[esol Folk Dances and Nature and 2 What’s More ACTIVITY 5S. LITERACY-READING. Monica Fides Amada Santos (2019) stressed in her Philippine Folk Dances: A Story of a Nation, she elucidated that Folk dances are expressive forms involving human body movement that are practiced in the context of community life, while folkdances are representations of folk dances that are performed for the stage. Aquino (1953) stressed that, in the Philippines, long before the exploration of our country by the Spaniards in 1521, the archipelago had been inhabited by three racial groups: the Pygmies; Indonesians; and Malays. Pigafetta, a chronicler with Magellan in his expedition, says that when they arrived in Cebu on April 7, 1521, they saw young men playing musical instruments and performing native dances as a form of entertainment for the visitors. Dancing among the Negritos was mostly pantomimic, performed to depict the events of daily chores. It was also considered a religious activity since dances were performed by priests in thanksgiving for a plentiful harvest, victorious battle, a prosperous voyage or recovery from sickness. This is a proof that even before the coming of the Spaniards, folk dancing was popular in the island. ‘The Philippine Folk Dance Society (2015) stated that during the Spanish regime, dancing played an important role in the social activity of the people. Among the Christianized groups, the Komintang was the oldest dance and song, which is a pantomime song and dance. Along with the coming of the Spaniards, they brought the dance culture of the west to the Philippines such as the Fandango, Lanceros, Rigodon, Curacha, Polka, Valse, Mazurka and many others. The folk dances of today are adaptations of these old native dances. As for Filipinos, we love singing, dancing and feasting. For centuries, this has been a prominent aspect of our national life. Since our country is composed of numerous islands in scattered positions, a great variety of dances are found with different customs and traditions, for all occasions (Aparato, 2017.) ‘The Bayanihan Dance Company and Ramon Obusan Folkloric Group (ROFG) are two of the most famous and internationally acclaimed dance companies in the Philippines in terms of folk dancing. They have developed different styles and approaches in performing our dances into the stage. When Philippine folk dance isperformed at full length by these two dance groups and Manila-based folk dance troupes, a standard program is generally composed of five categories or “suites.” Below are based from Aquino (1953), PFDS (2015), Aparato, et. al. (2017). 1. Cordillera - these are dances of the mountain Indigenous Peoples in Northern Luzon, such as those of the collectively known as “Igorots.” These dances reflect the way of life in the mountains with animistic beliefs that existed long before any Spaniard or foreigners stepped foot on the Philippines. The distinguishing characteristics of this suite are the bright costumes and g-string (ba-ag) and tapis that portray the Igorot groups (Ifugao, Kalinga, Isnag, Gaddang, Ibaloi, Bontoc, Itneg, etc.). Wooden, bamboo, and gong instruments accompany the dances. Examples: Ragragsakan Idudu Tadek Banga-Salidsid Bendian Tarektek Ngilin Man-manok Balambang 2. Western-influence ~ also known as “Maria Clara suite” shows dances with strong western (mainly European) influence practiced among mestizo elites. This includes the jotas and rigodons that the Spaniards brought in the country. It may display a strong Spanish influence, however, these dances were “Filipinized” as evident in the use of bamboo castanets and the abanico. Formal attires are used such as Maria Clara dress and Barong Tagalog, embroidered and made of pifa and jusi fibers. This is accompanied with a Rondalla string ensemble. Examples: Jota Laoaguenia Malaguefa Komintang Habanera Botolena Carifiosa Paseo de Iloilo Mazurka Boholana Pantomina Jota Vintarifa 3, Muslim - this suite presents dances of Islamized groups in Mindanao and Sulu archipelago, such as Maranao, Maguindanao, Samal, Yakan and Tausug dances to name a few, which bear similarities in movements with the neighboring countries such as Indonesia and Thailand. It is characterized by vivid colors and rhythmic movements which reflect the influence of Arabian and Indo-Malaysian cultures. Examples: Singkil Pangalay Asik Kapa Malong-Malong — Sagayan Pansak Pigapir 4, Rural — Also known as the Countryside suite, presents cheerful and playful dances of rural folks, such as which show unique fusion of western and local/ indigenous forms of dancing found at a mass level. This suite illustrates the fiesta spirit and love of life. They express joy in work, a love for music, and pleasurable simplicities of life. Typical attires include colorfulbalintawak and patadyong skirts for girls while camina de chino and colored trousers for the boys. Examples: Sayaw sa Bangko Binatbatan Oasioan Pandanggo sa law Maglalatik Inalimango Lapay Bantigue Tinikling Binasuan Lumad ~ This suite is a classification of dances found in the non-Muslim and non-Christian indigenous groups in Mindanao—such as the T’boli, Bagobo, Manobo, B'laan, Subanen, Bukidnon, Talaandig, ete. This shows the cultural minorities that live in the hills and mountains of Mindanao who still continues their animistic beliefs and is closely intertwined with ceremonies and rituals. Examples: Kadal Tahu Taming Amcameayatok Kadal