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PHYSICAL EDUCATION UNIT

Physical Activity Towards Health and Fitness 3

Movement and movement skills refer to the physical actions and abilities that allow individuals to
perform tasks, ranging from basic everyday activities to complex athletic maneuvers. These skills are
fundamental in various domains, including physical education, sports, rehabilitation, and overall health.

1. **Movement**: This is the act of changing physical position or location. It encompasses all kinds of
body motions, from simple movements like walking and running to more complex actions like dancing or
playing sports.

2. **Movement Skills**: These are specific abilities that enable individuals to perform different types of
movements effectively. They can be categorized into:

- **Gross Motor Skills**: These involve large muscle groups and whole-body movements, such as
running, jumping, and climbing.

- **Fine Motor Skills**: These involve smaller muscle groups and precise movements, such as writing,
typing, or buttoning a shirt.

- **Fundamental Movement Skills**: These are basic skills such as throwing, catching, kicking, and
balancing that form the foundation for more complex movements and activities.

Improving movement and movement skills typically involves practice, coordination, strength, flexibility,
and agility. For instance, in physical education, students often work on developing these skills through
various exercises and activities to enhance their overall physical abilities.

Movement concepts refer to the principles and ideas that underpin how movements are performed and
understood. They help in analyzing and teaching movement by breaking down complex actions into
fundamental components. These concepts are essential in physical education, sports training, and
movement therapy.

Key movement concepts include:

1. **Space**: Refers to where movement occurs, including concepts like direction (e.g., forward,
backward), level (e.g., high, low), and pathway (e.g., straight, curved).

2. **Effort**: Involves how movement is performed, including aspects like speed (e.g., fast, slow), force
(e.g., strong, gentle), and flow (e.g., smooth, choppy).

3. **Relationship**: Describes how movements interact with objects, other people, or the environment.
This includes concepts like balance, coordination, and the relationship between different body parts.

4. **Body Awareness**: Refers to understanding and control of one's body parts and how they move in
space. It includes concepts like body alignment, posture, and the use of body segments.

5. **Time**: Involves the timing and rhythm of movements, including tempo (e.g., steady, varied) and
the sequencing of movements.

These concepts help individuals analyze their own movements and improve their ability to perform and
teach various physical activities. They are often used to enhance skills in sports, dance, and other
physical disciplines by providing a framework for understanding and mastering movement.
The rhythmic concept in movement refers to the patterns and structures that define how movements
are organized and timed. It focuses on the sequencing, timing, and flow of movements to create a sense
of rhythm and consistency. Key aspects of the rhythmic concept include:

1. **Tempo**: The speed at which movements are performed, which can be fast, slow, or moderate.
Tempo affects the overall rhythm of the movement sequence.

2. **Beat**: The basic unit of rhythm, which provides a regular pulse or timing that movements can be
aligned with. Beats help in establishing a predictable pattern for movement.

3. **Pattern**: The arrangement of movements in a repetitive sequence. Patterns can be simple or

complex and help in creating a rhythmic flow.

4. **Synchronization**: The alignment of movements with external rhythms, such as music or a

metronome, or with internal rhythms, like the body's natural movement patterns.

5. **Duration**: The length of time a movement is performed or sustained, which affects the rhythmic
feel and flow.

6. **Accent**: Emphasizing certain parts of a movement sequence, which can highlight specific beats or
create dynamic contrasts in the rhythm.

Understanding and applying rhythmic concepts can enhance performance in activities like dance,
gymnastics, and sports, where timing and coordination are crucial.

Rhythmic movement activities involve coordinating body movements in time with a rhythm or beat,
often incorporating music or rhythmic patterns. These activities help develop timing, coordination, and
spatial awareness. Examples include:

1. **Dancing**: Whether it's structured forms like ballet or freestyle dancing, dancers follow rhythmic
patterns in music, coordinating movements to match the tempo and beat.

2. **Drumming**: Using drums or percussion instruments, participants can engage in rhythmic

movement by striking beats in sync with a rhythm, often involving whole-body coordination.

3. **Jump Rope**: Rhythmic jumping with a rope involves timing jumps to the swinging rope, helping to
develop coordination and rhythm.

4. **Aerobics**: Fitness routines set to music where movements such as stepping, jumping, and kicking
are performed in time with the beat.

5. **Rhythmic Gymnastics**: Combining elements of dance, gymnastics, and apparatus handling,

rhythmic gymnastics routines are performed to music with a focus on precise,rrhythmic movement.

6. **Circle Games**: Activities like "Duck, Duck, Goose" or "Ring Around the Rosie" involve rhythmic
movement patterns and coordination with others in a group.

