SHS HOPE3 Q1 Modules1to4 Binded Ver1.0-1

Health Optimizing
Physical Education
(H.O.P.E.) 3
Quarter 1 – Modules 1 - 4
1
Health Optimizing
Physical Education
(H.O.P.E.) 3
Quarter 1 – Module 1:
Assessment of Health and
Physiological Status while
Organizing or Participating in a
Physical Activity (Dance) with
Safety Protocol
Health Optimizing Physical Education 3
Alternative Delivery Mode
Quarter 1 – Module 1: Assessment of Health and Physiological Status while Organizing
or Participating in a Physical Activity (Dance) with Safety Protocol
First Edition, 2020
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Published by the Department of Education - Schools Division Office of Makati

City OIC-Schools Division Superintendent: Carleen S. Sedilla CESE OIC-Assistant
Schools Division Superintendent: Brian E. Ilan EdD
Development Team of the Module
Writers: Marcelo B. Pabiano Jr., Benjo Martinez, and Heaven Soronio

Editor: Lordjane Mandar
Reviewer: Lawrence Jay S. Sedilla
Illustrator: Marcelo B. Pabiano Jr., Rachelle S. Venus
Layout Artist: Benjo Martinez
Management Team: Angelita S. Jalimao
Chief Education Supervisor, Curriculum Implementation Division
Neil Vincent C. Sandoval

Education Program Supervisor, LRMDS
Printed in the Philippines by the Schools Division Office of Makati City

Through the Support of the City Government of Makati (Local School Board)
Department of Education – Schools Division Office of Makati City
Office Address: Gov. Noble St., Brgy. Guadalupe Nuevo

City of Makati, Metropolitan Manila, Philippines 1212
Telefax: (632) 8882-5861 / 8882-5862
E-mail Address: makati.city@deped.gov.ph
What I Need to Know
This module was designed and written with you in mind. It is here to help you master
the nature of HOPE 3. The scope of this module permits it to be used in many different
learning situations. The language used recognizes the diverse vocabulary level of
students. The lessons are arranged to follow the standard sequence of the course. But
the order in which you read them can be changed to correspond with the textbook you
are now using.
The module is divided into five lessons, namely:
• Lesson 1 – Self Assessment of Health Related Fitness

• Lesson 2 – FITT Principles attaining Good Health/ Fitness status through
dance
• Lesson 3 – Engaging to a Moderate to Vigorous Physical Activities (MVP's)
in Dancing.
• Lesson 4 – Physiological Indicators Associated to Moderate to Vigorous
Physical Activities (MVP's) in Dancing.
• Lesson 5 – Safety Protocol during Moderate to Vigorous Physical Activities
(MVP's) in Dancing.
• Lesson 6 – Organizing or Participating in a Moderate to Vigorous Physical
Activities (MVP's) related to Dance.
After going through this module, you are expected to:
1. Self-assesses health-related fitness (HRF) status, barriers to physical activity

assessment participation and one’s diet;
2. Sets FITT goals based on training principles to achieve and/or maintain HRF;
3. Engages in moderate to vigorous physical activities (MVPAs) for at least 60
minutes most days of the week in a variety of settings in- and out-of school;
4. Analyzes physiological indicators such as heart rate, rate of perceived
exertion and pacing associated with MVPAs to monitor and/or adjust
participation or effort;
5. Observes personal safety protocol to avoid dehydration, overexertion, hypo
and hyperthermia during MVPA participation;
6. Demonstrates proper etiquette and safety in the use of facilities and
equipment;
7. Participates in an organized event that addresses health/fitness issues and
concerns;
8. Organizes fitness event for a target health issue or concern.
What I Know
Choose the letter of the best answer. Write the chosen letter on a separate sheet of
paper.
1. Dancers are typically good in terms of coordination, what kind of fitness that
they need to maintain in order for them to dance for longer period of time?
A. Reaction time C. Agility
B. Flexibility D. Cardiovascular endurance
2. President Duterte asked you to conduct fitness program for drug addict with
cardio and lung-related problem, what do you think is the best activity that
you could give?
A. Aerobic activities C. Circuit Training
B. Yoga Classes D. Weight lifting
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3. Which of the following ballroom dance is derived and named after the sound
of rattle snake?
A. Rumba C. Cha-cha-cha
B. Salsa D. Mambo
4. If you are dancing for 30 minutes, what fitness components you possess?
A. Muscular strength C. Flexibility
B. Cardiovascular Endurance D. Coordination
5. If you are going to make dance as a form of workout, how many
minutes is recommended by WHO for physical activity for you to become
physically fit?
A. 30 minutes C. 40 minutes
B. 50 minutes D. 60 minutes
6. A normal heart rate of an adult is 60 bmp. If a dancer executes movement
with the rate of 145bpm per dance routine, what kind of dance is that?
A. Slow pace C. Fast pace
B. Moderate pace D. Slow to moderate pace
7. Social dancing can prevent some diseases caused by sedentary lifestyle, if
regularly performed. Which of the following does not belong to the group?
A. Diabetes C. Lung cancer
B. Weight gain D. Obesity
8. In social dancing, a boy leads while a girl follows. What values can be
developed in such training?
A. Leadership C. Obedience
B. Respect D. Trust
9. Mr. Pagunsan is a dance coach, he noticed that one of your dancer is
experiencing low performance in the beginning of the dance routine, as the
coach of the team, what he should do or tell to the dancer?
A. Tell her to do pre-stretching or warm up activities before dancing
B. Tell her to quit the dance sports team
C. Tell her to do cool down activities before the dance routine
D. Tell her to be cautious about the food she takes before the dance
session
10. Which of the following best describes social dances?
A. social dances are for pairs only
B. social dances can be competed
C. social dances are dances that improve social skills and fitness
D. social dances are dances that entertain peopl
Lesson HOPE 3: Self-Assessment of

1 Health-Related Fitness
The health-related fitness involves exercise activities that you do in order to improve your
physical health and wellness, particularly in the categories of cardiovascular endurance,
muscular strength, flexibility, muscular endurance and body composition. Physical fitness
is an important indicator of the current and future health condition in any
individual’s maturity. In comparison with institutional testing, self-assessment of
physical fitness offers a number of benefits, including minimization or elimination
of possible negative experience with inter-individual comparison in the context of
motor diagnostics. That the main objective of this module is to determine the
distribution normality of the resulting data and the intersexual differences in
evaluating own of fitness.
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What’s In
Physical fitness assessment can be an integral part of a comprehensive physical
education program when used as a means to teach fitness concepts and their
relationship to health, work, and quality of life. If properly approached, fitness
assessment can provide objective information and motivation for learners. Assessment
of learner’s fitness involves selection of fitness tasks, learner preparation,
interpretation of results, and follow-up.
Preparation
Ensure that you are prepared to participate in fitness assessment and are able to
understand the value of fitness assessment tasks.
• Can discuss fitness concepts with your classmates, demonstrate
assessment procedures, and encourage self-motivation techniques,
stressing the importance of doing the best that you can as individuals.
• Ensure that you experience progressive activity before administering the
fitness task. Teach warm-up, cool-down, and pacing concepts, and
provide you with practice opportunities.
• Present the time-flexible schedule to allow maximum opportunities for
assessment. This will accommodate students who are absent from class,
on medication, not feeling well, or wanting to be reassessed.
• Screen your medical conditions before participating in the assessment
schedule.
Interpretation
Discuss fitness results immediately after the assessment has been completed. If
possible, counsel students with low fitness scores individually. Reporting to
parents/guardians is desirable.
Follow-up
Design instructional and intramural programs to help address the low fitness levels.
Personalize fitness plans, where possible, and encourage self-assessment. Schedule
periodic assessments in order to review each improvement during the year.
What’s New
Health Related Fitness Defined
Health related fitness is all about personal health and how the healthy lifestyle of
physical activity influences us as a person. This is important for anyone who wants to
live a physically active lifestyle to support a higher quality of life.
Exercise can be a structured process of physical activity such as going to the gym,
taking cardiovascular classes and lifting weights and or dancing. Or, it can also be
anything from walking to the park to intensive cardio workouts.
Components of Health-Related Fitness

Health related fitness is made up of 5 core components which are by-products of
exercise and
physical activity. Those 5 components are...
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Table 1. Components of Health Related Fitness
Health Related Fitness Focus

Components
Cardio Respiratory Endurance Has to do with how long you are able to carry out cardio
(i.e. aerobic fitness) exercises without being fatigued.
Muscular Strength How much weight you are able to lift with your muscles at one
time.
Muscular Endurance How much your muscles can take during a weight training
session, i.e. repeated reps.
Flexibility How freely you are able to move and even respond to unstable
conditions, boosted by the elasticity of the muscles.
Body composition (i.e. body Has more to do with the body itself being lean and muscular
form). vs. fat.
What is It
Physical activity is all about improving quality of life leaning towards coordination, speed,
power, agility and balance; all work well together.
This means increased energy levels, a stronger respiratory system, and an optimized
percentage of body fat against lean body mass.
The key to achieving physical fitness for health reasons means focusing on each health
related fitness component mentioned above when exercising.
Some exercise can potentially address all five components however a mix of exercises is
suggested in order to best address each component.
The average person needs regular physical activity simply because the human body was
designed to move. To keep it healthy, you need to move. Health related fitness means that
you choose a variety of activities to benefit your body and your mind.
Intended Use of Health-Related Fitness Assessment Tasks
Recent research indicates that fitness assessment or testing should focus on setting and
achieving personal goals, developing fitness-management skills, and following a personal
fitness plan. Programming needs to emphasize education, prevention, and intervention.
Fitness assessment or testing is primarily used to establish personal goals and monitor
individual progress rather than to compare one person’s results to those of others, as in
norm-referenced testing.
Personal Fitness Assessment
Personal fitness assessment is the main purpose of the fitness assessment tasks. Encourage
you to self-administer the task(s) to promote the likelihood that you will continue to assess
ourselves throughout life. (It is not necessary to assess all the health-related fitness
components each time an assessment is done.) Giving us opportunities to practice our self-
assessment since results for beginning self-assessors are not particularly accurate. As
interpretation of the results is essential, spend sufficient time teaching students how to
interpret their results clearly. Results should be kept personal if a student desires.
Teach Fitness Development

