1

MODULE I
INTRODUCTION

Lesson 1 Dances

Lesson 2 Fundamental Rhythm

Lesson 3 Basic Hand and Foot

Module I
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MODULE I

 INTRODUCTION

This module is prepared for students to gain knowledge on the

importance of rhythmic activities/dances, role it plays in the development of
nationalism and preservation of our cultural heritage. It will help students to
improve self-expression through dance interpretation, creating and performing
simple movement. Be able them to enjoy the beauty of world of dance

OBJECTIVES

After studying the module, you should be able to:

1. Learn and understand the terms related to dances.

2. Discuss and explain the meaning of Dance/ rhythmic activities
3. Execute the fundamental positions of arms and feet
4. Appreciate the benefits of dance as a good form of exercise.

 DIRECTIONS/ MODULE ORGANIZER

There are four lessons in the module. Read each lesson carefully then
answer the exercises/activities to find out how much you have benefited from
it. Work on these exercises carefully and submit your output to your instructor.

In case you encounter difficulty, discuss this with your instructor during
the face-to-face meeting. If not contact your instructor during consultation
hours.

Good luck and happy reading!!!

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Lesson 1

 DANCES

Definition of Terms Related to Dances

For better understanding of the discussions that follow, the following

terms are hereunder defined:

Dance
o Refers to movement set to music where organization, structure
and pattern merge.
Dancing
o It is a means of expressing one’s emotions through movement
disciplined by rhythm. It is an act of moving rhythmically and
expressively to an accompaniment.
o The word dancing came from the old German word “danson”
which means to stretch. All dancing is basically made up of
stretching and relaxing movements.
o In French, it is “dauncen” which means to move or to perform
Rhythm
o It is a measured motion of flow characterized basically by the
regular recurrence of elements or features such as beats, sounds
or accents.
o The word rhythm came from the Greek word “rhythmos” which
means to measure regular pattern.
o When an individual move in response to a particular rhythm or
music, we call the movement as rhythmic movements or physical
reactions.
Tempo
o The rate of speed of a movement
Time Signature
o The number above denotes the number of beats in a measure
while the number below denotes the kind of notes that receives
one beat.
Note Pattern
o The set of notes with or without rest used for a certain dance
step.
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Step Pattern
o Refers to movement used for a certain dance.

Phases of the Dance Program

Creative Rhythms
o Creative rhythms are actually for children in the elementary
grades. These activities are sometimes called fundamental
rhythms or natural dances.
o This is the end product of exploration and improvisation of
movement as children learn to move parts of their body as a
means of expression.

Folk/Ethnic Dance
o It is a cultural art form handed down from generation to
generation.
o The folk dance communicates the customs, beliefs, rituals and
occupation of a certain region.
▪ Examples of folk dances are the rural country dances,
jotas, mazurkas, and pandanggos.
o Ethnic dance has their specific tribal art forms originated to the
people of the tribe.
▪ Examples of ethnic dances are the dances of the people of
Cordilleras, dances of the ethnic groups in the Cagayan
Valley region and the dances in the Mindanao regions.

Social and Ballroom Dances

o The setting of this dance is a social gathering with the more
formal atmosphere and this is usually held in the evening where
the participants are usually in formal attire.
▪ Examples are cha-cha; foxtrot; tango; samba; salsa; waltz;
jive; boogie; rumba; reggae; quick step….

Recreational Dance
o It includes dance mixers, square dance, round and couple dances.
o The setting of this dance is usually informal gatherings and
parties, reunion and the like.

Creative Dance
o This type of dance is considered as the highest form of dance.
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o It is the end-product of exploration and improvisation of

movement as the dancer or choreographer expresses his feelings
or emotions, ideas and interpretations.
o This dance has a definite form, a beginning and an ending

THINK!

Distinguish rhythm and rhythmic activities; dance and

dancing
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Lesson 2

 The Fundamental Rhythms

In the field of dance, there are certain fundamental knowledge and rhythmic
skills considered important for proficiency and efficiency in bodily movements

Basic Natural Movements

Locomotor movements are used to move the body from one place to
another in any direction with the feet as the moving base.
▪ Walking
▪ Running
▪ Jumping
▪ Hopping
▪ Skipping
▪ Galloping
▪ Sliding
▪ Leaping
Non-locomotor movements or axial movements are those in which
various parts of the body move in space with a fixed base.
▪ Flexion - bending or shortening of a body part occurring at a joint.
▪ Extension – turning, twisting, or circling
▪ Arm shoulder circling
▪ Pendular – swinging/swaying arms
▪ Percussive – hitting and striking; pushing and pulling
▪ Vibratory – shaking and beating
▪ Sustained – a slow, smooth flowing movement
▪ Suspended – a sharp movement followed by a series of slow or
prolonged movements until a peak is reached.

