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GOLDEN CRONICA PUBLISHING INC.

Raymond M. Anselmo, MEd

Dominique Ivy A. Calixterio
Estrella P. Del Castillo
Katheleen Lou B. Castro

Published and Distributed by

GOLDEN CRONICA PUBLISHING, INC.
Blk 3, Lot 37, Dandelion St., Bloomfields Subd.,
Novaliches, Quezon City, Philippines
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SMART
Healthy Youth in Physical Education
Let’s Dance!

Philippine Copyright 2017

by
GOLDEN CRONICA PUBLISHING, INC.
and
Raymond M. Anselmo, MEd
Dominique Ivy A. Calixterio
Estrella P. Del Castillo
Katheleen Lou B. Castro

Layout and Illustrations by

Teddy P. Luz

Edited by:
Jocelyn A. Amongo, MEd
Estrella B. Arvesu

ISBN 978-621-449-020-2

ALL RIGHTS RESERVED

No part of this book, including the layout, cover design, CD
contents and icon may be reproduced or transmitted in any form,
by any means (electronic, photocopying, recording, or any other
method) without the prior written permission of the publisher,
unless such copying is expressively permitted by copyright law. The
publisher took much care to get permission from the owners of
copyright materials. Please contact the publisher for any oversight.

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DEDICATION
We lovingly dedicate this book to God Almighty, Our
Creator, our source of inspiration, wisdom, knowledge and
understanding. HE has always been the source of our strength.
We also would like to dedicate this book to our students,
friends, colleagues, and – most importantly – to our beloved
families who encouraged us all the way. Thank you so much!
Our love for all of you can never be quantified.
God bless!
THE AUTHORS

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PREFACE
This book is written in response to the new curriculum for the K to 12
Basic Education Program of the Department of Education. It covers absolutely
necessary fields of study in Physical Education, containing Philippine Folk Dance,
Social Dance, Hip Hop, and Cheerleading. It includes different elements that are
more significant and more interactive which will supplement students’ learning
experiences.
This book is set out to tackle and deal with every essential aspect in
connection with the different physical activities related to dancing. It is aimed to
encourage the growth and development of the students’ knowledge and skills. It
will also serve as an instructional material that would help teachers and students to
be equipped and progressive in the pursuit of holistic learning.
Every unit has interactive activities that will help each student gain
confidence in social interactions, learn current trends, demonstrate and understand
societal fitness in promoting an active lifestyle according to the level of standards
set by the Department of Education for Senior High School students of Physical
Education.

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ACKNOWLEDGMENTS
We would like to express our gratitude to all the people who have given us
support and helped us in many ways in writing this book.

We would particularly like to acknowledge our mentors, families and friends

for their interest and support that have been our constant inspiration and which
provided the much needed impetus and encouragement at crucial times.

To the owners of Golden Cronica Publishing, Inc., thank you for trusting us.

We also would like to acknowledge the guidance and help afforded by our
editorial team, illustrator, and lay-out artist for their invaluable assistance, devotion,
hard work, and patience that contributed to the completion of this book.

To our God Almighty who makes all things possible, THANK YOU…

THE AUTHORS

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TABLE OF CONTENTS
Content Page

Preface---------------------------------------------------------------------------------------iv
Acknowledgements------------------------------------------------------------------------v

UNIT 1 PHILIPPINE FOLK DANCE-------------------------------------------------1

Lesson 1: History of Folk Dance in the Philippines 2

Lesson 2: Classification of Folk Dances 16
Lesson 3: Fundamental Dance Positions 24
Lesson 4: The Philippine Folk Dances 32

UNIT 2 SOCIAL DANCE---------------------------------------------------------------43

Lesson 1: Benefits of Social Dancing 44

Lesson 2: Social Dancing Etiquette 47
Lesson 3: Line Dancing 51
Lesson 4: Cha-cha-cha 64

UNIT 3 HIP-HOP-------------------------------------------------------------------------70

Lesson 1: History of Hip-Hop Dance 71

Lesson 2: Other Forms of Hip-Hop Dance 78
Lesson 3: Contemporary Dance 84
Lesson 4: Importance of Dancing 90

UNIT 4 CHEERLEADING-------------------------------------------------------------94

Lesson 1: Cheerleading Motions 96

Lesson 2: Cheerleading Jumps 103
Lesson 3: Tumbling 108
Lesson 4: Stunts 113

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PHILIPPINE
FOLK DANCE
LESSON 1: HISTORY OF FOLK DANCE IN THE PHILIPPINES
LESSON 2: CLASSIFICATION OF FOLK DANCES
LESSON 3: FUNDAMENTAL DANCE POSITIONS
LESSON 4: THE PHILIPPINE FOLK DANCES

At the end of this unit, the students should be able to:
• know the importance of Philippine Folk Dances;
• appreciate the different cultures and folk dances in the
different parts of the Philippines; and
• perform and interpret different folk dances.

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HISTORY OF FOLK DANCE
IN THE PHILIPPINES
At the end of the lesson, the students are expected to:
• know the different folk dances we have in Luzon, Visayas and Mindanao;
• give importance to the different cultures and dances we have in the Philippines;
and
• create different materials in promoting the different folk dances we have in the
Philippines.

Philippine Folk Dances incorporate influences from immigrants and conquerors

and at the same time maintaining distinctly Filipino roots. Philippine folk dancing is a true
reflection of daily life in the past centuries while enchanting modern audiences at the same
time. The dances of the Philippines were developed while Filipinos were working in the
fields, celebrating feasts, harvests, births and weddings.
There is no exact date as to when dancing became part of our lives in the Philippines.
The dances were performed during festivals and remembrances of past military victories,
and are still performed during celebrations of birth and weddings in modern times. Many
modern folk dance festivals still feature ancient dances performed in colorful costumes
used during the tribal period of the Philippines.

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CULTURAL AND FOLK DANCES IN THE PHILIPPINES
The various cultures of the different countries in the world have been made more
colorful, beautiful, and vibrant because of folk dances that reflect who they are. In the east,
the Chinese have their symbolic Dragon Dance while the Japanese have the ancestral dance
Bon Odori. In the west the Americans have their Square Dance. The Philippines would not
be left behind for “The Pearl of The Orient” boasts of a variety of Filipino Folk Dances.
The Philippines consists of 7,107 islands, broken down in three groups – Luzon,
Mindanao, and Visayas. Each of these areas has different dialects, history, religion, and
traditions. Every region also has different influences in their arts, crafts, and ancestral
dances. Let’s take a trip and explore the different styles, costumes, dances, and talents of
each region. As we explore each of the regions and styles, please remember that a lot of
these cultural and folk dances represent the hardships and daily back breaking tasks, which
have turned into an art form. Many of the dances you will read about here were actual
activities or chores that the Filipinos endured to survive the poor economy and state of the
nation.

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LUZON
THE TRADITIONS AND HERITAGE OF LUZON
Luzon, the northernmost region of the Philippines is rich in traditions and heritage.
It traces its cultural influences from Hindu, Buddhist, Spanish, and many other ethnic
religious tribes. There may be differences in some belief patterns, but overall, the cultural
folk dances from this region represent all the different factions or tribal groups in one way
or another.
The Cordillerans or Igorot is the term or the collective name of several ethnic
groups in the Philippines. These tribes – the Ifugao, Kalinga, Bontoc, Apayao, Ibaloi,
Kalangaya, and the Kankanaey in Benguet mostly inhabit the mountains of Luzon.

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“We shall never forget our heritage”

THE DANCES OF LUZON

BANGA DANCE
The Banga or Pot Dance is a contemporary performance of the Kalinga of the
Mountain Province in the Philippines. This dance illustrates the languid grace of a tribe
otherwise known as fierce warriors.
This dance displays the Igorot women on their way to the river to fetch the daily
supply of water for their families. It shows the skill and strength of the women as they
carry heavy laden clay pots, or banga, full of water. Their grace and agility while balancing
the heavy pots, sometimes five stacks high, is a testament of how the Filipino strength and
determination to survive hardship.
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Young Igorot girls start CRONICA
with only onePUBLISHING INC.as they become older
pot. But, of course,
and more experienced, they are expected to provide more water for their family in one trip.
Pots could be as high as five or six stacks. The more pots you could carry show your skill
and your status among the women of that area. Women would all gather and march to the
river each day, singing a native song accompanied by the flute and banging of bamboo on
iron pots in the dance.

http://worldartswest.org/main/edf_performer.asp?i=55

IDAW
This dance has many names and different versions. It depicts the hunting ritual
performed before a tribal war. The tribesmen would go out and look up and watch out for
the scared Idaw bird which is said to lead the tribe to victory. Considering the Philippines
as a very humid country, the traditional clothing was made to cover not much of the body.
As one of the Cordillera dances, this Bontoc dance depicts a war ceremony
performed by warriors of rival tribes. Idaw, meaning “bird,” is celebrated because it was
the omen bearer of war.

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The family is the basic structure of family life among the Itneg or Tinggian people.
Caring for the children is shared by both the mother and father. While the men are clearing
the fields, breaking the soil with bamboo and their feet, the women watch the children.
Soon as the men are done, they take care of the children while the women do back breaking
work. You can see in the dance how the women will take the bamboo baskets and shaking
them in the manner of drying rice, while the men are going in circles in the background
like they are tilling the land. Then, the women put down the baskets, fold the cloth into a
baby while the husbands stand aside. Afterward, the women will turn over the baby to their
husbands, pick up the bamboo, and start tilling the land while the men hold and cradle the
babies.

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RAGRAGSAKAN
The Kalingga borrowed the beautiful word “ragragsakan” from the Ilocano, which
means “merriment”. The two biggest occasions for a ragragsakan in a Kalinga village are
for the homecoming of successful head takers and the culmination of peace pact between
warring tribes. In this dance, Kalinga maidens balance “labba” or woven baskets on their
heads, wave colorful tribal blankets, and sing short salidumay songs as they snake through
the terrace dikes and skip through breaks in the path. This dance portrays the walk of the
industrious Kalinga women, carrying water pots on their heads and wearing the colorful
hand-woven “blankets of life” around their necks. Their walk imitates the climb up the rice
terraces in the Mountain Provinces of the Philippines.

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VISAYAS
LOVE OF LIFE AND COUNTRY - VISAYAS REGION
The central islands of the Philippines, the Visayas, are grouped into three sections:
Central, Eastern, and Western. The people in the region consist of Austronesians, Negritos,
and the Animist Tribal Group. Many other tribes from the surrounding islands would
come after the downfall or break up of their tribes. Visayas became a melting pot for
many different tribes and cultural backgrounds. You will find Arabian, Spanish, and some
Western influences in the dances of this region. You will see that the dances of the Visayas
are more upbeat and exciting, not so much in drama and tribal meanings as other regions.

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“Live Long, Live Happy, Die Proud”

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THE DANCES OF VISAYAS
MAGLALATIK
The Maglalatik is an indigenous dance from the Philippines in which coconut shell
halves that are secured onto the dancers’ hands and on vests upon which are hung four or
six more coconut shell halves. The dancers – all male – perform the dance by hitting one
coconut shell with the other – sometimes those on the hands, the ones on the body, and
sometimes the shells worn by another performer, all in time to a fast drumbeat.
Originally performed in Biňan, Laguna as a mock-war dance that demonstrates a
fight between the Moros and the Christians over the prized latik or coconut meat during
the Spanish rule, this dance is also performed to pay tribute to the town’s patron saint, San
Isidro Labrador. It is a four-part performance: the palipasan and the baligtaran show the
intense battle, the paseo and the escaramusa show the reconciliation. Moro dancers wear
read trousers while the Christian dancers wear blue. All dancers are male with harnesses of
coconut shells attached on their chests, backs, thighs, and hips.

SAYAW SA BANGKO
Sayaw sa Bangko, or Sayaw ed Tapew na Bangko (dance on top of a bench), is a
dance which originates from Pangasinan as researched by Jovita Sison. It is performed by
a couple on a narrow bench. They dance, inching and hopping, from one end to another
end of the narrow bench. Dancers show skill in staying up on the bench as they exchange
places by moving their way around, or the girl is thrown in the air while the boy moves
to the other end. They do not compete, but rather complement each other, so that no one
falls. Sayaw sa Bangko is usually performed during town fiestas.
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SUBLI
The term “subli” is from two Tagalog words “subsub” meaning “falling on one’s
head” and “bali”, which means “broken”. Hence, the dancers appear to be lame and crooked
throughout the dance. This version is originally a ritual dance of the natives of Bauan,
Batangas, which is performed during fiestas as a ceremonial worship dance to the town’s
icon, the Holy Cross.

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TINIKLING
This is the most popular and best known of the Philippine dances and is honored
as the Philippine National Dance. The dance imitates the movement of the tikling birds
as they walk between grass stems, run over tree branches, or dodge bamboo traps set by
rice farmers. Dancers imitate the tikling bird’s legendary grace and speed by skillfully
maneuvering between large bamboo poles. The name “Tinikling” means “bamboo dance”
in English.
Considered as one of the oldest dances from the Philippines, Tinikling originated
in the island of Leyte in the Visayas. People of Leyte describe the tikling bird as one of the
most unique in its movements – walking around and between the tree branches and grass
stems. The bird was named “tikling” from which the Tinikling dance got its name. Because
of the creativity of the people, they imitate the bird’s movement between branches and
stems using bamboo poles.

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MINDANAO

Mindanao is the southernmost region of The Philippines. It is the second largest

island group and its cultural groupings consist of mostly Muslim or “Moro” people, and
other ethnic groups such as the Maranao, Tausug, Banguingui, and indigenous tribes
known as Lumad. One will notice a lot of Arabian and Middle Eastern influences in their
costumes and dances.

