INTRODUCTION

Significance of the Study

Being a dancer is easier to say than to do. In fact, there are a lot of

things that you must consider before you become one, such as your time for

studies, priorities and your hobby. But despite changing your daily routine for

dancing, dancing also helps you in many ways especially in boosting your

confidence, developing your self-esteem and teaching you how to handle

pressure in some other ways.

However, the perception of parents in dancing is that it is just an extra-

curricular activity for their children. For some, it is even a distraction in

achieving a degree or profession. Contextually in the Philippines, parents want

their children to focus more on their studies, and they don’t want to expose

their children in terms of extra-curricular activities. However, some of the

children manage their time for both studying and involving in extra-curricular

activities like dancing. It is also good that the children are not only

academically inclined but are also passionate to their talents or skills.

Dancing is a popular form of physical exercise. One study that aimed to

explore the motivational basis of recreational social dancing revealed that

dancing can decrease anxiety, increase self-esteem, and improve

psychological well-being (AnikoMaraz, OrsolyaKiraly, Robert Urban. Mark

Griffths 2015).

Dancing in the curriculum provides fundamental aspects of education

that is not present in any other forms. For the whole development of a child,

one must be fully expressive who encounters and understands the world in

many ways and integrates these experiences. Dancing is an important

complement to traditional subject matter. In doing so, it can provide a needed

release for movement, thus enhancing the quality of those times when

behaving quietly is in order. Dancing is something that never gets easier but

the joy and the passion for it comes in the hard work to achieve something

(AnikoMaraz, OrsolyaKiraly, Robert Urban. Mark Griffths 2015).

In Kidapawan City National High School, there is a curriculum which

accepts students who aim to nurture, develop and improve talents in the field

of arts. The Special Program in the Arts (SPA) Curriculum is composed of six

skills in arts namely: Theatre Arts, Music Arts Composing of Instrument and

Vocal, Visual Arts, Creative Writing, Media Arts and Dance Arts.

Similarly, dancing does not have complex mastery as its goal. Rather, it

enables every child, regardless of physical capabilities to be expressive in a

non-verbal manner, and to explore and incorporate the physical self as a

functioning part of the whole social being. Dance education can be described

as the sequential exploration and learning, because it allows for the

expression of ideas and imagination without words.

 Nevertheless, it is a challenge to some students in pursuing their

passion in dancing and at the same time, be a responsible student. It is

important to look on to the reasons why these children are still into dancing

while struggling in school. According to a recent study conducted on a

nationally representative sample of the United States dancing is a common

activity among adolescents, with a past-month prevalence rate of 20.9%.They

dare to hope for some brief time to become perfect. Socio-cultural factors have

been postulated to be of particular significance in the development of (ED) in

dancers. Low weight is often required of ‘aesthetic performers’ such as

dancers where a thinner body is emphasized due to the belief that this

enhances performance. (Jacobi, Hayward, de Zwaan, Kraemer, &Agras,

(2008)

Despite of the various studies conducted related to motivational factors

of dancing, only few have yet ventured upon the students especially those

under the new curriculum – K-12. This study would be beneficial to the

students in incorporating motivations in pursuing their passion in dancing.

Also, it would be helpful for the school in supporting appropriate programs and

rendering efficient educational services for the development of the skills and

talents of the dance arts students. Moreover, this would serve as a reliable

baseline for future researches.

This study focused on the relationship of the socio-demographic profile

of the respondents and their motivational factors. Specifically, this study aimed
to determine the socio demographic profile of the respondents in terms of Age,

Gender, and Grade level; determine the motivational factors in dancing among

the respondents; and determine the relationship between their socio-

demographic profile and their motivational factors.

Operational Definition of Terms

Age- refers to the chronological age of the respondents.

Dance Art- refers to the performing art performed by dancers in different style

of dance.

Genres- refer to categories of arts characterized by a particular dance

style.

Gender- refers to the person either this respondent is a male or female dancer

in Special Program in the Arts.

Motivational Factors- refer to human behavior related to the intrinsic nature

of the work, but not necessarily to the surrounding.

SPA- Special Program in the Arts a curriculum wherein dance arts belong.
 REVIEW OF RELATED LITERATURE

Motivation is the driving force inside individuals that pushes them to act.