Concepts Teachers are encouraged to use the fitness assessment tasks to teach fitness
concepts. For example, during the 1600-metre walk, use heart-rate measurement to teach the
concepts of exercise intensity, pacing, and/or heart-rate palpation.
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What’s More
Activity 1.1 Assessing your Lifestyle

In the past, most of the published fitness assessment results were norm referenced. Although
norm-referenced assessment was popular and easy to interpret, it fell short when defining the
health of individuals. For example, a “normal” or “average” (i.e., 50th percentile) score in 2003
might mean an individual is overweight. Criterion-referenced standards attempt to overcome
this inadequacy by indicating the score on a selected fitness test that represents desirable and
absolute levels needed for good health. In other words, criterion-referenced standards answer
the question “How fit is fit enough?”
Although criterion-referenced standards are favored over norm-referenced standards, most of

the existing criterion-referenced standards have been derived exclusively from normative data
and expert opinion. Criterion-referenced standards are in the developmental phase and will
require much more investigation before scientifically justified standards are available.
Now, before we going through with the assessment of health related fitness, let's start
answering this simple but yet useful assessment of your personal physical activities.
Table 2. Assessing your Lifestyle
Activity 1.2 Assessing Health Related Fitness Test

Using Fitness Scores as a Basis for Student Grading
Teachers are encouraged to assess students on their ability to self-administer fitness

assessment tasks and interpret their personal results rather than grading them on fitness
scores. When student grades are based on student fitness scores, dishonesty on fitness
assessments becomes a problem. Grading based on improvement (i.e., comparison of pre- and
post-assessment) is also invalid, as students typically improve regardless of whether they are
doing physical activity, just because they are getting older (maturation effect). Furthermore, a
higher fitness score is not necessarily “more” desirable if the score is already considered
healthy based on criterion-referenced standards. Students who engage in regular physical
activity but do not do well on fitness assessments will likely be “turned off” to physical activity
when fitness scores determine their grades.
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Table 1.2.1. Physical Fitness Test (Front)
Table 1.2.2. Physical Fitness Test (Back)
Physical Fitness Test Objectives

1. To determine the level of fitness.
2. To identify strength and weaknesses for development and improvement
3. To provide baseline data for selection of physical activities for enhancement of
health and skill performance.
4. To gather data for the development of norms and standards.
5. To motivate, guide and counsel pupils/students in selecting sports for
recreation, competition and lifetime participation.
Test Protocol
• Explain the purpose and benefits that can be derived from the physical fitness tests.
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• Administer the tests at the beginning of the school year and on a quarterly basis,
thereafter, to monitor improvement.
• Prepare the following testing paraphernalia:
1. First Aid Kit
2. Drinking Water (instruct students to bring their drinking bottles and a small
towel or bimpo to wipe their perspiration)
3. Individual score cards.
4. During testing:
a. Body Composition - tape measure, weighing or bathroom scale, L-square
b. Flexibility - tape measure
c. Cardiovascular Endurance - stop watch, step box/stairs
d. Muscular Strength - mat
e. Speed - stop watch
f. Power - meter stick/tape measure
g. Agility - tape measure, masking tape/chalk,
h. Reaction Time - plastic ruler (24 inches)
i. Coordination - sipa (washer with straw)/20 pcs. bundled rubber bands/any
similar local materials
j. Balance - stop watch
• Observe the following prior to actual day of testing:

1. The testing stations should be safe and free from obstructions.
2. The same equipment and testing stations should be used in the start-of-the-year
testing and subsequent quarterly testing.
3. With the guidance of the teachers, allow students to go through the various tests
with minimal effort exerted to familiarize themselves with testing procedures.
4. The tests requiring cardio-vascular endurance and those other tests which
involve the same muscle groups should not be taken in succession. See
suggested sequence of administering the tests.
Table 1.2.3. Suggested Sequence of Test
Day 1 Day 2 Day 3
BMI Basic Plank Hexagon Agility Test

3 minute step test 40 meter sprint Juggling
Push up Standing Long Jump
Stick Drop Test Stork Balance
Sit and Reach Zipper Test
• Record and keep the result your own performance in the score card. The teacher may
include the results of the tests in the school’s Enhanced Basic Education Information
System (EBEIS)/Learner’s Information System (LIS)/ Educational Management
Information System (EMIS).
• The students shall be grouped together and in pairs (buddy system).
• Wear appropriate clothing: t-shirt, jogging pants, rubber shoes, or any suitable sports
attire. However, when taking the BMI test, it is recommended that you wear shorts. In
all testing for the BMI, the same or similar clothing should be worn. Wearing different
clothing in all the testing sessions for BMI could affect the results.
• Conduct warm-up and stretching exercises before the tests except for the 3-Minute Step
Test.
• Administer the tests in a challenging, encouraging, and fun-filled environment.
PHYSICAL FITNESS TESTS

Part I: Health-Related Fitness
Body Composition - is the body’s relative amount of fat to fat-free mass.
Body Mass Index (BMI)
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FORMULA FOR COMPUTING BODY MASS INDEX
WEIGHT [in Kilograms]

HEIGHT [in Meters] ²
Example: _30_ = _30_ = 20.83 (NORMAL)

(1.20) ² 1.44
CLASSIFICATION
BELOW - 18.5 Underweight
18.5- 24.9 Normal
25.0- 29.9 Overweight
30.0- ABOVE Obese

1. Weight– the heaviness or lightness of a person.
Equipment
Weighing or Bathroom scale calibrated properly
Procedure
For the Performer:
a. Wear light clothing before weighing.
b. On bare feet, stand erect and still with weight evenly distributed on the
center of the scale.
For the Partner:
a. Before the start of weighing, adjust the scale to zero point.
b. Record the score in kilograms.
Scoring – record body mass to the nearest 0.5 kilograms
2. Height – the distance between the feet on the floor to the top of the head in standing position.
Equipment
1. Tape measure laid flat to a concrete wall. The zero point starts at the bottom of the
floor.
2. L-square; and
3. An even and firm floor and flat wall.
Procedure
For the Performer:
a. Stand erect on bare feet with heels, buttocks and shoulders pressed
against the wall where the tape measure is attached.
For the partner:

a. Place the L-square against the wall with the base at the top of the head
of the person being tested. Make sure that the L-square when placed on
the head of the student is straight and parallel to the floor.
b. Record the score in meters.
Scoring – record standing height to the nearest 0.1
centimeter *** 1 meter = 100 centimetre
Flexibility - is the ability of the joints and muscles to move through its full range of motion.
Zipper Test
Purpose – to test the flexibility of the shoulder girdle.

Equipment
Ruler
Procedure
For the Performer:
a. Stand erect.
b. Raise your right arm, bend your elbow, and reach down across your
back as far as possible, to test the right shoulder; extend your left arm
down and behind your back, bend your elbow up across your back, and
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try to reach/ cross your fingers over those of your right hand as if to
pull a zipper or scratch between the shoulder blades.
c. To test the left shoulder, repeat procedures a and b with the left hand
over the left shoulder.
For the Partner:
a. Observe whether the fingers touched or overlapped each other, if not,
measure the gap between the middle fingers of both hands.
b. Record the distance in centimeter.
Scoring – record the gap/overlap to the nearest 0.1 centimeter
Sit and Reach
Purpose – to test the flexibility of the lower back and extremities.

Equipment
Tape measure or meter stick
Card board or paper
Procedure
For the Performer:
a. Sit on the floor with back, head and shoulders flat on the wall. Feet are
12 inches apart.
b. Interlock thumbs and position the tip of the fingers on the floor without
bending the elbows.
c. Place hands on top of the card board or paper where the tips of the
middle fingers are at the top edge of the card board or paper. Start the
test by pushing the card board or paper slowly and try to reach the
farthest distance possible without bending the knees.
d. Bouncing or jerking movement is not allowed.
e. Do it twice.
For the Partner:

a. As the performer assumes the (b) procedure, position the zero point of the
tape measure at the tip of the middle fingers of the performer.
b. See to it that the knees are not bent as the performer slides the farthest
distance that he could.
c. Record farthest distance reached in centimeters.
Scoring – record the distance to the nearest 0.1 centimeters
Cardiovascular endurance - is the ability of the heart, lungs and blood vessels
to deliver oxygen to working muscles and tissues, as well as the ability of those
muscles and tissues to utilize the oxygen. Endurance may also refer to the ability
of the muscle to do repeated work without fatigue.
3-Minute Step Test
Purpose – to measure cardiovascular endurance

