DIPLOMA IN TECHNICAL VOCATIONAL

TEACHER EDUCATION

Physical Education 2

Digital Communication and Technological College Inc.

Purok Agawin, Brgy. IbabangDupay, Lucena City

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 TABLE OF CONTENTS

Topic Topic Page No.

Number
Course Description and Course Outcomes
1 Rhythm
2 Elements of Rhythm
3 Rhythmic Activities
4 Types of Dances
5 Components of Dance
6 Folk Dance
7 Modern Dance
8 Ballroom and Social Dances
9 Training Coordination Abilities
10 Creative Movement as a Form of Expression
11 Ways in Learning to Dance Increases Confidence
12 How Dance Can Improve Self Confidence
13 Creative Movement & Dance Skills
14 Dances Form a Variety of Cultures

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Course Description

Physical Education 2 introduces the art and sport of dancing and to provide the necessary
skills and understanding for an appreciation of the artistic, athletic, and social qualities of
dance. Throughout the course, students will learn various concepts surrounding dance
including culture, etiquette, and application in social settings as well as several different
styles of dance and the rhythms and types of music to which they are danced. Besides being a
learning experience, this is to be an enjoyable course.

Course Outcomes

CO1: Develop and show an appreciation towards the different dances.

CO2: Identify the basics of the different dance styles.

CO3: Analyze the artistic and athletic aspects of the dance.

CO4: Identify the technique and skills for overall balance and rhythm.

CO5: Show learning in dance with creativity and confidence.

CO6: Create a cultural dance production.

Topic #1
Rhythm

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Rhythm Definition
1. a regular pattern of sounds or movements
2. a regular pattern of sounds in music that you can show by moving,
hitting your hands together, or hitting a drum or other surface.
3. a regular pattern of syllables in poetry

Rhythm

In music, rhythm is the placement of sounds in time. In its most general

sense, rhythm (Greek rhythmos, derived from rhein, “to flow”) is an ordered
alternation of contrasting elements. The notion of rhythm also occurs in
other arts (e.g., poetry, painting, sculpture, and architecture) as well as in
nature (e.g., biological rhythms).Attempts to define rhythm in music have
produced much disagreement, partly because rhythm has often been
identified with one or more of its constituent, but not wholly separate,
elements, such as accent, metre, and tempo. As in the closely related
subjects of verse and metre, opinions differ widely, at least among poets and
linguists, on the nature and movement of rhythm. Theories requiring
“periodicity” as the sine qua non of rhythm are opposed by theories that
include in it even nonrecurrent configurations of movement, as in prose or
plainchant.

History of Rhythm

Rhythm 
(from Greek ῥυθμός, rhythmos, "any regular recurring motion, symmetry"—
Liddell and Scott 1996) generally means a "movement marked by the
regulated succession of strong and weak elements, or of opposite or different
conditions" (Anon. 1971, 2537). This general meaning of regular recurrence
or pattern in time can apply to a wide variety of cyclical natural phenomena
having a periodicity or frequency of anything from microseconds to several
seconds (as with the riff in a rock music song); to several minutes or hours,
or, at the most extreme, even over many years.

Rhythm is related to and distinguished from pulse, meter, and beats:

Rhythm may be defined as the way in which one or more unaccented beats
are grouped in relation to an accented one. ... A rhythmic group can be
apprehended only when its elements are distinguished from one another,
rhythm...always involves an interrelationship between a single, accented
(strong) beat and either one or two unaccented (weak) beats. (Cooper and
Meyer 1960, 6)

In the performance arts, rhythm is the timing of events on a human scale;

of musical sounds and silences that occur over time, of the steps of a dance,

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or the meter of spoken language and poetry. In some performing arts, such
as hip hop music, the rhythmic delivery of the lyrics is one of the most
important elements of the style. Rhythm may also refer to visual
presentation, as "timed movement through space" (Jirousek 1995) and a
common language of pattern unites rhythm with geometry. For
example, architects often speak of the rhythm of a building, referring to
patterns in the spacing of windows, columns, and other elements of
the facade.[citation needed] In recent years, rhythm and meter have become an
important area of research among music scholars. Recent work in these
areas includes books by Maury Yeston (1976), Fred Lerdahl and Ray
Jackendoff (Lerdahl and Jackendoff 1983), Jonathan Kramer,
Christopher Hasty (1997), Godfried Toussaint (2005), William Rothstein
(1989), Joel Lester (Lester 1986), and Guerino Mazzola.

Pulse, beat and measure

As a piece of music unfolds, its rhythmic
structure is perceived not as a series of
discrete independent units strung together
in a mechanical, additive, way like beads [or
"pulses"], but as an organic process in
which smaller rhythmic motives, whole
possessing a shape and structure of their
own, also function as integral parts of a larger ["architectonic"] rhythmic
organization.

Most music, dance and oral poetry establishes and maintains an underlying
"metric level", a basic unit of time that may be audible or implied,
the pulse or tactus of the beat level, sometimes simply called the beat. This
consists of a (repeating) series of identical yet distinct periodic short-
duration stimuli perceived as points in time .The "beat" pulse is not
necessarily the fastest or the slowest component of the rhythm but the one
that is perceived as fundamental: it has a tempo to which
listeners entrain as they tap their foot or dance to a piece of music] It is
currently most often designated as a crotchet or quarter note in western
notation . Faster levels are division levels, and slower levels are multiple
levels . Maury Yeston clarified "Rhythms of recurrence" arise from the
interaction of two levels of motion, the faster providing the pulse and the
slower organizing the beats into repetitive groups .Once a metric hierarchy
has been established, we, as listeners, will maintain that organization as
long as minimal evidence is present.

Unit and gesture

A durational pattern that synchronises with a pulse or pulses on the

underlying metric level may be called a rhythmic unit. These may be
classified as

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  Metric – even patterns, such as steady eighth notes or pulses;

 Intrametric – confirming patterns, such as dotted eighth-

sixteenth note and swing patterns;

 Contrametric – non-confirming, or syncopated patterns; and

 Extrametric – irregular patterns, such as tuplets.

A rhythmic gesture is any durational pattern that, in contrast to the

rhythmic unit, does not occupy a period of time equivalent to a pulse or
pulses on an underlying metric level. It may be described according to its
beginning and ending or by the rhythmic units it contains. Rhythms that
begin on a strong pulse are thetic, those beginning on a weak pulse are
anacrustic and those beginning after a rest or tied-over note are called initial
rest. Endings on a strong pulse are strong, on a weak pulse, weak and those
that end on a strong or weak upbeat are upbeat

Alternation and repetition

Rhythm is marked by the regulated succession of opposite elements: the

dynamics of the strong and weak beat, the played beat and the inaudible
but implied rest beat, or the long and short note. As well as perceiving
rhythm humans must be able to anticipate it. This depends on repetition of
a pattern that is short enough to memorize.

The alternation of the strong and weak beat is fundamental to the ancient
language of poetry, dance and music. The common poetic term "foot" refers,
as in dance, to the lifting and tapping of the foot in time. In a similar way
musicians speak of an upbeat and a downbeat and of the "on" and "off" beat.
These contrasts naturally facilitate a dual hierarchy of rhythm and depend
on repeating patterns of duration, accent and rest forming a "pulse-group"
that corresponds to the poetic foot. Normally such pulse-groups are defined
by taking the most accented beat as the first and counting the pulses until
the next accent. A rhythm that accents another beat and de-emphasizes the
downbeat as established or assumed from the melody or from a preceding
rhythm is called syncopated rhythm.

Normally, even the most complex of meters may be broken down into a
chain of duple and triple pulses either by addition or division. According to
Pierre Boulez, beat structures beyond four, in western music, are "simply
not natural

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Tempo and duration

The tempo of the piece is the speed or frequency of the tactus, a measure of

how quickly the beat flows. This is often measured in 'beats per minute'
(bpm): 60 bpm means a speed of one beat per second, a frequency of 1 Hz.
A rhythmic unit is a durational pattern that has a period equivalent to a
pulse or several pulses. The duration of any such unit is inversely related to
its tempo.
Musical sound may be analyzed on five different time scales, which
Moravscik has arranged in order of increasing duration.

 Supershort: a single cycle of an audible wave, approximately 1⁄30–

1
⁄10,000 second (30–10,000 Hz or more than 1,800 bpm). These, though
rhythmic in nature, are not perceived as separate events but as
continuous musical pitch.

 Short: of the order of one second (1 Hz, 60 bpm, 10–100,000 audio

cycles). Musical tempo is generally specified in the range 40 to 240 beats
per minute. A continuous pulse cannot be perceived as a musical beat if
it is faster than 8–10 per second (8–10 Hz, 480–600 bpm) or slower than
1 per 1.5–2 seconds (0.6–0.5 Hz, 40–30 bpm). Too fast a beat becomes
a drone, too slow a succession of sounds seems unconnected). This time
frame roughly corresponds to the human heart rate and to the duration
of a single step, syllable or rhythmic gesture.

 Medium: ≥ few seconds, This median durational level "defines rhythm in

music 114 as it allows the definition of a rhythmic unit, the arrangement
of an entire sequence of accented, unaccented and silent or "rest" pulses
into the cells of a measure that may give rise to the "briefest intelligible
and self-existent musical unit" a motif or figure. This may be further
organized, by repetition and variation, into a definite phrase that may
characterize an entire genre of music, dance or poetry and that may be
regarded as the fundamental formal unit of music

 Long: ≥ many seconds or a minute, corresponding to a durational unit

that "consists of musical phrases" (which may make up a melody, a
formal section, a poetic stanza or a characteristic sequence of dance
moves and steps. Thus the temporal regularity of musical organisation
includes the most elementary levels of musical form 

 Very long: ≥ minutes or many hours, musical compositions or

subdivisions of compositions.

Metric Structure of Music

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 The study of rhythm, stress,
and pitch in speech is
called prosody it is a topic
in linguistics and poetics, where it
means the number of lines in
a verse, the number of syllables in
each line and the arrangement of those syllables as long or short, accented
or unaccented. Music inherited the term "meter or metre" from the
terminology of poetry

The metric structure of music includes meter, tempo and all other rhythmic
aspects that produce temporal regularity against which the foreground
details or durational patterns of the music are projected. The terminology of
western music is notoriously imprecise in this area 3 preferred to speak of
"time" and "rhythmic shape of "measured rhythm".

Composite rhythm

A composite rhythm is
the durations and
patterns (rhythm)
produced by
amalgamating all
sounding parts of a
musical texture. In
music of the common
practice period, the composite rhythm usually confirms the meter, often in
metric or even-note patterns identical to the pulse on a specific metric level.
White defines composite rhythm as, "the resultant overall
rhythmic articulation among all the voices of a contrapuntal texture. This
concept was concurrently defined as “attack point rhythm” by Maury
Yeston in 1976 as “the extreme rhythmic foreground of a composition – the
absolute surface of articulated movement”

Topic #1

Rhythm
Activity Sheet # 1

Name : _______________________ Section:______________

Instructor :__________________ Date:_______________

I.Identify the following

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 _____________1. It is the placement of sounds in time. It is an ordered
alternation of contrasting elements.

