SOUTH EAST ASIAN INSTITUTE OF TECHNOLOGY, INC.

National Highway, Crossing Rubber, Tupi, South Cotabato

GENERAL EDUCATION DEPARTMENT

___________________________________________________

LEARNING MODULE
FOR
PE 112: RHYTHMIC ACTIVITIES

_____________________________________________________

WEEK 1
FEBRUARY ___, 2021

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 COURSE OUTLINE

COURSE CODE : PE 112

TITLE : Rhythmic Activities
TARGET POPULATION :
INSTRUCTOR :
Arroyo, Iris
[email protected], 09076409742
Naval, Jason Michael M.
[email protected], 09171460363
Parrenas, Willie Jr.
[email protected], 09097458563
Ariola, Cherish Mae, LPT,
[email protected], 09077267286
Sadavao, Norsisa D., LPT,
[email protected], 09679737006
Ramos, Rene Jr. E., LPT
[email protected], 09126399288

Overview:

This unit serves as an instrument in the development and improvement of skills particularly in
dance. It intends to broaden students’ concepts in the fundamentals of dance and its general
principles of execution. The main purpose of this course is to provide comprehension and useful
guide activities for students taking up P.E. 2.

Through this, it is hoped that students in P.E. 2 can gain higher level of physical, social,
emotional, mental, spiritual and moral values. It also aimed to enhance their creativity in the different
dances most easily and enjoyably.

Objectives:
General Objective:

At the end of the semester, students are expected to:

 Discuss the relevance of Rhythmic activities in our daily living;

 Familiarize themselves with the basic course on dance and rhythm, its elements
and its basic body movements;
 Employ appropriate body movements in the execution of the different dance
elements;
 Perform with accurate sense of balance, and develop creativity through rhythmic
workouts;
 Demonstrate with ease and smoothness the steps combination of different
movements; and
 Show appreciation of one’s body by giving emphasis of certain features in its
dance styles.

The following are the topics to be discussed

Week 1 RHYTHM AND DANCE

Week 2 PHILIPPINES FOLK DANCE, CLASSIFICATION AND FUNDAMENTAL POSITION OF
FOLK DANCE
Week 3 TERMS, STEPS AND COMBINATION OF PHILIPPINES FOLK DANCES
Week 4 POSITION AND GRASPS
Week 5 MUSIC PATTERNS

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Instruction to the Learners

Each chapter provides students with adequate information about dances and different several
of dancing, dances of the Philippines and other parts of the world. The module contains simple
description of music and tempo terms, system and manner of counting that could be useful in creating
dance combination.
Exercises and practical test are provided at the end f each week. Submission of task given will
depend on the teacher assign to your class.

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 WEEK 1

RHYTHM AND DANCE

Rhythm is an essential element of dance. Physically and physiologically, man is propelled by the
rhythm of his internal processes. These processes include his heartbeat, actions of his lungs,
muscular movement of his stomach and rhythm patterns of his lungs, muscular movement of his
stomach and rhythmic patterns of his other organs. He is able to radiate rhythm to his surrounding,
create mood and define movements.

Definition of terms

1. Rhythm – a measure flow characterized by basically regular recurrence of elements or feature

such as beats, sounds, or accents.
2. Rhythmic activities – physical manifestations of the mental and emotional responses of
individual through rhythm. These are the activities which a person responds physically,
socially, and mentally to regular patterns of sounds.
3. Dancing – a means of expressing one’s emotions through movement and discipline rhythm. It
is an act of moving rhythmically and expressively to accompaniments. The word “dancing”
came from the old German word “damson” which means “to stretch”
4. Dance – it is pure expression of the dancer’s thoughts and feelings.

