ELEMENTS OF DANCE

The elements of dance are the ingredients of dance. Often one or two elements predominate in dance
but all elements are present. The different ways of combing and using the elements determine the
expression of the dance.

1 . ACTIONS are what the body is doing. Movement is a change of position in space that is governed
by mechanical principles that limit the ability of an individual to move effectively and efficiently. Cone
(2012) reiterates that dance contributes to one’s development of movement abilities in the following
ways;

a) Increasing the ability to perform locomotor and nonlocomotor movements and patterns or
sequences of movements while applying the dance elements of space, time, force, flow and
relationship in a variety of ways;
b) Developing strength, flexibility, cardio-respiratory endurance. Coordination, speed, and balance;
c) Adding to the number of experiences that promote learning about the infinite ways the body is
capable of moving;
d) Enhancing motor learning through repetition and practice of dance movements;
e) Learning to safely move as one expresses and communicates ideas, feelings, and understanding.

Edwards (2013) emphasizes that the language of movement is revealed through the dancers who
choose not to be restrained by convention as they present their understanding of space, time, and form
in ways that are personally satisfying and pleasing. The following are factors that govern or affect
movement;

• Psychological Factors: Fear anxiety and other mental phenomena affect movement either positively or
negatively which may affect the performance of an individual.

• Physiological Factors. Physical fitness and body built are the two main concerns that affect human
movement. Poor muscle development and low fitness level will surely affect movement.

• Sociological Factors. These refer to the relationship of the performer with a particular group and his to
social conformity and norms.

2. THE BODY is the instrument of dance. Awareness of the body is encouraged on the dance program as
students learn about the following body concepts:

a) Body parts –head, arms, hands, legs, feet, torso, elbows, wrists, shoulders hips, knees and
ankles.
b) Body zones – body areas of front, back, left side, right side, upper half, and lower half.
c) Body bases- whatever supports the rest of the body, for example when standing—the feet;
when kneeling, the knees.
3. RELATIONSHIP refers to the correspondence or connection between things, be they the dancers to
each other, dancers to objects or a dancer’s body part to each other. Students will continue to explore
the relationships of connecting, leading, following, meeting, parting, near, far passing by and
surrounding.

4. DYNAMICS describe how the body moves. It is an umbrella term and includes the factors which give
movements various qualities. Therefore, dynamics is the element that gives dance its expressiveness.
Knowledge of dynamics is encouraged in the dance strand by learning about the following concepts;

a) Duration – the length of time needed to do a movement, duration is on a continuum of very

short to very long.
b) Energy – the muscular tension used to move, energy is on a continuum of a little to a lot.
c) Even – movements of equal duration; for example walks rhythm
d) Uneven – movements of unequal duration; for example skips rhythm
e) Quality – characteristics of a movement; for example strong or light. Examples are swinging,
percussive, sustained, vibratory, collapsing and suspension.
f) Speed – velocity of movements; speed is on continuum of very slow to very fast.
g) Time – refers to tempo or rhythm. It can be slow or fast and a succession of muscular
relaxation and rest(rhythm).

5. SPACE is where the body moves. It is the medium of dance. As dancers move through space, their
bodies create patterns on the floor and in the air. Edwards (2013) mentions that the perception of space
is viewed in relation to the body, the space of others, and the unoccupied place or general place.
Awareness of space is encouraged in the dance strand by learning about the following space concepts;

a) General - the dance area.

b) Personal - the space reached while stationary.
c) Directions - forward,, backward, sideways, upwards, or downward
d) Focus - where the eyes or the intention of the movement is directed.
e) Levels – high, middle, low, or deep.
f) Pathways – the patterns or design made in the air or on the floor by the person’s movements,
pathways appear as straight lines, curved lines, or combinations of straight and curved lines.
g) Mm Shape – the design of the body’s position.
h) Size – the magnitude of the body shape or movement, size is on a continuum of small to large.

