This module is designed for you to:

1. demonstrate understanding of lifestyle and weight management to promote

societal fitness.

2. maintain active lifestyle to influence the community and society to participate in

physical activities.

3. practice healthy eating habits that support an active lifestyle.

● This is the first part of the lesson in Social Dancing. In this phase, you will be
provided with activities that will activate your prior knowledge as regards the
lesson. From here, follow-up activities will be given to elicit your tentative
understandings. As you go through the rest of the activities, misconceptions
and alternative conceptions you have in mind will be clarified. Finally, your
knowledge, considering its adequacy and relevance, will be assessed at the
end of this phase.

⮚ You will be given activities to display and enhance your skills in Social dancing
at the same time formulate your understanding as regards the benefits of
such activities to your fitness and well-being. As you go on and overcome the
challenges provided for you, you will learn that together, dancing activities will
be more fun and exciting, without knowing that you are at the same time
improving your fitness and social skills.

PHYSICAL EDUCATION 2/RSTPage 1

 Lesson 1: HISTORY OF SOCIAL DANCING

At the end of the lesson, you should be able to:

1. execute the skills involved in the dance;

2. involve oneself in community service through dance activities: and

3. recognize the needs of others in a real life and meaningful way.

● People dance socially mostly for the pure joy of it. For a dance enthusiast,
nothing compares to the thrill of moving with grace and harmony to a beautiful
piece of music with a wonderful partner.
● Social dancing, which is simply group dancing for pleasure or recreation, has
probably existed in some form since the beginning of human society. Most
group dances were originally ceremonial rites grouped around three basics
aspects of human existence: food supply, sexual impulse, and relationships
with the spirit world.
● For primitive people, dancing was a formal expression of religion or
superstition. When dance abandoned its primitive, pantomimic forms, when it
ceased to be specifically about crops, war, wooing, initiation, or religion, it
became pure social interaction, with no aim or purpose but the participants’
enjoyment.

Various changes in social dancing through the ages clearly demonstrates its
interdependency with the world around it.

During the 14th century, for example, when social dance and folk dance were
virtually indistinguishable, popular ring dances moved inside English upper-class
homes as part of the evening entertainment. As long as the hearth occupied the
center of the room, the dances retained their circular, and egalitarian form. With
the introduction of the chimney about 1368, however, the hearth could be moved
to a side wall, which cleared the floor of obstacles and allowed processional
dances- then favored in the royal courts where rank determined the order of
procession- to replace the ring information.

PHYSICAL EDUCATION 2/RSTPage 2

 Through the Renaissance and the 16th century, social dance became more firmly
ensconced in the courts, whose members systematically dressed up and
formalized the lusty folk dances to suit their elaborate codes of manners and
attire.

The 17th century minuet was nothing but manners, the final flourish of aristocratic
elegance before national and then industrial revolutions returned social to the
masses. When fine demarcations of rank and title vanished, square formations
like the Cotillion and Quadrille, with partners constantly changing, filled the
ballrooms. The Waltz- whose dizzying speed was derived as much from the
newer, more polished surface of dance floors and the abandonment of hobnailed
shoes as it was from the public’s enthusiasm-also became popular. The
embracing, closed hold of waltz successfully defied the polite convention of the
period.

Advancing technology and two world wars so continually restricted life in the 20th
century that social dance has been changing almost constantly, quickly altering
with the values and practices surrounding it. The syncopated rhythms of
American ragtime music inspired the foxtrot and shimmy.

After the 19th amendment gave women the vote in 1902, they became
“emancipated” the flapper was born, as well as the Charleston. The jitterbug burst
the swing improvisations of the 1930’s and 40’s. Long playing phonograph
records appeared in 1949; thus, in the 1950’s, the teenagers born during the
postwar “baby boom” could launch the rock ‘n’ roll phenomenon in both music
and dance. By then, the once-shocking waltz position and the sexual attitudes it
represented were passé. Because everyone performed the steps individually,
men no longer always “led” women, and couples were not essential. The
emergence of disco dance styles in the 1970’s and later popular dance not forms
continued this trend, although some of the more formal dances required partner.