Phase of the dance program

1. Creative rhythms – creative rhythms are actually for the children in the elementary grades.
These are sometimes called fundamental rhythms or natural dances. A creative rhythm or
fundamental rhythm is an end product of the exploration and improvisation of movements as
children learn to move the parts of their body to use them as instruments of expression.
2. Folk dance – folk dance is a cultural art form handed down from one generation to another. It
communicates the custom, beliefs and occupation of the people of a region. Folk dancing
belongs to the people. It emanates from them.
3. Recreational dance – recreational dances include dances mixers, square dancing and around
and couple dances. Many of these dances have simple patterns based on combination of
walking steps, the two steps, polka steps, and waltz step.
4. Social and ballroom dance – is a social gathering with a formal atmosphere rather than
simple and informal parties in which recreational dances are the usual forms. Social and
ballroom dancing are generally held in the evening. The participants are usually in formal
attire.
5. Creative dance – creative is the highest form of dance for the purpose of entertainment. It is
the end product of exploration and improvisation of movements as the dancer or choreography
expresses his feeling or emotions, ideas and interpretations. The principles of art form are all
observed in the composition of the dance. Examples of this are the modern dance, the jazz,
and the ballet.

Dance

Dance refers to the rhythmic succession of the body movement usually to the accompaniment
of music and is used as a form of communication. Dance pertains to a definite set of movements
performed on a definite music. We cannot interchange dance among each other, like we know if a
dance being performed on stage is a hip-hop, or a ballet, or a folk dance, or a ballroom dance.

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 From this definition, the following distinguishing characteristics of the dance could be derived,
namely:

1. Dance makes the body as a medium to convey what one feel or a means of expressing
emotions. Dance therefore becomes a form of non-verbal communication.
2. Dance has rhythm of body movements in succession of flow.
3. Dance may be accompanied by music. This means that most daces have some form of
musical accompaniment. A few ritual dances are performed without standard music.
Instead, the tapping of bare feet on the ground made by the performers, tinkling of hawk
bells attached to clothing accessories, shaking of dried palm leaves or mental trinkets
serve as accompaniments.

Dancing

Dance denotes the total body movements where there is a proper projection of the face to
involve the emotion required by the dance. The expression of the dancer’s face should complete the
whole dance.

Elements of Dance

1. Theme – is the main story line of the dance. It tells what the dance is all about. This can
be a love theme, can be futuristic, can be ritual, etc.
2. Movements – refers to the dance steps and basic body movements required of a
particular dance.
3. Techniques – is a system of movements performed by a dancer. This is developed
through constant practice of certain difficult dance steps.
4. Choreography – pertains to the organization of the movement and figures in the dance.
This makes use of the theme and movements of the dance steps.
5. Music – gives life to the dance. This should be in accordance with the theme and
pattern of movements of the dance.
6. Accessories, Costume, and Properties – accessories are what the dancers wear in
addition to the costume such as the earrings, necklace, bells, feathers, etc. Costume
refers to what the dancers should wear, and properties refer to the things held and used
by the dancer.
7. Scenery – denotes the background on stage. It completes the whole setting of the
dance. This involves the back draft of the stage, and the properties placed on stage.
8. Design – refers to the floor pattern in relation to space.
9. Gravity – is the force that holds you to earth. It is force you have to work with because it
constantly inhibits movement.
10. Balance – is concerned with more than balancing on one leg. Its aim is to achieve and
constantly maintain an inner balance of the whole body. It is a tension of mutual support
among all parts that brings the whole together in a new way.
11. Posture – to achieve this element, you need to change your perception of your body,
since there is often a wide discrepancy between what feels right and what looks right.
Dancers work their entire dance lives on their posture, also called alignment. It is the
key to balance and movement.
12. Gesture – involves using the body as an expressive instrument to communicate feelings
and ideas in patterns of movement. With subtle gestures and postural attitudes, we
show cooperation, give confidence to friends or display aggression to enemies.
13. Rhythm- finding rhythm is largely an matter of paying attention. It is something
everybody has; though some people are not as aware or sensitive to it. Our hearts beat
to a rhythm, our lungs breathe to another.
14. Moving space – you need to be aware of the space around you like a cart. You to have
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 with care and awareness, gauging the space. Space is not just an empty air but tangible
elements that you move through.
15. Breathing – is crucial to dance. Not only does it bring oxygen to the body but it also
gives your movement fluency and harmony, it is an expressive tool.

