POINTERS TO REVIEW IN  Originating in the US, this dance was

PHYSICAL EDUCATION AND HEALTH 3 influenced by the boogie, rock 'n roll,
African/American swing and Lindy Hop.
 Social dances are communal dances  It is a very happy, hoppy, energetic
performed in any given space. They are dance with plenty of knee lifting,
synonymously referred to as ballroom bending, rocking and rocking of hips.
dances, but ballroom dances are  PASO DOBLE
performed in balls or formal social  The Paso Doble is a theatrical Latin
functions. dance with Spanish and French origins.
 BALLROOM DANCE  It is a dramatic dance that tells a story
 IS A SET OF PARTNER DANCE through sharp, staccato movements,
 which are enjoyed both socially and striking body poses, and flamenco style
competitively around the world. footwork.
 THE TERM BALLROOM DANCING  The Paso Doble is a passionate dance
 is derived from the word "ball". which based on a Spanish bullfight. The leader
in turn originates from the latin word represents the proud Spanish matador
ballare which means to dance. and the woman or follower is the
 LATIN AMERICAN DANCES Matador’s cape. The follower will
 distinguish themselves by the costumes sometimes also represent the bull,
worn by performers. They are picador or flamenco dancer.
somewhat revealing, tight-fitting, sexy  The name of the dance, “Paso Doble” is
yet sophisticated in nature. They are believed to trace back to a French
also distinguished by the nature of the military march with a similar name,
movements. They are freer and can be “Paso Redoble.”
performed in close or open hold.  RUMBA
 MODERN STANDARD DANCES  Rumba is universally recognized as the
 wear formal, ankle length gowns for dance of love.
females and coat-and-tie for males.  It is danced to slow, sensual music with
Most of the time, movements in these a Latin beat and features a hip action
are restricted to close ballroom position known as “Cuban Motion.”
with partner.  Rumba tells the story of love and
 CHA CHA passion between a strong man and a
 The cha-cha dance originated from teasing woman.
Cuba and was originally known as the  SAMBA
cha-cha-cha  The Samba is an energetic and lively
 The dance gained popularity around the dance that is currently popular in many
1950's parts of the world.
 It is based on a lively triple step that can  Syncopated rhythms, bouncing actions,
be danced to Cuban music or Latin rock. and rolling hip movements characterize
 The timing is 2, 3, 4, and 1 (full beat on the dance. It may be danced with or
2, full beat on 3, half beat on 4, and a without a partner.
half beat and full beat on 1)  It is one of the five international Latin
 JIVE dances developed in Brazil during the
 The Jive is lively and fast-paced dance 19th century.
that is typically danced to up-beat  It is considered the dance of celebration
swing or contemporary music. and joy.
 A Samba dancer is called a sambista.
 FOXTROT  TANGO
 The Foxtrot is a smooth, progressive  Tango is a partner dance that originated
dance characterized by long, in the 1890s.
continuous flowing movements across  It is mostly danced in either open
the dance floor. embrace, where lead and follow have
 It is danced to big band (usually vocal) space between their bodies, or close
music. embrace, where the lead and follow
 The dance is similar in its look to Waltz, connect either chest-to-chest or in the
although the rhythm is in a 4/4 time upper thigh, hip area.
signature instead of 3/4.  VIENNESE WALTZ
 Developed in the 1910's, the Foxtrot  This whirling, thrilling dance dates back
reached its height of popularity in the to the early 1700’s in Europe. It was a
1930's dance first popular with the common
 It is composed of fairly simple walking folk and then with the upper classes.
steps and side steps. The dance  Viennese Waltz is danced in fast ¾ time
combines slow steps, which use two with a 1-2-3 rhythm and features a
beats of music, and quick steps, which series of left and right turns as the
use one beat of music. The footwork couple whirls around the dance floor.
timing is usually "slow, quick, quick" or  Viennese Waltz is characterized by its
"slow, slow, quick, quick." speed (twice as fast as Waltz) as well as
 QUICK STEP a rise and fall and sway (less than
 The quickstep is a light-hearted dance Waltz). With its elegance and turns,
of the standard ballroom dances. Viennese Waltz has an air of magic
 The movement of the dance is fast and about it.
