Republic of the Philippines

OCCIDENTAL MINDORO STATE COLLEGE

San Jose, Occidental Mindoro
San Jose Campus

COLLEGE OF TEACHER EDUCATION

Physical Education
“All that is important is this one moment
in movement. Make the moment
important, vital, and worth living, not
let it slip away unnoticed and unused.”
- Martha Graham
Meaning and Fundamentals
Movement
Nature of Movement
Concepts
Movement Skills

Rhythmic
Rhythmic Movement
Movements
Concepts Exploration
Activities
Meaning and Nature of
Movement
 Movement
Practically defined is a change of
position in space. Whenever there
is no change of position, there is no
movement.
 Several factors that affect movements:
Physiological Factor – Physical disability can affect
the movement of the individual.

Psychological Factor – Anxiety, fear, worries and

emotional instability are only few factors that affect
the movements of an individual psychologically.

Sociological Factor – Aloofness, shyness, and lack

of confidence are some sociological factors that limit
the movements of individuals.
 Fundamentals
Movement Skills
 Fundamentals Movement Skills
Fundamentals movement skills are utilitarian
skills that an individual needs for living and
being. They are sometimes called basic or
functional because these skills are necessary
to function effectively in the environment.
 Fundamentals Movement Skills

Locomotor Used to move the body from one

Movement place to another
Skills

Non-
Performed without appreciable
Locomotor
movement from place to place
Movement
Skills
In rhythmic activities, manipulative
Manipulative movements involve handling of
Movement object or light apparatuses
Skills
Locomotor Movement Used to move the body from one
Skills place to another

Walking – is the regular pacing of the feet; a

simple transferring of body weight from one foot
to the other on the ground.

Running – is an increased speed in walking by

lifting the foot off the contact ground.
Hopping – is a springing action from one foot
and landing on the same foot in any section.

Leaping – is an extension of a run, where greater

force is used to produce a higher dimension than
a run.

Sliding – is when the lead step is quickly

followed by the free foot closing to replace the
supporting foot.
Galloping – is a combination of a step (full
transfer of weight on one foot) and a cut by the
transfer of weight on the other foot.

Skipping – is a combination of a step and a hop,

first on one foot and then on the other foot on a
faster tempo.

Jumping – is a locomotor pattern in which the

body propels itself off the floor or apparatus
into a momentary period of flight.
Non-Locomotor Performed without appreciable
Movement Skills movement from place to place

Bending and Stretching

Bending is contracting or shortening of body
part from a joint.
Stretching is extending or straightening a
body part from a joint.
Rocking and Swaying
Rocking occurs when the center of gravity is
fluidly transferred from one body part to another.
Swaying is moving the body or body parts fro
joint side to side.
Pushing and Pulling
Pushing is an act of shoving an object away from
the body.
Pulling is an act of lugging or towing an object
towards or with the body.
Turning and Twisting
Turning is rotation around a long axis of the
body.
Twisting is turning the body or body parts to one
side.
Circling
Circling is moving the body or body part forming a
circle.
Swinging
Swinging is moving the body or body parts from a
joint resembling a pendulum.
 In rhythmic activities, manipulative
Manipulative movements involve handling of
Movement Skills object or light apparatuses

Balls
Wands
Hoops
Ribbons
Pompons
Sticks
Ropes
Movement Concepts
 Movement Concepts
Movement concepts are ideas used to modify
or enrich the effectiveness of skill employment.
They describe how the skill is to be performed.
Movement concepts are employed to embellish,
enhance, or expand the quality of movement
(Graham, 2001).
Important learning movement skills

Body Space
Awareness Awareness

Effort Relationship
 Body Awareness

It defines what your body can perform.

What shapes it can make, how it balance,
and the transfer of weight to different parts
are categories to develop challenges that
add variety to movement.
Shape – your body makes can be long or short,
wide or narrow, straight or twisted, stretched or
curled, symmetrical or asymmetrical.

Balance – demands that different parts of your

body support the weight or receive the weight.

Different numbers of the body parts can be

involved in the movements and used as body
supports.
 Space Awareness

In terms of moving, it is
where your body moves.
You should learn where
you could move.
Location is the area where your body moves.
Self-space is a limited area when you
move stationary or fixed base.
General space is an unlimited area where
you move from one place to another.

