HOPE 3 Handout

Health Optimizing Physical Education 3
1st Semester
Dance: An Introduction
Guided with the test protocols of the different test for health-related fitness,
perform the test with the help of any members of your family. The Test
Protocols contain the materials you need, the procedure and the
interpretation of your scores/results.
Before performing the test, be sure to do the following:
1. Answer the Physical Activity Readiness Questionnaire (PAR-Q) and

record all scores/results in the Physical Fitness Record Card. Get a
copy from your teacher/facilitator.
2. 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.
3. Do not take food or drinks three (3) hours before taking the BMI test.
4. Make sure that the facility is safe for the administration of the test.
5. Conduct warm-up exercises and dynamic stretching exercise before
the tests except for the 3-Minute Step Test.
6. Perform cool-down exercises after the fitness test.
7. Perform the test in a challenging, encouraging, and fun-filled
environment.
8. BE HONEST in conducting the test. This will not be graded. Results
will be your basis in setting your fitness goal, to achieve and/or
maintain health-related fitness.
TEST PROTOCOLS
 3-MINUTE STEP TEST
 PUSH-UP
 BASIC PLANK
 ZIPPER TEST
 SIT AND REACH
 BODY MASS INDEX

Lesson 1: Dances from the Past
What is Dance?
Dance comes from the German word damson, which means “to stretch or “to
drag”. It developed as a natural expression of united feeling and action. Dance
is considered the mirror of the society because it responds to historical and
religious events as well as social and political statements.
Although there have been immense comparative differences in period and

culture, people still dance mainly for four reasons: (a) to please gods; (b) to
please others; (c) to please themselves; and (d) to build community within an
ethnic group or social interaction.
History and Development of Dance from the Different Periods
 Dance During the Prehistoric Period

 It had been a major form of religious ritual and social expression
within primitive culture.
 It was used as a way of expression and reinforcing tribal unity and
strength.
 It is based on superstition and infused with magic. Shamans as lead
dancers acted as physicians and religious leaders and kept tribes
healthy, prosperous and safe.
 Dance During the Ancient Civilization

 Ancient Egypt.
 3,300 BCE (First Dancing). It is believed that the first people to
dance were the Egyptians. Archaeologists discovered paintings of
dancing figures in rock shelters and caves.
 As a way of expressing religious service and teaching ancient
myth, three (3) major dancers were evolved:
(1) the king;
(2) the priests who performed magical dances;
(3) virgin dancers who were trained to perform during
ceremonies led by the priests.
 Ancient Crete.
 The Cretan civilization (3000-1400 BC) was a cultural link in the
ancient world between Egyptians and Greeks.
 Cretans used dance to perfect their military training which
made excellent.
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 Ancient Greece.
 Dance was not just for religious and military training but also a
form of entertainment and display.
 Plato immensely gave importance to dance in education as stated
in the education on the Laws. He highlighted the two kinds of
dance and music: the noble (fin and honorable) and the ignoble
(imitating what is mean or ugly).
 Ancient Rome.
 Gave less importance to dancing which eventually became an
integral part of the corruption in the latter days of the Roman
Empire resulting in the condemnation of dance by early
Christians.
 Dance was primarily performed for religious, social and
entertainment. However, theatrical entertainment was prohibited
but still existed and was performed within church during
religious ceremonies.
 Dance During the Middle Ages and The Renaissance

 1400 (Ballet Comes into Play). Ballet started in this year in Italy, but
didn’t really become popular until around the year 1500. Ballet
gained its popularity when a lady of the arts, Catherine de Medici,
married King Henry 11 and threw festivals where they would perform
ballet dances. Ballet is believed to be the main core of every single
dance style.
 A vast dance movement occurred throughout the courts of Europe
in the 15th and 16th centuries. During these times, new court dances
performed by the nobility came about as well as the rise of the art
of ballet in Italy and France.
 Several other dance forms continued to sprout and spread across
several countries.
Lesson 2: Dancing toward the 21st Century

Modern History
 Dance During the Late 16th and 17th Centuries (1501-1700)

 1600 (Masque Dancing). Masque dancing started from elaborate
pageants and shows in the 16th century. Masque dancing involved
intricate costuming and stage designing that also incorporated
singing and acting as well as dancing. It was often used as a court
entertainment.
 A period in the history of dance in Italy, France, and England which
was considered to be pleasantly deep and rich. France became the
forerunner in dance during this period.
 Dance increased as a court amusement and later transformed into
professional entertainment.
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 Dance During the 18th Century (1701-1800)
 1795 (Classical Persian Dancing). This style of dance evolved from
courtroom dancing. An era influencing Persian dance was the Qajar
Dynasty which lasted from 1795 to 1925. Dancers would perform
artistic and lively dances for the Shah. The music is usually played
by a small band.
 1800 (Tippity Tappity, Time for Tap). Tap dancing originated from
African tribe dancing. Tap dancing makes percussion sounds
because of dancers most commonly wearing leather shoes with two
pieces of metal and clip and clap against hard floors. Tap is still very
popular to this day.
 Dance During the 19th Century (1801-1900)

 1890 (Merengue Dancing). It is a Caribbean dance style that
involves partners holding each other in a tango-like position and
moving their hips side to side.
 1900 (Jazz and Acro). It involves doing smooth and flexible
movements, and lots of back bending and tricks. Both styles are
widely popular to this day.
 Ballroom dances also emerged during this period like Cotillion,
Polonaise, Quadrille, Waltz and Polka.
 20th Century Dances (1901-2000)

 Described as a period of “dance fever” wherein the young and old
alike were not limited to express emotions through dance.
 1950 (Contemporary Dance). Contemporary dance is a style that
combines jazz, ballet, and modern dance. It can be many different
styles, but most of the time it is melancholy and or intense.
 1970 (Hip Hop Dance). There are many styles of hip hop that
include breaking, popping, locking, and more. Street dance was
performed both in night clubs and on the streets. It is associated
with funk, breakdancing, and hip-hop.
 Several social dance movements also evolved such as castle walk,
tango, foxtrot, Charleston, Lindy Hop, Rumba, Mambo, Cha-Cha-
Cha, Samba, Bossa Nova, Boogaloo and Twist.
 Popular fad dances also emerged like YMCA and Macarena.
 21st Century Dance (2001- Present)

 2018 (Dance Nowadays). Today's dance style has taken a turn
towards more hip hop dances. Small and popular dances that
involve hip hop and that most everyone can achieve include the whip
and nae nae, Gangnam Style (it’s a little old), shooting, and more.
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Lesson 3: Health-Related Fitness (HRF) and FITT
Principles
The Health-Related Fitness Components
Before engaging any physical activities, you need to self- assess your health- related fitness status
and determine barriers to physical activity participation. Health-related fitness involves exercise
activities that you do in order to try to improve your physical health and stay healthy.
Cardiovascular endurance is the ability of the heart and lungs to work together to provide the needed
oxygen and fuel to the body during sustained workloads. The 3-minute Step Test is used to test
cardiovascular endurance.
Muscular strength is the amount of force a muscle can produce. The Push- Up Test is most often used
to test muscular strength.
Muscular endurance is the ability of the muscles to perform continuous without fatiguing. The Basic
Plank is most often used to test muscular endurance.
Flexibility is the ability of each joint to move through the available range of motion for a specific joint.
The Zipper Test and Sit and Reach Test is frequently used to test body flexibility.
Body composition is the amount of fat mass compared to lean muscle mass, bones and organs. The
BMI is defined as the body mass divided by the square of the body height, and is universally
expressed in units of kg/m², resulting from mass in kilograms and height in meters.
Getting FITT with Dance
When engaging in any form of dance, always consider the FITT (Frequency, Intensity, Time, Type)
principle of training to be able to perform efficiently and minimize unnecessary body stress and
injury.
Frequency (How Often)- number of training sessions that are performed during a given period
(usually one week). About 3 to 4 times per week or more are the recommended times of exercise for
an individual. Rest or easy days are in between to allow your body to recover from physical exertion.
Example:
Goal Sun Mon Tues Wed Thurs Fri Sat

Work- Work- Work- Work- Work-
Cardio-vascular (3- out out out out out
Munite Step Test) Rest Session Session Rest Session Session Session
1 2 3 4 5
Intensity (How Hard)- an individual’s level of effort (light, moderate, vigorous). Example:
Sample Activities Light Moderate Vigorous

Cardiovascular Endurance Slow walking Fast walking Jogging
This Rate of Perceived Exertion (RPE) scale below is used to measure the intensity of your exercise/
physical activity. This value gives a reference point for an individual’s internal load which can be
compared with others during a similar session.
RPE CHART (Rate of Perceived Exertion)

Rate Level Effort Description
8
 Feels almost impossible to keep going
10 Maximum Effort Activity  Completely out of breath, unable to talk
 Very difficult to maintain exercise intensity
9 Very Hard Activity  Can barely breathe and speak a single
word
7-8 Vigorous Activity  On the verge of becoming uncomfortable
 Short of breathe, can speak a sentence
 Feels like you can exercise for hours
4-6 Moderate Activity  Breathing
 Feels like you can maintain for hours
2-3 Light Activity  Easy to breathe and carry on a
conversation
1 Very Light Activity  Anything other than sleeping, watching TV,
riding a car, etc.
Time (How Long)- duration of a workout (including warm-up and cool-down) or the length of time
spent in training. To improve health-related fitness, trainers recommend 20 to 30 minutes of nonstop
exercise. Time should be decreasing as the intensity of the activity is increasing.
Example:
Goal Sun Mon Tues Wed Thurs Fri Sat

Slow Slow Fast
walking Walking walking Jogging Jogging
Cardio-vascular Rest 30 30 Rest 25 20 20
minutes minutes minutes minutes minutes
Type (What Kind)- mode of physical activity (swimming, jogging, dancing).
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Activity 1.1. Arrow It Out!
Follow the arrows and supply the blank portion of the Mind Map. Possible
answers are inside the box. Write the letter of your choice.
7.
1. 8.
6.
Shaman
as lead 2.
dancer
5. 3.
4.
10. 9.
(a.) Whip, Nae Nae and Gangnam style (f.) Ballet comes into play
(b.) Contemporary & Hip Hop dance (g.) Theatrical performance in churches
(c.) Merengue, Jazz and Acro dancing (h.) Noble and Ignoble dancing
(d.) Classical Persian & Tap dancing (i.) Dance for military training
(e.) Masque dancing (j.) Dancing figures on caves
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Activity 1.2. My Fitness Map!
Complete the graphics below by answering the questions found inside the
box. Choose the letter only.
1. It is the ability of the heart and lungs to work together to provide the needed
oxygen and fuel to the body during sustained workloads.
2. Push up is most often used to test .
3. It is the ability of the muscles to perform continuous without fatigue.
4. The Zipper and Sit and Reach Test is most often used to test
.
5. It is defined as the body mass divided by the square of the body height.
f. Cardio-vascular
a. Body
Endurance
Composition
e. Dance
b. Flexibility
d. Muscular
Strength
c. Muscular
Endurance
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Activity 1.3. My FITT Goals!
Now that you have assessed your fitness level, you are now ready to engage
in moderate to vigorous physical activities. But you need to set fitness goals
based on FITT principles to achieve/maintain HRF. Try to make your own
FITT Plan.
Principle Sample Your FITT Goal

FREQUENCY (how often) 4-5 times a week
INTENSITY (how hard) 2-4 sets (10-20 repetitions)
TIME (how long) 30- minutes
TYPE (what kind) * Push up (Poor Result)
Cardio-vascular endurance,
Muscular strength, Muscular
endurance, Flexibility,
Weight Loss (BMI)
* Focus on what type of health-related fitness that you got Fair, Poor, Very Poor and Needs
Improvement. Refer to the Physical Fitness Result Card.
If all results are within the standards (Excellent, Very Good, Good), still you need to make your
FITT Goal. Just maintain doing it. Remember, your target is to improve!
Activity 1.4. Let’s Work It Out!