DANCE FORMS

1. Classical Dance: Dances with standardized rules and restrictions. It can be a religious-
related dance or for court and royal entertainment.
2. Classical Ballet: Dance of supreme standards learned from academe. Ballet used to be a
court dance that developed into the highly stylized theatre art that it is today. It had its
beginning in Italy, developed and nurtured in France, and perfected in Russia.
3. Modern Dance: A deviation from the principles of classical ballet developed by Isadora
Duncan. It was developed in Germany and USA. It is characterized by the natural and
true expression of the human body and soul. This dance attempts to express an idea
without setting rules as to how the idea is to be conveyed.
4. Contemporary Dance: A combination of ballet and modern dance.
5. Ethnic and Tribal dance: A dance particularly found in a group of people living together
in a locality with common beliefs and customs.
6. Recreational Dance: Includes dance mixers, square dancing, and round and a couple of
dances.
7. Social and Ballroom dance- includes all dance forms which bring individual together in
dances designed for group participation and enjoyment. A dance set in a social
gathering with a more formal atmosphere than the simple and informal parties in which
the recreational dances are the usual forms. This is usually held in the evenings and
participants are usually in formal attire for the purpose of recreation and entertainment.
It is usually accompanied by popular music.
8. Popular Dance: Highly recognized as a dance form in television and other dance centers
like disco houses and social gatherings.
9. Dance sports: An international ballroom competition consisting of two categories
namely the Modern Standard (Tango, Foxtrot, Waltz, Viennese Waltz, and
Quickstep) and Latin American dances( Chachacha, Rumba, Paso Doble, Jive, and
Samba).
10. Folkdances are traditional dances of a specific folk handed from generation to
generation to generation in the manner of all traditions. These dances are usually native
to one group of people who developed them based on their daily activities. These are
social expressions of the mores, thoughts, lifestyles, practices, and feelings of people
through bodily movements. These are the outbursts of people’s feelings. A folk dance is
the heartbeat of the people.
11. Creative Dance: It is a form of dance in which you create the dance steps or movements
according to your experiences, thoughts, and feelings. You create your own dance
movements according to how you interpret your ideas, feelings, and sensory
impressions and express them symbolically using your body. ( Battad et al, 2016).
According to Gilbert(2015), creative dance is best taught through concept. Dances
should have the knowledge and time to create their own steps and choreography,
developing personal voices that will surely enrich the world of dance. The following are
a benefit of a conceptual dance approach;
DANCE OUTCOMES

I. Cognitive Outcomes
 Dancers increase knowledge and vocabulary through an understanding
of the concept and principles of dance,
 Dancers solve movement problems that are both simple and complex,
honing problem-solving skills,
 Dancers gain an understanding of the global community through the
study of dance history and culture,
 Dancers develop auditory, visual, literacy, and verbal skills through
observation and multimodal forms of reflection,
 Dancers increase knowledge of other subjects as dance is integrated
into the school curriculum,
 Dancers expand creative skills through choreography and improvisation,
and
 Dancers improve memory through the recollection of concepts, steps,
patterns, and phrases.

II. Affective Outcomes

 Dancers express feelings through movements, becoming more attuned
to the inner self,
 Dancers experience contrasting movements that help them define
feelings,
 Dancers express feelings and thoughts about their own and other
people’s dances, helping them to put feelings and thoughts into words,
 Dancers increase self-esteem through self-expression and the mastery
of movement concepts while being engaged in a positive, non-
competitive dance form,
 Dancers develop self-discipline as they develop skills and create dance,
 Dancers learn to take risks by mastering movement challenges. They
learn to trust, through activities that involve weight sharing, partnering,
and group cooperation,
 Dancers gain an appreciation for other culture and movement styles,
 Dancers respect the role of dance has in lifelong well-being.