Direction is the line along in which your body

moves.
•Up/Down
•Forward/Backward
•Right/Left
Levels are positions with reference to height.

Low level is usually designated as anything

below your own hip level.
Middle level is usually any movement or shape
that is between your own hip level and the top of
your head when standing normally.
High Level is anything above your own normal
head height and may include standing on the half
toe, movement into the air, and upward
movements, or being lifted.
Pathways are lines of movement. The path
created by the combination if various directions
and by your movement through space that
results in a floor pattern, like straight, curved, or
Zigzag.

Extensions are ranges or sizes of movements of

the body or its parts in space and the distances
from the center of the body that the parts reach
to carry out a movement. E.g. large/small or
far/near
 Effort
Effort is the use of energy to
do quality movements. This
has something to do with how
the body moves.
Time is the dimension, speed or pacing of your
movement either fast/slow; sudden/sustained

Force is the weight, strength or energy you give to

the movement. It is either Strong or Light

Flow is the process, facility, or appropriateness of

your movement. They are either bound/free,
gentle, or smooth.
Interrupted flow (bound) stops at the end of
a movement or part of a movement.
Sustained flow (free) involves smoothly
linking different movements or parts of movement.
 Relationship

Relation are the connections between or

among people, other bodies, and things
when you move. It defines with whom or
with what your body moves. It gives
meaning to the interaction between
individuals and their environment.
Body Parts: Round (curved), Narrow, Wide,
Twisted, Symmetrical/Non-symmetrical.

With objects and/or people: Over/Under;

On/Off; Near/Far; In Front/Behind;
Along/Through; Meeting/Parting; Surrounding;
Around, Alongside

With people: Leading/Following;

Mirroring/Matching; Unison/Contrast; Alone, In
a Mass; Solo; Partners; Groups; Between
Groups.
Rhythmic Concepts
 An individual needs to move easily, freely, and to
handle his body with confidence. He must be given
the chance to freely before he can be expected to
keep in precise time to specific piece of music or
rhythmic pattern. In order to have a relationship
between movement and specific accompaniment, he
must be able to listen, adjust his rhythm to that of the
music, and move accordingly. Moreover, one needs to
respond to his own rhythm before he can be
expected to adapt to another or to a group. Of
course this takes experience.
 When an individual can readily related his
rhythm to his movement, we say he is moving
rhythmically – he has developed his skills, and
he can move to external rhythms of music,
percussion, words, an with another individual
or with the group. In dance, the rhythmic
patterns and rhythmic qualities of a musical
piece are of vital importance on the
execution of quality movements.
Rhythm is notated with the note value symbols
showing duration.

PULSE
It is the steady beat, wh8ich is both constant
and regular. It can be felt when you tap your foot to
a piece of music. It can be represents visually by a
time of half notes, quarter notes or eight notes.
METER

1. Duple Meter – The pulse Is divided into two

recurring patterns of one strong and one
weak beats.
2. Triple Meter – It divides the pulse into a
recurring pattern of one strong, and two weak
beats.
3. Quadruple Meter – It divides the pulse into
one strong and three weak beats.
The sign > is an accent mark. It indicates
that the note under which (or over which) it
appears is to be given more stress than the
surrounding notes. Usually the accent is on
the first beat. It gives emphasis to a beat in a
count. It is expressed by a more forceful
movement in a sequence of movements.
METER SIGNATURES

Meter signatures or time signature is made up

of two numbers, one above the other, which
appears at the beginning of a music piece. The
top number indicates the meter of the piece or
the number of beats per measure, and the
bottom number identifies the note value or kind
of notes that represents the pulse or beat.
Meter signature is never written in fraction.
Duple Meter Signature
2 – indicates two pulses or beats per measure
4 – identifies the quarter note as the pulse beat

Triple Meter Signature

3 – three beats to a measure
4 – a quarter note receives one beat

Quadruple Meter Signature

4 – four beats to a measure
4 – one quarter note receives one beat
TEMPO
It is the speed of a music. It can be constant or
show gradual increase (acceleration) or decrease
(deceleration).