Based on your FITT Goal, make an Activity Exercise Work-Out Plan. Be
guided with the Rubrics found at the Answer Key page.
My Activity Exercise Work-out Plan
Goal: (why you will do physical activity/exercise? It must be specific)
Date of Implementation: (when will you start conducting your plan?).
Note: You will implement this plan for the whole duration of the semester (8 weeks).
Activity: (refer your set(s) of activity on your FITT plan)
Week Mon. Tues. Wed. Thurs. Fri. Sat. Sun.
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Activity 1.5. My Fitness Journal!
Make a creative Fitness Journal by answering the following questions based
on your personal experience upon conducting the activities. Your work will
be rated according to the given Rubrics below.
1. How do you feel the activity?
2. What challenges do you encounter in performing the activities?
3. What do you feel about the results you got?
4. What are the exercise(s) that you find it difficult to perform? Why?
5. What are the exercise(s) that you find it easy to perform? Why?
6. Are you satisfied with your current body composition and quality of life?
If not, are you willing to do something about it to properly resolve your
problem?
7. How do these activities affect you and your lifestyle?
8. What do you think is the importance of assessing your health- related
fitness before engaging any moderate to vigorous physical activities?
Rubrics for Journal Writing
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Art Dance: Ballet and Modern
After going through this lesson, you are expected to:
1. discuss the nature of ballet and modern dances;
2. demonstrate proper etiquette and safety in the use of facilities and
equipment; and
3. engage 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.
How far do you know of this dance moves? Identify if the picture illustration
of a dance move is (A.) Ballet or (B.) Modern. Count the number of correct
response and check the results in the interpretation table found at the Answer
Key page of this module.
1 2 3 4 5
6 7 8 9 10
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Locomotor and Non-Locomotor Movements
Prior to learning ballet and modern dance, it is essential to review on

locomotor and non-locomotor movements. Inside the bowl are different
movements. Try to categorize it as: (A.) Locomotor or (B.) Non-Locomotor.
1. Twisting A B 6. Bending
9. Stretching
Fundamental Position of the Arms and Feet
There are also five fundamental or basic positions in dance that are commonly
termed as: (1.) first position, (2.) second position, (3.) third position, (4.) fourth
position, and (5.) fifth position of the arms and feet. Label the corresponding
positions accordingly.
a b c d e
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Lesson 1: BALLET DANCE
Brief History
Ballet was taken from the Italian word “ballare”, meaning to dance, and
“ballo”, referring to dances performed in a ballroom. It started as a
performance in the royal court where the male servants would execute a
movement related to the course they are serving during a court dinner. It
was in the 15th century during the Renaissance period when ballet began in
Italy. From Italy, Catherine de Medici (Queen of France) brought it to her
country which marked the staging of ballet and further developed at the
French courts during the 16th century. In 1672, ballet then also became a
profession. Ballet in the French courts became so popular that it spread and
influenced the entire Europe. Many of the features that we see in ballet
today began only during the Romantic era in the 19 th century. Ballet was
imported to Russia during the country’s first period of Westernization when
many European fashions, including dance, were emulated. The end of the
19th century gave birth to classical ballet in Russia where it rapidly grew in
popularity. Ballet and the arts in general experienced an enormous change
during the 20th century. This was due to the Russian Revolution, World
Wars, and liberation of women. It was also in this time that ballet reached in
the United States. The American colonization paved the way for the
introduction of classical ballet in the Philippines. Although ballet in the
Philippines started a little later compared to European and Western
countries, it does not fall far behind when it comes to producing world-class
ballet performances. Several ballet companies such as Ballet Philippines and
Ballet Manila have prospered and are recognized internationally. They also
have trained and produced dancers of international caliber.
Ballet today has become multifaceted and several of its forms are linked
together to create what is now known as modern ballet. Ballet acts as
backbone for many other genres of dance. It was created from techniques
that have been established over centuries. It is a type of dance compelled
with rigorous code of technical guidelines. Considering the five fundamental
positions of the feet and legs and accompanying positions of the arms and
hands, one can say that the language of ballet is objective, specific, and fix.
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Nature and Characteristics:
 It requires an erect spine, turned out hips, proportioned and balanced

action, and carving fluid lines.
 Elevation, alignment, pointing of the foot, moving and posing of arms
(port de bras), flexibility, and lightness are the other foundations for a
ballet dancer.
 In classical manner, will require for an adagio (slowly), and with male
and female dancers performing together (a pas de deux) or four (quatre)
 Used pantomime to clarify movement.
 Have the capability to convey stories that bring an audience to
another world.
Fundamental Movements:
Term Illustration Performance Tips

 Can be done in all five positions
 (Grand-Plie) – full bend, bend
deeper and let the heels come
1. Plie off the ground while coming up
(plee-ay)
Straighten the knees and stand
tall
 To bend  (Demi-Plie)- half bend
 Begin with a demi-plie in order to

2. Releve push up from the floor
(ruh-leh-vay)  Straighten the knees and lift the
heels at the same time keeping
 To rise
the toes on the floor
 This can be done in all five

3. Saute positions
(soh-tay)  Start in a demi-plie, execute a
vertical jump into the air and end
 To jump
in starting position
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 Raise one leg and extend behind
4. Arabesque the body
(ah-ra-BESK)  You can use a variety of arm
shapes to harmonize with its
long, extended line
 Start in releve position

5. Balance  Shift feet in 5th position with a
(ba-iahn-SAY) rock step and bend side
 End with a deme- plie
1. 2. 3.
6. Chaines
(sheh-NAY)  Start in 1st position in a releve
 A series of  Execute a rapid traveling turns
rapid turn, on demi-pointe staying in 1st
a chain or positions
links
4. 5. 6.
7. Changement
 Begin in fifth position demi-plie,
(shanzh-MAHN)
 Spring straight up, change the
 To change position of the feet in the air
placement  Land with the opposite foot front
of heels 1. in fifth position demi-plie
2. 3.
with a jump
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 Start in a 1st or 3rd demi-plie
position
8. Chasse 1. 2.  Shift the weight so the front leg
(sha-SAY) slides along the floor to 4th or 2nd
position
 A chasing
 Pull both legs together in the air
/connecting
3. 4. in the chasse to the side
step
 Both feet land together in the
starting demi-plie position
 Lift the foot from 5th position to

9. Developpe touch the ankle
 Raise the foot to the knee in retire
(dayv-law-PAY) keeping the hip level and not
 To unfold lifting with the leg
 Start in 5th position demi-plie

 Do a degage (raise) in plie with
the working foot, pushes off the
standing leg straight up, and
10. Jete then lands on the working leg
with the standing leg in a coupe
(zhuh-TAY)
position.
 It means  In Grand Jete, this step is
thrown executed by brushing the leg high
into the air, pushing off the back
leg, and performing a leap. In
both cases, this step may be
executed in various directions
LESSON 2: MODERN DANCE

Brief History
Modern dance developed independently in America and Germany. It was then

known in Germany as Ausdruckstanz, meaning expressive dance. Modern
dance, a term to describe contemporary dance, is a style of dancing where
dancers are free to express their feelings through movements without
adhering to any rules in dance particularly that of ballet. It is a dance style
that rejects many of the strict rules of classical ballet, focusing instead on the
expression of inner feelings. At the beginning of the 20th century, a group of
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pioneering dancers started creating a new movement that suited the tempo
and pulse of the new century. The pioneering artists were Isadora Duncan,
Ruth St. Denis, and Ted Shawn. All of them studied ballet but found it not
suitable to their temperament and movement style. They also found it
confining and rejected it. Duncan’s style of dancing emanates from the center
of the body where energy flow outward, providing impulses for actions. Her
aim was to create the classical ideals of the ancient Greeks through her
dancing, putting less emphasis on theatrical effects and focus in pure
movement and the use of the body. Unlike ballet, dancers of modern dance
use their own interpretations instead of structured steps. They thrust aside
classical ballet stance of an upright, erect body, and instead often opt for
deliberate falls to the floor. Beauty and ethereal qualities of the human
situation is what is mostly being emphasized in ballet, while modern dance
portrays the actual human situation as it is.
 Dancers are barefoot, often work with feet and legs parallel, have
flexible torso, and use weight and gravity to create movements and
shapes.
 The choreography uses all level and points in space, including the floor.
 Dancers may be placed sideways or even with backs turned to the
audience.
 Explore the body in action, and give attention to choreographic
materials that mirror social affairs with potential for movement from
contemporary life.
 Uses minimal prop designs and costumes.
 Movement are spontaneous performed by dancers in response to
suggestions by the choreographer, thus allows considerable freedom to
the dancer.
Term Illustration Description
The dancers stands with the

head and the spine in
1. Laterals
alignment and the
supporting foot turned out
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A torso twist that begins in
the pelvis. As the body
turns, each level is
2. Spiral separately articulated all
the way up the spine-pelvis,
lower spine, mid-section,
shoulders , neck, and head
Is a very high jump in a

split, but although both legs
are parallel to the floor, the
front leg is bent from the
knee inward. Most often the
3. Stag Leap arms are either thrust up in
a V with palms facing out
and down, or one-forward,
one-to-the-side in a ninety-
degree angle and palms
down
The supporting knees is

slightly bent; the other leg is
up in the air and bent
behind the body. The arm
on the supporting side is
4. Stag Turn thrust straight back with
the palm down. The
opposite arm is thrust
cleanly forward with the
palms down as the dancer
turns
around
Is a hop that lands in a deep

second-position plie- the feet
5. Primitive Squat
are turned out heel to heel
and the knees are bent
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A series of moves but the
basic movement makes a
“tabletop” of the body. The
6. Flat Back
dancer strands in a second
position- feet turned out
heel-to-heel
The dancer balances on the

balls of the feet, keeps a
straight back and head, and
7. Hinge sends the knees forward as
the torso tilts back and the
arms are held straight out in
front
The action begins in the

pelvis, and articulates up
the spine as the breath is
exhaled. The dancer aims to
8. Contraction lengthen the space between
each vertebra as the move
progresses to the neck and
the head, which are always
in alignment with the spine
This occurs upon inhalation

and also begins in the
pelvis. The move travels up
the spine in the same order
9. Release
as the contraction,
restoring the torso to a
straight alignment. It
typically counters the
contraction
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An action that tilts the
breastbone up rather than
ending with the spine and
upper body in an upright
neutral position. The
10. High Release shoulder blades appear to
rest on a bar or shelf. The
head remains aligned with
the spine and the rib cage
remains over the hips. The
lower back is not bent.
LESSON 3: SAFETY IN DANCING