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“Pride and Honor - Mindanao Region”

THE DANCES OF MINDANAO

ASIK
This dance is performed by a
solo maiden, adorned with fine beads
make-up, and a long head scarf. The
maiden would dance to win the favor
of her Sultan master. She would
perform to win the heart of her
master or to make up for a wrong-
doing. She would give her whole
heart and soul into this performance
to soften the heart of her master and
accept her.
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Kini means the Royal Walk. Maranao women perform this dance with scarves.
The beauty of the scarves and the talent and grace in which it is displayed shows their elite
social upbringing.

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PANGALAY
The Pangalay is native to the Badjao, who are also known as “Sea Gypsies.” It is a
dance that emphasizes the agility of the upper body. The rhythmic bouncing of the shoulder
with simultaneous alternating waving of the arms is the basic movement of this dance. The
Pangalay is commonly performed at weddings and other social gatherings. One will also
see some parts of the Singkil in this dance. This dance is sometimes called the Muslim
Dance of Four Bamboos.

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The Singkil Dance takes its name from the bells worn on the ankles of the Muslim
princess. Perhaps one of the oldest of the truly Filipino dances, the Singkil recounts the
epic legend of the “Darangan” of the Maranao people of Mindanao. This epic, written
sometime in the 14th century, tells the fateful story of Princess Gandingan who was caught
in the middle of a forest during an earthquake caused by the diwatas or fairies or nymphs
of the forest.
The rhythmic clapping of crisscrossed bamboo poles represent the trees that were
falling, which the princess gracefully avoids. Her slave loyally accompanies her throughout
her ordeal. Finally, she is saved by a prince. The faces of the dancers are formal and they
maintain a dignified pose. Dancing begins at a slow pace which soon progresses to a faster
tempo in which dancers skillfully manipulate fans that represent the winds that prove to be
auspicious. The dancers weave expertly through the crisscrossed bamboo poles.

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ACTIVITY

POSTER MAKING
Apply your skills in using a computer. Make a poster that advertises the three
major island groups of the Philippines. Pick your own dance among those that we have
discussed. The poster must make the people aware of the different dances that we have as
well as make them appreciate our own dance culture.
The rubric for this poster is given below.

CATEGORY 4 3 2 1
Graphics– Several of One or two of The graphics No graphics
Originality the graphics the graphics are made by made by the
used on the used on the the student, student are
poster reflect poster reflect but are based included.
an exceptional student on the designs
degree of creativity in or ideas of
student their creation others.
creativity in and/or
their creation display.
and/or display.
Content - At least 7 5-6 accurate 3-4 accurate Less than 3
Accuracy accurate facts facts are facts are accurate facts
are displayed displayed on displayed on are displayed
on the poster. the poster. the
poster. on the poster.
Attractiveness The poster is The poster The poster is The poster is
exceptionally is attractive acceptably distractingly
attractive in in terms of attractive, messy or
terms of design, design, layout though it very poorly
layout, and and neatness. may be a bit designed.
neatness. messy. It is not
attractive.
Knowledge Gained Student can Student can Student can Student
accurately accurately accurately appears
answer all answer most answer to have
questions questions about 75% insufficient
related to related to of questions knowledge
facts in the facts in the related to about the
poster and poster and facts in the facts or
processes processes poster and processes
used to used to processes used in the
create the create the used to create poster.
poster. poster. the poster.

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Use of Class Time Used time Used time Used some of Did not use
well during well during the time well class time to
each class each class during each focus on the
period. period. class period. project OR
Focused Usually There was often distracted
on getting focused on some focus others.
the project getting the on getting
done. Never project done the project
distracted and never done but
others. distracted occasionally
others. distracted
others.

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CLASSIFICATION OF FOLK DANCE

At the end of the lesson, the students should be able to:
• know and understand the different classification of dance according to nature;
• develop the sense of respect to one’s culture; and
• promote the different classification of Philippine dances according to nature.

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CLASSIFICATION OF FOLK DANCE
ACCORDING TO NATURE

OCCUPATIONAL DANCES are those that depict the actions of a particular occupation,
for example, planting and pounding.

BINATBATAN DANCE
The Binatbatan dance is an occupational
dance from Paoay, Ilocos Norte. It depicts the
beating of cotton pods to separate the seeds from
the fibers with the use of two sticks called batbat
in the Ilocos region. Weavers in Paoay often
engage themselves in abel-making contests.
(Abel is a cloth common among the Ilocanos).
Dancers maneuver in and out of parallel batbat
sticks, each about 18 inches long. The rhythm
and speed of the beating of the sticks make for
a lively and colorful display.
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MAG-ASIK
This is a Tiruray dance for girls, performed in Nuro, Cotabato. According to the
natives the word “mag-asik” means “to sow seeds”. A large kerchief or piece of bright
colored cloth about a yard square is spread in the middle of the floor. The dancers go
around the cloth with small, heavy steps but with graceful hand and arm movements. The
dance consists of two parts, which the natives call “komaligue” and “mag-asik”. Three
females, identified as Girl No. 1, Girl No. 2, and Girl No. 3 perform this dance.

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RELIGIOUS/CEREMONIAL DANCES arePUBLISHING
those associatedINC.
with religion, vows and
ceremonies.

A religious dance may be performed to drive away evil spirits and for having
recovered from sickness, favors granted, and vows fulfilled.

DUGSO
Dugso is a dance which originated from
Bukidnon in Northeast Mindanao. Dancers
perform this as an entertainment for the deities, to
make them feel more comfortable during the fiesta
that was organized for them and, consequently,
more often to the requests of the celebrants. It was
originally thought that this dance was performed
only during harvest time or upon the birth of a
male heir. Women would wear colorful feathered
head dresses, plaid costumes, and anklets. They http://www.seasite.niu.edu/tagalog/Cynthia/dances/dugso.htm

would step rhythmically around a bamboo arch decorated with newly-gathered palay
(rice stalks) and corn, and their movements are emphasized by the tinkling sounds from the
anklets.

COMIC DANCES are those that depict funny movements for entertainment, for example,
Kinoton and Makonggo.

KINOTON
Is a comic dance from Ilocos Sur. It depicts the movement of a person bitten by
ants.

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Makonggo is a comic dance which originated in Sta. Maria, Bulacan. A solo
performer imitates the movements characteristic of a monkey, its gestures and grimaces.

GAME DANCES are those that are done with play elements. Lubi-lubi Dance and Pavo
Dance belong in this classification of Philippine Folk Dances

LUBI – LUBI
Lubi-lubi is a Bicolano dance which
is a combination of simple folk and social
steps. Literally, lubi means coconut. A game
called Lubi-lubi is played with coconut
shells. According to the Bikolanos this
dance originated in Leyte and Samar where
it is still danced like the Balitaw.
In the Bicol region, whenever there
is ballroom dancing, the Lubi-lubi is often
introduced to break the monotony. It is also
popular in Albay and Sorsogon.

WEDDING DANCES are those dances that are performed during wedding feasts. The
Pagkawin and Panasahan Dance belong in this category.

PAGKAWIN
The wedding ceremony is called Pagkawin. The festivity opens with the Pahanda or
presentation of dowry. Relatives of the groom present to the relatives of the bride traditional
dowries that usually include the Salap-pa, a brass box containing money, jewelry, other
valuables, and the all-important betel nut. The sokat, paper money arranged on sticks, is
also offered.

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COURTSHIP DANCES depict the art of courtship. Included in this category are Hele-
hele, Tadek, Pantomina, and Sua-sua.

SUA-SUA
This is a dance from Jolo, Sulu.
Literally, “Sua-sua” means “small orange
plant” and is also the name of a courtship
dance and its accompanying song. According
to the Moros of the older generation, the
movements in this dance have been modified
and modernized. There is no doubt, however,
that some parts are based on typically old
Moro dances. Dancers sing as they perform the
dance. The natives often repeat the dance as
many times as they like or until they are made
to stop.
http://www.flickriver.com/photos/jordipostales/247931199/

FESTIVAL DANCES are those which are suitable for special occasions. The
Pandanggo and Habanera are examples of this kind of dance.

PANDANGGO
Pandanggo sa Ilaw is a very popular folk dance in the Philippines. It is said to
have originated from Mindoro, the seventh largest island in the Philippines. This dance
of lights simulates fireflies at dusk and at night. The word pandanggo is from the Spanish
“Fandango”, a dance in 3/4 time. The phrase “sa ilaw” is Tagalog for “in light” and it refers
to the three oil lamps that a dancer has to balance — one on the head and one on the palm of
each hand. The oil lamp is called tinghoy. Sometimes, candles in glasses are used instead
of an oil lamp.

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http://media.philstar.com/images/the-philippine-star/nation/20140212/sagayan-festival.jpg

SAGAYAN
A Philippine war dance performed by both the Maguindanao and Maranao
depicting in dramatic fashion the steps their hero, Prince Bantugan, took upon wearing
his armaments, the war he fought in, and his subsequent victory afterwards. Performers,
depicting fierce warriors, would carry shields with shell noisemakers in one hand and a
double-bladed sword in the other and attempting rolling movements to defend their master.

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ACTIVITY
BROCHURE MAKING
Students must make a brochure about the different Philippine Folk Dances under
each classification. The brochure should help promote, educate and raise awareness on the
different folk dances we have in the Philippines.

CATEGORY 4 3 2 1 Mark
Content - All the facts in 99-90% of the 89-80% of the Fewer than
Accuracy the brochure facts in the facts in the 80% of the
are accurate. brochure are brochure are facts in the
accurate. accurate. brochure are
accurate.
Attractiveness The brochure The brochure The brochure The brochure’s
& has has attractive has well- formatting
Organization exceptionally formatting organized and
attractive and well- information. organization
formatting organized of material are
and well- information. confusing to
organized the reader.
information.
Sources Careful and Careful and Careful and Sources
accurate records accurate accurate are not
are kept to records records documented
document are kept to are kept to accurately or
the source of document document are not kept
95-100% of the source of the source of on many facts
the facts and 94-85% of 84-75% of and graphics.
graphics in the the facts and the facts and
brochure. graphics in the graphics in the
brochure. brochure.

Knowledge All students All students Most students Several

Gained in the group in the group in the group students in
can accurately can accurately can accurately the group
answer all answer most answer most appear to
questions questions questions have little
related to related to related to knowledge
facts in the facts in the facts in the about the
brochure and brochure and brochure and facts or
to technical to technical to technical technical
processes processes used processes processes
used to create to create the used to create used in the
the brochure. brochure. the brochure. brochure.

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Graphics/ Graphics go Graphics go Graphics go Graphics do
Pictures well with the well with well with not go with the
text and there the text, but the text, but accompanying
is a good mix there are so there are too text or appear
of text and many that few and the to be randomly
graphics. they distract brochure chosen.
from the text. seems ”text-
heavy”.

Total

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FUNDAMENTAL DANCE POSITIONS

At the end of the lesson, the students should be able to:
• know the fundamental positions used in folk dancing with or without counting
and the different basic dance steps in various time signatures;
• internalize the use of the fundamental positions and basic dance steps in
different time signatures; and
• demonstrate the fundamental positions and create a line dance using the basic
dance steps in different time signatures.

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Very expressive CRONICA
movements PUBLISHING
of the feet INC.
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.

ARMS POSITION
1. First position – raise arms to form a circle in front of the chest.

2. Second position – open up arms sideward, raised below shoulder level with a graceful
curve.

3. Third position – raise one arm overhead while other arm remains in 2nd position.

4. Fourth position – raise one arm in front of chest in a half circle, while one arm
remains overhead.

5. Fifth position – raise both arms overhead in a graceful curve.

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1. First position – bring heels close to touch; toes apart.

2. Second position – bring feet apart sideward.

3. Third position – bring the heel of one foot to touch the instep of the other foot.

4. Fourth position – bring one foot in front of the other foot to walk strike.

5. Fifth position – bring the heel of one foot to touch the toe of the other.

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TIME SIGNATURE

The time signature, also known as meter signature, of a piece of music defines how
the beat is organized by prescribing how many beats occur per measure and what kind of
note designates one beat. Each beat is counted sequentially.
One should be familiar with the beat or the time signature of the dance so that one
can follow the movements easily. The common time signature that is used in folk dances
are 2/4 and 3/4 respectively.

Basic Dance Steps in 2/4 Time Signature

A. Ct. 1, 2 = M
Dance Step Step Pattern
1. Touch Step Point, Close
2. Bleking Step Heel, Place, Close
3. Close Step Step, Close
4. Hop Step Step, Hop
5. Slide Step Slide, Close
6. Cross Step Step, Cross or Cross Step

B. Ct. 1 and 2 = 1M
Dance Step Step Pattern
1. Change Step Step, Close, Step
2. Cross and Change Step Cross-Step, Close, Step
3. Contraganza Leap, Cross-Step, Step

C. Ct. 1, 2 and = 1M
Dance Step Step Pattern
1. Habanera Step Step, Close, Step

D. Ct. and 1 and 2 = 1M

Dance Step Step Pattern
1. Plain Polka Raise-Step, Close, Step
2. Hop Polka Hop-Step, Close, Step

E. Ct. 1, 2, 1, and 2
Dance Step Step Pattern
1. Heel and Toe Change Heel-Place, Toe-Point, Raise-Step,
Close, Step

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F. Ct. 1 and 2 (do as CRONICA
many times as desired) PUBLISHING INC.
Dance Step Step Pattern
1. Mincing Step With heels raise, take as many steps as desired.
2. Shuffling Step With both feet flat on the floor, take tiny slide steps.
3. Chasing Step With one foot leading, take successive close steps to
any direction.