_____________2. It includes meter, tempo and all other rhythmic aspects that
produce temporal regularity against which the foreground details
ofdurational patterns of the music are projected.

_____________3. It is the durations and patterns produced by amalgamating

all sounding parts of a musical texture.

_____________4. It is the speed or frequency of the tactus, a measure of how

quickly the beat flows.

_____________5. It is a rhythmic unit that is non-confirming, or syncopated

patterns

_____________6. It is a rhythmic unit that is described as an irregular

patterns, such as tuplets.

_____________7. It is characterized by an underlying “metric level”, a basic

unit of time that may be audible or implied.

_____________8. The durations and patterns produced by amalgamating all

sounding parts of a musical texture.

____________9. It is a time scale of tempo and duration that is of the order of

one second (1 Hz, 60 bpm, 10-100,000 audio cycles).

___________10. It is a time scale of tempo and duration that is less than or

equal to few seconds.

II. True or False: On the space provided, write T if the statement is true
and write F if the statement is false.

_________1. In music of the common practice period, the composite

rhythm usually confirms the meter, often in metric or even-note patterns
identical to the pulse on a specific metric level.

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 _________2. Most music, dance and oral poetry establishes and maintains
an underlying "metric level", a basic unit of time that may be audible or
implied, the pulse or tactus of the  beat level, sometimes simply called
the beat.

_________3. The "beat" pulse is necessarily the fastest or the slowest

component of the rhythm.

_________4. Rhythm, in music, is the placement of sounds in time.

_________5. A durational pattern that synchronises with a pulse or pulses

on the underlying metric level may be called a rhythmic unit.

Topic # 2
Elements of Rhythm

Introduction

Rhythm in music is the placement of sounds in time. In its most general

sense, rhythm (Greek rhythmos, derived from rhein, “to flow”) is an ordered
alternation of contrasting elements. The notion of rhythm also occurs in
other arts (e.g., poetry, painting, sculpture, and architecture) as well as in
nature (e.g., biological rhythms).

Unlike a painting or a piece of sculpture, which are compositions in space, a

musical work is a composition that dependent upon time. Rhythm is music’s
pattern in time. Whatever other elements a given piece of music may have
(e.g., patterns in pitch or timbre), rhythm is the one indispensable element

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of all music. Rhythm can exist without melody, as in the drumbeats of so-
called primitive music, but melody cannot exist without rhythm. In music
that has both harmony and melody, the rhythmic structure cannot be
separated from them. Plato’s observation that rhythm is “an order of
movement” provides a convenient analytical starting point.

Beat

The unit division of musical time is called a beat. Just as one is aware of the
body’s steady pulse, or heartbeat, so in composing, performing, or listening
to music one is aware of a periodic succession of beats.

Tempo

The pace of the fundamental beat is called tempo (Italian: “time”). The
expressions slow tempo and quick tempo suggest the existence of a tempo
that is neither slow nor fast but rather “moderate.” A moderate tempo is
assumed to be that of a natural walking pace (76 to 80 paces per minute) or
of a heartbeat (72 per minute). The tempo of a piece of music indicated by a
composer is, however, neither absolute nor final. In performance it is likely
to vary according to the performer’s interpretative ideas or to such
considerations as the size and reverberation of the hall, the size of the
ensemble, and, to a lesser extent, the sonority of the instruments. A change
within such limits does not affect the rhythmic structure of a work.

Rubato

The tempo of a work is never inflexibly mathematical. It is impossible to

adhere in a musical manner to the metronomic beat for any length of time.
In a loosely knit passage a tautening of tempo may be required; in a crowded
passage a slackening may be needed. Such modifications of tempo, known
as tempo rubato—i.e., “robbed time”—are part of the music’s character.
Rubato needs the framework of an inflexible beat from which it can depart
and to which it must return.

Time

The mind apparently seeks some organizing principle in the perception of

music, and if a grouping of sounds is not objectively present it imposes one
of its own. Experiments show that the mind instinctively groups regular and
identical sounds into twos and threes, stressing every second or third beat,
and thus creates from an otherwise monotonous series a succession of
strong and weak beats.

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In music such grouping is achieved by actual stress—i.e., by periodically
making one note stronger than the others. When the stress occurs at regular
intervals, the beats fall into natural time measures. Although in European
music the concept of time measures reaches back to a remote age, only
since the 15th century have they been indicated by means of bar lines.
Thus, the terms measure and bar are often used interchangeably.

The time measure is indicated at the opening of a piece by

a time signature—e.g., 2/4, 4/8, 3/4, 6/8. The length of each
beat in a measure may be a time unit of short or
long duration:
The signature 4/1 (above) means that the whole note (1) is
the unit in each measure, and there are four (4) of them to
each measure. In the second illustration, 4/2, the half note
(2) is the unit of measurement, with four of them (4) to each
measure, and so on.

The two basic types of time measure have either two

or three beats and admit of many different notations.

Four time,” or “common time,” is really a species

of duple time allied to “two time,” as it can hardly
be thought of without a subsidiary stress at the
half measure—i.e., on the third beat—thus:

Duple, triple, and quadruple time measures—i.e.,

those in which there are two, three, and four beats
to a measure—are known as simple time. The
division of each of the component beats into three
produces compound time:
More-complex times, such as the quintuple, 5/4,
usually fall into groups of 3 + 2, as in “Mars”
from Gustav Holst’s suite The Planets and in the
second movement of Tchaikovsky’s Sixth
Symphony. Rimsky-Korsakov, in Sadko, and Stravinsky, in Le Sacre du
printemps, use 11 as a unit. Ravel’s piano trio opens with a signature
of 8/8 with the internal organization 3 + 2 + 3. Folk song and folk dance,
particularly from eastern Europe, influenced the use of asymmetrical time
measures, as in the “Bulgarian Rhythm” pieces
in 7/8 and 5/8 in Bartók’s Mikrokosmos.

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Metre

The combinations of long (—) and short ([breve])

syllables are known in prosody as feet. The
system of notating the musical equivalents of
feet derives from the application of prosody to
music. The foundations for European music
were laid in
ancient Greece,where classical music
and poetry were regarded as parts of a single
art. These principles were adopted by the
Romans and were transmitted, by way of Latin poetry, to medieval Europe.
The feet of classical poetry and their equivalents in music are shown in
the Table. And in late antiquity St. Augustine (354–430), in De musica,
added more.

Rhythmic metre

Until the 12th century, church music was

virtually limited to unadorned plainchant. The
early composers found that polyphony required
a rhythmical organization to keep the parts
together, so rhythmic metre was adopted
(see Table). Compared with a hypothetical flow
of beats equal in stress, metre adds significance
to what was merely a forward flow in time—
though the continuation of a metrical pattern
may itself become monotonous. Thus, metre,
though “rhythmic” by comparison with pulse, is
not the whole of rhythm. The 13th-century
musicians often varied the rhythmic modes by
combining several of them simultaneously in
different parts of polyphonic composition.

Polyphonic metre

Theoretically, metre appears to be without stress accent, and certainly much

polyphonic music of a later period, such as the masses of Giovanni Pierluigi
da Palestrina, has an almost stressless flow. Yet these works reveal a subtle
rhythmical organization. At a later periodmetre and time measure cannot be

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wholly separated. In their “purest” forms they may be extremes, but in
music predominantly of one type, the other element is rarely wholly absent,
though on an instrument such as the organ, actual dynamic stress is
impossible. After all, metres like the spondee, ♩♩, and the dispondee, ♩♩♩♩,
need an accent on the first beat to keep their identity. Notwithstanding the
opposite tendencies of metrical organization and stress accent, however,
some metre is obviously subject to stress, so that metre and time measure
become very closely linked, as in the scherzo of Beethoven’s Ninth
Symphony, where a measure has a strong first beat and at the same time
follows a metre.

Organic Rhythm

In broad terms, the time framework of music is composed of tempo, time

measure, metre, and period; and its rhythmical life hangs on rubato,
musical motif (which may already include cross accent), and metrical
variation, as well as on asymmetry and balance of phrase. Whereas the
former are more or less measured and rational, the latter are organically
inspired and numerically irrational—the very life of the music.

Prose rhythms and plainsong

Rhythm is, therefore, not any one of these rational or formal features, nor is
it composed solely of a combination of these factors. Yet rhythm requires the
background of a rational framework in order that it may be fully perceived,
but this framework need not embrace all the rational factors described
above.

Thus, plainchant, as it is known in modern times, makes no use at all of

measure or of regular metre but is supremely rhythmical in conception; its
“free” rhythms are felt. Whereas so much music has for its framework a
regular repetition of underlying accent, whether stress or durational, the
framework of plainchant is irregular. Its rhythm belongs to the Latin tongue
and springs from the correct accentuation of the text and the dynamic
quality inherent in the word grouping.

Rhythm, melody, and harmony

Thus far, music’s structure in time has been examined separately from its
structure in tone, but no such separation is really possible. Melody and
rhythm are intimately connected. Moreover, various styles of music tend to
standardize their melodic cadences and, with them, their time divisions
(e.g., Mozart’s melodic rhythm is much more regular than Prokofiev’s).

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In music employing harmony, the rhythmic structure is inseparable from
harmonic considerations. The time pattern controlling the change of
harmonies is called harmonic rhythm. In 17th- and 18th-century music,
harmony tends to limit rhythmic subtleties and flexibility of the melodic
elements (as well as determining the basic type of melody) in regard to stress
accents. It is, therefore, no accident that the polyphonic music of Indonesia
and Southeast Asia, like much European music, exhibits certain four-
square melodic tendencies. By contrast, the music of India and the Perso-
Arab world employs a melody instrument or voice performing in a given
metre offset by a drum playing cross rhythms or (in the Arab world) a quite
different metre. With no harmony (except a drone) to impede its flow, the
rhythm can reach a structure of great subtlety and complexity.

Rhythm, structure, and style

In European music the great variety of styles derives its relation to melody
from different concepts of rhythm. They include the strict rhythmic modes of
the 13th century, the free oratorical speech-rhythms of the Renaissance, the
almost stressless flow of Renaissance polyphony, the strong body rhythms
of the Baroque, the freedom of the late Romantics, and the primitivistic
rhythms of the 20th century with composite and ever-changing time
signatures.

Thus, study of musical history shows a varying attitude toward rhythm,

sometimes closer to strict rule, sometimes to “freedom,” as the temper of the
times and the relative influence of poetry, dance, and folk music decree.
Plato’s definition of rhythm as “an order of movement” might, therefore, be
expanded. As a determining factor in the vitality of music, rhythm may be
described as “an inspired organic order of movement” communicating
intelligibly to the senses. From the analytical viewpoint, it operates in the
rational framework described, which it varies in terms of rubato, motif, and
so on. Ultimately, rhythm is the organic process of music in time; it is
music’s direction in time. The quality of rhythm is the quality of life;
however vitally composers conceive their music, they must depend upon
performers to recreate it rhythmically.

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 Topic #2
Elements of Rhythm
Activity Sheet #2

Name : _________________________ Section:______________

Instructor :__________________ Date:_______________

Identify the following

____________1. It is called the unit division of musical time.

____________2. It is the pace of the fundamental beat.

____________3. It is the modification of tempo that needs a framework of an

inflexible eat from which it can depart and to which it must return.