Dance may look effortless, but it requires a lot of strength, flexibility and
stamina. It also comes with a high risk of injuries. Whether you are a dancer,
the parent of a dancer or a dance teacher, you should be aware of the most
common dance injuries and learn how to avoid them. Dance is a physically
demanding activity. Dancers perform repetitive movements for several hours
a day. Studies have shown that dancing five hours a day or longer leads to an
increased risk of stress fractures and other injuries. The following are to be
considered in order to promote safety in dancing:
Proper Posture
Good posture is vital for control, safety, and expression. Poor posture or
alignment of one part ricochets throughout the rest of the body. The correct
postural line runs from the ear lobe, the center of the shoulder and hip, in
front of the ankle, and down through the foot. The shoulders, hips, and knees
should be on the same level along the imaginary line. Dance programs
usually emphasize the importance of core stability and body awareness.
However, having improper posture while dancing may cause problems in
the future and lead to some chronic injuries. The following faulty alignment
in training must be avoided:
1. weight too far back,

2. failing to turn out from the hips,
3. twisted hips,
4. feet overturning/rolling, and
5. misuse of muscle groups.
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Knowing Dance-Related Injuries
There are two types of musculoskeletal injuries: acute and chronic. Acute injuries
occur when the mechanical force that is absorbed by the musculoskeletal structure
is more than what it is accustomed to. Chronic injuries occur due to repetitive
trauma and the body is not given enough time to recover. Below are common acute
dance-related injuries, cause, symptoms and prevention:
Type of Injury Cause Symptom Prevention
Exercises that
Twists the ankle Pain at the side of strengthen the ankle
Ankle sprain
after a jump the ankle and improve
balance
Exercises that
Dancer’s Twists the foot Pain at the outer strengthen the foot
Fracture when turning part of the foot and improve
balance
Sudden movement Pain and stiffness in Proper posture and
Back Strain
of the trunk the low back technique
Exercises that
Twists the knee Pain and weakness strengthen the knee
ACL Tear
after a jump in the knee and improve
balance
Forearm Falls on an Pain and deformity Fall on the side or
Fracture outstretched arm near the wrist buttocks
Stress Prolonged repetitive Pain at the front of

Adequate rest
Fracture loading the leg
Achilles Pain near the heel

Excessive training Adequate rest
Tendonitis in the morning
Patellofemoral
Pain at the side of Strengthening and
Pain Muscle imbalance
the knee flexibility exercises
Syndrome
Poor foot mechanics Pain at the sole
Plantar Proper technique
and hard dance when they take a
Fasciitis and footwear
floor step after sleeping
Hip and Knee Prolonged repetitive Pain that worsen

Adequate rest
Osteoarthritis loading over time
Majority of overuse injuries and even some traumatic dance injuries can be
prevented. Follow these guidelines to reduce your risk of injury:
1. Warm up thoroughly before you start dancing and include stretches.

2. Make sure that you are using the correct posture or technique.
3. Eat well and stay hydrated before, during and after dancing.
4. Get enough rest and avoid overtraining.
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5. Do cross-training exercises to build strength and endurance in all
parts of your body.
6. Always wear proper shoes and attire.
7. Lead a healthy lifestyle and get to know your body.
8. When injuries happen, address them immediately and get advice from
a doctor or physical therapist.
Proper Etiquette and Safety in the Use of Facilities and Equipment
Aside from precautionary measures in dance injury prevention, proper

etiquette and safety in the use of facilities and equipment in dancing has to
be taken into considerations:
1. Take care in using dancing facilities and equipment. It is in good form

to handle them with care and use them solely on their purpose. This is
to prevent having them misplaced, stolen or become unnecessary
clutters in the training area than can cause accidents.
2. Only use dancing equipment that you already know how to use and do
not leave or pass on equipment that is in complete disarray or dirty.
3. Be alert and aware in the dancing/training area.
4. In performing exercises and movement in general, practice good form
first.
5 .Bring back all equipment in place after use.
6. Do not hug the equipment.
7. Return the dancing equipment properly or leave the dance venue clean.
Doing exercises in improper form deficit it's benefits. Do not monopolize
the equipment. Allow everyone a fair use of the facilities.
8. Practice proper hygiene and care. Take a bath or a 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/facilitator 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!
25
Activity 1.1. Fill Me In!
Below is the brief history of ballet and modern dance. Fill in the missing
words in the paragraph. Pick the words scattered in the ballet shoes.
Ballet was taken from the Italian word (1.) , meaning to dance, and “ballo”,
referring to dances performed in a ballroom. It was in the (2.) century
during the Renaissance period when ballet began in Italy. From Italy,
Catherine de Medici (Queen of France) brought it to her country which marked
the staging of ballet and further developed at the French courts during the
(3.) century. Many of the features that we see in ballet today began only
during the Romantic era in the (4.) century. The (5.) colonization paved
the way for the introduction of classical ballet in the Philippines. Modern
dance developed independently in (6.) and Germany. It was then known
in Germany as “Ausdruckstanz”, meaning expressive dance. Modern dance, a
term to describe (7.) dance, is a style of dancing where dancers are free
to express their feelings through movements without adhering to any rules
in dance particularly that of ballet. At the beginning of the (8.) century, a
group of pioneering dancers started creating a new movement that suited
the tempo and pulse of the new century. (9.) , Ruth St. Denis, and Ted Shawn
studied ballet but found it not suitable to their temperament and movement
style. Her style of dancing emanates from the center of the body where
energy flow outward, providing impulses for actions. Her aim was to create
the classical ideals of the ancient Greeks through her dancing, putting less
emphasis on theatrical effects and focus in pure movement and the use of
the (10.) .
c. contemporary
d. Italy
n.19th
e. body
g. 17th j. 15th
h. 18th k. 16th
f. Catherine de Medici
26
Activity 1.2. Choosy Dance!
Read the statements given below. Choose what fundamental ballet and
modern dance movement is being referred to. Choices are inside the
rectangular box.
1. Standing with the head and the spine in alignment with supporting
foot turned out.
2. Brush the leg high into the air, pushing off the back leg, and perform a
leap.
3. Straighten the knees and lift the heels at the same time keeping the
toes on the floor.
4. Hop and lands in a deep second-position plie, feet are turned out, heel
to heel and the knees are bent.
5. A rapid traveling turns on demi-pointe staying in 1st position.
A. Lateral D. Developpe G. Primitive Squat

B. Jete
E. High Release H. Chaines
C. Releve
Activity 1.3 Move It Out!

Execute the basic movements specified below, then identify if the movement
is (A.) Locomotor or (B.) Non-locomotor
1. Stag Turn - opposite arm is thrust cleanly forward with the palms
down and turn around moving forward.
2. Chasse - slide front leg along the floor in 2nd position, pull both legs
together in the air with both feet land together in the starting demi-
plie position.
3. Balance - in releve position, shift feet in 5th position with a rock step
and bend side ending with a deme- plie.
4. Developpe - lift the foot from 5th position to touch the ankle. Raise the
foot to the knee in retire keeping the hip level and not lifting with the
leg.
5. High Release - tilt the breastbone up rather than ending with the spine
and upper body in an upright neutral position.
27
Activity 1.4 Let’s Dance!
Using the fundamental ballet and modern dance movements, create a 60-
minute dance routine. Choose your preferred music and be guided with the
dance pattern applying the dance elements in creating your dance figure.
Rehearse your performance and take a video for documentation and submit
it your teacher/facilitator. Before doing this activity, always follow safety in
dancing protocols. The Rubrics for the dance routine is found at the Answer
Key part of this module.
DANCE PATTERN FOR CHOREOGRPAHED DANCE MOVEMENT

Dance Elements (D.E.S.T.)
Direction *Energy
Basic Movements (forward,
(Sustained,
Shape Timing/
percussive,
(Ballet/Modern) side,
vibratory,
(Arm and Counting
backward, feet (slow, fast,
swinging,
diagonal, positions) natural)
suspended,
circular, and
collapsing)
so on)
1. Locomotor
2. Non-locomotor Not applicable
(combinations of 2 or more)
3. Locomotor
4. Non-locomotor Not applicable
(combinations of 2 or more)
6. Locomotor
7. Non-Locomotor Not applicable
(combination of 2 or more)
* Energy - a dance element that minimizes the monotony of the movements in a
performance such as:
1. SUSTAINED- movements are done smoothly and does not have clear beginning and
ending;
2. PERCUSSIVE- movements are explosive or sharp in contrast with sustained. They
have a clear beginning and ending;
3. VIBRATORY- consist of trembling or shaking. A faster version of percussive
movements;
4. SWINGING - movements trace a curved line or an arc in space;
5. SUSPENDED - movement are perched in space or hanging on air;
6. COLLAPSING – a slow collapse which can be describe as melting or oozing action in
a downward direction.
28
Competitive Dance:
Hip-Hop and Cheerdance
After going through this lesson, you are expected to:
1. discuss the nature of hip-hop and cheer dances;
2. analyze physiological indicators such as heart rate, rate of perceived
exertion and pacing associated with MVPA’s to monitor and/or adjust
participation or effort; and
3. engage in moderate to vigorous physical activities (MVPA’s) for at least
60 minutes most days of the week in a variety of settings in and-out-of-
school.
Prior to learning hip-hop and cheerdance, let’s try to review your fitness
engagements based on your Activity Exercise Work-out Plan in Module 1, and
check how ready are you in learning another physical fitness activity. Rate
your level of activity using the Physical Activity Index, compute for your score
and evaluate it using the Activity Evaluation Table below.
PHYSICAL ACTIVITY INDEX

PRINCIPLE SCORE ACTIVITY
5 Sustained heavy breathing and perspiration
4 Intermittent heavy breathing and perspiration, as in tennis
Intensity 3 Moderately heavy, as in cycling and other recreational sports
2 Moderate, as in volleyball, softball
1 Light, as in fishing
4 Over 30 minutes
3 20 to 30 minutes
Duration
2 10 to 20 minutes
1 Less than 10 minutes
5 6 to 7 times per week
Frequency 3 1 to 2 times per week
2 A few times per week
1 Less than once a month
Computation: Intensity x Duration x Frequency = Score