III. Physical outcomes

 Dancers develop healthy habits through movements and exercise,
 Dancers apply the concepts and principles of dance as they develop
dance skills,
 Dancers develop body awareness. Control, balance, and coordination,
 Dancers gain physical strength, flexibility, stamina, and agility,
 Dancers release stress through positive physical activity,
 Dancers expand their personal movement vocabulary as they work with
other dancers and learn from other cultures, and
 Dancers develop sensorimotor skills.
 IV. Social Outcomes
 Dancers learn to collaborate with others through partner and group
work,
 Dancers bond with one another through positive physical contact and
verbal reflection,
 Dancers develop poise through informal showings or formal
performances,
 Dancers develop leadership skills by taking the lead in a partner and
group work,
 Dancers learn the appropriate way of touching others through gentle
physical contact and weight sharing,
 Dancers discover the value of individual differences through creative
exploration, problem-solving, and the study of other dance forms and
cultures
 Dancers attend and support a variety of dance functions and events.

BALLROOM DANCE

Ballroom Dance is a world-class, tradition, and passion. There is a great history behind ballroom
dancing, both competitively and recreational speaking. “Ball” is derived from the Latin word “ballare”
which means “to dance”. Modern ballroom dancing comprises five dance styles and they are slow
foxtrot, Viennese waltz, modern waltz, tango, and quickstep. These dances are famous all over the
world, and they are not only performed in social gatherings but in competitions as well.

Hip hop danc e is thought to have officially begun in New York City during the late 1960s and early ’70s.
During this time, individuals without professional dance training but with a natural instinct for
movement brought dancing to the streets. A dance form meant to be popular in the original sense of
the word, meaning that it was for the people and not for the academy, hip-hop moves were inspired by
the complex rhythms and the down-to-earth movement style of African dancing. Music vestiges of
modern, tap, swing, and African dancing can all is found in hip hop, this dance style is really in a class of
its own when it comes to improvisation and an edge of competition.

The word “hip” was used in African American Vernacular English (AAVE) as early as 1904. The colloquial
language meant “informed” or “current”, and was likely derived from the earlier form hep. Hip hop
dance refers to street dance styles primarily performed to hip hop music or that have evolved as part of
hip hop culture. It includes a wide range of styles primarily breaking, locking, and popping which were
created in the 1970s and made popular by dance crews in the United States.

Main styles of hip hop:

 1. Breaking/B-boying
2. Locking
3. Popping

Overview of Team Sports (VOLLEYBALL)

This module allows every individual to understand the importance of a recreational and competitive
multiplayer VOLLEYBAL

Learning Outcomes:

1. Discussed the history of Volleyball Basic Skills, Terminologies and Facilities, and Equipment.
2. Identify the duties and responsibilities of the officiating officials.
3. Explain the importance of the rules of the game.
4. Assessed the relationship between the body and mind in pursuing a healthy habit for life.

THE ORIGINS

William G. Morgan (1870-1942), who was born in the State of New York, has gone down in history as the
inventor of the game of volleyball, to which he originally gave the name “Mintonette”.

The young Morgan carried out his undergraduate studies at the Springfield College of the YMCA (Young
Men’s Christian Association). After graduating, Morgan spent his first year at the Auburn (Maine) YMCA
after which, during the summer of 1895, he moved to the YMCA at Holyoke (Massachusetts) where he
became director of physical education. In this role, he had the opportunity to establish, develop, and
direct a vast program of exercises and sports classes for male adults.

His leadership was enthusiastically accepted, and his classes grew in numbers. He came to realize that
he needed a certain type of competitive recreational game in order to vary his program. Basketball, a
sport that was beginning to develop, seemed to suit young people, but it was necessary to find a less
violent and less intense alternative for the older members.

At that time Morgan developed from his own sports training methods and his practical experience in the
YMCA gymnasium. Describing his first experiments he said, “In search of an appropriate game, tennis
occurred to me, but the idea of a net seemed a good one. We raised it to a height of about 6 feet, 6
inches (1.98 meters) from the ground, just above the head of an average man. We needed a ball and
among those using the ball of basketball”.

