PATRONAGE OF MARY

DEVELOPMENT SCHOOL
School Year 2020 - 2021 | First Semester | Instructional Packet

PHYSICAL EDUCATION
(All Strands) – 12 | Day and Time: Saturday(7:30:00PM– 12:00PM)

I. Subject: Physical Education 3

II. Lesson No. 6
III. Topic/ Lesson: MODERN DANCE
IV. Objectives:
1. foster patriotism and nationalism through the history of modern dance;
2. examine the background of a Philippine folk dance; and
3. appreciate the value of folk dances as an activity for promoting friendship
and understanding among the people of the world.
V. Content (Inputs/ Discussion with Illustration/ Schema)
MODERN DANCE

What is modern dance?

Modern dance, a term to describe contemporary dance, is a style of dancing where dancers are free to
express their feelings through movements without adhering to any rules in dance particularly that of
ballet.

Unlike ballet, dancers of modern dance use their own interpretations instead of structured steps. They
thrust aside the classical ballet stance of an upright, erect body, and instead often optional for deliberate
falls to the floor. The movements are not always necessarily light, beautiful, and effortless, but instead
strong and sometimes ugly as the effort involved in producing it is revealed.

Beauty and ethereal qualities of the human situation is what is mostly being emphasized in ballet, while
modern dance portrays the actual human situation as it is. Even the training structure also differed with
the ballet. Modern dance makes use of the floor as part of the movements, whereas in ballet, the floor was
merely for standing or sitting purposes. It also includes several areas of dance movement, namely,
technique, improvisation, and choreography.

Characteristics of Modern Dance

1. Technique – Some modern dance as just purely an “interpretative dance”, there is a technical
approach to training a modern dancer. This teaches the dancer to control the body and making it
the instrument. It also provides the skills of dance movement to make the body move efficiently
and with precision.
Famous techniques in modern dance:
 Graham Technique
 Humphrey-Weidman Technique
 Limon Technique
 Cunningham Technique
 Hawkins Techniques
 Horton Technique
 Nikolais/Louis Technique
2. Improvisation – This refers to the spontaneous movement performed by dancers in response to
suggestions by the choreographer. Modern dance allows considerable freedom to the dancer.
3. Choreography – Modern dance allows choreographic freedom. The form in this dance mostly
represents the personal and emotional experiences of its creators.

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Where did modern dance come from?
Modern dance developed independently in America and Germany. It was then known in Germany as
Ausdruckstanz, meaning expressive dance. At the beginning of the 20 th century, a group of pioneering
dancers started creating a new movement that suited the tempo and pulse of the new century.

Isadora Duncan’s style of dancing emanates from the center of the body where energy flow outward,
providing impulses for actions. She called it the solar plexis or emotional center. Her dances “appeared
natural and so free-flowing that it looked like it was being created on the spot.

Ruth St. Denis single-mindedly created a dance wherein she portrayed and Egyptian goddess. Her dances
also projected impressions of the ethnic dance forms. She married Ted Shawn and they both formed
Denishawn, a touring dance company that traveled throughout the United States. St. Dennis and Shawn
did more than just bring modern dance to the American people compared to the other pioneers of modern
dance. Some of these prominent students were Doris Humphrey, Charles Weidman, and Martha Graham.

Among the students, Martha Graham was the first to leave Deshawn. She became a solo dancer,
eventually turned into a renowned choreographer, and formed her own Martha Graham Dance Company.
She has danced and choreographed for over 70 years and preferred the term contemporary dance over
modern dance.

There are a number of eminent names of personalities who have contributed significantly to the growth of
modern dance. Some of them are Mary Wigman, Charles Weidman, Erick Hawkins, Merce
Cunningham, Agnes de Mille, Jose Limon, and Lester Horton to name a few.

What are the basic modern dance skills?

The following are the basic modern dance skills:

1. Dance walk – an even rhythm pattern in which an alternate transfer of weight occurs from one
foot to the other. There are different directions to which dance walks are done:
a. Forward
b. Backward
c. Sideward
2. Run – an even rhythm pattern in which there is an alternate transference of weight from one foot
to the other. It is faster than a walk and requires more energy. A smooth run should be done with
toes reaching forward so that the ball of the foot strikes the floor first, followed by the heel, to
absorb shock.
3. Triplet (pliẻ, relevẻ, relevẻ ) – basic modern dance experience performed in an even ¾ meter with
each step requiring a complete change of weight.
Step-by-step description:
a. Step out in demi-pliẻon Right (R) leg turned out, Left(L) leg extended and the knee straightened.
b. Step through in relevẻ on L foot.
c. Remain on relevẻ position and step through on to R foot.
d. Perform in a series across the floor or in a defined space pattern with a slight accent on the first
of each of the three steps.
4. Waltz – even rhythm with counts 1 2 3/ 1 2 3/. Begin as in the walk, turned out fifth position. Reach
forward strongly onto R demi-pliẻ carrying upper body evenly with the pelvis over the R leg (ct. 1).
Cut under body in relevẻ on L through fifth position(ct. 2). Shift weight back to R demi-pliẻ in place
(ct.3). Repeat side Right and side Left for the traditional balance movement.
5. Gallop – this is two steps performed in uneven rhythm 1&2/ 1 & 2/, long -short, long-short. One foot
always maintains the lead.
6. Chassẻ/ Slide- uneven rhythm with counts 1&/2&/ with one foot maintaining the lead. It is
smoother in quality than the gallop, the slide retains other of its features. Emphasis is placed on the
gliding action of the leading foot, following foot cuts under, body weight is lifted sharply as this
takes place in either through third or fourth position.
7. Jumps
a. Basic (Sautẻ) – uneven rhythm / &1 / & 2/. Starting with first position turned out in a demi-pliẻ
preparation, jump straight into the air (ct.&). Land in demi-pliẻ (ct.1). Repeat several times. May
also be done in second, third, fourth and fifth positions with both turn out and parallel rotations.
b. Echappẻ - jump from first position in demi-pliẻ with legs on a slight diagonal outward from hip
joints (ct.&). Land with feet in second position (ct. 1). Spring into the air, legs extended (ct&)
and finish with feet in first position demi-pliẻ (ct. 2). May be done in all five positions.
c. Sissone- spring to Right side from fifth position demi-pliẻ with right foot forward. Allow left leg
to extend to knee height through second position and tilt shoulders and head slightly right
(ct&). Finish in demi-pliẻ fifth position with left foot in front, torso erect (ct.1). Can be done
forward and backward and alternate sides.
8. Leap – in the gap between take-off and landing, the body is suspended in the air with both feet off
the floor for a short flight of freedom.
a. Jetẻ
b. Prance
9. Falling – falling action can be aesthetically breathtaking when performed quickly and with control.
It can be done in any direction.
a. Simple side fall 2
 i. Stand erect, feet diagonally turned out and arms hanging naturally. Bring rib cage and right
side of head to right side of head to right until body losses balance stumbling to R side.
ii. Side Falls- from a side sitting position, arms, and legs pointed in same direction, bend body to
L, dropping L arms across body and placing hard on floor. Slide L hand sideward as legs extend
in opposite direction. Weight of the body is taken first on L hip and then as the body extends on
the L side. At the end of the fall, the L arm is extended, head resting on shoulder, and R arm is
parallel with extended legs.
iii Slide split fall-stand in first position, shift weight slightly onto L letting R slide to the side.
Simultaneously slide forward reaching for floor with hands without collapsing. Control descent
by maintaining pelvic and abdominal lift and a well-arched spine. As hands touch the floor,
elbows bend to catch the weight of the torso.
b. Simple forward fall
 from standing erect, feet parallel and arms hanging naturally, step forward R and bring face
and chest forward. As weight progress forward, allow L leg to rise in a small arabesque (see
ballet definition). Continue until the body falls forward off balance almost stumbling.
c. Overcurves (Glissade)
 Stand erect, arms curved downward and feet turned out. Inhale and reach out to R side
sensing a lift at the moment of weight transfer through second position (ct.1) Shift weight to
working leg and close other foot in front to a relaxed fifth position allowing knees to bend.
Exhale (ct.2) Repeat sideward action in same direction closing foot in back on count 2 to
produce a grapevine effect.
d. Tombé
 This indicates any times the body falls forward, backward or sideward off the supporting leg
onto the working leg in a demi-plié.
Example: stand in parallel first position, brush R forward and let body weight follow leg until a
shift or weight onto the R in demi-plié occurs.
e. Front falls
i. Simple
 from a high kneeling position, contract body forward and downward, placing hands on floor
below shoulders. Slide shoulders. Slide hands forward, extending hips and arching upper
spine until body is fully extended in prone position.
ii. Swedish fall
 from first position, step forward on one foot, lifting other leg towards the back. Arch upper
spine and swing arms forward with palms toward the floor. Fall forward to catch weight on
hands, back leg still extended in the air. Lower body to floor by bending the elbows then
sliding hands forward as legs straightens.
iii. Front sliding fall
 Begin in a slow run as a preparation. Lunge forward in R allowing torso and arms to reach
out towards the floor. Upon contact with floor, pull backwards with hands while maintain a
strongly arched back, extended legs and feet, and pulled up abdominals.
f. Back falls
 Form erect standing position, cross r foot in back lowering to R knee. Sit on floor extending L
foot forward and reaching hands sideward. Curl spine down while extending R leg and using
hands to help support and control torso.
g. Spiral falls
 From erect standing position and legs turned out, cross L foot behind and twist shoulders to
right while contracting into R hip. Deepen this spiral action to right lowering to floor
balanced on the L hip. Control descent. Avoid moving the feet intentionally as they only
react to changes in torso position.
10. Rolls
a. Log rolls
 From a supine lying position, with arms extended overhead and feet and ankles extended,
revolve entire body to end in prone lying position. Repeat as many times as desired.
b. Forward roll
 Starting with a kneeling position, sitting on heels, body curled forward, head turned to one
side and elbows in at center of body. Make a complete body roll in the direction opposite to
turned position of head, to end in starting position.
c. Backward roll
 Begin supine lying, arms at the sides of the body. Contract abdomen and hinge legs up and
backward. Aim knees slightly to the R Shoulder and turn head to left. End on knees or on
fee in a squat.

