PE 102

Rhythmic Activities
Module #1

Batangas State University

Physical Education Department
2nd Semester A.Y. 2020-2021
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.
PE Instructors

Mr. Roberto B. Dr. Jennifer Assoc. Prof. Asst. Prof. Cecil Ms. Mary Grace Mr. Davidsol
Abas, Jr Baes - Atienza Virginia E. Baes L. Dimasacat A. Marimla M. Mendoza

Mr. Marcelino Mr. King Alberto Ms. Jenny Mr. Bryan U. Mr. Ronald M.
M. Ona, Jr. C. Saballo May A. Aldea Carlos Espina

PABLO BORBON CAMPUS

PE Instructors

Ms. April A. Mr. Lorenz Mr. Jayson G.

Ms. Ma. Millicent Malabanan
Doisset R. Geron Hernandez Aaron M. Isla

Mr. Jhon Clinton Mr. Rannie V. Mr. Jonel L. Mr. Rancel Reeve
O. Mendoza Mercado Pederio G. Rosales

PABLO BORBON CAMPUS

PE Instructors

Mr. Henry P. Mr. Ryan Ms. Ricah Agnes Mr. Euvert M. Ms. Han Tracy
Mendoza Cazel N. Lalog B. Asi Balmes J. Batronel

Ms. Maria Carmela Mr. Francis E. Mr. Glenn C. Ms. Melanie

M. Carandang Dela Cruz Delas Alas C. Dimaano

ALANGILAN / LOBO / MABINI CAMPUSES

PE Instructors

Mr. John Christian Mr. Richard

F. Escamillas Cris Padua

Mr. Roi Miguel Mr. John Israel

Panganiban P. Santos

ALANGILAN / LOBO / MABINI CAMPUSES

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 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.
TABLE OF CONTENTS
I. INTRODUCTION
II. INTRODUCTION TO PHILIPPINE FOLK DANCE
-Brief History of Philippine Folk Dance
III. CLASSIFICATIONS OF PHILIPPINE FOLK DANCES
- General Classifications
- Characteristics of Philippine Folk Dances
- Do’s in Folk Dancing
IV. FUNDAMENTAL POSITION OF ARMS AND FEET IN DANCING
V. COMMON DANCE TERMS USED IN FOLK DANCE
VI. SOCIAL AND BALLROOM DANCES
- Holds and Positions
- Cha-cha-cha
- Swing
INTRODUCTION
 Physical Education, as part of 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 Activities 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 individual as a form of entertainment

and enjoyment, This gives an input to students to find themselves contented of 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 doubts, 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

 Reduces 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 regions being influenced by regions and conquerors.
Even though there were traditions in our dances, yet, there are
similarities within its nature origin. Most of the traditional
dances were contrive 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 our numerous
fascinating Philippine Dances.
CLASSIFICATIONS
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 southeastern part of the world respective and historical by the
islands and by the globe. There are several dances in the country. Some
of the dances are performed in 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 the 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 (6) 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 -is a Philippine dance of Hispanic origin from the Mana Clara suite of
Philippine Folk Dances.
- Jota -a Spanish folk dance originated in the North 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 war 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 religion 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 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.
Makongggo-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 - 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 a 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
depicting in dramatic fashion.
Palu-palo- is a ritual dance and classified into creative dance.
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 last movement.
Puriton Bangles. Habanera Botolena, Alcomfor, etc.
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 partner 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 part.
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 POSITIONS
IN DANCING
Disclaimer: Photos and Videos presented / attached in this module were taken inside
Batangas State University. The presenter/s strictly follows the University health
guidelines in fighting against CoViD-19. Proper sanitation was done after the shoot.
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.
FIRST POSITION

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.
SECOND POSITION

FEET - The feet position is performed with feet sideward about a pace apart with heels parallel 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).
THIRD 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.
FOURTH 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).
FIFTH 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.
FIRST POSITION

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.
SECOND POSITION

FEET - The feet position is 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.
THIRD POSITION

FEET - The feet position is performed with feet sideward about a pace apart with heels parallel 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.
FOURTH 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 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.
FIFTH POSITION

FEET - Stand with one foot pointed forward about a pace distance with toes out.
SIXTH POSITION

ARMS - Remain on 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.
SIXTH POSITION

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.
SEVENTH POSITION

FEET - Stand with one foot placed in front of the other foot 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.

COMBINATION OF
ARMS AND FEET
Pleas click the link below:

https://www.youtube.com/watch?v=MiBdYHtECPY
COMMON DANCE
TERMS USED IN FOLK
DANCING
Please click the link below:

https://youtu.be/4j67PnN12uQ
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 forearm in front while 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 tum 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 booth feet 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 toe, placing weight of the body
on the foot. There is no change or transfer of weight here.
– Toe or ball of free foot is placed momentarily on floor and lifted again
immediately.

Whirl - To turn fast by executing small steps in place to right or left.

COMMON DANCE
TERMS USED IN FOLK
DANCING
Click the link below:
REFERENCES
AQUINO, Francisca Reyes (1996), Philippine Folk Dances, Vols. 1-6. Manila,
Philippines

DIMAMPLIS, Nenita J., et.al. (2010), Physical Education 2: Rhythmic Activities.

Mandaluyong City, Philippines

ICHIRO, Yogi (1984), The Evolution of Dance in the Philippine Culture

Makati, Philippines

ORLANDA, Marilou M. (2012), Indak Sayaw. Manila, Philippines

REYES, Tolentino (1993), Philippine National Dances.

Quezon City, Philippines
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 a sort of entertainment. These began and recorded toward the
end of the 16" century. As 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 16 century. It was first recorded
with five basic dance steps as Shakespeare acknowledged the dance as "cing
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
Disclaimer: Photos presented / attached in this module were taken inside Batangas State
University. The presenter/s strictly follows the University health guidelines in fighting
against CoViD-19. Proper sanitation was done after the shoot.
CLOSE BALLROOM
RIGHT PARALLEL
OPEN BALLROOM
FACING POSITION
CONVERSATION
BACK CROSS
ESCORT POSITION
SIDE BY SIDE
PROMENADE
VARSOVIENNE
WRAP POST
SWING OUT POSITION
REVERSE VARSOVIENNE
START POST
REVERSE OPEN POST
CHA CHA CHA
Cha cha cha is a dance of Latin America. The
definition of the dance and the origin of its name
comprise from 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 step replacing the sole steps of
Mambo and Rumba
Cha-Cha-Cha Basic Steps

MEN’S PART
1. Step right (R) foot forward
2. Left (L) foot in place
3. Do the shuffle and step L backward

WOMAN’S PART
1. Step L foot backward
2. R foot in place
3. Do the shuffle and step R forward
Basic Cha-Cha-Cha
Please click the link below:

https://www.youtube.com/watch?v=mEg2klPvtro
SWING
Swing is the most commonly known social dance among group
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 relatively easy dance made its
very reason why people of all ages live dancing it.
SWING BASIC STEPS

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

2. Step Left (L) in place, then step R foot forward

Basic Swing
Please click the link below:

https://youtu.be/S8zG3pG4cIY
REFERENCES
BOOKS:
MILAGROS, Aguinaldo et.al (1998), Ballroom Dancing: A new lifestyle.
Quezon City, Philippines
ORLANDA, Marilou M. (2012), Indak Sayaw. Manila, Philippines
SILVESTRE, Victor (1990), Modern Ballroom Dancing
Great Britain

VIDEOS:
BatSU DHK YT Channel
UC-SHS PE Dept YT Channel