PHYSICAL EDUCATION

JOELLA NICOLE FAELDONEA HUMSS 12 - A (1ST Semester)

LESSON 1: ELEMENTS OF DANCE

P.E: WEEK 1 4. RELATIONSHIP

I. Elements of Dance
• Body − we often dance with other people in a group.
• Energy Just like with conversation, we communicate
• Space
and react using motions.
− Direction, Size, Level,
Focus
• Direction
• Relationship 5. TIME
• Timing
• Level − timing is the key to any dance. We follow the
• Size
rhythm or beat to match our actions with
• Focus
the music.

DANCE

− A truly universal definition of dance must,

therefore, return to the fundamental principle
that dance is a form or activity that utilizes
the body and the range of movements of
which the body is capable.

ELEMENTS OF DANCE

1. BODY

− dance is comprised of various body motions

that express feeling and emotion. Our
bodies move in ways to express ourselves
using locomotor and non-locomotor
movements.

2. ENERGY

− the force at which we express or body

motions. Are you moving with hard or gentle
motions? How do you choose to move?
Bounce, shake, explode or sway?

3. SPACE

− this is the area the performers occupy and

where they move. It can be divided into four
different aspects, also known as spatial
elements.

➢ DIRECTION – dance movements can travel

in any direction. The performers can go
forward, side, backward, diagonal, circular,
and so on.

➢ LEVEL – movement can be done in high,

medium, or low level.

➢ SIZE – movements can be varied by doing

larger or smaller actions.

➢ FOCUS – performers may change their focus

by looking at different directions.
 PHYSICAL EDUCATION
JOELLA NICOLE FAELDONEA HUMSS 12 - A (1ST Semester)

LESSON 2: EVOLUTION OF DANCE

P.E: LESSON 2 ➢ Himog of Death Dance - ceremonial dance

I. Primitive Era performed by men to ask gods for help in
• Kinds of Primitive Dance punishing the killer for their warriors.
• Examples of Ritual Dances
• Examples of Life-cycle Dances ➢ Pangalay - dance in”Pangalay” style
II.
III. Spanish Colonial Period performed by a bride.
American Colonial Period
OCCUPATIONAL DANCES
PRIMITIVE ERA
− Dances which transform defense and
PRIMITIVE DANCE livelihood activities to celebratory
− considered as a dance in its purest form performances.
because this particular dance form has not
been refined, developed, trained, or Examples of Occupational Dances:
guided by an artist. ➢ Tudak - acts out a whole sequence of the rice
cycle into dance.
− To the early Filpinos, dance was an
expression of community life that ➢ Tauti - occupational dance which vividly
animates the various rituals and ceremonies. portrays the labors of catching “tauti”
(catfish).

KINDS OF PRIMITIVE DANCES

MIMETIC DANCES
1. RITUAL DANCES
− Sustains spiritual and social life of the − Special dances which are mimetic in nature.
indigenous Filipinos.
− The surrounding animal life also lends itself to
− Closely attuned to nature, believing in the imitative dances that are both graphic and
spirits that keep their environment fruitful. symbolic.

Examples of Ritual Dances: Examples of Mimetic Dances:

➢ Pagdiwata - Tagbanuas of Palawan perform ➢ Sayaw tu Baud - an imitation of flight of
this dance in gratitude for good harvest, to pigeons from hunter stalking them.
implore continued protection and favor from
the deities and for general well-being. ➢ Pinuhag - imitates movements of a bee
gathering honey.
➢ Dugso - dance of Manobos of Bukidnon, is a
thanksgiving for bountiful harvest. ➢ Inamo-amo- mimicked the movements of a
monkey as it bounces and gambles about.
➢ Sohten - the Subanon supplicates the spirits
to give strength and courage to a warrior who ➢ Ninanog - an imitation of the movements of
shoes a shield and palm leaves. the hawk as it pounced on its quarry.

➢ Bendian - is a dance of healing, natural SPANISH COLONIAL PERIOD

calamities and to celebrate victory in war.
− Spaniards came to the Philippines on March
➢ Tahing Baila - a prayer dance for a bountiful 16, 1521, and colonized the Philippine islands
fish catch. for 333 years.

