1

Physical Activity Towards Health and Fitness 1

Every individual has a rhythm. It is found in all of nature and is natural to every
individual. Rhythm is most clearly seen through dance- the art of movement
What is rhythm? ---- Is the regular recurrence of accented and unaccented
beats.
Rhythms--------------- Is a term which denotes an aspect of a quality of movement
that is sometimes thought of as dance. When an individual moves in response to a
particular rhythm or music we call the movements as rhythmic movements or rhythms.
Structured forms which start creative rhythmic movements are called rhythms.
Rhythmic activities---- are the physical manifestations of the mental and
emotional response of the individual to the 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 is swaying, a

foot tapping, fingers snapping, shoulders and body moving while a musical piece is
played are physical reactions.

Dance ---------- refers to movement set to music where there emerge

organization, structure, and pattern. It is a composition that implies an 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.

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 Rhythm:

1. Beat—the underlying pulse of the rhythm.

2. Tempo—the rate of speed of a movement.
3. Intensity—a variation of the stress of movement.
4. Pitch—lowness or highness of a tone.
5. Accent—emphasis on certain beats.
6. Meter—the regular recurrence of beats which divides a musical design into
measure.
7. Phrase—measures grouped together.
8. Bar—in music a vertical line across a staff dividing it into equal measures of
time.
9. Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used for a
certain dance step.
13. Step pattern—refers to the movement or movements done for each of the
dance steps.
 2

FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly termed
as 1st position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.

1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of the chest with the fingertips
about an inch apart.

2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised
upward.

4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised
overhead.

5th position
Feet: Heel of the front foot close to the big toe of the rear foot.
Arms: Both arms raised overhead.

Elements of movement Space:

1. Direction—is the line of movement taken which maybe forward, backward,

sideward, diagonal, upward, or a combination of those mentioned.
2. Level—is movement through space that maybe done at a high, low, or
medium level.
3. Range—refers to the area covered as the body moves. It maybe 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.
4. 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.

Movement Qualities:

Movement expression is attained through the elements of time, force and space
.
Time qualities:

1. Movements which is fast

Examples: galloping horse, Jet plane
2. Movement which is slow
Examples: turtle, Flower growing

Force Qualities:

1. Soft light movement

Examples: Fairies, Birds and butterflies
2. Strong, heavy movement
 3

Examples: Elephant, Bulldozer

3. Strong, jerky movement
Examples: Frog, A jumping jack
4. Smooth, sustained movement
Examples: Airplane, Fish swimming

Space Qualities:
1. Movement up and down
Examples: Bouncing ball, Yo-yo
2. Movement across, back and forth or around
Examples: Rowing boat, A merry-go-round
3. Movement which is low
Examples: Ants, Turtles
4. Movement which is high
Examples: Kites, Clouds

PHASES OF THE DANCE PROGRAM

1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative
rhythm is an end product of exploration and improvisation of movements as
children learn to move the parts of their body and to use them as instruments
of expression.

2. Folk/ Ethnic dance

Is a cultural art form 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, pandanggos, 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.

3. Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with a more
formal atmosphere than the simple and informal parties in which the
recreational dances are the usual forms. Social and ballroom dancing are
generally held in the evenings. The participants are usually in formal attire.

4. Recreational Dance
Includes dance mixers, square dance round, and couple dances. Many of
these dances have simple patterns and combinations of walking steps, polka
step, and the waltz step. The setting is usually informal gatherings and
parties, reunions etc.

5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and
improvisation of movements as the dancer, or the choreographer expresses
his feelings or emotions, ideas, and interpretations. This is a dance with a
definite form, a beginning, and an ending. The principles of the art form are all
observed in the composition of the dance.
Examples of creative dance are ballet, jazz, and modern or contemporary
dance.
 4

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.

