PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
UNIT 3 Festival Dances – performed in honor of
Lesson 1: Folk Dance
Folk Dances – dances identified with and
performed by a specific community or tribe.
Ritual Dances – dances part of the ritual
ceremonies.
Life Cycle Dances – forms related to the day-
to-day life, such as their wedding, courtship,
birthing, or funeral.
Occupational Dances – related to the daily
work and lifestyle in the community.
Main Regional Classification of Philippine
Folk Dances
Tribal Dances from the Cordilleras – from
the Cordilleras, includes non-Christian
dances.
Lowland Christian Dances – dances with
Hispanic and European influences.
Muslim Dances – dances in the South Island
of the Philippines like Mindanao and Sulu
that are influenced by Arab and Indyo-
Malayan cultures.
Philippine Folk Dances
Life-Cycle Dances – dances act as a rite;
celebrates milestones in life, also shows life
cycles.
something sacred or secular, usually a
patron saint, also related to reoccurring
importance like harvest season that includes
festivities.
Occupational Dances – Dances that show’s
people’s livelihood activities.
Ritual and Ceremonial Dances – dances are
performed as part of the customs of a
particular community of people.
Game Dances – dances that are local folk
games derivation.
Joke and Trickster Dances – dances that
include jokes or tricks performed by a dancer
on another dancer or a group of dancers.
Mimetic or Drama Dances – Dramas that
imitate creatures, subjects of animals,
objects or other people.
War Dances – dances expressing feud and
enmity.
Social Amenities Dances – dances that
expressed social graces, and gift offerings to
friends.
____________________________________
Lesson 2: Modern Dance
Characteristics of Modern Dance
Technique – the teaching of a contemporary
dance uses a technical approach.
Improvisation – corresponds to the natural
motion of dancers in response to the
choreographer’s recommendations.
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Choreography – Modern dance gives • Forward Rolls
flexibility to choreography. • Backward Rolls

Primary Modern Dance Skills Turns – requires the establishment of an axis

Dance Walk – alternate transfer of weight
from one foot to the other in an even
rhythmic pattern through dance.
• Several Directions to walk; Forward,
Backward, and Sideward.
within the body by the touchpoint between
the body and the surface.
Spotting – an effort to deceive the eye and
inner ear sensors into believing that you
have not turned.

Run – simple modern dance experience with UNIT 4

a total weight shift.
Waltz
Gallop – combination of a step and leap.
Chasse or Slide – It is more graceful than
Galloping, and other characteristics are
preserved in slide.
Dance As Competition
Lesson 1: Latin America Dances
Latin America Dances has been so influential
around the world that it has been part of not
only the dance floors but also in annual
sports competitions as well.

