3

H.O.P.E.
GRADE 12
Quarter 2
DANCE: Social dance, Hip-hop,
and festival dance

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PE and Health 3: Grade 12
Alternative Delivery Mode
Quarter 2 : Dance: Social Dance, Hip-hop, and Festival dance
First Edition, 2021

Republic Act 8293, section 176 states that: No copyright shall subsist
in any work of the Government of the Philippines. However, prior approval of
the government agency or office wherein the work is created shall be
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among other things, impose as a condition the payment of royalties.
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and authors do not represent nor claim ownership over them.

Published by the Department of Education

Secretary:
Undersecretary:
Assistant Secretary:

Development Team of the Module

Authors: Jovit L. Jeniebre, Aica Marie Hernandez,

Michael E. Comayingking
Editor: Jovit L. Jeniebre
Reviewers: Fatima Yusingbo
Illustrator: Jovit L. Jeniebre
Layout Artist: Jovit L. Jeniebre
Management Team: PE and Health SHS Teachers

Printed in the Philippines by ________________________

Department of Education – DepEd Las Pinas

Office Address: ____________________________________________
____________________________________________
Telefax: ____________________________________________
E-mail Address: ____________________________________________

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 3
H.O.P.E.
Grade 12
Quarter 2
Dance: Social dance, Hip-hop,
and Festival dance

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Introductory Message

Your engagement in active recreation, sports, physical activities, and

understanding of health concepts will contribute to your sense of social
connectedness and help you assume greater responsibility through a variety of
roles as you participate in a real-world situation. These Physical Education and
Health module is uniquely crafted to explore your greatest potential and promote
lifelong skills through active participation in the different learning experiences.
Emphasis is placed on combining tactical knowledge that you will acquire, and the
development of skills for a better performance and achievement of the expected
learning outcomes.

This module is designed to provide and equip you with knowledge, skills, and
habits that will enable you to achieve competence in maintaining your health and
physical condition. The domain in Physical Education focuses on the importance of
a healthy lifestyle and physical activity through active recreation such as sports,
fitness, street dance and hip-hop dance, while the domain in Health Education
emphasizes on the development of the proper skills of a health-conscious consumer,
lifelong participation in health trends, issues and concerns in health care, and
planning for a health career.

Each module follows a standard format or pattern with a short overview of the
lesson, content and performance standards, pre-assessment and instructional
activities. Every level provides activities that will allow you to experience meaningful
and varied learning. Your involvement in the different tasks can take many forms,
ranging from self-reflection and group tasks to beyond the classroom learning
activities. Your deeper understanding of the lesson will help you gain more relevant
skills and information, preparing yourself for the challenges of the world.

As you start putting life into this module, you will discover many great
opportunities and learning experiences that will change the way you spend your
time. You need to visualize a better version of yourself and aspire to achieve a
holistically healthy you.

Come on. Let’s get

started!

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 MODULE IN PHYSICAL EDUCATION AND HEALTH 12
Second Quarter
Week 1-3

MELC: Observes personal safety protocol to avoid dehydration, overexertion,

hypo- and hyperthermia during MVPA participation (PEH12FH-Ik-t-10)

LESSON H.O.P.E. 3: Ballroom dance “Nature and

1 History”

https://blog.dancevision.com/history-of-ballroom-dance

The History of Ballroom Dance

The history of ballroom dance is a fascinating story of music and creative
movement melding synergistically over time, producing what we know and
love today as social ballroom dance and dance sport. As dancers or aspiring
dancers, an understanding of the origins of our craft can help bolster our
appreciation for where ballroom dance is today, and derived inspiration from
the stories behind our favorite dance styles.

While this blog post could truly be a novel, we want to offer you a short
outline to explore the general idea of the history of ballroom dance. Since its
origins, ballroom dance has been inspired by historical music choices, and
music inspired by what the dancers created. This unique partnership is a
great reminder that these histories are full of culture, stories, and lifestyles
from across the globe.

Early Origins
The origins of ballroom dance first appeared in 16th century Europe—
French philosopher, Michel de Montaigne, wrote of a dance that he observed
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in 1580 in Augsburg, Germany, where dancers moved together so closely that
their faces touched. Waltz, considered the oldest traditional ballroom dance,
originated as a dance style enjoyed by lower classes. Around 1750, a couples’
dance called “Walzer,” was popularized by peasants of Bavaria, Tyrol, and
Styria. Danced in ¾ time, it eventually spread from the countryside to the
suburbs, and finally into European cities.

As ballroom dance entered cities, upper classes danced the minuets (stately
ballroom dances from the 18th century) to music by Mozart, Haydn, and
Handel. The styles of upper and lower classes blended when noblemen, bored
by the minuets, stepped away to partake in the balls of their servants; as
peasants and noblemen danced together, novelists took count and
incorporated elements of this Waltz into their writing, often depicting it as
both shameless and indecent.

However, perhaps startling to aristocrats and writers, Waltz grew in Vienna,

quickly reached England, and was introduced to commoners by infantry
soldiers in the early 1800s. As composers picked up on the popular dance
style, those such as Johann Strauss and Franz Lanner helped increase the
popularity of the ¾ time Waltz, throughout Austria and Germany. No longer
was Waltz considered scandalous or indecent, the dance was most popular at
social gatherings and parties across Europe, complimented by authors for it’s
grace and beauty.

Across the globe, other forms of social dance emerged. While the origins of
the Merengue are disputed by historians, some attribute its creation in the
early 1700s to African slaves of the Dominican Republic, who combined both
African and French minuet dances. After watching aristocrats dance stoic,
waltz-style dances during parties, they mimicked these dances, taking bits of
what they liked, increased the tempo and added their own music and rhythm.
By the 1850s, Merengue was danced at every social occasion in the Dominican
Republic and neighboring Caribbean and South American Countries. Well-
suited for crowded rooms or small spaces, Merengue was introduced to the
United States first in New York City and was easy to dance in bustling bars
or clubs.

