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Module Pe 2 Manual Module 1
Module Pe 2 Manual Module 1
Unit 1
RHYTHMIC ACTIVITIES
This unit is prepared for students to gain knowledge on the importance of rhythmic activities,
the role it plays in the development of nationalism, and the preservation of our cultural heritage.
It will help the students to improve self-expression through dance interpretation, creating and
performing simple movements.
OBJECTIVES
For better understanding of the discussions the follow, the following terms are hereunder
defined:
Rhythm - is a measured motion or flow, characterized basically by
Rhythms - denote as aspect of quality of movement, which is sometimes as a dance. Structured
forms, which start creative rhythmic movements, are sometimes are called rhythm.
Dancing – is a means of expressing one’s emotions through movements 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.
Dance – is a series of movements set to music where the emerge organization, structure, and
pattern.
RHYTHMIC ACTIVITIES
Is the response of a person displaying his emotional and mental reaction to rhythm. In all
nature, every individual makes rhythm like foot tapping, head movement, body sway while a
music is playing. In other words, the body moves as a physical response or as an expression of
feeling and the fundamentals principles of time, space, and force are observe.
To better facilitate the learning of dances and other rhythmic activities, we should first
understand the elements of rhythm, elements of movements space, and the qualities of
movements ( Andin and minas, 2004).
ELEMENTS OF RHYTHM
1. Underlying Beat or pulse Beat. The underlying beat is the steady continuous sound that
heard or felt thought any rhythmical sequence. The constant pulsation is called the pulse beat. It
is steady sound which serves as the constant measure upon which all rhythmic structure or
relationship depends. The underlying beat determines the time signature of a piece of music or
movements.
2. Measure. This refers to the identical grouping of underlying beats.
3. Rhythmic Pattern. This refers to a definite grouping of sounds or beats related to the
underlying beat. It also called the melody pattern because the rhythmic pattern follows the word
or melody.
4. Phrasing. A musical phrase is a group of measure that gives the feeling of unity. The end of a
phrase may suggest a change in direction of movement.
5. Accent. This is the force or emphasis given to any one beat in a series of pulse beats in a
measure.
6. Tempo. This is the rate of speed of the movements, music or accompaniment.
7. Intensity. This is the quality of movements or music. It refers to dynamics or force such as
heavy or light.
FUNDAMENTAL MOVEMENTS
There are three basic natural movements: the locomotor, nonlocomotor or axial movements,
and the manipulative skills (Andin and Minas, 2004).
: Locomotor movements - are used to move the body from one to another or to project the body
upward as in jumping and hopping.
Examples of Locomotor Movements
Walking Running Jumping
Hopping skipping Leaping
Galloping Sliding Draw steps
Marching Trotting Stamping
Twirling
: Manipulative skills – involve object handling that develops manipulative skills like ball skills.
Other object promote other skills like better hand and eye and coordination.
1. Psychological Factors. Fear, anxiety, and other mental phenomena affect movement
either positively or negatively. All these may affect the performance of an individual.
2. Physiological Factors. Physical fitness and body built are 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 relationships of the performer with a particular
group and his regard to social conformity and norms.
MOVEMENT SPACE
All movements take place in space. The two kinds of space occupancy are personal space
and general space.
Personal space is the maximum space available to a person in a stationary position. This
includes the space that the person can reach by bending, stretching, and twisting.
General space is the area, which include one or more persons moving space like
gymnasia, the swimming pool, classrooms, ballroom, plaza, and others.
PHYSICAL EDUCATION II – MODULE 1 Page 5
Elements of Space
1 and
1 ah
1234
1-2
1,2
1–2 3-4
123
1 – 2/ 1 2/ 1 2 3
1-2/ 1 2/ 1 & 2 3
1 – 2, 3 1
3/4
123 1
12&3 1
1 – 2 3/ 1 2 3 2
1234 1
4/4
1–23-4 1
1 -2 3 4/ 1 2 3 4 2
This unit is prepared for students to learn new terminologies and dances, and to realize
the creativity and rich culture of the Philippine regions. This is also intended to increase the
awareness and appreciation of the uniqueness of every dance.
OBJECTIVES
Art and religion were the most serious concerns of primitive civilizations. Although
during the primitive times, their concerns were mainly how to find food and how to increase its
supply. Unaware of the artistic aspect, they made use of hunting and fishing as their way of life.
As regards religion, they believed that the supernatural beings govern their fate. So, to express
their feelings, they created rhythmic movements by stamping, shaking their bodies, chanting and
other bodily expressions with the use of natural accompaniment. They employed wood, bamboo,
dried leaves, and other things to accompany their rhythmic movements which developed into
dance by generally perpetuating the movement and passing the tradition to the next generation.
