PE 111 PATHFIT – 3

Course Description
This course explores various dance forms as a means of promoting physical fitness,
self-expression, and cultural appreciation. Students will learn basic techniques, rhythms, and
movement patterns from a wide range of dance styles, including folk, ballroom, street, social,
and creative dances. Emphasis is placed on applying the elements of dance to enhance
coordination, flexibility, endurance, and overall well-being, while fostering appreciation for
the cultural and artistic value of each dance genre.

General Objective

• To develop students’ knowledge, skills, and appreciation of dance as an integral

component of Physical Education, fostering physical fitness, cultural awareness, and
lifelong engagement in movement arts.

Specific Objectives

A. Inclusion of Dance in Physical Education

1. Explain the rationale for including dance in Physical Education programs;

2. identify the benefits of dance in promoting physical fitness, coordination, and social
interaction;
3. demonstrate the ability to participate in a variety of dance activities appropriate for
different age groups and skill levels;
4. analyze how dance contributes to holistic development—physical, mental, social, and
emotional.

Introduction

Legal Basis of Physical Education

Article 14, Section 19 of the Philippine Constitution focuses on the promotion of

physical education and sports. It mandates the State to encourage sports programs, league
competitions, and amateur sports, including training for international events, to cultivate self-
discipline, teamwork, and excellence for a healthy citizenry. The section also calls for the
establishment of state-of-the-art sports complexes to support these goals.

Key aspects of Article 14, Section 19:

Promotion of Physical Education and Sports:

The State is tasked with actively promoting physical education and fostering a culture of
sports participation.

Encouragement of Sports Programs:

This includes supporting various levels of sports, from local leagues to international
competitions.
Development of Key Attributes:

The aim is to develop self-discipline, teamwork, and excellence in individuals through

sports participation.

Healthy and Alert Citizenry:

The ultimate goal is to contribute to the overall well-being and alertness of the population
through sports.

Establishment of Sports Facilities:

The Constitution envisions the creation of modern sports complexes to facilitate training
and competition.

Source:
https://elibrary.judiciary.gov.ph/thebookshelf/showdocs/2/86560#:~:text=Furthermore%2C%
20under%20Article%20XIV%2C%20Section,and%20highly%20scientific%20sports%20co
mplex.

Definition of Physical Education

It is an integral component of the overall educational process, designed to nurture the

holistic development of individuals. Its primary goal is to promote optimum learning that
encompasses not only the physical domain but also mental, emotional, social, and spiritual
growth through physical activities.

Dance in Physical Education

Dance in physical education serves as a comprehensive platform for student growth

because it integrates movement with self-expression, discipline, and creativity.

On the physical level, it develops cardiovascular endurance, muscular strength,

flexibility, coordination, and balance. Unlike repetitive fitness drills, dance offers variety and
enjoyment, which can help students sustain an active lifestyle.

On the emotional level, dance becomes a safe and enjoyable channel for self-
expression, allowing students to release stress, boost their mood, and build confidence. It
provides opportunities for personal achievement, whether through mastering a step, performing
for an audience, or creating an original routine.

On the social level, dance encourages collaboration, cooperation, and communication.

Group and partner dances require listening, timing, and mutual respect, fostering stronger peer
relationships and teamwork skills that are applicable beyond the gym or dance floor.

On the cognitive level, learning choreography engages memory, sequencing, pattern

recognition, and problem-solving skills. Dance also nurtures creativity as students explore
movement possibilities and make interpretive choices that reflect their personal ideas.
 Culturally, incorporating diverse dance styles in PE exposes students to traditions,
histories, and worldviews from different communities. By learning the steps, rhythms, and
meanings behind dances from various cultures, students gain not only artistic appreciation but
also empathy and respect for diversity—essential qualities in a globalized society.

CHAPTER 1: DANCE: Definition, History and Evolution

• Define dance as both a physical activity and an art form, emphasizing its role in
expression, communication, and culture;
• describe the historical development and cultural origins of dance from ancient times to
the present;
• explain how social and cultural changes have influenced the evolution of dance styles
and practices.