Blilah Sohten Soryano Dugso Kinugsik-kugsik Karasaguyon These are the forms of Philippine folk dance that dance groups use to classify their dances for a more organized and better staging. However, Philippine folk dances are actually classified according to the geographical extent of its origin and its nature. Lastly, in our country, our dances have a unique combination of Occidental (western) and Oriental (eastern) movements. Our contacts with the neighboring countries and with the Spaniards for more than three centuries has influenced our music and dances. Since we, Filipinos, love singing, dancing, and feasting, these became a prominent aspect of our lives. We celebrate every occasion with feasting and dancing. These functions classified each dance according to the geographical extent of origin and the nature of the dance. These are the following: A. Geographical Extent of Origin - This classifies dances according to the place where it originated and where it is performed. 1) National Dances — These are dances found throughout the island with little or no modification. Examples: Rigodon Carifiosa Kuratsa Pandanggo Jota Surtido Lanceros Habanera 2) Local Dances - These are dances found only in a certain locality, Examples: Mocana a Nasudi - locos Norte ‘Tinikling - LeyteMaglalatik - Laguna Sakuting - Abra B. Nature of Dance - This classifies the dances according to its function in the society. 1) Occupational Dances-These are dances that depict action of certain occupation or livelihood. Examples: Sala ti Mais — Isabela Binatbatan —Ilocos Norte Gaod - Zambales Pasigin - Capiz 2) Religious or Ceremoniel Dances ~ These are dances performed in connection with religious practices and ceremonial activities. These are performed to either drive away evil spirits, ask a favor to have a child, give thanks for having recovered from sickness, favors granted or vows fulfilled. Examples: Dugso Putong Subli Saraw Sinurog Santa Clarang Pinong-Pino 3) Comic Dances - It depicts funny movements for entertainment. Examples: Kinoton Kimbo-kimbo Pinuhag 4) Wedding Dances - These are performed during wedding feasts or marriage celebrations. Examples: Soryano Pandanggo Ariquenquen La Jota de Pacay Pandang-pandang, Panasahan Habanera Botolena Pantomina 5) Mimetic Dances - These are dances that mimic animals, inanimate objects or other people. Examples: Itik-itik Kadal Tahu Makongo Lapay Bantigue Kalapati Bilaskogay 6) Game Dances ~ These are dances with play elements. Examples: Lubi-lubi Pukol Konan Sagakad 7) Courtship Dances - These are dances that depict love and courting. Examples: Carifiosa ‘Tadek Kumakaret Banga-Salidsid 8) Festival Dances - These are dances which are suitable for social gatherings and feasts. Examples:Pandanggo Habanera Jota Surtido 9) War Dances - These are dances showing imaginary combat or war. Examples: Sagayan Palo-palo Maglalatik Taming Sohten 10) Social Amenities Dances - These are dances that express social graces, hospitality and offerings of gifts to friends. These are “Filipinized” ballroom dances. Examples: Minuete Yano Rigodon de Honor Lanceros de Tayabas Rogodon Royale Characteristics of Philippine Dances As a rule, dances begin and end with a saludo. In general, dancers are far apart. A distance of about six to eight feet from each other. There is very little, if any, body contact although holding hands is common. Most dances are done in pairs. Most dances are done in long formation. Dances are performed by both young and old and by both sexes. Ne Ao SAeee Basic ACTIVITY 6. LITERACY- METER Philippine Folk Dance uses an array of various steps depending on the nature, character and form of dance. With these steps, the message and story of the dance is being portrayed efficiently and mirrors the culture of the locality where a certain dance comes from. From the previous lesson, you were able to learn the different hand and arm movements, and the different terminologies that are used in folk dancing. These movements give beauty and expression to the dancer who is conveying a certain message. Doing movements of the hands and gestures add more emphasis to the message you want to convey. Now, we are going to tackle the different dance steps in folk dancing. These are widely used in almost all of the dances in the Philippines, adding flavor to every gestures and expressions the dancer executes. You are going to learn its counting pattern, note pattern, and step patterns. Brace yourself for a lesson worth moving. You will experience to get up from your chair, and execute and perform these different dance steps. Rhythm is the arrangement of regular/irregular and strong/weak repetitive pattern of sound or movement. Before you proceed in learning the different dance steps, let’s recall first the component of rhythm which is used in dissecting the movements in a dance step which is the Meter. Meter is the arrangement and combination of rhythms which are strong and weak beats. The common examples of time signatures are i, i, and 4. READING. UNDERSTANDING RHYTHMS AND Listen to the following audio clips online and clap the different counting patterns for each time signature for you to be able to familiarize yourself with the counting patterns.and Counting Pattern of Simple Meters Sienatare Note and Counting Pattern Audio File J 1 2 a) 1 2 and Pamulinawen ( Ilocano Folk Song } PA Dd MAPEH 7 | 4, 1 and 2 and https://tinyurl.com /PamulinawenDuple ddd | | 1 and 2 | | : | 1,2 | | Jods | 1 2 3 J 1 dd 3 f d d and Sagamantica 4 1 and 2 and 3 and ; / i J https: / /tinyurl.com/SagamanticaTriple | M2 3 J od 1 2,3 bod d | 1 2 3 dD i eh aye ayes Nga Ubing - 4 > d dD d ‘atutubong Mananayaw 4 4 and 2 and3 and4 and pm yur comayattayadpbingun J d | 1,2 3,4ACTIVITY 7. om BACT ReaDIna AND NUMERACY SKILL DEVELOPMENT BASIC DANCE D QUAD! STEPS IN DUPLE, TRIPLE, AN! A. Basic Dance Steps in 7 Time Signature 2 Duple meter or 4 time signature is one of the common meters that are used in dancing because of its ‘simple and lively mood wherein it only has two beats per measure. The following are the common dance steps in this time signature. Note to Teacher: You may choose from the different dance steps in tables 4,5, and 6 as to the execution of the Time ‘Signature. Legend: R-Right Foot L-Left Foot M-Measure || - end of a Measure _ Table 4. Basic Dance Steps in Duple Meter _|____ Step Pattern and Counting Pattern Measure | Step R(L) Close L (R) Step R (L)| | 1M and 2 ~~ Close-step L(R)] | 1M and 3. Cross Close L(R)_— Step R(L) 1] 1M Change | 1 and 2 Step | 4, Contraganza | Leap RL) Cross-step (L)R —-Step R(L) || | IM {2 and 2 | 8. Cut Step | Cutordisplace RiL) || ~ 1 6. Galop Step R(L) CutLiR) Step Rf Cut L{R) |] IM 1 ah 2 ah 7. Habanera | Step RiL) Close L(R) Step R(L) || IM 1 2 and 8. Haplik [ StepR StepL || HopL HopL || StepR StepL StepR|| | 8M ] 1 2 1 2 1 and 2 (tuning) Hop R Hop R || Step L Step RStepL || HopLHopL || | 1 2 1 and 2 zt 2 | (turning) | | Step R Step L | | Close R Pause | | 2 2 1 2 | “This is the longest dance step in 4 time signature | | Heel-place R(L) Toe-point R(L) || an) 1 2 | Step | Step R(L) Close L(R) Step R(L) || 1 and 2 ___t (0. Korriti__[Cross-Step R(L) Step L(R) Step R(L)_ Step L(R) || | 1M| 1 and 2 ~ and — 11. Mineing | Step R(L) Step LR) Step R(L) Step L(R) |] 1M _ 1 and 2 and 12. Plain Step R(L) Close L(R) Step R(L) Pause | | IM Polka z and 2 and | 13. Hop Hop L(R) and Step R(L) Close L(R) Step R (L) Pause || IM | Polka “1 and 2 and 14, Shuffling | Slide R(L) Slide L(R) Slide R(L) Side L(R) [| iM | 1 and 2 and 15. Skip Step RL) Hop R(L) Step L(R) Hop LIR) || 1M Step 1 ah 2 ah 16. Four Step R(L) Turn and Step L(R) || 2M Step Turn 1 2 Turn and Step R(L) Step(Close) L(R) | | 1 2 B. Basic Dance Steps in ! Time Signature ‘Triple meter or # time signature is one of the common meters that are used in dancing wherein it is of many dance forms that the Spaniards brought in the country during the colonization which includes the Valse, Mazurka, Jota, Fandanggo and the like. It has three beats per measure. The following are the common dance steps that are used in this time signature. Table 5. Basic Dance Steps in Triple Meter Dance Step Step Pattern and Count Pattern Measure 1. Bacui Cross-point R(L) Step R(L) || Cross-Step L(R) Step RU) 11 4M 1,2 12 Cross-step L® eo RIL) | | Close L{R) 1,2 12,3 2. Engaiio with | Step R(L) es LR) TT Sep R(L) Close {R) 11 2M a Close 1,2 a as 3. Engaiio with | Step R(L) Cross-step L(R) | id aa Close L(R)Step R(L) || 2M a Close mm 8 2 3 4, Kuredang | Step R(L) Close L(R) Step a Cross-Step L(R) || 2M 1 and 2 3 Step R(L) Close L{R) Step R(L) Point L(R) | | 1 and 2 3 : 5. Mazurka Slide R(L) Cut L(R) a LAR) [1 IM i 2 | 6. Papuri ~| Step R(L) Cross-Step L{R) 7 | Cross-point R(L) || 2M 1,2 3 1,2,3 Step L{R) Cross-Step R(L) | | Cross-step R(L) || 1,2 3 1,2,3 a a : wanes7. Paso Espaiiol 8. Redoba | 9. Mudansa — [Step R(L) Swing 1{R) Hop R(L) 11 3 Step R Close L and taine both heels Hoth Heeln down {1 1 2 a Step L Close R and raise both heels Both heels down | | 1 2 a 3 Step R- Brush-swing L Hop R || 1 2 3 Step L Brush-swing R Hop L | | 1 2 a Slide R(L) Cut LR) Cut R(L) T] 1 2 3 Step R- Heel-Brush L— Heel-Step L || 1 2 a Close R- Heel-brush L — Heel-step L | | 1 2 3 Close R_— Heel-brush L | | t 23 StepL — Heel-Brush R_ Heel-Step R | | 1 p 3 Close LL Heel-brush R_ Heel-step R | | 1 2 3 Close L —_Heel-brush R | | 1 23 Step R —_Heel-Brush L_ Heel-Step L | | 1 2 3 CloseR — Heel-brush L_— Heel-step L | | 1 2 3 Close R — Heel-brush L | | 1 2,3 Step L _Heel-BrushR —_Heel-Step R | | 1 2 8 Close L —_Heel-brush R Heel-step R | | 1 2 3 Close L — Heel-brush R | | 1 28 Step R CloseL Step R || Step L Close R Step L || 1 2 3 1 2 3 Step R Close L Step R || Step L Close R Step L || 1 2 8 1 2 3 (white turning) “this is the longest dance step in} time signature Siep R(L) Close L(R) | | Step L(R) Close R(L) || 1 2,3 1 2,3 Step R(L) Close L{R) || Raise L(R) Heel-place L(R) | | 1 23 1 2,3 1 2 4M 4M 1M ‘16M12. Step- Step R(L) Brush-Swing L(R) "] “ Hi brush-swing-| 7 2 a = aoa m™ hop 13. Sway Step R(L) Cross-step L(R) | | Step R(L) Point L(R) |] 2M balance with| 1,2 3 1 23 a point , 14, Sway Step R(L) Cross-step L(R) || Step R(L) Brush L[R) || 2M balance with 12) ig 1 ,. a brush 15. Sway Step R(L) Cross-step L{R) || Step R(L) Close L{R) | | 2M balance with| 1,2 3 23 a close 16. Sway Step R(L) Cross-step L(R) || 2M balance with 1,2 3 ahop Step R(L) Raise L(R) Hop R (L) || 1 2 3 17. Sway ‘Step R(L) Cross-step L{R) || 2M balance with | 1,2 3 a waltz Step R(L) Close L(R) Step R(L) || 1 3 18. Double Step R(L) Cross-step L(R) || Step R(L) Point L(R) | | 4M Sway 12 3 1 23 Balance Cross-step L(R) Step R(L) | | Point L(R) | | 1,2’ g 12,3 19. Waltz ‘Step R(L) Close L(R) Step R(L) |] 1M 1 2 3 20. Waltz ‘Step R(L) Close L{R) Raise both heels Step R(L) | | 1M Balance 1 2 3 [21. Cross