Types of Folk dances:

1. National – traditional dances of a given country.
2. Regional – local.
3. 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

I. General Classification

A. Geographical extent of origin

1. National dances-found throughout the islands with little or no
modification.
2. Local dances-found in a certain locality.
Examples: Tinikling-Leyte
B. Nature
1. Occupational-depicting action of certain occupation, industry, or human
2. Religious or Ceremonial – performed in connection with religious
vows and ceremonies.
3. Comic dances – depicting funny movements for entertainment.
4. Game dances – with play elements (dance mixers)
5. Wedding dances – performed during wedding feast.
6. Courtship dances – depicting love making.
7. Festival dances – suitable for special occasion or any social
gathering.
8. War dances: showing imaginary combat or duel.

C. Movements
1. Active – with fast energetic movements.
2. Moderate -
3. Slow
4. Slow and Fast

D. Formation
1. Square or Quadrille
2. Long formation (two or more parallel lines)
3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side.
 5

II. Special Classification-Group dances having special distinctive features.

A. Dances with Songs
B. Old Ballroom Dances
C. Dances with Implements
D. Dances of Combined Rhythm

COMMON DANCE TERMS

1. Arms in lateral position – Both arms are at one side either right or left, at
shoulder, chest or waist level.
2. 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.
3. 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.
4. Cut – To displace quickly one foot with the other.
5. 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.
6. Hayon-hayon – To place one forearm in front and the other at he back of the
waist.
7. Hop – A spring from one foot landing on the same foot in place or in any
direction.
8. 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.
9. Jump – A spring on one foot or both feet landing on both feet in any direction.
10. Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction.
11. Leap – A spring from one foot landing on the other foot in any direction.
12. Place – To put foot in a certain position without putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
14. Point – Touch the floor lightly with the toes of one foot, weight of the body on
the other foot.
15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
16. 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.
17. 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.
18. 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.
19. 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.
20. 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.
21. Slide – To glide foot smoothly along the floor. The movement may be finished
with or without transfer of weight.
22. Stamp – To bring the foot forcibly and noisily on the floor with or without
transfer of weight.
 6

23. 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.
24. Whirl – To make fast turns by executing small steps in place to right or left.

BASIC DANCE STEPS

2/4 time dance steps

Dance Steps Step Pattern Counting
1. Bleking step heel-place, close 1,2
2. Touch step point, close 1,2
4. Cross step step, cross or cross, step 1,2
5. Change step step, close, step 1 and 2
6. Contraganza step leap, cross-step, step 1 and 2

¾ time dance steps

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step, close, step 1, 2, 3
3. Mazurka step slide, cut, hop 1, 2, 3
4. Redoba step slide, cut, cut 1, 2, 3
5. Sway balance w/
A point step, cross-step, step point 12, 3/ 1, 23
6. Sway balance w/
A waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3
7. Engano w/ a waltz step, cross-step, step, close, step 12, 3/ 1, 2, 3

4/4 time dance steps

1. Schottische step step, close, step hop( raise foot

In front) 1, 2, 3, 4
2. Chotis step brush, raise, brush, raise/
Step, step, step, close 1, 2, 3, 4/
1, 2, 3, 4

CHESS

The game originated in India, before the 6th century AD. From India, the game spread to Persia.
When the Arabs conquered Persia, chess was taken up by the Muslim world and subsequently
spread to Southern Europe.

Persian word “shah” which means king. The Arabic phrase had originated “checkmate” or
“shah mat” which means the king is dead .

India- Chaturanga - "four divisions (of the military)" infantry, cavalry, elephantry, and
chariotry, represented by the pieces that would evolve into the modern pawn, knight, bishop,
and rook, respectively.

Persia- Chatrang which subsequently evolved to shatranj the rules were developed further, and
players started calling "Shāh!" (Persian for "King!") when attacking the opponent's king, and
"Shāh māt!" (Persian for "the king is helpless" –when the king was attacked and could not
escape from attack; these exclamations persisted in chess as it traveled to other lands
thereafter.
 7

Mongols call the game shatar, and in Ethiopia it is called senterej, both evidently derived from
shatranj.

In some parts of India the pieces in the places of the Rook and Knight and Bishop were renamed
by words meaning (in this order) Boat, Horse, Elephant, or Elephant, Horse, Camel, but keeping
the same moves.