Basic natural movements or skills applied in dance

A. Locomotor Movements – a movement that move the body on space in any direction with the
feet as the moving base.

1. Walking – moving at moderate pace of the feet, lifting one foot only after the other foot has
touched the floor or ground.
2. Running – movement of the feet with springing at rapid pace such at an instant booth foot
are off-ground during each step.
3. Jumping- springing and taking off with one or both feet and landing of both feet.
4. Hopping – springing and taking off with one or both feet and landing of both feet.
5. Skipping – same procedure as in hopping, but bouncing lightly with alternate steps and
hops.
6. Leaping – springing of one foot and landing of the other foot
7. Galloping – moving in continuous motion with a step followed by a quick close to the other
foot.
8. Sliding – gliding the feet along the floor.

B. Axial or Non – Locomotor Movement – the various parts of the body move in space witch
fixed base. The base may be standing, kneeling, sitting, or lying.
1. Flexion – bending or shortening of a body part occurring at a joint
Example: Half knee bend
Full knee bend
2. Extension – stretching
- Straightening a body part occurring at a joint
3. Percussive – striking or beating movements.
Example: Striking and beating, pushing and pulling arm strike with open fist, push
with one arm.
4. Pendular – swinging or swaying movements
Example: Arm swinging sideward
Body swaying L and R
5. Vibrator – shaking or turning movements
Example: Shake hip and shoulders to rhythmic patterns shake arms and hands
rhythmically.
6. Sustained – a slow smooth flowing movement with balance of movements all through
the entire series.
Example: Arm circle swing continuously
7. Suspended – start with a sharp movement followed by a slow movement.
Example: Booth arm circle three times counter clockwise and stop movement
with arms diagonally upward right.

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 ACTIVITY #1
(To be submitted on ______, ________ ____, 2021)

Name: _______________________ Course, Year and Set: _______________

Test I. Matching Type: Match column A with column B. Write the letters only on the blank
provided.

Column A Column B
_________1. It gives the performer a specific role or a. Theme
character for the performance.
_________2. It is the main story line of the dance. b. Design
_________3. It serves as an accompaniment for a c. Gesture
Dance. It gives life to the dance.
_________4. It refers to the floor pattern in relation d. Dance
to space.
_________5. It involves theatrical elements to make e. Moving space
the dance attractive for viewing.
_________6. It pertains to the organization of the
movement and figures in the dance. f. Posture
_________7. It is the movement of the body in a rhythmic g. Music
way.
_________8. It is a tangible element that you move through. h. Choreography
_________9. It is the key to balance and movement. i. Costume
It is also called alignment.
________10. It involves using the body as an expressive j. Spectacle
Instrument to communicate feeling and ideas in
patterns of movement.

Test II. Record a video demonstrating the following loco motor and non-loco motor skills.
Lease wear proper attire.

Loco motor skills Points Achievement

Walking 5
Jumping 5
Sliding 5
Hopping 5
Galloping 5
Non-Loco motor skills Points Achievement
Flexion 5
Extension 5
Percussive 5
Pendular 5
Vibratory 5
Total 50

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 End of first week
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WEEK 2

PHILIPPINES FOLK DANCE, CLSSIFICTION AND FUNDAMENTAL POSTION OF FOLK DANCE

Definition of Folk Dance

Folk Dance is a cultural art form handed down from one generation to another. It
communicates the customs, beliefs and occupations of the people of a region or country. Folk
dancing belongs to the people. It emanates from them. (Francisca R. Aquino)

Brief History of the Philippines Folk Dances

When the Philippines were discovered by Magellan in 1521, it had been inhabited by different
racial groups: the Indonesians, Malays and Pygmies. The offspring of the Pygmies were the Negritos
whose dances describes their daily activities such as, Sinulog, a dual where men using bolos.

For centuries, singing and dancing form the greater part of their recreation. The people
express their ideas through rhythmic sections in folk dances. While most of the Philippines folk
dances are ritual in character, there is a good variety of occupational, courtship, festival and war
dances which ass color to the rich Filipino culture, customs and traditions.