Cross-step R(L) Close L(R) Step R(L) || 1M Waltz 1 2 3 22. Safigig Step R(L) Close L(R) Circle on Air R(L) 1M 1 2 3 2 C. Basic Dance Steps in 4 and 4 Time Signature ‘There are also dance steps that can be used in both duple and triple meter. Here are the following dance steps that can be used in both meters. Table 6. Basic Dance Steps in Duple or Triple Meter _ Dance Step Pattern and Counting Pattern _ 1. Bleking Heel-place R(L) Close R(L) | | 2 or 1M 1 Heel-place R(L) Close R(L) | | rv] 3Step, R(L) Close L(R) | | 2 or | Step RIL) Close HR) 11 iM 3. Grapevine [Step R(l) _ Cross-Step cep UR Sep RU Goma mat Cross-step R(L) Step L{R) | | Cross-step L(R) Step R(R) | i 2 1 2 or 1M a Cross-s rane L(R) | | Step R(L) Crose-etep LR) II La 12 4. Slide Step | Slide R(L) Close © UR) i - a * 1M | Slide R(L) Cloes L(R) 1 L 1,2 3 5. Step Hop Step R(L) Hop L(R) |] I 2 or 1M Step R(L) Hop LR) || 1,2 3 6. Step Swing | Step R() Swing L(R) [1 1 2 or 1M | Step R(L) Swing L(R) || 12 3 7. Touch Step | Point RL) Close R(L) [7 | 1 2 or ane Point R(L) Close R(L) || I 1,2 (8. Parallel Pivot on heels and turn = Pivot on toes = turn heels | | Tortillier 1 or 1M | Pivot on hel and um fos Pot on te and tar hel | ‘9. Opposite Pivot toes together Pivot heels together | | Tortillier 1 2 or} iy Pivot toes together Pivot heels together | | 12 3 D. Basic Dance Steps in 4 Time Signature Quadruple meter is also used in Philippine Folk Dances, though there are only few dance steps in this meter. Some of the dances in this time signature includes the Escotis or Chotis, Rigodon and Lanceros. Table 7. Basic Dance Steps in Quadruple Meter [Dance Step | Step Pattern and Counting Pattern Measure [2. Chotis Brush R(L) Raise R(L) Brush R(L) Raise R(L) || 1 2 3 4 Step R(L) Step L{R) Step R(L) Pause || 2M 1 2 3 4 ____ (while turning in place) 2. Chotis Step RL) Close L(R) Step R(L) Hop R(L) | (lecano) and 2 and seep LR) Close R(L) Step L(R) Close R(L) || om and 4 and ate RL) Hop L{R) Step R(L) Hop L(R) and 2 and aStep R(L) Hop L{R) Step R(L) Hop 1(R) Le 9 and 4 and | otis Step R(L) Close L(R) Step R(L) Hop K(L) {| 1M { _ 1 ee} 3 4 J Foreign influence is very evident in most Philippine folk dances like waltz, mazurka, polka and habanera. Among the non-Christian groups like the upland folks in the Cordillera, an outstanding fect movement is a series of tiny steps with half bended knees signifying proximity or closeness of the dancers to the ground or the earth which is the source of their food. It may also mean humility, courtesy or shyness of the ethnic group. The stamping in Cagayan and Pangasinan dances is done to drive the bad spirits, however, among the Bagobos of Mindanao, it is done as a warning to women that bad elements are around (Rasos, 2016). 5 Activity 8. Let’s Recall. Below are things that were discussed within the module. Specifically, on the Principles of Physical Activity and FITT Goals, Folk Dances and its Nature and Classifications and Folk Dance Steps in simple duple, triple, and quadruple meter. What I Have Learned 1, There are four Principles of Physical Activity, Overload Principle, Principle of Progression, Principle of Specificity, and Principle of Reversibility. 2. The FITT Principle of Physical Activity means, Frequency, Intensity, Type, Time. 3. There are five categories of Folk Dance based from the suites of Bayanihan and Ramon Obusan Folkoric Group, Cordillera, Western-Influenced, Muslim, Rural, and Lumad. 4. The two Classification of Folk Dances according to Origin are National and Local. 5. The Nature of Philippine Folk Dances are as follows, Occupational Dances, Religious Dances/ Ceremonial Dances, Comic Dances, Wedding Dances, Mimetic Dances, Game Dances, Courtship Dances, Festival Dances, War Dances, and Social Amenities Dances. 6. There are six Characteristics of Philippine Dances: a. as arule, dances begin and end with a saludo; b. in general, dancers are far apart, A distance of about six to eight feet from each other; c, there is very little, if any, body contact although holding hands is common; d, most dances are done in pairs; . most dances are done in long formation; andDance has been an essential way of burning fats but with its characteristics of hyperactive executions we need to understand the safety protocols before doing such as dance activities. Dancers can find themselves in a variety of challenging performance situations. Conditions related to Dance Activity Participation DEMYDRATION * Dehydration - This refers to excessive loss of water oe) = from the body, usually through perspiration or sweating, i . urination, or evaporation. ¢ Sweating - on a normal day, the body loses about 2.5 liters of water from the lungs and skin, from urine and feces, and from perspiration. 