RHYTHMIC ACTIVITIES

PE 102
___

Notes

Module Introduction

As a mandatory course in the higher education curriculum, it is our responsibility to

keep the students fit and healthy to support their academic performance. To make this possible,
this module was created by Physical Education Instructors intended for PE 102 course. This
module aims to provide meaningful learning experiences in physical education among
freshmen college students, as the University currently adopts a flexible teaching and learning
approach.

Course Description

This is a 2 unit course designed to provide students with various learning experiences through
dancing. Throughout the course, students will learn various forms of dances such as Philippine
folk dance, social/ballroom dance, and modern/interpretative dance which are vital to develop
their sense of rhythm for efficient and effective movements. This is an enjoyable course with the
end views of developing students’ creative minds, confidence, and appreciation of dance as a
healthy form of exercise.

Intended Learning Outcomes

1. Define dance and its importance.

2. Recognize the fundamental aspect and movements of folk dance, social dance, and
modern/interpretative dance.
3. Understand the value of dance as a healthy form of exercise.
4. Show interest and enjoyment in the performance of various dance forms.
5. Execute different dances rhythmically with poise and confidence.

Introduction
 ● Physical Education. The educational curriculum has its viewpoint of promoting the
holistic development of students and developing them physically, mentally, emotionally,
socially, and spiritually through the body movements with the selection of proper
physical activities.
● Rhythmic Gymnastics. Are the reflection of individuals’ physical, mental, and
emotional response to rhythm whereas rhythm is a veritable return of accented and
unaccented beats.
● Folk Dancing. Is designed for normal healthy individuals as a form of entertainment
and enjoyment. This gives an input to students to find themselves content with how
they can develop more of their self-expression.

INTRODUCTION TO PHILIPPINE FOLK DANCES

One of the indicative art cases of the people is its own dances. Giving the benefits of the
doubt, the worst thing that might happen to lose their identities is when folk dances lose its
track which should be preserved by their own people. In order to uphold one of the country’s
valuable identities is to convey the dances from generation to generation. Folk dances depict
the traditions, belief, occupations, and ways of life admitting its characteristics of the people
living in a certain country.

Aside from enhancing rhythmic movements of students, there are benefits that can be
derived and developed from the study of Philippine Folk Dance:

● Patriotism and Nationalism

● Healthy form of relaxation and recreation
● Well-awakened art appreciation of folk dances
● Well-improved posture, graceful, and rhythmic coordination of body movements
● Preservation of native dances of the different regions for the next generations
● Growth and enhancement of Philippine Culture
● Improving body image, self-esteem, and communication skills efficiently
● Lessen the feeling of being an outcast
● Reduce stress, fears, and anxieties
● Forgetting individuals’ self consciousness

BRIEF HISTORY

Our fatherland is an archipelago composed of several islands. Because of the Filipino

social groups, our dances have evolved in each region being influenced by regions and
conquerors. Even though there were traditions in our dances, yet, there are similarities within
its natural origin. Most of the traditional dances were contrived to thank the Gods of nature and
agriculture such as rain and harvest. These dances were performed during festivals having the
thoughts of granting their wishes and desires.

The Spanish colonization for more than 300 years had influenced Philippine folk
dancing especially when Spaniards bestowed Christianity to the country. The Filipino stories
and representations of dances were reflected by its region. Filipinos acquired the use of
Spanish-style clothes slightly modified with Filipino elements.

At present, several Philippine dances are making their ways on the scene performed and
cultured by different dance enthusiasts and being taught at school. Various groups of
performers such as the Bayanihan, Filipinescas, Filipiniana, and Ramon Obusan Folkloric Group
are just some of those who continue giving importance to numerous fascinating Philippine
Dances.

CLASSIFICATION

Luzon, Visayas, and Mindanao are the three major islands that composed the Philippine
archipelago. Those islands have their own preserved culture handed down from generation to
generation. Folk dancing is an art performed with highly distinctive differences that made these
islands in the south eastern part of the world respective and historical by the islands and the
globe. There are several dances in the country. Some of the dances are performed on different
occasions such as wedding, occupational, festival, war, and victory dances. Those dances display
the Filipino way of life and create a valuable manner in the development of nationalism.