____________4. It is indicated at the opening of a piece by a time signature.

____________5Unlike a painting or a piece of sculpture, which are

compositions in space, a _____________ is a composition that dependent
upon time.

____________6 The 13th-century musicians often varied the ________________

by combining several of them simultaneously in different parts of
polyphonic composition.

_____________7. It is not a rational or formal feature of music but it requires

a background of a rational framework it order that it may be fully perceived.

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____________8.It is a type of rhythm that is organically inspired and
numerically irrational.

____________9. It is the time pattern that controls the change of harmonies.

____________10. It is defined by Plato as “an order of movement”.

Topic #3
Rhythmic Activities

Introduction

Rhythmic activities are combinations of physical movements with sounds,

beats, or music. Rhythmic activities rely on an internal or
external rhythm used for self-expression, exercise, demonstration of
physical ability, socialization, and expression of culture.

Whenever the word rhythmic is mentioned, what come to one’s mind is

songs or rhymes or maybe something that has to do with melody?

These things that our mind interprets for us about melody are things that
are absolutely right, but there are however more to rhythms than just
melody or songs. Do you know that rhythms could bring about different
activities, those activities that rhythms bring about are called rhythmic
activities

FORMATIONS commonly Used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise

2. Single circle partners facing
3. Single circle, facing counterclockwise
4. Single circle, facing center
5. Double circle, partners facing
6. Double circle, facing clockwise
7. Double circle, couples facing
8. Square or quadrille formation
9. Semi-circle or half moon
10. Double lines, facing front

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 11. Double lines, partners facing
12. Long openformatiom

These rhythmic activities that are performed could be categorized into

different segments and they include:

1. Fundamental Rhythm.
Fundamental rhythms include walking, running, skipping, and other
fundamental movements. The general purpose of a programme of
fundamental rhythm is to provide a variety of basic movement
experiences Marching is as well part of this fundamental rhythm
because most times it is done with reactions to orders or musical
instruments.

 Dancing
Dance is a performing art form consisting of purposefully selected
sequences of human movement. This movement has aesthetic and
symbolic value, and is acknowledged as dance by performers and
observers within a particular culture. Dance can be categorized and
described by its choreography, by its repertoire of movements, or by
its historical period or place of origin.

An important distinction is to be drawn between the contexts of

theatrical and participatory dance,] although these two categories are
not always completely separate; both may have special functions,
whether social, ceremonial, competitive, erotic, martial, or
sacred/liturgical. Other forms of human movement are sometimes
said to have a dance-like quality, including martial arts, gymnastics,
cheerleading, figure skating, synchronized swimming, marching
bands, and many other forms of athletics.

In our contemporary age, there are different people who have created
different dancing styles and steps that occur in reaction to musical
sounds and beats. The ability to move one’s body to the beat of a song
makes one a creative person.
Culture however has a great impact over how a person dances; the
dance step of a people could greatly be affected by his or her cultural
background.

 Sing along games.

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 There are different games that have now been created that people can
sing and clap along with especially for school children, they are often
excited by those songs as they clap their hands, dance and sing along
in the rhythm of those songs. An example of those games is a game of
who will be my friend usually sang by most people today.

Aside from the physical health, rhythmic activities can improve our general
and psychological well-being, as well.

Dancing to your heart’s content

Aside from burning calories, research shows that dancing can improve
one’s cardiovascular health. Studies have shown that a regular
dancing session can lower blood pressure, reduces fat and improves
the ratio of “good” to “bad” cholesterol.  Rhythmic activities can also
strengthen bones, increase muscular strength, and contribute to
better coordination, flexibility and agility. 

Relieve your stress away

One of the best ways to relieve stress is to listen to music. Following
the beat of the music, rhythmic movements can be as simple as
tapping your fingers, clapping or stomping your feet. This activity
triggers the release of biochemical stress reducers such as dopamine,
also known as a “feel good” neurotransmitter that provides the drive
and focus to be productive. As an aftereffect, dopamine also improves
the quantity and quality of relaxation and rest, too.

Improved mental health

Aside from increased physical confidence, rhythmic activities can also
improve mental functions because rhythm regulates the brain and
prevents cognitive decline. It also boosts the chemicals in our brain
that support better memory and learning.

Better social skills

By regularly participating in rhythmic activities, one also gains greater
self-confidence and self-esteem. With improved positive self-image,
one is more motivated to pursue personal goals, and able to practice
impulse control and resilience when faced with adversities. As a
result, there is an over-all joyful attitude and an increased state of
happiness that leads to gaining greater life satisfaction.

For that extra boost of the positive vibe, it is recommended to participate in

rhythmic activities in the great outdoors. This will give you an opportunity to
break your routine and enjoy the outdoor scenery while you work in rhythm
with the natural environment

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 Topic #3
Rhythmic Activities
Activity Sheet # 3

Name : ___________________________ Section:______________

Instructor :__________________ Date:_______________

I. True or False: On the space provided, write T if the statement is

true and write F if the statement is false.

_________1. Any rhythmic activity involves certain body movement.

_________2. Aside from burning calories, research shows that dancing can
improve one’s cardiovascular health.

_________3. One of the best ways to relieve stress is to listen to music.

_________4. Aside from increased physical confidence, rhythmic activities

can also improve mental functions.

_________5. By regularly participating in rhythmic activities, one loses self

confidence and self-esteem.

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II. Enumerate the importance of Rhythmic Activities.

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21
 Topic # 4
Types of Dances

Introduction

Dance is a performing art form consisting of purposefully selected

sequences of human movement. This movement
has aesthetic and symbolic value, and is acknowledged as dance by
performers and observers within a particular culture.] Dance can be
categorized and described by its choreography, by its repertoire of
movements, or by its historical period or place of origin.

An important distinction is to be drawn between the contexts

of theatrical and participatory dance although these two categories are not
always completely separate; both may have special functions,
whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical.
Other forms of human movement are sometimes said to have a dance-like
quality, including martial arts, gymnastics, cheerleading, figure
skating, synchronized swimming, marching bands, and many other forms of
athletics..

Benefits of Dancing

1. Dancing builds strength

2. Dancing improves balance
3. Dancing builds endurance
4. Dancing builds social connections
5. Dancing improves general health
6. Dancing preserves cultural heritage and traditions
7. Dancing is great entertainment

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

Folk/ Ethnic dance

22
 Is a cultural art form handed down from generation to generations? It
communicates the customs, beliefs, rituals, and occupations of the
people of a region or country. Folk dancing belongs to the people. It
emanates from them. Ethnic tribes have their specific tribal art forms
originated and danced by the people of the tribe.

Examples of folk dances are the rural and country dances, jotas,
mazurkas, pandanggos, among others with foreign influence.

Examples of ethnic dances are the dances of the mountain peoples of

the Cordilleras, dances of the ethnic groups in the Cagayan Valley
Region and the ethnic dances in the Mindanao Regions.

Social and Ballroom Dance

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

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

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

Topic # 4
Phase of Dance Program
Activity Sheet # 4

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 Name : ___________________________ Section:______________
Instructor :__________________ Date:_______________

Answer the following

1. What is the role of dance in education?

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2. Explain the objectives and benefits of dancing.

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Topic #5
Components of Dance

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Introduction

Here we detail the five elements that all forms of dance and creative
movement have in common: body, action, space, time and energy. Being
able to identify and understand these core characteristics can help you
when talking about a dance performance or can help you get your own
messages across through movement.

1. Time
refers to the movement of dancers through time, and specifically
within relationship to the music, tempo, meter, or rhythm. Force
refers to the energy, dynamism, and intensity of each movement.

The keyword for the element of

time is When? Human movement
is naturally rhythmic in the broad
sense that we alternate activity
and rest. Breath and waves are
examples of rhythms in nature
that repeat, but not as
consistently as in a metered
rhythm.

Spoken word and conversation

also have rhythm and dynamics,
but these timing patterns are characteristically more inconsistent and
unpredictable.

Rhythmic patterns may be metered or free rhythm. Much of western

music uses repeating patterns (2/4 or 3/4 for example), but concepts
of time and meter are used very differently throughout the world.
Dance movements may also show different timing relationships such
as simultaneous or sequential timing, brief to long duration, fast to
slow speed, or accents in predictable or unpredictable intervals.

Time may also be organized in other ways including 

1. Clock time: The dance is based on units of seconds, minutes, and/or

hours. For example, a certain section of a dance may be assigned a

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 time such as 30 seconds into which all the choreographed movement
must fit. A performance in a public setting may be set up to repeat
continuously between 12:00 Noon and 1:00 PM.
  
2. Sensed time: Dancers pick up on each other's timing such as
gradually increasing from a walking tempo to a running tempo by
cueing off each other rather than a music score. Another example
happens when dancers hold a group shape then spontaneously move
out of it based on the group's organic impulse. 

3. Event-sequence: An internal or external event signals a change such

as repeating a traveling phrase over and over until everyone arrives at
a corner of the stage. You also see this at sports events when a
touchdown triggers a dance cheer. 
Dancers may take sight cues from each other to start the next phrase
or listen for music cues. They may even take cues from an event such
as a train whistle during an outdoor dance performance. The inherent
rhythms in our movement and our aural landscape are a rich source
of variation in dance.

2. Space

refers to the space through which the

dancer's body moves (general or
personal space, level, size, direction,
pathway, focus). Time: is applied as both
musical and dance elements (beat,
tempo, speed, rhythm, sudden, slow,
sustained).

Dancers interact with space in myriad ways. They may stay in one place or
they may travel from one place to another. They may alter the direction,
level, size, and pathways of their movements. 

The relationships of the dancers to each other may be based on geometric

designs or rapidly change as they move close together, then apart. Even
when a dancer is dancing alone in a solo, the dancer is dynamically involved
in the space of the performing area so that space might almost be
considered a partner in the dance. 

Dancers may focus their movement and attention outwardly to the space or
inwardly, into themselves. The line of travel may be quite direct towards one
or more points in space or indefinite and meandering. 

26
 Dancers may also orient their movement towards objects or in relation to
natural settings. Sometimes dances are created for specific locations such
as an elevator or on a raft in a lake for site-based performance.

Spatial relationships between dancers or between dancers and objects are

the basis for design concepts such as beside, in front of, over, though,
around, near or far.

3. Movement / Action

The elements of movement are

space, time, and force (energy). The
instrument is the body.
The body moves in space and in time
with force. The dance concepts should
be viewed holistically.

Action is any human movement

included in the act of dancing— it can
include dance steps, facial movements, partner lifts, gestures, and even
everyday movements such as walking. Dance is made up of streams of
movement and pauses, so action refers not only to steps and sequences,
but also to pauses and moments of relative stillness.

Dancers may use movements that have been choreographed or

traditional dances taught by others who know the dances. Depending on
the dance style or the choreographer's decision, dancers may also revise
or embellish movement they have learned from others.

Movement can also be improvised, meaning that the dancers make it up

"on the spot" as they spontaneously dance. Movement that travels
through space is broadly called locomotor movement in contrast to axial
movement, which occurs in one spot.