Filipinos possess natural grace, inborn of music and dances. Dancing was considered a
religious activity to them. They danced for any occasion like birth, love, courtship, thanksgiving,
wedding, war, planting and harvest, prosperous voyage, recovery from sickness and healing the sick.

In a place where life is easy, the dances are gay. Dances entertain people in places where life
is hard, sad, slow and even mournful.

 Importance of Philippine Folk Dances

1. It binds community residents in the celebration of importance events.
2. It strengthens ties among community members.
3. It provides an outlet that can wash away stressful activity.
4. It is regarded as enjoyment and revelry for all.
 Values of the Philippines Folk Dances
1. Dissemination and preservation of traditional folk dances.
2. Preservation of the joyful tunes we’ve inherited from our ancestors.
3. Appreciation of local culture.

 Objectives of Philippines Folk dance

1. To commit the ideas of cultural development as a vital factor in nation-building.
2. To enhance aesthetically, morally and physically the cultural values demonstration in
various folk dances.
3. To participate s actively in folk dancing for its intellectual, moral and aesthetic values.
4. To disseminate Philippines traditional dances in its pure and authentic form.
5. To instil the love of performing folk dances as cultural legacy.
6. To show to other countries the uniqueness of a Filipino identity.

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  Characteristic of Philippines Folk dances
1. In general, dancers stand apart.
2. There is little if any, bodily contact.
3. Most of the dances are done by pairs.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Dances from the lowland have more foreign elements than those found in upland.

 Other distinctive characteristic of Philippines Folk Dances

1. Different from other folk dances from other places.
2. Gives pleasure to dancers and audiences.
3. Reflects cultures introduced by invaders and conquerors.
4. Provide socialization.
5. Passes down from one generation to another.
6. Some groups have repertory of dances.

a. According to Geography
1. National Dances – dances found throughout the island
Examples: Rigodon, Carinosa
2. Regional Dances – dances found in a certain locality or region
Examples: Tinikling - Leyte
Subli - Batangas
Maglalatik - Batangas
Biniganbigat - Abra
Kin – aras - Ilocos
Rogelio - La Union
b. According to Nature
1. Occupational Dance – depicts actions of certain occupation, industry, or human
labor.
Examples:
Pabirik (Camarines Sur) – depicts the different stages of gold panning
Rice festival – a dance with the largest number of dancers from planting to
harvesting

2. Religious or Ceremonial dances – these are dances that are performed in

connection with religious vows, practices and other ceremonies.
Examples:
Dugso – a dance to drive away evil spirits
Pinung-pino – a dance performed asking for a child
Kuracha – a dance performed to give thanks for a bountiful harvest
3. Courtship Dances – these are dances with love themes
Examples: Carinosa, Daling-daling, Rogelio
4. Wedding dances – these are dances performed by newlyweds, by friends and
relatives of the bride and groom, or by the father of the father of the bride or
mother of the groom.
Examples:
Sinurog – A dance wherein the male dancers beat drums, shouts, and performs
stunts or anything to drive evil spirits that may harm or make the newlyweds
unhappy.
Pandag-pandag (Antique) – a dance performed only by the bride or groom. As
they are dancing the friend and relatives of each side throw coins or hang paper
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 bills to the dresses of the newlywed couple.
5. Festival dances – dances performed in connection with a celebration, a feast,
barrio feasta, good harvest and a good fortune.
Examples: Kuratsa, Habanera, Surtido

6. Comic Dances – dances with funny and humorous movements mainly intended
for intertainment.
Examples: Mokongo – dancers imitate the movements of monkey
Kinoto – dancers imitate the movements of person bitten by ants.
7. War dances – dances which are intended to show imaginary combat or duel with
the use of fighting weapons like bolo or spear.
Examples: Sagayan, Maglalatik
8. Game dances – dances that have some play elements and for recreational
purposes.
Examples: Pabo, Lubi-lubi.

c. According to movements
1. Active – with energetic movements .Ex. Tinikling, Maglalatik
2. Moderate – with slow movements. Ex. Carinosa, Tagala
3. Slow – with slow movements. Ex. Pasukat, Ti liday
4. Slow and Fast Combination. Ex. Puritos, La Jota Moncadena
d. According to Formation
1. Square or Quadrille – Ex. Rigodon, Lanceros
2. Long Formation or Line Formation -

Fundamental Positions in folk dances

A. Arm position
1. First position – arms both raised forward in a circle in front of the chest the finger tips
about an inch apart.