Turn of the Century

Around the turn of the century, many dance styles blossomed across all
parts of the world.

In the streets of Buenos Aires, Argentina, the dance, and the music
of Tango developed together, increasing its popularity at a rapid rate. In fact,
many instruments even became known as traditional “Tango” instruments—
guitar, Bandoneon (tango accordion), and ensemble bands including violins,
piano, flute, and bass. In the early 1900s, Tango reached New York City and
Paris, expanding into both lower-class dancers in these areas, as well as
wealthy Argentinian youth traveling in other parts of the world, seeking the
comfort of music and dance from their home country. Tango became a trendy
dance and style of music and was soon danced across Europe and North

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America frequently. The North American Tango strayed slightly from the
Argentinian at first and became more unique over time. Today, the tempo of
the music and movement of the dancers is must faster and typically a 2/4 or
4/4 rhythm.

In the United States, inspired by ragtime dances, a smooth and traveling

dance called the Foxtrot was named after entertainer and Vaudeville actor
Harry Fox. Around 1914, Harry would typically perform trotting steps to
ragtime music in one of his theater acts in New York City, earning his dance
the name of “Fox’s Trot”. Husband and wife actors, Vern and Irene Castle,
also helped popularize and refine the dance after appearing the Broadway
Show, Watch Your Step, in 1914.

In the 1920s, an energetic dance inspired by contemporary jazz music and

popularized by Black Americans became known as the Swing. Like tango,
the music and dance evolved together, and Swing came to include many
other styles—Lindy Hop, Shag, and Charleston. Fast, bouncier swing
dancers, such as Norma "Queen of Swing" Miller, came to introduce the
Jitterbug and Lindy Hop, with incredible displays or jittering movements as
they danced. While Lindy Hop and other styles of Swing are still danced
across the country, in Ballroom today, the most popular styles of swing are
defined as “East Coast” and “West Coast” Swing.

As all these new forms of partner dancing began to evolve around the
beginning of the 20th century, there was a new birth of ballroom dance,
inclusive of many of these styles. As the arts became an integral part of
many American origin stories, dancers and other artists became popular
within the media. The Hollywood stars Fred Astaire and Ginger Rogers were
only the start of a dance partnership making the world fall in love. Between
their connection on the dance floor, ability to move as one with music, and
creation of routines that viewers remember for years to come, dancers such
as these are the fulcrum of our country’s passion for partner dancing.
In the 1940s, the origins of Mambo showed great collaboration between dance
and music. Bandleaders, starting to play a new form of music called Mambo,
developed a very creative and expressive dance based off of their new music
style. While this dance provided people the freedom to move their bodies to
the flow of the music, it was also characterized by complicated footwork and
interesting patterns. Mambo became so popular that a Puerto Rican dancer,
Pedro Aguilar, who came to be known as “Cuban Pete” even had songs written
about him and the way that he finessed the Mambo, making himself a
household name. Although he was not from New York, he brought his dance
style and eccentric dance ability to the Palladium club in New York city. He is
known historically as the “greatest Mambo dancer ever”, presented this title
by Tito Puente, a superstar in Latin dance music.

Alongside the Mambo, the Cuban Rumba was an extremely popular dances
within a club setting or on the streets, danced to the music of local
entertainers in Latin America. Similarly to the Mambo, Rumba is both a style
of musical rhythms and a dance. Originating in Africa, this dance and music

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style was brought to Latin America through African slave trade to Cuba. In
Africa, the Rumba began as a fast dance, with large hip actions, said to
represent the “chase” of a courtship. The “Son”, a popular Cuban dance, was
a similar dance style to the Rumba, but was slower and more compressed.
The wealthy Cuban class also danced a different style to Rumba music, called
the “Danzon”, where the hip movements were much smaller and created by
bending and straightening of the knees. As Rumba increased in popularity in
South America, the styles began to blend. The Rumba we know today is a
combination of parts of each of these histories, and even is danced
competitively across both the American and International categories.

Ballroom Dance Today

Within the successive years, governing bodies of ballroom dance were formed
across the United States and the entire world to collaborate internationally
and produce competitive dancing events. Today, ballroom dance is a
phenomenon as a social activity, as well as a competitive entity, delivering
some of our country’s most talented athletes as they blend elite execution of
skill with a beautiful art form. This growing trend of ballroom dance has only
been increased as television shows like Dancing with the Stars have increased
in popularity. Ballroom dance is a unique opportunity to move, share
movement with others, and showcase creativity.

What’s New

Ballroom dance, type of social dancing, originally practiced in Europe and

the United States, that is performed by couples and follows prescribed steps.

History of social dance / Ballroom dance

Dance is one of the oldest human activities that has managed to follow us
through our development as a species, our spreading across continents and
rise of modern cultures and civilizations. The oldest archeological evidence of
dance can be traced to some 9 thousand years ago, and ever since then its
presence in historical records grew and took greater significance as they
became part of our daily lives, customs and various religious ceremonies.
http://www.dancefacts.net/dance-history/history-of-ballroom-dancing

Dance Terminology
The dance tips are provided as a guide only. In a social dance
environment sometimes, it is might become expedient on a crowded
dance floor to modify a step as a courtesy of those around you.

Aerial A Position where the foot is in the air, with a relaxed knee. (Slight
Bend, foot pointing down, With attitude).
Alemana Usually in Latin-the lady turns under the mans raised arm as
he steps back.

