PHYSICAL EDU REVIEWER  The first used of dance was a

gesture in order to
CHAPTER 1 communicate.
Topic:  People from prehistoric era
performed ways they hoped
 Definition of Dance would appease the forces of
 Brief History and Nature of Dance nature or give them new
 Benefits of Dance powers of their own.
 Kraus and Gaugman (1981),
“man danced originally to
DEFINITIONS OF DANCE supplicate the gods on all
 It is an activity which can take important occasions of life”.
many forms and fill many
different needs. It can be
recreation, entertainment,
Wayne Sleep (1986)
education, therapy, and religion. “Dance is fun! It lifts the
In its purest and most basic form, spirit, strengthens the body, and
dance is an art, the art of body stimulated the mind.”
movement (Barbara Mettler,
1980). Agnes de Mille (1963)
 It differs from athletics or daily
“Before man can do
activities because it focuses
anything, he must draw breath,
primarily “aesthetic or even
he must move. Movements is the
entertaining experience” (Myers,
source and condition of life. To
2005).
dance is to be out of yourself.
 It provided variety of functions
Larger, more beautiful, more
throughout history due to its
powerful. This is power, it is glory
multidimensionality.
on earth and it is yours for the
 It uses the body as an instrument
taking.”
of expression in time and space.
 It has been a major form of Four Reasons People
religious ritual and social
expression with primitive cultures. Dance (Myers, 2005):
 It was used as a way of  To please gods
expressing and reinforcing tribal  To please others
unity and strength, as an  To please themselves or
approach for courtship and self- expression
mating, and as means of worship,  To build community within
communication, and therapeutic an ethnic group or social
experience. interaction
BRIEF HISTORY OF DANCE Physical Benefits of
 Dances thrived at different Dance:
periods of history and mostly
 Develops cardiovascular and
were a result of intercultural
muscular endurance
exchange and contact
 Improves coordination,
(Alejandro & Santo – Gana,
balance, flexibility, and
2002).
body coordination
 Lowers risk of
cardiovascular diseases
  Lowers body mass index Social Benefits of Dance:
 Lowers resting heart rate
 Improves lipid metabolism  Gives sense of togetherness
 Enables joint mobility (hip within a group
motion and spine flexibility)  Encourages positive social
 Helps improve and maintain interaction and interpersonal
bone density, thus helps relationship in a group
prevent osteoporosis  Contributes to the individual’s
 Helps recover coordination potential for self-actualization in
and neuromuscular skills society
after injury
Cultural Benefits of Dance
Mental/Emotional Benefits of  Promotes cultural values
Dance:
 Helps keep the brain sharp
 Decreases the incidence of
dementia and Alzheimer’s
disease
 Decreases depressive
symptoms
 Increases self-esteem and
improves body image
 Aids in releasing emotional and
physical tension
PHYSICAL EDU REVIEWER Spatial Elements:
CHAPTER 2  Direction
Topic:  Size
 Level
 Elements of Dance  Focus
 Six Qualities of Dance Energies
 Bodily Shapes Direction
 Group Shapes
 Dance movements travel in
Rudolf von Laban any direction
 Forward, side, backward,
“Existence is movement. Action is diagonal, circular, and so on.
movement. Existence is defined by the
rhythm of forces in natural balance.” Size
Schrader, 1996  Movements are larger or
smaller actions
“The human body is living in time
and space, and it exhibits some effort. Level
Thus, all movements occur in time,
 Movements are high, medium,
through space, and with effort.”
or low level
ELEMENTS OF DANCE: Focus
 Space
 Performers may change their
 Time/Timing
focus by looking at different
 Energy
directions
Space
 This is the area the performers
occupy and where they move.

Timing
 The movements in timing may
The picture above shows movement
be executed in varying tempo
(speed).
 The timing can be varied by
moving faster or slower than
the normal beat.
 Performers move with the
tempo of an underlying sound,
known as beat or pulse. done in different sizes.