These activities enhance rhythmic skills, body awareness, and overall coordination, making them
valuable in both educational and recreational settings.

Course Module 2: Introduction to Philippine Folkdance, Classification of Folk Dances and

Fundamental Dance Position

Module Description

This module gives learners an introduction on the History of Folkdance and its
importance. The legal mandates that governs the subject and provide its necessity to be
undertaken.
 Objectives
The module aims to:
1. Define terms used in folk dance;
2. Identify the Phases of dance program and the common formations used in folk dance;
3. Discuss the concepts of Folkdance.

Learning Outcomes
At the end of the lesson the students are expected to:
a. Demonstrate the fundamental positions of hands and Feet use in Folkdance;
b. Execute the different dance steps used in folkdance and;
c. Create and perform combinations from the different dance steps and Folkdances.

Essential Questions:

 What is Folkdance?
 Why is there a Folkdance?
 What are the basic skills in Folk dancing?
 What are the various dance steps in Folk Dancing?

INTRODUCTION

Filipino folkdance history is not the history of a single national dance of one or two
regions. Dances evolved from different regions which are distinct from one another as they are
affected by the religion and culture.
In the Philippines, dance is as diverse as the culture intermingling in the archipelago. It
encompasses all the dance forms that have been used by the Filipinos through the centuries to
express themselves. This dazzling diversity of dances in different forms and dynamics grew out
of the times, situations, and experiences of the people and the exposure to the varied cultures
and traditions introduced by the waves of colonial rule that have reached the Philippine shores.

Brief Development of Philippine Folk Dance

1. Pre-Colonial Period- Dances during this period were considered by some historians,
anthropologists, and researchers as dance in its purest form because this particular dance form
has not been refined, developed, trained, or guided by an artist. To the early Filipinos, dance
was an expression of community life that animates the various rituals and ceremonies.

Classification

 Ethnic dance (or Indigenous dance)- found among the ethnolinguistic groups
scattered all over the Philippine islands who have not been substantially Westernized.
The mountain regions of Northern Luzon house dances that continues to be an
expression of community life that animates the various rituals and ceremonies.
Sometimes, these dances are called Cordillera dances. Cordillera is a name given by
the Spanish Conquistadors when they first saw the mountain ranges. Meaning "knotted
rope", the Spanish term refers to the jumbled rolls and dips of this long-range traversing
the northern part of Luzon Island. One dance coming from this area is called Banga.
"Banga" literally mean pots.
The Banga or pot dance is a performance of Kalinga of the Mountain Province in the
Philippines. This dance illustrates the languid grace of a tribe otherwise known as fierce
warriors. Heavy earthen pots, as many as seven or eight at a time, are balanced on the
heads of maidens as they trudge to the beat of the "gangsa" or wind chimes displaying
their stamina and strength as they go about their daily task of fetching water and
balancing the banga.

1. Spanish Colonial Period- Exposed for almost four centuries to the influence of European dances, the
Filipinos gradually assimilated the dances of the Spaniards, evolving their own simplified versions and
derivations of the different forms with each region adding its own touches. The elegance of the body and
arm movements of foreign dances fascinated the Filipinos, so they adopted these. However, the sharp
 and fast movements of most European dances were tempered and softened by the languid grace that is
characteristic of many Filipino dances.

Classification

 Maria Clara dance (or Western Influenced dance)- These dances reached their zenith in
popularity around the turn of the century, particularly among urban Filipinos. They are so
named in honor of the legendary Maria Clara, who remains a symbol of the virtues and
nobility of the Filipina woman. Maria Clara was the chief female character of Jose Rizal's
Noli Me Tangere. Displaying a very strong Spanish influence, these dances were,
nonetheless, "Filipinized" as evidence of the use of bamboo castanets and the abanico,
or Asian fan. Typical attire for these dances is the formal Maria Clara dress and barong
tagalog, an embroidered long-sleeve shirt made of pineapple fiber.

2. American Colonial Period- In dance, America made its presence felt in the Philippines through “bodabil”
dancing, a term which comes from the French “voix de ville”--- street songs, which was dancing in the
variety show which consisted mainly of popular and theatrical dances from the U.S.A. but later included
Philippine folk dances and choreographies among its production number.

Classification

 Rural dance (or Countryside dance)- Perhaps the best known and closest to the Filipino
heart are the dances from the rural Christian lowlands: a country blessed with so much
beauty. To the Filipinos, these dances illustrate the fiesta spirit and demonstrate a love
of life. They express a joy in work, a love for music, and pleasure in the simplicities of
life. Typical attire in the Rural Suite include the colorful balintawak and patadyong skirts
for the women, and camisa de chino and colored trousers for the men.

