Republic of the Philippines

Jacinto P. Elpa National High School

Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Chapter II

REVIEW OF RELATED LITERATURE

Foreign Literature

Physical Education is based on a set of physical and sporting constructs that

relate to student development at three levels: cognitive, psychomotor, and socio

emotional. Further levels of development include physical, moral, behavioral, and

conceptual development. While it is agreed that physical education is important and

beneficial for students, we need to be aware that there are tensions and issues

relating to the presentation of PA programs in schools that are logistical and

administratively difficult to overcome (Nasário et al. 2020).

If schools are providing physical education classes that are less than

enjoyable, boring,non-informative and repetitive, the environment becomes stale and

non-conducive to the development of a meaningful PA culture. This scenario

provides a missed opportunity for schools to develop positive PA awareness for

young people and is detrimental for promoting physical activity engagement and

associated health benefits. For instance, studies have revealed the health benefits of

PA, decreased screen time, and quality sleep for children and adolescents (Vaquero-

Solís et al. 2021).

It seems that dance offers a viable physical activity alternative to traditional

physical education provision in schools. Participation in dance provides social

interaction, skill development as well as psychological and physiological health

benefits. Teachers,governing bodies, and policy makers should consider the

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

implementation/addition of dance activities for all pupils during physical education

curriculum development (Laird et al. 2021).

.The Dance Club (“TDC”) is a nationally acclaimed dance studio based in

Orem, Utah, in a state-of-the-art facility. Dance classes are offered to students ages

2 1/2 and up, in Jazz, Ballet, Tap,Contemporary, Tumbling, Hip Hop, Fairy-tale Ballet

and Improve. The faculty is an all-star cast for those just starting their dance training

as well as those with exceptional technique and ability. With innovative classes for

young children to classes offered to prepare dancers for the professional level.Their

teachers are highly dedicated in helping each child progress and reach their

potential. TDC is in the business of training talented young dancers. And they have

been very successful over the past 32 years. Their students have gone on in the

professional dance world to have wonderful experiences on stage, in film, TV and

theater. Some have done company work while others have toured the world with top

recording artists. Many have gone on to have very successful teaching careers. But

the fact is that the majority of students at any dance studio do not go on to have a

professional dance career. So what is there to gain from the countless hours of

practice, the financial investment made and the personal sacrifice paid in the pursuit

of developing talent in the art of dance? At TDC they strive to provide their students

with not only the technical dance skills to pursue professional dance career, but

more importantly arm them with essential life skills that lead to success in whatever

they pursue.

Increased health benefits accrued by active participation in dance classes are

considerable. They require non-specialist teachers to deliver the classes and are
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

inexpensive to implement. Dance participation can also potentially provide benefits

for poor countries where the cost of specialist equipment and facilities are a serious

economic limitation for quality and structured PA. Schools, governors, teachers,

pupils, and governments need to consider the advantages of dance as an

alternative/addition to the curriculum in the provision of physical education/physical

activity classes in the school environment.

The Dance Centre Company (“DCC”) has been a premier dance studio in

Tuscaloosa for over 50 years. Thousands of aspiring young dancers have received

excellent dance-training from DCC. In a nurturing and loving environment, their

faculty is devoted to giving each student the individual attention they deserve.

Located in the North-ridge Center, their four studios with “floating” floors, full viewing

windows, dressing room, dance-wear boutique and ”Prima” Cafe make up a state of

the art facility. The Dance Centre Company is made of an elite group of dancers who

are selected for their exceptional talents. With over 55 members, there are four

different groups which make up the Kid, Junior, Teen and Senior Companies. Their

companies have been an

overwhelming success made evident by the hundreds of gold and platinum trophies,

overall high-scores, cash awards and scholarships. DCC has won the “Class Act

Award” commending their school for presenting their dancers in first rate

performances with class, integrity and “age appropriateness.” Hundreds of their

company members have received special recognition by winning scholarships, being

named “Outstanding Dancers” and for being chosen to train in prestigious workshops

and summer intensives. Their company has received numerous “Critics-choice” and
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