This driving force is created by a state of tension, which, in turn, is caused by

an unfulfilled need. Individuals attempt both consciously and subconsciously to

decrease this tension by behaving in a way that they expect to result in need

fulfillment and subsequently relieve them of the stress they feel. Through

thinking and learning processes dancers set specific goals and a path of

action they pursue in an attempt to achieve their goals (Hansen et al. 2008,

105).

A research conducted by McCleary, Weaver and Meng (2008) revealed

six factors that motivate Americans to participate in dancing activities (lessons

of social dances and dance festivals). These factors are: “escape and

relaxation”, “sociability”, “originality”, “learning dances-improvement of dancing

skills”, “satisfaction” and “enthusiasm”, with the factor “escape and relaxation”

being the most important for the participants at 15.1%.

In a different research, conducted by Baxevanos (2008), 454 adults,

members of dancing groups were the sample. Its results showed that the

sample saw dancing as a physical activity and as a result of a way of

enhancing health; also another motive of participation in classes was to

improve dancing knowledge and dancing skills.

 The common element among all these researches is that the motives

that are examined are those of amateur dancers, and especially dancers of

folk dances. The only research that examined the motives of dance students is

the one conducted by Thesleff (2014). Its results indicated that dance students

are mainly intrinsically motivated, as the extrinsic motivation was not a popular

option.

It is widely acknowledged that participation in physical activities can

affect positively one’s health (WHO, 2010). However, this perspective is not

entirely true, as a variety of researches have proved (Thesleff, 2014). More

specifically, long time participation in competitive activities, such as sports and

professional dance might result in ill- instead of well-being (Bartholomew,

Ntoumanis&Thøgersen-Ntoumani, 2009).

Dancing, in general, and street dancing, in particular, has elements of

both sports and arts. On one hand, similarly to sports, dancing requires many

hours of physical training in which flexibility, strength, and stamina are being

developed and technique is being perfected. On the other hand dancing also

has characteristics typical for arts: an artist is telling a story without using any

words and expressing one’s emotions (Garecht 2013).

Doing so sooner or better than the competition also gives companies a

significant competitive advantage (Hansen, Kanuk&Schiffman2008,103).

 Goals motivate students to engage in learning-related activities, but not

all goals are created equal. Students’ goals can be parsed into two types:

mastery and performance. Mastery-oriented students are primarily concerned

with learning as an end in itself. Performance-oriented students tend to be

more concerned with how they compare to others. Empirical studies have

repeatedly confirmed that students’ individual goal orientations are likely to

mirror the orientation their teacher stresses, the goal structure of their class.

Given the consistent findings regarding the positive outcomes associated with

students’ mastery goals, a mastery goal structure may provide a more

supportive motivational context for all students. This relationship is well

established in many educational contexts but has not received attention in

dance. (Andrzejewski et al., 2012)

According to a recent study conducted on a nationally representative

sample of the United States, dancing is a common activity among

adolescents, with a past-month prevalence rate of 20.9%. They dare to hope

for some brief time to become perfect. Socio-cultural factors have been

postulated to be of particular significance in the development of ED (SPELL

OUT) in dancers. Low weight is often required of ‘aesthetic performers’ such

as dancers where a thinner body is emphasized due to the belief that this

enhances performance. (Jacobi et al., 2008)

Recently researchers have investigated specific risk factors within the

dance subculture that make individuals more susceptible to ED. This higher
risk has been attributed mainly to dispositional characteristics of dancers, such

as perfectionism and low self-esteem (e.g. Anshel, (2008; Thomas, Keel, &

Heatherton,2008)

Some researchers have also proposed that perfectionism may make

dancers more vulnerable to the amplified sociocultural pressure for thinness

inherent in the dance culture. For example, Thomas et al. (2008) argued that

women with higher levels of perfectionism are more likely to dance at

increasingly competitive levels, which causes them to become even more

exposed to an environment where thinness and dieting is valued.