China- Shogi (Chinese chess is played on the intersections of the lines on the board, rather than
in the squares.Chinese chess pieces are usually flat)

Mongolia Chess is recorded from Mongolian-inhabited areas, where the pieces are now called:

King: - Noyon - Ноён - lord

Queen - Bers / Nohoi - Бэрс / Нохой - dog (to guard the livestock)
Bishop: - Temē - Тэмээ - camel
Knight- Morĭ - Морь - horse
Rook - Tereg - Тэрэг - cart
Pawn - Hū - Хүү - boy (the piece often showed a puppy

PLAY AND THE OBJECT OF THE GAME

White always starts the game by moving one of his pieces, usually a pawn is first moved
in order to open up diagonals and files for the stronger pieces behind the pawns.

The goal is to trap the opponent’s king so that he can avoid capture. Whenever one of the
players threatens to capture an opponent’s king, the player calls “check”.

DRAWN GAMES

A game is called a draw if any of the following occurs:

1. Neither player has enough pieces left for possible checkmate.

2. One player, whose turn it is to play, has no legal move and it is not on check. This is
called “stalemate”. After checkmate, the player also has no legal move, but his or her
king is on check.
3. The same position is repeated three times during a game, with the same player about to
move.
4. One player can prove that opponent’s king can be checked endlessly.
5. Neither side has made a capture or moved pawn for the last 50 moves.

Swimming
Swimming has been recorded since prehistoric times; the earliest recording of
swimming dates back to Stone Age paintings from around 7,000 years ago. Written references
date from 2000 BC. Some of the earliest references to swimming include the Gilgamesh, the
Iliad, the Odyssey, the Bible, Beowulf, and other sagas. In 1578, Nikolaus Wynmann, a German
professor of languages, wrote the first swimming book, The Swimmer or A Dialogue on the Art
of Swimming. Competitive swimming in Europe started around 1800, mostly using breaststroke.
In 1873, John Arthur Trudgen introduced the trudgen to Western swimming competitions, after
copying the front crawl used by Native Americans. Due to a British disregard for splashing,
 8

Trudgen employed a scissor kick instead of the front crawl's flutter kick. Swimming was part of
the first modern Olympic games in 1896 in Athens. In 1902 Richard Cavill introduced the front
crawl to the Western world. In 1908, the world swimming association, Fédération
Internationale de Natation (FINA), was formed. Butterfly was developed in the 1930s and was
at first a variant of breaststroke, until it was accepted as a separate style in 1952.

Ancient times Cave paintings from the Stone Age were found in the "Cave of Swimmers"
near Wadi Sora on the Gilf Kebir plateau in southwestern Egypt, near the Libyan border. These
pictures seem to show breaststroke or dog paddle, although it may also be possible that the
movements have a ritual meaning unrelated to swimming. This cave is also featured in the
movie The English Patient. An Egyptian clay seal dated between 4000 BC and 9000 BC shows
four swimmers who are believed to be swimming a variant of the front crawl. More references
to swimming are found in Babylonian bas-reliefs and Assyrian wall drawings, depicting a variant
of the breaststroke. The most famous drawings were found in the Kebir desert and are
estimated to be from around 4000 BC The Nagoda bas-relief also shows swimmers inside of
men dating back from 3000 BC The Indian palace Mohenjo Daro from 2800 BC contains a
swimming pool sized 30 m by 60 m Written references date back to 2000 BC including
Gilgamesh, the Iliad, the Odyssey, the Bible (Ezekiel 47:5, Acts 27:42, Isaiah 25:11), The
Germanic folklore describes swimming, which was used successfully in wars against the
Romans.

VALUES OF SWIMMING

1. Physical fitness
2. Hygienic purpose
3. Recreational
4. Safety and survival
Floating is the ability of a person to remain afloat on the water’s surface.

