, rituals It is handed down from generation to generation It has more or less a fixed
movement in their pattern, but may differ in various areas or provinces.
o Francisca Reyes- Aquino is the Mother of Philippine Folk Dance because of her invaluable work as the
first researcher in Philippine Folk dancing.
o Lopez (2006) further stated that Philippine folk dance, to be called such, should have the following
characteristics:
o It is traditional.
o It has an expressive behavior.
o Simple, basic rhythm dominates the folk dance and establishes the pattern of
movement.
o It is created by an unknown choreographer or through communal efforts.
o It performs a function in the life of the (folk) people. 
Ethnic dances or ethnological dances are folk dances performed in indigenous tribes and have retained
their close kinship with religious ritual and community custom.
5 MAJOR CLASSIFICATIONS OF PHILIPPINE FOLK DANCES
 Cordillera Dances
 Spanish Influenced Dances
 Muslim Dances
 Tribal Dances
 Rural Dances 
 CORDILLERA DANCES SPANISH INFLUENCED DANCES
o Bontoc, Ifugao, Benguet, Apayo, & Kalinga o Philippine aristocrats created Filipino
tribes. adaptations
o A people whose way of life existed long of European dances
before any o Jotas, fandanggos, mazurkas, waltzes
o Dances reflects rituals Spaniard or other o Danced by young
which celebrate o Dances reflects socialites to the
their foreigners stepped daily lives - a good Christianity,
foot on the harvest, health, peace, Philippines and stringed music of European art and the
war, and other. rondalla culture 
o Gongs, ganza symbols of living 

RURAL DANCES
o Shows gaiety & laughter, festivities
o Performed in fiestas to honor patron saints
give homage to the barrios namesake for a good harvest, health, &
o Reflects the simple life of perseverance the people in the barrio
o Indigenous materials,
o Depicts common work, clapping, rondalla, daily activities
of the percussion peasants instruments 

TRIBAL DANCES MUSLIM DANCES

o Intricate craftsmanship in metal, clothing, and jewelry
o Reflects rituals & animals, belief in “spirits” & shamans,
o Also known as Ethnic nature – “anito” dances; Ethnic
minorities
o Animal sounds, found in different parts of human singing,
the Philippines
(T’boli, Bilaan, Manobo, Bagobo, indigenous materials e
o Influenced by Malay, Javanese
& Middle Eastern Traders (Islam)
o Mysticism, royalty, and beauty
o Uses intricate hand & arm movement
o The fingers express feelings & emotions
o Uses shimmering costumes 

COSTUMES INPHILIPPINEFOLK DANCE

Typical Spanish Elite Female: MARIA CLARA Male: Barong Tagalog & Black Pants 
Rural (Tagalog)Female: BALINTAWAK with soft panuelo & taps
Male: Camisa de Chino & trousers of different colors 
Rural (Visayan) Female: Kimona & Patadyong with soft kerchief
Male: Barong or Camisa de Chino and trousers of any color 
Cordillera/Tribal Male:- G-string, short jacket & shoulder band, feathered head dresses - “bahag”
Females:- Hinabi na tela (hablon)- Accessories (beads) 
Muslim “Sigpit” or “Sablay”, patadyong, Malong, pants 
Rural (Ilocano)“Chambra” – blouse“Siesgo” – A-line skirt 

EXAMPLE of Dances:
o Cordillera Dances Bontoc – “Pattong”Kalinga – “Banga” 
o Spanish Influenced Dances “Jota” “Habanera” 
o Muslim Dances Maranao – “Singkil”Tausug – “Pangalay” 
o Tribal Dances T’boli – “Madal Tahaw”Manobo – “Bangkakaw” 
o Rural Dances “Maglalatik”,“Saut sa Rarug” ,“Oasioas” 
 FUNDAMENTAL DANCE POSITIONS
There are five fundamental or basic positions
in dance that are commonly termed as 1st
position, 2nd position, 3rd position, 4th
position, and 5th position of the feet and
arms.
FIRST POSITION
Feet: Heels close together, toes apart with an
angle of about 45 degrees.
Arms: Both arms raised in a circle in front of
chest with the finger tips about an inch apart. 
SECOND POSITION
Feet: Feet apart sideward of about a pace
distance.
Arms: Both raised sideward with a graceful
curve at shoulder level 3rd position.
THIRD POSITION
Feet: Heel of one foot close to in-step of
other foot.
Arms: One arm raised in front as in 2nd
position; other arm raise upward.
FOURTH POSITION
Feet: One foot in front of other foot of a pace
distance.
Arms: One arm raised in front as in 1st
position; other arm raised overhead.
FIFTH POSITION
Feet: Heel of front foot close to big toe of
rear foot.
Arms: Both arms raised overhead