Consequently, it was hypothesized that there was a selective relationship,

where individuals high on perfectionism were more likely to either choose

participation in more rigorous dance training or were more likely to be

successful and thus reach higher levels of success in dancing. It was also

hypothesized that there may be a reactive relationship involved, where

individuals with higher perfectionism may react more strongly to TRL

experiences in dance class. Annus and Smith (2009) proposed that

participation in dance alone cannot explain ED risk in dancers, as dance

training environments vary in the degree to which they emphasized thinness

and dieting. Annus and Smith (2009) defined thinness and restricting

expectancies (TRE) as ‘expectations that being thin or restricting food intake

will lead to reinforcement, such as…becoming more attractive. Furthermore,

the importance of considering TRE was shown in one study where

manipulation of TRE was found to produce greater declines in thinness

expectancies, body dissatisfaction, and purging behavior than psych

education manipulation (Annus, Smith, & Masters, 2008).

Human motivation is a complex and well-studied field that has broad

roots in a diverse collection of academic disciplines including psychology,

sociology, education, political science, and economics. In simplified terms,

motivation can be defined as, “what causes people to behave as they do”

(Denhardt et al., 2008, p. 146). Unfortunately, this simple definition hides the

dynamic intricacies of the motivation literature. Because motivation is so

difficult to define, it may help in determining what motivation is not. Denhardt,

Denhardt and Aristigueta (2008) outlined four examples. Motivation is not: (1)

directly observable, (2) the same as satisfaction, (3) always conscious, and (4)

directly controllable. Motivation is not the same as satisfaction. “Put simply,

satisfaction is past oriented, whereas motivation is future oriented” (Denhardt

et al., 2008, p. 147). Motivation is not directly controllable. “Motivation is not

something that people do to others. Motivation occurs within people’s minds

and hearts. Managers can influence the motivational process, but they cannot

control it” (Denhardt et al., 2008, p. 147).Motivation is the force that energizes

an individual to induce action and relates to both conscious and unconscious

decision making (Parks,L., &Guay, P, P. 2009). Motivational theories have

been devised to study how a range of influences affect an individual’s

motivation (Anselme,P. 2010).

 Dance is a type of performance art, and can be categorized by a large

range of factors. These factors include the choreography, type of movements

used, historical era, or culture, etc. Not only can dance be divided into

categories through these factors, but also by the intentions behind the

movement. Such intentions may include: ceremonial, social, romantic,

performance or competitive reasons, and many more. The activity of dance

promotes a range of benefits to both the individuals’ psychological and

physical well-being (Maraz, A., Király, O.,Urbán, R., Griffiths, M. D.,

&Demetrovics, Z. 2015). It has been noted in recent research that motivation

plays an important role in leisure activities such as dance. Also previous

research has focused mainly on the motivation underlying professional dance,

it is important that further research be dedicated to the factors relating to

recreational dance to discover the possible differential influences of mastery

versus performance motivation (Maraz, A., et al. 2015).

Health professionals have been trying to face the challenge of

increasing physical activity to promote general health and well-being (Maraz,

A., Király, O., Urbán, R., Griffiths, M. D., &Demetrovics,Z. 2015). Dance

provides individuals with a fun and active way to increase their health and

encourages an active lifestyle. Dance teachers and coaches play a large role

in motivating their students to improve and to aim for success (Leidl, D. 2009).

The attribution theory assumes that motivation is the product of a range

of variables (Leidl,D. 2009). Weiner's attribution theory focuses on three main

causal dimensions, these detentions include: locus, stability and controllability.

The individuals perception on their abilities in these three dimensions influence

either their achievement or failure of any given goal (Leidl,D. 2009).

The incentive theory of motivation relates to the anticipation of

rewarding stimuli in the environment along with the extent to which these

rewards are appetitive to the individual (Robinson,M, D., Moeller, S, K., & Ode,

S. 2010). Such incentives range from intrinsic motivation which relates to

internal drives to extrinsic motivation which relates to incentives outside of an

individual (Leidl,D. 2009).

Previously intrinsically motivated behaviour may be decreased due to

unnecessary extrinsic motivation (Criss, E. 2011). In relation to dance,

individuals may initially be intrinsically motivated due to their enjoyment of self-

expression and freedom of movement, when that same individual takes up

professional competitive dancing extrinsic reward such as prizes and titles

may outshine their initial intrinsic motivation. It is important that individuals who

have a passion for dance and movement remember to enjoy their passion and

to not let winning reduce their enjoyment.