Your Score: x x =
29
ACTIVITY EVALUATION TABLE
SCORE EVALUATION ACTIVITY CATEGORY
81 to 100 Very active lifestyle High
60 to 80 Active and healthy Very Good
40 to 59 Acceptable but could be better Fair
20 to 39 Not good enough Poor
Under 20 Sedentary Very Poor
How far do you know of this dance moves? Identify if the picture illustration
of a dance move is (A.) Hip-Hop or (B.) Cheerdance. Count the number of
correct response and check the results in the interpretation table found at the
Answer Key page of this module.
1 2 3 4 5
6 7 8 9 10
LESSON 1: HipHop
Brief History
The word hip-hop was derived from the word “hep”, an African-American
vernacular English language since 1904 which means “current”. It was
apparently invented by a New York rapper Kevin Donovan, (known as Afrika
Bambaataa), who was dubbed as the Grandfather of Hip-hop. The dancing
style of Hip-Hop developed from the music style that was first introduced
during the 1970s in New York City among young Hispanic and African-
American communities and was made popular in the 1980s by media’s
exposure of several hip-hop dance groups in America. These group of young
people were looking for a creative outlet to vent their frustrations and
30
disappointments with society. It started with funky beats reverberating at
house or basement parties and the streets of New York. Hip-hop evolved as a
street dance which was a cultural dance variation in the United States and is
generally a form of entertainment where technical and teachable dance
aspects replaced the cultural symbolism and message of the true essence of
African-American hip-hop dance. The word street dance arrived in the
Philippines from the United States during the 1980s but only gained
unparalleled popularity during the 1990s. There are various street dance
battles held locally across the country as well as hip-hop dance competitions
internationally. The first Philippine Team who won the World Hip Hop
Dance Championships is the Philippine All Stars. One of the pioneers of
street dance in the Philippines is Jungee Marcelo. Marcelo started the first
formal street dance class in the Philippines after arriving from US in 1991.
After almost 11 years of living in a community dominated by African-
Americans in Los Angeles, he brought with him his knowledge of urban
dance in the country.
 The movement of hip-hop dance contains an assertive angularity of

body posture and an insistent virtuosic rhythmicity.
 It is freestyle in nature and maybe practiced in either a dance studio or
in an open space outdoor.
31
 It consists of four fundamental characteristics such as rapping
(MCing); Disc jockeying (DJing); Break dancing (B-boying); and Graffiti
Art (Aerosol Art).
 Can also be described by elements such as bounce or recoil, tightening
of the body, agility and coordination, and fun.
 It has several styles that comprise two main categories, the Old school
(breaking, popping, and locking) and the New school (house,
krumping, street jazz).
Term Illustration Description

 Executes several
explosive, acrobatic
movements with breaks
or freezes in between
1. Breaking acts
(Break dance)  Hold the position of the
movement for a few
seconds before
continuing or shifting
to the next movement
 A quick contraction and

relaxation of muscles to
2. Popping
producing jerking of
various joints
 It includes a lot of
acrobatics and
physically demanding
moves, such as landing
on one’s knees and the
split
3. Locking
 Other famous moves
are waving of arms,
pointing, walking
stationary, and
grabbing and
rotating
the cap or hat
32
 Characterized by
unrestrained, rapid-
4. Krumping fire, and highly
energetic moves of the
limbs and torso
 A dance style to release
anger
 It is a dance style
that imitates the
angular poses seen in
ancient Egyptian art
5. Tutting  Used to have a
limited set of static
(Tetris)
hiero-inspired poses,
but they now create
more complex
geometric patterns
wherein multiple
limbs interact
 Combination of
skating, stomping
and shuffling
 There is a fast and
6. House Dance
complex steps
combined with fluid
movements of the
torso
33
Lesson 2: CHEER DANCE
Brief History
Cheer dance is a physical activity with a combination of different dance
genre and gymnastics skills such as tumbling, pyramids, tosses and stunts.
The routines usually range anywhere from one to three minutes and they
are done to direct spectators to cheer for sports teams or participate in
cheer dance competition. Cheer dance is relatively new in the field of sports
and dance as it has only emerged during the 1990s as part of the
cheerleading events. Cheerleading history is linked closely to the United
States history of sports, its sporting venues, as well as the historical
development of over-all crowd participation at many athletic events.
However, its origins can be traced as far back as the late 19 th century where
in 1860s, students from Great Britain began to cheer and chant in unison for
their favorite athletes at sporting events. This event eventually reached and
influenced America. Cheerleading for the first 25 years was an all-male
activity. It was only during the 1920s when women cheerleaders
participated in cheerleading.
 As a dance technique, some squad prefer contemporary dance

techniques, while others incorporate several techniques such as jazz,
hip-hop, modern dance, contemporary ballet and ethnic of folk.
Emphasis is on the placement, sharpness and synchronicity of the
movements.
 There must be cheers which are coordination of organized words and
movements relating to an athletic event. These are used during a sport
event when play has been stopped on the field or court.
 Cheer motions are also used to lead the crowd and emphasize words for
crowd response. These are made up of hand, arm, and body positions.
Starting Positions Illustration Description
1. Beginning Feet together, hands down

Stance by the side in blades
34
Feet more than shoulder
2. Cheer Stance width apart, hands down by
the side in blades
Hand Positions
3. Bucket 4. Candlestick 5. Blade
6. Jazz Hands 7. Clap 8. Clasp
Arm Positions Illustration Description
Arms bent at elbow, fists in

9. Tabletop
front of shoulders
Arms extended up forming a

10. High V
“V”, relax the shoulders
35
Arms extended down
11. Low V
forming a “V”
Arms extended straight

12. Touchdown upward and parallel to each
other, fist facing in
Both arms extended straight

out to the side and parallel
13. T Motion
to the ground, relax the
shoulders
One arm extended in a high

“V” and the other arm
14. Diagonal
extended in a low “V” (Right
Diagonal shown)
One arm extended to the

side with other arm
15. L Motion
extended in a punch motion,
(Left L motion shown)
Arms are straight, above the

16. Overhead
head in a clasp and slightly
Clasp
in front of the face
Feet Positions Illustration Description
36
Lead leg bent with the knee
over the ankle, back leg
17. Front Lounge
straight, feet perpendicular
to each other
Lead leg bent with the knee

18. Side Lounge over the ankle, feet
perpendicular to each other
In stride position, both feet

away each other. Hands can
19. Feet Apart
be on the waist or clasp in
front
The ball and the toes should

not be parallel when hitting
the ground. The ball should
20. Jogging
touch the ground lightly first
while the toes point
downward
Basic Jumps Illustration Description
37
 Clasp arms tighter in the
and form fist (ct.1)
 Bring arms up to a high
V (ct.2)
 Swing arms in a cross
position and bend both
legs (ct.3)
 Brig arms up to a T and
hit your herkie. One of
the legs shall be out like
21. Herkie
you are doing a straddle
split and the other leg
shall be bent back. Arms
shall be in a T position
with the hands forming
fists (ct.4)
 Land with legs bent and
hands on the side, hold
position and straighten
out your legs (cts.5,6,7)
 Clasp arms like in the

herkie and form fists
(ct.1)
 Bring arms up to a high
V (ct.2)
 Swing arms in a cross
position and bend the
knees (ct.3)
22. Toe Touch
 Jump to “touch” the toes
(ct.4)
 Land with both legs bent
and both hands on the
sides (ct.5)
 Hold the position,
straighten out the legs
(cts.6,7)
38
 Start with a High “V”
position (ct.1)
 Throw arms up into the
high V position (ct.2)
 Take a crisp sharp
23. Hurdle motion tiptoe and jump
into the air (ct.3)
 Feet is in herkie position
while reaching out one
foot in front and hold
position (cts.4,5)
Basic Tumbling Illustration Description
 Squat and lay both

hands on the floor (ct.1)
 Tuck chin and push off
the hands and legs (ct.2)
24. Forward Roll  Roll forward (cts.3,4)
 Squat both legs against
the chest and hold the
arms up in front (cts.5,6)
 Get up (cts.7,8)
39
 From a beginning stance
facing back, squat and
lay both hands on the
floor (cts.1,2)
 Tuck chin and pull off
25. Backward the hands and legs (cts.
Roll 3,4)
 Roll backward (cts.5,6)
 Squat both legs against
the chest and hold the
arms in front and get up
(cts.7,8)
 Put the best leg forward

and extend both arms up
against the ears
 Move the whole body
26. Cartwheel forward and slowly raise
the back leg
 Once the hands reach
the ground, kick the back
leg over
LESSON 3: Exercise Physiology Indicators
Dance is mainly an integrated art form between technical and expressive

aspects. In addition, since most dance performance requires high
physiological capacity due to its characteristics included a moderate-high
intensity, high skill, and predominantly intermittent activity. When trying to
develop cardio-respiratory, the intensity of exercise must not be ignored.
The intensity of exercise or Training Intensity (TI) can be calculated easily,
and training can be monitored by identifying your resting heart rate (pulse
beat at rest), maximal heart rate and heart rate reserved.
The Resting Heart Rate (RHR)
Your pulse is your heart rate, or the number of times your heart beats in one
minute. Pulse rates vary from person to person. Your pulse is lower when you
are at rest and increases when you exercise (more oxygen-rich blood is needed
by the body when you exercise). Knowing how to take your pulse can help you
evaluate your exercise program. To get your pulse beat, follow the steps:
40
1. Place the tips of your index, second and third fingers on the palm side of
your other wrist below the base of the thumb or, place the tips of your
index and second fingers on your lower neck on either side of your
windpipe.
2. Press lightly with your fingers until you feel the blood pulsing beneath your
fingers. You may need to move your fingers around slightly up or down
until you feel the pulsing. Use a watch with a second hand, or look at a
clock with a second hand.
3. Count the beats you feel for 10 seconds. Multiply this number by six to get
your heart rate (pulse) per minute.
4. Compute using the formula: RHR = Pulse: beats in 10 seconds x 6 =
beats per minute (bpm).
Normal heart rates at rest for children whose age is 6 to15 is 70 to 100 bpm
while adults whose age is 18 and over is 60 to 100 bpm.
The Maximal Heart Rate (MHR)
Maximal Heart Rate (MHR) is the maximum number of beats made by your
heart in 1 minute of effort. When walking quickly, you will be in an
endurance zone, with a heart rate of between 60% and 75% of your
maximum heart rate (MHR). Knowing your rate means listening to your
body. Recent research indicates that the traditional equation of 220 – age
over predicts maximal heart rate (MHR) in people 40 years and younger,
and under predicts MHR in individuals above 40 years old. Instead, it is
advisable to use 207 as constant MHR from birth that decreases by 1 beat
per year.
The Heart Rate Reserved (HRR)
Heart Rate Reserve (HRR) is the difference between your Resting Heart Rate
and your Maximum Heart Rate. It is used primarily for determining heart rate
zones during exercise, and the amount of cushion in heartbeats available for
exercise. Health and cardio-respiratory (CR) fitness benefits result when a
person is working between 30 to 85 percent of heart rate reserve (HRR)
combined with an appropriate duration and frequency of training. Health
benefits are achieved when training at a lower exercise intensity, that is
between 30 to 60 percent of the person’s HRR. Even greater health and cardio
protective benefits, and higher and faster improvements in CR fitness
(VO2max), however are achieved primarily though vigorous intensity
programs (at intensity above 60 percent). To compute for your HRR, subtract
the resting heart rate from the maximal heart rate: HRR = MHR – RHR.
The Target Heart Rate (THR)
Target Heart Rate (THR) is generally expressed as a percentage (usually

between 50 percent and 85 percent) of your maximum safe heart rate. This is
used to identify Training Intensity (TI). Training intensity is the amount of
effort you are putting in to whatever exercise you are doing. Walking a dog
will (most of the time) be low to medium intensity based on your speed of
41
walking but running with your dog will be high intensity. The TI of a person
can be measured in different levels such as follows:
1. low intensity (heart rate is 68-to-92 beats per minute);
2. moderate intensity (heart rate is 93-to-118 beats per minute); and
3. high intensity (heart rate is more than 119 beats per minute).
In participating low (or light) activities, a person should have at least 30-40%
MHR. For moderate activities, it is recommended to have at least 50-60%
MHR. For high (or vigorous) activities, it is good to have at least or greater
than 70% MHR.
To determine the intensity of exercise or cardio-respiratory training zone
according to heart rate reserve, follow these steps:
 Estimate your maximal heart rate (MHR) according to the following
formula: MHR = 207 – (0.7 x age)
 Check your resting heart rate (RHR) for a full minute in the evening,
after you have been sitting quietly for about 30 minutes reading or
watching a relaxing TV show.
 Determine the heart rate reserve (HRR)
 Calculate the Training Intensity (TI) at 30, 40, 50, 60, 70 and 85
percent. Multiply the heart rate reserve by respective 0.30, 0.40, 0.50,
0.60, 0.70, and 0.85, and then add the resting heart rate to all four of
these figures (e.g., 60% TI = HRR x .60 + RHR).
Example: The 30, 40, 50, 60, 70 and 85 percent TIs for a 20-year-old
with a RHR of 68 bpm would be as follows:
MHR: 207 - (0.7 x 20) = 193 bpm