Factors Affecting Folk Dances

1.    Geographical location
2.    Economic conditions
3.    Climatic conditions
4.    Customs and traditions.

Do’s in Folk Dancing         Don’t’s in Folk Dancing

1.    Dance in a natural, simple and direct manner.
2.    Dance with ease and smoothness.
3.    Use the proper costume for the dance.
4.    Follow directions and dance instructions as
closely as possible.
5.    Dance with feeling and  expression.
1.    Do not exaggerate the dance steps.
2.    Do not make the dances too dainty and graceful like
ballet.
3.    Don’t make entrance and exit long.
4.     Don’t make steps too elaborate and complicated.
5.    Don’t call a dance a folk dance unless steps come
from traditional dances.

DANCE STEPS IN 2/4 TIME SIGNATURE

Touch step- Point R foot in front( ct. 1), step R close to L (ct. 2). This is commonly done in front. 1M
Close step- Step R foot (ct. 1), close L to R foot (ct. 2) = 1M This may be executed in any directions
Change Step- Step R foot in front (ct. 1), step L close to R foot in rear (ct. and), step R foot quickly in front
(ct.
2). This may be executed in any directions.
Step-Point- Step R foot in front( ct. 1), point L foot in front (ct. 2) This step is executed in all directions.
Plain Polka- Step L foot in front (ct.1), step R close to left foot in rear (ct. and), step L in front (ct.2), pause
(ct.
 and).
Hop polka- Hop on L foot and step R forward (ct.1), step L close to R in rear (ct. and), step R foot forward
(ct.
2) and pause (ct. and). This may be executed in any directions.
Heel and toe polka- Place L heel in fourth in front (ct.1), touch left toe in rear ( ct. 2), Take one plain polka
step forward, starting with the L foot (ct. 1, and 2, and).
Slide polka- Take two slide step forward and a plain polka: Slide L foot in front (ct. 1), close R to L foot in
rear
(ct. and), slide R foot in front ( ct. 2), close L foot in rear ( ct. and). Take one plain polka
forward
starting with the L foot (cts. 1, and 2, and)

DANCE STEPS IN ¾ TIME SIGNATURE

Some dance steps done in 2/4 time rhythm can also be done in 3⁄4 time. Review the step patterns of the
following basic dance steps which are done in 3⁄4 time and identify which dance step can be done in 2/4and
3⁄4 time signature.
Touch step- Point R foot in front( ct. 1 ), step R close to L ( ct. 2, 3 ). This is commonly done in front. =1M
Step point- Step R foot in front ( ct. 1), point L foot in front (cts. 2, 3 ) This step is executed in all
directions.
Step swing- Step R (cts. 1,2); swing L (ct. 3) or step R (ct. 1); swing L (cts. 2,3)Step hop step R (cts. 1,2);
hop
R (ct. 3) =1M
Close step- 1) Step R foot ( cts. 1 ), close L to R foot (cts. 2, 3 ) = 1M, ` or 2) Step R foot ( cts. 1, 2 ), close
L to
R foot (ct. 3) = 1M This may be executed in any directions
Native waltz- Step L foot in front (ct.1), step R close to L in rear (ct.2), step L in front (ct.3)
This may be executed in all directions.
Cross waltz- Step R foot across the L foot in front and raise slightly the L foot across in rear (ct.1), step the
L
foot close to R in rear( ct.2), step R foot in front (ct. 3). Step on the ball of the rear foot on the
second count.
Waltz balance- Step R in front (ct.1), close L foot to R in rear and raise heels (ct.2), lower heels with the
weight of the body on the R foot (ct.3). The knees are slightly bent before raising the heels.
This
may be executed forward, backward, obliquely forward and backward, sideward right and left.
Three-step turn- step R (ct. 1) turn and step L(ct. 2); turn and step R (ct. 3); close L to R (ct. 1); pause =
1M