In 1924, Francisca Reyes Aquino, the Mother of Philippine Folk Dances and a National
Artist as well made a contribution by starting the collection of dances and songs in the country.
She authored six volumes of books on different Philippine folk dances. These dances have been
categorized into non Christian and Christian dances. The non Christian or ethnic dances are the
highest form of the Filipino dances because of their incomparable and beautiful movements.
Jotas, Pandanggo, Habaneras are some of the examples of Christian dances. These dances are
influenced by the Spaniards and other European countries and have been adopted into our
native culture.

GENERAL CLASSIFICATIONS

A. Geographical Origin
● National Dances. These are dances found throughout the islands with
little or no modification.
○ Rigodon- a dance originated by the French named after a
well-known dance master Rigaud.
○ Carinosa- a Philippine dance of Hispanic origin from the Mana
Clara suite of Philippine folk dances.
 ○ Jota- a Spanish folk dance originated in theNorth of Spain
(Aragon).
● Local Dances. These are dances found in specific locality.
○ Tinikling- is a dance which means “bamboo dance” in English.
○ Maglalatik- depict a awar between Moros and Christian over the
price “Latik” or Coconut meat.
○ Subli- a dance from Bauan, Batangas derived from two tagalog
word subsub (stopped or in crouching position) and bali (broken).
B. Nature
● Occupational Dances. These dances depict actions of a particular
occupation industry or human labor (planting, harvesting, pounding,
winnowing, etc).
○ Pabirik- is a dance from Paracale, Camarines Norte that depicts
the province’s gold mining industry.
○ Mananguete- is a Visayan occupational dance in Tolambugan
Lanao.
● Religious/Ceremonial. These are dances influenced with religious vows
and ceremonies.
○ Dugsu- is a ceremonial dance among the Manobo people in
Bukidnon, Agusan, and Misamis Oriental.
○ Sta. Clarang Pinong pino- a ritual dance that commemorates in
the Cebuano’s pagan origin.
○ Putong- a dance which originated in Marinduque that depicts the
unique custom of welcoming people.
● Comic Dances. These are dances which depict humorous movements
designed for entertainment.
○ Makonggo- a comic dance which is cultured in Sta. Maria, Bulacan
where a solo performer mimics the movements and characteristics
of a monkey.
○ Kinotan- a comic dance from Ilocos Sur that depicts the actions of
a person bitten by ants.
● Game Dances. These are dances done with play elements (dance mixers)
○ Lubi- a ballroom folk dance in the Bicol region.
○ Pavo- a processional dance common in Europe during the 16th
century.
● Wedding Dances. These dances are performed during wedding feasts.
○ Panasahan- is performed during the desposorio, a Catholic
ceremony held at the dawn of the wedding day between 2 and 3
am.
 ● Courtship Dances. These dances depict the art of courtship or dances with
love themes.
○ Maramion- a dance showing courtship and is popular in the
islands of Cebu and Bohol. It means fragrant or beautiful.
○ Tadek- a Balbalan ethnic dance.
○ Hele-Hele - a flirting dance carrying out courting figures but no
touch since a part of Spanish system.
● Festival Dances. These dances are suitable for special occasions or for any
social gathering.
○ Habanera- is a genre of Cuban popular dance music of the 19th
century.
○ Jota Suntido- jota is a genre of music and the associated dance
known throughout Spain.
● War Dances. These dances show imaginary combat or duel among tribe
members.
○ Sagayan- is a war dance performed by both the Maguindanao and
Maranao depicted in dramatic fashion.
○ Palu-palo - is a ritual dance and classified into creative dance.
C. Movements
● Active. Dances which display fast energetic movements.
○ Maglalatik, Tinikling, Sakuting, Polkabal, etc.
● Moderate. Dances that show less fast or intense movements.
○ Carinosa, Tagala, Habanera, Puripuri, etc.
● Slow. dances that show lose velocity.
○ Pasakat, Amorosa, Tiliday, Kundiman, etc.
● Slow and Fast. Dances that demonstrate a combination of slow and fast movements.
○ Puriton Bangles, Habanera Batolena, Alcomfor, etc.
D. Formation
● Square or Quadrille. Dances form a square in their dancing.
○ Rigodon, Los Bailes de Ayer, etc.
● Long Formation. Dancers form two or more parallel lines.
○ Lulay, Sakuting
● Set. This consists of two or more pairs as a unit with partners facing each other
or standing side by side.
○ Binadyong, Haplik, Kakawati, etc.