Equipment
1. Step
Height of step:
• Elementary - 8 inches
• Secondary - 12 inches
2. Stopwatch
3. Drum, clapper or any similar device
Procedure
For the Performer:
a. Position at least one foot away from the step or bench.
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b. At the signal “Go,” step up and down the step/ bench for 3 minutes at a
rate of 24 steps per minute. One step consists of 4 beats – that is, up
with the left foot (ct 1), up with the right foot (ct. 2), down with the left
foot (ct. 3), down with the right foot (ct. 4).
c. Immediately after the exercise, locate your pulse and wait for the signal to
start the counting.
d. Don’t talk while taking the pulse beat.
e. Count the pulse beat for 10 seconds. Multiply it by 6.
For the Partner:

a. As the student assumes the position in front of the step, signal, “Ready”
and “Go”, start the stopwatch for the 3-minute step test.
b. After the test, allow performer to locate his/her pulse in 5 seconds.
c. Give the signal to count the pulse beat.
d. Let the performer count his/her pulse beat for 10 seconds and multiply it
by 6.
Scoring – record the 60-second heart rate after the activity
Strength – is the ability of the muscle to generate force against physical objects.
Push-up
Purpose – to measure strength of upper extremities

Equipment - exercise mats or any clean mat
Procedure
For the Performer:
a. Lie down on the mat; face down in standard push-up position: palms on
the mat about shoulder width, fingers pointing forward, and legs
straight, parallel, and slightly apart, with the toes supporting the feet.
b. FOR BOYS: Straighten the arms, keeping the back and knees straight,
then lower the arms until there is a 90-degree angle at the elbows (upper
arms are parallel to the floor).
FOR GIRLS:
With knees in contact with the floor, straightens the arms, keeping the back
straight, then lowers the arms until there is a 90-degree angle at the elbows (upper arms are
parallel to the floor).
c. Perform as many repetitions as possible, maintaining a cadence of 20
push-ups per minute. (2 seconds going down and 1 sec going up)
For the Partner:

a. As the performer assumes the position of push-up, start counting as the
performer lowers his/her body until he/she reaches 90-degree angle at
the elbow.
b. Make sure that the performer executes the push-ups in the correct form.
c. The test is terminated when the performer can no longer execute the
push-ups in the correct form, is in pain, voluntarily stops, or cadence is
broken.
Scoring – record the number of push-ups made.
Basic Plank
Purpose – to measure strength/stability of the core muscles

Equipment - exercise mats or any clean mat Procedure
For the Performer:
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a. Assume a push – up position. Rest body on forearms with palms and
fingers flat on the floor. Elbows are aligned with the shoulders.
b. Legs are straight with ankles, knees and thighs touching together.
c. Support weight on forearms and toes; make sure that your back is flat.
Head, neck and spine are in a straight line.
d. Keep abdominals engaged/contracted; do not let stomach drop or allow
hips to rise.
For the Partner:
a. Ensure the availability of a mat/smooth flooring or anything that can
protect the forearms.
b. Give the signal “Start/Go” and start/press the time piece.
c. Make sure that the back of the head, neck, spine and ankles are in a
straight line.
d. Stop the time when the performer can no longer hold the required position,
or, when the performer has held the position for at least 90 seconds. Holding
the plank position beyond 90 seconds is considered unnecessary.
Scoring – record the time in the nearest seconds/minute.
What I Have Learned
1. Health comes from regular physical activity and the development of health-related
fitness;
2. Regular physical activity and physical fitness are for Everyone, regardless of age,
gender, or ability;
3. Physical activity and physical fitness are for the Lifetime;
4. Physical activity programs should be designed to meet Personal needs and interests
5. Not all children can become elite athletes, but;
6. All children can enjoy the benefits of a physically active lifestyle;
7. Increases muscle tones and strength;
8. Decrease susceptibility to injuries and illness;
9. Improves bone mineral density;
10. Reduce risk of osteoporosis;
11. Improves posture;
12. Increase efficiency of respiratory and circulatory system;
13. Decrease risk of cardiovascular disease and stroke;
14. Improves blood pressure;
15. Decrease risk of diabetes and some cancers;
16. Improves self-esteem and self-confidence;
17. Decrease of body fat and improves metabolism and increase energy level and academic
achievement
What I Can Do
To bind us and be agreed adapting a healthy lifestyle, let's agreed to this

contract and answer as it best that you can.
Activity 1.3 Health Lifestyle Contract
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Table 1.3.1. Healthy Lifestyle Agreement Form
Assessment
Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a separate
sheet of paper.
1. Nowadays, everyone wants a healthy living thus, making him/her engage in physical
activities. In order to get the most benefits from exercise with least amount of risk, one
should NOT . . . .
a. Exercise at a high intensity such as sprinting and running
b. Exercise at a moderate intensity such as brisk walking, swimming or cycling
c. Exercise at a low intensity
d. Consider intensity in engaging to physical activities
2. Mae suffers from respiratory problem but she dreams to become an athlete. Despite of
her illness, her doctor advises her to start a program which will make her heart strong.
Which of the following is not a primary benefit of regular cardiovascular exercise?
a. Increased ability for oxygen intake
b. Improved balance
c. Lowered blood pressure
d. Minimized pulse rate
3. Controlled arm & leg swings, slow activities which warm and stretch muscles called?
a. dynamic stretching c. static stretching
b. passive stretching d. all of the above
4. The ability to move joints and use muscles through their full range of motion is referred
to as?
a. muscular endurance c. agility
b. flexibility d. none of the choices
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5. After series of work-out exercises, Jake got injured. He suffered from muscle cramps
after lifting the weights. His trainer never failed to remind him not to engage in any
activity without having warm-up exercises. The warm –up is an activity that . . . .
a. prepares muscles for work
b. helps the body to avoid injuries caused by physical activities
c. is the first stage of any physical activity routines
d. all of the above
6. Annually, students compute for their Body Mass Index (BMI) for baseline data (Pre-Test)
and end line data (Post-Test). This is to track progress in their Nutritional Status. Why
is BMI sometimes misleading and inaccurate in some instances?
a. It measures only body mass
b. It does not account for muscle
c. It measures fat around the waist
d. It will have nothing to do with activities he chooses for the program.
7. Peter weighs 75 kg. and is overweight at the age of 15. Because of this, he decided to go
to the gym and target to lose 10 kg. in 3 weeks time. According to his instructor,
evaluating his current fitness level prior to the start of an exercise program.
a. is not necessary.
b. is only important to physically inactive people.
c. will help in settling realistic goals.
d. will have nothing to do with activities he choose the program.
8. Running, swimming and using an elliptical machine are ways to improve your
_____________.
a. muscular endurance c. both A and B
b. muscular strength d. cardio-respiratory endurance
9. Joshua can perform 200 push-ups without strain. This ability of muscle to work against
a resistance for an extended period of time is known as. . . .
a. muscular endurance c. both A and B
b. muscular strength d. cardio-respiratory endurance
10. Raffy is a record holder winner for long distance run. The ability of his heart, lungs, and
blood vessels to deliver oxygen to working muscles and tissues during physical activity
for a long period is called?
a. flexibility c. cardiovascular endurance
b. muscular strength d. both A and B
11. During exercise, what heart rate should not be exceeded?
a. Target Heart Rate c. Recovery Heart Rate
b. Maximum Heart Rate d. Resting Heart Rate
12. This is to obtained by subtracting your age from 220.
a. Resting Heart Rate c. Target Heart Rate
b. Maximum Heart Rate d. Heart Rate Reserve
13. Which of the following muscle group is exercised when doing bent over rows?
a. Gastronomies c. Lattisimus Dorsi
b. Abdominals d. Gluteals
14. The principle of training which dictates that overload should be increased gradually.
a. frequency c.intensity
b. progression d. time
15. This is the basic principle of fitness training in which the body is stressed and adapts to
such stress.
a. overload c. intensity
b. progression d. frequency
16. In exercise, the length of time allotted to improve fitness is referred to as the component
of?
a. overload c. time interval
b. frequency d. progression
17. Every human needs the same calorie intake at all stages of life.
a. sometimes true c. always true
b. never true d. undecided
18. Which of the following statements is true about water?
a. Chemical reactions in the body occur with water.
b. Water helps regulate body temperature.
c. Water aids in digestion of food.
d. All of the above
19. A systematic instruction regarding exercises, sports, dance and wellness of the body.
a. Exercise c. Physical Fitness
b. Physical Education d. Physical Activity
20. It is any form of movement that causes your body to use energy and produces sweat.
a. Physical Activity c. Physical Fitness
b. Physical Education d. Physical Movement
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Additional Activities
A portfolio is a purposeful collection of you

work that shows your effort, progress, and
achievement over time. Items in a portfolio can be
suggested by the teacher or selected by the
student. Portfolios provide information for a
comprehensive assessment of student development.
Criteria for evaluation can be established for each
reporting period. Entries should be dated so the
teacher can track each student’s development over
time. Active living portfolios could include the
student’s planning and
goal-setting worksheets and activities, photographs
of a student’s participation in healthy physical
activities, journal entries, and documents sharing
out-of-school accomplishments in physical activity
or student-generated art pieces reflecting on active
lifestyle experiences. Entries should be dated so the
teacher can track each student’s development over
time. This portfolio will be submitted before the end
of the semester.
Table 4. Semester Portfolio
References
• https://www.verywellfit.com/f-i-t-t-principle-what-you-need-for-great-
workouts-1231593
• https://stretchcoach.com/articles/fitt-principle/
• https://study.com/academy/lesson/what-is-the-fitt-principle-definition-
components-examples.html
• https://www.youtube.com/watch?v=cvEJ5WFk2KE
• https://www.youtube.com/watch?v=8DZktowZo_k
14
Health Optimizing
Physical Education
(H.O.P.E. 3)
Rhythmic Activities:
Traditional Dances
(Folk and Ethnic)
Health Optimizing Physical Education (H.O.P.E.)
3 Alternative Delivery Mode
Quarter 1 – Module 2: Rhythmic Activities: Traditional Dances (Folk and
Ethnic) First Edition, 2020
Published by the Department of Education OIC-Schools Division