powerfully flowing and sprinkled with  Hip-hop
syncopations.  Cultural movement from the African-
 The upbeat melodies that quickstep is American group of people who were
danced to make it suitable for both looking for a creative outlet to vent
formal and informal events. their frustrations and disappointments
 Quickstep was developed in the 1920s with society.
in New York City and was first danced  It has developed as a “cultural and
by Caribbean and African dancers. artistic phenomenon affecting the
 SLOW WALTZ youth worldwide as it reflects the
 The Slow Waltz, or the English Waltz, is social, economic, political, cultural
the first and perhaps the most famous realities and condition of their lives.
of the International Standard dances.  Rapping/MCing
 The International Slow Waltz is like the  - Vocal elements and rap music is the
Smooth Waltz in musicality and rhythm, heart of the hip-hop musical genre.
however, like all standard dances, the  Disc Jockeying
lead and follow remain in closed  - means scratching or turn table record
position and do not separate mixing.
throughout the dance.  Break Dancing/ B-boying
 The Waltz is very characteristic because  - It started as a form of fighting, a
of its rise and fall action. As a couple mixture of physically demanding
dances the waltz, they rise and fall movements which exploited the
according to the beat of the 3/4 timing daredevil prowess of their performers
of the music.
 and stylized punching and kicking  - It has specific movements that make it
movements. different from popping and other hip
 Graffiti Art styles.
 - Also known as aerosol art. It was  Wacking
began as a way of “tagging” for one’s  - Waacking (also whacking) is an
crew and developed during the 1970s element from the punking street
on the subways of New York and dance created in the gay clubs of Los
expanded to the city walls themselves. Angeles during the 1970s disco era.
 Street dance  - The style is typically done to 70s disco
 - It started in the 1970s and was made music and is mainly distinguishable by
popular in the 1980s by media’s its rotational arm movements, posing
exposure of several hip-hop groups in and emphasis on expressiveness.
America.  List of power moves used in break
 - It is a freestyle in nature and maybe dancing
practiced in either a dance studio or in  Windmill
an open space outdoor.  - It is a move in which the dancer spins
 - The word street dance is a “Filipino from his upper back to his chest while
version” of hip-hop dance that was twirling his legs around his body in a V-
specifically used by Filipino dancers. shape.
 2 main categories of street dance  Head spin
styles  - The dancer wearing a stocking cap or
 - New School handkerchief and uses his hands to aid
 - Old School in speeding up the spin.
 Krump  Flare
 - Characterized by unrestrained rapid  - This is an incredibly difficult move
fire and highly energetic moves of the borrowed from gymnastics.
limbs and torso.  Jackhammer
 Street Jazz  - It is a move performed on the ground
 - Combination of hip-hop dance styles having the dancer balancing on one
and jazz dance movements. hand and laying his body on the elbow
 House Dance of the same arm.
 - Dance styles that emphasizes fast,  Top Rock
complex footsteps with fluid  - This is a simple dance done standing
movements of the torso. up to initiate break dancing.
 Break Dancing  Up Rock
 - It is an unstructured and highly  - This is a doing a toprock with someone
improvisational style that incorporates else, sort of like a fight but without
and acrobatic movements. contract and very rhythmic.
 Popping  6 Step - It resembles walking in a circle
 - A quick contraction and relaxation of on the ground and only one hand is
muscles to producing jerking of various touching the ground at a time.
joints.  Moon Walk- A move where a dancer
 Locking slides backward while their legs appear
 - It relies on fast, distinct arm and hand to be walking forward.
movements combined with relaxed hips  Worm - A move in which a dancer lies
and legs. on the ground and forms a rippling
motion through his body.