The achievement goal theory an individual’s motivation is influenced through

goals they associate with performance (Leidl,D. 2009). The two main goals relating to

achievement motivation are: performance/ego goals- individuals who adopt these

goals generally focus on the end result and try to 'prove their worth' while avoiding

criticism (Leidl,D. 2009).

In relation to dance motivation, individuals who adopt performance goal are

likely to focus on winning competitions as to avoid scrutiny and to prove that they

have what it takes to make it as a professional dancer. Task/mastery goals-

individuals who adopt these goals focus on developing new skills along with learning

and improving (Leidl,D. 2009). Individuals who adopt the mastery goal in relation to

dance motivation are likely to dedicate their time to learning new styles and improving

their skills. Many dancers take the time and effort to travel overseas in order to further

their skills and master new styles in new cultures. It’s possible to find some

commonalities among the studies from the field of Sports Psychology : first, they all

recognize the benefits of dancing, such as improvement in psychological well-being,

increased self-esteem and anxiety reduction (Maraz, Király, Urbán, et al., 2015),

enhancement of the corporal perception, relaxation of the musculature, and physical,

motor, neurological and intellectual development (Calil et. al., 2007).

Trying to approach the lack of available scales, Maraz, Király, Urbán,

Griffiths and Demetrovics (2015), developed a study that aimed to create a

new psychometric instrument to assess dance motivation. In order to do that

they evaluated recreational dancers, instead of professional dancers,

because, according to them, the motivations between the two groups can be

very different. Maraz, Király, Urbán, Griffiths and Demetrovics (2015) started

by applicating a questionnaire online to a sample of 447 Latin dancers which

they analysed via exploratory factor analysis, founding eight factors comprised

into the new Dance Motivation Inventory: Fitness, Mood Enhancement,

Intimacy, Socializing, Trance, Mastery, Self-Confidence and Escapism. Mood

Enhancement, which refers to the capacity of dance to improve one’s mood

and reduce stress, was the strongest motivational factor, in both genders,

however, while in Women it is more associated with variables like Fitness,

Self-Confidence and Trance, in men it was more related to Intimacy. Dance

intensity, the number of hours spent training in an average week, was

predicted by three of the eight motivational factors: Mood Enhancement,

Socializing and Escapism. The Dance Motivation Inventory proved to be

effective, however, the authors referred the need for more investigation in this

field, especially approaching the motivations of dancers of different styles of

dance.

Furthermore, Gardner, Komesaroff and Fensham (2008) developed a

qualitative study of young people attending recreational dance classes,

addressing their motivations, the nature of the class experience and the

implications for health and well-being. They undertook semi-structured, in-

depth interviews with 10 young people attending a variety of community-based

recreational dance classes. After analysing the interviews, the authors found

five major themes: dance classes foster respect for physical activity and

expertise acquired over the long term; participants gain self-confidence with

respect to their bodily experiences and social relationships; dance classes

increase respect between older and younger people in a physical activity

context; dance classes are sites for exploring or maintaining social,

community/cultural, recreational or inter subjective values; and they involve

experiences of self, body and the world that lie beyond the everyday. As a

dancer, these themes seem to me quite accurate. The first theme is highly

related to the fact that dance is something that doesn’t have a limit of age.

Normally, the more dancers practice, the better they get. This topic just makes

people think of how they saw themselve evolving over the years and how they

are never satisfied and can’t even think about stopping dancing, ever. The

second theme is quite obvious, dance enhances self-esteem, body perception,

and it’s good for posture and helped the participants feeling more comfortable

about intimacy (Gardner, Komesaroff&Fensham, 2008). The third theme is

also very touching to me. Normally, dance teachers are a little bit older than

the students, it’s normal and natural because in order to be a teacher you

have to get some years of practice and experience. One of the beautiful things

about dance: dancers don’t only create a spiritual connection with themselves

and their body but they also connect to the people who teach them, who give

them the tools to aim higher and higher. And this leads to the fourth topic, the

opportunity that dance provides of meeting new people and cooperate with the

people that are dancing with them. This also meets the expectations because

when they dance, it’s not only about them. They share that experience with

who’s watching but also with the ones standing on stage with them. And, as
much as ballet, especially, is known as a competitive and individual style of

dance, it would be impossible to improve and especially to enjoy it, if they

don’t have people backing them up, lifting them up (most of the times literally)

and helping them getting better. The last theme is the most difficult to illustrate

because, like the participants of this study mentioned it’s about the capacity

that dance has to explore the energy and to let them release and express their

feelings (Gardner, Komesaroff&Fensham, 2008).