2. LIFE-CYCLE DANCES − Native dances were modified and used in the

− Dances that celebrate an individual’s birth, rights celebrating Christian holy days and
baptism, courtship, wedding, and demise religious fiestas turned to native traditions to
(death). become spiritual and communal expressions.

Examples of Life-cycle Dances: − Dances took on the tempo and temper of

➢ Daling-daling - displays grace as much as the European forms for example the noted
affection. It is considered as a courtship Tinikling (which has had some Southeast
dance. Asian beginnings) and the Itik-itik (rustic and
 imitative like the other dances) acquired the
tempo of the jota and the polka.

− European dances like the waltz, mazurka,

the Spanish jota, paso doble, fandango
and others were transformed to suit the
climate and the temperament of the people.

AMERICAN COLONIAL PERIOD

− In 1989, the United States colonized the

Philippines.

− The cakewalk, buck-and-wing, skirt-dance,

clog, tap and soft shoe were performed in the
zarzuela theaters later with the cinema shows.

− John Cowper was called “dean of Philippine

vaudeville” and with him came other American
and European artists.

− Filipinos increasingly experienced the ballet.

− The development of dance in the Philippines is

generally credited to the efforts of Francisca
Reyes Aquino and Leonor Orosa
Goquinco.

− Aquino pioneered in the research and

revival of Philippine folk dance and music
in the 1920s and is regarded as the foremost
authority on Philippine folk dances.
 PHYSICAL EDUCATION
JOELLA NICOLE FAELDONEA HUMSS 12 - A (1ST Semester)

LESSON 3-4: DANCE TERMINOLOGIES

P.E: LESSON 3-4 2. KEWET

I. Dance Terminologies − with fist slightly closed, thumb sticking out
− Choreography, Ethnic, Set, Folk turn the wrist outward.
art, Folk, National dance,
Measure, Dynamics, Gesture,
3. BRUSH
Energy
− to hit the floor with the ball or heel of one foot
II. Dance Terminologies after which that foot is lifted from the floor in
− Arms in lateral position, Kewet, any direction.
Brush, Clockwise, Counter-
clockwise, Free foot, Free hand, 4. CLOCKWISE
Inside hand-foot, Outside
− following the direction of the hands of the
foot/hand, Stamp, Tap, Point,
Whirl turn, Saludo, Kumintang, clock.
Hayon-hayon
5. COUNTER-CLOCKWISE
− the reverse direction of the clockwise.
A. DANCE ERMINOLOGIES

1. CHOREOGRAPHY 6. FREE FOOT

− the art of creating dances. − the foot not bearing the weight of the body.

2. ETHNIC 7. FREE HAND

− coming from or belonging to the distinctive − the hand not placed anywhere or not doing
cultural or aesthetic traditions of a particular anything.
country or people.
8. INSIDE HAND/ FOOT
3. SET − the hand or foot nearest one’s partner when
− a dance unit or formation. standing side by side.

4. FOLK ART 9. OUTSIDE FOOT/ HAND

− the traditional typically anonymous art of − the hand or foot away from one’s partner when
people that is an expression of community life. standing side by side.

5. FOLK 10. STAMP

− originating among or representative of the − to bring down the foot forcibly and noisily on
common people. the floor.

6. NATIONAL DANCE 11. TAP

− a folk dance which is popularly danced in most − flexing the ankle joint, rap lightly with the ball
parts of a specific country. or toe of the free.

7. MEASURE 12. POINT

− grouping of beats − to touch the floor lightly with the toes.

8. DYNAMICS 13. WHIRL TURN

− variations, changes, and contrasts within an − rise on toes and make fast turns by executing
existing time, space, bringing about mincing steps in place.
excitement and heightened interest.
14. SALUD
9. GESTURE − with feet together, partners bow to each other,
− movement used to emphasize idea or to audience, or to opposite dance.
emotions.
15. KUMINTANG
10. ENERGY − moving the hand from the wrist either in a
− strength, power of force for action. clockwise or counter- clockwise direction.