Manipulative skills involved object handling that develops manipulative

skills like ball skills. Other objects promote other skills like better hand
and eye coordination.
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BASIC CONCEPTS OF MOVEMENT, MOVEMENT SPACE AND RHYTHM

Movement is a change of position in space. This is governed by

mechanical principles that limit the ability of an individual to move effectively
and efficiently.

Factors that govern or affect movement:

1. Psychological Factors.
o Fear, anxiety and other mental phenomena affect the human
movement either positively or negatively. All these may affect
the performance of an individual.
2. Physiological Factors.
o Physical fitness and body built are two main concerns that
affect human movement. Poor muscle development and low
fitness level will surely affect movement.
3. Sociological Factors
o These refer to the relationships of the performer with a
particular group and his regard to social conformity and norms.

Movement Space

All movements take place in space. The two kinds of space occupancy
are personal space and general space.

Personal space is the maximum space available to a person in a

stationary position. This includes the space that the person can reach by
bending, twisting and stretching.

General space is the area, which include one or more persons moving
space like gymnasia, the swimming pool, classroom, ballroom, plaza and
others.

Elements of Space

1. Direction
o This refers to the movement: forward, backward, upward,
downward, sideways right and left, diagonals and
combinations of all of these.
2. Level
o As the body moves in a horizontal plane, it creates a
movement identified as high, medium, middle and low.
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3. Range
o The maximum reach of an individual or sometimes referred to
as personal space.
4. Pathways or Space Design
o The line or design created in space as one moves.
5. Focus
o This is referred to as movement in space in relation to an
object or person’s attention of direction.

 LEARNING ACTIVITY
Take a video of yourself while performing simple rhythmic
movements by combining the locomotor and non-locomotor
movement with music. Create at least 5 combinations of
movement and apply it in one full length dance music.
Send the video in our Google Classroom.

You will be rated according to the following:

CRITERIA PERFECT
POINT
1. Poise, Grace and Body form
25 pts – very good posture and very graceful with very
good body form 25 points
20 pts – good posture and graceful with good body form
10 pts – no poise, not so graceful and with poor body
form
2. Timing and Coordination
25 pts – always in timing with very good body
coordination. 25 points
20 pts – with timing and with good body coordination.
10 pts – not in timing and with poor body coordination.
3. Mastery of Steps
25 pts – well prepared and the routine is mastered.
20 pts – prepared and with good execution of the 25 points
routine.
10 pts – obviously not prepared and the routine is not
mastered
4. Expression and over-all performance
25 pts – very good facial expressions with
internalization. 25 points
20 pts – good facial expressions
10 pts – no connection in the dance.
TOTAL SCORE 100 points
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Lesson 3

 Basic Hand and Foot

Movement

There are five fundamental feet and Hand positions in dance

POSITION FEET

1ST Position Heels together; toes apart

with an angle of about 45
degrees

2nd Position Astride sideward about a

pace or 1 foot distance

3rd Position Heel of one foot close to

in-step of other foot

4th Position On foot in front of the

other of a pace distance

5th Position Heel of front foot close to

big toe or rear foot
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POSITION ARMS
1ST Position Both raised forward in a
circle in front of chest with
the fingertips about an inch
apart

2nd Position Both raised sideward with

graceful curve and shoulder
level

3rd Position One arm raised in front as in

2nd Position; other arm
raised upward

4th Position One arm raised in front as in

1st Position; other arm
raised overhead

5th Position Both arms raised over head

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Combination of Hand and Feet Position

 LEARNING ACTIVITY

Practice and master the hand and Feet position.

Take a video of yourself while performing it with grace
accompanied by a Folk dance music in 3/4-time signature.
Send the video of your performance in our Google
Classroom.