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 Alignment The direction the foot or feet are pointed, or the direction
one moves in relation to the room.
Attitude Shape given to knee (Aerial)
Balance The correct distribution of the weight to the body.
Body Sway The slight sway of the body on certain steps, particularly
turning steps which helps retain the momentum of balance.
Bow (In Acknowledgment) Bending slightly forward from the waist.
Brush When moving the foot from one open position to another open
position the word BRUSH indicates that the foot must be close,
or almost close to the foot supporting the weight of the body but
without change of weight.
Change of Place Partners move to opposite sides, e.g: man, dances to
outside lady dances to inside, change places.
Chasse (Chas-eh) Three steps taken in any direction, closing the feet
on the second step with weight, eg: step left foot close right foot
to left foot step left foot.
Open chasse: A Chasse with the feet open on the 2nd step.
Check A step stopping the normal forward progression, and then
reversing the alignment. Closed Change Three steps in any
direction the foot on the third step with weight.
Closed Finish Partners finish facing each other in Natural hold, eg:
from promenade position man step right foot forward and across
in contra body movement position and promenade position
leading the lady to turn towards the man, step left forward and
slightly to the side, close right foot to the left foot.
(http://www.letsdanceballroom.info/Dance_Terminology.php)

Ballroom dance is a welcoming art form that is open to you at any age,
level, and with or without a partner. Did you know that your options for
learning ballroom are just as vast?

Ballroom Dance Basics

Ballroom dancing is often perceived as consisting of "traditional" dances
such as waltz and foxtrot only. But modern ballroom dancing consists of
many dances (see Common Dances) from all parts of the world and with
appeal to all ages. You can choose stylish and elegant dances like the waltz,
or more energetic swing and rhythm dances such as the Hustle, Paso Doble,
Merengue and Salsa.

Benefits of Ballroom Dancing

Most dancers are pleasantly surprised at the many additional ways in which
their lives are enriched by joining the dance community:

1. Socialization - Most new students look to take their new skills to a

specific venue such as a cruise, wedding or party. There are additional
opportunities for socialization such as studio parties, dance
competitions and clubs. Ladies and gentlemen alike will be pleased to
know that dancers LIKE to dance. For men, good manners and

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 gentlemanly behavior are rewarded by a "Yes, thank you" response.
For ladies, ballroom dance provides the ability to enjoy dance and
music in a safe and fun environment.
2. Fitness - Dancing rarely feels like exercise. However, participation
in practice sessions, drills, lessons, and social events provides an
incredible amount of aerobic exercise and physical conditioning. Many
dancers experience weight loss and muscle toning benefits as a direct
by-product of participating in dance.
3. Agility - Dance steps and movements require using muscles and
postures which are new to most people. The end result is that your
body will become more flexible and nimble. Also increased grace and
posture are by-products of dance technique and movement.
4. Mental Acuity - Dancing demands a high level of mental energy.
Planning pattern movements, lines of direction and appropriate
responses to floor conditions and partner directions hone a dancer's
cognitive skills. Studies have confirmed side benefits such as staving
off Alzheimer's.
5. Confidence and Self Esteem - the combination of increased
mental and physical capabilities is an extraordinary boost to self-
confidence. Dancing skills can be readily transferred to other sports
and leisure activities.
6. Look Better - proper dance posture and carriage add to improved
physical conditioning and result in a dynamic, new you. Straighter
spines, balanced footwork and arm-framing all result in the person
your parents expected when saying "Stand up straight". Better
posture results in a more attractive figure and a healthier skeleton.
7. Have Fun - last, but not least, dancing is FUN! Music,
companionship and increased personal activity levels all combine to
enrich your lifestyle in ways you could not have imagined.

Common Dances

American Smoot America Night International Internationa

h n Club l Latin
Rhythm Standard
Waltz Salsa Cha Cha
Tango Cha Cha Samba Waltz Rumba
Foxtrot Rumba Merengu Slow Foxtrot Samba
Viennese Waltz East e Tango Paso Doble
Coast West Viennese Jive
Swing Coast Waltz
Mambo Swing Quickstep
Bolero Hustle
Paso
Doble
Nite-club
Two-Step

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Social vs Competitive: What's the difference?

As far as your learning objectives, there is no difference. Lessons are there

for you to be a better dancer regardless of your objective. Social dancing
provides the opportunity to dance in settings like parties, weddings, cruises.
Social dancers enjoy dancing with their significant other and with new
partners who they meet at events. Events can be found at dance studios,
dance clubs as well as community organizations.

Competitive dancing can be done with your instructor ("Pro/Am") or with

another student ("Amateur") at local, regional, national, and international
events. Competitions provide an exciting venue to show off your skills, wear
elegant costumes and travel to new places. Competitions will generally
mandate more lessons and practice time and therefore require significant
investments of both time and money. Competitive dancers consequently will
tend to have higher skill levels and be more confident performers.

However, dancing is a social activity. It requires partners and is also an

activity where even the best dancers in the world continue to learn and
grow. Dancing also lasts forever. Unlike other sports, dancing can be done
at any age. So, like any avocation, dancing requires an understanding of
one's goals and then may require some "equipment" - primarily clothes and
shoes.

Setting Goals
Since dancing can become a lifelong activity, it's important to establish
goals, then continue to review and establish new goals.

You may start dancing because of an upcoming wedding or cruise. Many

men are asked to start dancing by their wives as a joint hobby. As you
become more captivated by dance, you will need to make decisions like:
• Am I a social or competitive dancer? Both?
• How much do I want to spend?
• Do I like to perform in public (e.g. in showcase events)?
• Do I want to dance with "strangers" (touch is a constant in
dance)? Spouse or significant other only?
• Then you need to set your goals and establish a budget (an
annual plan usually makes sense).
• Work with your professional instructor honestly and openly to
then define learning objectives and the best way to use your
money.
Money can spent on many items such as:
• lessons (private or group)
• shoes
• clothing
• travel and lodging (for you and for your dance partners)
• competition fees

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Apparel
• Dance Shoes
• Practice Clothing
• Competitive Clothing

Your Body
Your body is your primary dance instrument. As you progress and build
skills, your body will engage first with your feet, then upwards throughout
the rest of your body. Eventually you will learn that dancing requires
coordinated and synchronized management of many body parts such as:

• Feet (ideally one left foot and one right foot as employing two of
the same kind can be problematic)
Sections of feet (Toe, Ball, Heel, Inside Toe, etc.) - watch our
videos and you will see how each foot consists of many parts.
• Knees which are an engine to engineer leg extensions and
sometimes changes in height.
• Hips used to create sideways sway motions (e.g. ladies in
smooth side movements and both in East Coast Swing steps
after the "a"). CAUTION - the hips are NOT used to create Latin
motion which emanates from weight shifts in the feet which
cause hip rotations.
• the "Center", consisting of a lower, middle and high center
• Rib Cage, consisting of 2 sides, a front, a back and 4 diagonal
points - used to create sway as well as rise
• the "Frame", consisting of your arms, shoulders, collar bones in
a united structure. Remember, raise your arms while your
shoulders are in a relaxed downward sloping posture.
• Arms - used for styling motions when they come free during
patterns which are not in closed position.
the Head - required to take specified position such as looking to
the left during smooth dances
• the Eyes - constantly surveying the room, other dancers and
picking up visual cues from one's partner, while continuing to
look "static" and aloof. NEVER, NEVER watch your feet or your
partner's feet.
• the Hair - not exactly a muscle, but a body part which
sometimes seems to take more time to manage than any other.

As your body will determine your dance proficiency, physical conditioning

will derive naturally from your increased dance activities. Nonetheless
stretching, yoga and other aerobic exercises are recommended. One thing we
know for a fact. Your body will look and feel better as you dance more.
Weight loss is not uncommon and posture improvements and skeletal
integrity are almost unavoidable.

Practice Makes Perfect

As with any sport, practice is vital to improving your dance skills. Each step,

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each pattern and each dance define a unit to be practiced. Your body will
learn new ways to move. Remember, practice is both a physical and a
mental activity which has the end goal of developing muscle memory as well
as intuitive memory.

Exercises
1. Stretching
use your full repertoire of stretching and aerobics drills from any other
discipline to improve your stamina, flexibility, and strength
2. Warmups
step down the speed of a dance and practice steps slowly (e.g. practice
Rumba using Bolero music)
3. Feet
with your weight on one foot, rotate contact around the circumference
of your other foot so you learn that every edge and surface of a foot is
a contact and pressure point.
4. Toe Rise
rise on both toes and walk forward and sideways. Stop suddenly and
stay up on both toes.
5. Cores & Spine
sit on the edge of a chair and push your rib cage diagonally to each
corner without using your hips or shoulders
6. Shoulders
hold your arms up horizontally with elbows pointed to the sides and
walk around without breaking the frame of our arms. Don't shrug
your shoulders upwards, keep them relaxed and sloping downwards.
7. Neck
rotate your head in a circular motion while lowering to the front and
looking upwards when at the back. CAREFUL here if you have neck
problems.
8. Latin Motion
practice the weight shift exercises shown in our glossary for 15
minutes each day.
9. Rumba Walks
repeat the forward or backwards steps shown in the Rumba Basic
pattern, three steps forward, 3 steps back. Continue for 15 minutes
while honoring the weight shift you learned above.

Dance each step, each pattern in each dance repeatedly until your feet
work without conscious direction from your mind.

Technique & Styling

Technique and styling present life-long opportunities for learning and
improvement. These are
concepts to refine as your love of ballroom dance grows and not something
you rush, especially without formal instruction in group or private lessons.
Technique generally refers to how you use your body parts in a
synchronized manner to execute dance motions. Styling refers to how you

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accentuate your shaping and free movements to add grace, rise, fall, and
sway to your dance.

1. Feet (Smooth)
note how the feet are offset with the Responder shifted to the
Leader's right side.
2. Feet (Rhythm)
note how the heels are in contact while the toes are turned out in
all steps.
3. Bodies
the bodies face each other in closed position,
4. Hands
in closed position the Responder's right hand is in the Leader's left.
The Responder's left hand is placed lightly on the Leader's right
arm while the Leader's right hand rests on the Responder's back.
5. Heads (Smooth)
the Leader's head point to the left as if looking over his left breast
pocket. The Responder looks to her left as well. The heads do not
face one another. resist looking at each other's eyes.
6. Heads (Rhythm)
the heads face one another in closed position.
7. Eyes
NEVER look at your feet while dancing. NEVER look at your
partner's feet either. Keep your eyes trained on an imaginary wall
sconce behind your partner. Looking down will result in loss of
balance and will disrupt your timing.
8. Hips and Torso
keep these as still and upright as possible. No wiggling! Try and
start your forward movements with your torso and not your feet
just as you normally do when you walk. Check it out - your
forward walking step starts in your "center" not your foot.
9. Arms
the Responder is the seller of the dance and she gets to make
fancy, stylish arm motions. The Leader uses his arms to "protect"
the dance space, as if warding off intruders from his partner.
10. Shoulders
when the arms some up into frame, the shoulders should remain
RELAXED. Avoid shrugging your shoulders when raising your
arms.

Other key concepts described in the glossary:

11. Connection
there should always be a connected feeling between dance partners
so a Leader ca send and a Responder can receive instructions
through contact between the bodies.
12. Weight Transfer
the weight is constantly shifting between feet AND between parts of
your feet, In Rhythm for example, weight actually rolls from the

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 Heel through the Ball to the Toe. In Smooth danced you will often
rise to your toes, then lower your weight gently to your heels.
13. Rise and Sway
these visual effects are achieved by a combination of toe, knee and
torso movements.
14. Cuban (or Latin) Motion
this is fundamental for your rhythm dances such as Rumba and
Cha Cha. Turn the feet out, connect you heels and then achieve
hip rotation around your spine by using weight transfer - NOT hip
wiggling.

Positions & Responsibilities of Partnership

Both partners have their own responsibilities, and each must execute these
in harmony to achieve a positive dance outcome. The Leader initiates every
action on the floor and the Responder must FEEL these instructions, mostly
through contact and sometimes through sight.