4. Energy
Energy choices may also reveal
emotional states. For example, a
powerful push might be aggressive
or playfully boisterous depending
on the intent and situation. Some
types of energy can be easily
expressed in words, others spring
from the movement itself and are

27
 difficult to label with language. Sometimes differences in the use of
energy are easy to perceive; other times these differences can be quite
subtle and ambiguous. Perhaps more so than the other elements, energy
taps into the nonverbal yet deeply communicative realm of dance. 

Saying that a dance "has a lot of energy" is misleading. ALL dances use
the element of energy, though in some instances it may be slow, supple,
indirect energy - not the punchy, high speed energy of a fast tempo
dance.
Energy choices may also reveal emotional states. For example, a powerful
push might be aggressive or playfully boisterous depending on the intent
and situation. 

Some types of energy can be easily expressed in words, others spring

from the movement itself and are difficult to label with language.
Sometimes differences in the use of energy are easy to perceive; other
times these differences can be quite subtle and ambiguous. Perhaps
more so than the other elements, energy taps into the nonverbal yet
deeply communicative realm of dance. 

5. Body

Dancers may emphasize specific parts of their body in a dance phrase or use
their whole body all at once. Another way to describe the body in dance is to
consider the body systems—muscles, bones, organs, breath, balance,
reflexes.

The renowned dance critic Walter

Terry wrote, "No paints nor
brushes, marbles nor chisels,
pianos or violins are needed to
make this art, for we are the stuff
that dance is made of. It is born in

28
 our body, exists in our body and dies in our body. Dance, then, is the most
personal of all the arts . . . it springs from the very breath of life." *

In dance, the body is the mobile figure or shape, felt by the dancer, seen by
others. The body is sometimes relatively still and sometimes changing as the
dancer moves in place or travels through the dance area. Dancers may
emphasize specific parts of their body in a dance phrase or use their whole
body all at once.

The body is the conduit between the inner realm of Intentions, ideas,
emotions and identity and the outer realm of expression and
communication. Whether watching dance or dancing ourselves, we shift
back and forth between the inner/outer sense of body.

Topic #5
Components of Dance
Activity Sheet # 5

Name : _________________________ Section:______________

Instructor :__________________ Date:_______________

In your own words, explain thefollowing concepts.

1. Time

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2. Space
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3. Movement & Action

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4. Energy

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5. Body

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II. Enumerate the importance of the five elements of dance (time, space,
movement & action, energy and body)

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______
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 Topic #6
Folk Dance

Introduction

A folk dance is a dance developed by people that reflect the life of the people
of a certain country or region. Not all ethnic dances are folk dances. For
example, ritual dances or dances of ritual origin are not considered to
be folk dances. Ritual dances are usually called "Religious dances" because
of their purpose.

Folk Dance - History and Types of Folk Dances

Folk dances are usually danced at social gatherings (which can be formed
spontaneously or during yearly celebrations) that can but are not required
to have a particular dancing stage and are almost always so simple to dance
that new dancers and amateurs are encouraged to start dancing with
everyone else. Such dances almost never have an official governing body
that is keeping the development of folk dance in check. Instead of that, the
morphing of the folk dances in their countries and local regions happens
spontaneously by the changes with local traditions. Modern dances that
have developed spontaneously such as hip hop are not regarded as folk

Traditional Folk Dances of the Philippines

The Philippines has many popular folk dances which have evolved and
changed as they have been passed down from generation to generation.
Although a particular dance might be performed slightly differently from one
region to the next, its remains true to its roots. Here are some of the most
popular dances from the region.

The Itik-Itik

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The best description of the Itik-Itik is that the steps mimic the way a duck
walks, as well as the way it splashes water on its back to attract a mate.
According to popular tradition, the dance was created by a lady named
Kanang who choreographed the steps while dancing at a baptismal party.
The other guests copied her movements, and everyone liked the dance so
much that it has been passed along ever since.

The Tinikling

The Tinikling is considered by many to be the Philippines' national dance.

The dance's movements imitate the movement of the tikling bird as it walks
around through tall grass and between tree branches. People perform the
dance using bamboo poles. The dance is composed of three basic steps
which include singles, doubles and hops. It looks similar to playing jump
rope, except that the dancers perform the steps around and between the
bamboo poles, and the dance becomes faster until someone makes a
mistake and the next set of
dancers takes a turn.

Singkil

Singkil is a Mindanao folk dance that originated from the Maranao people
and is based on the story in the Darangen, the pre-Islamic Maranao
interpretation of the ancient Hindu Indian epic, the Ramayana.

33
This tribal dance in the Philippines means “to entangle the feet with
disturbing objects such as vines or anything in your path”. The lead dancer,
in the role of Putri Gandingan (the Darangen name for Sita), graciously
manipulates either fans, scarves, or her hands while she steps in and out of
closing bamboo poles. The poles are arranged in either a parallel,
rectangular, or criss-cross fashion. The singkil dance is one of the most
popular Philippine folk dances.

The SayawsaBangko

The SayawsaBangko is performed on top of a narrow bench. Dancers need

good balance as they go through a series of movements that include some
impressive acrobatics. This dance traces its roots back to the areas of
Pangapisan, Lingayen and Pangasinan.

The Binasuan

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The Binasuan is an entertaining dance that is usually performed at festive
social occasions like weddings and birthdays. Dancers carefully balance
three half-filled glasses of rice wine on their heads and hands as they
gracefully spin and roll on the ground. The dance originated in Bayambang
in the Pangasinan province, and though it's usually performed alone, it can
also become a competition between several dancers

The PandanggosaIlaw

The Maglalatik

The Maglalatik is a mock war dance that depicts a fight over coconut meat,
a highly-prized food. The dance is broken into four parts: two devoted to the
battle and two devoted to reconciling. The men of the dance wear coconut
shells as part of their costumes, and they slap them in rhythm with the
music. The Maglalatik is danced in the religious procession during the fiesta
of Biñan as an offering to San Isidro de Labrador, the patron saint of
farmers.

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The Kuratsa

The Kuratsa is described as a dance of courtship and is often performed at

weddings and other social occasions. The dance has three parts. The couple
first performs a waltz. In the second part, the music sets a faster pace as the
man pursues the woman around the dance floor in a chase. To finish, the
music becomes even faster as the man wins over the woman with his mating
dance.

La Jota Moncadeña

The La Jota Moncadeña is adapted by the Filipinos from an old Spanish

dance. It's a combination of Spanish and Ilocano dance steps set to Spanish
music and castanets. A more solemn version of this dance is sometimes
used to accompany a funeral procession, but it is also performed at
celebrations.

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The Magkasuyo

The Magkasuyo is a variation of the balse - the one-two-three graceful triple

meter that Filipino traditional dance borrowed from the Spanish waltz. It is
a formal series of close-step-close movements with a couple facing each
other in a courtship configuration. Balse incorporates German and Spanish
influence, but the Magkasuyo is the specific invention of Quezon province, a
large farming and fishing region southeast of Manila with a rich tradition of
outside influences, including Spanish, Malay, and Muslim. A popular song
MagkasuyoBuong Gabi (Lovers for the Night) expands on the romantic
nature of the dance.

PandanggosaIlaw

Just like Binasuan, PandanggosaIlaw is a game of balancing glasses, only

with candles inside. Dancers have to balance three oil lamps: one on the
head, and one in each hand. It’s a lively Philippine folk dance that originated
on Lubang Island in Occidental Mindoro. The music is in 3/4 time and is
usually accompanied by castanets. So if you’re always game for challenging
Filipino dances, try PandanggosaIlaw.
The PandanggosaIlaw is similar to a Spanish Fandango, but the Pandanggo
folk dance is performed while balancing three oil lamps.

Dancing plays an important role in Filipino culture, telling their

history and preserving traditions through folk dances and music.
These dances are entertaining to observe, and even more fun to learn
and perform yourself

Activity Sheet #6

37
 Folk Dance

Name : ___________________________ Section:______________

Instructor :__________________ Date:_______________

I. Identify a list of unique characteristics of the Folk dance. Then,

further explore the background and history of the dance to answer
this question:

1. How does dance relate to or represent the people, their culture, and
society?

2. How does folk dancing keep the country alive with culture?

3. In your opinion, how does the Philippine fork does reflect the values
and culture of the Filipino people?

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 Topic # 7
Modern Dance

Modern dance, the other major genre of Western

theatre dance, developed in the early 20th century
as a series of reactions against what detractors
saw as the limited, artificial style of movement of
ballet and its frivolous subject matter. Perhaps the
greatest pioneer in modern dance was Isadora
Duncan. She believed that ballet technique
distorted the natural movement of the body, that it
“separated the gymnastic movements of the body
completely from the mind,” and that it made
dancers move like “articulated puppets” from the
base of the spine. Duncan worked with simple
movements and natural rhythms, finding her
inspiration in the movements of nature—
particularly the wind and waves—as well as in the
dance forms that she had studied in antique
sculpture. Elements that were most characteristic of her dancing included
lifted, far-flung arm positions, an ecstatically lifted head, unconstrained
leaps, strides, and skips, and, above all, strong, flowing rhythms in which
one movement melted into the next. Her costumes, too, were unconstrained;
she danced barefoot and uncorseted in simple, flowing tunics, with only the
simplest props and lighting effects to frame her movements.

Duncan believed that dance should be the “divine expression” of the human
spirit, and this concern with the inner motivation of dance characterized all
early modern choreographers. They presented characters and situations
that broke the romantic, fairy-tale surface of contemporary ballet and
explored the primitive instincts, the conflicts and passions of man’s inner
self. To this end they sought to develop a style of movement that was more
natural and more expressive than ballet. Martha Graham, for example, saw
the back, and particularly the pelvis, as the centre of all movement, and
many of her most characteristic movements originated from a powerful
spiral, arch, or curve in the back. Doris Humphrey saw all human
movement as a transition between fall (when the body is off-balance) and
recovery (when it returns to a balanced state), and in many of her
movements the weight of the body was always just off-centre, falling and
being caught.

Instead of defying gravity, as in ballet, modern dancers emphasized their

own weight. Even their jumps and high extensions looked as if they were
only momentarily escaping from the downward pull of the Earth, and many
of their movements were executed close to, or on, the floor. Graham
developed a wide repertoire of falls, for example, and Mary Wigman’s style

39
was characterized by kneeling or crouching, the head often dropped and the
arms rarely lifted high into the air.

Ballet

As ballet sought to conceal

or defy the force of gravity,
so it also strove to conceal
the strain of dancing.
Modern dance, on the other
hand—particularly the
work of Graham—
emphasized those qualities.
In the jagged phrases,
angular limbs, clenched
fists, and flexed feet, in the
forceful movements of the
back and the clear lines of
tension running through
the movement, Graham’s
choreography expressed not
only the struggle of the
dancer against physical limitations but also the power of passion and
frustration. Movements were always expressive gestures, never decorative
shapes. Often the body and limbs appeared racked and contorted by
emotion, for these choreographers, like Nijinsky, were not afraid to appear
ugly (as indeed they did to many of their contemporaries).