Relating to this last theme, Gobbiet.al (2008), defended that different

kinds of physical activity may lead to different emotional states. Silva (2008)

added that when we engage in a physical activity to escape from problems,

looking for fun, leisure, love and dedication, the use of movements is a way to

explore our creativity, capability of imagination and cognition, making us

capable of transforming them into expression. According to Strazzacappa

(2008), the expression is the most significant motivation of dance.

In the study conducted by Shannon (2016) which explored the factors

that influenced girls continued participation in community-based competitive

dance during adolescence. For adolescent girls, dance is perceived as a

physically active, enjoyable leisure activity (Flintoff&Scraton, 2001; Quin,

Frazer & Redding, 2007; Stinson, 1997) that can be more consistent with the

feminine ideal (Embry & Rose, 2002; McRobbie, 1984). Enjoyment, social

relationships, course content, being labelled as talented (Aujla et al. 2014) and
developing an embodied identity as a ballet dancer (Pickard, 2012) have

influenced dancers ongoing participation throughout adolescence. \

In addition, Shannon (2016) conducted a study in a small rural

community studio where she interviewed seventeen dancers in order to

promote their reflection regarding their dance experiences, in general. The

data analysis produced three themes that proved to be essential to the girls

continued participation in competitive dance: the opportunity for flexible

participation, in terms of engaging in other sports and to attend to as much

classes as the dancer wants; the enjoyment of dance, which is related to the

elevated variety of alternatives in terms of styles and choreographies a dancer

can develop; and the supportive environment found within their studio,

expressed by the use of the term “dance family” from whom the participants

claim feeling responsible and that helps them coping with aspects of their life

not directly associated with dance (Shannon, C., 2016).

 METHODOLOGY

Research Design

This study used a descriptive correlational research design. Descriptive

research design is utilized to describe systematically and accurately the facts

and characteristics of a given population or area of interest. The obtained data

were used in determining the motivational factors in Dancing among Dance

Arts in Kidapawan City National High School.

Respondents of the Study

The respondents of the study were the sixty (60) Dance Art students of

Special Program in the Arts in Kidapawan City National High School,

Kidapawan City, North Cotabato of the school year 2018-2019.

Locale of the Study

This study was conducted at Kidapawan City National High School,

Kidapawan City North Cotabato. The school was guided by seven (7)

curricula: (SciCur) Science and Technology Curriculum, (BEC) Basic

Education Curriculum, (SPA) Special Program in the Arts Curriculum, (SPS)

Special Program in the Sports Curriculum, (SPJ) Special Program in

Journalism Curriculum, (OHSP) Open High School Program Curriculum, and

(SPED) Special Education Curriculum.

This study focused on the special program in the Arts curriculum

particularly in dance arts.

Research Instrument

The survey questionnaire was adopted from the study of Anikomaraz,

Orsolyakiraly, Roberturban, Mark D. Griffiths, Zsoltdemotrovics 2015. The

researchers used a survey questionnaire which was validated and tested by

the Dance Motivational Inventory in gathering data from the respondents.

Data Gathering Procedures

The researcher prepared and presented a letter of permission to the

school socio-cultural coordinator and obtained the name list of SPA Dance Art

Students. Explanations and intentions of the research were explained to the

respondents .The content of the given questionnaires was clear for them to

answer the items properly. The time set for the conduct of the study was

based on the most convenient time of the respondents. A survey questionnaire

was administered to the respondents. The content of the given questionnaires

was clear for them to answer the items properly. Questionnaires were

retrieved right after they were filled out. Once gathered, they were sorted and

checked for analysis and interpretation.

Statistical Analysis

This study used a descriptive statistics to determine the motivational

factors in dancing among dance arts students in Kidapawan National High

School. Descriptive statistics is a set of procedures for gathering, measuring

classifying, computing, describing, analyzing, and interpreting systematically

acquired quantitative data. (Seema Jaggi, Indian Agricultural Statistics

Research Institute, 2012). Frequency and percentage was also used to

determine the socio-demographic profile of the respondents in terms of their

age and gender. Moreover, the weighted mean was used to determine the

motivational factors among Dance Art students of Special Program in the Arts.
 RESULTS AND DISCUSSION

This chapter deals with the presentation, analysis, and interpretation of

the data gathered in the study. The various results are presented in the

succeeding tables with corresponding discussion and explanation.