“Best of Show” Awards. Most recently at The Dance Awards National competition in

NYC, they won Overall Mini/Junior Jazz Performance, Overall National Junior “Best

Performance” and Overall National Teen“Best Performance.” DCC believes that

exposure to world-renowned teachers and choreographers is a tremendous benefit

in training and discipline. They proudly offer this opportunity to all members of DCC

Company. Primadonna’s is their in-house dance-wear store-filled with the latest

styles and hottest trends in dance today. From shoes to sweatpants and tights to-

tutus, Primadonna’s has it.

After what was eighteen months of isolation and remote learning for some due

to the COVID-19 global pandemic, it is imperative that dance classroom spaces

become community spaces united in solidarity for all. Calling attention toward the

racism systemically ingrained in the American dance legacy serves as an impetus to

eliminate that racism while transforming American dance education into a sincerely

American (multicultural) dance experience that is better informed, empathetic, and

equitable. This essay based on literature in the fields of dance, education, and social

justice discusses the racism embedded in America and American dance, the

conglomeration of cultures and identities that inherently forge American dance, the

need to see and understand thyself and others in the classroom, and methods for

curricula diversification.
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Local Literature

The world of dance is rich with history and personalities. In fact, the Cultural

Center of the Philippines (1994) compiled the extensive history of Philippine dance

from precolonial to contemporary times and included a comprehensive list of

exceptional artists, their background,education, trainings, credentials, and

experiences in the field of Dance in Volume 8 of their CCP Encyclopedia of

Philippine Art. Similarly, Joaquin (1994) in his book titled “La Orosa: The Dance

Drama that is Leonor Goquingco” found it essential to delve into Philippine dance

history through discussing the biographies of its notable personalities and chronicles

of ideal moments in the history.In addition to this, the field of Dance comprises of a

wide and ever-growing list of genres including ballet, folk, and modern dance

(Mercado, 2009). Each of these genres is subject to its own history and evolution.

Mijares (n.d.) illustrated this in her analysis of the history and evolution of the

Philippine Ballet Syllabus outlined in the book of Radaic, Jumalon, & Damian(2001)

entitled “How National is the National Ballet Syllabus”.Moreover, the evolution of

dance includes the integration of relevant thoughts and doctrines such as feminism.

Jacinto (1999) discussed how Denisa Reyes’ selected works reflected on feminist

theories and how she works as a dance artist and as a woman. Other personalities

which incorporated feminist theories were Myra Beltran, Kristin Jackson, and Agnes

Locsin, independent women artists in the Philippine, whose identity through their

work sand their movement into becoming independent dance artists was discussed

by Rina Angela Corpus’ “Defiant Daughters Dancing: Feminist Dance Theories of

Three Independent Women Dance-Makers”

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Local Dance in the Philippines has played a tremendous role in Filipino

culture. From one of the oldest dated dances called the Tinikling, to other folkloric

dances such as the Pandanggo, Cariñosa, and Subli, and even to more modern-day

dances like the ballet, it is no doubt that dance in the Philippine setting has

integrated itself in society over the course of many years and is significantly

imbedded in culture. Each of these dances originated in a unique way and serve a

certain purpose, showcasing how diverse Philippine dances are now. Furthermore,

Philippines nowadays dance was classic and innovative because of the modern

period during this time many Filipino artist dancer are create an innovative steps and

style to make it creative and new.

In Philippine Folk Dances and Songs (1966) by National Artist Francisca

Reyes-Aquino, there is a photo of a group of Isabela province’s Kalingas

accompanied by the caption: “Note how the baby is carried by the mother.Influence

of their association with their Christian brothers may be seen in the use of a pair of

shoes by one, the dress of one girl, and the shirt of the man. All others are still

primitive.” The photo is under the Costume section,which includes various images of

persons wearing native garb representing different cultural communities in the

Philippines. This section is meant to be a guide on how to dress “authentically” or

appropriately when performing the dances described in the book.