Lesson 1: Definition

Dance is the art of expressing ideas, emotions, and stories through coordinated and
rhythmic movements of the body, often performed in harmony with music or other forms of
sound. It serves multiple purposes—ranging from personal enjoyment and social interaction to
cultural preservation, spiritual ritual, and artistic performance. As both a physical activity and
an art form, dance develops coordination, flexibility, strength, and stamina, while also fostering
creativity, emotional expression, and cultural appreciation. Across different societies, dance
reflects traditions, values, and shared histories, making it not only a means of entertainment
but also a vital medium for communication and identity.

Dance as a Physical Activity - Dance is a dynamic form of movement that develops

cardiovascular endurance, muscular strength, flexibility, coordination, and balance. As a
physical activity, it requires energy expenditure, engages multiple muscle groups, and can
improve overall health and fitness. It also enhances motor skills and body awareness through
repeated practice of steps, patterns, and rhythms.

Dance as an Art Form - Beyond its physical demands, dance is a creative and
expressive medium that communicates ideas, emotions, and stories without the use of words.
It draws from aesthetic principles such as rhythm, shape, space, and dynamics, and often
reflects cultural traditions or personal artistry. As an art form, dance combines technique with
creativity, allowing performers to connect with audiences on an emotional and intellectual
level.

Comparison Table

Dance as a Physical
Aspect Dance as an Art Form Overlap
Activity
Improves fitness, Enhances well-being
Expresses emotions, ideas,
Purpose coordination, and physical
and cultural stories
while allowing creative
health expression
 Dance as a Physical
Aspect Dance as an Art Form Overlap
Activity

Aesthetics, creativity,
Movement efficiency, Requires mastery of
Focus endurance, strength, flexibility
interpretation, and
technique and expression
performance

Cardiovascular endurance, Creativity, artistry, emotional

Skills Discipline, rhythm, body
muscular strength, balance, communication, stage
Developed control
motor skills presence

Based on physical Based on artistic Often assessed in both

Evaluation performance, stamina, and interpretation, style, and technical accuracy and
skill execution audience impact artistic quality

Builds appreciation for

Cultural May be used for exercise and Preserves traditions, rituals,
diverse cultural
Connection recreation in various settings and cultural identity
expressions

Lesson 2: History of Dance

Dance's history is a rich tapestry woven from rituals, celebrations, and artistic
expression, evolving from ancient practices to the diverse forms we see today. From prehistoric
cave paintings depicting communal dancing to the formal dances of ancient civilizations like
Egypt and Greece, movement has been a fundamental part of human culture. The Renaissance
saw the rise of courtly dances like ballet, while folk dances emerged as expressions of cultural
identity. The 20th century brought modern dance pioneers like Isadora Duncan, reshaping the
art form with a focus on personal expression and natural movement.

Lesson 3: Evolution of Dance

Ancient Roots:

• Prehistoric Times:

Cave paintings and archaeological evidence suggest dance was a part of human life even
in prehistoric times, possibly used for rituals, celebrations, and communication.

• Ancient Civilizations:

Egyptians used dance in religious rituals, while the Greeks incorporated it into their
theatre, festivals, and even daily life. Indian classical dance forms like Bharata-natya also
trace their origins to ancient times.

• Ancient Greece:
 Dance was a key part of religious ceremonies and festivals, and it also influenced the
development of Greek drama.

Medieval and Renaissance Periods:

• Courtly Dances:
The Renaissance saw the rise of formal court dances, particularly in Italy and France,
with the development of ballet as a structured art form.

• Folk Dances:
Simultaneously, folk dances flourished, providing a means for communities to express
their unique cultural identities.

19th and 20th Centuries:

• Ballroom and Social Dance:

The 19th century saw the rise of ballroom dances like the waltz, while the 20th century
brought new social dances like the Charleston and Lindy Hop, often reflecting changing
social norms and musical styles.

• Modern Dance:

Isadora Duncan, Martha Graham, and others revolutionized dance in the early 20th century
by emphasizing personal expression and breaking away from the constraints of classical
ballet.