2. Second position – both arms are raised sideward a graceful curve about the elbows

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 3. Third position – one arm raised sideward a sin second position, the other arm is raised
overhead.

4. Fourth positions – one arm raised in front of chest in half circle as in first position, the
other arm is raised overhead.

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 5. Fifth position – both arms are raised over head.

B. Feet Positions
1. First positions - heels together, toes apart with an angle of about 45 degrees.

2. Second position – feet apart sideward of about one foot distance

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 3. Third Position – heel and instep together.

4. Fourth Position –heel apart in walk stride position.

5. Fifth position – heel and toe together.

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 ACTIVITY #2
(To be submitted on ______, ________ ____, 2021)

Name: _______________________ Course, Year and Set: _______________

Test I. Make a video executing the Fundamental Position of Folk dance of the arms, feet, and
combination of both. For the arms and feet position, 1 point will be given for each correct execution.
For the combination, 2 points will be given for each correct combination. Please wear proper attire.

Correct Incorrect
Arm Positions
1st
2nd
3rd
4th
5th
Feet Positions
1st
2nd
3rd
4th
5th
Combination
1st
2nd
3rd
4th
5th
Total Score:

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 WEEK 3

TERMS, STEPS AND COMBINATIONS OF PHILIPPINES FOLK DANCES AND COMMON

DANCE TERMS

Dance terms used in Philippines Dances

1. Brush – weight on one foot, hit the floor with the ball or heel of the other foot (the free
foot) after which that foot is lifted from the floor to any direction.
2. Clockwise – like the motion of the hands of a clock. R shoulder is towards the center of
imaginary circle. When facing center, the movements is towards the left.
3. Counter clockwise – the reserve direction of clockwise. L shoulder is towards the center
of imaginary circle. When facing center, the movement is toward the right.
4. Cut – displace quickly one foot with the other, thus completely taking of the weight of
the body from the displaced foot.
5. Draw – pull one foot along and close to the other which has weight on the body from the
displaced foot.
6. Free foot – the foot not bearing the weight of the body.
7. Free hand – the hand not placed anywhere or not doing anything.
8. Inside foot – the foot is near to one’s partner, when stand side by side.
9. Inside hand – near to one’s partner, when partners stand side by side.
10. Outside foot – the foot is far from one’s partner, when partners stand side by side.
11. Place – the foot is put at the center or desired position without putting weight on it. The
sole of the foot on the floor.
12. Pivot – to turn with the ball, heel or whole foot on fixed placed or point.
13. Set – a dance formation like square or a unit formation composed of two or more pairs.
14. Stamp – to bring down the foot forcibly or noisily on the floor (like doing a heavy step)
with or without transfer of weight.
15. Step – to advance or recede by raising or moving one foot to another resting place. This
is a complete transfer of weight form one foot to the other.
16. Supporting foot– the foot that bears the weight of the body.
17. Tap – to rap slightly with the ball or two of the free foot, keeping weight of the body on
the other foot. There is no change or transfer of weight.
18. Whirl – to make fast turns by executing small steps in place to the right or left.