11. Turns
 This involves establishing an axis within the body, through the body’s point of contact with
the floor.
 Spotting is an attempt to trick the eye and inner ear balance receptors into thinking one has
not turned at all. Hold that spot for as long as possible without allowing the head to tilt,
usually ¼ of the turn. The head then flips around to focus on the spot again before the body
has completed its turning action. In turning, the head is last to leave and first to arrive.
a. Three step turn
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  Begin with weight on left foot, right leg extended to side. Step on right doing ½ right turn.
Step left continuing right turn to end facing forward, recovery step to right side. Focus in
direction of the turn.
b. Cross over turn (Soutenu/turn)
 Weight on Left, Right arm extended to second position.Step right foot, crossing left over.This
can be done with or without a slight springing action to the step, weight on both feet,pivot
right to face forward.
c. Chainé
 Keeping the feet close together on ½ toe,step on Right doing ½ turn.Step left foot
completing the turn.Perform a series in a straight line. It is important to spot on chainés
because of the spped and desired accuracy.
d. Grapevine
 Exaggerate the twists so that both hips and shoulders turn from side to side on each step.
Step Right, cross over left and twist to face right. Step side right, cross back left to face side
left.
e. Coupé Turn-
 Related to the chainé with the same footwork only on each step with the working leg is
placed slightly above the front of the supporting ankle. Also, springing instead of stepping
onto the supporting leg. Each step makes ½ turn, therefore two coupés result to a whole
turn. Make sure in the line of direction of the turn.Do in series.
f.Pas de Bourrée Turn
 begin with weight on right foot, left foot behind.Stepping underneath the body, step on left
making 1/3 turn to left. Step right continuing turn to left. Finish turn in a coupé on left foot.
g.Pique turn
>start with weight on right, left foot extended forward. Reach to left diagonal with fully
extended leg and foot. Shift weight over to left leg and turn left to face forward shifting
weight back to original position. Working leg is held with knee flexed and ankle resting
against back of Left calf, thigh turned out. Turn progress in a straight line.
h. Pirouette
> the preparation always begins with the supporting leg turned out in demi-plié. Beginners and
intermediate students would begin the turn with the working foot also on the floor. Start in a
small forward lunge, weight on forward leg. Whip the back leg around to the pirouette
position and turn in the same direction as the supporting leg.

(a) Gallop (b) Spiral fall (c) Tombe sideways

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Figure 4.11. Backward roll. Begin supine lying arms at the sides of the body. Contract abdomen and hinge
legs up and backward. Aim knees slightly to the R shoulder and turn head to left. End on knees or on feet
in a squat.

VI. Learning Task/ Worksheet / Activity Sheet

See Attachment
VII. References:
Aparato, C. R. (2017). Physical Education and Health
(Volume II). Rex Publishing Company.
Domingo, J. P. R. (2009). Physical Education II.
Mutya Publishing House, Inc.
Perez, V. V. (2019). MAPEH 8. St. Bernadette House Corporation.
Nolasco, B. C. (2018). Living with Music, Art, Physical Education,
and Health. Vibal Group, Inc.
Lugue, V. R. (2014). Our World of MAPEH 6. Vibal Group, Inc.

Prepared by: Checked by: Recommending Approval:

CAREN O. MIRAL JAYZA MAY M. ENCIO MELVIN M. ARIAS

Subject Teacher Subject Coordinator, MAPEH Chair, SHS Department

Approved:

ROUEL A. LONGINOS
School Director/ Principal