The structure of early modern dance works responded in part to the

fragmented narrative and symbolism characteristic of modernist art and
literature. Graham often employed flashback techniques and shifting
timescales, as in Clytemnestra (1958), or used different dancers to portray
different facets of a single character, as in Seraphic Dialogue (1955). Groups
of dancers formed sculptural wholes, often to represent social or
psychological forces, and there was little of the hierarchical division between
principals and corps de ballet that operated in ballet.

40
The musical

Perhaps the most genuinely popular

of all the subgenres within ballet
and modern dance are the dance
forms associated with the musical,
such as tap, jazz, ballroom, and
disco. In musicals of both stage and
screen, dance is an essential
ingredient along with song, acting,
and spectacle. Although the dancing
is often mechanical and unoriginal,
in the work of such dancers and
choreographers as Fred Astaire and
Gene Kelly it can rise to the status
of a genuine art form. Sometimes, as in Jerome Robbins’s choreography for
the dances of the rival gangs in West Side Story (1957), it creates a powerful
dramatic effect. Other innovative choreographers include Agnes deMille,
whose dances in Oklahoma! (1943) were the first ever used to advance the
plot, and Bob Fosse, particularly known for his work on the film All That
Jazz (1979).

Indian classical dance

The six recognized schools of

Indian classical dance
developed as a part of religious
ritual in which dancers
worshipped the gods by telling
stories about their lives and
exploits. Three main
components form the basis of
these dances. They are natya,
the dramatic element of the
dance (i.e., the imitation of
character); nritta, pure dance,
in which the rhythms and phrases of the music are reflected in the
decorative movements of the hands and body and in the stamping of the
feet; and nritya, the portrayal of mood through facial expression, hand
gesture, and position of the legs and feet.

41
The style of movement in Indian
classical dance is very different
from that of Western ballet. In
ballet the emphasis is frequently
on the action of the legs in
jumps, turns, and fast traveling
steps, which create ballet’s
characteristic qualities of height,
speed, and lightness while the
body itself remains relatively still
and the arms simply frame the
face or balance the body.

In Indian dance, however, the

legs are usually bent, with the
feet flat rather than lifted and
pointed. Jumps are usually low
(though light), and the dancer rarely covers much ground or performs
intricate steps, the complexity of the footwork lying more in elaborate
stamping rhythms. (These stamping rhythms enhance the musicality of the
dance; many dancers wear bells around their ankles, supplying their own
accompaniment as well as counterpoint to the rhythms beaten out by the
musicians.)

The torso, face, arms, and hands are extremely active. The head is quite
mobile, with subtle changes of direction and a characteristic side-to-side
movement emphasizing the dancer’s changing facial expressions. The
movement of the torso is graceful and fluid, shifting from side to side or
turning on the axis of the spine, while the movement of the hands and arms
is subtle and elaborate, every gesture having a narrative function. Indian
dancers have a vast repertoire of gestures through which they express
complex events, ideas, and emotions. There are, for example, 13 gestures of
the head, 36 different glances, and 67 mudras, or hand gestures, that can,
in various combinations, yield several thousand different meanings.

While these qualities characterize Indian classical dance in general, there

are significant variations in each school. Bharata natyam is perhaps the
most delicate and elegant of all the forms. It is traditionally, though not
exclusively, performed by women. In the dancer’s typical stance the legs are
bent, often turned out at the hips, and the body is held upright. Even in
movements where the torso bends or spirals, it remains lifted, never
dropped and heavy. The feet perform small stamping movements against the
ground; for example, the heel may be lifted and the leg extended to the front
or back and then brought back. This is a small movement at some points
and at others a larger lunge, but none of the steps travels far off the spot.
Stamping movements are also made by raising the foot, bringing it down on
the ball, and then bringing down the heel. These quick, shifting steps
maintain a complex rhythmic relationship with the musical accompaniment.
Sometimes such steps include a light spring from one foot to the other.

42
While the feet are executing the basic step sequence, the arms, hands, and
head are also performing intricate movements. The arms are always
supported at the elbow, never loosely hanging, and they may be stretched to
the side or above the head or bent at the elbows in many different positions.
In executing the mudras, the hands convey different meanings according to
the position of the fingers and the way the palms are cupped or splayed. The
neck moves from side to side, the head nods or turns, the eyes dart and
glance in different directions, and the body tilts or leans. Each of these
different movements contributes to the rhythmic and visual complexity of
the dance.

Kathakali

Kathakali is a dance-
drama performed by
men, as it is
considered too vigorous
and difficult for women
(although women may
study it and perform
certain extracts). The
dancers wear elaborate
headdresses and
costumes as well as
extensive makeup. The
makeup can take up to
four hours to apply
and allows the dancer
to absorb himself in
the role he is about to
perform. The basic kathakali stance is a deep bend, with the legs turned in
and the feet resting on the outside of the soles, giving the dancer a bandy-
legged look. This position allows him to survive the long performances
without getting sore feet.

Tribal and ethnic dance

Ballet, modern dance, and
Indian classical dance are
forms of theatre dance, the
dancers usually being
highly trained
professionals performing
for audiences in
particular venues and on
special occasions. Tribal
and ethnic dance, on the
other hand, may be

43
characterized by a number of almost opposite features. They are not
necessarily the province of trained specialists (although they may be). Such
dances may be participatory (i.e., with no real distinction between dancer
and spectator), and, while they may take place in special venues or on
special occasions, these are often intimately related to the everyday life of
the community.

44
 Activity Sheet # 7
Modern Dance

Student’s Name : ___________________________ Section:______________

Instructor :__________________ Date:_______________

I. Find three videos of the Modern dance. After watching the videos,
learn several movements, poses, a movement sequence, or the entire
dance.

Through your readings and research about modern dancesbriefly answer the
following questions.

1. Who are the people who prefer modern dances?

2. When and where do they often dance?
3. What do you think are their reasons for dancing?

II .Explain the importance of modern dance in our society.

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 Topic #8
Ballroom and Social Dances

Introduction

Ballroom Dance is as a variety of social dances performed by couples in

which there is a conventional pattern of steps and also known as social
dance because it encourages social interaction between dance partners.the
term 'ballroom dancing' is derived from the word ball, which in turn
originates from the Latin word ballare which means 'to dance' (a ballroom
being a large room specially designed for such dances). In times past,
ballroom dancing was social dancing for the privileged, leaving folk dancing
for the lower classes.

Ballroom Dance is a great workout.

a. Burn Fat / Lose Weight / Increase Metabolism. Ballroom dancing

is a low-impact aerobic activity that burns fat and can boost your
metabolism. In just thirty minutes of dance, you can burn between
200-400 calories – that’s roughly the same amount as running or
cycling! Burning an extra 300 calories a day can help you lose
between 1⁄2-1 pound a week (and THAT can add up quickly
b. Increase Flexibility. A reputable ballroom dance class will
typically begin with a few stretching exercises, to get you prepped to
execute dance steps with comfort & ease, and to protect against
dance-related injury.
c. Increase Muscle Strength & Endurance. Ballroom dancing
contributes to the build- up of muscle strength because the act of
dancing forces a dancer’s muscles to resist against their own body
weight. The use of quick steps, lifts, twists and turns, will help you
develop more muscle strength in your arms, legs and core as your
lessons continue.
d.Great for All Ages. Ballroom dance is a fun activity for everyone –
from children to senior citizens, which is another reason it’s such an
effective form of exercise. At Fred Astaire Dance Studios, we work with
students of all age groups, physical abilities and skill levels – and will
create a custom dance program that’s comfortable yet challenging,
and will help you attain your dance AND exercise goals.

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Here are the Benefits of Ballroom Dancing

Physical Health
Ballroom dance can decrease blood pressure and cholesterol, improve
cardiovascular health, strengthen weight-bearing bones, help prevent
or slow bone loss related to osteoporosis, lower the risks of obesity
and Type 2 Diabetes, and promote increased lung capacity. It can help
speed up recovery after orthopedic surgery since it’s a lower impact
exercise than jogging or biking. The posture and fast movements
required in ballroom dance help enhance balance and stability,
especially among older people (which can help prevent falls and
stumbles). Ballroom dance can even help sharpen your intellectual
and mental abilities. A New England Journal of Medicine report looked
at adults for 21 years, and found that dance was one of the only
activities that improved both cardiovascular fitness and reduced the
risk of cognitive impairments like dementia. To reap the full body-
conditioning benefits of ballroom dance, dance for at least 30 minutes,
four days a week.

Mental Health

Research has found that ballroom dancing improves mental acuity

throughout a dancer’s life – and that there are also substantial
benefits to those who start ballroom dance as adults. Ballroom
dancing can help enhance memory, alertness, awareness, focus, and
concentration. It can prevent the onset of dementia and significantly
improve spatial memory in elderly patients. Participating in an activity
like ballroom dance helps create more intricate neural pathways,
which can ward off weakening synapses that often come with old age.
Among younger dancers, the results can also be significant. Swedish
researchers studying teenaged girls with stress, anxiety and
depression saw a decrease in anxiety and stress levels among those
who took up partner dancing. They also saw marked improvement in
mental health and patients reported being happier than those who did
not participate in dancing. Partner dancing can also decrease
loneliness among all age groups, because it’s a goal-oriented social
activity that brings like- minded people together.

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Confidence

Every opportunity to dance – whether during a lesson or a social

event, whether with your significant other or a new dance partner –
will help improve your comfort level, confidence and communication
skills on the dance floor. As your dance technique improves and you
feel more at ease with other people, your sense of accomplishment,
motivation and confidence will continue to increase. And even better...
you will notice these new attributes taking root in other areas of your
life as well.

Self- Expression and Creativity

Dancing comes naturally to people, and it’s an easy activity for anyone
to partake in. Dance provides an emotional outlet to express your
feelings through body movements, with passion and flair. Ballroom
dancing can be a wonderful creative outlet to enhance your ability to
permanently use these expressive qualities even when you are not
dancing, and to share that creativity with others. After only a few
lessons, you will start to find yourself moving more and more
seamlessly through your dance steps, while you get lost in the music.
You will unlock a beautiful rhythm your body may have been hiding.
It can also help with your motivation and energy.

Stress and Depression

In today’s fast-paced world, we sometimes forget to take a moment for

ourselves. Dance lessons provide an enjoyable escape from your
normal daily routine, plus a chance to relax, relieve stress, and
concentrate just on yourself. Our students often tell us that even if
they’re “not feeling it” when they arrive for a lesson, once they stretch
and start dancing, they’re able to forget about the day’s triggers,
simply b-r-e-a-t-h-e and let the dance take over. There’s also a
growing body of evidence to indicate that dancing has a positive effect
on the treatment and prevention of depression.

Here are Some of Social Ballroom and Social Dances

Ballroom Dance Styles

Ballroom dance is enjoyable both socially and competitively worldwide. It

also refers to a set of partner dancers, which originated in the Western
world. The International style contains two categories: International Latin
and International Standard, each of these sub-categories contain five
different dances. The specific categories are as follows; Standard, Latin and
Club dances or Freestyle dance.

