HOPE III QUARTER 2 REVIEWER
position’).
Lesson 1:
Dance Genres
DANCE GENRE: a certain type of dance (folk dance,
social/ ballroom dance, contemporary, hip-hop/modern
dance, ballet, jazz, tap dance, etc.)
1. Modern Dance:
 A highly expressive style of dance that
challenges the structured dance technique of
classical ballet.
2. Hip-Hop Dance:
 A style of movement characterized by bounces
and rocks executed to Hip-Hop music.
3. Folk Dance:
 A form of dance developed by a group of people
that reflects the traditional life of a certain
country or region.
 Folk dancing represents the dance forms of the
common people as opposed to those from the
upper classes.
 Folk dances may emerge spontaneously among
groups of people or derive from previous styles.
4. Contemporary:
 A style of expressive dance that combines
elements of several dance genres including
modern, jazz, lyrical, and classical ballet.
5. Ballet:
 An artistic dance form performed to music using
precise and highly formalized set of steps and
gestures.
 Classical ballet (originated in Renaissance Italy
and established its present form during the 19th
century): characterized by light, graceful, fluid
movements and the use of pointe shoes.
6. Tap Dance:
 Style of dance which a dancer wearing fitted with
heel and toe sounds out audible beat
rhythmically striking the floor or any other hard
surface.
7. Jazz Dance:
 Combines techniques of classical ballet and
modern dance with the current forms of popular
dance.
8. Ballroom Dance:
 Refers to traditional partnered dance forms that
are done by a couple, often in the embrace or
closed dance position (‘ballroom dance
 These include waltz, swing, tango, salsa, blues,
foxtrot, and pasodoble, cha-cha bolero’ and
Samba.
MOST POPULAR BALLROOM DANCES:
1. Swing dancing:
 Popular social dance that is often characterized
by lifts, spins and flips.
 A rhythmic rotation of a couple performed with a
walking step, buss step, two-step or skip step.
 Done by a proper balance of “pull against pull”
that will maintain a smooth rotation or swing.
 Swing step patterns vary on the age of the
dancers 9teenagers mostly use exaggerated
motions, while mature dancers prefer a more
subtle style).
2. Foxtrot:
 A smooth progressive dance characterized by
continuous flowing movements across the dance
floor.
3. Tango:
 A dramatic dance style that is popular in the
United States and all over the world.
 Characterized by sharp, staccato movements
and a passionate attitude
 Very sensual and visually exciting choice for a
first wedding dance
4. Waltz:
 From the old German word “walzen” meaning to
roll, to turn, or to glide.
 A graceful dance in time, with strong accent on
the first beat and a basic pattern of step-step-
close.
 Johann Strauss and other great musicians made
the waltz a symbol of Vienna.
 Characterized by the pendulum swing body
action.
 Other general elements of ballroom technique
important for Waltz are foot parallelism, rise and
fall, contra body movement and sway.
5. Cha-Cha:
 A vibrant, flamboyant and playful dance: The
light and bubbly feel of the cha-cha gives it a
unique sense of fun.
 Requires small steps and lots of hip motion
(Cuban motion), as it is danced in 4/4 time
 Widely recognizable by its catchy rhythim= one,
two, cha, cha, cha
 A Latin dance; originates from Cuba.
  Developed by the Cuban composer and violinist
Enrique Jorrin in the middle of 1950s.
CHARACTERISTICS OF A GOOD DANCE:
1. UNITY: interconnected phrases of the dance are
coherent and flow smoothly together. It attracts and
holds the audience's attention.
2. VARIETY and CONTRAST: add excitement and
flavor in the dance. Changing the direction, use of
energy, timing of a movement phrase and avoiding
repeating them in the exact way are ways to add
variety to the dance.
3. TRANSITION: also vital because it keeps the unity
and continuity of the dance. It may vary from length
and complexity. They may be long or short, gradual
or abrupt.
4. REPETITION: usually when a certain phrase or a
section of choreography is repeated, it is the main
message of the dance. Also the audience can see
those movements again and identify its significance.