 CHEER DANCE crowd to cheer for a certain team
 -CHEER DANCE is relatively new in the during a game or sports activity. It
field of sports and dance as it has only originated in the United States.
emerged during the early 1990's as part  Cheer – Cheearleading
of the cheerleading events. It is one  CATEGORY:
categories in International Cheerleading  PARTNER STUNT 2 PERSONS
Competition that focuses on dance (MALE/FEMALE)
techniques and basic elements of  GROUP STUNTS 5 PERSONS (2
cheerleading, excluding stunts and FEMALE/3 MALE)
advance gymnastics skills.  TEAM CHEER (16 SMALL
 What is Cheerleading? GROUP/25 LARGE GROUP
 - Cheerleading is an event that consists  EQUIPMENT/PROPS
of cheers and organized routines for  -CHEERLEADING MATS
sports team motivation, audience  -Pompoms
entertainmennt, or competition. The  -MEGAPHONE
routines contain many components of
 -BANNER
cheers, jumps, dance, gymnastics, and
 -FLAGS
stunting.
 HEALTH BENEFITS OF CHEER DANCE
 HISTORY OF CHEERLEADING
 ✓ Healthy level of fitness
 -Cheerleading history is linked closely to
the United States history of sports, its  ✓ Strength Training
sporting venues, as well as the historical  ✓ Coordination
development of overall crowd  ✓ Flexibility
participation at many athletic events  ✓ Improved posture
(History of Cheerleading, 2015).  ✓ Team building
-In the late 1880s, the first organized  ✓ Confidence
recorded yell done in locomotive style  ✓ Knowledge in following directions
was performed in an American campus  ✓ Setting personal goal
and was first seen and heard during a  ✓ Better relationships with fellow team
college football game. members
 CHEER DANCE  Equipment. It is recommended to use
 -Cheerdance is from the words, cheer mats and even surfaces when learning
and dance. To cheer is to shout out new skills in cheerdance.
words or phrases that may help  Fitness. Dancers should maintain a
motivate and boost the morale of a good fitness level. Proper warm-up and
playing team and perform during a cool-down exercises should be
game. Dance, on the other hand, is a observed during and after the activity.
physical activity where one expresses  BASIC CHEER ARM MOTION
emotions or gestures while performing  BEGINNING STANCE - Feet together,
bodily movements usually in time with hands down by the side in blades
rhythm.  CHEER STANCE - Feet more than
-Cheerdancing originated from shoulder width apart, hands down by
cheerleading which is the performance the side in blades
of a routine, usually dominated by
 LOW "V" - Arms extended down
gymnastic skills such as jumps, tumbling
forming a “V
skills, lifts and tosses combined with
 HIGH "V" - Arms extended up forming a
shouting of cheers and yells to lead the
“V”, relax the shoulders
 TOUCHDOWN - Arms extended straight skills such as jumps and tumbling to add
and parallel to each other, fist facing in to the thrill of the game and the effect
 LOW TOUCHDOWN - Arms extended of a routine. Also, these help
straight down and parallel to each cheerleaders to develop a higher spirit
other, fist facing in level and enhance crowd motivation.
 CLASP - Hands clasped at the chin, These skills must work smoothly with
elbows in the cheer.
 CLAP - Hands in blades at the chin,  TWO (2) BASIC GYMNASTICS SKILLS
elbows in  JUMPS AND LEAPS
 TABLETOP - Arms bent at elbow, fists in  A. JUMPS – is the transfer of weight
front of shoulders from one or both feet to both feet
 BOW AND ARROW - One arm extended landing.
to side with other arm bent at elbow in  B. LEAPS – locomotor movement
a half “T” motion characterized by a take-off on one foot,
 OVERHEAD CLASP - Arms are straight a long flight phase and a landing on the
above the head in a clasp and slightly in opposite one(1) foot.
front of the face  ACROBATICS – “she sealed the title
 LOW CLASP - Arms extended straight with a powerful display of acrobatics
down in a clasp and slightly in front of and tumbling.
