FUNDAMENTAL FOLK DANCE

LESSON 5 STEPS AND BASIC POSITIONS

WEEK 5

KNOWLEDGE
ENRICHMENT
A. LEARNING OBJECTIVES
At the end of the lesson, you should be able to:
• Demonstrate different basic fundamental dance steps in folk dance and
basic positions
• Engages in moderate to vigorous physical activities (MVPAs) for at least
60 minutes most days of the week in a variety of settings in-and out of
school.
• Appreciate the importance of folk dances in the Philippines

B. INTRODUCTION
Last lesson, we have discussed about Philippine Folk Dance. You have also
familiarized with the different types of Philippine Folk Dance. Well, in this
lesson you will recognize with the different Basic Positions of Arms and Feet in
Folk Dance and the Fundamental Basic Steps. Your involvement in each part of
different activities will give you multiple opportunities to learn self-assessment
procedure to experience dance-related activities even at your home and to
sustain lifelong fitness.

C. LESSON PROPER
BASIC FUNDAMENTAL POSITION OF ARMS AND FEET
The basic fundamental positions of arms and feet in folk dance are important for
starters because this helps in basic steps and posture when it comes to folk
dance. Arms and feet movement is important with these fundamental
movements.
There are five fundamental or basic positions in dance that are commonly
termed as 1st position, 2nd position, 3rd position, 4th position, and 5th position
of the feet and arms. The mastery of these positions is essential to a child’s
further development in dance. These positions comprise the most basic and
most important strong hold in dancing.

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Here are the five basic positions of arms and feet in folk dance:

POSITION ARMS FEET COMBINATION

1ST
POSITION
Low first. Heels close
Palms face down. together and toes
Raised arms to a are apart with an
circle, in front of the angle of 45⁰
chest. degrees.
Weight is on both
feet.

2nd
POSITION
Bring both arms
raised sideward with Feet parallel at
a graceful curve, about shoulder
elbows relaxed. level.
Elbows are about the Weight is on both
level of the chest. feet.

2
 3rd
POSITION Raise right (left) arm
overhead, elbow
Heel on one foot is
slightly rounded.
close to the instep
Left (right) arm
of the other foot.
raised at the side (in
second position)

4th
POSITION
With right (left) arm
overhead, bring left Bring one foot in
(right) arm in first front of other foot
position in front. of a pace distance.

5th
POSITION

Raised both arms Heels of front foot

overhead, fingers close to the big toe
almost touching of rear foot.
elbows slightly
rounded.

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 FUNDAMENTAL FOLK DANCE STEPS
Most folk dances are based on several fundamental dance steps. Philippine folk
dances should have simple, basic rhythm that dominates the dance and
establishes the pattern of movement (Lopez, 2006) For example, the National
dance Cariñosa, the basic steps is similar to waltz and the music is ¾ time
signatures. Another example is “Polka sa Nayon”, in which this dance has an
average difficulty, with different variations of the polka step being used all
throughout, with a lively tune to go by it.
It is vital to review and learn the different fundamental dance steps in order to
perform several folk dances. The origin of these steps varies and depends on the
influences of different cultures. The following are some of the fundamental’s steps
that are useful in learning how to perform folk dance steps.

RHYTHMIC
DANCE TIME
COUNTS PER STEP-BY-STEP DESCRIPTION
STEP SIGNATURE
MEASURE
Step right (left) foot in fourth position
in front,
Change
2/4 time 1, and 2 Step left (right) foot close to right (left)
Step
foot,
Step right (left) foot quickly, in place
Raise step left (right) foot in fourth in
front,
Raise step right (left) close to left
1, and, 2,
Polka 2/4 time (right) foot in third position in rear,
and
Raise step left (right) foot in fourth
position in front,
(count and) pause
Bleking
2/4 time 1, 2 Heel-place, close
Step
Heel
and Toe
2/4 time 1,2 / 1 and 2 Heel-place, toe-point, step, close, step
Change
Step
Hop
2/4 time 1, 2 Step, hop
Step
Waltz ¾ time 1,2,3 Step left (right) foot in fourth position
in front,
Step right (left) close to left (right) foot
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 in first or third position in rear,
Step left (right), just like in fourth
position
Waltz
¾ time 1, 2, 3 Step, close-heels raise, heels down
Balance
Step right (left) foot obliquely forward
Step left (right) foot across the right
Sway
(left) foot in front,
Balance
¾ time 1, 2, 3 Step right (left) obliquely backward
with a
right,
point
Point (left) right foot in fourth or third
position in front
(Step right (left) foot obliquely
forward
Sway Step left (right) foot across the right
Balance (left) foot in front,
¾ time 1, 2, 3
with a Step right (left) obliquely backward
hop right,
Hop (left) right foot in fourth or third
position in front
NOTE: There are a lot of fundamental dance steps in folk dance but the steps included in this list are only those that can
easily execute by the students while at home with the guide of the teacher and prepared supplementary videos on how to
execute those steps.

Source: Fundamental Dance Steps and Music by Francisca Reyes Aquino (1965)

SKILLS DEVELOPMENT
GENERAL INSTRUCTION: All answers for the Activities, Application,
Assessment and Character Enhancement are to be written in the CSTC

green booklet and NOT on the module itself 😃

ACTIVITY 5.1 COMPLETE ME!

