Health Optimizing Physical Education 3

(HOPE 3)
MODULE 1
RHYTHMIC ACTIVITIES
OVERVIEW
Rhythmic activities help to improve physical and intellectual health. Aside from
improved physical confidence, it also progress mental functions, because of rhythm regulates the
brain and inhibits cognitive decline, it is also boosts the chemicals in our brain that upkeep better
memory and learning. This module will involve the student’s experiences from Philippine folk
dances training and practice. This will include the history and development, culture and tradition,
common dance steps and dance terms of Philippine Folk Dance.

MELC – Based Learning Competencies

1. Analyzes physiological indicator such as heart rate, rate of perceived exertion and pacing
associated with MVPAs to monitor and adjust participation and effort
2. 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
3. Demonstrates proper etiquette and safety in the use of facilities and equipment
4. Participates in an organized event that addresses health/fitness issues and concerns
5. Self-assesses health-related fitness status, barriers to physical activity assessment
participation and one’s diet.
6. Observed safety protocol to avoid dehydration, overexertion, hypo- and hyperthermia
during MVPA participation.

Objectives:
1. Demonstrate the fundamental position of arms and feet
2. Describe the values of fundamental movements from day to day life activities
3. Perform varied physical activities that develops fundamental movements
4. Execute common folk dance steps
5. Create and execute four figures of creative folk dance
6. Construct a physical activities related to the fundamentals of movements to nurture
patriotism and nationalism through study of our dance
7. Assess better understanding of the Philippines music and folk dances
8. Characterize movements through dancing, a healthful form of relaxation and
recreation
Warm-up Activity
Direction: Below are common folk dance terms and steps that used in folk dancing. Execute the
necessary movements for each terms.

COMMON DANCE TERMS

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. This 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.
• Counterclockwise – The reverse direction of clockwise. Left shoulder is toward the
center of an imaginary circle. When facing center, the movement is toward the right.
• 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 girl pass by their Left shoulders
between the boy. Boys 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 turn about, 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.
• 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).
• 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.

For better understanding you may follow the video on the link below.
https://www.youtube.com/watch?v=QQOVUKM-
pp8&fbclid=IwAR3OrXCB0V5CsXJ_aZM8tpiB3B4ybAhlmfjgQWkA4HHnRgdZlr_AAP42cFI
INTRODUCTION
The Filipinos show the influence of foreign conquerors from China, India, Arabic
countries and Spain. Although the mountain tribes still have their magic dance. Folk dance is an
involvement, displaying the features and temperament of the people who created it. It is
customarily a dance anonymous origin that has been passed on from generation to generation.
Although they are now performed for pleasure in the cities, folk dances were originally mainly
country dances.
Despite the difference forced upon them by their respective heritages, the folk dances of
different countries often have similarities of rhythm and pattern. Variations among them are
sometimes the results of geographical differences.
In some instances, it may be difficult to draw an exact line between folk and geographical
dances, but the latter have developed a distinct traditional style, a technical terminology, and a
clearly defined school of instruction. The ethological dance was a folk dance before it became
the art expression of a race.
Folk dancing is a form of societal dancing that become portion of the customs and
traditions of a people. Most folk dances built-up among people in villages and were handed from
generation to generation in particular region. In many of these dances groups of dancers from
such basic pattern as a circle, line or a curved, moving line called a chain.
Today, folk dance classes and societies are stimulating interest in the Philippines. Indeed,
folk dances are performed in costume for entertainment, and so help preserve the heritage of the
race.
DEFINITION OF FOLK DANCES
 Folk dances are traditional dances of our country which were evolving naturally and
spontaneously, in connection with everyday life.
 Folk dancing is the heartbeat of the people.
 Folk dances are traditional social expression of ideas, mores, feelings and thoughts of
people or group of people through body movements.
 A folk dance is the outburst of people’s feeling.