Superintendent: Carleen S. Sedilla CESE OIC-Assistant Schools
Division Superintendent: Brian E. Ilan EdD

Editor: Myrna T. Parakikay
Reviewer: Lordjane Mandar
Layout Artists: Benjo Martinez and Jobelle M. Partido, Rachelle S. Venus
Chief, Curriculum Implementation Division

Education Program Supervisor, LRMS
Myrna T. Parakikay
Education Program Supervisor, MAPEH
Printed in the Philippines by the Schools Division Office of Makati City Through
the Support of the City Government of Makati (Local School Board)

Telefax: (632) 8882-5861 / 8882-5862
What I Need to Know
This module was written and designed to make learning easier especially as we are in the
New Normal situation. As an educational tool, this module about Rhythmic Activities:
Traditional Dances (Folk and Ethnic) challenges you as a learner, to become creative,
resourceful and independent. The scope of the module provides a variety of activities that
will stimulate independent and self-guided learning experience. Lessons in this module are
arranged to follow the standard sequence of the course to ensure effective learning
continuity, make the experience more meaningful, effective and relevant to life situations.
The module includes lessons and activities on:

Traditional Dances
• Characteristics of Folkdances
• Common Dance Terms
• Fundamental Arms and Feet Dance Position
• Fundamental Dance Step Pattern in duple and triple meter.
After going through this module, you are expected to:
1. Enumerate the classification of dances;
2. Demonstrate knowledge of each fundamental dance position with correct poise
and posture;
3. Engage in a simple dance routine interpretation;
4. Define the terms used traditional dances;
5. Enhance the cultural values demonstrated in various folk dances
aesthetically, morally, and physically.
6. Appreciate folk dances as a cultural legacy and to show to other nations the
identity of the Filipinos as a people.
What I Know
Multiple Choices: Read each questions very carefully. Choose the best answer from the
given choices and write the letter only.
_____ 1. What do you call traditional dances that originate from different regions of the
country and performed by Filipinos by all over the country?
a. Philippine Folk Dance c. 7 Categories of Dances
b. Classification of Dances d. Characteristics of Dances
_____ 2. What dances is known as having common basic steps but has slight variations?
a. Regional Dances b. Local dances c. National Dances d. Popular Dances
_____ 3. What are dances known in certain regions or provinces in the country?
a. National Dances b. Regional dances c. Popular Dances d. Local Dances
_____ 4. Which category of dances depicts certain occupation like planting or fishing?
a. War Dances c. Comic Dances
b. Occupational d. Human labor dances
_____ 5. What do you call dances that are performed during religious celebrations?
a. Courtship Dances c. War Dances
b. Comic dances d. Religious Dances
_____ 6. Who is the mother of Philippine Dancing?

a. Vivian Zapanta c. Ramon Obusan
b. Francisca Reyes Aquino d. Corazon C. Aquino
1
_____ 7. Which of the following is the name of a dance that refers to the rhythmic sticks
that is used to provide the dance’s accompaniment?
a. Pangalay b. Binasuan c. Binislakan d. Sakuting
_____ 8. Which Filipino folk dance is performed with the use of a stick known as bislak?
a. Binislakan b. Tinikling c. Pangalay d. Abaruray
_____ 9. Which of the following is a well-known dance in Jolo, Sulu?

a. Sakuting c. Sua-Ko-Sua/ Sua Sua
b. Si Patokaan d. Lapay Bantigue
_____10. What is the popular traditional "fingernail" dance of the Tausug people?
a. Binisilakan b. Pangalay c. Tinikling d. Cariñosa
Lesson Rhythmic Activities:

Traditional Dances
1 (Folk and Ethnic)
Traditional dancing can be another term for folk dance, or sometimes even for ceremonial
dance. The term 'traditional' is more frequently used when the emphasis is on the cultural
roots of the dance. Traditional dancing is generally more of a social activity rather than
competitive, but it is normally choreographed
What’s In
One of the most popular folk dances in the Philippines is the Tinikling. The traditional
dance, which usually involves a pair of two bamboo poles, is considered to be the oldest in the
country and its appeal has spread across the globe—particularly to the United States.
• Now, let’s watch this video to give you more appreciation of the Philippines
Folkdance. https://www.youtube.com/watch?v=96jagk9Sh8Y
What’s New
Dance - refers to movement set to music where there emerges organization, structure and
pattern. It is a composition that implies arrangement of parts into a form.
Dancing - is a means of expressing one’s emotions through movement disciplined by

rhythm. It is an act of moving rhythmically and expressively to an accompaniment. The
word dancing came from an old German word “danson” which means to “stretch”.
Essentially, all dancing is made up of stretching and relaxing.
2
Rhythmic activities - are the physical manifestations of the mental and emotional
response of the individual to rhythm. They are activities which a child responds to
physically, socially, and mentally to regular patterns of sound. They are also a source of
enjoyment for people of all ages. Through these activities, skills and the sense of rhythm
are acquired and developed, feelings are expressed, basic principles of time, space and
force can be experienced. Everyone reacts to music or rhythm in one form or another. A
head swaying, a foot tapping, fingers snapping, shoulders and body moving while a
musical piece is played are physical reactions.
Rhythmic fundamentals - In the field of dance, there are certain fundamental knowledge and
rhythmic skills considered important for proficiency and efficiency in bodily movements.
Elements of movement Space:

• Direction—is the line of movement taken which maybe forward, backward, sideward,
diagonal, upward, or a combination of those mentioned.
• Level—is movement through space that maybe done at a high, low, or medium level.
• Range—refers to the area covered as the body moves. It may be small as when the
movement is done in one’s place; or large when movement covers a wide area as
when getting away from one’s place.
• Floor Pattern—the path or design that is made while moving in space is what is
termed as floor pattern. It may take a form of a circle, square, straight line or zigzag.
Values of dancing: Physical fitness, Cultural, Social, Recreational
What is it
Folk/ Ethnic Dance

These are cultural art forms handed down from generation to generations. It
communicates the customs, beliefs, rituals, and occupations of the people of a region or
country. Folk dancing belongs to the people. It emanates from them. Ethnic tribes have
their specific tribal art forms originated and danced by the people of the tribe.
Examples of folk dances are the rural and country dances, jotas, mazurkas, fandangos’,
among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras,
dances of the ethnic groups in the Cagayan Valley Region and the ethnic dances in the
Mindanao Regions.
FOLK DANCES
Are traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.
Folk dancing is the heartbeat of the people. Among the other philanthropist in Philippine
dances, Francisca Reyes Aquino has been named as the “Mother of Philippine Dancing”.
Types of Folk dances:

• National – traditional dances of a given country.
• Regional – local.
• Character – created by individual or group.
Characteristics of Philippine Folk dances:

1. In general, dancers stand apart.
2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those found in the uplands.
8. War dances are found among non-Christian tribes.
Classification of Philippine Dances

A. Geographical extent of origin
National dances -found throughout the islands with little or no modification.
3
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
Local dances- found in a certain locality.
Examples: Tinikling-Leyte Maglalatik-Binyang
Esperanza-Nabua Subli-Batangas
Biniganbigat-Abra
B. Nature
1. Occupational-depicting action of certain occupation, industry, or human
labor. Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
2. Religious or Ceremonial – performed in connection with religious vows and

ceremonies. Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-
pino, -
3. Comic dances – depicting funny movements for entertainment.
4. Game dances – with play elements (dance mixers) Examples: Lubi – lubi, Pavo
5. Wedding dances – performed during wedding feast. Example: Panasahan, etc.
6. Courtship dances – depicting love making.
Examples: Hele – hele, Bago Quiere, Maramion, Tadek, Daling – daling
7. Festival dances – suitable for special occasion or any social
gathering. Examples: Pandanggo, Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel. Examples: Sagayan, Palu-palo,
C. Movements
1. Active – with fast energetic movements.
2. Moderate - Examples: Cariñosa, Tagala, Habanera, Purpuri, etc.

3. Slow - Examples: Pasakat, Amorosa, Tiliday, Kundiman, etc.
4. Slow and Fast – Examples: Putritos, Ba-Ingles, Habanera Botoleña, Alcamfor,
D. Formation
1. Square or Quadrille - Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines)- Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side. Examples: Binadyong, Haplik, Kakawati, etc.
Special Classification - Group dances having special distinctive features.

