Physical Education 10

4th Quarter
Week 5

LEARNING ACTIVITY SHEET

Division of Surigao del Sur
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Email Address:
 Competency:
1. Engages in moderate to vigorous physical activities for at least
60 minutes a day in and out of school.

Objectives: At the end of the week, you shall have:

o identified the background, basic movements and style of
cheerdance & contemporary dance;
o assessed the level of exertion in performing cheerdance &
contemporary dance; and
o recognized the benefits of engaging into dance activities in
improving one’s fitness level.

Learner’s Tasks

Lesson Overview
(Pages 159 – 161, 186 – 192 of Learner’s Material)

CHEER DANCE

Cheerdance is coined from words, cheer and dance. To cheer is to shout

out words or phrases that may help motivate and boost the morale of a playing
team and perform better during the game. Dance, on the other hand, is a
physical activity where one expresses emotions or gestures while performing
bodily movements usually in time with rhythm.

Cheerdancing rooted from cheerleading. Cheerleading is the

performance of a routine, usually dominated by gymnastic skills such as jumps,
tumbling skills, lifts and tosses combined with shouting of cheers and yells to lead
the crowd to cheer for a certain team during a game or sport. It originated in the
United States.

Due to Filipinos’ love for dancing, they added more dance routines to their
cheers and came up with the term cheerdance wherein it is a routine composed
of yells and cheers, gymnastic skills (pyramids and tosses, stunts, tumbling skills,
arm and hand positions and jumps), and dance (fusion of different dance
genres).

Today, cheerdancing is identified as one of the most spectacular events in

one of the biggest collegiate sports events in the country, the UAAP (University
Athletic Association of the Philippines).

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 ESSENTIALS OF CHEERDANCING

Arms/Hand Movements Legs/Feet Positions

• Beginning Stance and other cheer • Feet together

stance
• “T” and half “T” positions
• Clasp, clap, overhead clasp, low
clasp
• High “V” and low “V”
• Tabletop and puch, etc.
• “L” and diagonal positions
• Feet apart
• Dig (front and side)
• Hitch, liberty, and scale
• Lunge (front and side)
• Knees and hips position

(See Appendix A)

CHEERDANCE BASICS
(Gymnastics Element)

Jumps Tumbling skills

• Tuck • Forward rolls and backward rolls

• Star • Forward backward handspring
• Pike • Cartwheel and aerial cartwheel
• Split • Head and handstand
• Hurdle jump/hurkie • Forward and backward saltos
•Toe – touch jump (optional)

(See Appendix B) (See Appendix C)

Pyramids
Steps in Executing Pyramid
• Composition
Setting up (preparing to lift)
Flyer
↓
Base
Load (actual lift)
Spotter
↓
• Levels
Hit (striking for a final pause)
One – and – a – half high
↓
Two – high
Dismount (to move down by the flyer)
Two – and – a – half high

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 CHEERDANCE BASICS
(Dance Element)

Hip Hop Basics Jazz/Classical Dance Basics

• Bounce (downrock) • Tendu (point)
• Groove (toprock) • Pliē (knees slightly bent)
• Power moves: • Grand pliē (full knees bent)
Pump • Relevē (heels raised)
Lock • Piquē (raising a knee)
Point • Battement (kicks)
Curl • Ball change and chassē
Freezes • Pirouette and chainē (turns)

Cheering is the very essence of cheerdance performances. To cheer is to make

someone or a team motivated and encouraged. It boosts, salutes, or acclaims
the morale of individuals and teams. In cheerdance, cheering needs to be
strong, loud, and metered so that it will be delivered in time with rhythm or the
music played.

CONTEMPORARY DANCE
(Pages 259 – 260, 277 – 279 of Rex Book Store’s The 21st Century MAPEH in Action)

It is an expressive dance technique which is a combination of a variety of

dances: modern, jazz, lyrical, and classical ballet. The performer of this type of
dance tries to connect the body and mind through smooth fluid dance
movement.

“An art of dance whose working material is the movement of the body. It has
no fixed or standard movement patterns but it is rather a continuous search for
new forms of dance where the dancers make use of different modern and
classical techniques of dance”.

Isadora Duncan, Martha Graham, and Merce Cunningham are the

pioneers of contemporary dance. They believe that “dancers should have
freedom of movement, allowing their bodies to freely express their innermost
feelings & thoughts”.

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 ESSENTIALS OF CONTEMPORARY DANCE

Basic Dance Steps and Proper Other Basic Dance Steps and Proper
Techniques of Contemporary Dance Techniques of Contemporary Dance

• Laterals • Primitive Squat

• Stag Leap • Hinge
• Stag Turn • Flat Back
• Contraction
• The Release

Activity 1.
Direction: Unscramble the letters below each picture to reveal the basics or
style used in cheerdance. Then identify what element of cheerdance
basic it belongs to. Choose your answer from the box below.