In a world that pride itself on the speed of its transformations, new forms are
inevitable. Social dance no doubt will continue to evolve as society does.

THE BALLROOM DANCES

A. THE WALTZ
B. POLKA
C. TANGO
D. FOXTROT
E. SWING
F. RUMBA

PHYSICAL EDUCATION 2/RSTPage 3

 G. QUICKSTEP
H. PASO DOBLE
I. SAMBA
J. MAMBO
K. CHA-CHA
L. JIVE

ELEMENTS OF DANCE ETIQUETTE

In the following we touch on a few of the more important aspects of dancing. For
more details see the accompanying article “Elements of Dance Etiquette.”

● Never blame your partner for anything that may happen on the dance floor.
Not if you want him/her to dance with you again.
● A request for a dance must be accepted under almost all circumstances. If
you decline a dance, you yourself cannot dance until the end of the music.
● No unsolicited teaching on the dance floor! There is a good chance this
will make your partner feel small and humiliated. Not exactly a great way
of encouraging him/her, or others, to dance with you.
● Do not monopolize a partner on the dance floor. Dancers are polite and
rarely say no to a dance, but this is no carte blanche to impose on their
kindness. Dance with everyone, and let everyone dance.
● On the floor, be considerate of other couples. Exercise good floorcraft: do
not cut other couples off: no aerials or choreographed steps on the dance
floor.

Lesson 2: THE WALTZ, POLKA AND FOXTROT

At the end of the lesson, you should be able to:

1. execute the skills involved in the dance;

2. involve oneself in community service through dance activities: and

3. recognize the needs of others in a real life and meaningful way.

PHYSICAL EDUCATION 2/RSTPage 4

 ● The Waltz is a dance born in the suburbs of Vienna and in the Alpine region
of Austria.

THE WALTZ

During the middle of the 18th century, the allemande form of the waltz was
very popular in France. By the end of the 18th century, this old Austrian
peasant dance had been accepted by high society, and three-quarter rhythm
was here to stay.

In July of 1816, the waltz was included in a ball given in London by the Prince
Regent.

Around the close of the 19th century, two modifications of the waltz were
developed. The first was the Boston, a slower waltz with long gliding steps.
The second was the hesitation, which involves taking one step to three beats
of the measure. Hesitation steps are still widely used in today’s waltz.

The American waltz is similar to the international style except it has both open
and closed dance positions. This allows the American style dancer a unique
freedom of expression, including the ability to showcase character and
theatrical presentation.

The slow waltz is danced to music written 3/4 meter with 30-32 measures per
minute.

RISE AND FALL is unique to the waltz. If possible, all the steps in the waltz
should be long. On the first step forward, the weight is taken on the heel, then
on to the ball of the foot. A gradual rise to the toes should be started at the
end of the first beat, and continued to the second and third beat bar of music.
Lower to the normal position at the end of the third time beat by lowering to
the heel of the foot which is carrying the weight.

PHYSICAL EDUCATION 2/RSTPage 5

WALTZ LEFT FOOT CHANGE STEP

Man’s foot position

Start position (facing line of dance rhythm- One, two, and three).

WALTZ RIGHT FOOT CHANGE STEP

Man’s foot position

PHYSICAL EDUCATION 2/RSTPage 6

Start position (facing line of dance rhythm-One, two and three).

WALTZ BOX STEP

Man’s foot position

Start/finish position
Rhythm- one, two, three

How to do waltz box steps. https://youtu.be/n8PIcO4_S5Q

WALTZ FORWARD PROGRESSIVE STEP

Man’s foot position

Start position (face line of the dance)

Rhythm- One, Two, three

PHYSICAL EDUCATION 2/RSTPage 7

How to do a waltz progressive step. https://youtu.be/fdStVuh56sY

WALTZ PROMENADE STEP

Man’s foot position

Start position (face diagonal to wall)

Rhythm- One, Two, three

PHYSICAL EDUCATION 2/RSTPage 8

Waltz Promenade https://www.youtube.com/watch?v=JKLRaC6VB_4

WALTZ STEP 2

WALTZ LEFT TURN STEP

Man’s foot position

Rhythm- one, two, three

One basic is 6 steps

PHYSICAL EDUCATION 2/RSTPage 9

WALTZ RIGHT TURN STEP
Man’s foot position

Start position
Rhythm- one, two, three
Proceed with a left foot change, then 2 right turns and finish with a right foot change.