The interweaving factors of rhythmic created the dance and later developed into high quality
movement and became part of an establishment art form up to this time.
DANCE FORMS
1. Classical Dance – dances with standardized rules and restrictions. It can be religious-
related dance or for court and royal entertainment.
2. Classical Ballet – a dance of supreme standards learned form an academe. This
originated from Italy from the word Bal-lo meaning to dance and flourished in the royal
court of France.
3. Modern Dance – a deviation from the principles of classical ballet developed by Isadora
Duncan. This is characterized by natural and true expression of the human body and soul.
4. Contemporary Dance – a combination of ballet and modern dance.
5. Folk Dance – a cultural art form handed down from generation to generation. It
communicates the customs, beliefs, rituals and occupation of a region or country. Folk
dancing belongs to and emanates from the people.
6. Ethnic and Tribal Dance – a dance particularly found in a group of people living
together in a locality with common beliefs and customs.
7. Recreational Dance – includes dance mixers, square dancing and round and round
couple dances.
8. Social and Ballroom Dance – a dance set in a social gathering with 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 purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the purpose of entertainment. It is the
end product of movement exploration and improvisation as the dancer or choreographer
expresses his/her feelings, ideas and interpretation. The principles of an art form are all
observed in the composition of this dance.
10. Popular Dance – highly recognized as a dance form in television and other dance centers
like disco houses and social gatherings.
Foot work: With the body slightly twisted obliquely left, step R ↑ with knee slightly bent,
raising L foot (ct.1, and ); step L in place slightly raising R (cts. 2, and ah); step R foot in
rear of L slightly twisting body obliquely right (cts. 3, and ); stamp L foot in front,
bending trunk forward (ct.4).
Arm movement: Hands on waist.
Panginginapay – rhythmic counting; one, and two, and ah, three and four
Foot work: with body slightly twisted obliquely left, step R with knee slightly bent,
raising L foot (ct. 1, and); step L in place (cts. 2); step R foot in rear of L slightly twisting
body obliquely right (cts. Amd, ah 3); L in place (ct.4).
Arm movement: Raise both arms in front at shoulder level, wrist leading palm facing up
and rotate forearms and wrist inward-outward finish fingers pointing up (ct.1 & 2). Open
to second position and repeat same movement (ct. and, ah, 3 & 4)
Pangingiray – rhythmic counting; one, two, three, four
Balangbang is a Pangasinan term which refers to the farmer’s waist. It is said to be the
most painful part of the body after working in the rice fields due to the continuous bending
during planting and harvesting rice. Farmers say that they are very much relieved when they
dance and shout “Balangbang.”
COSTUME
Girl – Kimona with long and sleeves; a panuelo placed over the left shoulder; a long
peasant ankle length skirt.
Boy – Camisa de chino with colored trousers and a handkerchief tied around the head.
MUSIC
FORMATION
Audience
X O
6”
BASIC POSITIONSS/MOVEMENTS:
1. Kewet 2. Iskrats
3. Change Step 4. Bleking
FIGURE I
Music A
Partners face each other.
FIGURE II
Music B
Partners face each other.
FIGURE IV
Music B
Partners face audience.
Interlude
Simultaneous movements of Boy and Girl.
Boy: Kneel on R. Hands on waist and rotate 4M
trunk and
Girl: Running steps going
around partner.
FIGURE VI
Music A
Partners face each other.
FIGURE VII
Music B
Partners face audience.
This dance is usually performed during occasions like baptismal, wedding, birthday
parties, and even during town fiestas. It is very popular in the town of Capul as well as in the
nearby town of Allen, Lavesares, and Victoria in Samar.
COSTUME:
Girl – Maria Clara or any typical Capuleño costume
Boy – Barong Tagalog and white pants
MUSIC:
¾ rhythm and composed of 3 parts: A,B, and C
FORMATION:
Audience
X O
6”
INTRODUCTION
Music Introduction
Partners face each other.
FIGURE I
Music A
Partners face each other.
FIGURE II
Music B
Partners face each other.
FIGURE III
Music C
Partners face each other.
FIGURE IV
Music A
Partners face each other.
FIGURE V
Music B
Partners face each other.
FIGURE VI
Music C
Partners face each other.
SALUDO
Music Saludo
Partners face each other.
During the Spanish regime, the parents of the rich conservative families strictly
prohibited their daughters called colegialas to mingle with the opposite sex. There were times,
however, when these girls were allowed to go to the town plaza by themselves. It was during
such times that they experienced flirting with the boys.