SWAY BALANCE
The first step is usually done obliquely forward, cts. 1, 2, the cross-step is done sideward (ct. 3). The
succeeding step is done obliquely backward (ct. 2) and the last two counts are done in front, in place. Arms
open from the first position to the fourth position R or L arms high. Kumintang R (L) hand when pointing
with L (R) foot on cts. 2, 3 of the second measure.
Sway balance with a point- step R, cross step L /step R, point L (1, 2 3 1 2, 3) = 2M
Sway balance with a brush - step R, cross step L /step R, brush L (1, 2 3 1 2, 3) = 2M
Sway balance with a close- step R, cross step L/step R, close L (1, 2 3 1 2, 3) = 2M
Sway balance with a hop - step R, cross step L /step R, raise L, hop (1, 2 3 1, 2, 3) = 2M
Sway balance with a raise - step R, cross step L /step R, raise L (1, 2 3 1 2, 3) = 2M
Sway balance with a waltz - stepR, crossstepL /stepR,closeL,stepR (1,23123) = 2M
ACTIVITIES

I. MATCHING TYPE: Match the dance descriptions in column A with the classification of Philippine folk
dances in column B. Write the letter of your answers in your answer sheet.
A B
1. Influenced by Malay, Javanese A. TRIBAL DANCE
& Middle Eastern Traders (Islam) B. MUSLIM DANCE
2. Mysticism, royalty, and beauty C. RURAL DANCE
3. Intricate craftsmanship in metal, clothing, and jewelry D. CORDILLERA DANCE
4. Reflects rituals & animals, belief in “spirits” & shamans, E. SPANISHED
5. Bontoc, Ifugao, Benguet, Apayo, & Kalinga tribes. INFLUENCED DANCE
6. Gongs, ganza symbols of living 
7. Shows gaiety & laughter, festivities
8. Performed in fiestas to honor patron saints
9. Philippine aristocrats created Filipino adaptations of European
dances
10. Jotas, fandanggos, mazurkas, waltzes

II. FILL IN THE BLANKS: Write the appropriate word or phrase to complete the following sentences.
Write your answers in your answer sheet.
1. 4th Position: One arm ________ in front as in 1st position; other arm raised over head.
2. 1st Position: Heels close together; toes apart with or angle of about ________ degrees.
3. 2nd Position: Astride sideward about a pace or ________ distance.
4. 3rd Position: One arm raised sideward as in ________; other arm raised upward.
5. 4th Position: One foot in front of other foot of a ________ distance.
6. 5th Position: Both arms raised ________.
7. 5th Position: Heel of front foot close to big toe of ________ foot.
8. 2nd Position: Both raised sideward with a graceful curve at ________ level.
9. 3rd Position: Heel of one foot close to ________ of other foot.
10. 1st Position: Both raised ________ in a circle in front of chest with the finger tips about an inch apart.

III. MULTIPLE CHOICE: Choose the letter of the correct answer. Write the letter of your answers in your
answer sheet.
1. She is the Mother of Philippine Folk Dance because of her invaluable work as the first researcher in
Philippine Folk dancing.
A. Francisca Reyes- Aquino B. Josefa Llanes Escoda
B. Aetas D. Mother Theresa
2. These are the dances influenced by Spanish.
A. Pattong Kalinga – Banga C. Maglalatik – Saut sa raug
B. Singkil- Pangalay D. Jota Habanera
3. Which of the following characteristics of Philippines folk dance does not belong to the group?
A. It is traditional.
B. It has an expressive behavior.
C. It performs a function in the life of the (folk) people. 
D. It is originated from other countries.
4. Which of the following is the typical Spanish elite female

A. Chambra” – blouse“Siesgo”
B. Sigpit” or “Sablay”, patadyong
C. Maria Clara
D. Kimona and Patadyon
IV. ESSAY : Answer the following questions briefly but substantially. Write your answer in your answer
sheet.
If you are a member of an indigenous group, 
1. How would you help preserve your culture through dances in this current societal setting; and
2. Is it acceptable for non-members of your group to learn and practice your dances? Why or why not?
3. Write an essay about the benefits and importance of dancing to one’s health. What food nutrients needed
to consume and sustain the energy to support the physical activities?