Dance steps and arms positions in the Philippine Folk Dance

A. Arm Positions
1. Amplified – more open positions on first or fifth position.
2. Lateral –both arms are raised at one side, parallel to each other.
3. T position – both arms are raised at one side, parallel to each other.
4. Reverse T – both arms are raised sideward, elbows bent so that the forearms are raised
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 upward parallel to the head; palms facing in.
5. Hayon – hayon – one arm is bent in front of waist level; other arm is bent also at waist
level.
6. Jaleo – Partners stand side by side facing opposite directions with R(L) hands on waist
so that (RL) elbows slightly touch each other. (This is a starting position for both
dancers to move either clockwise or counter clockwise).
7. Masiwak – moving the hand from the waist half-way clockwise then raise and lower
wrist once or twice. This is an Ibang term.
8. Kumintang – moving the hand from the wrist either in a clockwise or counter clockwise
direction. This is an Ilocano term.
9. Bilao – to turn palms of hands up and down alternately, hands and waist level in front.
10. Hapay – to flourish or offer handkerchief, hat or glass wine to somebody as sign of
invitation.

Dance Terms Used in performing Folk Dance, Philippines.

The Following are the common Dance Terms in Philippine Folk Dance:

 Abracete – Girl at the right side holds Right arm of partner with her Left hand, free hands down
at the sides. These terms is of Spanish and is used in Rigodon and in other dances.

 Arms in Lateral Position – both arms are at one side, either sideward right or left. This may be
done at shoulder chest or waist level.

 Arms in Reverse “T” position – Arms are side horizontal, elbows bent at right angles, forearms
parallel to head, palms forward or facing inward, fists loosely closed.

 Bilao – To turn hands up and sown alternately, hands at waist level in front, elbows close to
waist.

 Brush – Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot)
after which that foot is lifted from the floor to any direction.

 Cabeceras – When dancers are in square formation, the couples occupying the width of the
hall are called “cabeceras” or head couples. This is of Spanish origin.

 Clockwise – Like the motion of the hands of the clock. Right shoulder is toward the center of
an imaginary circle. When facing center, the movement is toward the left.

 Counter clockwise – The reverse direction of clockwise. Left shoulder is toward the center of
an imaginary circle. When facing center, the movement is toward the right.

 Costados – When Dancers are in square formation, the couples occupying the length of the
hall are called “costados” or side pairs. This is of Spanish origin.

 Crossed arms – Partners are facing each other or standing side by side, girl at the right of boy.
They join their Left hands together and their Right hands together either Right over Left or Left
over Right hands.

 Cross- Over – Two couples (the vis-à-vis) are opposite each other. Each couple proceeds in a
straight line to the opposite place. The girls pass by their Left shoulders between the boy. Boys
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 bow to each other when they meet at the middle or at about one-third of the way, then proceed
to the opposite place. Upon reaching the opposite place, partners’ turnabout, girls stand at
partners’ right side.

 Cut – To displace quickly one foot with the other, thus completely taking off the weight of the
body from the displaced foot.

 Do-Si-Do(“Dos-a-Dos”) – The vis-à-vis (opposite) both advance forward, pass each other’s
right (or left) side, step across to the right (or left), move backward without turning around pass
each other’s left (or right) side to proper places. This is of foreign origin and is used in many
Philippine dances.

 Draw – To pull one foot along the floor close to the other which has the weight of the body. The
weight may or may not be transferred.

 Free Foot – The foot no bearing the weight of the body.

 Free Hand – The hand not place anywhere or not doing anything.

 Hand on Waist – Place hands at the waist line (at the smallest part of the trunk), knuckles in,
fingers pointing in rear.

 Hapay – To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of

invitation.

 Hayon –Hayon – To place one forearm in front and the other at the back of the waist. This is a
Visayan term.

 Hop – A spring from one foot landing on the same foot in place or any direction (in front, in
rear, sideward or across).

 Inside Foot - The foot nearest one’s partner, when partners stand side by side.

 Inside Hand – The hand nearest one’s partner, when partners stand side by side.

 Jaleo – Partners turn once around clockwise (with right elbows almost touching) or counter
clockwise with left elbows almost touching) using walking or any kind of dance step. The hands
near each other are on waists. This is a tagalong term but is of Spanish origin.

 Jump – Spring on one foot or both feet, landing on both in any direction.

 Kumintang – Moving the hand from the wrist either in a clockwise or counterclockwise
direction. This is an Ilocano term.