Basic Dance Steps in 3/4 Time Signature

A. Ct. 1, 2, 3 = 1M
Dance Step Step Pattern
1. Touch Step Point, Close
2. Bleking Step Heel, Place, Close
3. Close Step Step, Close
4. Hop Step Step, Hop
5. Slide Step Slide, Close
6. Cross Step Step, Cross or Cross Step
7. Step-Swing Step, Swing
8. Step-Swing Hop Step-Swing, Hop
9. Step-Brush-Swing-Hop Step, Brush-Swing, Hop

B. Ct. 1, 2, 3 = 1M
Dance Step Step Pattern
1. Native Waltz Step, Close, Step
2. Cross Waltz Cross-Step, Close, Close
3. Mazurka Step, Close-Heels Raise, Heels Down
4. Redoba Slide, Cut, Hop

C. Ct 1-2, 3 1, 2-3
Dance Step Step Pattern
1. Sway Balance with a Point Step, Cross-Step, Step, Point
2. Sway Balance with Raise Step, Cross-Step, Step, Raise
3. Sway Balance with a Brush Step, Cross-Step, Step, Brush
4. Sway Balance with a Hop Step, Cross-Step, Step, Hop
5. Sway Balance with a Close Step, Cross-Step, Step, Close
6. Engano Step with a Close Step, Cross-Step, Step, Close

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BasicCRONICA
Dance StepsPUBLISHING INC.
in 4/4 Time Signature

A. Ct. 1, 2, 3, 4 = 1M
Dance Step Step Pattern
1. Schottiche Step, Close, Step, Hop (Raise foot in front)
2. Escotis Step, Close, Step, Hop (Raise foot in rear)

B. Ct. 1, 2, 3, 4, 1, 2, 3, 4 = 2M
Dance Step Step Pattern
1. Chotis Brush, Raise, Brush, Raise, Step, Step, Step. Close or
Pause

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Dance Terminologies
1. 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.
2. Arms in Reverse “T” – Arms are side horizontal, elbows bent at right angles,forearms
parallel to the head, palms forward or facing inward, fists loosely closed.
3. 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.
4. Crossed Arms – Partners face each other, or stand side by side with the girl on the
right of the boy. They join their left hands together and their right hands together;
either right over left or left over right hands.
5. Free Foot – The foot not bearing the weight of the body.
6. Free Hand – The hand not placed anywhere or not doing anything.
7. Hands on Waist – Place hands at the waist line (at the smallest part of the trunk),
knuckles in, fingers pointing in rear.
8. Hop – A spring from one foot landing on the same foot in place or in any direction.
The other foot may be raised in any direction (in front, in rear, sideward, or across).
9. Inside Foot – The foot nearest one’s partner, when partners stand side by side.
10. Inside Hand – The hand nearest one’s partner, when partners stand side by side.
11. Jump – Spring on one foot or both feet, landing on both in any direction.
12. Kumintang – Moving the hand from the wrist ether in a clockwise or
counterclockwise direction. This is an Ilocano term.
13. Place – To put foot in a certain or desired position without putting weight on it. The
sole of the foot rests on the floor.
14. Pivot – To turn with the ball, heel, or whole foot on a fixed place or point.
15. Point – Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
16. Salok – To swing the arm downward-upward passing in front of the body as if
scooping, the trunk is bent forward following the movement of the arm
doing the“salok”. This is a Tagalog term.
17. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This term is of Spanish origin and is used in almost
all Philippine dances.
18. Slide – To glide foot smoothly along the floor. The movement may be finished with
or without transfer of weight.
19. Stamp – To bring down the foot forcibly and noisily on the floor (like doing a heavy
step) with or without transfer of weight.
20. Tap – To tap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of weight.

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ACTIVITY
PERFORMANCE TEST
Form groups with 6 members each. Using the different fundamental positions and
dance steps, create a dance routine.
Rubric

CATEGORIES Little evidence Some evidence Good evidence Thorough

2 pts. 4 pts. 6 pts. 8 pts.
Not at the Approaching Has targeted Has gone
desired level the desired the desired beyond
level level expectations
Teamwork 1 The group This group This group This group
25 % How well does not work worked well worked well worked well
the group works well together. together some together most together all of
together during of the time. of the time. the time. They
the planning and Mostly shared shared ideas
working stages. ideas and and leadership.
leadership.
Dance Moves There are There are 1-2 There are There are
25 % Number only 1 or less dance moves more than 3 4 or more
of moves dance moves incorporated dance moves dance moves
incorporated into throughout the into the routine. incorporated incorporated
the routine - at routine. into the into the
least 9 expected. routine. routine.

Followed The dancers The dancers The dancers The dancers

routine did not follow follow the dance accurately follow the
25 % How well the dance routine some of follow the dance routine
does the group routine. the time. dance routine all of the time.
followed the most of the
routine as they time.
planned it.
Teamwork 2 The group The group The group The group
25 % How well does not stay stays together works quite works very
the group stays together. on some steps. well together. well together.
together during There is a lot They need to Each member Each member
the performance. of individual work on getting has contributed has contributed
dancing and everyone to to some moves to the moves
not as a group. put forth a incorporated incorporated
complete effort into the dance into the dance
and follow and most are in and all are in
the routine. sync with one sync with one
another. another.

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THE PHILIPPINE FOLK DANCES

At the end of the lesson, the students should be able to:
• know Philippine Folk Dances with different time signature;
• interpret Philippine Folk Dances with different time signature, their origin and
nature; and
• organize a program that involves different Philippine Folk Dances.

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Exercises: Dance pattern with 2/4 time signature in preparation for the first folk dance.

CHANGE STEP TOUCH STEP CONTRA-GANSA HOP STEP

ct. 1 And 2 =1M Ct. 1,2=1M Ct.1 And 2=1M Ct. 1, 2=1M
Step, Close, Step Point, Close Leap, Cross-Step, Step, Hop
Step

Meaning : Springy Gesture

Dance Culture : Lowland Christian
Place of Origin : Busuanga, Aklan
Ethnolinguistic Group : Akeanon
Classification : Social

Background:
The Tiksiw originated in the farthest town of Buruanga, a province of Aklan,
Panay Island. It is a playful dance characterized by jumps, leaps, and hops. It imitates the
action or movement of a person who is surprised or happy.
Creativity knows no bounds. Not everybody could find inspiration in a small body
gesture, especially that which is not normally done. Improvisation is at its best when the
occasion pushes the mind to bloom. It is artistry at work when a natural behavior such as
tiksiw is translated into an art form accepted later as a social property.

Steps Particular to Dance:

Tiksiw Step – step on ball or R foot sideward (ct. 1), close ball of L to R (ct. and),
step on ball of R (ct. 2), hop on ball of R in place (ct. and) and at the same time raise L knee
across R in front, body slightly twisted to the right. R arm of girl is in 2nd position doing
the kumintang at the end of every measure. L hand holding skirt. R arm of boy, same as
girl, L hand on waist
Costume:
Female : Old style costume with or without a pañuelo or tapis
Top (Kimona) : Short-sleeved blouse of flimsy material; minimal
decoration on edges
Scarf (Alampay) : Rectangular piece slung over the left shoulder as of the
Same skirt materials
Skirt (Patadyong) : Wrap-around skirt checkered, multi-colored, cotton,
Reaching down the ankles
Overskirt (Tapis) : Optional

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Accessories PUBLISHING INC.
Simple Earrings
Footwear : Barefoot

Male
Top : Camisa de Chino of any choice
Pants : Rural trousers of any choice
Footwear : Barefoot

Musical Accompaniment : Rondalla

Music : 2/4 composed of three parts: A, B and C.
Count : one, two; one, and, two; one, and, two, and to a measure
Formation : Partners stand opposite each other about six feet apart.
Girl stands at the right side of boy when facing audience.
One to several number of pairs may take part in
the dance.
Costume Illustration:

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INTRODUCTION
Music Introduction.
Partners face audience.
(a) Take two tiksiw steps sideward right and left 2M
(b) Take two step hops turning right in place (cts. 1, and 2, and).
Finishing facing partner 1M
(c) Step R sideward (ct.1), point L foot in rear and close L to R and
bow to partner (ct.2). 1M

i
Tika – Tika
Music A.
Partners face each other.
(a) Take two steps forward passing L to L (cts. 1, and),
turn right about and cut L with the R (ct.2). 1M
(b) Repeat (a) to proper places passing R to R. 1M
(c) Repeat (a) and (b). 2M
(d) Take one gallop step to the right (cts. 1, and), step L sideward
(ct.2), close L to R (ct. and). 1M
(e) Repeat (d) to the left. 1M
(f) Take two touch steps (R,L). 2M
(g) Repeat all (a – f ). 8M

ii
Siko – Siko
Music B.
Partners face each other.
(a) Take a change step obliquely forward right (cts. 1, and 2);
Circle L foot in the air across R in front (ct. and).
Girl hold skirt, boy places hands on waist. 1M
(b) Step L across R in front and twist body slightly to the right
to be in L to L elbow with partner (ct.1), step R obliquely backward
right (ct. and), step L close to R (ct. 2). Hands as in (a). 1M
(c) Step R obliquely backward right (ct.1), slide L close to R (ct.2);
place arms in 1st position (ct.1), open arms to 2nd position. 2M
(d) Repeat (a - c) to the left. 4M
(e) Repeat all (a – d) facing audience, starting with the outside foot. 8M

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iii
Tiksiw – Tiksiw
Music A.
Partners face each other.
(a) Take two tiksiw steps right and left. R arm in 2nd position,
L hand of girl holding skirt, that of boy on waist. In place. 2M
(b) Take three step hops turning right in place. Girl holds skirt,
boy places
Hands on waist (cts. 1, and 2, and; 1, and), pause (ct.2). 2M
(c) Repeat (a) and (b) starting with the L foot. 4M
(d) Repeat all ( a – c) 8M

iv
Saylo – Saylo
Music C.
Girls faces audience. Boy faces away from the audience.
(a) Take two contra ganza steps sideward in and out. Girl holds skirt,
boy places hands on waist. 2M
(b) Take two gallop steps to partner’s place, passing front to front
(cts. 1, and 2, and); three stanps in place R arm sideward at shoulder
Level, L hand of girl holding skirt, that of boy on waist (cts. 1, and 2).2M
(c) Repeat (a) and (b). Reverse position of arms in (b). 4M
(d) Repeat all (a – c) facing partner. Start with the R foot. 8M

v
Pondag – Pondag
Music A.
Partners face each other.
(a) Crossed arm position. Join R to R and L to L with partner.
Stamp R across L in front and raise L foot in rear (ct.1),
step L backward and at the same time swing R foot backward
(ct. and ), step R across L in rear (ct.2), step L sideward (ct. and). 1M
(b) Repeat (a) five times more moving clockwise with partner.
Finish in proper places. 5M
(c) Pivot turn right in place, R arm in 5th position, L hand of
girl holding skirt, L hand of boy on waist. 2M
(d) Repeat (a – c) starting left moving counterclockwise. 8M

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vi PUBLISHING INC.
Tikang – Sipa
Music B.
Partners face each other.
(a) Execute one haplic step. On the last two measures take
four walking steps forward to partner’s place. Girl holds skirt,
boy places hands on waist. 8M
(b) Repeat (a). Finish in proper places. 8M

vii
Eagari – Eagari
Music C.
Partners face each other.
(a) Partners extend arms sideward and join both hands with partner.
Take one tiksiw step obliquely forward right to be in line with
partner by left shoulders. 1M
(b) Repeat (a) to the left to be by R shoulders. 1M
(c) Take a quarter turn left so that boy faces audience, girl faces away
from audience. Starting with the R foot, boy takes four skips forward,
while girl skips backward, arms as in (a). 2M
(d) Repeat (a – c) starting left. This time girl skips forward while boy
skips backward in (c). 4M
(e) Starting with the R foot, take eight tiksiw steps to any direction.
Boy follows girl. R hand of girl is in 2nd position doing the
kumintang on vthe last count of every measure, while L hand
holds skirt.
Boy places L hand on waist and extends R arm downward as if
catching the raised foot of the girl. Change position of the arms/
hands every measure. Girl shrieks every time the boy attempts to
catch her raised foot. 8M

Saludo
Music Intro.
Repeat introduction. Bow to audience. 4M

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ACTIVITY
Form groups of 6 (consisting of 3 males and 3 females). Create different formations
in performing the given dance.

Dance Rubric
1 2 3 4 Mark
Mastery of Does not Hardly ever Seldom Clearly
Sequence demonstrate demonstrate demonstrate demonstrates
the correct the correct the correct the correct
dance dance dance dance
sequence sequence sequence sequence
Rhythm Shows a little Shows a few Shows Shows
and understanding understanding understanding understanding
Timing of tempo and of tempo of tempo of tempo and
beat and they and beat and and beat and beat and stays
don’t have seldom stays seldom stays on rhythm
the rhythm on rhythm on rhythm throughout the
throughout dance
the dance.
Precision Performs Seldom Performs Performs with
and with no performs less accurate use
Accuracy accuracy accuracy accuracy of skills and
of skills of skills demonstrate
and dance and dance correct dance
formation formation formation
Correct Dance Dance Dance Dance
Dance Step performed performed performed performed
with no with a little with a few with great
attention to less attention attention to attention to
quality of to quality of quality of quality of
movement, movement, movement, movement,
body position body position body position body position
and other and other and other and other
details details details details of
of dance. of dance. of dance dance.
Formation Creates few Creates few Creates a lot of Creates a lot of
formation formation and formation and formation and
and it is not there are few there are few it is perfectly
perfectly routines that routines that done
done. are not are not
perfectly done. perfectly done
Comments Total

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Exercises: Dance pattern with 3/4 time signature in preparation for the dance.