•Arms/Feet Essentials •Gymnastic Element •Dance Element

1. 2. 3.

CNPHU KEHIRU NROFT UGELN

4. 5.

THLECWERA WCONDKRO

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Activity 2.
Directions:
1. Create and perform a 3 – 5 minute cheerdance or contemporary dance
routine. Apply the basic movements and style of your chosen type of
dance.
2. Then, identify the activity that you did based on the Rate of Perceived
Exertion (RPE) Chart.
3. Record your performance using any available gadget and submit it to your
teacher via messenger, e – mail, or other media platforms.
4. Refer to the rubric as a guide in doing your performance.

Rubrics for Dance Performance

Approaching
Advanced Proficient Developing
Criteria Proficiency
(4 Points) (3 points) (1 point)
(2 Points)
Inconsistent Poor attitude;
Positive Positive
attitude; does not
attitude; attitude; most
Attitude needs some respond to
always willing often willing
encouragem encouragem
to try to try
ent ent
Consistently Often Sometimes Does not
attends, attends, attends, attend,
Initiative and
prepares, and prepares, and prepares, and prepare, and
participation
participates in participates in participates in participate in
the activities the activities the activities the activities
Very Inconsistently Not
Dependability Dependable
dependable dependable dependable
Always Often Sometimes Does not
executes the executes the executes the execute the
Execution
movements movements movements movements
properly properly properly properly

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 Always Often Sometimes Does not
Observance practices practices practices practice
of safety safety safety safety safety
precautions precautions precautions precautions

Processing Question:

1. What does your RPE result tell you?

Activity 3. Commitment Cup

Direction: Fill in the cup below to complete the idea of the unfinished sentence.

I plan to engage myself into dancing as part of my recreational

activities so I can enjoy its lifelong health benefits like __________
_____________________________________________________________
____________________________________________________________
__________________________________________________________
_______________________________________________________
___________________________________________________
______________________________________________
______________________________________
________________________

5 4 3 2 1
Present ideas Present ideas Present ideas Present Present
that are that are that are recognizable vague ideas
showing showing controlling, ideas and and little
complex strong and shows some awareness on
awareness on awareness on awareness on awareness on the topic. It

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 the topic and the topic and the topic and the topic. It provides little
it has it has specific it has support supports or no support
substantial, and ample with limited and for the lesson.
specific and support. appropriate related
meaningful examples. examples.
support.

Formative Test

Answer the following questions. Write only the letter of the correct answer.

1. It is a routine composed of yells and cheers, gymnastic skills and dance.

A. Cheering C. Cheerdance leading
B. Cheerdancing D. Cheerleading

2. In this type of dance, the performer tries to connect the body & mind
through smooth fluid dance movement.
A. Contemporary Dance C. Hip Hop Dance
B. Festival Dance D. Social Dance

3. Which is NOT a part of the gymnastic skills in cheerdance?

A. Cartwheel C. Hurkie
B. Forward Handspring D. Tabletop

4. To extend one arm to side while other arm is bent at elbow in a half “T”
motion is to execute:
A. Bow and Arrow C. Overhead Clasp
B. Half “T” D. Touchdown

5. How is “Punch” executed?

A. Arms are extended straight and parallel to each other, fist facing in.
B. Arms bent at elbow, fists in front of shoulders
C. Both arms parallel to the ground and bent at the elbows, fist into
shoulders.
D. One arm extended straight up, one arm on the hips, in a fist.

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 Answer Key

Activity 1.
1. PUNCH – ARMS/FEET ESSENTIALS
2. HURKIE – GYMNASTIC ELEMENT
3. FRONT LUNGE – ARMS/FEET ESSENTIALS
4. CARTWHEEL – GYMNASTIC ELEMENT
5. DOWNROCK – DANCE ELEMENT

Activity 2.
Outputs and answers may vary.

Activity 3.
Answers may vary.