Instructions: Complete the missing parts of the Basic Fundamental Folk Dance
Steps Chart. Choose the LETTER of the correct answer from the given choices
below.
A. Change Step F. ¾ K. 1, and, 2, and
B. Waltz G. 2/4
C. Polka H. Heel and Toe Change Step
D. 1, 2, 3 I. Sway Balance with a Point
E. Heel-place, close J. Sway Balance with a Hop
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 RHYTHMIC
TIME
DANCE STEP COUNTS PER STEP PATTERN
SIGNATURE
MEASURE
Waltz Balance 1.______ 1, 2, 3 Step, close-heels raise, heels down
Step right (left) foot obliquely
forward
Step left (right) foot across the
right (left) foot in front,
2._____ ¾ 3. ____
Step right (left) obliquely
backward right,
Hop (left) right foot in fourth or
third position in front
Step right (left) foot in fourth
position in front,
Step left (right) foot close to right
4._____ 5.____ 1, and 2
(left) foot,
Step right (left) foot quickly, in
place
Bleking
2/4 1, 2 6.______
Step
Heel-place, toe-point, step, close,
7.______ 2/4 1,2 / 1 and 2
step
Step left (right) foot in fourth
position in front,
Step right (left) close to left (right)
8._____ ¾ 1,2,3 foot in first or third position in
rear,
Step left (right), just like in fourth
position
Raise step left (right) foot in fourth
in front,
Raise step right (left) close to left
(right) foot in third position in
9. _____ 2/4 10.____
rear,
Raise step left (right) foot in fourth
position in front,
(count and) pause

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ACTIVITY 5.2 WORD HUNTS
Instruction: Find the missing words based on what we have discussed. Encircle
the words on the list that are hidden in the puzzle. The words can be left to right,
up and down, or diagonally. Do this in your CSTC Green Booklet (10 points)
F W H E N I B P O E T C
E U A S I N P O L K A H
E N N A T R R S M E P A
T D A D D E Y I E L E N
E I H O A I P T R E D G
R A K R D M L I G F K E
A M M O O N E O E T E S
N S U N S W S N S T A T
D O S W A S T E T L O E
R N B L E K I N G A T P
G O T H I C K I T E L Y
A Z I P P E R S U T O P

APPLICATION
Instruction: Choose only one (1) activity you prefer to do at your HOME.

OPTION NO.1
PERFORM FUNDAMENTAL FOLK DANCE STEPS
- The students will select only 5 fundamental folk dance steps they can and perform
through video presentation. You may borrow to your family members if you don’t
have camera or mobile phone.
- The students are free to use background music if they want.
- The students should wear proper attire that comfortable to move.
- The students will submit the video output to the teacher/facilitator.
- The students should always practice safety protocols like doing warm-up exercises
before taking the activity.

The student’s performance will evaluate using the rubrics given.

EXECUTION 60%
APPLYING GOOD POSTURE 20%
OVERALL PRESENTATION 20%
100%

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 OPTION NO.2
EXECUTE BASIC FUNDAMENTAL POSITION OF ARMS & FEET
- Using mobile phone, the students will take a picture of themselves performing the
basic fundamental position of arms and feet. You may borrow to your family
members if you don’t have.
- The students will submit their photos to the teacher/facilitator through g mail or in
messenger.
- The students should always practice safety protocols like doing warm-up exercises
before taking the activity.

The student’s performance will evaluate using the rubrics given.

PROPER ARMS AND FEET POSITION 60%
APPLYING GOOD POSTURE 20%
OVERALL PRESENTATION 20%
100%

ASSESSMENT
Instruction: Read each statement carefully and write the LETTER of the best
answer.
1. Which of the following arms position are both raised sideward at shoulder
level?
a. First Position c. Second Position
b. Fourth Position d. Third Position
2. Which of the following feet position where hells on one foot is close to the
instep of the other foot?
a. First Position c. Second Position
b. Fourth Position d. Third Position
3. Which of the following is important to review and learn in order to perform
several folk dances?
a. Basic Arms and Feet Positions c. Fundamental Folk Dance Steps

b. Dance Steps d. Time Signature

4. Which of the following is important for beginners because this helps basic
steps and improves proper posture?
a. Basic Arms and Feet Positions c. Fundamental Folk Dance Steps

b. Dance Steps d. Time Signature

5. Which of the following is essential to master and to child’s development in
dance?
a. Basic Arms and Feet Positions c. Fundamental Folk Dance Steps
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 b. Dance Steps d. Time Signature
6. Which of the following feet positions where heels of front foot close to the
big toe of rear foot?
a. First Position c. Fourth Position
b. Fifth Position d. Third Position
7. Complete the analogy below:
Dance Step: Bleking Execution: _________
a. Step, hop
b. Heel-place, close
c. Step, close-heels, raise, heels down
d. Heel-place, toe-point, step, close, step
8. Complete the analogy below:
Arms Position: Third Position Execution: ____________
a. Both arms are raised sideward
b. Both arms raised in a circle in front of the chest
c. One arm is raised forward while the other is raised upward
d. One arm is raised sideward while the other arm is raised upward
9. To perform well in your P.E class, you are busy practicing this step pattern
(step right or left, close-heels raise, heels down). Which of the following
steps you are practicing?
a. Bleking Step c. Waltz
b. Heel and toe change step d. Waltz balance
10. Laehla, your P.E teacher demonstrates one of the fundamental steps in your
class wherein she step her right foot in front then step her left foot close to
the right and step her right foot quickly in front. Which of the following
fundamental step she demonstrated?
a. Bleking Step c. Polka
b. Change Step d. Waltz

CHARACTER
ENHANCEMENT
REFLECTION

Instruction: Read and answer sensibly the following question. (10 points)

Why do we need to review and learn first the basic positions of arms and feet
and the fundamental basic steps before performing any Folk dances?