INTENSITY
This is the quality of musical sound from low to
high or soft to loud. In dance, it has something to do with
the quality of movements, either be strong or light; soft
or sharp; slow or fast, and sudden or sustained
movements. Mood is related to intensity, but carries the
concept deeper into human feelings, music can interpret
many moods.
PHRASE
In music, it is a musical sentence that can be
felt by listening for a complete thought. This can
be group of measures, generally four or eight
measures. In dance, this is a grouping of
movements, which gives a feeling of wholeness –
“a sentence” of movement patterns. Phrases
when put together, they become rhythmic
pattern.
PHRASE
RHYTHMIC PATTERN

Rhythmic pattern corresponds to the

underlying beat. In movements and dance, it
follows the step pattern.
In music

1 2 1 2
In Movements

Walk Walk Leap Leap

In dance – (Bleking Step, for example)

Heel-place Close Heel-place Close

1 2 1 2
MEASURES
Music is divided into measures by means of vertical
lines called bar lines. Bar lines occur immediately before
an accented pulse. Therefore

SYSTEM OF COUNTING
In learning to read rhythms, it is useful to learn the
method of counting that can be sounded off as you are
clapping the rhythms. In movements and dance, the
different methods of counting are very vital to the
execution step pattern or dance pattern. Mastery of the
meter signature along with counting that corresponds to
the dance pattern elicits correct execution and timing.
Rhythmic Movements Activities
Rhythmic activities are rhythmic movements using
the body as a means of expressional
communication. They are usually accompanied
with musical rhythms. You can explore movements,
respond to rhythms through movements, and can
interpret different movements. When these
movements are arranged into patterns, they
become rhythmic movements. Moreover, when
these rhythmic movements are organized into
measured and balanced patterns accompanied by
musical rhythm along with movements concepts,
expressions, feelings, and emotions the result is
dance.
Creativity, rhythm, and movement are the three
major components of dance, which intertwined
significantly. Creativity is that quality of living
which helps in the discovery of new possibilities,
new associations, new relationships, new
experiments. The creative process is turning
oneself on and generating unique personal
responses to external experiences, stimuli, or
motivation. Uniqueness of the experience of
the individual concerned as a creative aspect is
affected by something from one’s own.
Movement Exploration
 Movement exploration serves as a means of
discovering from the basic natural movements other
movement possibilities using your body as an
instrument. The various parts of your body play a
very important role in performing and activity.
Movements may be explored and developed
into movement patterns in terms of what your body
can do, where your body moves, and how your body
moves.