References

Grade 10 Physical Education Learner’s Material pages 159 – 161, 185 – 195

Rex Book Store’s “The 21st Century MAPEH in Action” pages 259 – 260, 277 – 279

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 APPENDIX A – Hand Movements & Positions in Cheerdance

BEGINNING STANCE CHEER STANCE CLASP CLAP

Feet together, hands down by Feet more than shoulder width Hands clasped, at the chin, Hands in blade, at the chin,
the side in blades apart, hands down by the elbows in elbows in
sides in blade

HIGH V LOW V TOUCHDOWN LOW TOUCHDOWN

Arms extended up forming a Arms extended down forming Arms extended straight and Arms extended straight down
“V”, relax the shoulders a “V” parallel to each other, fisting and parallel to each other, fist
facing in facing in

BOW AND ARROW OVERHEAD CLASP LOW CLASP TABLETOP

One arm extended to side with Arms are straight, above the Arms extended straight down, Arms bent t elbow, fists in
other arm bent at elbow in half head in a clasp and slightly in in a clasp and slightly in front front of shoulders
“T” motion front of the face of the body

PUNCH L MOTION DIAGONAL T MOTION

One arm extended straight up, One arm extended to the side One arm exteneded in a high Both arms extended straight
one arm on hip, in a fist with other arm extended in a “V” and the other arm out to the side and parallel to
punch motion extended in low “V” the ground, relax the
shoulders

HALF T SIDE LUNGE FRONT LUNGE

Both arms parallel to the Lead leg bent sideward with Lead leg bent forward with the
ground and bent at the the knee over the ankle, back knee over the ankle, back leg
elbows, fists into shoulders leg straight, feet straight, feet perpendicular to
perpendicular to each other each other

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 APPENDIX B – Jumps in Cheerdance

TUCK PIKE

HURDLE JUMP/HURKIE

SPLIT TOE TOUCH

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 APPENDIX C – Illustration of Tumbling Skills

FORWARD ROLL BACKWARD ROLL

CARTWHEEL

AERIAL CARTWHEEL

FORWARD HANDSPRING BACK HANDSPRING

BACK TUCK

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 APPENDIX D

READINGS: DANCE AND ITS ELEMENTS

DANCE
A profound solitary artistic and creative endeavor that requires introspection,
philosophical analysis and complex conceptualization.

I. Classifications of Dance

A. Interpretative Dance
Dances that are meant to be interpreted for performances and staging. Dance
literatures and signature basic steps are already inherent to these dances which serve as
identifying steps to dance. Such dances include folk dance, ballroom dance, and ballet.

B. Creative Dance
Dances that are created out of two approaches, the elemental approach and
creative approach. These dances are highly improvisational in nature considering the
different elements necessary in the creation of dance. Dances that fall under this
classification include modern – contemporary dance, jazz, pop and hip – hop (b – boying).

II. Elemental Approach in the Creation of Dance

A. Elements of Dance
1. Space
a. Floor Pattern
Patterns created by the body as it moves through space, examples of which
include lines, letters, shapes or polygons, and other non – geometric patterns.
b. Direction
The course or way in which movement is directed with reference to the
frontal plane of the body. Examples include forward, backward, sideward,
diagonally sideward and upward.
c. Focus
Point of attention by either the performer or the audience. It may be a
personal focus or general focus. Personal focus is the point of attention by the
performer while performing, while general focus is the point of attention that the
performer draws the audience to.
d. Dimension
How performers appear with reference to the audience’s view. The nearer
the performer, the bigger he would appear; the farther the performer, the smaller he
would appear. Dimension has something to do with perspective.

e. Balance
It may be static or dynamic in nature. Static balance is balance at rest,
while dynamic balance is balance in motion.
f. Levels
They are classified as low, middle and high with the lowest level the basis of
middle and high levels.
g. Mass and Volume
This is dictated by the number of bodies performing through space.
h. Contours and Shapes

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 Shapes and forms created by the body or bodies as they move through
space.

2. Time
Dance is both a space and time art because it makes use of space and spends
time as movements are executed. Once time passes and movements are executed, it
may or may not be the same when done again. Time in dance dictates and determines
its speed or length, its mood, and the energy required in its performance. Time in dance
is represented by music specifically, and predominantly influenced by rhythm, tempo,
dynamics and melody. Rhythm guides the movement count, tempo dictates the speed
of movement, and dynamics and melody speak of the mood of the movement.

3. Energy
Pertains to the amount of effort exerted in the performance of dance or dance
movements and combinations. Two dancers might be executing the same movement,
but differ in the manner of execution and level of energy exerted.

B. With reference to the amount of energy used in the performance of movement:

1. Pendular: swinging, swaying
2. Percussive: strong, big, abrupt, and striking movement
3. Vibratory: series of rapid and quickly executed small percussive movement
4. Sustained: movement with no preparation, beginning, and unnoticeable end

C. With reference to the application of energy in the performance of movement:

1. Locomotor Movement
Allows one to move from one point to another.
a. Walk
Series of steps executed by both of your feet alternately in any direction.
b. Run
Series of walks executed quickly in any direction wherein only one foot stays on
the ground while the other is off the ground.
c. Jump
This movement is simply described by having both feet lose contact with the
ground. There are five ways to do it:
● Take off from one foot and land on the same;
● Take off from one foot and land on the other;
● Take off from one foot and land on both feet;
● Take off from both feet and land on one foot; and
● Take off from both feet and land on both.