Kinds of floating skills

1. Prone float
2. Back float
3. Jellyfish float
4. Turtle float
SAFETY RULES

1. Always swim with a buddy – never alone. The ideal way to swim is not only with
someone, but also in the vicinity of a trained rescuer.
2. Know your swimming limits and stay within them. Don’t try to keep up with a stronger
swimmer and keep an eye on weaker swimmers.
3. Alcohol and swimming don’t mix. Alcohol impairs your judgment balance and
coordination.
4. Swim in supervise areas only.
5. Watch out for dangerous “toos” – too tired, too cool, too far from safety, too much sun.
6. Do not chew gum or eat while swimming. You could easily choke
7. Obey “No Diving” signs that indicate the area is unsafe for first head entries. Always
enter the water feet first if you don’t know the depth. In addition, learn the correct way
to drive from a qualified instructor.
 9

HAZARDS AND SAFETY MEASURES

1. Individuals should not swim in conditions that their ability and experience will not allow
them to handle. For inexperienced recreational swimmers many safety hazards exist.
2. Misjudging a dive and hitting ones head at the bottom
3. Holding ones breath too long.
4. Becoming exhausted
5. Experiencing sudden cramps while too far from the shore or other swimmer.
6. In rivers and oceans all swimmers should respect the power of nature. Powerful waves,
tides, and current can overpower even the most experienced swimmers, sweeping them
out beyond safety or throwing them into coral or rocks. Caves pose additional danger
because swimmers can be trapped inside.
COMPETITIVE STROKES Survival/Resting Stroke
CRAWL STROKE ELEMENTARY BACKSTROKE
BACK STROKE SIDE STROKE
BREAST STROKE TRUDEN STROKE
BUTTERFLY STROKE

CRAWL
Is the fastest and most efficient swimming technique. It is also called the freestyle
because swimmers use it in freestyle events, which allow the use of any stroke. The leg
move in Flutter kick, moving up and down quickly and continually.

BACKSTROKE
It is the only stroke that is swum on the back with the swimmer looking up. Swimmers
need no breathing technique in this stroke and swimmers use the same kick with that a
crawl stroke.
 
BREASTSTROKE
It is one of the easiest and relaxing stroke for novice , but on the other hand it uses
more energy and it is difficult to perform compared to crawl and backstroke if it is swim
at a fast pace. It uses Frog kick.

BUTTERFLY
The Butterfly stroke is powerful, graceful, and fast. More than any other stroke it relies
on good technique. Each arm stroke is complemented by two Dolphin kicks.
 
ELEMENTARY BACKSTROKE
A swim stroke that expends minimal energy with simple arm and leg movements

SIDESTROKE
It is used as a life saving technique because the lifesavers head remains above the water
at all times and one arm stays free to help the distressed swimmer. It uses scissors kick.

THE TRUDGEN
A variation of the Crawl stroke used by rescuer on its approach to a swimmer in distress
 10

TERMINOLOGY

1. Aquatic – water activities of all kinds swimming, boating, sailing, etc

2. Bobbing – process of raising the head from beneath the surface and then submerging
again in a rhythmical pattern.
3. Buoyancy – property and tendency of the body that makes floating possible.
4. Coordination – proper movements controlled accurately as to direction, force, and
training to produce efficient action.
5. Extension – to stretch out the entire body.
6. Flexion – bending of the body at a point.
7. Float – to sustain the body position with little or no movement
8. Stroke – a complete pattern of arms and leg movement which propels the body through
the water.
9. Turn – a reversal of direction at the end of the pool or course
10. Flutter kick – a rapid beating of the legs up and down alternately.
11. Frog kick – a kick used especially in breast stroke, in which legs are first simultaneously
bent, then straightened, to push the swimmer along.
12. Dolphin kick – feet are kept together and brought down then up again, much like the
motion of a dolphin’s tail.
SWIMMING OFFICIALS

Referee , Form swimming referee, Clerk, Official scorer, Finish judges, Judges of form
swimming, Judges of diving, Time keeper , Starter, Announcer , Turn and lane inspector

Volleyball
The game of volleyball, originally called “mintonette,” was invented in 1895 by William
G. Morgan after the invention of basketball only four years before. Morgan, a graduate of the
Springfield College of the YMCA, designed the game to be a combination of basketball,
baseball, tennis, and handball.

William Morgan, the game’s creator, would still recognize it because Volleyball has retained
certain
distinctive and essential elements over the years. Some of these it shares with other
net/ball/racquet games:
–– Service
–– Rotation (taking turns to serve)
–– Attack
–– Defence

The first volleyball net, borrowed from tennis, was only 6’6″ high (though you need to remember
that the average American was shorter in the nineteenth century).