48
Standard (ballroom) dance are elegant and have strong emphasis on
posture, more formal than Latin Dances. They are generally dance in a
closed position. It consists of the following dances such as: Waltz,
Quickstep, Foxtrot, Tango, and Viennese waltz.

On the other hand, Latin style prepared for hot, flashy movements, sexy
poses and fire-consuming passion. Latin dances are generally faster-paced,
more sensual and have more rhythmic expression. Latin dances such as:
Cha-cha-cha, Mambo, Rumba, Samba, Jive, Paso

Double.Club dances

include: Swing, Line dance, Salsa and Merengue.

To give an overview in the styles of ballroom dance, the following table
shows the characteristics of each ballroom dance.

STANDARD DANCES

Waltz

Waltz is one of the smoothest ballroom dance. It is a progressive dance

marked by long, flowing movements, continuous turns, and "rise and fall."
The dance is so graceful and elegant; Waltz dancers appear to glide around
the floor with almost no effort.

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Tango

Tango is one of the most fascinating of all ballroom dance. This sensual
ballroom dance originated in South America in the early twentieth century.

Quickstep

Quickstep is a quick version of the Foxtrot. It is a ballroom dance

comprised of extremely quick stepping, syncopated feet rhythms, and runs
of quick steps. The Quickstep is exciting to watch, but among the most
difficult of all the ballroom dance.

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Foxtrot

Foxtrot is a smooth dance in which dancers make long, flowing movements

across the floor. Foxtrot has lots of fun and simple to learn an excellent
dance for beginners.

LATIN DANCES

Cha chacha is a lively, flirtatious ballroom dance full of passion and energy.
The classic "Cuban motion" gives the Cha chacha its unique style. Partners
work together to synchronize each movement in perfect alignment.

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 Activity Sheet #8
Ballroom and Social Dances

Student’s Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

Among all kinds of ballroom and social dances, what are your 3 most
favorite and why?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

52
 Topic #9
Training Coordination Abilities

Coordination abilities have special significance as they are related to all

physical and motor abilities in addition to close relation with motor
performance. They give the individual the power of motor flexibility, the
ability to relax, correct feeling of performing directions and distances. All of
these are necessary factors for sport performance regardless of the type of
sport activity.
refers that coordination is one of the physical abilities which, once acquired
by the athlete, provide him with motor abilities that are the sum of adding
and combining various components of fitness. Any athlete cannot perform
the required skills unless they own consistence functioning on one hand,
between the nervous system and the working muscles on the other.

These abilities are:

1. The ability of position estimation (the ability of time and place

orientation): it is the ability of controlling body movement in time and
place and realizing body position and changes in terms of the
playground, movement, dimensions of playground, lines of playground
and the space used by the player in movement.

2. The ability of motor connection and coordination. This connection

is whether between partial movements forming in total a movement
that needs coordination due to its various elements, among partial
movements forming in total a motor behavior in which the body is
involved or among consecutive processes forming motor combinations.

3. The ability to exert suitable effort (the ability of accurate

distinction): it is the ability to reach high accuracy and economy in
adjusting body movements within stages of complete movement
mechanism. It focuses on aware accuracy in distinguishing differences
exerted at all movement stages in time and place, between what is
actually performed by the player and his perception of movement. This
ability is an important condition to master movements. Therefore, it is
less dangerous at the learning stage and more significant in skill
mastery stage to accurate and detailed limit.

4. The ability to keep composure: the athlete’s ability to keep body at a

certain position and restore this position in case of deviating from it.

53
 5. Rhythm ability enables to grasp and meteorically express rhythm
which is externally determined or contained in the motor activity
itself.

Coordination abilities and affecting them are of twofold importance in

sports:

 their higher levels are a value in itself (a “skillful” individual is capable

of better reactions to the need of changing the movement, its
variability, speed or the speed with which the movement is performed)

 developing them is a precondition for the quality of technical

preparation (a good level of coordination abilities enables faster and
better acquiring of sports skills)

The difference between technical preparation and development of

coordination abilities is that:

technical preparation aims at perfection, technical mastery of a

limited number of required motor skills, their automation and stability
control, while

stimulating coordination abilities consists in being introduced to

many motor activities, whereas perfect mastery is not the aim, the aim
being only a certain degree of automation

Sensitive period for developing coordination is between 5 and 6 years of age

(qualitative features grow: economy, fluency, precision) and around the age
of 12; the highest values of agility indicators can be reached between 17 and
20 years of age.

Developing coordination abilities includes:

 broadening motor experience (e.g. headstand or beating a rhythm with

the right hand),

 further, on the basis of already acquired motor experience, creating

new original movement structure through the process of putting
together mastered movements into more complex units (e.g.
handstand, beating a different rhythm with the right and left hands)
 performing movements in new changed conditions which require new
creative problem solution (e.g. a sequence of handstand – forward roll
or beating a changing rhythm with the right and left hands)

54
Specialized training negatively affects development of new movements (due
to focusing on a limited number of motor skills which are the contents on
selected sports specialization.

Principles and Procedures in Training Coordination Abilities

More demanding coordination exercises (activities requiring the activity of a

bigger number of muscles, various movements of both the body and limbs,
moves in different directions and along different axles) are used for
coordination abilities development. Mastered exercises are performed under
changing conditions because automated skills do not lead to further
development of coordination abilities.

A variation can be reached by:

 faster or slower performance

 change of rhythm
 making the work-out space smaller
 limiting or eliminating visual control
 making the ground of support smaller
 exercising “under pressure” (in limited time)
 asymmetric movements
 mirror movements

Further:

 mastered skills are combined and connected

 full concentration, precision and rhythm are focused on
 the contents of motor activity and its difficulty is stressed and
dominant
 fewer repetitions are used (reason: fatigue decreases efficiency of
stimulation)
 they are scheduled for the beginning of a training session
 Selecting exercises

The wider the motor contents of a sports discipline is and the more
complicated and faster locomotion is (relocating in space) and the more
difficult, faster and complex manipulation with tools or devices is
(movements of upper limbs), the bigger the requirements for coordination
are.

Selecting exercises in practice:

 acrobatic exercises (rolls, take-offs, skips, linked exercises)

 exercises with apparatus (rotation exercises, shapes)

55
 exercises with tools (skipping ropes, balls, cones, coordination ladder,
bosu )
 stride variations
 exercises related to overcoming hurdles (slalom tracks, hurdle tracks)
 minor resistance exercises

56
 Activity Sheet # 9
Training Coordination Abilities

Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

I. Identification:
____________1. the athlete’s ability to keep body at a certain position and
restore this position in case of deviating from it.

____________2. it is the ability of controlling body movement in time and

place and realizing body position and changes in terms of the playground,
movement, dimensions of playground,lines of playground and the space
used by the player in movement.

___________3. It focuses on aware accuracy in distinguishing differences

exerted at all movement stages in time and place, between what is actually
performed by the player and his perception of movement

___________4. This connection is whether between partial movements

forming in total a movement that needs coordination due to its various
elements

___________5. ability enables to grasp and meteorically express rhythm

___________6. More demanding coordination exercises (activities requiring

the activity of a bigger number of muscles, various movements of both the
body and limbs, moves in different directions and along different axles) are
used for coordination abilities development

___________7. Specialized training negatively affects development of new

movements (due to focusing on a limited number of motor skills which are
the contents on selected sports
specialization.

57
II. Answer the following questions.

1. How do you develop coordinative abilities?

2. How many types of coordination abilities are there?

3. How will you develop coordination abilities?

58
 Topic #10

Creative Movement as a Form of Expression

People have expressed themselves through dance and creative movement for
as long as humans have been around. In this lesson, we'll learn a little bit
more about how dance helps people express themselves without words.

Self-Expression

What is Self-Expression? Self-expression is a display of individuality

whether it's through words, clothing, hairstyle, or art forms such as writing
and drawing. Being self-expressed means that people will see your spirit and
true character; they will see the totality of who you are.

Imagine you are in a foreign country where you don't speak their local
language It's at this moment, when trying to ask directions to your hotel or
order a meal, that you get creative. When words fail you, what do you do?
International travel can quickly become one large game of charades, and it's
remarkably effective.
Whether you are aware of it or not, you express yourself all the time
through nonverbal communication. Your facial expressions, your posture,
your body language - all of that sends a message about how you are feeling
or what you need without the need for words.

Self-expression is any type of emotional release that reflects a genuine

reaction to a situation or event. This can be verbal or nonverbal and can use
the body or external media. In this lesson, we are interested in learning
more about creative movement as a form of expression, but music, painting,
sculpture, drawing - ALL of these are artistic forms of expression humans
use to portray intense emotion.

Sometimes we are not sure how to access creativity or inspiration, or we

know what we want to say or do, but are unsure of how to express ourselves
or feel ill-equipped in our expression of something.

Benefits of Creative Movement

Creative movement is a form of dance that uses rhythmic, patterned, or

improvised body movement, and it's one of the oldest art forms found in
every culture around the world. Dance is often accompanied by music, but
it's also a form of nonverbal communication and self-expression because
when people feel free to move their bodies without judgment, you often get a
glimpse of their innermost thoughts and feelings.

59
Dance and creative movement can benefit people of all ages, but there has
recently been a surge in teaching children the benefits of this art form. It's
believed that dance helps people:

 Gain confidence
 Develop healthy self esteem
 Learn problem-solving skills
 Learn cooperation when they work in a team
 Learn to respect differences between people and cultures
 Learn spontaneity, leadership, and self-control
 Boost creativity
 Gain physical strength, flexibility, and stamina
 Improve posture, balance, and coordination
 Build freedom and autonomy

Here are ways to become more fully self-expressed:

1. Speak Your Truth in the Moment

Did you ever look back on a conversation you had and fantasize about
talking to that person in a more authentic way than you did?  Perhaps
it was someone who mistreated you and instead of telling them how
you felt about it, you walked away feeling disempowered and wishing
you had stood up for yourself.  For some of us, speaking our truth, in
the moment, may be difficult because of fear of confrontation and lack
of confidence, but not speaking our truth can have damaging effects
on self-esteem and even health.

Start noticing where you may be holding back and when an

opportunity comes to speak truthfully (with love and kindness), take it
on as a challenge and speak up.  With practice, you’ll gain more
courage and having difficult conversations will come easier.

2. Widely Define Yourself

“People often say that this person or that person has not yet found
himself.  But the self is not something that one finds.  It is something
that one creates,” said Psychiatrist Thomas Szasz.

When we think about ourselves, we tend to think in a certain way

about our skills, strengths and talents.  We narrowly define ourselves,
meaning we live life from a certain way of thinking and being, which
limits our experiences.  We can re-create ourselves at any time and
choose to define ourselves in other ways. Explore new ways of
thinking and being, and you may discover that you have talents and
passions you never knew existed.

60
3. Engage in Creative Techniques
We can help birth ideas and create new possibilities for our life with
creative techniques.  Through these techniques, we expand our
creative aptitude and can potentially achieve a longstanding desire
from writing a screenplay to becoming a website designer to making
wedding cakes, for example.  Some creative techniques to try include:
writing daily about anything that’s on your mind, keeping an idea
book that you can carry with you, using mind maps for creative
problem-solving, brainstorming, and creating vision boards.