VALUES OF DANCING
1. Physiological and neuro-muscular development of the organic system of the body
 2. Cultural depict: the culture of the people
3. Social and recreational

FACTORS AFFECTING FOLK DANCES

1. Geographical location
2. Economic condition
3. Climatic condition
4. Costume and tradition

CLASSIFICATIONS OF PHILIPPINE FOLK DANCE

A. General Classification
1. National Dance – found all over the island with little or no modification.
2. Local Dance – originate in certain locality
Examples: (Tinikling - from the province of Leyte)
(Maglalatik – from the town of Binan)
(Esperanza – from the town of Nabua)
(Subli – from the province of Batangas)
(Magkasuyo – from the province of Quezon)

B. Nature of Dance
1. Occupational Dances – are dances that depict actions, characteristics, occupations,
industries and phases of human labor.
2. Religious or Ceremonial Dances – are performed in linking with religious vows, practices
and ceremonies. A religious dance may be performed to drive away devil spirits, ask for a
favour to have a child, give thanks having recovered from sickness, favours granted and
vows fulfilled.
3. Courtship Dances – are dances that depict love making or with a love theme
4. Wedding Dances – are performed by newly-weds by friends and relatives of the bride and
groom or by the father and the bride and the mother of the groom.
5. Festival Dances – are performed in connection with celebration, a feast, a barrio fiesta,
good harvest and good fortune.
6. War Dance – are inherited to show imaginary combat or duel with the used of fighting
implement like bolo, kris or spear.
7. Comic Dances – are dances with funny and humorous movements mainly intended for
entertainment
 8. Game Dances – are dances that have some play elements and are for recreational
purposes.
9. Social Dances – are dances during social gatherings.

Types of Movements:
1. Active Movements – with fast energetic movement
Examples: Tinikling, Maglalatik, Polkabal & Sakuting
2. Moderate Movements
Examples: Carinosa, Purpuri, Habanera & Tagala
3. Slow Movements
Examples: Kundiman, Amorosa, Taliday& Pasakat
4. Slow and fast Movements
Examples: Habanera, Ba-Ingles, Putritos & Alcamfor

Formation:
1. Square or Quadrille
Examples: Rigodon de Honor & Los Bailes de Ayer
2. Long Formation
Examples: Lulay
3. Set – consisting of two or more pairs as a unit, partners facing each other or standing side
by side.
Examples: Binadyong, Kakawati & Haplik

Characteristics of Philippine Folk Dance

1. In general, dancers stand apart.
2. There is a little if any, bodily contact
3. Most of the dancers are done in pairs or couples
4. Hand movements play an important part
5. Most dances are in long formation
6. Most dances begin and end with “saludo”
7. Dances from the lowland have more foreign elements than those found in upland
8. War dances are found among non-Christians Tribes
BASIC DANCE STEPS
In folk dancing the movements usually start and end in one of the five basic dance
positions. These positions are based on the principle of dance movements so that the body is
properly formed and balanced in among the basic positions. These standard positions are
universally known and reference to these positions are made in the description of folk dance
movements and steps.
The five positions of the feet follow a certain patters based on the following: when the
feet are together, they are said to be in a close position. Thus the first, third and fifth position of
the feet are in a close position while the second and fourth position are in open position. With all
these positions, the weight of the body is centred over the foot, the heel of the free foot is off the
floor and the toes is fully extended. The knees are kept straight in all positions.
Very expressive actions of the feet and arms characterize Philippine folk dances. These
movements are a combination of the five fundamental positions of the arms and feet whether the
pace of the dance steps is slow or fast.

Illustration of the Fundamental Position

ARMS POSITION
1. 1st Position – Arms are raised forward in front of chest with finger tips almost
touching
2. 2nd Position – both arms sideward, raised up below shoulder level with a graceful
curve
3. 3rd Position – Raised one arm overhead while other arm remains in 2nd position
4. 4th Position – raise one arm in front of chest in a half circle while one arm remains in
3rd position
5. 5th position – raise both arms overhead in a graceful curved
FEET POSITION
1. 1st Position – The feet are placed with the heels together and toes apart at an angle
about 90 degrees or more
2. 2nd Position – bring feet apart sideward
3. 3rd Position – Bring the heel of one foot to touch one instep of the other foot
4. 4th Position – bring one foot in front of the other foot to walk strike
5. 5th Position – Bring the heel of one foot to touch the toe of the other