MAZURKA NATIVE WALTZ CROSS WALTZ BRUSH STEP

Ct. 1, 2, 3 = 1M Ct. 1, 2, 3 = 1M TURN
Ct.1, 2, 3 = 1M
Step, Close, Step Cross-Step, Close, Ct. 1, 2, 3 = 1M
Slide, Cut, Hop
Step Step-Brush

Meaning : Spanishlike
Dance Culture : Christian Lowland
Place of Origin : San Vicente, Camarines Norte
Ethnolinguistic Group : Bicolano
Classification : Entertainment

Background
This is a lively dance brought by the Spaniards to Camarines Norte. It was adapted
by the people and became very popular in the town of San Vicente, Camarines Norte.
According to some old folks in the town, this was danced during gatherings of high officials
of the government or a welcome gesture for visitors belonging to the elite class of the
society in the olden times. Today it has become a social dance.

Costume:
Female : Maria Clara Costume Illustration
Male : Barong Tagalog
and black pants
Music : 3/4 composed of
five parts A, B, C, D,
and E
Count : One, two, three to a
measure
Formation : Partners are opposite
each other about six
feet apart. When facing
audience, girls are at
right side of boys. One
or more pairs may
participate.

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INTRODUCTION
Music Introduction:
Partners faces each other.
(a) Boy takes eight heavy steps alternately R and L forward to the center,
R arm bend forward at chest level, L hand in rear of waist, palm out. 4M
(b) Pause 8M
Music A.
Girl enters doing the following steps while boy stands in place.
(a) take one mazurka step to the right, R shoulder leading (1M).
Three – step turn right (1M). Hands holding on skirt. 2M
(b) Repeat (a) to the left, L shoulder leading. 2M
(c) Repeat (a) and (b), finish at the R side of the boy facing audience. 4M
i
Music A.
Face partner.
(a) Repeat (a) and (b) of the introduction (Girl’s part) sideward right
and left four times. 16M

ii
Music B.
Face partner.
(a) Take four brush – step turn right in place, arms in 4th position,
R arm up. 4M
(b) Repeat (a) turning left. Reverse position of arms. 4M
(c) Repeat (a) and (b). 8M

iii
Music C and D.
Face partner.
(a) Starting with R foot, take eight waltz steps moving clockwise,
R arm extended forward, palm up as if offering (1M); bring same
hand close to chest (1M); free hand of girl holding on skirt, boy’s
hand on waist.Repeat arm movement three more times. 8M
(b) Repeat (a) moving counterclockwise with L foot, extending the
L arm forward and close to chest. 8M
(c) Face front. Join inside hands, take four step – swing forward
right and left alternately. 4M
(d) Repeat (c) moving backward. 4M

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Music E.
Face partner.
(a) Starting with the R foot, take three cross waltz steps in place (3M).
Three – step turn left going to center to finish in one line,
L to L shoulder. 4M
(b) Repeat (a). Finish the turn in partner’s place. 4M
(c) Repeat (a) and (b) to finish in proper place. 8M

Saludo
Music Finale.
Partners join inside hands, free hand of girl holds skirt, boys on waist.
(a) Girl: Take three whirl turns under the arch of joined hands.
Boy: Pause. 3M
(b) Girl: Curtsy – step R sideward, R arm sideward,
L hand holds skirt (1M). Point L foot in rear of R and
slightly bend both knees (1M).
Boy: Saludo – arms in hayon - hayon position, R arm in front (1M).
Bend trunk forward (1M). 2M

ASSESSMENT TOOLS
Divide the class into two groups. Make sure everyone has a pair. This is the
application of the two dances that were discussed. Make a program with both dances as
intermission numbers. The program must be a showcase of Filipino culture and traditions,
similar to or that may be presented during the Buwan ng Wika celebration.
Dance Rubrics

1 2 3 4 Mark
Mastery of Does not Hardly ever Seldom Clearly
Sequence demonstrate demonstrate demonstrate demonstrates
the correct the correct the correct the correct
dance dance dance dance
sequence sequence sequence sequence

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Rhythm Shows a little Shows a few Shows Shows
and Timing understanding understanding understanding understanding
of tempo and of tempo of tempo of tempo and
beat and they and beat and and beat and beat and stays
don’t have seldom stays seldom stays on rhythm
the rhythm on rhythm on rhythm throughout
throughout the the dance
dance.
Precision Performs Seldom Performs Performs
and with no performs less accuracy
with accurate
Accuracy accuracy accuracy of skills use of
of skills and dance skills and
and dance formation demonstrate
formation correct dance
formation
Correct Dance Dance Dance Dance
Dance performed performed performed performed
Step with no with a little with a few with great
attention to less attention attention to attention to
quality of to quality of quality of quality of
movement, movement, movement, movement,
body position, body position, body position, body position,
and other and other and other and other
details details details of details of
of dance. of dance. dance dance.

Formation Creates few Creates few Creates a lot Creates a lot

formation formation. of formation. of formation
and it is not Few routines Few routines and it is
perfectly are not are not perfectly
done. perfectly perfectly done
done. done

Program Student Student puts Student Student looks

finishes program looks at at program
program in lap and program before
perfectly. does not quietly performance
fiddle with between begins and
it during the numbers. then quietly
performance. consults it
between
numbers, if
desired.
Comments Total

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SOCIAL DANCE

LESSON 1: BENEFITS OF SOCIAL DANCING

LESSON 2: ETIQUETTE IN SOCIAL DANCING
LESSON 4: LINE DANCING
LESSON 5: CHA-CHA-CHA

At the end of this unit, the students should be able to:

• develop a deeper understanding on the different social dances as a
mode of recreational activity; and
• interpret and demonstrate the different social dances with grace
and elegance

Social dancing is a dance for enjoyment, socialization, recreation, and good

health. It brings excitement, challenge, romance, social interaction, and other benefits into
one’s life. These days, there are competitions made for elementary, secondary, and even
university level. Competitions in social dancing, with a wide variety of categories, are held
almost everywhere around the world.
Social dance is also a basic part of promenades, cotillions, balls, and wedding
receptions. Dance events are often sponsored by schools, universities, colleges, clubs,
communities, and dance studios. Social dancing requires refined movements and high
standard routines which are outstandingly evident in social dance venues. The movements
and routines of the dance set the mood and give every dancer a relaxing feeling.
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BENEFITS OF SOCIAL DANCING

At the end of the lesson, the students should be able to:
• know the importance of social dancing;
• understand the relationship between dancing and fitness; and
• learn how to maintain good health through social dancing.

It really takes a lot of courage and discipline to maintain a fit body. Proper exercise
and a balanced diet plays a big role in keeping our body in good shape. In addition, good
meditation and enough rest for our body are also needed, besides having good values
and following the teachings of the different orientations of one’s religion which would
primarily help one’s spiritual wellness.

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There are a GOLDEN CRONICA
lot of benefits PUBLISHING
that one can INC.dancing. It increases
obtain from social
the possibility of finding new friends in social gatherings. While dancing, partners can
exchange ideas and appreciate each other’s capabilities.
Listening to music gives a relaxing feeling. Proper dancing etiquette and attire
create good mood and pleasure. Participants of social dancing also obtain the benefits of
low-impact aerobic drills. Social dancing increases one’s heart rate by 60 to 70 percent,
safely raising the individual’s energy level. Therefore, we can say that social dancing is a
great combination of exercise and recreation.

The benefits of social dancing are many. Social dancing also eliminates stress and
tension. It makes your bones and muscles become stronger, improves flexibility, and boosts
self confidence. It has physical, social, mental, and spiritual benefits that are too many to
mention.
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ACTIVITY

Write an essay about the benefits of social dancing. Create your own title. (20pts.)

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SOCIAL DANCE ETIQUETTE

At the end of the lesson, the students should be able to:
• know and understand the proper social dance etiquette;
• distinguish good and bad manners in minor and major social dance events; and
• exhibit ideal etiquette not only in dance gathering but also in other social events.

In any setting where there is social interaction, one must be polite. More so in
social dance events. Treating others with due respect and good intention must be observed
at all times. Minding your social dance etiquette helps you win the hearts of your fellow
dancers.
Social dance etiquette follow specified standards which serve as guide that will
help participants go through the social aspect of social dancing with pleasure.

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PERSONAL HYGIENE

In social dancing, one encounters a lot more people, making personal hygiene a lot
more vital. You must be sure that you have taken a bath, brushed your teeth, used mouth
wash, and applied antiperspirant or deodorant before going to the venue. Wear appropriate
and comfortable dance attire. Perfume is advisable.

ASKING A PROSPECTIVE PARTNER TO DANCE

Observe good manners and humility when you ask a prospective partner to dance.
Traditionally, in most social dance functions, it the men who ask the ladies to dance because
women are, by nature, conservative and reserved.
When asking someone to dance, a man must be polite. Snapping your fingers,
nodding your head, or waving to call someone is a big no-no. If a lady accepts your
invitation, escort her to and from the dance floor.

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IF YOU ARE ASKED TO DANCE

In all social dance functions, good manners should be shown when you are asked
to dance. Accept the invitation to dance politely. If for some reason you could not dance
with a certain person, you must give a polite excuse and refrain from dancing that particular
dance with anybody else as a sign of respect.

ON THE DANCE AREA

Remember to politely introduce yourself to your partner as well as to other dancers.

Dance in the best way you can. However, avoid dancing with a partner for too long; he or
she may be excused after two consecutive dances. This will open more opportunities for
getting to know more people and starting friendships with the other dancers. Refrain from
interrupting a pair of dancers especially in the middle of a routine. Waiting for one’s turn
must always be observed.

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If you are the CRONICA
man and you PUBLISHING
would like to dance with INC.
a lady other than the one
you are dancing with, make sure to finish this particular dance. Be very polite and show
gratitude – escort your partner back to where you have invited her and say thank you.

AT THE END OF MUSIC

Always show gratitude to your dance partner for sharing a dance moment with
you. Say thank you when the music ends. Then, escort your dance partner to the place
where she was when you asked her.
Ladies should always be escorted when leaving the dance floor. Abandoning one’s
partner out in the middle of the dance area is very impolite.

ACTIVITY
PRACTICAL TEST: ROLE PLAYING

Form four groups. Every group must prepare and present to the class what they have
learned about social dance etiquette through role playing.

Basis for Grading:

1. Creativity 5pts.
2. Individual Performance 5pts.
3. Group Grade 5pts.
4. Costume 5pts.
TOTAL 20pts.

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LINE DANCING
At the end of the lesson, the students should be able to:
• know the background of line dancing; and
• learn the basic line dance steps and their combinations; and
• proficiently and gracefully perform basic line dance steps and their combionations.

One of the most enjoyable of all social dances is line dancing, considering that one
can dance it anywhere and the fact that one does not need a partner to dance it. In line
dancing, a routine of dance steps is repeatedly performed by a group of people dancing
in one or more lines or rows done with choreography, but without gender specification.
Participants move in particular directions and even sometimes face each other in executing
similar steps at the same time. Line dancing is learned and participated in at bars, ballrooms,
and clubs in western countries. Moreover, it is common in gatherings, such as programs,
and is usually accompanied by varied popular music like pop, rock and roll, swing, jazz,
and Latin rhythm.

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FIGURE 1. Basic Line CRONICA PUBLISHING INC.
Dance Steps
a. Step right foot sideward (ct.1), close left (ct.2), step right foot sideward again
(ct.3), and close left again (ct.4) (4M)

b. This time starting with the left foot repeat the double steps in opposite
direction. (ct. 5-8) (4M)

c. Step right foot backward (ct.1), close left foot backward (ct.2), step right foot
backward again, and close left foot backward again (ct.4) (4M)

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d. Step left foot forwardCRONICA PUBLISHING
(ct.1), click step INC.
right foot to rear left (ct.2), step right
foot back (ct.3), and close left foot back (ct.4)

e. Kick right foot to quarter left in open position or stride position (ct.1), and
repeat a. to d. (16M)

f. Repeat a. to d. then move quarter turn left to finish the four corners of figure.

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FIGURE 2. Heel and Toe CRONICA PUBLISHING INC.
a. Step right foot sideward (ct.1), close left foot (ct.2), step right foot sideward
again (ct.3), close left (ct.4) (4M)

b. Repeat a. in opposite direction, this time start with your left foot (ct. 5-8) (4M)

c. Step right foot oblique forward (ct.1), close left foot (ct.2), repeat ct. 1 and 2
to complete ct. 3 and ct.4 (4M)

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d. Step left foot oblique CRONICA
forward (ct.1),PUBLISHING INC.
close right foot to left (ct.2), repeat ct. 1
and 2 to complete ct. 3 and ct.4 (4M)

e. Heel place right foot in front (ct.1 – 2), point your right toe at the back ( ct.3
and 4), Heel place right foot in front (ct.5), point right toe at the back (ct.6),
raise your right knee and tap the inner heel (ct.7), and tap with the other heel
with the right hand (ct.8) to complete the first corner.

f. Bring down your right foot and quarter turn left to start to the second
repeating a. to e. until you finish the four-corner combination.

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DANCE CHOREOGRAPHY

Dance choreography is the art of constructing achain of movements to form a

dance. The word choreography literally means dance-writing.

A choreographer is one who creates dance compositions. He or she plans and

arranges dance movements and patterns for dances.