5. CLIMAX: the apex of energy in the dance is
reached.
Lesson 2:
Cheer Dance
CHEER DANCE:
 Coined from the 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 a
 To dance is a physical activity where one express
emotions or gestures while performing bodily
movements usually in time and rhythm.
 Cheer dancing is rooted from cheerleading.
CHEERLEADING:
 An event that consists of cheers and organized
routines for sports team’s motivation, audience
entertainment, or competition. The routine contains
many components of cheers, jumps, dance,
gymnastics, and stunning.
 The purpose is to encourage the spectators of
events to cheer for sports teams or games.
 Cheer dancers: yellers, dancers, and athletes
involved in cheerleading
 Squad: when cheer leaders are grouped together as
one
HISTORY OF CHEERLEADING:
 Linked closely to the United States’ history of sports,
its sporting venues as well as the historical
development of overall crowd participation at many
athletic events
 Origin can be traced as far back as the late 19th
century where in 1860’s students from Great Britain
began to cheer and chant in unison for the favorite
athletes at sporting events. This event eventually
reached and influenced America
 In the late 1880s, the first organized recorded yell
done in locomotive style was performed in an
American campus and was first seen and heard
during a college football game.
 However, organized all male cheerleading only
transpired when Thomas Peebles, (the father of
American cheerleading) one of the graduates of
Priceton University, brought the yell the football
sports to the University of Minnesota in 1884.
ELEMENTS OF CHEER DANCE ROUTINE:
Cheer dance contains: dance techniques, basic
elements of cheer, and basic gymnastics skills
DANCE TECHNIQUES:
 Depending on the competition requirements, various
dance techniques may be used in a cheer dance
competition.
 Some squads prefer contemporary dance
techniques, while others incorporate several
techniques such as jazz, hip-hop, modern dance,
contemporary ballet and ethnic or folk dance.
 However cheerleading style dance tends to be more
rigid and sharper compared to contemporary or pop-
culture dance styles. The emphasis is on the
placement, sharpness and synchronicity of the
movements
ELEMENTS OF CHEERS:
 Coordination of organized words and movements
relating to an athletic event. These are used during a
sport event when play has been stopped on the field
or court.
 The purpose is to draw a unified response from the
crowd to highlight their support for the playing team.
 Cheer motions are also used to lead the crowd and
emphasize words for crowd response
 These are made up of hand, arm, and body
positions
 Although cheer styles may vary according to the
cheerleaders’ preference, all motions originated from
the standard basic motions.
Hand Positions:
1. BUCKET: arms are straight with fists facing down,
as if holding the handle of a bucket in each hand
2. BLADE: arms are straight in sideways, open palm
and fist facing down and fingers must stick together
3. CLAP: strike palms together in front of the chest
4. CANDLESTICK: arms are straight with fists facing
each other as if they were holding a lit candle in
each hand
5. CLASP: clasp hands together in front of the chest
Arm Positions:
1. FLYING V: both arms are raised diagonally forming
a “V”
2. LOW V: reverse of flying V
3. T MOTION: both arms are extended sideways
parallel to the ground.
4. HALF T: both arms are parallel to the ground and
both elbows are bent.
5. TOUCHDOWN: arms are stretch out in upward
position; closed fist facing in arm positions
6. K MOTION: one arm is raised upward, while the
other arm positioned downward across to the
opposite
7. CHECKMARK: one arm is raised diagonally upward,
then the other arm-elbow is bent and pointing
downward.
8. OVERHEAD CLASP: arms are extended upward;
clasp hands together
9. DAGGER: Both arms are bent; clenched fists facing
each other parallel to shoulders
10. BOX: both arms are bent; clenched fist facing each
other; elbows are on shoulder level
11. PUNCH: raised one arm overhead with closed fist
12. L MOTION: one arm is raised upward; the other arm
is raised on the side in shoulder level
13. DIAGONAL: one arm raised diagonally upward,
while the other arm positioned diagonally downward
14. LOW TOUCHDOWN: reverse of touchdown
15. BOW AND ARROW: one arm is extended sideways
parallel to the ground; other arm is bent pointing
shoulder level
16. MUSCLEMAN: from “box”, bring the arms to the
side, make sure the arms are parallel to the floor.