Handler (1999) documents a similar case in Quebec, where folk ways,

specifically folk dances, were subjected to cultural objectification “influenced by both

romantic and nationalistic ideology and contributed to a vision of the peasant roots of

the nation” (p. 71). He highlights the role of academia in this legitimizing process
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

(see also Said, 1979). In the Philippines, similar efforts can be seen in the initiative of

Jorge Bocobo,former President of the University of the Philippines (UP), to conduct

research on the music and dances of different ethnic communities in the Philippines

(Goquingco, 1980; Santos, 2005; Castro, 2011; Villaruz, 2006; Alcedo, 2014). In

1934, Bocobo tasked particular members of the university faculty from the

Conservatory of Music and the Department of Physical Education including

Francisca Reyes (later, Aquino), a physical education teacher who did a preliminary

survey of Philippine folk dances for her thesis on folk dances and games in the

Philippines, to be part of the research team. This project allowed Reyes-Aquino to

expand her research on folk dances, resulting in the publication of six volumes of

Philippine Folk Dances, which were published between 1953 and 1980 (including

new editions). These six volumes feature dances from different parts of the country,

including Hispanized or Christianized dances, localized forms of European dances,

as well as ethnic dances or those practiced by different indigenous communities in

the Philippines.

As indicated in the foreword of volumes 1 through 5, all by Serafin Aquino

who was then Executive Secretary-Treasurer of the Philippine Amateur Athletic

Federation (PAAF) and later Chief of the Division of Physical Education at the

Department of Education, Reyes-Aquino’s works serve as guides for the ‘authentic’

reproduction and performance of the dances in different social activities, including

recreation. They are also meant to instill a patriotic and nationalistic spirit. In the first

volume, Aquino (1953) remarks, “the work being done to collect Filipino folk dances

and to preserve their authenticity for future generations deserves the support of
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

every patriotic citizen. We should be proud of, and keep for posterity, the best

traditions and culture of our people” (p. I). In the second volume, Aquino describes

folk dances as “really for and by the common people. A recreation program for these

people, which includes folk dances that will uplift their spirit and provide a welcome

relief from the monotony and dreariness of manual labor.” He continues, “This new

volume on Philippine folk dances by Mrs. Aquino represents many years of

continuous labor in the interest of preserving for posterity the genuine culture,

customs, and traditions of the Filipinos as depicted in their folk dance.” (Aquino,

1960a, p. I). In the third volume, Aquino notes:The value of folk dancing as a cultural

and recreational activity is more fundamental than its being a means towards

development of nationalism. Its higher value lies in the wholesome recreation and

spiritual satisfaction it can provide, and the preservation of the people’s culture Care

must be taken, however, to preserve the authenticity of the Philippine folk dances. It

is therefore essential that for the real meaning and value of these dances, they be

performed in their original form. In every case, authentic music, steps and costumes

should be used. (1960b, p. I)

In 1998, the role of the Bayanihan as one of the country’s cultural

ambassadors was legally recognized through Republic Act 8628, which designated

the Bayanihan as “The Philippine National Folk Dance Company”. The law describes

the role of the Bayanihan as an organization tasked to research on Philippine

culture, specifically folk dances, to disseminate this knowledge. In the meantime, the

ROFG is to continue its work of promoting and educating the public about Filipino

culture through folk dance presentations. The members ensured the continuity of
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

their organization through the Batang ROFG program, in which children and teens

are trained in music and dancing in the tradition instituted by Obusan.

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Foreign Studies

International students who study dance in the US must be prepared to

challenge both their minds and their bodies. Dance programs require students to

explore the history, theory, and science of their art while developing their physical

skills. Students who study dance face a difficult schedule of technique and

choreography classes, long evenings in rehearsal, as well as academic classes.