Jumps Dance Sport – is a combination of art and

• Basic sport.
• Echappe • Formerly called and defined as
• Sissone competitive ballroom dancing.
• Competitions involves partners,
Leap namely a male and a female.
• Jete • 5 Latin Dances include: Samba, Cha-
• Prance Cha-Cha, Rumba, Paso Doble, and
Jive.
• 5 Standard Dances: Waltz, Tango,
Falling Viennese Waltz, Slow Foxtrot, and
• Simple Slide Fall Quickstep.
• Simple Forward Fall
• Overcurves
• Tombe Samba
• Front Falls • The national dance of Brazil, which
• Back Falls originated from Africa.
• Spiral Falls • Danced and performed during
carnival time.
Rolls • Time Signature: 2/4 with musical
• Log Rolls accent on the first beat and
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
percussive accent on the second
beat.
• Contrasting Rhythms: 1 2, 1 a 2, 1 a 2
a 1 a 2, 1 2 3, SQQ, SQQQQQ Q, QQS,
SSQQ.
Rumba
• Originated primarily from Cuba in the
sixteenth century, which had its roots
in African rhythms brought to
America by the slaves.
• Composed of 3 Rhythms:
Guaguanco, Yambu, and the
Columbia.
• Time Signature: 4/4 with an accent
on the first beat and the fourth beat
of each bar.
• Counting in beats 2 3 4 1. 1 beat.
Count 3 = 1 beat. Count 4 1 = 2 beats
half beat.
Paso Doble
• Literally translates to “double step”,
which originated from Spain and was
inspired by their bullfighting culture.
• Most dramatic of all Latin Dances.
• Time Signature: 2/4 with an accent
on the first beat of each bar.
• Counting: Count 1 = 1 beat. Count 2
= 1 beat.
Cha-Cha-Cha
• A newcomer in Latin American
Dances with its origins dating back to
the fifties.
• Found its roots in under Cuban
influence as it danced to the same
name introduced by Cuban
composer and musician, Enrique
Jorrin.
• Time Signature: 4/4 with accented
beat on the first and fourth of each
bar.
• Counting in Beats 2 3 4 and 1. Count
2 = 1 beat. Count 3 = 1 beat. Count 4
= half beat. Count and = half beat.
Count 1 = 1 beat.
Jive
• Developed from the dance
“jitterbug” from America.
• The popularity of this dance from
coincided with that Rock n’ Roll.
• Time Signature: 4/4 with accent on
the first beat, second beat, and
fourth beat of each bar
• Counting 1 2 3o4 3o4. Count 1 = 1
beat. Count 2 = 1 beat. Count 3 = ¾
beat. Count a = ¼ beat. Count 4 = 1
beat.
Lesson 2: Modern Standard Dances
“Ballroom” is actually the general term for
all partner dances which includes Latin
America Dances. The word “ballroom” traces
it’s origin to the Latin word “ballare” which
means “to dance.”
Tango
• First danced in Europe before World
War I. It originated from Buenos
Aires, Argentina.
• Time Signature: 2/4 with both beats
accented.
• “Slow” Count: 1 beat.
• “Quick” Count: ½ beat
• Counting in Beats and Bars: 1 & 2 &,
2 & 2 &, 3 & 2 &, 4 & 2 &, etc.
Waltz
• Introduced in England in 1874, but it
was in 1922 that it became as
fashionable as Tango.
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
• Time Signature: ¾ with the 1st beat
accented.
• Each Step: 1 beat
• Counting in Beats and Bars: 1 2 3, 2
2 3, 3 2 3, 4 2 3, etc.
Foxtrot
• Dance named after an American
performer Harry Fox.
• Time Signature: 4/4 with the 1st and
3rd beats accented.
• “Slow” Count: 2 beats.
• “Quick” Count: 1 beat.
• Counting in Beats and Bars: 1 2 3 4,
2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
Quickstep
• Developed in World War I in New
York and become popular in
ballrooms.
• It has a common origin as that of the
Foxtrot.
• Time Signature: 4/4 with the first and
third beats accented.
• “Slow” Count: 2 beats.
• “Quick” Count: 1 beat.
• Counting in Beats and Bars: 1 2 3 4,
2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
Viennese Waltz
• Controversial dance with so many
claims about its origin but known to
be in the modest outskirts of Austria
and Bavaria.
• Time Signature: 6/8 with the first
beat accented.
• Counting in Beats and Bars: 1 2 3, 2
2 3, 3 2 3, 4 2 3, etc.
Posture includes how athletes stand with
confidence, look elegant, and project
confidence.