FOLKDANCE DEFINED

1) Folk dances are traditional dances of a country which evolved naturally and
spontaneously in connection with everyday activities and experiences of the people who
developed them.
2) Folk dancing is the heartbeat of the people.
3) Folk dances are traditional social expressions of the ideals, mores, feelings and thoughts
of a people or groups of people through body movement.
4) Dancing is the outburst of people’s feelings.

VALUES OF DANCING

1) Physiological and neuro-muscular development of the organic systems of the body.

2) Cultural-depicts of the culture of people.
3) Social and recreational.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES

1) To foster patriotism and nationalism through the study of our dance.

2) To rouse better appreciation of Philippine music and folk dances.
3) To provide, through dancing, a healthful form of relaxation and recreation.
4) To develop a graceful and rhythmic coordination of body movements that will improve
posture.
5) To preserve posterity, folk dances and music indigenous to the different regions in the
Philippines.
6) To demonstrate the growth of Filipino culture through the evolution of Philippine dances.

DO’S IN FOLK DANCING

1) Dance in natural, simple, and direct manner.

2) Dance with ease and smoothness.
3) Use the proper costume for the dance.
 4) Follow direction and dance instructions as closely as possible.
5) Dance with feeling and expression.

DON’TS IN FOLK DANCING

1) Do not exaggerate the dance steps.

2) Do not make the dances too dainty and graceful like ballet.
3) Don’t make entrance and exit too long.
4) Don’t make steps too elaborate and complicated.
5) Don’t call a dance a folk dance unless steps come from traditional dances.

CHARACTERISTICS OF PHILIPPINE FOLK DANCE

1) In general, dancers stand apart.

2) There is little, if any bodily contact.
3) Most of the dances are done by pairs or couples.
4) Hand movements play an important part.
5) Most dances are in long formation.
6) Most dances begin and end with “saludo”.
7) Dances from the lowlands have more foreign elements than those found in the uplands.
8) War dances are found among non-Christian tribes.

CLASSIFICATION OF PHILIPPINE DANCES

I. General Classification
A. Geographical extent of origin
1) National dances- found throughout the islands with little or no
modifications.

Examples: Rigodon, Cariṅosa, Jota, Balitaw, Pandanggo.

2) Local Dances- found in a certain locality.

Examples: Tinikling (Leyte), Maglalatik ( Binyang), Esperanza ( Nabua)

Subli ( Batanggas), Biniganbigat ( Abra).

B. Nature

1) Occupational- depicting action of certain occupation, industry or

human labor
Examples: Planting, Harvesting, Pounding, Winowing, Pabirik,
Manguete etc.
2) Religious or Ceremonial- performed in connection with religious vows
and ceremonies.
Examples: Dugsu, Sua-Sua, Putong, Sta. Clarang, Pinong pino etc.
3) Comic dances- depicting funny movements for entertainment
Examples: Kimbo- kimbo, Makonngo, Kinoton
4) Game dances- with play elements (dance mixers)
Examples: Lubi-Lubi, Pavo
5) Weddings dance- performed during wedding feast
Examples: Panasahan
6) Courtship dances- depicting lovemaking
Example: Hele- Hele, Bagoquiere, Maramiom, Tadek, Daling- daling
7) Festival Dances- suitable for special occasion or any social gathering
Examples: Pandanggo, Habanera, Jota, Surtido
8) War dances- showing imaginary combat or duel
Examples: Sagaya, palu- palu
 FUNDAMENTAL POSITIONS OF THE ARMS AND FEET

Feet Positions

1. First Position
For the first position, form a V-shape with your feet by bringing your heels together to touch
while keeping your toes away from each other.

2. Second Position
For the second position, move one foot sideward. Your feet should be parallel to each other
while maintaining a distance of about 12 inches/45 degrees
3. Third Position
For the third position, bring your foot’s heel to touch the arch of your other foot, with both
feet turned outward.
4. Fourth Position
In the fourth position, put your foot forward while the other foot still retains its position. The
distance between the two feet should be about 12 inches.
5. Fifth Position
In the fifth position, bring the heel of the foot in front to touch the toe of the other. Both feet
should still be pointing outward.