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 LESSON 6 CONTEMPORARY DANCE
WEEK 6

KNOWLEDGE
ENRICHMENT
A. LEARNING OBJECTIVES
At the end of the lesson, you should be able to:
 Identify what is contemporary dance.
 Engages in moderate to vigorous physical activities (MVPAs) for at
least 60 minutes most days of the week in a variety of settings in-and
out of school.
 Realize one’s potential for health-and dance related activities.

B. INTRODUCTION
Are you familiar what contemporary dance is? Do you have any experience
performing this dance? In this module you will see how flexible and creative
those famous dancers are, when it comes to contemporary dance. You will
know that this may help us connect ourselves not only with the music but with
our audiences. This module also encourages you to learn and to engage in
different health activities even at your home.

C. LESSON PROPER
WHAT IS CONTEMPORARY DANCE?
Contemporary dance is a style of expressive
dance that combines elements of several The primary creative tools of
contemporary dance are:
dance genres including modern, jazz, lyrical
•Body
and classical ballet. Contemporary dancers •Time
strive to connect the mind and the body •Space
through fluid dance movements.

The name “Contemporary Dance” describes a range of techniques and styles

used in classes, workshops and dance choreography. It was developed in the
early 20th century as a reaction against the rigid techniques of ballet.

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 Contemporary dance makes a statement about the world around us. It is a
non-story dance, which means it is open to interpretation. It is fresh, inspiring
and risk-taking. Pioneers such as Isadora Duncan and Martha Graham
searched for ease of movement using the body’s natural lines and energy,
allowing a greater range and fluidity of movement than typical and traditional
dance techniques.
Contemporary dance is
characterized by its versatility:
It can be danced to almost any
style of music, or united with
other dance forms to create new
styles of movement.
It seeks to work with the natural
alignment of the body, and is
therefore safe and accessible for
beginners.
The ease of movement promoted
Figure 5.1 Shows how contemporary dancers
by contemporary dance are free to express different techniques through
technique allows experienced their variety of movements
dancers to push new boundaries
of body movement.

FAMOUS CONTEMPORARY DANCERS

 She is often referred to as the founding
MARTHA GRAHAM Mother of Contemporary and Modern Dance.
(1894-1991)  She was a dancer and choreographer for
over seven decades and she brought
modern dance into the mainstream.
 She was the first dancer to perform at the
White House and she received the
Presidential Medal of Freedom.
 Martha Graham’s strong belief is that
Contemporary Dance is always evolving
and that is its most defining
characteristic.

11
  He can be considered the Father of
MERCE CUNNINGHUM Contemporary Dance. He was an American
(1919-2009) dancer and choreographer who were at
the forefront of American modern dance
for more than 50 years.
 He danced for Martha Graham’s company
until he formed his own company in the
mid-1950s.
 As a choreographer, teacher, and leader of
the Merce Cunningham Dance Company, he
had a profound influence on
Contemporary and Modern Dance.

 He was best known for including modern

LESTER HORTON jazz and Native American dance elements
(1906-1953) into his Contemporary dances.
 He trained some dance greats, including
Alvin Ailey, Eleanor Brooks, Janet Collins
and Bella Lewitzky and he founded the
Dance Theater of Los Angeles.
 Although his dance company is no longer
performing today, his technique is still the
first choice for teaching Contemporary
Dance in many conservatory schools and
dance studios throughout the U.S.

ALVIN AILEY  He was an African-American dancer,

(1931-1989) choreographer, director and activist who
founded the Alvin Ailey American Dance
Theater (AAADT).
 He created AAADT and its affiliated
Ailey School as a home for nurturing
black artists and expressing the
universality of the African-American
experience through dance.
 His work fused theatre, modern dance,
ballet, and jazz with black vernacular,
creating hope-fueled choreography that
continues to spread global awareness of
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 black life in America.
 Ailey’s Revelations dance is recognized as
a masterpiece and is one of the most
popular and most performed ballets in the
world.
TALIA FAVIA  She is a Los Angeles based
(1991-Present) Choreographer, Dancer, Artist, and the
Creator/Artistic director of LIV Dance.
 She has taught and choreographed all
over the United States, Czech Republic,
Poland, Russia, and has choreographed on
“So You Think You Can Dance” for many
seasons.
 She is the founder and director of her Los
Angeles based contemporary company,
“The Difference Between”. Some of her
accomplishments include:
 Guest choreographer for multiple seasons
on So You Think You Can Dance TV show
 Guest choreographer for multiple seasons
on Dancing with the Stars Season
(winning Season 22 Final)
 He is an American dancer, dance
TRAVIS WALL instructor, and choreographer specializing
(1987-Present) in Contemporary and Jazz dance.
 He is well known for his 2006 appearance
as a competitor on the second season of So
You Think You Can Dance at the age of
18, where he placed 2nd.
 He has been a guest dancer,
choreographer, and All-Star on So You
Think You Can Dance for over 11 seasons,
and also been a dancer and choreographer
on Dancing with the Stars for three
seasons.