V. PERFORMANCE TASK:
 Create at least one minute dance in any of five classification of Philippine folk dance video with
improvised costume. (it can be individual or group)
 Perform and Video the Fundamental Dance Positions of the arms and feet with musical
accompaniment.
 Demonstrate through video presentation the following basic common dance steps in 16 counts each
step. ( it can be individual, with partner or group)P
 Arms in lateral position – Both arms are at one side either right or left, at shoulder, chest or waist
level.
 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.
 Crossed Arms – Partners facing each other or standing side by side join their left hands together
and the right hands together; either right over left or left over right hands.
 Kumintang – moving the hand from the wrist either in a clockwise or counterclockwise direction.
 Saludo – Partners bow to each other, to the audience, opposite dancers, or to the neighbors with
feet together. This is of Spanish origin and is used in almost all Philippine dances.

LESSON 2: HIP HOP, CHEERDANCE AND EXERCISE PHYSIOLOGY INDICATORS

Brief History (HIP-HOP)

The word hip-hop was derived from the word “hep”, an African-American vernacular English
language since 1904 which means “current”. It was apparently invented by a New York rapper Kevin
Donovan, (known as Afrika Bambaataa), who was dubbed as the Grandfather of Hip-hop. The dancing
style of Hip-Hop developed from the music style that was first introduced during the 1970s in New York
City among young Hispanic and African-American communities and was made popular in the 1980s by
media’s exposure of several hip-hop dance groups in America. These group of young people were looking
for a creative outlet to vent their frustrations and disappointments with society. It started with funky beats
reverberating at house or basement parties and the streets of New York. Hip-hop evolved as a street dance
which was a cultural dance variation in the United States and is generally a form of entertainment where
technical and teachable dance aspects replaced the cultural symbolism and message of the true essence of
African-American hip-hop dance. The word street dance arrived in the Philippines from the United States
during the 1980s but only gained unparalleled popularity during the 1990s. There are various street dance
battles held locally across the country as well as hip-hop dance competitions internationally. The first
Philippine Team who won the World Hip Hop Dance Championships is the Philippine All Stars. One of the
pioneers of street dance in the Philippines is Jungee Marcelo. Marcelo started the first formal street dance
class in the Philippines after arriving from US in 1991. After almost 11 years of living in a community
dominated by African-Americans in Los Angeles, he brought with him his knowledge of urban dance in the
country.

Nature and Characteristics (HIP-HOP)

 The movement of hip-hop dance contains an assertive angularity of body posture and an insistent
virtuosic rhythmicity.
 It is freestyle in nature and maybe practiced in either a dance studio or in an open space outdoor.
 It consists of four fundamental characteristics such as rapping (MCing); Disc jockeying (DJing);
Break dancing (B-boying); and Graffiti Art (Aerosol Art).
  Can also be described by elements such as bounce or recoil, tightening of the body, agility and
coordination, and fun.
 It has several styles that comprise two main categories, the Old school (breaking, popping, and
locking) and the New school (house, krumping, street jazz).

Brief History (CHEERDANCE)

Cheer dance is a physical activity with a combination of different dance genre and gymnastics skills
such as tumbling, pyramids, tosses and stunts. The routines usually range anywhere from one to three
minutes and they are done to direct spectators to cheer for sports teams or participate in cheer dance
competition. Cheer dance is relatively new in the field of sports and dance as it has only emerged during the
1990s as part of the cheerleading events. Cheerleading history is linked closely to the United States history
of sports, its sporting venues, as well as the historical development of over-all crowd participation at many
athletic events. However, its origins can be traced as far back as the late 19th century where in 1860s,
students from Great Britain began to cheer and chant in unison for their favourite athletes at sporting
events. This event eventually reached and influenced America. Cheerleading for the first 25 years was an all-
male activity. It was only during the 1920s when women cheerleaders participated in cheerleading.

Nature and Characteristics (CHEERDANCE)

 As a dance technique, some squad prefer contemporary dance techniques, while others incorporate
several techniques such as jazz, hip-hop, modern dance, contemporary ballet and ethnic of folk.
Emphasis is on the placement, sharpness and synchronicity of the movements.
 There must be cheers which are coordination of organized words and movements relating to an
athletic event. These are used during a sport event when play has been stopped on the field or court.
 Cheer motions are also used to lead the crowd and emphasize words for crowd response. These are
made up of hand, arm, and body positions.