Arms Positions
1. First Position
For the first position, raise your arms into a circle in front of your chest. Your hands should
be aligned in front of your chest with both arms slightly curved, and your fingertips should be at
least 1 inch apart.
2. Second Position
For the second position, open your arms sideward at shoulder level.
3. Third Position
One arm is raised above your head, while the other arm maintains the second position. The
arm that was raised should be slightly curved as well.
4. Fourth Position
In the fourth position, the arm in the second position would be raised forward in front of your
chest again, similar to how it was in the first position. The arm that is lifted above your head will
still maintain its position.
5. Fifth Position
For the fifth position, both arms should be lifted above your head, slightly curving. The
posture is similar to that of the first position but raised above the head instead.

COMMON DANCE TERMS

KUMINTANG- moving the hand from the wrist either in a clockwise or counter-clockwise
direction
o ILOCANO-moving the hand from the wrist in a clockwise direction
o TAGALOG-moving the hand from the wrist in a counter-clockwise direction.
BILAO- to turn palms of the hands up and down alternately, hands at waist level in front, elbows
close to waist.
SALOK- swinging 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.
HAYON-HAYON- to place one forearm in front and the other at the back.
MINCING- With feet in 5th position, heel raised, take as many steps as possible sideward (any
direction) (1 step on every count)
SHUFFLING- With both feet flat on floor, make tiny slide step forward (1 small slide on every
count)
CHASING- Execute successive close steps with one foot leading (1 step on every count)
 COMMON DANCE STEPS
2/4 TIME SIGNATURE
DANCE STEPS COUNTING STEP PATTERN NO. OF
MEASURES
POLKA SERIES
1. PLAIN POLKA 1. 1 & 2 & 1. Step, Close Step 1
(Pause)
2. HOP POLKA 2. Ah, 1 & 2 & 1
2. Hop, Step, Close Step
3. HEEL AND TOE 3. 1, 2, 1 & 2 & (Pause) 2
POLKA 3. Heel-place,Toe-point;
Step, Close Step
4. SLIDE POLKA 4. 1 & 2 &, 1 & 2 (Pause) 2
&
4. Slide-Step, Close Step
(Pause)
BLEKING 12 heel-place close 1
CHANGE STEP 1&2 Step, Close, Step 1
CROSS CHANGE STEP 1&2 Cross-step, Close, Step 1
HABANERA 12& Step, Close, Step 1
CLOSE STEP 12 Step R (any direction); close L 1
to R
CROSS STEP 12 Step R, cross and step L, across 1
R
HOP STEP 12 Step R (any direction); hop on R 1
BRUSH STEP 12 Step R (any direction); brush L 1
SLIDE STEP 12 Side R (sideward/forward); close 1
L to R
SWING STEP 12 Step R (sideward/forward); 1
swing L across R
¾ TIME SIGNATURE
WALTZ SERIES
1. NATIVE WALTZ 1. 1, 2, 3 1. Step, Close, Step 1. 1
2. WALTZ BALANCE 2. 1, 2, 3 2. Step, Close and Raise 2. 1
3. CROSS WALTZ 3. 1, 2, 3 heels Up, down 3. 1
3. Cross-step, Close, Step
SWAY BALANCE
SERIES
1. WITH A POINT 1. 1, 2, 3 11, 2, 3 1. Step, cross-step/ step, 2
point
2. WITH A WALTZ 2. 1, 2, 3 11, 2, 3 2. Step, cross-step/ step, 2
close, step
3. WITH A HOP 3. 1, 2, 3 11, 2, 3 3. Step, cross-step/ step, 2
raise, hop
4. WITH A BRUSH 4. 1, 2, 3 11, 2, 3 4. Step, cross-step/ step, 2
brush
5. WITH A RAISE 5. 1, 2, 3 11, 2, 3 5. Step, cross-step/ step, 2
raise
6. WITH A CLOSE 6. 1, 2, 3 11, 2, 3 6. Step, cross-step/ step, 2
close
7. DOUBLE SWAY 7. 1, 2, 3 11, 2, 3 7. Step, cross-step/ step, 4
BALANCE 1, 2, 3 11, 2, 3 point/cross-step,
step/point

References:

https://www.edb.gov.hk/en/curriculum-development/kla/physical-education/index.html
https://www.atikaschool.org/news-and-opinions/what-is-physical-education-and-aims-of-
physical-education#:~:text=%E2%80%8BIt%20aims%20to%20develop,an%20active%20and
%20healthy%20lifestyle.
https://www.chanrobles.com/republicacts/republicactno5708.html#.X07h7XkzbIU
Physical Education: Concepts and Legal Basis. (2016, Oct 27).

Prepared by:

Perfecto M. Garcia III, LPT

Flony P. Agbayani, LPT
Gyfthy Joshua D. Batungbakal, LPT
Jemuel Fev Jared Parongan, LPT