2. Non – Locomotor Movement

These are movements that are performed in one point in space without transferring
to another point. They do not allow you to move from one place to the other. These
movements include:
a. Flexion
It is the act of decreasing the angle of a joint. Another term for flexion is to bend.
b. Extension
This is the opposite of flexion. You are extending if you are increasing the angle
of a joint. Stretching is another word for extension.
c. Contraction
A muscle movement done when it shortens, narrows and tightens using sufficient
amount of energy in the execution.

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 d. Release
A muscle movement opposite to contraction done when it let go or let loose
from being held.
e. Collapse
To deliberately drop the exertion of energy in a body segment.
f. Recover
The opposite of collapse. This is to regain the energy exerted in a body segment.
g. Rotation
To rotate is to move a body segment to form a circle.
h. Twist
To move a body segment from an axis halfway front or back or quarter to the
right or left as in the twisting of the neck allowing the head to face right or left
and the like.
i. Pivot
To change the position of the feet or any body part that carries the body’s weight
allowing the body to face in a less than 360 degrees turn.
j. Turn
To move in a turning movement with a base of support, usually a pointed foot,
the other raised, while equilibrium is maintained until the completion of the turn.

III. Improvisation

The art of creating movements that the body is not familiar with. It is exploring potential
movements which can later be refined and transformed into dance movements. Improvisation is
the act of improvising and which means creating something new, something different and
something unusual and non – habitual.

IV. Technique and Technique Development

A. Lengthening Technique
These techniques may be used to answer the problem of having difficulties in coming
up with dance combinations and movements. There are many others but these are
some of the most effective techniques used by experienced dance artists and
choreographers:
Mirroring
Imitating the movements done by a dancer in face to face formation.
Succession
To repeat the same sequence of movement or movement combinations for every
count, two, three or even four, depending on the need to repeat the movement.
Counterpoint
The levels of movement or energy application in the execution of movement. To recall,
there are three levels of movement, low, middle and high. In doing a counterpoint
technique, opposites are considered. Some of the dancers may do high movements,
while the rest do low movements; some may do smooth flowing movements while the
rest may perform percussive movements.
Retrograde
Repeating a movement sequence from the end to the beginning.
Theme and Variation
Each movement combination has a common movement that is seen in a succession
of movement combinations. That movement common to all is called the theme with
a little variation for it to appear different from the rest.
Unison

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 This technique is the most commonly used in lengthening a dance movement. All
movement combinations are done simultaneously by all dancers.
Canon
This technique is somewhat similar with that of the succession but differs in ending. In
succession, a group of dancers performing the same movement sequence, end up
successively while in canon, all groups performing the same sequence of movements
will all arrive at a common movement and end at the same time.

V. Creative Approach in the Creation of Dance

This approach is used in creating a storyline of the whole dance performance and
experience. It is the finishing touch in polishing a dance creation. It involves the following elements:
1. Need. The very reason why the dance needs to be done. It might come in the form of
tangible or intangible (idea/object) that represents the whole idea of the dance
presentation. For example, the need for peace or the need to get out of poverty.
2. Seed. An idea, tangible or intangible, that may represent the need. For instance, the
need for peace is represented by a cross. The cross stands as the seed of the dance.
3. Picture. This represents the whole concept of the dance; it may answer the need for
peace, for example, on why it is represented by a cross. The whole picture speaks the
whole concept of the dance.
4. Developmental Treatment. This represents a draft of how the dance presentation
should progress and develop, how it should start, build up and end. It may follow a free
form wherein it does not necessarily require a definite order of events that may happen
in a dance. It may also be strictly guided by a chronology of events if it is a narrative
dance presentation. This part requires a storyboard to guide the development of the
performance.
Example (Clear Narrative):
a. Exposition. Introduction of the lead and supporting characters including the setting
of the dance presentation; introductory part of the dance.
b. Complication. A scene or situation that leads to the conflict of the dance
presentation.
c. Conflict. The turning point of the dance performance; it shows the need for a
problem to be settled or resolved. Examples include man against man, man
against society, man against nature, and man against self.
d. Climax. The highest point of interest in the dance performance or presentation
where the lead characters, both the protagonist and antagonist take action
against each other.
e. Resolution/Denouement. This is the point where the conflict or problem is resolved
in a dance presentation. It is when either the fate of the protagonist or antagonist
in the dance is finally determined.
f. Actualization. Improvisation of movements that suit the scene that the dance
wishes to convey.
● Movement familiarization
● Rehearsals
● Dance workouts and workshops
g. Completion. Dress and technical rehearsals with appropriate props and
accessories using the actual music for the performance of the dance piece with
all the elements of staging incorporated and integrated.

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