EXERCISE PHYSIOLOGY INDICATORS

Dance is mainly an integrated art form between technical and expressive aspects. In addition, since
most dance performance requires high physiological capacity due to its characteristics included a moderate-
high intensity, high skill, and predominantly intermittent activity. When trying to develop cardiorespiratory,
the intensity of exercise must not be ignored. The intensity of exercise or Training Intensity (TI) can be
calculated easily, and training can be monitored by identifying your resting heart rate (pulse beat at rest),
maximal heart rate and heart rate reserved

The Resting Heart Rate (RHR)

Your pulse is your heart rate, or the number of times your heart beats in one minute. Pulse rates vary
from person to person. Your pulse is lower when you are at rest and increases when you exercise (more
oxygen-rich blood is needed by the body when you exercise).
Knowing how to take your pulse can help you evaluate your exercise program. To get your pulse
beat, follow the steps:
1. Place the tips of your index, second and third fingers on the palm side of your other wrist below
the base of the thumb or, place the tips of your index and second fingers on your lower neck on either
side of your windpipe.
2. Press lightly with your fingers until you feel the blood pulsing beneath your fingers. You may
need to move your fingers around slightly up or down until you feel the pulsing. Use a watch with a
second hand, or look at a clock with a second hand.
 3. Count the beats you feel for 10 seconds. Multiply this number by six to get your heart rate (pulse)
per minute.
4. Compute using the formula: RHR = Pulse: ____ beats in 10 seconds x 6 = ____ beats per minute
(bpm).
Normal heart rates at rest for children whose age is 6 to15 is 70 to 100 bpm while adults
whose age is 18 and over is 60 to 100 bpm.

Maximal Heart Rate (MHR)

Maximal Heart Rate (MHR) is the maximum number of beats made by your heart in 1 minute of effort.
When walking quickly, you will be in an endurance zone, with a heart rate of between 60% and 75% of your
maximum heart rate (MHR). Knowing your rate means listening to your body.
The formula for MHR is 220 minus age.

The Heart Rate Reserved (HRR)

Heart Rate Reserve (HRR) is the difference between your Resting Heart Rate and your Maximum
Heart Rate. It is used primarily for determining heart rate zones during exercise, and the amount of cushion
in heartbeats available for exercise. Health and cardio-respiratory (CR) fitness benefits result when a person
is working between 30 to 85 percent of heart rate reserve (HRR) combined with an appropriate duration and
frequency of training. Health benefits are achieved when training at a lower exercise intensity, that is
between 30 to 60 percent of the person’s HRR. Even greater health and cardio protective benefits, and
higher and faster improvements in CR fitness (VO2max), however are achieved primarily though vigorous
intensity programs (at intensity above 60 percent).
To compute for your HRR, subtract the resting heart rate from the maximal heart rate: HRR =
MHR – RHR.

The Target Heart Rate (THR)

Target Heart Rate (THR) is generally expressed as a percentage (usually between 50 percent and
85 percent) of your maximum safe heart rate. This is used to identify Training Intensity (TI). Training
intensity is the amount of effort you are putting in to whatever exercise you are doing. Walking a dog will
(most of the time) be low to medium intensity based on your speed of walking but running with your dog
will be high intensity.
The TI of a person can be measured in different levels such as follows:
1. low intensity (heart rate is 68-to-92 beats per minute);
2. moderate intensity (heart rate is 93-to-118 beats per minute); and
3. high intensity (heart rate is more than 119 beats per minute).
In participating low (or light) activities, a person should have at least 30-40% MHR. For moderate
activities, it is recommended to have at least 50-60% MHR.
For high (or vigorous) activities, it is good to have at least or greater than 70% MHR.
 To determine the intensity of exercise or cardio-respiratory training zone according to heart rate
reserve, follow these steps:
 Estimate your maximal heart rate (MHR) according to the following formula: MHR = 220 – (0.7 x
age)
 Check your resting heart rate (RHR) for a full minute in the evening, after you have been sitting
quietly for about 30 minutes reading or watching a relaxing TV show.
 Determine the heart rate reserve (HRR)
 Calculate the Training Intensity (TI) at 30, 40, 50, 60, 70 and 85 percent. Multiply the heart rate
reserve by respective 0.30, 0.40, 0.50, 0.60, 0.70, and 0.85, and then add the resting heart rate to all
four of these figures (e.g., 60% TI = HRR x .60 + RHR).
Example: The 30, 40, 50, 60, 70 and 85 percent TIs for a 20-year-old with a RHR of 68 bpm would be
as follows:

The Rate of Perceived Exertion (RPE)