20th Century and Beyond:

• Modern Dance Continues to Evolve:

Modern dance continued to develop, with choreographers exploring new movement

vocabularies and themes, including postmodern dance.

• Diverse Dance Forms:

The 20th and 21st centuries have seen the rise and evolution of various dance styles,
including hip hop, contemporary, and many other forms, reflecting the diversity of global
cultures.
• Dance and Technology
 Dance has also embraced technology, with digital media and virtual reality influencing
choreography and performance.

Dance remains a powerful form of human expression, constantly evolving and adapting to
new contexts and artistic visions.

CHAPTER 2: DANCE: Elements and Fundamentals

Learning Objectives

By the end of this lesson, students should be able to:

1. identify and differentiate the various types of dances according to their

characteristics, purposes, and cultural origins;
2. demonstrate the basic positions of the arms, feet, and body used in different dance
forms; and
3. apply the fundamental movements and techniques in performing simple dance steps.

Lesson 1: Elements

The elements of dance are the building blocks that dancers use to create movement and
express meaning. These elements help organize, structure, and give life to dance. The main
elements are:

1. Body – What the dancer moves

• Refers to the parts of the body that are used in dance.

• Includes: whole body, body parts (arms, legs, head, torso), shapes (curved, straight,
angular), balance, and body patterns.

Example: Using only the arms to express a wave, or moving the whole body in a jump.

2. Space – Where the body moves

• The area in which the dance occurs.

• Includes direction (forward, backward, sideways), level (high, medium, low),
pathways (straight, curved, zigzag), size (big or small movements), and focus (where
the eyes and attention go).

Example: Dancing in a circle formation vs. dancing in a straight line.

3. Time – When the body moves

• The rhythm, speed, and duration of movement.

• Includes tempo (fast/slow), rhythm (pattern of beats), accents (emphasis), and
stillness.

Example: Performing slow, sustained movements in a waltz vs. fast, sharp steps in hip-hop.

4. Energy – How the body moves

• The quality or force of movement.

• Includes sharp/smooth, heavy/light, strong/gentle, sudden/sustained.

Example: A powerful stomp in street dance vs. a soft glide in ballet.

5. Relationship – With whom or what the body moves

• The connection between one dancer and another, or between dancer and object/props.
• Includes formations, partnering, mirroring, shadowing, and interactions with props.

Example: Two dancers mirroring each other’s moves, or using a scarf as part of the dance.

Chapter 3 :Various Types of Dances

Learning Objectives
By the end of the lesson, the students should be able to:

1. Classify the different types of dances (e.g., cultural/folk, ballroom,

social/recreational, street/urban, creative/interpretative) according to their purpose and
characteristics.
2. Differentiate the unique features of each dance type in terms of style, cultural roots,
and function in society.
3. Demonstrate selected basic steps or movements that represent each type of dance.
4. Appreciate the diversity of dance as a reflection of cultural identity, social
interaction, and artistic expression.

1. Cultural and Folk Dances

Cultural and Folk Dances are traditional dances that reflect the life, history, and
beliefs of a community or nation. They are often passed down through generations and
performed during festivals, rituals, and social gatherings. These dances embody the
values, customs, and traditions of a specific group, serving both as a form of artistic
 expression and a way to preserve cultural heritage. Movements, music, costumes, and
props are usually inspired by daily life, nature, historical events, or symbolic meanings
unique to the culture.

• Reflect traditions, customs, and stories of a community or nation

• Often performed during festivals, rituals, and celebrations

Classification of Folkdances

A. Geographical Classification

1. National Dances – found throughout the islands with little or no modification.

Examples:

Rigodon, Cariñosa, Jota, Balitaw, Pandanggo

2. Local Dances – Found in certain locality

Examples:

Tinikling, Maglalatik, Subli, Biniganbigat

B. Nature

1. Occupational -depicting action of certain occupation, industry, or human

labor.

Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete

2. Religious or Ceremonial – performed in connection with religious vows and

ceremonies.

Examples: Dugsu, Sua -sua, Putong, Sta. Clarang Pinung – pino.