Morgan asked two of his friends from Holyoke, Dr. Frank Wood, and John Lynch, to draw up basic
concepts of the game together with the first 10 rules.

Early in 1896, a conference was organized at the YMCA College in Springfield, bringing together all the
YMCA Directors of Physical Education. Dr. Luther Halsey Gulick, director of the professional physical
education training school (and also executive director of the department of physical education of the
International Committee of YMCA’s) invited Morgan to make a demonstration of his game in the new
college stadium. Morgan took two teams, each made up of five men (and some loyal fans) to Springfield,
where the demonstration was made before the conference delegates in the east gymnasium. The
captain of one of the teams was J.J. Curran and the other John Lynch who were respectively, mayor and
chief of the fire brigade of Holyoke.

Morgan explained that the new game was designed for gymnasia or exercise halls, but could also be
played in the open air. An unlimited number of players could participate, the object of the game being
to keep the ball in movement over a high net, from one side to the other.

After seeing the demonstration, and hearing the explanation of Morgan, Professor Alfred T. Halstead
called attention to the action, or the active phase, of the ball’s flight, and proposed that the name
“Mintonette” be replaced by “Volley Ball.” This name was accepted by Morgan. It is interesting to note
that the same name has survived over the years, with one slight alteration: in 1952, the Administrative
Committee of the USVBA voted to spell the name with one word, “Volleyball”.

Worldwide Growth

The physical education directors of the YMCA, encouraged particularly by two professional schools of
physical education, Springfield college in Massachusetts and George

Williams College in Chicago (now at Downers Grove, Illinois), adopted volleyball in all its societies
throughout the United States, Canada (in 1900 Canada became the first foreign country to adopt the
game), and also in many other countries: Elwood S. Brown in the Philippines (1910), J. Howard Crocker
in China, Franklin H. Brown in Japan (1908), Dr. J.H. Gray in Burma, in China and in India, and others in
Mexico and South American, European, and African countries.

By 1913 the development of volleyball on the Asian continent was assured as, in that year, the game
was included in the program of the first Far-Eastern Games, organized in Manila.

In 1916, the YMCA managed to induce the powerful National Collegiate Athletic Association (NCAA) to
publish its rules and a series of articles, contributing to the rapid growth of volleyball among young
college students. In 1918 the number of players per team was limited to six, and in 1922 the maximum
number of authorized contacts with the ball was fixed at three.

Until the early 1930s volleyball was for the most part a game of leisure and recreation, and there were
only a few international activities and competitions. There were different rules of the game in the
various parts of the world; however, national championships were played in many countries (for
instance, in Eastern Europe where the level of play had reached a remarkable standard).

Volleyball thus became more and more a competitive sport with high physical and technical
performance.

Beach volleyball is a team sport played by two teams of two players on a sand court divided by a net. It
has been an Olympic discipline since the 1996 Games, In Atlanta Olympics.

Organizations
FIVB-Fédération Internationale de Volleyball (English: International Volleyball Federation), commonly
known by the acronym FIVB, is the international governing body for the sports of indoor, beach, and
grass volleyball.[1] Its headquarters are located in Lausanne, Switzerland and its current president is
AryGraça.

PVF- Philippine Volleyball Federation (formerly known as the Philippine Amateur Volleyball Association)
is a governing body for volleyball in the Philippines. It was recognized as the national sport governing
body prior to 2015.

NOVA- Negros Occidental Volleyball Association.