The fists face forward like "door knockers" or in like
"daggers".
Body Positions:
1. BEGINNING STANCE: Standing up straight with the
shoulders back, keep the head up and face forward.
The legs should be together with the feet facing
forward. The arms can either be straight and against
the sides (with the palms in) or hands place them on
the hips
2. CHEER STANCE: Stand up straight with your
shoulders back, keep your head up and face
forward. Your legs should be just further than
shoulder width apart with your feet facing forward.
Make fists of both hands, and bring them up to rest
on your hips or upper thighs
3. SIDE LUNGE: The foot on straight leg is facing front
and the bent leg foot is facing the side. Lunge can
be done as deep as possible, just make sure the
bent knee is always over the ankle – the knee
should never go over the toes.
4. SQUAT: Lowers the hips from a standing position
and then stands back up with the knees bent
5. KNEEL: Bend the legs so that the knees are
touching the ground.
BASIC GYMNASTICS SKILLS CHEERDANCE
INCORPORATES: To add to the thrill to the game.
These helps cheerleaders to develop a higher spirit level
and enhance crowd motivation (jumps and tumbling)
Classification of Jumps:
1. JUMP: jumping from and landing on two feet.
2. HOP: jumping from one foot and landing on the
same foot.
3. LEAP: jumping from one foot and landing on the
other foot.
4. ASSEMBLÉ: jumping from one foot and landing on
two feet.
5. SISSONNE: jumping from two feet and landing on
one foot.
TUMBLING:
 A very dynamic and an excellent way to shake the
crowd pleaser.
 It is a form of gymnastics that requires athletes to
use their bodies to flip, twist, roll and jump.
 Tumbling is most often used at cheerleading
competitions and during gymnastics routines
Basic Formations in Cheer Dance:
1. BOWLING PIN: the formation is set up like a
bowling pin in a bowling alley. This works great when
highlighting a few members on a aquad or team
2. STAGGERED LINE: a simple line where the back
line is positioned in the windows of the line
Segments of a Cheer Dance Routine:
1. MUSIC SECTION:
 Music plays a vital role in cheer dance routines
as it sets the tone and pace as well as adds to
the creativity of the choreography.
 It allows cheerleaders to create a dance routine
that wows the judges.
 It also motivates both the cheerleaders and
spectators. It also makes it that much more
appealing and exciting for the crowd and fans.
 Sometimes music is required to last throughout
the whole routine
2. CHEER SECTION:
 This is where shout of applause or
encouragement is placed. The players were
greeted with loud cheers.
 There is no particular cheer style and pace
depends on the competition’s guidelines.
 Take note that when putting together a routine,
the cheerleader must master the different
elements of cheer dance including all the skills,
transitions, and parts of the routine that bring it
together.
Lesson 3:
Philippine Folk Dances
FOLK DANCE: A form of dance developed by a group of
people that reflects the traditional life of the people of a
certain country or region
Francisca Reyes Aquino :
known to be the mother of
Philippine folk dance. She
wrote several books on the
folk dances and also taught
people dances.
VALUES OF FOLK DANCE: Philippine folk dance helps
keep the people connected to their ancestry and their
traditions. Folk dance helps to preserve the cultural unity
of the people
IMPORTANCE OF FOLK DANCE: People think folk
dances are important because they help keep a culture
alive. Folk dances are important because they preserve
the Philippine culture and these can be passed on to the
next generation. They are a uniting force to the
Philippine people.
OBJECTIVES: Philippine folk dances are a celebration
of daily life, health, peace, war, harvest times and other
aspects of life. According to the National Commission for
Culture and the Arts, Philippine folk dances imitate
nature and life because they are rituals for social and
spiritual expression
1. To commit to the ideals of cultural development as a
vital factor in nation building.