the body  TYPES OF JUMP
 PUNCH - One arm extended straight up,  TUCK
one arm on hip in a fist  SPREAD EAGLE
 L MOTION (LEFT L SHOWN) - One arm  DOUBLE HOOK
extended to the side with other arm  TOE TOUCH
extended in a punch motion, (Left L  SIDE HURDLER
shown)  FRONT HURDLER
 DIAGONAL - One arm extended in a  PIKE
high “V” and the other arm extended in  DOUBLE NINE
a low “V” (Right Diagonal shown)  TUMBLING – very dynamic and an
 "T" MOTION - Both arms extended excellent way to shake a crowd up
straight out to the side and parallel to quickly. Properly incorporated tumbling
the ground, relax the shoulders can be a real attention getter and crowd
 HALF "T" - Both arms parallel to the pleaser. Tumbling may be executed
ground and bent at the elbows, fists simultaneously by several tumblers or
into shoulders the entire squad. Thus, it is imperative
 SIDE LUNGE - Lead leg bent with the that cheerleaders in a squad should
knee over the ankle, back leg straight, have an identical technique in tumbling
feet perpendicular to each other to strengthen the uniformity of the
 FRONT LUNGE - Lead leg bent with the routine.
knee over the ankle, back leg straight,  FORWARD ROLL
feet perpendicular to each other  A. Squat down with hands on the
 Cheer Stunts ground then,
 PARTNER STUNTS  B. tuck head in with chin down.
 GROUP STUNTS  C. Roll unto upper back and
 PYRAMID  D. rotate onto feet continuing to
 BASIC GYMNASTICS SKILLS – cheer standing position.
dance incorporates simple gymnastics  E. back to position.
 BACKWARD ROLL The uniformity of all movement
 A. From a standing position, squat down throughout the performance should
continuing to a complement the beats and rhythm of
 B. sitting position with hands placed the music. There is also an additional
close to ears and palms facing up. focus on athletic incorporations such as
 C. roll backward while placing the jumps, freezes, floor work and other
weight of the body on both feet, skills. Distinctive clothing and
 D. Continue on through a squat accessories reflecting the Hip Hop
position. Culture must be worn.
 CARTWHEEL  JAZZ - Incorporates and exhibits
 A. With one foot in front, traditional and stylized movements and
 B. stand on the foot and lean down until combinations with strength, attack and
both hands are on the ground, presence, formation changes, group
 C. transfer weight from one hand to the work and technical elements. An
other while driving legs above and over emphasis is placed on proper technical
the body. execution, extension, control, body
 D. place one leg on the ground and placement, style, musical
continue on through a standing interpretation, continuity of movement
position. and team uniformity. The overall
 ROUND-OFF impression of the routine should be up-
 A. Rotation on the Short Axis tempo, lively, energetic and motivating-
 B. Twist on the Long Axis while allowing for texture of movement
 C. Handspring from shoulders & wrists to utilize musicality.
 D. Snap down phase.  FESTIVAL DANCE
 PERFORMANCE CHEER  A festival is an event ordinarily
 POMPOMS - Poms are required to be celebrated by a community and
used throughout the routine. Important centering on some characteristic aspect
characteristics of a pom routine include of that community and its religion or
synchronization and visual effects, cultures. It is often marked as a local or
along with proper pom placement and national holiday.
technique. Motions should be very  Festival dances are
sharp, clean and precise. Your team cultural dances performed to the strong
should be synchronized and appear as beats of percussion instruments by a
“one.” A routine that is visually effective community of people sharing the same
is extremely important, including level culture usually done in honor of a
changes, group work, formation Patron Saint or in thanksgiving of a
changes, etc. Keep in mind that a pom bountiful harvest.
routine carries a more traditional  NATURE OF FESTIVAL DANCE
cheerleading theme, while  - Religious Festival
incorporating the concepts of Jazz and  -Secular Festival
Hip Hop.  Religious Festival
 HIP-HOP - Hip-hop incorporates street are festivals dedicated for patrons,
style influenced movements and gods, saints, and others related to any
rhythms with an emphasis on Religion.
execution, style, creativity, body  Secular Festival-is a festival celebrated
isolations and control, rhythm, as thanksgiving or celebration of
uniformity and musical interpretation. people’s industry or bountiful harvest.
 WHY DO FILIPINOS DO FESTIVALS? 
 Filipinos do festivals primarily to
celebrate.
 We celebrate our unity amidst the
diversity of cultures; and
 We celebrate our industry bringing
about a bountiful harvest.
 WHAT VALUE DO FESTIVALS TEACH
US?
 Festivals help us to keep connection 
with our roots, culture, origin and
preserve it. They relieve us from
monotomy of life.