CHARACTERISTICS

1. In general, dancers stand apart.

2. There is little, if any, body contact.
 3. Most of the dances are done by pairs or couples.
4. Hand movements play an important role.
5. Most dances are in long formation.
6. Most dances begin and end with “Saludo”.
7. Dances from the lowlands have more foreign elements than those found in the uplands.
8. War dances are found among non-Christian tribes.

DO’s

1. Dance in a natural, simple, and direct manner.

2. Dance with ease and smoothness.
3. Use proper costumes.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

FUNDAMENTAL ARMS AND FEET POSITION IN DANCING

● FUNDAMENTAL POSITIONS OF ARMS AND FEET IN 5 COUNTS

○ First Position
■ ARMS - arms are raised forward in a circle in front of the chest with
fingertips of both hands about an inch apart.
■ FEET - the feet position is executed with the heels and toes apart at an
angle of about 90 degrees or more.
○ Second Position
■ ARMS - the arms are placed sideways a little below shoulder level with
palms facing upwards.
■ FEET - the feet position is performed with feet sideward about a pace
apart with heels parallel to each other.
○ Third Position
■ ARMS -one arm is raised in a semi circle slightly in front of the head
(amplified position while the other arm remains as in second position).
■ FEET - the heel of one foot is close to the in-step of the other foot.
○ Fourth Position
■ ARMS - one arm is raised in an amplified position, while the other is as in
first position.
■ FEET - one foot is forward about a pace distance, with toes out.
○ Fifth Position
■ ARMS - both arms are raised to form a circle over and slightly in front of
the head (amplified position).
 ■ FEET - one foot is placed in front of the other foot with the heel close to
the toe of the other foot.
● FUNDAMENTAL POSITIONS OF ARMS AND FEET IN 8 COUNTS
○ First Position
■ ARMS - arms are placed forward forming a circle position in front of the
chest and fingertips of both hands are about an inch.
■ FEET - the feet position is executed with the heels and toes apart at an
angle of about 90 degrees or more.
○ Second Position
■ ARMS - the arms are on the sideways a little below the shoulder level
where palms are in the position facing downward.
■ FEET - the feet position id performed with feet sideward about a pace
apart with the other pointed parallel to each other.
○ Third Position
■ ARMS - arms are raised on the sides a little below the shoulder level with
palms facing upwards.
■ FEET - the feet position is performed with feet sideward about a pace
apart with heels parallel to each other.
○ Fourth Position
■ ARMS - one arm is raised in a semi-circle position above the head while
the other arm remains the same manner in third position.
■ FEET - stand with the heel of one foot is close to the in-step of the other
foot.
○ Fifth Position
■ ARMS - while the arm being raised in a slightly semi-circle circle position
remains above the head, the other arm is placed and extended in front of
the chest with palm facing downwards.
■ FEET - stand with one foot pointed forward about a pace distance with
toes out.
○ Sixth Position
■ ARMS - remain in the same position of the arms but this time the arm
being placed in front of the chest with palm facing downward should be
facing upwards.
■ FEET - stand with one foot forward about a pace distance with toes out.
○ Seventh Position
■ ARMS - both arms are raised slightly in front of the head (amplified
position) from a circle.
■ FEET - stand with one foot placed in front of the other with the heel close
to the toe of the other foot.
 ○ Eight Position
■ ARMS - both arms are placed freely on side ways.
■ FEET - stand with feet together.