Waltz Reverse and Natural Turn https://youtu.be/l4OiaoSfWjY

PHYSICAL EDUCATION 2/RSTPage 10

WALTZ WHISK
Man’s foot position

Start position:
1. Left foot forward
2. Right foot side
3. Left foot crosses behind right foot

WHISK-LADY’S FOOT POSITION

PHYSICAL EDUCATION 2/RSTPage 11

 Waltz Whisk https://youtu.be/13iJ7qFIaGg

POLKA STEPS

POLKA is defined as vivacious couple dance of bohemian origin in duple time; was
a basic pattern of hop-step-close-step; a lively Bohemian dance tune in 2/4 time.

The Polka was originally a Czech peasant dance, developed in Eastern Bohemia
(now part of Czechoslovakia). Bohemian historians believe that the polka was
invented by a peasant girl (Anna Slezak, in LAbska Tynice in 1834) one Sunday for
her amusement. It was composed to a folk song “Strycek Nimra Koupil Simla (Uncle
Nimra brought a white horse). Anna called the step “Madera” because of its
quickness and liveliness.

The dance was first introduced into the ballrooms of Prague in 1835. The name of
the dance (pulka) is Czech for “half-step”, referring to the rapid shift from one foot to
the other.

The popularity of the polka led to introduction of several other dances from central
Europe. The simplest was the gallop or galoppade which was introduced in England
and France 1829. Dance position was the same for the waltz or polka, with couples
doing a series of fast chasses about the room with occasional turns. Music was in
2/4 time, often merely fast polka. The gallop was particularly popular as the final
dance of the evening.

For years, the polka remained popular, with its variance in style from robust to
smooth short, glide steps and every happy music. One of the most popular versions
of the polka is the “heel and toe and away we go” due to it ease to execute.

Polka is a popular dance in the country and western sector. Polka and schottische
are competitive country and western dances.

THE POLKA STEPS

The basic polka steps consist of a preparatory hop followed by a chase done first to
the left and then to the right.

The polka is primarily a fast dance. It is danced to music written in 2/4 time with the
first beat more heavily accented. Polka music may also be written in 4/4 time. It is
generally danced to a quick, quick, slow rhythm.

PHYSICAL EDUCATION 2/RSTPage 12

POLKA STEPS

POLKA BASIC FORWARD STEPS

Man’s foot position

START POSITION

POLKA BASIC BACK STEP

Man’s foot position

START

PHYSICAL EDUCATION 2/RSTPage 13

POLKA LEFT TURN STEP
Man’s foot position

Learn to Dance a Polka https://youtu.be/sVnfVUWiBTU

PHYSICAL EDUCATION 2/RSTPage 14

 FOXTROT

Foxtrot originated in the summer of 1914 by vaudeville actor Harry Fox. Born Arthur
Carringford in Pomona, California, in 1882, he adopted the stage name of “Fox” after
his grandfather. Harry was thrown on his own resources at the age of fifteen. He
joined a circus for a brief tour and he also played professional baseball for a short
while.

A music publisher liked his voice and hired him to sing songs from the boxes of
vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in
a comedy entitled “Mr. Frisky of Frisco”. After the San Francisco earthquake and the
fire of 1906. Harry Fox migrated East and finally settled in New York.

The Fox-trot originated in the Jardin de Danse on the roof of the New York Theatre.
As part of his act downstairs, Harry Fox was doing trotting steps to ragtimemusic,
and people referred to his dance as “Fox’s Trot”. In the rise to fame of the Vernon
Castles, exhibition dancers of outstanding talent and charm, there was no doubt that
the foxtrot was the most original and exciting of their various dances.

As a result of the great popularity which ballroom dancing was enjoying, it was
necessary to evolve a form of dance that could express the slow syncopated 4/4
rhythm and yet could remain “on the spot”.