RHR: 68 bpm
HRR: 193 – 68 = 125 bpm
Range of Cardio-Respiratory
% TRAINING INTENSITY (TI) Training Zone
TI = HRR x % + RHR
(range based on TI)
30 (125 x .30) + 68 = 106 bpm Light Intensity
40 (125 x .40) + 68 = 118 bpm (106-118 bpm)
50 (125 x .50) + 68 = 131 bpm Moderate Intensity

60 (125 x .60) + 68 = 143 bpm (119- 143 bpm)
70 (125 x .70) + 68 = 155 bpm Vigorous Intensity

85 (125 x .85) + 68 = 174 bpm (144-174 bpm)
42
The Rate of Perceived Exertion (RPE)
When your body is challenged to do more than what is used to, changes in
your body start to occur. If the physical activity is too easy for your body,
changes, if any, would be minimal. Hence your body should be challenged
and more effort should be exerted. The Borg Rating of Perceived Exertion
(RPE) is a way of measuring physical activity intensity level. Perceived exertion
is how hard you feel like your body is working. In conducting physical
activity, consider the Rate of Perceived Exertion (RPE):
Chart on Borg’s Rate of Perceived Exertion (RPE)

Rating Description Rating Description
6 14
7 Very, very light 15 Hard
8 16
9 Very light 17 Very hard
10 18
11 Fairly light 19
12 20 Very, very hard
13 Somewhat hard
To determine your approximate heart rate, simply multiply your Borg's RPE
by 10. For instance, an RPE score of 16 × 10 = 160 beats per minute. The
scale was designed with the average healthy adult in mind.
43
Activity 1.1. Dance Craze!
Complete the crossword puzzle below. Possible answers are inside the box.
a. HEART RATE RESERVED
b. MAXIMUM HEART RATE
c. RESTING HEART RATE
d. TARGET HEART RATE
e. CHEER MOTIONS
f. CHEERDANCE
g. BREAK DANCING
h. JUNGEE MARCELO
i. STREET DANCE
j. HIPHOP
k. CHEERS
l. KEVIN DONOVAN
m. TUMBLING
n. DANCE TECHNIQUE
o. POPPING
ACROSS:
4. A physical activity with a combination of different dance

genre and gymnastics skills. DOWN:
5. This is where hip-hop evolved as a culture dance variation in 1. This refers to the
the United States. maximum number of beats
made by the heart in 1
6. One characteristics of cheer dance that can be used to lead minute of effort.
the crowd and emphasize words for crowd response.
2. It is the difference
7. Derived from the word “hep”, an African-American between your Resting
vernacular English language which means “current”. Heart Rate and your
Maximum Heart Rate.
8. This refers to the number of times your heart beats in one
3. In cheer dancing, this
minute while at rest.
refers to the organized
9. One of the fundamental characteristics of hip-hop. words and movements
relating to an athletic
10. One of the pioneers of street dance in the Philippines. event.
44
Activity 1.2. Can You Identify?
Identify if the given movement inside the box is (A.) Fundamental Hip-hop
Movement or (B.) Fundamental Cheer Dance Movement. Write the letter of
your choice.
1. Overhead Clasp 3. Cartwheel 5. House Dance

2. Jogging 4. Popping
Activity 1.3. You Dance Me Crazy!

Try to execute the basic movement illustrated below. Identify if the movement
is (A.) Locomotor or (B.) Non-locomotor. Select the letter of your choice.
1 1. Backward
3 Roll
2. Hurdle
2
3. Diagonal
4
4. Toe Touch
5
5. Forward
Roll
Activity 1.4 Let’s Intensify!

Using your own resting heart rate (RHR) and age as of today, complete the
training intensity (TI) table below. The data in this activity will be used in the
activity on page 21.
MHR: 207 - (0.7 x )= bpm

RHR: bpm
HRR: – = bpm
TRAINING INTENSITY (TI)

% Cardio-Respiratory Training Zone
TI = HRR x % + RHR
30 ( x .30) + = bpm Light Intensity

40 ( x .40) + = bpm ( bpm)
50 ( x .50) + = bpm Moderate Intensity
60 ( x .60) + = bpm ( bpm)
70 ( x .70) + = bpm Vigorous Intensity
85 ( x .85) + = bpm ( bpm)
45
Activity 1.5 Let’s Groove It Out!
Using the fundamental hip-hop and cheerdance movements, create your 60-
minute dance routine. Choose your preferred music and be guided with the
given dance pattern applying the dance elements in creating your dance
figures. Practice your dance routine and ensure safety in the conduct of this
activity. After the practice, accomplish the Activity Intensity Table below.
DANCE PATTERN FOR CHOREOGRPAHED DANCE MOVEMENT

Dance Elements (D.E.S.T.)
Figure Basic Movements
(Hip-hop/Cheer dance) Direction * Energy Shape Timing/
Counting
1 Locomotor
Non-locomotor
2 (combinations of 2 or more) Not applicable
3 Locomotor
Non-locomotor
4 (combinations of 2 or more)
Not applicable
5 Locomotor
Non-Locomotor
6 (combination of 2 or more)
Not applicable
* Energy - a dance element that minimizes the monotony of the movements in a performance
such as:
1. SUSTAINED- movements are done smoothly and does not have clear beginning and
ending;
2. PERCUSSIVE- movements are explosive or sharp in contrast with sustained. They have a
clear beginning and ending;
3. VIBRATORY- consist of trembling or shaking. A faster version of percussive movements;
4. SWINGING - movements trace a curved line or an arc in space;
5. SUSPENDED - movement are perched in space or hanging on air;
6. COLLAPSING – a slow collapse which can be describe as melting or oozing action in a

downward direction.
ACTIVITY INTENSITY TABLE

RPE * Cardio-
(Base on the dance routine that you will perform)
Heart Rate
(right after Respiratory
Rating Description the practice) Training Zone
bpm
* Refer to the data on Activity 1.4, Let’s Intensify! (page 19)
Social Dance: Ballroom

46
After going through this lessons, you are expected to:
1. discuss the nature of the different styles of social/ballroom dances;
2. observe personal safety protocol to avoid dehydration, overexertion,
hypo-and hyperthermia during MVPA participation; and
3. engage in moderate to vigorous physical activities (MVPA’s) for at least
60 minutes most days of the week in a variety of settings in and-out-of-
school.
Prior to learning social/ballroom dances, let’s try to review your fitness
engagements on Hiphop and Cheerdance in Module 3. Try to check how ready
are you in learning another moderate to vigorous physical activity (MVPA).
Rate your level of activity using the Physical Activity Index, compute for your
score and evaluate it using the Activity Evaluation Table below.
PHYSICAL ACTIVITY INDEX

PRINCIPLE SCORE ACTIVITY
5 Sustained heavy breathing and perspiration
4 Intermittent heavy breathing and perspiration, as in tennis
Intensity 3 Moderately heavy, as in cycling and other recreational sports
2 Moderate, as in volleyball, softball
1 Light, as in fishing
4 Over 30 minutes
3 20 to 30 minutes
Duration
2 10 to 20 minutes
1 Less than 10 minutes
Frequency 3 1 to 2 times per week
2 A few times per week
1 Less than once a month
Computation: Intensity x Duration x Frequency = Score

Your Score: x x =
ACTIVITY EVALUATION TABLE

SCORE EVALUATION ACTIVITY CATEGORY
81 to 100 Very active lifestyle High
60 to 80 Active and healthy Very Good
40 to 59 Acceptable but could be better Fair
20 to 39 Not good enough Poor
47
Under 20 Sedentary Very Poor
How familiar are you on this dance step? Put a check mark on Column (A)
if you are familiar with the step pattern. Otherwise, put a checkmark on
Column (B) if you are not familiar. Count the number of responses
and check the results in the interpretation table found at the Answer Key
page of this module.
Step Step Pattern

# Note: LF (Left Foot); RF (Right Foot)
A B
1 Step LF forward; Step RF sideward; Bring LF close to RF
Step LF forward (slow); Step RF forward (slow); Sidestep LF to left

2
(quick); Move RF close to LF (quick)
Step LF backward (slow); Step RF backward (slow); Sidestep LF to left

3
(quick); move RF close to LF (quick)
Step LF forward (slow); Step RF forward passing LF (slow); Step LF

4 forward passing RF (quick); Step RF to the right (quick); Step LF
close to RF (slow)
Step LF forward (slow); Step RF forward (slow); Step LF to the side

(quick); Step RF closes to LF (quick); Step LF to the side (slow); Step
5 RF back (slow); Step LF to the side (quick); Step RF closes to LF
(quick); Step LF to the side (slow)
48
Step LF forward (ct.2); Transfer weight to LF (ct.3); Step LF to side
(ct.4); Step RF (ct. and); Step LF to the side (ct.1); Step RF back (ct.2);
6 Transfer weight to LF (ct.3); Step RF to the side (ct.4); Step LF closes
to RF (ct. and); Step RF to the side (ct.1)
Step back with LF (ct.1); weight shift to RF (ct.2); Sidestep LF to left

(ct.3); Move RF to LF (ct. and); Sidestep LF to the left (ct.4); Weight
7 shift to RF (ct.5); Sidestep LF to right (ct. and); Sidestep RF to right
(ct.6)
Step LF forward (ct. 1); Move RF close to LF (ct.&); Shift weight to LF
8 (ct.2); Step RF backward (ct.3); Move LF close to RF (ct.&); Weight
shift to RF (ct.4)
Step LF forward (ct.2); Replace weight to RF (ct.3); Step LF sideward
9 left (ct.4,1); Step RF backward (ct.2); Step LF forward & transfer
weight (ct.3); Step RF sideward right (ct.4,1)
Step LF forward (ct.2); Replace weight to RF (ct.3); Step LF back