B. DANCE ERMINOLOGIES 16. HAYON-HAYON

1. ARMS IN LATERAL POSITION − to place one forearm in front of the waist and
− both arms are at one side, either right or left. the other at the back of the waist.
 PHYSICAL EDUCATION
JOELLA NICOLE FAELDONEA HUMSS 12 - A (1ST Semester)

LESSON 5 – 10: DANCE FORMATIONS

P.E: LESSON 5-10 DANCE SYMBOLS AND SIGN

I. Dance Formations
II. Dance Symbols and Signs
III. Dance Abbreviations
IV. Fundamental Positions of the Arms
and Feet
V. Dance Positions
VI. Basic Philippine Folk Dance Steps

DANCE FORMATIONS

DANCE ABBREVIATIONS

FUNDAMENTAL POSITIONS OF THE

ARMS AND FEET
FIRST POSITION

Arms: Arms are rounded &

are raised in front of he waist.
Palms are facing in, wrists are
relaxed.

Feet: Heels together; feet

turned out in 45’ angle

SECOND POSITION

Arms: Open arms to the

sides, arms are rounded,
palms facing each other.

Feet: Stride stand sideward

position, feet about six inches
apart.

THIRD POSITION

Arms: One arm is raised

overhead while the other arm
is in 2nd position opened at
the side.

Feet: Heel of one foot touches

the instep of the other foot.
FOURTH POSITION 6. SWING-OUT POSITION

Arms: One arm is raised − Join inside hands,

overhead (in 5th position) and outside hands in
the other arm is in 1st second position.
position. Partners face slightly
toward audience.
Feet: From the 3rd position,
slide the front foot diagonally
forward and end in a stride
stand forward position.
7. CLOSE BALLROOM
DANCE POSITION
FIFTH POSITION
− Partners facing each
Arms: Both arms are raised other. Girl’s hand is
overhead, arms are rounded, placed on the R
palms facing inward- shoulder of the boy.
downward. Boy’s R hand is placed
on the waist of the
Feet: Heel of one foot touches girl. Outside hands joined are extended
the big toe of the other foot. toward the audience.

DANCE POSIIONS
1. COUPLE POSITION 8. OPEN SOCIAL
BALLROOM DANCE
− Dancers joined inside POSITION
hands, shoulder
level. − Same as close
ballroom dance
position except that
the dancers are facing
on the audience.
2. ESCORT POSITION

− Girl holds the R arm 9. SHOULDER WAIST

of the boy with her L POSITION
hand.
− Partners face each
other. Girl places both
hands on boy’s
3. CONVERSATION
shoulders. Boy places
POSITION/FLIRTAION
both hands on Girl’s
POSIION
waist.
− Girl’s L hand is placed
on he R shoulder of
the Boy. Boy’s R hand
is placed around the 10. STAR POSITION
girl’s waist.
− Dancer’s face opposite
direction. Inside hands
are joined.
4. FACING POSITION

− Facing each other,

join both hands, chest 11. WRAP POSITION
level or a little lower.
− Partners face the
audience; boy sands
slightly behind girl.
5. BUTTERFLY POSITION
Girl crosses arms (R
− Partners facing each over L) in front of the
other, join both hands waist. Boy holds the L
and extend them hands of the girl with
sideward. his R hand & R hand of
the girl with his own L
hand.
12. PROMENADE OR
SKATER’S POSITION OR
FRONT CROSSED-ARM
POSITION

− Partners face
audience. Boy holds
R hand of the Girl
with his own R & the
L hand of the girl
with his L hand.

13. BACK-CROSSED ARM

POSITION

− Same as front
crossed arm position
but the arms are
crossed at the back.

14. VARSOVIENNE
POSITION

− Boy stands slightly

behind girl; extend R
arms diagonally
upward R, and L
arms in the second
position.

15. REVERSE
VARSOVIENNE POSITION

− Same as
Varsovienne Position
except that the boy
stands in front of
the girl.
Slightly to the R.

*ੈ✩‧₊˚ J. N FAELDONEA ⋆.ੈ ࿔*:･