Energy The picture above shows movement at

different levels.
 It minimizes the monotony of
the movements in a  When a sequence of a movement
performance. or group of phases is done in
 The movements here propelled varying tempos, they generate
by energy or force. rhythmic patterns.
SIX QUALITIES OF DANCE  Symmetrical
 Asymmetrical
ENERGIES:
 Sustained
Symmetrical
 Percussive  balance shape; movements are
 Vibratory practically identical or similar
 Swinging in both sides.
 Suspended
 Collapsing Asymmetrical
Sustained  unbalanced shape; movements
of two sides of the body do not
 Movements are done match or completely different
smoothly, continuously, and from each other.
with flow and control.
 It does not have clear  The body can be rounded,
beginning and ending. angular, or a combination of two.
Other body shapes can be from
Percussive wide to narrow and from high to
 Movements are explosive and low.
sharp.
 It does have clear beginning
and ending.

Vibratory
 Movements consist of
trembling and shaking.
 A fast version of percussive
and produces jittery effect. Group Shapes
 A group of dancers perform
Swinging movements in different group
 Movements traced a curve line shapes.
or an arc shape.
 Movements are relaxed and
giving in to gravity

Suspended
 Movements are perched in
space or hanging on air.

Collapsing
 Movements are released in
tension and gradually or
abruptly giving in to gravity.

Bodily Shapes
 Entire body is molded in space
or configuration of body parts.

TWO BODILY SHAPES:

PHYSICAL EDU REVIEWER of the choreography (Minton,
2007).
CHAPTER 3
Topic:
Phrases
 Dance Appreciation and  “smallest unit of form in the
Composition whole dance” (Blom and
 Form, Phrase, and Motif Chaplin, 1988).
 Characteristics of Good Dance
Minton (1997)
Recreational Dance Suggests that movement phrases
should vary in length and shape, most of
 Social activity in which people
the dances these days use equal length
of all ages can participate phrases.
 Include folk, cultural, historical
dances, and social dances. Motif
 The styles performance and
music are related to the  A single movement or a short
phrase of movement that
cultural roots, historical eras,
embodies the style and intention
and geographic areas from of the dance.
which the dance originates.
CHARACTERISTICS OF GOOD
Dance Fitness
DANCE:
 A fun way to increase
cardiovascular endurance,  Unity
strength, and flexibility.  Continuity and Development
 Variety and Contrast
 A good dance displays a  Transition
significant meaning or conveys a  Repetition
message. Sometimes, it also  Climax
portrays life experiences.
 A good dance lifts and transports
Unity
the audience from their sits  interconnected phrases of the
during the performance. dance are coherent and flow
 A good dance therefore, must smoothly together
have a shape or form for its  the movements fit together,
choreography to be effective. and each plays an important
 It has a beginning, middle, and role that contributes to the
end/ conclusion. entirely of a dance.
 It is crucial for a dance to
Form have unity to effectively
 the instrument by which ideas make the audience
and elements are arranged or understand the
combined into a logical choreography. It also
sequence which results in unity attracts and holds the
and consistency, and by audience attention (Minton,
means of which the content or 2007).
idea can be expressed and
communicated.
 should progress through time Continuity and Development
from the beginning to the end
  It is the phrases of the dance  They will evaluate a part of an
that are organized ongoing process of developing
progressively, making each a personal style which is both
movement phrase move spontaneous and organized.
naturally into the next.
 continuous development of the Dancers
movement phrase
 They will evaluate according to
Variety and Contrast the specific demands that the
performance places on them.
 It adds excitement and flavor
in dance. Audiences
 The movements are slow to
 They will evaluate according to
fast, short to long, and minimal
the context of the dance.
to large movement phrases.
Stages in Assessing a Dance
Transition
(Dance Critique):
 It is the link between
movements, phrases, and  Description
sections of the dance  Interpretation
 It makes the logical  Evaluation
progression of the dance flow
smoothly. Description
 It keeps the unity and  close observation of all the
continuity of the dance. elements, characteristics, and
components of a dance as
Repetition
described in the previous
 It emphasizes the movements sections.
and phrases that are important
to the dance and gives the Interpretation
feeling of closure to work
 Involves an appreciation of the
Climax ideas, content, images, and
style contained within the
 The apex of energy in the dance.
danced is reached (Schrader,
1996). Evaluation
 It is may be a fast and enraged
 Takes into consideration how
blast of energy and action, or it
effectively the features and the
could fade away to a gentle or
context of the dance have
quite exit that marks the end
been utilized in the actual
of a story.
performance of the dancers to
EVALUATERS ROLES: portray the content and the
quality of the dance.
 Choreographer
 Dancers  Analyzing and evaluating
 Audiences dance does not come out
naturally and does not
happen overnight.
Choreographer PHYSICAL EDU REVIEWER CHAPTER 4
Topic: Spanish, English and French
immigrants.
 Philippine Folk Dance
4. The Non- Christian (Muslims
 Differences between folk,
and Lumads) Natives dances
national, and ethnic dances retained their distinct
 Fundamental dance position of Malayan characteristics.
the arms and feet
 Dance Terms
Objectives of Philippine
 Social Dance Folk Dances:
 Line Dance 1. To foster patriotism and
 Ethnic Dance nationalism through the
study of dances.
James K. Feibleman, a great 2. To arouse better
Philosopher appreciation of Philippine
folk and music and dances.
“Dance is an art which deals with the 3. To provide through folk
motions of the human body.” dancing a healthful form of
 Dance is an art of rhythmic recreation and relaxation.
bodily movements that 4. To develop grace and
projects ordered sequence rhythmic coordination of
of moving visual patterns of body movements and
line, solid shape, and color. posture.
 Dance comes in different 5. To arouse and keep the
forms. All dance styles are interests of the students in
not alike, and they are taking part and in joining folk
distinctive. dance.
6. To preserve the posterity of
Folk Dances folk dances and music
indigenous to the different
 The indigenous dances of any regions of the Philippines.
specific “folk” or the common 7. To demonstrate the growth
people. of the Filipino culture
 They are traditional customary through the evaluation of
or recreational dance forms Philippine Folk Dances.