Guide on How to Choreograph a Group Dance:

1. Know what the theme is.
• A dance theme is a choreographic arrangement which is followed
in order to add visual and dramatic variety to a dance presentation.

2. Assign each dance group member to contribute an idea or step which is

related to the theme.
• Every member of the dance group is expected to contribute ideas and
dance steps which will be suitable to the dance theme for the betterment
of the dance choreography.

3. Think and look for a music which is suited for the type of dance
• Think of your dance theme and look for music that will inspire and
complement the movements and dance design that you have imagined.

4. Try to fit the dance steps into the music.

• In fitting the dance steps into the music, distinguishing the rhythm of a
song will help you a lot because some songs may work great for some
dances and some may not. Be sure that the dance steps fit into the music
that you chose to use.

5. Adjust the dance steps to the music.

• If you can adjust the dance steps to the actual beats of the music do so.

6. Memorize.
• In memorizing the dance steps, since it is not as simple as you may
think, be sure to put time, effort, and dedication into it. By doing so,
surely it will be easy for you to perform the dance accurately.

7. Beautify.
• Now that you already memorized the dance steps, it is time for you to
beautify your dance routine. Apply the dance etiquette that you have
learned.

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ELEMENTS OF DANCE

INTRO

• Entrance
• Preset

MOTION ON STAGE

• Left Motion

• Right Motion

• Forward

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• Backward

• Rotation

• Reverse

• Compress

• Expand

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LEVEL

• Low (Laying)

• Mid (Kneeling)

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• High (Standing)

• Elevation (Jump)

• Diagonal

• Reverse
Diagonal

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• V

• Reverse V

• Straight line

• Shapes (circle, square, triangle, rectangle, diamond, etc.)

• Letters (A to Z)

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DANCE FIGURESGOLDEN
FINALE CRONICA PUBLISHING INC.
• Basic line dance steps, heel and toe, etc.

• Courtesy Bow

• Last Pose

• Exit Step

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ACTIVITY
GROUP TASK

Divide the class into groups of five. Create a line dance using your own steps with
minimum formations of five and your own choice of music. Follow the guide on how to
choreograph a dance and incorporate the elements of dance. Limit your dance to three to
five minutes. Present your dance number in class.

Group Grade Criteria: 100%

1. Choreography (Creativity of steps) 40%
2. Presentation (Delivery of steps) 40%
3.Precision (Unity of movement and style) 20%

Total: 100%

https://www.thestar.com/entertainment/stage/2016/06/01/much-to-thrill-in-stratfords-a-chorus-line-review.html

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CHA-CHA-CHA
At the end of the lesson, the students should be able to:
• know the background of Cha-cha-cha;
• learn basic Cha-cha-cha dance steps and combinations correctly and gracefully;
and
• perform basic and combination Cha-cha-cha steps correctly and gracefully.

The Cha-cha-cha is one of the most popular of all the social dances. It is an enticing
and enjoyable dance because its music is very lively and full of passion. It is that dance that
is very likely to bring a joyful party-like ambiance to a social gathering.
A lot of hip movements are needed when dancing Cha-cha-cha, although the hip
movements occur primarily out of bending and straightening the knees.

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BASIC CHA-CHA-CHA CRONICA
DANCE STEPS PUBLISHING INC.
VARIATION 1 CHA CHA CHA
CLOSED BASIC MOVEMENT
*Boy Movements:

a. Step Left Foot (LF) forward (ct.2)

b. Transfer weight to the Right Foot (RF) (ct.3)

c. Step left foot sideward to the left (ct.4)

d. Close RF to LF (ct. and)

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e. Step LF sideward CRONICA
to the left (ct.1) PUBLISHING INC.

f. Step RF backward (ct. 2)

g. Transfer weight to LF (ct.3)

h. Step RF sideward to the right (ct.4)

i. Close LF to RF (ct. and)

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j. Step RF toGOLDEN CRONICA
sideward right (ct.1) PUBLISHING INC.

* Girl Movements:

a. Step RF backward (ct.2).

b. Transfer weight from RF to LF (ct.3)

c. Step RF sideward to the right (ct.4)

d. Close LF to RF (ct. and)

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e. Step RF sideward CRONICA
to the Left (ct.1) PUBLISHING INC.

f. Step LF forward (ct.2)

g. Transfer weight from LF to RF (ct.3)

h. Step LF sideward to the left (ct.4)

i. Close RF to LF (ct. and)

j. Step LF sideward (ct.1)

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ACTIVITY
PERFORMANCE TASK

• Divide the class into five groups.

• Create a three- to five- minute lively production exhibiting the Cha-cha-cha Dance.
• Costumes are optional.
• Criteria for Grading:
Choreography (creativity of steps) 40%

Presentation (delivery of steps) 40%

Precision (unity of movement and style) 20%

Total: 100%

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HIP-HOP

LESSON 1: HISTORY OF HIP-HOP DANCE

LESSON 2: OTHER FORMS OF HIP-HOP DANCE
LESSON 3: CONTEMPORARY DANCE
LESSON 4: IMPORTANCE OF DANCING

At the end of this unit, the learners should be able to:

• define and distinguish Hip-hop from Contemporary Dance;
• perform the basic steps of Hip-hop and Contemporary Dance with
grace and form;
• execute with proficiency some Hip-hop Dance moves; and
• develop more grace and coordination through hip-hop dancing.

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HISTORY OF HIP-HOP DANCE

At the end of the lesson, the students should be able to:

• explain the nature of Hip-hop Dance;
• perform the basic steps of Hip-hop Dance with correct form and grace;
• execute Hip-hop dance moves with proficiency; and
• develop more grace and coordination through Hip-hop dancing.

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HIP-HOP PUBLISHING
DANCE INC.
Dance, when you’re broken open.
Dance, if you’ve torn the bandage off.
Dance in the middle of the fighting. Dance in your blood.
Dance when you’re perfectly free.
- Rumi

Essential Questions:
1. What is your personal understanding of the hip-hop dance?
2. Why do you think is it important for us to engage in different physical activities?

Hip-hop Dance refers to street dance, a dance that is primarily performed in the
streets. It was said to be first performed in the 1960s and early 1970s in African-American
communities. During that time, individuals without professional dance training but with
natural instinct for movement brought dancing to the streets. The movements or steps of
Hip-hop are rooted in the different music dating back from much further in time. The Hip-
hop moves were inspired by complex rhythms and the down-to-earth movement style of
African dancing.

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Hip-hop Dance CRONICA
is part of PUBLISHING
a greater culture that began INC.
in the streets rather than
having been developed by dance masters of famed academies and institutions, which is
how many classical forms of dance originated. The three unique aspects of Hip-hop dance
are freestyle movement, the involvement of battles, and the use of ciphers.

Freestyle Movement of Hip-Hop Dance

When Hip-hop dancers participate in freestyle routines they do not adhere to any
choreographic sequence of steps, but rather improvise their own moves on the spot. There
are basically no rules for freestyle dance; Hip-hop dancers commonly use the beat, rhythm,
melody, lyrics, and other aspects of a song or piece to help them determine their moves.

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Battles GOLDEN CRONICA PUBLISHING INC.
Hip-hop dance battles may be between individual dancers or crews. They
originate from informal dance contests that took place in the streets and popular night time
establishments. With battles, dancers perform routines, both freestyle and choreographed,
alternately and either a panel of judges or the crowd determines the winner in the end.

Cipher
In using ciphers, Hip-hop dancers form a circle. One dancer enters to perform a
sequence of choreographed or freestyle moves while the remaining dancers in the circle
yell out jeers or encouragements for the person performing. When the first dancer goes
back to the circle, another one comes in and so forth.

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BREAKDANCE
The most famous hip-hop dance is the Breakdance. This dance includes four
foundational dances: Top rock, which involves footwork-oriented steps performed while
standing up; Down rock, which involves footwork performed with both hands and feet
on the floor; Freezes, which involve stylish poses done on your hands; and Power moves,
which involve complex and impressive acrobatic moves.

LOCKING
Originally called Campbell locking, this hip-hop step was created by Don
“Campbellock” Campbell and was popularized by his crew, The Lockers. Locking is
characterized by sudden pauses or freezes.

POPPING
Popping is a technique of quickly contracting and relaxing muscles to cause a jerk
in a dancer’s body. It is the umbrella term for floating, gliding and sliding.

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ACTIVITY 1

Match Column A to Ccolumn B. Write the letter of your answer on the space provided.

A B

______1. This style was classified as one of the first a. Locking

pillars of the original hip-hop movement

______2. A dance created and popularised by Don b. Breaking

Campbell

______3. A type of Hip-hop between individual dancers c. Hip-hop

or crews

______4. A type of dance that refers to street dance, a d. Cipher

dance that is primarily performed in streets

_____5. A type of dance where performers form a circle e.Freestyle

to perform a sequence of choreographed or
freestyle moves

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ACTIVITY 2
DANCE WORD SEARCH

Look for and highlight all the words that you think are related to Hip-hop dancing.

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OTHER FORMS
OF HIP-HOP DANCE
At the end of the lesson, the students should be able to:
• list and explain other types and forms of Hip-hop dance;
• execute Hip-hop dance moves with proficiency; and
• appreciate dance skills as essential life skills.

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OTHER TYPES and FORMS of HIP-HOP

1. Krumping Krumping is increasingly gaining

popularity in Hip-hop and electronica
circles because of the energy and freedom
it encourages. It has four basic moves: jabs,
arm swings, chest pops, and stomps, or, if you
look at it in a simpler way, basically anything
you wanted to do with your body. It is very
improvisational and expressive, at times even
violently so, thus gaining popularity among
younger performers.

2. Harlem The Harlem Shake gained popularity

shake because of a viral YouTube video. It has no
strict code of dance moves. As it only involves
creative convulsions of the body, it is no
wonder that Harlem Shake is popular even to
those who are not adept at dancing

3. Jerkin Jerkin’ is a fairly recent Hip-hop dance

trend. It involves twitchy dance moves called
‘jerks’ where the performer executes a set of in
and out leg stretches. It is more of a sub-culture
trend, if taken together with its dress code of
neo-coloured skinny jeans and Chuck Taylors.
And yes, it looks much like the Dougie.

4. Liquid Liquid dancing is oriented towards

and digits Hip-hop, but has more laidback settings such
as in glitch hop and drum n’ bass. It often
involves smooth, ‘liquid-ish’ hand movements
called hand flows, and digital manipulation,
creating illusions and movements with the
fingers. The performer’s body is used as a
contour to express a feeling or a series of
interpretative gestures. Liquids and Digits,
like turfing, is pantomime-like in nature, often
involved in telling a story and creating a visual
representation of the music.

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5. Robot/ Robotting is pretty much similar to
Mannequin popping, but still many dancers use robot dance
moves as their primary style. Robot dance is
simply acting like a robot, (not necessarily in
jive with the beat) and doing stiff arm and head
movements that often contrast with the smooth

BASIC HIP-HOP MOVES

BREAKDANCING FREEZES AND FOOTWORK

Starting Position: “Crabwalk”

The starting position is on your hands and feet, butt lifted slightly off the floor, feet
in front. Your palms should be touching the floor. As you get better, you can get the six step
higher off the floor by having only your fingers and the first row of knuckles on your palm
touching the floor. Eventually, once your hands get strong enough, you will be able to do a
six step with only your fingertips touching the ground.

Step 1: Right leg hook

Hook your right leg around your left leg, placing the inside socket of your right
knee up against the shin of your left leg.

Step 2: Left leg back

Move your left leg straight back, and you pick up your left arm.

Step 3: Right leg through

Slide your right leg underneath your body, between your right arm and left leg.
Post your left hand to the side and in front for support.

Step 4: Left leg through

Slide your left leg underneath your body, between your right leg and left arm.

Step 5: Right leg forward

Move your right leg up, placing your right shin into the socket of your left knee.

Step 6: Left leg unhook, back to start

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Babyfreeze GOLDEN CRONICA PUBLISHING INC.
The babyfreeze is a relatively
simple freeze to perform, and is easy to
get into from a six step.

Starting position: Place palms flat

on floor, feet on floor, back
arched up.

Step 1: Place your right knee directly

on top of your right elbow,
near the end of the tricep
muscle.

Step 2: Lean forward slightly, putting weight on your right arm, and using your left arm
to balance.

Step 3: Extend your left leg behind you, using it to balance out your weight.

Handglide Freeze
Handglide freeze is another
basic freeze that is easy to get into from
six step. It is also the position used to
get into the more advanced power
moves of windmills and (you guessed
it) the handglide.

Starting Position: Place palms flat on

floor, feet on floor, left hand
fingers pointing to the left.

Step 1: Lower yourself onto your left

arm, so your forearm is perpendicular to the floor, and your left bicep is parallel
to the floor. Your left elbow should be “stabbed” into the left side of your
abdomen muscles. Most of your weight will be on your left arm at this point.

Step 2: Lift up your legs, shifting them slightly to the left to balance your weight. Use
your right arm for stability.

Step 3: Pick up your right arm, balancing only on your left arm. All of your weight will
now be on your left arm. Keep your balance by shifting your legs farther to the
left, and leaning your body slightly left.

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Kick ball change

The kick ball change is a step that is performed in all kinds of dances. It only varies
in the speed and timing. A kick ball change has three kick steps and a ball change.

Step 1: Kick the foot once and step forward, placing the foot down.

Step 2: Kick with the other foot and step your foot down. Switch to the other foot and
kick, then step your foot down.

Step 3: The other foot should be behind a bit, tap the ball of the foot on the ground, then
tap the ball of the other foot. (Changing balls).