2. To enhance the cultural values demonstrated in
various folk dances aesthetically, morally, and
physically.
3. To actively participate in folk dancing for its
intellectual, moral, and aesthetic values.
4. To disseminate Philippine traditional dances in its
pure and authentic form.
5. To instill the love for performing the folk dances as a
cultural legacy and to show to other nations the
identity of the Filipinos as a people.
CHARACTERISTICS OF PHILIPPINE FOLK
DANCE:
 In general, dancers stand apart.
 There is little, if any, body contract.
 Most of the dances are done by pairs or couples.
 Hand movements play an important part.
 Most dances are in long formation.
 Most dances begin and end with “saludo”.
 Dance from low land have more foreign elements
than those in upland.
 War dances are found in non-Christian tribes.
 It is traditional.
 It is an expressive behavior.
 Simple basic rhythm dominates the folk dance and
establishes the pattern of movement.
CLASSIFICATION OF FOLK DANCE:
1. Type of dances
2. Nature of dances
3. Formation
4. Movement
5. Geographical origin
Types Of Dances:
1. MUSLIM DANCES: include the Singkil, the
Pangalay, Asik or Mag-Asik, the Kandingan, and the
Kapamalongmalong
2. TRIBAL DANCES: Dugso, Kadal Heroyon, Banga,
Manmamok
3. RURAL DANCES: Bulaklakan, Binasuan, Sayaw sa
Bangko
4. SPANISH INFLUENCE OR MARIA CLARA
DANCES: Rigodon, Jota Manilena, Jota Habanera
5. CORDILLERA DANCES- Bendayan, Uyauy,
Tarektek
Nature of Dance:
1. OCCUPATIONAL DANCE:
 dances that depict actions characterizing
occupation industries and phases of human
labor.
 Examples:
 Pabirik: depicts the difference stages of gold
panning
 Monanguete: tuba gatherer
 Rice Festival: has the largest number of
dances
 Magtatanim, Paggapas, Paggiik, Pahangin,
Pababayo, Pagtatahip
2. RELIGIOUS OR CEREMONIAL DANCE:
 performed in connection with religious vows,
practices and ceremonies.
  a religious dance maybe performed to drive
away evil spirits and for having recovered from
sickness, favors granted and vows fulfilled.
 Ex: Sinurog, Obando Dugso
3. FESTIVAL DANCES:
 performed in connection with celebration a feast,
a barrio, fiesta, good harvest and good future.
 Ex: Sibuyas Festival, Tsinelas Festiva, Flower
Festival, Bangus Festival, Longonisa Festival,
Taong Putik Festival, Ati-atihan Festival, Sinulog
Festival, Dinagyang Festival, Maskara Festival,
Kadayawan Festival Moriones Festival
4. WAR DANCES:
 intended to show imaginary combat or duel with
the use fighting implements like bolo or spear.
 Ex: Sagayan Maglalatik, Inabaknon
5. GAME DANCES:
 dances that have some play elements and are
for recreational purposes.
 Ex: Pabo Lubi-lubi Sinenalan Gayong-gayong
6. COURTSHIP DANCE:
 dances that depict making or are dances with
love themes.
 Ex: Hele Hele bago Quiere, Rogelia, Lulay,
Maramion
7. WEDDING DANCES:
 performed by newlyweds, by friends and
relatives of the bride and groom or by the father
of the bride and mother of the groom.
 Ex: Pandang-Pandang Soryano Pantomina,
Habenera Botolena, Kandingan, La Jota
Mocadena
Formation:
1. SQUARE FORMATION
2. LONG FORMATION: dancers form 2 or more
parallel lines
3. SET: consists of 2 or more pairs as a unit
Movement:
1. FAST OR ACTIVE MOVEMENT
2. SLOW MOVEMENTS
3. MODERATE MOVEMENT
4. COMBINATION OF SLOW AND FAST
Geographical Origin:
1. NATIONAL DANCES: Traditional dances but have a
national scope; Popular and widely danced
throughout a given country, often with a number of
regional variations; Found throughout the islands.