Dancers learn to express ideas and emotions through dance styles such as ballet,

tap, modern, jazz, ethnic, and folk dance. Studying dance in the US requires taking

classes in dance technique, choreography, and the history of dance. International

students who study dance have the option of either a bachelor of fine arts (B.F.A.) or

a bachelor of arts (B.A.) degree. Both prepare students for careers as dancers and

choreographers, and the B.A. also offers the option of a career in dance education,

administration, and therapy. Most dancers will teach dance at some point in their

careers.

International students who pursue dance as a career must be prepared to

work nights and weekends, travel or relocate frequently, and spend much of their

time rehearsing and in the studio. They must cross-train to prevent injuries and eat

healthily to keep their bodies in top physical condition. Dance is so hard on the body

that many dancers stop performing by their late thirties. Dancers need to know how

to interpret a choreographer's vision and feel comfortable performing in front of live

audiences. Dancers must be prepared to face rejection, as the field is highly

competitive. Economists predict that jobs for dancers will grow at the same rate as

the average for all careers in the US through 2018. As dance is becoming more and
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

more popular, there should be an increase in the number of teaching jobs available.

In 2009, the U.S. Bureau of Labor Statistics reported that dancers had an average

hourly income of $16.37 in the United States.

International Journal of Education & the Arts, v20 n2 Jan 2019 The increase

in internationalization of education has set off a proliferation of educational models.

Study abroad has emerged as one of the educational approaches through which

universities can support students to internationalize their experiences, hone their

skills and knowledge bases, sharpen professional proficiencies, and broaden their

cultural perspectives. What meanings do foreign students who participate in study

abroad programs in African dances in local African communities construct? This

article engages the theory of experiential learning and concept of Orientalism to

provide a critical examination of the meanings that the students from the U.S who

took part in dance education study abroad to Uganda constructed from participation

in neo-traditional dance activities. A hermeneutic phenomenological research

paradigm was applied to collect data from six students from the U.S who took part in

the Dance Education study abroad program to Uganda. The findings reveal how the

study abroad programs enabled the students to negotiate, question, and

conceptualize the idea of "study abroad to Uganda" as a "place" of nativism,

exoticism, identity variances, and cultural differences. Critical analyses are made on

how the students' agency in neotraditional activities cultivated embodied connections

to the "other," allowed for exploration of communalized pedagogies, facilitated

holistic learning of dance through music and storytelling, and fostered immersion into

"local" artistic and educational realities through collaborative and interactive lesson-
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

planning and co-teaching. Issues of how study abroad in dance can aggravate

cultural appropriation are also examined. This article offers insights into the intricate

trajectories that students take to construct complex meanings through embodied and

reflective participation in dance activities in local African communities, which can be

beneficial to dance educators, cross-cultural and intercultural learners, and

individuals who run cultural exchange programs.

Throughout her career, Nancy Huston has both accepted and transgressed

the limits of bilingualism. "Limbes"/"Limbo" (1998), "L'empreinte de l'ange" (1998),

"The Mark of the Angel" (2000), "Danse noire" (2013), and "Black Dance" (2014) are

five texts that demonstrate Huston's diverse use of polyglot writing. While

"Limbes"/"Limbo" is characterized by its use of bilingual writing and self-translation,

"L'empreinte de l'ange" and "The Mark of the Angel" possess monolingual narratives

accompanied by five different languages. By contrast, whereas "Danse noire"

presents self-translations and multilingual dialogues within three alternating

narratives, Black Dance demonstrates a less intense use of multilingualism. What,

then, can be said about Huston's use of multiple languages? And what are the

stakes of this unique, multilingual style? In view of these five texts, this study will

examine the benefits and disadvantages of Huston's polyglot writing. Moreover, it will

expose the linguistic limits for the "readerly" experience of Huston's work. When

used minimally or as a form of bilingual self-translation, Huston's presentation of

foreign languages enhances her narratives. When used excessively, or as a way to

dominate the text, however, this multilingualism impedes the reader's

comprehension of the narrative. In navigating these inter-lingual limits and

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

transgressions, this study will uncover some of the linguistic problems and solutions

inherent in Huston's work

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Local Studies

This essay narrates the biography and dance aesthetics of Myra Beltran, a

pioneering, independent and contemporary woman dance artist in the Philippines.