When your body is challenged to do more than what is used to, changes in your body start to occur.
If the physical activity is too easy for your body, changes, if any, would be minimal. Hence your body
should be challenged and more effort should be exerted. The Borg Rating of Perceived Exertion (RPE) is a
way of measuring physical activity intensity level. Perceived exertion is how hard you feel like your body is
working. In conducting physical activity, consider the Rate of Perceived Exertion (RPE):
Activities
I. Add-One-Out.
Direction: Write A if the given statement is correct. However, change the underlined word with the
options provided after each sentence if you think it makes the sentence incorrect.
1.The word hip-hop was derived from the word “hep”, an African-American vernacular English
language since 1904 which means “current”. (B.) cheer dance (C.) ballet (D.) modern/contemporary
2. The first Philippine Team who won the World Hip Hop Dance Championships is the Manila
Lakers. (B.) Philippine All Stars (C.) Ateneo De La Salle (D.) UST Manila
3. Hip-hop dance routine usually ranges anywhere from one to three minutes and they are done to
direct spectators to cheer for sports teams. (B.) Modern/Contemporary (C.) Ballet (D.) Cheer Dance
4. Hip-hop was apparently invented by a New York rapper Kevin Donovan, who was dubbed as the
Grandfather of Hip-hop. (B.) Jungee Marcelo (C.) Isadora Duncan (D.) Catherine de Medici
5. To get your MHR, count the beats you feel for 10 seconds and multiply this number by six to get
your pulse per minute. (B.) RHR (C.) TI (D.) HRR
6. T.I. is the amount of effort you are putting in to whatever exercise you are doing. (A.) MHR (B.)
RHR (C.) HRR
7. The RPE is a way of measuring physical activity intensity level. (A. MHR (B.) RHR (C.) HRR

II. True or False.

Direction: Write A if the given statement is correct. Write B if the statement is incorrect.
Be guided with the underlined word/phrase.
1. Both hip-hop and cheer dance movement incorporates locomotor and non-locomotor movements.
Combining any of the locomotor and nonlocomotor movements will create another step.
2. The American Heart Association generally recommends a target heart rate of moderate exercise
intensity: 30% to about 40% of your maximum heart rate and vigorous exercise intensity: 70% to
about 85% of your maximum heart rate.
3. Moderate amounts of social activity are recommended daily and choose any dance style that you
find enjoyable and fits into your daily routine.
4. Regular physical activity, regardless of how hard it is, makes you feel stress and cause undue
fatigue. 5. The target zone for dancing activities is from 12-16.
 III. Let’s Intensify!
Direction: Using your own resting heart rate (RHR) and age as of today, complete the training intensity (TI)
table below. The data in this activity will be used in the next activity.

IV. Let’s Groove It Out!

Direction: Using the fundamental/basic movements, create your 60- minute cheerdance routine. Choose
your preferred music and be guided with the given dance elements in creating your dance figures. Practice
your dance routine and ensure safety in the conduct of this activity. After the practice, accomplish the
Activity Intensity Table below.
* Energy - a dance element that minimizes the monotony of the movements in a performance such as:
1. SUSTAINED- movements are done smoothly and does not have clear beginning and ending;
2. PERCUSSIVE- movements are explosive or sharp in contrast with sustained. They have a clear beginning
and ending;
3. VIBRATORY- consist of trembling or shaking. A faster version of percussive movements;
4. SWINGING - movements trace a curved line or an arc in space;
5. SUSPENDED - movement are perched in space or hanging on air;
6. COLLAPSING – a slow collapse which can be describe as melting or oozing action in a downward
direction.
 V. Let’s Enrich!
Direction: Analyze the data as reflected in your Activity Intensity Table. Write your answers in your
answer sheet.
1. What does the result tell you?
2. How do you feel about the result?
3. Do you consider yourself as an active or inactive person? Why?
4. Which of the movements you find it difficult to perform? Why?
5. Which of the movements you find it easy to perform? Why?
6. Did you achieve your Training Intensity (TI) target? Why? Why Not?
7. With the results, how will you deal with your target zone/target heart rate?

VI. Tiktok Community

Direction: From thousands of short clips on tiktok choose one. Practice, perform, record and send via
messenger, email, post on teacher’s or on your FB timeline, or save it to USB and submit to designated
outpost.

Prepared by
CHARIZEL C. LUC