The leader LEADS. Rightly or wrongly, the Responder must follow the
leader's instructions whether he is on time or not. The Responder can send
a signal to the Leader to reset usually through hand pressure on his
shoulder or to his left hand. A good leader should respect his partner's
feedback and adjust timing or better yet for beginners, pause and restart a
dance movement or pattern.

Good dancing requires complete teamwork, Remember the dance team was
Astaire and Rogers, not one or the other. People watch and enjoy the totality
of a couple and not one partner only.

Leader: The Leader's primary responsibilities are:

1. Protect the responder-the leader must protect the responder by
creating a bubble or cocoon around her and prevent intruders from
entering their dance space. Good manners also require that the Leader
not violate another couple's dance space either. A Responder can help
when the Leader is moving backwards by alerting him through hand
pressure in case of potential collisions.

2. Find the beat and time the dance movements and - it's the Leader's job
to determine what beat of music will initiate his first step. Help a Leader
learn his beat interpretation. If your lady is better at this, then have her
help you through hand pressure or other pre-arranged cues. The Leader
is the only person who moves in time to the music because by definition
the Responder MUST lag the leader by a fraction of time.

3. Communicate movements to the Responder - movements are

communicated to the Responder by body movements and not by moving
the arms and hands. When the Leader MOVES forward, the Responder
will sense this movement through their Connection and take a
corresponding backward step.

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 4. Pick the patterns and steps - the Leader has to decide what patterns
and steps will be executed, ideally ahead of time, and more ideally
through practices muscle memory so there is no decision lag time. The
Responder should NEVER anticipate the step and it's often best to not go
anywhere than trying to guess what you were supposed to do. The Leader
must constantly learn based on feedback from responders and improve
his communication abilities.

5. Provide power and impetus WITHOUT manipulation - manipulation

typically happens by forcing movements by using one's hands or arms.
Power and impetus are best provided through body movements and
turns.

So by definition, remember that dance instructions in lessons are usually

for the Leader and not the Responder. The Responder has to take
communication from the Leader.

Together, the couple uses Compression (moving into each other), Tension
(opposite of compression but still requiring physical contact to effect
communication) and Leverage (typically the Leader using the Responder's
momentum) to define the dance interaction further.

Both Leader and Responder must interact as a team to fully execute the
character and expression of a dance, with the following joint objectives:

a. use the appropriate motions such as Latin Motion for rhythm dances
or Rise and Fall for smooth dances.'
b. work like a single, four-legged entity with coordinated actions and
reactions off one another.
c. have fun while executing with precision and grace.

Responder: The Responder's primary responsibilities are:

1. Respond to one step only - the Leader communicates a step, not a

pattern, so the Responder must understand and execute only the step
being led. Never anticipate the lead.

2. Provide power for backward movements - if the Leader starts a

backward step, the Responder needs to provide the impetus for this
step.

3. Re-establish position and connection - the Responder needs to be

aware of the Leader's ending position and hand/arm positions. A step
may end with a request to provide the free hand back to the Leader
versus leaving it free for styling. The Responder also needs to move
back into a closed position after a released step so the Leader can
execute the next step without "reaching".
Styling and presentation - People watch when couples dance. Part of
why we do so is to entertain and make our dance's story believable.

16
 She essentially "sells" the character of each dance the couple
performs.

So by definition, remember that dance instructions in lessons are

usually for the Leader and not the Responder. The Responder has to
take communication from the Leader.

Together, the couple uses Compression (moving into each other),

Tension (opposite of compression but still requiring physical contact
to effect communication) and Leverage (typically the Leader using the
Responder's momentum) to define the dance interaction further.

Both Leader and Responder must interact as a team to fully execute

the character and expression of a dance, with the following joint
objectives:
a. use the appropriate motions such as Latin Motion for rhythm
dances or Rise and Fall for smooth dances.'
b. work like a single, four-legged entity with coordinated actions
and reactions off one another.
c. have fun while executing with precision and grace.

Floor craft & Etiquette

Floor craft and etiquette on the floor go together to result in a harmonious
and enjoyable experience for everyone on the dance floor.

Different couples may choose to perform different dances to the same music.
The dance floor can be viewed as an oval track like a horse-racing or
NASCAR track. As in races, the couples who choose a traveling dance like
Waltz will move in a counterclockwise direction around the periphery of the
dance floor. Dancers who choose a non-traveling dance should stay off the
outside track and occupy the "in-field" or middle of the dance floor. When a
Rumba song is played and everybody chooses the same dance, then there is
no outside traveling track and all Leaders choose places which allow them
room to maneuver cleanly as each step and pattern is selected.

The outside track is referred to as the Line of Dance (LOD). Traveling dances
such as the Smooth dances are all designed to follow LOD conventions.

Regardless, the Leader (who is the person who decides on Direction and
Pattern) is obligated to make these decisions with the Safety of the
Responder and other dancers in mind. The Leader should not choose a
pattern which requires movement if other dancers are occupying the
destination. Likewise in traveling dances, the Leader is responsible for
choosing steps which avoid or prevent collisions with other dancers ahead of
his partner. The Responder also must support this role when the Leader
chooses to move Backwards to the LOD and alert the leader of collisions
through hand pressure or resistance to his backward movement.

17
Good etiquette requires that entry to the dance floor should be managed by
the Leader to minimize disruption to other dancers.