 Leap – A spring from one foot landing on the other foot in any direction(forward, sideward,
backward or oblique)

 Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower wrist once
or twice. This is an Ibanag term.

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  Outside Foot – The foot away one’s partner, when partners stand side by side.

 Outside Hand – The hand away from one’s partner, when partners stand side by side.

 Place – To put the foot in a certain or desired position without putting weight on it. The sole of
the foot rests flat on the floor.

 Point – Touch lightly with the toes of one foot, weight of the body on the other.

 Saludo –partner bow to each other, to the audience, opposite dancers, or to the neighbor.

 Sarok – Cross the Right (or left) foot in front of the Left (or right), bend the body slightly forward
and cross the hands down in front with the Right (Left) hand over the Left(Right).

 Set – A dance formation like a quadrille or a unit composed of two or more pairs.

 Stamp – To bring down the foot forcibly and noisily on the floor (like doing heavy steps).

 Star with the Right Hand – Four or more people advance to the center and join Right hands
and circle around clockwise using walking or change or any other step.

 Star with the left hand – same as “Star with the Right hand” only join Left hands and counter
clockwise.

 Step – To advance or recede by raising and moving one foot to another resting place. There is
a complete transfer of weight from one foot to the other.

 Tap – To tap lightly with the ball or tip of the toe, placing weight of the body on the foot. There
is no change or transfer of weight here.

(http://dancesfromthephilippines.blogspot.com/p/dance-terms)

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 ACTIVITY #3
(To be submitted on ______, ________ ____, 2021)

Name: _______________________ Course, Year and Set: _______________

Enumeration: Give what is being asked and insert/attach a picture of you portraying your answer.
Please wear proper attire.

Five (5) terms used in Philippines dances

1.

2.

3.

4.

5.

Five (5) arms positions in the Philippine Folk Dance

1.

2.

3.

4.

5.

Five (5) dance Terms Used in performing Philippines Folk Dance

1.
2.
3.
4.
5.

End of third week

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 ------------------------------------Nothing Follows-------------------------------------

WEEK 4
POSITIONS AND GRASPS

Dance positions describe whether the pairs face each other or stand side by side, and grasps refer to
how they hold hands while assuming a particular dance positions. In many culture, the G stands on
the R of her partner. However, this positions is the reverse in Malaysian traditional dances like Joget
and Asli where the B stands on the R side of his partner, the being the dominant position and in
Malaysian dancing, which is strongly Muslim-influenced, grasps between opposite sexes do not exist.

Abrasete Position. - G at the R side of the B, Holds the R arm of partner

with her L hand. Free hands down at the sides of hands of B on waist and
that of the G holds the skirt. This position is used in many lowland dances
of the country.

Inside hand Hold - Partners face the same direction G at the R side of the
B. B holds hand of the girl at shoulder level. Free hand of G holding the
skirt or waist.

Social Dance Position (Closed Ballroom Position). Also known as the

PE 111: Rhythmic Activities
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Waltz position. Partners stand face to face, shoulders and hips parallel. R hand of B is placed around
waist of G; L hand Gests lightly against his R shoulder. L hand of boy is extended to the side holding
the R hand of G just barely below shoulder level. Elbows are bent. Finger of her R hand rest slightly
in the palm of his hand.

Conversation Position (Open Ballroom Position) – Partners stand side by side

both facing in the same direction. The G is at the R side of the B. R hand of B
is at R side of the B. R hand of B is around waist of G at the back. L hand of G
rests lightly on R shoulder of B. The outside hands may be joined with arms
extended fwd or the outside hands may be on hips or waist.

Hip – Shoulder/Shoulder-waist Position. This is also called the peasant/ Folk

or Danish Dance Position. Partners face each other, with hands of B placed
on the waist of G. Hands of G are on the shoulder of B. Partners lean lightly
away from each other. Arms are held straight but relaxed.

Two- hand crossed hold facing same direction. Partners face the same
direction, with L hand of B holding her L.

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Cross Hands/Cross Hold Facing partner – partners are face to face, R hands joined over L hands,
comfortably extended above the waist level.