3 SDOIN Core _Q2 PEHS Modulesust replace this through proper hydration. To offwet fuid suggested that 150 to 250ml of fluid should be taken every the body losses, it is 15 minutes. ¢ Thirst - Thirst is a sensation of dryness in the mouth and throat ssociated with a desire for liquids. Maintaining water balance is an important consideration during exercise. Hyperthermia -This is an alarming rise in body temperature, which is an effect of exercising in a very humid environment. It sets the stage for heat stress and even heat stroke, the potentially fatal collapse of the temperature-regulating mechanism. * Heat Acclimatization - is a broad term that can be loosely defined as a complex series of changes or adaptations that occur in response to heat stress in a controlled environment over the course of 7 to 14 days. These adaptations are beneficial to exercise in the heat and allow the body to better cope with heat stress. Heat Rash - also called prickly heat, is a benign condition associated with a red, raised rash accompanied by sensations of prickling and tingling during sweating. It usually occurs when the skin is continuously wet with un-evaporated sweat. * Heat Syncope - heat collapse, is associated with rapid physical fatigue during overexposure to heat. This results in dizziness or fainting. It is quickly relieved placing the individual in a cool environment and replacing fluids. +> Sun protection factor (SPF) - Sunscreen applied to the skin can help prevent many of the damaging effects of ultraviolet radiation. A sunscreen’s effectiveness in absorbing the sunburn-inducing radiation is expressed as the sun protection factor (SPF). Hypothermia - Excessively low body temperature, characterized by uncontrollable shivering, loss of coordination, and mental confusion. It is a medical emergency that occurs when your body loses heat faster than it can produce heat, causing a dangerously low body temperature. Normal body temperature is around 98.6 F (37 C). Hypothermia occurs as your body temperature falls below 95 F (35 C). 4 SDOIN_Core Q2_PEHS ModulesQ.) What Is It If you participate in any dance, then you have likely had some experience with Overtraining. It usually starts with extra muscle soreness and a feeling of fatigue. These symptoms can quickly morph into a serious case of overtraining syndrome. Overtraining can occur when the intensity and/or volume of exercise becomes too much for the body to properly recover from. Overexertion or Overtraining refers to the detrimental cause of excessive training. It occurs when a person exceeds their body's ability to recover from strenuous exercise. You need to pace your workout properly to avoid staleness. Staleness, or getting bored or uninterested, is usually a consequence of overtraining. QOvertraining frequently occurs in dancers who are training for competition or a specific event and train beyond the body's ability to recover. Dancers often exercise longer and harder so they can improve But without adequate rest and recovery, these training regimens can backfire, and actually decrease performance.Cheerdance and Its Elements ( What’s More CHEERDANCE Cheer dance is a recreational activity and competitive sport composed of an organize routine. It includes required performance elements and skills like dance and gymnastics. Cheer dancers, when not competing, help on encouraging the crowds to cheer in team sport event. Performance Elements in Cheer Dancing 1, Motions- this element includes arm motions like high V, low V, half-high and half-low Vs, diagonals, K’s, L’s, T’s, and touchdowns. 2. Jumps- these are the feet movements through jumping moves like toe-touch, hurdler and pike jumps. 3. Stunts- are mostly those that can be seen from the flyers or selected cheer dancers like bow and arrow, liberties, scorpions and basket tosses. 4. Tumbling- cartwheel and around off are basic tumbling movements in cheer dance while backhand springs, round off backhand springs, back tucks, layout, and layout twists. 5. Cheers, Chants, and Dance Routine- cheers and chants incorporate stunts, jumps, and tumbling and are used to lead the crowd. Dance routines, on the ‘other hand, are used to entertain the crowd during breaks. Basic Cheerleading Motions | Name of Motion sc — 1. High V Extend your arms upwards and at | a 45-degree angle from your head | with your hands in fists. Keep your thumbs facing out and your pinkies facing back. jescription 6 SDOIN Core _Q2 PEHS Modules:[2. Low Vv [3 Low Touchdown 4. Torch/Punch Extend your arms downwards and at a 45-degree angle from your body with your hands in fists. Keep your thumbs facing out and your pinkies facing back. Extend both arms straight down, and bring them in tight with your body. Arms should be in line with, but pulled slightly in front of the legs. Keep your hands in fists, with your thumbs facing the crowd and your pinkies facing your body, with your fingers facing each other. Extend one arm straight up (into the Touchdown position). The other arm is resting on the hip, with the hand in a fist. That elbow should be pointing to your side. ‘The punch can be done as a right punch or left punch. The arm in the Touchdown position determines which move it is (if the right arm is in a Touchdown, it is a right punch). |5. T motion Extend your arms from your shoulders so that they are parallel with the ground. Keep your hands. in fists with your thumbs facing out and your pinkies facing babies. he K motion ‘|xtend one arm into a High V motion, while the other arm holds a Low V position but is crossed over your body. This motion can do as a ‘right” or ‘left’ motion. The arm that is in the High V_ position determines which motion it is (when the right arm is in a High V, it is a Rigkt K).Bend your elbows and bring your arms in tight to your body. Your elbows should be pulled in and pointed down, and your hands should be just below your chin. Bring your hands together, keeping them open with your fingers facing up toward your chin, so that both palms are touching. 