4. Pursue Wants and Passions Voraciously

Do you feel like something of yourself is not getting through to the
outside world?  Are you putting your wants and passions on a
backburner?  This is easy to do with all of our daily responsibilities,
but unfulfilled human potential is a tragedy.  Once you have identified
who you are and what your passions are, not to pursue them can
cause serious regret.  Begin now by wholeheartedly committing to
your wants and passions.  You’ll need to set time aside and not
let anything get in the way.

Dr. Wayne Dyer so eloquently says, “Don’t die with the music still in
you. Listen to your intuitive inner voice and find what passion stirs
your soul.”

5. Develop a Keen Sense of Reality

Living in reality can be tough, but if we want to become more fully self-
expressed we must face and do something about the situations that are
not working for us.  For example, if we are in meaningless jobs,
unsatisfying relationships, or not fulfilling our potential, it’s time to
honor our truth.  Look at your life and what areas you are not happy
with and then work to make positive change.  Have faith and trust that
things will work out for the better even though, initially, you may be
uncomfortable.  We have a divine right to be happy and fulfilled and, if
we are not, then we have the choice to change.

Full self-expression means to take a leap of faith when necessary, live life
to the fullest, make the choices that honor our wants and desires, and
not settle for anything less than what we deserve.

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 Activity Sheet #10
Creative Movement as a Form of Expression

Student’s Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

Enumeration

Give 10 Benefits of Creative Movement

1.
2.
3.
4.
5.
6.
7.
8.
9.
10

Give 5 ways to become more fully self-expressed:

1.
2.
3.
4.
5.

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 Topic # 11
Learning to Dance to Increase Confidence

Introduction
There are many great benefits of dancing, but one of the best ones is the self-
confidence that is built when dancers take lessons and perform for others.
Even if you think of yourself as fairly self-assured already, dancing can help
to improve your self-esteem even further!

Dancing is a fun hobby that brings a host of benefits to your physical and
mental well-being. Aside from its obvious health benefits, dancing can also
be a useful tool for building self-confidence.

Whether you see yourself as a confident person or believe there is some

room for improvement in that department, taking dancing classes is a great
way to overcome any issues and insecurities you may have and gradually
shape yourself into a charismatic, self-assured individual.

Here’s how dancing can help you do just that.

Learning new choreography

Once you start attending dance classes, there will be a lot of new steps to
learn. Now, it won’t be easy in the beginning, especially if you’ve never
danced before and you’re just starting out. However, as time goes on, you’ll
notice how your dancing skills improve as you learn more and more new
steps.

After a while, you’ll know a bunch of steps, and as we all know, learning and
remembering the whole choreography is no easy task. So, once you get a
hold of the new things you learn, you’ll feel much more capable, and this
new sense of achievement will only increase your motivation for learning
new steps so you can dance even better.

Performing in front of others helps overcome shyness

Taking dance lessons means you’ll have to get used to the idea of dancing
around other people, be it your dance instructor, your dance partner, or the
other students attending the classes. This will help push you out of your
comfort zone and teach you how to be more comfortable with your body.

As you boost your dancing skills, your confidence grows, and at some point
when you’re feeling ready for it, you may start performing in front of the
audience. Whether you have stage fright or feel shy and awkward in front of

63
others, once you start performing in front of others, it will all go away and as
time passes, you’ll be able to shake off your shyness and shine.

Improve your overall health and fitness

Dancing is a physical activity that involves sharp movement and a variety of

techniques. As such, it activates a wide range of muscles in your body,
increasing its flexibility and building your endurance. Depending on the
dance style you select, you can increase the strength of your upper and
lower body as well as improve your bone density as dancing exercises
promote the bones’ absorption of calcium, thus reducing your chances of
developing osteoporosis.

Socialize and improve your communication skills

Taking dancing classes isn’t only great for your physical and mental health,
but it can do wonders for your social skills as well, even more so if you’re
attending group classes. Dancing with different partners and interacting
with them will help you get more comfortable around other people instead of
worrying whenever you have to dance with someone you’ve never danced
before.

You will be meeting a lot of new people and probably make some new friends
along the way. You can also further your communication skills outside the
dance classes by attending social dancing events and conversing with people
there.

To express yourself through dance

Remember that dancing is also a form of art, just like music and theater. As
such, it can be used as an effective tool for self-expression. This is especially
useful if you happen to be introverted or otherwise have a hard time
expressing and conveying your thoughts and emotions in written and
spoken form.
Similar to other artists, you may begin to discover your own personal dance
style as time goes on and you attend your dance classes regularly. As you
start to dance more authentically and in line with who you are, you will set
yourself aside from other dancers which will, in turn, boost your confidence.
Therefore, feel free to explore, trust the process, and see where your
curiosity and dedication take you.

Other than cultivating self-discipline, confidence, and positive body image,

dancing gives you a sense of accomplishment while also boosting your
concentration, memory, and focus. Moreover, it is quite beneficial for your
mental wellness and physical fitness, making it one of those hobbies that
are great for your body, mind, and soul. Maybe it’s time you stop doubting

64
yourself and your abilities and give dancing a shot… We promise it will be a
huge step forward.

Here are some ways that dancing can boost your self-esteem or self-
confidence.
Learning to dance can be one of the best things you can do for yourself!
There are numerous benefits to dancing and taking dance lessons in
Denver, ranging from increasing your amount of daily exercise to making
new friends with shared interests. Most importantly, dancing also improves
self-confidence and self-esteem by providing an opportunity for people from
all walks of life to express themselves and learn something fun and new.

So, if you are dealing with low self-esteem or doubting yourself, here are
four more ways in which dancing can help you gently overcome these
limiting beliefs:

Fear of being awkward

Do you feel as if you have “two left feet?” Too uncoordinated? The beauty of
recreational dancing is just that! When you dance for fun and start braving
the dance floor, the anxiety of bad timing and looking awkward starts to
fade away as you learn new movements, gain confidence, and break through
the fear.

Negative body image

Dancing can help increase self-esteem and your own body perception
because it works wonderfully for toning the muscles and improving the
mind/body connection.

Comparing yourself to others

Dancing gives you the potential to accept your body as it is and appreciate
its own beauty, movement, and rhythm. It also allows you to change the
perception of yourself from worst enemy to best friend.

Living in the past

Because dancing pushes you to be very present, it helps to increase self-

esteem by keeping you grounded and flowing along with life, letting go of the
stress and worries of the past or future.

Feel Good about Learning New Steps

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Human beings are learning on a near-constant basis, and with the world
rapidly changing, we have little choice but to adapt every day. But while
learning new skills can seem challenging, it is actually a great way to keep
your mind focused
Whether you are learning new steps for personal growth, the process of
educating yourself is an incredibly rewarding one. We look at the reasons
why learning new steps is good for your health.

People are always learning something. When you start taking dance lessons,
there will be many new moves for you to learn. Once you learn them and
start doing them naturally, you will begin to feel a sense of achievement.
Learning completely new steps and choreography is not easy. Knowing that
you have the capacity to learn new dance skills and retain new steps gives
you an awesome feeling. You can also consider this: now you know much
more than others who don’t dance. It’s like being one step ahead of
everyone else!

Communication Skills Will Improve

Dance, as a theatrical art form, is a powerful form of communication. It may

be created to communicate a broad idea or a specific spark or stimulus from
a particular culture, place or time. Choreographers drive the creative
process, experimenting and developing movement and sequences.

Since you might have the opportunity to interact with many different
partners, you should eventually be comfortable with communicating with
almost anyone. You will get used to how different people move when you
dance with them, so any worries you may have about dancing with an
unfamiliar partner should eventually fade away, too. Attending a lot of
social dancing events is also a good way to meet, dance, and have
conversations with new people which will definitely help your general
communication skills.

Reduce Shyness and Increase Assertiveness

When you join a dance class or take lessons, you may eventually decide
to perform in front of audiences.  Performances can push you out of any
awkwardness or shyness you may have.  The exposure can also help get
rid of stage fright.  Even if you don’t perform, you will still be dancing
and practicing in front of someone, whether it is your instructor or other
students.  Dancing around others is a frequent activity that you will
have to get used to, and if you do it enough, it eventually will make you
feel less shy.

Dancing and performing can also sometimes require you to be sharp and
clear with your movements.  That definition of movement requires some
amount of assertiveness which will develop over time.  Once you begin to

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move confidently and assertively on the dance floor, those qualities
might also start appearing in your daily life, as well!

Better Self-Image

Dancing has the potential of improving your self-image for a few reasons.
First, it is good for your physical health, so it can make you feel healthier.
Additionally, dancing gives you the opportunity to create beautiful lines and
poses which will certainly make you feel good about what your body is
capable of. Over time, your comfort and familiarity with yourself will grow
and you’ll be able to look at yourself in a more positive light.

You will also have the possibility of being praised for your dancing. Your
instructor, other students, or observers may notice your improvements and
give you compliments. In turn, this can make you feel better about your
development and more accomplished as a dancer.

You Can Express Yourself

One of the greatest things about dance is that it’s a fantastic form of art
that lets you express yourself.  If you are a person who has some trouble
conveying your emotions through speaking or writing, then dance can be
a good outlet for you, or a tool that you can use to explore your
emotions. 
If you take enough dance lessons, you may also eventually start to
discover your own personal dance style.  There are many dancers that
focus on movements and learning steps without really making the
movements “their own”.  Exploring and discovering your own style can
make you more confident because you won’t be worried about looking
like other dancers.  You will just be focused on looking like you, and
once you are sure that you are dancing authentically, you will start to
feel confident as a whole.

“Fake it ‘till you make it”

If you put on performances, you will have many opportunities

to appear confident.  You may even see a lot of dancers who seem over-
the-top when they dance.  Most of the time, they don’t act that way in
their daily lives, but when they go on stage they put on a completely
different persona.  A lot of people think they need to have general self-
confidence before they step out on the floor or stage.  However,
confidence isn’t really a prerequisite for dance.  In fact a lot of people
who lack confidence or self-esteem gain it through dancing.  For instance
– when you perform or get ready for a performance, you might have to
appear as a self-assured and cool person.  This may not be your natural
personality, but acting that way can help you to gradually become more

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confident.  Eventually the coolness that you practice on the floor may
end up transcending to everyday life.

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 Topic #11
Ways in Learning to Dance Increases Confidence
Activity Sheet # 11

Student’s Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

Answer the following questions.

1. How does dance build self-confidence?

2. What do you think are the benefits of dancing?

Topic #12
Creative Movement & Dance Skills

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Creative movement and dance is an enjoyable way for young children to
develop their physical skills, channel their energy, stimulate their
imagination and promote their creativity. Creative dance involves using body
actions to communicate an image (the wind), an idea (a journey) or a feeling
(strength).