SELECTED CONTEMPORARY DANCE TECHNIQUES

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1. CUNNINGHUM TECHNIQUE
It focused on the architecture of the
body in space, rhythm and
articulation. Cunningham uses the
idea of the body's own "line of
energy” to promote easy natural
movement. Cunningham technique
can be used to strengthen and
condition all dancers, regardless of
their style. The technique improves
the posture and alignment of the Figure 5.2 Cunningham Technique develops
clarity, strength and flexibility in both the spine
spine. and legwork
2. GRAHAM TECHNIQUE
It focused on the use of contraction,
release, fall and recovery. It is
characterized by floor work and the
use of abdominal and pelvic
contractions. The style is much
grounded and the technique is
visibly contrary to graceful /
weightless airborne ideas of ballet.
Graham invented a new language of
movement, and used it to reveal the
passion, rage and ecstasy common Figure 5.3 Shows the basis of the Graham
to human experience. technique which is the basic movements of the
body, contraction and extension
3. LIMON TECHNIQUE
This technique uses the feeling of
weight and heavy energy in the
body, and movements are instigated
using breath to lift, and swings
through the body to create halt /
pause movement. It explores the use
of energy in relation to gravity and
working with weight in terms of fall,
rebound, recovery and suspension. Figure 5.4 Shows how the dancers uses their
weight and breath to create that movement

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4. RELEASE TECHNIQUE
It focuses on the lack of tension, and
utilizes breath and momentum to
facilitate movement, rather than
huge force or other artificial
technique.
It places emphasis on minimizing
tension in the search for clarity and
fluidity and efficient use of energy
and breath.
In Release Technique, it releases
Figure 5.5 Shows how the dancer learns to
through the joints and muscles to minimize tension in the body to create
create ease of movements, releasing freedom of movement
the breath to aid the release of the
body. A great relaxation technique
as well as a dance style.
Contemporary dance has several
benefits:
 Strengthens the abdominal
muscles
 Regulates the heart rate
 Fully trains the body making it
much more flexible and toned
 Increases energy and positivity
 Promotes socialization
 Improved mental functioning
 Improved general and Figure 5.6 Shows how the dancer improved
balance, flexibility and a good posture
psychological well-being
 Improves coordination, agility
and flexibility
 Improved balance and spatial
awareness

HEALTH BENEFITS OF CONTEMPORARY DANCE

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SKILLS DEVELOPMENT

GENERAL INSTRUCTION: All answers for the Activities, Application,

Assessment and Character Enhancement are to be written in the CSTC

green booklet and NOT on the module itself 😃

ACTIVITY 6.1 IDENTIFYING ERRORS

Instruction: Select the underlined word or phrase that needs to be changed to

make the sentence correct. However, change the underlined word with the
options provided, if you think it makes the sentence incorrect.

1. Contemporary dance is a style of expressive dance that combines elements of

A B C
several dance genres. NO ERROR.
D
2. Contemporary dance can be danced in any style of music to create new styles
A B C

movement. NO ERROR
D
3. Talia Favia is often referred to as the founding Mother of Contemporary and
A B C
Modern dance. NO ERROR
D
4. Cunninghum technique improves the posture and alignment of the spine of
A B C
the dancers. NO ERROR
D
5. Graham technique can be used to strengthen and condition all dancers.
A B C
NO ERROR.
D
6. Lester Horton was best known for modern jazz and Native American dance
A B C
elements into his contemporary dances. NO ERROR.
7. Martha Graham was a dancer and choreographer for over six decades.
A B C
NO ERROR

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 D

8. Release technique focuses on the lack of tension, utilizes breath and

A B
momentum to facilitate movement. NO ERROR
C D
9. Contemporary dance helps improve general and psychological well-being.
A B C
NO ERROR.
D
10. Merce Cunninghum had a profound influence on Contemporary and
A B
Modern dance. NO ERROR.
C D

ACTIVITY 6.2 MATCHING TYPE

Instruction: Choose the LETTER that best correspond to your answer. Write
your answer in your CSTC Green Booklet.
1. It is one of the primary creative tools of A. Alvin Ailey
contemporary dance.
2. She is often referred as the founding B. Lester Horton
Mother of Contemporary and Modern
dance. C. Cunninghum
3. She is the founder and director of based Technique
contemporary company, “The Difference
Between”. D. Talia Favia
4. This technique is a great relaxation
technique as well as a dance style. E. Limon Technique
5. It is a technique which improves the
posture and alignment of the spine.
6. He considered the Father of Contemporary F. Release Technique
dance.
7. He trained some great dancers including G. Contemporary dance
Alvin Ailey.
8. This technique is characterized by floor H. Merce Cunninghum
work.
9. This technique is uses the weight and I. Body
heavy energy in the body. J. Graham Technique
10. He created AAADT.
K. Martha Graham

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ASSESSMENT
Instruction: Read each statement carefully and write the LETTER of the best
answer.
1. Which of the following famous contemporary dancers was the first dancer to
perform at the White House and received the Presidential Medal of Freedom?
a. Alvin Ailey c. Talia Favia
b. Martha Graham d. Travis Wall
2. Which of the following famous contemporary dancers was known as an
African-American dancer, choreographer and activist?
a. Alvin Ailey c. Talia Favia
b. Martha Graham d. Travis Wall
3. Which of the following technique is characterized by floor work and the use
of abdominal and pelvic contractions?
a. Cunninghum technique c. Limon Technique
b. Graham technique d. Release Technique
4. Which of the following technique uses the idea of the body’s own line of
energy to promote easy natural movement?
a. Cunninghum technique c. Limon Technique
b. Graham Technique d. Release Technique
5. The following examples are the primary creative tools of contemporary
dance, EXCEPT.
a. Body b. Size c. Space d. Time
6. The name “Contemporary Dance” describes a range of technique and styles
used in classes, workshops and ____________.
a. Dance Choreography c. Dance Showdown
b. Dance Movements d. Dance Studio
7. Which of the following famous contemporary dancers has been a
choreographer on Dancing with the Stars for three seasons?
a. Alvin Ailey c. Talia Favia
b. Martha Graham d. Travis Wall
8. Which of the following famous contemporary dancers is still his technique is
the first choice for teaching contemporary dance in U.S?
a. Alvin Ailey c. Merce Cunninghum
b. Lester Horton d. Travis Wall
9. Which of the following statements is NOT TRUE about contemporary dance?
a. Regulates the heart rate
b. Increases energy and positivity
c. It is fresh, inspiring and risk-taking
d. It was developed in the early 21st century
10. Complete the analogy below:

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 Famous Contemporary Dancer: Martha Graham
Graham Technique: __________
a. It improves the posture and alignment of the spine
b. It focuses on minimizing tension to facilitate movement
c. It explores the use of energy in relation to gravity and working with
weight
d. This style is much grounded and is visibly contrary to graceful ideas of
ballet

CHARACTER
ENHANCEMENT
REFLECTION
Instruction:
 Read the quotation “Dance is the hidden language of the soul” by
Martha Graham
 Explain what the quotation means to you.