Note: Hip-hop is a loose, urban dance, the dancers should not kick and step like a robot. Let
it bounce and keep your arms loose.

Two-Step and Baby Swipe in BBoy Breakdancing

The two-step and baby swipe in Bboy breakdancing are variation steps in Hip-hop.
This unique choreography needs a lot of practice for you to perform it perfectly with ease
and grace.

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ACTIVITY
T-SHIRT MAKING
Work as a class or in small groups. Create a quotation about dancing. The quote
must motivate all students to dance. Have the quotation printed on a shirt.

PRACTICAL TEST NO. 1

G(oal) To present the unique aspects of hip-hop dance, applying the

freestyle movement, the involvement of battles, and the use of
ciphers.

R(ole) Choreographer

A(udience) Classmates and Students

S(ituation) Dance battle showcase

P(erformance) Hip-hop Dance

S(tandard/ Mastery of the Dance

criteria)
Dance position and movements
• Proper execution
• Correct body movements
• Clarity of movements
Rhythm and timing

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CONTEMPORARY DANCE
At the end of the lesson, the students should be able to:
• explain the nature of Contemporary Dance;
• perform the basic dance steps of Contemporary Dance with correct form and
grace; and
• enhance grace and coordination through Contemporary dancing.

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Contemporary Dance is aCRONICA PUBLISHING
hybrid of ballet INC. It is often referred
and modern dance.
to as contemporary ballet or post-modern dance. Contemporary dances do not use foxed
moves and instead try to develop totally new forms and dynamics. Contemporary dance
includes quick moves, shifting alignments, expression of raw emotions, systematic
breathing, dancing moves preformed in non-standing positions (lying on the floor), and
-- in general -- trying to find the absolute limits of our human form and physique.
The techniques in performing Contemporary Dance combine the strong and
controlled legwork of ballet with modern dance’s stress on the torso, and employ contract
release, floor work, fall and recovery.

Persons Behind the Dance

There are several individuals who helped develop the Contemporary Dance of
today.

Martha Graham is often credited as the Founding Mother

of Contemporary Dance. She brought contemporary
dance into the mainstream. Her modern dance and
choreographies gathered the fame that is today compared
to the life works of legendary art geniuses such as Picasso,
Stravinsky, and Frank Lloyd Wright.

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Merce Cunningham was a student of Martha Graham. After

being a main dancer in her company for several years, he
started an independent career as a choreographer in 1942.

Lester Horton was a very influential contemporary dance

visionary who trained many famous modern dancers and
managed to incorporate the styles of Native American dance
and modern jazz into his dance techniques.

CONTEMPORARY DANCE TERMS AND TECHNIQUES

1. Abstraction An abstract dance does not
tell a story, nor is related to
symbolic contents or any kind of
associations with feelings, ideas
or other elements than movement
itself. A dance can be considered
as abstract if it is seen through
the frame of pure movement
and/or its components

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2. Alignment It is the placement of bones in such
a way that increases physiological
effectiveness and health.
Depending on the dance genre,
the alignment can vary according
to its specific aesthetic goals.3.

Arch A position in which the whole or

upper body is extended, creating
the form of an arch.

4. Beat It is the basic unit used to measure

time in both the choreographic
and musical language. It is the
pulse that occurs repeatedly with
a certain frequency.

5. Contraction It refers to the forward curving of

the spine, starting from the pelvic
zon

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6. Lunge The word “lunge” comes from
the language of aerobics and
it is used by some dancers to
name a movement in which
you transfer the weight
forward, and put half of it (or
more) on the leg that advances
and bends; the leg behind may
stay extended or may bend,
too. It is like going to a wide
fourth position (as we call it in
dance), with legs in parallel or
in a turnout position.

7. Mirroring It consists of a bodily

activity for two, in which one
person moves and the other
follows as if he/she was a
mirror. This strategy is used
to develop concentration,
communication, cooperation,
and creative skills.

8. Pirouette It refers to a full turn on one

leg, having the other leg bent,
till the point where the foot
reaches the knee (in a parallel
position or with the classical
turnout).

In a Contemporary Dance, it is important to prepare the mind and body of the dancer
for a wide range of movement possibilities: forms, qualities or dynamics. A performer has
to put passion, creativity and effort to be able to perform the dance technique perfectly with
ease and grace.

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ACTIVITY 1
Identify each of the following. Write your answer on the space provided.

________________1. She brought Contemporary Dance into the mainstream.

________________2. The forward curving of the spine, starting from the pelvic zone
________________3. Refers to a full turn on one leg, having the other leg bent, till the
point where the foot reaches the knee (in a parallel position with
the classical turnout)
________________4. The basic unit used to measure time in both the choreographic
and musical language.
________________5. It is the position in which the whole or upper body is extended,
creating the form of an arch.

PRACTICAL TEST
G(oal) To choose at least 4 dance techniques that will showcase student’s
creativity and passion

R(ole) Choreographer and performers

A(udience) Classmates and Students

S(ituation) Each student will choose 4 dance techniques and will perform acts per
dance technique.

P(erformance) Contemporary Dance

S ( t a n d a r d / Mastery of the Dance

criteria) Dance position and movements
• Proper execution
• Correct body movements
• Clarity of movements
Rhythm and timing

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IMPORTANCE OF DANCING
At the end of the lesson, the students should be able to:
• explain the importance of dancing; and
• identify the benefits of engaging in dance.

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Essential Questions:GOLDEN CRONICA PUBLISHING INC.
1. Why is it important to engage in different physical activities?
2. How do you motivate a person who is unmotivated when it comes to exercising?

The importance and benefits of Dancing

1. Relaxation
Dancing helps the mind and body to relax as the music and surroundings
take people away from their anxiety and frustration.

2. Gain Strength and Endurance

Dancing is a great form of aerobic exercise since it works many muscles
in the body. Muscles become stretched, conditioned, and toned.

3. Conveying a Message
Dancing allows people to express how they feel at a given moment.
Dance often finds itself in the form of telling a story or conveying emotion
through choreography.

4. Lifelong friendships and bonding
Dancing helps people to socialize and mingle with other people. It
strengthens one’s relationships and makes one more comfortable with others.

INJURIES THAT MAY OCCUR DURING DANCING

Neck Strain Choreography that calls for Prevention Tip:

excessive head movement can Straighten the neck
easily strain dancers’ neck rather than collapse it.
muscles.

Foot/Ankle/ These parts are vulnerable to a Prevention Tip: Use a

Lower leg wide range of injuries, including Thera-Band to keep the
stress fractures, tendon injuries, ankle flexible and strong.
sprains and strains.

Lower-Back Strain Lifting, arching and improper Prevention Tip:

and Muscle Spasms technique can overwork Strengthen the abdominal
and strain the lower back. muscles

Snapping Hip lliotibial (IT) band tightness, Prevention Tip:

Syndrome weakness along the outside of Strengthen the lower abs
the hip and lordosis can cause and all pelvic stabilizers
this syndrome. Dancers will and avoid turning out at
experience a snapping rubber- the feet, which stresses
band-like sound in the frontal the knees and hips.
hip joint.

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HOWTO PREVENT INJURY:CRONICA PUBLISHING INC.
1. Wear proper clothing and shoes.
2. Drink plenty of fluids.
3. Resist temptation to dance through injury or pain. Master the basic and correct
techniques.
4. Know your strengths and weaknesses.
5. Perform proper warm-up and cool-down exercises.
.

TRANSFER TASK

G(oal) To present dance Hip-hop and Contemporary Dance numbers

R(ole) Choreographers and dance performers

A(udience) Classmates and Students

S(ituation) The class will present a dance show. The classroom will be
transformed into a dance stage. The purpose of this activity is to
show students’ creativity, cooperation, and to perform the basic
dance with ease and grace

P(erformance) Hip-hop and Contemporary Dance

S(tandard/ Mastery of the Dance

criteria) Dance position and movements
• proper execution
• correct body movements
• clarity of movements
Rhythm and timing

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Rubric

CRITERIA 5 4 3 2 1 Rate
Excellent Very Satisfactory Needs Poor
Satisfactory Improvement
Mastery of Showed Almost Showed Showed Performed
the Dance very high showed average little poorly
level of mastery of mastery of mastery the dance
mastery of the dance the dance of the steps
the dance steps but steps dance steps
steps some Executed
errors were the dance
evident steps
with little
accuracy
Proper Showed Executed Executed Executed
Execution excellent the dance the dance dance steps
perfor- steps almost steps with incorrectly
mance accurately average Showed
but some accuracy very little
errors were level of
evident balance
Good Form Showed Showed Showed and
Failed
very high high level of average poise in
to show
level of balance and level of performing
balance
balance and poise in the balance the dance
and
poise in the performing and steps
poise in
performing the dance poise in Showed
performing
the dance steps performing little
the dance
steps the dance interest in
steps
steps executing
the dance
steps

Enthusiasm Showed Showed Showed Failed to

very high high average perform
interest in interest in interest in the dance
executing executing executing steps
the dance the dance the dance enthusi-
steps steps steps astically

TOTAL

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CHEERLEADING

LESSON 1: CHEERLEADING MOTIONS

LESSON 2: CHEERLEADING JUMPS
LESSON 3: TUMBLING
LESSON 4: STUNTS

At the end of this unit, the students should be able to:
• know the different arm, hand and leg motions, jumps, tumbling, and stunts;
• perform the different skills in cheerleading; and
• create a dance routine using the different skills in cheerleading.

(National Cheerleading Championship. Feb. 2015. Retrieved from http://solarentertainmentcorp.

com/channel/article/solarsports/National-CheerleadingChampionship1424915313)

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Cheerleading is only one of the many ways to support one’s team. It ranges
from yelling to intense physical activity for sports team motivation. The routines may
contain many components of tumbling, dance, jumps, cheers and stunting in order to direct
spectators of events to cheer for sports teams at games or to participate in cheerleading
competitions. The yellers, dancers and athletes involved are called cheerleaders.
The origin of cheerleading started during the late 18th century with the rebellion
of male students. After the American Revolutionary War, students experienced harsh
treatment from teachers. In response to faculty’s abuse, college students violently acted
out. The undergraduates began to riot, burned down buildings located in their college
campuses, and assaulted faculty members. As a more subtle way to gain independence
however, students invented and organized their own extracurricular activities outside their
professors’ control. This brought America into sports and cheerleading, beginning first
with collegiate teams.
In the 1860s, students from Great Britain began to cheer and chant in unison for
their favorite athletes at sporting events. Soon that gesture of support crossed overseas to
America.
On November 6, 1869, the United States saw its first intercollegiate football game.
It took place between Princeton University and Rutgers University, and marked the day the
original “Sis Boom Rah!” cheer was shouted out by student fans.

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CHEERLEADING MOTIONS
At the end of the lesson, the students should be able to:
• demostrate the different kinds of motions in cheerleading;
• execute the arm, hand, and leg motions properly; and
• realize the importance of the different motions through a presentation.

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Motions are GOLDEN CRONICA
the most important aspectPUBLISHING INC.only do they make a
of cheerleading. Not
routine, cheer, or dance unique and uniform among a squad, but they are also what makes
cheerleading look sharp and clean (Wright, 2011).

FOUR TYPES OF CHEERLEADING MOTIONS

1. ARM MOTIONS-BASIC
These are the basic motions that are incorporated into every aspect of cheerleading
including, jumps, cheers, stunting, and even at times tumbling.

Here’s how to execute the different Arm Motions- Basic:

Clean - Arms are straight down at sides.

Clap - Arms are bent with hands meeting together in front of the chest.

Touchdown - Arms are parallel and straight reaching up and

vertical above the shoulders.

Low Touchdown - Touchdown except arms reaching down and vertical

below the shoulders.

Table top - Arms down at sides with elbows bent and hands in front of chest.

Overhead - Arms straight up with hands touching above head.

Low - Arms straight down with hand touching in front of hips.

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High V - Arms straight up reaching diagonal over shoulders

in the shape of a large v. Shoulders relaxed.

Low V - Arms straight down reaching diagonal under

shoulders in the shape of a large v. Shoulders relaxed.

T - Arms straight and horizontal to shoulders. Arms parallel to the

ground and shoulders relaxed.

Broken T - T motion except elbows are bent inward with hands placed
in front of shoulders.

Hands on Hips - Elbows bent and facing away from the body with hands
placed on hips.

2. ARM MOTIONS - HARD

These motions combine some of the basic motions listed above in order to form
slightly harder arm motions.

Bow and Arrow - One arm in a T motion and the other arms in a Broken
T motion.

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Punch - One arm in a Touchdown and the other arm in Hands on

Hips.

Diagonal - One arm in a High V and the other arm in a Low V.

There is a right and a left diagonal depending on
which arm is in the High V.

L - One arm in a Touchdown and the other arm in a T. There

is a right and a left L depending on which arm is in the T.

Check Mark High - One arm in a High V and the other arm in Hands on Hips.

Check Mark Low - One arm in a Low V and the other arm in Hands on Hips.

X - Elbows bent and at hips with arms crossing in front of chest and hands in front of
opposite arm shoulder.

High X - Arms like a Touchdown except cross each other above head.

Low X - Arms like a Low Touchdown except cross each other in front
of hips.

Left K - Left arm in a High V and right arm crossed over body to left
side in a Low V.

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Right K - Right arm in a High V and left arm crossed over body to
right side in a Low V.

3. HAND MOTIONS - can be used in conjunction with the arm motions to create unique
and distinct visuals for the audience.

Blade - Fingers straight and together.

Clap - Hands together in blades.