10 (ct.4,1); Step RF backward (ct.2); Replace weight to LF forward(ct.3);
Step RF forward (ct.4,1)
Lesson 1: STANDARD BALLROOM DANCES
Brief History, Nature and Characteristics
Standard ballroom dances are smooth, flowing ballroom dances that move around
the entire dance floor in a counterclockwise movement. The international Standard
and International Latin techniques were codified by the Imperial Society of
Teacher of Dance (ISTD) to come up with a unified syllabus for all those interested in
learning ballroom dancing. These includes Foxtrot, Waltz, Tango, and Quick Step.
 Foxtrot
 Was named after an American performer Harry Fox, which was
premiered in 1914.
 It is an elegant dance whose objective is to travel smoothly around
the dance floor.
 The time signature is 4/4 with the first and third beats accented.
 “Slow” count = 2 beats. “Quick count = 1 beat.
 Counting in beats and bars: 1 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
49
 Waltz
 Was introduced in England in 1874 but it was in 1922 that it
became as fashionable as Tango. Waltz’s steps have already
undergone change and improvements as well and as a result of this,
many more variations became possible. It is also considered by
some as “mother of present-day dances” and the “backbone dance”
of the ballroom.
 It is a smooth, progressive dance that travels around the line of
dance, characterized by its “rise and fall” action.
 The time signature is 3/4 with the first beat accented.
 Each step = 1 beat.
 Counting in beats and bars: 1 2 3, 2 2 3, 3 2 3, 4 2 3, etc.
 Tango
 Was first danced in Europe before World War I. The word “tango”
may be an African term for “closed space” or “reserved ground,” or it
may be from the Latin verb tanguere which mean “to touch”. It
originates from Buenos Aires (Argentina) where it was first danced
in “Barrio de Las Rana”, the ghetto of Buenos Aires.
 It is a sensual ballroom dance that originated in South America
during the early 20th century.
 The time signature is 2/4 with both beats accented.
 “Slow” count = 1 beat. “Quick” count = 1/2 beat.
 Counting in beats and bars: 1 2, 1 and 2, etc.
 Quick Step
 Was developed during World War I in New York and became popular
in ballrooms. It has a common origin as that of the Foxtrot.
 It is an up-and-down, rise-and-fall swinging motion performed at a
fast pace. Music used is usually jazz or swing with a brisk tempo. It
is little faster than brisk walking, although it seems much faster for
beginners.
 The time signature is 4/4 with the first and third beats accented.
 “Slow” count = 2 beats. “Quick” count = 1 beat.
 Counting in beats and bars: 1 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, etc.
50
Fundamental Movements (Foxtrot):
Basic Steps Illustration Counts/Step Pattern

Starting Position Stand upright with your feet
together. Face each other, lady
puts her right hand on the
Gentleman’s left hand. His right
hand is on her left shoulder
blade; her left hand is on his
right arm. Knees almost
touching with each other and in
slightly bent and feet together.
Basic forward (Gentleman)

1. Basic Step
(Forward- 1. Step forward with your left
Backward) foot (slow) – cts. 1,2
2. Step forward with your
right foot (slow) – cts. 3,4
3. Sidestep to the left with
your left foot (quick)- ct.
2
4. Move your right foot close
to your left foot (quick) – ct.
2
Basic backward (Gentleman)
5. Step backward with your
left foot (slow) – cts. 3,4
6. Step backward with
your right foot (slow)
cts. 3,2
your left foot (quick) – ct. 3
4
Basic forward (Lady)

left foot (slow) – cts. 3,4
51
3. Sidestep to the right with
your right foot (quick) – ct.
2
4. Move your left foot close to
2
Basic backward (Lady)
6. Step forward with your left
foot (slow) – ct. 3,2
7. Sidestep to the right with
3
8. Move your left foot close to
your right foot (quick step)
– ct. 4
Basic Rock Left Turn
2. Rock Left Turn
(Gentleman)
(Pivot)
1. Step forward with your left
foot (slow) – cts. 1,2
2. Step sideward with a pivot
(towards left) with your
2
Note: Opposite direction for the
Lady. Start with Right foot.
3. Promenade
Basic Promenade (Gentleman
Step
& lady)
1. Step sideward with your left
2. Step sideward with your
right foot across left (slow) –
cts. 3,4
52
2
Lady. Start with Right foot going
right side.
4. Foxtrot Foxtrot Progressive Step

Progressive (Gentleman)
Step
 Rhythm is slow (cts. 1,2),
quick (ct.3), quick (ct.ct.4),
slow (cts.2,2), quick (ct.3),
quick (ct.4)
Lady. Start with Right foot going
right side.
5. Foxtrot Left Foxtrot Progressive Step

Turn (Gentleman)
 Rhythm – slow (cts. 1,2),

quick (ct.3), quick (ct.4),
slow (cts.2,2), quick
(ct.3), quick (ct.4)
Note: Movements of the Lady is
opposite to the Gentleman
Fundamental Movements (Waltz):
Basic Steps Illustration Step Pattern

Starting Position
Closed position, facing
diagonal center
Note:
Rise and Fall in Waltz The
rise and fall is unique
to the waltz. If possible, all
53
the steps in the waltz
should be long.
1. Left Foot Waltz Left Foot Change

Change (Gentleman)
(Forward)
1. Step forward with
your left foot, (the
weight is taken on the
heel, then on to the ball
of the foot) – ct. 1
2. Step sideward with
your right foot, (a
gradual rise to the toes
should be started at
the end of the first
beat, and continued to
the second and third
beat of each bar of
music) – ct. 2
3. Bring the left foot close
to the right foot, (lower
to the normal position
at the end of the third
beat by lowering to the
heel of the foot which
is carrying the weight)
– ct. 3
Note: Movements of the Lady
is opposite to the Gentleman
2. Right Foot Waltz Right Foot

Change (Gentleman)
Change
(Backward Start position - facing line
or against of dance
the line of 1. Step backward with
dance) your right foot – ct. 1
2. Step sideward with
your left foot – ct. 2
54
55
3. Bring the right foot,
parallel to the left foot
– ct. 3
3. Waltz Box Waltz Box (Gentleman)
(Left Box
Man starts and finished
Step)
facing Line of Dance
 It is a combination of
the Left Foot Change
and the Right Foot
change
 One basic is 6 steps
(cts. 1 2 3, 2 2 3)
 The man is in closed
dance position in
front of the woman,
facing line of dance.
The woman is slightly
to the right.
4. Waltz Waltz Forward

Progressive (Gentleman)
Forward
Progressive Start position (face line of
dance)
 Left foot change and
right foot change
forward
(cts. 1 2 3, 2 2 3)
5. Waltz Waltz Promenade Step

Promenade Step (Gentleman)
Start position - face

diagonal to wall
 Left foot change and
right foot change
forward
56
(cts. 1 2 3, 2 2 3)
Waltz Left Turn

6. Waltz Left (Gentleman)
Turn
(cts. 1 2 3, 2 2 3, 3 2
3, 4 2 3)

Waltz Right Turn

7. Waltz Right
(Gentleman)
Turn
Start position
 Precede with a left foot
change, then 2 right
turns and finish with a
right foot change
(cts. 1 2 3, 2 2 3, 3 2
3, 4 2 3)
Waltz Whisk
8. Waltz Whisk (Gentleman)
Start position
1. Step left foot forward –
ct.1
2. Step right foot side- ct.
2
3. Step left foot crosses
behind right foot – ct.3
57
Waltz Whisk (Lady)
Start position.
1. Step right foot back –

ct. 1
2. Step left foot side,
turning to promenade
position – ct. 2
3. Step right foot crosses
behind left foot in
promenade position –
ct. 3
Fundamental Movements (Tango):
Basic Steps Illustration Step Pattern

Starting Position Partners are in a closed-
hold position, usually
closer than in other dances.
The man's left hand is
holding the lady's right
hand. His right hand is
placed on her back, along
the bottom of her ribcage.
The lady's left hand is
placed on his right
shoulder. (Note: always
bent your knees. The lead
and follow mirror each
other’s steps. The lead
begins with the left foot,
the follow with the right.
Walks usually curve
gradually to the left.
58
1. Basic Tango Tango Walk (Gentleman)
Walk 1. Step forward with your
left foot (slow) – cts.
1,2
right foot passing the
left foot (slow) – cts.
1,2
3. Step forward again
with your left foot this
time passing the right
foot (quick) – ct. 1
4. Step forward to the
right with your right
foot (quick) – ct. and
5. Step left foot close to
right foot (slow) – cts.
2,1
Tango Walk (Lady)
1. Step back with your

right foot (slow)- cts.
1,2
left foot passing the
right foot (slow) – cts.
1,2
3. Step back again with
your right foot this
time passing the left
foot (quick) – ct. 1
4. Step back and to the
left with your left foot
(quick) – ct. and
5. Right foot close to left
59
2. Tango Rock Basic Tango Rock
Turn (Gentlemen)
1. Step right foot forward

(slow) – cts. 1,2
2. Step left foot to
side and slightly
back (quick)- ct. 1
3. Transfer weight to
right foot, right
side leading (quick)
– ct. and
4. Step left foot back,
small step, L side
leading (slow) – cts.
1,2
5. Step right foot back in
CBMP (quick) – ct. 1
6. Step left foot to side
and slightly forward
(quick) – ct. and
7. Step right foot closes
to LF slightly back
(slow) – cts. 1,2
Open Reverse Turn,

3. Open Lady Outside
Reverse (Gentlemen)
Turn, Lady
1. Step left foot forward
Outside
in CBMP (quick) – ct. 1
2. Step right food to side
(quick) – ct. and
3. Step left foot back in
CBMP (slow) – cts. 1,2
4. Step right foot back
(quick) – ct. 1
Note: and slightly forward
(quick) – ct. and
Gentleman’s
Lady’s 6. Step right foot closes
Footwork
Footwork
to left foot slightly
back (slow) – cts. 1,2
60
Note:
CBMP stands for Contra

Body Movement Position.
A foot position where the
foot is placed on or across
the line of the supporting
foot, either in front or
behind, to maintain body
line.
61
Fundamental Movements (Quick Step):
Basic Step Illustration Step Pattern
Starting Closed position, facing
Position diagonal wall
1. Quick Step Quick Step Basic

Basic (Gentlemen)

(slow) – cts. 1,2
(slow) – cts. 3,4
3. Step left foot to the
side (quick) – ct. 2
to left foot (quick) –
ct.2
side (slow) – cts. 3,4
(slow) – cts. 3,2
side (quick) – ct. 3
to left foot(quick) ct.4
side (slow) – cts. 4,2
Note: Repeat from step 2
Quick Step Basic (Lady)

(slow)
2. Step left foot back
(slow)
3. Step right foot to the
side (quick)
62
4. Step left foot closes to
right foot (quick)
side (slow)
6. Step left foot
forward(slow)
side (quick)
right foot(quick)
side (slow)
Note: Repeat from step 2
Natural Turn
2. Natural Turn (Gentleman)

(slow)
2. Step left foot side
turning halfway
(quick)
to left foot (quick)
4. Step left foot back
(slow)
5. Step right foot to side,
small step -heel pull-
(slow)
(slow)