3. Comic Dances – depicting funny movements for entertainment.

Examples: Kimbo – kimbo, Mokonggo, Kinoton Itik-itik

4. Game dances – with play elements (dances mixers)

Examples: Lubi-lubi, Pavo

5. Wedding Dances - performed during wedding feasts.

Examples: Panasahan, Pantomina

6. Courtship Dances - depicting love making

Examples: Tadek, Daling – daling, Hele – hele, Bago Quire, Maramion.

 7. Festival Dances – suitable for special occasion or any social gatherings.

Examples: Pandanggo, Habanera, Jota, Surtido

3. Ballroom Dances

Ballroom Dances are formal social dances that are usually performed
by couples following specific steps, patterns, and rhythms. They originated in
Europe and later spread worldwide, becoming both a popular leisure activity
and a competitive sport. Ballroom dances emphasize grace, posture,
coordination, and partner connection, with movements often performed in a
closed or open hold. They are typically accompanied by music in specific
tempos and styles.

• Partner dances performed socially or competitively

• Known for structured steps, elegance, and timing

Two Main Categories:

1. Standard/Smooth Dances – Waltz, Tango, Viennese Waltz, Foxtrot, Quickstep

(characterized by elegant gliding movements).
2. Latin/Rhythm Dances – Cha-cha, Rumba, Samba, Paso Doble, Jive (characterized
by lively hip action, fast footwork, and rhythmic flair).

Ballroom dancing not only promotes physical fitness and coordination but also builds social
skills, confidence, and teamwork.

3. Social and Recreational Dances

Social and Recreational Dances are dances performed primarily for enjoyment,
socialization, and relaxation rather than formal performance or competition. They can
be done in casual settings such as parties, community gatherings, school programs,
and fitness activities. These dances encourage participation from people of all ages
and skill levels, often allowing freedom in movement while still following basic
rhythms or patterns.

They promote physical fitness, stress relief, and social interaction, making them an
important part of community and school activities. Costumes are usually informal, and
the atmosphere is relaxed and inclusive.

• Informal dances performed for enjoyment and socializing

Examples:

• Zumba – A fitness dance combining aerobic exercise with Latin-inspired moves.

 • Line Dance – A sequence of steps performed in rows without partners (e.g., “Electric
Slide”).
• Salsa & Swing – Fun partner dances often seen in clubs and social gatherings

4. Street and Urban Dances

Street and Urban Dances are dance styles that originated outside formal dance
studios, often emerging in community spaces, clubs, and on the streets. They are closely
tied to music and youth culture, particularly genres like hip-hop, funk, and R&B. These
dances emphasize self-expression, creativity, improvisation, and individuality, often
allowing dancers to showcase personal style and skill.

Street and urban dances are energetic, rhythm-driven, and adaptable, making them
popular in both informal gatherings and competitive dance battles. They also play a
significant role in promoting cultural identity and social connection among
communities.

• Evolved outside of formal dance studios; often linked to music culture

Examples:

• Hip-hop
• Breakdancing
• Popping and Locking
• Krumping

5. Theatrical and Performance Dances

Theatrical and Performance Dances are dances created primarily for stage
presentation, storytelling, and artistic expression. They are often choreographed with
specific themes, characters, and emotions in mind, blending movement with music,
costume, lighting, and stage design to captivate an audience. These dances can be based
on classical traditions, contemporary styles, or experimental approaches, and they
typically require rehearsals, technical precision, and strong performance skills.

They are performed in theaters, festivals, television, or film, and are often a product of
collaboration between choreographers, dancers, and other artists. The main focus is not
only technical execution but also artistic interpretation and emotional impact.

• Created primarily for artistic expression on stage

Examples:

• Ballet – A classical form known for grace, turnout, and storytelling through
movement.
 • Contemporary Dance – Combines elements of modern, ballet, and jazz for
expressive freedom.
• Musical Theater Dance – Choreography created for stage musicals (e.g., Chicago,
Hamilton).
• Modern Dance – Rejects rigid ballet rules, focusing on grounded, expressive
movement.