 Festivals teach us forget enmity and
embrace one another and create bond
of love, an environment of cultural
harmony. When time of festival comes,
the aura changes, positivity all around.
 SOME FAMOUS SECULAR FESTIVALS



 SOME FAMOUS RELIGIOUS FESTIVALS

 LESSON 4: MODERN AND

CONTEMPORARY DANCE
 MODERN DANCE
- was developed in the early
1900’s the time when dancers
 came out against the stiffness
and restraints of classical
ballet. It involves the use of
many dance steps that are
 unusual and often interpret a - Contemporary dance is
dancer’s emotions and mood. characterized by its versatility:
- Created its own techniques it can be danced to almost any
- Costumes style of music, or united with
- Shoes  Isadora Duncan
- Gave more attention to - was the mother of Modern
self-expression Dance
- Individual creativity rather - she is the first European
than technical expertise performance took place in
 What is Contemporary? London 16 March 1900.
- Contemporary Dance can be  Merce Cunningham
described as a mix between - is the Father of
various style of dance. It Contemporary Dance
combines the technical - American Modern Dancer and
elements of jazz and ballet Choreographer who
with fluidity and expression of developed new forms of
modern dance. abstract dance movement.
- Concert Dance  Martha Graham
- Can be danced to almost style - was the mother of
of music and can be united Contemporary Dance
with any other dance forms to - influential American dancer,
create new movement styles teacher, and choreographer of
- Sub-genres: conceptual modern
dance, pedestrian dance whose ballets and other
contemporary works were intended to
- Often focuses on breathing, “reveal the inner man.”
alignment, raw emotion, - Over more than 50 years she
opposing movement created more than 180 works,
 Contemporary Dance Defined… from solos to large-scale
- The name “Contemporary works, in most of which she
Dance” describes a range of herself danced.
techniques and styles used in - She gave modern dance new
classes, workshops and dance depth as a vehicle for the
choreography. intense and forceful
- It was developed in the 20th expression of primal
century as a recreation emotions.
against the rigid techniques of  ELEMENTS OF CONTEMPORARY
ballet. DANCE
- Pioneers such as Isadora - Theme- most basic elements
Duncan and Martha Graham of dance. It conveys the
searched for ease of message of dance.
movement using the body’s - Design- pattern of movements
natural lines and energy, in time and space.
allowing a greater range and - Movement- bodily actions of
fluidity of the movement that the dancer that included his
typical and traditional dance steps.
techniques.
 - Technique- the skill of - Her dance legacy is evident in
movement executed by the the dance companies,
dancer teachers, choreographers and
- Music- the auditory the exciting Filipino modern
background to which a dancer dance repertoire of our
moves country today.
- Costume and Body  LIZA TERESITA PACHECO
Paraphernalia- Properties MACUJA-ELIZALDA
worn by the dancer that help - Founder of Ballet Manila
reflect the message, customs - Ballet Manila has reached its
and beliefs 20th years.
 TYPES OF DANCES - In 198 she was recognized in
 FOLK DANCE/ ETHNIC DANCE Europe and become a Prima
- Social dances that portray the Ballerina of Kirov Ballet, in
beliefs, interests, habits, Leningrad.
customs, and practices of the  Douglas Nierras
native - In Jazz, he is the most
 BALLROOM DANCES prominent.
- Dances of public - He has more than two decades
entertainment, usually of involvement in dance
performed in pairs in through choreography,
ballrooms, nightclubs, pedagogy, and production.
auditoriums or in public - He is famous for his Metanoia,
places. in which he collaborated with
- Which are enjoyed both Ryan Cayabyab to create –
socially and competitively minute ballet set.
around the world, and growing
all the more popular in North
America.
 THEATRICAL DANCES
- Performed for the
entertainment of the audience
in a theater.
 THE BIG NAMES IN PHILIPPINE
DANCE
 ALICE REYES
- National Artist for Dance
(2014)
- The name Alice Reyes has
become a significant part of
the Philippine dance
- As a dancer, choreographer,
teacher and director, she has
made a lasting impact on the
development and promotion of
contemporary dance in the
Philippines.