• Dances with Songs -Examples: Aburaray, Manang Biday, Lulay, Rogelia,
Lawiswis Kawayan
• Old Ballroom Dances -Examples: Polka, Mazurka Chotis, Valse, etc.
• Dances with Implements-Examples:Maglalatik, Sakuting, La Jota Moncadena,
Tinikling, Salakot,
• Dances of Combined Rhythm -Examples: Surtido, Pantomina, Los Bailes de Ayer
Factors Affecting Folk Dances

- Geographical location - - Climatic conditions
Economic conditions - Customs and traditions
4
What’s More
COMMON DANCE TERMS
• Arms in lateral position – Both arms are at one side either right or left, at shoulder,
chest or waist level.
• Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and
lift that foot from the floor to any direction.
• Crossed Arms – Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right
hands.
• Cut – To displace quickly one foot with the other.
• Do-si-do – Partners advance forward, pass each other’s right (left) side, step across
to the right move backwards without turning around, pass each other left side to
proper places.
• Hayon-hayon – To place one forearm in front and the other at the back of the waist.
• Hop – A spring from one foot landing on the same foot in place or in any direction.
• Jaleo – Partners turn around clockwise (with right elbows almost touching) or
counterclockwise (with left elbows almost touching) using walking or any kind of
dance step.
• Jump – A spring on one foot or both feet landing on both feet in any direction.
• Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction.
• Leap – A spring from one foot landing on the other foot in any direction.
• Place – To put foot in a certain position without putting weight on it.
• Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
• Point – Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
• Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term.
• Panadyak – To stamp in front or at the side with the right foot and tap with same
foot close to the left foot. This is a Tagalog term.
• Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly found
in Ilocano dances.
• Salok – T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok.
This is a Tagalog term.
• Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all
Philippine dances.
• Sarok – Cross the R foot in front of the L, bend the body slightly forward and cross
the hands down in front of the R hand over the L. This is a Visayan term.
• Slide – To glide foot smoothly along the floor. The movement may be finished with
or without transfer of weight.
• Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of
weight.
• Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping
weight of the body on the other foot. There is no change or transfer of weight.
• Whirl – To make fast turns by executing small steps in place to right or left.
BASIC DANCE STEPS
time dance steps
Dance Steps Step Pattern Counting

1. Bleking step heel-place, close 1, 2
2. Touch step point, close 1, 2
5
3. Close step step, close 1, 2
4. Hop step step, hop 1, 2
5. Cross step step, cross or cross, step 1, 2
6. Change step step, close, step 1 and 2
7. Changing step jump (one ft. in front and
The other in rear) there are two
Changing steps in a measure 1, 2
8. Contraganza step leap, cross-step, step 1 and 2
9. Habanera step step, close, step 1, 2 and
10. Heel and toe
Change step heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2 and
time dance steps
1. Native waltz step, close, step 1,2,3

2. Cross waltz cross-step, close, step 1,2,3
3. Waltz balance step, close-heels raise, heels down 1,2,3
4. Mazurka step slide, cut, hop 1,2,3
5. Redoba step slide, cut, cut 1,2,3
6. Sway balance w/
A point step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/
A hop step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
time dance steps
1. Schottische step step, close, step hop (raise foot

In front) 1,2,3,4
2. Escotis step step, close, step, hop (raise foot
In rear) 1,2,3,4
3. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/
1,2,3,4
What I Have Learned
1. Preserve the Philippine culture and pass it on to the next generation;

2. Uniting force to the Philippine people;
3. Commit to the ideals of cultural development as a vital factor in nation-building.
4. Enhance the cultural values demonstrated in various folk dances aesthetically,
morally, and physically.
5. Actively participate in folk dancing for its intellectual, moral, and aesthetic values.
6. Appreciate folk dances as a cultural legacy and to show to other nations
the identity of the Filipinos as a people.
7. Provide through dancing, a healthful form of relaxation and recreatio
6
What I Can Do
Suggested Activity: Interpret with a group of 4 members the folkdance, “TIKLOS”. Submit
the output video by posting/ uploading in the sections Google classroom.
TIKLOS
A peasant dance from Leyte. Having made a previous arrangement, farmers or workers
get together to work on a project. While resting at noon, before or after lunch, they play
tiklos music and dance. There are only four figures to the dance so it may be repeated with
a slight change in formation. Patadiong for women and Barong Tagalog with white pants
for men is the usual attire.
Figure I
A. Dancers take 2 heel and toe change step forward…………………………...… 4 M
B. 2 change steps sideward right and left…………………………………………....2 M
C. 3 steps and a close moving backward…………………………………….…….....2 M
D. Repeat all………………………………………………………………………..….…….8 M
Figure II
A. 4 cut steps backward and forward………………………………………....….……2 M
B. 3 gallops and a step sideward right………………………………………....……..2 M
C. 4 cut steps backward and forward……………………………………….....………2 M
D. 3 gallops and a step sideward left……………………………………….....….……2 M
E. Repeat all……………………………………………………………………….....……...8 M
Figure III
A. 1 change step sideward right and 2 hops on right………………………………2 M
B. Repeat change step left and hops……………………………………………..…….2 M
C. 3 steps turn right and point close with left foot…………………………….…...2 M
D. Repeat 3 steps turn left and point close with right foot………………………..2 M
E. Repeat all………………………………………………………………………….……….8 M
Figure IV
A. 2 touch steps with right and left foot………………………………………...........2 M
B. 4 changing steps turning to face right about ……………………………...........2 M
C. Repeat touch steps with the left and right foot…………………………..……....2 M
D. 4 changing steps turning left about to face front………………………………...2 M
E. Repeat all………………………………………………………………………...............8 M
Assessment
Multiple Choices: Encircle the letter of your answer.

1. What is another name for Bao dance?
a. Magniniyog b. Magtataho c. Magbibiko d. Maglalatik
2. What dance demonstrates a mock war that depicts a fight over coconut meat?
a. Moro-moro b. Arnisador c. Sarswela d. Maglalatik
3. What dance steps mimics the way a duck walks and the way it splashes water on
its back to attract a mate?
a. Si Patokaan b. Lapay Bantigue c. Itik-itik d. Sua-co-sua
4.What do you call a dance that imitates the movement of the tikling bird as it
walks around through tall grass and between tree branches?
a. Tinikling b. Lapay Bantigue c. Itik-Itik d. Si Patokaan
5. Which of the following is an example of an occupational dance?

a. Pagtatalop b. Pagsasdaing c. Pagtatasa d. Pagtatahip
6. Which dance is traditionally performed during Christmas at the town plaza or

performed house to house as a form of traditional caroling?
a. Sakuting b. Binislakan c. Mazurka d. Sua-co-sua
7
7. What is a unit formation of two or more couples?
a. Platoon b. Block Formation c. Line Formation d. Set
8. What formation is being described as likened to the motion of a clock moving to

the left, facing the center of an imaginary circle. Right shoulder is toward the
center when moving forward?
a. clockwise c. counterclockwise
b. opposite d. Do-si-do
9. Which dance term is performed when partners bow to each other, to

opposite dancers or to the audience?
a. Salute b. Bow or Saludo c. Courtesy d. Jaleo
10. What step is a spring on the supporting foot and landing on the other foot?
a. Hop b. Spring c. Brush d. Leap
ETHNIC DANCE
An ethnic dance is simply a dance that is characteristic of a particular cultural group.

The ethnic dances of the Philippines are classified into two major categories the
dances of the Non-Christian Filipinos. Ethnological dances have developed a distinct
traditional style, a technical terminology, and a clearly defined school of instruction.
Filipino Tribal Dance. Filipino Tribal Dance includes the repertory of sacred and
secular traditional dances of the Philippines, notable for its combination of grace and
vigor. In the southern regions, the tribes of Mindanao create dances that directly
reflect their rich natural environment and also in the highlands of Luzon.
Suggested Activity: Enumerate and classify each Christian and Non-Christian Ethnic
dances that you found in this URL:
https://en.wikipedia.org/wiki/Philippine_dance. Write it in a long bond paper and
submit as attachment in the Google classroom of your section.
8
Health Optimizing
Physical Education
(H.O.P.E.) 3
Modern Dance
Health Optimizing Physical Education (H.O.P.E.) 3
Quarter 1 – Module 3: Modern Dance
First Edition, 2020


Reviewer: Lordjane Mandar
Layout Artist: Jobelle M. Partido, Rachelle S. Venus

Myrna T. Parakikay

Telefax: (632) 8882-5861 / 8882-5862
What I Need to Know
This module was written and designed to make learning easier especially as we are in the New
Normal situation. As an educational tool, this module about Modern Dance challenges you as
a learner, to become creative, resourceful and independent. The scope of the module provides a
variety of activities that will stimulate independent and self-guided learning experience.
Lessons in this module are arranged to follow the standard sequence of the course to ensure
effective learning continuity, make the experience more meaningful, effective and relevant to
life situations.
At the end of this lesson, the learner shall able to:
1) Know the historical context of modern dance;
2) Enumerate popular contributor of modern dances;
3) Create basic variations from the basic movement dance patterns;
4) Interpret and choreograph own variations learned from the topic;
5) Appreciate modern dance as one of the fitness exercises for MVPA’s in
maintaining health condition and status;
6) Use modern dance as one of learned life skills or everyday lifestyle
activity.
What I Know
Multiple Choices:
Instruction: Read each question very carefully. Choose the best answer from the given choices
and write the letter only.
1. Of the following dancers, who is one of the best-known modern

dancer/choreographers?
a. George Balanchine
b. Martha Graham
c. Cynthia Gregory
d. Peter Martins
2. Ted Shawn and Ruth St. Denis formed which modern dance company, popular in the 20th
century?
a. Alvin Ailey
b. MOMIX
c. Pilobolus
d. Denisshawn
3. Modern dance in the 1930's was also known as
a. experimental dancing
b. ballet noir
c. the jitterbug
d. classical ballet
4. The young dancers who studied and danced with Isadora Duncan in the 1920's
were known as
a. the Jivers
b. the Baby Ballerinas
c. the modern dancers
d. the Isadorables
5.Which of the following terms are not related to mod-ern dance?
a. contact improvisation
b. Vaganova technique
c. fall and recovery
d. contract and release
6. The choreography of modern dancer Alvin Ailey is centered around which cultural
heritage?
a. Scottish
b. African-American
c. Irish-Celtic
d. Caribbean
7. Which dancer/choreographer is known for contemporary works and the Broadway musical
"Movin' Out," with music by Billy Joel?
a. Twyla Tharp
b. Peter Martins
1
c. Merce Cunningham
d. Alvin Ailey
8. Which of the following companies is not a modern dance company?
a. Merce Cunningham Dance Company
b. Paul Taylor Dance Company
c. Pilobolus
d. Dance Theater of Harlem
9. Which of the following dancers is not a modern dancer of the early 20th century?
a. Martha Graham
b. Hanya Holm
c. Mikhail Baryshnikov
d. Ted Shawn
10. The creative process that involves arranging and creating dances and ballets is
called
a. dance rehearsal
b. movement assembly
c. choreography
d. movement implementation
Lesson
1
Modern Dance
Modern Dance is often considered to have emerged as a rejection of or rebellion against,
classical ballet. Socio-economic and cultural factors also contributed to its development. In the
late 19th century, dance artists such as Isadora Duncan, Maud Allan and Loie Fuller were
pioneering new forms and practices in what is now called aesthetic or free dance for
performance. These dancers disregarded ballet's strict movement vocabulary, the particular,
limited set of movements that were considered proper to ballet and stopped wearing corsets
and pointe shoes in the search for greater freedom of movement.
What’s In
Linking Folk Dance to Modern Dance:

Folk Dance is a popular dance form considered as part of the tradition of a particular people
or area. Whereas Modern dance is a broad genre of western concert or theatrical dance,
primarily arising out of Germany and the United States in the late 19th and early 20th
centuries.
Throughout the 20th century, socio-political concerns, major historical events and the
development of other art forms contributed to the continued development of modernist dance
in the United States and Germany. Moving into the 1960s, new ideas about dance began to
emerge, as a response to earlier dance forms and to social changes. Eventually, postmodern
dance artists would reject the formalism of modern dance, and include elements such as
performance art, contact improvisation, release technique and improvisation.
Throughout the 20th century, socio-political concerns, major historical events and the
development of other art forms contributed to the continued development of modernist dance
in the United States and Germany. Moving into the 1960s, new ideas about dance began to
emerge, as a response to earlier dance forms and to social changes. Eventually, postmodern
dance artists would reject the formalism of modern dance, and include elements such as
performance art, contact improvisation, release technique and improvisation.
American modern dance can be divided (roughly) into three periods or eras. In the Early
Modern period (c. 1880–1923), characterized by the work of Isadora Duncan, Loie Fuller, Ruth
St. Denis, Ted Shawn and Eleanor King, artistic practice changed radically, but clearly distinct
modern dance techniques had not yet emerged. In the Central Modern period (c. 1923–1946),
choreographers Martha Graham, Doris Humphrey, Katherine Dunham, Charles Weidman and
Lester Horton sought to develop distinctively American movement styles and vocabularies, and
developed clearly defined and recognizable dance training systems. In the Late Modern period
(c. 1946–1957), José Limón, Pearl Primus, Merce Cunningham, Talley Beatty, Erick Hawkins,
Anna Sokolow, Anna Halprin, Paul Taylor introduced clear abstractionism and avant-garde
movements, and paved the way for postmodern dance.[2]
2
Modern dance has evolved with each subsequent generation of participating artists. Artistic
content has morphed and shifted from one choreographer to another, as have styles and
techniques. Artists such as Graham and Horton developed techniques in the Central Modern
Period that are still taught worldwide and numerous other types of modern dance exist today.
Watching this video may help you know better and appreciate modern dances:
•
https://www.youtube.com/watch?v=aRpbNMCxSKM
Famous Modern Dance Choreographers

ISADORA DUNCAN 1ST Gen
• Influenced by the idea of the future
• Developed a “philosophy of dance” based on spirituality
• Advocated for the acceptance of “pure dance” as an art form
• Wore tunics like Greek vase figures which inspired her dances
• Her technique used weaving and whirling in natural movements
• Corsets and modest clothes were socially acceptable, Duncan wore loose short
clothes
RUTH ST. DENIS
• Founded Denishawn School and Dance Company with husband Ted

Shawn
• Used improvised exotic movement and elaborate costumes to communicate the
ritualistic dance of Asian religion
• Invented method of breathing and impulse control called contraction and release
• Believed movement started in the contraction of a muscle and continued in the flow of
energy released from the body as the muscle is relaxed
• Her dancers are known for their hard-angular look
• Because she was so unique her techniques were known as “ugly”
• Instrumental in founding Juilliard Dance Theatre in New York City
• Known as primary innovator of the new modern dance
• Fall and recovery was a technique and theory the foundation of her teaching method
Inspired by the German philosopher Fredrick Nietzche’s theory of the split in every person’s
psych: Apollonian (rational and intellectual) Dionysian side (chaotic and emotional)
○ true essence of modern dance is what happened in between these two
extremes called “arc between two deaths”
• Former student of Graham
• Worked with composer John Cage
• Embraced modernist ideology using postmodern processes
• Used chance processes by rolling di or drawing cards right before performances, each
number resembling a different dance
• His work known for being non-linear, non-climatic, non-psychological abstract work
• Designed for audience to determine its meaning
• First works choreographed in 1960
• Known for crazy props and costumes
○ props that extend dancers bodies; costumes that make dancers look headless;
dancers used as props, visual, and auditory design
• Trained on West Coast
• First integrated company
• Commonly danced about racial issues
• Died in 1989, Judith Jamison ran company after him
Modern, Postmodernism (1960-1980) & Contemporary Dance
Modern dance went through a subtle but interesting change between the 40's and 60's. The
genre had been around long enough by now that the excitement of a new way to express ideas
had calmed down. Now, instead of continuing to invent new techniques people were excited
about practicing the techniques that had been created. Dancers wanted to learn the "Graham
technique" or "Limon technique" and to perfect this new dance genre.
3
Dancers forgot about the ballet boycott and started taking ballet class to strengthen their
modern technique.
"By the 1960s, technical proficiency had become an end in itself for modern dancers, rather
than the means to an end. Technique became set and strict, codified in the style of the
originator, with emphasis on greater and greater achievement. Only those teaching in the
Laban-Wigman-Holm tradition included improvisation in their classes. Aspects of ballet were
incorporated increasingly into modern dance classes, ballet barres were installed in modern
dance studios, and many modern dancers took ballet classes regularly. Thus, the wide
philosophical gap between the two dance forms began to narrow.
TWYLA THARP
• Went to Barnard University in NYC
• Joined Paul Taylor Company in 1963
• In 1966 she made her company Twlya Tharp Dance
• Choreographed broadway musical “Movin’ Out” set to the music of Billy Joel
○ “Movin’ Out” received 10 Tony nominations
BILL T. JONES AND ARNIE ZANE

• Zane was a photographer until he met his lifelong partner, jones, and began
studying dance with him
• Bill T. Jones-Arnie Zane Company made in 1982
• Worked with people dying of a disease to set a dance called “Still Here”
Arnie Zane died of AIDS in 1988
What’s New
What is Modern Dance? Modern Dance is based on highly individualized or personalized

movements based upon the dancer’/choreographers’ artistic intent.
Why Study Modern Dance?
• Increases your body awareness and knowledge of how the body moves
• Increase your strength, flexibility, and general fitness level
• Introduce you to a new form in which you experience the joy of movement and compete
solely with yourself
• Heighten your appreciation of other movement forms and music
• Expand your awareness and appreciation of your own artistry and artistry of others
• No set curriculum
• No particular music
• No particular costume
• No particular body types
• Natural, pedestrian carriage of the body
• Parallel 1st position from hips to toes
• Release of the neck when the head is dropped
• Stabilization of the pelvis
• Cause & Effect/Action & Reaction
• Weighted – use of gravity
• Flexibility and articulation of spine
• Contraction & release
• Softening into the floor
• Rebellion against ballet
• Social, economic, and political changes raised new questions about morality, rights,
freedom and the human condition.
• This new dance was not beautiful to the accustomed patron, but the beauty had not
been defined.
• Early modern dancers looked beyond the dominant tradition of Western theatrical
dance (ballet) in order to give their dance a more communicative power. They drew on
archaic or exotic sources for inspiration.
• There was no fancy music or scenery.
• Is to take what they already had and make it better. This meant creating "modern
technique" and guidelines, the very things first and second-generation modern dancers
were trying to avoid.
• The postmodernists (“after-moderns”) rejected the techniques and theories of modern
dance and experimented with new movement structures. They are best known for their
acrobatic skill and for pushing the definition of dance.
4
• Contemporary dance draws on both modern and postmodern dance as a source of
inspiration. The social and artistic upheavals of the late 1960s and 70s provoked even
more radical forms of modern dance. Modern dance today is much more sophisticated
in technique and technology than when modern dance was founded. The founders
composed their dances entirely of spirit, soul, heart and mind as opposed to today's
modern which has more technical aspects. The concern with social problems and the
condition of human spirit is still expressed, but the issues that are presented would
have appalled many early modern dancers.
What Is It
Dance Today
Modern Dance has become very diverse. It has consolidated to include all types of dance.
Many dancers train and work in multiple styles and choreography has grown to include ethnic
dance, martial arts, and folk dance. The form is unrestricted and is open to the imagination of
the choreographer.
Modern Dance Steps
• Curl Down and Up. Starting in jazz first position (feet parallel facing front), with your
arms at your side and your gaze focused downward, curl your spine over slowly, being
careful not to collapse at the waist. ...
• Leg Swings. ...
• Flat Back. ...
• Tendu. ...
• Chasse. ...
• No Boundaries.
1) Plier (to bend),
2) Étendre (to stretch),
3) Relever (to rise),
4) Glisser (to slide or glide),
5) Sauter (to jump),
6) Élancer (to dart),
7) Tourner (to turn).
1) Ballet
2) Tap
3) Jazz
4) Modern
5) Lyrical
6) Hip-hop
7) Contemporary
8) Highland Dancing
9) Line Dancing
10) Irish Dancing
Vocabulary
★ triplet: step that goes down, up, up
★ swing: pendulum like movement, fall and catch
★ prance: exchanging of weight from one foot to another, imitates animal (bambi)
★ chasse: to chase, step-together-step
★ initiation: the beginning of a movement with a clear starting point
★ Breath – movement that occurs when the body is still and breath is the focus ★
Head/tail – shortening of lengthening the distance between the head and the
tailbone.
★ Core/distal- movement from the center of the body to the periphery or vice versa ★ Body
half – moving one half of the body at a time (right/left, upper/lower)
★ Cross lateral – movement that occurs across the body from one distal extreme to the
other (right foot to left hand)
What’s More
Suggested Activity:
5
1) Create dances based on a theme and showing:
• Particular movement qualities,
• Electricity (vibrating, light, jerky),
• Heroes (strong, heavy),
• Forces of nature such as fire,
• Storms or volcanoes (flicking, swirling, explosive).
2) View and discuss the dance exemplar Volcanic Energy in relation to the development of
theme and motif.
3) Watch a performance of contemporary dance and write a review of it.
What I Have learned
At theend of the lesson, the student shall be able to:

1) Know the historical context of modern dance;
2) Enumerate popular contributor of modern dances;
5) Appreciate modern dance as one of the fitness exercises for MVPA’s in
maintaining health condition and status;
6) Use modern dance as one of learned life skills or everyday lifestyle activity.
7) Have stronger bones and reduced risk of osteoporosis.
8) Know better coordination, agility and flexibility.
9) Improved balance and spatial awareness.
10) Increased physical confidence.
11) Improved mental functioning.
12) Improved general and psychological wellbeing.
13) Greater self-confidence and self-esteem.
14) Better social skills.
What I Can Do
Suggested Activity:
1) Use natural objects (for example, leaves, driftwood, stones) as a stimulus for
choreographing a group dance.
2) Select an outdoor space to perform the dance.
3) Video the dance and then edit it to create a digital variation of the live
performance, save and send your respective Google classroom section.
Assessment
Multiple Choices:
Instruction: Read each question very carefully. Choose the best answer from the given choices
and write the letter only.
1) Who is the first dancer to present modern dancing to the public in a long flowing
toga, bare legs, no corset and wanted to leave the ballet community because she
felt as if it was too confining and she wanted her dances to be more natural?
a. Isadora Duncan
b. Martha Graham
c. Merce Cunningham
d. Dorris Humphrey
2) It is not concerned with the dramatic and realistic but believed that other factors
were more important that running and skipping, task-oriented type of movement,
reflected movement rather than the storyline as the primary focus of the dance and
very abstract
a. New Generation
b. 1st Generation
c. 2nd Generation
d. Post Modern Dance
6
3) A genre that blends dance and theater so that both forms are an integral part of the
performance that may include spoken words, text, singing and choreography, which
is propelled by theme, dramatics and "theatrics."
a. Dance Drama
b. Dance Contemporary
c. Dance Theatre
d. Dance Entertainment
4) What is the act of creating movement spontaneously that encouraged moving in
ways that are unique and original to them?
a. Copying
b. Improvisation
c. Free Movement
d. On the spot dance performance
5) What movement focused on moving for self-discovery, no "right" or "wrong", no set
routines the dancer has to learn the main focus and is not the product but the
process that the teacher does a lot of leading for the class?
a. Extended Movement
b. Creative Movement
c. Improvised Movement
d. Free Movement
6) It shows pure dance, expressional dance, art dance, encompasses a variety of
techniques and style.
a. Modern Dance
b. Contemporary Dance
c. Jazz Dance
d. Tap Dance
7) What characteristics of modern dance prioritize?
a. Experimental and sensitive
b. Collaborative and Free flow
c. Extensions and Natural
d. Critical and idealistic
8) Who were the forerunners of the new dance period?
a. Isadora Duncan, Martha Graham, Merce Cunningham, Dorris Humphrey
b. Lole Fuller, Isadora Duncan, Ruth St. Denis
c. Tarp, Jones, Zane, Today
d. Martha Graham, Dorris Humphrey, Charles Weidman, Hanya Holm
9) Who were the big 4?
a. Lole Fuller, Isadora Duncan, Ruth St. Denis
b. Isadora Duncan, Martha Graham, Merce Cunningham, Dorris Humphrey
10) What would you expect if you are taking a contact improve class?
a. you would begin by having partners
b. may begin without partner
c. begin with the group
d. dance alone
Suggested Activity A:
• Discuss performances that you have taken part in (for example, at school assemblies,
church plays, or dance-school concerts).
• Talk about the preparations for the performance and how you felt when performing.
Suggested Activity B:
1) View the video Poi/Canopy by Mary Jane O'Reilly.

2) Compare the stage performance of Poi with the video-dance version called Canopy.
3) What are the similarities and differences between the two-dance works?
7
Health Optimizing
Physical Education
(H.O.P.E.) 3
Contemporary Dance
Health Optimizing Physical Education (H.O.P.E.) 3
Quarter 1 – Module 4: Contemporary Dance
First Edition, 2020


Reviewers: Lawrence Jay S. Sedilla and Myrna T. Parakikay
Layout Artist: Jobelle M. Partido, Rachelle S. Venus

Myrna T. Parakikay

Telefax: (632) 8882-5861 / 8882-5862
What I Need to Know
This module was written and designed to make learning easier especially as we are in
the New Normal situation. As an educational tool, this module about Contemporary
Dance challenges you as a learner, to become creative, resourceful and independent.
The scope of the module provides a variety of activities that will stimulate independent
and self-guided learning experience. Lessons in this module are arranged to follow the
standard sequence of the course to ensure effective learning continuity, make the
experience more meaningful, effective and relevant to life situations.
This module was designed and written with you in mind. It is here to help you master
the nature of HOPE 3. The scope of this module permits it to be used in many different
learning situations. The language used recognizes the diverse vocabulary level of
students. The lessons are arranged to follow the standard sequence of the course. But
the order in which you read them can be changed to correspond with the textbook you
are now using.
At the end of this lesson, the learner shall able to:
1) Know the historical context of contemporary dance;
2) Enumerate popular contributor of contemporary dances;
5) Appreciate contemporary dance as one of the fitness exercises for
MVPA’s in maintaining health condition and status;
6) Use contemporary dance as one of learned life skills for everyday lifestyle
activity.
What I Know
Multiple Choices:
Instruction: Read each question very carefully. Choose the best answer from the given
choices and write the letter only.
1) What expressive dance that combines elements of several dance genres

including modern jazz lyrical and classical ballet?
a. Modern Dance
b. Jazz Dance
c. Contemporary Dance
d. Ballet Dance
2) What does contemporary dance stress?

a. Naturalness, Strict and unstructured.
b. Efficiency, synchronized and calm
c. Poise, Good Posture, Glamorous
d. Versatility and improvisation, unlike the strict, structured nature of ballet.
3) What elements of contemporary dancers focus on?

a. Efficiency, synchronized and calm
b. Poise, Good Posture, Glamorous
c. Versatility and improvisation, unlike the strict, structured nature of ballet.
d. floor work, using gravity to pull them down to the floor.
1
4) This dance genre is often done with?
a. bare foot
b. dance shoes
c. socks
d. high hills
5) Contemporary dance can be performed to?

a. Anonymous Genre
b. Many different kinds of music
c. Single Genre
d. Entertainment
6) Pioneers of contemporary dance include

a. Isadora Duncan, Martha Graham, Merce Cunningham
b. Lole Fuller, Isadora Duncan, Ruth St. Denis
7) These contemporary dancers all believed

a. That dance should have naturalness of movement, allowing their bodies to
freely express efficiency.
b. That dancers should have freedom of movement, allowing their bodies to
freely express inner most feelings.
c. That dancers should have all the expertise, allowing their performance of
safety and security.
d. That dances should have mastery and focus.
8) What is a performing art that involves rhythmic body movement within a

given space, and is choreographed base on musical beat?
a. Modern Jazz Dance
b. Ballet Dance
c. Modern Dance
d. Contemporary Dance
9) What basic element of a dance that conveys the message of a dance?

a. Design
b. Space
c. Theme
d. Gravity
10) What pattern of movement in time and space?

a. Gravity
b. Space
c. Theme
d. Design
Lesson
1
Contemporary Dance
Contemporary Dance What is it?

• If Ballet is the heart of dance, Contemporary is the soul. Contemporary dance
combines a variety of dance techniques such as ballet, modern, jazz and lyrical
to create a beautiful style of dance filled with emotion.
• It incorporates a lot of floor work and although technique is important,
contemporary dance is more of a free form than the disciplined style of ballet.
Contemporary dance is often raw and thought provoking taking the audience on
an emotional journey.
2
• Martha Graham, Merce Cunningham and Isadora Duncan are a few of the great
contemporary dancers that have helped develop the style into what it is known
as today. Contemporary dance is a true expression of emotion through
movement.
• Contemporary dance has exploded in the last decade and is often the style of
choice for performances and competitions alike.
• Dancers Gallery is proud to offer Contemporary dance classes in the Cooper
City, Davie, Pembroke Pines area.
What’s In
Difference of Modern Dance and Contemporary Dance

Truth is, they are the same in many ways. Both forms of dance stemmed from
modern dance pioneers during the turn of the 19th Century like Isadora Duncan and
Martha Graham.
Modern Dance is a
specific style of dance that is
free form and stems from the
core, or torso, of the body
and uses elements
like contact-release, floor
work, fall and recovery, and
improvisation. Just like a
Picasso is different than a
Monet, modern dance is
different than ballet.
Contemporary Dance is a
collaborative style that
includes modern, jazz, ballet,
and hip-hop elements.
What’s New
Let’s watch this performance and say something about it!