BRIEF HISTORY OF PHIL. FOLK CHARACTERISTICS OF

DANCE: PHIL. FOLK DANCE:
1. Singing and dancing are the 1. Dances are usually dance
favorite pastime of the by couple or pairs.
Filipinos. 2. They usually in a long
2. When the Spaniards first formation.
landed in 1521, they found 3. Most dances begin and end
young men playing musical in “saludo” or bow.
instruments while young 4. There is little if any, body
women danced for the contact.
visitors. 5. Dancers usually stand
3. Through the centuries, the apart.
dancers of the Christian 6. Hand movements play an
Natives gradually became important part.
modified due to influences of 7. Dances, from the lowland
Christian groups bear a
 foreign influence, while Example: Maramion, Carinosa,
those of non-Christian Pangungulitawo
(Muslims and Lumads) are G. Festival – suitable for any
pure and typical. occasions/social gatherings
8. War dances are usually Example: Lawiswis Kawayan,
found among the non- Pandanggo
Christians or pagans. H. War – imaginary combat or duel
with the use of bolo.
CLASSIFICATION OF PHIL. Example: Sagayan, Igorot or War
FOLK DANCE: Dance
 Geographical Extent of Origin Formation
 Nature or Kind
 Floor pattern

Geographical Extent of Origin Example:

A. National Dances  Circle

 found throughout the islands  Double Circle
with little or no modifications  Semi – Circle
 Long Open Formation
Examples:  Square
 Diagonal
 Carinosa
 V – Shape
 Balitaw
 U – Shape
 Pandanggo
 La Jota Movements (Axial and
B. Regional/Local Dances
 Popular in certain localities Locomotor)
Examples:  Active – fast, energetic movement
Example: Tinikling, Polkabal,
 Maglalatik Karatong, Sagayan
 Esperanza  Moderate – medium type
Example: Carinosa, Habanera, Ba
Nature or Kind – Ingles
A. Occupational – action of certain  Slow – slow tempo
occupation. Example: Kapamalong – malong,
Example: Manangguete, Plating Kundiman
Rice, Labandera  Combination of Slow and Fast -
B. Religious or Ceremonial – combination of slow and fast
performed with religious vows, movements
practices, and ceremonies Example: Habanera Botolena,
Example: Diwata, Kaligaon Putritos, Surtido
C. Comic – with funny movements
for entertainment Examples of Pandanggo
Example:Kimbo-Kimbo dances are:
D. Game – with play elements
 Pandanggo Ilocano
E. Wedding – marriage celebration
 Pandanggo Visayan
Example: Sayaw sa Pag – ibig,
 Pandanggo Dumagueteno
Anuncio, Pantomina
 Pandanggo Ivatan
F. Courtship – love making/ with love
 Pandanggo Rinconada
themes
 Pandanggo sa Ilaw
Ethnic Dances
Feet: Heels close together;
 Ethnological dances are those toes apart with an angle of about
performed in primitive tribes and 45 degrees.
have retained their closed kinship
Arms: Both raised forward
with religious ritual and community
custom. in a circle in front of chest with
the finger tips about an inch
EXAMPLES OF ETHNIC apart.
DANCES:
 Second Position:
a. Ritual dances - dances
that depict ritual Feet: Astride sideward
ceremonies. about a pace or one-foot distance
Examples: Dugso Arms: Both raised sideward
(Bukidnon) and Pagdidiwata with a graceful curve at shoulder
(Palawan). level.

b. Life- cycle dances -  Third Position:

dances relating to the cycle
of human life such as Feet: Heel on one- foot
birthing, courtship, close to the in-step of the other
wedding, and funeral. foot.
Examples: Binasuan Arms: One arm raised
(Pangasinan) and Daling- sideward as in second position;
daling (Muslim courtship another arm raised upward.
dance from Sulu).
c. Occupational dance -  Fourth Position:
dances that exhibit work
and occupation of the Feet: One foot in front of
dancers. the other foot of a pace distance
Examples: Mag- Asik Arms: One arm raised in
(Cotabato) and Mananagat front as in first position; other
(Cebu) dances. arm raised over head.
EXAMPLES OF ETHNIC
 Fifth Position:
DANCES:
Feet: Heel of front foot
 Ritual Dances close to big toe of rear foot.
 Life – cycle dances Arms: Both arms
 Occupational Dance raised over head.

 All national and ethnic dances are

folk dances, but not all folk
dances are considered national or
ethnic dances.

FUNDAMENTAL DANCE Dance Terms:

POSITION OF THE ARMS AND SET
FEET:
 First Position:
 A dance formation like a square or a OUTSIDE FOOT
unit formation composed of two or more
pairs. The foot away from one’s partner, when
partners stand by side.
CABECERAS
INSIDE HAND
When dancers are in a square
formation, the couples occupying the The hand nearest one’s partner, when
width of the hall are called “cabeceras” partners stand side by side.
or head couple. This is a Spanish origin.
OUTSIDE HAND
COSTADOS The hand away from one’s partner,
When dancers are in a square when partners stand side by side.
formation, the couples occupying the
length of the hall are called “costados” SALUDO
or side pairs. This is a Spanish origin. Partners bow each other, to the audience,
opposite dancers, or to the neighbors with
CLOCKWISE feet together. This term is a Spanish origin
and is used in almost all Philippine dances.
Like the motion of the hands of the
clock. R shoulder is toward the center of BILAO
an imaginary circle. When facing
center, the movement is toward the To turn the palms up and down alternately,
left. hands at waist level in front, elbows close
to waist.
COUNTERCLOCKWISE
HANDS ON WAIST
The reverse direction of the clockwise. L
Place hands at the waist line (at the
shoulder is toward the center of an
smallest part of the trunk), knuckles in, and
imaginary circle. When facing center,
fingers pointing in rear.
the movement is toward the right.
ARMS IN REVERSE “T”
SUPPORTING FOOT
Arms are side horizontal, elbows bent at
The foot that bears the weight of the right angles, forearms parallel to head,
body. palms forward or facing inward, fists loosely
closed.
FREE FOOT
ARMS IN LATERAL POSITION
The foot not bearing the weight of the
body. Both arms are at one side, either sideward
right or left. This may be done at shoulder,
FREE HAND chest, or waist level.