8. Clasp Used during chants and cheers to create sound. Keep the elbows tucked closely into the sides at all times and never open the hands wider than the shoulders. The tighter, the better! The clasp can also be performed in an overhead or low variation by extending the arms straight up or down. Different Jumps and Stunts in Cheerdance Name of Jumps Description 1. Spread Eagle It is performed with the hands in a high "V" motion and the legs go out to the sides at the height of the jump. The jump therefore looks like an "X" and is also called the "X Jump". New cheerleaders may not be able to get their legs as high as those who have been cheerleading for a while. 2. Tuck A jump in which the cheerleader uses their stomach muscles to pull the legs up with their thighs as close to the chest as possible, knees facing upward as if in a tucked position 3. Herkey The jumper has the left(right) leg straight in a half-straddle position, and the right(left) leg bent flat beneath them. 4. Pike Jump that requires cheerleaders to have great flexibility and explosive power. Increasing a cheerleader's flexibility and power is one of the most beneficial ways to improve the skills needed to perform this jump at a higher level. SDOIN_Core_Q2_PEHS Modules5. Toe Touch To jump from a crouch as you raise and spread your legs. This trick shows up in a lot of standard cheerleading and gymnastic routines, and with a few tips and tricks you can master this cool move.= What Is New Literacy- Reading: A. Dance etiquette is a set of guidelines that help you navigate the social dimensions of dancing. It is the set of conventional rules which govern the social behavior of social dance by its participants. Such rules include the way in which the participants should look and the way in which they approach, dance with and leave their partner. Etiquette can vary in its specification and stringency between different styles of dance. Why do you care about dance etiquette? Social dancing requires close personal contact between partners, some of which may be basically strangers. This contact requires some level of trust and respect. Social dance etiquette helps us build that trust and respect by giving us a genera! framework to work from. It allows us to have mutual understanding of behavior at events that encourage safety and respect. SDOIN Core PEMLA Q2 Module 6SOCIAL DANCING TIP: Imparting Social Dance Etiquette Dancing is a social activity which requires interpersonal as well as physical grace. Being a considerate and thoughtful dance partner helps ensure a wonderful experience and is even more important for a social dancer than dance technique. C - ASPECTS OF SOCIAL DANCING 1. Asking for a dance | MAY I HAVE THIS DANCE? In a social dance situation, it is customary to dance with a variety of people. Therefore, when YOU ask someone to dance, be sure to make eye contact with your prospective dance partner, offer your hand and ask directly, “Would you like to dance?” If the person says yes, then smile, offer your hand and walk with him or her onto the dance floor and into dance position. This helps a partner feel supported and at ease. When social dancing and someone asks YOU to dance, your response should nearly always be, “Yes, I would love tol” It is not acceptable to say no because you do not think the dancer is good enough for you or because you are hoping someone “better” will ask you. It is important that all dancers are supportive and kind to each other at all skill levels. During the dance, be sure to be aware of your dance partner, including your dance partner's comfort and skill level. Smile and make eye contact, but do not stare. Be gracious and appreciative At the end of the dance, always thank your partner and walk with him or her off the dance floor. 2. Saying “no” ‘WHEN IT IS APPROPRIATE TO SAY NO? When a person asks you for a dance, it is appropriate to say no under a few circumstances: If you are really tired when someone asks you to dance, say that you are taking a rest now and would be happy to dance later. Then be sure to keep this commitment. If you come to the dance to watch and someone asks you to dance, it is fine to say, “Thank you, but I'm just watching tonight.” If the same person asks you to dance repeatedly, it is acceptable to tell him or her that you would like to dance with others right now and would enjoy another dance later. SDOIN Core PBH12.Q2 Module 6If the person has been physically or verbally abusive to you on a previous occasion, it is of course appropriate to say “nol” It is also appropriate to say “no” if the person is obviously drunk or threatening in some way. If you feel that a social dancer at the party is physically dangerous: to the other dancers, report the situation immediately to the person in charge (e.g., the teacher, front desk or management). ‘3. Personal Hygiene CLEANLINESS IS HEAVEN Social dancing is an intimate activity in that it requires a certain degree of physical closeness. Good hygiene before and during a dance party shows respect and consideration for the other dancers. Considerations include: Bathe or take a shower, use deodorant and wear clean clothes. | | Brush your teeth before going to a dance. Use breath | mints or gum at the dance if necessary. Bring a towel and/or a change of clothes if you tend to sweat a great deal. If you get excessively sweaty on the dance floor, stop, dry off and cool down for a few minutes. Use a light touch applying perfume or cologne, or avoid wearing it altogether, as many people are sensitive or allergic to fragrances. 