NVF- Negros Volleyball Federation

TERMINOLOGIES

1. Attack/Spike – is the offensive team attempting a score. Hitting the ball at the net level or above
that is driven downward.
2. Block – is a defensive play used to intercept a hard-driven spike.
3. Dead Ball – the ball is dead the play stops from the whistle of the referee
4. Foul - Violation of the rules.
5. Stepping on the end line
6. Stepping on the centerline
7. Outside
8. 4 hits/touches
9. Touching the net
10. Holding
11. Overreaching
12. Illegal switching/illegal rotation
13. 8 seconds violation
14. Backline players spikes on the attack zone
15. Game – the end set. Happens when one team reaches 25 points.
16. Holding – happens when the ball momentarily stops at the hands or arms of the player.
17. Dig Pass – is to bat a ball to a teammate.
18. Service – is the act of putting the ball into play.
19. Set – up/toss – is a high pass close to the net that is executed so that the other teammates can
spike the ball into the opponent’s court.

BASIC SKILLS

1. Service Types: Underhand, Sidearm, Overhand

2. Dig Pass
3. Set-up/Toss
4. Block
5. Spike/Attack
6. Miscellaneous Pass
7. Fall, Roll, and Dive
FACILITY and EQUIPMENTS

1. Ball – 9 to 10 ounces, 35 inches in circumference.

2. Court – 9x18 Meters
3. Net – Men 2.43 meters, Women 2.24 meters, Elementary 2.12 meters.
4. Antenna
5. Side Vertical Markers
6. Flag lets
7. Score sheet

DUTIES AND RESPONSIBILITIES OF OFFICIATING OFFICIALS

Referee

1. Implements the rules of the game and directs it.

2. Has authority over other officials.
3. Has the power to decide any matters involving the game.
4. Is authorized to issue warnings and sanctions to the players.

Umpire
 1. Assist the referee.
2. Controls the work of the scorer.
3. Supervises each of the players on the bench and reports any misconduct to the referee.
4. Controls the number of timeouts and substitutions of both teams.
5. Checks the actual positions of the players on the court in accordance with the line-up sheet.
6. Assist the referee in all contacts of the ball under the net/antenna.

Scorer

1. Fill up the information of the team members in the score sheet.

2. Records point scored by both teams.
3. Monitors the servers and informs the referee if they committed a violation while serving.
4. Records team substitutions and timeouts.

Linesmen

1. Indicates if a ball is in or out of the court.

2. Informs the referee if players received an “out” ball.
3. Monitors if the ball touches the antenna.
4. Monitors players outside the court while the other player is serving.

RULES OF THE GAME

Each team consists of six players. To get play started, a team is chosen to serve by a coin toss. A player
from the serving team throws the ball into the air and attempts to hit the ball so it passes over the net
on a course such that it will land in the opposing team’s court (the serve). The opposing team must use a
combination of no more than three contacts with the volleyball to return the ball to the opponent’s side
of the net. These contacts usually consist first of the bump or pass so that the ball’s trajectory is aimed
towards the player designated as the setter; second of the set (usually an over-hand pass using wrists to
push finger-tips at the ball) by the setter so that the ball’s trajectory is aimed towards a spot where one
of the players designated as an attacker can hit it, and third by the attacker who spikes (jumping, raising
one arm above the head and hitting the ball so it will move quickly down to the ground on the
opponent’s court) to return the ball over the net. The team with possession of the ball that is trying to
attack the ball as described is said to be on offense.

The team on defense attempts to prevent the attacker from directing the ball into their court: players at
the net jump and reach above the top (and if possible, across the plane) of the net to block the attacked
ball. If the ball is hit around, above, or through the block, the defensive players arranged in the rest of
the court attempt to control the ball with a dig (usually a fore-arm pass of a hard-driven ball). After a
successful dig, the team transitions to offense.

The game continues in this manner, rallying back and forth until the ball touches the court within the
boundaries or until an error is made. The most frequent errors that are made are either to fail to return
the ball over the net within the allowed three touches or to cause the ball to land outside the court. A
ball is “in” if any part of it touches a sideline or end-line, and a strong spike may compress the ball
enough when it lands that a ball which at first appears to be going out may actually be in. Players may
travel well outside the court to play a ball that has gone over a sideline or end-line in the air.