What is It

Interpret the following Selected ballroom dances

1. L.A. Walk is a line dance adapted from the western's square dance. It
is a social dance which can be danced without a partner. A group of
interested individuals can join the dance, socialize, and have fun
Music used usually are country song which are of 2 4 time signature
(2 beats). This can be danced and enjoyed by young and old.
Dance Pattern: step, close, step, close
Count Pattern 1 2 3 4
Formation: side by side
Music Time Signature 2 4(2 beats)

Basic steps: (Individual task)

a. Step R foot sideward
b. Close L foot to R foot
c. Repeat a and b
d. Repeat a and b to the L
e. Step R foot backward
f. Step L foot to R foot
g. Step L foot fwd and point R foot in rear
h. Step R foot in place and point L fwd. quarter turn to the L
and brush R foot swd.
i. Repeat all

2. Cha Cha Cha is a lively, fun, cheeky and playful dance. It is a non-
progressive dance that emphasizes Cuban motion, distinguished by
the chasses (cha-cha-cha) typically danced during the 4&1 counts of
the music. Cuban motion in Cha Cha is more staccato than Rumba to
reflect the music with emphasis on count
Dance pattern: Step, cloce, step
Time signature – 4 4 (4 beats)
Tempo – 30 measures per minute
Timing – 1234&
Beat value is 1-1-1-1/2-1/2

Basic Step (Individual / Partner task)

Boys part Girls part
1. step L foot fwd. 1. step R foot bwd.
2. step R foot in place 2. step L in place
3. do the shuffle and step R fwd. 3. do the shuffle and step L foot
fwd.

18
 http://www.ballroomdanceacademy.com/the-dances/descriptions-of-dances/cha-cha

3. Swing dance, Social dance form dating from the 1940s. Danced in the
U.S. to swing music, the dance steps have distinct regional variations,
including forms such as the West Coast swing, the East’s jitterbug-
lindy, the South’s shag, and in Texas the push (Dallas) and the whip
(Houston). Performance versions include extreme athletic moves that
distinguish them from everyday social swing dance.
Dance pattern: Rock step, step, close, step
Character – fast, fun, and up-beat
Style - ½ time motion
Count - 1and 2, 3 and 4,5,6
Suggested activity – dance combination
Suggested music - happy

Basic step: (Individual / Partner task)

Step R foot bwd.transferring the weight of the body, step left in place
then step R foot close to left. (https://www.britannica.com/art/swing-
dance)

Note:
These are the following protocols to follow to avoid dehydration,
overexertion, hypo- and hyperthermia during MVPA participation specially
in dance activities

1. Be very smart about your physical feelings during Dance

activities
2. Don't be over aggressive. Always pace yourself and seek shade as
often as possible.
3. Do lay down on cool ground or a cool place such as water-glass
bed, etc. to allow the body to give off some of its heat to the cooler
level.
4. Re-hydrate by drinking lots of water. Your urine should stay clear
because, Clear urine indicates good hydration.
5. Make some intervals in every dance Activities ( 5-10 mins)

What I Have Learned

1. Social dance has probably existed in some form since in the beginning
of human society. Most group dances were originally ceremonial rites
group around three basic aspects of human existence: food supply,
sexual impulse and relationship with spirit word.
2. Familiarize the different terminologies and make it guide in performing
the social/ ballroom dances

19
 3. create a dance variation by using the basic steps
4. figure out what is the best music that suitable in the different ball
room dance
5. evaluate the students by categorize their performance
6. follow the protocols in dance to avoid injuries

Rubrics:https://www.rcampus.com/rubricshowc.cfm?code=E8X3A9&sp=yes&

Suggested Activities

Week 1: Discussion
1. History
2. Terminologies
3. Ballroom basics
4. Basic steps
Week 2: Nature and types of Social Dances
1. LA walk
2. Cha Chacha
3. Swing dance
Week 3: Performance Task

References:
https://www.britannica.com/art/ballroom-dance
http://www.dancefacts.net/dance-history/history-of-ballroom-
dancing
http://www.letsdanceballroom.info/Dance_Terminology.php
Milgros,Aguinaldo et. Al:Ballroom dancing:A new lifestyle,1998,
bondyas printer.
http://www.ballroomdanceacademy.com/the-dances/descriptions-of-
dances/cha-cha
https://www.britannica.com/art/swing-dance
https://www.rcampus.com/rubricshowc.cfm?code=E8X3A9&sp=yes&

20
 MODULE IN PHYSICAL EDUCATION AND HEALTH 12
Second Quarter
Week 4 & 5

MELC: Demonstrates proper etiquette and safety in the use of facilities and
equipment. (PEH12FH-Ia-t-12)

Less
LESSON H.O.P.E. 3: Social Dance Categories
2

What’s In

Social dance is a category of dances that have a social function and

context. Social dances are intended for participation rather
than performance and can be led and followed with relative ease. They are
often danced merely to socialize and for entertainment, though they may
have ceremonial, competitive and erotic functions.
https://en.wikipedia.org/wiki/Social_dance

What’s New

Many social dances of

European origin are in
recent centuries partner
dances ( Ballroom
dance) but this is quite
rare elsewhere, where
there may instead be circle
dances or line dances,
perhaps reserved for those
of a certain age, gender or
social position.

21
 https://www.imageballroomdance.com/post/what-are-the-most-popular-social-dances

Foxtrot
Foxtrot is a progressive dance. It’s designed to be very smooth; it comes with
continual flowing movements. It’s danced to the big band music, especially
vocals. Foxtrot was created during the 1910s, and it reached its peak in the
30s. However, there are still lots of people that practice it now because it’s
very distinctive and fun.

Rumba
You can learn Rumba at any dance studio right now. But what makes it
interesting is that it’s very intense and it comes with a wide range of musical
styles. Most of the time it has a combination of Afro-Cuban Rhythms,
American big band music and some other influences. It’s very intense but
also a lot of fun, and you should totally check it out.
"Learning how to master a dance might take a few years. However, with the
right amount of patience you will enjoy it and that really helps a lot".
East Coast Swing
The East Coast Swing is at the peak of social dancing for a lot of people. It’s
great because it works with all kinds of music. 50s music, country music,
rock, pop, big band music, all of this works great with East Coast Swing and
that really says a lot about the versatility of it all.