Clasp - Hands together and wrapped around each other.

Spirit/Spider - Fingers straight except stretched apart.

Pail - Hands in fists with thumb on top of fingers.

Candlestick - Pail hands with the inside of hands facing each other, as
if holding a candlestick.

Buckets - Pail hands with the thumb facing downward.

4. LEG MOTIONS - Like the hand motions, these can be used along with the arms
motions and hand motions to create a variety of thrilling cheerleading motions.

Clean - Legs and feet together

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Ready - Legs shoulder CRONICA PUBLISHING INC.
width apart.

Wide - Legs apart and past shoulder width.

Side Lunge - Legs wide apart. One leg bent with knee directly over ankle and the other
leg straight. Feet should be perpendicular to each other.

Front Lunge - One leg stepped forward in front of body and bent with knee directly over
ankle. Back leg is straight and feet are perpendicular to each other.

Kick - One leg kicked up in front of chest and the other leg is straight and remains on the
ground.

Pony: Feet together - One knee is slightly bent with foot on tiptoe and the other leg is
straight with foot completely on the ground. Then switch so the
bent leg is straight with foot completely on the ground and the
straight leg is slightly bent at the knee with foot on tiptoe. Repeat.

Hitch - Legs together but one leg is raised with foot meeting the knee of the leg
remaining on the ground.

Both Leg Kneel - Legs and feet together but both knees on the ground. May sit back on
feet or remain upright.

One Leg Kneel - One knee is on the ground directly under body. The other leg is in a
wide position with knee bent and foot directly below knee.

Sit - Legs are on ground with knees bent. One leg is bent with knee facing diagonally and
other leg is bent with knee directly in front of body. The foot of leg with the diagonally
facing knee is placed right next to the other legs knee, whose foot is diagonal to the
body. Butt, legs, knees, and feet should all be completely on the ground with nothing
overlapping, nor touching.

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ACTIVITY
Divide the class into four groups. Each group must create a routine according to
the assigned motion. Select music that is fitted to your routine. Practice your performance.
Be prepared to present your number in class.

Group 1: Arm Motion – Basic

Group 2: Arm Motion – Hard
Group 3: Hand Motion
Group 4: Leg Motion

Rate each group’s performance based on the following criteria. Use a scale of 1-5,
with 5 as the highest and 1as the lowest.

Motion Technique Group No.

1 2 3 4

Sharpness
Arm Levels
Correct Fists
Synchronization
Total Score
Average

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CHEERLEADING JUMPS
At the end of the lesson, the students should be able to:
• state the different kinds of jumps in cheerleading;
• perform the different kinds of jumps;
• compose a routine for cheerleading.

(National Cheerleading Championship. March 2014. Retrieved from http://www.spin.ph/cheerdance/gallery/gallery-9th-national-cheerleading-championship-

showcases-best-of-the-best)

Jumps are often used in cheerleading chants, dances, and routines. When done
correctly, they give cheerleading an appearance of difficulty while also drawing the
attention of the audience.

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JUMP PREPARATION
Start with arms in a High V. Then, swing both arms in a circular motion towards the
inside, making sure they cross overhead, while bending the knees and preparing to jump.
Continue to circle arms all the way around, while leaping into the air and manipulating
body to form the positions of the jumps described below.

BASIC JUMPS:
Straight Jump - Keep legs together and bring arms to T motion.

Tuck Jump - Keep knees together and bring them to the chest as close as possible, being
carefully to keep chest straight up and not lean forward while arms are in a
High V.

Spread Eagle - Put legs wide apart while arms are in a High V. The body will look like
an X if done correctly.

Double Hook- Legs must be pulled up under the body and bent or hooked the same way,
as if in a cheer sit position while arms are in a High V.

Herkie- One leg is kept straight and is kicked up with knee facing upward and other leg is
bent with knee facing downward. The arm on the side with the kicked leg is in a
touchdown and the other arm is in a hands on hips. The chest is also up.

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MEDIUM JUMPS
Banana Jump - Bend legs and kick them up behind while your back is arched and arms
are bent and reaching behind as well. Often the head is bent backwards,
too.

Front Hurdler - This jump is similar to a herkie; however,

the chest is bent and the arm positions are
different. To perform a Front Hurdler, put
one leg straight and kicked up toward chest
with the knee facing upward and other leg
is bent with knee facing downward. The
arms are straight with hands in fists and
arms are on each side of the kicked leg (the
leg is kicked up between the outstretched
arms). Head faces the foot of the kicked
up leg.

Toe Touch - A toe touch is similar to a spread eagle, except in a toe touch the hips
are rolled and the legs are brought up to the chest and the arms are also in
different position. To perform a Toe Touch, keep the head and chest up and
the legs straight while bringing them up to the chest in a straddle position.
Knees are faced to the back and arms are in a T position.

Pike Jump - Keep legs together in a straight position, and bring legs up to arms, which
must be parallel to the ground. Chest should be parallel to legs as well.

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HARD JUMPS

Around the World - The around the world jump is a mixture of the pike jump and the
toe touch. To perform an Around the World, begin the jump as if
performing a pike jump, but in the middle of the jump swing legs
outward to the toe touch position. Arms follow the legs and also go
from the pike position to the toe touch position.

Double Nine - This is similar to a Pike Jump except the arms and legs are in a slightly
different position; they are in the shape of a nine. To perform a Double
Nine: do a Pike Jump where one leg is bent with the foot touching the knee
of the straight leg. The arms are in the same position as the legs, with one
arm bent and the hand at the elbow of the straight arm. Like in a Pike, the
head is facing up.

Double Jump - A double jump is simply two jumps in a row without any type of pause.
The arms may still swing again but there is no break between the jumps. A
double jump can be any combination of jumps, whether both are the same
type of jump or different jumps.

Power Jump - This is not really a separate type of jump, but rather a harder way of
performing jumps. It is a separate version of the prep and can be performed
with any type of jump. To perform a Power Jump, do not swing the arms
to jump; instead, simply spring into the air, using only the muscles in the
legs to gain height.

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ACTIVITY
Group the class into four. Each group should create a routine composed of basic,
medium and hard jumps.
Evaluate the group performance according to the criteria given below. Use a scale
of 1-5, with 5 as the highest and 1 as the lowest.

Jump Technique Group No.

1 2 3 4

Form
Height
Flexibility
Synchronization
Total Score
Average

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TUMBLING
At the end of the lesson, the students should be able to:
• enumerate the different kinds of tumbling;
• properly execute the different kinds of tumbling; and
• recognize the value of tumbling in a cheerdance.

(UAAP Cheerdance Competion 2013. Retrieved fromhttp://www.pinoyexchange.com/forums/showthread.php?t=645467&page=115)

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Tumbling originated CRONICA
from gymnastics PUBLISHING INC.
and was brought to cheerleading in order to
further impress and amaze the crowd.
Tumbling is fun and exciting to watch when performed correctly. However, it is
one of the most difficult and most dangerous aspects of cheerleading. It has very difficult
and dangerous stunts that should never be attempted without a spot, as this can result in
serious injuries.
There are two types of tumbling – standing and running tumbling. In standing
tumbling, tumbles are done without any kind of power up beforehand. Performers simply
stand and use the muscles in their legs and the momentum from their arm movements to
jump which propels them to do flips and other kinds of tumbling.
While standing tumbling is done without any kind of power up, running tumbling
provides cheerleaders with more power to perform their tumbling tricks. In running
tumbling, a cheerleader may take a couple of steps or run and follow this with a power up –
either a round-off or a front handspring – both of which give the cheerleaders more power
and height, enabling them to more easily perform other tumbling tricks after the power up.

BASIC TUMBLING TRICKS

1. Cartwheel
Start by standing in a front lunge position. Jump forward, placing both hands on
the ground and kick legs over body, twisting body slightly as this is done. Feet should land
one at a time, with both feet ending on the floor facing the starting position. The cartwheel
is done in a straight line from start to finish, meaning both hands need to be sideways on
the ground and not placed forward directly in front of body.

2. Round-Off
Start by standing in a front lunge position. Jump forward, placing both hands on
the ground sideways (like in a Cartwheel) and kick legs over body, twisting body slightly
as this is done. Feet should land together at the same time and should face the starting
position. Like the cartwheel, the round-off is also done in a straight line.

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3. Back Handspring
Start by standing with feet and legs together. Jump up while arching backwards,
throwing arms behind the head so the body will rotate into an upside-down position. Place
hands on ground behind feet while kicking legs up backward over the body and landing
with feet and legs together. The body should not twist at all during this but should remain
straight with the legs together at all times.

4. Front Handspring
Start by standing with feet and legs together. Jump up and throw your arms forward
so body will rotate into an upside-down position. Place hands on the ground directly in
front of body and kick legs over hands and body, landing with feet and legs together. Body
should not twist at all during this but should remain straight with legs together at all times.

5. Aerial
Perform a cartwheel except that the hands should touch the ground.
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6. Back Tuck GOLDEN CRONICA PUBLISHING INC.
Start by standing with feet and legs together. Jump up in a tuck position while
swinging arms back. Body should rotate backward in the air with feet and legs coming up
over body and ending behind body. Body should untuck once feet are behind the body.
Land on both feet with legs together. Hands should never touch the ground but should be
used to pull knees in toward chest to tuck into a tight ball in the air.

7. Front Tuck
Start by standing with feet and legs together. Jump up in a tuck position while
throwing arms forward. Body should not rotate forward in the air with feet and legs coming
up over body and ending in front of body. Body should untuck once feet are in front of
body. Land on both feet with legs together. Like in the back tuck, hands should be used to
pull knees to chest to tuck into a tight ball in the air and should never touch the ground.

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ACTIVITY
Divide the class into four groups. Let each group create a routine composed of the
different tumbling tricks.
Evaluate the performance of the group according to the following criteria. Use a
scale of 1-5, with 5 as the highest and 1as the lowest.

Tumbling Group No.

1 2 3 4

Coordination
Technique
Amplitude
Difficulty
Safety
Total Score
Average

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STUNTS
At the end of the lesson, the students should be able to:
• name the different kinds of stunts in cheerleading;
• perform the different kinds of stunts in cheerleading; and
• create a routine out of the different stunts learned.

(Retrieved from https://cbholganzablog.wordpress.com/2013/10/10/nus-victory-ups-the-ante-for-philippine-cheerdancing-competition/)

Stunt sequences and pyramids, the most interesting and sensational aspects of
cheerleading to watch, are also some of the most difficult to perform. In a stunt, cheerleaders
are raised above ground level, making them extremely eye-catching to the audience.
Performing stunts is the most dangerous aspect of cheerleading and is the cause of most
injuries, and, thus, should never be practiced without a spot.

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BASIC STUNT TERMS
A stunt always consists of more than one person and because of this is it important
to understand the specific terms and jobs for each person in a stunt group.

1. Base: The cheerleader who lifts, holds, and supports the flyer and is also responsible
for catching the flyer from a dismount or cradle. There are usually two bases
in every stunt.

2. Main Base: The term only applies to stunts where the flyer is on one leg. The main
base has most of the flyers foot and weight, as the stunt usually happens
overhead. The main base usually places one hand under the heel of the
flyer’s foot and the other under the toes.

3. Side Base: The term only applies for stunts where the flyer is on one leg. The side base
supports the foot of the flyer by placing one hand under the middle of the
flyer’s foot and the other on top, ensuring it is secure and does not turn to
the side or lose balance.

4. Back Spot: The cheerleader who stands behind the stunt and is responsible for supporting
the weight of the flyer and catching the head and neck of the flyer from a
dismount or cradle.

5. Front Spot: The cheerleader who stands in front of the stunt and is responsible for
making sure the flyer does not fall forward. This position is not essential
to any stunt, but it provides extra support for the bases and extra safety
for the flyer.

6. Spotter: The cheerleader who is not actually part of the stunt group, but stands around
for safety reasons in case the flyer should fall.

7. Flyer: The cheerleader who is raised into the air and is responsible for keeping the
balance of the stunt, performing clean motions, and safe dismounts or cradles.
The flyer is usually very flexible and is usually one of the smallest girls in the
squad.

8. Level of the Stunt: The level of the stunt is the height of the stunt. There are two
levels that almost every stunt can take place in.

Chest Level: The bases perform the stunt with arms bent and at chest level.

Extension Level: The bases perform the stunt with arms straight above their heads.

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STUNT – BASICS

1. For a Two-Legged Stunt

The back spot: The back spot stands with legs in a Ready position and arms holding
the flyer’s waist. As the bases push the flyer’s feet into the air the back spot also pushes the
flyer’s waist up. As the flyer is being pushed into the air by the bases, the back spot grabs
the flyer’s ankles and helps the stunt reach the level desired.

The bases: The bases stand in Ready positions with knees bent and facing each
other. Their arms are close to their sides, with elbows bent and hands ready to hold the
flyer’s foot. The main base will have the flyer’s foot in hand at the beginning of the stunt
and the side base will wait to catch the flyer’s foot after the stunt has started. Once the stunt
starts, the side base catches the flyer’s other foot and then, together, the bases push the flyer
into the air to the correct level.

The flyer: The flyer stands with one leg on the ground and the other leg in the main
bases hand. The flyer’s hands are each on one of the bases’ shoulders, with elbows bent. As
the stunt starts the flyer lifts body up, holding own weight using arms. While holding the
body up, the flyer puts other foot in the side base’s hands. After the side base has the other
foot, the flyer pushes off of the bases shoulder and stands up with weight and balance on
both legs, being sure to keep body tight and hips square or even.