COMMON DANCE STEPS

The dance steps used in Philippine traditional dances are combinations of the basic
natural movements. Listed below are the dance steps in 3 time which grouped according to the
note patterns and their corresponding counts as suggested by the number of movements.
A.3/4 TIME DANCE STEPS COUNT
1. Waltz step Step R (fwd/swdbckd ); close L to R;
count. 1 count. 2
step R in place
count.3
2. Cross waltz Cross step R across L; close to R;
count. 1 count. 2
Step R in place
ct.3
3. Waltz balance Step R ( swd/frd); close L to R and
count 1. count.2
Raise both heels; heels down
count.3

B. COUNT
4. Touch step Point R (frd/swd/bckd); close R to L
cts. 1-2 ct. 3
5. Bleking step Heel Place R ( frd/swd/bckd);close L to R
cts. 1-2 ct. 3
6. Close step Step R(any direction); close L to R
cts. 1-2 ct. 3
7. Cross step Step R; cross and step L across R
cts. 1-2 ct. 3
8. Hop step Step R (any direction); hop on R
cts. 1-2 ct. 3
9. Brush step Step R(any direction); brush L
cts. 1-2 ct. 3
10. Slide step Slide R (swd/frd/fwd); close L to R
cts. 1-2 ct. 3
11. Swing step Step R (swd/frd); sswing L across R
cts. 1-2 ct. 3

Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.
 Don’ts’s in Folk Dancing
1. Do not exaggerate the dance steps.
2. Do not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.

ACITIVITY 1: FOLK DANCE STEPS

Name: ________________________________________ Section: ________________
Date: _________________________________________ Time: __________________
Direction: Choose 15 folk dance steps. Execute each steps while reciting the meaning or
direction of each step. Video your work and send to the following:
 Email to [email protected];
 Facebook Messenger @ Rex Villasin
 Modular (save it to USB) handover it to the MSEUF BED business office
 ACITIVITY 2: CREATIVE FOLK DANCE
Name: ________________________________________ Section: ________________
Date: _________________________________________ Time: __________________
Direction: Create a creative folk dance based from the common dance steps on this module.
Make sure that each figure represents a minimum of 4 and a maximum of 6 combinations.
Submit the written works in any of the following:
 Email to [email protected];
 Facebook Messenger @ Rex Villasin
 Modular (save it to USB) handover it to the MSEUF BED business office

Example:
a. Waltz step R,L, sideward; hands in waist 4 counts
b. Touch step R,L, forward alternately; kumintang in every steps 4 counts
c. Waltz balance R,L sideward; arms in 1st position 4 counts
d. Repeat (b) 4 counts
16 counts
Figure I
a.
b.
c.
d.
 e.
f.
16 counts

Figure II
a.
b.
c.
d.
e.
f.

16 counts
Figure III
a.
b.
c.
d.
e.
f.
16 counts

Figure IV
a.
b.
c.
d.
e.
f.
16 counts

Activity 2: Performance Task

Direction: Execute your creative folk dance that you planned in activity 1. Using three four time
music. (Kakawate music). Video your performance, save and send to:
  Email to [email protected];
 Facebook Messenger @ Rex Villasin
 Modular (save it to USB) handover it to the MSEUF BED business office

References
Aquino, Francisca, Philippine Folk Dances, Volume 2 & 3

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http://www.popoculturemadness.com/Music/Pop-Modern/1970.html

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http://uchsmapeh.blogspot.com/2011/01/five-fundamental-positions-of-arms-and.html

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ARqoTCNoTCNq4_YKh8kCFQcdpgodT_gL6A&biw=1366&bih=657#tbm=isch&q=+images+dance

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http://www.rcampus.com/rubricshellc.cfm?9&sms=publicrub

Tulio, D.D., eal. (2004). P>E>102: Fundamental Rhythmic Activities. Katha Publishing Co., Inc. Makati:
Philippines

Aparato, C. R., Brebante, Z. T., Callo, L. F., & Dajime, P. F. (2017). Physical Education and Health (Vol. II).
Nicanor Reyes Sr. St., Sampaloc Manila: Rex Bookstore.

Apolonia, M. L., Collao, M. P., Gabayan, P. A., & Kamus, G. R. (2017). Dance for Life (HOPE) Series for Senior
High School. 839 EDSA, South Triangle, Quezon City: C & E Publishing, Inc.

Bushmn, B. (2011). Complete Guide to Fitness and Health. American College of Sports Medicine.

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https://www.youtube.com/watch?v=B9qnjxfzPYw