You will be rated according to the following:

CRITERIA PERFECT POINT

5. Poise, Grace and Body form
25 pts – very good posture and very
graceful with very good body form 25 points
20 pts – good posture and graceful
with good body form
10 pts – no poise, not so graceful and
with poor body form
6. Timing and Coordination
25 pts – always in timing with very
good body coordination. 25 points
20 pts – with timing and with good
body coordination.
10 pts – not in timing and with poor
body coordination.
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7. Mastery of Steps
25 pts – well prepared and the routine
is mastered. 25 points
20 pts – prepared and with good
execution of the routine.
10 pts – obviously not prepared and
the routine is not mastered
8. Expression and over-all performance
25 pts – very good facial expressions
with internalization. 25 points
20 pts – good facial expressions
10 pts – no connection in the dance.
TOTAL SCORE 100 points
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MODULE 2
Philippine Folk Dances
Lesson 1: How Folk Dance Evolved

Lesson 2: Dance Terms Common to

Folk Dance

Lesson 3: Fundamental dance steps

In 2/4 & 3/4-time signature
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 INTRODUCTION

This module discusses about Folk Dances. Specifically, How Philippine

Folk Dances evolved. Dance terms common to Folk Dance. Fundamental Dance
steps in 2/4 and ¾ time signature and Folk Dances. It is also hopes that you will
learn to appreciate Philippine Folk Dances as a form of fitness and for cultural
preservation.

OBJECTIVES

1. To analyze the different information about Philippine folk

dances.
2. To execute the common dance steps in 2/4 and ¾ time
signature
3. To interpret the literature of the folk dance given.
4. To dance Philippine folk dances, gracefully and with proper
interpretations.
5. To appreciate and enjoy Philippine folk dances.
6. Provide through dances a healthful form of relaxation and
recreation.

There are four lessons in the module. Read each lesson carefully then
answer/execute the exercises/activities to find out how much you have
benefited from it. Work on these exercises carefully and submit your output to
your tutor or to the faculty In-charge.

In case you encounter difficulty, discuss this with your tutor during the
face-to-face meeting. If not, contact the faculty in-charge.

Good luck!!!
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Lesson 1

 HOW PHILIPPINE FOLK DANCE EVOLVED

According to Philippine legend, the first man and the first woman went
up the hill to make their first home. They begot many children’s and later
became the ancestors of diverse tribes.
Several beliefs became their way of life. When lightning flashed in the
sky, and when the thunder rumbled, the tribes were struck with fear. They
thought that the gods were angry. To placate their deities, they offered
sacrificial rites by way of fire and smoke in the belief that the smoke from fires
kindled carried their invocation heaven wards.

When illness and pestilence befell the tribes, the people wailed and
chanted and danced long into the night, so that the evil spell might be broken.
When the earth caked from drought, they perform dance of propitiation, so
that the divine entities might take pity on them and send rain to their parched
fields. And when the rains come and drenched the soil; to assure a bountiful
harvest, these children of the gods danced in the moonlight in joy and
thanksgiving.

In the act of imploring, conciliating and giving thanks to the gods, the
people of these islands created dance to live forever themselves in their
children and children’s children.

Dance in the Philippine influences the diversity of our cultural

beginnings and the drama of our everyday lives. It blends the exotic customs
and structures of many countries and races-Indonesian, Malays, Chinese,
Indian, Spanish and Americans.

The Philippine archipelago had been inhabited by three different racial

groups even before the coming of Magellan in 1521. They were the pygmies,
Indonesians, and Malays. The Negritos and Proto-Malays were the descendants
of the pygmies, as nearly those days, dancing among the Negritos was mostly
pantomimic performed to depict the events of daily chores.

Filipinos possess the natural grace, in born love and music and dance.
Dancing was considered a religious activity among them. They danced for many
occasion birth, love, courtship, thanksgiving, wedding, war, victory, marriage,
planting and harvesting, prosperous voyage, recovery from sickness and to heal
the sick.
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Also, the natural environment has greatly affected our dances. In

tropical climate dances are generally slow. Languorous and energetic. The rice
producing regions carry the characteristics of their occupation-rice planting,
harvesting and winnowing. Those living near the seas, lakes and rivers depict in
their dances fishing expeditions, such as the movements of fish, boat rowing
and the like. In the mining regions, the dances depict mining as their
occupation. In the coconut regions, they use coconut shells in their dances.

In place where life is easy, the dances are gay and frolicsome. Dances in
places where life is hard are sad, slow and even mournful.