4. Partner's ability PARTNER'S ABILITY Get along with partners of varying ability levels. For example: Compliment rather than correct your partner. Unless someone asks you directly to make a correction, never volunteer criticisms of your dance pariner’s abilities. Know that your dance partner is doing the best that he or she is able. Ifyour dance partner is dancing off time, consider ways to make it fun for yourself, For example, you might view the situation as a challenge to dance to the same internal rhythm as your partner, an opportunity to have fun dancing slightly off the music or simply a chance to | SDOIN_Core_PEH12.Q2 Module 65. Floorcraft 6. Group classes “appreciate the experience of moving with another person. | If your partner is physically hurting you, it is probably | inadvertent. Stop dancing for a moment and say | something like this, ‘I'm sorry, but you're holding my hand a little tightly. Could we do it again?" If you receive | an inconsiderate response or your dance partner seems unwilling to modify his or her behavior, it is then appropriate for you to say, “Thank you, but I'd like to stop | now." Social dancing should not be physically painful or | dangerous | FLOORCRAFT AND THE LINE OF DANCE 4 In order for a dance to be enjoyable for all the social dancers, it is crucial to be considerate and aware of floor craft. No matter how inspired you might be to let go and express yourself, have respect for the other couples on the floor. Careful observation of the traffic lanes in a ballroom helps prevents mishaps. Here are some guidelines: | In social dances that travel (i.e., Waltz, Foxtrot, Tango, Viennese Waltz, Quickstep, Peabody, Samba and Argentine Tango), ballroom dancers move in a counter- clockwise circle known as the line of dance. The line of dance has lanes, similar to those on a highway. “Fast Lane: the very outside lane of the line of dance is the “fast lane.” This lane is generally used by very experienced ballroom dancers who cover a lot of ground. | “slow Lane: The middle and inside lanes are for beginners | and less experienced social dancers who are not traveling as much as those in the fast lane. Beginners dancing | basic steps and not traveling as much should stay on the | very inside lane. *Center of the Floor: When repeatedly practicing a figure that does not travel (e.g., the Waltz Box with Underarm Turn), use the center of the ballroom dance floor. GROUP CLASS ETIQUETTE - Get along with each other as you rotate partners. Say hello and introduce yourself to each new partner. If you only want to dance with the same partner for personal reasons, you may do so by stepping out of the DOIN Core PRHIA QA Module 6circle when it is time to rotate, This way, it is clear that you are not part of the rotation, To help avoid confusion when rotating, direct fellow students to rotate past you Mf you're having real difficulty with the figure, it is Perfectly acceptable to tell your partner that you need to step out of the rotation for a minute to practice the dance steps on your own. If you want help, feel free to ask the teacher, It is not acceptable to refuse to dance with someone in a group class simply because you are of the same gender. There are many reasons why social dancers choose to learn the non-traditional role (i.e., women dancing as Leaders and men dancing as Followers). Reasons range | from being teachers in training who need to know both roles, to wanting to learn the other role to improve their | dancing, to simply preferring the non-traditional role. If | you are a male Leader or female Follower, you may not be | accustomed to dancing with someone of your same gender. Nevertheless, dance etiquette requires that you | respect other dancers’ choices, regardless of their reasons | | for choosing the non-traditional role. | el Safety in the Use of Dance Safety refers to the quality of averting or not causing injury, danger or loss. In dancing, safety must be given the highest priority in implementing the dance arts standards of learning. Students must know how to follow safety guidelines, demonstrate appropriate safety techniques, use equipment safely, and demonstrate d off the stage while working individually and in proper dance etiquette both on anc 3 1 groups. These guidelines apply in both the instructional and the performance settings. General Safety in the Use of Facilities and Equipment in Dancing ties and equipment. Handle them with care and use solely on their purpose. ‘This is to prevent having them misplaced, stolen or become unnecessary chutters in the dance area than can cause accidents. 2. Only use equipment’s that you already know how to use do not leave or pass on equipment’s that is in complete disarray or dirty. SDOIN_Core_PEH12.Q2 Module3. Be Alert and Aware in the dance area. 4. In performing dance and movement in general, practice good form first. 5S. Bring back all equipment in place after use. 6. Do not Hug the equipment. 7. Return the equipment properly or leave the venue clean. Doing dance in improper form deficit it's benefits. Do not monopolize the equipment. Allow everyone a fair use of the facilities. 