• https://www.youtube.com/watch?v=WZsAgpBC5lI
Guide Questions:
1. How did the dancers perform?
2. What kind of music they use
in their performance?
3. What element of dance they
did show?
4. Was there a theme that a
dancer wants to employ?
5. What is the message of the
performance?
3
What Is It
What is Contemporary Dance

• Contemporary dance is a genre of dance that employs philosophy to guide un-
choreographed movement. It uses dance techniques found in ballet, modern
dance and postmodern dance.
• It focuses on alignment, opposing movement, emotions and systematic
breathing. It is an extremely fluid and very unclear or ill-defined style of dance.
It is not associated with specific dance techniques.
• In this dance style, people attempt to explore the natural energy and emotions
of their bodies to produce dances that are often very personal.
• Contemporary dance originated in the USA and in Europe in the early 20th
Century as a reaction against the rigid techniques of ballet.
• It can be danced to almost any style of music
• Isadora Duncan is often quoted as being the mother of contemporary dance
Contemporary Dance
• A performing art that involves rhythmic body movement within a given space,
choreographed based on musical beat.
• Performed either in front of an audience or by everyone on a dance floor
DANCE Elements
Elements of Dance
1. Theme
2. Design
3. Movement
4. Technique
5. Music
6. Costume and body paraphernalia
7. Choreography
8. Scenery
Elements of Contemporary Dance
1. Theme – most basic element of a dance. It conveys the message of a dance.
2. Design – pattern of movement in time and space.
3. Movement – the bodily actions of the dancer that include his steps
4. Technique – the skill of movement executed by the dancer
5. Music – the auditory background to which a dancer moves
6. Costume & body paraphernalia – properties worn by the dancer that help reflect
the message, customs and beliefs
7. Choreography – the figures and steps in dancing that enable the dancers to
perform in an organized manner
8. Scenery – the background or setting where the dance is performed to make it
more realistic and enriching.
Notable Figures in Philippine Dance
ALICE REYES
• National Artist for Dance (1970)
• “The Mother of Contemporary Dance
LISA MACUJA-ELIZALDE
• Founded Ballet Manila in 1995 with Osias Barroso (her dancing partner)
• “bringing ballet to the people, bringing people to ballet”
• Founder and resident choreographer of PowerDance

• “making dance more accessible to a greater number of audiences”
NORBERT DELA CRUZ III
• Graduated from Juilliard School in New York City
• Danced as a soloist with the Metropolitan Opera House and in other dance
companies in Europ
4
What’s More
There might be as many dance teaching ways as teachers are… yes, I know. The
following is a summary of important aspects, ideas and conclusions that I’ve gathered
over my years of dance teaching experience.
I share them with you with the hope that they might be of use in the task of
developing your own way of transmitting dance. They don’t pretend to be definitive…
remember that teaching is a creative activity too…
There are several aspects that determine how a dance class is constructed:
1. Aesthetical project.
2. Physical education.
3. Context.
STRUCTURE FOR A DANCING CLASS
The following is the structure I use to organize the content of my class. It has seven
different parts but I don’t always include them all. As I said above, it is important to
adapt to each dance teaching situation.
So, for example a class for professionals (or students preparing for that) will be
longer (about two hours) and will include all the components of this structure. A class
for kids or amateurs in a gym will be much shorter and will skip steps 3, 4 and 6, a
part from having steps 1 and 7 a lot shorter.
1. Relaxing – Concentrating – Visualizing
2. Warm-up
3. Strengthening
4. Break
5. Phrasing
6. Jumping
7. Stretching – Relaxing – Cooling down
Suggested Activity: (Individual Performance)

• Choreograph your own short interpretative dance using the elements of
contemporary dance.
• Choose your own music, edit, save in wmv or in mp4 format and post it in your
class google classroom section then submit to the teacher.
What I Have learned
At the end of the lesson, the student shall be able to:

1. Know the origin of contemporary dance;
2. Use elements of contemporary dance in creating or choreograph own variation;
3. Assess learned knowledge from the topic discussed.
4. Formulate new variation according to the structure of contemporary dance.
5. Choreograph own and group performance.
5
What I Can Do
Suggested Activity: (Pair Performance)

1. Ask a partner in your section to be as your co-performer, using video
conferencing create your own pair choreography of a contemporary dance.
2. Choreograph your own one (1) whole of music interpretative performance
showing the elements of contemporary dance.
3. Choose your own music, edit, save in wmv or in mp4 format and post it in your
Assessment
Multiple Choices:
Instruction: Read each question very carefully. Choose the best answer from the given
choices and write the letter only.
1. What element of contemporary dance that shows Bodily actions of the dancer
that includes his steps?
a. Space b. Theme c. Music d. Movement
2. It is the skill of movement executed by the dancer?

a. Space b. Theme c. Techniques d. Movement
3. It refers to the auditory background to which a dancer moves?

a. Music b. Theme c. Techniques d. Movement
4. What properties worn by the dancer that help reflect that message?
a. Stage setting and decorations
b. Materials and Effects
c. Aesthetics decorations
d. Costume and body paraphernalia
5. What do you call to these figures and steps in dancing that enable the dancers
to perform in an organized matter?
a. Choreography
b. Dance Skills
c. Performance
d. Dance Application
6. It is the transmission of a range of ethical values that are part of the aesthetical
project, like the respect for the body and movement style of others, the
application of a nonhierarchical way of social relationship, the making of
creative decisions according to a ‘fair’ judgment over the spectacular one?
a. Aesthetical project
b. Physical Education
c. Context
d. Execution
7. It maintains an anatomical and physiological perspective, according to medical

statements.
a. Physiology
b. Physical Fitness
c. Physical Education
d. Functional Movement
6
8. The background or setting of the performance.
a. Landscape b. Scenery c. Plot d. Re-enactment
9. It is the movement of the body in a rhythmic way, usually to music and within a
given space, for the purpose of expressing an idea or emotion, releasing energy, or
simply taking delight in the movement itself.
a. Dance b. Dancing c. Dancer d. Exercise
10. It establishes the aim of the class in a long and short term. What’s the goal of
each class, what’s the goal of the process of educating that dancer?
a. Background b. Context c. Principle d. Concepts
Suggested Activity: (Group Performance)
1. Create a group of three (3) members in your section to be as your co-
performer, using video conferencing create your own pair choreography of a
contemporary dance.
2. Choreograph your own one (1) whole of music interpretative performance
showing the elements of contemporary dance.
3. Choose your own music, edit, save in wmv or in mp4 format and post it in your

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Health Optimizing

Published by the Department of Education - Schools Division Office of Makati

Development Team of the Module

Writers: Marcelo B. Pabiano Jr., Benjo Martinez, and Heaven Soronio

Neil Vincent C. Sandoval

Printed in the Philippines by the Schools Division Office of Makati City

Department of Education – Schools Division Office of Makati City

Office Address: Gov. Noble St., Brgy. Guadalupe Nuevo

The module is divided into five lessons, namely:

• Lesson 1 – Self Assessment of Health Related Fitness

After going through this module, you are expected to:

1. Self-assesses health-related fitness (HRF) status, barriers to physical activity

Lesson HOPE 3: Self-Assessment of

Health Related Fitness Defined

Components of Health-Related Fitness

Health Related Fitness Focus

Intended Use of Health-Related Fitness Assessment Tasks

Personal Fitness Assessment

Teach Fitness Development

Activity 1.1 Assessing your Lifestyle

Although criterion-referenced standards are favored over norm-referenced standards, most of

Table 2. Assessing your Lifestyle

Activity 1.2 Assessing Health Related Fitness Test

Teachers are encouraged to assess students on their ability to self-administer fitness

Table 1.2.2. Physical Fitness Test (Back)

Physical Fitness Test Objectives

• Observe the following prior to actual day of testing:

Table 1.2.3. Suggested Sequence of Test

Day 1 Day 2 Day 3

BMI Basic Plank Hexagon Agility Test

PHYSICAL FITNESS TESTS

Body Composition - is the body’s relative amount of fat to fat-free mass.

Body Mass Index (BMI)

WEIGHT [in Kilograms]

Example: _30_ = _30_ = 20.83 (NORMAL)

BELOW - 18.5 Underweight

18.5- 24.9 Normal

25.0- 29.9 Overweight

30.0- ABOVE Obese

For the partner:

Purpose – to test the flexibility of the shoulder girdle.

Scoring – record the gap/overlap to the nearest 0.1 centimeter

Sit and Reach

Purpose – to test the flexibility of the lower back and extremities.

For the Partner:

Scoring – record the distance to the nearest 0.1 centimeters

3-Minute Step Test

Purpose – to measure cardiovascular endurance

For the Partner:

Scoring – record the 60-second heart rate after the activity

Purpose – to measure strength of upper extremities

For the Partner:

Scoring – record the number of push-ups made.

Purpose – to measure strength/stability of the core muscles

For the Performer:

Scoring – record the time in the nearest seconds/minute.

What I Have Learned

To bind us and be agreed adapting a healthy lifestyle, let's agreed to this

Activity 1.3 Health Lifestyle Contract

A portfolio is a purposeful collection of you

Table 4. Semester Portfolio

Published by the Department of Education OIC-Schools Division

Development Team of the Module