Timing and Basic Rhythm pertains to the
ability of the athletes to dance in time
with the music.
Body Line is focused on the length and
how the body of the athletes stretch from
head to toe.
Intangibles pertain to how athletes fit
together as a couple.
It also includes Holds, Movement,
Presentation, Rhythmic Interpretation,
Foot Action, and Floor Craft.
Lesson 3: Cheer Dance
Cheerleading – is an event that consists of
cheers and organized routines for sports
team motivation, audience entertainment,
or competition.
History of Cheerleading
Cheerleading is closely linked to the United
States’ history of sports. However, its origins
can be traced as far back as the late 19th
century, where in the 1860s, students from
Great Britain began to cheer and chant in
unison for their favorite athletes.
Cheerleading for the first 25 years was an all-
male activity. It was only during the 1920’s
when women cheerleaders participated in
cheerleading.
Dance Techniques
Various dance techniques may be used in a
cheer dance competition. Some squads
prefer contemporary dances techniques
while others incorporate several techniques
such as jazz, hip-hop, modern dance,
contemporary ballet, and even ethnic or folk
dance.
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Elements of Cheers
Cheers are coordination of organized words
and movements relating to an athletic event.
Cheer Motions are also used to lead the
crowd to emphasize words for a unified
crowd response.
Basic Gymnastic Skills
Jumps – requires stamina, strength, and
flexibility. They greatly improve every area in
a cheer dance routine.
• Approach – the first stage of a jump.
• Lift – occurs after a cheerleader
leaves the ground.
• Execution – is hitting the jump at its
peak or maximum height.
• Landing – this involves whipping of
legs and feet together to end with a
small rebound.
Cheerleading Formations
Bowling Pin – the formation is set up like
bowling pins in a bowling alley. This works
great when highlighting a few members on a
squad or team.
Staggered Line – a simple line where the
back line is positioned in the windows, space
between individuals, of the front line.
Highlight differences in levels rather than
suggest squad uniformity.
Cheer Dance Routines
Music Section – Music plays a vital role in
cheer dance as it sets the tone and pace, as
well as to add creativity of the choreography.
Cheer Section – This section shows support
for the school or program that the
cheerleaders represent.
Popular Cheerleading Competitions in the
Philippines
Cheerleading Philippines Federation (CPF),
Philippine Cheerleading Association (PCA),
National Cheerleading Championships
(NCC), University Athletic Association of the
Philippines (UAAP), and National Collegiate
Athletic Association (NCAA) to name a few.
Lesson 4: Street Dance
Street Dance – came from the streets of a
bustling metropolis wherein people go
through a lot of social and political issues
every day.
Street Dance arrived in the Philippines from
the United States during the 1980s.
Bounce or Recoil – it is a quick contraction
and retraction, or vice-versa movement
filled with energy and vitality.
Tightening of the Body – the body is
controlled with firmness and strength to
prepare it for explosive and sudden
movements.
Agility and Coordination – Because the body
dances a complex array of interlocking
rhythms and many more, it must be able to
move quickly and smoothly from one
position to another with ease.
Fun – Hip-hop is not only exciting but
enjoyable as well.
2 Styles of Hip-Hop Dance
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Old School Street Dance Style ➢ Poor Body Alignment and Improper
Technique
Breaking – also known as break dancing; it is ➢ Intense Workout and Excessive
an unstructured and highly improvisational Training Period
style that incorporates gymnastic and ➢ Inappropriate Dance Floor
acrobatic movements. ➢ Improper Footwear
➢ Muscular Imbalance
Popping – a quick contraction and relaxation
of muscles to produce the jerking of various
joints.