Featured here are the history, alternative aesthetics, philosophy, and influences of

Myra Beltran's works. It comes from the point of view of an author who is also a

woman, dancer, and writer viewing the works of another woman dance artist. It is

contextualized within the Philippine contemporary dance world and the exigencies of

living as a dance artist within this context. The essay, informed by feminist critical

theories and histories, is a form of feminist intervention in the field of dance, thus

engaging the cross-disciplinary possibilities between dance and women's studies.

A total of 87 college professors, childhood development experts, and school

teachers from the United States, Canada, the Republic of Korea, and the Philippines

participated, along with 34 representatives from the host country of Taiwan, in a

seminar to exchange views and experiences related to the role of the arts in child

development. This volume provides various materials presented at the seminar,

including opening addresses and keynote speeches, speeches at panel sessions,

the closing address, and farewell remarks. The four keynote speeches focused on

freedom and human development, the arts in China, the role of the arts in the

invention of man, and cultural tradition and creative expression. Speeches made at

panel sessions included a comparative study of creative abilities in gifted and

average fifth-grade children in the Taipei area,plastic arts and child

development,music and the total development of the child,music and children's

education,dance and child development,dramatic play, and child development and

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

the arts. Approximately one-third of the document consists of participants' reflections

on their experiences at the seminar; schedules; lists of participants and members of

the organizing committee, and photographs of participants are also included. (RH)

This study emerged out of collaboration between an artist-educator and a

dance researcher. It explores student experience participating in a school based

dance outreach program at an urban elementary school. The program is supported

by a local, contemporary dance company. The artist-educator approaches teaching

and curriculum with values shared by constructivist, critical, and transformative

pedagogical theory. An overview of teaching practices and curriculum is presented in

this article. Students' written reflections are mined for data representing students'

lived experience in dance. Findings suggest that students practice skills and develop

content knowledge that aligns with student outcomes identified as essential to 21st

century learning by Partnership for 21st Century Learning. This article discusses

findings in relation to Framework for 21st Century Learning as a way to bridge

student learning in dance with broader educational goals and curriculum.

The dynamic embodiment of the national imaginary through dancing is not

uncommon (see, for instance, Reed, 2010; Foley, 2001; Chakravorty, 1998; Fisher,

2003). As a visual spectacle, dancing can be easily recruited as a convenient symbol

of the nation. In the Philippines, this is accomplished by presenting the diverse

cultural communities in the country through stage performances of what is

documented as dances in their culture. The Bayanihan compiles these different

dances into four suites: the Cordillera suite, the Muslim Suite, the Maria Clara or

Hispanic Suite, and the Lowland Filipino suite.15 These suites are meant to display
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

the array of cultures in the Philippines, from the non-Christian groups in the northern

Philippines(Cordillera suite), the Islamized groups in the southern Philippines

(Muslim suite), and the Christianized communities in the country (Hispanic and

Lowland Filipino suites). While the Bayanihan has expanded its repertoire to include

newly discovered dances, these four suites remain staples in their performances.

Leonor Orosa Goquingco, another National Artist for Dance, who wrote one of

the major texts on Philippine dance, reinforces these groupings of Philippine dances.