63
Lesson 2: LATIN BALLROOM DANCES
Brief History, Nature and Characteristics
Latin ballroom dances are energetic dances which reflect the shift in rhythm of
the music being danced to. Latin dance has a rich cultural history rooted in the
traditional dances of native peoples of Latin America. Formal Latin dances includes
Cha-cha-cha, Jive, Samba and Rumba.
 Cha-cha-cha
 Is a newcomer in Latin American dances with origin only in the
fifties and became popular shortly after mambo was introduced.
 It is passionate, energetic, lively and a flirtatious dance.
 The time signature is 4/4 with accented beat on the first and fourth
of each bar.
 Count 2 = 1 beat; Count 3 = 1 beat; Count 4 = half beat
 Counting in beats and bars: 2 3 4 and 1, etc.
 Jive
 Was developed from the dance “jitterbug” from America. After the
origination of the jive dance in the United States, it slowly spread to
the European countries and in the United Kingdom.
 A lively style of dance popular especially in the 1940s and 1950s,
performed to swing music or rock and roll.
 The time signature is 4/4 with accent on the first beat, second beat,
and fourth beat of each bar.
 Count 1 = 1 beat; Count 2 = 1 beat; Count 3 = 2/4 beat; Count a =
¼ beat; Count 4 = 1 beat
 Counting in beats and bars: 1 2 3and4 5and6 etc.
 Samba
 It is one of the five international Latin dances developed in Brazil
during the 19th century.
 The basic footwork features fast, three-step weight changes with a
slight knee lift, led with alternating feet. The basic rhythm is
“quick”, quick, slow, and repeat.
 The time signature is 2/4 with musical accent on the first beat and
percussive accent on the second beat.
 Counting rhythms: 1 and 2, 3 and 4, etc.
 Rumba
 It originates primarily from Cuba in the sixteenth century, which
has its roots in African rhythms brought to America by the slaves.
64
 Considered as the sexiest of the ballroom dances which tells the
story of love and passion between a strong man and a teasing
woman.
 The time signature is 4/4 with an accent on the first beat and
fourth beat of each bar.
 Counting in beats: 2 3 4 1. Count 2 = 1 beat; Count 3 = 1 beat; Count
4 1 = 2 beats half beat.
Fundamental Movements (Cha-cha-cha):

Starting Closed facing position
Position
Cha-cha-cha Closed
1. Cha-cha-cha Basic (Gentlemen)
Closed Basic
(ct. 2)
right foot (ct. 3)
(ct.4)
to left foot (ct. and)
side (ct. 1)
(ct. 2)
7. Transfer weight to left
foot (ct. 3)
side (ct. 4)
right foot (ct. and)
side (ct. 1)
65
Cha-cha-cha Closed
Basic (Lady)
1. Step right foot

backward (ct. 2)
foot (ct. 3)
3. Step right foot to side
(ct.4)
left foot (ct. and)
side (ct. 1)
(ct. 2)
right foot (ct. 3)
side (ct. 4)
side (ct. 1)
New York (Gentleman)

2. New York
Open face position
(preparatory position and
right foot side

in side-by-side
Preparatory Position 1 position (ct. 2)
right foot (ct. 3)
3. Facing partner, Step
left foot to side
(ct.4)
2 3
side (ct. 1)
in side-by-side
position (ct. 2)
foot (ct. 3)
side (ct. 4)
4 5
66
right foot (ct. and)
side (ct. 1)

6 7
8 9 10
Fundamental Movements (Jive):

Starting Jive is danced with the
Position lady and man facing each
other (Closed Position).
The man's left hand
loosely holds the lady's
right hand. The man leads
starting with his left foot
and the lady follows his
movements.
Jive Basic in Place

1. Jive Basic in
(Gentlemen)
Place
left foot (Rock step) -
ct.1
2. Right foot in place,
weight shifts to it- ct.2
3. Sidestep to the left
with your left foot
(Chasse to the left)- ct.
3
4. Move your right foot
to your left foot - ct.
and
67
with your left foot
- ct.4
weight shifts to it
(Chasse to the right)
– ct. 5
7. Sidestep to the right
with your left foot -
ct. and
with your right foot
- ct.6
Jive Basic in Place

(Lady)

right foot (Rock step) –
ct.1
2. Left foot in place,
weight shifts to it – ct.
2
(Chasse to the right)
– ct. 3
4. Move your left foot to
your right foot – ct.
and
– ct. 4
weight shifts to it
(Chasse to the left)
– ct. 5
– ct. and
with your left foot –
ct. 6
2. Fallaway Fallaway Rock
Rock (Gentleman)
Begin with a closed

position facing partner
1. Step left foot back in

fallaway position (ct.1)
Preparatory Position
68
2. Replace weight to right
foot in promenade (ct.
2)
3. Side step to the left (ct.
3)
4. Step left foot close to
right (ct. and)
5. Side step to left (ct. 4)
6. Side step to the R (ct.
5
1 2
7. Step right foot close to
left (ct. and)
8. Side step to the right
(ct. 6)

3 4 5
6 7 8
Fundamental Movements (Samba):

Position
69
1. Samba Samba Natural Basic
Natural Basic (Gentlemen)

left foot (ct. 1)
2. Move your right foot to
your left foot (ct. and)
weight shifts to it (ct.
2)
your right foot (ct. 3)
your right foot (ct.
and)
4)
Samba Natural Basic

(Lady)

your right foot (ct. 1)
your right foot (and)
2)
left foot (ct. 3)
5. Move your right foot to
your left foot (ct. and)
4)
Samba Whisk
2. Samba Whisk (Gentlemen)

(ct. 1)
2. Step right foot behind
left foot w/o weight-
Cuban cross (ct. and)
3. Take minimal weight
to right foot and
1 2
70
replace weight to left foot (ct.
2)
4. Step right foot to side
(ct. 3)
5. Step left foot behind
right foot w/o weight-
Cuban cross (ct. and)
6. Take minimal weight
to left foot and replace
weight to right foot (ct.
3 4
4)

5 6
Fundamental Movements (Rumba):

Position
Rumba Closed Basic

1. Rumba Closed (Gentlemen)
Basic
Start by facing your partner
(ct.1)

(ct. 2)
1 2 3 foot (ct. 3)
71
3. Step left foot sideward
left (ct. 4,1)
4. Step right foot
backward (ct. 2)
(transfer weight to left
foot) (ct. 3)
6. Step right foot
sideward right (ct. 4,1)
4 5 6 Note: Movements of the Lady
2. Rumba Open Rumba Open Basic

Basic (Gentlemen)
Start by open facing

position with your partner
(ct.1)

(ct. 2)
1 2
foot (ct. 3)
3. Step left foot back (ct.
4,1)
4. Step right foot
backward (ct. 2)
5. Replace weight to left
foot forward (ct. 3)
6. Step right foot
forward (ct. 4,1)
3 4
5 6
72
Lesson 3: Hydration and Overexertion in Dancing
Dehydration, overexertion, hypo-and hyperthermia maybe experienced during

participation to moderate-to-vigorous physical activity (MVPA). Dancers sweat
as they generate heat during training, rehearsal, and performance. This is
how the body cools itself. This loss of fluid, however, can lead to
dehydration, resulting in dizziness, lack of energy, inability to concentrate,
sore muscles, and lackluster performance. This loose of fluid, however can
lead to dehydration which may lead to hypothermia and hyperthermia where
there is an increase or decrease of heat production of body temperature.
Pushing yourself too hard during physical activity may also cause
overexertion leading to dizziness, feeling faint and lightheadedness. These
may affect your dancing performance and your over-all health status will be
at stake. Observing some safety protocols can help avoid dehydration,
overexertion, hypo-and hyperthermia.
Dehydration and Hydration
Dehydration is caused by not drinking enough fluid or by losing more fluid

than you take in. Fluid is lost through sweat, tears, vomiting, urine or
diarrhea. The severity of dehydration can depend on a number of factors, such
as climate, level of physical activity and diet. Consider the following safety
protocols to avoid dehydration:
 Stay hydrated by drinking plenty of water. Drinking enough water

each day is crucial for many reasons:
1. to regulate body temperature;
2. to keep joints lubricated;
3. to prevent infections;
4. to deliver nutrients to cells; and
5. to keep organs functioning properly.
 Eat foods with high amounts of water like fruits and vegetables.
 Avoid or limit drinks with caffeine like coffee, teas and soft drinks.
 Avoid or limit drinks with alcohol.
Physical activity therefore results in increased water requirements that

parallel sweat losses. If these hydration needs for exercise are not met, the
body can enter a state of dehydration. Dehydration during physical activity is
recognized as having a detrimental effect. Staying well hydrated: before,
during and after exercise is very important.
73
Overexertion
Overexertion occurs when people push themselves too hard during physical
activity. Signs of overexertion includes dizziness, and feeling faint. Feeling
dizzy after a moderate to vigorous physical activity is a common occurrence.
Considering safety protocols in order to avoid dizziness as a result to
overexertion is to:
 cool down and rest for a few minutes;
 sit down and place the head between the knees to increases blood
flow to the brain;
 practice deep breathing for several minutes, making sure to inhale and
exhale slowly;
 stay hydrated by drinking plenty of fluids before, during, and after
physical activity;
 eat something (a snack) of complex carbohydrates and lean proteins (an
hour or so before a workout is advisable);
 increase the intensity of workouts gradually and avoid pushing the body
too hard;
 quit smoking.
Hyperthermia and Hypothermia

Hyperthermia and Hypothermia are both conditions that may occur when
the body can no longer release enough of its heat to maintain a normal
temperature. The body has different coping mechanisms to get rid of excess
body heat, largely breathing, sweating, and increasing blood flow to the
surface of the skin. Hyperthermia differs from fever to which the body's
temperature set point remains unchanged. The opposite is hypothermia,
which occurs when the temperature drops below that required to maintain
normal metabolism. Heat exhaustion is one of the more serious stages of
hyperthermia. Any activity that involves exercise in warm, and humid
environments increases the risk of this condition. Some safety protocols may
help prevent this condition such as:
 getting out of the cold, wind, or rain if possible,
 adding warm layers of clothing;
 wearing loose clothing in multiple layers. To prevent yourself from
sweating and cooling down too much, remove a layer if you get hot.
Looser clothing retains heat well, but your sleeves should fit snugly at
the wrists.
 eating enough food with enough source of carbohydrates;
 drinking fluids;
 moving your body to help warm your core;
 preventing more serious problems, take action as soon as you notice
early signs of the condition;
74
Activity 1.1. Unscramble Me Please!
Arrange the scrambled letters to form the correct word based on the given
clue.
1. SANDDART LABMORL CANDE. A smooth flowing dance

that move around the entire dance floor.
2. XOTORFT. Was named after an American performer
Harry Fox.
3. NATOG. It has a time signature of 2/4 with a slow and
quick count.
4. KIQUC PEST. It is an up-and-down, rise and fall
swinging motion performed at a fast pace with jazz music in a brisk
tempo.
5. TILAN LABROMOL NACED. Are energetic dances which
reflect the shift of the music being danced to.
6. CHA CAH CAH. It is a passionate, energetic, lively and
flirtatious dance in 4/4-time signature.
7. VEJI. Developed from the “jitterbug” from America
performed to swing music or rock and roll.
8. RHATIONYDED. Caused by not drinking enough fluid
during physical activity.
9. DISZISEZ. Occurs as a result of overexertion.
10. MIAHPERHYNTER DAN REAHPOTHIMY. Are conditions
that may occur when the body can no longer release enough of its heat
to maintain a normal temperature.
Activity 1.2. Complete Me!