Filipinos are also lovers of rituals as shown in ceremonial dances during

town fiestas, Christmas, Easter, ash Wednesdays. There were dances
performed by the priests and the priestesses in the thanksgiving for a plentiful
harvest, as victorious battle, a prosperous voyage or recovery from sickness, to
drive away evil spirits and in invoking their gods and anitos.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

• Courtship or Wedding
• Festivals
• Mimic or Imitative
• Occupational Dance
• Religious or Ceremonial Dances

COURTSHIP OR WEDDING:
• It is usually performed by couples or newlyweds together with the
relatives of the bride and groom.
• The movement of the dance depict courtship and love.
• Example of these dances are Habanera de Soltera, Carinosa, and
Sayaw sa Pag-ibig.

FESTIVALS:
• These dances are performed during fiestas as a thanksgiving ritual or
a bountiful harvest or good fortune.

MIMIC OR IMITATIVE:
• The purpose of these dance is for entertainment
• It is usually depicting animal movements with funny and numerous
actions.
• Examples are itik-itik, tinikling, kalapati, and the mariposa.
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OCCUPATIONAL DANCE:
• These dances are performed to characterize occupation of a certain
locality. Examples are the Maglalatik, the Binatbatan,
thePagtatanim-Pagaspas, the pagpapahangin, and the pagbabayo.

RELIGIOUS DANCES:
• These are performed as rituals
• Example is the Subli

BENEFITS OF FOLK DANCING

• PHYSIOLOGICAL
- Folk dances help you posture and alignment of your body, motor
skills, and positioning.
- It is makes you more flexible, makes you last longer, and makes
you feel more confident.

• SOCIAL
- It will help you gain more meaningful interactions, social skills,
cooperation, and motivation.

• CULTURAL
- it will learn to cross cultures and deepen your understanding of
your own cultural identity.

• ARTISTIC
- It will help you, more creative and artistic.

• RECREATIONAL
- You will have fun when you do folk dancing

THINK ABOUT IT!

What matters for now is for every Filipino to protect our tradition and
no one distort it under the guise of modernization. Leave the folk
dance as they are. Heritage must not be sacrificed for progress
- Francisca Reyes Aquino
National Artist for Dance
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Lesson 2

 DANCE TERMS COMMON TO FOLK DANCE

Bow or Saludo
Partners bow to each other to the opposite dancers or to the audience.
This is a Spanish Origin

Brush
Weight of one foot swing the free foot in an arch, so that the ball or
heel strikes the floor at the lowest point of the arch. This may be done
forward, backward, or sideward.

Cabeseras
When the dancers are in square formation, the couples occupying the
width of the hall are called “cabeseras” or head couples. This is a
Spanish origin.

Clockwise
Like the motion of the clock moving to the left, when facing center
when moving forward.

Costados
A spanish term for couples occupying the length of the hall if in a square
formation are called in “costados”.

Counter Clockwise
The reverse direction of clockwise, the hands of the clock moving to the
right, when facing the center. Left shoulder is toward the center of the
imaginary circle when moving forward.

Cut
Quick change of weight from one foot to the other displacing the
supporting foot. (maybe forward, backward, or sideward,)

Cross-Over
Two couples (the vis-à-vis) are opposite each other. Each couple
proceeds in a straight line to the opposite place. The girls pass by their
left shoulders between the boys. Boys bow to each other when they
meet et the middle or about one-third of the way., then proceed to the
opposite place. Upon reaching the opposite place, partners turnabout,
girls stand at partners ‘left shoulder.
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Dosido or Dos-a-dos
Two people walk toward each pass by the right shoulder step sideward
to the right and return to position walking backward, passing left
shoulder.

Draw
The free foot is drawn toward the foot, which supports the body weight,
by pressing the toes against the floor as the close is made. With or
without transfer of weight.

Free Foot

The foot not supporting the weight of the body

Free Hand
The hand not doing anything

Hop
To spring from one foot and land on the same foot.

Inside Foot
The foot near’s one partner

Inside hand
The hand near’s one partner

Jump
To spring from one or two feet and land on the other foot

Leap
To spring on the supporting foot and land on the other foot

Outside Foot
The foot away from one’s partner when they stand side by side.

Outside Hand
The hand away from one’s partner when they stand side by side.

Opposite
The person standing opposite across the set
Partner
The girl to the right of the Boy and Boy to the left of the girl

Place
To put the foot (flat) in any desired position without putting weight on it
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Set
A unit formation of two or more couples

A. COMMON TERMS FOR ARMS AND HANDS

Abrasete
This term is of Spanish origin. Girl at the right side of Boy. Holds his R
arms with her L hand, free hands down at the sides.