COMMON DANCE TERMS USED IN FOLK DANCING

● Arms in lateral position - Both arms are on the sides either right or left: at shoulder
chest, or waist level.
● Brush - Weight on the foot hits the floor with the ball or heel of the other foot. One foot
carries the weight while the other foot slightly hits the floor.
● Cut - To display quickly one foot with each other.
● Free Foot - The foot not bearing the weight of the body.
● Free Hand - Hand not placed anywhere, or not doing anything.
● Hayon-hayon - To place one forearm in front while the other is at the back of the waist.
● Hop - A spring from one foot landing on the same foot in place or in any direction.
● Jaleo - Partners turn around clockwise, (with L elbows touching) using walking or any
kind of dance of step.
● Jump - A spring on one foot or feet landing on both feet in any direction.
● Kumintang - Moving the hand from the wrist either in a clockwise or counter clockwise
position.
● Leap - A spring on one foot landing on the other foot in any direction.
● Place - A foot in any position without putting weight on it the sole of the foot rests on
the floor.
● Pivot - To sum with the ball, heel, or whole foot on a fixed place, or point.
● Point - To touch the floor with the toes of one foot, with the ball on the floor and the
weight of the body on the other foot.
● Salok - Swinging the arm downward upward passing in the front of the body as if
scooping the trunk bent forward following the movement of the arm doing the salok.
● Saludo - Partners with feet together bow to each other, or to the audience, or to the
opposite dancers, or to the neighbors.
● Sarok - Cross the R (or L) foot in front of the L (or R), bend the body slightly forward and
across the hands down in front with the R (or L) hand over the L (or R).
● Slide - To glide smoothly among the floor.
● Stamp - To bring the foot forcibly and noisily on the floor.
● Step - To advance or code by moving one fool to another testing place with a complete
transfer of weight from one foot to the other tool.
● Supporting Foot - The root that bears the weight of the body.
● Tap - To tap lightly with the ball or tip of the toes, placing weight of the body on the
foot. There is no change or transfer of weight here.
● Whirl - To turn fast by executing small steps in place to right or left.
 SOCIAL AND BALLROOM DANCES

Introduction

Long gone, we have been surrounded by different folk dances we tamed by nature and
within its origin, also with some dances with foreign influences. At present, these folk dances
have been elevated into a form of social dances creating more complex dance routines to enjoy
by people of different ages as a form of highly entertaining dance genres. Some of the historical
dances being molded as social and ballroom dances are the Mazurka Polka, Minuet, etc. These
dances have had its evolution into the classifications of the social and ballroom dances. The
meaning of ballroom dances varies from the dance genres of today.

History

People are exposed to several ballroom dances as performed in social gatherings as sort
of entertainment. These began and recorded toward the end of the 16th century. As a token of
gratitude to Jehan Tabourot with his pen name “Thoinot - Arbeau” when he first published and
studied social dance throughout the Renaissance period of the 16th century. It was first
recorded with five basic steps as Shakespeare acknowledged the dance as “sing pace”.

In the 20th century, the ballroom modern dance became popular on the screen when
dance referred to as a competition known as the dance sport was modulated by the World Dance
Council (WDC), from beginners to numerous professional levels namely the International
Standard and International Latin.

Holds and Positions

● Close Ballroom
● Right Parallel
● Open Ballroom
● Facing Position
● Conversation
● Back Cross
● Escort Position
● Side by Side
● Promenade
● Varsovienne
● Wrap Post
● Swinging Out Position
● Reverse Varsovienne
● Start Post
 ● Reverse Open Post

Cha Cha

Cha Cha Cha is a dance of Latin America. The definition of the dance and the origin of
its name come from the sound of the performers’ sandals slapping against the floor. From the
original name Cha-Cha, it became different primarily with the addition of a triple stepl
replacing the sole steps of Mambo and Rumba.

Cha-Cha-Cha Basic Steps

● Men’s Part
○ Step right ( R ) foot forward
○ Left ( L ) foot in place
○ Do the shuffle and step L backward
● Woman’s Part
○ Step L foot backward
○ R foot in place
○ Do the shuffle and step R forward

Swing

Swing is the most commonly known social dance among groups of dances and it was
being developed with the music of Jazz genre in the 1920’s-1950’s. It began in African-American
communities and one of the popular couple dances and still popular nowadays is the Lindy Hop
which originated in Harlem in the year 1927. This dance is a relatively easy dance and is the very
reason why people of all ages live dancing it.

Swing Basic Steps

1. Step right foot forward, transferring the weight of the body.

2. Step left in place, then step right foot forward.