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 LESSON 7 BALLROOM DANCES
WEEK 7

KNOWLEDGE
ENRICHMENT
A. LEARNING OBJECTIVES
At the end of the lesson, you should be able to:
• Discuss the nature of the different styles of social / ballroom dances.
• Analyzes physiological indicators such as heart rate, rate of perceived
exertion and pacing associated with MVPAs to monitor and /or adjust
participation or effort.
• Realize one’s potential for health-and dance related activities.

B. INTRODUCTION

Last lesson, you have learned about contemporary dance. In this module, we
will discuss about the nature and different characteristics of the different styles
of social or ballroom dance that can be considered as one of the moderate-to-
vigorous physical activity (MVPA) that you can engage even at your home. It is
important to monitor yourself when doing any physical activities to know how
you will adjust. By the next lesson, you will also know the basic movements of
the different styles of Latin dances.

C. LESSON PROPER
LATIN BALLROOM DANCES

DID YOU KNOW?

It’s very interesting to know that Ballroom dancing has incredible physical benefits to the
human body. For example, it is scientifically proven to be great for your cardiovascular
health. An Italian study in 2006 showed that Ballroom dancing is a very good exercise for
heart patients compared to other aerobic exercises like cycling. It is also great for muscle tone,
your joints and spinal column. (Sierra, 2016)

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WHAT IS BALLROOM DANCING?
Ballroom dancing is one of the most entertaining and elite styles of dancing.
Ballroom dancing is a partnership dance where couples, using step-patterns,
move rhythmically, expressing the characteristics of music. The word “ball” is
from the Latin word ballare, which means dance. Ballroom dancing is a formal
social dancing for couples, where one person leads and the other follows the
steps. It is popular both as a recreational (social) and competitive (dance sport)
activity.

Latin ballroom dances are energetic dances which reflect the shift in rhythm of
the music being danced to. It has a rich cultural history rooted in the traditional
dances of native peoples of Latin America. A Latin dance includes Samba, Cha-
cha-cha, Rumba, Jive and Paso Doble. These sexy dances feature loads of hip
action, long expressive legs and arms, and long beautiful lines.
FUNDAMENTAL CHARACTERISTICS that make up ballroom dance or
dance sports as a dance style (Radler, 1998):
1. POSTURE - enables a dancer to stand out on the floor, which shows
sophistication and confidence.
2. TIMING - Dancing on time with the music.
3. LINE – the stretching of the body.
4. HOLD – the correct position of the body with the partner in closed position.
5. POISE – the stretch of the woman’s body upwards and outwards and
leftwards into the man’s right arm to achieve balance and connection with
his frame, as well as to project outwards to the audience.
6. TOGETHERNESS – dancing of two people as one on the dance floor.
7. MUSICALITY AND EXPRESSION – the basic characterization of the dance
with the particular music being played and the choreographic adherence to
musical phrasings and accents.
8. PRESENTATION – it is how the couple presents their dancing to the
audience as well as the proper costuming and grooming.
9. POWER – the energy that is controlled and not wild.
10. LEAD AND FOLLOW – the non-verbal communication of the man and lady
through shape, visual and body weight.
11. FLOORCRAFT – the ability to avoid bumping into other couples and
continue dancing without pause when boxed in.
12. INTANGIBLES – how a couple “look” together in performing their dances.

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 INTERNATIONAL LATIN DANCES:
1. Cha-cha-cha
o Is a newcomer in Latin American dances with origin only in the fifties
but it became popular shortly after Mambo was introduced
o This dance is passionate, energetic, lively and a flirtatious dance.
o The time signature is 4/4 with accented beat on the first and fourth of
each bar.
o Counting in beats 2 3 4 and 1
o Count 2 = 1 beat Count 3 = 1 beat Count 4 = half beat Count and = half
beat Count 1 = 1 beat
2. Samba
o Is the national dance of Brazil, which originated in Africa during the 19 th
century
o It is danced during carnival time.
o The basic footwork features fast, three-step weight changes with a slight
knee lift, led with alternating feet. The basic rhythm is quick, quick, slow
and repeat.
o The time signature is 2/4 with musical accent on the first beat and
percussive accent on the second beat
o Counting rhythms: 1 2, 1 a 2, 1 a 2 a 1 a 2…. / 1 and 2 3 and 4 etc.
3. Rumba
o It originates primarily from Cuba in the sixteenth century, which has its
roots in African rhythms brought to America by the slaves.
o It is considered as the sexiest of the ballroom dances which tells the story
of love and passion between a strong man and a teasing woman.
o The time signature is 4/4 with an accent on the first beat and fourth beat
of each bar.
o Counting in beats 2 3 4 1.
o Count 2 = 1 beat Count 3 = 1 beat Count 4 1 = 2 beats half beat
4. Jive
o It was developed from the dance “jitterbug” from America. After the
origination of the jive dance in the United States, it slowly spread to the
European countries and in the United Kingdom.
o It is a lively style of dance popular especially in the 1940s and 1950s,
performed to swing music or rock and roll.
o The time signature 4/4 with accent on the first beat second beat and
fourth beat of each bar.
o Counting in beats: 1 2 3and4 5and6 etc.