Bilao
Hands in front parallel to each other at waist level, elbows close to the
waist, palms down. Reverse the position of the hands with palms up and
down alternately

Hapay
To flourish or offer a handkerchief, a hat or a glass of wine. This is a
Tagalog dance term

Hayon-Hayon
This is a visayan term meaning to place one forearm I front and the
other behind the waist

Jaleo
Partners stand with R (L) elbows almost touching. Using walking or any
kind of dance steps they turn once around clockwise (counterclockwise).
This is a Tagalog term of Spanish origin.

Kumintang
Moving the hand from the wrist either clockwise or in a counter
clockwise direction. This is an Ilocano dance term

Kunday-Kunday
This is similar to kumintang but done twice for every movement on a
faster beat (2 kunday in 1 measure).

Masiwak
To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term

Lateral Arm Position

To place both arms on one side of the body either right or left side.
In can be done on chest, shoulder, and waist line.
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Salok
To scoop or swing the arm downward, upward in front of the body, the
trunk following the movement of the scooping arm. Free hand in 5 th
position or holding skirt. This a a tagalog term.

Sarok
Cross the (R) foot in front of the L foot, bend the body slightly forward
and cross the hands down in front R (L) over L (R). This is a Visayan
term.

B. COMMON MOVEMENTS OF FOOT/FEET

Pivot
Turning on ball, heel of one or both feet on a fixed place. There are
pivot with a point, pivot turn and cross pivot.

Slide
To glide the foot forcibly on the floor with or without transfer of weight.

Stamp
To bring down one foot forcibly on the floor with or without transfer of
weight

Step
With the weight on one foot, shift the weight into the other foot

Supporting foot
The foot carrying the weight of the body

Tap
Toe or ball of foot is placed momentarily on floor and lifted again
immediately.

Touch
See point

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

Panadyak
To Stamp in front or at the side with same foot close to the l foot (R)
weight of the body on l foot. This is a Tagalog term
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 LEARNING ACTIVITY

1. Take a video of yourself while demonstrating/executing the

following with music:
a. All the common terms
b. All common terms for arms and hands
c. All common terms for foot/feet

Send your video in our Google Classroom.

You will be rated according to the following:

CRITERIA PERFECT POINT

9. Poise, Grace and Body form
25 pts – very good posture and very
graceful with very good body form 25 points
20 pts – good posture and graceful
with good body form
10 pts – no poise, not so graceful and
with poor body form
10. Timing and Coordination
25 pts – always in timing with very
good body coordination. 25 points
20 pts – with timing and with good
body coordination.
10 pts – not in timing and with poor
body coordination.
11. Mastery of Steps
25 pts – well prepared and the routine
is mastered. 25 points
20 pts – prepared and with good
execution of the routine.
10 pts – obviously not prepared and
the routine is not mastered
12. Expression and over-all performance
25 pts – very good facial expressions
with internalization. 25 points
20 pts – good facial expressions
10 pts – no connection in the dance.
TOTAL SCORE 100 points
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Lesson 3

 FUNDAMENTAL DANCE STEPS IN 2/4 AND

3/4 TIME SIGNATURE

A. TRADITIONAL FOLK DANCE STEPS IN 2 /4 TIME SIGNATURE

The dance steps used in Philippine traditional dances are combinations

of the basic natural movements. Listed below are the dance steps in 2/4 time
which are grouped according to note patterns and their corresponding counts
as suggested by the number of movements.

a. Note Pattern
= measure

Count 1 2

1. Touch Step - point R (L); close R to L

1 2
2. Bleking Step - heel place R (L); close R to L
1 2
3. Close Step - step R (L); close L to R
1 2
4. Hop Step - step R (L); hop on R
1 2
5. Brush Step - step R (L); brush L
1 2
6. Slide Step - slide R (L); close L to R
1 2
7. Swing Step - step R (L); swing L across R
1 2

b. Note Pattern
= measure

Count 1 and 2

1. Change Step - step R (L); close L (R) to R (L); step R (L)

1 and 2
2. Cross Change - cross step R (L); close l (R) to R (L) step R (L)
Step 1 and 2
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3. Contra ganza - leap R (sideward); cross step L (R) step R (L)