Cha Chacha
Cha Cha is a dance coming from Cuba and it has a great rhythm to it. The
dance has many characteristics, but the primary one is that you have three
consecutive quick steps as you dance and move around with your partner.

22
It’s very creative and one of the most interesting social dancing experiences
that you will have.

Salsa
Salsa is a social dance that originates from Cuban folk dances. The
movements are a combination of danzon, bombva, mambo, rumba, son and
many others. It’s great for all kinds of latin music and it’s extremely
versatile, which is exactly what you would expect.

What is It

Interpret the following Selected Social/ballroom dances

The waltz
provides the origin of modern ballroom dance in that moved it away from a
group sequence of movement to the independent movement of an individual
couple, originating in southern Germany in the 17th century, the popularity
of the Waltz dance grew with the music of Johann Strauss and exploded to
great popularity in the 20th century. It is the “backbone dance” of the
ballroom and is the basis for many dances. A truly romantic dance, the
Waltz is comprised of soft, round, flowing movements.

Basic Steps of Waltz (Individual / Partner task)

Men’s steps
1. Step forward with the left foot
2. Right foot step sideways to the right
3. Bring your left foot next to your right foot
4.Step back with the right foot
5. Step back sideways with the left foot
6. Bring your right foot next to your left foot

Samba
was created by African people in Brazil from the music and dance culture
they brought from Africa. Samba music is very similar to and has been

23
influenced by many music genres, as well as many other Latin American
music genres and dances. The term "samba" originally referred to any of
several Latin duet dances with origins from the Congo and Angola. Today
Samba is the most prevalent dance form in Brazil, and reaches the height of
its importance during the festival of Carnival.[1] There is actually a set of
dances, rather than a single dance, that define the Samba dancing scene in
Brazil; however, no one dance can be claimed with certainty as the "original"
Samba style. Besides Brazilian Samba, a major style of Samba is ballroom
Samba, which differs significantly.
Https://en.wikipedia.org/wiki/Samba(Brazilian_dance

Basic steps in Samba

Men’s steps
1. Step forward with your left foot (count 1)
2. Move your right foot to your left foot (uh)
3. Left foot in place, weight shifts to it (count 2)
4. Step backward with your right foot (count 3)
5. Move your left foot to your right foot (uh)
6. Right foot in place, weight shifts to it (count 4)

Lady’s steps
1. Step backward with your right foot (count 1)
2. Move your left foot to your right foot (uh)
3. Right foot in place, weight shifts to it (count 2)
4. Step forward with your left foot (count 3)
5. Move your right foot to your left foot (uh)
6. Left foot in place, weight shifts to it (count 4)

https://www.dancing4beginners.com/samba

Note:
1. Comfort and safety: Wear clothing that makes it easy and enjoyable to
dance,

24
2. The safe practice of dance begins with a sprung floor. In addition to safe
equipment and facilities, dance teachers must encourage students to employ
safe practices. Consistently enforcing safe practices within the framework of
school and district policies facilitates effective teaching and learning of
course content.
Lady’s steps
1. Step back with the right foot
2. Left foot step sideways to the left
3. Bring your right foot next to your left foot
4.Step forward with the left foot
5. Step forward sideways with the right foot
6. Bring your left foot next to your right foot

https://www.dancing4beginners.com/waltz/

Tango
is a partner dance, and social dance that originated in the 1880s along
the Río de la Plata, the natural border between Argentina and Uruguay. It
was born in the impoverished port areas of these countries, with enslaved
African populations. The tango is the result of a combination of
African Candombe, Spanish-Cuban Habanera, and Argentinian Milonga.
The tango was frequently practiced in the brothels and bars of ports, where
business owners employed bands to entertain their patrons with music. The
tango then spread to the rest of the world. Many variations of this dance
currently exist around the world.

https://en.wikipedia.org/wiki/Tango

Basic steps for Tango

Men’s Steps
1. Step forward with your left foot
2. Step forward with your right foot passing the left foot
3. Step forward again with your left foot this time passing the right
foot
4. Step forward and to the right with your right foot Left foot close to
right foot

Lady’s steps
1. Step back with your right foot

25
 2. Step back with your left foot passing the right foot
3.Step back again with your right foot this time passing the left foot
4.Step back and to the left with your left foot right foot close to left
foot
https://www.dancing4beginners.com/tango/

What I Have Learned

1. Improves your physical health and fitness

2. Improves balance, coordination and posture
3. Keeps your mind sharp and improves reflexes
4. Improves your social interactions and can help conquer shyness
5. Gives you the means of artistic self-expression
6. Provides a new cultural experience

Suggested Activities
Week 4: Standard category dances
Week 5: Latin dance category

References:
https://en.wikipedia.org/wiki/Social_dance
https://en.wikipedia.org/wiki/waltz
https://www.dancing4beginners.com/waltz/
https://en.wikipedia.org/wiki/Tango
https://www.dancing4beginners.com/tango/
https://en.wikipedia.org/wiki/Samba(Brazilian_dance)
https://www.dancing4beginners.com/samba
https://personal.utdallas.edu/~aria/dance/etiquette.html

26
 MODULE IN PHYSICAL EDUCATION AND HEALTH 12
Second Quarter
Week 6, 7, & 8
MELC: Demonstrates proper etiquette and safety in the use of facilities and
equipment (PEH12FH-Ia-t-12)

LESSON H.O.P.E. 3: Festival dance or

1 street dance

What’s In

Festival Dance are cultural dances performed to the strong beats of

percussion instruments by a community of people sharing the same culture
usually done in honor of a Patron saint or in thanksgiving of a bountiful
harvest.

Brief History of Festival dance in the Philippines

There are breathtaking highlands and awe-inspiring tropical
getaways—so much, in fact, that it can be near-overwhelming to have to
choose your next destination escapade. And yet, beyond all these picture -
perfect sights, the charm of the Philippines lies in a culture deeply seated
in religion and history, which remain relevant up to the present with the
celebration of festivals.
Unsurprisingly, most Philippine festivals are religious in nature, although
there are some that uphold a region’s distinct culture.