The hand not placed anywhere or not HAYON-HAYON

doing anything.
To place one forearm in front and the other
at the back of the waist. This is a Visayan
term.

MASIWAK
INSIDE FOOT To turn the hand from the wrist half- way
The foot nearest one’s partner, when clockwise then raise and lower wrist once
or twice. This is an Ibanag term.
partners stand side by side.
KUMINTANG Touch the flor lightly with the toes of
one foot, weight of the body on the
Moving the hand from the wrist either in a other foot.
clockwise or counterclockwise direction.
This is an Ilocano term. TAP
HAPAY To rap slightly with the ball or toe of the
free foot, flexing the ankle joint keeping
To flourish or offer a handkerchief, hat or
weight of the body on the other foot.
glass of wine to somebody as a sign of
invitation.
There is no change or transfer of
weight.
PATAY
DRAW
To bend the head downward and to support
the forehead with the R (L) forearm or with To pull one foot along the floor close to
the crook of the R (L) elbow while the L (R) the other which has the weight of the
hands supports lightly the palm of the R (L) body. The weight may or may not be
hand. This is usually done with the L (R) transferred.
foot pointing in rear and knees slightly
bent. This is an Ilocano term and the CUT
movement is commonly found in Ilocano
dances. To displace quickly one foot with the
other, thus completely taking off the
SALOK weight of the body from the displaced
foot.
To swing the arm downward-upward
passing in front of the body as if scooping, HOP
the trunk is bent forward following the
movement of the arm doing the “salok”. A spring from one-foot landing on the
This is a Tagalog term. same foot in place or in any direction.
The other foot may be raised in any
SAROK (OR SAROC) direction (in front, in rear, sideward or
Cross the R (L) foot in front of the L (R), across).
bend the body slightly forward and cross
the hands (forearms) down in front with the JUMP
R (L) hand (forearm) over the L (R). This is a
Visayan term. Spring on one foot or both feet, landing
on both feet in any direction.
BRUSH
LEAP
Weight in one foot, hit the floor with the
ball or heel of the other foot (the free A spring from one foot, landing on the
foot) after which that foot is lifted from other foot in any direction (forward,
the floor to any direction. sideward, backward, or oblique).

PLACE STEP
To put foot in a certain or desired To advance or recede by raising or
position without putting weight on it. moving one foot to another resting
The sole of the foot rests on the floor. place. There is a complete transfer of
weight from one foot to another.
POINT

STAMP
 To bring down the foot forcibly and DO-SI-DO (“DOS-S-DOS”)
noisily on the floor (like doing a heavy
step) with or without transfer of weight. The vis-a vis (opposites) both advance
forward, pass each other’s right (or left)
PANADYAK side, step across to the right (or left),
move backward without turning around
To stamp in front or at the side with R
pass each other’ left (or right) side to
(L) foot and tap with the same foot
proper places. This is of foreign origin
close to L (R) foot, weight of the body
and is used in many Philippine dances.
on L (R). This is a Tagalog term.
JALEO
SLIDE
Partners turn once around clockwise
To glide foot smoothly along the floor.
(with R elbows almost touching) or
The movement maybe finished with or
counterclockwise (with L elbows almost
without transfer of weight.
touching) using walking or any kind of
WHIRL dance step. The hands near each other
are on waists. This is a Tagalog term
To make fast turns by executing small but of Spanish origin.
steps in place to right or left.
STAR WITH RIGHT HAND
PIVOT
Four or more people join R hands at
To turn the ball, heel, or whole foot, on center ad circle around clockwise using
a fixed place or point. walking or any kind of dance step.