1 and 2

c. Note Pattern
= measure

Count 1 2 and

1. Habanera - step R (L); close L (R); step R (L)

1 2 and

d. Note Pattern
= measure

Count 1 and 2 and

1. Plain Polka - step R (L); close L (R); step R; raise L (R)

1 and 2 and

a. Note Pattern
= measure

Count 1 and 2 and

1. Mincing Steps - with feet in 5th position and heels raised, take many tiny steps
(1 step on every count)

2. Shuffling Steps - with feet flat on floor, make small slides forward
(1 slide on every count)

3. Chasing Steps - with one foot leading, execute successive close steps to any
direction

B. TRADITIONAL DANCE STEPS IN 3/4 TIME

Listed below are the basic dance steps in 3 time that are grouped
according to note patterns and their corresponding counts as suggested
by the number of movements.

a. Note Pattern
= measure
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Count 1 2 3

1. Waltz Step - step R (L); close L (R); step R (L)

1 2 3
2. Cross waltz - cross step R (L); close L (R); step R (L)
1 2 3
3. Waltz - step R (L); close L (R) and heels down
balance raise both heel;
1 2 3
4. Redoba - slide R; cut R (L); cut L (R)
1 2 3
5. Mazurka - slide R; cut R (L); hop L (R) and
swing R (L)
1 2 3
6. Step-swing- - slide R; swing L (R); hop R (L)
hop 1 2 3
7. Step-Brush- - slide R; swing L (R) and hop R (L)
swing-hop swing;
1 2 3

b. Note Pattern
= measure

Count 1-2 3

1. Touch Step - point R (L); close L (R)

1-2 3
2. Bleking Step - heel place R (L); close L (R)
1-2 3
3. Close Step - step R (L); close L (R)
1-2 3
4. Slide Step - slide R (L); close L (R)
1-2 3
5. Cross Step - cross step R (L); close L (R)
1-2 3
6. Hop Step - step R (L); hop R (L)
1-2 3
7. Brush Step - step R (L); brush L (R)
1-2 3
8. Swing Step - step R (L); swing L (R) across
1-2 3

c. Note Pattern
=2 measure

Count 1 and 2 3 1 and 2 3

 26

1. Kuradang Step - step R (L) close L (R); step R (L) cross step L (R)
diagonally; diagonally;
1 and 2 3

step R (L) close L (R); step R (L) point L (R)

diagonally diagonally
backward; backward;
1 and 2 3

d. Note Pattern
= 2 measure

Count 1-2 3 1-2 3

1. Sway Balance - step R (L) cross step L (R) step R (L) point L (R)
with a point diagonally; diagonally backward;
1-2 3 1-2 3

2. Sway Balance - step R (L) cross step L (R) step R (L) raise L (R)
with a raise diagonally; diagonally backward;
1-2 3 1-2 3

3. Sway Balance - step R (L) cross step L (R) step R (L) brush L(R)
with a brush diagonally; diagonally backward;
1-2 3 1-2 3

4. Sway Balance - step R (L) cross step L (R) step R (L) hop R (L)
with a hop diagonally; diagonally backward;
1-2 3 1-2 3

5. Sway Balance - step R (L) cross step L (R) step R (L) close L(R)
with a close diagonally; diagonally backward;
1-2 3 1-2 3

6. Engano - step R (L); cross step L (R) step R (L); close L

with a close 1-2 3 1-2 3
 27

 LEARNING ACTIVITY
1. Take a video of yourself while demonstrating/executing the
following with music:
a. One video for fundamental dance steps in 2/4 time
signature.
https://www.youtube.com/watch?v=JB1jBVMttWw&t=18s

b. One video for fundamental dance steps in 3/4 time

signature.
https://www.youtube.com/watch?v=tBhmKfeM0Jk

Send your video in our Google Classroom

You will be rated according to the following:

CRITERIA PERFECT POINT

13. Poise, Grace and Body form
25 pts – very good posture and very
graceful with very good body form 25 points
20 pts – good posture and graceful
with good body form
10 pts – no poise, not so graceful and
with poor body form
14. Timing and Coordination
25 pts – always in timing with very
good body coordination. 25 points
20 pts – with timing and with good
body coordination.
10 pts – not in timing and with poor
body coordination.
15. Mastery of Steps
25 pts – well prepared and the routine
is mastered. 25 points
20 pts – prepared and with good
execution of the routine.
10 pts – obviously not prepared and
the routine is not mastered
16. Expression and over-all performance
25 pts – very good facial expressions
with internalization. 25 points
20 pts – good facial expressions
10 pts – no connection in the dance.
TOTAL SCORE 100 points
 28

Congratulations! You have just studied Module II. now you are ready
to evaluate how much you have benefited from your reading/analyzing by
answering the summative test!. Good Luck!!!