Goquingco (1980) uses two general categories to describe the different “ethnic”

dance traditions in the Philippines: “Dances of Non-Christian Filipinos”, which is

further divided into “Dances of traditionalist or pagan groups” and “Dances of Muslim

Groups”, and “Dances of Christian and Lowland Filipinos or Western-Influenced

Dances”. The twinned categories follow her categorization of the “chief cultural

groups” in the Philippines: Major Christian Groups, Minor Christian Groups, Muslim

“Moro” Groups, Principal “Pagan” or Traditionalist Groups, Negrito and Dumagat

Groups,and Multiple-Belief-Holding Groups (such as partially-Christianized “pagan”

groups) (p. 23). As with the Bayanihan’s dance suites, the various cultural

communities in the country are grouped under broad categories roughly based on

their degree of Christianization.

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

References:

Dance Studies Retrieved from:

https://www.internationalstudent.com/study-dance/ on March 24,2023

Dance Education Retrieved from:

https://eric.ed.gov/?q=foreign+dance+studies&id=EJ1203862#:~:text=International

%20Journal%20of,cultural%20exchange%20programs. on March 24,2023

Myra Beltran and the Aesthetics of an Independent Filipina Woman Dancing

Retrieved from:

https://eric.ed.gov/?q=philippine+dance+studies+&id=EJ811826#:~:text=This

%20essay%20narrates,and%20women%27s%20studies. on March 24,2023

Philippine Dance Studies Retrieved from:

https://eric.ed.gov/?q=philippine+dance+studies+&id=ED231499#:~:text=A%20total

%20of,also%20included.%20(RH) on March 24,2023

Dance Literature in the Philippines Retrieved from:

https://eric.ed.gov/?

q=dance+literature+in+the+philippines&id=EJ1366720#:~:text=After%20what

%20was,for%20curricula%20diversification. on March 24,2023

Dance Journals Retrieved from:

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

https://journals.upd.edu.ph/index.php/jescl/article/viewFile/6884/5971 on March

24,2023

Dance Literature Retrieved from:

https://scholar.google.com/scholar?

hl=tl&as_sdt=0%2C5&q=The+impact+of+dance+to+the+physical+health&oq= on

March 24,2023
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

THE IMPACT OF DANCE TO THE PHYSICAL HEALTH OF SPA STUDENTS OF

JPENHS

A Research Paper Presented to the Faculty and Staff of the Jacinto P. Elpa

National High School

__________________________________________________________

In Partial Fulfillment of the Requirement

for the Subject of Art Research

__________________________________________________________

Shiaoxi Pierse Yzelle M. Guyang

Jashmen Keth T. Langres

Jerian G. Perez

Alexandra Nicole M. Patosa

Hasmon Judah Laurente

Ashley Jhamaica Leopoldo

Avril Edrad
 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

Nicolas Eriarte Gallego

Art Research Adviser

Chapter III

RESEARCH METHODOLOGY

This chapter contains the discussion of the design used, the respondents of

the study,the different methods to be used in the study, data gathering

procedure,and the statistical treatment of data.

Research Design

This study will be using an experimental quantitative research design. An

experimental research design uses the survey and online method to establish the

cause-effect relationship among a group of variables that make up a study.

Hence, the opportunity to do qualitative sociological research for dance using

online interviews is now possible with real-time synchronous audio and video feeds

using software such as FaceTime and Skype. Even when we are studying dance

forms which are localized in one area, trying to spend as much as in the field

studying dance at close quarters as an anthropologist to study dance forms such as

Cocolo Dance from the Dominican Republic, Rabinal Achí dance from Guatemala, or

some other dance form, it is not always possible in person.

 Republic of the Philippines
Jacinto P. Elpa National High School
Capitol Hills, Telaje, Tandag City, Surigao Del Sur

We may start researching in the place but, if we need to do some follow-up

interviews, online methods can be very useful.

Research Respondents

The research is made to provide crucial information and knowledge regarding

the chosen topics from the respondents, recent studies or thesis needed for the

expected importance to the individuals such as dancers,and the SPA students of

Jacinto P. Elpa National High School. Therefore, researchers will use purposive

sampling because the researchers want to have the appropriate people who can

answer the questionnaires.

Research Instrumentation