ABRASETE STAR WITH LEFT HAND

Girl at the right side, holds R arm of Same as “star with right hand” but
partner with L hand, free hands down at joining L hands and turning
the sides. This term is of Spanish origin counterclockwise.
and is used in Rigodon and in other
dances. Ballroom dancing
CROSSED ARMS - A partner dance typically done in
a ballroom. Synonymous to social
Partners are facing each other or dancing.
standing side by side, girl at the right of
boy. They join their L hands together Social dancing
and their R hands together; either R - A partner dance for recreational
over L or L over R hands. purposes. It is designed to bring
people together for group
CROSS OVER participation and enjoyment.
Two couples are opposite each other. Reasons why social dance be
Each couple proceeds in a straight line
to the opposite place. The girls pass taught in the school:
their L shoulders between boys. Boys 1. It is the most beautiful, artistic
bow to each other when they meet at form of all arts and the most
the middle or about one- third of the democratic form of all arts
way, then proceed to the opposite (since it is the only art that is
place. Upon reaching the opposite accessible to everyone).
place, partners’ turnabout, girls stand 2. The only art in which special
at partners’ right side. ability is not essential.
 3. It is joyous, wholesome and A partner dance typically in a ballroom.
natural means of expression of
the rhythmic instinct. Ball-change
4. Make people buoyant at the Two weight changes, first stepping back
end of the dance. then forward from the ball of one foot
5. It has a healthy value. onto the other foot.

Dance Sport Broken Rhythm

- It is a team sport. Combination of slow and / or quick
- A partner dancing between a man beats that takes one or more measure
and a woman combining as a
couple
Carriage
Correct alignment of body parts while
Recognized sections or moving
disciplines in International
Downbeat
Style Dance Sport:
The first count of any measure
 Standard section
 Latin section Free foot
 Ten Dance Section Foot without any weight on it.
 Rock ‘n’ Roll section
Inside foot
Benefits of Social Dancing
Foot closest to your partner
1. The sheer joy of moving
rhythmically in unison with Line of Direction (LOD)
a partner to music
An imaginary lie refers to the flow of
regardless of age. traffic which is counterclockwise around
2. Being with partner not only the perimeter of the room.
enhances pleasure but the
social benefits of meeting Outside foot
other people.
3. Through dancing, partners Foot farthest away from your partner.
can share interest, learn to
respect to others right and
Schottische
show appreciation for each Combination of 3 walking stops and a
other’s efforts. hop
4. Through dancing, you will
have pleasant and non- Shine position
stressful surrounding which Facing position with partners standing
can mentally refreshing. approximately 2 feet apart without
5. It has a health value. In touching
dancing, it is blend of
exercise and recreation. Social dance
6. It improves posture, A partner dance for recreational
coordination, balance, purposes.
timing and concentration.
Step
Social Dance Terminologies:
A transfer of weight from one foot to
Ballroom Dance the other
 communicates the customs, beliefs,
Tempo rituals, and occupations of the
people of a region or country.
The speed of music
Examples of Ethnic Dances in
Upbeat
Philippines:
The last beat of measure which is often
called and “and” count when starting to  Dances of the mountain peoples
move with the music. of the Cordilleras
 Dances of the ethnic groups in the
New York Cagayan Valley Region
Crossing R foot (for girl) or L foot (for  Ethnic dances in the Mindanao
boy) over L or R foot, arms at shoulder Regions
level while the inside hand joined
together.

Hand-to- Hand
The outside foot is placed backward
while doing the inside hand and repeat
to opposite side.

Spot turn
A pivot turn to R or L shoulder and
chasse’ to the L and repeat to opposite.

Volta
Crossing the R or L foot over L or R foot
moving to L or R sideward and point
sideward.

Line Dance/Dancing
- Most often associated in the
United States with country-
western music.
- Films and songs such as “Electric
Slide” have made it popular over
the past 30 years.
- Multiple lines of people face the
same direction regardless of sex

Ethnic Dance
- Any dance form which can be
identified as originating with an
ethnic culture and expressing the
movement aesthetic of the culture.
- It is cultural art form handed down
from generation to generation. It