Socio-Demographic Profile of the Respondents

Data in table 1 show the demographic profile of the respondents in

terms of age, gender and grade level.

Age. In terms of age, 3 (5%) respondents were 10-12 years old, 36

(60%) respondents were 13-15 years old, and21 (35%) respondents were 16-

18 years old. The result implies that majority of the respondents were 13-15

years old, the appropriate age for their year level.

Gender. In terms of gender, 42(70%) respondents were female and

only 18(30%) respondents were male. It implies that majority of the

respondents were female.

Grade level. In terms of grade level, 9 (15%) of the respondents were

Grade 7, 8(13.33%) were Grade 8, 24(40%) were Grade 9 and 19(31.67%)

were Grade 10.It implies that majority of the respondents were in Grade 10.
Table 1.Socio-Demographic Profile of the Respondents. KCNHS, Kidapawan
City, North Cotabato. 2018.

CHARACTERISTICS FREQUENCY PERCENTAGE

Age
10 – 12 3 5.00
13 – 15 36 60.00
16 – 18 21 35.00
Gender
Male 18 30.00
Female 42 70.00
Grade Level
7 9 15.00
8 8 13.33
9 24 40.00
10 19 31.67

Motivational Factors of the Respondents

Presented in table 2 is the motivational factor in dancing among dance

arts student. The factor fitness revealed the sub mean of 4.32 which is

interpreted as strongly agree. The factor mood enhancement revealed the sub

mean 4.68 which is interpreted as strongly agree. The factor intimacy revealed

the sub mean 3.12 which is interpreted as neutral. The factor socializing

revealed the sub mean 4.31 which is interpreted as strongly agree. The factor

trance revealed the sub means 3.79 which is interpreted as agree. The factor

mastery revealed the sub mean 4.51 which is interpreted as strongly agree.

The factor self-confidence revealed the sub means 4.16 which is interpreted
as agree. The factor escapism revealed the sub mean 4.09 which is

interpreted as strongly agree.

Data also revealed that mood enhancement obtained the highest mean

of 4.68 with the verbal interpretation of strongly agree. It implies that the

respondents are motivated through mood enhancement. On the other hand,

the data revealed that intimacy obtained the lowest mean of 3.12 with the

verbal interpretation of neutral. It also implies that dancers are moderately

motivated through intimacy. Trying to approach the lack of available scales,

Maraz, Király, Urbán, Griffiths and Demetrovics (2015), developed a study that

aimed to create a new psychometric instrument to assess dance motivation. In

order to do that they evaluated recreational dancers, instead of professional

dancers, because, according to them, the motivations between the two groups

can be very different. Maraz, Király, Urbán, Griffiths and Demetrovics (2015)

started by applicating a questionnaire online to a sample of 447 Latin dancers

which they analysed via exploratory factor analysis, founding eight factors

comprised into the new Dance Motivation Inventory: Fitness, Mood

Enhancement, Intimacy, Socializing, Trance, Mastery, Self-Confidence and

Escapism. Mood Enhancement, which refers to the capacity of dance to

improve one’s mood and reduce stress, was the strongest motivational factor,

in both genders, however, while in Women it is more associated with variables

like Fitness, Self-Confidence and Trance, in men it was more related to

Intimacy. Dance intensity, the number of hours spent training in an average

week, was predicted by three of the eight motivational factors: Mood

Enhancement, Socializing and Escapism. The Dance Motivation Inventory

proved to be effective; however, the authors referred the need for more

investigation in this field, especially approaching the motivations of dancers of

different styles of dance.

Table 2. Motivational factors in dancing among dance arts students in

Kidapawan City National High School. KCNHS, Kidapawan City, North
Cotabato. 2018.