What’s New

Festival dance Terminologies

Alignment placement of bones in such a way that increases

physiological effectiveness and health. Depending on the dance genre, the
alignment can vary according to its specific aesthetic goals.
Arch position in which the whole or upper body is extended, creating
the form of an arch in which the whole or upper body is extended, creating
the form of an arch.
Beat the beat is the basic unity used to measure time in both the
choreographic and musical language. It is the pulse that occurs repeatedly

27
with a certain frequency. When dancing, beats are what we count… like five,
six, seven, eight! (bet you know this…).

What is It

Demonstrate the proper dance etiquette of Festival dance in the

Philippines

Sinulog Festival
The grandest festival of the country is easily Cebu’s Sinulog Festival,
which honors the Señor Santo Niño or the Child Jesus, an image of
which was a gift from the Portuguese explorer Ferdinand Magellan to Raja
Humabon and Hara Amihan when he came to conquer the Philippines in
1521. ‘Sinulog’ is derived from the Cebuano adverb ‘sulog’, which roughly
translates to “like water current movement”—the inspiration for the
festival’s famous two steps forward, one step backward dance.

Basic steps. ( Individual/ Group activities)

two steps forward, one step backward while the kinampilan has
one step right foot forward and one step backward, while the left
foot stays in place.

Ati Atihan
Known as The Mother of All Philippine Festivals, the Ati-Atihan serves
as the inspiration behind Cebu’s Sinulog and IloIlo’s Dinagyang, among
many other festivals in the country. While it is also in honor of the Santo
Niño, its origins are more pagan in nature, dating some 800 years ago. The
festival’s name means ‘to be like the Atis’—the Aetas, the dark-skinned
indigenous people who are said to be the first settlers in the Philippines.

28
 Basic step of ati atihan. (Individual/ Group activities)
First, learn to do the sadsad, the Ibajaynon version of street
dancing which happens to be the coolest dance move on earth.
It is a cross between a march and the Cha-Cha: you put one
foot in front of you, take two half steps forward, do the same
with your other foot and you’re good to go.
https://pinaytraveller.com/archives/9374

Nature of Festival dancing

Body placement this is an expression that we use in dance to talk about

the way in which we carry our body (ourselves), including the positioning
and alignment of big bones (like the pelvis or spine), limbs and head as well
as the micro-organizations of muscles that are responsible for their
positioning.

Clarity of line: the word ‘line’ is most used among ballet dancers. It refers
to an ideal shape that is created with the body while dancing, especially in
certain positions like arabesques or between legs and arms

Contraction: term introduced by the modern dancer and choreographer

Martha Graham as one of the key elements of her own dance technique. It
refers to the forward curving of the spine, starting from the pelvic zone.

Corporeality: (or corporeity) this is a term used by dance researchers

mainly. Its introduction is attributed to the French philosopher Michel
Bernard. It replaces the word ‘body’, under the justification that it is a
broader concept that understands the body as an imaginary and malleable
matter, a sensitive net with a constant pulse, inseparable from an individual
and collective history.

Counterpoint: this is a musical term used to talk about dance as well.

When referring to music, it expresses the harmonic interdependence or
relationship between two melodic lines whose rhythm and contour are
different

https://www.contemporary-dance.org/dance-terms

What I Have Learned

1. Brief history of festival dance in the Philippines and the different

festival dance in each region
2. Familiarise the different terminologies and make it guide in
performing the festival dances
3. Create a dance variation by using the basic steps

29
 4. figure out what is the best music that suitable in the different
Festival dance
5. Demonstrate the dance etiquette and safety in the use of facilities
and equipment
6.evaluate the students by categorize their performance

Rubrics:
https://www.rcampus.com/rubricshowc.cfm?code=E8X3A9&sp=yes&

30
Note:
1. Comfort and safety: Wear clothing that makes it easy and enjoyable
to
dance,
2. The safe practice of dance begins with a sprung floor. In addition to
safe equipment and facilities, dance teachers must encourage
students to employ safe practices. Consistently enforcing safe
practices within the framework of school and district policies
facilitates effective teaching and learning of course content.

Dinagyang Festival

-the name of which comes from the Ilonggo

term ‘dagyang’ meaning ‘merrymaking’, is heavily influenced by Sinulog
and Ati-Atihan, and borrows elements from the two festivals. A little more
modern than its inspirations, Dinagyang began in the 1960s, when a
replica of the Señor Santo Niño was first brought in from Cebu, much to
the devotion of the Ilonggos

Dance steps of Dinagyang. ( Individual/ Group activities)

Very fast tiempo of feet
Forward and backward movement
Hands to depict something in in the fast movement

Arm movement Feet movement

upward stamping
down ward small step left to right
right turning
left
rotation

Panagbenga Festival the Summer Capital of the Philippines celebrates its

annual flower festival, called the Panagbenga Festival. From a Kankanaey
term that means ‘season of blooming’ or ‘time for flowering’, Panagbenga
is a tribute to Baguio City’s vibrant and diverse flora. The festival’s origins
go back to the 1990s, as a hopeful celebration of Baguio’s rise and
recovery following a devastating 7.7-magnitude earthquake that caused
extensive damage to the city.

31
Suggested Activities:

Week 6: Discussion festival dance

1. History
2. Nature
3. Basic steps
4. Types of festival dances
Week 7: Group Performance task
Week 8: Performance

References:
https://pinaytraveller.com/archives/9374
https://www.contemporary-dance.org/dance-terms.
https://www.rcampus.com/rubricshowc.cfm?code=E8X3A9&sp=yes&
https://dealgrocer.com/dgtraveler/articles/a-brief-and-colorful-history-of-
festivals-in-the-philippines
https://personal.utdallas.edu/~aria/dance/etiquette.html

32