The offensive style of setting and spiking was first demonstrated in the Philippines in 1916. Over
the years that followed, it became clear that standard rules were needed for tournament play, and
thus the USVBA (United States Volleyball Association) was formed in 1928.

The introduction of a specialist defensive player – the Libero – has moved the game forward in
terms of rally length and multi-phase play. Modifications to the service rule have changed the act
of service from simply a means of putting the ball in play to an offensive weapon.
 11

Volleyball Equipment & Facilities

Volleyball Court Dimensions
The Volleyball court is 60 feet by 30 feet in total. The net in placed in the center of
the court, making each side of the net 30 feet by 30 feet. (18 x 9 m)

Center Line
A center line is marked at the center of the court dividing it equally into 30 feet
squares, above which the net is placed.

Attack Line
An attack line is marked 10 feet of each side of the center line.

Service Line
A service line, the area from which the server may serve the volleyball, is marked
10 feet inside the right sideline on each back line.

The Net
The net is placed directly above the center line, 7 feet 4 inches above the ground
for women and 8 feet above the ground for men.

Poles
Volleyball poles should be set at 36 feet apart, 3 feet further out from the sidelines.

Ceiling Height
The minimum ceiling height should be 23 feet, though they should preferably be
higher.

Six Basic Skills of Volleyball

Serve-Used to put the ball in play. The action is done with arm swing that sends the ball over the
net into the opponent's court.

Forearm Pass-Used to receive the ball from your opponents, as in service, or as a technique to
accurately control the ball in a way that eliminates lifting or carrying the ball. the fundamental
action of passing is to rebound the ball off of the forearms (which are held together tightly with
the palms and thumbs positioned together) from a slightly squatted and balanced position.

Setting- Used to receive a teammate's pass in order that the play may continue by passing the ball
overhead to an attacker. the fundamental action of setting is to contact the ball with the finger
pads momentarily at the forehead and following through with arms fully extended to the hitting
target.

Kill or Attack-Used to put the ball into the opponent's court in order to earn a point or side out.
the fundamental action of attacking incorporates a quick approach followed by a strong, full arm
swing, and follow-thru.

Block-Used to stop the ball from crossing the net as a result of an opponent's attack. A block is
effective if it immediately places the ball back into the opponent's court or if it temporarily slows
down the ball in order for a defender to make a dig. The fundamental action of blocking is to
stand facing the net with feet shoulder width apart, arms nearly extended above the head, ready
to jump above the net to deflect the ball back into the opponent's court.

Floor Defense-used to receive the opponent's attack. The key skills are digging and sprawling.
The dig resembles a forearm pass from a low ready position and is used more for balls that are
 12

hit near the defender. The sprawl is a result of an attempted dig for a ball that is hit further away
from the defender and resembles a dive.

RULES
1. If two or more faults are committed successively, only the first one is counted.

2. If two or more faults are committed by opponents simultaneously a double fault is called and
the rally is replayed.

3. Match is won by the team that wins 3 sets.

4. In the case of 2-2 tie the deciding 5 th set is played to 15 points with a minimum lead of 2
points.

5. If a team refuse to play after being summoned it is declared in default and forfeits the match
with the result 0-3 for the match and 0-25 for each set.

6. After the service hit, players may move around and occupy any position on their court and
the free zone.

Positional fault

7. Team commits a fault if any player is not in his/her correct position at the moment the ball is
hit by the server.

8. If the service becomes faulty after the service hit, it is a positional fault that will be counted.
Consequence: Team is sanctioned with a point and service to the opponent.

9. Rotational fault is committed when service is not made according to the rotational order.
Consequence: Team is sanctioned with a point and service to the opponent.

10. Each team is entitled of 3 hits for returning the ball

11. A player cannot hit the ball 2 times consecutively

12. Ball must not be caught or thrown, it can rebound in any direction

13. Each team may request 2 maximum of 2 time-outs and six substitution per set. All
requested time-outs last for 30 seconds.