A. Body Awareness
B. Awareness of Space
C. Movement Qualities
PHYSICAL EDUCATION
(Rhythmic Activities)
Rhythm – is a term which denotes an
aspects of quality movements sometimes
thought as dance.
Dance – is movement set to music where
they emerge as organization set to pattern
Dancing – means of expressing one
emotion through movements discipline by
rhythm.
3 Major Components of Dance
1. Creativity – is the quality of living which helps
on the discovering of new possibilities, new
associations, new relationships, new
experiments.
2. Movements – changing of position of an
object into space. Changing of directions.
3. Rhythm – is the regular recurrence of
accented and unaccented beats.
Phases of Dance Program
1. Creative Rhythm – for elementary grades. They
will be the one to explore movements within the
body.
2. Folk Dances – dances handed from generation
to another generation.
3. Social and Ballroom Dances – dances in formal
gathering where the participants are in formal attire.
4. Recreational Dance – dance for relaxation, for
fun.
5. Creative Dance – highest form of dance (for
entertainment, on stage).
Music Terms
Elements of Rhythm
1. Measure – these are the identical beats.
- is the units form by the recurrence of
accent or the fundamental rhythmic group.
2. Underlying Beat – is a series of units or beats
that are regularly repeated.
- melody pattern
3. Rhythmic Pattern – is the arrangement of long and
short intervals with relation to the underlying beat,
accomplished by dividing the beat into parts and
combining beats into different ways
4. Phrasing – group of measures giving the feeling of
unity.
- is the unit of formed by the recurrence
of accent or the fundamental rhythmic groups.
5. Accents – is the stress given to a beat. It marks
the first beat in a measure.
-giving emphasis to a specific beat.
6. Tempo – is the rate of speed that can be fast or
slow.
7. Intensity – quality of music (heavy or light)
- is the quality of musical sound from low to
high or soft to loud.
Elements of Movement Space
1. Direction – is any position
2. Level – high or low
3. Range – pertains to the size of movements
4. Floor Pattern – design created on the floor
Philippine Folk Dance
 History bespeak how dances of the
Philippines existed from the pre-Spanish
colonization to the present that is why classical
tradition in dance did not flourish due to diversified
influences.
In turn, the Philippine became a country
blessed with beautiful tradition either indigenous or
influenced that make our people creative. Filipinos
have adopted the naturalness, simplicity,
expression of daily life, moods and feelings simply
portrayed in every folk dance or any dance.
 The history of dance and/or folk dance is
tradition. Therefore, it is the only way to preserve
the dances of the past. However, tradition many
either be dynamic, i.e. developing of growing,
sometimes gradually change, and may be vanished
or forgotten. The credit is due to the first
National Artist in Dance.
Francisca R. Aquino, who in her most genius
way wrote codified the folk dances by describing
them in words. Some of which were purposely
adapted for classroom use and instruction.
Somehow, these helped preserved some of our
folk dances that are performed today by the
different dance groups either for theater, school
performances or merely for stage entertainment.
Dance Terms and Movements
Common to Folk Dances
 Common Dance Terms for
Arms and Hands
Abrasete – This is of Spanish Origin.
Bilao – Hands in front, parallel to each other at
waist level, elbows close to the waist, palms
down. Reverse the position of the hands with
palms up and down alternately.
Free Hand – The hand not doing anything.
Hapay – A Tagalog dance term which means
to flourish or offer a handkerchief, a hat, or a
glass of wine.
Hayon-Hayon – To place one forearm in front
and the other behind the waist. This is a
Visayan term.
Inside Hand – The hand near the partner when
standing side by side.
Jaleo – Partners stand side by side facing
opposite direction. Hands on waist, elbows
near or almost touching one another. A
Tagalog term of Spanish origin.
Kumintang – Turning the hand from the wrist
either clockwise or counter-clockwise direction.
This is an Ilocano Term.
Kunday-Kunday – Similar to Kumintang, but
done twice for every movement on a faster beat.
Two kunday-kunday in one measure.
Lateral Arm Position - To place both arms on
one side of the body either right or left side. It
can be done on chest, shoulder, and waist level.
Outside Hand – The hand away from the partner
when standing side by side.
Salok – To scoop the arm downward upward in
front of the body; the trunk following the
movements of the scooping arm. Free hand in 5th
Position or on waist or holding skirt. This is a
Tagalog term.
Sarok – Cross the right (left) foot in front of left
(right) foot, bend the body slightly forward and
cross the arms down in front right (left) over left
(right). This is a Visayan term.
 Common Dance Terms for the Foot
Brush – With weight on one foot, swing the
free foot and hit, strike or touch the floor lightly
with the heel or ball of the foot.
Cut – A quick change of weight displacing the
supporting foot with the free foot.
Draw – The free foot is pulled along the floor
close to the supporting foot with or without
transfer of weight.
Free Foot – The foot does not supports the
weight of the body.
Inside Foot - The foot near the partner when
standing side by side.
Outside Foot – The foot away from the
partner when standing side by side.
Place – To put the foot flat on the floor
without putting weight on it.
Pivot – Turning the ball, heel of one or both
feet on the floor on a fixed place.
Point – Touch toe or ball of free foot on floor
and remains there briefly.
Slide – To glide the sole of one foot along the
floor with or without weight.
Stamp – To bring down the forcibly on the floor
with or without transfer of weight.
Step – A simple transfer of weight from onr foot
to the other foot.
Supporting Foot – The foot that carries the
weight of the body.
Tap – Toe or ball of free foot is placed
momentarily on floor and lifted again immediately.
Touch – Same as point.
 Other Terms
Bow or Saludo – To honor partner, opposites
or audience. This is of Spanish origin.
Cabeceras – Dancers in square formation,
they are the copules occupying the width of the
dance floor.
Costados – Dancers in square formation, they
are the couples occupying the length of the
dance floor.
Fundamentals Dance Positions
of the Arms and Feet
Clockwise – It is moving to the left when facing
an imaginary circle. R shoulder is toward the
center when moving forward.
Counter-clockwise – The reverse direction of
clockwise.
Do-Si-Do or Dos-A-Dos – Two people
walk toward each other, pass by the right
shoulder, step sideward to the right, and return
to position walking backward passing by the left
shoulder.
Fundamentals of Rhythmic Activities
Social/Ballroom Dances
Posture – refers to the efficient body carriage.
It is the basis of graceful and attractive dance
movement.
Good Posture – is much more natural,
functional and comfortable.
Body Control – is attained through effective
and strong sense of balance.
Dance Walk – is an important part of dancing,
and it is done gracefully and with appropriate
style.
The Head Position – of both partners is of great
importance. Besides spoiling the appearance of the couple
by looking down, it throws out true balance, because the head
is heavier than the other parts of the parts of the body. Keep
the head up. Hold the chin naturally in, keep the eyes at their
usual level.