Other common errors include a player touching the ball twice in succession, a player “catching” the ball,
a player touching the net while attempting to play the ball, or a player penetrating under the net into
the opponent’s court. There are a large number of other errors specified in the rules, although most of
them are infrequent occurrences. These errors include back-row or libero players spiking the ball or
blocking (back-row players may spike the ball if they jump from behind the attack line), players not
being in the correct position when the ball is served, attacking the serve in the frontcourt and above the
height of the net, using another player as a source of support to reach the ball, stepping over the back
boundary line when serving, taking more than 8 seconds to serve,[18] or playing the ball when it is
above the opponent’s court.

Scoring

When the ball contacts the floor within the court boundaries or an error is made, the team that did not
make the error is awarded a point, whether they served the ball or not. If the ball hits the line, the ball is
counted as in. The team that won the point serves for the next point. If the team that won the point
served in the previous point, the same player serves again. If the team that won the point did not serve
the previous point, the players of the serving team rotate their position on the court in a clockwise
manner. The game continues, with the first team to score 25 points by a two-point margin is awarded
the set. Matches are best-of-five sets and the fifth set, if necessary, is usually played to 15 points.
(Scoring differs between leagues, tournaments, and levels; high schools sometimes play best-of-three to
25; in the NCAA matches are played best-of-five to 25 as of the 2008 season.)[19]

Before 1999, points could be scored only when a team had the serve (side-out scoring) and all sets went
up to only 15 points. The FIVB changed the rules in 1999 (with the changes being compulsory in 2000) to
use the current scoring system (formerly known as rally point system), primarily to make the length of
the match more predictable and to make the game more spectator- and television-friendly.

The final year of side-out scoring at the NCAA Division I Women’s Volleyball Championship was 2000.
Rally point scoring debuted in 2001 and games were played to 30 points through 2007. For the 2008
season, games were renamed “sets” and reduced to 25 points to win.

Libero

In 1998 the libero player was introduced internationally. The libero is a player specialized in defensive
skills: the libero must wear a contrasting jersey color from his or her teammates and cannot block or
attack the ball when it is entirely above net height. When the ball is not in play, the libero can replace
any back-row player, without prior notice to the officials. This replacement does not count against the
substitution limit each team is allowed per set, although the libero may be replaced only by the player
whom he or she replaced.

The libero may function as a setter only under certain restrictions. If she/he makes an overhand set,
she/he must be standing behind (and not stepping on) the 3-meter line; otherwise, the ball cannot be
attacked above the net in front of the 3-meter line. An underhand pass is allowed from any part of the
court.

The libero is, generally, the most skilled defensive player on the team. There is also a libero tracking
sheet, where the referees or officiating team must keep track of whom the libero subs in and out for.
There may only be one libero per set (game), although there may be a different libero at the beginning
of any new set (game).

Furthermore, a libero is not allowed to serve, according to international rules, with the exception of the
NCAA women’s volleyball games, where a 2004 rule change allows the libero to serve, but only in a
specific rotation. That is, the libero can only serve for one person, not for all of the people for whom she
goes in. That rule change was also applied to high school and junior high play soon after.

Recent rule changes

Other rule changes enacted in 2000 include allowing serves in which the ball touches the net, as long as
it goes over the net into the opponents’ court. Also, the service area was expanded to allow players to
serve from anywhere behind the end line but still within the theoretical extension of the sidelines. Other
changes were made to lighten up calls on faults for carries and double-touches, such as allowing
multiple contacts by a single player (“double-hits”) on a team’s first contact provided that they are a
part of a single play on the ball.

In 2008, the NCAA changed the minimum number of points needed to win any of the first four sets from
30 to 25 for women’s volleyball (men’s volleyball remained at 30.) If a fifth (deciding) set is reached, the
minimum required score remains at 15. In addition, the word “game” is now referred to as “set”.

Changes in rules have been studied and announced by the FIVB in recent years, and they have released
the updated rules in 2009.