8. Check yourself, practice proper hygiene and care. Take a bath or deodorant if needed. Do not force yourself to engage in physical activity if you are feeling sick. 9. Move on the double; do not loiter around the venue or hang on the equipment doing nothing. Do not handle it until such time the teacher gives instructions on how to operate the said equipment. You could break the equipment or cause harm to yourself or others. 10. Be nice, as a general rule!Kos ene Bal x lroom Dancing: Types and What’s More Literacy- Reading: What is Ballroom Dancing? Ballroom dancing is a popular type of social dance that originated in the late 19th century. It is characterized by formal, structured movements and is danced to Saditional ballroom music. Today, ballroom dancing is enjoyed by people of all ages and abilities around the world. While it has evolved over the years, the basic steps ané principles remain the same. Ballroom dancing can be a great way to get exercise, socialize, and even compete. What are the two types of ballroom dancing? 1. Recreational Ballroom refers to a type of ballroom in which the dancers are only dancing just for them to feel the romance or just to enjoy the dancing routine. 2. Competitive dancing is a style of dance in which dance competition is the main focus What are the three main ballroom dance styles? 1. American Smooth American Smooth Ballroom Dance is a style of ballroom dancing that developed in the United States. It is characterized by its smooth, flowing movements and is often danced to traditional American music such as jazz and Swing, American Smooth is one of the most popular styles of ballroom dancing and is frequently seen in competitions and on television, While it shares some Similarities with other styles of ballroom dancing, American Smooth has its own distinct flavor that sets it apart from the rest. This style emphasizes smooth, flowing movements and is danced to music with a 4/4 time signature. Some of the most popular American style dances include + The Waltz * The Foxtrot * The Tango SDOIN Core PRHI2 Qa Module 62. International Standard International Standard Ballroom Dance is a specific style of dance that originated in the early 20th century. It is characterized by its smooth, elegant movements and precise footwork. While it was originally created as a competitive ballroom dance, it has since evolved into a popular social dance. Today, International Standard Ballroom Dance is danced all over the world, and it continues to grow in popularity. International style ballroom dancing is the standard competitive form of the dance and is danced all over the world. This style is characterized by its sharp, precise movements and is danced to music with a 4/4 time signature. Some of the most popular International style dances include: e The Quickstep e The Viennese Waltz 3. Non-Traditional (Latin American) Latin style ballroom dancing is perhaps the most energetic and passionate of the three styles. Latin American ballroom dance is characterized by its passionate and sensual nature, as well as its emphasis on rhythm and musicality. The movements are often abrupt and dramatic, and the dancers frequently incorporate elements of acrobatics and theatrics into their performances. While it may not be the most traditional form of ballroom dance, Latin American ballroom dance is certainly one of the most exciting and vibrant. Some of the most popular Latin dances include « The Cha-Cha e The Rumba e The SambaParticipation in an Organized Dance Event Taking part in a well-organized aaa dance gathering is an exhilarating and = ~~ dynamic experience that unites people through the universal language of movement and rhythm. Whether it's a local dance contest, a cultural celebration, or an international dance conference, these occasions serve as a stage for individuals to display their skill, imagination, and deep love for dance. 7 i Participants fully engage in a world of choreography, music, and self- expression as they. These gatherings promote a sense of togetherness, personal development, and artistic exploration, making them a treasured opportunity for both experienced performers and relish the pleasure of dancing. As you become more involved in physical activities, you can elevate your participation by joining events that promote health and fitness as well as address health issucs like diabetes, obesity, nutrition, smoking, and many more. By joining events like these, you can learn more about these health concerns, what is being 3 SDOIN Core_PEBH3_Q2 Module?done to handle these concerns, and at the same lime, you also pet to increase your physical activity, A. School events. These extra-curricular events of schools let learners participate in dance events. Classroom performance, school programs like intramurals, cheer dance competitions, promenade, nutrition month, and the like are examples of school programs that expose learners to participate in dancing. - Dance competitions. These events focus on dance as the main activity, whether as competition (¢.g., street dance, dance sport) or as recreation (e.g,, aerobic dance marathons, Zumba events). Organizers are private companies and individual sponsorships who promote the events through flyers and media outlets. Festival Dances. These events focus on celebrating a specific festival whether religious in nature or economic. Mostly the organizers come from the local government unit. Traditional dances presentations. Family gatherings, wedding, barangay social dancing is some of the traditions that the learners may experience depending on the culture of the community.