The Body – should hold in a natural, erect position without

raising the shoulders or pushing out the chest. Those who
look stiff are keeping their muscle taut. Show controlled
appearance by holding up your arms and elbows without
raising the shoulders. The partner must not hang on her
partner, either weighing him down with heavy arms or holding
him tightly. Her left hand should rest lightly on his upper arm,
fingers neatly close together. Make the diaphragm muscles as
the center of control of the whole body.
The Legs – movements should be free and from the hips
not on the knees. Use natural bracing and relaxing
movement in every step you make. When there is room to
move, the knees are their straight test or locked, but not
stiff at the full extent of a stride, and relax slightly as the
weight is taken on the foot.

The Feet – should be kept straight. Out-turned toes

are a common fault. Try to feel your feet brushing past
each other as you dance both forward and backward
step. Use your ankles properly. When you have reached
the full extent of a stride forward, the ankles should be
stretched with only the toes touching the floor, not the
ball of the foot, before you move the front foot into his
next position.
Leading – the man cannot concentrate on
leading unless he mastered the steps and their
amalgamation. He should learn to lead so that
the partner can follow with confidence. He must
never allow himself to be led into a figure by his
partner anticipating his next move and pulling
him into it.
Turning Effect – is important for you to
coordinate your movement with the music.
Musical Count – is the number and sequence
of beats to a measure.
Dance Count – is the sequence of steps and
whether the weight should be sustained on each
succeeding transfer for two beats or for one beat.
Open Break Position – Partners face each other.
Man’s left hand holds lady’s right hand.
Chasse – It is a step with a quick change of weight,
the hip turning clockwise or counter-clockwise and
the foot close on the second count.
Alemana or Underarm Turn – it is the simple turn
for the woman in which three forward steps are
made under the arch of the arms.
The Tango – is one of the most
fascinating of all ballroom dances. This
sensual ballroom dance originated in South
America in the early twentieth century.
This dance style is a two-fourth time that
originated among European immigrants
population of Argentina and Uruguay.
The Cha Cha- is a lively, flirtatious ballroom dance full of
passion and energy. The classic “Cuban Motion” gives the
Cha Cha its unique style. Partners work together to
synchronize each movement in perfect alignment. A graceful
dance with a basic rhythm of slow-slow-quick-quick-slow. The
ballroom dance which is playful in character. It is a four-fourth
time signature or 4 beats in bar of music. The length of the
steps in the chasse of this dance depends very much on the
effect the dancer is attempting to make.
Swing Dance – is a lively style of social
dancing in which a dancer often lifts, spins
and flips his or her partner. Considered
both hip and cool, swing dancing is a
favorite among social dancers of all ages.
The most popular ballroom dance in the
Philippines. A non-stop changing of places
and non-stop turning of a lady.
The Boogie – is a social jazz dance closely
related to swing dancing. The boogie involves a
six-beat dance pattern, usually called as “step,
step, triple step, triple step,” with the dancer
traveling in a forward pattern while performing
these counts. Originally developed as a style of
blues music, the Boogie is often danced to rock
n’ roll and jive music. It is the most festive in all
Ballroom and Latin dances.
Reggae Dance – is a high paced, energetic dance
set to music of the Caribbean islands. The style of
dance is making its way across the country but with
few instructors, the spread has gone slowly. Unlike
ballet or Pointe, reggae dance as no university
courses designed to train instructors in such a
diverse style of dance. Those who love the music
and the style of dance must take it upon themselves
to become well versed in the style so they can relay
it to a new generation of dancers.