Dance and creative movement can benefit people of all ages, but there
has recently been a surge in teaching children the benefits of this art
form. It's believed that dance helps people:

• Gain confidence
• Develop healthy self esteem
• Learn problem-solving skills
• Learn cooperation when they work in a team
• Learn to respect differences between people and cultures
• Learn spontaneity, leadership, and self-control
• Boost creativity
• Gain physical strength, flexibility, and stamina
• Improve posture, balance, and coordination
• Build freedom and autonomy

Benefits of Creative Movement

A social benefit of creative dance is that it encourages an interactive

environment where children share space as they explore movement together
but in their own way. Gradually, opportunities for children to observe
different responses to movement ideas are given and the possibility of
creating movements together becomes more appealing. For example, after a
group experienced a free flow snow dance with white streamers moving up,
down and around in the air, some of the children improvised a solid ice
castle of connected body shapes. Also, after stomping around in a friendly
dinosaur dance, some of the children decided to line up and take big steps
together while the last child was dragged along lying flat, as the tail!

Music
As most early childhood educators know, music and movement are linked
even from birth and infancy (Kulich, 1989). Bouncing and rocking are
children's first experiences in music and children cannot help but respond
to the rhythm, beat and moods that different kinds of music suggest.

Language Development
When language is linked to movement, both assist in children's cognitive
and kinesthetic learning. Graham Fishburne's (1988) research on the right
and left hemispheres of the brain points out that the right hemisphere, the
sensing and feeling side, functions through activities such as music, art and

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creativity, whereas the left hemisphere organizes sequential and logical
skills such as language and speech.

Dramatic Play
Creative dance often provides an opportunity for children to express their
emotions through dramatic play as well as nurture a sense of community.
For example, Flutterby is the story of a butterfly who comes out of his
cocoon and finds he cannot fly Each animal in the forest (squirrels, deer,
rabbit, bear, turtle or whoever children suggest) comes to give their help

Non locomotion/Locomotor Actions

All sorts of sequences of non-locomotion actions can be used for warm-up
exercises and relaxation. The image of a balloon growing and collapsing is
an image with which children can easily relate. Once the children's balloon
body stays all blown-up, it can float and twist on an adventure until it
"pops" and has to begin all over again. I use an inexpensive slide whistle to
guide this exploration and dance.

Shapes and Balance

One way for children to practice their balance and stability is by making
shapes with their whole body. Basic body shapes are small, tall, wide and
twisted, but all kinds of shapes can be made emphasizing things or different
body parts. Shapes can be made on the floor, sitting, kneeling, standing and
even in the air. Children can copy shapes or move one another into shapes.
Children enjoy change games where one group makes solid tree shapes, for
example, while another group flies through the spaces and around the
"trees" as the wind.

Naming a Dance
While very young children are gaining knowledge about functional
movement, their playful wiggling and jumping responses may not be
considered danceThe technique of naming a dance is very similar to a child's
remembering the names of songs or stories. For example, imitating body
parts movements is a satisfactory experience for young two-year-olds and
there are a variety of songs to structure the movement image and it becomes
their special dance.

Finding the Magic

Sue Stinson, in her book Dance for Young Children (1988), has another
useful technique for helping children recognize that dance is different from
everyday movement. She talks with children about how the special magic
inside them is what transforms ordinary movement into dance. While she
recognizes that young children cannot sustain a magical feeling about

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movement at all times, it is possible to inspire children to go beyond basic
physical exercising of their bodies.

Flexibility and Flow

No matter what, the movement and dance time is meant to be for the
enjoyment and learning of the children we teach. I often ask the children
what they would like to dance about or if they have some special music to
bring.

Topic #12
Creative Movements and Dance Skills
Activity Sheet #12

Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

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True or False: On the space provided, write T if the statement is true and
write F if the statement is false.

_________1 social benefit of creative dance is that it encourages an interactive

environment where children share space as they explore movement together
but in their own way
__________2. Language Development and rocking are children's first
experiences in music and children cannot help but respond to the rhythm,
beat and moods that different kinds of music suggest.
____________3. Graham Fishburne's (1988) research on the right and left
hemispheres of the brain points out that the right hemisphere, the sensing
and feeling side, functions through activities such as music, art and
creativity, whereas the left hemisphere organizes sequential and logical skills
such as language and speech.
___________4. Dramatic Play is a one way for children to practice their balance
and stability
___________5. Finding the magic and all sorts of sequences of non-locomotion
actions can be used for warm-up exercises and relaxation.
___________6. Naming Dance while very young children are gaining knowledge
about functional movement, their playful wiggling and jumping responses
may not be considered dance
____________7. Finding magic when she talks with children about how the
special magic inside them is what transforms ordinary movement into dance.
____________8. Flexibility and Flow no matter what, the movement and dance
time is meant to be for the enjoyment and learning of the children we teach.
___________9. All sorts of sequences of non-locomotion actions can be used for
warm-up exercises and relaxation
__________10. Dance and creative movement can benefit people of all ages

Topic #13
Dances From a Variety of Cultures

Cultural dances are so precious to many civilizations, as they often contain

pieces of their history and livelihood that would otherwise be lost. The
American Indians are an example of this, as many tribes have looked to
dance in the past as a way to convey joy, mourning, and even times of battle
and war. The same is true at the roots of many people groups, as dance is a
common language that unites us all on some level. Below are just a few of
the cultural dances that are still in existence around the world today.

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Types of Traditional Dances

Two of the oldest forms of dance that exist in many cultures are the circle
dance and line dance. These two simple formations date back to the
earliest times people started forming together into social groups. Circle and
line dances evolved over the centuries, taking on different functions in
cultures across the world as they developed.

Circle dancing was most widespread in Eastern and Central Europe. In

the hora, from the Greek for 'dance,' for example, dancers hold each other's
hands while spinning in a circle. It has been a traditional dance during
weddings and festivals in Romania and Moldova for centuries. The hora
spread across Eastern Europe and the Middle East into other cultures in
Serbia, Croatia, Bosnia, Macedonia, Syria. It continued to further develop in
Jewish and Israeli culture as the Horah, which is danced along to the song
'HavaNagila' (meaning 'let us rejoice') during weddings and Bar Mitzvahs.
Dancers braid arms and spin vigorously around in a circle.

Versions of circle dances are also found in many other cultures, including
Scandinavian, Asian, and South American traditional societies. Several
examples include the Tibetan 'Gouxie' dance (meaning 'village'), the Peruvian
'Kantu' (meaning 'song').

Line dances are also commonly found in traditional societies of Europe and
the Middle East. Ireland, for example, shows some of the oldest and most
elaborately developed dance and music folk culture. Step dancing is a
traditional and ancient Irish custom. Dancers maintain a stiff upper body
while performing quick movements of the legs and feet. Linked to Irish folk
culture through legends and myth, it evolved over the centuries to become a
popular and recognizable icon of Celtic culture.

Exploring Cultural Dance

Specific countries have dances that identify with a region and its culture
immediately. For example, African dances or Indian dances have styles that
make them readily identifiable, as do other cultural dances from across the
globe.

Countries all over the world have traditional dances, but they are actually
evolving products of history, migration, wars, and political and societal
changes of the people who perform them. Today, in one country you can
encounter many cultural dances, including the following:

 Dances of aboriginals or first people.

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  Dances of early settlers who migrated to the area and brought their
culture to their new home. In various historical eras, the dances may
have colonial or postcolonial versions.

 Blended dances created after wars changed a people and their culture.
These dances are not created overnight. In an invaded country, the
original people and the new arrivals may or may not embrace each
other's cultures or dances. A cultural clash may occur, and the two
groups may resist each other's influence. Blending outside influences
into existing traditions takes place over time.

 Newer variations of traditional dances that evolve from generation to

generation. These dances absorb and blend personal, group, and
societal trends that can change a dance and its performance.

 Dances of tribes, first people, and ethnic groups who strive to keep
their ancestral traditions alive in contemporary society. People
preserve these dances to share their heritage with the young people of
their community.

All cultural dances presented in the overview of dance types connect to the
three common elements of a culture.

If you add all these elements together, you get two deep understandings:

1. Culture is about participating as a community; it can be related to

ritual, spiritual, and life events and celebrations.

2. Culture can be defined as a way of life that is learned, shared with

future generations, and changes with time.
Participating, viewing, and learning about cultural dance and the roles it
plays in societies leads to awareness and appreciation of other people and
their cultural values.

Experiencing a cultural dance means taking a look at the movement from

the perspectives of both the cultural dancer and the requirements of the
dance. The ideas you have learned about other dance forms so far or will
encounter in this book may not apply to cultural dances. So, discard your
preconception of cultural dances, and involve yourself in perceiving and
experiencing the movement. Then you will be poised to find the meaning or
essence of the dance and gain some insights about the dancers who perform
it. Experiencing cultural dance requires you to observe through a different
kind of dance lens; you must see as an ethnologist would, paying attention
to the dance in the context of its home culture.

Explore More

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Take a virtual dance tour! On the web resource, you will visit a variety of
countries across the globe. Each country provides an overview of its
geography, history, and some of its most important dances. Key search
terms in some of the dance genres provide ways to view and learn a dance or
movement sequence. The dance tour provides an overview from which you
can explore more through researching the countries and their wealth of
dances.

Mexico
Mexico has a wealth of natural and cultural resources, with diverse
landscapes from mountains to jungles, and historic traditions reaching back
more than 3,000 years. Mexican dance captures the rhythm, emotion, and
movement of a vibrant society with some heritage rich in tradition.

America
The United States is a country of vast natural and cultural resources and is
populated by people from a vast variety of cultural heritage. Since
prehistoric times, Native Americans have danced to express their traditions
and cultural values. Contemporary urban dance forms began to express
social changes in the United States during the latter 20th century.

Europe
Europe is a huge continent with many nationalities and their dances.
Chapter 7 (Folk Dance) contains a variety of folk dances from countries
throughout Europe, Russia, and other countries.
Africa
Africa is the second largest continent in the world with 54 countries. African
people and cultures represent a diversity of economic and social structures
with various beliefs, religions, and arts. For centuries African cultural dance
has captured the spirit of life events, community and spiritual beliefs, and
identities of tribes and clans of various regions.
In Africa, dance is an integral part of ceremonies, festivals, and rites. African
dances are done in many countries throughout the world.

India
India is the seventh largest country in the world. For nearly 3,000 years,
dance art has existed in India and is a significant aspect in Indian culture.
Classical Indian dance includes a wide range of forms and styles that reflect
various geographic centers, history, and traditions.

Japan
Japan is a group of islands off the east coast of Asia. According to legend,
Japan was founded in the 7th century BCE. Japanese cultural dances relate
to religions and social eras in Japanese history. Japanese cultural dance

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forms and styles span historical court dances, religious dances, and
traditional folk dances. In Japan, dance remains an integral part of
historical theatrical entertainment.

Japanese dances are passed from generation to generation.

Exploring these countries is just the starting place for learning about
cultural dance. You may want to continue your virtual travels to other count

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 Topic # 13
Dances From a Variety of Cultures
Activity Sheet #13

Student’s Name : ____________________ Section:______________

Instructor :__________________ Date:_______________

Learn a Cultural Dance

 In a small group, find a dance from the country you visited on the
web in the exploration activity Dance Around the World. The
cultural dance you select could be

1. a traditional dance,
2. a folk dance,
3. a social dance,
4. a dance that provides entertainment for visitors, or
5. a dance that is considered an art form or part of another art such
as drama or theater.

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