6. Creative and Interpretative Dances

Creative and Interpretative Dances are forms of dance that focus on self-expression,
imagination, and conveying ideas or emotions through movement. They are often less
structured than formal dance styles, allowing dancers to create original steps and
sequences that reflect their personal interpretation of a theme, story, poem, or piece of
music.

In creative dance, the emphasis is on exploration—experimenting with body

movements, levels, shapes, and dynamics without strict rules. It is often used in
education to develop students’ creativity, motor skills, and confidence.

In interpretative dance, movements are intentionally designed to represent specific

emotions, narratives, or symbolic meanings. This style often blends elements from
other dance forms and may be accompanied by spoken word, dramatic gestures, or
visual props to enhance storytelling.

• Focus on self-expression and conveying themes or emotions

Examples:

• Creative – Improvised movements inspired by nature (e.g., moving like ocean waves
or trees swaying).
• Interpretative – A choreographed piece expressing themes like love, struggle, or
triumph, often performed to instrumental or spoken-word music.

Chapter 4: 5 Basic Dance Positions, Common Dance Terms and

Dance Steps

Feet Positions (Ballet Standard)

1. First Position
o Heels together, toes turned out to the sides forming a straight line.
o Promotes balance and open hip rotation.
2. Second Position
 Feet turned out and placed about shoulder-width apart.
o
Used for stability and preparation for jumps or turns.
o
3. Third Position
o One foot placed in front of the other, heel touching the arch of the back foot.
o Less common in professional ballet but used in beginner training and folk
dances.
4. Fourth Position
o One foot in front of the other, separated by about one foot of space, both
turned out.
o Used for lunges, preparation for leaps, and certain poses.
5. Fifth Position
o Feet turned out, heel of one foot touching the toe of the other.
o Considered the most closed position, used for pirouettes and strong balance
work.

Arm Positions (Ballet Standard)

1. First Position – Arms rounded and held low in front of the body, fingers almost
touching.
2. Second Position – Arms extended sideways, slightly rounded at elbow height.
3. Third Position – One arm in first position, the other in second.
4. Fourth Position – One arm in first position, the other raised overhead.
5. Fifth Position – Both arms rounded and raised overhead.

Lesson 4. Common Dance Terms and Dance Steps

Learning Objectives
By the end of the lesson, the students should be able to:

1. Define common dance terms (e.g., rhythm, tempo, beat, posture, footwork) and
explain their relevance in dance practice.
2. Identify and describe basic dance steps used in different genres of dance (e.g., waltz
step, polka step, cha-cha basic, sway balance).
3. Demonstrate correct execution of selected fundamental dance steps with proper
rhythm, timing, and body coordination.
4. Apply the learned terms and steps in simple practice routines or sequences that
highlight clarity, accuracy, and expression.

Abracete – Girl at the R side, holds the R arm of partner with her L hand, free hand at sides.

Arms in lateral position – both arms are at one side, either R & L.

Arms in reverse “T” position – Arms are horizontally sideward, elbows at right angles, forearms parallel to head, elbows are
at shoulder level, fist slightly closed, facing each other.

Bilao – bend elbows close to waist, hands in front, fingers point forward, palms down, Turn hands up and down alternately.

Brush – to hit the floor with the ball or heel of one foot after which that foot is listed from the floor in any direction.

Cabeceras – dancers are in square formation; the couples occupying the width of the hall.
Cast off – dancers are in a long way formation, head or lead couple countermarch outward to the end of the line where the last
couple was, counter march inward to proper places.

Clockwise - following the direction of the hands of the clock. The R shoulder is toward the center of an imaginary circle.

Costados – dancers are in a square formation; the dancers are occupying the length of the hall is called “costados” or side
couples

Counterclockwise – the reverse direction of clockwise – the L shoulder is toward the center of an imaginary circle.

Curtsy – point the R foot in rear of the L foot; bend knees slightly.

Cut – to displace quickly one foot with the other.

Do-Si-Do (dos-a-dos) – partners are facing each other. Starting with the R foot, take 3 walking steps forward to partner’s place
passing each other by the R shoulder; step the L foot across the R foot in front; without turning around, take 3 walking steps
backward, to proper place. Close L to R.