Complete the missing parts of the Ballroom Dance Chart. Possible answers
can be found inside the box. Choose the letter of the correct answer.
a. Foxtrot i. 2/4 q. Basic in Place y. Natural Turn

b. Waltz j. 3/4 r. Natural Basic z. Left Turn
c. Tango k. 4/4 s. Open Basic
d. Quick Step l. Left Foot Change t. Promenade
e. Cha-cha-cha m. Basic Forward u. Progressive
f. Jive n. Basic Backward v. New York
g. Samba o. Basic Walk w. Whisk
h. Rumba p. Closed Basic x. Fallaway Rock
75
Dance Chart on Ballroom Dances
Fundamental Step Pattern Time

Category
Movement Note: LF (Left Foot); RF (Right Foot) Signature
Step LF forward; Step RF sideward;

Waltz 1. 3/4
Bring LF close to RF
Step LF forward (slow); Step RF

Foxtrot Basic Forward forward (slow); Sidestep LF to left 4/4
(quick); Move RF close to LF (quick)
Step LF backward (slow); Step RF

Foxtrot Basic Backward backward (slow); Sidestep LF to left 4/4
(quick); move RF close to LF (quick)

forward passing LF (slow); Step LF
2. 3. forward passing RF (quick); Step RF 4.
to the right (quick); Step LF close to
RF (slow)

forward (slow); Step LF to the side
(quick); Step RF closes to LF (quick);
5. Basic Step LF to the side (slow); Step RF 6.
back (slow); Step LF to the side
(quick); Step RF closes to LF (quick);
Step LF to the side (slow)
Step LF forward (ct.2); Transfer

weight to LF (ct.3); Step LF to side
(ct.4); Step RF (ct. and); Step LF to
the side (ct.1); Step RF back (ct.2);
7. 8. 4/4
Transfer weight to LF (ct.3); Step RF
to the side (ct.4); Step LF closes to
RF (ct. and); Step RF to the side
(ct.1)
Step back with LF (ct.1); weight

shift to RF (ct.2); Sidestep LF to left
(ct.3); Move RF to LF (ct. and);
Jive Basic in Place Sidestep LF to the left (ct.4); Weight 4/4
shift to RF (ct.5); Sidestep LF to
right (ct. and); Sidestep RF to right
(ct.6)
Step LF forward (ct. 1); Move RF

9. Natural Basic close to LF (ct.&); Shift weight to LF 2/4
(ct.2); Step RF backward (ct.3);
76
Move LF close to RF (ct.&); Weight
shift to RF (ct.4)
Step LF forward (ct.2); Replace

weight to RF (ct.3); Step LF
sideward left (ct.4,1); Step RF
Rumba 10. 4/4
backward (ct.2); Step LF forward &
transfer weight (ct.3); Step RF
sideward right (ct.4,1)
Step LF forward (ct.2); Replace

weight to RF (ct.3); Step LF back
Rumba Open Basic (ct.4,1); Step RF backward (ct.2); 4/4
Replace weight to LF forward(ct.3);
Step RF forward (ct.4,1)
Activity 1.3. Its Ballroom Time!

With a lady partner, practice the basic movements of the ballroom dances
specified on the table. Complete the table as required. In practicing, always
observe personal safety protocol to avoid dehydration, overexertion, hypo-and
hyperthermia.
Record of Heart Rate During Moderate to Vigorous Physical Activity
Heart Rate Heart Rate RPE
Basic Ballroom (Before the Practice) (After the Practice) Note: Please
Movements Refer on RPE
Pulse_______beats in 10 Pulse_______beats in 10 Chart on Page
seconds x 6 seconds x 6 34
1. Foxtrot Rock Left
Turn
2. Foxtrot
Promenade
3. Foxtrot
Progressive
4. Foxtrot Left Turn
5. Waltz Right Foot

Change
6. Waltz Box
7. Waltz Forward
Progressive
77
8. Waltz Promenade
Step
9. Waltz Left Turn
10. Waltz Right Turn
11. Waltz Whisk
12. Tango Rock Turn
13. Tango Open

Reverse Turn
Lady Outside
14. Quickstep
Natural Turn
15. Cha-cha-cha New
York
16. Jive Fallaway
Rock
17. Samba Walk
Average RPE (Total RPE / 17) :
RPE CHART
RPE (Rate of Perceived Exertion)

Maximum Effort Activity
10
Feels almost impossible to keep going. Completely out of breath, unable to talk
Very Hard Activity

9 Very difficult to maintain exercise intensively. Can barely breathe and speak a single
word
Vigorous Activity
7-8
On the verge of becoming uncomfortable. Short of breathe, can speak a sentence.
Moderate Activity
4-6 Feels like you can exercise for hours. Breathing heavily, can hold a short
conversation
Light Activity
2-3
Feels like you can maintain for hours. Easy to breathe and carry on a conversation
Very Light Activity

1 Anything other than sleeping, watching TV, riding a car, etc.
Completely out of breath, unable to talk
78
Activity 1.4 Let’s Groove It Out!
Select one category of ballroom dance (either one from the
Standard or one from the Latin) you wish to perform with a
lady partner. Use appropriate music for the chosen dance. You
can add variations to the dance if you want by watching video
tutorials on YouTube. Practice your dance routine and observe
personal safety protocol to avoid dehydration, overexertion,
hypothermia and hyperthermia in doing the activity. Take a 5-
minute video documentation if you already mastered the dance
routine. Submit the video output to your teacher/facilitator. Set
your own standards and percentage using the suggested Rubrics
below.
Suggested Rubrics for a Ballroom Dance/Dancesports

Performance
Criteria
(Refer on page 35 on Weight
fundamental characteristics of (In Percentage)
ballroom dance/dancesports)
Posture
Timing
Line
Total:
Hold
Poise
Togetherness
Total:
Musicality and Expression
Presentation
Power
Lead and Follow
Other fundamental characteristics
Total:
Over-all Total: 100%
79
Philippine Folk Dances
These 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.
Objectives of teaching Philippine Folk Dances
OBJECTIVES OF TEACHING
PHILIPPINE FOLK DANCES
1. To foster patriotism and nationalism through the study of our dance.
2. To arouse better appreciation of Philippine music and folk dances.
3. To provide through dancing, a healthful form of relaxation and recreation.
4. To develop a graceful and rhythmic coordination of body movements that will
improve
posture.
5. To preserve for posterity, folk dances and music indigenous to the different regions
of
the Philippines.
6. To demonstrate the growth of Filipino culture through the evolution of
Philippine dances.
Characteristics of Philippine Folk Dances
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.
80
I. General Classification
A. Geographical Extent of Origin
A. Geographical extent of
origin
1. National dances -found throughout the islands with little or no modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances -found in a certain locality.
Examples: Tinikling-Leyte, Maglalatik-Binyang, Esperanza-Nabua, Subli-
Batangas, Biniganbigat-Abra
B. Nature
B. Nature
1. Occupational -depicting action of certain occupation, industry, or human labor.

Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete,
2. Religious or Ceremonial – performed in connection with religious vows and
ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.
3. Comic dances – depicting funny movements for entertainment.
Examples: Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers)
Examples: Lubi – lubi, Pavo
5. Wedding dances – performed during wedding feast.
Examples: 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, etc.
A. Geographical extent of
origin
81
Movements
C. Movements
1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik, Sakuting, Polkabal, etc.
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, etc.
D. Formation
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
II. Special Classification - Group dances having special distinctive features.

A. Dances with Songs
A. Dances with song

Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.
B. Old Ballroom Dances
B. Old Ballroom Dances
Examples: Polka, Mazurka Chotis, Valse, etc.
C. Dances with Implements
C. Dances with Implements
Examples: Maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot,
D. Dances of combined Rhytms
D. Dances of Combined Rhythm
Examples: Surtido, Pantomina, Los Bailes de Ayer
Factors affecting folk dancers
Factors Affecting Folk Dances

1. Geographical location
2. Economic conditions
3. Climatic conditions
4. Customs and traditions.
82
Do’s in Folk Dancing
Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.
Don’t’s in Folk Dancing
Don’ts’s in Folk Dancing

1. Do not exaggerate the dance steps.
2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.
Common Dance Terms
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 the 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.
83
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.
17. 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.
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 step
Dance Steps Step Pattern Counting
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
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
84
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, step1, 2/ 1 and
2
11. Shuffling step with both feet flat on floor, take tiny
Slide steps 1 and 2
and
¾ time dance steps

¾ time dance step
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
4/4 time dance step
4/4 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
85

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Health Optimizing Physical Education 3

Before performing the test, be sure to do the following:

1. Answer the Physical Activity Readiness Questionnaire (PAR-Q) and

 3-MINUTE STEP TEST

 BODY MASS INDEX

Although there have been immense comparative differences in period and

History and Development of Dance from the Different Periods

 Dance During the Prehistoric Period

 Dance During the Ancient Civilization

 Dance During the Middle Ages and The Renaissance

Lesson 2: Dancing toward the 21st Century

 Dance During the Late 16th and 17th Centuries (1501-1700)

 Dance During the 19th Century (1801-1900)

 20th Century Dances (1901-2000)

 21st Century Dance (2001- Present)

Goal Sun Mon Tues Wed Thurs Fri Sat

Sample Activities Light Moderate Vigorous

RPE CHART (Rate of Perceived Exertion)

Goal Sun Mon Tues Wed Thurs Fri Sat

Type (What Kind)- mode of physical activity (swimming, jogging, dancing).

Principle Sample Your FITT Goal

Activity 1.4. Let’s Work It Out!

Activity: (refer your set(s) of activity on your FITT plan)

Week Mon. Tues. Wed. Thurs. Fri. Sat. Sun.

Rubrics for Journal Writing

Prior to learning ballet and modern dance, it is essential to review on

Fundamental Position of the Arms and Feet

 It requires an erect spine, turned out hips, proportioned and balanced

Term Illustration Performance Tips

 Begin with a demi-plie in order to

 This can be done in all five

 Start in releve position

 Lift the foot from 5th position to

 Start in 5th position demi-plie

LESSON 2: MODERN DANCE

Modern dance developed independently in America and Germany. It was then

Nature and Characteristics:

Term Illustration Description

The dancers stands with the

Is a very high jump in a

The supporting knees is

Is a hop that lands in a deep

The dancer balances on the

The action begins in the

This occurs upon inhalation

LESSON 3: SAFETY IN DANCING

1. weight too far back,

Type of Injury Cause Symptom Prevention

Stress Prolonged repetitive Pain at the front of

Achilles Pain near the heel

Hip and Knee Prolonged repetitive Pain that worsen

1. Warm up thoroughly before you start dancing and include stretches.

Aside from precautionary measures in dance injury prevention, proper

1. Take care in using dancing facilities and equipment. It is in good form

A. Lateral D. Developpe G. Primitive Squat

Activity 1.3 Move It Out!

DANCE PATTERN FOR CHOREOGRPAHED DANCE MOVEMENT

PHYSICAL ACTIVITY INDEX

4 Intermittent heavy breathing and perspiration, as in tennis