Back- Hold Position – partners facing in opposite direction, with R hips

close together. B crosses his R arm under the L arm of G, his R hand joins
her L hand behind his back and his L hand joins her R at her front.

Varsovienne/Shoulder Position – Partners stand side by side with G standing to

the R and slightly in front of B. B reaches R arm over the R shoulder of G and
takes her R hand in his. The L hand of B holds her L and little above his L
shoulder. This position is commonly found in European peasants dances.

Scottische Position - named after the position assumed by dancing couples in

Scottishe dances. Partner stand side by side facing the same direction with G
or R side of B. R arm of B is around the waist of G, Her l hand rest on his R
shoulder. Free hands on waist or free hand of G holding skirt.

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 Jaleo – partners turn once around CVW, their R elbow almost touching or
CCW with their L elbowa almost touching using any kind of dance step. The
hands that are closest to the partners are on waists. This postion can be found
in Spanish influenced dances in the Philippines and Latin American.

Common Abbreviations used in Dance Notation

• R – right • Wt – weight

• L – left • Ctr – center

• Bwd – backward • Cpl – couple or couples

• Fwd – forward • Pos – position

• Swd - sideward • Ptr – partner or partners

• Ct – count • Opp – opposite

• Cts – counts • Hd – hand or hands

• M –measure • Ft – foot or feet

• Diag – diagonal • B – boy

• CW – clockwise • G – girl

• CCW counter clockwise • Dnwd – downward

• Upward – upward • Twd – toward

• X – number of ti=ines a steps is • PP – promenade position

performed
• RH – right hand
• LOD – line of direction, counter-
clockwise on the dancing area • RF – right foot

• RLOD – reverse line of direction, • LF – left foot

clockwise on the dancing area • M – Man
• Fig – figure • L – lady

ACTIVITY #4
(To be submitted on ______, ________ ____, 2021)

Name: _______________________ Course, Year and Set: _______________

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Activity I. Portray five (5) Positions and Grasps with a partner. Please wear proper attire.

PE uniform will consider.

Criteria Points Score

Execution 25
Costume 15
Seriousness 10
Total 50

End of fourth week

------------------------------------Nothing Follows-------------------------------------

WEEK 5

MUS IC PATTERNS

Key to System of counting

Counting is the most practical way to describe a rhythmic pattern. The note is unit in musical
rhythm showing the duration in which a tone or movement (in case of dancing) is taken.

Rest is a character used to indicate silence or pause (in the case of dancing) for a certain time.

Note and rest values refer to the musical notations which give the exact duration values of
the rhythmic patterns.

NOTE AND REST VALUES

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PE 111: Rhythmic Activities
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Music Terms

 Time refers to the number of beats in a measure and its value is signified by the musical
signature. Examples: 2/4, ¾, C or 4/4, 6/8, or 2/2, 3/8, etc.
 Tempo is the rate of speed at which a piece or a passage moves.
 Rhythm is the regular recurrence of accented and unaccepted beats.
 Rhythmic Pattern is the arrangement of long and short intervals with relation to the underlying
beat, accomplished by dividing the beat into parts and combining beats into different ways.
 Beat is the steady underlying pulse of rhythm.
 Underlying Beat is a series of units or beats that are regularly repeated.
 Measure is the unit formed by the recurrence of accent or the fundamental rhythmic group.
 Phrase is a group of measure which has a feeling of unity.
 Accent is the stress given to a beat. It makes the first beat in a measure.
 Syncopation is the shifting of regular metrical accent.
 Apacrusis or Up-beat is a note or several unaccented notes which precede the first accent or
first of the first measure.
 Time signature. The number above denotes the number of beats in a measure and the
number below denote the kind of note that receives one beat.
o Examples: 2/4, ¾, 4/4, etc.

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 ACTIVITY #5
(To be submitted on ______, ________ ____, 2021)

Name: _______________________ Course, Year and Set: _______________

Test I. Write the number of counts for each of the following patterns.

Test II. Write the corresponding time signature used for each measure.

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