5. Paso Doble
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 o It means “double step”, which originated from Spain and is inspired by
bullfighting.
o It is one of the most dramatic of all the Latin dances.
o The time signature is 2/4 with an accent on the first beat of each bar.
o Counting 1 2. Count 1 = 1 beat Count 2 = 1 beat

MODERATE TO VIGOROUS PHYSICAL ACTIVITY (MVPA)

In any physical activity you are engaging, it is important to monitor yourself or
adjust your participation. Using the FITT principle, a student can only
manipulate the intensity and time or activity in a regular P.E session. The
frequency and type aspects are determined by the school and the curriculum. If
there are only two P.E sessions in a week, then the student may, with initiative
engage in physical activity in other days to increase frequency. With moderate
goals of fitness, one can train in the moderate aerobic zone or the weight
management zone. With vigorous goals of fitness, one can adjust to train in the
aerobic fitness zone or even to the peak aerobic performance zone.

SKILLS DEVELOPMENT

GENERAL INSTRUCTION: All answers for the Activities, Application,

Assessment and Character Enhancement are to be written in the CSTC

green booklet and NOT on the module itself 😃

ACTIVITY 7.1 UNSCRAMBLE ME!

Instruction: Arrange the scrambled letters to form the correct word based on the
given clue.
1. NILTA MOLBALRO CEADN. This are the energetic dances which reflect
the shift of the music being danced to.
2. LEBSNINATGI. This is how a partner looks together in performing their
dances.
3. OWRPE. This is the energy that is controlled and not wild.
4. AMBUR. It is considered as the sexiest of the ballroom dances.
5. EJVI. It is a lively style of dance performed to swing music or rock and roll.
6. TOSPERU. It enables a dancer to stand out with confidence and
sophistication.
7. TRAFCROOLF. It is the ability to avoid bumping into other partners.

23
 8. MAABS. The basic rhythm of this dance is quick, quick, slow and repeat.
9. IOPES. This is how couple project outwards to the audience.
10. SOPA BLODE. It is one of the most dramatic of all the Latin dances.

ACTIVITY 7.2
Instruction: Fill the blank portion of the table given below. Choose the LETTER
from the given answer key.

A. Lively style of dance G. 2 3 4 1

B. Tells the story of love and H. 1 2
passion I. 2 3 4 and 1
C. Dramatic dance J. 1 and 2 3 and 4
D. Energetic and flirtatious dance K. 1 2 3and4 5and6
E. Couple sweet dance
F. National dance of Brazil
LATIN BALLROOM DANCES
DEFINITION OF DANCE COUNTINGS
Cha-cha-cha
Rumba
Samba
Jive
Paso Doble

ASSESSMENT
Instruction: Read each statement carefully and write only the LETTER of the
best answer.
1. Which of the following Latin dances is considered as the sexiest dance which
tells the story of love and passion?
a. Cha-cha-cha b. Jive c. Rumba d. Paso Doble
2. Which of the following Latin dances is originated from Spain and inspired by
bullfighting?
a. Cha-cha-cha b. Jive c. Rumba d. Paso Doble
3. Which of the following characteristics shows how the couple presents their
dancing with grooming and proper costuming?
a. Hold c. Poise
b. Lead and Follow d. Presentation
4. Which of the following characteristics shows how two people dance as one
on the dance floor?

24
 a. Floorcraft b. Hold c. Intangibles d. Togetherness

5. Which of the following dances has a rich cultural history rooted in the
traditional dances of native peoples of Latin America?
a. Ballroom dances c. Latin Ballroom dances
b. Cha-cha-cha d. Samba
6. Complete the analogy below:
Latin Dance: Cha-cha-cha Countings: ____________
a. 1 2 3and4 5and6 c. 1, 2
b. 2 3 4 and 1 d. 1 and 2 3 and 4
7. You and your partner in ballroom dance are busy practicing to improve both
skills needed in that type of dance. You are both try to dance in a whole
dance floor without bumping into other couples. Which of the following
characteristics of ballroom dance you are both practicing?
a. Floorcraft c. Intangibles
b. Hold d. Togetherness
8. Which of the following characteristics shows the energy of a couple that is
controlled and not wild?
a. Presentation b. Power c. Timing d. Togetherness
9. Which of the following statements is NOT TRUE about Jive?
a. It is a lively style of dance
b. It is an energetic and passionate dance
c. It was developed from the dance “jitterbug”
d. It slowly spread to European countries and in the United Kingdom
10. Complete the analogy below:
Latin Dance: Paso Doble Time Signature: __________
a. ¼ b. 2/4 c. ¾ d. 4/4

CHARACTER
ENHANCEMENT
REFLECTION

Instruction: Read carefully and answer sensibly the following question below.

Why it is important to use FITT (Frequency, Intensity, Time and Type) plan in
engaging moderate to vigorous different physical activity?

25
 FUNDAMENTAL
MOVEMENTS IN LATIN
LESSON 8 BALLROOM DANCES
WEEK 8

KNOWLEDGE
ENRICHMENT
A. LEARNING OBJECTIVES
At the end of the lesson, you should be able to:
• Recognize different fundamental movements in ballroom dances.
• Analyzes physiological indicators such as heart rate, rate of perceived
exertion and pacing associated with MVPAs to monitor and /or
adjust participation or effort.
• Realize one’s potential for health-and dance related activities.