This dance, which originated from the provinces of Batangas portrays the modest
behavior as well as the flirtatious movement of the girl while being courted by an admirer.
COSUTME:
Girl – Maria Clara or serpentine with butterfly sleeves and panuelo
Boy – Barong Tagalog with black pants
MUSIC:
2/4 rhythm and composed of 3 partners: A, B, and C.
FORMATION:
Audience
X O
4’
ENTRANCE
Music A
Boys and Girls stand at opposite side of stage.
FIGURE I
Music B
Partners face each other.
Girl:
a. 4 steps ↑ and 2 changes Hold skirt and raise it slightly 4M
steps ↑. And rhythmically with steps.
b. Repeat (a) ↓ to partner’s 8M
side (4M); repeat movements
↑(4M).
c. 4 steps ↓ and 3-step turn R ↓ Same 4M
To proper places beside Bow to partner.
partner; pause.
FIGURE II
Music C
Partners face each other.
Audience
X O
Audience
X O
FIGURE III
Music D
Girl stands in front of Boy.
FIGURE V
Music D
Partners face each other.
FIGURE VI
Music A
Partners face each other.
BACKGROUND/CONTEXT:
This dance originated from among the Livunganen-Aromanen Manobos residing at
Libungan River Valley, particularly in Barongis Libungan, Cotabato. The early home of the tribe
was in Aruman, a barrio of Carmen, North Cotabato. Because of famine, some of the members of
the tribe transferred to Libungan and finally settled in Barongis where the seat of culture is
found. The ladies of the tribe usually perform this dance during important gatherings like
Samayan and Bulangan Festivals celebrated annually by the cultural communities in the
province.
DANCE PROPERTIES:
Typical Manobo Livunganen-Arumanen attire:
Top: Bright colored long sleeve blouse with V neckline and ruffles gathered at the
waist. The blouse is embroidered with colorful designs.
Skirt: Any printed malong
Accessories: Choker beads on the neck, arms, head, and feet.
MUSIC:
A. 1 & 2 ah 3, 4
B. 1 & 2 and 3, 4
C. 1 2 3 4
FORMATION:
Vertical, Horizontal, Circle
FIGURE I
FIGURE II
O O
O O
O O
O O
O O
A B
O O O O O O O O
FIGURE IV
O O O O
O O O O
FIGURE VI
a. 4 pangangawak steps forward to form one horizontal line. 4M
b. 4 pangingiray R/L in place 4M
c. 8 tarupak steps moving clockwise to exit. 8M
MUSIC:
/ /
/ /
/ /
Tapis is a rectangular piece of cloth that peasant women used to wrap around the waist.
This dance focuses on the tapis to show its different uses, especially when working in the fields.
It originated in Lingayen, Pangasinan.
COSTUME:
Girl – Peasant skirt with tapis and camisa; panuelo over L shoulder
Boy – Camisa de chino and any colored trousers and a hat
MUSIC:
¾ rhythm and composed of 3 parts: A, B, and C.
FORMATION:
Audience
X O
6”
BASIC DANCE:
1. Kewet
2. Kinewetan
Note: Boy’s hat is on his head from Introduction to Figure IV, and on the head of Girl
from Figure V to Finale.
INTRODUCTION
Music Introduction
Partners face each other.
FIGURE II
Music B
Partners face each other.
Girl unwraps tapis around waist and hold it on corners; Tapis still behind waist.
A B
Tapis
D C
FIGURE IV
Music B
Partners face each other.
FIGURE V
Music B
Girl hold A and D corners; Boy holds B and C corners.
FIGURE VI
Music C
This dance originated from the province of Sorsogon. The old folks of the place believed
that it was introduced during the Spanish regime. It has become a favorable of the younger adults
because of the graceful and romantic movements.
This is a courtship dance. The boy snaps his fingers as he dances, which is his expression
of his admiration for the girl he loves.
COSTUME:
Girl – Maria Clara or Balintwak
Boy – Barong Tagalog or Camisa de Chino
MUSIC:
¾ rhythym and composed of 4 parts; A, B, C, and D
FORMATION:
Audience
X O
6”
INTRODUCTION
Music Introduction
Partners face each other.
FIGURE I
Music A
Partners face audience.
FIGURE II
Music B
Partners face each other.
Simultaneously movement of Girl and Boy
FIGURE III
Music C
Partners face each audience.
Simultaneously movement of Girl and Boy
FIGURE IV
Music D
Partners face each other.