Folded arms – bend arms in front of the chest and put one forearm on top of the other.

Free foot – the foot not bearing the weight of the body.

Free hand – the hand not placed anywhere or not doing anything.

Hapay – to flourish or offer a handkerchief or glass of wine to somebody as a sign of invitation.

Hayon-Hayon – to place one forearm in front of the waist and the other at the back of the waist.

Inside Hand\Foot – the hand or foot nearest one’s person partner when standing side by side.

Jaleo – R hand on waist, elbows almost touching, partners turn around once clockwise using any kind of dance steps.

Kewet – with fist slightly closed, thumb sticking out turn the wrist outward.

Kumintang – moving the hand from the wrist either in a clockwise or counter clockwise direction.

Link elbows – or hook elbows – hook elbows with partner or any dancer.

Masiwak – turn the hand from the wrist counter-clockwise them raise and lower wrist once or twice. This is an “Ibanag” term.

Outside Hand\Foot – the hand or foot away from one’s partner when standing side by side.

Panadyak – to stamp, in front or at the side with the R foot and tap with the same foot close to L foot.

Place – to put to the sole of the whole foot in a desired position without putting the weight on it.

Point – to touch the floor lightly with the toes, no weight.

Salok – to swing the arm downward upward to fifth position passing in front of the body as if scooping. The trunk is bent
forward following the movement of the arm doing the “salok.”

Saludo – with feet together, partners bow to each other, to audience, or to opposite dancer.

Sarok– with the weight of the L foot, point R foot across the L foot in front, bend the body slightly toward the pointing foot
and cross the R arm over the L arm.

Stamp – to bring down the foot forcibly and noisily on the floor.

Tap – Flexing the ankle point, rap lightly with the ball or toe of the free foot.

Whirl turn – rise on toes and make fast turns by executing mincing steps in place

Lesson 5: Dance Couple Positions

Learning Objectives
By the end of the lesson, the students should be able to:

• Demonstrate proper posture, hand placements, and body alignment in various couple
positions with a partner.

• Apply appropriate couple positions while executing basic dance steps in simple social or
ballroom routines.

• Value the importance of teamwork, respect, and communication between dance partners in
achieving harmony and coordination.
Basic Dance Steps in 2/4 Time Signature

Basic Dance Steps in 3/4 Time Signature

Basic Dance Steps in 4/4 Time Signature

Chapter 4

Learning Objectives
By the end of the lesson, the students should be able to:

1. Define social dance and distinguish it from other forms of dance such as performance
and competitive dance.
2. Recognize the different types of social dances (e.g., ballroom, folk, recreational,
street/urban) and their cultural significance.
3. Demonstrate basic respect, cooperation, and social interaction skills while
participating in simple social dance activities.
4. Appreciate the role of social dance in promoting physical fitness, cultural awareness,
and community bonding.

Lesson 1: Introduction to Social Dance

Social dance is a form of dancing performed for recreation, interaction, and enjoyment,
often done in social gatherings rather than on stage or in competition. It emphasizes
participation and connection among dancers, making it an important part of cultural and
community life. Unlike performance or theatrical dance, which focuses on technique and
artistry, social dance highlights fun, inclusion, and communication.
Throughout history, social dances have reflected the traditions, customs, and values of different
cultures. They are often passed down through generations and adapted to fit modern times. For
example, traditional folk dances showcase cultural heritage, ballroom dances bring elegance
and partnership, and contemporary social dances such as line dancing or Zumba offer fitness
and entertainment.
 In the context of Physical Education, social dance helps students develop physical
fitness, rhythm, coordination, and balance. At the same time, it builds confidence, teamwork,
and social skills as students interact with their partners or groups. It also promotes cultural
awareness, since many dances are rooted in historical and cultural traditions.
In essence, social dance is more than just movement—it is a meaningful activity that blends
physical, emotional, social, and cultural benefits, while fostering joy and connection among
people.