B. INTRODUCTION
If you have always wanted to feel more confident, dance is a way to boost your
self-confidence to express what and who you are. Now you can learn some
fundamental movements of Latin dances. You can try this, even at your home. At
the end of module, you will be provided with the activities that help you know
and learn the basic movements.

C. LESSON PROPER
FUNDAMENTAL MOVEMENTS OF LATIN BALLROOM DANCES

Although the roots of Latin Dance are widespread, the key characteristics they all
share are the rhythms that allow for freedom of self-expression and
improvisation, creating a style of dance that has a very unique and exuberant
flair.
When dancing Latin, both dancers stand upright with weight on the balls of the
feet. Partners are compact, but standing slightly apart. The dance frame is sturdy
and fixed, but the steps and movements are quick, and despite the posture of the
dance, have a particular flow. The variations between types of Latin Dance are

26
influenced by the geographic origin of the dance, and are always in the step
movements and counts. (Murray, 2020)

BASIC
ILLUSTRATION STEP PATTERN
STEP
CHA-CHA CHA-CHA-CHA Closed Basic
CHA Starting Position (Gentlemen)
(Closed
Basic)  Step left foot forward (ct.2)
 Transfer weight to right foot
(ct.3)
 Step left foot to side (ct.4)
 Step right foot closes to the
left foot (ct. and)
 Step left foot to the side (ct.1)
 Step right foot back (ct.2)
 Transfer weight to left foot
(ct. 3)
Gentlemen  Step right foot to the side (ct.
4)
 Step left foot closes to right
foot (ct. and)
 Step right foot to the side (ct.1)

CHA-CHA-CHA Closed Basic

(Lady)

 Step right foot backward

(ct.2)
Lady  Transfer weight to left foot
(ct.3)
 Step right foot to side (ct.4)
 Step left foot closes to left foot
(ct. and)
 Step right foot to the side
(ct.1)
 Step left foot forward (ct.2)
 Transfer weight to right foot
(ct.3)
 Step left foot to the side (ct.4)

27
  Step right foot closes to left
foot (ct. and)
 Step left foot to the side (ct. 1)
CHA-CHA-CHA New York
(Gentlemen)
Note: Movements of the Lady is
opposite to the Gentleman

 Step left foot forward in side

by side position (ct.2)
 Transfer weight to right foot
CHA-CHA (ct.3)
CHA (New  Facing partner, step left foot
York) to side (ct.4)
 Step right foot closes to the
left foot (ct. and)
 Step left foot to the side (ct.1)
 Step right foot forward in side
by side position (ct.2)
 Transfer weight to left foot
(ct. 3)
 Step right foot to the side (ct.
4)
 Step left foot closes to right
foot (ct. and)
 Step right foot to the side (ct.1)

SAMBA SAMBA Natural Basic

(Natural (Gentlemen)
Basic)
 Step forward with your left
foot (ct.1)
 Move your right foot to your
left foot (ct. and)
 Left foot in place, weight
shifts to it (ct. 2)
 Step backward with your
right foot (ct.3)
 Move your left foot to your

28
 right foot (ct. and)
 Right foot in place, weight
shifts to it (ct.4)

SAMBA Natural Basic (Lady)

 Step backward with your

right foot (ct.1)
 Move your left foot to your
right foot (ct. and)
 Right foot in place, weight
shifts to it (ct. 2)
 Step forward with your left
foot (ct.3)
 Move your right foot to your
left foot (ct. and)
 Left foot in place, weight
shifts to it (ct.4)

RUMBA Closed Basic

(Gentlemen)
RUMBA Note: Movements of the Lady is
(Closed opposite to the Gentleman
Basic)
Start by facing your partner (ct.1)

 Step left foot forward (ct.2)

 Replace weight to right foot
(ct.3)
 Step left foot sideward left (ct.
4, 1)
 Step right foot backward (ct.
2)
 Step left foot forward
(transfer weight to left foot)
(ct. 3)
 Step right foot sideward right
(ct. 4, 1)

29
 JIVE JIVE Basic in place(Gentlemen)
(Basic in  Step back with your left foot
Place) (Rock step) – ct.1
 Right foot in place, weight
shifts to it – ct. 2
 Sidestep to the left with your
left foot (Chasse to the left) –
ct. 3
 Move your right foot to your
left foot – ct. and
 Sidestep to the left with your
left foot – ct. 4
 Right foot in place, weight
shifts to it (Chasse to the
right) ct. 5
 Sidestep to the right with
your left foot – ct. and
 Sidestep to the right with
your right foot – ct. 6

JIVE Basic in place (Lady)

 Step back with your right
foot (Rock step) – ct.1
 Left foot in place, weight
shifts to it – ct. 2
 Sidestep to the right with
your right foot (Chasse to
the right) – ct. 3
 Move your left foot to your
right foot – ct. and
 Sidestep to the right with
your right foot – ct. 4
 Left foot in place, weight
shifts to it (Chasse to the left)
ct. 5
 Sidestep to the left with your
right foot – ct. and

30
  Sidestep to the left with your
left foot – ct. 6
Those basic steps are some examples of fundamental movements that anyone can
engage even at home.
One more thing, a good way to speed up your dance training is by
understanding definitions and terms used by dance teachers. This way, you can
spend valuable lesson time learning dance techniques rather than spending the
time learning the language of dance. (The Dance Store Online, 1999) Below are
some illustrations of popular partner positions:

PROMENADE
POSITION LEFT OUTSIDE RIGHT OUTSIDE CLOSED
PARTNER PARTNER POSITION
POSITION POSITION

SKILLS DEVELOPMENT
GENERAL INSTRUCTION: All answers for the Activities, Application,
Assessment and Character Enhancement are to be written in the CSTC

green booklet and NOT on the module itself 😃

ACTIVITY 8.1
Instruction: Complete the missing parts of the Basic Fundamental Movements of
Latin Dance Chart. Choose the correct answer from the given choices below.
Cha-cha-cha 2/4 Jive
Rumba ¾ Closed Basic
2341 4/4
Samba New York
2 3 4 and 1 Natural Basic
31
DANCE BASIC TIME
STEP PATTERN COUNTINGS
STEP FIGURE SIGNATURE
Step left foot forward (ct.2)
Replace weight to right foot
(ct.3)
Step left foot sideward left (ct. 4,
1)
Rumba 1._____ 2.______ 3.______
Step right foot backward (ct. 2)
Step left foot forward (transfer
weight to left foot) (ct. 3)
Step right foot sideward right
(ct. 4, 1)
(Gentlemen)
Step back with your left foot
(Rock step) – ct.1
Right foot in place, weight shifts
to it – ct. 2
Sidestep to the left with your left
foot (Chasse to the left) – ct. 3
Move your right foot to your left
Basic in
4.____ foot – ct. and 1 2 3a4 3a4 4/4
Place
Sidestep to the left with your left
foot – ct. 4
Right foot in place, weight shifts
to it (Chasse to the right) ct. 5
Sidestep to the right with your
left foot – ct. and
Sidestep to the right with your
right foot – ct. 6
5.____ 6._____ Step left foot forward in side by 7._____ 4/4
side position (ct.2)
Transfer weight to right foot
(ct.3)
Facing partner, step left foot to
side (ct.4)
Step right foot closes to the left
foot (ct. and)
Step left foot to the side (ct.1)
Step right foot forward in side
by side position (ct.2)
Transfer weight to left foot (ct.

32
 3)
Step right foot to the side (ct. 4)
Step left foot closes to right foot
(ct. and)
Step right foot to the side (ct.1)
Step forward with your left foot
(ct.1)
Move your right foot to your left
foot (ct. and)
Left foot in place, weight shifts
to it (ct. 2) 1 2, 1 a
8.____ 9._____ 10.______
Step backward with your right 2….
foot (ct.3)
Move your left foot to your right
foot (ct. and)
Right foot in place, weight shifts
to it (ct.4)

ACTIVITY 8.2
Instruction: Write TRUE if the statement is correct and FALSE if it is wrong.

1. The variations between types of Latin dances are always in the step
movements and counts.
2. When dancing cha-cha-cha closed basic, a male step first his left foot
forward, based on the guidelines given.
3. The term “New York” is one of the basic steps of Samba.
4. When dancing Samba natural basic, female step forward first her left foot,
based on the guideline given.
5. The term “closed basic” is one of the basic step of Jive.
6. When dancing Latin, couples stand upright with weight on the ball of the
feet.
7. When dancing Latin, couples are not compact but standing slightly apart.
8. When dancing Jive basic in place, female step first back her right foot,
based on the guideline given.
9. When dancing cha-cha-cha, movements of the lady is opposite to the
gentlemen.
10. The dance frame of couple is sturdy and fixed.

33
ASSESSMENT
Instruction: Read carefully each statement and write the LETTER of the best
answer.
1. Which of the following steps is the basic movement of the Latin dance
Samba?
a. Basic in Place c. Natural Basic
b. Closed Basic d. New York
2. The following steps are the examples of Latin dances basic steps, EXCEPT:
a. Basic in Place c. Closing Basic
b. Closed Basic d. Natural Basic
3. Which of the following steps is the basic movement of the Latin dance,
Jive?
a. Basic in Place c. Natural Basic
b. Closed Basic d. New York
4. Which of the following steps is the basic movement of the Latin dances,
Rumba and Cha-cha-cha?
a. Basic in Place c. Closing basic
b. Closed basic d. Natural basic
5. Which of the following time signature is used in dancing Jive?
a. 1/4 c. 3/4
b. 2/4 d. 4/4
6. Complete the analogy below:
Latin Dance: Samba (Natural Basic)
First Step Pattern (Gentlemen): _____
a. Step left foot forward
b. Step right foot backward
c. Step forward with your left foot
d. Step backward with your right foot
7. Complete the analogy below:
Latin Dance: Samba (Natural Basic)
First Step Pattern (Lady): _____
a. Step left foot forward
b. Step right foot backward
c. Step forward with your left foot
d. Step backward with your right foot
8. Which of the following time signature is used in dancing Samba?
a. 1/4 b. 2/4 c. ¾ d. 4/4

34
9. Arrange the following in order to present the right step pattern for female
in performing Jive, basic in place.
I. Left foot in place, weight shift to it.
II. Sidestep to the right with your right foot (Chasse to the right)
III. Move your left foot to the right foot
IV. Step back with your right foot (Rock step)
a. I, II, III and IV c. IV, II, III and I
b. IV, I, II and III d. II, III, I and IV
10. Arrange the following in order to present the right step pattern for male in
performing cha-cha-cha New York.
I. Transfer weight to right foot (ct.3)
II. Step left foot forward in side by side position (ct.2)
III. Step right foot closes to the left foot (ct. and) Step left foot to the side
(ct.1)
IV. Facing partner, step left foot to side (ct. 4)
a. I, II, III and IV c. II, I, IV and III
b. II, III, IV, and I d. II, IV, I and III

CHARACTER
35
ENHANCEMENT
REFLECTION
Instruction: Read carefully and answer sensibly the following question given.

Do you think it is important to know first the basic movements before

performing any choreographed Latin dances? Why?

36