 Rigodon: Originated from Spain, this dance is
commonly performed at formal affairs like inaugural
balls where prominent members of the government
participate and enjoy.
 Cariñosa: The Philippine National Dance. Cariñosa
is a word that describes an affectionate, friendly and
lovable woman. This dance is performed in a
flirtatious manner with fans and handkerchiefs to
assist the dancers’ hide and-seek movements.
 La Jota Manileñia: A dance named after the Capital
City of the Philippines, Manila, where an adaptation
of Castilian Jota a floats with the clacking of bamboo
castanets played by the dancers themselves. The
costume and the graceful movements of the
performers noticeably inspired by Spanish Culture.
2. LOCAL DANCES: Discovered or found within just a
specific community or locality.
 Tinikling (Leyte): danced by a pair of dancers
hopping between two bamboo poles held just
above the ground and struck together in time to
music. Originated from Leyte Province, this
dance is in fact a mimic movement of tikling
birds hopping over trees, grass stems or over
bamboo traps set by farmers. Dancers perform
this dance with remarkable grace and speed
jumping between bamboo poles.
 Subli – Batangas: One of the most popular
dance in the Philippines and the favorite in
Batangas. This dance is ceremonial in nature
and this is performed as homage to the Holy
Cross. The Holy Cross is known by the locals as
the 'Mahal na Poong Santa Krus', and the Holy
Cross plays an important role in the
development of the dance. In fact, the Holy
Cross is considered at the center of the dance
and without the Holy Cross the dance will not
materialize.
LIST OF POPULAR PHILIPPINE FOLK DANCES:
Philippine Folk Dances From Luzon:
1. IDAW DANCE: Depicts hunting rituals that were
performed before tribal wars.
2. BANGA TRIBE: KALINGA: The Banga or pot dance
is a contemporary performance of Kalinga of the
Mountain Province in the Philippines. This dance
illustrates the languid grace of a tribe otherwise
known as fierce warriors.
3. MAGLALATIK: Originally performed in Biñan,
Laguna as a mock-war dance that demonstrates a
fight between the Moros and the Christians over the
prized latik or coconut meat during the Spanish rule,
this dance is also shown to pay tribute to the town’s
patron saint, San Isidro Labrador.
4. PANDANGGO SA ILAW: The word pandanggo
comes from the Spanish dance “fandango”
 characterized with lively steps and clapping while
following a varying ¾ beat. Pandanggo requires
excellent balancing skill to maintain the stability of
three tinggoy, or oil lamps, placed on head and at
the back of each hand. This famous dance of grace
and balance originated from Lubang Island, Mindoro.

Philippine Folk Dances From Visayas:

1. TINIKLING: A "bamboo dance" that imitates the
movement of the tikling birds as they walk between
grass stems, run over tree branches, or dodge
bamboo traps set by rice farmers. Dancers imitate
the tikling bird's legendary grace and speed by
skillfully maneuvering between large bamboo poles.
2. KURATSA: One of the traditional dances in Leyte
and Samar province. It is widely danced especially
during fiesta, family reunions, and weddings. It is
referred to as a courtship dance where dancers
imitate courtship movements of rooster and a hen in
a creative way.

Philippine Folk Dances From Mindanao:

1. ITIK – ITIK: A dance from Surigao del Norte, in
which the movements of a duck are imitated. An itik
is a species of duck.
2. SINGKIL: Originated from the Maranao people who
inhabit the shores of Lake Lanao. It is derived from a
story in the Darangen, the Maranao interpretation of
the ancient Indian epic, the Ramayana. The name of
the dance itself means "to entangle the feet with
disturbing objects such as vines or anything in
your path". It is a popular dance performed during
celebrations and other festive entertainment.
Originally only women, particularly royalty, danced
the Singkíl, which serves as either a conscious or
unconscious advertisement to potential suitors.