Ballroom Dances

Ballroom dance refers to a set of partner dances that are performed both socially and
competitively around the world. These dances are known for their grace, rhythm, and
coordination between partners. In a social dance setting, ballroom is often enjoyed for
recreation and interaction, while in competitive ballroom (Dancesport), dancers focus on
precision, style, and technique.

Lesson 2: Types of Ballroom Dances

Standard Dances (Smooth, Elegant Styles)

1. Waltz – Smooth, flowing dance with graceful turns and rise-and-fall movements.
2. Tango – Dramatic dance with sharp movements and passionate expression.
3. Foxtrot – Smooth dance with long, continuous flowing movements.
4. Quickstep – Fast, lively dance with quick, light steps.
5. Viennese Waltz – Faster version of the waltz with continuous turns.

Latin Ballroom Dances (Lively, Rhythmical Styles)

1. Cha-Cha – Playful, energetic dance with syncopated steps.

2. Rumba – Romantic, slow dance known as the "dance of love."
3. Samba – Rhythmic Brazilian dance with lively bouncing action.
4. Paso Doble – Dramatic Spanish dance symbolizing a bullfight.
5. Jive – Fast, upbeat swing dance with lots of kicks and flicks.

Basic Positions in Social Dancing

1. One – hand hold position

2. Two - hand hold position

3. Closed Position

4. The outside right position

5. The outside left position

6. Promenade Position
7. The Fall Away Position

8. Shadow Position

Lesson 3: Cha-Cha-Cha Syllabus Figures with Steps

Learning Objectives
By the end of the lesson, the students should be able to:

1. Identify the basic Cha-Cha-Cha syllabus figures (Closed Basic, Open Basic, New
York, Spot Turn, Hand-to-Hand, Cucaracha, and Underarm Turn).
2. Demonstrate proper execution of the fundamental Cha-Cha-Cha steps with correct
timing, rhythm, and body coordination.
3. Apply the learned Cha-Cha-Cha figures in a short sequence, showcasing
synchronization with a partner and music.
4. Appreciate the cultural and artistic value of Cha-Cha-Cha as both a social dance and
a form of physical fitness.

Level Figure Basic Steps (Leader’s Footwork) Notes

1. LF forward (count 2) 2. RF replace weight
(count 3) 3. LF to side, RF close, LF to side Foundation of
Beginner
Closed Basic (Cha-Cha-Cha) 4. RF backward (2), LF replace Cha-Cha
(Bronze)
(3), RF to side, LF close, RF to side (Cha-Cha- rhythm.
Cha)
Similar to Closed Basic but partners in Open More freedom
Open Basic
Hold (hand connection only). of movement.
1. LF forward through open position (2) 2. RF
New York Face open line
replace weight (3) 3. Side step (Cha-Cha-Cha)
(Left/Right) (90° turn).
Repeat to other side
Can be danced
Spot Turn 1. LF forward (2) 2. Pivot 180° (3) 3. Cha-Cha-
solo or with
(L/R) Cha to side
partner.
Hand-to- 1. LF forward across body (2) 2. Replace to RF
Alternate sides.
Hand (L/R) (3) 3. Side step (Cha-Cha-Cha)
1. LF forward (2), RF replace (3), side Cha-
There and Rock step
Cha-Cha 2. RF backward (2), LF replace (3),
Back action.
side Cha-Cha-Cha
Cucaracha 1. LF to side (2), replace RF (3), side Cha-Cha- Compact Cuban
(Side) Cha Repeat opposite action.
1. LF forward (2), RF replace (3), LF side
Underarm Common
(Cha), RF close, LF side (Cha) Follower turns
Turn beginner figure.
under raised hand
Shoulder-to- Similar to New York but partners face each Creates
Shoulder other directly. mirroring.
 Level Figure Basic Steps (Leader’s Footwork) Notes
Time Step Small compact rock steps with Cha-Cha-Cha in
Rhythm drill.
(Basic) place.

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• Nikki Coseteng (1991), Sinaunag Habi Philippine Ancestral Weaves
• Jaime C. Laya (1995) Habi - The Allure of Philippine Weaves Museum
Division Manila

Prepared By: PERRY JOE D. ODEVILAS, LPT, MAEd