STATEMENT MEAN VERBAL

INTERPRETATION

1.FITNESS 4.32 Strongly Agree

2.MOOD 4.68 Strongly Agree
ENHANCEMENT

3.INTIMACY 3.12 Neutral

4.SOCIALIZING 4.31 Strongly Agree

5.TRANCE 3.79 Agree

6.MASTERY 4.51 Strongly Agree

7.SELF CONFIDENCE 4.16 Agree

8.ESCAPISM 4.09 Agree

Over All Mean 4.12 Agree

LEGEND:

Range Interpretation

5- 4.20 - 5.00 Strongly Agree

4- 3.40 - 4.19 Agree

3- 2.60 - 3.39 Neutral

2- 1.80 - 2.54 Disagree

1- 1.0 - 1.79 Strongly Disagree

Relationship between Socio –demographic profile and motivational
factors of the Respondents

Table 3 presents the relationship between socio-demographic profile

and motivational factors of the respondents. Data revealed that there is a high

significant relationship between the respondents’ grade level and motivational

factors at 1% (r=-0.460**, p=0.00) level of significance. Closely the same,

there is a significant relationship between the respondents’ age and

motivational factors at 5% (r= -0.203*, p= 0.03) level of significance.

Meanwhile, there is no significant relationship between the respondents’ sex

and motivational factors at 5% (r= 0.158, p= 0.23) level of significance.

Results of the study indicates that the sex of the respondents do not

influence their motivational factors as dancers. Nevertheless, their age and

grade level significantly influence their motivational factors. This implies that

the higher the grade level and the age the more motivated they are to dance.
Table.3 Relationship between Socio –demographic profile and motivational
factors. KCNHS, Kidapawan City, North Cotabato. 2018.

VARIABLES SPEARMANS rho P-VALUE

CORRELATION

GRADE LEVEL -0.460** 0.00

AGE -0.203* 0.03

SEX 0.158 0.23

** highly significant 0.01 level

* significant 0.05 level

not significant 0.05 level

 SUMMARY, CONCLUSION AND RECOMMENDATIONS

This study focused on the relationship of the socio-demographic profile

of the respondents and their motivational factors. This study aimed to

determine the socio demographic profile of the respondents in terms of Age,

Gender, and Grade level; determine the motivational factors in dancing among

the respondents; and determine the relationship between their socio-

demographic profile and their motivational factors. The needed data were

gathered using an adopted questionnaire .Descriptive statistics was analyzed

using the mean and verbal interpretation, while correlational analysis was

analyzed using the Spearman rho. Results of the study are duly presented in

the following tables.

The results of the study were summarized as follows:

1. In terms of age, 3 (5%) of the respondents were 10-12 years old, 36

(60%) were 13-15 years old, 21 (35%) were 16-18 years old. The

result implies that majority of the respondents are 13-15 years old,

the appropriate age level for their year level. In terms of gender,

majority of the respondents 42(70%) were female and only 18(30%)

were male. It implies that majority of the respondents were female.

2. Based on the results Mood Enhancement has the highest mean of

4.68 which interpreted as strongly agree. It implies that most of the

 student are highly motivated in mood enhancement among the

motivational factors. Meanwhile intimacy has the lowest mean of

3.12 which interpreted as neutral. It means that the students are

moderately motivated in the motivational factor of intimacy.

3. There is a high significant relationship between the respondents’

grade level and motivational factors at 1% (r=-0.460**, p=0.00) level

of significance. Closely the same, there is a significant relationship

between the respondents’ age and motivational factors at 5% (r= -

0.203*, p= 0.03) level of significance. Meanwhile, there is no

significant relationship between the respondents’ sex and

motivational factors at 5% (r= 0.158, p= 0.23) level of significance.

Considering the facts of the study, the conclusions are drawn:

1. Respondents of the study are highly motivated in Mood

Enhancement which means that they enjoy what they are doing.

2. Respondents of the study are moderately motivated in intimacy

which means that they are in neutral stage in engaging into a

relationship.

3. The sex of the respondents do not influence their motivational

factors as dancers.

4. The age and grade level of the respondents significantly influence

their motivational factors.

Based on the conclusions, the following notions are recommended:

ate motivational techniques in their dancing endeavor.

1. The institutions must provide appropriate workshops and

seminars for the dance arts students to be motivated in their

dancing endeavor.

2. Future researchers are advised to look on the relationship

between the students dancing performance and academic

performance.
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APPENDICES