Locking – created by Don Campbell in Los Common Types of Dance-Related Injuries

Angeles, California in 1969. It was originally
called Campbellocking. It relies on fast,
distinct arm and hand movements combined
with relaxed hip and legs, wherein the lock is
the basic move used.
Acute Injuries – can be characterized as
sudden and severe and are usually isolated
to one body part and respond well to
treatment.

The New School Dance Style

Krumping – Characterized by unrestrained,

rapid-fire, and highly energetic moves of the
limbs and torso.

House – Dance style that emphasizes fast,

complex footsteps with fluid movements of
the torso.

Street Jazz – combination of hip-hop dance

style and jazz dance movement.

UNIT 5

Lesson 1: Injury Risk Factors

Meeuwisse Model (1994) – Involves a

predisposed athlete characterized by Chronic Injuries – results from repetitive
intrinsic risk factors becoming susceptible to trauma and overusing of one body are over
injury through interactions with extrinsic risk a long period of time.
factors.

Factors That Can Increase Risks of Dance

Injury
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Injury – The damage to a tissue or organ
cause by intentional or intentional harm.
Bones, Joints, Ligaments, and Muscles are
the Musculoskeletal parts that are usually
harmed in the dancer’s body.
The Meeuwisse Model considers age,
previous injury, flexibility, game
equipment, and playing conditions as the
factors of injury risks
Musculoskeletal Injuries can generally be
classified as acute and chronic.
Lesson 2: Injury Prevention
➢ Programmed Exercise and Training.
➢ Adequate Recovery.
➢ Appropriate Environment.
➢ Proper Footwear.
Proper Warm-up and Technique
Flexibility – helps the dancer execute more
intricate twists and turns while minimizing
the risks of injury.
Cross Training – Regiments utilizes different
types of training that aims to improve overall
performances.
Early Recognition
Pain – is an unpleasant sensation linked to
tissue damage.
Damaged Body Tissues
Hormones and Chemicals – informs the
brain of an injured body part.
This directs the body for inflammation,
which is the organized reaction of the body
to the injury and the initial step to healing
and recovery.
Stiffness and Pain – are part of the
inflammatory reaction, and the sensation of
pain helps keep the body in the protective
mode.
Physical Training for Dance Athletes to
Decrease Injury Risks
Cardiovascular Endurance – refers to how
efficiently the cardiovascular system
supplies oxygen-rich blood to working
muscles during physical activity for a
prolonged period of time.
Muscular Endurance – is the ability of the
muscles to exert force in a consistent and
repetitive for an extended period of time.
Strength and Resistance Training – causes
the muscles to contract against external
resistance to build the strength, endurance,
and mass of muscles.
Lesson 3: Stress and Injury
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Body Image – Dancers make visual lines with
their bodies; they worry if their physique
enhances or diminishes the audience’s
perception.
Technique – Many dancers feel
apprehensive about their strategy to please
their audience.
Performance – They need to recall all the
steps, formations and choreography details
which adds up to the anxiety.
Injury – An injury is a stressor for dance
athletes.
Tips to Reduce Anxiety
➢ Accept your Uniqueness.
➢ Spent Time Preparing and Enhancing
your Strategies and Skills.
➢ Prepare Mentally and Physically for
the Performance.
➢ Do Breathing Activities.
➢ Experience the Dance and Enjoy the
Performance.
Eating Disorders Among Dance Athletes
Anorexia Nervosa – marked by an intense
fear of gaining and a distorted perception of
weight.
Bulimia Nervosa – is potentially life-
threatening. They resort to self-induced
vomiting, laxative misuse, weight-loss
supplements, excessive exercise, and
unhealthy fasting.
Anorexia Athletica – eats a limited number
of calories despite performing high-level
physical activities, leading to very low
weight.
Early Signs of Eating Disorders
➢ Excessive Weight Loss.
➢ Conceals Body Weight.
➢ Too Concerned about Food Intake.
➢ Excessive Exercise.
➢ Self-Induced Vomiting.
Dietary Tips for Dancers
➢ Maintain a 2,000 to 2,500 calorie
intake per day.
➢ Eat frequently but in small amounts.
➢ Eat a balanced diet.
➢ Eat complex carbohydrates an hour
or two before the dance session.
➢ Drink water before, during, and after.
UNIT 6
Lesson 1: Dance Career Opportunities
Dance Teachers
➢ Public or Private School Teachers –
one of the typical career options for
dancers.
➢ Yoga Teachers – Many dancers
choose the path of teaching in a
related field such as yoga, Zumba,
and aerobics.
Dance Arts and Design
➢ Choreographer – a person who
designs the routine of dance
performance.
➢ Graphic Designer – produces visual
arts that may promote performances
to the public.
➢ Costume Designer – artistic skills in
fashion, usually a vital part of a
production’s visual design.
➢ Photographer or Videographer –
able to use technology for the
advertisements in posters through
online means using footages and
quality photographs.
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
Dance Science
➢ Physical Therapist – knowledge of
the human body and movement can
help dancers whenever they are
injured, rehabilitating, or whenever
they seek advice about anything
concerning their health and
movement.
➢ Dance Coach – To teach the proper
techniques of various dance sports,
to be safe, creative, and competitive.
Lesson 2: Organizing a Dance Festival
Identification of the Problem
• Planners and Leaders collect
information to assess problems and
needs.
Develop Goals and Objectives
• Objective and Goals are written best
if they are S.M.A.R.T.
• S – Specific, M – Measurable, A –
Attainable, R – Realistic, T – Time-
Bound.
Development of Alternative Solutions
• To achieve our goals and objectives,
the leaders come up with several list
of alternative strategies to achieve
the goals and objectives.
Selection of Strategies and Development of
Detail Plan
• A detailed plan to implement the
strategy is developed
Monitoring and Evaluation
• Monitoring and Evaluation can help
guide kinds of decisions
Developing a Simple Monitoring and
Evacuation Plan.
• Time Frame: Develop a Schedule for
monitoring and evaluating the plan.
Types of Events
Mega Events – largest ones designed for the
international market.
Hallmark Events – intended to raise the
interests of tourist.
Major Events – attract and enlarge local
audiences and to increase tourism revenue.
Minor Events – Meetings, Parties,
Celebrations, and other community and
social events.
An Event Management Team: Job Roles &
Responsibilities
Event Coordinator – Sits at the very top of
the hierarchy; responsible for managing all
staff members below them.
Event Planner – Responsible for a great deal
of essential tasks, such as choosing the
location, organizing transportation, and
many more.
Event Manager – Works closely with the
coordinator to ensure the event runs as
smooth as it can. Its role is to be active and
practical.
Choreographer – Puts together routines for
a performance, devises the piece and
teaches it to the performers.
Artistic Director – Hires the directors and
designers; they liaise with the marketing and
PHYSICAL EDUCATION: 2nd QUARTER Reviewer made by: Jack Cabague
publicity manager to develop sponsorship
deals.

Lighting Operator – involved in all rehearsals

and plotting sessions. Responsible for setting
up and shutting down equipment at the
start/end of the show.

Sound Operator – Operates on the sound

desks, also responsible for the projection as
well.

Event Director – Has the overall artistic

control of the production, discussing
budgets with the production manager.

Stage Manager – Overall responsibility for

the stage management team and their
training but will have to be flexible.

Set Designer – Creates the visual and stylistic

elements of the sets, furniture, and props.

Master Carpenter – Responsible for building

the sets and ensures the quality of a game is
maintained while providing Health and
Safety regulations are followed.