The foxtrot was the most significant development in all of ballroom dancing. The
combination of quick and slow steps permits more flexibility and gives much greater
dancing pleasure than the one-step and two-step which it has replaced. There is
more variety in the foxtrot than in any other dance, and in some ways it is the
hardest dance to learn! Variations of the foxtrot include the Peabody, the Quickstep
and Roseland foxtrot. Even dances such as the lindly and the hustle are derived to
some extent from the foxtrot.

PHYSICAL EDUCATION 2/RSTPage 15

 FOXTROT STEPS

FOXTROT BASIC FORWARD

Man’s foot position

Start facing line of dance

Rhythm- slow, slow, quick, quick

FOXTROT BASIC BACKWARD

Man’s foot position

Start position

Rhythm – slow, slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 16

FOXTROT ROCK LEFT TURN
Man’s foot position

Rhythm- slow, slow, quick, quick

FOXTROT FORWARD PROGRESSIVE

Man’s foot position

Start
Rhythm – slow, slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 17

FOXTROT PROGRESSIVE STEP
Man’s foot position

Rhythm – slow, slow, quick, quick

FOXTROT PROMENADE STEP

Man’s and Lady’s foot position

Start
Rhythm – slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 18

FOXTROT LEFT TURN
Man’s foot position

Start position
Rhythm – slow, quick, quick

FOXTROT TWINKLE
Man’s foot position

PHYSICAL EDUCATION 2/RSTPage 19

FOXTROT BOX STEP
Man’s foot position

Rhythm – slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 20

FOXTROT RIGHT & LEFT TURN

Rhythm – slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 21

FOXTROT QUARTER TURNS

Rhythm – slow, quick, quick

PHYSICAL EDUCATION 2/RSTPage 22

How to do basic Foxtrot Step https://youtu.be/LQCDkaDaMjI

● ACTIVITY: SOCIAL DANCING AND FITNESS

In this activity, you will be provided with a review on the implication of dancing
activity to your fitness by way of determining your range of Target Heart Rate.

Here’s how:
This is how to determine your THR (Target Heart Rate) range. Follow the
steps provided and you’ll arrive at your own PMHR and THR which you could
use in determining the intensity of your dancing activity and raising it to a
higher level if necessary.

STEP 1: Find your PMHR in beats per minute by subtracting your age from
220:

● 220 - _________________________= (Your Predicted Maximum Heart

Rate)

Example:
● 220- 15 = 205 (PMHR of a 15 year-old individual)

STEP 2: you need to work out your lowest Target Heart Rate that you need to
aim for during exercise by multiplying your PMHR by 60% (or .6):

● ______(PMHR) x 60% (or .6) = (Lowest Target Heart Rate)

Example:
● 205 x .6 = 123 beats/minute (Lowest THR of 15 year-old individual)

STEP 3: lastly, you need to work out your Highest Target Heart Rate that you
can aim for during exercise by multiplying PMHR by 80% (or .8):

● ______(PMHR) x 80% (or .8) = (Highest Target Heart Rate)

Example:
● 205 x .8 = 164 beats/minute (Highest THR of 15 year-old individual)

PHYSICAL EDUCATION 2/RSTPage 23

 So, when you are dancing, you are aiming for the range of two figures you
have come up with in steps 2 and 3. In the example given, the Target Heart
Rate of 15 year-old individual is from 123 to 164 beats per minute during
exercise. To maximize the benefits you can derive from social dancing in
relation to cardio-vascular fitness, you need to know your Target Heart Rate
Range. This helps you determine the intensity or level of exerted effort you
are pouring into your dancing.

PROCESSING ACTIVITY:

1. Perform the Social dancing routine simultaneously 4 times with the music.
2. Stop and get your heart rate by placing your middle and pointing fingers in
your carotid pulse located just below your jaw, beside your throat. In 15
seconds, take your pulse. Multiply it by 4.
3. So, have you reached your minimum THR? If not yet, 5 repetitions is not
enough. Let’s dance more.
4. Do the same process in getting your THR.

Processing Questions: (Write your answer in a whole Sheet of paper)

● How essential is knowing how to get your THR range?

● How can Social Dancing contribute to a healthier lifestyle?

PHYSICAL EDUCATION 2/RSTPage 24