2. For a One-Legged Stunt

The back spot: The back spot’s job is the same as in a two-legged stunt, except at
the end of the stunt the back spot will only be holding one ankle of the flyer.

The main base: The main base has also the same job as in a two legged stunt.

The side base: The side base starts in a Ready position and also grips the flyer’s
foot that the main base is holding, usually with the right hand placed under the flyer’s foot
and the left hand placed on top of the flyer’s foot. Once the stunt starts, the bases both push
the one foot into the air to the correct level.

The flyer: The flyer starts in the same position as a two-legged stunt with one foot
in the hands of the bases, the other foot on the ground, and hands on the bases’ shoulders
with elbows bent. As the stunt starts the flyer pushes off of the shoulders of the bases and
stands up with weight and balance on the leg that is being held by the bases, being sure to
keep body tight and not let the loose leg throw off the balance.

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3. For a Basket TossGOLDEN CRONICA PUBLISHING INC.
The back spot: The back spot starts in a Ready position with hands on the flyer’s
waist. Once the flyer is loaded onto the basket and can support own weight, the back spot
reaches under the bases’ hands and helps launch the flyer into the air. As the flyer is about
to descend, the back spot gets ready to catch the flyer the same way the back spot would
catch a cradle.

The bases: The bases start in a Ready position with his/her knees bent. Each base
takes the right hand and grabs the wrist of own left hand. Then each base grabs the other
base’s right hand with own left hand. Once this is completed the result should look similar
to a basket. After the basket is created, the bases hold it at waist level, low enough for the
flyer to step on top. Once the flyer is loaded onto the basket and can support own weight,
the bases launch the flyer into the air letting go of the wrists as the flyer leaves the basket.
As the flyer is about to descend, the bases get ready to catch the flyer the same way they
would catch a cradle.

The flyer: There are two different ways for the flyer to load into the basket:
1) One foot at a time: After the bases have created the basket by locking wrists the
flyer places one foot on top of the basket while the other is still on the ground and places
hands on the bases’ shoulders with elbows bent. The basket dips and the flyer places other
foot in the basket while holding self up with arms on the shoulders of the bases.
2) Two feet together: After the bases have created the basket by locking wrists
the basket dips and the flyer lifts self into the air with weight on the flyer’s arms on the
shoulders of the bases and places both feet onto the basket. At this point the flyer needs to
be in good body position, with weight equally split between arms and legs and knees bent.
The seat of the flyer, however, should never fall below the knees. As the bases launch the
flyer into the air, the flyer should also jump and push off of the bases as hard as possible
in order to reach maximum height, as this is the goal of a basket toss. Once feet leave the
basket the flyer swings arms up and squeezes body tight until reaching the top of the throw.
It is at the top of the throw that the flyer may perform tricks. As the flyer starts descending,
the flyer should get body into a cradle position and stay tight until caught.

The front spot: Once the flyer is loaded onto the basket and can support his/her
own weight, the front spot reaches under the base’s hands and helps launch the flyer into
the air. The front spot is an optional position for a basket but is often used to ensure that the
flyer goes high enough into the air to impress the audience.

4. Loading into Stunt-Tricks

Elevator: Instead of a regular load where the flyer starts with one foot in the stunt,
the flyer starts with both feet on the ground and just places hands on the shoulders of the
bases. The bases dip and prepare to catch the flyer’s feet or foot, depending on the stunt, as
the flyer jumps into the air, with weight on arms, and then places the feet or foot into the
base’s hands.

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Ball Up: The flyer starts to load normally; however, instead of standing up into
the stunt out of the load, the flyer is launched into the air in a ball position. Once the flyer
reaches the top of the throw, the flyer stretches his/her body into a standing position, while
squeezing body tightly, and lands in a one-legged stunt usually at an extension level.

Full Up: The flyer starts the load normally, however, as the bases push the flyer
into the air, the flyer does a 360 degree spin, while bases keep holding the flyer’s feet,
before landing in the stunt. However, the bases are the ones that do most of the work for
the full up; and the flyer is not responsible for the 360 degree spin. The main base holds the
flyer’s foot in a special kind of grip, called the full up grip, and propels the stunt into the air
while spinning the flyer.

Double Up: This is the same as a Full Up, except the flyer does two 360 degree
spins before landing in the stunt.

Rewind: This is similar to a Ball Up, except instead of just tucking into a ball in the
air, the flyer does something similar to a Back Tuck.

Handstand: The flyer starts in a handstand and snaps out of it, bringing feet quickly
back towards the ground and chest back up. As the flyer is snapping out of the handstand,
the bases catch the flyer’s feet or foot, depending on the stunt, and continue pushing the
flyer into the air to the correct level.

Backhand Spring: The flyer does a backhand spring and as the feet come over the
head and are about to land, the bases catch the flyer’s feet or foot, depending on the stunt,
and continue pushing the flyer into the air to the correct level.

TWO-LEGGED STUNTS
In each of these stunts, the flyer stands in the air on two feet. The bases each holds
a foot of the flyer and the back spot holds either the flyer’s ankles or waist unless stated
otherwise.

Thigh Stand: The flyer stands feet apart on the thighs of the bases, who are standing
in side lunges. The bases are also holding around the flyer’s knee while the back spot is
holding the flyer’s waist.

Shoulder Sit: The flyer sits on top of the base’s or back spot’s shoulders while the
base or back spot holds the flyer’s knees.

Chair: The base or back spot extends arm overhead with spread palm and the flyer
sits in the base or back spot’s hand in a hitch position. The other arm of the base or back
spot holds the flyer’s straight leg.

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Shoulder Stand: The flyer stands on top of the base’s or back spot’s shoulders
while the base or back spot holds the flyer’s ankles.

Prep: The flyer stands feet apart in the air with arms usually in a High V.

Cupie/Awesome: The flyer stands feet together in the air with arms usually in a
High V.

Split: The flyer sits in a straddle while the bases each hold the flyer’s thigh and calf
and the back spot holds the flyer’s seat.

ONE-LEGGED STUNTS
In each of these stunts, the flyer stands in the air on one foot. The bases hold the
foot the flyer is standing on and the back spot holds either the flyer’s ankles or waist unless
stated otherwise.

Liberty: The flyer stands in a hitch position with arms in a High V.

Torch: The flyer stands in a hitch position except hitch leg faces the side while
body faces forward with arms in a High V.

Heel Stretch: The flyer kicks one leg up and holds it in a High V position with
other arm also in a High V.

Bow and Arrow: The flyer kicks one leg straight up next to head and holds it with
opposite hand. The other arm is in a T motion, but placed in front of kicked up leg.

Arabesque: The flyer stands on one foot and holds one arm forward while the other
arm and leg are held out behind .

Scale: The flyer kicks one leg up, grabs shin of kicked leg, and pulls it up to a High
V position with other arm also in a High V.

Scorpion: The flyer kicks on leg up, grabs foot of kicked leg with both hands, and
pulls it as high overhead as possible.

Needle: The flyer kicks one leg straight up in the air while reaching down to ankle
of unkicked leg and pulling chest to close to it.

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TRANSITIONS GOLDEN CRONICA PUBLISHING INC.
More stunt sequences are performed consecutively without the flyer returning to
the ground. Because more than one stunt is being performed in a row, the bases and flyers
are often forced to move around to different formations and positions. In order to get to the
new formations and positions cleanly, and also in an exhilarating way, many transitions are
used.

Squish: The bases each hold a foot of the flyer at waist level and the back spot
holds the flyer’s seat. The flyer is bent over supporting own weight on the shoulders of the
bases and knees are slightly bent.

Retake: The stunt starts in the air and then goes into a Squish without any pauses.

Double Take: The stunt starts in the air, goes into a Squish, then launches back into
the air into a new stunt without any pauses.

Show and Go: The stunt starts from the ground or a Squish, then the bases push the
flyer into an extension (can be one-leg or two-leg) for a short period of time, usually in two
counts, then comes back to the ground or a Squish. Often this is done while moving from
one spot to the next for dramatic effect.

Rainbow: The stunt starts from the ground or a Squish, and then, the bases push
the flyer into an extension. Once the flyer reaches the full height, the flyer arches back and
falls backwards and the bases move behind to catch.

Tick-Tock: While in a one legged stunt the bases pop the flyer into the air and the
flyer switches stunting leg while in midair.

Leap Frog: The stunt starts usually in a Squish and the bases pop the flyer into the
air behind the back spot’s head. The bases then move to catch the flyer in a Squish or a
cradle.

Reload: After a cradle, the bases pop the flyer out of the cradle and into a load
position and go right into the next stunt. This is often used to connect two separate stunts
cleanly and attractively.

Barrel Roll: After a cradle, or with the flyer in a cradle position, the bases pop the
flyer out of the cradle and into the air. The flyer stays flat in the air and spins 360 degrees
before being caught again in a cradle position by the bases.

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DISMOUNTS GOLDEN CRONICA PUBLISHING INC.
After a stunt or stunt sequence is performed there must be a safe, but clean, way to
bring the flyer back to ground level. This is called a dismount.

Walk Off: The bases reach one hand up to the flyer and the flyer reaches down and
grabs bases’ hand. The bases pop the flyer off, while still holding the hands of flyer and
also reaching for flyer’s underarm. The back spot guides the flyer by the waist slowly to the
ground. The flyer remains standing upright, places arms in a T motion while still holding
the base’s hands, squeezes legs and feet together, and lands with both feet on the floor.

Assisted Front Tuck: This is the same as a walk off except before the flyer gets into
the walk off dismount position, the flyer flips forward in the air before landing on both feet

Cradle: The bases pop the flyer into the air while the flyer turns body to face
forward, pulls legs and feet together, squeezes body into a pike or hollow body position,
and places arms in a T position. The bases hold arms out and catch flyer’s back and upper
legs while back spot holds arms out and catches flyer under arms.

Full Twist: This is the same as a cradle except before the flyer gets into a cradle
position; the flyer does a 360 degree spin in the air.

Double Down: This is the same as a cradle except before the flyer gets into a cradle
position, the flyer does two 360 degree spins in the air.

BASKET TOSSES
A basket toss is very different from a one legged or two legged stunt. In a one- or
two-legged stunt, the objective is for the flyer to hit some type of body motion or position
in the hands of the bases while maintaining complete control and balance. The basket toss,
however, is similar to a giant cradle. In a basket toss the goal is for the flyer to hit some type
of body motion or position in midair after the bases have flung the flyer as high as possible.
It is important for the flyer to always take these steps in order to reach full height and also
perform a safe basket toss:
1) ride to the top of the toss in a pencil or tight
position,
2) hit the body motion or position at the height
of the toss, which is right before
the flyer starts to fall back down to the bases,
and
3) perform spins and/or bring body into a cradle
position on the way back down to the bases.

http://www.hiramterriers.com/athletics/
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Star: The flyer kicks one leg back up as high as she can, while other leg is diagonally
downwards from kicked leg. Arms are in a High V. After reaching the star position, flyer
returns to cradle position and is caught by the bases.

Star Twist: The flyer reaches Star position in the air and spins 360 degrees before
returning to cradle position.

Pike: The flyer forms a Pike position in the air and returns to cradle position.

Tuck: The flyer performs a Back Tuck in the air and returns to cradle position.

X-Out: The flyer performs an X-Out in the air and returns to cradle position.

Layout: The flyer performs a Layout in the air and returns to cradle position.

Toe Touch: The flyer forms a Toe Touch position in the air and returns to cradle
position.

Pretty Girl: The flyer puts legs in a Liberty position with one arm in Hands on Hips
and the other arm in a Broken T except with the hand behind the flyer’s head in the air and
returns to cradle position.

Pretty Girl Twist: The flyer forms a Pretty Girl position in the air and spins 360
degrees before returning to cradle position.

Kick: The flyer kicks one leg up in front to a Heel Stretch position and then returns
to cradle position.

Kick Twist: The flyer forms a Kick position in

the air and spins 360 degrees before returning to cradle
position.

Kick Double: The flyer forms a Kick position

in the air and does two 360 degree spins before
returning to cradle position.

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There are many different combinations and variations of pyramids. A typical
pyramid is achieved by mixing several different one-legged and two-legged stunts together
and adding transitions. The end result of a pyramid is usually a symmetrical design with
many flyers in the air all around the center flyer, but all of them connected somehow. There
are specific rules to follow regarding the different pyramids formation. Only some types
of cheer, like college and certain divisions allow 2½ high pyramids so some of the stunts
shown below might not be performed at all levels of cheer. Below are pictures of many
different types of pyramids, but keep in mind that the variations are endless!

http://media.philstar.com/images/the-philippine-star/News-Feature/Best%20 https://madeleinehowell.files.wordpress.com/2015/05/heelstretch_
pyramids%20UAAP/UAAP%20CHEERDANCE%20COMPETITION%20 pyramid.jpg
UP-6.jpg

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ACTIVITY
Divide the class into two groups then ask each group to create at least five different
stunts.
Rate the students according to the following criteria, using a scale of 1-5, with 5 as
the highest and 1 as the lowest.

Stunts Group 1 Group 2

Form

Difficulty

Projection

Total

PERFORMANCE TASK

Perform a cheer dance as a class. The cheer dance must be 5-8 minutes long and
should be comprised of motions, jumps, and stunts. Choose the music and costume that are
suited to your routine.

Rubrics

Category Items used for judging 5 4 3 2 1 Total

Cheer Execution, sharpness/ precision
of motions , face/voice

projection

Jumps Flexibility, precision, height,
execution, safety
Tumbling Coordination, technique,
amplitude, difficulty,

safety

Stunts
Form, difficulty, projection,
safety
Total

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REFERENCES

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